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Tag Archives: Pixar
VFX pipeline trends for 2020
By Simon Robinson
A new year, more trends — some burgeoning, and others that have been dominating industry discussions for a while. Underpinning each is the common sentiment that 2020 seems especially geared toward streamlining artist workflows, more so than ever before.
There's an increasing push for efficiency; not just through hardware but through better business practices and solutions to throughput problems.
Exciting times lie ahead for artists and studios everywhere. I believe the trends below form the pillars of this key industry mission for 2020.
Machine Learning Will Make Better, Faster Artists
Machines are getting smarter. AI software is becoming more universally applied in the VFX industry, and with this comes benefits and implications for artist workflows.
As adoption of machine learning increases, the core challenge for 2020 lies in artist direction and participation, especially since the M.O. of machine learning is its ability to solve entire problems on its own.
The issue is this: if you rely on something 99.9% of the time, what happens if it fails in that extra 0.1%? Can you fix it? While ML means less room for human error, will people have the skills to fix something gone wrong if they don't need them anymore?
So this issue necessitates building a bridge between artist and algorithm. ML can do the hard work, giving artists the time to get creative and perfect their craft in the final stages.
We've seen this pay off in the face of accessible and inexpensive deepfake technology giving rise to "quick and easy" deepfakes, which rely entirely on ML. In contrast to these, bridging the uncanny valley remains in the realm of highly-skilled artists, requiring thought, artistry and care to produce something that tricks the human eye. Weta Digital's work on Gemini Man is a prime example.
As massive projects like these continue to emerge, studios strive for efficiency and being able to produce at scale. Since ML and AI are all about data, the manipulation of both can unlock endless potential for the speed and scale at which artists can operate.
Foundry's own efforts in this regard revolve around improving the persistence and availability of captured data. We're figuring out how to deliver data in a more sensible way downstream, from initial capture to timestamping and synchronization, and then final arrangement in an easy, accessible format.
Underpinning our research into this is Universal Scene Description (USD), which you've probably heard about…
USD Becomes Uniform
Despite having a legacy and prominence from its development with Pixar, the still relevant open-sourcing and gradual adoption of Universal Scene Description means that it's still maturing for wider pipelines and workflows.
New iterations of USD are now being released at a three month cadence, where before it used to be every two months. With each new release comes improvements as growing pains and teething issues are ironed out, and the slower pace provides some respite for artists who rely on specific versions of USD.
But challenges still exist, namely mismatched USD pipelines, and scattered documentation which means that solutions to these can't be easily found. Currently, no one is officially rubber stamping USD best practice.
Capturing volumetric datasets for future testing.
To solve this issue, the industry needs a universal application of USD so it can exist in pipelines as an application-standard plugin to prevent an explosion of multiple variants of USD, which may cause further confusion.
If this comes off, documentation could be made uniform, and information could be shared across software, teams and studios with even more ease and efficiency.
It'll make Foundry's life easier, too. USD is vital to us to power interoperability in our products, allowing clients to extend their software capabilities on top of what we do ourselves.
At Foundry, our lighting tool, Katana, uses USD Hydra tech as the basis for much improved viewer experiences. Most recently, its Advanced Viewport Technology aims at delivering a consistent visual experience across software.
This wouldn't be possible without USD. Even in its current state, the benefits are tangible, and its core principles — flexibility, modularity, interoperability — underpin 2020's next big trends.
Artist Pipelines Will Look More Iterative
The industry is asking, "How can you be more iterative through everything?" Calls for this will only grow louder as we move into next year.
There's an increasing push for efficiency as the common sentiment prevails: too much work, not enough people to do it. While maximizing hardware usage might seem like a go-to solution to this, the actual answer lies in solving throughput problems by improving workflows and facilitating sharing between studios and artists.
Increasingly, VFX pipelines don't work well as a waterfall structure anymore, where each stage is done, dusted, and passed onto the next department in a structured, rigid process.
Instead, artists are thinking about how data persists throughout their pipeline and how to make use of it in a smart way. The main aim is to iterate on everything simultaneously for a more fluid, consistent experience across teams and studios.
USD helps tremendously here, since it captures all of the data layers and iterations in one. Artists can go to any one point in their pipeline, change different aspects of it, and it's all maintained in one neat "chunk." No waterfalls here.
Compositing in particular benefits from this new style of working. Being able to easily review in context lends an immense amount of efficiency and creativity to artists working in post production.
That's Just the Beginning
Other drivers for artist efficiency that may gain traction in 2020 include: working across multiple shots (currently featured in Nuke Studio), process automation, and volumetric-style workflows to let artists work with 3D representations featuring depth and volume.
The bottom line is that 2020 looks to be the year of the artist — and we can't wait.
Simon Robinson is the co-founder and chief scientist at Foundry.
This entry was posted in VFX and tagged Foundry Katana, Foundry Nuke, Pixar, Simon Robinson, USD format on January 2, 2020 by Randi Altman.
Coco's sound story — music, guitars and bones
By Jennifer Walden
Pixar's animated Coco is a celebration of music, family and death. In the film, a young Mexican boy named Miguel (Anthony Gonzalez) dreams of being a musician just like his great-grandfather, even though his family is dead-set against it. On the evening of Día de los Muertos (the Mexican holiday called Day of the Dead), Miguel breaks into the tomb of legendary musician Ernesto de la Cruz (Benjamin Bratt) and tries to steal his guitar. The attempted theft transforms Miguel into a spirit, and as he flees the tomb he meets his deceased ancestors in the cemetery.
Together they travel to the Land of the Dead where Miguel discovers that in order to return to life he must have the blessing of his family. The matriarch, great-grandmother Mamá Imelda (Alanna Ubach) gives her blessing with one stipulation, that Miguel can never be a musician. Feeling as though he cannot live without music, Miguel decides to seek out the blessing of his musician great-grandfather.
Music is intrinsically tied to the film's story, and therefore to the film's soundtrack. Ernesto de la Cruz's guitar is like another character in the film. The Skywalker Sound team handled all the physical guitar effects, from subtle to destructive. Although they didn't handle any of the music, they covered everything from fret handling and body thumps to string breaks and smashing sounds. "There was a lot of interaction between music and effects, and a fine balance between them, given that the guitar played two roles," says supervising sound editor/sound designer/re-recording mixer Christopher Boyes, who was just nominated for a CAS award for his mixing work on Coco. His Skywalker team on the film included co-supervising sound editor J.R. Grubbs, sound effects editors Justin Doyle and Jack Whittaker, and sound design assistant Lucas Miller.
Boyes bought a beautiful guitar from a pawn shop in Petaluma near their Northern California location, and he and his assistant Miller spent a day recording string sounds and handling sounds. "Lucas said that one of the editors wanted us to cut the guitar strings," says Boyes. "I was reluctant to cut the strings on this beautiful guitar, but we finally decided to do it to get the twang sound effects. Then Lucas said that we needed to go outside and smash the guitar. This was not an inexpensive guitar. I told him there was no way we were going to smash this guitar, and we didn't! That was not a sound we were going to create by smashing the actual guitar! But we did give it a couple of solid hits just to get a nice rhythmic sound."
To capture the true essence of Día de los Muertos in Mexico, Boyes and Grubbs sent effects recordists Daniel Boyes, Scott Guitteau, and John Fasal to Oaxaca to get field recordings of the real 2016 Día de los Muertos celebrations. "These recordings were essential to us and director Lee Unkrich, as well as to Pixar, for documenting and honoring the holiday. As such, the recordings formed the backbone of the ambience depicted in the track. I think this was a crucial element of our journey," says Boyes.
Just as the celebration sound of Día de los Muertos was important, so too was the sound of Miguel's town. The team needed to provide a realistic sense of a small Mexican town to contrast with the phantasmagorical Land of the Dead, and the recordings that were captured in Mexico were a key building block for that environment. Co-supervising sound editor Grubbs says, "Those recordings were invaluable when we began to lay the background tracks for locations like the plaza, the family compound, the workshop, and the cemetery. They allowed us to create a truly rich and authentic ambiance for Miguel's home town."
Bone Collecting
Another prominent set of sounds in Coco are the bones. Boyes notes that director Unkrich had specific guidelines for how the bones should sound. Characters like Héctor (Gael García Bernal), who are stuck in the Land of the Dead and are being forgotten by those still alive, needed to have more rattle-y sounding bones, as if the skeleton could come apart easily. "Héctor's life is about to dissipate away, just as we saw with his friend Chicharrón [Edward James Olmos] on the docks, so their skeletal structure is looser. Héctor's bones demonstrated that right from the get-go," he explains.
In contrast, if someone is well remembered, such as de la Cruz, then the skeletal structure should sound tight. "In Miguel's family, Papá Julio [Alfonso Arau] comically bursts apart many times, but he goes back together as a pretty solid structure," explains Boyes. "Lee [Unkrich] wanted to dig into that dynamic first of all, to have that be part of the fabric that tells the story. Certain characters are going to be loose because nobody remembers them and they're being forgotten."
Creating the bone sounds was the biggest challenge for Boyes as a sound designer. Unkrich wanted to hear the complexity of the bones, from the clatter and movement down to the detail of cartilage. "I was really nervous about the bones challenge because it's a sound that's not easily embedded into a track without calling attention to itself, especially if it's not done well," admits Boyes.
Boyes started his bone sound collection by recording a mobile he built using different elements, like real bones, wooden dowels, little stone chips and other things that would clatter and rattle. Then one day Boyes stumbled onto an interesting bone sound while making a coconut smoothie. "I cracked an egg into the smoothie and threw the eggshell into the empty coconut hull and it made a cool sound. So I played with that. Then I was hitting the coconut on concrete, and from all of those sources I created a library of bone sounds." Foley also contributed to the bone sounds, particularly for the literal, physical movements, like walking.
According to Grubbs, the bone sounds were designed and edited by the Skywalker team and then presented to the directors over several playbacks. The final sound of the skeletons is a product of many design passes, which were carefully edited in conjunction with the Foley bone recordings and sometimes used in combination with the Foley.
L-R: J.R. Grubbs and Chris Boyes
Because the film is so musical, the bone tracks needed to have a sense of rhythm and timing. To hit moments in a musical way, Boyes loaded bone sounds and other elements into Native Instruments' Kontakt and played them via a MIDI keyboard. "One place for the bones that was really fun was when Héctor went into the security office at the train station," says Boyes.
Héctor comes apart and his fingers do a little tap dance. That kind of stuff really lent to the playfulness of his character and it demonstrated the looseness of his skeletal structure."
From a sound perspective, Boyes feels that Coco is a great example of how movies should be made. During editorial, he and Grubbs took numerous trips to Pixar to sit down with the directors and the picture department. For several months before the final mix, they played sequences for Unkrich that they wanted to get direction on. "We would play long sections of just sound effects, and Lee — being such a student of filmmaking and being an animator — is quite comfortable with diving down into the nitty-gritty of just simple elements. It was really a collaborative and healthy experience. We wanted to create the track that Lee wanted and wanted to make sure that he knew what we were up to. He was giving us direction the whole way."
Boyes mixed alongside re-recording mixer Michael Semanick (music/dialogue) on Skywalker's Kurosawa Stage. They mixed in native Dolby Atmos on a DFC console. While Boyes mixed, effects editor Doyle handled last-minute sound effects needs on the stage, and Grubbs ran the logistics of the show. Grubbs notes that although he and Boyes have worked together for a long time this was the first time they've shared a supervising credit.
"J.R. [Grubbs] and I have been working together for probably 30 years now." Says Boyes. "He always helped to run the show in a very supervisory way, so I just felt it was time he started getting credit for that. He's really kept us on track, and I'm super grateful to him."
One helpful audio tool for Boyes during the mix was the Valhalla Room reverb, which he used on Miguel's footsteps inside de la Cruz's tomb. "Normally, I don't use plug-ins at all when I'm mixing. I'm a traditional mixer who likes to use a console and TC Electronic's TC 6000 and the Leixcon 480 reverb as outboard gear. But in this one case, the Valhalla Room plug-in had a preset that really gave me a feeling of the stone tomb."
Unkrich allowed Semanick and Boyes to have a first pass at the soundtrack to get it to a place they felt was playable, and then he took part in the final mix process with them. "I just love Lee's respect for us; he gives us time to get the soundtrack into shape. Then, he sat there with us for 9 to 10 hours a day, going back and forth, frame by frame at times and section by section. Lee could hear everything, and he was able to give us definitive direction throughout. The mix was achieved by and directed by Lee, every frame. I love that collaboration because we're here to bring his vision and Pixar's vision to the screen. And the best way to do that is to do it in the collaborative way that we did," concludes Boyes.
Jennifer Walden is a New Jersey-based audio engineer and writer.
This entry was posted in Audio, Audio Mixing, Awards, Oscar Awards, The A List and tagged Christopher Boyes, Coco, Disney, mixing, Pixar, Skywalker Sound, sound design on January 10, 2018 by Randi Altman.
More speakers added for Italy's upcoming View Conference
More than 50 speakers are confirmed for 2017's View Conference, a digital media conference that takes place in Turin, Italy, from October 23-27. Those speakers include six visual effects Oscar winners, two Academy Sci-Tech award winners, animated feature film directors, virtual reality pioneers, computer graphics researchers, game developers, photographers, writers and studio executives.
"One of the special reasons to attend View is that our speakers like to stay for the entire week and attend talks given by the other speakers, so our attendees have many opportunities to interact with them," says conference director Dr. Maria Elena Gutierrez. "View brings together the world's best and brightest minds across multiple disciplines, in an intimate and collaborative place where creatives can incubate and celebrate."
Newly confirmed speakers include:
Scott Stokdyk- This Academy Award winner (VFX supervisor, Valerian and the City of a Thousand Planets) will showcase VFX from the film – from concept, design and inspiration to final color timing.
Paul Debevec – This Academy Award winner (senior staff engineer, Google VR, ICT) will give attendees a glimpse inside the latest work from Google VR and ICT.
Martyn Culpitt – A VFX supervisor on Logan and at Image Engine company, he will breakdown the film Logan, highlighting the visual effects behind Wolverine's gripping final chapter.
Jan-Bart Van Beek – This studio art director at Guerrilla Games will take attendees through the journey that Guerrilla Games underwent to design the post-apocalyptic world of the game franchise, Horizon Zero Dawn.
David Rosenbaum – This chief creative officer at Cinesite Studios along with Cinesite EP Warren Franklin will present at talk titled, "It's All Just Funny Business: Looking for IP, Talent ad Audiences."
Elisabeth Morant – This product manager for Google's Tilt Brush will discusses the company's VR painting application in a talk called, "Real Decisions, Virtual Space: Designing for VR."
Donald Greenberg – This professor of computer graphics at Cornell University will be discussing the "Next-gen of Virtual Reality"
Steve Muench – He will present "The Labor of Loving Vincent: Animating Van Gogh to Solve a Mystery."
Deborah Fowler – This professor of visual effects at Savannah College of Art and Design/SCAD will showcase "Procedural and Production Techniques using Houdini."
Daniele Federico: This co-founder and developer at Toolchefs will present "Make us Alive. An In-Depth Look at Atoms Crowd Software."
Jason Bickerstaff – This character artist from Pixar Animation Studios) will present "Crossing The Dimensional Rift."
Steve Beck – This VFX art director from ILM will discuss "The Future of Storytelling."
Nancy Basi – She is executive director of the Film and Media Centre – Vancouver Economic Commission.
For a complete listing of speakers visit http://www.viewconference.it/speakers
This entry was posted in Animation, News, VFX and tagged animation, Cinesite, ILM, Pixar, VFX, VIEW Conference on September 6, 2017 by Randi Altman.
Pixar to make Universal Scene Description open-sourced
Pixar Animation Studios, whose latest feature film is Inside Out, will release Universal Scene Description software (USD) as an open-source project by summer 2016. USD addresses the growing need in the CG film and game industries for an effective way to describe, assemble, interchange and modify high-complexity virtual scenes between digital content creation tools employed by studios.
At the core of USD are Pixar's techniques for composing and non-destructively editing graphics "scene graphs," techniques that Pixar has been cultivating for close to 20 years, dating back to A Bug's Life. These techniques, such as file-referencing, layered overrides, variation and inheritance, were completely overhauled into a robust and uniform design for Pixar's next-generation animation system, Presto.
Although it is still under active development and optimization, USD has been in use for nearly a year in the making of Pixar's production Finding Dory.
The open-source Alembic project brought standardization of cached geometry interchange to the VFX industry. USD hopes to build on Alembic's success, taking the next step of standardizing the "algebra" by which assets are aggregated and refined in-context.
The USD distribution will include embeddable direct 3D visualization provided by Pixar's modern GPU renderer, Hydra, as well as plug-ins for several key VFX DCCs, comprehensive documentation, tutorials and complete python bindings.
Pixar has already been sharing early USD snapshots with a number of industry vendors and studios for evaluation, feedback and advance incorporation. Among the vendors helping to evaluate USD are The Foundry and Fabric Software.
In related news, to accelerate production of its computer-animated feature films and short film content, Pixar Animation Studios is licensing a suite of Nvidia technologies related to image rendering.
The multiyear strategic licensing agreement gives Pixar access to Nvidia's quasi-Monte Carlo (QMC) rendering methods. These methods can make rendering more efficient, especially when powered by GPUs and other massively parallel computing architectures.
As part of the agreement, Nvidia will also contribute raytracing technology to Pixar's OpenSubdiv Project, an open-source initiative to promote high-performance subdivision surface evaluation on massively parallel CPU and GPU architectures. The OpenSubdiv technology will enable rendering of complex Catmull-Clark subdivision surfaces in animation with incredible precision.
This entry was posted in Animation, News and tagged Fabric Software, Nvidia, Open Source, Pixar, The Foundry, Universal Scene Description software (USD) on August 19, 2015 by Randi Altman.
'Inside Out': Skywalker helps hug the audience with sound
Pixar's latest gets a Dolby Atmos mix
Ever ask yourself what goes through a child's mind? Well, Pixar did, and the result was their latest Inside Out, which has left audiences laughing and crying. The film focuses on 11-year-old Riley, whose emotions are sent reeling as her family moves from Minnesota to San Francisco.
The story, by directors Pete Docter and Ronaldo Del Carmen, portrays five main emotions: Joy, Sadness, Anger, Disgust and Fear — which hang out in the control room of people's minds. The audience gets to experience Riley's tumultuous transition through the actions of those five core emotions as they interact inside her mind. They get to see a bit of how her mom and dad's minds work too. It's a refreshingly creative animated feature like no other.
Inside Out has two main environments: inside the mind where everything is hyper-real, and out in the world, where everything seems dull by comparison. "We wanted to have the sound mimic that and to follow the actions they took with the picture," says re-recording mixer Michael Semanick, who handled the sound effects, backgrounds and music for Inside Out.
Michael Semanick
Since the film's sound — created at Skywalker Sound in Marin County, California — was designed and mixed natively in Dolby Atmos, Semanick and fellow re-recording mixer Tom Johnson, on dialogue/Foley, were able to heighten that difference further by only using the upfront speakers during scenes in the outside world, and the full array of speakers in the Atmos set-up during scenes inside the mind. "We made a conscious decision to have the outside world sound flat, with nothing in the surrounds or the top speakers," says Semanick.
For inside the mind, sound designer Ren Klyce designed rich backgrounds and elements that could be used in the surrounds and the overhead speakers to fill out the space without being gimmicky or distracting. "For example, Ren had designed these really great water sounds that are, I believe, babies in the womb. They are these cool, inside-the-body-type sounds. I got to move those back and forth and over the top when we're in the head. It's very subtle. It's not meant to be distracting but it's supposed to give you this feeling like you are inside the mind, and that it's alive and moving."
All-Around Sound
With the full-range speakers in the Atmos set-up, Semanick could fluidly move sounds around the theater without having to account for the level dips and EQ differences typical of the surrounds used in 5.1/7.1 set-ups. So when Joy and Sadness get sucked up a memory tube, Semanick was able to fly Klyce's sound design elements past the viewer without losing low-end detail. "With the Atmos, I can move the sound anywhere and I don't have to push the level to get the sound to read in the back," says Semanick.
Additionally, the full-range overhead speakers in the Atmos set-up allowed Semanick to bring sounds in from above, and seemingly move them down the screen. For example, there are memory balls (small, clear balls containing Riley's memories) that come down from over the top and project light, almost as if they are playing a movie. Since the sound was designed from the ground up in Atmos, Semanick was able to take individual sound elements for that scene and assign them to object panners on the AMS Neve DFC mixing console used in the Kurosawa Studio.
Another advantage to the Atmos set-up was it allowed re-recording mixer Johnson and director Docter to experiment with how they could treat the voices coming from inside Riley's head. "We didn't want it to be a standard voiceover. We wanted it to feel like we are inside of this girl's mind," says Semanick. "So in the Atmos mix, the first time Joy speaks, it really fills the room up all around you. Then eventually, as she keeps speaking, her voice starts to pull forward and it gets set in a place that is very comfortable, so you realize that this is Joy speaking."
There are different areas inside the mind, such as the control room where the five emotions interact and decide Riley's course of action, long-term memory: abstract thought, the subconscious, the memory dump of forgotten memories and the dream studio, which resembles a film stage. Semanick used a combination of stereo reverbs, such as the Lexicon 960 and the TC 6000, to help define those spaces. The control room, with its large windows, has a slight room reverb while the halls of long-term memory are vaster. The reverbs in the subconscious are dark to match the mood of the environment. "We match the reflections to the space," says Semanick. "When we're in the canyon of the memory dump area; it's like an infinite abyss, so the sound has an echo. It's like looking into the Grand Canyon but you can't see the bottom. Sometimes I would hit the echo and then fade the reflections quickly, as if they just disappeared into that abyss and then there is no sound. You don't know if an object is still falling or not."
Semanick prefers to use several stereo reverbs together to build out the spaces for the Atmos set-up, as opposed to using pre-built multichannel reverbs. "With the stereo reverb or mono reverb, I know how I can place them. I can side-chain them. I can have the reflections build," he explains. "I can use multiple stereo reverbs and have something different on the top, in the front and in the back. I can manipulate each one separately. I can push the rears louder than I push the fronts, so the reflection comes off a little quicker."
Semanick really enjoyed mixing the emotional scenes in Inside Out, particularly in the memory dump where Joy and Riley's old imaginary friend, Bing Bong, are sitting among disintegrating memory balls. "There isn't music or any other supporting sound, just the voices from the fading memory balls. Each sound that's placed in there is so important — from the rewind sound of the memory to Joy turning the ball over and changing hands to the balls in the background that are just disintegrating. They are so lightly touched with a little bit of musical enhancement," he says.
"There were really great sounds for that which I got to blend in, as each ball breaks and falls into this ash. I agonized over every little flake of those balls. That scene is just so delicate and we spent a lot of time on it. The sound can just help draw the audience in even more, and wrap up their hearts, then rip them out. Those are some of the hardest things to mix, those quiet emotional scenes where every little sound is like a pin drop. When you nail it, you can see the audience's reaction," concludes Semanick.
This entry was posted in Audio, Oscar Awards, Uncategorized and tagged animation, Atmos, Dolby, Inside Out, Michael Semanick, Pixar, Ren Klyce, Skywalker Sound on July 16, 2015 by Randi Altman.
Meet Pixar media systems manager M.T. Silvia
NAME: M.T. Silvia
COMPANY: Emeryville, California-based Pixar Animation Studios (@DisneyPixar)
CAN YOU DESCRIBE YOUR COMPANY?
Pixar Animation Studios has created award-winning animated feature and short films for over 25 years.
WHAT'S YOUR JOB TITLE?
Media Systems Manager
WHAT DOES THAT ENTAIL?
I manage Media Systems at Pixar; we are embedded in the IT Systems Department. We are the audio/video engineering team and are known as the "AVengers" throughout the studio. We are Continue reading →
This entry was posted in Uncategorized and tagged IT, M.T. Silvia, media systems manager, Pixar on June 2, 2014 by Randi Altman.
Quick Chat: Nvidia's Greg Estes
By Randi Altman
Greg Estes, Nvidia's VP of marketing, recently took a few minutes out of his schedule to discuss the industry, trends and how the company goes about creating new products that target the needs of users.
The short answer is listening to what studios and broadcasters need. The long answer is… well give it a read and see for yourself.
This entry was posted in Uncategorized and tagged Adobe, Apple, CUDA, GPU Technology Conference, Greg Estes, Grid Visual Computing Appliance, GTC, Nvidia, Pixar on March 3, 2014 by Randi Altman.


text:
Q: Is wrapping most of the code in callback function a common practise in JS? If anyone could explain to me, what is the common practise for handling the data fetched from ajax call?
Having a callback function allows to use the fetched data WITHIN the callback function.
Therefore I assume that the only way to 'play' with the data is to wrap a big chunk of the code that has got any functions relying on the data, inside the callback function?
Thank you. // Side note - I read How do I return the response from an asynchronous call? already.
My question is about the common practise.
var my_data;

$.ajax({
        method: "GET",
        url: "exampleurl",
        success: callback

});

function callback(response) {
    this.response = response;
    var my_data = response;

    // Does here go all the functions that will ever use my_data?

};

A: Your callback function can just store the response data outside of its own scope. Here's a very rough example:
var DataManager = {
    data: null,

    loadData: function() {
        $.ajax({
            method: 'GET',
            url: '/getdata',
            success: this.onload.bind(this),
        });
    }

    onload: function(response) {
        this.data = response;
    },
};

When you call DataManager.loadData(), it will use its own onload method as the success callback (.bind() is necessary so that the this keyword will refer to DataManager when onload is invoked).
onload stores the response in the data property of the DataManager object, which is public. After that, any function can access the response as DataManager.data.

A: You should use a Promise. Here is an example :
const remoteData = $.ajax({
    method: "GET",
    url: "exampleurl"
});

const muteRemoteData = remoteData.then(callback)

You can continue to chain call to it and change your html or other like this
muteRemoteData.then( data => htmlDiv.innerHtml = data)

redpajama_set_name: RedPajamaStackExchange


She's seen here with client Lisette Lynch.
Video by Gerda Liebmann. Check out all the Clippings from the Green here.
Gina Roselle-Broschart's first love was gymnastics. Later, she studied nutrition at Rutgers, and then attended Culinary Institute of America to become a pastry chef. Today, Roselle-Broschart's specialty is cake decorating. Here, and in the video below, she is at work at Antoinette Boulangerie in Red Bank, where she lives with her husband, backyard beef-smoker Scott Broschart.
An online auction of images by rock photographer Mark Weiss of Rumson begins Wednesday to benefit Lunch Break, the Red Bank soup kitchen.
The auction, which includes images of Ted Nugent, Sammy Hagar, Ozzy Osborne and Paul Stanley, as well as 20 others, will be conducted on Charitybuzz through October 15.
Check out all the Clippings from the Green here.
It's not just about the food, of course – though you should check out PieHole's story on THAT, too. For kids, and kids at heart, the Fair Haven Firemen's Fair offers some kinetic delights in the form of good old carnival rides.
The fair continues through Saturday night. (Video by Gerda Liebmann. Click to pause. And check out all the Clippings from the Green here.
Four boys from Parisppany crabbing on Claypit Creek at Hartshorne Woods in Middletown on August 16, 2014.
Red Bank photographer Danny Sanchez on the newly rebuilt grade railroad crossing at Monmouth Street just outside his Bridge Avenue studio on July 19, 2014.
Even as artist Jim Kovic put his John Hancock on the brilliant new mural he created in Sea Bright over the past month, passersby couldn't wait to have their photos taken in front of it.
Clippings came across window-washer Eric Auerbach doing his thing in downtown Red Bank on July 12, 2014.
Artist Ellen Martin in her Red Bank studio on June 11, 2014.
The church, which was built between 1769 and 1774, is one of the oldest structures in Monmouth County. Does a treasure like this make you feel connected to the past? What is the value of that? Let's hear your thoughts in the comments below.
Check out more Clippings from the Green here.


According to Ayurveda, good health is dependent upon our capability to fully metabolize the nutritional, emotional, and sensory information that we ingest. When the digestive energies, known as Agni (fire), are robust, we create healthy tissue, eliminate waste products efficiently, and produce a subtle essence called Ojas. Ojas, which can be described as the source of vitality, is the basis for clarity of perception, physical strength, and immunity.
On the other hand, if our Agnis are weakened, digestion is incomplete. This accumulation of toxic residue is collectively known as Ama. Cleansing and detoxifying the body helps build the natural fire within, which burns Ama and aids in digestion.
To help detoxify, strengthen the immune system, and increase the production of Ojas (vital energy), perform the following activities daily for seven days.
Every morning, perform a self-massage (Abhy) with herbalized dosha balancing oil. When stimulated through therapeutic touch or massage, the skin releases a pharmacy of healing chemicals that have health-promoting effects on the physiology. In addition to feeling good, regular massage and loving touch detoxifies the body's tissues, increases circulation, calms the mind, and enhances immune function.
Follow your massage with a Neti pot and Nasya, a traditional method to purify and revitalize the breathing passages. This process can also reduce allergies and decrease your chances of contracting upper respiratory infections.
Take Biochavan and Triphala. Biochavan has been used for thousands of years to promote health and longevity. Rich in antioxidants, it has been scientifically proven to have measurable health enhancing benefits including detoxification, improved digestive functioning, and increased immunity. Triphala, formulated by Ayurvedic physicians thousands of years ago and used by literally billions of people since, is considered the most effective colon tonic by most health care practitioners.
Drink 3 to 4 cups of dosha-balancing organic tea per day to help flush the system.
Give your digestive system a break from its normal activities so it can focus on cleansing your body. Eat appropriately-cooked vegetables and rice during this time to allow your digestive power to work on the task at hand.
Would you like personal instruction during your detox? Learn more about our personalized detoxification program at the Chopra Center.
How To Get Your Twin Flame Back?


Finland holiday cottage. Holiday Home Kotkatniemi is set in Joutsa. Guests staying at this holiday home have access to a fully equipped kitchenette. The holiday home comes with a TV. The nearest airport is Jyväskylä Airport, 98 km from the holiday home.


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Le musée Maison de Dante (en italien Museo Casa di Dante) est un lieu touristique créé en 1911 situé via Santa Margherita dans une demeure reconstruite dans le   centre historique de Florence, lieu « prétendu » de la naissance du poète italien Dante Alighieri (1265-1321) à Florence en Toscane en Italie.

Historique
En 1910 la municipalité de Florence fait construire par l'architecte Giuseppe Castellucci un édifice selon les plans d'une demeure florentine du  et la  place fut créée lors de la démolition des bâtiments alentour, sur les lieux où se dressaient  les habitations de la famille Alighieri.  Lieu présumé (depuis 1910) où la tradition veut que Dante soit né en , dans le centre historique de Florence, entre la piazza del Duomo et la piazza della Signoria, le musée est ouvert en 1911,  consacré à la vie et à l'œuvre de l'auteur de La Divine Comédie.

En 1994 le musée est rouvert au public sur trois niveaux avec l'exposition de nombreuses reproductions de documents et objets de l'époque de la vie de Dante au Moyen Âge. Une iconographie de Dante à travers les siècles est exposée, avec des copies d'œuvres d'art de Giotto, Fra Angelico, Andrea del Castagno, Ghirlandaio, Luca Signorelli, Raphaël, Michel-Ange...

La famille Portinari repose dans l'église voisine, famille de sa bien-aimée Beatrice Portinari, dont il chante l'amour dans Le Rime et dans Vita Nuova.

Notes et références

Voir aussi

 Tourisme en Italie
 Lieux de mémoire littéraires
 Dante Alighieri - Beatrice Portinari
 Centre historique de Florence - Histoire de Florence

Lien externe
 Site officiel www.museocasadidante.it

Dante
Dante Alighieri

redpajama_set_name: RedPajamaWikipedia


Fibertex geotextile bags (geobags) for use in on-site desludging wastewater projects, have advantages over conventional methods, which are often affordable to authorities and contractors with limited budgets.
Benefits of using geobags for sludge removal include ease of operation, efficient retention of solids, compliance with environmental regulations and cost optimization. A further advantage is this dewatering system is passive and does not require constant monitoring and maintenance of equipment.
Solid particles (sludge) are then separated from the effluent and transported to a designated safe disposal site, or stored in a tailing storage facility at the wastewater treatment plant.
In recent local projects, where wastewater treatment plants had reached their maximum storage capacities, the Fibertex solution was to remove sludge from the existing tailing facilities by using geotextile dewatering bags on-site. Fibertex also provided the geosynthetic products required to carry out repairs to existing lining systems that were damaged, and for installation of new lining systems in facilities which previously had none.
In these recent projects, prior to placement and filling of the geobags, Fibertex lined the dewatering area with a 1 mm thick geomembrane layer, according to SANS 1526 specifications for thermoplastic sheeting. This material prevents local erosion and collects all effluent released from the geobags, thus preventing any seepage of the wastewater into the ground. The effluent is then channeled back into the dam or taken for further treatment.
No flocculants are necessary in this process, as there is sufficient time available for the material to dewater by gravity, resulting in further cost reductions. In order to ease the removal of the waste, water is pumped into the dams to agitate the sludge. Transfer of the sludge from the tailing dam into the bags is through pumps fitted with an impeller on the inlet to reduce bigger particles as the pumping is conducted.
The Fibertex team assists customers with detailed studies to determine the volume of waste that could be extracted from tailing dams per bag.


This MagnetHeart represents an accessory that may be used in any way and worn anywhere on the body. The popular MagnetHeart is supplied with a standard counterpart that may be replaced with this one. The ENERGETIX frog – applied in a satin-finished look to the polished stainless steel to make it stand out clearly as the motif – is the highlight on this counterpart.


In view of several representations from student and staff unions, individual undergraduate teachers and university teachers the CBCS Common Framework for undergraduate courses in the affiliated colleges of Andhra Pradesh was very recently reviewed and finalized. A few changes were made keeping the representations, UGC model and international models in view. The finalized Common Framework for BA/B.Com and B.Sc. courses for all the three years of study (6 semesters) is given in the enclosed tables from 1 to 12 for providing a comprehensive view. At the request of the APSCHE, select universities are preparing syllabi for courses allotted to them. Now, they are requested to prepare syllabi within the Common Framework enclosed. The following are some of the guidelines that help in preparing the syllabi.
1. One of the main reforms kept in view in introducing CBCS is to enhance higher order skills, such as analytical skills, problem solving, reviewing and judging, and creativity in undergraduate students. To facilitate this, syllabus needs to be not heavy. Intra class and inter class student learning activity requires to be facilitated. Hence, teaching hours and consequently credits were finalized accordingly. The syllabus, therefore, may be mainly in accordance to the 'teaching hours'.
2. Typical English and Second language components were restricted to first three semesters. Related Foundation Courses occupy their place in the fourth semester. Some of them will be taught by English and Second Language teachers, so that their workload doesn't get reduced.
3. The quantum of total marks, total teaching hours and total credits can differ from semester to semester and course to course as the evaluation is through CGPA method.
4. There may be no formal internal examinations (Mid Sem) for foundation courses and the practical component of domain courses.
5. In case of others, in respect of formal internal examinations (Mid Sem) at the college level, the marks split between Formal Test and Co-curricular activities may be decided by the University concerned.
6. For Science Domain Subjects which had no lab practical component earlier (eg. Mathematics) there will be no practical component in the new model also.
7. In every course, the 6th (F) and 8th (H) papers of each of the domain specific subjects that fall in semesters V & VI may be an Elective. More than one Elective may be offered giving choice to students. The Electives may be of Domain (applied/specialization) or Inter-disciplinary in V Semester. Whereas the Elective of VI Semester may be Domain (applied/specialization) or Inter-disciplinary or General in nature. The number of Electives may be decided (along with the syllabus) by the University concerned keeping the feasibility of conduct of University examinations in view.
8. The Total Credits for a BA/B.Com course will be 142 and for B.Sc. Course,164.
9. It will be helpful if the universities send the requirements, in view of the introduction of CBCS, such as teaching and technical staff, training and facilities so as to enable APSCHE to forward the same to the authorities concerned.
10. The universities may forward suggestions for further improving the common framework in the coming years.


Anatomic features of a structure of a children's organism define raised on comparison with adults risk of reception by them of traumas at operation of pillows of safety!
For the purpose of safety of transportation of children younger and middle age it is necessary to use special children's seats and the means of fixing interfaced to standard seat belts of the car. Detailed instructions on placing and installation of children's seats should be applied on them, - in case of need address for consultations on firm HUNDRED KIA.
Children should take places on a back seat of the car and to be reliably fastened seat belts. By transportation children of younger age fix a special children's seat on the central place of a back seat with the help двуханкерного a seat belt.
If possibility of fixing of a children's seat on the central place of a back seat is absent, fix it on one of lateral places. Installation of a children's seat on assemblage of the right forward seat is as a last resort supposed, - thus it is necessary to translate manually a seat belt in a mode of compulsory blocking (see Has undressed Seat belts). Do not allow the child to stand, kneel and move in salon during car movement. Operation of pillows of safety at collision can cause to the child a serious trauma and even to lead to a lethal outcome, especially if the child is not fixed or fixed incorrectly.


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The Mirror Megaverse Announces Game and Metaverse Building Platform for Web3
MIAMI, May 18, 2022 /PRNewswire/ — The Mirror Megaverse™ Inc. The Mirror™ is creating a metaverse platform that will serve as the interoperable Megaverse Engine™, a game engine tailored to Web3 that offers both an end-user product and a platform for game studios and brands to build experiences. The initial product is currently in internal alpha, a downloadable desktop client providing out-of-the-box multiplayer, Web3 integrations, chat, direct 3D model imports, and more.
The Mirror Megaverse™ Inc.
The Mirror enables creators to build experiences, games, and programmable 3D creations and sell these in The Mirror marketplace. More than Play-to-Earn, The Mirror is pioneering Build-to-Earn, where the consumer can become the creator and earn a living while learning real-world skills such as coding, 3D modeling, and even mathematics with The Mirror's physics engine. Everything in The Mirror is interoperable **with Mirror Assets™: creators can import 3D models from external sources and build, script, and experience them in games, events, and even other metaverses.
What Shopify is to e-commerce, The Mirror is to the metaverse, giving creators the tools they need to build a full-blown metaverse with integrated blockchains. The Mirror will launch a series of foundational templates for builders to quickly craft environments, terrain, and gameplay frameworks with a click of a button. The platform will service both the expert game developer and the low-code/no-code user.
The founder, Jared McCluskey, grew up building 3D models and, after having nothing to do with them besides showing them to his mom, asked, "What's next?" He eventually built an online business in Second Life in 7th grade, selling 3D models and scripts in-world for USD. This past year, as the momentum of NFTs gained traction, the core Mirror team believed they could bring true utility to the booming NFT market and saw a need for a Web3 platform that existed to bring real economic value to its users. With the space being dominated by hype projects and schemes, The Mirror was born out of a desire to allow anyone the ability to improve their livelihood through building and learning.
In its first three months of operation (Q1 2022), The Mirror grew its team from 3 to 20 people, the vast majority being software engineers. The company is VC-backed by Florida Funders and other unannounced VCs and accepts applications for its closed beta at https://themirror.space.
Alec Tremaine
SOURCE The Mirror Megaverse™ Inc.

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