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Anil Rao last won the day on June 16 2013
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About Anil Rao
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David Lynch "may never make another film" due to the profit business.
Anil Rao replied to jgharding's topic in EOSHD
Interestingly, Lynch was first choice to direct Return of the Jedi, but passed to do Dune instead. I'd love to see that version of Jedi and often think about it when the Sarlacc Pit scenes are on :) As for the comment about whether Nolan enjoys making Batman movies, the answer is in the work, of course he does, that's why they are highly regarded. Like Kubrick before him, he is in a unique position of being able to craft what he wants, and he's earned it by the way he applies himself to his craft, it's like that of an auteur. Spielberg is no such thing, he was always the guy you hired, and not much else. Look what Warner's did recently to get a bite out of Nolan's upcoming Interstellar with Paramount, which ironically was a Spielberg project to start with, they traded up the rights to the Friday the 13th series, so they could get a piece of the action! Nolan is the modern day equivalent of what all filmamkers used to be, in a classical perspective, it was then about pushing possibilities, today very few are allowed to do that, as the meticulous planning studios give to marketing the snare of their ROI on three day estimates, that's what has killed the game or leading to the so called implosion... simple greed, what else is new? The current chase for Global dollars aginst domestic is also driving what they want to make. i had an interesting meet with a US film company who told me they would be interested as long as the story would play better to an international audience rather than a US one, 80% of ROI is now making up the figures for US product, don't get me wrong, home grown isn't entirely written off, everyone will always be happy when a film works as WWZ has thus proven last weekend, it was almost written off within the industry with all it's so called miscomings being publically aired, but it blew away all domestic expectations when it took over $60m, but what is does internationally is where the money is being bet on. Iron Man 3 even got it's own edit for China with new scenes even filmed for that market, so the trend really is to make your story work everywhere to get the Lion's share. I doubt a Lynch film has that power, it's great for the niche, just not for the masses and that's business I'm afraid.
jpfilmz reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 16, 2013
Dr. John R. Brinkley reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 16, 2013
Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion"
Anil Rao replied to Andrew Reid's topic in EOSHD
Interesting and bang on... Lynda Obst: Hollywood's completely broken When you stopped buying DVDs and started streaming on Netflix, Hollywood's economics changed. So did the movies I was driving west in a classically horrible L.A. morning commute on my way to Peter Chernin's new office in Santa Monica, thinking about our regular lunches back when he ran the studio and I worked as a producer there in the nineties. Peter, who is now building his own media empire at Fox and had been president of News Corp. for over a decade, was clearly the perfect person to ask what had turned the Old Abnormal into the New Abnormal. First of all, he was incredibly smart about the business. But more important, I now realized that during those lunches, he was the first to warn me that the proverbial "light ahead" was an oncoming train. It was way before things turned obviously grim. Since I was reliably churning out pictures then, I didn't take his gloomy talk about piracy seriously. I just went around saying, "The landlord has the blues," and blithely fell into the future. Peter wasn't exactly having a hard time making the transition. Once he decided in 2009 to leave the number-two job overseeing the News Corp. media empire, he became the biggest producer at Fox (one of the biggest anywhere), with guaranteed pictures and huge potential profit participation. His first picture was the tentpole smash Rise of the Planet of the Apes, and he already had three television shows on the air. More recently, he released the smash Identity Thief, with Melissa McCarthy and Jason Bateman. The long drive got me thinking about the contrast between the struggling Old Abnormal producers (and writers) and the soaring New ones like Peter. It was discussed at a fancy-pants dinner party I went to a week before. "They're completely broke," said a studio head, when asked by me (of course) about how different things were these days. He spoke about famous players who regularly came to him begging for favors—a picture, a handout, anything. "Why?" his very East Coast guest asked incredulously. I recalled his exact words as I sat in bumper-to-bumper traffic. "They have extremely high overheads," he said to his guest with me listening in. "They have multiple houses, wives, and families to support. They've made movies for years, they were on top of the world and had no reason to think it would end. And then suddenly it did. They've gone through whatever savings they had. They can't sell their real estate. Their overhead is as astronomical as their fees used to be. They've taken out loans, so they're highly leveraged. It's a tragedy." His natty guest looked unsympathetic, so I tried to bridge the worlds between us. "Okay," I said, "the Sudan is a tragedy. This is just sad." I understood that it was hard to sympathize with broke producers when so many families were being tossed onto their lawns by bailed-out banks that had bullied them into bullshit mortgages. Meanwhile, New Abnormal producers like Peter were thriving, easily finding supersized tentpoles with the "preawareness" that was so craved by the New Abnormal, like his hit film Rise of the Planet of the Apes. That is because those films were so well suited to their sensibilities and ambitions. But Peter was more than just a successful model of a New Abnormal producer. He had green-lit the two biggest movies of all time when he was head of Fox during the Old Abnormal. Peter had earned his top-down as well as bottom-up perspective on the business by working his way up through publishing, then TV, to eventually run both Fox Broadcasting Company and Twentieth Century Fox Film. He became Rupert Murdoch's number two, overseeing the whole Fox empire, and shareholders clamored for the board to name him Murdoch's successor. But this was a job designated by Murdoch to go to an actual heir, so Peter left to become a producer. He knew the business, as Joni Mitchell's great old tune said it, "from both sides now." More important, he was gifted with a brain both creative and financial in equal measure. Peter's offices are as close to the water as you can get without falling in. He came into the lobby to greet me, always personable, never grandiose, but still a bit larger than life. He is the humblest of moguls, but that doesn't mean he doesn't have a strong ego— just not a damaged one. We sat in his Santa Monica office with huge plate-glass windows overlooking the Pacific, where he happily relayed that he rarely crossed the 405 East-West divide. When I asked for his help in getting to the bottom of all this, I was reminded of how tough-minded he is. Even though we are old friends (we went to high school together), he had no problem challenging my buried premises. Maybe they weren't very buried. "So how did we get here," I asked, "where things are so different from when we started? What happened?" I leaned back a little on Peter's comfortable couch, and he sat forward to say, "People will look back and say that probably, from a financial point of view, 1995 through 2005 was the golden age of this generation of the movie business. You had big growth internationally, and you had big growth with DVDs." He paused to allow a gallows laugh. "That golden age appears to be over." It was good we both could keep our sense of humor, the only way to survive the industry's crazy carousel of wild ups and low downs. And this very carousel and its need for constant— bordering on psychotic—optimism to keep your projects going made it hard for a person like me to find a steady perch from which to see what was really going on. Peter, however, had one. He seemed to be saying that the DVD market was critical to the life and death of the Old Abnormal. I knew the DVD profits were key, but it seemed to me like a classic case of the tail wagging the dog. "Why did those little silver discs go to the heart of the business?" I asked. "There have to be other key revenue streams." "Let me give you the simplest math," he replied. "The simple, simple, simple math." Good, I thought. Because my friends and I are not so great at math. I can guesstimate the budget of a big movie to within a hundred thousand dollars by reading the script, but I can't add the columns therein. "The movie business," Peter said, "the historical studio business, if you put all the studios together, runs at about a ten percent profit margin. For every billion dollars in revenue, they make a hundred million dollars in profits. That's the business, right?" I nodded, the good student, excited that someone was finally going to explain this to me. "The DVD business represented fifty percent of their profits," he went on. "Fifty percent. The decline of that business means their entire profit could come down between forty and fifty percent for new movies." For those of you like me who are not good at math, let me make Peter's statement even simpler. If a studio's margin of profit was only 10 percent in the Old Abnormal, now with the collapsing DVD market that profit margin was hovering around 6 percent. The loss of profit on those little silver discs had nearly halved our profit margin. This was, literally, a Great Contraction. Something drastic had happened to our industry, and this was it. Surely there were other factors: Young males were disappearing into video games; there were hundreds of home entertainment choices available for nesting families; the Net. But slicing a huge chunk of reliable profits right out of the bottom line forever? This was mind-boggling to me, and I've been in the business for thirty years. Peter continued as I absorbed the depths and roots of what I was starting to think of as the Great Contraction. "Which means if nothing else changed, they would all be losing money. That's how serious the DVD downturn is. At best, it could cut their profit in half for new movies." I'd never heard it put so starkly; I'd only seen the bloody results of the starkness. The epic Writers Guild strike of 1988 was about the writers trying to get a piece of home viewing profits. It shut down the town for eight months, and estimates of what it cost the Los Angeles economy run between $500 million and $1 billion. They held out as long as they could, until all parties had bled out as if they'd been struck by Ebola. And still the writers got no piece of those golden discs. Then the writers struck again in 2007–8 for a piece of the Internet frontier, and won not much more than they did after the last awful strike, and we all watched its terrible and unintended aftermath play out during the recession and in the subsequent suspension of writers' and producers' deals. "I think the two driving forces [of what you're calling the Great Contraction] were the recession and the transition of the DVD market," Peter said. "The 2008 writers' strike added a little gasoline to the fire." Well, at least my writer friends would be relieved to know that Peter didn't think it was totally their fault, as some in town were fond of intimating. He went on to say, "It was partially driven by the recession, but I think it was more driven by technology." There it was. Technology had destroyed the DVD. When Peter referred to the "transition of the DVD market," and technology destroying the DVD, he was talking about the implications of the fact that our movies were now proliferating for free—not just on the streets of Beijing and Hong Kong and Rio. And even legitimate users, as Peter pointed out, who would never pirate, were going for $3 or $4 video-on-demand (VOD) rentals instead of $15 DVD purchases. "When did the collapse begin?" "The bad news started in 2008," he said. "Bad 2009. Bad 2010. Bad 2011." It was as if he were scolding those years. They were bad, very bad. I wouldn't want to be those years. "The international market will still grow," he said, "but the DVD sell-through business is not coming back again. Consumers will buy their movies on Netflix, iTunes, Amazon et al. before they will purchase a DVD." What had been our profit margin has gone the way of the old media. It hit me like a rock in the face. The loss of DVDs for our business had created a desperate need for a new area of growth. This was why the international market has become so important a factor in creative decisions, like casting and what movies the studios make. We sat in mournful silence for a second before I realized that Peter probably had to take a call from China and I should go home and take a Xanax. But then Peter said the most amazing thing. A P&L, if you're not a numbers person, is a profit-and-loss statement. Studios create P&Ls in order to explain to their financial boards, banks and investors how they are going to recoup their costs when they green-light films. It estimates how much money key domestic and international markets are expected to gross based on how "elements" (i.e., stars, director, title) have performed in the past in those markets, country by country. It also estimates how they will perform in various ancillary markets like DVD, TV, pay cable, Internet, airplane devices, VOD, handheld devices, etc., again based on past performance. If it all adds up to the amount of the budget or more, Go! These are the quantifiers that studios use to rationalize their decisions, to put them on solid-enough financial ground on which to base predictions to their corporate boards. "So," Peter said as I was about to leave, "the most interesting thing is what a few studio heads said to me privately about two years ago." He stopped to smile. "None of them from Fox, of course." "Of course," I said. I knew he was about to share something very inside with me. "They said to me, 'We don't even know how to run a P&L right now.'" The look on his face expressed the sheer madness of that statement. " 'We don't know what our P&L looks like because we don't know what the DVD number is!' The DVD number used to be half of the entire P&L!" "What are the implications of that?" He looked at me incredulously, as if to say, Haven't you run a studio? Then he said very emphatically, "The implications are— you're seeing the implications—the implications are, those studios are frozen. The big implication is that those studios are—not necessarily inappropriately—terrified to do anything because they don't know what the numbers look like." Of course they are. They're frozen, so the gut is frozen, the heart is frozen, and even the bottom-line spreadsheet is frozen. It was like a cold shower in hard numbers. There was none of the extra cash that fueled competitive commerce, gut calls, or real movies, the extra spec script purchase, the pitch culture, the grease that fueled the Old Abnormal: the way things had always been done. We were running on empty, searching for sources of new revenue. The only reliable entry on the P&L was international. That's where the moolah was coming from, so that's what decisions would be based on. The Great Contraction explains the birth of the New Abnormal, and so many of the cultural changes that came along with it. Technology changes culture. Think of the way the all-embracing texting culture of the Japanese teenager created the first-person text novel (keitai shousetsu). The anonymous romantic accounts of teens written by texters were sent chapter by chapter as apps were being designed in real time to meet the needs of the growing audience. That birthed a genre that spawned "real" books and movies. Our industry reformatted itself with an application called "new revenue streams." A crucial question of that app was "what stars play in foreign territories," and the answer was, "whoever had a big hit there before!" Casting was not the only thing that technology changed, nor was the (disappearing) pitch. The big change was what movies get made.
Gatekeepers are true, film is often described as the hardest club to get into in the world, even all those people at Cannes officially are trying to get in. In the many meetings I have had, you gotta keep going you see, I found myself getting a door open to a very good company, a known company, tradewise that is. A good old fashioned letter I wrote got me a callback. I went to see them, they loved my short work and said I sounded even better in the flesh, then the reality kicked in. They told me 'great, but we cannot help you', I said 'why' as anyone would, they said, 'we don't know you'...ermmmm, 'ok then we're here now, let's get to know each other'...'oh no, that's not how it works'...ok how does it work I say, ...'oh, someone has to recommend you to us then we can help'... and that's how it is folks. You know that saying 'it's about who you know', not true, it's the opposite, it's about who knows you, and this lends itself so greatly to the now, to the self catering filmmaker, you make something special you can now put it out there on many platforms and portals, and if it is special and strikes a chord, everyone talks about, well actually it doesn't have to be special, you can film your cat taking a turd and falling out of a tree, put it on youtube and you suddenly have a billion hits... that's just crazy! But once again we find ourselves having to squire through digital irk and ire to find anything good, so it's another slew of not so much gatekeepers but infinitely open gates! There has never been a sure way in to film, there is just your own way and you have to put heart and bloody soul every day to achieve it. So enter everything and anything, get your work known and who you are. There again there is quite a lot of tosh, but do research. For example, look who the judges are. I entered a comp literally 24 hrs before the deadline, a comp I knew about for ages but they never announced the judges, plus I was in another country at the time. my work finished early and I got back to the UK and I saw the judges and they were all real filmmakers, as in people you know. So I quickly put something together and handed it in. I was astonished that I had won the comp whereas other entries had full blown crews and everything. But I believed in my idea and I knew the calibre of the judges, I also trusted my voice as a filmmaker and that is something you have to discover for yourself, I have never been good at following anything and have always been labelled as unorthodox and for being ahead of my time, all my filmmaking contacts can't understand why I have slipped through the net all the time, it's simple you need to find out which net to jump in, that's what I mean about research, that and following your heart are the most important to me. http://www.londonscreenwritersfestival.com/four-nights-in-august-winners-announced-at-lsf-2011/ Having won that comp, it opened a few doors to me especially in the US. I now have a US producer helping me with my first feature becuase of that win. The comp ran again and is currently at judging stage, and again my entry has stirred a few boats in its comments section and is one of the highest rated, that alone earned me a UK producer and the short has it's first public screening at a film making masterclass this very weekend. http://www.50kissesfilm.com/movies/neil-by-anil-rao/ Oh and for the record, I asked that particular company why they had agreed to see me if they couldn't help me, the guy told me that at the bottom of my letter I had written 'help me Obi Wan Kenobi, you're my only hope', and that he was a Star Wars fan... that's why :-)
Anil Rao reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 15, 2013
Tim McC reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 14, 2013
Once upon a time is a story told, an alternative would be also 'a long time ago in a galaxy far far'... you get the idea. However today it's all about ...once upon a dime. There really isn't much difference to what happened with the financial deficit with what is being recycled again but for film, it's the same game play at work. Lucas and Spielberg are just being whistleblowers, pre-empting if you will, what is to come. The infamous statement is that nobody knows anything in film land, and that is absolutley true, as all creativity is a risk, otherwise every film made would be a hit, and for the ones that do, for the ones who do so because in their hearts, it's only about possibilty... well they are the ones being denied right now, but at the same time, Hollywood failures are giving them other paths to follow, and that hurts us as a culture and as an audience. I don't want to sound all Jerry Maguire as Steven Soderberg came across in his recent speech, as it was numbing that it led him to quit, however, for whatever happens, it is stories told, that equal stories sold and they need to say that to themselves everyday before starting their day. I love going to the cinema, I love being enlightened by a creative sermon delivered with passion and a need to connect with us no matter what genre or subject it is, but i find it harder and harder to find something worthy of that visit that I used to make several times a week. I just don't want to see the day when it only becomes about peer to peer audiences, or singular views in the solitary bowels of tablets and at home by yourself.. No man is an island, and we need to watch a film with the many sitting beside us, where we are all naked (metaphorically speaking here) and removed and stripped of the suit of armour we all have to bs each other with outside the cinema, in our everyday lives, that's why it is so importnat as a construct of cultural and social cohesion. It's where we get enlightened by what I have always thought were the modern day prophets, allowing us to partake their visions and imagined concepts and ideas together as one being, which is what we all become when the house lights go down. Cinema has the power in its ability to transcend that, that, that is traditionally known into that, that is not, the meaningful unknown, so that it again becomes known and so fourth, and we all learn together. If the sermon is delivered as a telling, a seed is planted in each of us, that we choose to grow, which is why we return again and again to that story. I don't mean to expose my deepness here as I know a lot of people find it hard to fathom spiritual understanding of what connects us all, but it's like when Obi Wan explains the Force, cinema is exactly like that, in that 'It's an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together.", that's exactly how I have always viewed cinema. So may the force be with us, otherwise it all ends up like Alderaan :-)
nahua reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 13, 2013
Andrew Reid reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 13, 2013
mtheory reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 13, 2013
I didn't make it clear that the buyers I spoke to were from all over the world, they were more than willing to listen. I told them it was an urban thriller, all good, I told them it was set in London, all good, I told them it was about injustice, all good, I told them it was a multi-cultural cast... they were outta there LOL. To be honest I wasn't at all surprised. One thing you do when you come to understand film sales agents is understand the numbers, they now all have a universal processor which not only determines how much they will pay for a film but will also tell them what they are expected to make from it, it's actually quite scary when they talk to you about it, with a big grin on their faces, you are standing there watching your project being stripped of any artistic merit, any soul that might touch a persons heart and resonate with them, and are left being like a piece of sushi on those conveyor belts. I am often dumbfounded by what I find is just normal today, in a lot of what we call a way of life, which is a total lack of quality control or oversight as basic values, what these people don't want to understand, is that they are in the business of creating film to sustain a fim business, and what filmmakers more often than not when starting out don't want to understand, is... that they are wanting to get into the business of making films as a living. What both need to get on board with, is how to help each other sustain each other. I remember at film school being ignored for 3 years because I said the forbidden words, 'the business of film', when what I should have said is, 'I want to make films that no one will ever see, that are about fruit decomposing over 24 hours, that I will then project in slow motion to deliver my artistic vision', that would have got me luvved up from day one, and played no doubt in the arsehole of the ICA! Creative vision is all fine and dandy if you are spending your own money but the second someone gives you a pound or a dollar you will have to accept that opinion and deliver a return on that investment, that's what you are promising by accepting the investment to begin with. The films you make today must deliver the business and as previously mentioned, the mechanical only wants the formula and only the formulaic will be adhered to as it makes sense to support that, risk and lean management are what all these guys are about, your vision means nothing to them, the numbers do. It is quite possible that maybe this outburst from Spielberg and Lucas should NOT be adhered to, and allowed to happen, only then they may wake up, well only for a moment before the next original idea gets exploited, and milked to death, afterall Steven Soderbergh recently quit because of the same reasons. You and I both know Andrew, creativity is risk and risk only! To step into the unknown is the excitement and when you do and it works then they all come following!
matt2491 reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 13, 2013
Brellivids reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 13, 2013
Bruno reacted to a post in a topic: Spielberg reveals Lincoln struggled to get cinema distribution, says filmmaking "heading for implosion" June 13, 2013
Firstly there is a multitude of problems that were allowed to happen, that has had this announcement made and uncharacteristically these comments are made by the two people often associated with destroying Hollywood in the first place, whilst both Lucas and Spielberg created moments in cinema that yielded the terminology 'blockbuster', they are not to blame entirely. The studios having let the dreamers of the 70s have their way, in order to stop their film industry falling apart, an industry that no longer knew what to do with the fast changing cultural landscape of the era, decided to play observer. In observing they saw a formula and took the reigns back, what they didn't observe is the 'why' and focused only on the '$' these films made. Having run much of the Hollywood gauntlet under this ideology worked until the era of todays audience kicked in, or more importantly speaking the age of the internet. Today audiences are in charge and the film industry is having to fight back against many other forms of entertainment on many different portals out there, what is making it worse in this 'tailored to my own choice' era, is that again the industry isn't wanting to understand or learn from, so they keep upping the event tentpoles and not the culture of what cinema has been for a 100 years. Originality costs today, that is the fundamental reasoning behind remake culture, the last studio original fable was Inception and Nolan had to earn that, and did so with the ROI of TDK and the promise that he would also do TDKR. The same goes for Spielberg, just because he has made a lot of hits doesn't mean they will bow to him, the business is about the business of film, so for Schindlers List to be green lit, he had to sign for JP:Lost World and when you watch that film, you can tell right away his heart is not in it, in any of it, because he had to make it and not wanted to make it. As for Lucas and his Red Tails nightmare, the business told him 'no one would be interested in that particular story, it was the business talking and he didn't want to listen, this was both right and wrong. Lucas accused the industry of being racist and this was a huge error on his side of reasoning, a little blind sided and more in line with a trouble maker, than as a bonafide reason. He should have understood what the industry was saying or just financed it himself, which he ended up doing. At the Berlinale this year, I spoke with a lot of buyers at the EFM (European Film Market) as I have a UK thriller script set in the Afro Carribean UK community and even though it's not about the culture of these people, the first thing more than half of them told me was, we don't buy black stories, when I probed why, rather than assuming the worst, they said we cannot sell them, it was that simple, they were being truthful about sales which is what they do and they know what they are talking about, they were not being racist. What is clearly missing and has been for a long time is what the culture of cinema used to be about that led to an industry being fruitful and now that there are signs of it becoming fruitless, no one wants to understand the hierarchy of the failure that has led to that. If anything, the people, as in the audience, well they are in charge now right, not the studios, and are dictating what is being made by them. Good you might say on one hand, well actually it is bad on the other, because for every $1b, an empty and void of content Iron Man type movie makes, this only guarantees to Hollywood that that is what the people want, hence why they will only give their energies and resources to keep making them. However, if only those type of movies are shown, what choice do we have? It's a vicous circle, and until once more the industry collapes, and again they ask the creatives to give them back an industry again, it will be too late. We cannot have the 70s again, and Hollywood cannot rely and hope the same can be repeated again, because those that can have gone on to other portals now to deliver them, furthermore, watching cinema and that magical artful experience of having a voice shared by many at the same time, a voice that matters first, is truly if not already lost right now. A New Hope is more than needed, both culturally, creatively and most importantly, in alignment with an industry willing to listen and apply.
Digital Bolex image quality - Exclusive look at sensor samples and footage
Hey Andrew, having shot my graduation film on S16 way back when, this may well be the camera I shoot my feature on. It seems to have been totally grounded up for a maker of films to use as opposed to anyone else, ie still photographer who may wish to shoot vieo etc, especially in the ergonomics. Whilsts others boast of this and that I have always felt that whoever took a practical and not technical lead through in their offering would win, this maybe that opportunity, alas still waiting to see if it fulfils a straightforward post workflow, which again is something all offerings should consider too. :-)
The EOSHD Blackmagic Cinema Camera Shootout
Outstanding time and effort into this Andrew, but I still can't help but be floored by the GH2 in all the shots. The GH3, given it's a pre-model, looks whack next to it and even the BMCC didn't really stand out, your own cinemascope films shot even on the GH1 were far more gorgeous in their presentation, and that always has to be what this shooting game is only about... about how it makes you feel rather than what's under the hood. At the end of the day that is what only matters, what you craft, how you shape and ultimately, how you you see something, being the image maker, not what makes you the image, although to some extent that does matter :)
Anil Rao reacted to a post in a topic: 4K Leica Video Camera? September 21, 2012
Anil Rao reacted to a post in a topic: Panasonic GH3 hands-on report September 20, 2012
Anil Rao reacted to a post in a topic: The Panasonic GH3 is here September 19, 2012
Panasonic closes 3 factories in China due to protests
Anil Rao replied to andy lee's topic in EOSHD
It's all about those islands the Japanese purchased from the owner of them and the Chinese who say they belong to China, but looking at the way the Chinese are behaving and their spiel from the reporters on the street, burning anything Japanese... it's all ridiculous. There is so much anger in the world today, people look for any reason to (forgive the pun) blow up, what's up with all that? Watching Pannys building on fire, could mean another delay to the GH3 then!
Micro four thirds lenses on the BMC?
Anil Rao replied to Germy1979's topic in RAW SHOOTING CAMERAS
Hi, don't know if this is of interest, but my friend Rick Young who runs the Mac Video Expo in London and has always been down with BMD, made this video about the MFT Blackmagic Camera. :) [media]http://vimeo.com/49446586[/media]
Anil Rao reacted to a post in a topic: Genesis - is this the Reverie moment for the GH3? September 16, 2012
Genesis - is this the Reverie moment for the GH3?
[quote name='MaxAperture Films' timestamp='1347759294' post='18185'] Those are not tassles, they are the fan blade overlaps of the vertical bands from the folded parts of the curtains (that were probably intentionally graded to look blown-out). The motion blur of the fan image slightly darkens and picks up the curtain folds in the trails of the blades. It just looks like sloppy grading to me. [/quote] Yes, you are correct. However the blades do have some things hanging off of them to aggrivate the situation. Watch them when they have got past the windows light, anyway, moving on from tassles. I kept finding myself referring to Mann's [i]Collateral [/i]for some shots, after a few viewings. I liked the first car shot of him driving, obviously shot from the bonnet rig, that was very cinematic in the image rendering, as in it felt like a Hollywood shot, and not a videoesque one, also with some of the night shots, the backgrounds were very nice, but the blacks were pushed to be too dark, again just using Mann's film as a counter point, which I know is asking way too much of this. However I remember when Mann discussed the shooting of [i]Collateral[/i] (as to why he shot video), he said he wanted to see into the night. When she runs down the stairs to the train and gets into the cab, it looks like it wants to not see into the night, really dark. The grading really shows its difference when we get to the - trains in a museum hanger masquerading as a real station scene -, it goes really flat. However, again, all these are really superficial points in the overall picture, with it being a test camera and with what was put together, bells and whistles or not, we have a winner here coming our way very soon, and I can't wait. :)
ok, my genuine points to consider after watching this. 1. Watch the fans blades in the beginning, that was really shocking, unless they are all really furry, as I have seen fan blades with tassles before. 2. There is no demeaning here, the grading really is all over the place and that is not the fault of the camera now is it? 3. I'd like to know what is the budget of this, time frame of schedule and furthermore, look at how many people worked on it? This would negate a few things to consider, the first being if you are going to do this properly, give it all the quality it needs. I am not going to fault the craftsmanship as there is a considerable amount of blood, sweat and tears that goes into a production like this and especially with a short timeframe to accomplish everything, however, if this is an official Panasonic showcase why didn't they take the time to do it right instead of a rush job? More importantly, most of us are not going to have the kind of background support this demo utilises when working for ourselves, so that is not a real working example to use, to fairly showcase the camera, and even if we did, in all honestly I expected a better showcase, and not these kind of Ideal Home Exhibition demos, or shots of frogs close up you see on HD screens in Dixons. I watched this as a film first and it was just too hammy, now before the obvious reply to that will be, yes but it is to show what the camera can do, I say that is fundamentally wrong as an example to sell this camera and here's why... I want to be held by the idea, if this idea is to show the GH3 as a working tool for filmmakers and not just to start flames and wars amongst the online pixel peepers, then shoot it as a film and not a technical promo, then when one watches it, you can say to yourself, 'wow that was great', followed by, 'what!!!! that was all shot on a GH3', then you have proven the point. Philip made a film about a camera guy who collects cameras and it was awesome, then he told us at the Mac Video Expo where it was projected for us, that it was all shot on the NEX 5N, I was totally floored, that's the kind of example I expect to see. Even now when I think about it I can recall my wowness at watching it. When I made a short film for the French filmmaker [i]Luc Besson[/i], I shot it on a 200 line resolution security camera, the kind put outside your garage, I just loved the field of view, (which was very [i]Terry Gilliam[/i] meets[i] Jean-Pierre Jeunet[/i]) and the image the camera gave me. I had reworked the wiring so I could record the image to a DV Deck and shot my film as a film, as an idea I wanted to express. I then graded it at VTR (now known as Prime Focus) in Soho, by the legendary colourist [i]Tareq Kubaisi[/i] and it was screened in Paris, London and Tokyo. My point being here, is that I could have shot it on 70mm if I really wanted to, however I am a guerilla filmmaker, and by guerilla I mean that I want to push what can be achieved without all the bells and whistles that raise costs and still be held up as a validated professional piece of work.[i] GENESIS[/i] obviously has all the bells and whistles thrown at it and it's unfortunately speaking, not a good showcase for what it should be doing, which is telling a story that at the end of it, has us go wow and then unbelievable. They should have given this to Michael Mann and stipulated, off you mate and only by yourself, but he loves his Nikons too much ha :) Doesn't matter though, I am really looking forward to getting one of these, and if I had the added expenditure I'd feel the same about the BMCC, I'll be watching how that all develops before stepping in, but it's all good. Someone already said it before, but a new kid always stirs things up for everyone else to re-raise their game and that's better for all of us right? :)
The Panasonic GH3 calls to explorers
Those who give inspire, those who take retire, small minds discuss people, average minds events, but great minds discuss ideas. Phil's a dude, Andrew's a dude and we are more the better because of them. Thank you to both of you, and keep marching, because the more knowledge we have, the better we can all get at being better, that's an achievement right? And that for me is only one thing, lifes great idea :)
Anil Rao reacted to a post in a topic: The Panasonic GH3 calls to explorers September 14, 2012
LADIES AND GENTS: THE GH3 !
Anil Rao replied to XXX's topic in EOSHD
This is the one I wait for :-) They need to send the first one to Vitaly, that way when it gets to the rest of us it will be much more improved!
Anil Rao reacted to a post in a topic: 4K Read September 13, 2012
BMCC Post workflow. Bloomy just said...
Anil Rao posted a topic in RAW SHOOTING CAMERAS
[i]PhilipBloom.co.uk Think I am already over the raw in the Blackmagic camera. The workflow is so painful. The prores is fantastic though. Super flat![/i] What the word was going to be for most of us anyway right?


text:
Peace policies: Prof. Dominic Rohner appointed head of a new research network dedicated to conflict prevention at the CEPR
Recognised as one of the world's leading research centres for economics, the Centre for Economic and Policy Research (CEPR) has just launched a research network dedicated to conflict prevention and peace policies. The head of the new centre of competence, Prof. Dominic Rohner, from HEC Lausanne (UNIL), manages a group of around 30 experts, whose task is to increase the visibility of research in this field among a wide audience.
Founded in 1983, the CEPR, an independent, non-profit organisation, operates according to a "thinknet" model. It brings together numerous economists who collaborate, through the Centre, on a wide range of policy-related research projects and activities. The CEPR has recently created a number of Research and Policy Networks (RPN) dedicated to specific topics. As an expert in conflict issues for the last 15 years, Dominic Rohner has been appointed head of the new RPN for conflict prevention and peace policies.
Purpose and role of conflict economics
As explained on the new network's webpage launched in early June, armed conflict imposes huge costs on societies and economies alike. The burden of war is far-reaching, not only in terms of the loss of human life and societal harm but also economic costs. According to Bae and Ott (2008), conflict-related deaths in the 20th century accounted for around 100 million people, 60% of whom were civilians.
Human suffering is clearly the top concern. The research carried out in this field helps to implement policies that can reduce armed conflict around the world. With this in mind, Prof. Rohner emphasises the importance of the work carried out by researchers: "As economists specialising in conflict issues, we have a real human and social mission to fulfil. As a result, it is critical not to lock ourselves in ivory towers but commit to communicating the results of our research to decision-makers."
The RPN in conflict prevention: a lever for action and commitment
"Over recent years, we have seen a real drive towards high-quality research on these issues. The new RPN has been formed for an initial period of three years and brings together around 30 professors from different international universities. Its aim is to be able to share the results of cutting-edge research with decision-makers and the media, but also with a wide audience," comments Prof. Rohner. He adds, "Heading up the new network is a great honour and an extraordinary opportunity to take action."
HEC Lausanne congratulates Prof. Rohner on his appointment, which comes in addition to an already highly successful career and not least, the numerous awards he has received for his research on the causes and consequences of conflict.
Prof. Dominic Rohner
RPN (CEPR) conflict prevention
Published 21 June 2019

redpajama_set_name: RedPajamaCommonCrawl


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After months of speculation, fans finally know Khloé Kardashian's baby's name, and it is seriously sweet. Mama Khloé shared the baby's first and last name on Instagram, but fans still don't know what True Thompson's middle name is. Judging by the reports on True's name, and the Kar-Jenner family's tendency to stick with just a first and last name, she may not have one.
Kardashian shared a photo on Instagram on Monday of a room drenched in pink, along with a caption that announced the baby's name. "Our little girl, True Thompson, has completely stolen our hearts and we are overwhelmed with LOVE," she wrote. "Such a blessing to welcome this angel into the family! Mommy and Daddy loooooove you True!" The announcement didn't come with a photo of the baby herself, but judging by the numerous balloons and flowers, it looks like she got quite the welcome home.
True's grandma, Kris Jenner shared her own post of a bunch of pink balloons to Instagram, congratulating her daughter and Tristan Thompson on the new addition to the family. Her post also provided a bit of background on True's name. "I'm so excited to welcome my precious little granddaughter True!!! FUN FACT… my Grandfather's name on my Dad's side was True Otis Houghton, she wrote. "….my Dad's name was Robert True Houghton…so i [sic] am so excited Khloé named her daughter True!!!" Neither of the posts included a middle name.
While Kardashian and her sisters all have middle names of their own, many of the younger members of the family do not. For example, none of Kim Kardashian's children have middle names — North West, Saint West, and Chicago West are their full legal names. Kourtney Kardashian did choose to include middle names for her children: Mason Dash Disick, Penelope 'P' Scotland Disick, and Reign Aston Disick. Rob Kardashian used a middle name when naming little Dream Renée Kardashian, but Kylie Jenner did not, making Stormi Webster her daughter's full name, according to Elle.
Chicago West's lack of a middle name was revealed to the public when TMZ published a photo of her birth certificate. As no birth certificate for True has been released as of yet, there is a chance that True has a middle name, but Khloé and Tristan have just decided not to share it with the world yet. But the official announcement made on Khloé's app seemed to share all of the details of birth — including her birth weight (six pounds, 13 ounces) and length (21 inches) — but no middle name can be found there either.
There are still no available photos of baby True, who was born on April 12, but it may not be long until fans get their first glimpse of the littlest member of the family. Like any good celeb, True already has her own Instagram account (yes, really), so she may make her big debut there. In the mean time, Khloé and Tristan seem to be enjoying parenthood privately for the time being. Good for them.


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Home > PPC > Why Adwords can be trusted compared to SEO!
Why Adwords can be trusted compared to SEO!
Online marketing has caught on like wild fire and as an online business; you want your fair share of the limelight. So, you hire an SEO professional and wait for the flood of enquiries and orders to come pouring in- but nothing earthshaking happens. Your business is showing up there at the top of Google's search results, but the conversions are not taking place at the rate you had expected them to.
Nothing like the tidal wave of relevant responses and queries that had been promised! So what is it that went wrong? Why is it that your killer SEO strategy failed? Did the SEO professional not do his job right? Before you get ready to clobber the poor guy, delve a little deeper into your broader marketing strategy.
The fact of the matter is that setting up an effective online strategy is not as simple as sprinkling a few Keywords across your website, articles and blogs. It's always a mix-and-match of a number of different tools and strategies that will give you the results you need.
Running an AdWords or Pay Per Click Campaign is one of the most effective online magnets to keep that flow of customers going strong. So what is it that makes AdWords like a magic wand when it comes to attracting relevant traffic? Let's start with the basics and then see what makes AdWords tick, tock and rock.
When a person types a word/ phrase into the Google search field, they are indicating their desire or need to look for a certain piece of information and they want it instantaneously. If they spot your AdWords advertisement at that exact moment, and are impressed enough with it to feel that you/ your business will be able to provide them with that service or product- you automatically have an interested and highly-qualified prospect heading your way.
The transparency that this medium provides you with is truly amazing. You are able to track conversion and work out your cost per acquisition accordingly. You can then equate this to the actual profit as well as your ROI.
Don't focus on quantity, shine the spotlight on quality. Decoding that; don't focus on getting your ads before the most people. Instead, work on getting them before the right people. The next logical question- Is that not a difficult task and how exactly am I going to filter out the chaff and get only the grain?
This is where things get better and better. AdWords has a very interesting built-in feature called the Quality Score. This has been specifically designed to ensure that you are rewarded for showing your business ads to a smaller group of people.
The key component of the Quality Score is CTR or the Click-Through-Rate. This is the percentage of viewers that actually click on your advertisement after they see it. Take a look at how you can increase your CTR simply and effectively. One of the simplest ways of boosting CTR is to narrow down your ad's target range via better keyword targeting. Once you have entered your keywords in AdWords you have the option to choose from three different match types.
By bidding on these keywords you are actually bidding for a position on the results page when someone types them in the search field in Google, which are known as SERP's or "search engine results pages". A broad match simply wrecks your quality score. The thousands of queries you will get with it are of no value as they may be related to your specific business only tangentially (or not at all). On the other hand, exact match AdWords will bring in qualified traffic and increase your CTR.
This is just one of the AdWords functions that you can tweak to get the results you want. Turbocharging AdWords with Google Analytics is a great way of boosting to your online marketing effort.
Even as you do all of this, understand that just as with any science, art or skill, there is a learning curve attached to getting your strategy right. Experiment, learn, grasp and then get the wheels of the Google AdWords wagon into motion.


Over the last year, cryptocurrencies have lost a lot of value yet bitcoin miners continue to process transactions and earn block rewards. A bunch of new mining rigs were announced in 2018 that packed some serious hashrate. As the new year begins, some of the top devices that process between 28-76 trillion hashes per second (TH/s) can be now be purchased from ASIC manufacturers and third party vendors.
Last year there was a ton of new mining rig announcements. Many of the new devices announced claimed to have next generation 10 nanometer (nm) and 7nm semiconductors produced by famous chip foundries like Samsung and the Taiwan Semiconductor Manufacturing Company (TSMC). Other machines purported to offer more efficiency, quieter sound, and some of the mining rigs offered a water cooling system as well. Some new releases didn't fare so well, like when the Japanese manufacturer GMO Group announced it "will no longer develop, manufacture, and sell mining machines." Then there was the controversial Halong Mining, a startup that was supposed to be the new up and coming manufacturer in the crypto industry. The firm was accused of rebranding Innosilicon miners and the company's website says people who want new machines need to subscribe to a waiting list.
The Antminer Hydro uses a water cooling system. Other mining machines like the 8 Nano have also employed water solutions.
Then, towards the end of the year, a slew of other mining manufacturers, some of which have been reputable companies for years, announced new machines as well. Now that some of the next generation devices are available to the general public, through either the manufacturer or a trusted vendor, these machines will likely boost the network hashrate significantly. What follows is a preview of the top four mining machines that process large amounts of raw terahash and can be purchased today.
Last September news.Bitcoin.com reported on the China-based Ebang Communication announcing its Ebit Miner E-11 series that claimed to boast hashrate speeds between 30-44 trillion hashes per second (TH/s). Right now according to data from Asicminervalue.com, the E11++ miner is the most profitable SHA-256 miner (BCH & BTC) on the market, pulling in $1.12 per day with current bitcoin prices. When the new series was announced last year, the rigs were not available to the general public at the time but the devices can be purchased today directly from the manufacturer.
The E11++ miner is $2,024 and the next batch of E11 series units will be delivered by March 2019. The machines boast a DW1228 10nm chip with an ideal hashrate of around 44 TH/s. Moreover, both the E11+ and the E11++ machines' electrical consumption pull about 1980-2035W from the wall. So far the miner has consistently been the top machine in the world as far as earning daily profits since it was announced, but that may not be the case in March. The company's two lower tier machines that process 30-37 TH/s are currently sold out.
The 8 Nano is cheaper than the Ebang device, at $1,790 per unit, but is way bigger than the average machine manufactured today. The 8 Nano weighs about 60 pounds and measures approximately 500 x 500 x 235mm in size. The machine's fans also radiate a neon red glow and the device features a noiseless water cooling system. Customers can purchase machines today and the website states there are only 48 machines left at present. Because the miner was released last October, units have shipped to some customers and there are various 8 Nano reviews on Youtube and other forums.
Innosilicon has done well over the last year with its mining rigs powered by Samsung's low power 10nm semiconductor technology. The Terminator 3 model, otherwise known as the T3, can be purchased as well and the first batch of shipments should be delivered by the end of January. The T3 specifications say the machine will mine at 43 TH/s with a power consumption of 2100W, giving the machine a profit of around $0.58 a day at current prices.
The latest Bitmain Antminer product offers customers a maximum hashrate of 28 TH/s with a power consumption of 1596W. The S15 costs $1,249 per unit and the first batch of rigs are shipping between Jan. 11-20. The miner features two types of mining modes and is equipped with Bitmain's custom 7nm chip. Like the Asicminer 8 Nano, the S15 doesn't look like the average miner as it employs a parallel fan design to improve heat dissipation efficiency.
Currently, according to data stemming from Asicminervalue.com, with current BTC and BCH prices, the S15 is profiting by $0.15 per day. Bitmain is also selling a lower tier S15 that produces 1 terahash less at 27 TH/s and will save the customer $45 in comparison to the 28 TH/s model. Bitmain says that customers utilizing the S15's next generation 7nm chips and custom semiconductor packaging technology coupled with the new heat dissipation mechanism miners will save on electricity costs.
The Asicminer manufacturer also has a machine called the 8 Nano Pro that claims to produce a whopping 76 trillion hashes per second. The mega-device pulls roughly 4000W from the wall and costs $11,600 per unit. Furthermore, customers must buy a minimum of five units per order. Still, at current bitcoin prices, the Asicminer units with 8nm custom AM0813 chips still scrapes by with $0.13 per day in profit. Again, like the company's previous model, the 76 TH/s machine is huge at 500 x 1000 x 240mm and weighs about 150 pounds. The 8 Nano Pro also has a noiseless water cooling system, which has a noise level of about 48 decibels. However, unlike the firm's 44 TH/s machine, the 76 MH/s Pro version doesn't seem like it has done well as there are no resellers online or reviews on this specific device.
So far, both the BTC and BCH networks which utilize the SHA-256 algorithm have seen significant drops in overall hashrate. The current Bitcoin Core (BTC) network hashrate is roughly 40 exahash per second (EH/s), while Bitcoin Cash (BCH) miners have around 1.5 EH/s today. Moreover, many of the older machines that produce far fewer hashes per second are in the red these days and are seeing significant daily losses at current market prices. Even the Ebang, Bitmain, and Innosilicon lower tier models that have been recently announced in the last three months are not profiting at all due to the depressed prices across crypto markets. New mining machines might give large facilities and even smaller miners enough edge to stay in the game, though, if they can get these products on time.
What do you think about the top mining rigs in 2019? Let us know what you think about this subject in the comments section below.
Disclaimer: Bitcoin.com does not endorse these mining products or services. Readers should do their own due diligence before taking any actions related to the mentioned mining company or any of its affiliates or services. Bitcoin.com and the author are not responsible, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with the use of or reliance on any content, goods or services mentioned in this article. This editorial is for informational purposes only.
Images via Shutterstock, Ebang, Asicminer, Innosilicon, and Bitmain.
The post A Look at Some of the 'Next Generation' Mining Rigs Available Today appeared first on Bitcoin News.


I dont believe there is possibly any right or wrong answer for this discussion as many opinions will vary depending on personal experiences whether with self or family or friends.
My partner and I are having our first baby, we were made homeless just before Xmas and had to live with her family temporarily month max. Nothing suitable housing wise was coming up, well to opinion of partner. She insists on being close to her family(which I don't have a problem with) as her and her mum suffer with anxiety and also lack of transport as none of them drive except her. After a month i had to leave because tensions were high with her mother whom i struggle to cope with. She has severe OCD and anxiety issues and many rules. I couldn't wash my clothes or have a bath without permission. Couldn't watch anything on TV and had to sit through the endless family arguments and not get involved. A month may not sound long, but I had already had a stint of living there for over a year which is why it was only supposed to be temporary again. Don't want to sound ungrateful for being put up when we needed it, but in truth I never wanted to go back there. We could have gone elsewhere l, but my partner insisted until something better came up.
My partner also suffers from same problems as her mother in fact the OCD is worse. It's not your usual stereotype OCD where certain things have to be certain places or clean freak. It's a case of if want to do something and then have a bad thought she is unable to do, or has to throw away clothes that she was wearing at that time because of the bad OCD.
I have found somewhere to live, the house needs a work, but I can get done before baby arrives, but because of her OCD she wont come to the house. She thinks that she can stay at her parents place with the Baby which I am not happy about. I personally see it as a risk, not just for the mental health, but her family as a whole. My partner needs support 24/7 and although she'd still be there during day it's not a safe or healthy environment for anyone let alone a baby. There is history of violence from her brother who has put her in hospital a few times who is also an Alcoholic and has a Cocaine habit, altho he doesn't live there at the moment, chances are he will be again soon and he's there on a daily basis anyways. There is also a little dog which she is a cute little thing, but no one has control over her and she leaps around all over the place knocking things over and jumping up on everyone. Wouldn't be fair on the dog either being shut away and could turn her nasty, she's already a nipper could make her worse.
The dog is also very yappy, that's not my issue, but everyone in the house gets frustrated and shouts and get angry, then shout at each other when she's barking so mix that with a crying baby i don't see how they can cope.
Her mother is very controlling always has been and has put a lot of her problems onto my partner. She's always scared she's doing wrong and doesn't think she is capable of anything as her mother wouldn't let her. Neither her or her brother can cook a proper meal and both in their 30s and their mother would not allow them in kitchen, partly it was her way of wanting to feel needed, but done in wrong way as they didn't have any life skills both living at him inti their 30s and my partner is too scared to even spend a night on her own because her mum told her how scary it is and she'd struggle. I used to work nights and when we had our own place she would stay at her parents as couldn't cope with 1 night alone. I get that it is scarier and she always reminds me she's a girl, but there comes a time when gotta be able to do it.
I am scared to leave my expected son in their house I really dobt want it to happen, but as we are unmarried I have no legal rights to the child at all and I'm even more scared of losing him to the system if I ended up having to take a legal route. My brothers went into Voluntary care when they were 9 years old, my mother didn't get them back until 3 weeks before their 18th birthday. Also worried that could happen.
I do love my partner and don't want to break up let alone go down a legal route, but I am curious as to what people think of this situation and what advise anyone could offer. I think because of the history of the household if anything was brought up I'm pretty sure Social wouldn't allow a baby in the household, but I'm also scared of losing him completely before he's even born. This has been wrecking my mind and really dobt know what to do.
I'm not here to paint a picture of my partner being a bad mother or anything like that. I love her to bits and I believe she'd be an amazing mother in the right environment. I'm not even trying to say I'd be a better parent. I've had my own issues with depression in the past and I also have Tourette's Syndrome, altho luckily not the stereotyped version.
I've made mistake also, along with the issues of living with her mother the day I left is because i had quite the arguement with her and said somethings i really shouldn't have regardless of them being true or opinion.
What I wish is my partner would realise is in the 18 months we had our own place she was so relaxed and we were happy. She even said to her father the first day we moved back this was first time she's had to raise her voice in stress since we had moved out, altho she still had issues when staying there when I was working she often forgets that and moves on quickly from arguments except the one myself and her mother has. She keeps throwing at me that I walked out on her and expecting baby, where I said and believe (I may be wrong) I walked away from living with her mother and a bad situation before it got even worse.
The area she wants to live in is very expensive and I'm the only one with an income, she was receiving PIP for her Mental Health, but it got stopped back in November. She calls me saying she needs things for the baby and I need to get them as well as fund everything else. I get I will have to regardless, but just find the situation and scenario harder.
I want us to be a happy family, we had been trying for over 3 years for baby and last year we had a round of IVF on NHS which failed and I was trying to save for another round. Due to the postcode lottery for IVF we only got 1 free try. But then a miracle happened and she fell pregnant naturally which was amazing. It was then 2 weeks later we find out we're getting evicted because landlord wanted house back and despite there being options everything is too far. Where I am now is around 25minute drive away and that is still considered too far even tho it'll be a low rent 2 Bedroom cottage.
I may have contradicted myself a lot in this. I really am at a loss and if anyone has anything they can recommend or been in similar situation I'd gladly listen.
i'm not sure what to advise but hope someone more knowledgeable comes along.
bump the thread in the evening if you don't get replies - 9pm is a good time.
I really cant imagine what you could be going through with all this.
I certainly agree that the environment you describe is not good at all for a new child.
I also think your partner needs to start acting like an adult and take responsibility for her well being rather than having things dictated to her.
I cant imagine the difficulty her household and family has caused to her mental health, but she needs to start prioritizing this child (since you both wanted this so much).
I think the place you describe seems lovely and I hope you will have this sorted, I also think you have a lot of pressure - specially to be even thinking of the worse case scenario.
I also agree that it would be unlikely for social services to grant guardianship to her anyway, if it came to that (it wont). However, your priority is to make it clear the toxic environment she is in - without making her think you are wanting to break up her family or harm her relationship with her mum.
FIY - I wont even go to discuss the case of the brother and all the madness you mentioned.
I hope this is sorted soon and all my best wishes for your future, you are doing an amazing job!
Thank you, I do hope its sorted soon also.
As said I'm not wanting the knock my oaryenr9, I want us to work things through together and come out the other side with our little family. I love her to bits and frustratingly she tells me she's not sure I actually do. I dont even hate her family, I dont wanna push them out or anything like that, want everyone to he a part of ours sons life, just in a better atmosphere.
Perhaps you could try to persuade her to attend a mediation appointment with you? A mediator will also be the first step towards court proceedings if you are forced to issue them.
The house that needs doing up - could you not just do that and push to get it done before the baby comes. Hopefully she'll see that it is safe and somewhere nice she can move into with her baby. And if not, then you have somewhere close by that she can at least bring the baby to for visits and spend time all together away from her family (and then maybe change her mind gradually).
The house I will have no trouble getting ready in time. And despite reassurances she tells me she cant come here regardless because of her OCD. If I could find a reasonably priced rent house or flat nearer where she wants to be I'd jump at it. It's just unfortunately unlikely. I get she wants to be close to her family and that has never been a problem for me, its living with a child in the family house that is my concern, too many risks plus she has OCD issues there. She can't touch the carpet with here bare skin nor the sofa which is going to prove difficult to avoid with a baby. Her room has no space for a cot and the spare room is not big enough plus it's her brothers room and hes quite likely gonna need it again soon. But those issues a side it's not a good environment. She is still going to need the support of her family especially when I'm working that I 100% get, but she needs or we need our own place so when things get out of hand in her families house she can escape quickly.
So I have tried to make some progress today talking to my partner once again explaining my concerns which she refuses to acknowledge and unless I find an alternative accommodation her plan is to stay with her parents and I have to make do til find something she finds acceptable. I'm just feeling emotional blackmail is being used against me. I didn't wanna turn this into a pitty party, but I am scared on what is going to happen with my son when he is here. I don't want to fight with her, but I'm also not wanting to just allow him to be in that household 24/7 and there be nowhere for her to go when problems occur, she'll have no escape as refusing to ever come to the house I'm working on at the moment which potentially I'd gonna be a complete waste of time and money.
Ok. Social services don't take babies away from parents with no good reason. But if your baby isn't going to be safe in that home they can instigate a plan to protect him. That would most likely be for them to move out and live with you.
The absolute worst case scenario would probably be that the baby ended up living with you and not her. I'm sure you don't want that but if you imagine that as the most likely end game hopefully you won't worry about the baby being taken away.
Would it help if you showed her a budget of income? Try and make her see that you are restricted with expenditure and how much you can afford to spend on rent (though at the same time not unintentionally guilt tripping! I know it can be difficult) and then show her a list of potential properties available at the moment in your budget?
That might make her see why you have made the choice you have.
Regarding the carpet and sofa issue, could you replace the furnishings fairly easily? With Lino and leather seats?
Budgeting is something I have shown her many times, when we were saving for IVF she couldn't contribute much because her PIP was stopped which meant I had to buy groceries as she used to but no longer had the money. Always put a plan in for everything how much we could save between us even when found out she was pregnant, never asked for a lot £5 a week where I was putting in minimum £100 a month in joint account. When I go through what we have left over she would cry then next day would be going through it again.
The carpet and sofa issues are at her mother's house and they have just brought all new furniture and carpet in last year so cant imagine them doing it again as they same situation as us, her dad works and is the only provider whilst her mum is on the pip for her mental health.
Thanks, wish was comforting, well is in a way, but its really not the route I ever wanna take, despite everything I want us to be happy together as a family, just each time we speak getting more and more unsure of she wants it.
Please tell your midwife about the mental health issues on all sides of the family. It is very relevant to the care they provide. They will inform other agencies as they see fit and together with you and your partner a plan will be made about the best interests of the child. If you do not know how to contact your midwife, call the hospital where you will give birth and tell them you have information you wish to share, of a safeguarding nature. Many hospitals have a specialist mental health midwife. It is important they are made aware of this situation. You do not have to manage this on your own, reach out for professional help.
You are not using her mental health against her. You have stated that you think she will make a good mum but you are concerned that the emotional environment in the family home may pose a risk to the baby. Be fully open and honest with professionals about the circumstances the baby will brought into and let them exercise their professional judgement. Then you have met your responsibilities as a parent.
Looks as tho I may have to take the route I didn't want to. She unfortunately cant get passed the day I fell put with her mother and for things I said to her, as said before they were things I shouldn't have said even if true. I have tried all sorts of approach backing off, taking out for lunch even took her away for Valentines and her birthday, but it's still me who has to make up for everything and no effort on relationship rebuilding or searching housing from her, just excuse after excuse on why certain properties are no good. 2 came up close to where she wants to be, but when I explained I can't afford it on my wages along with everything I'd have to buy for an empty property we have no essentials. This was just met with a Fine. I got a but straight to the point and said its not all down to me and she needs to start thinking of our son and make an effort. This probbed her to contact housing which wasn't gonna do much, but thought at least she gonna try. In return I was moaned at for not bidding on a property since 31st December to which I reminded her that was because she didn't want me to because they were too far.
This turned into a text argument and yes I know I should have just ended the convo, but I stupidly didn't. I asked If there is any comeback from this as feel she doesn't want it to which she replied "Maybe if I was better towards her it wouldn't be like this" I was fuming with this responce, I couldn't believe it I do everything I can for her not because I have to, but because I've wanted to. I replied that maybe she needs to look at how she treats me and that I think she's being selfish.
Sometimes I wish I don't reply in frustratuon as well she is pregnant and I dont wanna cause more stress, but this situation is frustrating me so much and nothing I do is right or good enough even tho I do everything. Even before she was pregnant, she didn't work. I worked 12 hour night shifts 6-6 got up at 2pm everyday to cook her food because she couldn't and was on a Slimming world diet and she didn't know what to do with everything. I washed up after she would dry. I'd even do my share 9f the housework so she wasnt left with it all. I'm not saying she never did anything, for first couple years I didn't drive and took her to work and she paid for shopping from her money, if was too much then I'd pay some too. But it got to the point where I would wake up and first thing she'd ask me is what's for dinner same on my days off. Despite numerous times of showing her what to do she wouldn't make any attempt or even prep, her excuse was that I wouldn't like it, I said, but at least she would have tried and more she did it the more confident she'd get in kitchen. This is issue that her mother wouldn't let her learn at home and even now it's the same, shes cant go cook a meal from fresh in her mums kitchen only stuff can just chuck straight in oven or microwave.
Not much of a progress report, but our relationship is now over. Apparently I'm playing mind games. Last thing I wanted was for the relationship to end, but at least I know where I stand now, yesterday at work my head was all over the place and I made so many mistakes was becoming a nervous wreck as was waiting for her to tell me what she wanted. Today we had a heated exchange wish I avoided it. I asked again if there is anyway back and whether she wants to again no answer. I stepped back from the arguement and just said no point us keep going round in circles if she doesn't have the feelings anymore we cant continue. It still resorts back to the arguement with her mother, I get it's her mum, but that's who I fell out with and she's held against me since.
I really hope SS gets involved as this child sounds at risk.
How are you doing? How's things?
You do have rights as you are the father , & if needs must you can prove this via a DNA test once your son is born.
Your son won't be taken away if Social Setvices....you can be s witking single Father!


My daughter came home from school one day and told me about a visiting artist who had painted with coffee as part of his creative process. I was intrigued and so that weekend, I made a big pot of coffee to both drink and paint with. My kids started the morning with me at the kitchen table, testing the liquid coffee on the watercolor paper and making a few doodles. Hours later, I was still sitting at the kitchen table painting with coffee, fascinated by the new creative process I was discovering.
My African childhood influences much of my CoffeeART and I feel like the rich brown tone of coffee lends itself beautifully to the African savannah and the animals that inhabit it. Dogs are also fun subjects for me to paint and I sometimes use black pen to add more depth to their eyes and sweet faces. I have also created several cultural icon pieces such as the Tulsa Golden Driller, the Seattle Space Needle, the Nelson-Atkins Art Museum, St. Bernard's Catholic Church in Tulsa, and the original Starbucks store in Seattle. I am available for commission CoffeeART, so don't hesitate to fill out a contact form at the bottom of this page if you're interested in me painting something special and unique for you. Click on the artwork for purchasing information and details.


text:
Air Vice Marshal J A Boret (03149)
John Auguste b: 28 Mar 1898 r: 13 Apr 1948 d: 26 Apr 1964
CBE - 2 Jun 1943 (OBE - 1 Jan 1941), MC - 18 Oct 1917, AFC - 21 Sep 1918, MiD - 11 Jun 1942, MiD - 14 Jun 1945, LoM (Cdr) - 15 Mar 1946.
For a list of foreign decoration abbreviations, click here
(Army):- Pvt (3586): 6 Apr 1915, 2 Lt: 10 Oct 1915, Lt (RWSR): 1 Jul 1917, (T) Lt (RFC): 1 Sep 1917, Capt: 1 Feb 1918.
(RAF):- (T) Capt [Lt]: 1 Apr 1918, Fg Off: 1 Aug 1919 [1 Apr 1918], Flt Lt: 1 Jan 1924, Sqn Ldr: 1 Apr 1933, Wg Cdr: 1 Oct 1937, Act Gp Capt: 21 Oct 1937, (T) Gp Capt: 1 Sep 1940, Act A/Cdre: 23 Mar 1943, Gp Capt (WS): 23 Sep 1943, Gp Capt: 1 Dec 1943, (T) A/Cdre: 1 Oct 1944, Act AVM: 7 May 1945 - 31 Dec 1945, A/Cdre: 12 Apr 1948, AVM: Retained.
6 Apr 1915: Private, 3/28 Btn, London Regimet TF (Artists Rifles)
10 Oct 1915: Officer, 3rd Battalion, Royal West Surrey Regiment.
xx xxx xxxx: Officer, 4th Battalion, Royal West Surrey Regiment.
12 Aug 1916: Seconded to RFC
1 Feb 1917: Flying Officer, RFC
xx Apr 1917: Pilot, No 100 Sqn, RFC
18 Nov 1917: Returned to Home Establishment
1 Feb 1918: Flight Commander, B' Flt, No 36 Sqn, RFC
1 Aug 1919: Awarded Permanent Commission as a Lieutenant
xx xxx 1920: Awaiting disposal, HQ India Group.
16 Mar 1920: Pilot, No 28 Sqn.
1 Dec 1922: Supernumerary - Non Effective (Sick), RAF Depot.
4 Mar 1929: U/T & Staff, RAF Base, Calshot.
21 Mar 1931: Exchange posting - RCAF.
1 May 1933: Officer Commanding, No 41 Sqn. (Bulldog IIa/Demon)
4 Mar 1937: Air Staff, HQ No 22 (Army Co-operation) Group.
21 Oct 1937: Senior Personnel Staff Officer, HQ No 5 (Bomber) Group.
25 Sep 1939: Air Staff, HQ Fighter Command.
xx xxx 1939: Officer Commanding, No 61 (Fighter) Wing, Air Component.
xx xxx 1940: Officer Commanding, No 60 (Fighter) Wing, Air Component. (evacuated from Merville - 20 May 1940)
6 Jul 1940: Officer Commanding, RAF Tangmere
27 Apr 1941: Possibly suffered a breakdown and recuperation
23 Mar 1943: Duty Air Commodore, HQ Fighter Command.
15 Nov 1943: Duty Air Commodore, HQ ADGB.
26 Jan 1944: AOC, No 13 (Fighter) Group.
7 May 1945: AOC, No 88 (Fighter) Group. (relinquished 31 Dec 1945)
21 Jan 1946: Director of Air Force Welfare
On 25 August 1917 he was flying FE2c, A3059 when he suffered an engine failure on his return from a night bombing raid and during the forced landing at Calonne sur la Lys, Pas de Calais he hit a tree and was 'badly shaken'. He was married to Christine Victoria Newton on 22 August 1918. He suffered another on 7 May 1921 flying accident whilst flying Bristol F2B, E2448, which failed to flatten out during a bombing practice at Ambala striking his right wing on a goal post and crash landed. On 4 Sep 1928 he was involved in a collision on the ground with DH.60 Moth whilst in Siskin IIIA, J8959.
Citation for the award of the Military Cross
"2nd Lt. John Augusta Boret, R.W. Surr. R. and R.F.C.
For conspicuous gallantry and devotion to duty on many occasions. He has taken part in forty-one night bombing raids, many of which were carried out at a very low altitude and in bad weather. He has successfully inflicted considerable damage upon his objectives."
(London Gazette - 7 March 1918)
J Boothman [Top of Page] A E Borton


text:
GovConWire's Government Contracting News 1/24/2023
Shared Spectrum Company President Todd Martin Discusses 5G Predictions & Opportunities
5G paved the way for groundbreaking developments and advancements in communications networks over the past few years. Now, with the emergence of 6G and NextG, organizations across the public and private sectors are harnessing the power of spectrum to propel the country into a new era of networking. GovCon Wire spoke with Todd Martin, president of Shared
Brig. Gen. Chad Raduege Talks Data Sharing & Collaboration in JADC2 Initiative
As data sharing continues to shape the evolving warfare environment, the full establishment of Joint All-Domain Command and Control, which is intended to radically transform the way U.S. forces and NATO mission partners exchange information, is critical in maintaining an advantage over adversaries, according to Air Force Brig. Gen. Chad Raduege. Over the past 18 months,
How Space Leaders are Shifting the Industry Collaboration Paradigm
The commercialization of space has skyrocketed in recent years; the ubiquity of launch, the proliferation of commercial satellites in space and the rise of military activity in the domain has simultaneously accelerated space innovation and increased competition across the globe. For the U.S. government, industry's growing footprint in space is unlocking new possibilities and prompting
OpenAI to Receive Multibillion-Dollar Investment From Microsoft
Microsoft (Nasdaq: MSFT) has agreed to make a multiyear, multibillion dollar investment in OpenAI, creator of artificial intelligence chatbot ChatGPT, to support the latter's independent AI research and development efforts and enable both companies to commercialize new AI platforms. "We formed our partnership with OpenAI around a shared ambition to responsibly advance cutting-edge AI research
Former Leonardo Exec Vivek Upadhyaya Joins Mercury Systems as Finance VP
Mercury Systems (Nasdaq: MRCY) has assigned the role of vice president of finance to Vivek Upadhyaya, former chief financial officer, treasurer and chief information officer at Leonardo's electronics subsidiary in the U.S. He will oversee Mercury's corporate finance team and its forecasting, internal management reporting and analysis functions, the defense electronics supplier said Monday. Upadhyaya
CSIS Study Looks at US Defense Industrial Base's Ability to Back Protracted Conflict With China
A Center for Strategic and International Studies report indicates the Russia-Ukraine war has uncovered supply challenges in the U.S. weapons industry that may impact the Pentagon's capability to fight and sustain a protracted war with China, The Wall Street Journal reported Monday. CSIS found that the war in Ukraine has depleted U.S. stocks of military
Insight Technology Hires Former Acuity Exec Robert Hardin as COO
Robert Hardin, former vice president of business development and strategy at Acuity International, has been appointed as chief operating officer at Insight Technology Solutions. He brings to Insight more than two decades of experience in strategic growth planning and business development for government and private customers, the professional services provider said Tuesday. In his new
VersAbility Lands $141M Air Force Mail Center Support Contract
Hampton, Virginia-based nonprofit organization VersAbility Resources will assist the U.S. Air Force in handling mail and postal services under an indefinite-delivery/indefinite-quantity contract worth up to $140.7 million over 10 years. The nonprofit will carry out work at continental Air Force installations, the Defense Department said Friday. The 763d Enterprise Sourcing Squadron at Scott AF Base in
Kay & Associates Secures $116M F/A-18 Maintenance FMS Contract Modification
Kay and Associates has secured a one-year, $116 million modification to a previously awarded U.S. Navy contract to operate and maintain Kuwait's fleet of F/A-18 aircraft. The company will perform organizational and intermediate-level maintenance, operation and management support services for the multirole fighter jets as part of the cost-plus-fixed-fee deal, the Department of Defense said
Army Issues Request for Information for Unified Network Operations Program
The U.S. Army has begun to solicit feedback from potential offerors on a draft performance work statement to inform the development of a request for proposals for a multiple-award contract for unified network operations support. The military branch plans to launch a competition for an indefinite-delivery/indefinite-quantity contract for engineering, software development, design, configuration management, troubleshooting,
Receive the Daily News Briefing And Events Updates Straight to Your Inbox


text:
<?php
namespace Transmission;

use Buzz\Message\Request;
use Buzz\Message\Response;
use Buzz\Client\Curl;
use Buzz\Client\ClientInterface;

/**
 * The Client class is used to make API calls to the Transmission server
 *
 * @author Ramon Kleiss <ramon@cubilon.nl>
 */
class Client
{
    /**
     * @var string
     */
    const DEFAULT_HOST = 'localhost';

    /**
     * @var integer
     */
    const DEFAULT_PORT = 9091;

    /**
     * @var string
     */
    const DEFAULT_PATH = '/transmission/rpc';

    /**
     * @var string
     */
    const TOKEN_HEADER = 'X-Transmission-Session-Id';

    /**
     * @var string
     */
    protected $host = self::DEFAULT_HOST;

    /**
     * @var integer
     */
    protected $port = self::DEFAULT_PORT;

    /**
     * @var string
     */
    protected $path = self::DEFAULT_PATH;

    /**
     * @var string
     */
    protected $token;

    /**
     * @var ClientInterface
     */
    protected $client;

    /**
     * @var string
     */
    protected $auth;

    /**
     * Constructor
     *
     * @param string  $host The hostname of the Transmission server
     * @param integer $port The port the Transmission server is listening on
     * @param string  $path The path to Transmission server rpc api
     */
    public function __construct($host = null, $port = null, $path = null)
    {
        $this->token    = null;
        $this->client   = new Curl();

        if ($host) $this->setHost($host);
        if ($port) $this->setPort($port);
        if ($path) $this->setPath($path);
    }

    /**
     * Authenticate against the Transmission server
     *
     * @param string $username
     * @param string $password
     */
    public function authenticate($username, $password)
    {
        $this->auth = base64_encode($username .':'. $password);
    }

    /**
     * Make an API call
     *
     * @param  string           $method
     * @param  array            $arguments
     * @return \stdClass
     * @throws \RuntimeException
     */
    public function call($method, array $arguments)
    {
        list($request, $response) = $this->compose($method, $arguments);

        try {
            $this->getClient()->send($request, $response);
        } catch (\Exception $e) {
            throw new \RuntimeException(
                'Could not connect to Transmission',
                0,
                $e
            );
        }

        return $this->validateResponse($response, $method, $arguments);
    }

    /**
     * Get the URL used to connect to Transmission
     *
     * @return string
     */
    public function getUrl()
    {
        return sprintf(
            'http://%s:%d',
            $this->getHost(),
            $this->getPort()
        );
    }

    /**
     * Set the hostname of the Transmission server
     *
     * @param string $host
     */
    public function setHost($host)
    {
        $this->host = (string) $host;
    }

    /**
     * Get the hostname of the Transmission server
     *
     * @return string
     */
    public function getHost()
    {
        return $this->host;
    }

    /**
     * Set the port the Transmission server is listening on
     *
     * @param integer $port
     */
    public function setPort($port)
    {
        $this->port = (integer) $port;
    }

    /**
     * Get the port the Transmission server is listening on
     *
     * @return integer
     */
    public function getPort()
    {
        return $this->port;
    }

    /**
     * Set the path to Transmission server rpc api
     *
     * @param string $path
     */
    public function setPath($path)
    {
        return $this->path = (string) $path;
    }

    /**
     * Get the path to Transmission server rpc api
     */
    public function getPath()
    {
        return $this->path;
    }

    /**
     * Set the CSRF-token of the Transmission client
     *
     * @param string $token
     */
    public function setToken($token)
    {
        $this->token = (string) $token;
    }

    /**
     * Get the CSRF-token for the Transmission client
     *
     * @return string
     */
    public function getToken()
    {
        return $this->token;
    }

    /**
     * Set the Buzz client used to connect to Transmission
     *
     * @param ClientInterface $client
     */
    public function setClient(ClientInterface $client)
    {
        $this->client = $client;
    }

    /**
     * Get the Buzz client used to connect to Transmission
     *
     * @return ClientInterface
     */
    public function getClient()
    {
        return $this->client;
    }

    /**
     * @param string $method
     * @param array $arguments
     * @return array|Request[]|Response[]
     */
    protected function compose($method, $arguments)
    {
        $request = new Request('POST', $this->getPath(), $this->getUrl());
        $request->addHeader(sprintf('%s: %s', self::TOKEN_HEADER, $this->getToken()));
        $request->setContent(json_encode(array(
            'method'    => $method,
            'arguments' => $arguments
        )));

        if (is_string($this->auth)) {
            $request->addHeader(sprintf('Authorization: Basic %s', $this->auth));
        }

        return array($request, new Response());
    }

    /**
     * @param  Response $response
     * @param  string                $method
     * @param  array                 $arguments
     * @return \stdClass
     * @throws \RuntimeException
     */
    protected function validateResponse($response, $method, $arguments)
    {
        if (!in_array($response->getStatusCode(), array(200, 401, 409))) {
            throw new \RuntimeException('Unexpected response received from Transmission');
        }

        if ($response->getStatusCode() == 401) {
            throw new \RuntimeException('Access to Transmission requires authentication');
        }

        if ($response->getStatusCode() == 409) {
            $this->setToken($response->getHeader(self::TOKEN_HEADER));

            return $this->call($method, $arguments);
        }

        return json_decode($response->getContent());
    }
}

redpajama_set_name: RedPajamaGithub


Don't believe what the record book might indicate. The Jimmy Garoppolo Era begins Sunday in Minneapolis.
Oh, some things look the same as when Garoppolo led the San Francisco 49ers to 5-0 finish in 2017 to a season that at one point appeared headed for 0-16.
A dependable kicker. A developing star at wide receiver. A defensive line littered with first-round picks. A big question mark at middle linebacker. Even bigger problems at running back.
And most important, the same head coach who took Garoppolo to the head of the class with just a crash course last season.
But some things have changed, including a first truly meaningful game when the 49ers go on the road to duel a defending division champion, the Minnesota Vikings.
With a healthy possession receiver. A revamped offensive line. And a potential difference-maker in the defensive secondary.
Make no mistake, this isn't the same team that finished 2017 with the longest winning streak in the league. Yes, even longer than the champion Philadelphia Eagles.
Minutes after completing a 1-3 preseason, 49ers head coach Kyle Shanahan spoke about how excited he was to get the regular season going.
The goal: No, not to beat the Vikings. Rather, to show improvement from week to week, as he felt the club had late last season.
"Everyone would always like more to practice," he insisted, already warning observers not to read too much into the first game. "But, also, the more you go, it's harder to keep people healthy. It's just a very fine line in football, on how to prepare for it and get ready for this grueling season that will be long."
The 49ers were among the teams taking the most damaging hit in the preseason when running back Jerick McKinnon suffered a season-ending knee injury in practice. The club had to visit the scrap heap (Alfred Morris) to find a replacement, who at least was with the team in training camp.
So there's another thing that hasn't changed since the regular-season finale last New Year's Eve.
Forget the signings, the draft choices, the returning injured players. Once again, it's Jimmy Garoppolo against The World.


text:
package org.kuali.continuity.action;

import java.util.Map;

import org.apache.struts2.interceptor.SessionAware;
import org.kuali.continuity.action.dto.SaveTypeEnum;
import org.kuali.continuity.action.dto.SessionKey;
import org.kuali.continuity.action.dto.SessionSystemDomainDTO;
import org.kuali.continuity.action.dto.SessionUserDTO;
import org.kuali.continuity.action.dto.SessionValue;
import org.kuali.continuity.action.util.SessionHelper;
import org.kuali.continuity.action.util.SessionHelperImpl;

import com.opensymphony.xwork2.ActionSupport;
import com.opensymphony.xwork2.Preparable;

@SuppressWarnings("serial")
public abstract class BaseActionSupport extends ActionSupport implements SessionAware, Preparable, SessionHelper {

	private SessionHelperImpl sessionHelper;
	private int saveType;
	private SaveTypeEnum saveTypeEnum;

	public void setSession(Map<String, Object> session) {
		this.sessionHelper = new SessionHelperImpl(session);
	}

	public Object getSessionValue(SessionKey key) {
		return this.sessionHelper.getSessionValue(key);
	}

	public void putInSession(SessionKey key, SessionValue value) {
		this.sessionHelper.putInSession(key, value);

	}

	public void removeFromSession(SessionKey key) {
		this.sessionHelper.removeFromSession(key);
	}

	public int getSaveType() {
		return this.saveType;
	}

	public void setSaveType(int saveType) {
		this.saveType = saveType;
		this.saveTypeEnum = SaveTypeEnum.getSaveTypeEnum(this.saveType);
	}

	public SaveTypeEnum getSaveTypeEnum() {
		if (this.saveTypeEnum == null) this.setSaveType(this.saveType);
		return this.saveTypeEnum;
	}

	public SessionSystemDomainDTO getSessionSystemDomain() {
		return (SessionSystemDomainDTO) this.getSessionValue(SessionKey.systemDomain);
	}

	public SessionUserDTO getSessionUser() {
		return (SessionUserDTO) this.getSessionValue(SessionKey.user);
	}

}