Which colour space for different displays

Hi Everyone,
This might be a long winded question so please bear with me.
I have a pc with a wide gammut monitor which displays 94% adobe rgb and 100% srgb.
I have just purchased a surface pro 3 which I've just calibrated and it displays 74% adobe rgb and 98% srgb.
I want to use the same lightroom catalogue for both, likewise with photoshop.
I also will be uploading to flickr, Facebook and behance, and also printing.
My question is, what should I do in terms of setting the colour space?
Thanks
Stuart

OK, then you should be all set and ready to go. Just work in Adobe RGB throughout.
And yes, for web you need to convert to sRGB. But again, you must use a web browser with full color management, or it will not display correctly on a wide gamut display. I just have to stress this, because few browsers get it right. On Mac Safari is good, but on Windows the only option is Firefox. Other browsers may display correctly if the image has an embedded profile, but lots of sites strip the profile, and in that case it will not be color managed by the browser and appear oversaturated.
Firefox can be configured to assign sRGB to any untagged material, allowing the color management chain to operate so that it appears correctly on wide gamut displays. It is the only browser that can be configured this way, which is an absolute requirement.
Internet Explorer gets nothing right and is completely useless with wide gamut. Just ignore it.

Similar Messages

Which colour space for camera and LR

Thanks for the answers to my last post about sharpening and workflow.
My next question is about colour spaces. I use a Nikon D200 which lets me choose from sRGB or AdobeRGB...LR obviously has these plus ProPhoto RGB. I use a MacBook Pro and an HP deskjet printer (5850)...I bought this before I bought the camera, and although it is very good, when I eventually change it I will go for a better quality printer.
I AM NOT a pro photographer or photo-editor by any means, but I do want my pics to look the best they can. Can I get some advice please on the pros and cons of the colour spaces?
Cheers,
Nige

>sRGB should be good enough, but it's also good to hear you also shoot raw ... afterall, sRGB contains all of the color in most photographic images.
Actually sRGB encodes only about 90% of colors present in nature. adobeRGB about 97%. prophotoRGB a perfect 100%. Check this page for more info than you'd ever need: http://www.brucelindbloom.com/index.html?ColorCheckerRGB.html . That said, usually, because of the color management problem, stick to sRGB for exports that are consumed by other people.
>So..Michael...you said 'better inkjet printing'...I assume you mean a professional print lab or high level 'home' inkjet, rather than an average home printer like I have (perhaps one day!).
There are two answers to this. They might surprise you. Concerning home printing. Even the cheapest inkjets nowadays produce color outside of sRGB and even adobeRGB. You should print to these printers directly from Lightroom using actual color profiles meant for the printers and the paper you are using. Usually those are supplied with the drivers. This will give by far the best results and will give the deepest most saturated colors. This answer does not change when printing to even better printers. In fact, almost every current inkjet printer can now print colors that no display can actually show.
Second concerning lab prints. Be very very careful with this. Most labs, even the pro ones, do not color manage at all and their photo printers are tuned to approximate sRGB. Simply send them sRGB and you'll be fine. Some labs offer actual profiles that you can convert your images to in advance. (see http://lagemaat.blogspot.com/2008/05/great-prints-from-labs.html for more info). This gives slightly better prints and will reproduce colors not in sRGB ( and not even in adobeRGB: http://lagemaat.blogspot.com/2007/11/relevant-example-for-pprgb-vs-adobergb.html ). Due to variability in displays, you might even be able to see those colors on screen if you calibrate correctly. Some of the better labs might accept files in other profiles than sRGB or a lab specific profile. They will then do the conversion for you or have a color managed print workflow if they use inkjets. Make sure they know what they are doing which you usually can find out after talking for a few seconds.

Different scaling for different displays

Hi, so recently I moved into windows ten hoping that this issue be fixed, apparently, there is still no way to set different display scaling options for different displays, I have a 4k display, which I use with 200% scaling, but I also have a 1080p monitor.
Is there any way to set 200% scaling for the 4k, and then no scaling on the 1080p one?? This is the only reason I moved to windows ten and I would hope that this is supported, given that it is touted to have a lot better scaling support.

MV
What build are you on. The current build is 10074
Windows 10 build 10074 ISOs are available for download:
Pro from Windows Insiders:
http://windows.microsoft.com/en-us/windows/preview-iso-updat…
Enterprise from Evaluation Center:
https://www.microsoft.com/en-us/evalcenter/evaluate-windows-…
Upgrades should go out via Windows Update soon. The ADK is slightly delayed, should be available late tonight or tomorrow.
Wanikiya and Dyami--Team Zigzag

What is SAP name space for different objects.

Hi Guys,
Kindly let me know the SAP name spaces for different objects.
Thanks

hi,
Naming Conventions in ABAP Objects
Global classes and interfaces that you create in the Class Builder are stored in the class library and administered by the R/3 Repository: they therefore have the same namespace as all other Repository objects (database tables, structures, data elements, and so on).
It is therefore necessary to have naming conventions for object types and their components and to use them uniformly within program development.
The following naming convention has been conceived for use within the SAP namespace:
If you do not observe the naming conventions for object types (classes and interfaces), conflicts will occur when the system creates persistent classes, since it will be unable to generate the necessary co-classes.
Namespace for Components
A single namespace within a class is shared by:
All components of the class itself (attributes, methods, events, constructors, interfaces, internal data types in the class, and aliases)
All public and protected components of the superclasses of the class.
Method implementation has a local namespace. The names of the local variables can obscure those of class components.
Naming Convention
The naming convention has been kept as general as possible to avoid adversely influencing the naming of objects.
General Remarks
When you choose names for development objects, you should:
Use English names
Use glossary terms when possible
For example, CL_COMPANY_CODE instead of BUKRS
In compound names, use the underscore character (_) as a separator. Since names are not case-sensitive, this is the only character that you can use to separate names.
Example: CL_COMPANY_CODE, CL_GENERAL_LEDGER_ACCOUNT
Names should describe the action, not the implementation of the action.
Example: PRINT_RECTANGLE, not RECTANGLE_TO_SPOOL
Conventions for Object Types
Class and interface names in the class library belong to the same namespace as data elements, tables, structures, and types. They are maintained centrally in table TADIR.
Class in the class library
CL_<class name>
The class name should be made up of singular nouns.
CL_COMPANY_CODE, CL_GENERAL_LEDGER_ACCOUNT
Interfaces in the class library
IF_<interface name>
The same naming convention applies to interfaces as to classes.
IF_STATUS_MANAGEMANT, IF_CHECKER
Local classes in programs
(recommendation)
LCL_<class name>
The class name should be made up of singular nouns.
LCL_TREE_MANAGEMENT
Local interfaces in programs
(recommendation)
LIF_<interface name>
The sane naming convention applies to interfaces as to classes.
LIF_PRINTER
Recommended naming conventions are not compulsory. However, if you use prefixes for these class and interface names, you should use those listed above.
Conventions for Components
Method name
<method name>
Method names should begin with a verb:
GET_STATUS, CREATE_ORDER, DETERMINE_PRICE
Events
<event name>
Event names should have the form
<noun>_<participle>:
BUTTON_PUSHED, COMPANY_CODE_CHANGED, BUSINESS_PARTNER_PRINTED
Local type definitions within a class
(recommendation)
TY_<type name>
TY_INTERNAL_TYPE, TY_TREE_LIST
Data definitions (variables)
<variable name>
When you name variables within a class (CLASS-DATA or DATA), avoid using verbs at the beginning of the name (to avoid conflicts with method names).
LINE_COUNT, MARK_PRINTED, MARK_CHANGED, STATUS
Data definitions (constants)
(recommendation)
CO_<constant name>
CO_MAX_LINE, CO_DEFAULT_STATUS, CO_DEFAULT_WIDTH, CO_MAX_ROWS
Recommended naming conventions are not compulsory. However, if you use prefixes for these class and interface names, you should use those listed above..
Concrete Method Descriptions
Attribute access
SET_<attribute name>, GET_<attribute name>
Methods that access attributes of any kind should be prefaced with GET_ or SET_.
GET_STATUS, SET_USE_COUNT
Event handler methods
ON_<event name>
Methods that handle events should begin with ON, followed by the name of the event that they handle.
ON_BUTTON_PUSHED, ON_BUSINESS_PARTNER_PRINTED
Methods that perform type conversions
AS_<new type>
AS_STRING, AS_ISOCODE
Methods that return a Boolean value
These methods may not return any exceptions.
Recommendation: Use SPACE and 'X' to represent false and true respectively.
IS_<adjective>
IS_OPEN, IS_EMPTY, IS_ACTIVE
Check methods
CHECK_<objective>
CHECK_AUTHORIZATION, CHECK_PROCESS_DATE
Local Conventions Within Methods
For parameters
The parameters are regarded from the point of view of the method that implements them:
IMPORTING parameters
IM_<parameter name>
EXPORTING parameters
EX_<parameter name>
CHANGING parameters
CH_<parameter name>
RESULT
RE_<result>
Using prefixes is NOT compulsory. However, if you do use them, use those listed above.
For exceptions
The following table contains a series of possible exception names, that can also be used generically (for example, NOT_FOUND could also be used as DATE_NOT_FOUND)
EXCEPTION
Meaning
ACTION_NOT_SUPPORTED
The requested action or function code is not supported.
CANCELLED
If a method uses a dialog to find out what has to be dome (for example, a list of choices), and the user chooses "Cancel", you can set this exception.
EXISTING
A new object that you want to create already exists in the database.
FAILED
The method could not be executed because of the current environment. This exception is intended for cases where the method cannot be executed because of variable system circumstances.
..._FAILED
Part of the method could not be completed because of the current environment. (OPEN_FAILED, CLOSE_FAILED, SELECTION_FAILED, AUTHORIZATION_FAILED)
FOREIGN_LOCK
Data is locked by another user.
INCONSISTENT
Object data in the database is inconsistent.
..._INCONSISTENT
The component data for of an object in the database is inconsistent.
INVALID
The object data entered is incorrect (for example, company code does not exist). Compare NOT_QUALIFIED.
..._INVALID
The component data entered for an object is incorrect. Compare NOT_QUALIFIED.
INTERNAL_ERROR
Last resort. Only use this exception if you cannot be more precise about the nature of the error.
NOT_AUTHORIZED
The user does not have the required authorization.
NOT_CUSTOMIZED
The object requested is not correctly customized.
..._NOT_CUSTOMIZED
The component of the requested object is not correctly customized.
NOT_FOUND
Unable to find the requested object.
..._NOT_FOUND
Unable to find component of the requested object.
NOT_QUALIFIED
The combination of input parameters is insufficient to run the method. Compare INVALID.
..._NOT_QUALIFIED
One parameter of the method is not qualified.
NUMBER_ERROR
Error assigning a number.
SYSTEM_ERROR
This exception is set if the Basis system returns an unexpected error message.
regards,
sudheer.

Setting different resolutions for different displays?, setting different resolutions for different displays?

Hi,
I have a 30" dell display that I have used with my MBP. I recently got a MBA and installed mountain lion. One of the things they inexplicably removed was the ability in the menu bar to set different resolutions for different displays. The only way I can get my Dell Monitor to work is to use mirroring. But I don't want mirroring. I want two separate displays. In Snow Leopard, the drop down display menu in the menu bar allowed you to pick different resolutions for different displays. Is there any possible way to do that in Mountain Lion?
Tom

Yes, assuming that the 8" display has a resolution that the Mac can support. When you open the Displays system preference, you'll get a settings window on each display (as long as the option for Mirroring isn't checked).
Regards.

How do I check which colour space my monitor uses?

When I go to Sys Prefs > Displays > Color and open the currently-used profile it says (among other things):
Space: RGB
Platform Apple
Is the colour space used Apple RGB? I also don't find this info in System Information or Color Sync.
I wish to assign Adobe RGB to harmonise with my scanning program. How do I assign another profile?
TIA
Philip

Hi Danny,
You can use the methods below to get the version/service pack level:
1) Manage a webserver instance and click on "About this server"
2) Look at the startup message in an error log
3) ./start on the start script
4) ./ns-httpd -v in the /<server root>/bin/https/bin directory

Which is better for 3 displays, the 5870 or the 7950?

I have a Radeon 5770 in a 2010 3.33 6 core. I have a 30" Samsung 305T running at 2560x1600 (DL DVI) and a 1080p HDMI monitor running off a MDP->HDMI adaptor. Even this seems tenuous as occasionally one or both monitors need some cajoling to fire up. Some research on this is giving me the idea that this could be either a power draw issue or a VRAM issue on the 5770, and while it may have 3 ports, in practical terms it's probably hard to get them all to work because of the card's other limitations. I know some people have better results using powered adaptors.
I also have been using a DisplayLink USB adaptor to get a 3rd monitor (17" DVI) going but this requires a considerable amount of the Mac CPU.
I'm looking into either a 5870 or a 7950 upgrade to make the monitor situation I do have more reliable, less drain on the CPU, and to be able to hook my 3rd (or possibly even 4th) monitor without resorting to DisplayLink.
I RARELY do gaming, so high frame rates are not my criteria. I'm an audio professional and run Logic Pro on all my screens. What I want is reliability, a quiet fan, and no-hassles with multiple monitors at high resolutions.
Any suggestions as to which card is best for my purposes? Thanks.

You do not need a new graphics card, you need to understand what AMD is doing with Mini DisplayPort.
The levels on Mini Displayport are much lower than older protocols. Mini DisplayPort can be requested to produce backward compatible protocols, but there is not enough POWER to run two at the required levels. It needs ACTIVE adapters (with signal boosters) to convert more than one. Third party Mini Displayport to Single-Link DVI costs about US$35.
What are the basic requirements for connecting multiple displays?
Connecting multiple monitors for AMD Eyefinity technology couldn’t be simpler. There are four easy rules to remember:
The first two monitors can connect to the graphics card with any display output on your product: HDMI, VGA, DVI or DisplayPort.
The third (or greater) display must be connected to the graphics card via DisplayPort.
If your monitor does not have a DisplayPort connection, you will need an inexpensive active DisplayPort adapter for it. DVI to DP adapters can be had for less than $30 USD.2
Every family of GPUs supports a different maximum number of displays.

Pixma Pro 100 Colour Space Questions

Hi
I Have a few questions related to Printing from lightroom I am new to this so bare with me.
1) I have a canon 7D I shoot in Raw 12-14 bit ? and most of my processing is done within lightroom so no need to export to photoshop however if i was to would this export as a 16bit file tiff or Jpeg ? If so if I was to after post processing in photoshop then back into lightroom this would only allow me to print in tiff or jpeg is this correct as a psd file/jpeg ?.
2) As I only edit in lightroom I can print directly in CR2 Raw format 12-14bit by using the canon print studio pro plugin ? or is this exported to the translator as a 16bit file ? and then use the paper manufactures ICC profile i.e (canon paper) for best results do I lose colour print quality by printing from Raw 12-14 bit rather than 16bit tiff/jpeg.
3) By using the Paper Manufactures ICC Profiles will the original raw file 12-14bit from 7Dcamera sRGB be translated to the printer by default from lightroom or is the colour space not needed as I havent converted to 16 Bit in post processing?
3) I havent had my monitor calibrated yet but intend to do so in the future, but until then I see no point in messing around with pro mode or sRGB or Adobe RGB or Pro photoRGB.
4) If I use lightrooms canon print studio pro pluggin is the colour space automatically translated from the settings in my camera or do I need to enable this in lightroom first ?.
5) I use a Mac running yosemite 10.10 and would like to know more about ICC profiles where to find the manufactures ICC Profiles how to download and where to store can you recommend a common website for learning how to do this on a mac ?.
6) As you can see I just want to print the best images from camera to printer without to much science involved however I am willing to learn but get confused with the different workspace post production softwares menu's for best results which i would prosume until i get my monitor calibrated proffesionally would be to print from Raw with the Manufactures ICC Profiles ?.
7) Are colour space and calibration settings all about printing what you have on the screen or is it mainly for extra colour depth in the print ?.
I can self calibrate my monitor to adobe RGB and have my camera shoot on adobe RGB -calibration with software but have been told i need colour monitoring devices correct ? if I was to do this and still just used the ICC paper profiles would the prints be any better ?.
My first prints were excellent very similar to what I see on the screen anyway but I checked lightrooms settings and these are on Pro photo RGB for external editing and is this the colour space for print studio pluggin also or is it just native Raw sRGB if I change the settings it says I will lose the maxium potential colour space.
sorry for the influx of questions :-)
Thomas
Solved!
Go to Solution.

You can not set the printer to match the monitor. You must set the monitor to match the printer. But the printer is already calibrated by the factory.
First, you must not let the printer set anything. Turn off every bit off control it has. You can do this with the Canon My Printer under the Printer Settings tab. Do you know how? I will guess, yes, for now but if you don't get back to me.
Second, you need to have your photo editor (like Photoshop or Lightroom) handle all the print settings and color matching. You know how to do this? I prefer Photoshop and I use AdobeRGB color space.
And lastly, it is essential you get some settings on your monitor that somewhat matches what the printer is printing. Your printer may be doing exactly what you are telling it to do and you have no idea it is, because your monitor is so far off. If you don't do this step, you can forget the other steps. However, there are only a few things that you need to be concerned with. You don't need any fancy extra add-on to do this. No additional software or gadgets, etc. No monkeys, no spiders, nothing!
Most people set their monitors too bright.
You must get the gray-scale very close. You need to get the brightness very close and you need the contrast very close.
After you do these things you can make adjustments to your prints by just looking at your screen. Because you know the monitor and printer are on the same level. One more point, you can NOT get a printer to print every color exactly the way you see it. It isn't possible as all colors and adjustments effect all others. My goal is to get the skin tones right. That is what people notice most. Remember you are dealing with two different disciplines here. One is colored light and the other is colored dyes. They are not the same thing.
For instance, I know my Pro-100 tends to print slightly darker than what I see on the monitor (typical). So, I automatically know to set it's prints 1/2 to one stop brighter in Photoshop, in my case. It also prints with a slightly warn tone. Most of the time, with portraits especially, this if OK but sometimes it is not. In that case I adjust the "temp" setting slightly cooler in PS.
All the Canon photo printers I have ever seen have this warm/magenta cast. Canon engineers must prefer this look. It can not be changed. You need to "fix" it in post.
Make sure you have the correct ICC profiles and you are using Canon brand ink and paper until you get good with the printer. Very, very important, otherwise you don't know if the printer is doing exactly what you are telling it to or not.
Important is, use the USB connection until everything is right. You are just adding another issue when you try to set up the printing and the wireless all at the same time. Just like using Canon branded products until it is a go. Use a real printer USB cable. Not just any old USB cable. Get everything right before you explore.
Good luck.
EOS 1Ds Mk III, EOS 1D Mk IV EF 50mm f1.2 L, EF 24-70mm f2.8 L,
EF 70-200mm f2.8 L IS II, Sigma 120-300mm f2.8 EX APO
Photoshop CS6, ACR 8.7, Lightroom 5.7

Colour Space / Workflow question.

Hi,
I have been seconded to take photos at an up and coming family wedding.
I will be using a Canon 300D Digital SLR, shooting in RAW, and performing post processing on a Mac using Aperture (yet to be purchased).
I have established that my print lab works in the Adobe 1998 colour space. So, please let me know if I have the this right:
As long as my screen is calibrated, and I work in and save my images as Adobe 1998, my prints should accurately resemble what was present on my screen?
Is there a preference for which format (jpg, tiff, etc.) the images should be saved in for ensuring accurate print output from a pro lab ? They charge per print for RAW conversion, so I'm looking at saving finals as TIFF as the logical alternative.
Also - can someone tell me if I should necessarily set the camera parameters to any particular colour space ? On the Canon, I have the option to set Adobe RGB, or a number of Canon pre-sets, or in fact set my own pre-sets for tone, colour saturation etc. Does this even matter if I'm shooting in RAW ?
Any other advice on how I can ensure consistency in this workflow for this and future projects ?
Sorry for all the questions, but many thanks,
Paul
MacBook Pro Mac OS X (10.4.7) 23" Cinema Display

I took your advice and sought more info from my lab.
They have provided me with a calibration image on CD
as well as a print of the same to do some side by
side comarison with my monitor. They also provided a
colour settings file for Photoshop. Armed with all of
this I seem to be getting closer to understanding the
necessary adjustments (although I temporarily
confused things by introducing my home printer into
the equation, until I realised that this thing also
has it's own colour settings).
To me, it sounds like the color settings file for Photoshop is most likely the color profile data I was talking about - does it end in .icc? What are the instructions for installation?
After you install it you can check the "Proofing Profile" dropdown in Aperture to see if you see anything like it - you'll need to restart Aperture after you install the icc profile (I think).
You can import the image from teh CD into Aperture and try using the proofing with the color profile sent to see how close it looks.
Basically the idea of the proofing and the profile is that by turning on on-screen proofng, you are taking the colors you have and seeing how the smaller range of color availaible in the printer will reflect what you have.. this gives you the ability to alter tones until the image you have better fits into the range of colors the printer can produce.
I haven't purchased Aperture yet, but I presume there
will be a way to invoke settings similar to the
colour settings in Photoshop so that what I'm seeing
in Aperture will be consistent ?
Yes, sorry for the above then which will be of little use until you get Aperture - basically there is a "Proofing Profile" dropdown and a command to enable or disable "Onscreen Proofing" (which is just like CS2's "Proof Colors").
Aperture makes use of any color profile defined in the system, so hopefully the installation instructions are for general OS X color profile installation. If it's an icc file you can install it for use with all of OS X.
Correct me if I'm wrong, but from what you're saying
it actually makes no difference what parameters I
specify in my camera if I'm shooting in RAW ? This is
good to know, as the Adobe RGB setting in the Canon
is actually quite 'washed out' - and I'd prefer to
keep it in one of the sRGB settings for my 'snaphot /
home printing' needs wheh shooting jpegs. So,
provided I export in Aperture to Adobe RGB (my lab's
preference) and work with a calibrated screen I
should be okay ?
Yes, all true. I just want to make sure to note that the choice of color profile does make a difference shooting JPG as it will affect the colors that are defined in the file (and the viewing of them in a browser), but from your comment above it seems you understood that aspect.
I calibrated my current monitor (using software only
at this stage). Does it particulary matter which
colour space I choose to start from, if I'm modifying
brightness, gamma, temperature etc. to save as a
custom profile ?
I'm not sure here what you mean by "color space you choose to start from".
Also for profiling even a cheap device like the Huey would probably be a lot better than the software profiling - I went that route at first as well but the hardware stuff is worth it.
One last, slightly dumb, question. Are "Adobe RGB
1998" and "Adobe RGB" the same thing ?
Yep, pretty much the same thing by slightly different names.

Colour mode for books? (also page numbering query)

Which colour space is preferred for printing books in iPhoto (4.0.3)? The original files are sRGB, of course - should I be converting to Adobe RGB (as I would if I were making a normal high-quality print off my own printer)? Also (2 questions for price of 1), while the first page is the cover, is page 2 (double-sided printing) the inside of the cover or is it the first bound page?
Many thanks for your help
Alex

When you turned off the facing pages you effectively lost the use of the other half of the master spread.
How is this being bound that you need the bleed on the inside, and is that the case for every page?
One thing you might try, and do this on a copy, is to reinstate the facing pages. If things go back as they should be, select all the pages in the pages panel, then from the panel menu select override all master items, then switch back. I have a feeling though, that if you used uneven inside and outside margins you've also lost the margin mirroring, and I'm not sure you can retain that when you go to non-facing.
A better approach, if you need the bleed on all pages would be to set up two masters, but assigning the second one to all the odd pages is going to be a pain without a script. If you only need the bbleed on a few pages, select the spread in the pages panel and from the menu uncheck allow selected spread to shuffle. Select another page to be sure you no longer have both pages selected, then click on one of the pages in the spread you want to separate. Hold the mouse button down and drag the page away from it's mate until you see a vertical balck line and release, the spread should split into left and right halves.
Peter

Colour space (Aperture 2.1.4)

Everything I use to shoot photos and work with them has the colour space sRGB. But when I automatically open an image from Aperture in PhotoshopCS3 with the right-click, Aperture insert the colour space Adobe RGB. Where can I change this setting? I can choose the colour space for the export in export preferences, but not for automatically opening in another programm.

Yes you can,
I'm running Aperture 3 now so this is from memory and mightn't be exactly right.
On the top menu, Aperture, Preferences there should be a tab or setting for or external editor where you can set 8bit, 16bit, Tiff or PSD. From memory you should also be able to select the colour space as well. Assuming you're using the open with external editor you need to set the correct settings in the external editor section.

Ghost Spaces for Certain Fonts.

I have a generated document, generated in house, where a specific set of text has for lack of a better term ghost spaces. When one highlights the text and copies and pastes, the spaces are there. But the document when being viewed or printed does not have those spaces. For example this text:
BANK OF AMERICA
views and prints like the above text, no kerning or tracking issues with the text or spaces in between. But to search for BANK fails in the reader. Search for B A N K (with spaces) will hit that line.
Here is the internal adobe document text:
0 22 Td (________________________________________________________________________________) Tj
0 22 Td (From: BANK OF AMERICA) Tj
/F0 -10 Tf
0 0 Td ( XXXXXX XXXXXX) Tj
0 11 Td ( MISC ZZZZZZ GROUP PH: XXX-XXX-XXXX) Tj
As you can see BANK has no spaces in the document code. This seems to only apply to text using this font...other fonts do not have ghost spaces.
Is this a bug with Adobe reader, or is does this generated document have an issues with the font being used which causes spaces for searching and clipboard?
I can provide the document in question to development if needed.
Note using reader version 8.1

>I can provide the document in question to development if needed.
You're not talking to Adobe here, just fellow users but yes, it may be good if you provide a link to the document.
>or is does this generated document have an issues with the font being used which causes spaces for searching and clipboard?
That would be my first guess.
How are you creating the document?

How can we change the color of the image for product display for different

Hi All,
How can we change the color of the image for product display for different colors, to be displayed on site.
jeff

Hi priya,
The requirement that you have stated is not a standard feature in ISA CRM. In order to do the same, you will need to modify the standard ISA code in Java. A common path for the solution would be as follows:
1. Colours
    a. Maintain a text type for Color under the object - PCAT_ITM in Customizing.
    b. Modify the standard search of ISA to search within your new text type as well. (In standard it only searches in Description.
   c. Maintain all shirts colour data in the new type created in step a.
   d. Your requirement will be done!
2. Price
a. Use list prices for your shop and assign the appropriate condition type, acces in your catalog.
b. Modify the standard search of ISA to search on the list prices as well.
c. This too will be done!
3. Accessories - This is very tricky, and will require some exploration. However, here's my opinion,
a. Search for the standard function module, which will return the accessories when provided the product as an input.
b. Modify this function module according to your requirement and ensure that it can be accessed remotely.
c. Modify the JSP as in steps 1b and 2b above to call this new remote-enabled function module.
d. Now you're done!!
The ISA modification part is not so simple, you need a really good guy like "Sateesh Chandra" who'll be able to handle your requirements. This is all I could manage, hope it is some help to you!
Thanks & Regards,
Nelson.

How can I launch firefox on different displays simultaneously without creating profiles for each of them

On my solaris server, there is an application which, in order to display some information, opens the browser. The server can be accessed thorugh X windows by various users. The issue is that whn firefox is open on one display, it fails to open on another display.
The resolution for this problem as suggested by a lot of users on various forums is to create different profiles for various firefox instances. However, everytime my application will launch firefox, i will have to invoke it with -P option which will pop up the profile manager. I do not wish to show the pop up for creating profiles:(. Is there some way to allow multilple instances of firefox to run on different displays?

when you lock the preferences with the mozilla.cfg file in the firefox program folder as it's described in the mozillazine kb article above, it should apply for all users...

Itunes is copying/converting 500gb of music from .wma to .m4a files that are on an external drive onto my laptop which doesnt have enough room. how do i reroute these newly converted files somewhere with enough space for them?

itunes is copying/converting 500gb of music from .wma to .m4a files that are on an external drive onto my laptop which doesnt have enough room. how do i reroute these newly converted files somewhere with enough space for them?
new to itunes, used windows media player before that and always ripped music directly to an external hardrive and accessed it through the player. now that i downloaded itunes it is taking from the external hardrive and copying a second file for each song onto my lap top hard drive which does not have the capacity for all my music. as itunes converts music files i want them saved back onto my external drive or another location i have space for rather than the lap top. how do i change the setting to move the itunes media folder to another location. assuming that hitting copy and past and dropping it in a random location will cause a few errors.

When I have done this, all I did was network the two machines and copy the contents of the iTunes folder to the other machine, and that's it.
My understanding (which may not be 100% correct) is that the one file that is absolutely necessary is iTunes Library, and that the XML file is actually a copy auto-generated from the iTunes Library, appearing in a different format only for non-iTunes apps that take advantage of the iTunes Library data.
As far as I know, if you simply have the Library (database) file and all your original music files, iTunes on that computer should operate as it did on your old computer. I believe that the Album Artwork, Genius Data, and XML files can be regenerated from the Library file. Not sure about the Extras file.

Which colour space for different displays

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