Do a stream of color?

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• HP CL stream M880 MFP: HP Color LaserJet Enterprise flow MFP ME output tray

  We have a HP Color LaserJet Enterprise flow MFP M880 with finishing tray.

  With the finishing tray attached it only allows the output to the upper and lower trays on the Finisher and removes the exit option on the top shelf on the main part of the unit.

  Is there a way to get around this?

  We would like to have the option for all 3.

  In fact just the finisher installed a few days ago and after he's looking for there is no way to use the bar to original condition with the attached finisher.
  
  You remove the tray of origin during the installation of the Finisher and install the transfer unit in its place.
  
  Paper is then powered off the machine and in the transfer unit when it is moved to the right in the finisher.
  
  If my post is solved your problem and click the accepted as button solution under him.
  
  In order to thank a Tech for a post click the thumbs up button under the post.
  
  You can even click on the two keys...

• How to build color grain sorting

  Hello

  I am currently working on the build system for the sort of color of the grain. The system process will be like this

  -The grain will run in a chute in a continuous stream of almost (with several lane).

  -use of scan line GigE and vision software from OR to detect the failure of grain (black color).

  -After the vision system to detect defects that can be random in herizontal KING.

  -I guess the vision system can send the position of each defect to the KING (not pixel. (or coordinate X).

  -Then, use default position to trigger the ejection nozzle air to dismiss the flaws.

  I have a lot of questions to be clarified before going any further, please help answer my questions.

  -That the software of NOR and the material can be used to inspect the defect of color?

  -How to get the position or the X-coordinate of each defect to KING?

  -Is it possible to send the default position information to the PLC? and how?

  Best regards
  Siriwut H.

  How long do you have between the camera taking the picture and turn the air release valve?  It does not appear that it would be very long for me.

  If it's extremely critical time, I would probably do the system using a Camera Link interface, which built in the FPGA.  NOR has the one I used before quite successfully.  I do the treatment on the FPGA for image and then control the valves of air of an FPGA.  I would like that the entire system FPGA and RT to ensure that when everything is right.  You do not want Windows to waste your time on something like that.

  Once your image processing finds a fault, you just a delay queue and trigger the air valve after the delay.  Tweak you the delay until you have found the right time.  Depending on your air valve system, you may be able to eliminate the individual grains.

  Bruce

• Track of the position of a specific color using the webcam

  Hey guys, I'm desperately need assistance. I am extremely new vision LabView module and have found dealing with the last part of my main project. I am using a Microsoft lifecam to follow a green circle that is attached to an object. My goal is to be able to press a button (Boolean) and freeze an image, this image for only a certain color output of the filter and highlight the shape. And then once the image has been frozen, store a bitmap and overlay on a video stream in real time to try to recreate the position. Seems fairly complex and I know that I am deeply in above my head, but what I really need is a video output real time, then the output position of when an object there. I search for long on different methods people have used and not found much that applies to what I'm trying, probably because of my lack of experience with the program. I joined my current vi and a picture of what looks like the filter. Thanks a lot for your help in advance!

  See the attached example.  I just used the particle analysis stage to find the position of the colored object, then superimposed an oval in the same position on the live stream.  I hope that this will put you on the right track.

• HP Color Jet CP5525: problem with upgrading the firmware on cp 5525

  Hello!

  Just upgraded my HP Color Jet CP5525 firmware "cljCP5525_fw_2305090_000453".

  It seemed very well att first, but after a print I get error message 80.00.04 'problem with jetdirect '.

  Any suggestions?

  Fixed streaming t back to factory settings. Strange solution, but I stopped Esser with it now ha ha

• HDMI connection to the tv is color seepia

  Hello. My broblem is when I put my hdmi cable to laptop via the TV and watch movie or is the bureau tv screen... screen color seepia tv. sometimes 5 minutes along sometimes 30 minutes long... that fixed when I take my hdmi cable to my computer and put back in place but only temporarily.that boring... 2 hour movie that operation get 4 or 5 times... sometimes seepia comes and goes, but it is rare. and no film of difference read hard disk or streaming mobile phone is 7750 aspire i5-2430 M radeon hd 6850M 1 GB and 4 difrend hdmi 1.4 cable tested nothing works... times of driver intalled severral and thermalpaste card processor and graphics card are luck... bios update...... change laptop not even warming up... temp is under 50.C

  Have you tried on more than 1 TV? If you did and it does the same thing, it should probably be fixed.

• HP Color LaserJet Pro M176n can take care of Terminal Server print?

  Hi all

  Because my HP P1102 printer cannot print RDP, so I decided to buy a new printer for the printing of the server terminal server. I am currently using Windows 7 64 bit and the terminal server of my company is can I 2008 Server 64 bit.

  Someone know if HP Color LaserJet Pro M176n support RDP printing needs? If not, please would you advise another model of the printer for the printing of the server terminal server thank you.

  Kind regards

  Lapson

  Don't worry about the model of the printer when you print from.  Is the printer driver which needs to understand where the print job is coming so that he can pass the print stream to the printer.  If the printer driver is not allowed to communicate between the server and your computer, then you must correct this problem first.

  Printing from a Server Terminal Server is normally something that needs to be configured when printing to a USB cable.  Your RDP client has its enabled print transfer function which allows him to pass the objects on your printer to your personal computer on the server.  Without the correct feature is enabled, you will not be able to print with any printer USB model.  Check with your system administrators to see if they can enable redirection of printer for you.

  Otherwise, you will need to find a way to install your printer on the network.  This can be difficult if you are telecommuting from a personal network printer does not exist on the corporate network.  It's less that you can get your company to install a router with a VPN feature on it.  In this way, you can connect multiple personal devices on the corporate network.  However, your network admins should be aware that you eat additional IP addresses on their network and that he can't ask you to do it at all.

  Otherwise print on a network currently on the network printer should be child's play.  All what you need to do is install a UPD on the server and that it points to the IP address of your network printer desired.  The server will have no problems to send jobs to the printer from here.

• How to fix the colors corrupt in WMP?

  Origin, I searched for a way to uninstall and reinstall WMP, because of the problem that is described in the 'Title' field above. Red is shown in green, the color of human skin becomes blue etc. - all colors are out of use when playing media files or streaming. I got yet any action, because I might destroy more that I can fix, due to the integration of WMP with Windows.

  Exactly when corruption happened is unknown, but suspected that this error appeared after some virus was detected and deleted by Avast! 4.8 (I guess that 05.Marco July 2009)-in the journal:
   
  >
  02.06.2009 21:07:23 SYSTEM 1920 "iframe-EM" sign [Trj] has been found in the file 'http://ads.torrentreactor.net/phpadsnew/var/plugins/config/geotargeting/default_120.js '.
  28.06.2009 21:19:16 setifaceUpdatePackages() SYSTEM 1756 function failed. Return code is 0 x 20000004, dwRes 20000004.
  05.07.2009 22:30:19 SYSTEM 1852 sign of "Win32: Trojan-gen {other}" was found in the file 'C:\Users\xxxx\AppData\Local\Temp\VRTA842.tmp '.
  05.07.2009 22:30:24 SYSTEM 1852 sign of "Win32: Trojan-gen {other}" was found in the file 'C:\Users\xxxx\AppData\Local\Temp\VRTBEBF.tmp '.
  18.07.2009 23:10:40 SYSTEM 1680 sign of 'iframe-inf' was found in the file 'http://smileyadv.net/sc72/flashwrapv10.js '.
  

  Material:
  Asus P5B - VM DO motherboard
  Samsung 245 b 24 "LCD
  Core 2 Duo E6420
  GeIL Ultra + TwinMOS 4GB pc6400
  Gainward 7900gs 256 MB
  Hiyatek ControlPanel.
  NEC Optiarc AD - 7173 has
  hard drive: Samsung HD501LJ
  hard drive: WD 5000AAK external USB
  PSU: Chieftec 380w

  Software:
  HP Norwegian Vista OEM (SP2, 32-bit)
  V11.0.6002.18005 WMP
  I explore v8.0.6001.18813

  I would try the K-Lite Codec found here:

  http://www.free-codecs.com/download/K_Lite_Codec_Pack.htm

• HP Officejet 6700 Premium: Officejet 6700 premium prints in color but not black

  Hello, I had this printer new and used for 6 months, worked perfectly.  We moved and he was sitting in the box for the last 16 months.  I have just connected printer to the top and she supposed to replace the black print cartridge, so I did.  He also mentioned that the yellow was low.  I printed a test page and it does not print in blue and indicates the Microsoft Test Page.  I cleaned the print heads and I have replaced the yellow cartridge.  It took all three cycles of cleaning, but at least now, the ink test page shows all the color ink, but not black levels.  I ran the print heads clean again three times, no change.  When I put in place, reports, and report printing quality, I get everything except black output.  I replaced the black cartridge twice with no change...

  Any thoughts would be great.  Thank you!

  Thanks for the suggestions to Bob.  I've already tried one.  For cleaning of the printheads, I went on this link and follow in his footsteps.  When I got to the printhead out, I had a syringe and pushed water soapy warm through to the stream of print heads has been good.  I then ran the clean hot water through out the SOAP.  Then I used compressed air to dry the printhead.  I have no ink needed to fill the resovoirs, I so back up the device and installed the ink cartridges.  It took the printer a few power cycles to start working normally.  I also ran the printhead, clean once more.

  The printer works like a charm again!  Thanks for your suggestions.

  https://www.YouTube.com/watch?v=u4CSzF7Wjxs

• When I play the dvd in widows media player, the color/contrast is far away. The image is too red, and too dark. Is there a way to fix this?

  When I try to watch DVDs in Windows Media Player, I look never for long.  The image quality is very dark, the colors are too intense.  Ive tried to find ways to address this, but I'm having no success.  I don't have this problem when I stream Netflix movies or watch online. Only in Windows Media.  I'd appreciate any help you might be able to give me in this regard.

  Try resetting WMP12

• The color adjustment: Speedgrade or creation?

  Hello!

  I am sure that this discussion has already been discussed, so please direct me to the good discussion if it exists.

  But I'm curious to know if there is a bigger difference in the colors quality when using Speedgrade lavis Lumetri in first?

  I starts to enter the color adjustment, since I upgraded my equipment and started firing on the D - Log 4 k images.

  I am currently using Premiere Pro CC 2015 and have used the LUTs OSIRIS what color ranking my films.

  I did not export any to Speedgrade again, since the first has the ability to apply LUTS/effects through Lumetri.

  Is there a significant increase in quality if I have everything on send to Speedgrade and finish my grading color there?

  Also, after the application of any type of LUTS, you apply other effects or corrector color to make your Cinematic sequence more?

  Thank you! I hope you guys can help out me!

  -Marty

  With the change of version of the project which was the 2015.3 version, the team of Adobe Pro/SpeedGrade first deleted the option 'Direct link' within the PrPro send a draft of 'direct' to SpeedGrade. To use Sg now, he must either use only the PrPro 2015.2 version over the version Sg 2015.1, or have PrPro create an EDL from the project from a flattened chronology and which opens in Sg, restoring links to media. Or export a full resolution/quality of the PrPro project, then import this file into Sg for the classification.

  Those are the "officially approved" ways of moving PrPro Sg at the present time.

  For a good... fuller... discussion of the options, I suggest go during the Forum of SpeedGrade.

  SpeedGrade

  There are several wires he and a couple that include manually "hack" around the issue and a small application (with supplement) that a user has created and made available. Those who are NOT officially approved tactics, of course. But as you mention using media 4 k and D - log, I'll give you the... more... large photo.

  As for the notation between PrPro and SpeedGrade... a layer of primer.

  SpeedGrade is a ranking program, pure and simple. It is not nearly as "broad and deep" in total tools know 12.5 to solve, but it's still a beautiful app ranking. There are some things like saying followed by masking that aren't always what we prefer, of course.

  Premiere Pro is a software for editing , with panels or 'modules' to do certain things and the Lumetri Panel is a really wonderful creation... as it goes. To take a single element or a series of clips with similar "must" and apply a LUT tech, do some basic fixes and a secondary (1) to the, with perhaps a second READ/look, we do quite a bit and this quite quickly.

  When I acquired a Ripple tangent Control Panel, I was amazed how my... appreciation... for the Lumetri Panel has progressed. I can not stress how much more intuitive and faster, is to work with such a group with the help of the mouse or trackball or Wacom pen - tab. With the ability to move several things at the same time, you can get 'for' places moving something at once just is not... go.

  That all said... and I enjoyed the Lumetri Panel... it has some serious limitations for the complete rankings. Complete rankings, I mean if you really need to get and your work supports. Several secondary, corresponding to the shooting and heavy grading without bringing your machine to stop.

  As only a secondary by 'cases' of Lumetri. As you become more experienced in assessment, using secondary as a tool to affect a certain range of tones, either color or brightness or saturation or a combination of the three, is rather Basic. Most of the shots that I work in my simple studio, interviews, the occasional wedding or event, will have at least a secondary school. Sometimes, I might have three or four. One to soften the sharpness of skin tone while slightly warming color, one to cool down a back wall and one to shoot the sky to the land values more "I think it should be", for example.

  Or after the warming or cooling of the shadow using a secondary antibody to desaturate most dark tones such as can still be seen deeper shades will be devoted to charcoal and black, without a visually unusual color tint in the shadows. While working with the other secondary skin tones. And making dirt look less magenta in a third. All the things I've done. On a regular basis.

  In a comprehensive program of ranking, also used several... "primary"... combined with the secondary as well as with the LUT/glance application layers. The Lumetri Panel can kind of imitate a few different, but no layers... completely. And to the techno-parler, the location of the LUT/Look of Lumetri slots is not quite... good. For your D - log, for example... you need a READ 'above' of your media slot and use the primary that your support is to neutralize the whites, blacks and contrast/gamma general (including white base balancing here) for the media BEFORE the application of the LUT, but doing everything by watching the media through the conversion READ. In Lumetri, the LUT slot is the first, neutralize you the balance of color & tone after.

  You can get around these "stacking" Lumetri effects on a clip. First of all, just use the Lumetri sign '' integrated '' for what you can accomplish in a 'pass '. Go into the effect controls panel, and then drag and drop an Lumetri effect on the clip, which appears in the Panel below (so after application) effects the first Lumetri and you can then use the Panel 'ordinary' to Lumetri to change your media. And... more secondary drop LUTs/eyes on clips... and drag and drop an another Lumetri...

  The problem with this stream of work, is double: first, add Lumetri effects in multiple batteries may start slowing down a machine... the third or the fourth on a clip, you can easily get a bar of red warning above him. Second, the ONLY way to change everything, but the last effect in Lumetri (at the bottom of the effects Panel) is via the effect controls panel, twirling in various sections of the tools and commands and their setting via mouse, because no 'external control' works within the ECP and... only the last Lumetri are "seen" by the Lumetri Panel.

  There is another process that gets around the second question above, but not the first... If you put a layer of setting above your clip, and then select and use the color Lumetri workspace Panel, these corrections will be applied after those on the clip, as on the effect of the bass track chronology is processed first... so you can do your work based on the timeline, additional work on one or more A - l above the clip.

  Each of these... If you use only the Lumetri Panel... will be achievable from the main panel of Lumetri and any control surface, you can have. Who even once, work around this limitation. However... put Lumetri three or more on a clip can still bring your computer to its knees.

  Shooting-correspondent... uh, sort of... not... really. Well, sort of... If... sigh.

  Shooting match aligns clips to one or the other, to obtain the sequence of shots in a scene at the search as they came from the same "eyeball" and not 3 different cameras of 3 different manufacturers with different settings on cameras. In general you rank turned a 'Hero', and then match other shots at him using several playheads on the timeline, with your monitor look a split in mode "2 - up" or "3 - up. You are both watching the same scene on your monitor calibrated reading two or three cameras, or maybe you still have a shot as a reference in one or two playheads showing. While you are the ranking.

  In general, there is even a control to 'match' the two places in the read head. Who, in the last "ish" of SpeedGrade, sometimes did a pretty decent job. At least you got a quick ways to correspondent.

  PrPro, you must use the Source, reference and reading monitors to do a stills & "reading head 1, head 2" sort of look. If you have two monitors, you can deselect by using the second monitor reading dedicated and drag the panels & monitors autour to create a new custom workspace and... basically... especially the kind of correspondence shot. It feels a little awkward, but... it can work.

  You do not have to "match the master read head" available, of course.

  What it is is that you can do many things based Speedgrade crushed just do in Lumetri in PrPro. And some he will wonder, no doubt.

  But the way the situation of orders works within PrPro, and also... the way enough Lumetri to begin to match what we're doing in stacking SpeedGrade slows a computer are low, both a bit of a drag IF you are regulars, or need, main work classification.

  In the good old days of yore, you could work a project PrPro, visit Sg in few seconds in the lead a few minutes hand five primaries, several secondary, and a couple of LUTs/looks back on PrPro and most of the time I never had any kind of reading 'touched' by the work of the color. Within the PrPro well... There may be.

  Then... Choose your poison, I guess!

  Neil

• Made with the wrong color and rasterization extreme alpha channels

  Each week, I export a video to our church with the same. MOV file in layers on top a static image. I've never had a problem, but it must be with the last update, the edges are very pixelly and it is strange colors anywhere, that there is no form of transparency.

  File from before the update of the decision:

  

  After the update:

  

  I tried to uncheck the box "Enable Intel decoding h.264 acceleration" and has not been any change.

  Help or advice appreciated!

  Here are the details of my video file

  General

  Full name: E:\Projects\New Hope\1402 HOUSE screen\NHN out Trans.mov

  Format: MPEG-4

  Profile format: QuickTime

  Codec ID                                 : qt

  File size: 3.70 MiB

  Duration: 5s 0ms

  Overall bit rate mode: Variable

  Overall bit rate: 6 212 Kbps

  Encoding date: UTC-2016-06-05 07:33:21

  Marking date: UTC-2016-06-05 07:33:40

  Library: Apple QuickTime

  © TIM: 00:00:00:00

  ©TSC                                     : 25

  ©TSZ                                     : 1

  Video

  ID                                       : 1

  Format                                   : PNG

  Format/Info: Portable Network Graphic

  Codec ID: png

  Duration: 5s 0ms

  Bit rate mode: Variable

  Bitrate: 6 201 Kbps

  Width: 1 280 pixels

  Height: 720 pixels

  View picture format: 16:9

  Frame rate mode: Constant

  Frame rate: 25.000 fps

  Mode of compression: Lossless

  Bits /(pixel*Frame): 0,269

  Stream size: 3.70 MiB (100%)

  Language: English

  Encoding date: UTC-2016-06-05 07:33:21

  Marking date: UTC-2016-06-05 07:33:40

  Other

  ID                                       : 2

  Type: Time Code

  Format: QuickTime TC

  Duration: 5s 0ms

  The first frame of time code: 00:00:00:00

  Time code, scratched: Yes

  Language: English

  Encoding date: UTC-2016-06-05 07:33:40

  Marking date: UTC-2016-06-05 07:33:40

  Adobe made changes to the built-in QuickTime features of Premiere Pro in 2015.4.  At least another user reported his multimedia QuickTime doesn't work correctly once more after he uninstalled QuickTime, which is a good idea anyway.

  Homeland Security warns users of Windows PC to uninstall Quicktime. Fox News

  Urgent call to Action: uninstall QuickTime for Windows today.

• The CMYK values for the PMS colors in file are spread in final PDF.

  Customer provides us with a photoshop PDF, in which CMYK for a PMS color values are spread (in the case of PMS 633). Client creates files in indesign, save to PDF and then open the PDF Id file in photoshop and re - save as a photoshop PDF.

  Somehow, the color values are getting biased; 96 6/10/29/77.64/27.3/17.41/0, obviously enough to change the appearance of the color and the client refuses the job.

  Any suggestions?

  And Yes, I have noted the measures they take are not recommended, but I have no reason as to why.

  Values of PMS in InDesign are not actually stored as LAB, CMYK values. If the creation of PDF from InDesign and forcing in the process and all tasks the process CMYK, then you get the CMYK values depend on the color space designated for PDF output. Then you have a similar question rasterize PDF file in Photoshop. The CMYK values may change depending on the involved color spaces.

  In both cases, as described in Bob, this is a strongly discouraged workflow. Frankly, you perform additional measures that I guaranteed to degrade the quality and are a source of multiple, probably unexpected CMYK color conversions => C am 'Y' K'.   Ugghh!

  And Yes, we highly recommend the PDF/X-4 without any conversion of color directly exported from InDesign.

  And finally, to use spot colors for print streams where it didn't intend to use additional pigments is just looking for trouble. You can use the definitions of Pantone colors, but at least use the Pantone Process definitions, not spot colors in color!

  -Dov

• Color separation when you export a PDF file

  She was driving me crazy, ADOBE seems to have forgotten to separate colors when using export to PDF method.  Even quark has this option.

  In any case, I expect to know if there is a way that I don't know.

  See you soon

  On behalf of Adobe...

  Adobe applications, including InDesign, Illustrator and Photoshop intentionally omitted the ability to initiate a previously separated PDF workflow. Even if we could hack together previously separated PDF format by producing PDF via PostScript distillation (another stream of work that strongly discourage us at Adobe), the concept behind modern PDF of publication workflows must leave content in its final form at the highest level of abstraction until it must be made, if this rendering is on the screen (a device intrinsically RGB) 4 dye Printing CMYK, or high-fidelity print using traditional CMYK dyes and other coloring such as bright green and orange or light cyan and light magenta as well.

  Once you separate the PDF, you can't really see the PDF for normal playback, you can not easily search or edit, and you cannot change the target printing condition. You can also not dynamic transparency in a previously separate PDF file! And modern native PDF RIPs do not work with these workflow! No ISO PDF / X standard supports these workflows either!

  You want or need to preview separations? Use the preview feature separation of Acrobat (or even the creation of applications).

  If you work with a Luddite printing service provider that requires this PDF files or creates internally, you really need to consider very seriously the other print service providers.

  -Dov

• Print colors of my screen on a customers bad printer

  I run a business from online wedding invitation design. I first create digital files of invitations in Adobe Illustrator CS5, then then I send the PDF to my clients, and finally customers are responsible for the printing of the invitations themselves. Some people print from a computer at home, some have a local print shop print them (professional GOLD places like Staples and Office Max) and some download the design of an online print service.

  I use CMYK and Adobe Illustrator CS5 to create my file.

  2 times this year I met a problem that I don't know how to fix. The customer said that when they print the PDF at home AND a local printer (staples or otherwise), the colors aren't right. Specifically, my Peach was print Brown for her and my light pink color was Tan felt for her.

  The first file I sent him was a PDF I created from Illustrator. I also imported the .ai file in my Photoshop Elements 5.0 and then saved as a JPG and PSD. These two prints of the same results for her. She printed from home and Staples. All two printed wrong.

  Can someone tell me why this is happening? I did 250 + sales in the past 12 months, and it's only the second time this has happened.

  Help!

  Yes.  You are in a 'open loop' workflow (technically speaking).  I would like to see the color of your application settings in Illustrator (Edit > color settings).  You have created a few nuances in Illustrator.  Select 2 colors that have problems and provide me with the CMYK percentages in the color scheme > CMYK.  For example, the color pink could be something like: 0 %c, 20 %m, 0 %Y, 0% K. In the Illustrator color settings, give us space and work CMYK Destination profile (also RGB color space).  Make sure you have "Compensation of the black ' selected Point.  I recommend the RGB = Adobe RGB color space. = V2 SWOP CMYK color space.  This could be regarded as 'standard' practice and, in most cases, you will not get in trouble press.  In the PDF settings, click on 'Print quality' and in the color setting, select 'leave color unchanged.  Save the configuration as a custom setting that you can use for all your files.  Sending proof online in PDF format, it's not what I was referring to.  You should look into getting a decent Proofer, even if it means just for your peace of mind.  If the file prints out of whack, you have a chance to 'fix' the file before it goes to the customer.  And proof of prnted must always be signed by the customer, which could then submit evidence printed to that print job.  Even online impression sellers have a way to accept the printed evidence.  It simply means waiting for approval.  And, because you're in an open-loop workflow, you must have a way to assure your customers that their work will be printed the way it is supposed to.  Then, you will be paid.  You can take a look at Adobe Print Publishing Guide, a good source of information about the print stream and assigning the establishment of industry standards that will ensure the accuracy of your set of circumstances given.  I was unable to read your screenshot.  I need you to write your settings.