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About jmG-06100

  • Rank
    Senior Member
  • Birthday 05/14/1948

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  • Location
    Nice, France
  • Interests
    Tourism, Photography, PTE

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  1. Good idea indeed, so that I can quickly understand why I have several versions of similar projects (intended to different audiences, different durations, alternative musics, ...). Not that easy to squeeze the info into a modifiled project title.
  2. The TEXT ZOOM value is directly related to the NUMBER of lines in your text, and it changes for each line that you add (or substract). Choose 100% and the text will fill the frame from top to bottom (in height). Have you tried to read the on-line user manual: https://docs.pteavstudio.com/en-us/10.0/how_to_v10/add_text?s[]=font&s[]=size <<Note also that one line of Text in the above example = 15% Zoom. Two lines of Text = 30% Zoom; three lines of Text = 45% etc. This relationship will continue until the size of the “bounding box” is altered via a mouse action.>> <<In the next Example it can be seen that One line of Text at 6% gives the same Font Size as 16 lines of Text at 96% Zoom. Knowing this relationship allows the user to create a consistent Font Size across multiple Slides.>>
  3. Quick fix. Thanks Igor for this problem solving.
  4. Hi! Have you tried to uninstall and install again? That sometimes does the trick for other programmes.
  5. Welcome here, René. I am impressed by your scan of 7000 slides! How long did it take you? Months?
  6. Ian, just another idea. When I need to send *.EXE files, I often have to rename the file as a gentle *.TXT file to fool the mail system. Once received, the *.TXT file has to be renamed to what it actually was with the original filename extension. You probably could do the same with your *.MP4 files, as long as there is not a stringent file size limitation with BOX. Worth a try?
  7. Je pense que c'est un faux problème car il suffit d'aller dans "Fichier / Ouvrir" (ou bien "ouvrir un projet récent") pour que cet autre projet remplace tout simplement le projet en cours. C'est le cas avec MS/Windows 10 pour moi. In fact, this is not an issue at all since once PTE is open with one project, it is so simple to go to: "File / Open" or "File / Open recent project" to have that other project take place instead of the previous one that is no longer active. At least with MS/Windows 10 for me.
  8. Maybe with a high definition screen, you could perform Screen Captures (Keys: "Alt" and "Print Screen") for each page (presumably they are still composite images without any animation) and then combine all pages (*.png files in my case) into a PDF document? That could be a workaround.
  9. Yes, you can have a uniform background of a single colour (green for instance) in order to remove it and replace by another image or vidéo, the way they do for the TV broadcasts of the weather. Take the French guide book page 112 (double page 57/93) and it is all explained there by Jean-Charles Pizolatto. <<Incrustation ou Chroma Key : L’Incrustation consiste à rendre la couleur d’une vidéo transparente pour la supprimer (ici le bleu) et laisser apparaitre ensuite une image ou une vidéo de fond par surimpression.>>
  10. Fingers crossed! It is good to be able to keep working and keep the mind busy on positive projects.
  11. I'm eager to hear of the beta release too. All the best to the development team who can work, hopefully, at a safe distance from one another thanks to teleworking on their computers. (I have nothing to add, as in fact I only wanted to be "notified of replies" but did not find how? without taking part in the discussion).
  12. Straight out of the box, the BenQ is already close to optimum calibration, so why not? I had a bad experience in the past with a Samsung monitor, very bright and with strong colours (for gamers, I suppose), so that I dimmed all my photos and decreased the saturation until the image looked natural on my screen ; Sent for print to get a thick book of many pages, all images were very dull and almost colourless, and that's when I started to learn about screen calibration. You should not have such a problem with modern monitors intended for photographers.
  13. My first wide gamut monitor was from "LaCie" with its own calibration sensor "blue eye pro" (in fact an X-rite model, rebranded) and I was told (by a specialist in colour management) that its useful lifetime was less than three years. So, yes, you need to use a recent calibration unit and renew it every two years or so (unless the technology has changed drastically).
  14. Hi barry! I have chosen a BenQ SW320 monitor (4K) and have been very happy with the high quality of this wide gamut product (one year of use). It comes with its vizor to protect from stray light from the sides and the top. The size of 32" (81 cm) is fantastic for editing photos and also to allow multiple pages on one screen. Calibration can be performed with the X-rite sensors and also, as in my case, with DataColor products such as the Spyder sensors. The red triangle in the charts below represents my RGB space, for my own screen, after the calibration process. Any colour within the triangle is accurately displayed on the monitor. Note that the scale of the chart gives more emphasis to the green area than is actually visually noticeable (a question of scale). As you can see, 95% of the basic sRGB space ("small RGB") is well covered with a slight loss along the purple line (from Red to Blue) but with much more green space. The Adobe RGB triangle (in purple) is only slightly bigger than the actual displayed space (in red). The price level makes it very attractive compared to the higher end products (Eizo, e.g.) and the potential slight difference in quality is of no object for my personal use. That's what I learned from several technical reviews in my camera magazines. Please note that BenQ have two product lines, one (SW) for photographers (mine) and one (PV) more oriented towards video use and specific cinema calibration needs. I take this opportunity to stress the need to have a regularly calibrated monitor when editing photos, so that colours are properly displayed, as well as the black to white gradation (nuances of grey). Failure to do so makes one "blind" with no control on the result when the images are shared with others, displayed on an other monitor or TV, shown on a screen via a projector or printed on paper. Editing in the widest possible colour space (Prophoto RGB for instance) is highly recommended, with at least 16 bits per colour channel. But that is another topic altogether.
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