When to use ProRes? or If?
I have an uncompressed 10 bit movie on a USB drive in 720 x 486 format and I'm starting to work with FCPro for the first time in years. I understand that ProRes is an editing format and not an output format. My goal is to output to a standard def DVD. All the pro res sizes seem to be for HD. I'm just wondering if or when using ProRes is appropriate with my files?
Thanks
jeff
At this stage of my project, I am color correcting the original film. That is about all I'm going to do with it except crop it for compression to 720x480 from x486. That will be one file for the dvd. I may have another film or two to put on the dvd [they are family films, short duration, transferred from old media like 8mm] and a slde show or two of old photos. The original film I received was uncompressed 10 in black magic at 720x486, and after emailing with Larry Jordan, I finally understood that the presets only affect capture of raw material and do not change an already encoded mov. I'm probably going to start over and apply the color corrections from favorites.
So, I have 2 questions that have come to mind in response to your help:
1. When creating for a DVD, does it make any difference if you put all the films [if there are more] on the same track if each film is going to be accessed by a separate play button? Is it just wiser from a workflow perspective?
and
2. I don't understand what you mean by "accessing more streams." Are you saying running the file through compressor, after being edited, won't work as well or at all if the original file is on a USB drive?
Similar Messages
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To save time, could I get away with just using ProRes Proxy?
Might be a dumb question. But please play along with me...
I've been battling with FCP-X since it first came out. Beach balls, crashes, failed auto saves, you name it. Sluggishness is my middle name. But I think it might be because I'm trying to force too much quality through my older, less powerful machines and my little firewire 400 hard drive. All three of my Mac are 3-4 years old, all are from the old "Core 2 Duo" era (not quad core processors), and are all maxed out at 4GB of RAM. While I've read that many people are having performance problems with FCP-X even on brand spankin' new suped-up Mac Pros with lots more horsepower than I'm running, I've long thought that my machines and their lack of power by today's standards may be at the heart of my sluggishness problem, especially given that most of the material I work with is shot in 1080 HD. (I've never actually tested it in FCP-X, but I'm assuming that things would speed along more like I've been used to in the past if I would just do everything in Standard Definition 480, but that ain't gonna happen.)
Like many, I shoot most everything in 1080 HD (usually 24p, sometimes 30), unless I'm occasionally shooting 720 HD at 60i for later slowing down to slo-mo.
Here's my question: Most everything I edit is for web delivery, and 99 percent of it is for my own use (not clients). Mostly podcast-like stuff, although occasionally I'll create something for my business website. Most of what I do is talking head type stuff, not a lot of motion (except for the 720/60i slo-mo stuff, which usually has some motion, which is why I shoot it at 60i for slowing down). Most of what I shoot is green screen talking heads, intended to be keyed in front of some innocuous background like some of the generators in FCP-X. I want it to look good. Even great. But given the limitations of power on my machines, I also don't want to invest an eternity in rendering and processing time. The work I'm doing with video just isn't that important. It's mostly for grins.
Until last night, I had been working exclusively in ProRes422 (aka "Optimized"). But last night I shot some footage and imported it into FCP-X, encoding it ONLY in ProRes Proxy. And frankly, I couldn't discern any difference. It looked every bit as good as the 422 stuff I'd shot before. There was absolutely no difference to my naked eye. That said, the footage I shot last night to test this out was not shot in front of the green screen (I'll test that out today or tonight), so maybe the Proxy footage won't key as well. (I've been stunned at how good the keyer is in FCP-X, but up to this point I've only been keying ProRes422 footage, not Proxy.) But really, based on just eyeballing the footage, I couldn't tell the difference between the Proxy footage and all the other footage I'd shot previously that had been imported and converted to "Optimized" ProRes422.
I'm not looking to deliver anything for broadcast television (if I were, I'd for sure use 422). I'm not doing any feature film type stuff. My video work consists mainly of stuff just for me, for my own personal amusement (and for the amusement of anyone who might watch it on the web). It's intended for YouTube, Vimeo, or occasionally (in smaller dimensions than 1920x1080) for deployment on my company website. Mostly, it's just me doing podcast-type stuff. Occasionally I'll shoot and edit something for church, or for friends. I like to think the production values of my stuff tend to be higher than, say, the footage Aunt Delores shot at Uncle Ralph's birthday party (okay, A LOT higher than that!). But my stuff isn't going to air on "Good Morning Flatbush" either (unless, on the off chance it should happen to go viral).
So let me make my question as clear as possible: Could I not get away with just using ProRes Proxy throughout my entire work flow, end to end, never switching over to ProRes 422 even when exporting? Honestly, it has taken hours just to render the keyed green screen footage on a 15 minute video, and just the other night, it took the better part of 4 hours (after it was already rendered) to export a 15 minute ProRes422 sequence to YouTube (and then the darn thing timed out, essentially wasting all my time). I'd rather just stay in Proxy the whole way through if doing so would streamline my workflow without compromising too much quality in the "look" of the video. Based on my very limited use of Proxy (just testing it out last night for the first time), I couldn't tell the difference. Maybe for web deployment, Proxy is all I really need.
Have any of you just stayed in Proxy the whole way through, never switching to 422 even when exporting? Might this be an acceptable work flow for some of us, especially those of us on older, less powerful machines? Is this a viable solution? Do any of you work this way? What's your level of satisfaction?
Thoughts?A lot of what I'm shooting is being shot on a Canon XA-10. Some (and certainly all of the 720 footage, but some of the 1080) is shot on a 7D. And still more is shot on either an iPhone 4S, or even on a Flip Ultra (720p, 30fps).
Most is shot on the XA-10.
What I'm trying to avoid is the excessive render times (doesn't the ProRes 422 footage have to render as well?), and the ridiculously long times it takes to export. Would all that not be reduced significantly by sticking to Proxy the whole way? And what would the trade-off be? I mean, I honestly can't see any discernible difference. Maybe I will when I try to pull a decent key. (Haven't gotten that far yet in my Proxy experimentation.)
Of course, editing in Proxy and outputting using 422 requires that FCP-X encode to BOTH when importing, right? Doesn't that add yet another bit of time to the overall process?
I'm trying to streamline, and to reduce the overall amount of time I'm spending doing this stuff. -
Banding when rendering to Prores
Hi all,
I'm experiencing significant banding in vignetted areas of footages when exporting with Prores 422HQ codec. This problem doesn't show if I set the codec to Avid DNxHD.
All footages have been recorded directly in 10bit Prores 422HQ from a sony F3 coupled with an external recorder. Banding is not visible at 100% magnification in SG, just on rendered prores files. I played rendered files both in Quicktime and VLC, so it's not something related to the player.
Odd thing, if I convert the banding free Avid file to Prores using a different software (e.g. compressor, mpegstreamclip, etc.), the latter doesn't show any banding. This means there should be something wrong happening within SG...
Are you experiencing the same?
Thanks,
DiegoWhat Andrew said.... Production codecs are all going to have high data rates. That's why we use them in production. Storage is so cheap now that it shouldn't be a problem for anyone that is making a living making movies or for anyone with enough budget to support a movie making hobby. My first 4GB Ultra SCSI drive array cost nearly $20K, I just bought a 1.5TB drive for $89... It wasn't that long ago that I was paying $1 / foot to shoot, process, work print and sync 35MM film. (98 feet / minute @ 24 fps).
If you want a smaller file size you'll have to go to a delivery codec. Just be sure you know what to use when... -
Quality of Clip captured using ProRes and clip converted to ProRes
I have captured the same clip in both HDV 1080160 and ProRes 422.
After editing the HDV version I export it using QT Conversion using the compression type "Apple ProRes." I then use the standard Compressor "DVD: Best Quality 90 minutes" preset unaltered. It looks fine in the Compressor Preview window. I then import the resulting files into DVDSP, and the quality is good.
After editing the ProRes version I export it using QT Movie using the current settings. I then use the standard Compressor "DVD: Best Quality 90 minutes" preset unaltered. It looks fine in the Compressor Preview window. I then import the resulting files into DVDSP, and the quality is bad.
Both clips are "ProRes" when imported into Compressor, and they both look fine in the Compressor preview window. The difference is that one was captured in HDV 1080i60 and converted to ProRes using QT, and one was captured in ProRes and exported as a QT Movie. Surprisingly, at least to me, the clip originally captured in HDV and then converted to ProRes looks much better than the clip originally captured in ProRes when they are imported into DVDSP. Both .mov files are compressed using the same Compressor preset, and the preset is unaltered.
I assumed the clip originally captured using the FCP ProRes preset would yield the better quality, but this isn't the case. I've tried capturing using ProRes 422 HQ, and the results are the same. I must be missing something, but so far I cannot explain it.
ThanksI have tried at actual, full screen, using 1080p30 size from the original compressed to 4mbs (something my system can handle without blinking), 720p30, etc. etc. etc. Nothing stops the jumps. Even the activity monitor shows only 5%-15% processing being used by QT and/or FCP.
I plan to pull my old G5 out of the closet, it runs 10.6.8 and is still rock solid for video editing in FCP7. If it plays smooth on that 8 year old system then I know it's Mavericks. I'll try that tonight. It floors me though why the original 1080p30 will playback perfect via FCP and Motu, but once I turn of external monitoring and just try to play it via the preview monitor it is jumpy as **** and then the exported file does the same thing. So strange. I even deleted prefences of FCP and that does help with screen playback initially, but it always gets jumps in it after playing for a while.
I knew I should not have started using Mavericks and I HATE FCP10. -
Can I use ProRes on a - already existing - projet?
Hi everyone,
I've bought FCS2, and so, I have FCP6.
I've currently an existing project in FCP (it come from FCP 5.1.4, and FCP 6 actualized it).
I would like to know if I can convert my project data (my DV stored one my hard drive) into ProRes (DV PAL 48kHz) or if I need to create a new project to use ProRes.
I'm especially interested in ProRes, because I'm run FCP6 on a laptop, and ProRes permit me to use less ressources when I work.
Can I set ProRes (PAL) for all my projects even if some projects didn't have been imported into ProRes. Will FCP 6 annoy me?
Thank in advance,There's some basic FCP knowledge needed here. Search / browse the manual for the parts where "clip" and "sequence" are defined and explained.
Your clips are DV. You can drag them from anywhere - another sequence, the browser, whatever.
The sequence is the timeline. Its output format is defined separately from those of the clips. If the clips don't match the sequence they are translated on RT playback, rendering, and output.
If you were to "capture DV media directly to ProRes", then you will have recompressed it for no good reason - before you even start editing.
On your last question: it has nothing to do with tape. It has to do with the compression. DV is a VERY lossy codec, thus the bit about going through DV twice being a hosing.
If you send your stuff back to DV you are for the most part recompressing it to DV anyway, so having used a DV timeline would be no loss. ProRes is much less lossy, but like uncompressed formats it can't be recorded natively to videotape.
Many variations on this answer depending on what one is actually doing. Probably confused it more... -
Hi,
I was given advice in another thread to use ProRes to improve performance. I didn't know what that was or even really what a codec was but I've been reading up on it so I have some more questions now.
1. I discovered how to transcode clips in the Event Library by right-clicking on the clip. Will this get automatically applied to clips in the timeline? I'm mostly done editing a project but it's going very slowly at this point because it's gotten fairly complex.
2. So from what I've been reading ProRes is a lossy codec but export codecs are lossier, so using ProRes won't actually change the end quality at all if, for example, I'm putting this online or on a DVD or something. Is this correct?
Thanks for the help.
DaveThis is my pet simple explanation of ProRes 422.
(I was confused by it for years, but a Ripple Training tutorial on MultiCam Editing finally cleared it up for me).
Most video cameras use very high compression to store media on cards or tape. If the native camera files you are working with play back and edit well with FCP X, strictly speaking, you don't need to transcode to ProRes (but it helps - especially if you have multiple camera angles and effects, titles etc - and with colour correction).
If your playback is problematic, it's best to transcode the material. You can do this at any time. ProRes 422 is not so highly compressed as native camera footage, so it's far easier for your Mac to play it back (not so much unpacking to do). The downside of the footage being lightly compressed is that it takes a lot more disk space.
If disk space is at a premium, use Proxy. Native 1920 x 1080 footage becomes 960 x 540 when converted to ProRes Proxy, so it this takes a fraction of the disk space but is much lower quality. This is absolutely fine for editing - but you must remember to choose 'Optimised or Original Footage' in FCP X Preferences before you export otherwise you'll export 960 x 540.
I use some XDCAM EX footage from a couple of Sony EX1 Rs and some H.264 from a Canon 5D mk2. Until recently, I edited the XDCAM footage natively but I transcode the H.264. Now I'm using Proxy more - especially for multicam editing.
I sincerely hope your Projects, Events and Media are on a fast (Firewire 800) external HD (Formatted OS Extended). Keeping them on your system drive makes it difficult for your Mac to operate. It's also a very good idea to hide Audio Waveforms in your Timeline when you don't need them. They waste a lot of processor power.
Andy -
AVG Secure Search appears when I use Google Search from my Home page only.
My home page is the Firefox default page with the Google searchbar. I like getting occasional messages from Firefox when I log in so I don't want to change my homepage. However, when I use the searchbar ''on my homepage only'', I get the unsatisfactory AVG Secure Search results.
UPDATE: I now realize all the troubleshooting information I included in my original question appears under the "More System Details" link next to the question, not in the body of the question. I have copied it here to make it easier to see what I have already done to try to solve the problem, as well as describe the one clue I have that may be relevant:
I have tried all the fixes on various threads, but my about:config is now pristine (no avg or isearch mentions; keyword.url is default). Closest solution is that at https://support.mozilla.org/en-US/questions/866327 , which requires changing my home page.
Oddly, AVG Secure Search is ''not'' a problem when I use the Google toolbar or search from the Google website, only when I use the search bar that appears on my home (start) page. This is true even when I return to my home page--if I search from the Google search bar in the middle of the page, I get sent to AVG Safe Search. (isearch.avg.com).
I read in one thread a suggestion to delete my chromeappsstore.sqlite file in my Profile folder. As promised, Firefox created a new one when I restarted it; however, the search bar in the middle of my home home page did not work at all. Tried this three times before restoring my original.
I do not have an application that will open a sqlite file, but I tried doing so in Excel and found a cell containing the following:
emoh.:moz-safe-aboutsearch-engine{"name":"AVG Secure Search","searchUrl":"http://isearch.avg.com/search?cid={7A3C25A0-E345-4507-AA31-D98F596A81A9}&mid=c48135235ba247d18ac1d14b344db451-addd29eab2809954d5abdf0b991a5b911a297819&ds=is015&lang=en&v=10.0.0.7&pr=sa&d=&sap=dsp&q=_searchTerms_"}
I have no clue what that means, but it is the only thing I can find related to Firefox that still mentions AVG and isearch.avg.com.
At this point my best guess (but it is a guess) is that the chromeappsstore.sqlite file is a key to the complete solution, but I do not have enough knowledge to go beyond and address it. I appreciate any help you anyone can offer.Here is the way to get rid of the problem once and for all:
http://forums.avg.com/ww-en/avg-forums?sec=thread&act=show&id=196402#post_196402 -
1)Now I use Lightrom 5.7 how to upgrade to 6 or CC?
2) What is the difference between 6 and CC version?
3) When I used lightromm 3, I could see in EXIF the distance in meters till the object I took, in the later virsions that function disappeared, it is very sad I am stiil waiting and hope that it would be possibble in the new versions. Or this indication may possible by setting?1)Now I use Lightrom 5.7 how to upgrade to 6 or CC?
Purchase the standalone upgrade from here: Products
Download CC version from here: Explore Adobe desktop apps | Adobe Creative Cloud
2) What is the difference between 6 and CC version?
See this comparison chart: Compare Lightroom versions | Adobe Photoshop Lightroom CC
3) When I used lightromm 3, I could see in EXIF the distance in meters till the object I took, in the later virsions that function disappeared, it is very sad I am stiil waiting and hope that it would be possibble in the new versions. Or this indication may possible by setting?
Rob Cole's ExifMeta plugin displays the Subject Distance field (and much more). Unfortunately, his Web site appears to be down again. He used to be very active here, but he hasn't posted in several months. -
I access net through ethernet cable from my isp. so i just plug in the cable in my mac and in the browser it put the username & password. now i want to use my airport express to create a wireless network so i can access net from ipad and mac simultaneously. when i use airport express both my mac & ipad gets connected to airp exp but each of them ask for isp's username and password. i can only login from either one of them and access net in that one only. Pls advice???
To allow your Mac to "see" the HDD attached to an AirPort Extreme Base Station (AEBS) that is configured as a bridge, just be sure to assign a static Private IP address to the AEBS. By default the AEBS is a DHCP client and will get a dynamic IP address from the upstream router that is acting as the DHCP server. Since this address can change over time, it would make it more difficult for network clients to find the HDD.
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My iphone doesnt show up in my itunes. It shows up when i plug it into another laptop. Similarly, when i use someone else's iphone, that shows up in my itunes. Obviously my itunes wont recognise my iphone. Please help
Hello ashbyy123,
Thank you for using Apple Support Communities.
For more information, take a look at:
iOS: Device not recognized in iTunes for Windows
http://support.apple.com/kb/ts1538
2. Check the USB cable
3. Verify that Apple Mobile Device Support is installed
4. Restart the Apple Mobile Device Service
5. Verify that the Apple Mobile Device USB Driver is installed
6. Check for third-party software conflicts
Have a nice day,
Mario -
When I use Merge duplicate Values
Hi
When I use MERGE for to INSERT It is duplicating values, I put condition in ON
MERGE /*+ append nologging */ INTO sysadm.ps_loc_item_sn_zz2 t3
USING (WITH tmp_ps_loc_item AS
(SELECT loc_cntr_id_sn, setid, companyid, effdt, setid_product, loc_product_sn,
ROW_NUMBER () OVER (PARTITION BY loc_cntr_id_sn, setid, companyid, effdt, setid_product, loc_product_sn ORDER BY linha)
seqno_item_sn,
loc_item_status, NULL ken_data_ativ_sn, NULL inactive_date_sn,
'LO' cntrct_origin_sn, SYSDATE row_added_dttm,
'CARGA PS 29052007' row_added_oprid, SYSDATE row_lastmant_dttm,
'CARGA PS 29052007' row_lastmant_oprid, 0 syncid, NULL syncdttm,
ken_component_sn
FROM (SELECT t1.*, ROWNUM linha
FROM sysadm.tmp_equip_crm t1,
(SELECT LEVEL l
FROM DUAL
CONNECT BY LEVEL <= 100)
WHERE l <= t1.qtd) )
SELECT t2.loc_cntr_id_sn, t2.setid, companyid, effdt, setid_product, loc_product_sn,
t2.seqno_item_sn, loc_item_status, t5.ken_data_ativ_sn, inactive_date_sn,
cntrct_origin_sn, row_added_dttm, row_added_oprid, row_lastmant_dttm, syncid,
syncdttm, t2.ken_component_sn
FROM tmp_ps_loc_item t2, sysadm.tmp_data_ativa t5
WHERE t2.loc_cntr_id_sn = t5.loc_cntr_id_sn(+)
AND t2.ken_component_sn = t5.ken_component_sn(+)
AND t2.loc_item_status = t5.loc_item_status_sn(+)
AND t2.seqno_item_sn = t5.seqno_item_sn(+)) t4
ON ( t3.loc_cntr_id_sn = t4.loc_cntr_id_sn
AND t3.setid = t4.setid
AND t3.companyid = t4.companyid
AND t3.effdt = t4.effdt
AND t3.setid_product = t4.setid_product
AND t3.loc_product_sn = t4.loc_product_sn
AND t3.seqno_item_sn = t4.seqno_item_sn)
WHEN MATCHED THEN
UPDATE
SET t3.syncid = 0
WHEN NOT MATCHED THEN
INSERT (loc_cntr_id_sn, setid, companyid, effdt, setid_product, loc_product_sn, seqno_item_sn,
loc_item_status_sn, ken_data_ativ_sn, inactive_date_sn, cntrct_origin_sn,
row_added_dttm, row_added_oprid, row_lastmant_dttm, row_lastmant_oprid, syncid,
syncdttm)
VALUES (t4.loc_cntr_id_sn, t4.setid, t4.companyid, t4.effdt, t4.setid_product,
t4.loc_product_sn, t4.seqno_item_sn, loc_item_status, t4.ken_data_ativ_sn,
t4.inactive_date_sn, t4.cntrct_origin_sn, t4.row_added_dttm, t4.row_added_oprid,
t4.row_lastmant_dttm, t4.ken_component_sn, t4.syncid, t4.syncdttm);I don't understand what you mean exactly?
When an SQL statement encounters an error then all
its work is rolled back ...
So why do you expect that it worùs otherwise?simply
WHEN MATCHED THEN UPDATE SET t3.syncid = 0Only -
i have a MacBook Pro and just added an airport express to listen to my iTunes on my stereo. How do I get Firefox to use my AX when I use Grooveshark or Pandora?
If the purchases are all from the same account then you can share the content by authorizing each device.
If you have separate accounts then you have to be authorized to use the content purchased from another account.
MJ -
Not right data when row_number used in inner-view sql query...
Hi ,
I use the below sql statement which displays the right data
select CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE , SUM_POSOTITA , row_number() over(partition by code_farmakou order by sum_posotita desc) from
(SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES ,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_AT_SINT_CLINIC A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_AT_SINT_EX_IATR A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_AT_SINT_FOREON_MS A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_GEN_SINT_KLIN A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_GEN_SINT_EX_IATR A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS)The data are:
CODE_FARMAKOU EMP_NAME PACKTYPE PACKSIZE SUM_POSOTITA ROW_NUMBER()OVER(PARTITIONBYCO
0000002419 FACTREL INJECTION VIAL 2 ML 5 1
0000014071 DOPAMINE HYDROCHLORIDE VIAL 5 ML X 25 30 1
0000086289 DETUSSIN EXPECTORANT BOT 120 ML 3 1
1000000760 DEPON BT 20(BLIST2X10) 2 1
1000000760 DEPON BT 20(BLIST2X10) 1 2
1000003279 MOXACEF BT 40(BLIST10X4) 45 1
1000003279 MOXACEF BT 40(BLIST10X4) 1 2
1000003279 MOXACEF BT 40(BLIST10X4) 1 3
1000014127 DEPON VIT. C BT 2TUBX10 6 1
1000014127 DEPON VIT. C BT 2TUBX10 2 2
1000016655 KABIVEN BT 50ÖÕÓ.×1,7ML 21 1
1000016655 KABIVEN BT 50ÖÕÓ.×1,7ML 2 2However , when i use the below statement , in order not to display the row_number (so i use row_number function in inner-view) the data are different--in different order... why is that????
select CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE , SUM_POSOTITA from
select CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE , SUM_POSOTITA , row_number() over(partition by code_farmakou order by sum_posotita desc) from
(SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES ,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_AT_SINT_CLINIC A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_AT_SINT_EX_IATR A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_AT_SINT_FOREON_MS A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_GEN_SINT_KLIN A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS
UNION ALL
SELECT CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, TO_DATE(DATES_EKTELESIS,'DD/MM/RRRR') DATES,SUM(POSOTITA) SUM_POSOTITA
FROM EKTELESI_GEN_SINT_EX_IATR A, MITROO_FARMAKOU B
WHERE CODE_FARMAKOU = FARMAK_CODE
GROUP BY CODE_FARMAKOU,EMP_NAME,PACKTYPE,PACKSIZE, DATES_EKTELESIS)
)and its data are:
CODE_FARMAKOU EMP_NAME PACKTYPE PACKSIZE SUM_POSOTITA
1000016655 KABIVEN BT 50ΦΥΣ.Χ1,7ML 21
1000016655 KABIVEN BT 50ΦΥΣ.Χ1,7ML 2
1000000760 DEPON BT 20(BLIST2X10) 2
1000014127 DEPON VIT. C BT 2TUBX10 2
1000003279 MOXACEF BT 40(BLIST10X4) 45
0000014071 DOPAMINE HYDROCHLORIDE VIAL 5 ML X 25 30
0000086289 DETUSSIN EXPECTORANT BOT 120 ML 3
1000014127 DEPON VIT. C BT 2TUBX10 6
1000003279 MOXACEF BT 40(BLIST10X4) 1
1000003279 MOXACEF BT 40(BLIST10X4) 1
0000002419 FACTREL INJECTION VIAL 2 ML 5
1000000760 DEPON BT 20(BLIST2X10) 1NOTE :Sorry, I tried to pose some sample data using the "with" statement but i couldn't...the error ORA-32035 : unreferenced query name defined in WITH clause was displayed..
Regards,
SimonThe optimizer has, well, optimized out the row_number because you never refer to its value in the outermost query.
sql>select deptno, cnt, row_number() over (order by cnt desc) rn
2 from (select deptno, count(*) cnt
3 from emp
4 group by deptno);
DEPTNO CNT RN
30 6 1
20 5 2
10 3 3
3 rows selected.
-- here because we include rn in the outermost query,
-- the results are still ordered based on the analytical function result
sql>select deptno, cnt, rn
2 from (select deptno, cnt, row_number() over (order by cnt desc) rn
3 from (select deptno, count(*) cnt
4 from emp
5 group by deptno));
DEPTNO CNT RN
30 6 1
20 5 2
10 3 3
3 rows selected.
-- but if we don't include rn in the outermost query,
-- the optimizer leaves out the window sort and the results are in a different order
sql>select deptno, cnt
2 from (select deptno, cnt, row_number() over (order by cnt desc) rn
3 from (select deptno, count(*) cnt
4 from emp
5 group by deptno));
DEPTNO CNT
10 3
20 5
30 6
3 rows selected.This just reinforces the point that if you want your results in a particular order, you need to provide an ORDER BY clause - don't rely on execution plans to do your sorting for you. -
Photos loaded directly onto ipad air do not show up on PC anywhere when synced using itunes
Photos loaded directly onto ipad air using Apple camera connection kit, do not show up on PC anywhere when synced using itunes
They won't show in iTunes (iTunes is only used to copy photos to a device, not copy them off), but you should be able to copy them off either manually via My Computer (the iPad should show as a camera) or via windows camera wizard or windows live photo gallery depending upon your OS version.
Copying photos : iOS: Import personal photos and videos from iOS devices to your computer -
I am changing from Word to Pages. I have created my custom template with all my styles etc and that is what comes up when I go for a New Document. Fine. How do I get it to use the same Custom Template when I use Pages to open a Word document?
The template is a document in itself, it is not applied to an existing document whether it is a Pages document or a Word document converted to a Pages document.
You would need to either copy and paste content, using existing styles, or apply the styles to the converted Word document.
You can Import the Styles from an existing document and those imported Styles can be used to override the current document's styles:
Menu > Format > Import Styles
The process is simplified if the styles use the same names, otherwise you will need to delete the style you don't want and replace it with the one that you do want when asked, then the substitution is pretty straightforward.
Peter
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