Workflow Question: 24p (Varicam) Masters, 29.97 down converts for offline

I know in part this question has been raised here before, and I know the Cinema Tools method for getting back to 24p... but I would like to discuss briefly the pending workflow on a project I am about to begin with someone who has tackled this before.
I am cutting a feature, shot on Varicam at 24p. The film has already been rough cut in FCP and I am inheriting the project to re-work the rough cut and "on-line" finish the film. The initial editor did not reverse telecine the clips before cutting, so all the clips and the timeline are in 29.97. I know I could finish the off-line using the DV footage, then reverse telecine the EDL to on-line back to the 24p HD masters, but there are a few other issues.
First, there is over 19 hours of original scenes that currently make up a 2 hr rough cut. This cut needs a pretty extensive re-edit before it's ready for the sound designer to step in, maybe 2-4 weeks of work. The FCP project has not been broken down by scenes, just master clips for each reel (yikes!). I am not confident in the audio that is on these DV tapes and I would prefer to work with the original HD source to finish the job, as the audio editing will fall mostly to me to accomplish. This project will also need extensive color timing as well. From a general workflow standpoint, I feel that if I had all the HD loaded, and re-organized by scene that I could work more efficiently to finish all the aspect of this film.
So the nuts and bolts of my question is this. Can I convert both the timeline AND the already logged master clips to 24p so that I can load in the HD as whole reel clips as they currently are logged and refer back to the timeline? I want to work from the existing timeline, but also have ALL the footage loaded in as HD 24p so I can sub clip by scene and rework the cut.
Thanks in advance.

HD isn't as simple as SD...not by a long shot. With SD, we captured offline at 29.97, and then onlined at 29.97. The biggest thing to worry about was that our shoot masters were 29.97 NDF but stock footage was 29.97DF, and that tended to mess up EDLs for the online.
But then comes HD. 720p...1080i...1080p. 23.98, 24, 29.97, 59.94. So many options...things got really complex. Now with HD you really need to know what your deliverable is...even before you shoot. Because everything is geared toward getting that final master. You CAN proceed without knowing that, but then getting the proper master will require more hoop jumping. So, at this point, you need to figure out what you want to deliver and work towards that. 1080 23.98psf HDCAM? 720p 59.94 D5? 1080i 29.97 HDCAM? You have to figure this out.
Editing 24p footage from the Varicam (which translates to 23.98) at 29.97 DV was a poor choice. DVCPRO HD 720p24 isn't even twice the file size of DV. DV is 3.6MB/s, and DVCPRO HD 720p24 is 5.4MB/s...so editing native would have been the wise choice. But that is moot. Moving on.
When I edited a 16mm film...shot on 16mm, telecined to HDCAM at 23.98...I captured DV downconverts that ran at 29.97. I asked the post facility doing the online if I should do it at 29.97, or should I reverse telecine to 23.98...they said stick with 29.97, so I did. Then we changed post facilities and they said I really should have been editing at 23.98...because I have now made the online rather tricky. But this is what they had me do. Export an EDL of the 29.97 timeline. Use Cinema Tools to convert that from a 30fps EDL to a 24fps EDL. Then give them this and the final project. They were able to rebuild the cut, with some issues where I had speed changes, but they did it.
So what you need to do now, is find the place that will be doing the online, and get someone there to get this thing where it needs to be. It isn't as simple as recapturing at 29.97 or 59.94. The footage was shot at 59.94, but with flags set to make it 23.98 when captured. If you had a Kona or Decklink capture card, you could capture it at 59.94, but that format won't match up with the 29.97 EDL...different time base. And you cannot capture 59.94 as 29.97...not unless the footag was flagged in the camera as 720p30.
This is a very complex situation and I have barely scratched the surface. THis is why you need help from an HD expert, preferrably someone from the post facility where you will be doing the online.
Shane

Similar Messages

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

Sharpening export workflow question

I have a sharpening workflow question. Say I have pictures from a portrait session I just finished. I have to send 10 pictures the client ordered to a print lab and I also will make some small facebook sized pictures and upload them to my business facebook page. The level of sharpening needed for large prints (I upload to print lab as RGB JPEGS) and sharpening needed for the very small sRGB facebook-sized pictures is different. In Lightroom I have the option to set the sharpening on export and have a bunch of presets that alter the export size, color space, sharpening, etc(WHCC print lab, facebook, Client CD, etc). I don't see how to do that in Aperture. I see they have the option if you have a printer, but not on normal export.
For those of you that have to export batches of pictures in multiple different sizes (with different levels of sharpening), what is your workflow? I could use some photoshop droplets/actions after Aperture export but I was hoping there was a way to avoid the extra step. Am I overlooking an export feature? The BorderFX plug-in looks like the only other option.
Thank you in advance for time and help!
Scott

Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
Ian

This is my first use of this program. How do I remove a page break? How do line up my drop down box along side the text box on the left of it? The drop down is for a multiple choice answer for the question to the left.

This is my first use of this program. How do I remove a page break? How do line up my drop down box along side the text box on the left of it? The drop down is for a multiple choice answer for the question to the left of each drop down.

See McAfee support to find out how to disable that McAfee feature - that isn't part of the normal Firefox installation.

Workflow for approval of down payment for outward freight

Can somebody suggest if is there any standard workflow available or not for approval of down payment for outward freight in SAP system? I want to build a workflow for this purpose upto two level of approval.
Thanks & Regards,
Manas

Hi Manas,
There is business object BSEG for down payment request. Try to use that and u can find workflow as Arghadip said in other thread. In PFTC u can go for F4 and search.

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Workflow question: WS - TS relation ? how to identify which one?

Hi everyone,
I need to activate a PO workflow, every PO created should be "ordered" by a purchaser.
How can I accomplish this ? I thought activate the event: ws140000089 (one step po approval). But how can I identify the "ts" task ? In this case, the purchaser should approve every PO created.
How do you identify the worklow - task relation ? or do you know how can I accomplish this ?
Thanks guys and Merry Christmas =)
Regards,
Diego

Hi Diego,
Go to tcode PFTC_DIS, Select Workflow Template from Drop down, then type in 140000089, Click on Display. Then, Click on Workflow Builder in the next screen.
In the following screen, You should be able to figure out TS the Dialog workflow task which carries the workitem to the purchaser for their approval.
Try this and if you need further help, pls let me know.
Otherwise, if you are working with workflow developers, they should be able to help you.
Thanks,
Jay

Moving from iDVD to DVD Studio Pro...simple workflow question

I have been using iDVD to burn DVDs and want to move to DVDSP. I have been told I have to encode to mpeg 2 since DVDSP does not encode in the background. I know these are simplistic questions and I really appreciate any help. So...I exported a QT ref file, took it to compressor to encode to mpeg 2 for DVD. Compressor spit out 1 movie file with no audio and three audio files. Now what? All the manuals talk about assets and buttons...I will teach myself that. I just need to know the proper workflow from FCP HD to DVD SP. Thanks for any and all help.
Best,
Thomas

There are three ways to generate assets for use in DVDSP.
1. Within FCP invoke: Export>Compressor, select your proper preset and encode.
2. Within FCP invoke: Export Quicktime file>Current settings>self or non-self contained (it doesn't matter under normal circumstances). Open Compressor and import that file and select your proper preset and encode.
3. Within FCP invoke: Export Quicktime file>Current settings>self or non-self contained (it doesn't matter under normal circumstances). Open DVDSP and import the file. DVDSP can encode files and uses the same engine as Compressor. The settings are buried deep in the program USER PREFERENCES. Once imported, DVDSP will create the necessary mpeg and ac3 files.
My preferred process is #2. That way Compressor can do the work in background and I can go back to FCP.
Regarding the audio and video files. You need the m2v file (video) and the AC3 file (audio). The aiff file is the same as the ac3 only much much larger.
good luck.
x

Workflow question: DVCAM NTSC footage to 1080 24fps in FCP or CT?

We are making our VFX clips in 1920 x 1080 @ 24fps (as in true 24, not 23.98) and delivering to the client as such, but they are supplying their offline locked edit on DVCAM @ 29.97fps.
Every day I need to make an edit by cutting in our shots into the offline edit so the VFX supervisor and lead can review the work in context of the whole. The problem I am running into is the different frame rates.
I was told to convert the offline edit to HD @ 24fps, but I am not sure what is the best workflow for this. I am working on G5 Power Macs running Shake 4.0, FCS2. The main editing station has a Kona 2 card. We have HDCAM and DigiBeta decks. These are the tools available to me. (I have been capturing the DVCAM on my personal deck at home, since we don't have one here).
I have been thinking of asking for the offline to be delivered on DigiBeta, at the very least and using the Kona 2 to do an upconversion but AFAIK that doesn't do any framerate conversion, correct? (I asked for HDCAM, but was then told to do what I outlined above...)
Any thoughts?

Shane Ross wrote:
They are delivering 24fps, but offlining at 29.97? Sounds odd to me.
Yeah, I don't get it either. AFAIK, they are doing the online at "24?", but since this is for broadcast, in the end it is going to be 29.97. Where in the process they plan to do that is not known to me (or currently being made known... whatever).
Their mess.
My headache.
Use Compressor. You can convert their stuff using Compressor. But...29.97 DV...is this film or? How can you remove the pulldown?
I'll give that a try. I have never messed around with doing this kind (frame rate) of conversion; does this simply slow down the playback a little? All these cuts are around a lot of action, but then again this is just for previewing in context so I suppose it wouldn't matter that much if it isn't very noticable.
It can't be any worse than what I am dealing with now.
Whatever...not my mess. You can use Compressor to upconvert after you capture the DV footage...since this is offline. An HD capture card would get the footage into HD, but not convert the frame rate, so that would be a waste. And this is temp only. COMPRESSOR.
Many thanks, Shane. You're always a big help!

*** Question for down-converting Z1U or FX1 users

I am importing some HDV material that I am down-converting in the camera into DV into a sequence that is 720x480 anamorphic.
I want to guarantee that when people view the 16:9 footage on their square tv that it automatically is shown as letter-boxed and not stretched vertically. Currently, I am having problems because when I preview my 16:9 footage on a square tv, unless I set the tv to 16:9, it stretches the image. If the wrong client who doesn't know any better does this and it stretches it will look horrible. Is there any way to bring in down-converted footage and guarantee that it will be properly framed on a square tv.
Currently I am bringing in the footage and down-converting with the "squeeze" setting. Should I be using this, or the "letter box" setting? My understanding is that using the letter box setting will actually crop off the top/bottom of my 16:9 footage which ISN'T what I'm looking for.
Any assistance that anyone could give would be much appreciated!

Well, it's usually a bad idea to use 16:9 Pan-Scan & Letterbox because it depends on how your client has set the TV Shape setting on their DVD player.
If the DVD player is connect to a 16:9 TV (and therefore the TV Shape setting is 16:9), there is no issue - the anamorphic image fills the screen.
However, for 4:3 users, the TV Shape setting provides two choices: 4:3 Pan-Scan (sometimes labeled at 4:3 Normal) and 4:3 Letterbox. When you use the 16:9 Pan-Scan & Letterbox display mode in DVDSP, your footage will have the edges cropped off if the player is set to 4:3 Pan-Scan. The edges will be cropped off because you cannot specify Pan-Scan vectors in DVDSP or Compressor (Pan-Scan vectors being an element of the DVD spec that companies have been unable to implement). As you might be able to guess, if the player is set to 4:3 Letterbox, your footage gets letterboxed.
Now, this wouldn't be a problem except for 2 factors:
Most of the time, cropping the edges of your video is not what you intended (it makes you look bad when something important is cut off)
Because most commercial DVDs use the 16:9 Letterbox display mode - where it doesn't matter which 4:3 TV Shape setting is used, the 16:9 image is letterboxed - most users don't know the difference between the two 4:3 settings. This can lead to unexpected results when you send them a disc encoded as 16:9 Pan-Scan & Letterbox. (And let's just say that most users are really confused by the setup menus on DVD players)
Of course, I preface all of this by saying usually. If it's worked for you in the past - or you compose your shots in such a way that cropping off the edges is no big thing - don't let me cramp your style.

Workflow question - film to AppleProRes or intermediate codecs

This is a followup to an earlier post from a few days ago. I'm looking for a little help with a post workflow and would appreciate any input.
Super 35MM to HDcamSR - no problem. But for offline, I'm looking for best quality while being able to edit on MacBookPros without rendering headaches.
I'm thinking HDV tape backups while having footage digitized to Apple Pro Res or Apple Intermediate codecs during telecine - are these, especially the proRes codec, too heavy for the laptops?
Thanks guys!

What was wrong with the answers given? DVCPRO HD 720p at 23.98 is the best way to go. ProRes is VERY heavy compared to DVCPRO HD. That is intended as a replacement codec for Uncompressed HD...not as an offlining codec. Feature films cut on FCP all pretty much use DVCPRO HD. JARHEAD, ZODIAK, BENJAMIN BUTTON to name a few.
DVCPRO HD is the offline HD codec of choice. And works grand on a Powerbook, and even better on a MacBook Pro.
HDV would be the WORSE decision to make as an offline codec. It isn't an I-Frame format like HDCAM and DVCPRO HD are.
I don't see what was wrong with the initial advice you were given.
Shane

Down converting HD to help workflow

Hi All
I have been given many quicktime animation files to cut into a sequence in Final Cut Pro 6. The only problem is that they are 1920 x 1280 in size and are in Blackmagic 8 bit!!!! My computer cant handle the files, they are huge.
What steps should i now take to get them into a workable file type to edit with easily, and how would I go about when finished editing the piece, getting the online back to the original 1920 x1280 qt files provided originally. The files are also animations at 24fps.
Someone has suggested converting the original QT's from black magic to photo Jpeg using quicktime pro or compressor?
Much thanks to anyone who responds!!!

Hi Andy
Thanks so much for your response, media manager eh? Ive never used that before. Ive been looking for tutorials on the net but no luck. I did a test by high lighting a clip in my bin, chose Media Manager. Then I selected Ofline and chose the file to be photo Jpeg offline HD 24 fps, then when i clicked ok it asked me to save a new project? then when i save the clip is sitting there in a new projact, but its still uncompressed 1828 x 988? I would have assumed it would down convert it to the photo jpeg codec? and when i play it on the timeline it looks really pixilated... ha
am I completly missing the point of Media Manager?
Like I said, I have no idea about it - I come from Avid

Premiere CS4 Cineform HDV to SD down convert

Has anyone tried http://cineform.blogspot.com/2008/12/mastering-24p-dvds-from-hd-using.html using Premiere CS4 and Cineform Neo Scene? In my tests the down converted Cineform SD file was corrupt. The clip only plays the first few frames and the preview goes black. Anyone had success with Cineform HDV to SD down converts with Premiere CS4?

Maybe you'll be so kind as to point me where on Cineform's site they say any of there products are CS4 compatible?
Everywhere I see they say CS4 coming "late January" or "by Febuary".
http://www.cineform.com/products/NeoScene.htm
"* CS2 and CS3 are currently supported. CS4 support will be available in February 2009"
and this
http://www.cineform.com/products/Prospect.htm
"Until the time we release Prospect HD for CS4 (around the end of January 2009), all Aspect HD customers may upgrade to Prospect HD for $199 at our online store. All upgrades prior to our release for CS4 will be to Prospect HD v3. All PHD v3 upgrades will also come with a free upgrade to Prospect HD v4 (late January) that will support CS4."

MIRO Down Payment for PUrchase order ********* Exist

Dear all,
I have made PO with three line items in that third line item i have done the down payment.
i have made GRN and done Invoice for all the three line items.
My question user is again doing the miro for the same particular po. Now system throwing a error message saying that
Down Payment for PUrchase order ********* Exist M8138.
But my user id i was trying to do the same its not showing anything.
What could be the reason and SPRO Invoice verification--sytem attribute message i was checking there. It was not maintained this error message How system will bring this message in MIRO.
Could you pls clarify my doubt.

Thanks Kunal.
If duplicate entry exist also why its showing for only one User. Becos my user id its not showing that error message.
Then above message i have told that i havnt maintained any message M8. But where its picking this error message

Detect clicked cluster in mouse down event for clusters within multiple stacked clusters

With the help of Ben (see http://forums.ni.com/t5/LabVIEW/Determine-cluster-element-clicked-in-mouse-down-event/td-p/1245770)
I could easily find out what sub-cluster had been clicked on (mouse down event) within the main cluster, by using the Label.Text Property.
However if you have a cluster within a cluster within a cluster then you probably have to use individual mouse down events for each sub-sub cluster.
I just wanted to use one "Main Cluster":Mouse Down event and from that determine which of the sub-sub clusters had been clicked on - is this even remotely possible?
Chris.

Chris Reed wrote:
With the help of Ben (see http://forums.ni.com/t5/LabVIEW/Determine-cluster-element-clicked-in-mouse-down-event/td-p/1245770)
I could easily find out what sub-cluster had been clicked on (mouse down event) within the main cluster, by using the Label.Text Property.
However if you have a cluster within a cluster within a cluster then you probably have to use individual mouse down events for each sub-sub cluster.
I just wanted to use one "Main Cluster":Mouse Down event and from that determine which of the sub-sub clusters had been clicked on - is this even remotely possible?
Chris.
Yes but... you will have to pass through 26 Kudos worth of Nuggets to get there (Well maybe you can skip the last 5 or so).
This Nugget by Ton teaches us how to use Dynamic Event Registration. (15 Kudos, must read and understand)
This Nugget by me talks about getting at references inside arbitrary data structures. (11 Kudos, You don't have to read the whole thing, only enough to get at nested objects).
SO use the stuff I wrote about to gather up the references to the clusters. Build them into an array and then use dynamic event registration and what you learned in that thread you linked in your question.
So Possible? Yes!
Easy? YOU tell me.
Ben
Ben Rayner
I am currently active on.. MainStream Preppers
Rayner's Ridge is under construction

Workflow Question: 24p (Varicam) Masters, 29.97 down converts for offline

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