Shockwave Flash 11.3 r300 wont upgrade on new Mac running OSX 10.7.4

Running a new MAC - with OSX 10.7.4 - Firefox plug in list said to update Shockwave Flash. Performed upgrade, restarted computer and the list still says I need to update Shockwave.
Please can you advise why this is happening and how I can resolve the issue.
Many thanks

No I meant that I will try to get the developers to fix the plugin check website so that it knows what the latest version of Flash is for Mac users.

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Just got a new imac and my iwork software wont work. I have the serial numbers but after migrating from my old mac running OSX tiger it won't even give me that opportunity. I do not have any discs as this was downloaded. Help

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Time Machine in loop after upgrade to new mac

Hello everyone,
I just bought a new MacBook to substitute my old iMac.
With this upgrade I also went from OS X 10.5.8 (iMac) to 10.6.4 (new MacBook).
On installation I chose for the Migration Assistant to copy my data from the latest TM Backup.
Everything went fine.
Then TM asked if I wanted to continue to use my old backups on the new MacBook (or similar).
And I accepted. Then the first backup started ...
*... and now TM seems to be stuck in an infinite Loop. =(*
It goes like this:
1) Mounting Time Capsule/Sparsebundle
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3) "Preparing XXX.XXX Objects ..."
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Over and over again. Now for over 14 hours straight.
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Anybody know a solution or can give me a heads up?
Thanks in advance

Eddy Grzegorzitza wrote:
1) Mounting Time Capsule/Sparsebundle
2) "Verifying XXX.XXX Objects ..."
3) "Preparing XXX.XXX Objects ..."
4) "Deleting old backups"
4) Cleaning up
5) Disk Image/Sparsebundle ejected
... and then it immediately restarts that same procedure.
Over and over again. Now for over 14 hours straight.
Yes, that will happen when Time Machine has to do a very large backup (such as, of a new Mac).
Because of the way Time Machine stores the backups, it's impossible to tell how much space will be gained by deleting a single backup without actually deleting it. So it deletes the oldest one, "compacts" the sparse bundle to recover the space, then checks again. That will continue until there's enough space, or only one backup is left (then it will fail.)
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If there is enough room, you can speed up the process a bit, by manually deleting a bunch of old backups, then compacting the sparse bundle, per #12 in Time Machine - Frequently Asked Questions (or use the link in *User Tips* at the top of this forum).
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I am studying with the hope to work in the business some day. I have been getting by with an imac with a few external hard drives and looking to upgrade. I have always believed it was the CPU in my skull limiting me but it I think it's time.
So what do I need... and what should I avoid?
this is what my research has led me to
mac pro w/
8 core 2.26
6x1GB ram
single internal hard to start
upgrade to the
# ATI Radeon HD 4870 512MB [Add $200.00]
also 2 24" displays or 1 bigger one?
Dell vs mac displays?
any thoughts on refabs?
THANK YOU

Hi Shwamy,
I have used the Apple displays because they appear to me to be as good as anything out there, and it was an easy choice as I felt that Apple would have included whatever driver/settings were necessary to make it a brainless installation with 100% operability and compatibility. I didn't worry to much about the expense as I thought that if I was going to be spending 8-12 hours a day sitting in front of glowing screens, I might as well get the ones I am sure I was going to be happy with.
I'm sure the Dells are quite good, I too have heard them highly spoken of, but I don't have any personal experience within the last couple of years of any other displays than the Apple Cinema Displays. I am sure others on this forum have used both and could jump in and give you advice, as to relative value, quality, etc.
Now, about color correction . . . I have two answers for you-
Answer #1:
I personally don't do color correction (beyond really basic, rough, check-if-I-can-see-something-in-the-shadows type color correction). This is because good color correction is an art unto itself and I don't have the skills (or patience) necessary to do it right. I also value what another set of eyes can bring to the look and quality of the image. So I do all my editing, then take the finished and approved cut, with the original source files, on hard disk to a Post Production house that does color correction (and effects work) They go through the edit scene by scene and do the color correction - and also do any complicated effects (anything beyond a simple title or dissolve) on their Discrete Smoke Compositing system. This is not to say that you can't do the color correction yourself, and do it really well - I'm just relating how I work. But . . . if you are going to be doing any kind of serious color correction, *you must get a genuine broadcast monitor,* properly calibrated, to work on. I don't believe it is possible (well, certainly not easy) to make good color correction decisions while working on a computer monitor. The visual dynamics of computer monitors are just too different from television monitors. I personally like the small Panasonic BT-LH1710W, but this is a very subjective call and each colorist will have their favorite. The Post house I use a mix of Sony and Panasonic broadcast monitors. Keep in mind the a real broadcast monitor can cost as much as your entire edit system, and needs fairly rigorous technical attention and support to stay aligned.
Answer #2:
Having said that, when I have to do the color correction myself - when I am working on what I would call second tier projects -non broadcast, video for the web, rough presentations, one-off DVDs, my nephews tennis video, pro-bono or projects with no or little budget, etc. - I have an 8" Sony HD Monitor LMD 9050 that I keep just to the right of my 30" Cinema display, and make my color judgements based on what I see there. The Sony gets its source video from an AJA IoHD which connected via firewire to the MacPro.
Basically I feel that color correction is so important to the look, feel, and final audience acceptance that I try to use a pro if the budget can stand it. I advocate strongly for this when we start doing the estimates for a project, and am willing to economize on some other area of the production in order to get my cut done by a colorist I know and trust. I also do the same thing with audio - I output an OMF file of my cut audio and take it to a mixer who uses Pro Tool to fix and mix the sound.
Sorry I couldn't give a more definitive answer to your questions, but you sound like you are on the right track! Maybe some else can jump in with their two cents? Maybe some else has better/cheaper workflow suggestions for color correction?
Good luck!

Shockwave Flash 11.3 r300 wont upgrade on new Mac running OSX 10.7.4

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