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1918 flu pandemic commonly referred to as the Spanish flu
Filed under: documentary,Health,pandemic,Public Health,World News — accomthailand @ 23:52
Tags: documentary, Health, pandemic, Public Health, World News
1918 flu pandemic
Influenza 1918 Click to see a Robert Kenner Documentary Film from 1991
In September of 1918, soldiers at an army base near Boston suddenly began to die. Doctors found the victims' lungs filled with fluid and strangely blue. They identified the cause of the death as influenza, but it was unlike any strain ever seen. It would become the worst epidemic in American history, killing over 600,000 — more than all the nation's combat deaths this century combined.
Drawing on remarkable archival photographs and film footage, and interviews with survivors and medical historians, Influenza 1918 tells the powerful story of America's worst health crisis. Despite recent triumphs over many infectious diseases, medical science proved powerless against the killer virus. In desperation, people turned to folk remedies: garlic, camphor balls, sugar cubes soaked with kerosene. Frantic officials closed schools, factories, and churches, and everyone was required to wear a mask. But the virus was unstoppable. Relentless. Lethal. Curiously, this painful event has nearly faded from our national memory. But as this gripping medical thriller proves, it is a story that deserves never to be forgotten.
"Producer/Director Robert Kenner has devised an artful interpretation of this grim episode from our history, combining archival film footage and still photos with stylistic devices that re-create the mood, tone, and settings of the times."
"Influenza 1918 errs on the side of mood and artsiness, but it plays like a bio-thriller straight out of Hollywood." —New York Post
"It's one of the finest programs I have ever seen." — Orlando Sentinel
"Chilling…intensely moving" — Wall Street Journal
World in Pictures 07-08 May 2009 from Reuters
Filed under: World News — accomthailand @ 22:17
Tags: World News
Reuters Pictures News Around the Globe 07 -08 May 2009
Vesak or Visakah Puja is the most holy time in the Buddhist world. It takes place the birth, enlightenment and entrance of to the nirvana of the historical Buddha Sakyamuni.
Indonesian Buddhists monks walk along a busy street to collect donations ahead of a Vesak Day procession in Magelang, central Java, May 7, 2009.
Buddhists in Indonesia will celebrate Vesak Day on Saturday to honour the birth, enlightenment and death of Buddha more than 2,000 years ago. (Picture Right) REUTERS/Dwi Oblo
Worshippers carry a holy red cloth towards men standing atop a pagoda, a domed temple, during a ceremony at the Kelaniya Buddhist Temple located in Colombo May 8, 2009. (picture Below)
During the ceremony, the cloth is wrapped around the pagoda.
Sri Lanka's majority Buddhist followers make offerings and pray at thousands of temples across the country during the three-day religious festival known as Vesak which marks the birth, enlightenment and death of Buddha.
REUTERS/David Gray
Vesak or Visakah Puja is the most holy time in the Buddhist world, it takes place always on the full moon of the taurus. This year, 2009, It will take place on Friday, May 8.
Tombs are partly submerged during a flood in the city of Esperantina, in the northeastern Brazilian state of Piaui May 7, 2009.
According to Brazilian Civil Defense, floods and mudslides from months of heavy rains in northern Brazil have driven more than 214,000 from their homes and killed at least 33 people.
REUTERS/Paulo Whitaker
Brazil flood death toll rises - Brazilian authorities say at least 33 people have been killed and 214,000 driven from their homes during flooding caused by heavy rains over the last two months.
Police try to stop Maoist protesters from reaching the President House in Kathmandu May 7, 2009.
The Maoist supporters and activists were protesting after their leader, Prachanda, quit as prime minister on Monday because Nepal's President Ram Baran Yadav had stopped him from removing the Himalayan nation's army chief, General Rookmangud Katawal. REUTERS/Gopal Chitrakar
The political impasse in Nepal spells doom for the Indian firms which have operations in the Himalayan nation. According to a survey carried out by apex business chamber Federation of Indian Chambers of Commerce and Industries (Ficci), Indian investors and businessmen in Nepal are living in mortal fear as they see a threat to life and property looming large with the country drifting towards a growing political uncertainty.
Source : Editor Choice
http://www.reuters.com/news/pictures/rpSlideshows?articleId=USRTXEXFP#a=1
First Canadian death from H1N1 flu in Alberta
Filed under: epidemic,H1N1,Influenza A(H1N1),pandemic,Public Health,swine flu,Tourism,travel,WHO,World News — accomthailand @ 21:00
Tags: epidemic, H1N1, Influenza A(H1N1), pandemic, Public Health, swine flu, Tourism, travel, WHO, World News
Alberta reports first Canadian death from H1N1 flu
CALGARY, Alberta, May 8 (Reuters) – A woman from the Canadian province of Alberta has died from the H1N1 flu, a provincial medical official said on Friday, making her the first Canadian fatality attributed to the virus.
Dr. Andre Corriveau, the province's chief medical officer said the woman was in her thirties and had not traveled to Mexico, the center of the flu outbreak.
"We have our first fatality in Alberta that's associated with the H1N1 flu," Corriveau told reporters.
The victim, who died on April 28, had a number of unspecified pre-existing medical conditions. Officials tested for the presence of the virus after a family member who attended her funeral contracted a mild case of the disease.
Alberta has reported 42 cases of the H1N1 virus. Most of those cases have been mild and until the reported death, only one case, a young girl from the provincial capital of Edmonton, was considered severe enough to require hospitalization.
Mexico, which has been at the center of the outbreak, has reported 45 deaths from the virus while the United States has reported two deaths from the disease.
Related links :
Influenza A(H1N1) in Canada web site
Daily updates will be posted on this site.
Source : Fri May 8, 2009 2:34pm EDT
http://www.reuters.com/article/latestCrisis/idUSN08493983?sp=true
(Reporting by Scott Haggett; Editing by Will Dunham and Jackie Frank)
Print This Alberta reports first Canadian death from H1N1 flu
WHO's Influenza A(H1N1) Updated 22 Status 8 May 2009
2009 H1N1 Flu Outbreak Map
This is a map depicting confirmed and suspected cases of the 2009 Influenza A/H1N1 outbreak.
Link to this map: http://swinemap.org/
Influenza A(H1N1) – update 22 16:00 GMT, 8 May 2009
As of 16:00 GMT, 8 May 2009, 25 countries have officially reported 2500 cases of influenza A (H1N1) infection.
Mexico has reported 1204 laboratory confirmed human cases of infection, including 44 deaths.
The United States has reported 896 laboratory confirmed human cases, including two deaths.
The following 23 countries have reported laboratory confirmed cases with no deaths –
Map of the spread of Infuenza A(H1N1): number of laboratory confirmed cases and deaths -jpg 548kb As of 8 May 2009, 16:00 GMT
Austria (1),
Brazil (4),
Canada (214),
China, Hong Kong Special Administrative Region (1),
Colombia (1),
Costa Rica (1),
Denmark (1),
El Salvador (2),
France (12),
Germany (11),
Guatemala (1),
Ireland (1),
Israel (7),
Italy (6),
Netherlands (3),
New Zealand (5),
Poland (1),
Portugal (1),
Republic of Korea (3),
Spain (88),
Sweden (1),
Switzerland (1) and
the United Kingdom (34).
Update 22 Big Map – As of 8 May 2009, 16:00 GMT
Map of the spread of Infuenza A(H1N1): number of laboratory confirmed cases and deaths [jpg 548kb]
As of 8 May 2009, 16:00 GMT
WHO is not recommending travel restrictions related to the outbreak of the influenza A(H1N1) virus.
Individuals who are ill should delay travel plans and returning travelers who fall ill should seek appropriate medical care.
These recommendations are prudent measures which can limit the spread of many communicable diseases, including influenza.
Further information on the situation will be available on the WHO website on a regular basis.
Influenza A(H1N1) web site

redpajama_set_name: RedPajamaCommonCrawl


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A Brief History of Luminox Watches
Watch brand Luminox celebrates its 30th anniversary this year. The America's iconic sports-watch manufacturer has been worn by everyone from Navy SEALs to George Clooney
by Dakota Murphey
Published: Monday 29th July 2019
IF YOU HAVE ever watched Ocean's Eleven, you will have seen a Luminox watch in action. As sported by Hollywood hunk George Clooney, the Luminox Original Navy SEAL 3901 is just one of the many watches that the American-based watchmaker offer. It's also not the first time that its watches have appeared in a Hollywood film - that cherry was popped by Viggo Mortensen in 1997's G.I. Jane.
So, what is it that makes its watches steal the limelight? And where have they come from?
1989: Let there be 'Lumi'
Back in 1989, Barry Cohen – a watch industry veteran – came across a Swiss self-powered illumination system which he knew would address a gap in the market at the time. Utilising this system, along with the help of his friend Richard Timbo, he set out to create watches that would be visible in low or no-light situations.
The duo later went on to name their brand Luminox, merging the Latin words for light ('lumi') and dark ('nox'). They also named their unique illumination technology 'LLT', standing for Luminox Light Technology.
The brand became the official US Navy Seals' watch provider
"Since early 2018, Luminox have become a very popular choice for our customers – in fact, we often sell more than one unit at a time. They have a fantastic reputation for quality and durability – so much so that the brand became the official US Navy Seals' watch provider, which is another factor in their surge in popularity. Additionally, the watches have unique borosilicate glass capsules on the hands and hour markers, as well as some bezels, which provides an attractive glow. Although initially an American company, Luminox watches are Swiss-made to ensure quality and maintain their reputation" (Stefano Pietrini, Watches and Crystals)
1992: SEAL of Approval
Barry Cohen and Nick North – the officer in charge of procurement for the US Navy Sea, Air and Land (SEALs) teams – met at a tradeshow in 1992, and worked together to design a watch that would be specifically used by the SEALs. North was originally tasked with sourcing a watch that he and his team could rely on during night missions. After testing a wide variety of brands in the most arduous of conditions, he found that Luminox was the only brand still functioning by the end, and chose them as the SEALs watchmaker as a result. The two organisations have worked together ever since.
1994: Fame at last
Two years after Luminox was chosen to produce watches for the Navy SEALs, Luminox launched the timepiece that would later make the brand famous: the Luminox 3001 Original Navy SEAL series. Following the release of this watch, more and more law enforcement groups began contacting Luminox, such as the US Coast Guard, the NYPD and the Singapore Air Force.
Their reputation as a high-performance sports watch manufacturer was confirmed
1997 – 2004: Hello Hollywood! Kon'nichiwa Japan!
The famed Original Navy SEAL model made its Hollywood debut courtesy of Viggo Mortensen starring in Ridley Scott's GI Jane back in 1997. Four years later in 2001, Steven Soderbergh's Ocean's Eleven gave Luminox's upgraded model – the Original Navy SEAL 3901 – further screen time, courtesy of George Clooney's wrist during a well-known heist scene.
One year prior to that though, during the fall of 2000, the company released an all steel series and an all titanium series of its watches, which incorporated features typically found in more premium designs; a 10-year lithium battery, sapphire glass crystals and an anti-reflective coating.
Three years later in 2003, Luminox opened the first of its four mono-brand stores in central Tokyo before, one year later, Dwayne 'The Rock' Johnson brought the Luminox Ultimate Navy SEAL Chronograph 8301 watch back to the big screen in his 2004 thriller-drama Walking Tall.
2006: Going global
Ronnie and Andre Bernheim – owners of Swiss watch manufacturer Mondaine Watch Ltd – decided to utilise their extensive experience of the Swiss watchmaking industry and head across the pond, acquiring half of the Luminox company shares back in 2006. Their experience of global brand building, coupled with their strong distributor relationships, enabled Luminox to reach its next level and become an internationally-recognised watch manufacturer.
Luminox has teamed up with expert counter-terrorism operative and undersea explorer Scott Cassell to launch a number of timepieces
Luminox's relationship with the US Navy SEALS, which began in 1992, has been key to its continued success
2007: SEAL Evolution
One year later, 2007 saw the launch of what would later become Luminox's best-selling range of watches. The Navy SEAL Colormark 3051 Series were, put simply, an evolved form of the original Navy SEAL watches that gave Luminox its reputation. This upgraded design featured a specialised carbon compound as the case material, capable of withstanding both hot and cold climates. Not only that, but the watches also incorporated a specially hardened scratch-resistant mineral crystal, approximately 20% harder than conventionally-used mineral watch crystals.
Due to the release of these watches, Luminox expanded its presence across more than 50 countries and became recognised as a truly global brand.
2009 & 2010: Luminox takes the plunge
The year 2009 saw Luminox begin targeting consumers outside of the military and law enforcement industry. Their Essential Gear campaign enabled peak sportsmen and outdoorsmen to become a part of the Luminox family, and was implemented in celebration of the watchmaker's 20th anniversary.
A year later in 2010, Luminox released its 50 bar (500 metre) Deep Dive Automatic Series, aimed to be used by both professional divers and serious diving enthusiasts.
2013: Hitting new heights
After gaining an impressive reputation for watch design in disciplines spanning the sea, air and land, Luminox added a fourth dimension to its collection: space.
Back in 2013, the watchmaker became an exclusive partner of the SXC – the Space Expeditions Corporation. After gathering input from SXC test pilots and astronauts, Luminox announced the release of the SXC GMT Space Series, which featured the same lightweight, yet extremely durable, carbon compound used in the evolved form of their Navy SEAL watches.
The 1523 divers watch – part of the Luminox Deep Dive Automatic Series
2016: Bernheim bros SEAL the deal
Ten years after first coming on board, the Bernheim brothers reached an agreement with Luminox Founder, Barry Cohen, to buy out his shares of the business. The duo now own the company in its entirety, as well as its associated American distribution company Lumondi, Inc.
During that same year, the company also became an official licensing partner of the Navy SEALs, formalising the agreement put in place back in 1992. As such, two generations of SEALs have now chosen Luminox as their watches of choice, cementing the relationship between the watchmaker and the military service.
2017: New law, new watch, new case
The year 2017 saw the Swiss-Made law come into effect, meaning that Luminox watches were designed to fulfil the new regulations. This saw the release of an upgraded version of the original SEAL watch – the Navy SEAL 3500 series – and the launch of a newly designed case, known as the Leatherback Sea Turtle Series.
2019: Happy Anniversary
Later this year, Luminox will celebrate its 30th anniversary and 27th year of its relationship with the Navy SEALs.
Their self-illuminating Luminox Light Technology remains unique to them alone, and – pardon the pun – their future looks bright.
Plus, with technology constantly on the rise, it's safe to say that Luminox will continue to grow and utilise technological advances in each of their next series of timepieces. Only time will tell.
For more products and information visit Luminox
Brand Watch


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Read levels - Popular novels - page1
ELECTUS - A tale of Peaceful Demons.
Fantasy ROMANCE R-18 CULTIVATION WAR DEMONS KINGDOM BUILDING POWERS MUTATION LEVELS PREHISTORIC CREATURES
Fire... beautiful isn't it? It can burn, destroy, breach, but what if it's superiorly charged? Bestowed upon a human being at a rate that's incomparable even against the toughest Fire Blasters of history? Young Eric has been blessed with such ability, he has been blessed with the title of an Electus! Which apart from Fire, brings 7 more powers, making him one of a kind. Perfect timing, as Demons from another dimension are flocking the sea and land, looking to shred the world, aiming to destroy all 13 continents. Yet there is hope! Black Fire, yes... that's the cure. It can dismantle portals, ultimately slowing down the invasions. But to generate such Fire it demands for Eric to reach a level that's seen as impossible, even for an Electus! He has to become a level 7 Fire Blaster! That's the only solution, that's the goal the Electus' group will chase. These "peaceful demons" have to be banished back to the satanic dimension they call home. Will Eric be able to do it though? This journey has been bestowed to him as if from the holy, although he's just a 15 year old boy! _______________________________________________________ Side note, spoiler! Eric is a sweet, loving boy by nature, hero by heart. And the main thing that will be building his character development are the Inner Demons that strike an Electus once unlocking a new power. These Inner Demons aim to change the young boy for the worst and can even make him go crazy just by altering how he comprehends reality. Join Eric's Journey towards mental peace as well as world peace. _______________________________________________________ Novel's discord server including maps and city budgets: https://discord.gg/35mTmwA
Vampire Infection
Fantasy ACTION SYSTEM FANTASY VAMPIRE CRUEL LEVELS MYTHS DYSTOPIAN TIMESKIPS
In the Ancient Era a Vampire once protected his people; mortals and immortals alike from the horrors of the continent behind the closed walls of an Empire... When reality became myths his deeds were brushed off as legends and he was deemed 'crazy' by modern society for calling himself a Vampire. But when the Races of the Ancient Era begin to resurface on the world the myths are proven to be more than just that. When 'Gods and Devils' exist, in a world where humans constantly hunting down other races to improve their social-status how can a Vampire with grand ideals unite the world of 'monsters' to prevent their total extinction... ... 1 Chapter per day (Random mass releases of 3+ Chapters at times, depending on how much time I have to write that day.) Thanks for reading, please leave a review or comment if you're enjoying/have any criticism, I'm open to any improvements.
Evolution into a monster
Fantasy ACTION REINCARNATION EVOLUTION MONSTERS WEAK-STRONG BEASTS WORLD LEVELS
An old man died in the hospital . Some unknown phenomenon made his soul to travel into a new planet far away from his own world. Mc Got reincarnated into a 4 leg creature. Started his new life in this world where he will evolve in something else. Also Mc will be going to be a believer in fate. ------------------------------------------------------- Give power stones and support this novel in contest.
Blood Horizon : A New Beginning
Horror&Thriller SYSTEM EVOLUTION ZOMBIES GUNS MUTANTS LEVELS TECHNOLOGY
This story will follow a reincarnated MC after he reincarnates from 4 years after the start of the apocalypse. He will get a system which he will utilize to survive through multiple challenges. The story takes place in an alternate modrrn world. Note : I know the synopsis is bland and I intend to keep it that way. The reasons for that are that I dont want the readers to know exactly where the story will go and how it will end. I also realize that this may sound like the common cliche however I assure you that it will take turns you will not expect. It may contain a few cliches but my general aim is to maintain as few of them as possible. Keep in mind that I am not an experienced author. And feel free to point out any mistakes I make, I need the feedback. Also I'm not sure if it will include a Harem or just a single final love. There will be multiple love interests but it is not decided how many the MC ends up with or just one.
Grinding My Way UP
Video Games FANTASY MMORPG GRINDING LEVELS
So Ujin, an 18-year-old gamer, is addicted to a brand new MMORPG game called "Immortal Legacy". After countless hours of playtime and DLC purchases, Ujin is broke beyond comprehension. He joins the lowest kind of Guild 'Grinding Guilds' in order to pay back his debts and grind to the top! "Grinding my way UP" is a parody of similar Novels with the same premise.
My Little Store
Fantasy REINCARNATION SYSTEM LEVEL-SYSTEM STORE OWNER WEAPONS LEVELS BUISINESS STORE PILLS BUISNESS-EXPANSTION
"Welcome to my little store!" Says our MC as he welcomes new customers. Read as our MC expands his business and becomes an a tycoon big enough to be able to overthrow the intire world.
Nirvana Dichotomized(D&A)
Fantasy ROMANCE SYSTEM HAREM MONSTERS ORIGINAL DUNGEON RPG-ELEMENTS GUILDS LEVELS ADVENTURERS
This is a world where two sides fight for what they believe is right. Adventurers and monsters, dungeons and guilds. Yet, who is the origin of evil? Life was peaceful until the first dungeon appeared. It brought about havoc and destruction. Dividing the world into heaven and hell. Yet within this chaos, a peculiar boy was born and with his early maturity, he attempted to change the world. Yet, the archangel appears... Release rate: one chap per week
Wanderer /by FDGH
Fantasy ADVENTURE FANTASY MAGIC SCI-FI SUPERNATURAL DIMENSIONS LEVELS WANDERER IDEOLOGY FDGH
World has 7 skies or dimensions, which co-exist and overlap on each other. End ... a young existence of the fifth sky's Semi-Divine realm, is banished to the first sky of Mortal world because of his lack of talent. But he has no idea that a person who is born with a destiny to make; has the power to return back to what he is ... *This Is My Original Story* And I'm Also Posting My Story On Pixiv: https://www.pixiv.net/novel/series/1343097
Legend of a Liar
Fantasy ISEKAI TRANSMIGRATION SUPERNATURAL SUPERPOWER CHEAT ELF SKILLS LEVELS JOBS
MC was a pathological liar in his previous life, who used lies to comfort himself and face his pain. One day he finds himself transmigrated, in the body of a weak kid, into a game-like world where humanity and other humanoid races are in a constant struggle against alien races that plague their world through the dungeon gates. The only thing that can help him survive right now is his hidden skill of lies.
In My Next Life I'll Be a Cat
Fantasy MAGIC ISEKAI MONSTERS FANTASY MMORPG RPG DIFFERENT WORLD SKILLS LEVELS REINKARNATION
Gabriela is an eleven year old girl that died when she was run over by a car. She has reincarnated into a a cat-like monster that is known and killed on sight for enjoying human blood (in her defence, human blood mixed with magic tastes like heroin). In this harsh new world she struggles to stay alive only to discover that one of the creators of this world took liking in her and blessed her by amazing never-before-seen abilities. Will she level up and evolve to change from a hunted to huntress?
Lines the werewolf
Fantasy Romance ROMANCE MODERN FAMILY WEREWOLF ABUSE CULITVATION BRUTAL LEVELS SOCIAL MEDIA OCD
Lines, Tim, Timothy. This 17 year old boy goes by a few names. A dancer, a werewolf with that prime urge of freedom, primary urge to run free on the nearby forest. Until one day a level 3 werewolf, fought Tim and forced the boy to lose an eye. Now the main goal is to face that werewolf again and kill him! The forest will belong to Lines the werewolf! But he was yet to realise that the forest carried more than he bargained for. A war between werewolves was raging, his family being a part of it. His family... well that's a complicated topic, because whom is really his?
ZM apocalypse with system!?
Sci-fi SYSTEM ZOMBIE ROBOTS LEVELS
Trying new idea._ _ _ _ _ Yesterday i was eagerly waiting for tomorrow but tomorrow happened to be apocalypse...
僣
Fantasy ROMANCE REINCARNATION CULTIVATION FEMINISM LEVELS
Wolf Evolution
Fantasy Romance ADVENTURE REINCARNATION EVOLUTION WOLF LEVELS
伬
Fantasy ROMANCE ADVENTURE REINCARNATION CULTIVATION POWERS KINGDOM BUILD LEVELS ARENA
cgguikop
Eternal Mandate
Fantasy Romance REINCARNATION CULTIVATION OP MC FEMALE LEAD ALCHEMY LEVELS NO ROMANCE NOR HAREM ARROGANT MC FOR BEGINNING
Walking through the 9 Heavens and Ten Earth unhindered, remaining eternality Supreme. I am the Supreme Empress.
Immortal Writing (Hiatus)
Eastern Fantasy COMEDY SYSTEM CULTIVATION XIANXIA ARTIST PET POOR TO RICH WRITER EXP LEVELS
This novel is temporarily taken down to prevent people from reading as barely anything was written and it is on hiatus. This will be written again in the future though once my current works are done. ________________________________________________________ Who says cultivation must be long, arduous, and boring!? Who says the only way to immortality is through hard repetitive cultivation!? Brought back from the dead, Jay Kaiya, a bestselling author, is thrown into the Talent Convergence! A place filled with true talents, one that kill in the swing of a fly! Jay Kaiya, as an artistic type, does not fit in at all! Fascinated in this new world filled with magic, he looks to join any sect that would accept him! In order to not have his spirit fade away, and be eternally dead! In the end, he joins the Exp Sect! A sect destitute of all things... but exp.


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Schlock Value
Reading cheap literature so you don't have to
Books List by Ranking
Thomas Anderson	Reviews	 August 3, 2014 November 1, 2017 9 Minutes
Phase Two by Walt and Leigh Richmond
Ace Science Fiction, 1979
Price I paid: 25¢
WISDOM IS WASTED ON THE OLD…
By the time a man was truly wise, he was old and feeble—until now. A revolutionary technique developed by Dr. Katsu Lang of the Asteroid Belt has changed all that; students can actually be innoculated [sic] with "memory molecules" and given a lifetime of knowledge in the same length of time as ordinary schooling. that's why the brightest youngsters from all over the solar system vie for entrance to the Astro Technology School on Earth.
At the head of his class at AT is Stan Dustin, son of the hero of the Asteroid Belt's first triumphant battle for independence. When he learns that he is being groomed for a career in Earth's hated militia Stan escapes to the Belt, where he learns the frightening truth about the memory injections and the side effects Earth has so carefully cultivated.
The struggle for the Belt's independence is far from over—and of all the brilliant young officers from the AT school, only Stan has full control over his own will. Earth plans that the second battle with the upstart Belters will go very differently from the first—but Earth reckons without Stan Dustin, and the courage of men who fight for a world they love.
Could that back cover synopsis be any longer? Jesus, it's like 200 words.
It seems like a lot of my reviews seem to follow the pattern of "This book was dumb or boring or just bad, but it had a good premise or a couple of germs of good ideas in it." It's the reason I really like reading and reviewing old pulp science fiction. Looking for the redeeming features in an otherwise dreck novel, so to speak.
Well, folks, this week we've got a real doozy, then. See, the thing about Phase Two is that yes, it was boring. Yes, it was not especially well written. And yes, I threw it across the room when I finished with it.
But those little gems of good ideas? Those shining moments of genius? There were SO MANY.
It's like every feature of the plot of this book except for the actual point of the book was brilliant. I feel like maybe all the effort went into the worldbuilding and into actual research into things like physics and engineering. This was fairly hard sci-fi, really, and the homework shows. That's something I can appreciate, you know?
On the other hand, though, we've got a main character who isn't so much useless (there's a shock) as he is boring, although really I think that's a problem of the plot and not of the character. There just isn't anything for this guy to do. Never once in this novel did I feel like there was any danger for the main character and for his comrades. There was no dramatic tension at all to me.
But wait, I forgot to talk about the cover! Look at it! Star Wars, dudes and dudettes! I bet that guy is going to fly down a trench to find a small thermal exhaust port just below the main port. Also he's looking through a ViewFinder until Obi-Wan tells him to trust himself. Even that guy's uniform color, what you can see of it on his arm and back, anyway, is basically the same as Luke's at the end of Star Wars. It's pretty blatant. The book came out two years after Star Wars, as well, so I don't think anybody can rightfully claim it was an accident. Way to try to mislead me into buying this book, publisher.
So was the plot a Star Wars ripoff? It really wasn't. But this is a bit of history that I think is pretty interesting.
So this book was ostensibly written by Walt and Leigh Richmond. Husband and wife team. Nothing wrong with that. This book, however, was originally called Phoenix Ship, which was written in 1969 and rewritten or at least revised by Leigh Richmond, by herself, after Walt died in 1977. So that leaves us with an interesting question: how much of this is her fault? Or could it be that she actually made it better than it would have been?
Yet another interesting bit is that the copyright page of this book says that the book is copyrighted by "The Centric Foundation."
That filled me with an "uh-oh" feeling. Could it very well be that this would turn into another East of Danger?
I had to figure out what was going on with that. Fortunately the Encyclopedia of Science Fiction stepped in to help me again, since I couldn't find anything else on Google:
Almost all their work together expressed a sense – one formally presented by the Centric Foundation which they founded and directed – that scientific breakthroughs could be made by young minds freed of the bureaucratic artifices of orthodox scientific thinking…
That's not too bad, then, is it? Not like some kind of wacky quasi-religion, more like a philosophy. A non-profit advocating a certain rugged individualism and free-thinking attitude. Okay, I guess I can dig that to a certain point.
This book definitely tried to make that its theme. It also failed, not because it forgot to bring it up or anything. Quite the opposite. Or…well…I'm not sure if it's the opposite. Here's what happened: the book didn't bring up anything of the sort until the last ten pages, at which point a soliloquy happens that straight up tells us that that was the theme of the book.
You know, I'm going to say this book has a lot in common with Robert A. Heinlein's work. Similar philosophies similarly delivered. But here's the thing: Heinlein, even at his most didactic and preachy, at least put an interesting idea in the background of a book. Phase Two, however, has the most trite damn plot you can imagine. Maybe it was more original back then, but somehow I doubt it.
So here's our hero, Stanley Thomas Arthur Reginald Dustin. That is seriously his whole real name. And then you think about it and you go "Oh my god his first four names spell STAR." And at then about two pages after you figured it out for yourself and debated dropping this one off in a free book bin somewhere, the book tells you how awesome that is.
He goes by Stan.
Stan has a lot of issues with his dad but idolizes his uncle Trevor, who is currently leading a rebellion in the Asteroid Belt against the Earth.
The rebellion is pretty cool, actually. The Belters use a lot of clever ways to beat the Earth fleet, which is supposed to be huge and shiny and new and nigh-invulnerable. Earth Fleet has capital ships while the Belters basically use one-man mining vessels as fighters. Their grand scheme, which works, is to basically accelerate toward the cap ships and then turn around and burn hard, using their engines to burn big holes in the Earth Fleet ships. They win handily, although Trevor Dustin dies in the attack.
During all this, Stan is at school. It's supposed to be a special school, and even for that special school Stan goes through some weird stuff. He's not actually taught anything so much as quizzed on things he's never seen before. He does very well at it. Finally it's revealed that he's a test subject for a new learning process that transfers the memories of older, more learned men into younger men who have more time to do stuff with it. Basically Stan hasn't been learning things so much as learning how to call on that information that was already in his head. Stan gets mad when he learns this and flees to the Belt with the intention of joining the rebellion.
He does this, meets up with some people, some other people try to kill him, and he comes up with a plan to get Earth off the backs of the Belters. Somewhere around this point he learns that his "Uncle" Trevor is actually his dad and that he left him a lot of money. Honestly it went really quickly but it had a lot of asides. The asides were a lot more interesting than the main plot, though. I'll get to those in a minute.
Oh, and the bit about finding out that Uncle Trevor is really Dad? It was supposed to be a surprise. The back of the book spoiled it, though.
The plot resolves when Stan comes up with a radical new kind of spaceship that is made out of a hollowed out asteroid. Actually I think the ship, Phoenix, was already in production, it's just that Stan uses his implanted smarts to come up with a new drive for it that is really fast. The asteroid itself helps with that in a way that I really enjoyed seeing happen.
See, Earth Fleet 2.0 decides that it can't allow this kind of thing to go on, so they launch some attack ships at the Phoenix. Something about its metal exterior, though, gives the Fleet a big surprise. Instead of just burning holes in the Phoenix until it explodes, the outer metallic surface ablates, melts, flies around, and then sticks to the offending ships before resolidifying into solid metal, rendering them useless. The ship is big, so the Earth Fleet hits it with everything its got. Phoenix takes no damage and defeats the entire fleet without firing a shot.
That's pretty good!
Stan calls up the commander of the fleet and this is where the preaching begins. Stan basically says that the people of Earth have gotten soft and over-reliant on having other people do the thinking for them. The difference between Earthmen and Belters is that Belters are individualists. The Belt will no longer tolerate any meddling from Earth. They are no man's servants. They have already renamed Ceres to Ayn Rand.
I made that last one up.
To back this ultimatum up, Stan points out that since Phoenix is so fast and so powerful, he could easily just fly it over to Earth and swoop down into the atmosphere at full speed. The shock waves would blow up lots of things and render the ground below them useless. Also the engine would do a lot of radiation damage. He has a weapon of mass destruction, and while he doesn't want to use it, he will if he has to.
Because that kind of thing worked so well DURING THE TIME YOU WERE WRITING THIS BOOK
Earth capitulates.
The book ends with Stan saying that the only way for mankind to be free is to venture out into the stars. He's come up with a revolutionary new ship drive that will allow just that. In fact, it's not even a ship drive. It's a planet drive. Some years down the line, he thinks he'll be able to strap this thing to a small moon or something and then a whole colony of humans can set out for the stars. He also points out that other species in this universe are doing this already, and that's what quasars are.
Gwwwwuuuh
So really that was the plot. But I mentioned the parts of the book that were good and weren't plot, so here we go.
Belters measure distance around the belt in terms of months and days, not because it takes that long to traverse those distances, but because they devised a system based on the movement of the Earth. Picture the solar system as a giant clock, except instead of a clock it's like a round calendar or something. Point A is "January" because the Earth is roughly lined up with that part of the belt when it's in January. So point B somewhere down the line is "March." And so forth all the way around.
Similarly, because of orbital mechanics and stuff, it's easier to point out the positions of the various bodies of the Solar System by what sign of the zodiac they're in. This is not to say the book endorses astrology, it's just a useful designation.
Capital ships and space stations are shielded by a layer of water built into the hull of the ship. (Note: this is actually a proposed thing). The shielding is there to protect the crew and passengers from space radiation, but you can also use it for other stuff like…water. In the case of this book, it's also an oxygen recycling system because the water has a bunch of plants in it. Also fish. And the walls are clear so at any point you're basically surrounded by a wall of aquarium. In space.
Those are the things I can remember off the top of my head. And that's some pretty cool stuff! Also I mentioned the bit about the ship made of an asteroid. That was neat too. Even the "memory molecule" learning stuff was neat enough in concept, even if I'm not entirely sure it makes any sense. It was at least well-thought-out in its own right.
The problem with all this is that very little of that neat stuff was the point of the book. Even the memory transplantation bit, which you'd think would basically be the whole point of the book, was little more than a starting point. After a while I guess it's taken for granted that Stan can figure stuff out and that he's super smart because he got tested on. He comes up with a lot of the ideas in this book, so at least he's not totally useless, but there wasn't much you could call interesting about him.
For a book with so much going for it, I believe it forgot to be in any way entertaining. Never once did Stan feel threatened or confused or vulnerable. I guess it's worth pointing out that this is another book without a lot of emotion in it. I never felt anything beyond "Oh god I'm only halfway through." And that's a bad sign. Authors, if you can't make me interested, at least make me mad. That's all I ask.
Ace Science Fiction
Asteroid Belt
good concepts
Leigh Richmond
memory molecules
Poor Execution
Stan Dustin
star wars cover
Walt Richmond
Published August 3, 2014 November 1, 2017
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2 thoughts on "Phase Two"
Maria B says:
Wait, so what was "the frightening truth about the memory injections and the side effects Earth has so carefully cultivated"? Did that part of the plot just not happen?
Thomas Anderson says:
For the most part, no. I think there was a bit about how some people got turned into "robots" but there was no real explanation of what that meant other than Stan was special because he did not get turned into a robot.
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Even though curry has its origins in India it has now entered the world of culinary delights enjoyed by food enthusiasts from the all over the world. An essential part of the English dining experience; the British have conjured their own version of the curry inspired by popular north Indian curries. The myriad of flavors, the wonderful texture and the heady aromas of the spices all blend perfectly to create a one of a kind gastronomical experience.
Quite simply most people find the curry absolutely irresistible. But more often than not most people are intimidated at the prospect of cooking a curry meal. Because they think it would simply be too complicated but curries range from ones that only need a few minutes of cooking to ones that can take up a whole day. Also the popular misconception that you absolutely need the ever popular curry powder to make a simply curry can be cast aside. For basic curry all you will need are a few fresh ingredients and about half an hour of your time.
Start with 2 tablespoon fresh, chopped cilantro/coriander (Optional). Use a blender to make a ginger garlic paste. You can also grate them finely. Set aside this mixture.
Before using the cardamom, cinnamon and cloves you will need to dry roast them at medium heat. You can use a pan or wok for this, the roasting will bring out the fragrance. Keep cooking till you can smell the aroma, but make sure that you don't burn them.
Next heat the oil and fry the cumin seeds till they sputter and add onions and green chili to it. Fry this mixture till the onions are a slightly brown.
Now you can add the ginger and garlic paste and fry for another 8 to 10 minutes at low or medium heat. Add tomatoes to this mixture and cook well till the tomatoes blend in. Now you can add the masalas to this mixture and cook for another 5 minutes. You want a slightly thick sauce so keep cooking till you achieve the desired consistency. Once the curry is ready simply add the potato chunks and cook till tender. Serve the curry hot over a bed of boiled rice.


Blockchain technology has become increasingly important today. For a comprehensive overview of blockchain technology and how cryptocurrency works, please refer to our February series that discusses blockchain technology and cryptocurrency in-depth. In this post, we discuss patents in blockchain based technology.
In general, blockchain technology refers to the use of a specialized, digital ledger that is used to record cryptocurrency transactions. These transactions are recorded chronologically and verified by the community that trades and mines that cryptocurrency. Cryptocurrency refers to currency that is virtual and digital and relies on encryption techniques to regulate and validate the generation of more units of that particular cryptocurrency. Together, this technology can be used to transfer funds and self-validate and verify that transfer of funds. In essence, cryptocurrency exchanges allow for currency transactions to operate independently and outside of the traditional banking system. Therefore, an owner of patents in blockchain based technology systems and methods would obtain an upper hand in the blockchain market.
While cryptocurrency and blockchain technology has existed for over a decade now, there have been very few attempts to file for patents or similar forms of intellectual property protection to cover the growing technology. In October of 2017, JPMorgan Chase ("Chase") filed a patent application that seeks to cover a system that would be used to protect distributed ledgers and blockchain-technology based systems that facilitate their virtual financial transactions.
In particular, the patent application looks to cover distributed ledgers (blockchains) that would work by recording transactions and storing data through these ledgers. Because these ledgers would log the transactions and can be replicated across both public and private networks, the patent would seek to also cover associated cryptocurrency and the digital signatures used in connection with these ledgers. In blockchain technology and cryptography, these digital signatures are used to validate both the parties and the transactions in order to ensure that the cryptocurrency and blockchain-based transactions are accurate.
Specifically, Chase is hoping that the patent will be granted to cover their method for processing the payments through their distributed ledger network. In explaining their patent, Chase states that it would cover all steps of that basic blockchain technology systems which generally include: 1) the payment originator that initiates the payment to the beneficiary; 2) the payment originating bank posting and instructing payment to be committed to the distributed ledger on the blockchain network; 3) the payment beneficiary bank instructing payment to be committed and posted on the distributed ledger; and 4) the payment originator bank validating and processing payment through the originator bank's internal system while simultaneously debiting the originator account.
While Chase waits for the U.S. Patent and Trademark Office to rule on the patent, it has already launched its own cryptocurrency-focused transaction service. Known as Quorum, the service and product is designed to capitalize on the system that the patent application would protect. To clarify, etherium is another cryptocurrency similar to bitcoin and among many of the new and rising cryptocurrencies that now exist.


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Blackmagic Design today announced Blackmagic URSA, a high end digital film camera designed to revolutionize workflow on set for feature films, commercials, episodic TV production and much more.
Blackmagic URSA is built to handle the ergonomics of large film crews, as well as single person use, with multiple accessories including a massive 10" fold out monitor, large user upgradable Super 35 global shutter 4K image sensor, built in scopes, and internal dual RAW and ProRes recorders.
The Blackmagic URSA EF model will retail for $5,995.
Thank you and congratulations! URSA looks promising; like Alexa's little cousin.
The large, attached monitor is a little funky, but I'll still take two PL's when they're available.
When can I pre-order in the US?
fix your 'old' camera before you make new ones.
Sorry to say this, but the monitor is a terrible idea... add a replaceable VF. You don't want a monitor that you can't remove... and another thing.. it makes it look like a toy. Other than that great camera.
How can we buy your new camera if the previous camera you made was a crap? Please fix soon the issues of the BMPC 4K !!!!
Hardly delivery of the BMCC 4K arrive 1 year later!
You take out a piece of news will be on drugs without the first one 4k with the utility version 1.7 still records in RAW!!!
Ok I use my assistant to translate better.
So what I mean is that the delivery of the 2st BMCC 4K cameras on the market took almost one year.
It's quite amazing. even washing machine resellers do better job.
Love it,they listen,this is gonna be HUGE !
I have to buy me an fortune of extra tools to make this a real working production camera and now you announce two months after releasing the BMPC a new camera with everything you forgot on the previous camera's. So what about me? I bougth this camera two weeks ago because they told me it was a "production camera". Is it like; "sorry you have to buy an new "complete" camera or can i get a rebate and change my BMPC when the URSA comes out.
So... how about shooting from shoulder, with no viewfinder and a huge screen into your nose?
Well, I have high hopes for this. As it so happens I am shopping for a replacement for my Sony EX1 with higher resolution to take us into the future. A fully shootable Scarlet is a bit too much to bite on, and the BMPC is a bit too bare.
Sadly, our fiscal ends in June, and you don't list shipping until July. And I am not sure how optimistic that ship date is. Everything about this camera hits the right buttons for my needs Right mounts, right sized sensors, no need for an external monitor in most cases, can take big batteries, can be easily rail mounted, XRLs (finally), right codecs, SDI in/out.
Well done. I wish it was available now as I've got a historical documentary to shoot next month that is going to have to be done in HD on the Sony, or 2.5k if I want to risk shooting it on my personal BMCC.
Seems very heavy for handheld work. Almost twice the weight of the current de facto handheld camera, the Sony PDW 800, at around 9lbs. That maybe an unfair comparison given that the Ursa uses a Super 35mm sensor but then so does the Aja Cion and that tips the scales at an even more manageable 7.4 pounds. What isn't unfair, however, is taking this weight issue seriously. Camera operators deserve to go home after a days hand held without being in pain. Could this camera have further health and safety issues over the likes of the widely used PDW 800 ? For example, a limit on the time it can be operated hand held - wonder if BECTU (the union in the UK) will have a view on this ?
What does Blackmagic have against hi frame rates? The iPhone 5s can do 120fps, a freakin' cell phone. I noticed you can connect a DSLR to the URSA, can I connect my iPhone to it for great action shots.
Blackmagic, you are doing some amazing things, granted. but a little short on the frame rate side. The BMCC 2.0 hopefully will do 90-120fps, and the BMPC at least 120fps in its next version.
It would have thought the URSA could do up to 120fps, especially since it seems to do nearly everything else. Or is that a future upgrade sensor?
It's not like the URSA has to do 1000fps, maybe up to 320 or 360 at least.
There shouldn't be any difference. For years we shot docco and drama on digi beta then HDCAM. Going hand held was just a matter of flicking the trusty VCT 14. Why on earth isn't the URSA designed for drama - where you often want to go hand held ? For years I shot on an Arri SR or an Aaton XTR - they were docco and drama cameras. 35mm was a different story but for a broad range of TV drama we shot on shoulder mount cameras that could be easily and securely tripod mounted. Surely enough we are going to have to go back to those days and that's where AJA have the more sensible ergonomics and that's a camera costing just a little more.
Last edited by Chris Tritschler on Wed Apr 09, 2014 6:32 pm, edited 2 times in total.
Where does it say it's not for hand held work, which is basically all TV and Film (at least at some point ) ? Let's not forget it will come in 2/3inch B4 - the domain of EFP cameras like the PDW 800. And weight isn't just a factor for 'handy looky' (as Ikegami called it in their user manuals !) '- my Vinten Vision 100 (a £4k tripod) will struggle to counterbalance that weight - is their target market really going to be able to afford a set of Ronfords or similar ? Maybe it would help if BM told us exactly what it is suitable for. I was hoping it was suitable for film making, myself. If it's not for drama or docco then what is it for ? Commercials then ? - ah wait a minute, three of the last six I shot had hand held @ 120fps so maybe not.
fix your 'old' camera before you make new ones. What about the BLACK HOLE??? in BMCC and BMPC??
I don't own a BMCC myself but really feel for those that have invested. Worse of all must be seeing your investment lose a huge chunk of it's value.
I hired one the other day and it was far from a finished product. Not being able to check the time remaining on the drive cost us two hours per day, the Zebras not having a range (e.g. +/- 5%) and the way the 709 conversion is handled and/or a lack of dynamic range may have cost us the series.
However, on a positive note I did light a job shot on the pocket - I think that's a great little camera. A very clear vision nicely executed.
chrisser1976 wrote: There shouldn't be any difference. For years we shot docco and drama on digi beta then HDCAM. Going hand held was just a matter of flicking the trusty VCT 14. Why on earth isn't the URSA designed for drama - where you often want to go hand held ? For years I shot on an Arri SR or an Aaton XTR - they were docco and drama cameras. 35mm was a different story but for a broad range of TV drama we shot on shoulder mount cameras that could be easily and securely tripod mounted. Surely enough we are going to have to go back to those days and that's where AJA have the more sensible ergonomics and that's a camera costing just a little more.
RED One 10 pounds without batteries, screen, or anything else.
Arri 435 14.3 pounds without mag.
Looks to me, the URSA fits right in with other common Digital Cinema cameras when they are rigged similarly with confidence monitor, battery, recording load, etc. And it appears to be maybe a pound or two heavier than traditional 2/3" shoulder mount cameras when they are rigged similarly for 2 person operation.
This is NOT a shouldercam. It is NOT a 2/3 broadcast camera. See the integrated rail mounts? Your shoulder cam's don't have that because they weren't designed for the same job.
Yes, the AJA Cion is lighter. However, I note that it is not carrying a screen of any kind (just an EVF). It's got a shoulder mount which means they were intentionally trying for that form factor. It's also going to be nose heavy as is obvious by looking at where they put the battery mount, and where the sensor housing and everything else is. Put a piece of glass on that bigger than a 50mm, and all the weight is going to be on your arms all day.
2/3" camera ops are going to complain about any form factor that doesn't seem similar to what they are used to. DSLRs are too small, DCP cams are too big and unweildy. Cinema guys coming from panavisions, or big Arris, see the 2/3" style cameras as things they want on steadicams, not what they want on their real mounts. DSLR guys think all the other stuff is too big and heavy, and then spend 2 years and $5k putting rails, cages, handles, and all other manner of stuff on their tiny cameras to make them into function DCP cams. But they still don't have meters, framing lines, or any of the stuff that makes a DCP camera do what it does so well.
The URSA seems to try to walk the line between all markets. Mount your DSLR in front of it and tie in with an HDMI cable. It's a little heavy for the 2/3" guys but has a lot of the same ergonomics same batteries, etc.. And for the DCP guys, they'll feel mostly at home with PL mount, confidence monitor, framing lines, good codecs, etc.
I give BM a lot of credit for this camera. It's got numerous compromises sure, but hits a great price point for the feature set and if they get it shipping with no major glitches, it should do well.
Don't feel bad for us. My BMCC does EXACTLY what I want it to do the way I expected it to do it. Those who were realistic about the camera seem EXTREMELY satisfied. And my investment has lost none of it's value. It will "B" camera to this new camera very nicely. It's almost as small as a DSLR and I can rig it practically anywhere.
As far as not being able to check time remaining costing you two hours, that's not the camera's fault. That's the fault of whoever is keeping your shot log. Just the same as if you'd been shooting on film. I shoot my BMCC just like it was a small film camera, and have had zero issues. I've never seen a film camera with zebras, or 709 conversion. I use a light meter and have had no surprises on set regardless of whether I am on DSLR, BMCC, EX1, DVX100, or any other camera.
chrisser1976 wrote: I don't own a BMCC myself but really feel for those that have invested. Worse of all must be seeing your investment lose a huge chunk of it's value.
It is a 2/3 inch broadcast camera - at least a version will be. I did 52 days fairly straight on a feature on a RED one and that was terrible to. Too heavy being just one problem, taking ages to switch to HH another.
When I shot on film there was always a footage gauge. Sometimes drama sometimes doc but never relying on the Script super to tell us when to change rolls.
Yeah light meter will work but meters can drift - it's called a K factor. When exposure changes in shot then Zebras are way more useful in my opinion. Yes film cameras didn't have Zebras but they did have TTL meters. I suppose if you treat it like a Bolex then that's one thing - but maybe not call it a 'production' camera. May be a B camera ? People have mentioned 'no problems' on set - but I'd really like to see something that works well on location too.
2/3 Inch cameras have had (albeit retrofitted) 15mm and 18mm rails for years. Chroziel seemed to sell loads. All of our hire cameras had them. They were great for shooting Drama - ours worked on 'The Office', 'Spaced', 'French and Saunders','The Fast Show' and the next day on doccos. Why don't you want that from a camera. ? A mainstream camera for the 4K era. Aja seem to get it - why not black magic ? If you're a jobbing cameraman or woman then that's the minimum starting point really.
Recording capacities - am I missing something here ?
You need 128gb of space to record 5 minutes of RAW footage.The largest capacity you can get is 128gb - good news though the camera has two slots so you can shoot for ten minutes without changing rolls. Back to shooting on film days. The cost of those two cards ? £2400. Two @X!ing thousand xxxtard four frig%&* hundred quid. Let's say we're on a corporate with a fairly trigger happy director (director wants to shoot RAW as unsure of destination and wants to cover all bases - it has happened) covering ob doc and we shoot 50 mins of rushes per day (one and a 1/4 digi beta tapes - about £25 in the good old days). We'll need five cards - that'll be SIX THOUSAND POUNDS PLEASE, SIR - more than the camera. Erm, no. It would cheaper if the camera ran on cocaine and Parisian prostitutes.
Is it just me or is the president of the company suggesting hand held was a consideration is developing Ursa ?
It's a 2/3" broadcast camera the same way a DSLR is a movie camera. Big compromise, but people have been doing it for years.
I don't see this thing as anything other than a B camera on a big shoot, and certainly an "A" camera on what would be a DSLR shoot. This is your locked down camera, while you run and gun on a DSLR. Or get the HDMI version and attach it to this for your dolly and sticks shots, and take the DSLR and put it on a small rig for your run and gun. I just don't see this as a primary shoulder cam. Especially not with a 10" screen in your way.
Yes, you could retrofit rails on 2/3" cameras. But that wasn't how they came standard. You can retrofit all the pieces in Arri's catalog to a GH3 but that doesn't make it RED. And that's my point. We adapt as required to get the shots we need. This thing is not going to displace the 2/3" shoulder cam for what those cameras do well. As far as AJA "getting it", what that means is that the camera format is what you prefer. For DSLR shooters, the CION is AJA "not getting it". Especially since it's PL mount only FORCING you into the most expensive glass around. It's a matter of perspective.
In terms of recording capacities, we are looking at the very beginning of CFast. When Compact Flash came out it was 256MB. You could get about 30 frames on a card from the still cameras of the time. Today, they wouldn't hold a single frame. When the HVX200 came out, P2 cards per hour were about what these CFast cards cost now. Yes, they could have gone with SSD, but dual SSDs would have taken a LOT more space in an already large and heavy camera, have much higher operating temps, and the cost savings wouldn't have been much. Most of the big films I see are writing uncompressed to Codex recorders. Those units costs twice as much as this camera minimum and the storage is $3500 a piece.
And while we're there, those AJA Pak media SSDs are running $700 for a single 256GB module. The CION doesn't even do RAW onboard. If Blackmagic enable their ProRes and DNxHD recording onboard like their other cameras do, then I think we'll see cost per hour fall right in line with the CION, but it will stiff offer the ability to shoot RAW in camera unlike the AJA.
Right now, I am getting 30 minutes per 240GB SSD on my BMCC shooting uncompressed RAW. The URSA cost's 3 times as much and the media costs 3 times as much. Seems fair to me. Not cheap, but it is what it is. Kodak Vision3 is running about $175 per minute and that's non-renewable.
The truth is, digital cinema has ALWAYS been a lot more expensive than "video". HDCam vs Still. B4 lenses versus PL. VariCams versus Arri D20/D21. Now, the digital cinema (low end) is CHEAPER than 2/3" but the media is not. Again, a tradeoff.
This camera is certainly not going to be for everyone. I think we can agree on that. And I think probably the user it's going to get the least traction with, is the 2/3" shooter. Panasonic seems to produce the right cameras for that market. Perhaps because they've been so invested in that market for so long.
Sounded to me like he was saying the initial BMCC was designed to be more handheld and this one was designed for larger shows which is why he mentioned the shoulder mount.
You may well be right. It's not very clear though.
Good point about PL. Ursa with it's upgradable mount/sensor is at an advantage. Cfast problem depends on how quickly the media costs come down. If Aja announced an EF mount then I'd put the deposit down on that even with higher than SSD media costs. Also am I right in thinking the Ursa doesn't have an Opitical low pass filter or back focus adjustment ? But with a theatrical release documentary overseas coming up the lighter Aja seems the most sensible option though we'd need to hire in PL lenses.
Shooting ob doc on SLR comes a cropper because of the rolling shutter. Ursa has a global shutter which would help for hand held, whilst you're working on the hernia.
chrisser1976 wrote: Good point about PL. Ursa with it's upgradable mount/sensor is at an advantage. Cfast problem depends on how quickly the media costs come down. If Aja announced an EF mount then I'd put the deposit down on that even with higher than SSD media costs. Also am I right in thinking the Ursa doesn't have an Opitical low pass filter or back focus adjustment ? But with a theatrical release documentary overseas coming up the lighter Aja seems the most sensible option though we'd need to hire in PL lenses.
No OLPF that I can see. And the BF adjustment... not sure. I think since the mount and sensor come as a unit, it may be a case of they think that's fine. I suppose anything will need to be shimmed. But don't hold me to that.
Again, I just don't see this thing as being all that viable in the Docu world or even TV. This thing wants to be on sticks, or a dolly, or a jib, or something else where you don't physically have to deal with it's weight. Much the same as the large film and digital cinema cameras we've seen for so many years.
Those digital cinema cameras from the One to the Alexa are in my view a footnote until we get to 4K inEFP form factors. It would just make so much sense - a self contained camera that shoots with a super 35mm camera that can go on the shoulder or on the tripod in an instant. It'll happen - and the Ursa and Aja Cion are steps in the right direction. User upgradable sensor and mounts are a great idea and because of that and the price I'm not ruling Ursa out - it would be great for the PSC studio stuff I do - at least with a separate recorder - but the current in-camera media costs and weight make it hard work for location stuff. The Aja wins hands down for me on those two but PL only is a big minus - EF would be better as I have a set of primes in that fit and can get replacements from any camera store anywhere in the world.
So we know BMCC intend a version of this to be 2/3 inch for broadcast. Now we know they also intend it to be used on the shoulder.
There's a picture of a guy hand holding the camera. You'll need to scroll down bit.
When you need ENG style on the shoulder shooting, URSA features a separate down converted HD-SDI video output and a 12V power outlet that is dedicated for electronic view finders. The dedicated viewfinder output makes it simple to connect to third party EVFs or even additional on set LCD monitors, and power them directly from your camera. The viewfinder output includes all kinds of camera status information including frame rate, battery level, ISO setting, record format, record status, graticule markers and more. If you're working in Ultra HD then for the best compatibly, the monitoring output can be selected to down convert to regular 1080 HD so you an use any third party monitoring or EVF, even regular televisions for on set monitoring!
Christer and Perrone, this is a very interesting exchange you are having. Thanks for sharing so much information with us. Good to see you working through the pros and cons fairly.
Thanks Rick. Deposit put down tonight with option of switching to the AJA or a refund after testing.
chrisser1976 wrote: Thanks Rick. Deposit put down tonight with option of switching to the AJA or a refund after testing.
And that is the RIGHT way to do it. Get the camera in hand, test whether it will work for you, and if so, buy it. If not, find something else that will. The idea of buying a camera, sight unseen, and then being angry when it does not meet expectations is crazy to me.
I also found that the camera can shoot to ProResHQ at it's 4k output, so that gives me much more time on the internal cards than RAW. I secured budget for the camera today. Camera, lens, likely an Atomos recorder, a new video card to handle native 4K, and an upgrade to Avid MC7 which can cut 4k. Unfortunately, we cannot do a pre-order, or at least I don't think we can, so this is going to be a bit dicey.
This conversation reminds me of one I had many years ago on another forum, where I outlined the reasons I felt that 2/3" cameras would never be considered Digital Cinema Cameras. A lot has changed in that time, but I stil feel that way. Users who are used to 2/3" format cameras, servo-zooms, auto-focus, v-lock batteries, etc, are just coming from a TOTALLY different place than cinema people. I think in large part that's still true.
1. Guys who cut their teeth on film cinema cameras and still think that way. These guys would likely never think about putting a camera on their shoulders. This is a world of sticks, steadicams, jibs, techno-cranes, dollys, etc.
2. Broadcast guys. These are the 2/3, 1/2", 1/3" or even 3/4" for the old timers. Cameras go on sticks or the shoulder. Period. Handheld means shoulder mount. Locked down means sticks.
3. Handycam guys. This group was the XL1, DVX, HVX, mini-DV crowd. They built up companies like Letus, Cinevate, and others. Struggling to get their 1/3" and 1/4" sensor cameras to have that S35 look. Handheld was/is the norm. Maybe a light set of sticks, a fig-rig, a shoulder rig, or a steadicam jr.
4. DSLR guys. This is the new set. They've cut their teeth on pocket cameras, M43, GoPros, etc., and anything that gets away from 8-bit 4:2:0 is pushing the envelope.
Clearly this is an oversimplification but it speaks to the market and it's interesting to see how BM has targeted each of these groups. The BMPCC into group 4, the BMCC into group 3, and the new URSA trying to bridge the gap between groups 1 and 2. What is most entertaining is seeing the push and pull between groups 1 and 2. Broadcast folks thinking the URSA is too heavy, while the Cinema folks are saying it weighs about the same as the other cameras they typically shoot with. Cinema guys wondering why in the WORLD anyone would even consider the screen too big since it would NEVER be on anyone's shoulder, and the broadcast guys wondering why it doesn't record more than 15 minutes at at time!
On the surface, the broadcast cameras and the cinema cameras are quite similar. But it's the small details that really differentiate those cameras, and I fear that the URSA may have too many compromises from both camps to work well for either. Fortunately, it's cheap enough for both groups to say, "Lets see if we can make it work."
When I hear people complain about the weight, I just smile because I am old enough to remember seeing movies made on the older Panaflex's and Arriflexes which were 20-30 pounds bare and closer to 40 pounds rigged up. Even the most popular choice of 35mm cameras in my lifetime, the Arri 435 is 14-18 pounds bare depending on model, and the modern Panaflex cameras are around 18 pounds. Hell the old Mitchell's were probably close to 50-75 pounds, which is why you used them with a geared head.
For a more recent example, the IMAX Lightweight camera weighs 46 pounds unrigged, and that camera was used on the Batman series, even finding it's way onto the Steadicam rig. I had a chance to speak to Howard Hall about this, who's shot more IMAX than anyone else I know. He was in line for an Epic when we spoke a couple of years ago.
I say all that to say this. The URSA, if it's executed well, will be an incredibly popular camera. It's got most of the right stuff, it's got a terrific price, and can really be handled well without looking like a toy through the lens. I hope to have one this summer, if all goes well. Going to the CION might a bridge too far for our budget, and we may be back looking at a Sony.
Black Magic have intended this camera for a degree of hand held - this is evidenced in their website photography and text and reinforced with the addition of a 2/3 inch model complete with ND filter wheel. They are suggesting it can be kitted out with an EVF - essential for handheld and much documentary work (particularly if the alternative is a 10 inch screen close to the eye). They had to if they want this to be a drama camera. I think it's weight rules it out of some documentary work but not arts doc or historical where you're mostly on sticks.
I don't wholly recognise the categorisation of people into HDSLR and Digital cinema guys. Many people own or use on a regular basis different styles of camera. That has a lot to do with the job you're shooting - In a single week I can shoot on Alexa, PDW 800 and my HDSLR. I don't often think whilst on the PDW 800 'I wish I was on the other two' but I do wish for an electronic version of an Aaton XTR or an SR3 when I'm on the Alexa or even more so a RED. That camera would be a 4K EFP style camera and that's what both the Ursa and CION are. People telling me this isn't an 'ENG' camera seem to neglect the whole 'EFP' way of working at the end of the Super 16 era (particularly in UK drama). I'm still convinced that the future is 4K in an EFP shape. We may have used digital cinema cameras for years now but then people used starting handles on cars for years.
I am convinced that in the world of broadcast and perhaps documentary filmmaking, the future is 4k in an EFP shape. I am just as convinced that in narrative cinema, this shape will will never be popular for numerous reasons.
But I concede that you and I will never agree on this, and that's ok with me. Thank you for civil discourse and for allowing both ideas to have room to breathe here in the discussion.
chrisser1976 wrote: I'm still convinced that the future is 4K in an EFP shape. We may have used digital cinema cameras for years now but then people used starting handles on cars for years.
I was fortunate enough to attend NAB this year and take a look at the URSA camera up close.
I was impressed. I like the camera. It is heavier than I would have hoped, but in most other respects, it is a game changer in my opinion. Very, very impressive piece of hardware for the money. Grant Petty and his crew are to be highly congratulated, I think!
I DO have some comments. As an owner of Nikon glass, I would love to see a version of this camera with a Nikon mount. The nice thing about Nikon mounts is that they are also easy to adapt for use with Canon EF and PL, but the reverse is not the case,, unfortunately.
MFT, on the other hand, can be adapted for use with Nikon lenses as well. So if no Nikon mount can be accomplished (due to licensing issues or other such frustrations), and MFT mount would also be a great option for the URSA.
The global shutter is a HUGE deal for professional users. It is so great to see that on a 4K sensor at such a reasonable price point. 12 stop range is pretty good. Need to go up to 14 to kill Sony and Panasonic, but let's be realistic. Look at the URSA price point. Fantastic. Sensors will probably be improved over time and the design allows changing them out instead of discarding the whole camera.
I don't like that internal recording is limited to CFast cards. Option to record to SSD as well would be a fantastic added feature. I realize Cfast cards are needed for slow motion recording. Fine. But for most pro users, 23.98P, 25 or 29.97P is going to be the frame rate of choice . RAW option is marvelous, but ProRes Codec will be the usual choice to save file space. (Also DNx4K hopefully. More on that below). SSD is plenty fast enough for pro level, high end compressed, even at 4K.
That is really the way to go. The good news is that URSA sends out a 12G 4k signal out of SDI connector, so THAT means you can use the upcoming Atomos SHOGUN recording to record 4K in ProRes to an SSD!!!! All hail Atomos for that!
If Blackmagic is smart, they will create a new Hyperdeck Shuttle to record 4K to SSD ASAP. What a combo that would make with this URSA camera!!! Even better would be to add the SSD recording option internally in the URSA, but external option in form of new Hyperdeck shuttle (3.0?) would be an excellent start.
One thing that is a GLARING problem for Windows users is that AVID has not yet released DNx4K!!!
We really need DNx4K, because there is no viable option to render ProRes in the Windows world, and there is therefore NO reasonably efficient and ubiquitous way to render a finished show in 4K in the Windows environment. That is ridiculous. Truly ridiculous.
I have spoken to reps at Avid many, many times about this, but Avid seems to me like they are sitting on their hands. They are really behind the ball on this.
But back to BlackMagic. I should mention they have a "Studio Camera" now with 4K and an MFT lens mount, but it is not well suited to location/field work in terms of "rugged" design. Moreover, the sensor on THAT camera is NOT global. Dropping global shutter on that is a big mistake in my opinion.
I would love to see the MFT mount on the URSA, but obviously retain the Global Shutter. As I've pointed out, MFT mount (or better yet, Nikon mount) could open up the lens options marvelously!!!!
Glass is such a major consideration these days. Why not make the options as great as possible and attract as many people as possible. I believe Blackmagic could take over a massive chunk of the market by addressing some of the things I've listed here. FWIW, even so, the URSA is a great step in the right direction and earns my "BEST OF SHOW" award at NAB. Possibly use some sturdy, lighter weight materials for the body in the future... Just a few more steps in the right direction like that, more lens mount options, recording option to SSD, and it's the winner across the board. Potential to wipe out everyone else in one fell swoop.
Are you listening, Grant Petty???? I hope so. If not, Katie Colledge, please forward this post! In the meantime, great progress!
mikerissi wrote: I DO have some comments. As an owner of Nikon glass, I would love to see a version of this camera with a Nikon mount. The nice thing about Nikon mounts is that they are also easy to adapt for use with Canon EF and PL, but the reverse is not the case,, unfortunately.
Glass is such a major consideration these days. Why not make the options as great as possible and attract as many people as possible. I believe Blackmagic could take over a massive chunk of the market by addressing some of the things I've listed here.
I don't follow you here. The URSA has an EF mount available. Just like the Canon DSLRs. I use my Nikon lenses on EF mount all the time. I fail to see why this would present any problem.
As far as having a MFT mount, to what end? The glass spectrum is quite well covered by having the Canon and PL mounts available. This gives access to Anamorphic and Spherical cinema glass, the entire catalog of Canon glass, the entire catalog of Nikon glass, all the old M42 screwmount glass of which I have some, etc.
mikerissi wrote: One thing that is a GLARING problem for Windows users is that AVID has not yet released DNx4K!!!
I agree that would be nice.
mikerissi wrote: We really need DNx4K, because there is no viable option to render ProRes in the Windows world, and there is therefore NO reasonably efficient and ubiquitous way to render a finished show in 4K in the Windows environment. That is ridiculous. Truly ridiculous.
Well, this is not TECHNICALLY true. You CAN encode to ProRes 4444 on Windows using ffmbc. (http://www.authorityfx.com/encoding-vid ... n-windows/). Unfortunately, this is not at 4K. Additionally, as for outputting the finished show, are you familiar with h.265? Or do you mean output a master of the show and not a deliverable/streamable?
My desire to see a version of the camera with a native Nikon mount (also MFT) may be less of a concern, at least in most practical uses, after reading more on the subject from other users, such as yourself. I have seen some "Youtube" informal demonstrations of Nikon lenses on the Blackmagic CC using EF mount and they were impressive, though not exhaustive from a technical standpoint in terms of mathematical match, particularly on focusing planes. Circles of confusion can have more than one meaning here! Ha!
I visited Nikon while at NAB this year and they would not confirm that infinity focus was maintained properly through the use of a Nikon lens to Canon EF mount adapter. My impression from talking to them (and others) was that the difference in flange distances created a definite problem. Maybe someone from the camera design team at Blackmagic can address this from a mathematical standpoint.
For compressed file based delivery of video, so far professional post houses such as FotoKem in Burbank (which I frequent) seem only to recognize the upper flavors of Apple's ProRes and DNx(HD) for passing quality control standards. Contractual deliverables that I have met and expect to meet in the future require one or both of these two codec standards to be met for quality control. HD is still acceptable for many situations. But that's not the point. 4K will soon become the standard for Masters as a deliverable. That is why DNx4K ought to be available right now.
For those who are interested in the problems with various lens mounts and associated issues concerning the use of lenses with adapters which may or may not solve flange distance mismatches, the following link explains it in general terms. Again, I spoke with reps from Nikon about using their lenses with an adapter on Canon EF mount. Unless they were being deliberately evasive with me, there will be issues. And in a professional environment, I do not believe this can be tolerated.
On the other hand, perhaps the information I was given by Nikon was incorrect. It wouldn't be the first time a rep was wrong.
Regarding Avid's missing DNx4K codec, I assure you it is a serious problem. Blackmagic users on Windows WANT to use Resolve to output 4k files. Right now, Windows users are limited, in the professional sense to outputting 4K with file sizes which are enormous and in many cases, wasteful. If anyone knows how to output ProRes 4K files on the Windows platform with Resolve, do tell.
I spoke with Resolve Demonstrators at NAB, and they agreed with me -- specifically that this issue of rendering files with professionally recognized QC standards, namely professional 4K files with reasonable compression for efficiency(!), is only going to become more pressing as users discover something is missing on the Windows side. Rendering huge files is not sensible or practical when the alternative is so plain.
One of the reasons think EFP/super 16 form factors will return to TV drama and probably cinema in the 4K (except for maybe high end blockbusters which will always be expensive and slow to shoot due to their FX requirements) is speed of production - time is the most expensive consumable on set and even on location. I should be clear here that I don't think the new generation of 4k EFP cameras will be an F900 with a 4K sensor and recording mechanism, rather a development of it and the Ursa is a step in that direction. I also think form factors will vie away from the EFP shape from time to time to accommodate new technologies like continuous tone, light field sensor and photon based storage (having great fun guessing at future technologies here !).
Of course all of our crystal balls are tinted by our own experiences and I can only speak within my experience which is of the UK TV drama and low budget features world.
Is there a suggestion that you can buy the one camera and two different chips and mounts sections for the same camera?
A camera that can be set up for a 2/3 chip and a S35mm chip, that you can swap for different jobs, now that is kind of useful. Seems to me that this is the big divide in the camera world at the moment, jobs that need large chip sensibilities and ones that need 2/3 optical qualities. At the moment the only option is to own two different cameras, this function would be a great step in bridging both requirements.
Shame about the weight issues as being able to sling it on your shoulder in 2/3 mode and run around all day would have made it a sure thing.
There is a 2/3 inch Ursa in the pipeline so presumably they wii sell the sensor modules to 'convert' the EF or PL Ursa to B4 mount. I don't think the modular system is designed to be switchable on a daily basis as the couplings may get damaged. I'm still looking at the Aja Cion because of it's weight. Shame it's only been announced as a PL mount.
In a previous post, I was asked why I thought an MFT mount version of this camera would also be desirable. In such a case as I have suggested, presumably, the sensor size would be the same as the newly released Blackmagic "Studio 4K Camera", but would have the global shutter!
From what I've gathered, this "Speed Booster" adapter works exceptionally well with the Blackmagic MFT mount cameras and Nikon lenses. I have seen no reports of any problems with infinity focus using this combination of optics.
mikerissi wrote: In a previous post, I was asked why I thought an MFT mount version of this camera would also be desirable. In such a case as I have suggested, presumably, the sensor size would be the same as the newly released Blackmagic "Studio 4K Camera", but would have the global shutter!
I have two metabones adapters for Nikon lenses that I use with my BMCC. Both work exceptionally well, and were fairly priced. But that doesn't help me understand what purpose a MFT mount would have on the URSA.
The primary problem with the MFT sensor (and thus the MFT mount) was that with a sensor that small, it was nearly impossible to get wide angle lenses with the quality of the Nikon and Canon offerings. People wanted to mount their Nikon and other full frame glass onto the M43 version of the Pocket camera and other M43 cameras and still get a reasonable wide angle. These adapters do that nicely. The added benefit of the speed increase is nice in some cases, but really overkill if you are already using good prime or zoom lenses.
The BMPC eliminates the "wide angle" problem because it is already a large sensor, and wide angle lenses are plentiful for it's sensor size.


Many parts of the Internet have not quite understood how in the UK comedy often exists on Radio, before it turns into TV. In 2003 having fallen in love with The Conchords at the Caves just below South Bridge on The Fringe I asked them to do a guest spot on a show for Radio 2 I was producing with Greg Proops. A week later I asked our sound engineer Jerry to record one of their late night shows in the overly moist Cave 2. Before the end of their run I persuaded Mark Radcliffe to do a voiceover for me linking some of those tracks with improvised scenes from Bret & Jemaine. With a Perrier nomination under their belt I was sure we'd secure a commission from Radio 4 for a series.
We were turned down flat!
In 2005 the Flight of The Conchords Radio Series won a bronze award at the annual Sony Radio Awards.


text:
Legal career now in arm's reach for Ainsley
[by Priscilla Crighton]
Ainsley Frost. Image: supplied
It may not have been all smooth sailing, but the journey to becoming a law professional is now in sight for Central Queensland's Ainsley Frost.
Ainsley began her CQUniversity journey as a VETiS (VET in Schools) student studying Certificate I and II in Business Administration which she progressed into a Certificate III after finishing high school, before enrolling in the Bachelor of Laws course.
Ainsley said she really enjoyed doing the certificate courses at school and she when was offered the chance to continue her studies at TAFE after school she jumped at the opportunity.
However, it wasn't long before Ainsley was drawn to the law and enrolled in CQUniversity's online law course.
This week from 18 – 24 May is Law Week, an annual, national event which aims to foster a better understanding of the roles law and justice play in our society.
"I later chose law as a profession to help those in need of legal services and to advocate for justice, no matter what a person's socioeconomic background may be," she said.
Ainsley has a keen interest in criminal law and would also like to work in probate once she has gained experience in the legal industry.
"I'm hoping to gain a position with the Aboriginal and Torres Strait Islander Legal Service to assist with criminal matters," she explained.
"This would be my dream job, but I'd take any position I could to get my foot in the door of the legal industry."
Ainsley explained that the passing of her father was the pivotal moment in her life which led her to consider the law as a possible career.
"When my father passed away, I was introduced to the world of probate law. This is where my interest in probate comes from.
"There's just something so fulfilling to me about helping a person plan the last part of their life."
Ainsley is the recipient of the Arrow Energy Go Further Indigenous Scholarship, which is a one-year, $10,000 merit-based scholarship to assist and support Indigenous students in their educational objectives.
She has also had overwhelming support from her family during her study journey.
"I'm sure they're excited for my graduation after dealing with all my near-meltdowns during exams!"
Ainsley has just one subject to complete in Term 2 before graduating in December.
"I have enjoyed studying the Bachelor of Laws. I struggled with the course work in my first year, however, I have always received help from my lecturers.
"Approaching graduation, I believe my degree has given me the tools to strive as an individual and a professional."
CQUniversity's Bachelor of Laws is a three-year, full-time or four-year part-time online course designed for students wanting to work in a range of law fields.
Students learn all the areas of law required to satisfy professional accreditation through the Legal Practitioners Admissions Board.
The course enables graduates to proceed to practice as a legal practitioner after completing the required professional training.
Media muddles Aboriginal politics
[Jeremy Eccles, Aboriginal Art Directory]
A fascinating study of 45 years' media coverage of important Indigenous issues, beginning with the Larrakia Petition in 1972, concludes that, at last, "Aboriginal people appear to be effectively shaping the media discourse on Aboriginal issues".
Dan Murphy's quest to set up NT store near three dry Indigenous communities
[Aneeta Bhole, SBS]
Indigenous elder Helen Fejo-Frith has lived in Bagot for nearly 22 years and said at night the neighbourhood can sometimes erupt into chaos with alcohol a contributor to the change.
Aboriginal Kinship and Foster Care Campaign featuring Rabbitoh's Braidon Burns
[by Jonathan Sweet]
My Forever Family NSW launched a campaign to raise awareness in the community about the urgent need for more potential carers to step forward for Aboriginal children unable to live at home.


text:
Q: How to push blob Google Script if Box is checked? I am working in Google Scripts I have the following snippets of code
  var spreadsheet = SpreadsheetApp.getActiveSpreadsheet();
  var driverPage = spreadsheet.getSheets()[6];
  var send1st = driverPage.getRange("E1").isChecked(); //should return true if box is checked
  var send2nd = driverPage.getRange("F1").isChecked(); //should return true if box is checked

 if(blob){
  attachmentArray.push(blob);
  if(send1st == "TRUE"){
  attachmentArray.push(schedulePDF);}
  if(send2nd == "TRUE"){
  attachmentArray.push(twoWeeksOut);}
  mailOptions.attachments = attachmentArray;

What I want to do is push schedulePDF and twoWeeksOut to the attachmentArray if their respective check boxes on the spreadsheet are checked. These snippets are part of a larger code that emails pay stubs and schedules. Right now, the schedules do not send regardless of the box being checked.
If I do
if(blob){
  attachmentArray.push(blob);
  if(send1st = "TRUE"){
  attachmentArray.push(schedulePDF);}
  if(send2nd = "TRUE"){
  attachmentArray.push(twoWeeksOut);}
  mailOptions.attachments = attachmentArray;

The schedules are sent regardless of being checked or not. Please provide any tips to where I went wrong or improvements. Thank you

A: Modification points:

*

*isChecked() returns a boolean value.

*In your script, TRUE of string value is compared with the boolean value.By this, the if statement is always false. I think that the reason of your issue is due to this.

When above points are reflected to your script, it becomes as follows.
Modified script:
From:
if(blob){
 attachmentArray.push(blob);
 if(send1st == "TRUE"){
 attachmentArray.push(schedulePDF);}
 if(send2nd == "TRUE"){
 attachmentArray.push(twoWeeksOut);}
 mailOptions.attachments = attachmentArray;

To:
if(blob){
  attachmentArray.push(blob);
  if (send1st === true) {  // Modified
    attachmentArray.push(schedulePDF);
  }
  if (send2nd === true) {  // Modified
    attachmentArray.push(twoWeeksOut);
  }
  mailOptions.attachments = attachmentArray;

Other pattern:
When getValue and getValues are used, when the cell value is boolean, the retrieved values are also the boolean type. I think that this can be used for your situation.
var spreadsheet = SpreadsheetApp.getActiveSpreadsheet();
var driverPage = spreadsheet.getSheets()[6];
var [send1st, send2nd] = driverPage.getRange("E1:F1").getValues()[0];  // Modified
if(blob){
  attachmentArray.push(blob);
  if (send1st === true) {  // Modified
    attachmentArray.push(schedulePDF);
  }
  if (send2nd === true) {  // Modified
    attachmentArray.push(twoWeeksOut);
  }
  mailOptions.attachments = attachmentArray;

*

*In this case, it is required to know that the values of cells "E1" and "F1" are the checkbox.

References:

*

*isChecked()

*getValues()

redpajama_set_name: RedPajamaStackExchange


text:
Хуапхан () — провинция (кхвенг) на востоке Лаоса. Провинция граничит с вьетнамскими провинциями Шонла, Тханьхоа и Нгеан и лаосскими Луангпхабанг и Сиангкхуанг. Здесь находятся пещеры Вьенгсай, использовавшиеся в качестве базы организацией Патет Лао.

История
С XIV века на этой территории размещалось королевство Бон Ман. С 1478 года эта территория вошла в состав Вьетнама. После образования Французского Индокитая колонизаторы передали эту территорию «Автономному протекторату Лаос».

После образования Республики Лаос на этой территории было организовано значительное количество лагерей самана, в которых, в частности, содержались и высшие чиновники бывшего правительства, а также последний король Лаоса Саванг Ваттана.
 В 1949 году в провинции была создана Народная армия Лаоса, а в 1953-м территория провинции была полностью освобождена и по Женевским соглашениям 1954 г. наряду с провинцией Пхонгсали стала местом сосредоточения вооруженных сил Патет Лао. В 1955-м здесь была создана Народно-революционная Партия Лаоса.В местечке Вьенгсай были расположены гроты, где размещались ЦК НРПЛ, ЦК ПФЛ, руководство Фронта, располагались типография, госпиталь, зал для митингов, гостиница и различные службы сопротивления. Американцы сбросили сюда огромное количество бомб, но гроты до сих пор в хорошем состоянии.//Лаосская Народно-Демократическая Республика: справочник. (Москва, «Политиздат», 1985).

Административное деление
Провинция разделена на следующие районы:
 Хуамеуанг (7-05)
 Муангет (7-08)
 Сопбао (7-07)
 Вьенгтхонг (7-03)
 Вьенгсай (7-04)
 Самныа (7-01)
 Самтай (7-06)
 Сьенгкхор (7-02)

Палеоантропология
Череп человека современного типа, обнаруженный в 2009 году в известняковой пещере Там Па Линг (Пещера обезьян) на вершине горы Па Ханг, датируется возрастом ок. 46 тысяч лет назад.

Примечания

Провинции Лаоса

redpajama_set_name: RedPajamaWikipedia


PSA Peugeot Citroën is unveiling a new name and a new strategy that will see the launch of 35 new models by 2021.
Under the 'Push to Pass' strategy Europe's second-largest car manufacturer, now named 'PSA Groupe' will release 26 new cars and nine commercial vehicles including a one-tonne pickup truck, helping to achieve a planned tripling of profits to six per cent of sales.
PSA Group CEO Tavares – planning bold growth.
Revealed at an annual results conference headed by PSA CEO Carlos Tavares, the plans are bolder than the previous 'Back in the Race' strategy which PSA unveiled in 2014. This followed the group's rescue from the difficulties resulting from annual losses that in 2012 were as much as £3 billion.
The French government and the Chinese group Dongfeng Motor each took a 14 per cent stake in PSA from the previously controlling Peugeot family, and Tavares was installed as CEO shortly after.
At the time that the Back in the Race strategy was unveiled the planned profit margin was two per cent – last year the company achieved a five per cent margin and profits of £950 million, the first since 2010.
What form the new models might take is not clear but they are thought to include a family of SUVs across all the PSA brands, Peugeot, Citroën and DS. Citroën will also pursue a strategy of more distinctive vehicles typified by the recent launch of the Cactus.
The growth of DS as a separate entity is seen as a long-term project.
The growth of DS as a separate company will be continued, Tavares having already indicated that he sees the establishment of the premium sub brand as a long-term programme.
PSA will also invest in electric drivetrains, something it has been slow to explore in recent times compared to rivals. Seven plug-in hybrids and four fully electric vehicles are in the plans as is a programme for connected and autonomous vehicles.
Alongside new models, the growth targets will be achieved by making the most of the Group's existing customers, while also expanding the customer database through digitalisation and offers in after-sales, leasing, used cars, mobility services and fleet management.
"(We will launch) "one new car, per region, per brand and per year", Tavares says, adding that the growth strategy will help to ensure profitable growth in all the regions where the Group operates.
"'Push to Pass' represents a first step towards the achievement of the Group's vision to be: 'a great global carmaker with cutting edge efficiency and the preferred mobility provider worldwide for lifetime customer relationship,'" Tavares says.


Get a spot-free shine and quick drying time with this 1 gal. Noble Chemical Dry It Plus rinse aid for high temperature dish machines. The liquid rinse aid can be used in medium-hard water and contains a specially formulated drying agent that is best suited for use on china, glasses, silverware, and plasticware in high temperature dish machines. For use with automatic dispensing systems, this liquid rinse will be sure brighten your restaurant dishes and impress your customers.


European Campus Card Assosiation (ECCA), EUNIS partner organisation, invites for the annual conference on 19-21 May 2019 in Linz, Austria, entitled Campus eID of the Future.
This year's conference agenda is designed to provide attendees with a range of presentations and workshops that discusses and evaluates the latest in campus ID technologies, trends and solutions. Whether you are looking to stay up-to-date with emerging trends and solutions or just want to network with your professional peers and leading service providers from Europe and beyond, this is a conference for you.