Sort Profile and field LAGP-SORLP

Dear fellow warehousers,
In our storage bins we use the field REIHF for sorting our picks. After assigning it to a profile and assigning this profile to our movement this works very well.
The sort field for putaway -LAGP-SORLP- however- I am not allowed to assign to a sort profile: it cannot be selected from the pull down list <F4>
Populating the field I can do in various ways, manual, CATT, using the Cross-line placement config, but I want to be able to sort it in a different direction.
Does anyone have experience with this challenge?
Thanks,
Nick

You maximum estimated speed should be 2560Kbs.
Estimation of your maximum rate adaptive adsl speed
Downstream
Attenuation
dB
Approx
Line Length
km
dslMAX
kbps
IP Profile
kbps
adsl2+ (21CN)
kbps
IP Profile
kbps
adsl2+ (LLU)
kbps
Throughput
kbps
But due to a large number of unavailabe seconds and uncorrected errors, you connection speed has been reduced.
I do not recognise which home hub you are using. If you look at this page ADSL stats, you will see what I mean.
Its not possible to see how long your router has been running since you last reset it.
Also can you do a BT Speedtester
and put the full results here (not the beta tester)
There are some useful help pages here, for BT Broadband customers only, on my personal website.
BT Broadband customers - help with broadband, WiFi, networking, e-mail and phones.

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Table name and field name

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See the sample code for the open PO's based on Vendor
and do accordingly
*& Report ZMM_PO_REPORT
REPORT ZMM_PO_REPORT message-Id yb
NO STANDARD PAGE HEADING
LINE-COUNT 60(1)
LINE-SIZE 230.
D A T A B A S E T A B L E S D E C L A R A T I O N
TABLES: lfa1, " Vendor Master
t161, " PO Doc Types
t024, " Purchase Groups
ekko. " PO Header
T Y P E S D E C L A R A T I O N S
Purchase Orders Main Structure
TYPES: BEGIN OF s_po,
ebeln TYPE ebeln, " PO No.
ebelp TYPE ebelp, " PO Item
bstyp TYPE bstyp, " PO Category
bukrs TYPE bukrs, " Company Code
bsart TYPE bbsrt, " PO Type
lifnr TYPE lifnr, " Vendor No
ekgrp TYPE bkgrp, " Purchase Group
waers TYPE waers, " Currency
bedat TYPE etbdt, " PO Date
txz01 TYPE txz01, " Material Text
werks TYPE ewerk, " Plant
lgort TYPE lgort_d, " Storage Location
matkl TYPE matkl, " Material Group
menge TYPE bamng, " PR Quantity
meins TYPE bamei, " UOM
bprme TYPE bbprm, " Price Unit
netpr TYPE netpr, " Net price
peinh TYPE peinh, " Price Unit UOM
pstyp TYPE pstyp, " Item Category
knttp TYPE knttp, " Account Assignment Category
END OF s_po.
Purchase Orders History Structure
TYPES: BEGIN OF s_account,
ebeln TYPE ebeln, " PO No.
ebelp TYPE ebelp, " PO Item
gjahr TYPE mjahr, " Fiscal Year
belnr TYPE mblnr, " PO Invoice No
menge TYPE menge_d, " PR Quantity
wrbtr TYPE wrbtr, " Price in Local Currency
dmbtr TYPE dmbtr, " Price in Foreign Currency
waers TYPE waers, " Currency
shkzg TYPE shkzg, " Dr/Cr Indicator
END OF s_account.
Purchase Orders History Structure(Item Sum)
TYPES: BEGIN OF s_inv_sum,
ebeln TYPE ebeln, " PO No.
ebelp TYPE ebelp, " PO Item
menge TYPE menge_d, " PR Quantity
wrbtr TYPE wrbtr, " Price in Foreign Currency
waers TYPE waers, " Currency
END OF s_inv_sum.
Purchase Orders Main Structure
TYPES: BEGIN OF s_rep,
lifnr TYPE lifnr, " Vendor No
ebeln TYPE ebeln, " PO No.
ebelp TYPE ebelp, " PO Item
bstyp TYPE bstyp, " PO Category
bsart TYPE bbsrt, " PO Type
ekgrp TYPE bkgrp, " Purchase Group
waers TYPE waers, " Currency
bedat TYPE etbdt, " PO Date
txz01 TYPE txz01, " Material Text
werks TYPE ewerk, " Plant
lgort TYPE lgort_d, " Storage Location
matkl TYPE matkl, " Material Group
menge TYPE bamng, " PR Quantity
meins TYPE bamei, " UOM
bprme TYPE bbprm, " Price Unit
netpr TYPE netpr, " Net price
peinh TYPE peinh, " Price Unit UOM
pstyp TYPE pstyp, " Item Category
knttp TYPE knttp, " Account Assignment Category
name1 TYPE name1, " Plant
orewr TYPE netpr, " To be Invoiced Price
curr TYPE waers, " Inv Doc Currency
END OF s_rep.
D A T A D E C L A R A T I O N S
DATA: gv_title1 TYPE sylisel, " Report title
gv_dial. " Color flag
C O N S T A N T S D E C L A R A T I O N S
CONSTANTS: c_x VALUE 'X', " Flag X
c_h VALUE 'H', " Debit
c_vgabe TYPE vgabe VALUE '2'. " Transaction Type
I N T E R N A L T A B L E S D E C L A R A T I O N S
DATA: i_po TYPE STANDARD TABLE OF s_po WITH HEADER LINE,
" Purchase Order
i_inv TYPE STANDARD TABLE OF s_inv_sum WITH HEADER LINE,
" PO Invoice Values
i_rep TYPE STANDARD TABLE OF s_rep WITH HEADER LINE,
" PO Invoice Values
i_ekbe TYPE STANDARD TABLE OF s_account WITH HEADER LINE.
" PO Invoice Values
S E L E C T I O N S C R E E N *
SELECTION-SCREEN BEGIN OF BLOCK b1 WITH FRAME TITLE text-001.
SELECT-OPTIONS: s_lifnr FOR lfa1-lifnr MATCHCODE OBJECT kred,
s_ebeln FOR ekko-ebeln MATCHCODE OBJECT mekk,
s_bsart FOR t161-bsart,
s_ekgrp FOR t024-ekgrp,
s_bedat FOR ekko-bedat.
SELECTION-SCREEN END OF BLOCK b1.
I N I T I A L I Z A T I O N *
INITIALIZATION.
A T S E L E C T I O N - S C R E E N *
AT SELECTION-SCREEN.
Validate the screen fields
PERFORM validate_screen.
S T A R T - O F - S E L E C T I O N *
START-OF-SELECTION.
Fetch main data
PERFORM fetch_data.
T O P - O F - P A G E *
TOP-OF-PAGE.
Header of the List
PERFORM header.
E N D - O F - P A G E *
Footer
END-OF-PAGE.
ULINE.
E N D - O F - S E L E C T I O N *
END-OF-SELECTION.
Display the Report Output data
PERFORM display_data.
At Line-Selection
AT LINE-SELECTION.
When double clicked on EBELN display the details of Purchase Doc
PERFORM line_sel.
*& Form validate_screen
Validation of Selection Screen fields
FORM validate_screen .
Validation of Vendor Number
CLEAR lfa1-lifnr.
IF NOT s_lifnr[] IS INITIAL.
SELECT lifnr UP TO 1 ROWS
INTO lfa1-lifnr
FROM lfa1
WHERE lifnr IN s_lifnr.
ENDSELECT.
IF sy-subrc 0.
MESSAGE e000 WITH 'Invalid Vendor'(002).
ENDIF.
ENDIF.
Validation of PO Number
CLEAR ekko-ebeln.
IF NOT s_ebeln[] IS INITIAL.
SELECT ebeln UP TO 1 ROWS
INTO ekko-ebeln
FROM ekko
WHERE ebeln IN s_ebeln.
ENDSELECT.
IF sy-subrc 0.
MESSAGE e000 WITH 'Invalid Document Number'(003).
ENDIF.
ENDIF.
Validation of PO Document Type
CLEAR t161-bsart.
IF NOT s_bsart[] IS INITIAL.
SELECT bsart UP TO 1 ROWS
INTO t161-bsart
FROM t161
WHERE bsart IN s_bsart.
ENDSELECT.
IF sy-subrc 0.
MESSAGE e000 WITH 'Invalid Purchase Document Type'(004).
ENDIF.
ENDIF.
Validation of Purchasing Group
CLEAR t024-ekgrp.
IF NOT s_ekgrp[] IS INITIAL.
SELECT ekgrp UP TO 1 ROWS
INTO t024-ekgrp
FROM t024
WHERE ekgrp IN s_ekgrp.
ENDSELECT.
IF sy-subrc 0.
MESSAGE e000 WITH 'Invalid Purchasing Group'(005).
ENDIF.
ENDIF.
ENDFORM. " validate_screen
*& Form fetch_data
Fetching the PO related data from Database Tables
FORM fetch_data .
CLEAR i_po.
REFRESH i_po.
SELECT a~ebeln " PO No.
b~ebelp " PO Item
a~bstyp " PO Category
a~bukrs " Company Code
a~bsart " PO Type
a~lifnr " Vendor No
a~ekgrp " Purchase Group
a~waers " Currency
a~bedat " PO Date
b~txz01 " Material Text
b~werks " Plant
b~lgort " Storage Location
b~matkl " Material Group
b~menge " PR Quantity
b~meins " UOM
b~bprme " Price Unit
b~netpr " Net price
b~peinh " Price Unit UOM
b~pstyp " Item Category
b~knttp " Account Assignment Category
INTO TABLE i_po
FROM ekko AS a JOIN ekpo AS b
ON a~ebeln = b~ebeln
WHERE a~ebeln IN s_ebeln AND
a~lifnr IN s_lifnr AND
a~ekgrp IN s_ekgrp AND
a~bsart IN s_bsart AND
a~bedat IN s_bedat.
SORT i_po BY ebeln ebelp.
break-point.
IF NOT i_po[] IS INITIAL.
Fetch the PO History/Invoice Details from EKBE Table
CLEAR i_ekbe.
REFRESH i_ekbe.
SELECT ebeln " PO No.
ebelp " PO Item
gjahr " Fiscal Year
belnr " PO Invoice No
menge " PR Quantity
wrbtr " Price in Local Currency
dmbtr " Price in Foreign Currency
waers " Currency
shkzg " Dr/Cr Indicator
INTO TABLE i_ekbe
FROM ekbe
FOR ALL ENTRIES IN i_po
WHERE ebeln = i_po-ebeln AND
ebelp = i_po-ebelp AND
vgabe = c_vgabe.
IF sy-subrc = 0.
SORT i_ekbe BY ebeln ebelp.
LOOP AT i_ekbe.
IF i_ekbe-shkzg = c_h.
i_ekbe-wrbtr = i_ekbe-wrbtr * -1.
ENDIF.
MODIFY i_ekbe.
ENDLOOP.
break-point.
Sum up the Item wise Invoice totals
LOOP AT i_ekbe.
AT END OF ebelp.
READ TABLE i_ekbe INDEX sy-tabix.
SUM.
MOVE-CORRESPONDING i_ekbe TO i_inv.
APPEND i_inv.
ENDAT.
CLEAR i_inv.
ENDLOOP.
SORT i_inv BY ebeln ebelp.
break-point.
ENDIF.
ENDIF.
Move the Vendor Name and Invoice Values to I_rep Internal Table
LOOP AT i_po.
MOVE-CORRESPONDING i_po TO i_rep.
CLEAR i_inv.
READ TABLE i_inv WITH KEY ebeln = i_po-ebeln
ebelp = i_po-ebelp.
IF sy-subrc = 0.
i_rep-orewr = ( i_po-menge - i_inv-menge ) * i_po-netpr.
i_rep-curr = i_inv-waers.
ELSE.
i_rep-orewr = i_po-menge * i_po-netpr.
i_rep-curr = i_po-waers.
ENDIF.
break-point.
Get the Vendor Name
CLEAR lfa1-name1.
SELECT SINGLE name1 FROM lfa1 INTO lfa1-name1
WHERE lifnr = i_po-lifnr.
IF sy-subrc = 0.
i_rep-name1 = lfa1-name1.
ENDIF.
APPEND i_rep.
CLEAR i_rep.
break-point.
ENDLOOP.
SORT i_rep BY lifnr ebeln ebelp.
DELETE i_rep WHERE orewr LE 0.
break-point.
ENDFORM. " fetch_data
*& Form display_data
Display the Report Output data
FORM display_data .
DATA: lv_flag, " New Flag
lv_rec TYPE i. " No of Records
CLEAR lv_rec.
IF i_rep[] IS INITIAL.
MESSAGE e000 WITH 'No Data found'(022).
ELSE.
LOOP AT i_rep.
Toggle Color
PERFORM toggle_color.
IF lv_flag space.
NEW-LINE.
ENDIF.
At New Purchase Document
AT NEW ebeln.
WRITE:/1 sy-vline, 2(10) i_rep-ebeln INTENSIFIED OFF.
lv_flag = c_x.
lv_rec = lv_rec + 1.
ENDAT.
WRITE: 1 sy-vline,
12 sy-vline,13(4) i_rep-bsart,
17 sy-vline,18(10) i_rep-lifnr,
28 sy-vline,29(35) i_rep-name1,
64 sy-vline,65(4) i_rep-ekgrp,
69 sy-vline,70(10) i_rep-bedat,
80 sy-vline,81(5) i_rep-ebelp,
86 sy-vline,87(40) i_rep-txz01,
127 sy-vline,128(9) i_rep-matkl,
137 sy-vline,138(1) i_rep-pstyp,
139 sy-vline,140(1) i_rep-knttp,
141 sy-vline,142(4) i_rep-werks,
146 sy-vline,147(4) i_rep-lgort,
151 sy-vline,152(13) i_rep-menge UNIT i_rep-meins,
165 sy-vline,166(3) i_rep-meins,
169 sy-vline,170(15) i_rep-netpr CURRENCY i_rep-waers,
185 sy-vline,186(4) i_rep-waers,
190 sy-vline,191(5) i_rep-peinh,
196 sy-vline,197(4) i_rep-bprme,
201 sy-vline,202(15) i_rep-orewr CURRENCY i_rep-curr,
217 sy-vline,218(4) i_rep-curr,
222 sy-vline,223(7) i_rep-bstyp centered,
230 sy-vline.
NEW-LINE.
hide: i_rep-ebeln.
ENDLOOP.
ULINE.
FORMAT COLOR OFF.
WRITE : /2 'Total Number of Purchasing Documents:'(025) COLOR 3,
lv_rec COLOR 3.
ENDIF.
ENDFORM. " display_data
*& Form header
Write the Report Header
FORM header .
FORMAT RESET.
header
WRITE:/1(230) 'LIST OF PURCHASE DOCUMENTS PER VENDOR'(006) CENTERED.
SKIP.
FORMAT COLOR COL_HEADING.
ULINE.
WRITE:/1 sy-vline,2(10) 'Pur.Doc.No'(006) CENTERED,
12 sy-vline,13(4) 'Type'(007),
17 sy-vline,18(10) 'Vendor'(008) CENTERED,
28 sy-vline,29(35) 'Name'(009) CENTERED,
64 sy-vline,65(4) 'PGrp'(010) CENTERED,
69 sy-vline,70(10) 'Doc.Date'(012) CENTERED,
80 sy-vline,81(5) 'Item'(011),
86 sy-vline,87(40) 'Material Short Text'(024) CENTERED,
127 sy-vline,128(9) 'Mat.Group'(013),
137 sy-vline,138(1) 'I',
139 sy-vline,140(1) 'A',
141 sy-vline,142(4) 'Plnt'(014),
146 sy-vline,147(4) 'SLoc'(015),
151 sy-vline,152(13) 'Quantity'(016) CENTERED,
165 sy-vline,166(3) 'UoM'(017),
169 sy-vline,170(15) 'Net Value'(018) CENTERED,
185 sy-vline,186(4) 'Curr'(019),
190 sy-vline,191(5) 'Per'(020),
196 sy-vline,197(4) 'Unit'(021),
201 sy-vline,202(15) 'To be Invoiced'(023) CENTERED,
217 sy-vline,218(4) 'Curr'(019),
222 sy-vline,223(7) 'Doc.Cat'(026),
230 sy-vline.
ULINE.
ENDFORM. " header
*& Form toggle_color
This routine alters the color of the records in the list FORM toggle_color.
IF gv_dial = space.
FORMAT COLOR COL_NORMAL INTENSIFIED OFF.
gv_dial = c_x.
ELSE.
FORMAT COLOR 1 INTENSIFIED OFF.
CLEAR gv_dial.
ENDIF.
ENDFORM. " toggle_color
*& Form LINE_SEL
*When double clicked on EBELN field display the details of Purchase Doc
FORM line_sel.
CASE sy-lsind.
WHEN '1'.
DATA: lv_field(20),
lv_value(10),
lv_bstyp like i_rep-bstyp.
clear: lv_bstyp,lv_value, lv_field.
GET CURSOR FIELD lv_field VALUE lv_value.
IF lv_field = 'I_REP-EBELN'.
IF NOT lv_value IS INITIAL.
READ LINE sy-index FIELD VALUE i_rep-bstyp
INTO lv_bstyp.
READ CURRENT LINE FIELD VALUE i_rep-bstyp INTO lv_bstyp.
if lv_bstyp = 'F'.
SET PARAMETER ID 'BES' FIELD lv_value.
CALL TRANSACTION 'ME23N' AND SKIP FIRST SCREEN.
elseif ( lv_bstyp = 'K' or lv_bstyp = 'L' ).
SET PARAMETER ID 'VRT' FIELD lv_value.
CALL TRANSACTION 'ME33' AND SKIP FIRST SCREEN.
elseif lv_bstyp = 'A'.
SET PARAMETER ID 'ANF' FIELD lv_value.
CALL TRANSACTION 'ME43' AND SKIP FIRST SCREEN.
endif.
ENDIF.
ENDIF.
ENDCASE.
ENDFORM. " line_sel{code]
<REMOVED BY MODERATOR>
kushagra
Edited by: Alvaro Tejada Galindo on Feb 18, 2008 2:03 PM

How do i add a page to my website that includes a list of items for sale? We need to be able to add items, sort them and delete them? Each line item will have a video icon to view the items for sell.

I'm building a website for a cattle broker who needs to post cattle lots for sale, which includes a description of the cattle(several bits of information) and a video of the cattle. This will be a list that can be sorted by key fields.

lesliebrownadobe wrote:
would need to have a video icon/link associated with each record to show the buyer what the cattle look like prior to purchase.
No problem Les, the video link could be included in any table cell in the same row as the associated data.
The code for the first row in the example would look like
<tr class=" odd">
<td>1</td>
<td>Z</td>
<td>01-01-2006</td>
<td>€ 5.00</td>
<td><a href="https://www.youtube.com/watch?v=kYalp3Wyw50">Video</a></td>
</tr>
This method assumes ongoing updates would be done by you, rather than the client.

Partner Profile and its configuration.

Hi all,
I am creating an SD IDoc using EDI and send it between two servers.
I need to know what is a partner profile and why should we create it.
what are the steps to be followed in maintaining a partner profile and its configuration.
Any pointers will be highly apppreciated.
Thanks in advance,
Regards,
Jose
Edited by: Jose Anthony Reddy on Dec 17, 2007 11:23 PM

Hi Jose,
Below is a material you can go through .
Creating an Outbound Partner Profile
Here you must enter the data manually. Alternatively, you can also transfer the default values from Customizing.
If you are not yet on the change screen of your desired partner, choose SAP Menu ® Tools ® IDoc Interface/ALE ® Administration ® Runtime Settings ® Partner Agreement (WE20).
1. Position the mouse on your partner in the required partner type node. Choose in the Outbound Parameter table.
Key Fields
2. You have already determined partner number and partner type in general partner processing. The partner function from the master data defines the addressee, that is, it is used for further classification purposes. If you have selected outbound processing under Message Control (MC), the function must be identical to the corresponding Message Control field. Otherwise, it is optional.
Partner A (customer 1110) wants to order a material from partner B (vendor 1014). Partner B is of the partner type LI (vendor) and must choose the Message Control value VD (vendor) as the partner function because orders must always be processed using Message Control.
3. Specify the business process with the logical message, within which the IDoc type is used. The logical message is described by three parameters: The message type is based on EDIFACT message types: For example, a purchase order is of type ORDERS. You can further divide the message type with the optional fields message code and message function.
4. Configure the test indicator if you want to send the message as a test.
Message, partner and test indicator are the seven key fields of the outbound partner profiles (the client comes in addition to these). Also see the graphic at the end of this section.
Other Fields
5. In the Outbound options tab page, you can determine whether IDocs are forwarded immediately to the receiving system. You should ensure that your entries are compatible with the Message Control priorities, if you have chosen outbound processing under Message Control. A list of recommended combinations is provided in the section Outbound Processing Under MC: Procedure.
6. You have already defined the Recipient port in Port definition.
7. If a port of type TRFC is used, the Queue Processing field is visible. You can use the indicator to specify whether IDocs are to be sent with qRFC. This sending technique is only possible for recipient SAP systems as of SAP Web AS 6.20.
You should only set this flag if it is really necessary that the IDocs sent are received in the receiving system in the same sequence as they were sent by the sender system. Queuing can cause posting delays in the receiving system, because an IDoc in the queue cannot be posted. In this case, the following IDocs in the queue cannot be posted until the error is resolved.
8. If you have set the Queue Processing indicator, the Rule Name field, which you must then also maintain, appears as well. The rule name defines the rules for queue names. You can specify these rules in the transaction qRFC IDoc Queue Name Rules (WE85).
9. Specify the IDoc type as the Basic type with or without extension. If you want to use a view of your IDoc type (for example, to improve the performance), specify this here.
The figure below shows the m-to-n relationship between logical messages (business meaning) and IDoc types (technical format). Message 1, for example, is always assigned to one IDoc type, while message 3 is assigned to two IDoc types. IDoc type 2, in turn, is also assigned to 2 logical messages.
10. The segment release specifies the release from which the segment definitions (not the IDoc type definition) originates. We recommend that you leave this field blank so that the most recent segment definition is used.
11. You can propose an EDI standard, version and EDI message type for the receiving system in the tab page EDI Standard. Most subsystems, however, should be able to determine these EDI settings themselves (from the logical message).
12. You can define permitted agents for cases in which exceptions occur. This entry overrides the entry in the general partner profiles. Depending on the message, therefore, the exception can be handled by different agents of the same partner.
13. You can specify whether syntax errors are to be ignored or are to lead to a processing error (Cancel Processing flag under syntax check in the tab page outbound options). For more information about exception handling and permitted agents, refer to the following section: Exception Handling
14. If your hardware supports it, create partner and message specific telephony data for outbound IDocs. For more information, see General Partner Profile.
Graphic: Outbound partner profile fields (general)
Key fields are shown in gray. The values for partner, message and test indicator (and client) therefore provide a unique ID for the IDoc type in outbound processing.
Regards,
Praveen

Is it possible to sort by multiple fields?

Is it possible to sort the music library by multiple fields in a prioritised order? For example, I would like to sort by the following columns, in the following order:
Album Artist
Album
Track Number
for some reason I can't seem to do this, sorting by Album artist alone is not working for me, as some CD's I've imported have featured artists and this breaksup the listing order.
Thanks

Thanks Thomas
Unfortunately, this solution did not work for me, cover flow still shows multiple instances of the same artwork for various groups of tracks from the same album.
The thing I don't understand is why sorting by the "sort album artist" field does not group all the tracks from an album together.
My specific example (I still can't get a screenshot posted):
I have two Gwen Stefani albums, both ripped from CD (not imported from the itunes store). both albums have a majority of track where Gwen is the only artist and two or three track with featured artists. I have filled the "album artist" and "sort album artist" tags to all read Gwen Stefani, however, if I sort by either of these columns (in cover flow mode), what I get is this:
all the tracks from one ablum where Gwen Stefani is the artist
then all the tracks from the other album where Gwen Stefani is the artist
then (in alphabetical order by featured artist) the remaining tracks from both albums - ie, the albums are mixed up
for each group of track I see an cover flow art work.
I should say that I have turned off the compilation tag on all of my albums because this ends up saving the file in a compilation folder, not in the artist folder on my hard drive - but it doesn't make a difference either way to the way I see the files sorted in itunes.
It's really frustrating!

To develope an alv report or module pool and field link.. and effor require

HI,
I want to display the fields with sort functionality with fields
kunnr kna1 table
name1 kna1
and email id from table ADR6 field SMTP_ADDR
my question ison mapping
from kna1 we can get field kunnr and name1
and adrnr
to put in adr6 to fetch email id
can anyoe suggest on select statements link as table kna1 has one unique kunnr
but it can have multiple name1 and adrnr
so how to pick the kunnr ,name 1 and adrnr from table kna1 and map to
adr6 table
as witinn the table kna1 there can be multiple name1 related to one single kunnr
so wil it be like
select kunnr from kna1..into it_kunnr
then select nam1 from table kna2 for all entrirs in It_kunnr
or firse selet kunnr name1 from kna1 into table it_kunnr
pls suggest an appropiat select statament
and i suppose this can be achevied by alv report no need for moudle pool
regards
Arora

opened a new thread with changes subject

Sort Artist and Sort Album tags don't update

Having spent a lot of time over the years getting the metadata in my iTunes library just right, I've noticed a frustrating problem when it comes to iTunes Match.
I make use of 'Sort Artist' and 'Sort Album Artist' tags so that my library is sorted by artist surname (eg. Lennon, John).
This always worked correctly when I syncronised my music via iTunes, but since switching over to iTunes Match this has become problematic.
When I initially signed up for iTunes Match, my Library moved over correctly - honouring the sort order tags that I had added. However, When I add NEW music to the library and subsequently change the sort tag, the change does not propegate to iTunes Match (Though it does appear correct in iTunes on my Mac). So the result is now a mixed sort order on my iOS devices - some by first name and some by second.
Under iOS 5.0 and iTunes 10 I used to be able to get around this with a little forethought - I would turn iTunes Match OFF on the Mac before adding any new songs, then I would edit the tags and then switch Match back on. This would rescan the library and add the new tracks to the cloud complete with correct metadata.
This workaround no longer works under iOS 6 and iTunes 11.
I have tried switching iTunes match off on my iPhone and restarting it. This does not work either.
Does anyone else have this issue or know of a way to 'force' the metadata to be updated?
Any help would be appreciated.

I also am finding it impossible to convince my iPhone that the Album Sort field exists. This is especially odd considering when I view my Home Shared music from my iPhone, it works exactly correctly. I have verified that the tags are being uploaded to iTunes Match by viewing the songs from another computer that has iTunes Match. So, for some reason, iOS 6 will not sort by the Album Sort field when using iTunes Match music.
Does anyone have any sort of fix or workaround for this problem? I've submitted Feedback to Apple.

CCP colour profiles and different lenses

Hi,
I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
M

First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate. From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image. For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look. You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
The two questions you seem to have, are: does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder. By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles.
If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise. I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop. In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference.
Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario. In my mind the works out to be "make the colors of the object look like it was photographed in sunlight". The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done. For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced. A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight. This might be an argument for NOT WBing skin in incandescent lighting. In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each:
Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)? Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers. You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting. The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different. One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast. So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
This first question dealt with the photos taken with each of the two lenses. The remaining questions are about testing with just one lens.
Is the profiling process repeatable? Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles. An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results.
Does the exposure make any difference? You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered.
If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still. I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at. Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch. An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting. You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
http://www.pbase.com/ssprengel/image/101322979
If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth. Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

How to get user profiles and tasklists in axf

Hi,
We have configured the the views in the BPM Worklist ,restart all the managed servers like SOA Server,IPM Server and UCM Server.
After that navigate to url-http://ipm:16000/imaging/faces/Driver.jspx to configure command driver input parameter settings-like SolutionNamespace
CommandNamespace and provide the username.
After clicking on Execute request it generates the conversation id but when we clicked on Execute Response button the AXF Task lists and user profile fields are empty.
can anybody suggest the way to get user profiles and axf tasklist?
Snehal

Assign proper groups and/or users to BPM view created.
In IPM login and logout for that user. It will start appearing.
Regards,
Vikrant Korde

Collections.sort() - sort on multiple fields?

I have a collection of objects in a List that I need to be able to sort on each field individually. For example, the data in the List is eventually displayed on a table in a web page. The user is able to click on a column header and the table is to be refreshed with the list contents sorted by that column (asc/desc).
I would rather not re-query the DB for this list (it's pretty static and already saved in memory). So if I use the Collections.sort(myList, new Comparator() { ...} ) method, is it possible for me to pass the field/direction of the sort into the Comparator? Or, do I have to define individual Comparators for every field that the user can sort by and surround it all by an ugly switch statement?

Honestly I think that a re-query to the DB is the best approach. Remember that any decent DB engine will cache queries so it will really only have to re-perform the sort algorithm.
Commercial databases are very fast and almost never the source of a performance bottleneck.
I realize this isn't the answer you want, but in my experience it is the best solution, if you really can't stand to re-query then as mentioned creating your own comparator is the way to go.

UPRE to replicate User Profiles and Managed Metadata to High Availability backup farm

I'm working on a HA project, and have been tasked with replicating our User Profiles and Metadata to a newly created farm. I'll call the current production farm FarmA and the new HA farm FarmB. I've installed SharePoint2010AdministrationToolkit on FarmB,
and used SPDiag to generate my first report on FarmB.
We're not using MySites.
I'm looking at
http://technet.microsoft.com/en-us/library/jj891109(v=office.15).aspx and have some questions. Anything I do on FarmA will be done thought a Change Control, and I want to be able to answer questions intelligently.
Does SharePoint2010AdministrationToolkit and UPRE have to be installed on FarmA and FarmB?
Does enabling DTC create any security concern? Or performance hit? I haven't done this before.
Any documented risks with using the replicator?
Are scheduled replications typically 1 weekly full with nightly incrementals?
Anything the replication won't copy over to FarmB? Like Synchronization Connections, or additional/custom fields?
How are GUIDs handled?
Sorry to pack 6 questions into one post ;)
Thanks,
Scott

To answer the first question this is what MS says: The User Profile Replication Engine can be installed on any computer that has access to the source User Profile service application and destination User Profile service application. However, we recommend
that you install the User Profile Replication Engine on a computer that is part of the source farm or on a computer that is connected to the subnet of the source domain. The User Profile Replication Engine uses the SharePoint Server 2010 User Profile and User
Profile Change Log to read and write data between user profile stores. http://technet.microsoft.com/en-us/library/cc663011(v=office.15).aspx And to answer 4th question its true but full sync will only be required initially and only when there is org changes
most of the time its incremental. To my knowledge FULL replication will bring all the details but not sure though.

Sort Profile and field LAGP-SORLP

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