Yet another colour management question

Hi folks,
I've read several of the very detailed colour management posts/threads here already but haven't found the answer(s) I'm looking for. So I'm hoping that some of the experts might be able to spare me some time and input...
I am running a Windows 7 (32bit) environment with a Dell u2711 Ultrasharp display attached. I let the monitor warm up for close on 30 minutes and ran an 'Easy' calibration with a Lacie eye-one device using the Gretag Macbeth 3.6 software. (I guess I could have used the 'Advanced' calibration option but thought I'd save myself some time and was always pleased with the results on my older Sony CRTs.)
I'm running LR3.2 and CS4. Viewing RAW images in LR the skin tones are way too saturated, but when I export the images as sRGB JPEGs the results look very pleasing when viewed in Windows Photo Viewer (far less saturated). If I open the same image in IE, it looks identical to the way it looks in LR. (I don't have Firefox installed so haven't compared that). If I open the image in CS4 by default it looks the same as it does in Windows, but if I change the Proof Setup to Monitor RGB it matches what I am seeing in LR and IE.
I'm guessing this is somehow related to the new wider gamut range that this monitor can display (compare to my previous CRTs). I read in one of Jao's posts that LR is always right and other non-managed apps will do weird things on high-end displays. IE is not colour managed so why would it display colours very similar to what I'm seeing in LR, when the standard Windows image viewer is displaying colour far less saturated (which seems to be the opposite to what others are experiencing)?
I generally always export as sRBG jpeg as the images usually go online, but this set is going to a client who will most likely be taking them for printing as well as viewing on a PC.
Looking forward to your input on this.
Kind regards,
Chris

Hi again all,
I've finally found some time yesterday to investigate this further and re-calibrate my monitor.
I nuked the previously created ICC monitor profile (so that there was none applied) and set to work with my Lacie Blue Eye device and the Lacie Blue Eye Pro software package. I set my preferred settings to 6500K, Gamma 2.2, 120cd/m2 and put the monitor into 'Standard' colour preset. I ran a test on those settings and while the colour and gamma levels were close-ish, the Lum was in the mid-high 200s...way too bright. (No wonder I felt like I was getting a tan sitting in front of the monitor. LOL!) DeltaE scores were okay but not great... Time for the manual calibration.
Set the monitor into 'Custom' colour preset and fired up the Lacie calibration software for the full calibration. Can't remember exactly how far the brightness and contrast controls had to come down, but from memory it was about 30 and 50 respectively. The RGB levels ended up in the high 80s each from memory. Ran the calibration, applied the newly created profile (double checked it was applied in Control Panel | Colour Management). Ran another test report with the Lacie software and got colour, gamma and lum results 0-1% from target, and average dE scores of 0.4, max dE of 0.7.
RAW files in LR and PS CS4 appear the same, sRGB jpeg exports viewed in Windows Photo Viewer and Firefox appear the same, IE is still a bit out, but that's expected/known.
I took the (exported jpeg) images to another computer with a cheapy (uncalibrated) LCD monitor and the results were perfectly fine when viewed in Windows Photo Viewer.
Having greatly reduced the brightness of my monitor I should hopefully reduce the likelihood of having issues with prints coming back too dark. Of course I know I can get hold of the printer profiles from my lab and softproof the images in CS4 when it comes to that anyway.
Thank you all for your input and feedback on this matter. Everything seems to be resolved now.
Chris

Similar Messages

Yet another colour management thread

Here is a warm, saturated image worked on in lightroom, converted to adobe RGB on export, converted to SRGB on output from photoshop. (srg profile not embedded).
Its far too saturated and red
Here is the same image with the adobe rgb tagged.
and as srg with the profile embedded.
Now my understanding is that in IE all of these will display the same (and they do, i've tested it), and they all look like the oversaturated red one. I also understand that the gamut of your monitor will affect just how red they actually appear.
Windows also displays them all the same - the uber red version.
So the question is - how the frick are we supposed to supply these to our clients? Bearing in mind they all have different monitors, browsers, OS's. I've just had the client on the phone complaining about the saturation and it just sounds like so much ******** waffling about gamut and colour managed browsers.
Are you to just avoid warm saturated images? Is there an application that we can distribute with the images that will display them correctly? Because if I leave them on a DVD I have no control over what viewer will mangle the colour management.
I'd love some feedback on how other photographers deal with this issue.
EDIT: and joy of joys, adobe obviously strips out the colour managment when these are posted - because the 2nd two look correct in the edit window, but the same as the first when I post it

I clearly see the differences in you screen shot, although my version of IE seems to obey the color profiles I embed in our imagery.
I deal with color management like others in this thread - I use calibrated monitors, I profile using sRGB (the lowest common denominator tag for general digital distribution IMO) and advise my clients to do the same (calibrate!). Some commercial clients require CMYK, in that case I edit completly in sRGB and only convert to CMYK when creating final delivery imagery. I use Adobe PS default CMYK settings and I specify this up front in contractual agreements. I have yet to get many complaints that cannot be explained by failure to understand the huge variations in hardware and software that a viewer of digital images might encounter. This allows me to do the best I can and you gotta just let the rest go .

Another color management question

Hi folks,
Apologies for yet another color management question, but Im getting very confused and could do with some help. I use a Canon 10D and Canon 30D. Ive come to LightRoom from Pixmantec Raw Shooter.
As Ive gotten more serious about producing high quality images for both the web and as prints, I thought Id invest in the Colorvision Spyder2 calibration product. So my monitor is now calibrated (quite a difference from what I was seeing!) and I have a calibration profile applied.
My needs are pretty obvious I want my images to look the same wherever theyre viewed including exported files (such as JPEGs) whether this be on my monitor (in LightRoom, a web browser, Paint Shop Pro, whatever) and on a printer.
Perhaps Im getting confused because Im trying to compare what LightRoom does with what RawShooter does.
In RawShooter, when exporting from RAW to JPEG, I can specify the RGB Working Space Im using and then select my monitor profile. I think that what happens is that the export mechanism takes this profile into account and, low and behold, the JPEG looks fine when viewed in any web browser - the colours are exactly the same as in RawShooter. In Paint Shop Pro they look fine too unless I enable Color Management in which case (Im guessing) the monitor profile is, essentially, applied twice! But the upshot is I seem to get the results I want.
What I cant figure out is how I do this in LightRoom. I can make the same adjustments to the RAW image as I did in RawShooter, but there doesnt seem an option for me to select my profile on export to JPEG only the standard 3 color spaces. Anyway the result is a JPEG that looks somewhat different when viewed in a web browser, or Paint Shop Pro with Color Management turned off. However, if I turn Color Management on in Paint Shop Pro, then it looks fine. So Im assuming that my profile isnt accounted for when exporting JPEGs from LightRoom.
So any pointers or explanations would be really appreciated. I also acknowledge that this is my first foray into color management, and feel free to tell me to go and read some introductory article (link please!) and then come back with a sensible question if thats whats needed!
Thanks in advance.
- Pete

Lightroom color management.
a.) Monitor profile used: The profile set as the default in your operating system (e.g. Windows xp). (your monitor profile software usually does this when you calibrate/profile your monitor).
b.) Working space: ProPhotoRGB
c.) Export color space: You can choose one of the following sRGB; Adobe RGB or Pro Photo RGB.
There is no option (afaik) to change a.) or b.) the option you choose in c.) will affect how the exported image will be displayed in color managed applications or non-color managed applications.
Non-color managed applications are not able to display Adobe RGB or Pro Photo RGB correctly. I guess if you wish a consistent display of your images in color managed and non-color managed applications then the only common factor is sRGB and you should export your images in sRGB color space.
The benefits of the other expanded color spaces are in printing and you also would have to get this end of your color management correct. Printing profiles to match your printer and each paper being used etc.
Until you can get this all sorted out you will get better results from sRGB, this is also applicable when using most commercial printing services.

CS4 Colour Management question(s)

Ok, here goes...
My team of designers create adverts in InDesign that are to appear in either a newspaper OR a glossy magazine.
We employ an Ad Tracking system that provides a blank InDesign template for them to work from.
The Ad Tracking system knows if the advert is for newsprint or glossy and provides a template where the CMYK Working Space is either ISOnewspaper26v4 or ISO Coated v2 300% (ECI) respectively.
We only ever place CMYK images into these adverts. These images have been converted in Photoshop using the same ICC Profiles (depending on destination) as above. Profiles are not included in the images.
We then output a PDF with "No Colour Conversion" and "Don't Include Profiles" in the output settings.
We have been working this way for years but I would like to introduce an RGB workflow where we can place RGB images in InDesign and output a PDF that is not yet specifically for Newsprint or Glossy.
I don't want InDesign to convert to a profile but our Ad Tracking system can route this "generic" PDF through a system called Asura from One Vision that does the conversion to Newsprint or Glossy using the relevant output ICC Profile.
My questions...
1. Am I correct in thinking that the RGB and CMYK values of the placed images will not change in the PDF exported from InDesign?
2. How are placed images affected by the Working Space?
3. Does "Emulate Adobe InDesign 2.0 CMS Off" give a non-specific document?
I have watched both David Blatner's and Chris Murphy's titles on Colour Management on Lynda.com and thought I had a reasonable grasp of basic colour management until I came to think about changing workflow.
Any help would be greatly appeciated.
Thanks
Simon.

Thanks Rob, well explained.
Just a couple more questions if you don't mind...
How would you create an InDesign document with no profile assigned?
and
Does it matter if a document has a Glossy profile assigned and the exported PDF is then converted to Newsprint downstream? Is this just a case of the downstream conversion needing to know what profile was assigned to the document and the placed images?
Thanks again.
Simon.

Basic colour management questions

Hi,
I am a biology PhD student and I am reasonably proficient in using computers for everything except when it comes to colour management. I frequently encounter people at Uni who struggle when working on posters etc. because the colours do not print the way they looked on their monitors. I try to explain that most computer monitors are not calibrated correctly.
Anyway, I have my monitor calibrated, the area where I run into trouble is when assigning colour profiles. For example, I need to scan some photos using a flat bed scanner, and I don't know which colour profile to assign it. Should I assign it the calibrated profile that I created or will this only work on my computer. I need to be able to share these images and know that they will look the same on other computers.
I also don't understand what is meant by converting to a working space. I have an Apple PDF about Tiger colour management but it is a bit too technical for me.
Basically I was hoping someone could explain the basics to me or point me towards a good article.
One last question, the scanner I use is a very old UMAX Astra 2100U scanner that does not work in OS X. I have to boot up in Windows and scan there then go back to OS X. Am I likely to run into problems taking the picture between the two OSes?
Thank-you in advance,
Ben

Ben_ wrote:
What is the point of using profiles other than these two. For example, I know most digital cameras embed their own profile. Is there an advantage to using this over say Adobe RGB or should I always convert these images to Adobe RGB or sRGB?
Scanner & camera profiles have two main purposes AFAICT: in colour-managed environments where the original file is sent to a printer or displayed on a monitor, the profile will enable the output to be adjusted for the idiosyncracies of the imaging device; and when opening a file for editing, the device profile will (in theory at least) allow a more accurate conversion to the program’s working space.
If I was editing an image that I planned to print, why would I use Adobe RGB rather than convert the image to CMYK mode? Or is the colour mode (CMYK vs RGB) separate from the colorsync profile?
Yes, there are various CMYK profiles as well: some are for particular printers, while others (like SWOP, Standard Web Offset Printing) attempt to encapsulate typical commercial printing environments. I work in prepress, where CMYK is always the eventual destination—but a printer that uses six or more colours of ink can often represent a larger portion of the RGB gamut than a four-colour press can, for example producing more vivid blues than would be possible in CMYK.
Another issue is that CMYK images that have been optimized for prepress often look somewhat dull or ‘washed out’ on a monitor, especially one that has a high colour temperature (as is typical outside a prepress environment). If the image been tagged with an appropriate CMYK profile, the display may be able to compensate to some extent, but conversion from RGB to CMYK very frequently results in some ‘shoehorning’ of a wide range of colours into a narrower one.

Perennial colour management question (browser srgb)

Howdy folks,
I wish I knew why my photos get banding and crushed blacks in the colour managed browsers, but the exact same image looks fine in the color managed applications - bridge and photoshop.
Chrome and firefox do this:
Eeek! Green in my skies!
Photoshop does this:
and IE displays the colours incorrectly but without banding!
I've wondered about this for year. I thought at one point it might be a monitor profile setup issue, but it happens on both my monitors, I've changed systems and graphics cards.
Heres the whole image:
Here in chrome that sky has bands of purple and green (or at least turquoise). Anyone else seeing that?

Hi again all,
I've finally found some time yesterday to investigate this further and re-calibrate my monitor.
I nuked the previously created ICC monitor profile (so that there was none applied) and set to work with my Lacie Blue Eye device and the Lacie Blue Eye Pro software package. I set my preferred settings to 6500K, Gamma 2.2, 120cd/m2 and put the monitor into 'Standard' colour preset. I ran a test on those settings and while the colour and gamma levels were close-ish, the Lum was in the mid-high 200s...way too bright. (No wonder I felt like I was getting a tan sitting in front of the monitor. LOL!) DeltaE scores were okay but not great... Time for the manual calibration.
Set the monitor into 'Custom' colour preset and fired up the Lacie calibration software for the full calibration. Can't remember exactly how far the brightness and contrast controls had to come down, but from memory it was about 30 and 50 respectively. The RGB levels ended up in the high 80s each from memory. Ran the calibration, applied the newly created profile (double checked it was applied in Control Panel | Colour Management). Ran another test report with the Lacie software and got colour, gamma and lum results 0-1% from target, and average dE scores of 0.4, max dE of 0.7.
RAW files in LR and PS CS4 appear the same, sRGB jpeg exports viewed in Windows Photo Viewer and Firefox appear the same, IE is still a bit out, but that's expected/known.
I took the (exported jpeg) images to another computer with a cheapy (uncalibrated) LCD monitor and the results were perfectly fine when viewed in Windows Photo Viewer.
Having greatly reduced the brightness of my monitor I should hopefully reduce the likelihood of having issues with prints coming back too dark. Of course I know I can get hold of the printer profiles from my lab and softproof the images in CS4 when it comes to that anyway.
Thank you all for your input and feedback on this matter. Everything seems to be resolved now.
Chris

Yet another Try Catch question. Iterating through a ForEach loop

Confused on error handling in a Powershell ForEach loop. I’m looping through a list of registry keys, attempting
to open each one. If it succeeds, I do a bunch of stuff. If it fails, I want to skip to the next iteration.
If I was doing It in VBScript I’d do this:
For Each Thing In colThings
Open Thing
If Err.Number <> 0 Then
“oops”
Else
Do stuff
Do stuff
Do stuff
End If
Next
This is what I came up with in PowerShell. It seems to work, but just doesn’t seem powershell-ish. There must be a better way to use the catch output than just creating a $return variable and assigning it success or fail?
ForEach ($subKeyName in $subKeyNames)
try{$subKey = $baseKey.OpenSubKey("$subKeyName")}
catch{$return = "error" }
If($return -eq "error" )
“Oops”
Else
Do stuff
Do stuff
Do Stuff

I totally get what you're saying about formatting. I don't' have any habits yet, since I've only been working in Powershell since... well, what time is it now?
Unfortunately, It Has Been Decreed that we are no longer to use VBScript for any engineering solutions at work, so my 15 years experience in it now needs to be transitioned over asap. I don't have the luxury of crawling before I run. I'm trying not to be
frustrated, but it's like an English major waking up one day and being told "You must now speak French exclusively. Here's a book."
The Do Stuff example of my ForEach loop is about 50 lines of code involving matching values in subkeys of this registry key with another and collecting output. I tried wrapping the whole thing in a try section based on some examples, but it seemed odd, that's
why I'm asking. I'm used to tightly focused error handling at the point where an error may occur.
In this example I'm only interested in whether or not I can open the subkey (it exists, but I may not have permission). If I can't, there's no point in continuing with this iteration of the loop, I want to skip to the next one. So why include all the "Do
Stuff" in the the try section? From a readability viewpoint, it doesn't seem helpful.
Also, there may be more error handling deeper in the code. If I then put that in a try/catch, and then something else inside that, now I have nested try/catches mixed in with nested if/elses, all wrapped in a For loop.
Again, I can see how it works logically, but for readability not so much, and having all these braces 50 lines apart to match up is giving me eye strain :).
It sounds like David is agreeing with jrv, that putting the entire ForEach loop code into a try/catch is the conventional way to do it. I guess it makes as much sense as putting it all in an If-else-Endif, and I just need to adjust my paradigm.
But if not, my specific question was more along the lines of, is there a built in way to tell that the catch section has been executed, rather than me using it to populate an arbitrary variable and then read it? In VBScript, you execute something, and the
next line, you check the Err.number. I wasn't sure if you could do that with a try/catch.

Yet another MBA connection question

I just purchased my MBA in July and it started off working beautifully. Just in the past month or so my internet connection has gotten a bit lousy. My Airport says I have a full connection to the internet yet pages either never load and sit in internet limbo forever or i get a "safari can't open the page - operation could not be completed' message pop up. I bought this computer for it's portability, but no matter how light and thin a computer is made, when it has no internet it is a useless brick. Is there anything i can do to fix this? I am a new mac user so if you can put it in english that would be great, most of this mac-ese is still a bit greek to me!

Do you have any other computers on your wireless network? Are they running ok? Do any of them run Torrent software? Or on your MBA?
Have you taken your MBA to another location with a different wireless router and tried it? was the connection ok from there?
I would try it from another location first - that will narrow down the issue instantly to either your MBA - or something with your home network.

Yet Another Hard Drive Question from a Mac Newbie

I apologize in advance for the length of this post -- as I state in the subject line, I am a complete Mac newbie.
I just took delivery yesterday on a new (early 2008) Mac Pro. I purchased and installed an additional 8GB RAM, and ordered it with a 500GB HD (Seagate, it looks like) and purchased two 750GB Hitachi HDs for bays 2 and 3. I will be doing a fair amount of photo editing, and also plan to partition the OS drive to run XP using bootcamp, but also plan to use VM Fusion.
I am thinking of partitioning the boot drive with 250GB for OS X and apps, 150 GB for XP and apps, and ~66 remaining possibly to be used as scratch memory for CS3, though it sounds like this may not be enough. The bay 2 Hitachi would be used for all my user data (photos, music, docs, etc.) bay 3 would be for backup initially, possibly using Time Machine? (other recommendations welcomed). As space becomes an issue in the future, I will invest in a fourth internal HD, and at least 2TB external HDs for backup.
Does this seem like a reasonable plan? If so, how do I go about formatting the drives and installing boot camp, Fusion, etc., and in what order? Also, how best do I organize my existing files from my current Windows machine as I copy them to the new user data HD, so they can be accessed as needed by both OS X and XP?
Thanks for your help.

I like the boot volume to never get beyond 50% used. Enough room for burning dual-layer DVDs can be 50GB for best results. And to force the system to use the first outer tracks.
I hope you are concurrently zeroing both drives. SoftRAID is my choice for driver for RAIDs and you can cancel safely at any time. There are also excellent tools for checking sectors and mapping out bad blocks.
I put Vista on its own 10K Raptor. I had it on the boot drive but I am always changing my mind, my drives and setup. Vista needs at least 40GB and that is with all my major documents and files on another drive which holds 150GB out of 450GB.
You set the preference for what drive to use as scratch in CS3 or other programs. And you want to disable Spotlight indexing on any scratch or editing partition. Scratch can be a drive, a volume, a stripped array. Any 'normal' partition though don't use the default (journaling) feature is all.
How large? I'd have to see and know how large files, work flow, and how long you work between projects. The nice thing, erase the scratch volume between projects but it is possible to use 300GB when you work on 1.5GB files and above.
One early Mac Pro owner wasn't able to work as they wanted until they had 10-12GB RAM, boot RAID0, and RAIDs for scratch and data (saving 2GB files and not having to wait forever, which even a minute can feel like forever).
Disk Utility: Partition. You can even partition 2+ drives, just make them the same, and first create 2 partitions (100GB on each?) and then stripe the first "Untitled 1" of each into 100GB x n array. Stripe or mirror the "Untitled 2" or leave those are two unique non-RAID volumes. Sounds harder than it is.
Scratch = temp space and designed to not be saved, to be erased as needed.
SoftRAID.com 3.6.6 makes it easy to create, delete, erase volumes and arrays as needed. Leopard has improved on non-RAID but not with RAIDs (for those that change their minds).

Illustrator and Blending modes. Colour managing question.

Let's say i make 2 circles with 2 different fill colours. Then i intersect and blend them with multiply. Is there any way to save the colour resulting on the intersection?
Thank you!

Duplicate the 2 circles.
Object > Flatten Transparency.
Select the intersection colour and add it to your swatches.
Get rid of the duplicated objects.

Yet Another Time Sheet Question

Hello, Everyone:
I know there have been other posts on this subject, but none of them have met my needs. I recently began my freelance design career and would like to keep track of my hours in spreadsheet form. I know nothing of spreadsheet applications whether it be Excel or Numbers. I need a basic rundown of how to make my spreadsheet do what I want.
I'd like my sheet to have the following columns:
*Date | Start Time | End Time | Total Time*
Now, I have seen where the application renders the time in decimal form, which is fine, but would it be possible to show the time in hours and minutes, like 1 hr 43 mins? I would like to know how to get both sorts of results, if possible. If not, I'll settle for decimals.
In any case, if someone could show me step-by-step how to meet this task, I would really, really appreciate it.
Thanks in advance!
Message was edited by: Ancient Console
Message was edited by: Ancient Console

AC,
Your use of the time calculations is a simple as can be.
Select column A and format it as Date&Time, and set Time format to None
Select columns B and C and format as Date&Time, and set Date format to None
Select column D and format as Duration, adjust the slider to cover only hours and minutes, set the format as you wish, H:MM would work.
In the first data row of column D, enter the equation: =C-B
With the first equation in D selected, select the rest of the cells to the bottom and Insert > Fill > Fill Down.
Enter some data. The result should appear in column D. Now you may not like looking at zeros in the rows where you haven't yet entered times. So, select column D and in the Cells Inspector click the Conditional Format Show Rules button. Choose the rule: Equal To and type a zero into the field on the right. Then click Edit, followed by a click on the rectangle to the right of the word Text. In the colors panel that pops up, cllick the plain white square next to the upper left corner. Now click Done.
That's all there is to it.
Jerry

Yet another how to * question

Hi guys,
Fall semester is ending next week, and I want to find a job by December. Any idea on how to work it out in this shrinking job market?
Do you think Sun certified java developer certification might be something good to have under the belt? I remember the programmer cert helped me quite a bit in having the last job.
A little info on me:
location: Los Angeles
education: sophomore college student
java work experience: 1.5 years
certificaitons:
Sun certified java programmer
IBM certified solution developer(Jcertify level II) on WebSphere 3.5
I really appreciate your spending time on this offtopic post.
Thanks.

If you could only choose one, which would be better,
experience or certification?That's a very difficult question. I think that experience vs. certification is like asking whether apples are better than organges; they're simply different, but typically compliment each other very well.
While experience demonstrates nothing but the fact that you've been doing something for a long time, most people choose to take advantage of their long stint in the field to refine their skills and become more knowledgeable about it over time. Presumably, if you've kept jobs for long enough, you are able to write a program; hopefully, a half-decent one.
Certification, on the other hand, displays that you have learned the syntax of a language, the API of a technology, the intended uses, etc., but not that you can actually use it to its full potential. Using a technology is as much about knowing what not to do as it is knowing what to do; experience helps with the former. Certification may be considered sufficient for junior software developers, rather than engineers, who do not necessarily take part in the design of the system that they are developing for, but is simply not enough in most cases.
As long as one is not stuck in the past and welcomes change, my conclusion would be that one's experience weighs more heavily than holding a certificate. Having said that, if you lack experience, I think that the studying and work required to get a certificate can do nothing but help you out. Again, neither is enough to judge somebody's skills except for at a birds-eye level.
In response to the original poster, I think that having a genuine passion for programming is one of the greatest job-landing tools you can ever have. Learn as much as you can, utilize your knowledge, love it, and display your skills to your would-be employers; you'll win out in the end.

And yet another reverse telecine question. =)

Okay so I shot the footage in 24p advanced on a dvx100b. I batch reverse telecined in cinema tools. It worked fine except for the first frame of some of the final reverse telecined files. Only on some of the files (randomly) the first frame is interlaced. This only happened to some of the files and it is not really a big deal because there is nothing important usually in the first frame but it is a little worrying. Could it be because I didnt really pay attention to which of the 5 frame set (0-5/A-D frames where frame 3/C is the interlaced frame in 24p advanced) was captured as the first frame during capturing? I have heard that you must capture the 0/A frame as the first frame for reverse telecining/advanced pulldown removal to work. Is this true. Even if so, the whole clip other than the first frame is still fine so, any ideas?

Ive received an answer to this in another forum. It is due to the fact that cinema tools has no other field to combine with for the first frame depending on which of the 5 field sequence it started recording in. It is really no problem because it is only the very first frame that is affected.

Yet another transfer/sync question...

I've authorized my new laptop.
I know how to transfer "purchased" songs to it.
I CAN NOT access original hard drive which also holds songs burned from CD (but most of my library is on the iPod as well).
Q: Will connecting iPod to the new laptop, sync its song list (including the non-purchased songs) TO the new lap?
Thanks
Drock j

dockj wrote:
Q: Will connecting iPod to the new laptop, sync its song list (including the non-purchased songs) TO the new lap?
NO.
To copy songs from an iPod to a computer, you need 3rd party software. Search this forum for a very informative post by Zevoneer on the topic.

Yet another file sharing question...

So I've read the posts and several articles and I still can't get this thing to work.
System setup:
1) MacLion as the main source with users 'administrator' and 'developer' both admin accounts.
2) MacLeopard as the client with user 'administrator' an admin account.
Folder setup on Lion (Get Info):
1) SharedAdmin > owner admin, group groupAdmin, mode 0755
2) SharedDevel > owner devel, group groupDevel, mode 0755
Accounts on Leopard:
1) Administrator/groupAdmin (same as Lion,
Objective:
I'm trying to mount both shared folders on Leopard
can I use two different login from Leopard
do permissions effect file sharing

Right, I think I've got it...
I'm trying to logon from a Leopard machine to a Lion machine that has got two shared folders created on it using different accounts.
I can logon to one shared folder with the appropriate account, that preserves the users and permissions, but when I try to logon to the other shared folder Leopard does not present the logon window and used the previous logon details that messes up the users and permissions.
Am I going about this the right way? And if so wht can't I use two different logon details for the respective accounts?

Yet another colour management question

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