Sampling HSL Color in 3D vector scope and matching in color wheel

I am attempting to match two clips together. I have already adjusted luma and rgb values with the still shot comparison. I would now like to sample a color in the still shot get those values and then attempt to secondary grade with the HSL values. Now what's confusing me is that when I look at the sampled hue values (3d vectorscope set to HSL) they are like 217.7, 218.3, 218.8 etc. How do I match those hue values on the main color wheels when the hue values on the color wheel can only be adjusted from .00 to 1?

Yikes. That is a difficult one (for me at least). Luckily I have not had to work much with issues like that.
I had one project that was shot in a desert on two different days under different cloud conditions. What a pain. I have much less hair now. So I can kind of understand what you are going through.
I guess depending on the shot, if the sky is unobstructed, it might just be quicker to composite in a new sky and then try to match up the rest of the shot via the secondaries in Color. Of course if you do that, then you get into more than likely having to do a reconform to replace the clip with the clip that has the new sky.
I'm not as seasoned as others on here, maybe they can provide better suggestions than me.
Good luck!
P.S. I would be interested in knowing what you solution ends up being.

Similar Messages

  • How can I change the color of a folder icon and also the color of the text

    I am using Yosemite.  Is there any way to change the color of a folder icon and also the color of the text?

    You can't. You can't individually set the properties of just one array element.
    Mike...
    Certified Professional Instructor
    Certified LabVIEW Architect
    LabVIEW Champion
    "... after all, He's not a tame lion..."
    Be thinking ahead and mark your dance card for NI Week 2015 now: TS 6139 - Object Oriented First Steps

  • How do I convert full color (or black) vector art to a single color?

    Im sure there is an easier way but I have some vector clipart that I need to convert to a single non-black color. Some of it is coming as full color, others are coming as black.  I need to convert them to a particular PMS color.  Im sure there is an easier way than clicking on each individual vector and doing it manually...correct?

    In your swatches palette, select your destination color, and choose new color group (you have to do this 1st step for this to work)
    Edit >> colors  >> Recolor Artwork
    Choose preset 1 color job, then choose the color group which has one pantone.
    Converted but obviously placed images in this example. But the colors are GLOBAL so this is a great solution!!!

  • Printer not printing AND Matching Screen colors to Print colors.  Any advice is apreciated!!

    Hello - I have 2 questions regarding  printing to an Epson and also regarding the monitor colors Not matching the print colors working from Photoshop CS4 on a Mac with a Maverick [ 10.9.3 ] OS. My issues are Not about my own printers or software.  I have been tutoring a friend via phone in Photoshop; he has CS4 and is working on Mac OS 10.9.3.
    1- We found that he could print nearly fine [ nearly accurate colors ] from Lightroom on his computer, version 5.4.   But when he tries to print from Photoshop he cannot make a print.   There is clear communication between the computer and the printer, as, when he sent the file to print, the printer [ an Epson 3880 ] responded by automatically changing to Photo Black from Matte.  Then, it opens the rollers as if to print, but, it them stops and the menu [ on the Printer ] says 'Ready.'   The paper is 4x6” Moab Lasal paper 300gsm. This issue of Not printing is only with this Moab Lasal luster paper, for which he Does have the IIC profile, and we always make sure ‘Photoshop manages colors,’ not the printer. To address the issue of the printer Not printing at all using a non-Epson brand paper, we have tried seemingly everything from deleting and re-adding the printer from the Library / Printers, resetting everything [ printer   computer   software etc ], trying different settings in the Printer window and the Print Settings window. Including changing the media profile, platen gap, etc.
    2- My other and more important question is – after we Do get a print, we cannot match the monitor color to the print. [ We havE been able to get a print using Epson brand paper.   Which is odd because we have the ICC profiles for both papers ]. To address the color matching issue, he has told me he calibrated the monitor with a Spyder, and here are a few other variables that I can relay that may or may not be affecting his color-issues:
    He iS viewing his prints in a dayliglht-rated lighting environment
    The monitor is an iMac glossy finish monitor, not an anti-glare
    We tried working and printing from both an 8-bit and also a 16-bit color-space and also 16-bit printing
    The color shift is slightly but noticeably toward Magenta.
    His printer is Not calibrated
    Please let me know what else we can do, any known glitches that may be an issue with his older version of CS, any tips you can suggest.
    Thanks very much!

    I don't have that printer and I'm not on Mac, so someone else has to step in there. Generally a green/magenta cast indicates none/double printer color management. But then I don't know what you mean by "slight".
    The Spyders aren't the most consistent and reliable calibrators out there. I had a Spyder 3 sensor that I just threw away because it gave a distinct red cast (I have several other calibrators, so there was no doubt). Another potential problem is that with most calibrators you can only adjust the white point along the blue/yellow Kelvin scale, but not on the green/magenta scale. This is often necessary to get a good white point color. In this case you need to use the monitor's OSD controls, and if possible the "pre-calibration" function in the calibrator to measure and monitor it - if that function exists. And I don't know if this is possible with an iMac.
    This is basically a question of getting the white point right, both on the blue/yellow and the green/magenta axis (and luminance of course). The goal is to get a visual match to paper white on screen. With the white point properly set, neutral color balance relates to that, and the rest more or less follows by itself. (In addition you should set the proper black point/contrast for full control, but that's not the issue here).

  • PMS color in a vector smart object

    How do I retain a spot color in a vector smart object placed in Photoshop. Once the SO is updated within the PS file, the separations palette does not reflect the change, and the spot color is no longer there.

    I thank everyone for their input, I guess I should have provided a little more information:
    The file supplied by a client. Is an Illustrator file. Within this AI file is a PSD file. An element in the PSD file is a vector smart object, which needs to have a PMS color applied. I can apply a PMS color to the SO, then save and update the PSD, then update the link in the AI file, but the color converts back to 4C, and the spot color is lost. I cannot come up with a way to maintain the spot color in the SO. I was thinking of just taking the SO out of the PSD altogether, and placing it in the final AI doc, but there are some PS effects applied to it that I cannot reproduce in AI. For added difficulty, the PSD cannot be flattened, because it has some pretty crafty transparancy masking in it. I would love to provide the file itself, but for security reasons, I am unable to do so.

  • Which color do you like most and lea

    Hello everyone,
    I am just wondering which?of the 0 Zen Micro colors is your?most and least favourite color.
    <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_purple.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_darkblue.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_silver.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_lblue.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_green.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_orange.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_red.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_pink.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_white.jpg"> <IMG src="http://sg.creative.com/images/promos/contestzen/zenmicro_black.jpg">
    lozxMessage Edited by lozx on -8-2004 05:6 PM

    Most of them are pretty good. My faves are Black, Dark Blue, Red, and orange. The worst are the pink and green. Torstein. Please help me with my post: A Petition to ask Creative to update the firmware of the Zen Touch to Include EAX capabilities.

  • Hey, How do I populate my replace colors color library in illustrator? I tried to replace color on a traced/ vectorized image and when I selected and went to the color library CC said I need to use a valid username. I was already logged into my adobe acco

    Hey, How do I populate my replace colors color library in illustrator? I tried to replace color on a traced/ vectorized image and when I selected and went to the color library CC said I need to use a valid username. I was already logged into my adobe account.

    Can you please show a screenshot of what exactly you want to replace where?

  • How do I prevent the Darker Shade Box (color shift) around Vector Objects when Printing

    Sorry in advance for the novelette. I am absolutely mystified and frustrated and would love some help! I've been working on this problem for about 30 hours over the last 4 days to figure out what the heck is happening and cannot find an answer through various forms of research.
    Basically, when I print a JPEG, I am getting this area (a box) of darker shaded coloring around my heart and love text.  I've tested it a million different ways and am at a loss as to what the problem is ... is it an application problem, a color profile problem between my applications and printer, an improper way that I saved my file, etc.
    Here is a photo I took of the image printed out (so it is slightly skewed from camera distortion):
    The details:
    (1) I create graphic art and sell it online. I save all of my printable art as JPEG files because of my customer base (diy hobbyists that print on their home printers without much knowledge base nor graphic design software).
    (2) I use both Adobe Illustrator (AI) and Photoshop Elements 11 (PSE11) to design and save my artwork.
    (3) I insert JPEG images into Microsoft Word 2003 documents to "test print" since most of my customers use home printers to print. Since most people have this basic software, it is a good gauge of the kind of print out they might get using the same or similar software.
    (4) My PSE11 color profile setting is the default sRGB. I have test printed many times and I get the truest colors with this color profile.
    (5) My AI color settings are normally also an sRGB color mode, but on occasion, I use a CMYK color mode if I am creating a larger document that I know the customer will need to take to a professional printer to print out.
    (6) I do my home printing (for proofs) on an Epson Stylus Photo 1400 (which has the 6 color ink cartridges).
    (7) Until this printing problem occurred on this test print out, I always used the "photo enhance" option when I designate settings for my printer via the Microsoft Word documents.
    IMPORTANT: This is when I have the color shift?? or color rendering issues?? and it is the only time. If I use the regular ICM/ICC color profile of sRGB, the printing issue doesn't occur. Instead, I have a solid color background instead of this one with the strips of lighter color on the top and bottom.  However, I can't control how the customer prints, so I need to feel confident that whatever color profile setting they use, they will not run into this problem.  I even test printed the documents over at FedEx and the darker box/color shift did not occur.
    (8) The document in question only has 3 sets of objects: the heart, the solid colored rectangle colored background and the text.  All 3 objects are vectors, they are at 100% opacity and there are no "special effects" applied.
    (9) The image was entirely created in AI this time and exported as a maximum quality JPEG file, although you will see below that I tried many ways to create and save the file so that I didn't have the color band borders on top/bottom.
    (10) I regularly use AI for part of my art, then I drag it to my PSE11 open document and it becomes a Vector Object (it cannot by copying/pasting into a PSE11 document).  I also regularly export AI images as PNG files, then insert them into an open PSE11 document. This printing issue has not occurred until recently.  Here is an example of a very complex AI image I created, then inserted into PSE11 just to add the background (the Teddy Bear and books are AI vector objects) that were exported as PNG files then inserted into PSE11 to integrate with the background image - I test printed with Photo Enhance and had no printing issues:
    So, from the research I have done, it looks like it is a color rendering or color space issue with conflicting color profiles in the same document. I checked my color profile settings and both sRGB and CMYK were set to embed ICC color profiles.
    I tried changing AI settings to Preserve Numbers (ignore linked profiles) for CMYK, but that didn't work.
    I also checked and made sure that not only the document setup showed the sRGB color profile, but that all the objects within the document also were converted to sRGB as well for consistency. That didn't work.
    I tried converting the document to CMYK along with the vector objects. That didn't work.
    I tried saving the heart image as a PNG file alone, the "love" text as a PNG file alone, both the heart and text together as a PNG files alone. Once saved as PNG files, I inserted them into an open empty PSE11 document - as I normally do. I then added the background color I wanted. That didn't work - the print still showed the color changes.
    I tried dragging each vector object separately and even as a group and got the same color change issue when printing.
    I tried "expanding" and "outlining" the text before exporting as JPEG, before exporting as a PNG and before dragging as a vector object into PSE11. Expanding the text did not help the situation.
    I tried exporting as Adobe PDF, then opening in PSE11, then resaving as JPEG. That didn't work.
    I tried flattening transparency (even though there is no transparency in the AI file). That didn't work.
    I tried rasterizing the image. That didn't work.
    Thinking that the file might be corrupt, I started from scratch and redesigned the same heart and love text.  Unfortunately, I had the same problem as before.  At this point, my AI started becoming buggy and would not open new files. It happened repeatedly and I decided it was best to uninstall and reinstall AI (and maybe that would fix the problem).
    I created just the heart in AI, then inserted it into an open PSE11 document (both after exporting as PNG and also by dragging as Vector Object from AI). It seemed to work. I could both drag the vector into PSE11 from AI and export from AI as a PNG, then insert into open PSE11 document with a background color - and it printed a solid background.
    So, I thought that reinstalling and setting back to defaults worked. But, then I added the love text around the heart and tried exporting as JPEG files and the same problem continued to recur. Whether I dragged as a Vector object into PSE11 (the heart object and love text separately and also another time with the vector objects dragged as a group) or saved them as PNG files and inserted into PSE11 - I got the different shades of color on what should be a solid background. I even tried saving the PSE11 as a PSD file first, then resaving as JPEG and I tried saving as PNG and printing and this didn't help solve the problem.
    I really think it is some color conflict issue but I can't figure it out. I am definitely not very knowledgeable about color profiles and how to sync all my devices, however, as I mentioned, this was not an issue until recently (and I think??? I recall changing the CMYK setting from Preserve Numbers to embed color profile a month or so ago - however, it should have been solved when AI went back to its defaults upon reinstall).
    The reason I believe it is a color rendering/color space issue is because I could see the color output when I saved the JPEG with CMYK color profile versus sRGB color profile and the sRGB colors were much richer, not surprisingly. The top and bottom colors matched the sRGB printout and the middle darker box section matched the CMYK printout.
    I am sure it is something fundamental or simple and I am completely overlooking it.  I wish it were just a transparency issue, because people know how to fix or do workarounds for it. But, there are no vector objects with any transparency ...
    If I missed some detail, I apologize. Any help would be a dream come true at this point! lol
    Thank you!

    Okay, I got motivated to try again.  From doing a bit more research on troubleshooting AI printing problems, the Adobe article talks about print drivers. It was advised to uninstall and reinstall the print driver if the printing issue persists. So, I did. Unfortunately, I still had the same result after reinstalling and trying a test print! Ugh.
    So, as Jacob said upfront, I seem to have an overactive print driver that is trying too hard (and it is a non-postscript printer which I realize is part of the problem).
    There are so many variables in my situation as to how I create art and save/export art. I sometimes work solely in AI, sometimes solely in PSE and sometimes I use both programs to create. Consequently, I will:
    (1) export directly from AI as JPEG if I am not adding PSE11 artwork.
    (2) export directly from AI as PNG  if I plan on inserting that image into PSE11 to add to artwork I have created in PSE11.
    (3) drag vector objects as a Smart Objects directly from AI to PSE11 to add to artwork I am creating in PSE11 if I know I will playing with the vector object and resizing in PSE11.
    So, I did a test print using scenario 2, where I inserted the heart and love text PNG (AI created vector object) into an old PSE11 document. This old document already had a vector object from AI with a solid background and I knew it printed correctly. So, after inserting this new PNG from AI into this old document, it printed correctly using the photo enhance mode.
    However, I haven't had a chance to actually create new art in the older AI files (that I know print properly), resave as something else and try another test print (either by exporting as JPEG and printing in Word or by exporting as PNG file and inserting into PSE11 document, then saving as JPEG and printing in Word).
    After testing the different possibilities of ICM settings within my printer, I found that the JPEG images printed out with the truest colors and best quality if I simply selected "no color management" from the printer. Shocker, huh? lol
    MY SOLUTION: So, what I think I will simply do is add an instruction sheet with the printables I sell, explaining that the color profile setting should never be handled by the printer so make sure to turn off color management by printer (and if they feel they must use the printer for color management, make sure the setting is sRGB since I embed that color profile in my JPEG's).
    Edited to add: Since my issue was never about how I could print a successful image (I knew I could simply change the color profile settings), but rather about how to make sure that customers would get consistent and high quality print outputs of my digital images, this seems like the best approach.
    I don't think I will every really know exactly why I am now getting color shifts in the "photo enhance" mode when I did not have this problem a couple months ago - applying the same methods of creating artwork. I was concerned that I was saving/exporting using incorrect or mismatched color settings or something of that nature.  However, since I went through the process of making my color spaces the same for everything, and I still have issue, clearly that is not the culprit. The only thing I can do to solve the problem and it is a straightforward solution anyway -> is to educate the buyer on how to print successfully (don't use photo enhance! ha ha).
    Thanks again to everyone who chimed in and offered advice!

  • [BUG]PS CC Layer Group add vector mask and disable it,use path selection tool click,always crash!!!

    [Bug] Photoshop CC,Layer Group add vector mask and disable it, use path selection tool click canvas, always crash!!!  Please help me!
    The sample psd file(158KB):
    http://doc.aoyea.com/ps_cc_bug.psd
    My Computer configuration:
    SONY VAIO CA100 Notebook、Intel Core I5 2410 CPU、16GB RAM、AMD Radeon 6600M(1G RAM)、Windows7 x64 SP1(clean)、Scratch disk free space is 100GB
    email: [email protected]

    Hi,
    As far as i know that's a bug that will hopefully be fixed in the next update to photoshop cc.

  • How to turn logo into crisp clean vector black and white outline?

    I have the colored logo in vector but I need a crisp clean vector black and white outline.
    Please advise.
    Thank you!

    You might be able to at least color all the dark parts in black via Edit > Edit colors > Recolor art.
    Maybe you can use it as well to color all the other parts in white (depends on how many there are and if it doesn't get too cluttered).
    You might also try to use the magic wand tool to select stuff and then apply different colors.

  • Please bring color back to vector shapes in Layer Palette with no-thumbnails.

    Please bring the color box back to vector shapes!
    I am one not to use images in my layer palette, and in CS5 this was a breeze, but now the icons are different, there is no white box on the icons anymore (which really helps when scanning, and differentiating from folders), and I can't preview the color of the vector shape that I created in Photoshop. Vector shapes are a big part of my work. Before it would show a box with the color, now it shows nothing. The linking vector box is not neccesarily important as long as when I click it, the points become live.
    Also the dividing lines for layers is not strong enough, doesn't have to be white, but at least gray. Black is definately not helping to divide the layers. And for nested layers, having the dividing line go half way to the edge really helps alot.
    I noticed that a lot is different about the "no-thumbnails" version of the layer palette, and some I can live with, some changes I cannot. But being able to preview the color of a vector shapes is important for me, and seeing the white box behind the icon really helps when scaning a lot of layers. I've attached a comparison, also I have attached an image of how my layer palette looks on a daily basis from CS5 and CS6, I also opened the folder, and matched the palettes so you can see what I mean. Those little things really make a difference when scanning up and down 50-100 layers.
    Even though setting the layer palette to no images may be a rarity among photoshop users, it's something that I value in photoshop, especially since my documents have hundreds of layers.

    I think it was a fair assessment given the circumastances of the answer you provided, Jeanne. Also, another thing is that posting under an "employee" account, you are speaking for the company. You are representing the company whether it is your intention or not. Even if you explictly state that what you say is your personal opinion, people might have mixed feelings about what you say and mistake it for a belief that the whole company shares. So be careful with that, just as a note for the future.
    But anyway, as for the issue at hand... That still doesn't give us anything other than "we won't do it." And again, I advise you to look through the post I referenced to. There are some very easy solutions there that help make the layers palette much easier to scan and work with. It's not too difficult to fix this and as already said above, you're already working on a fix for the thumbnails themselves anyway.
    The solution to this problem could be as easy as this (I can provide another graphic for the darker UI settings, if you want):
    What you do is:
    Display a bigger thumbnail of the layer icon (yes, that will use up more space in the no-thumbnail view, but that's not a huge problem compared to what you have now)
    Clearly display the content of the layer (in this case, both layers are gradients, but it could also just have a solid color fill)
    Lighten the color of unselected layer's names (to make the properties of the layer itself stand out better),
    Make the layer thumbnail itself (if it's a vector layer) toggle the path outline on and off and
    Bring back the separation line from CS5, which indicated the layer's position in the grouping hierarchy.
    If you do that, you've already solved quite a lot of the scannability and readability problems. In the future, you could improve the iconography to be better optimized for quick scanning, to make them stand out better (give them more depth) and so on, but for now, this should be enough to make things better for most people. And also, this will not take up too much development time. You've already got the logic of the separation lines from CS5, for example. Shouldn't be too much of a problem to implement in CS6. I'm not going to speak for the other things, because I don't know too much of the internal workings of the program, but it shouldn't be too much of an issue.
    Trust me, this change will make a world of difference. People will love this even if they don't understand that it's there or why they love it.
    Would you like me to provide detailed wireframes and documentation, so your designers don't have to worry their heads about this one? Just asking, because this is a change that should really be pushed through, no matter what.
    Cheers,
    Riho Kroll

  • How do you split a vector image into several different colors

    Hi, I'm trying to make an infographic for my company and wanted to use an image of christmas tree I found. I put it into Illustrator CS6 and traced it with the 16 colors option ( which i believe makes it a vector). What I want to do is change the colors of the christmas tree on each level of needles, but I can't figure out how to split up the image to change it into different colors. Sorry if this is confusing, any help appreciated.
    Thanks
    Audrey

    Audrey, first off, you should know this:
    Working with "a vector graphic" and working with a vector graphic that is the result of Illustrator's Image Trace are very likely to be very different things.
    You would be much better off if you were starting with a tree graphic that was designed and drawn as a vector graphic in the first place. The people reading your post here can only imagine what's on your screen and how the Image Trace utility might have "seen" and traced it. I'll go so far as to say you won't be able to accomplish what you describe with an Image Trace as the basis. I'm not saying it's impossible, but I do know I wouldn't dare put myself through the anguish of attempting it. Honestly, I think you'll have a better chance of pulling it off if you keep the tree as a raster image, open it in Photoshop, and recolor sections of the tree there. But again, that could be determined with considerably more certainty if I could actually see it.
    As a side note, I'd like to add this: You refer to the christmas tree image as one that you "found." I read that to mean you found it on the Internet. If that's the case, and the infographic you're planning is only for an internal presentation, it's not really a big problem, but even then you should consider acquiring permission or license to reuse the image. However, no matter how you might adapt or alter the image, just about any other scenario involving your re-use of that image could lead to issues of legality. Please don't pirate images.

  • Have a picture of a letter and want to match skin color

    I have a jpeg logo that is the letter W.  It is in a block format.  I want to change the color to match a person skin tone.  I can't remember which tool will let me do that.  Is it the healing tool.  Also, how do I match the color and keep the colot inside the block letter.
    thanks
    Mike

    You could get rid of the white around the W and clone from an area of the face like the cheek. Just uncheck aligned and instead of painting, click to cover the W.
    Or clip a color fill layer to the W and sample a color from the face.
    Message was edited by: R_Kelly

  • Javascript discussion: Variable scopes and functions

    Hi,
    I'm wondering how people proceed regarding variable scope, and calling
    functions and things. For instance, it's finally sunk in that almost
    always a variable should be declared with var to keep it local.
    But along similar lines, how should one deal with functions? That is,
    should every function be completely self contained -- i.e. must any
    variables outside the scope of the function be passed to the function,
    and the function may not alter any variables but those that are local to
    it? Or is that not necessary to be so strict?
    Functions also seem to be limited in that they can only return a single
    variable. But what if I want to create a function that alters a bunch of
    variables?
    So I guess that's two questions:
    (1) Should all functions be self-contained?
    (2) What if the function needs to return a whole bunch of variables?
    Thanks,
    Ariel

    Ariel:
    (Incidentally, I couldn't find any way of  marking answers correct when I visited the web forums a few days ago, so I gave up.)
    It's there...as long as you're logged in at least, and are the poster of the thread.
    What I want is to write code that I can easily come back to a few months later
    and make changes/add features -- so it's only me that sees the code, but
    after long intervals it can almost be as though someone else has written
    it! So I was wondering if I would be doing myself a favour by being more
    strict about make functions independent etc. Also, I was noticing that
    in the sample scripts that accompany InDesign (written by Olav Kvern?)
    the functions seem always to require all variables to be passed to it.
    Where it is not impractical to do so, you should make functions independent and reusable. But there are plenty of cases where it is impractical, or at least very annoying to do so.
    The sample scripts for InDesign are written to be in parallel between three different languages, and have a certain lowest-common-denominator effect. They also make use of some practices I would consider Not Very Good. I would not recommend them as an example for how to learn to write a large Javascript project.
    I'm not 100% sure what you mean by persistent session. Most of my
    scripts are run once and then quit. However, some do create a modeless
    dialog (ie where you can interface with the UI while running it), which
    is the only time I need to use #targetengine.
    Any script that specifies a #targetengine other than "main" is in a persistent session. It means that variables (and functions) will persist from script invokation to invokation. If you have two scripts that run in #targetengine session, for instance, because of their user interfaces, they can have conficting global variables. (Some people will suggest you should give each script its own #targetengine. I am not convinced this is a good idea, but my reasons against it are mostly speculation about performance and memory issues, which are things I will later tell you to not worry about.)
    But I think you've answered one of my questions when you say that the
    thing to avoid is the "v1" scope. Although I don't really see what the
    problem is in the context of InDesign scripting (unless someone else is
    going to using your script as function in one of theirs). Probably in
    Web design it's more of an issue, because a web page could be running
    several scripts at the same time?
    It's more of an issue in web browsers, certainly (which I have ~no experience writing complex Javascript for, by the way), but it matters in ID, too. See above. It also complicates code reuse across projects.
    Regarding functions altering variables: for example, I have a catalog
    script. myMasterPage is a variable that keeps track of which masterpage
    is being used. A function addPage() will add a page, but will need to
    update myMasterPage because many other functions in the script refer to
    that. However, addPage() also needs to update the total page count
    variable, the database-line-number-index-variable and several others,
    which are all used in most other functions. It seems laborious and
    unnecessary to pass them all to each function, then have the function
    alter them and return an array that would then need to be deciphered and
    applied back to the main variables. So in such a case I let the function
    alter these "global" (though not v1) variables. You're saying that's okay.
    Yes, that is OK. It's not a good idea to call that scope "global," though, since you'll promote confusion. You could call it...outer function scope, maybe? Not sure; that assumes addPage() is nested within some other function whose scope is containing myMasterPage.
    It is definitely true that you should not individually pass them to the function and return them as an array and reassign them to the outer function's variables.
    I think it is OK for addPage() to change them, yes.
    Another approach would be something like:
    (function() {
      var MPstate = {
        totalPages: 0,
        dbline: -1
      function addPage(state) {
        state.totalPages++;
        state.dbline=0;
        return state;
      MPstate = addPage(MPstate);
    I don't think this is a particularly good approach, though. It is clunky and also doesn't permit an easy way for addPage() to return success or failure.
    Of course it could instead do something like:
        return { success: true, state: state };
      var returnVal = addPage(MPstate);
      if (returnVal.success) { MPstate = returnVal.state; }
    but that's not very comforting either. Letting addPage() access it's parent functions variables works much much better, as you surmised.
    However, the down-side is that intuitively I feel this makes the script
    more "messy" -- less legible and professional. (On the other hand, I
    recall reading that passing a lot of variables to functions comes with a
    performance penalty.)
    I think that as long as you sufficiently clearly comment your code it is fine.
    Remember this sort of thing is part-and-parcel for a language that has classes and method functions inside those classes (e.g. Java, Python, ActionScript3, C++, etc.). It's totally reasonable for a class to define a bunch of variables that are scoped to that class and then implement a bunch of methods to modify those class variables. You should not sweat it.
    Passing lots of variables to functions does not incur any meaningful performance penalty at the level you should be worrying about. Premature optimization is almost always a bad idea. On the other hand, you should avoid doing so for a different reason -- it is hard to read and confusing to remember when the number of arguments to something is more than three or so. For instance, compare:
    addPage("iv", 3, "The rain in spain", 4, loremIpsumText);
    addPage({ name: "iv", insertAfter: 3, headingText: "The rain in spain",
      numberColumns: 4, bodyText: loremIpsumText});
    The latter is more verbose, but immensely more readable. And the order of parameters no longer matters.
    You should, in general, use Objects in this way when the number of parameters exceeds about three.
    I knew a function could return an array. I'll have to read up on it
    returing an object. (I mean, I guess I intuitively knew that too -- I'm
    sure I've had functions return textFrames or what-have-you),
    Remember that in Javascript, when we say Object we mean something like an associative array or dictionary in other languages. An arbitrary set of name/value pairs. This is confusing because it also means other kinds of objects, like DOM objects (textFrames, etc.), which are technically Javascript Objects too, because everything inherits from Object.prototype. But...that's not what I mean.
    So yes, read up on Objects. They are incredibly handy.

  • Jagged edges on vector art and fonts on R1900 using AI CS5 in OSX

    OS 10.6.4 (Mac Pro 2x2.4 GHz Quad-Core Intel Xeon, 12GB ram 1066 MHz DDR3)
    Problem with the R1900 Printer and AI CS5
    I have been using the same printer with CS4 without any trouble whatsoever for at least 5yrs. Beautiful quality prints without so much as itch and great color control...
    In October I finally made the switch to CS5 and my printing capability goes to hell.
    Quality printing straight from AI to a non-postcript inkjet printer such as the R1900 doesn't seem to be an option anymore...
    I get jagged edges on vector art and fonts. I do graphic arts/logos/prints and this is a huge issue...!
    Apparently I have to save my AI files as PDFs and print from there, but this poses extra steps, troubles in sizing, colors, page set up...
    I mean nothing beats being able to print direct from AI... I cannot understand what the problem is all of a sudden.
    At home I have a late '06 Mac Pro running CS4 and printing successfully to a C88 epson inkjet printer under OSX 10.5
    What is the matter, please help, this is cramping my style and performance???
    thank you
    JF
    New York

    Ok this would not be a problem with 10.4.11 on a Power PV Mac but on an Intel Mac running 10.6.4 or running anything above 10.4.11 on any Mac you would need a postscript driver. Problem, there is no postscript driver for this model Printer this is actually a photo quality printer, that is what it does best.
    So what to do the best one can do is to save the file as a pdf and print from Acrobat. There is no other way regardless of what one would like and expect.

Maybe you are looking for