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The New Discworld Companion
Stephen Briggs
»"» The Fully Revised and\ Book to all things Discworldian THE NEW DISCWORLD COMPANION TERRY PRATCHETT & STEPHEN BRI
The New! Beader's Companion (Companion series, The)
The Folklore of Discworld
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The Truth (Discworld, #25)
Pratchett, Terry - Discworld 00 - Science of Discworld
A New Companion to English Renaissance Literature and Culture
How to go to your page This eBook contains two volumes. In the printed version of the book, each volume is paginated sep
The Science of Discworld II
THE SCIENCE OF DISCWORLD 2 THE GLOBE TERRY PRATCHETT JACK COHEN IAN STEWART CONCERNING ROUNDWORLD You spotted snakes w
The Science of Discworld I
THE SCIENCE OF DISCWORLD TERRY PRATCHETT JACK COHEN IAN STEWART THE STORY STARTS HERE ONCE UPON A TIME, there was Discw
THE SCIENCE OF DISCWORLD 3
DARWIN'S WATCH. TERRY PRATCHETT JACK COHEN IAN STEWART CONCERNING ROUNDWORLD DISCWORLD IS REAL. It's the way worlds s
The Fully Revised and\ Book to all things Discworldian
DISCWORLD COMPANION TERRY PRATCHETT & STEPHEN BRIGGS
Copyright © Terry and Lyn Pratchett and Stephen Briggs 2003, illustrations by Stephen Briggs Alt rights reserved The right of Terry Pratchett and Stephen Briggs to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Discworld t' is a trademark registered by Terry Pratchett. First published in Great Britain in 1994 by Victor Gollancz Ltd An imprint of the Orion Publishing Group Orion House, 5 Upper St Martin's Lane, London WC2H 9EA This revised and updated edition first published in Great Britain in 2003 by Victor Gollancz Ltd This edition published in Great Britain in 2004 A CIP catalogue record for this book is available from the British Library ISBN 0 575 07555 4 Typeset at The Spartan Press Ltd, Lymington, Hants Printed in Great Britain by Clays Ltd, St Ives pic
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W H E R E AM I? Ponders Stephen Briggs
When I look back over the years since I last revised the introduction to the Companion, I am staggered at how much has happened. My original introduction to the first Discworld Companion said: 'Six years ago I was a civil servant who dabbled in amateur dramatics. (Er . . . I still am.)' Well - OK - nothing actually has changed there. But a lot of other things have. As many of you know, I fell into Discworld backwards, as if I'd been leaning on a rickety old door in a walled garden and I'd suddenly found myself in a magical kingdom full of snow, fauns and benevolent lions. I hadn't meant to be here, but I'm jolly glad that I am. I came across Discworld while looking for books to dramatise for my amateur drama club. We were the first people - anywhere in the world - to dramatise the works of Terry Pratchett. When I first wrote to Terry back in 1990 to ask permission to dramatise Wyrd Sisters, I little realised that in choosing that book, I had made a really BIG life choice. I can still remember how worried we were when the author (Mr Terry Pratchett) actually telephoned me - in person - to say that he wanted to come and see our little production. Would he like it? Would he let us do any more? Wyrd Sisters went so well that we went on to stage a further eleven Discworld books (with more in the planning). Nine of the dramatisations have now been published (as well as two other Pratchett plays from Oxford University Press) and have been staged by amateur drama clubs all over the world - Australia to Zimbabwe, Indonesia to Bermuda, Finland to France, South Africa to the USA. Along the way, they've raised over £40,000 for the Orangutan Foundation from their royalties. 1
Anyway, back to 1992. One day, when I was working on only my second Discworld play, I mentioned to Terry Pratchett that I was convinced from my reading that AnkhMorpork had a distinct shape. He doubted it - he said he'd just put buildings and streets in wherever the plot required them. I said that in this world they got put in wherever History demanded them and I was sure the city was mappable. Fine, he said. Go ahead. And that led to The Streets of Ankh-Morpork, published in 1993, possibly the first map ever to get into the bestseller lists. The arguments and constant reference-seeking involved in that project led me to wonder out loud if it wasn't time for a guide to Discworld. And The Discworld Companion was born. Since then, my own little 'backlist' has grown to include three maps, dramatisations of eleven of Terry's books - Wyrd Sisters, Mort, Guards! Guards!, Men at Arms, Maskerade, Carpe Jugulum, The Fifth Elephant, The Truth, Interesting Times, Johnny & the Dead and The Amazing Maurice and his Educated Rodents - six Diaries, a cookbook and a graphic novel. It is weird, when friends return from foreign travels to tell me they've seen the maps in a bookstore in Munich, the Companion at a French airport or, much more surprisingly, one of my plays in a bookshop in Zimbabwe. The weirdness factor is compounded when, from time to time, I get a small package from Colin Smythe (Terry's and my agent) containing translations of some of the above - the cookbook in German, the Companion in French, a Diary in Bulgarian or a map of Ankh-Morpork in Polish. Several years ago now, I recorded a couple of lines to go into Dave Greenslade's From the Discworld album . . . this was another happy accident, as I'd only gone along to the studio to dress up as Death for some publicity pix. From those two lines ('The Turtle Moves' and 'Nevertheless, the Turtle Does Move'), I have now moved on to record some of the unabridged books for Isis Publishing (seven, so far). These are a tremendous responsibility. It was nerve-racking enough to have to replace the established artist (Nigel Planer), who had a loyal following 2
The New Discworld Companion amongst those who listen to the books on tape or CD, but I am also all too aware that Terry and his family receive early copies of the completed recordings. Along the way, and again virtually by accident, I have found myself selling a range of Discworld merchandise to Terry's readers across the globe. It all started with an Unseen University scarf, but has gone on to include enamelled badges, T-shirts, key-rings, tea towels, aprons, and much, much more. Before I met Terry, I had no access to e-mail or the internet at all, but now I am now totally immersed in e-mail and e-trading, with my own website (www.cmotdibbler.com) and with e-mail having replaced the paper-based alternative for 90 per cent of my correspondence. Even so, and much to Terry's disgust this Companion is based on material compiled on an old-fashioned card index. Discworld has been very good to me and I welcome the limited chances I get to meet Terry's readers, either at the Conventions, at Clarecraft Events, get-togethers at Bernard Pearson's shop in Wincanton, or on those all-too-rare occasions when the publishers let me tag along to a book signing. It really is strange to see people wearing badges and shirts I've created, or offering for signature Diaries, maps, plays that I've helped to create. I wouldn't have missed it for worlds.
This Revised Edition In enlarging the Companion for this revision, we have had to act like Legitimate First, gravedigger at the Cemetery of Small Gods (see Night Watch). We have had to move some people out of the main cemetery of the Companion and into the charnel house of my Card Index to make room for all the new people struggling to get in. So - we've lost quite a few more of those characters whose only function was to support a gag line, or to bop Rincewind on the head. Some of them have still held on we have a soft spot for the bit-part players on the great stage of life. I have also incorporated the various Discworld Diaries; these contain some good background material, which I enjoyed 3
researching and which it would be a pity to see disappear because the Diaries, by their nature, are only transient . . . they wither away like the purple lilac once their year is over. Since the last revision to the Companion, Terry has written another nine novels, with another one (sorry, make that two) in draft as I write this. Along the way, he's found time to collaborate to produce not only Nanny Ogg's Cookbook but also two editions of The Science of Discworld and six Discworld Diaries. These latter have filled in huge chunks of background about life in Ankh-Morpork and, as I said, have involved some very enjoyable research in libraries, on the internet and - in one case - on the hallowed premises of a very well-known public school.
An Important Bit from the Earlier Edition If you've bought, stolen or been given this book, I assume that you must know something about the Discworld. YouTl have read quite a few of the books. You may even have bought the maps, or perhaps some of my badges. It's about now that my publishers would like me to invoke that all-powerful Spell: The Famous Note About Consistency. Tolkien readers will soon recognise that they are moving through a world fully realised by its creator - capable of being mapped, chronicled, discussed, pinned down right from the word 'go'. Middle Earth, one feels, came first - the books were derived from that vision. On the other hand, Terry Pratchett has gone on record many times saying that he wanted to write books using a certain kind of world as a background. I'm not saying he made it up as he went along, but Discworld was quite clearly bent around the stories and, over the years, things have . . . er . . . evolved. Take, for example, Granny Weatherwax. While there has been no actual change in the character as such, the woman who defies the Queen of the Elves and more or less runs an entire kingdom from underneath in Lords and Ladies is a much more developed and complicated person - I feel - than the village 4
witch of Equal Rites, the first book in which she appears. And trolls begin as little more than conventional monsters in The Colour of Magic, rapidly become quite talkative in The Light Fantastic? and by Men At Arms and Soul Music are, if a little slow of thinking, certainly capable of using a knife and fork (even if not for the purposes originally envisaged by the makers of fine cutlery). That is, of course, natural development. And, perhaps, a bit of storyteller's licence - the author says that there are no inconsistencies in the Discworld books, merely alternative pasts. Have a look at Thief of Time. There are other little difficulties, in most cases readily overcome. The fact that names are sometimes spelled differently is a tribute to the Discworld's robust approach to spelling. This is not uncommon. Look at William Shakespeare, for example. Shakespear, Shakespere . . . whatever. And the Old language (Latatian) of Ankh-Morpork has been rendered into Latin - very bad, very doggy Latin. FABRICATI DIEM, PVNC belongs in the same dictionary as NIL ILLEGITIMI CARBORVNDVM. Don't expect it all to pass close examination by a Professor of Classics at Oxbridge. This is a guide to a world that exists on the very borders of reality, which is an enviable place from which to view our own; its existence is buffeted by the tides of history and the forces of narrative causality. It is astonishing that it is as coherent as it seems to be. But of course you will know this, unless by some oversight you haven't read a Discworld book at all and are just reading this idly in the bookshop until the rain stops. In that case it's not too late! The whole collection is probably on a shelf next to this book. Go on . . . try one . . . you don't need to be a fantasy fan - / wasn't. . . they're just good books . . . go on, you don't need to buy lunch every day . . . NOTE: A name or word in SMALL CAPITALS indicates that it is the subject of a fuller, separate entry; Ankh-Morpork, and various
regular or generic references (like Granny Weatherwax, trolls and dwarfs) are not flagged. Where a character or reference occurs in only one or two books, this is indicated at the end of the entry. The following abbreviations are used for the books: The Colour of Magic COM The Light Fantastic LF Equal Rites ER Mort M Sourcery S Wyrd Sisters WS Pyramids P Guards! Guards! GG Eric E Moving Pictures MP Reaper Man RM Witches Abroad WA Small Gods SG Lords and Ladies LL Men At Arms MAA Soul Music SM Interesting Times IT Maskerade M!!!!! Feet of Clay FOC Hogfather H Jingo J The Last Continent TLC Carpe Jugulum CJ The Fifth Elephant TFE The Truth TT Thief of Time TOT 77ie Amazing Maurice and His Educated Rodents TAMAHER The Last Hero TLH Night Watch NW We Free Men. WFM 6
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animals in the atlantic ocean
It has high tolerance for disparity in temperatures since it is able to keep warm. By Chelangat Faith on August 17 2017 in Environment. You can make this change permanent at your preferences. Ocean Habitat From outer space Earth looks like an awesome blue marble. Do the Atlantic Ocean and the Pacific Ocean Mix? They eat bony fish, seabirds, smaller sharks, crustaceans and molluscs. The species occupies shallow waters not far away from the shore. Will 5G Impact Our Cell Phone Plans (or Our Health?! They are night hunters and they use smell and an electro-receptor system to locate prey. Best Apartment Dogs: The Definitive 9 Picks. Corals and Other Invertebrates. Several techniques are now available to follow oceanic migrants in their long-distance movements and the results obtained have often revealed astonishing feats of migrations. It preys in colder waters and its fore flippers exceed those of other turtles in length. There are points of the sea that are so deep that they have yet to be reached by humans. Gallery. The tusks on the animals are usually overgrown left canines but in some cases the right canine tooth may also develop into a tusk hence the animal will have two tusks. The Monterey Bay Aquarium Open Sea Cam offers viewers a once in a lifetime exhibit featuring one of the most diverse communities of open ocean animals ever seen in an aquarium. It is suggested that scientists do not even know half of what takes place below the surface of most oceans. The glands are positioned in the head and the excretion from them is almost pure sodi… On average, they grow up to 1.5 metres in length and about 68 to 190 kilograms in weight. They feed on fish, plankton and krill and can eat up to 1,360 kilograms daily. From the giant bluefin tuna, to the rare and amazing flower hat jellies, the aquarium allows visitors to their website a first-hand look into a mystifying and captivating world revealing life within the ocean. 7:26. Marine Mammals. Some of the main species of fish that are captured include mackerel, cod, haddock, and herring. Its population globally is estimated to be less than 700. Some categories of animals that stay in the Biome include the crustaceans, whales, sea anemones, mollusks, bacteria, and fungi. The main predators of the species include aquatic mammals and other birds. The name is derived from the dorsal fin of this whale which looks like a hump. They are hugely cosmopolitan - meaning that they experience a very large range - ranking second after human beings. They are the largest predators in the oceanic waters and feed on other sharks, sea lions, seals, sea turtles, carrion and fish. Humans get oxygen from using their lungs. The tuna preys on herring, mullet, mackerel, squids, crabs and shrimps. These dolphins have teeth although they do not use them to chew food. They also lack teeth and a stomach hence they feed by sucking prey through a fused jaw and passing through their incompetent alimentary canal. They are able to camouflage by changing colour. They have short, flat and broad snouts with upward facing nostrils unlike other seals. They use their tusks as sensory organs. Their name comes from a green deposit of fat under their shell. The eagle ray has a longer tail compared to other ray species and its snout looks like the bill of a duck. Two of them, Pterois volitans and Pterois miles, are invasive species in the North West Atlantic Ocean and the Caribbean. It is the second largest penguin species and it lives in the southern part of the Atlantic. on March 28, 2018.Measures taken to protect North Atlantic … There are about 25,000 walruses in this region with the number of adult walruses … While standing the penguin can measure up to 1 metre and it can weigh between 9.3 and 18 kilograms. Arctic Ocean. Manatees are also known as sea cows and prefer to inhabit warm waters. Gyer Island in South Africa records the highest population. These birds have adapted to living on and feeding in saltwater. They have 300 large and serrated teeth which are triangular in shape for biting their prey. Walrus. The following animals have a significant distribution across the wide waters of the Atlantic. All maps, graphics, flags, photos and original descriptions © 2020 worldatlas.com. It can be found in deep waters of up to 1,280 metres. They are mainly herbivorous, subsiding on water plants grown in seas. They are known for traversing the Atlantic Ocean severally each year. They are highly sensitive to frequencies and they employ echolocation to map their surroundings and to hunt. Here are some facts about the Atlantic Ocean. Dolphins are more threatened by humans than other predators. Its metallic blue colour blends with its environment and its streamlined body help it in building speed. Their carapace is smooth and their colour ranges in various shades of yellow, green, gray, black or brown. Fact Check: What Power Does the President Really Have Over State Governors? Top 10 Most Dangerous Animals in the Ocean. The species occupies the Cabo blanco and Madeira areas of the Atlantic waters and it is the rarest of all pinniped species. Herbivores in the ocean can be reptile, fish or mammal. The 10 Coldest Cities In The United States. There's a huge expanse in the South Atlantic Ocean called the "Roaring Forties." Located between the tips of South America and South Africa, this area is named as such because of the strong winds and huge waves that usually occur in this area. The Atlantic walrus species is mostly found between the Canadian Arctic to the east and the Russian Arctic to the west. It is home to a wide variety of aquatic plant life and marine animals, both vertebrates and invertebrates. Many species in the ocean have evolved to eat plant matter, rather than meat some species eat both. During the summer months, these species travel to colder waters to find rich feeding grounds and to build up their bodily stores of fat for the coming winter. Ocean animals have adaptations like gills, blubber and camouflage that allow them to thrive in their environment. It feeds primarily on fish and sometimes on squid. The Atlantic walrus species is mostly found between the Canadian Arctic to the east and the Russian Arctic to the west. The ocean, the original home of earth's animal life, has creatures of every size and type. Their bodies are long and streamlined and their pectoral fins are longer than those of other cetaceans. Their name comes from the yellow brown to olive green colour of their torso. Tiger shark: The tiger sharks generally live on the coastline and live on marine mammals, fish, seabirds, mollusks, and crustaceans. The species belongs to the class of cartilaginous fish and its population is mostly concentrated in the Caribbean and Mexican gulf parts of the Atlantic. Their life expectancy is a maximum of 45 years. The Atlantic Ocean is the first ocean to have been successfully crossed by ship and airplane. Great Hammerhead Shark (JimmyzHoopz) Great White Shark (Aurora Designs) Great White Shark (Zerosvalmont) Lion's Mane Jellyfish (Ulquiorra) Their snouts are short and round. Many sea mammals, such as whales, dolphins and seals, migrate to and from the Atlantic Ocean each year. Atlantic Ocean. These different groups are called herbivores, carnivores, and omnivores, respectively. The life expectancy of the great white shark is 60 years but their slow maturity process puts their population under threat. Of the two species Pterois volitans makes up 90% of the total. That's because most of Earth's surface—more than 70 percent—is covered by oceans. In the news. Basin-wide oceanic movements are quite routinely recorded in various animals like sharks, turtles, whales, seals, while many seabirds have been tracked while flying for huge distances in different hemispheres. The equator splits the ocean into two sections, known as the North and South Atlantic Oceans. The Atlantic Ocean is comprised of saltwater and is quite warm when compared with other oceans, providing ideal conditions for a host of diverse animal species. See photos, pictures, and facts. Category:Atlantic Ocean Animals - The Zoo Tycoon Wiki - Zoo Tycoon, Zoo Tycoon 2, cheats, and more The Atlantic Ocean is, on average, the world's saltiest ocean. There are about 25,000 walruses in this region with the number of adult walruses diminishing continuously. 15. Information on ocean animals is not as complete as information on land animals. Marine Science and Ecosystems. It's an exciting place to explore. For instance, the Gray Flounder, the Hardhead Catfish, the Yellow Goatfish, the Deepwater Dab and the West African Ladyfish. They strain huge amounts of water through their teeth to get enough small animals (like krill and zooplankton) to eat. It is home to a wide variety of aquatic plant life and marine animals, both vertebrates and invertebrates. The following animals have a significant distribution across the wide waters of the Atlantic. Females of this species grows larger compared to the males. They use their arms to swim. Atlantic Ocean: Home; Water Cycle; Carbon Cycle; Nitrogen Cycle; Phosphorus Cycle; Producers . They feed on pod, rose fish, shrimp, salmon, squid, snails, crabs, clams, and octopus. The Atlantic Ocean is the world's most productive fishing grounds. 4 Minute Read By Sarah Gibbens They feed specifically on arctic and polar cod and halibut, shrimp and squid found in Greenland. It is larger than other turtle species and its shell is less hard making a bit flexible. Many types of fish live in the Atlantic Ocean off the coast of Georgia. Unfortunately, experimental data are still scarce for many oceanic wanderers, because of major limitations in the available solution… Baleen Whale — Baleen whales are one of the largest animals on earth. The spinner dolphin inhabits various subtropical and tropical marines around the world and it is known for leaping out of the water and spinning in the air before hitting the water. Their sense of sight is poor while that of smell is heightened. They also use echolocation. Seabirds are species of birds that depend on the ocean for food and other life's requirements. The oceans are home to a wide variety of species of all shapes and sizes from the tiny stout infantfish, to the shelled sea turtles, to the 100-foot-long blue whale. In the Atlantic Ocean you can find beluga or also known as white whales in the nortwest and northeast of Atlantic Ocean. Read. Their breeding behaviour is peculiar since it is the male that gives birth. The Atlantic Ocean was named after Atlas, a character from Greek mythology who supported the heavens on his shoulders. They are threatened by walruses, polar bears, killer whales and humans. Kemp's Ridley Turtles. About 150 miles off the coast of Cape Cod, Massachusetts is an area of little-disturbed ocean habitat that contains marine canyons deeper than the Grand Canyon and underwater mountains rising higher than any mountains east of the Rockies. Seabirds have salt glands which deal with the salt they eat and drink and also help in osmoregulation. These are producers, which make their own food and don't eat any other animals. These sharks are endothermic and on top of the five common senses, they have electromagnetism sense. Banded Butterflyfish — This is a kind of fish that lives in coral reefs in the western Atlantic ocean and has beautiful black and white bands on it. It is sometimes called the leathery turtle and it inhabits the southwest, southeast and northwest parts of the Atlantic. Start your journey now and see for yourself how awesome our sea really is! They consume plankton and little crustaceans. From sharks and sea turtles to ecosystems and corals, you're in the right place to take a deep dive into life under the sea. Migrating between the Atlantic Ocean and the Gulf of Mexico, the Kemp's Ridley sea turtle is the rarest sea turtle and is endangered to a severe degree. There are many different animals that live in the Atlantic Ocean, including manatees, sea lions, humpback whales, Atlantic ghost crabs, starfish, catfish, green sea turtles, gray Atlantic seals, penguins, shrimp, redfish, flounders, sea trout and tarpon. They are largely anti social and they do not take care of their young ones after hatching. Join AZ Animals FREE to get amazing animal facts, printable animal activities, and much more sent directly to you. Some of the species of seabirds are Adelie penguin, Arctic tern, Atlantic puffin, bald eagle, brown pelican, emperor penguin, European herring gull, and red-footed booby. Which Island Countries Are Located In The Atlantic Ocean? They squeak and whistle using their blowholes to communicate amongst themselves. They feed on small invertebrates and their life expectancy is between 30 and 40 years. The shark can grow up to 6 metres in length and weigh a maximum of 2,268 kilos. On average, these animals can weigh between 800 to 1,600 kilograms and attain a length of between 3.95 and 5.5 metres. They are large in size and can grow to a length of 4 metres and about 590 kilograms in weight. Most recent blog post. Although they are mostly solitary, sometimes they can be seen leaping in the air. 7. Some of them provide food for carnivorous or omnivorous predators of the deep. The fish is under threat due to overfishing and it is consumed extensively as sushi. What are the best apartment dogs? whales(humpback whales),dolphins,pengiuns,seals they all live in tha Atlantic ocean and fish . Marine animals, they are known for their elongated canines that resemble tusks. Share to: What is the smallest animal in the Atlantic ocean? The New England Coral Canyons and Seamounts is a striking example of what a … There are many different animals that live in the Atlantic Ocean, including manatees, sea lions, humpback whales, Atlantic ghost crabs, starfish, catfish, green sea turtles, gray Atlantic seals, penguins, shrimp, redfish, flounders, sea trout and tarpon. They have sharp teeth so that they can feed on their prey. There are many creatures living in the Atlantic Ocean, including the humpback whale, manatee, starfish, sea lion, penguins, catfish, Atlantic ghost crab, the grey Atlantic seal, the green sea turtle, and numerous shark and fish species. Read. The ocean is a mysterious place. They cover more distance in migration compared to other mammals, mainly for reproduction and feeding purposes. The red lionfish (Pterois volitans) belongs to the pteroinae genus which has 10 species of lionfish. Green sea turtles are reptiles. This category contains marine animals found in the Pacific Ocean. The Atlantic Ocean is extensive, making up about 29% of the total world ocean waters. As the Atlantic Ocean is the second-largest ocean in the world, covering approximately 20 percent of the Earth's surface, it is able to support a multitude of animals as their habitat. Thanks for subscribing! Read through this list of sea animals—arranged in alphabetical order—to start exploring what's in our seas. These sharks can grow as heavy as 250 kilograms and attain a length of 2.5 to 3 metres. They feed during the day consuming various fishes and squids, eels and octopus. Animals Coronavirus Coverage. Many of these marine animals adhere to complex social systems and exhibit remarkable intelligence. There are also a lot of plants that live in the Atlantic Ocean, including living coral reefs filled with sand dollars and sea stars as well as seagrass, algae and seaweed. Learn fun facts and how you can help protect your favorite dolphins, whales, sea otter and other marine mammals by clicking a species below. Ed Yong. Why a COVID-19 vaccine could further imperil deep-sea sharks . Primary Consumers. Of all turtle species, the green turtle has the largest shell and it also changes colour after sometime. Is the Coronavirus Crisis Increasing America's Drug Overdoses? Seaweed, Phytoplankton, and Diatoms are producers of the Atlantic Ocean. The Atlantic Ocean is home to the legendary "Bermuda Triangle." It makes up 30 percent of the earth's water surface. A sea horse is a bony fish and it belongs to the same class with other fishes such as tuna and salmon. It preys on crustaceans and small fish and sometimes the ray uses its snout to search for food under the sea bed's sand. Jane Kirchner | June 8, 2016 . Believers in the Bermuda Triangle claim the region—an officially unrecognized area between Miami, Florida; San Juan, Puerto Rico; and the … A North Atlantic right whale feeds on the surface of Cape Cod bay off the coast of Plymouth, Mass. You will need to be logged in to be able to change category appearance. The West Indian species is mostly found in the Caribbean Sea and the Gulf of Mexico, especially in Florida while the West African species inhabits the West African waters. They are a slow swimmers but they could reach 700 m depth. Talking about La Vagabonde crossing the Atlantic Ocean Sea Turtles, Manatees, Mullets, and Zoo Plankton are primary consumers because they only eat plants. Oceans are by far the largest animal habitat on earth. Cephalopods, Crustaceans, & Other Shellfish. ), The Secret Science of Solving Crossword Puzzles, Racist Phrases to Remove From Your Mental Lexicon. They are also known for their vocal communication amongst themselves. They can weigh between 22,000 and 36,000 kilograms and they grow to about 18 metres in length. The penguin can dive to between 100 and 300 metres below the sea to hunt and can stay under water for 5 minutes before resurfacing. Festival of Sacrifice: The Past and Present of the Islamic Holiday of Eid al-Adha. In the Mariana Trench, the lowest point in any ocean, every tiny animal tested had plastic pollution hiding in its gut. It is a flightless bird like other penguins and it either walks or slides on ice. Only 500 of this marine species are believed to be surviving the habitat loss, marine pollution, and entanglement in fishing nets. Their population is believed to be near threatened hugely due to predation from sharks. Ocean Fishes. It is home to a wide variety of aquatic plant life and marine animals, both vertebrates and invertebrates. The animals are very social and are often found in groups. While young, their diet is both herbivorous and carnivorous although the adults are primarily herbivorous, which distinguishes them from other marine turtles. The following animals have a significant distribution across the wide waters of the Atlantic. 0 Taxonomy Kingdom: Animalia Phylum: Chordata Class: Actinopterygii […] They use their large pectoral fins as propellers and they have a fat deposit under their skin called blabber that they use for insulation. They have short hair which is replaced every 6 to 8 weeks. The largest bluefin tuna ever caught in the Atlantic weighed 679 kilograms! The killer whale is also called the orca whale and it is the largest animal from the family of dolphins. SEEN the Killer WHALE while the SHIP Across the ATLANTIC OCEAN going to FRANCE..... by GBFMANTOY KOLOKOY. It is known that animal life can be found at all depths of the ocean, from the surface to the deepest trenches that are over seven miles below the surface. The Atlantic is the second largest ocean in the world, after the Pacific, covering about 106 million square kilometres. Good candidates adjust easily to smaller spaces, don't bark much, and aren't overly aggressive with other people. They are carnivorous and prey on almost all animals including sea birds, seals, fish, marine mammals, sea lions and squid. The Atlantic Ocean is home many types of animal species including shrimp, pelicans, redfish, flounder, sea trout, sea turtles, bottled nose dolphins and even right whales! In addition to being a mysterious place, the ocean is also a dangerous place. The Atlantic Ocean is extensive, making up about 29% of the total world ocean waters. The second-largest ocean on Earth, the Atlantic drives our weather patterns, including hurricanes, and is home to many species from sea turtles to dolphins. The right whale is also the Georgia State Marine Mammal. Beluga's body length could reach up to 5.5 m with 1.900 kg of weight. Dolphins, porpoises and whales belong to the same family. The world's smallest animal is actually a lot of animals. They have a thin skin instead of scales and the crown-like spines on top of their heads are called coronets. There are hundreds of species that are native to the Atlantic Ocean. They also have short flippers with tiny thin claws and four retractable mammary glands on their abdomen. They lack dorsal fins but have irregular ridged extensions. One of their outstanding features is their flippers which resemble paddles. The adult killer whale can reach a length of 9 metres and an average weight of 3,600 to 5,000 kilograms. Arctic Ocean. The animal is carnivorous and preys mainly on salp, jellyfish as well as crustaceans and fish. There is no shortage of dangerous … They feed on fish, squids and crustaceans. The oceans are so huge it is hard for scientists to explore them. There is no known natural predator of this species. They return from the colder Polar regions to the warmer waters of the Atlantic Ocean in the winter months in order to mate and rear their young. Amazing Species of the Atlantic Ocean. Explore the Marine Life Encyclopedia to learn fun facts and more about your favorite marine animals.
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redpajama_set_name: RedPajamaCommonCrawl


Our Dermatologists at Skinn Clinics Australia provide services in Gold Coast, Coolangatta and Tweed Heads. Offering skin specialist evaluation for medical and surgical dermatology around Kirra, Tugan, Palm Beach, Bilinga, Banora Point, Currumbin QLD areas.
Dermatologists are surgically trained doctors, who after completing their medical degree then undertake four more years of training to specialise in the diagnosis, care, and prevention of skin diseases and skin cancers. Australian dermatologists spend a lot of time treating diseases caused by sun exposure, especially sunspots and skin cancers.
Reasons to See a Coolangatta or Tweed Heads Dermatologist?
Acne is an extremely common and persistent skin condition that usually begins in adolescence. Unfortunately up to 85% of us have suffered from acne at some point during their lives and predominantly people aged 15 to 25 are most likely to suffer from acne.
Acne occurs when excess oil and dead skin cells block the opening of your skin pores, which allows for bacteria to grow. Your associated oil (sebaceous) glands become blocked and inflamed. Pimples, whiteheads, blackheads and inflamed pus-filled spots result on the face, neck, back and chest for the reason that this is the place oil glands are biggest and most active.
Acne may be painful, disfiguring and uncomfortable. If the area continues to become infected then larger, redder, deeper and tender nodules or cysts may develop and lead to scarring on your face, chest or back (keloid scarring).
The most common type of eczema is also known as atopic dermatitis, a chronic skin disorder that causes very dry and itchy patches of skin when the skin loses its moisture. These patches can be anywhere on the body but are mainly on the lower and upper limbs. Without moisture, the skin becomes weak and can't provide a protective barrier for the body. Skin becomes very easily aggravated and responds with a dry rash in the weak areas.
UVA rays also damage the elastic collagen skin fibers, leading to aging of the skin, wrinkling, and colour changes. It is, therefore, important to use a sunscreen which effectively blocking these UVA rays, stopping skin cancer and reducing aging signs of the skin.
Basal Cell Carcinoma (BCC)– Are usually red, red-white or pearly in colour and may bleed. They don't usually hurt or itch. This kind of skin cancer tends to grow slowly and doesn't generally spread to other parts of the body. However, if left untreated BCCs will grow and progress deeper into the skin and damage nearby tissue. This may make treatment more challenging and increases the chance of the skin cancer coming back.
Newer procedures for some types of pre-cancers or premature cancers include various anti-cancer creams, although many cancers will need to be removed surgically to be cured.
As well as our skin specialists and dermatologist Coolangatta and Tweed Heads, we also service Ipswich, Townsville, and Logan. Your local Coolangatta and Tweed Heads doctors provide dermatologist on the QLD Gold Coast including, Kirra, Tugan, Palm Beach, Bilinga, Banora Point, Currumbin areas.


The American Hospital Association's SHSMD (Society for Healthcare Strategy & Market Development) hosts this premier conference for health care marketing, communications, business development and strategic planning professionals.
At this event, IQVIA will be introducing its Concept to Market custom solutions designed for the MedTech industry. Visit us at Booth #225 to learn more.


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•Join a team of experienced and well-established orthopedic surgeons who offer a contemporary, multidisciplinary approach to orthopedic services and sports medicine.
•Opportunity to provide a wide range of orthopedic services including complex sports procedures in our new state-of-the-art surgical center offering the latest technology and surgical equipment.
•Outpatient practice is located across the street from Baystate Franklin Medical Center, which has convenient access to local primary care, in-office imagining, physical therapy and specialists. Strong support from specialists at Baystate Medical Center/University of Massachusetts Medical School-Baystate and Baystate Children's Medical Center.
•Competitive salary and benefits. Earn generous compensation including, substantial benefits that comprise high quality, low cost medical/dental, plenty of paid time off, CME, and an impressive retirement plan.
Qualified applicants will be ABOS BE/BE in Orthopedic Surgery. Preferred candidates will have subspecialized training in Orthopedic Sports Medicine, or have a proven record of performing complex sports injury procedures.


text:
Home Link of the Day Blog Remembering Virginia Ramey Mollenkott
Remembering Virginia Ramey Mollenkott
Friday, September 25, 2020, we lost a much beloved founding member of EEWC-Christian Feminism Today. Virginia Ramey Mollenkott was a giant in the world of Christian feminism.
Virginia's prescient biblical scholarship will remain relevant for decades to come.
We'll never know the number of LGBTQ Christian lives saved by the groundbreaking book, Is the Homosexual My Neighbor? which was coauthored with Letha Dawson Scanzoni in 1978 (and revised in 1994). In 2001, Virginia's Lambda Literary award-winning book, Omnigender, broke open the binary gender construct as few books had done before.
Virginia received the New Jersey Lesbian and Gay Achievement Award, a Lifetime Achievement award from SAGE, Senior Action in a Gay Environment, and the inaugural Mother Eagle Award from the Q Christian Fellowship and Christian Feminism Today in 2017.
Educational achievement includes a BA from Bob Jones University, an MA from Temple University, PhD from New York University, and an honorary DMin from Samaritan College .
Virginia authored or coauthored 13 books, edited two, and contributed to a few others.
Virginia's Official Website
Includes a bio, book purchase information, special articles and reviews, links to work and media posted online, links to online memorials, and memorial comments posted by users.
Share Memories of Virginia
A place on Virginia's website to share your own memories.
Virginia's Facebook Page
Oral History Transcript on the LGBTQ Religious Archives Network
Virginia's Wikipedia Page
Virginia's Archives at the Graduate Theological Union
Archive of Virginia's Articles and Posts on Christian Feminism Today
"If you've ever read anything about 'what the Bible says about homosexuality,' you can trace it back to her." — Queer Theology (via Facebook), September 27, 2020
"Virginia Mollenkott was a courageous and generous soul. … Honestly, I was a fan of their work long before they even knew I existed. Another fighter for justice has joined the ancestors. Amen." — Rev. Dr. Pamela Lightsey (via Facebook), September 26, 2020
"A great soul, who used her own pain and struggles to enlighten, educate and empower." — Rev. Dr. Nancy Wilson, September 26, 2020
"She was also a wonderfully supportive mentor and friend to countless people. Stories abound of how her care and friendship saved people from the throes of despair, the brink of self-destruction. Such a learned companion in struggle is a great blessing." — Mary E. Hunt, PhD, on the WATER website.
"FaithTrust Institute shares the sorrow of Virginia Ramey Mollenkott's friends and family at her passing. She was a great supporter of FaithTrust Institute's work. Virginia was a powerful scholar who pushed forward feminist studies of religion and was an advocate for justice and equality." — FaithTrust Institute
"Professor Mollenkott, you have earned your rest. We will continue the fight for you." — Camille K. Lewis, PhD, on the What In the World Tumblr
"Scholar, sage, wise woman. Theologian. Brave heart. Honest. Full of integrity. Aware of her own failings. Generous in her encouragement and affirming of all: gay, straight, transgender, queer. She was ahead of her time, and yet, prophetically, was just in time." — Rev. Deb Vaughn (via Facebook), September 27, 2020
"I loved this Great Woman…and she loved me. We had many deep authentic conversations about reconciling faith, gender and sexuality…and about our Many Breasted God. Rest well my Dear True Friend. Help us from where you are." — Bishop Yvette Flunder (via Facebook), September 27, 2020
"I particularly appreciated her interpretation of Scripture based on sound scholarship regarding sexuality that revealed to me how wrong I had been in this regard. She has been a saint in my life. Now she joins that great cloud of witnesses of which the New Testament book of Hebrews speaks. Thank you Virginia for your faithful witness. You made a difference in my life and in the lives of countless other LGBTQ Christians." — Rev. Curt Allison (via Facebook), September 26, 2020
"S/he opened so many doors for so many people. Virginia's life started with great pain but s/he fought her way to joy. I am grateful that I got to be a part of her work and that s/he got to be a part of mine." — Chris Paige, TransFaith (via Facebook), September 27, 2020
"Like a mother eagle, you brought us to great heights so we could see more clearly the landscape before us. Your laughter reflected the beauty. Your wit exposed the hypocrisy. Your scars revealed the dangers. You encouraged us to sing, and dance and love our bodies. " — Deborah L Hughes (via Facebook), September 27, 2020
"I am especially indebted to Virginia's groundbreaking work on the Divine Feminine. From her book The Divine Feminine: The Biblical Imagery of God as Female, I learned that female names and images of God are in the Bible. — Rev. Dr. Jann Aldredge-Clanton, on the Memories page on Virginia's website
"She was a great soul who used her own struggles with gender nonconformity and sexual orientation to educate and empower others. A giant of the 20th century, she was way ahead of her time yet down-to-earth, writing about the Bible in a style that was scholarly yet accessible." — Kittredge Cherry, on the QSpirit.net website
http://www.eewc.com
The Christian Feminism Today website addresses topics of interest to Christian feminists. It features articles, opinion pieces, reviews of books and recordings (audio and video), interviews with Christian women and men who live according to Christian feminist principles and promote gender equality, love, and social justice among all people. We welcome submissions for consideration. Writer's guidelines are here.
Anne Linstatter September 28, 2020 At 3:40 pm
Thank you for this beautiful collection of tributes to Virginia as well as other resources.
Marilyn McDonald September 29, 2020 At 10:21 am
Excellent tribute to a person who opened hearts and minds and paved the path for many.
About Link of the Day
CFT's Link of the Day feature connects you to some great web destinations. Click the image above to learn more about the Link of the Day blog.
(2012 Link of the Day archives are on a separate page. Click here to view these archives.)


text:
Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base
Jerome J. Waterval*, R. J. Stokroos, N. J. C. Bauer, R.B.J. de Bondt, J. J. Manni
MA Keel Neus Oorheelkunde
MA Oogheelkunde
MHeNs School for Mental Health and Neuroscience
Hyperostosis cranialis interna is a hereditary bone disorder that is characterized by endosteal hyperostosis and osteosclerosis of the calvaria and the skull base (OMIM 144755). The progressive bone overgrowth causes entrapment and dysfunction of cranial nerves I, II, V, VII, and VIII, its first symptoms often presenting during the second decade. This study analyzes the clinical course of 13 affected individuals of three related families (32 individuals). The disorder appears to have an autosomal-dominant transmission pattern. Facial and vestibulocochlear nerve dysfunction are most frequently reported. Surgical decompression of the accessible impaired cranial nerves is advised in the early symptomatic period or even in the presymptomatic period in high-risk individuals.
American Journal of Medical Genetics Part A
https://doi.org/10.1002/ajmg.a.33205
cranial nerve disorder
hyperostosis
osteochondrodysplasias
osteosclerosis
skull base
10.1002/ajmg.a.33205
Waterval, J. J., Stokroos, R. J., Bauer, N. J. C., de Bondt, R. B. J., & Manni, J. J. (2010). Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base. American Journal of Medical Genetics Part A, 152A(3), 547-555. https://doi.org/10.1002/ajmg.a.33205
Waterval, Jerome J. ; Stokroos, R. J. ; Bauer, N. J. C. et al. / Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base. In: American Journal of Medical Genetics Part A. 2010 ; Vol. 152A, No. 3. pp. 547-555.
@article{255416c9391b4d6fa125f8e032c0cce4,
title = "Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base",
abstract = "Hyperostosis cranialis interna is a hereditary bone disorder that is characterized by endosteal hyperostosis and osteosclerosis of the calvaria and the skull base (OMIM 144755). The progressive bone overgrowth causes entrapment and dysfunction of cranial nerves I, II, V, VII, and VIII, its first symptoms often presenting during the second decade. This study analyzes the clinical course of 13 affected individuals of three related families (32 individuals). The disorder appears to have an autosomal-dominant transmission pattern. Facial and vestibulocochlear nerve dysfunction are most frequently reported. Surgical decompression of the accessible impaired cranial nerves is advised in the early symptomatic period or even in the presymptomatic period in high-risk individuals. ",
keywords = "cranial nerve disorder, genetic, hyperostosis, osteochondrodysplasias, osteosclerosis, skull, skull base",
author = "Waterval, {Jerome J.} and Stokroos, {R. J.} and Bauer, {N. J. C.} and {de Bondt}, R.B.J. and Manni, {J. J.}",
doi = "10.1002/ajmg.a.33205",
volume = "152A",
journal = "American Journal of Medical Genetics Part A",
Waterval, JJ, Stokroos, RJ, Bauer, NJC, de Bondt, RBJ & Manni, JJ 2010, 'Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base', American Journal of Medical Genetics Part A, vol. 152A, no. 3, pp. 547-555. https://doi.org/10.1002/ajmg.a.33205
Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base. / Waterval, Jerome J.; Stokroos, R. J.; Bauer, N. J. C. et al.
In: American Journal of Medical Genetics Part A, Vol. 152A, No. 3, 03.2010, p. 547-555.
T1 - Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base
AU - Waterval, Jerome J.
AU - Stokroos, R. J.
AU - Bauer, N. J. C.
AU - de Bondt, R.B.J.
AU - Manni, J. J.
N2 - Hyperostosis cranialis interna is a hereditary bone disorder that is characterized by endosteal hyperostosis and osteosclerosis of the calvaria and the skull base (OMIM 144755). The progressive bone overgrowth causes entrapment and dysfunction of cranial nerves I, II, V, VII, and VIII, its first symptoms often presenting during the second decade. This study analyzes the clinical course of 13 affected individuals of three related families (32 individuals). The disorder appears to have an autosomal-dominant transmission pattern. Facial and vestibulocochlear nerve dysfunction are most frequently reported. Surgical decompression of the accessible impaired cranial nerves is advised in the early symptomatic period or even in the presymptomatic period in high-risk individuals.
AB - Hyperostosis cranialis interna is a hereditary bone disorder that is characterized by endosteal hyperostosis and osteosclerosis of the calvaria and the skull base (OMIM 144755). The progressive bone overgrowth causes entrapment and dysfunction of cranial nerves I, II, V, VII, and VIII, its first symptoms often presenting during the second decade. This study analyzes the clinical course of 13 affected individuals of three related families (32 individuals). The disorder appears to have an autosomal-dominant transmission pattern. Facial and vestibulocochlear nerve dysfunction are most frequently reported. Surgical decompression of the accessible impaired cranial nerves is advised in the early symptomatic period or even in the presymptomatic period in high-risk individuals.
KW - cranial nerve disorder
KW - genetic
KW - hyperostosis
KW - osteochondrodysplasias
KW - osteosclerosis
KW - skull
KW - skull base
U2 - 10.1002/ajmg.a.33205
DO - 10.1002/ajmg.a.33205
VL - 152A
JO - American Journal of Medical Genetics Part A
JF - American Journal of Medical Genetics Part A
Waterval JJ, Stokroos RJ, Bauer NJC, de Bondt RBJ, Manni JJ. Phenotypic Manifestations and Management of Hyperostosis Cranialis Interna, a Hereditary Bone Dysplasia Affecting the Calvaria and the Skull Base. American Journal of Medical Genetics Part A. 2010 Mar;152A(3):547-555. doi: 10.1002/ajmg.a.33205


text:
Q: The image order go wrong after downloaded with bitmap in android i wish to display my data and image which download from an URL but after i download the image from URL, the order of the image go wrong.  I displayed my data and images using card view and recycle view, but the first image in first card go to second, while the second image at third card and the third one will missing and the first one will empty.  Anyone can help me on this?
Below is my code. Tq
SimpleCardViewAdapter.java
public class SimpleCardViewAdapter extends RecyclerView.Adapter<SimpleCardViewAdapter.ViewHolder> {

private List<CardViewData> mDataset;
Bitmap downloadedBitmap;
ImageView row_image;

public SimpleCardViewAdapter(List<CardViewData> dataset) {
    mDataset = dataset;
}

@Override
public ViewHolder onCreateViewHolder(final ViewGroup viewGroup, int i) {
    View v = LayoutInflater.from(viewGroup.getContext()).inflate(R.layout.row_layout, viewGroup, false);
    return new ViewHolder(v);
}

@Override
public void onBindViewHolder(final ViewHolder viewHolder, int i) {
    final CardViewData cardViewData = mDataset.get(i);

    viewHolder.mTitle.setText(cardViewData.getTitle());
    viewHolder.mDescription.setText(cardViewData.getDescription());
    String var = cardViewData.getImage();

    new Thread(new getImageTask(var)).start();
    viewHolder.mImage.setImageBitmap(downloadedBitmap);

    viewHolder.itemView.setOnClickListener(new View.OnClickListener() {
        @Override
        public void onClick(View v) {
            Toast.makeText(v.getContext(), "Title: " + cardViewData.getTitle(), Toast.LENGTH_SHORT).show();
        }
    });
}

class getImageTask implements Runnable {

    String imageUrl;

    getImageTask(String imgUrl){
        imageUrl = imgUrl;
    }

    @Override
    public void run() {
        try {
            URL url = new URL(imageUrl);
            downloadedBitmap = BitmapFactory.decodeStream(url.openConnection().getInputStream());
        } catch (MalformedURLException e) {
            e.printStackTrace();
        } catch (IOException e) {
            e.printStackTrace();
        }
        Message msg = new Message();
        Bundle b = new Bundle();
        b.putString("mfeApi", "1");
        msg.setData(b);
        handlerGroupedProductsImage.sendMessage(msg);
    }

}

Handler handlerGroupedProductsImage = new Handler() {
    public void handleMessage(Message msg) {
        Bundle b = msg.getData();
        String done = b.getString("mfeApi");
    };
};

@Override
public int getItemCount() {
    return mDataset == null ? 0 : mDataset.size();
}

public static class ViewHolder extends RecyclerView.ViewHolder {

    public TextView mTitle;
    public TextView mDescription;
    public ImageView mImage;

    public ViewHolder(View itemView) {
        super(itemView);

        mTitle = (TextView) itemView.findViewById(R.id.row_title);
        mDescription = (TextView) itemView.findViewById(R.id.row_description);
        mImage = (ImageView) itemView.findViewById(R.id.row_image);
    }
}

Activity.java
private void getData() {

    try {

        final String toSend = "http://www.test.com.my/test/api/kipcard_helpAPI.php";

        new Thread(new Runnable() {
            @Override
            public void run() {
                URL url = null;
                HttpURLConnection conn = null;
                String receivedString = null;
                try {
                    url = new URL(toSend);
                    conn = (HttpURLConnection) url.openConnection();
                    conn.setRequestMethod("POST");
                    InputStream in = new BufferedInputStream(conn.getInputStream());
                    receivedString = IOUtils.toString(in, "UTF-8");
                } catch (MalformedURLException e) {
                    e.printStackTrace();
                } catch (IOException e) {
                    e.printStackTrace();
                }

                Message msg = new Message();
                Bundle b = new Bundle();
                b.putString("mfeApi", receivedString);
                msg.setData(b);
                hGet.sendMessage(msg);
            }
        }).start();

    } catch (Exception e) {
        e.printStackTrace();
    }

}

Handler hGet = new Handler() {
    public void handleMessage(Message msg) {
        Bundle b = msg.getData();
        String s = b.getString("mfeApi");

        items =  s.split("\\|\\|");
        size = items.length;

        List <CardViewData> list =  new ArrayList<CardViewData>();
        for(int i = 0 ; i <= size-3 ; i+=3){
            Log.d("here",items[i] +"" );
            //new Thread(new getImageTask(imahr)).start();
            list.add(new CardViewData(items[i+2], items[i+3], items[i+1]));
        }
        mAdapter = new SimpleCardViewAdapter(list);

        mRecyclerView.setAdapter(mAdapter);
    };
};

A: The problem is here:
   new Thread(new getImageTask(var)).start();
   viewHolder.mImage.setImageBitmap(downloadedBitmap);

As the thread do it's job parallel not synchronously downloadedBitmap can hold another's thread "old" result.

A: Instead of
new Thread(new getImageTask(var)).start();
viewHolder.mImage.setImageBitmap(downloadedBitmap);

Try using
 final int position = i;
 viewHolder.position = i;
 new AsyncTask<Object, Void, Bitmap>() {
        private AlbumViewHolder v;

        @Override
        protected Bitmap doInBackground( Object[] params ) {
            v = (AlbumViewHolder) params[ 0 ];
            // download here your image
            return b;
        }

        @Override
        protected void onPostExecute( Bitmap result ) {
            super.onPostExecute( result );
            if ( v.position == position && result != null ) {
                // If this item hasn't been recycled already, hide the
                // progress and set and show the image
                    v.mImageView.setImageBitmap( result );
                    v.mImageView.setVisibility( View.VISIBLE );
                    v.mProgressBar.setVisibility( View.GONE );
            }
        }
    }.execute( viewHolder );

and in ViewHolder :
public static class ViewHolder extends RecyclerView.ViewHolder {

    public TextView mTitle;
    public TextView mDescription;
    public ImageView mImage;
    public int position;

    public ViewHolder(View itemView) {
        super(itemView);

        mTitle = (TextView) itemView.findViewById(R.id.row_title);
        mDescription = (TextView) itemView.findViewById(R.id.row_description);
        mImage = (ImageView) itemView.findViewById(R.id.row_image);
    }
}

And one more thing - your ViewHolder should have position parameter. And think about caching.

A: Try this:
add Context to your constructor
public SimpleCardViewAdapter(List<CardViewData> dataset, Activity activity){
   this.mActivity = activity;
}

change in onBindViewHolder method:
 new Thread(new getImageTask(var, viewHolder.mImage)).start();

and change your task like this:
    class getImageTask implements Runnable {

        String imageUrl;
        ImageView imageView

        getImageTask(String imgUrl, ImageView imageView){
            imageUrl = imgUrl;
            this.imageView = imageView;
        }

        @Override
        public void run() {
            try {

                URL url = new URL(imageUrl);
                //change this line also
                Bitmap bitmap = BitmapFactory.decodeStream(url.openConnection().getInputStream());
                //set you downloaded image now...
                //new change ....

                mActivity.runOnUiThread(new Runnable() {
                    @Override
                    public void run() {
                       //Your code to run in GUI thread here
                       if(bitmap != null)
                       imageView.setImageBitmap(bitmap);
                    }
                });

            } catch (MalformedURLException e) {
                e.printStackTrace();
            } catch (IOException e) {
                e.printStackTrace();
            }
            Message msg = new Message();
            Bundle b = new Bundle();
            b.putString("mfeApi", "1");
            msg.setData(b);
            handlerGroupedProductsImage.sendMessage(msg);
        }

    }

***but it will not cache bitmap, every time you scroll your recycler inside app it will download it again and again.

redpajama_set_name: RedPajamaStackExchange


text:
The Salmson-Béchereau SB-3 was a racing aircraft built by French company Salmson.

Design
The SB-3 was based on the SB-2 training aircraft and differed in having a huge nose and rather stocky or pot-bellied outlines. The wing was supported by Y-shaped struts, which rested on the oil-pneumatic shock absorbers of the chassis designed by Louis Béchero (Louis Bechereau), a patent for which he received on July 6, 1922 (No.553710). The mechanism was also equipped with cushion cords hidden in these struts.

The SB 3bis had a wingspan of 10 m and a larger wing area (19 m²). The center of gravity of the aircraft was located at 35% of the wing chord length. However, the resistance caused by the thick struts of the first configuration, led Beshero to the need to install braces on the SB 3bis above and below the wing. The motor placed in the center of gravity set in motion a four-bladed screw formed by the intersection of two two-bladed screws mounted relative to each other at an angle of 90 degrees and with a shift in length of 60 cm. However, these displacements relative to the axis resulted in vibrations; to fix this in the gap between the screw and the engine a flat cylindrical screen was placed. The sides of this deformable thin sheet absorbed the spontaneous movements of the screws.

Racing contests
According to the Rules of the race were supposed to be international, the cup was played in France during two competitions, each of which consisted of a flight at maximum speed at a distance of 300 kilometers. The winner received a prize of 200,000 francs, which was to be divided into two parts, 25,000 francs each (the first was intended for the pilot, and the second for the manufacturer of the aircraft, which showed the best speed in both flights) and two annual awards of 75,000 francs. The races in Istra took place on June 23, 1924, on a circular route 50 kilometers long, whose starting point was the center of military aviation (Center d'Aviation militaire).

At the end of May 1924, Beshero had not yet found a pilot for the SB 3bis. Thanks to the assistance of the Assistant Secretary of State for Aeronautics (sous-secrétaire d'Etat à l'Aéronautique), a volunteer was found - Lieutenant Georges Férigoule, who was directly in Istra at that time. After the test flight, Ferigul discovered a rather limited lateral control, but admitted that the aircraft had some interesting features. The only drawback was the completely insufficient cooling of the "forced" engine, which developed on takeoff 800 hp. To solve this serious problem, Salmson has installed a new pump to speed up the passage of water in the radiators. But during the flight, thin radiator strips were crushed by a too powerful pump. A tank with cooling engine water, placed in an L-shaped fairing in front of the pilot, depressurized and burned Ferigulu's face. Fortunately, his eyes were protected by flying glasses ... Forced to land. the pilot refused to prolong the competition, which was won by Sadi Lecuant (Sadi Lecointe) on the Nieuport 29, equipped with a 450-horsepower V-shaped Hispano engine. The Sadi Lekuant airplane covered a distance of 300 kilometers in 57 minutes 50 seconds with an average speed of 31.239 km / h. Thus, the premium of 75,000 francs was issued by Société Nieuport-Astra.

Specifications

References

Bibliography

Racing aircraft
SB
Single-engined tractor aircraft

redpajama_set_name: RedPajamaWikipedia


Meeting called to order at 0752 hours by Chairman Renteria. Roll was called. A quorum of voting members was present.
Members were asked to indicate if they received their minutes of the last meeting. A motion was made to accept the minutes from the August 2006 meeting. Motion approved with one revision to the proposal for donations from RC for the holiday toy program.
TREASURER REPORT: (Mike Northrop) A summary of current account status was presented to the group and no questions were posed.
Col. J.R. Franklin, USA (ret.) - letter N.I.V.N. Pensacola, Florida - VVGSQ, thanks for your continued support.
Col. William E. Weber, USA (ret.) - letter (Airborne Quarterly) - New Windsor, Maryland, thank you for the Airborne Quarterly and two letters.
Ron Trovato, VVA Chapter 20, Rochester, New York, writes for "Between the Lines".
Craig McLaren, pres. of VVA Chapter 190, Mobil, Alabama, N.I.V.N. "Eagle" - two newsletters.
Gloria and Dotty, Operation MOM - letter.
J. Lyman Jr., Norfork, Massachusetts, newsletter - "Vets News". Richard G. Becker, 82nd Airborne Association past president - letter.
Ron and Carrie Cutting - letter - Here are two of VVGSQ's most ardent supporters.
Frank Schoch, Static Line - Voice for the incarcerated veterans - thanks, Frank.
Chaplain Bill Anderson, N.I.V.N., Ephata, Washington - Chaplain for twenty years at Washington State Prison. Thanks for news on Chaplain Raymond Dugdale.
"Army Echoes" "Retired Soldiers" - Alexandria, Virginia - letter.
National 4th Div. (IVY) Div. Association, Inver, Minnesota - Thanks for 2007 membership card.
Tony Thompson, N.I.V.N., Smith State Prison, Glennville, Georgia - letter. James L. Weber, Veterans Workforce Specialist - letter.
Doctor Karen Stanley - letter.
President R. D'Avanzo, VVA Chapter 371, Jackson, Mississippi - Chapter minutes and stationary.
Between the Lines, VVA Chapter 20 - Advocates for the incarcerated veterans across the United States.
President R. Ahalt, VVA Chapter 205, Auurn, New York - Newsletters of July and August.
President Ron Baraz, VVA Chapter 563, Petaluma, California - Yountville reminder.
Frank Schoch, Static Line - Voice for the incarcerated veterans - thanks Frank.
Clay Barker, Secretary, 187th Airborne Rakkasans - letter.
BYLAWS: (Jeff Biggs) Updated bylaws and constitution have been signed and shall be distributed to all appropriate individuals.
NONPROFIT: (Ron Singlar) We continue to wait for bylaws from John Chaney to see if we can join with them. Consequently, no movement.
FUND RAISER: (Mike Northrop) Robert "Tuna" Portune acknowledged for service above and beyond in fund raising. Chairman Renteria explained guidelines and delivery schedule for food-sale distribution day, 20 September 2006.
SOCIAL: There will be no packing day combined with our Veterans Day social due to concerns regarding custody coverage. Outback Steakhouse ruled out because of scheduling conflict. Panda Express remains in consideration along with chicken from Albertson's. Amount donated from members will be determining factor. Trust withdrawals shall be submitted to trust office on Thursday, 30th November 2006.
COLOR GUARD: (Gio Caffale) Nothing to report at this time.
CAMARADERIE NIGHT: (Larry "Popeye" Faison) Nothing to report at this time.
R.E.A.L. CHOICES: (Wolf Stipe) Reminded group to prepare for every second and fourth Friday.
STAMPS FOR SOLDIERS: (John Warren) New folder has been installed. John's cell is 4N92 for all direct deliveries of canceled stamps.
HOLIDAY TOY PROGRAM: (Wolf Stipe) Some problems are occurring and Wolf is working on solving them.
The purchase of new membership covers is in the updating process, as we await catalogs and confirmation of current prices.
A motion was made and seconded to donate $1,000 to Operation MOM, since our packing day with them has been canceled. Motion carried.
Associate Warden B. Welch approached regarding chief sponsorship upon retirement of Counselor W. Jeppeson.
Sponsor candidate W. Wilkerson, Print Shop supervisor, awaiting Chief Deputy and Warden's approval.
Newly signed constitution and bylaws were distributed.
Social donations were tallied and Panda Express will provide our meal.
A new packing-day date shall be scheduled after 1st January 2007.
Correctional Lieutenant E. Messick has been contacted by representatives from the VA who want to meet our membership.
A strategy session occurred regarding our upcoming food-sale distribution.
Kudos to everyone who said they would help with setup on Friday, 20th September. Every person, who said they would help, showed up along with other members.
Strong work, men. Thank you.
We adjourned at 0849 hours. All are reminded to inform the secretary of cell/dorm changes.
NEXT MEETING: Sunday, 29th October 2006.


Good, solid updates- previewed before being demoed at IBC and released in October'ish.
I don't expect anything from Apple in time for IBC- they're on their own schedule tied in with Mavericks and the new MacPro. But in the end I think both this CC update and FCPX 10.1 will probably end up being released around the same time.
Unless I'm reading this incorrectly, to get the benefits, you need somebody who's willing to buy and run an Adobe Anywhere hub - which a quick search that turned up a single vendor indicates that the base cost is $12,500.00 for 1 to 10 users.
Be great for larger shops or TV network users, I guess, but it's not in my future unless I need to do sub con work for a shop that wants to host it. And I can't really see the modern downsized ad agency or small shops opting to put 12 grand into a collaborative hub - rather than into equipment that can actually help you make more content to sell.
Last week I did a bunch of radio spots for a moderately big name multi-hospital chain on the west coast. Once upon a time, they would have had a medium sized ad agency produce this kind of thing. Today, they use ad hoc creative teams - and I seriously doubt that the producer involved would pony up for something like this just to facilitate remote work with creatives.
[Bill Davis] "Unless I'm reading this incorrectly, to get the benefits, you need somebody who's willing to buy and run an Adobe Anywhere hub"
Seven application are updated, not only "Adobe Anywhere".
[Bill Davis] "But maybe I'm wrong."
Maybe there is no absolute wrong or right because post/production needs and budgets vary so much?
If spending $12,500 (or whatever the cost is) means more projects can be worked on concurrently which means more content to sell in the same amount of time then maybe it makes sense.
I've worked mainly in multi-user environments (sometimes w/centralized shared storage and sometimes using local storage and 'sneaker netting' media around) and I can't wait for things like Avid's ISIS Interplay Sphere and Adobe Anywhere to 'trickle down' to a broad set of users. I worked in house at MTV for a while and joked a number of times w/the IT guys about running fiber from the office to my bedroom. I look forward to the day when editors can telecommute as easily as copy writers or accountants.
Fast Shared storage used to be prohibitively expensive but as off-the-shelf compoents have gone down in price and up in performance companies like Small Tree, Editshare and ProMax are offering solutions that even 'mom & pop' shops can afford and I hope cloud-based editing collaboration follows the same course.
There is one small production company in LA that I've tried working with a few times (we can never get our schedules to mesh) where the office has a couple of assists and a couple of online editors but all the offline takes place offsite. The assistants prep drives with media, GFX, music, etc., then the editors pick the drives up, edit at home (on Avid) and email project files back to the office which then get relinked to the local media there. 8-12 editors are working at once but the production company does not have to pay for the overhead to support 8-12 editors working under the same roof. Something like Adobe Anywhere would be right up their ally.
These updates don't involve or require Anywhere. Just part of the equation. The biggest wow for me is the direct link between SpeedGrade and Premiere Pro WITHOUT rendering. In other words, what the FCP7/Color roundtrip could have been but never was. I'm jazzed about this because it directly meets current needs and requests from clients who have switched to CC.
Some promises made for RED users as well.
Some videos to watch. Great upgrade.
I agree - can't wait for this feature - I'd use it today on several projects I just cut in Premiere CC. If this is the kind of progress we can expect from Adobe than the subscription model may prove to be better for end users versus waiting every NAB to see if they finally ad the features you want and deciding if it's worth it to upgrade.
[Andrew Kimery] "There is one small production company in LA "
Actually, and not to argue, there are MANY small companies working that way.
Don't want to say anything positive and make Bill mad at me!
Instead of talking about how great this update is... I will further say that it still won't make me rent the software without an exit strategy to keep it.
[Daniel Frome] "Instead of talking about how great this update is... I will further say that it still won't make me rent the software without an exit strategy to keep it."
Cinema DNG support caught my eye. It makes sense of course, being Adobe.
At the NYC Blackmagic Show, Marco Solorio played a clip from NAB in which Grant Petty mentions cDNG wrapped in .mov. I asked a couple of BMD reps (don't think it was Dan May though) and they seemed dismissive about they're doing it. I did speak to Apple's Steve Bayes (FCPX Product Manager) about this and he said, transcode to ProRes4444. He also said most wouldn't see a difference between ProResHQ and cDNG. That got me peeved. Granted it's my interpretation of what he said but with cDNG now in cameras at pedestrian prices, I hope Apple reconsiders. PPro is going can win this niche if able is intransigent.
With Apple and Blackmagic's current good relations, I don't see any reason not to think we'll see CinemaDNG support. That would be- weird.
Adobe is doing good work. I hope Apple will really surprise us with this Fall's release.
[Marcus Moore] "With Apple and Blackmagic's current good relations, I don't see any reason not to think we'll see CinemaDNG support. That would be- weird."
I would think so too. I'd imagine that's what Grant Petty was implying. I was taken aback by the response I got from BMD reps and Apple's Steve Bayes. Bayes seemed very insistent that it was not worth their while... almost defensive. I really do hope to see otherwise. I'd much prefer cDNG wrapped to .mov than a transcode to PR4444 and it sounded like Apple was going to leave that transcode to external powers. Of course I can hope he was just throwing me "off the scent."
Part of me still wishes Apple wouldn't completely ignore these big post news cycles. This will be the second big release from Adobe [NAB, IBC] this year, while Apple has sat quietly on the sidelines. Apple long ago divested itself from being slave to anyone else's release cycle (other than getting new products out for the holidays), and it certainly makes sense to a degree.
Just anxious to see what they've been doing for the past year.
I imagine the next rev to FCPX will be significant and include big optimizations for AMD, OpenCL and the new MacPro. But no matter how they improve FCPX, will it be competitive with everything Adobe has been doing lately? Round tripping to Speedgrade - huge - and something Apple has given up on when they killed the old suite and Color. And how does Apple compete with Adobe Anywhere? Apple tried to compete with Avid Unity in the last decade with xServe and then Final Cut Server and failed and and again gave up.
So if small to large studios start buying in to Anywhere (which seems more flexible and is less expensive than say Avid Interplay) that means Premiere would be their NLE by default. FCPX would have to be so compelling as an NLE that Editors would insist on using over Premiere even if a studio is trying to tell them otherwise and very few Editors have final say on the NLE they use. This means Apple would have to do something about sharing and workgroups again with X. Are they really going to fully commit, longterm to a market they pretty much gave up on?
[Lance Bachelder] "So if small to large studios start buying in to Anywhere (which seems more flexible and is less expensive than say Avid Interplay) that means Premiere would be their NLE by default."
Apple's cloud history is very muddled at best. On the consumer side they've had .mac, MobileMe, iCloud as they keep dropping or adding features. There also was iChat Theater in FCP legacy. Apple in many areas are by no means first or even early to market with some features. A lot of what they do seems to be market surveillance followed by re-envisionining. It's possible Apple will hold off until they see a better way... or stumble as they've done on the consumer side... or maybe they'll just cede that portion of the market. Given Apple's tendency to "commoditize" I suspect they'll hold off until they can find a more mass appeal so that smaller shops and solos can collaborate over long distances at a reasonable price.
All true. And as I'm mentioned before I'm a CC subscriber for Ae and Ps, so I benefit directly from Adobe's improvements here.
Our business has gone thru several cycles where it was advantageous to either use the whole widget from one company, or pick the best products in different areas. it's take a while for Adobe to get Premier up to snuff- but Adobe has I think defined a clear vision of itself. Outside of CC actually NOT catching on and having to reverse course- I don't see how they do anything but strengthen their position.
Unless Apple has all new products in the pipeline, Apple has clearly decided to ceeded certain areas of the post market- namely compositing and color correction. Perhaps ultimately they decided they couldn't deliver the best in class solution in all those areas of HIGHLY specialized tools. We'll never know exactly why these decisions were made.
Much like the MacPro, perhaps Apple sees strength in a core product- with customization thru expansion to the best 3rd party software the better bet.
I think if Apple can present a 10.1 update with cues from the recent LogicX- I think it could sway loads of FCP7 holdouts, of which there are MANY!
I know for me personally I would certainly bemoan if Apple exited this market. I find the core concepts of FCPX really enticing. And while I'm sure I could transition to another NLE (it's happened several times before) I'm gonna stick with Apple for the time being and see how this plays out a while longer.
[Craig Seeman] " I asked a couple of BMD reps (don't think it was Dan May though) and they seemed dismissive about they're doing it. I did speak to Apple's Steve Bayes (FCPX Product Manager) about this and he said, transcode to ProRes4444."
Proper CinemaDNG support requires access to camera raw controls. To do this according to current FCP X structure, Adobe or BMD would need to build an importer that matched Apple's camera SDK, just like RED, Sony, Canon and ARRI. I wouldn't expect that to happen.
If you shoot with the BMD camera and record with BMD Film (their flat gamma profile, like Log-C) using ProResHQ or 4444 - and the temp/tint/exposure is reasonably correct - then, yes, shooting raw gives you very little benefit.
[Oliver Peters] "To do this according to current FCP X structure, Adobe or BMD would need to build an importer that matched Apple's camera SDK, just like RED, Sony, Canon and ARRI. I wouldn't expect that to happen."
Depending on what Adobe seems to have done with cDNG support they seem to have done that for their own product (which makes sense).
[Oliver Peters] "If you shoot with the BMD camera and record with BMD Film (their flat gamma profile, like Log-C) using ProResHQ or 4444 - and the temp/tint/exposure is reasonably correct - then, yes, shooting raw gives you very little benefit."
Sometimes "correct" isn't the goal. It's why, in some circumstances, one would chose to shoot cDNG over ProRes. It's why one might want a cDNG in FCPX to Resolve workflow without proxies, without relinking. It's an ease of use issue. Not unworkable, but for an NLE which is described as "fast" and maybe "simple" it would be more awkward than PPro to SpeedGrade (remains to be seen but I can't help but think this is where Adobe is going).
It's ironic that I've argued with people that shooting ProRes would be more than enough in all but exceptional circumstances but I've been beaten back by enough people who keep pointing out the importance of those extra bits in some cases that I'm now persuaded by their arguments. I've heard from those using BMCC that it can make a difference. Apparently Grant Petty thought it was important enough to mention the possibility.
[Shawn Miller] "For most recording situations, that's probably true. But the increased spacial and color resolution (12bit @ 2400x1350 vs 10bit @ 1920x1080) can be a big help with tracking and chromakey shots. Also, the BM cameras don't shoot ProRes 4444, only HQ. :-)"
While technically that's absolutely right, there are now a number of features out in theaters that were shot Alexa ProRes4444 or HQ instead of raw. Not much difference to the DP or most viewers. At some point it becomes an esoteric argument.
I work all the time with Alexa footage in ProRes flavors as well as RED shot raw. Most of the work I do with the raw is fixing production issues, like mismatched cameras and wrong color temps. I tend not to see these on comparable Alexa shoots. Maybe better DPs? I don't know. So yes technical is important, but in the real world it's usually secondary.
FWIW - John Brawley originally posted BMCC shots from the exact same set-ups in both CinemaDNG and ProResHQ with the BMD Film profile. Hard to see any difference after grading.
[Oliver Peters] "While technically that's absolutely right, there are now a number of features out in theaters that were shot Alexa ProRes4444 or HQ instead of raw.
Absolutely, not saying that Prores or DNxHD aren't great and appropriate choices for many or most shots. But for some tasks, higher spacial resolution and more color are a definite advantage. I think it might also be worth noting that most films are shot and posted in a variety of formats, so I don't think it's an either or proposition. My guess is that raw and compressed are used where appropriate.
[Oliver Peters] "Not much difference to the DP or most viewers. At some point it becomes an esoteric argument."
[Shawn Miller] "Maybe there's an argument to be made regarding compositing and keying 10bit vs 12bit footage... but I'd have to work with more 12bit footage to know."
[Oliver Peters] "[Shawn Miller] "Maybe there's an argument to be made regarding compositing and keying 10bit vs 12bit footage... but I'd have to work with more 12bit footage to know."
True, but then you wouldn't be working in FCP X anyway ;-)"
[Craig Seeman] "He also said most wouldn't see a difference between ProResHQ and cDNG."
That's just crazy talk. I just got to work with CinemaDNG for the first time last week, and I think it's fantastic. My only real annoyance was having to work between Resolve and Premiere. Now looking forward to a more efficient PPro to SG workflow.
[Craig Seeman] "Granted it's my interpretation of what he said but with cDNG now in cameras at pedestrian prices, I hope Apple reconsiders."
Agreed, it seems like CinemaDNG support should be a no brainier for all of the major NLEs... since it's an open standard and all.
[Craig Seeman] "Cinema DNG support caught my eye. It makes sense of course, being Adobe.
At the NYC Blackmagic Show, Marco Solorio played a clip from NAB in which Grant Petty mentions cDNG wrapped in .mov. I asked a couple of BMD reps (don't think it was Dan May though) and they seemed dismissive about they're doing it. I did speak to Apple's Steve Bayes (FCPX Product Manager) about this and he said, transcode to ProRes4444. He also said most wouldn't see a difference between ProResHQ and cDNG. That got me peeved. Granted it's my interpretation of what he said but with cDNG now in cameras at pedestrian prices, I hope Apple reconsiders. PPro is going can win this niche if able is intransigent."
Cinema DNG's already work in FCPX, but they come in as stills. You have to compound them to create your own "clips". If FCPX just supported image sequences, wouldn't that solve the problem? Or are we talking about some deeper RAW processing issue?
[Jason Jenkins] "Cinema DNG's already work in FCPX, but they come in as stills. You have to compound them to create your own "clips". If FCPX just supported image sequences, wouldn't that solve the problem? Or are we talking about some deeper RAW processing issue?"
In effect CinemaDNG is an image sequence. If FCPX supported image sequences that could help. I'm not sure if there'd be any pitfalls but I'd guess that FCPX would be using a "virtual" mov wrapper of sorts.
[Jason Jenkins] "Cinema DNG's already work in FCPX, but they come in as stills."
They do, but are interpreted as a flat, encoded images via Core Image or ColorSync or whatever the OS taps into to do this. There is no access to the raw information in FCP X. If the ISO metadata is too hot, the peaks will be clipped and not recoverable, like they are in software that can interpret CinemaDNG raw, like Aperture, Photoshop, etc.
Quite impressive update. Need to look into the details more before saying yi-ha, but it really seems like Adobe is pushing hard for an awesome CC-experience.
Regarding BIll negative take on this I don't personally care about Adobe anywhere and the "October 2013 CC release" is amazing for a lot of high-end AE and PrPro users disregarding this feature.
- AME seems better, hope they've revamped how it structures settings completely.
We'll see how it turns out. I'm heading to IBC on thursday so I'll be able to get some hands-on + questions answered on the spot hopefully.
I wasn't trying to be negative.
I was tryimg to figure the customer that Adobe was targeting here.
Burried in the announcement (if you noticed) was a mention of Anywhere enabling "remote voiceover" -as a longtime narrator and voice talent, who, it might shock you to learn, is currently also a CC subscriber (I like to know about how things in my industry work rather than just guess, silly me) my initial thought was that there might be a revenue stream for me to explore here. Particularly if I had all the pieces already in house.
I actually pretty regularly produce VO sessions for my clients , including running a studio hybrid telephone interface so that clients can direct spots and hear narrations in progress remotely via phone patch.
So my instinct was to see myself as a potential customer for this.
The cost was merely a splash of cold water, that's all. At $12,500 i couldn't see amortizing the cost of providing the service for my clients for years and years. So Adobe is pricing this for studios with different cost structures than mine. No sin in that. Just disappointment that they aren't making and selling this "service" in a structure that better fits my needs.
Adobe has shown again that they have a lot of commitment in bringing users the features they want.
Now let's just hope Apple has a lot to show with their big FCPX update. It's been a year since there was a big feature update, and it's been more then 2 years since FCPX's release. I really hope they don't dissapoint. The bad reputation FCPX had at the start is slowly fading away, and Adobe got a lot of customers against them with their renting options being the only one going further. Apple should really take advantage of that.
[Mathieu Ghekiere] "And if Adobe can bring cDNG support, Apple should too. Why transcode, if you could just import? The native RED support in FCPX made our lives a lot easier..."
But isn't this mostly about licensing? Apple as a major corporation has long resisted too much reliance on technology outside their own patent portfolio.
Is cDNG open source? Or is it patented property? If the latter, then if Apple includes it in their output mix, don't they have to license it? And if so, doesn't that give the licensing body the ability to pull it if things go sour?
I'm not sure exactly why I'd want to put myself in that position if I had ProRes and h-264 already in my basket.
I know that as consumers we all want to work with what we want, when we want. But down deep, aren't there a lot of IP underpinnings that have to be addressed?
[Bill Davis] "Is cDNG open source? Or is it patented property? If the latter, then if Apple includes it in their output mix, don't they have to license it? And if so, doesn't that give the licensing body the ability to pull it if things go sour?"
CinemaDNG is an open format.
"There are no known intellectual property encumbrances or license requirements for CinemaDNG or its underlying formats DNG, TIFF, XMP, or MXF"
[Mathieu Ghekiere] "Now let's just hope Apple has a lot to show with their big FCPX update. It's been a year since there was a big feature update, and it's been more then 2 years since FCPX's release. I really hope they don't dissapoint. The bad reputation FCPX had at the start is slowly fading away, and Adobe got a lot of customers against them with their renting options being the only one going further. Apple should really take advantage of that."
In a strange way I don't think that Apple would be that bothered by what Adobe are doing with their CC and specifically with PP. Apple left that type of train set behind with Final Cut Studio.
FCPX is a much lighter footed piece of software and possibly more aligned to our times, to the future and the way that the younger generation work where many of the conventions of post production simply don't apply any more. I'm really interested to see where Apple will take FCPX and having spent a solid amount of time delving into Logic Pro X I'm looking to see similar innovations they have bought to that application transferred to editing workflows. Specifically their development of Smart Controls, which within a video editing environment would allow bundled tools and controls to be developed by the user and applied to multiple clips within a project.
They have really honed in on simplifying the GUI, on looking at the application from the point of view of the user and enabling them to concentrate on their music making skills rather than having to become full time techies in order to fulfil their creative vision. But all of the detail is still there under the hood for those with the mindset to grapple with it.
Great update packed with things that every editor should find useful and time saving. It's a huge shame it's CC because we would happily pay £2k for this, but as long as it was a purchase.
if PPro7 was purchase, at its current rate of advancement, including the heavy iron anywhere, it would slaughter the market.
Literally any kind of 4-5yr payout subscription software archive option that the CS market could understand. Anything.