Pipeline of color SpeedGrade, need help
I am currently stationed at the color grade a short film using a system composed of HW and SW following:
HP Z820, nVidia Quadro 4000, Windows 7 x 64 Adobe Speedgrade CS6 and a Dell U3011 10-bit display connected via Displayport (made not have LUT HW capacity)
I have trouble understanding my color pipeline and how to manage it. In particular, Speedgrade CS6 is run not a color app (although Premiere Pro CS6, is) and therefore does not use the ICC profiles loaded on my system. I can create a LUT of my ICC profiles and load in Speedgrade as "calibration" LUTs, but I'm still not clear where this fits in the pipeline. I want to understand how ICC profiles created by i1Profiler xrite are used in this particular situation, that is, in my Nikon D810 (flat) H.264 in Pr acquisition, cut and exit like DPX (or not), interfere in Sg as DPX (or native MOV), classified, exit to create FADS for festivals.
I know that my particular monitor and use of ICC profiles is not the preferred option, I have already said on the various forums of d-cinema, but unfortunately, this is what I have and what I need to use for this project. I'm trying to understand the pipeline of color in THIS particular system to make the best decisions possible obtain the best possible result.
Specifically, is there any part of the ICC (monitor calibration/profiling) profile that can / will serve as Speedgrade? For example, I think that there is a matrix (for example, vcgt) or READ any loaded in the HW of the Quadro 4000 at startup by the loader profile xRite (or windows, whatever the case may be), but is then affect all applications, both managed and unmanaged color? Or is - it too, managed by the Windows CMS? If the first, then what part of the ICC will be used by Speedgrade and whose part won't (regarding the adaptation of the color, transform, gamma, etc., i.e., what did the LUT in the Quadro do for me and no color y managed apps)?
My goal is to import video data from Rec709 (which I guess now my Nikon product) in Speedgrade (which I believe works natively in XYZ space) and be able to see a representation of Rec709 on my monitor, but also to be able to vary the gamma of my screen (e.g., 2, 3(2), 6) to see what my video would look like DCI 3 p in a theater. I understand there are MANY other considerations as surround it, the ambient light levels, etc., but I'll try to manage those better I can too. In addition, this short film is a horror of day and night, so it will be overall dark and mono-chrome (ish), but I don't want to do a theater and see nothing else that black with a small movement here or there. I don't mean to the reproduction of color perfect; I'm more concerned with good reproduction of gamma and black levels.
No indication on how the monitor profile ICC I create with spectro i1Profiler and i1Pro is used by Speedgrade (and Pr) in my work flow would be greatly appreciated. In addition, all understand how (and when / if) to use the calibration of Speedgrade lut to facilitate this process would be useful. I can also use Photoshop to check the Sg TIFFs with different profiles for final check - anyone done this before?
Thank you
Shane
Shane Taylor wrote:
I intend to calibrate my screen using xRite i1Profiler and i1Pro spectrometer to Rec709. In this case, the operating system must load the lut in the Quadro 4000 and, if I understand what you said above, as long as Sg and Pr display RGB 709 data, I should be fine, right? But then, I have the following question:
You will be ok with respect to the list Rec.709 data correctly on a screen that conform to this standard. Indeed, it does not cover your data management.
1. given that Pr and Sg are not aware, color if I bring in a file in a different color space, it will be not displayed correctly, right (as Sg will not be using Windows CMM color space transformation)? However, if I have a LUT to transform different Rec709 color space, I could load a LUT of calibration in the Assembly / installation / calibration and display correct, correct?
They are aware of coloor - both are designed to bring in pipelines Rec.709 (true for the CS6 version). SpeedGrade can also be used in other scenarios, but for simplicity of your facility, consider two applications being colour managed - it's 709 through and through (with the exception of internal transformation in SG color - making using a much wider RGB 32-bit floating point pipeline to avoid any artifacts).
What I have is pretty simple, but there are a few pieces that I did not yet understand to manage at best. Initially, I brought all my images in my Nikon D810 Pr, cut it and locked the picture. In this scenario of Pr, I have images of evoke, others to 23.976 and some to 59.97 (for slow-mo) use. I have also several comps Ae included natively in the form of title sequences, a model of VFX Ae where I composed a photo in a clip, an element above the same clip but slightly shifted a couple of images to create a feeling of dizziness and a model of EI where I sped up a clip that was shot too slowly and finally a credit rolling Pr generated at the end. In addition, I have a couple of fades in/out/from black, hold the few images created by using the key on the original film frames. I have a temporary rank in adjustment layers in Pr currently as a quick overview of temp. After the locking of the photo, I coded the image and it imported in AU, where I just finished a synchronization of soundtrack in 5.1 surround to the image. I'm now trying to take the final step, rank in the Official Journal and export and convert to the STC.
There are several issues I have been struggling with, for which you might be able to offer the future. They are:
2. What is the best way to get the images in Sg? I tested both export to the option of Sg in Pr using DPX and an EDL export and load native images of MOV among camera options (though, as I have explained above, not all my images on a single video track in Pr, which complicates an EDL export). The h.262 native seems to be a bit slower on the first run in the Official Journal, but once rendered/updated cache, it is real time on my machine. I like the idea of using the original footage, but do not know which option is preferable. A question I have is that the model of EI where I sped up the images, even if it plays properly as a model of Ae on the chronology of the Pr, includes artifacts (i.e., flashing) when exporting of Pr in this way. If I encode in Ae and import that new second gen footage in the Pr, it encodes without the artifacts of PR. would prefer to avoid second gen images if possible, since I'm already starting with h.264 4:2:0.
Some general thoughts:
convert your videos for a better standard such as RGB DPX 444 is not really diminish your quality and has little to do with generational loss (I personally would only talk about generational issues when using any type of compression or reduce the color gamut or bit depth).
In this perspective, will DPX completely once you have run the creative tasks base in various applications makes most things - except for storage needs. I would like to do the math for how much storage you need for the entire project and I would check also this performance of reading on DPX is here - HD, looking to 170 MB/s in trhoughput, and at 24 fps your system will have to endure a time of access by file as ms 42/chassis. On any SSD that will deliver you (but capacity could be a problem), most hard drives will have enough capacity to 90 minutes these days, but performance may be a problem (a small RAID could be the solution here).
2B. also, I know people do not bring titles, rolling credits, etc. in note final and this in their application of finishing (for example, Pr), but is always the best approach? Are there benefits to be? Would it not preferable (and realistic) to render all the comps to DPX Ae title, pull those and the original film in Sg with EDL, rank and for DPX and re export - import in Pr to add titles, credits and export to TIFF for STC? Or would it be OK just to export the entire chronology of Pr to DPX, including titles, credits and comps Ae as a single series DPX and draw than in Sg and end there? The audio will be added separately as part of the process of creation of the DCP in any case. If I use Ae separately encode any part, what do I need to worry when you export the files, color space, etc., to ensure consistency between them and native images in Sg (Ae being aware of color)?
There will be other people with more experience in day-to-day practice advice on one of the two approaches.
I always prefer to keep things very simple - I then push everything through the same pipe and use a trust format.
With respect to EI, the production should be 709, too.
BTW, I hope that your film D810 is also Rec.709 - if it is Adobe RGB, there is additional work to come.
3. how Sg supports RGB data internally? If I insert the Rec708 RGB data, Sg converts to XYZ to perform any processing and then back to Rec709 for Sg monitor? If this is the case, how does he know the original source color space if I didn't say it (to convert)? Or, Sg ignores color space altogether if the calibration is not used, or until you make and apply a LUT, and the work on whatever data RGB is there anyway (that is, the numbers are a few numbers)? It seems that Sg may not care what are RGB data, which is why we use LUTS with abandon (which themselves define the source and target color spaces), unlike the ICC using the mid-range PCS for transformations of all (most) and some information must be known (or suspected).
SG is transparent - are simply numbers. This means that your AE 709 output and body will look just the same, and it will work fine with a monitor calibrated to 709.
4. can you explain the purpose and use of the color tab space by default in Sg? I think I have watched all of your videos teaching and cannot recall having seen all the details that helped me to better understand how make us of it (assuming that I need in my particular case). I don't know that it touches in the Official Journal or how to use it best.
I hope that I will get to write something about this more later this week. As expected, it is a little more complicated - and things have changed since the CS6.
5. oh, Yes, the conversion of 23.976 in 24 hours! For the best compatibility with festivals, I intend to create my DCP to 24,000 IPS, not 23.976 native of the original images. Do you have a recommendation on WHERE I need to do this transformation? My calendar of current Pr sequence is 23.976. I would like to copy and past the cut into a sequence of nine 24,000 timeline, just convert on export DPX, or leave at 23.976 until exporting of Sg, or...? I created the soundtrack of export 23.976, unfortunately, but I can fix it in AU to adapt to 24,000. I know just as SOUL, Pr, Ae, and Sg all have slight differences, advantages and disadvantages, in their rendering engines and don't really know what is the best to use in my situation. Any ideas on that?
Yet once, others hopefully have tips that are a little more generated by being in the thick of things - I this post separately on the forum of the SOUL.
In my humble OPINION, any temporal conversion is troubled. Most players DCP accept on any fps lately, and so I would leave it alone.
If you do not need to convert, it should be done as part of the final output and as an alternative to the original (you are eliminating the possibility to leave it blank by converting in advance).
Oh, regarding the thing Qt already mentioned: If you can, avoid using all Quicktimes in CS6 workflow.
I try whenever I can ;-) BTW, do you know if this flaw affect the use of the Avid DNxHD codec under the aegis of the QT?
Yes, it's certainly wrong. Some applications decode DNxHD natively, others allow the engine to QT. The latter showed a wide variety of results in gamma, saturation, estimated - according to the version of QT you have and the DNxHD plugin version.
These days, not a big problem with the CC package - we went to unified and native decoding for applications later.
CS6 is not really an ideal environment for the use of this codec, so I would start not looking for various workaround solutions that you will find on the internet. There is always something that will make you difficulty, yet one thing at the end (and compromise, you don't want to).
See you soon,.
Patrick
Tags: SpeedGrade
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(a) what operating system do you use?
Method 1:
Adjust display settings
Many recent Microsoft games require a card video and monitor that can run a resolution of at least 800 x 600 in color (16 bit). Set the resolution of Windows display on 800 x 600 in color (16 bit), and then test the game. To do this, follow these steps:
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Scratch the volumes:
C:\, 931.4 G, 429,1 free G
Required plugins folder: C:\Program Files\Adobe\Adobe Photoshop CC (64 Bit) \Required\Plug-Ins\
Main Plug-ins folder: C:\Program Files\Adobe\Adobe Photoshop CC (64 Bit) \Plug-ins\
Installed components:
ACE.dll ACE 2013/29/10-11: 47:16 79,548223 79.548223
adbeape.dll Adobe EPA 2013/02/04-09: 52:32 0.1160850 0,1160850
AdobeLinguistic.dll Adobe linguistic Library 7.0.0
AdobeOwl.dll Adobe Owl 2013/10/25-12: 15: 59 5.0.24 79.547804
AdobePDFL.dll PDFL 2013/29/10-11: 47:16 79,508720 79.508720
Adobe AdobePIP.dll 7.0.0.1786 product improvement program
AdobeXMP.dll Adobe XMP Core 2013 10/29-11: 47:16 79,154911 79.154911
AdobeXMPFiles.dll Adobe XMP files 2013 10/29-11: 47:16 79,154911 79.154911
AdobeXMPScript.dll Adobe XMP Script 2013 10/29-11: 47:16 79,154911 79.154911
adobe_caps.dll Adobe CAPS 7,0,0,21
AGM.dll AGM 2013/29/10-11: 47:16 79,548223 79.548223
ahclient.dll AdobeHelp Dynamic Link Library 1,8,0,31
aif_core.dll AIF 5.0 79.534508
aif_ocl.dll AIF 5.0 79.534508
aif_ogl.dll AIF 5.0 79.534508
AMTLib.dll AMTLib (64 Bit) 7.0.0.169 BuildVersion: 7,0; Brand: Monday, April 8, 2013 02:31:50) 1.000000
ARE.dll ARE 2013/29/10-11: 47:16 79,548223 79.548223
Axe8sharedexpat.dll AXE8SharedExpat 2011/12/16-15: 10: 49 66,26830 66.26830
AXEDOMCore.dll AXEDOMCore 2011/12/16-15: 10: 49 66,26830 66.26830
Bib.dll BIB 2013/29/10-11: 47:16 79,548223 79.548223
BIBUtils.dll BIBUtils 2013/29/10-11: 47:16 79,548223 79.548223
boost_date_time.dll product DVA 7.0.0
boost_signals.dll product DVA 7.0.0
boost_system.dll product DVA 7.0.0
boost_threads.dll product DVA 7.0.0
CG.dll NVIDIA Cg Runtime 3.0.00007
cgGL.dll NVIDIA Cg Runtime 3.0.00007
Adobe CIT.dll CIT 2.1.6.30929 2.1.6.30929
Adobe CITThreading.dll CITThreading 2.1.6.30929 2.1.6.30929
CoolType.dll CoolType 2013/29/10-11: 47:16 79,548223 79.548223
dvaaudiodevice.dll product DVA 7.0.0
dvacore.dll product DVA 7.0.0
dvamarshal.dll product DVA 7.0.0
dvamediatypes.dll product DVA 7.0.0
dvaplayer.dll product DVA 7.0.0
dvatransport.dll product DVA 7.0.0
dvaunittesting.dll product DVA 7.0.0
Dynamiclink.dll product DVA 7.0.0
ExtendScript.dll ExtendScript 2013/10/30-13: 12: 12 79,546835 79.546835
FileInfo.dll Adobe XMP FileInfo 2013 10/25-03: 51:33 79,154511 79.154511
filter_graph.dll AIF 5.0 79.534508
icucnv40.dll International Components for Unicode 2011/11/15-16: 30:22 Build gtlib_3.0.16615
icudt40.dll International Components for Unicode 2011/11/15-16: 30:22 Build gtlib_3.0.16615
imslib.dll IMSLib DLL 7.0.0.145
JP2KLib.dll JP2KLib 2013/29/10-11: 47:16 79,248139 79.248139
libifcoremd.dll Intel Visual Fortran compiler 10.0 (A patch)
libiomp5md.dll Intel(r) OMP Runtime Library 5.0
libmmd.dll Intel(r) C Compiler, Intel C++ Compiler, Intel Fortran compiler 12.0
LogSession.dll LogSession 2.1.2.1785
mediacoreif.dll product DVA 7.0.0
MPS.dll MPS-2013/29/10-11: 47:16 79,535029 79.535029
msvcm80.dll Microsoft® Visual Studio® 2005 8.00.50727.6195
msvcm90.dll Microsoft® Visual Studio® 2008 9.00.30729.1
MSVCP100.dll Microsoft® Visual Studio® 2010 10.00.40219.1
msvcp80.dll Microsoft® Visual Studio® 2005 8.00.50727.6195
MSVCP90.dll Microsoft® Visual Studio® 2008 9.00.30729.1
msvcr100.dll Microsoft® Visual Studio® 2010 10.00.40219.1
MSVCR80.dll Microsoft® Visual Studio® 2005 8.00.50727.6195
Msvcr90.dll Microsoft® Visual Studio® 2008 9.00.30729.1
PatchMatch.dll PatchMatch 2013/29/10-11: 47:16 79,542390 79.542390
pdfsettings.dll Adobe PDFSettings 1.04
Photoshop.dll Adobe Photoshop CC CC
Adobe Photoshop CC CC plugin.dll
PlugPlugOwl.dll Adobe CSXS PlugPlugOwl Dll Standard (64 bit) 4.2.0.36
PSArt.dll Adobe Photoshop CC CC
PSViews.dll Adobe Photoshop CC CC
SCCore.dll ScCore 2013/10/30-13: 12: 12 79,546835 79.546835
ScriptUIFlex.dll ScriptUIFlex 2013/10/30-13: 12: 12 79,546835 79.546835
svml_dispmd.dll Intel (r) C Compiler, Intel C++ Compiler, Intel Fortran compiler 12.0
TBB.dll Intel Threading Building Blocks for Windows 4 1, 2012, 1003
tbbmalloc.dll Intel Threading Building Blocks for Windows 4, 1, 2012, 1003
updaternotifications.dll Adobe Updater Notifications Library 7.0.1.102 (BuildVersion: 1.0;) Brand: BUILDDATETIME) 7.0.1.102
WRServices.dll WRServices Monday, February 25, 2013 16:09:10 build 0.19078 0,19078
Required plugins:
3D Studio 14.2.1 (14.2.1 x 001)
Accented edges 14.2.1
Adaptive wide-angle 14.2.1
Angular Strokes 14.2.1
Average 14.2.1 (14.2.1 x 001)
Bas-relief 14.2.1
BMP 14.2.1
Camera Raw 8.3
Camera Raw Filter 8.3
Chalk and charcoal 14.2.1
14.2.1 charcoal
Chrome 14.2.1
Cineon 14.2.1 (14.2.1 x 001)
Clouds 14.2.1 (14.2.1 x 001)
COLLADA 14.2.1 (14.2.1 x 001)
Halftone color 14.2.1
Color pencil 14.2.1
CompuServe GIF 14.2.1
Pencil tale 14.2.1
Craquelure 14.2.1
Crop and straighten Photos 14.2.1 (14.2.1 x 001)
Crop and straighten Photos 14.2.1 filter
Hatch 14.2.1
Crystallize 14.2.1
Cutting 14.2.1
Dark strokes 14.2.1
Deinterlacing 14.2.1
DICOM 14.2.1
Difference clouds 14.2.1 (14.2.1 x 001)
14.2.1 glow
Move 14.2.1
Dry brush 14.2.1
Eazel acquire 14.2.1 (14.2.1 x 001)
Embed watermark 4.0
Entropy 14.2.1 (14.2.1 x 001)
Extrude 14.2.1
FastCore 14.2.1 routines (14.2.1 x 001)
Fiber 14.2.1
Film Grain 14.2.1
14.2.1 Filter Gallery
3D Flash 14.2.1 (14.2.1 x 001)
Fresco 14.2.1
Glass 14.2.1
Scarlet contours 14.2.1
Google Earth 4 14.2.1 (14.2.1 x 001)
Grain 14.2.1
Graphic pen 14.2.1
Halftone Pattern 14.2.1
HDRMergeUI 14.2.1
IFF Format 14.2.1
Outlines in ink 14.2.1
JPEG 2000 14.2.1
Flattening coefficient 14.2.1 (14.2.1 x 001)
Blur of the lens 14.2.1
Correction of the 14.2.1 goal
Lens Flare 14.2.1
Liquefy 14.2.1
Operation of Matlab 14.2.1 (14.2.1 x 001)
maximum 14.2.1 (14.2.1 x 001)
14.2.1 average (14.2.1 x 001)
Measure Core 14.2.1 (14.2.1 x 001)
Median 14.2.1 (14.2.1 x 001)
Mezzotint 14.2.1
Minimum 14.2.1 (14.2.1 x 001)
MMXCore Routines 14.2.1 (14.2.1 x 001)
Mosaic tiles 14.2.1
Multiprocessor support 14.2.1 (14.2.1 x 001)
Neon 14.2.1
Paper notes 14.2.1
Color NTSC 14.2.1 (14.2.1 x 001)
Ocean Ripple 14.2.1
14.2.1 oil painting
OpenEXR 14.2.1
Paint Daubs 14.2.1
14.2.1 palette knife
Patchwork 14.2.1
Paths to Illustrator 14.2.1
PCX 14.2.1 (14.2.1 x 001)
Photocopy 14.2.1
14.2.1 Photoshop 3D engine (14.2.1 x 001)
Photoshop Touch 14.0
Photo filter package 14.2.1 (14.2.1 x 001)
Pinch 14.2.1
Pixar 14.2.1 (14.2.1 x 001)
Plaster 14.2.1
Plastic wrap 14.2.1
PNG 14.2.1
Pointillism 14.2.1
Polar coordinates 14.2.1
Portable bitmap 14.2.1 (14.2.1 x 001)
Poster edges 14.2.1
Radial blur 14.2.1
Radiance 14.2.1 (14.2.1 x 001)
14.2.1 range (14.2.1 x 001)
Read watermark 4.0
Crosslinking 14.2.1
14.2.1 the ripple
Rough Pastels 14.2.1
Save for Web 14.2.1
ScriptingSupport 14.2.1
Shake Reduction 14.2.1
14.2.1 shear
14.2.1 asymmetry (14.2.1 x 001)
Smart Blur 14.2.1
Smudge Stick 14.2.1
Solarize 14.2.1 (14.2.1 x 001)
Splash 14.2.1
Spherize 14.2.1
Sponge 14.2.1
Sprayed strokes 14.2.1
Stained glass 14.2.1
Stamp 14.2.1
SD 14.2.1 (14.2.1 x 001)
STL 14.2.1 (14.2.1 x 001)
14.2.1 Sumi-e
14.2.1 summons (14.2.1 x 001)
Targa 14.2.1
Texture veneer 14.2.1
14.2.1 tiles
Torn edges 14.2.1
14.2.1 twirl watch
Draft 14.2.1
Vanishing Point 14.2.1
14.2.1 variance (14.2.1 x 001)
14.2.1 variations (14.2.1 x 001)
Water paper 14.2.1
Watercolor 14.2.1
Wave 14.2.1
Wavefront | OBJ 14.2.1 (14.2.1 x 001)
WIA support 14.2.1 (14.2.1 x 001)
Wind 14.2.1
Wireless Bitmap 14.2.1 (14.2.1 x 001)
Zig - zag 14.2.1
Plug-ins option and the third: NONE
Plug-ins that could not load: NONE
Flash:
Mini Bridge
Adobe Exchange
Kuler
Install TWAIN devices: NONE
Unfortunately, it seems that your computer is not only at the height... And thanks for the info detailed immediately, it helps refine the problems more quickly.
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Hello
Before I get to my question, I want to give you a glimpse of the project I'm working on and the aspects that I need help. For a school project, a customer, 94Fifty asked us to create an advertisement that depicts their basketball and could be used in advertising online and in magazines. The 94Fifty of basketball is the world's first "smart ball." It can count how many times you dribbling, the arc of your shot, release time it takes for you shoot, etc. To use the ball, you need an Apple product that can download the application 94Fifty on the App Store, so that this project is done as a collaboration with the company 94Fifty and Apple.
For my ad, to really capture the idea of being the first smart ball, 94Fifty ball I wanted to mix an image of the texture of the ball of 94Fifty, with the shape and details of a brain, with the slogan being, "A ball that is as smart as you." I have my design buried on, but I'm not sure how to combine the image of the brain with ball should I use layers? How can I remove the pink color of the brain and replace it with the ball while keeping the shape of the brain and the lines creased the brain? Any help and technical that you can give would be greatly appreciated.
Here are two pictures that I'm trying to mix.
I would also try and keep the logo of 94Fifty which is on the ball in the mixed picture.
Please do not confuse this for to ask me someone to do it for me, it's the exact opposite of what I want, I just need help with what to do.
Here is a fairly simple method:
First of all, level of basketball for the type to be horizontal. (Also correct the values of white light - burn at the top left and bottom top right.)
Mask on white background of the brain and turn the image to 0% of saturation.
Put the brain on basketball on its own layer. Make the overlay blend mode.
Using free transform, reshape the brain is greater (rounder), like the basketball, with a visible margin around the edge of the ball.
-Now, you have a brain in a basketball, but the brain is a bit too subtle.
Duplicate the layer of brain as many times as you need to get the good contrast (I've duped the layer of brain three times, for a total of four layers of brain).
You will probably find that you need to use the levels adjustment layers or curves on each layer of the brain, for finer value adjustments. Make sure that each adjustment layer affects only the layer directly below.
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Need help with creation of legend custom pass/fail
Hello
I need help in creating custom legends of success/failure to Quiz questions. Here, I enclose the screenshot for your reference, how I wanted to.
Thanks for your help in advance.
Thank you
Ajay
The question is that whatever color of the upper-left pixel of the image, the color will be considered transparent. If the BMP image for this custom caption can have the upper-left pixel as white, then any place in the legend that is white will appear transparent.
I recommend that the change in developer top left pixel of the image in Photoshop to roses or bright green, a color that does not appear anywhere else in legend. Then, it should look as expected. For images with rounded corners, it's pretty easy. For images that have square corners, you may need to add a 1 or border 2 pixels around the image and brand that border the transparent color.
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Please, need help printer. Nothing to do with Security Update 2009-001.
I need help, and looking for the forums just makes me worse headache. I need to use passthrough printing, but the Mac printer does not in the comments.
Details: OS X 10.5.6 Fusion 2.0.2. Guest is Windows 2000 SP4. Security Update 2009 - 001 has not been applied.
The printer is a HP PhotoSmart C4480 printer attached to the Mac via USB.
In order to avoid the obvious questions:
Passthrough fusion printer is active. Become disabled as some users report. The Serial Port is present and connected. In OS X printer sharing is enabled in the world and for this printer (but my impression is that it should not be).
I confirmed that the printer works from OS X. And he is listed in the merger USB menu.
The process of Thinprint TPAutoConn * are underway on the guest. COM1 and COM2 are both present.
The user can not use the old printer sharing solution because there is no Windows 2000 for this printer drivers. The VM is totally dependent on the system of Thinprint, and I never put in place before. Have never seen a working configuration. Don't know about its configuration beyond what is in the VMX file and upgrade manual.
There are merger Console messages that say "no printer configured or unavailable." I think it's the key to the problem... but I don't know what to do about this.
Help...
Fuzzy-wan says:
Pat Lee says:
We have designed this feature to Windows XP and later versions. So it will not work on Windows 2000.
Hmmm. Woody didn't say exactly if the printer actually prints
Well I wouldn't went all the trouble to clean the building a Machine virtual Windows 2000 Pro SP4 with VMware Tools installed and printers enabled for the Virtual Machine settings and took all the dialog boxes and to make a film of the if I did had not bother to actually check and see if she would print!
Find attached an image of a Windows 2000 printer print Test and note the relevant information.
Computer name: W2KVM
Name of the printer: HP LaserJet 4050 on MacBook Pro
Printer model: TP output gateway PS
Support: Yes
Port name (s): THIRD:
Note: because the printer is a B & W LaserJet I guess that the "support: Yes", it's that the "printer model: TP output gateway PS ' supports color and will therefore work with color printers as well.
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HP Pavilion g6-1001sq does not recognise the Kingston SSD 300v
Hello I recently bought a disc SSD Kingston 300v to replace the default value of HDD on my HP Pavilion g6-1001sq laptop. The SSDS works on SATAIII (3), but the data sheet on the provider's site mentions that it is backward compatible with SATAII spec
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I have an old computer and I don't have administrator privilege. What can I do?
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My Officejet 5740 takes paper picture 5 x 7? If so, how to properly load it? Thank you.
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I try to configure the IPv6 packets on a router 2911 deep inspection (IOS 15.1 (2) T5) but I'm not able to inspect the traffic generated by router. It is not an option "ipv6 inspect name xxxx udp router-traffic' as in IPv4. So I am unable to ping to