Re: Free Full Version Madcaps
Edel Dieringer
I believe that Mapcap files are XHTML files so you may just be able to open them with structured FrameMaker. Otherwise, you could use some scripting to convert them to a format that could be opened with FrameMaker. If you have to go the scripting route, I would be willing to look at a few files to see what it would take to get them converted. Do you have a target FrameMaker template that you want to use for the content?
I've got an older computer on which I'm running Flare 2017 and FrameMaker 2015 (and other versions). I've done a quick test with one of the Flare Template projects (EmployeeManual). For doing so I've added a new FrameMaker Target to the project (everything set to "default") and started an output build. The build starts, Flare launches FrameMaker and creates the output files, a book file, a TOC file, and chapters (not all of them, but this might have to do with a setting in the project). Opening these files in FrameMaker shows usable results.
So the answer to your question is: It does actually work, but only with older versions of Flare (here: 2017). If you could get hold of such an older version you should be able to migrate your projects.
We don't have any documentation on how to set up MadCap Flare with Bitbucket, I've done some research but I also couldn't find any useful information online. I'm not familiar with MadCap so I won't be able to give you any instructions or tips, but if you tell us where are you having difficulties, or if you're getting any errors, maybe we'll be able to help :) Sending some screenshots will also help.
Hey @Ana Retamal , well another, more high level, bitbucket-newby question then... Does every user have to locally install git in order to use Bitbucket? When the conneted tool is able to perform git commands, do each and every user still have to install git locally?
In regards to your question, Bitbucket is made to work with content that has been versioned either with Git or Mercurial, so if those users will be interacting with the repositories (downloading them to their computers, making changes, etc), they'll need to have one of those installed on their machine. Note that the versioning systems are not interchangeable, so if a repository has been versioned in Git, all of the users working on it will have to use Git (technically, it would be possible to have different users using different version control systems on a same repository, but this adds a lot of complexity that I'd recommend avoiding unless extremely necessary).
If you're not using the command line to manage your code, let's say you're using some other software like for example Sourcetree, Git will still need to be installed in your computer. Normally, the application should have a built-in version, and in some cases you can also install a different version of Git and tell the application to use that one.
You can now see the semi-WYSIWYG right next to the markup. I wish there was a split view for every type of XML file in a Flare project. For those, I still right-click the files and open those in Notepad++. For topics, I now find myself using the structure bars, the text in the XML Editor, and the Text Editor. Each works well for different tasks. The synchronization between each editor is pretty good. You can still trick it. But I think that will improve with minor releases. For heavy writing, you may find yourself turning this off because displaying two views at the same time doubles the screen real estate.
When editing in Basic mode, one or two clicks of the Include and Exclude column headers can wipe out your Basic settings. Read about how the Basic and Advanced modes work before you make changes. The settings are stored independently which may not be obvious at first.
If you examine the TOC files in the Data folder of your HTML5 output, you will notice the XML is gone and only the JS files remain. And if you look at those, you can see that the TOC information is now encoded as JSON instead of an XML string.
This means that if you were using the TOC XML in the output for something else, you will now have to switch to reading the JSON. For example, this technique does not work with version 9.0 HTML5 output anymore. But it can be reworked to consume the new JavaScript files.
In the second half of 1967 and through to early 1968, when still part of Pink Floyd, Barrett's behaviour became increasingly erratic and unpredictable.[5] Many report having seen him on stage with the group during this period, strumming on one chord through an entire concert or not playing at all.[6] In August 1967, Pink Floyd were forced to cancel their appearance at the prestigious National Jazz and Blues Festival, informing the music press that Barrett was suffering from nervous exhaustion. Band manager Peter Jenner and bassist Roger Waters arranged for Barrett to see a psychiatrist (an appointment he failed to attend), while a stay on the Spanish island of Formentera with Sam Hutt, a doctor well established in the underground music scene, led to no visible improvement in Barrett's behaviour. A few dates in September were followed by the band's first tour of the United States.[7] At this point, Barrett's condition grew steadily worse.[8] At a show at The Fillmore in San Francisco, during a performance of "Interstellar Overdrive", Barrett slowly detuned his guitar; the audience seemed to enjoy such antics, unaware of the rest of the band's consternation. Sometime in October, Jenner transferred tapes of "In the Beechwoods", two takes of "Vegetable Man", and a 5-minute backing track called "No Title", which Jenner hoped Barrett would finish eventually.[9]
After Barrett left Pink Floyd in April 1968, Peter Jenner and Andrew King, from the band's management, followed suit.[15] Nick Mason later commented on Jenner & King leaving with Barrett many years later: "Peter and Andrew clearly felt that Syd was the creative centre of the band, a reasonable point of view given our track record up until that point. Consequently, they decided to represent him rather than us."[16] In May, Jenner led Barrett into EMI Studios (now Abbey Road Studios), on Abbey Road in northwest London, to record some solo material, only part of which would later appear on The Madcap Laughs.[10][17] Jenner thought Barrett would like to finish the tracks that Jenner transferred the previous October; Barrett on the other hand, had other plans.[9] During these first, tentative sessions, Jenner failed to properly record any vocals at all for the tracks "Golden Hair",[nb 1] "Late Night", "Clowns and Jugglers" (later retitled "Octopus"),[nb 2] "Silas Lang",[nb 3] or "Lanky (Parts One and Two)".[10][20][21] After recording had resumed in June and July, progress continued on these tracks, especially "Swan Lee", and a new, improved version of "Clowns and Jugglers" was taped at this point also.[20][22] Barrett wouldn't commit to recording the track "Rhamadam" (sic)[23] to tape properly, however.[10][20][22]
Although Jenner claims he got on well with the singer, he would also state that the 1968 sessions had not gone smoothly, admitting: "I had seriously underestimated the difficulties of working with him ..."[15] Shortly after the July dates, Barrett abruptly stopped recording, breaking up with girlfriend Lindsay Corner and then going off on a drive around Britain in his Mini; he ended up in psychiatric care in Cambridge.[22]
By the start of 1969, a somewhat recovered Barrett decided to return to his musical career and revisit the Jenner-produced recordings. He contacted EMI, and was passed on to Malcolm Jones, then-head of EMI's new prog rock label, Harvest.[17] After both Jenner and Norman Smith, Pink Floyd's producer at the time, declined to work on the album, Jones agreed to take on the role.[22][24]
Jones had little difficulty in persuading his boss, Roy Featherstone, and Ron White, authoriser of EMI recordings, to allow Barrett to record with the company again.[24] In April 1969, the young executive took over the project and Barrett began working on newer material, while reworking the 1968 recordings.[22] Jones would later comment that the sessions with Barrett had gone well: "Syd was in a great mood, and in fine form, a stark contrast to the rumours and stories I'd been fed."[25] Jones also explained the rationale behind EMI letting Barrett record again: "What was decided was to see what was the strength of Syd's new material, and plan accordingly. If it worked, then, O.K. we'd do an album. If not, we'd call it a day ..."[24] In a meeting at Barrett's flat in Earls Court, unsure of Jenner's production technique, Jones asked to hear some of the previous year's tapes;[26] Barrett played him "Swan Lee", "Late Night", "Rhamadam", "Lanky (Parts One and Two)" and "Golden Hair".[27] Of these, "Swan Lee" had no vocals, but Jones saw potential in the song; "Late Night" did have vocals and, Jones remarked, "a certain charm"; while "Golden Hair" was "great".[26] After the playbacks, Barrett performed several songs on guitar for Jones: "Opel" and "Clowns and Jugglers" (both attempted during the sessions with Peter Jenner), and the newly written "Terrapin" and "Love You".[26]
The Jones-produced sessions commenced on 10 April 1969 at EMI's Studio 3,[22][26] with that day being dedicated to going through the 1968 tapes again to see what could be improved upon.[28] The first track to be worked on was "Swan Lee", which received vocal overdubs and a new guitar track, and several ideas for "Clowns and Jugglers" were considered; Barrett and Jones both felt that the results were superior to the previous versions.[20][28] The following day, in about five hours, Barrett recorded vocal and guitar tracks for four recently recorded songs, starting with "Opel",[nb 4][20] and two old ones.[28] Barrett and his new producer were in agreement that "Opel" was among the best of the new recordings at this time;[28] only two complete takes of the song were taped, though, after multiple false starts.[28] The next song attempted was "Love You", the first take of which featured a faster tempo than the officially released take 2.[20][28] After "Love You", they recorded "It's No Good Trying", which was similarly completed in just a few takes.[20][28] Barrett was in "great form, and very happy", Jones recalled, and "very together".[28] During the lunch break that day, they talked about improving some of the other songs from the Jenner sessions, particularly "Golden Hair" and "Late Night", the last of which was just a backing track at this point.[30] After returning to the studio, they worked on "Terrapin", with Barrett requiring just a single take,[30] and added slide guitar and vocals to "Late Night".[20][30]
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