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1. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jun 30, 2011 3:46 AM (in response to CandleManDave1977)
Have a look at these two threads:
Hope, it helps...
2. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 1, 2011 2:11 AM (in response to CandleManDave1977)
There are different patterns you need to follow to use the dynamic link between PP and AE. Through different experiments, I only came to 1 conclusion that I know works. So, to create the dynamic link you right click and the first time you do so in a project, it prompts you to save an AE file. IT IS VITAL TO ALWAYS USE THIS SAME FILE WHEN LINKING IN THE FUTURE. At least from my experiece. Thus, if you close your project and try to continue to use the replace w/ AE in the same project when you reopen it, then YOU MUST OPEN the original AE file that you have established the link to.If the link in your timeline uses another AE file it will break the links between the others. At least that is what happened to me w/ different trials.
When you want to edit the linked file, be sure to hit 'edit original' and not the replace w/AE command.
This is where my personal tests have stopped today. I had to redo all my work from yesterday today which included synching, cutting, arranging and crappily color grading in PP before I could go back to AE and Synthetic Aperture to link into the project which is what I really want. I'm not saying you can't grade in PP, I just spent many days learning SA and not PP grading tools. I'm going to play around with this once my main work is done and I would like to make a master list of how to use dynamic link and what can and can not be done.
3. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jul 1, 2011 2:46 AM (in response to CandleManDave1977)
So as to create Dynamic Link you may either right click on a footage in PrPro timeline and replace it witn After Effects composition or create a composition right in AE and then import it to PrPro project via Adobe Dynamic Link -> Import After Effects Composition...
If you try to export your AE composition, which has third party plug-in effects, as PrPro project and open that project in PrPro, you always get an Error.
If you right click on existing AE composition in PrPro timeline and choose 'Replace With After Effects Composition', you obviously replace it with a brand new composition. But you still have previous one in your project bin.
Dynamically Linked AE composition is editable within AE at any time.
There are no needs to open this composition in AE so as to play it on PrPro timeline.
If you have some issues with playing recently edited AE composition in PrPro, including displaying correct content, you just have some issues with rendering.
All you nedd is to re-render Entire Work Area
4. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 1, 2011 1:31 PM (in response to Fuzzy Barsik)
You're not following what I am doing.
I like Color Finesse to grade my work. So I chop everything in PP, add transitions. Then, I want to grade the clips in AE w/ Color Finesse. That's it. So, say I have 30 clips that need grading on the timeline. I right click the first and hit 'replace w/ AE.' This prompts me to save an AE project. I do so. Now, I can go down all the clips and each clip is saved as an AE comp in the bin in PP and also in the project created in AE. So, you only have to save 1 project in AE that is linking all the comps in PP. BUT, say you only finish 1/2 of the clips you are working on. You close out your work and the next day or whenever, you want to finish grading the rest of the clips. So you go to the next ungraded clip and right click to replace w/ an AE comp. It will prompt you to save a new project. PP does not recognize that you already have a linked AE project. If at this time, you save a new AE project, then it loses the links with the previous comps and the original AE project. They turn red. The only fix then is to go back and relink them which is not effecient. What needs to be done is you have to open the original AE project that you created when you started. Then when you go to the next clip you want to replace, it doesn't ask you to save a new project, it automatically adds it to the orignial project which is what you want. Now, I have not tried to save a new project and have both the original and the new project open to see if that works. That would require testing that I'm not ready to do at this time. If you don't believe me, do it yourself. Add a clip, chop it in half and on the first, hit replace w/ AE comp and do something to change the clip. Save the AE project, save the PP project and close it down. Then reopen PP and not AE. The first clip will preseve the link, but when you go to replace the second clip w/ an AE comp it asks you to save another AE project. Do that, and then watch what happens to your originial clip. It turns red. But, if you open PP and your original AE project that is linked to the first clip...when you right click the second clip to replace w/ AE, it automatically connects with the first project AND your original linked clip is preserved.
5. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jul 1, 2011 2:04 PM (in response to CandleManDave1977)
You like Color Finess. So do I. As well as other AE plug-ins and AE itself - it's awesome!
Do I use Dynamically Linked AE compositions in my PrPro projects? I can't live without!
I usually create a 'heavy' AE composition in one AE project file, whereas some 'lighter' other in another one.
And all they would be then linked and work in PrPro project...
Just try to be a bit patient (breath in, breath out), re-read what I was talking about and try to experiment... All you need is there...
You may have a look at that thread in addition...
6. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 1, 2011 2:38 PM (in response to CandleManDave1977)
CandlemanDave, I just tried to replicate your problem. I am on a MacPro running CS 5.5. This may not be exactly what you are doing, but in terms of DL I think its the same process..
1. I import a 2 min. clip
2. I select the first 5:00 sec and edit it to the timeline.
3. I I then select from 5:00 to 10 sec. and edit to timeline
4. And repeat 3 more time for a total of 5 clips in a sequence.
5. I hilight clip 1, right clik and send to AE. I give it a unique name, color correct and SAVE.
6. I return to PP and render clip 1.
7. Then I highlight the second clip, send to AE, name it a different name, CC it and save.
8. I tab back to PP and render the second clip.
9. Rrepeat 3 more times. Then save the project.
10. I close PP then open it again. There is a period where PP searches for the clips when it displays the word "Pending" and then the sequence is restored as I cut and cc it.
When Im done there is 1 file for PP and 5 files for AE. Each AE file represents the color correction of each clip. This maybe where we differ in work flow. But I can vouch for the reliability of this approach. I hope this helps.
7. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 2, 2011 2:40 PM (in response to lasvideo)
So CandleMan have you resolved your issues with dynamic link?
8. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 2, 2011 8:27 PM (in response to lasvideo)
Yea man,
Here's the problem I had and would have if I continued doing this...
Timeline1- 3 clips----Day 1- you place effects on clips 1 and 2 w/ 'Replace w/ AE comp'. W/ 1st clip it prompts you to save an AE PROJECT file that becomes the link...it creates the AE comp file and places it in the PP project bin. Clip 2...as long as the AE PROJECT file that is linked to the first file is open, I can create a dynamic link for the second file and it automatically creates the AE comp in PP....Here's where the problem happened...
Day 2- so I come back the 2nd day (or whenever)... I had closed and saved the AE and PP project files that are linked together. When I open the PP project I'm working on, the dynamic links for clips 1 and 2 are in the bin...no problems. But, if I go to clip 3 to replace that one w/ an AE comp., when AE loads, it prompts me to save an AE project file again...If I save ANOTHER PROJECT file, then all the AE comps linked to the previous PROJECT file get delinked. What actually seems to happen is that clip 3, since it is technically the first comp in this NEW AE PROJECT file, the effects applied to clip 3 and clip 1 become tied together. Ex...If I do adjustments to the AE comp that is linked for clip 3, say I just make it bright blue just to see the effect, not only does clip 3 turn blue, but clip 1 also turns blue....The solution to this is when I open PP and want to go to my next clip, in this case clip 3, I need to open the original AE PROJECT file that is linked to clips 1 and 2. Then, if I do this, it automatically creates a new comp for clip 3 (it doesn't prompt me to save an AE PROJECT file) and there are no problems. That is the solution.
Important notes--- When I create the AE comps and they get loaded in PP, I did not rename them something else. I just kept the generic name AE and PP created for the linked file. I need to test what happens when I go and rename the created clip to see what happens.
Also, I do not know what happens in different time lines. All the work I've done has been in 1 time line and 1 timeline only. And, I have all the work on one path in the timeline, meaning I do not have clips stacked on one another.
From now on, when I want to replace PP w/ AE comps, I will always open the original AE PROJECT file that is linked to that PP project and can easily access this file by right clicking an already replaced (linked) clip and choosing 'edit original.'
So basically what you were duplicating with your tests failed to close and save PP and AE, then reopen PP, go to another unlinked clip and hit 'replace w/ AE comp." It should ask you to save another AE project...do that and you'll lose your other linked clips but 1 and the new one you are creating that first time. It does it on my system 100% of the time. I'm going too test it now BUT rename my comp links.
I'm really not that worried unless it is a bug in my program because I can always just open the original AE Project when I want to replace the clips. Thus far, it has worked w/ dozens of unique clips using the same source files as well as different source files. I have not had one problem w/ broken links provided I do this. It scares the **** out of me though not knowing what could happen, but I'll be keeping a close eye out and saving my work on a regular basis as I progress.
9. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 2, 2011 9:36 PM (in response to CandleManDave1977)
I understand. In my testing today I came to the same conclusion. All the AE linked files MUST be in the same AE project or things get wonky.Your trick about activating the file by using Edit Original just to get it open is smart.
Ive also had the render files disappear when I shut everything down and then started up editing again. But it didnt seem to consistantly happen.
I think your discovery about have ALL the AE linked files in the same AE project is crucial to this process. Nice work. Please keep me posted as things develop and I will do the same.
10. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 2, 2011 9:39 PM (in response to lasvideo)
1. I import a 2 min. clip
2. I select the first 5:00 sec and edit it to the timeline.
3. I I then select from 5:00 to 10 sec. and edit to timeline
4. And repeat 3 more time for a total of 5 clips in a sequence.
5. I hilight clip 1, right clik and send to AE. I give it a unique name, color correct and SAVE.
6. I return to PP and render clip 1.
7. Then I highlight the second clip, send to AE, name it a different name, CC it and save.
8. I tab back to PP and render the second clip.
9. Rrepeat 3 more times. Then save the project.
10. I close PP then open it again. There is a period where PP searches for the clips when it displays the word "Pending" and then the sequence is restored as I cut and cc it.
11. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jul 3, 2011 12:54 AM (in response to lasvideo)How does that work ?..
UPD: Something is going wrong with Adobe image uploader now... Here is the link to full size image
12. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 3, 2011 1:20 AM (in response to lasvideo)
So Las, what do we do now. I'm new to this forum. I guess we should post to personal messages since my original question is basically answered. I definately want to keep up to date on what we discover as far as the proper way to use AE w/ PP and all the pitfalls that could beset us.
My new test I did this evening actually works as well. If you go in and rename the clips once they are created then you can go and create a new AE project and the newly linked clips work AND the original clips tied to the first AE project also remain linked. I did this, closed out the program, reopened PP and ALL clips were showing their proper changes. It seems there is a generic file path that Adobe screwed up in not naming the actual file that is linked. This makes sense to me because of the following...
If in session 1, clips 1 and 2 are replaced w/ AE comp and not renamed in PP but keep the original name given automatically by Adobe, AND, you close out and save both the AE and PP project...Then on reopening PP only, the following happens...
Replacing Clip 3 w/out opening the AE project connected to clip 1 and 2 will prompt saving a NEW AE project...Upon doing this Clip 1 from the previous session AND clip 3 have the same properties. If you do something to clip 3, the same effect is applied to clip 1. This makes sense because Adobe is not recognizing that clip 1 and 3 are in different projects, but the generic name is applied to both. Its fking weird. But, this pattern happens down the line...if you replace clip 3 in a new AE project, it applies to 1...if you replace clip 4 in the same AE project as clip 3, then it is tied to 2, ie the relationship between clips 2 and 4 is that they were the second clip replaced in their individual sessions. Clips 1 and 3 are the first clips replaced. Hence the bug....After causing the bug to happen when I saved two projects using the generic name given automatically by Adobe, where 1 and 3 and 2 and 4 are sharing the same file path, I closed the second AE project and reopened the first AE project (the one that created the original 1 and 2 links), AE crashed and I got an error message.
So it seems the two methods are either open the original AE project when replacing new clips in a new session or be sure to rename any new clips you replace. I'm going to do both since its good to rename the clips for organization purposes and its also safe to not have to worry about accidentily not naming the clip which causes the bug to trigger.
Let's do this...when we run into trouble, let's PM each other so that we can keep an update of what can go wrong. We may want to keep a master list of steps that we need to check when new releases of CS come out so that we can verify bugs aren't present with methods we use. Because man, if you have a big project and by accident you don't rename a file and you're in a different AE project and keep going and going...you're going to lose major work and time. I've already been in that boat. There are a few rules listed under dynamic links in the literature for PP. We should go over them and verify what they mean so as to avoid them as well. Some of the other problems you had may be found in that.
13. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 3, 2011 1:38 AM (in response to Fuzzy Barsik)
Yea, you renamed your files when you replaced w/ AE comps...What I was doing was not renaming them..that is the ultimate problem for the bug I was having. If you do not rename the clip, but just keep the automatic name given by Adobe and close out that timeline... And, If you reopen it and replace another clip in that line and save it under a different AE Project and DON"T rename it but keep the auto name, then you'll get the error. It has happend 100% of the time for me.
To duplicate...put a clip on the line...cut it into 3 pieces...render and replace the first two and DON"T rename the comps that are linked...
Close out and save the PP and the AE projects that are now linked.
Reopen only the PP project...clips 1 and 2 hold their link...but go to clip 3 and click 'replace w/ AE comp.' Save a different project name in AE and DON"T RENAME the clip...Now, your clips 1 and 3 share the same dynamic link....make a change to clip 3 and clip 1 will duplicate the same effect. Clip 2 will be red.
Solutions to this problem are either A. rename all linked clips as soon as you do them. B. when you reopen PP, be sure to open the linked AE file before replacing any additional clips.
Thanks for your help man, it was truly a fking weird problem I was having....
14. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jul 3, 2011 1:43 AM (in response to CandleManDave1977)
15. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 3, 2011 2:01 AM (in response to Fuzzy Barsik)
got me then bro, I don't know what you're talking about...
16. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jul 3, 2011 2:28 AM (in response to CandleManDave1977)
1. There are tree AE comps on the timeline, which are stored in TREE DIFFERENT AE projects.
2. AE is not running, whereas the PrPro project timeline is green.
As I have already told you, it doesn't matter how to create Dynamic Links - by replacing footages in PrPro timeline via right-click and 'Replace With After Effects Composition' or building a composition from scratch in AE and then importing via Adobe Dynamic Link -> Import After Effects Composition...
What you DO really have with Dynamic Links in CS5.5 is some bugs with rendering (perhaps, related to CUDA and Mercury Playback Engyne - I don't know).
And what DO you really need to solve the issue is to re-render 'Entire Work Area' but not just 'Effects in Work Area' after editing your AE composition.
And all you need to get access to that option in case it's grey is to select and copy a composition on the timeline into clipboard (Ctrl+C / Cmd+C).
What is more, all the above was in my very first post...
17. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 3, 2011 3:04 AM (in response to Fuzzy Barsik)
Actually, it does matter how you do it. Las verified it w/ his system. If you follow the steps I outlined in the last post, I will bet you the ranch you will get broken links. Seriously, just do what I say to do and if you don't get the broken links, then your system is different than Las's and mine. Yea, you can have 3 different AE projects linked in 1 PP timeline and it won't bug out, but you better damn well rename those comps when you replace else you WILL get the error I had trouble with. I'll gladly video myself doing this and show you.
I wish in the first post there would have been a link or wisdom that stated you have to RENAME the comp or it will provide a faulty link IF YOU CLOSE DOWN THE PP AND AE and then create a NEW dynamic which prompts you to save a new AE file...IF YOU HAVEN"T RENAMED YOUR NEW COMPS, it will bug out. That would have saved me many, many hours.
18. Re: Dynamic Link Replacing w/ After EffectsFuzzy Barsik Jul 3, 2011 3:14 AM (in response to CandleManDave1977)
19. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 3, 2011 3:35 AM (in response to Fuzzy Barsik)
I just made a video of it if you ever want to see
20. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 3, 2011 7:44 AM (in response to CandleManDave1977)
Candle. please describe in detail the second approach where you rename the clips in a step by step fashion. Im having a hard time wrapping my head around exactly how & where you are doing this.Please create a numbered list like I did earlier for you. I think that will clarify it for me.
I tend to like Approach 1 where all the AE linked clips are in the same AE project just for organizational purposes, but want to at least understand Approach 2 where you can have several AE projects.
It might be a good idea to combine both approachs...have all the DL clips in one AE project but renamed for safety? Becuase if you are working on a big project and need to add one more DL, it may save memory to create a new AE project and the redundant name issue could rear its ugly head here.
PMing sound like a good way to go unless other folks are interesting in solving this issue as well.
I dont know if its a language barrier or just me, but Im not really following what Fuzzy is talking about and how rendering is effecting his issues.
BTW Im on a Mac Pro / 8 gigs ram / Ati graphcis card / OSX 10.6.7
Where is the video you said you just made. I dont see a link.
BTW, what part of the world are you located in? Someday this stuff might get so confusing I might need to call for clarification and better communication.
Im in Las Vegas (hence the Las Video).
21. Re: Dynamic Link Replacing w/ After Effectsneedles27-Sm3DjP Jul 3, 2011 9:12 AM (in response to lasvideo)
Since you mentioned it, I am very interested in seeing this video and nailing down this workflow as well. DL is the main reason I switched over from FCP7, and I haven't had the opportunity to fully wrap my head around it yet. You have gotten me worried that one false move can wipe out so much! Seems like having a very rigid workflow with this can save many butts. Thanks to all of you who have put in the time for others, and I hope to contribute as well. PS - Las, is your Kona card up and running smoothly?
22. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 3, 2011 10:10 AM (in response to needles27-Sm3DjP)
Needles, the Konq 3 is up and running. It displays PrP, AE and PS on my engineering monitor Just a little more tweekingof the drivers is needed when working with DL.
23. Re: Dynamic Link Replacing w/ After Effectsneedles27-Sm3DjP Jul 3, 2011 12:20 PM (in response to lasvideo)
What problems come up with your monitoring when doing a DL?
24. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 5, 2011 11:26 AM (in response to lasvideo)
Yea, Fuz got [edited by hos] and swears we're beating our heads w/ a rake. I don't know if he just won't do the steps I'm doing and is hard headed or if his system is just different. Since you and I are experiencing the same problems, and I can duplicate the problem 100% of the time, I know I'm right and working in the right direction.
My system is very bare bones other than the RAM. I have an HP 6520f, stock graphics card, Windows Home Premium 7, Anthalon II 2.88 Processor, but I do have 14 GB RAM. I'm currently on CS5 Production Premium. ( I do plan on building a good system w/ windows if we start making more than we spend.)
I'm in Frederick MD, USA. Personal email is <email address removed for privacy protection> . I'll send you my contact info if you shoot me an email.
That said....
1st method is to use the same AE project for each clip as we have discussed. The only thing I have tested is 1 timeline applying one unique effect to different clips.
Method 2....
Scenario- you have clips spread out on a PP timeline and want to begin replacing w/ AE comps....No other AE project file has been linked to this timeline and AE is closed...
Step 1- Go to 1st clip and right click 'Replace w/ AE Comp.'
2. Save the AE Project file when prompted.
3. PP automatically creates a file in the Project Panel (this is the area in PP where you have bins, source files, sequences etc that you can drag to the timline.)
4. Go to the linked file in the PP Project Panel
5. Rename this file to something unique.
To detail this process- My PP project file name is AE Trials and the name I gave the AE Project was 77. So when I replaced the first clip w/ an AE comp, PP automatically created the file: AE Trials Linked Comp 01/77.ae This is the file name that automatically shows up in the PP Project Panel when you replaced the PP clip w/ a AE comp. Yours will be different and AE Trials will be your PP project name and 77 will be the name you gave to the AE project when prompted.
For the second method to work. if you go to the linked file and RENAME, so instead of AE Trials Linked Comp 01/77.ae, I change it in the Project Panel to something like Clip1 or whatever unique name I decide, then you can close out everything, open up PP, go to clip 2 and now you can replace w/ an AE comp, save a Different AE Project file and your first clip will not be effected. IE..the bug is fixed. HOWEVER, you must change the automatically created file name for this second clip in the Project bin or else you'll run into the same trouble we have shown.
So as long as you rename the automatically named linked file in PP, you can use many different AE projects files. Now, how far you can take this and the different ways you can still get screwed I don't know.
25. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 3, 2011 4:04 PM (in response to CandleManDave1977)
Dave, so if Im following correctly, you change the name (in PrPs project window) of the new AE DL file that you just createdt. But the thing that concerns me is that the name of the DL file in the PrP project and the name of the same DL file in AE project are different, since you said to only change the name of the new AE linked file inPrP. You didnt say anything about chaging the name in AE. If you need trace files at a later point, isnt dangerous having 1 file with a different name in each application?
I sent you a PM with details for furthur communication.
26. Re: Dynamic Link Replacing w/ After EffectsCandleManDave1977 Jul 3, 2011 4:19 PM (in response to lasvideo)
You know what is so screwed....I tried to video record the problem and the events that have happened 100% of the time did NOT happen this time. I was actually able to go in and use different AE projects w/out renaming the file in PP w/ no problems. Then, when I wasn't recording, the bug happened....I thought I had a logical pattern figuered out for this bug, but this proves there is no logical pattern that is obvious. Which that scares me even more. I'm sticking w/ just using the SAME AE project file for all replacements in PP. That seems to be the safest bet. Like your intuition is tellilng you, I'd stear clear of renaming them just to be safe and try to keep the same file names (the one automatically created by Adobe). Let's hope there isn't some random bug that finds its way into our projects. I feel confident enough to use this since it is so much easier to do than actually rendering works to place in PP. I'll just be saving more copies when large blocks of work are being done.
27. Re: Dynamic Link Replacing w/ After Effectslasvideo Jul 5, 2011 11:24 AM (in response to CandleManDave1977)
Thats pretty ironic about the bug happening when you tried to document the process. I concur, 1 AE project for all the DL's related for 1 PrP project...until we discover otherwise
Tom Daigon
Avid DS / PrP/After Effects Editor
[url deleted by host]
28. Re: Dynamic Link Replacing w/ After EffectsArlo Ihrig Apr 17, 2012 11:20 PM (in response to CandleManDave1977)
Hi all - I know this is a somewhat old post, but I am seeing the same thing with CS5.5, all current updates. I'll be using the method of 1 AE file for all of my replaced clips.
BUT, has Adobe acknowledged this, talked about, replied, etc? I can't seem to find anything about it.
29. Re: Dynamic Link Replacing w/ After EffectsIslanders66 Apr 18, 2012 5:50 AM (in response to Arlo Ihrig)
So far I haven't experienced these issues. I coldn't follow what CandleMan was doing wrong. I wonder if he wasn't clicking save after color corrections in AE for each clip? All of my clips are connected and I've closed and restarted AE in the same timeline to clear up ram. Maybe I'm just lucky!
Update: I can't duplicate the problem. I have no problem with dynamic link to replace clip with AE. I even closed AE midway and restarted the replace clip with AE, creating a new AE file with a different name and it all works perfectly. I can close the PP project, reopen it, all the clips are on line, and can edit each original clip by right clicking.


text:
Paper, stickers, and rub-ons are staples in paper crafters lives whether their style is simple or shabby, and whether they make cards or scrapbook layouts. Here are a dozen of my favorites from the show:
An instant favorite: Melody Ross came out with a line called Homespun Chic (with GCD Studios) and I can't wait to get my hands on it. I was loving it so much in the booth in fact, that I apparently forgot to take photos of the actual papers! (These flowers give you a good idea of the designs I hope!)
When asked about my show favorites, Glitz Design is a company I was both surprised and delighted by. I truly loved every new item in the booth and these rub-ons made me dizzy with happiness.
Every paper from Lily Bee is on my wish list, along with their new chipboard stickers. It's a beautiful two line release. I couldn't stop staring at this particular two-sided paper from the new Lovely line.
Cosmo Cricket's Garden Variety and Material Girl lines both got smiles and thumbs up from me, and these letters made me squeak aloud with happiness.
I re-visited the Core'dinations booth more than once to see the Core Impressions papers that are new. They have designs from Jenni Bowlin, Jillibean, and Cosmo Cricket that are all specially embossed and so useful in both patterns and colors. I can not wait to get my hands on them and sand, ink, and tear them to my creative heart's content.
(Above are some of the Jenni Bowlin samples. Below is the Cosmo Cricket woodgrain cardstock.)
Jillibean Soup had a lot of offerings such as new corrugated cardboard alphas, journaling stickers, and papers that are just too cute for words, like this birdhouse design. It is a part of their Old World Cabbage Soup collection.
Adornit had a really large release this show. My favorite are these star stickers. They're just so happy.
Teresa Collins created a line called chic bebe girl (and in blue, chic bebe boy), and it's the first baby line in a long time I've been excited about. What I love is that almost every design and item in the collection can be used for any subject, making it far more versatile than most themed lines.
My favorite thing about The Girls' Paperie "On Holiday" line is that while it is vintage inspired, it's got beautiful reds greens and blues and can be used easily on both travel and any other photos as well. Every paper in the line is worth mentioning, as well as the really incredible alphabet, word, and border sticker set that is available.
My Little Shoebox was filled with color, happy themes, and very usable products. I especially loved their tiny alphabets and the die cut papers like this one.
Hambly makes rub-ons and transparencies that few can match in style or quality. While I want most of their new releases, these swatch rub-ons were just so unique they stayed in my mind and must be mentioned here.
Studio Calico had a simple booth that let their stunning offerings speak for themselves. The "Anthology" line is wonderful, as are the versatile rub-ons that they released that could easily be used with any number of products or themes. These wood grain and button rub-ons are not to be missed.
Last but not least, BasicGrey released a large line called "Basics". It's brilliant. These are neutral enough to work with most any other products. They will truly be timeless and something I can purchase and feel confident about getting my money's worth from.
If you're counting you notice I went with a baker's dozen so I could get one more pick in. I feel compelled to say that there was a lot of lip biting and hand wringing here as I narrowed down my picks. There are many brands that released product that I love, and I look forward to utilizing them in future projects along with these favorites. Stay tuned for more updates here, and for my personal CHA experience and photos that I took including people please feel free to visit my blog.

subset: commoncrawl


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|2009-01-02, 09:32
|Link #1
I am of the Blood Ravens
Deadliest weapon around
I have seen many types of weapons ranging from knives to space cannons and even anti-matter weapons. Which weapon is the deadliest in the gaming universe (anything including gundams and magical weapons)?
|2009-01-02, 12:48
|Link #6
Senior Member
Join Date: Jul 2008
Location: PMB Headquarters
It is difficult to make a comparison, but...
Wing Zero's self-destructive device is pretty deadly, not mentioning that its twin buster rifles are already powerful. However, the twin buster rifles has an ammo limit and once the limit has been reached, it is totally useless which is why the self-destructive device is more useful.
On the other hand, I just remembered that 00 Gundam+0 Raiser in TRANS-AM mode is much more powerful than the Wing Zero in all aspects, not mentioning that the self-destructive device may have little to no effect due to GN Particles.
|2009-01-02, 19:03
|Link #9
Senior Member
Join Date: Apr 2007
Location: Hockey Nation
Off the top of my head:
The Halo's or whatever they are called in the Halo universe. Those things can wipe out entire life in a flash across a galaxy.
The Hammer of Dawn in Gears of War, basically an orbital satellite lazer that can target Locust on the ground.
Metal Gear Rex/Ray/Arsenal Gear.
|2009-01-02, 21:25
|Link #10
Know who you are
Join Date: Feb 2007
Location: Resides within the depths of Ned infested Glasgow
Gravity Gun - nothing like plucking up a saw blade and blasting it at bad guys then seeing their heads roll(my fav weapon of all time, its sooooo much fun)
BFG - no need to explain here
Cerebral Bore - another brilliantly fun weapon
|2009-01-03, 02:23
|Link #18
Ha ha ha ha ha...
Graphic Designer
Join Date: Apr 2006
Location: Right behind you.
Age: 30
Hm... tough question. However, if we're talking about the realm of hand-to-hand combat weapons/small arms, I would say...
The Lightsaber. The tried-and-true ultimate futuristic weapon. Lasers? Deflected. Super-dense alloys? Cuts through like a hot knife through butter. Anything else? There's always the Force.
And of course, as I just mentioned, there's the Force. Someone mentioned Goku being the equal of the Death Star. Probably true, but a good Force Choke/Lightning would put him down pretty fast.
|2009-01-03, 03:52
|Link #19
I am of the Blood Ravens
|2009-01-03, 04:09
|Link #20
Join Date: Oct 2004
Age: 38
But the deadiest weapon has to be the ability to summon any and all forms of weapon from portals with a thought for a bombardment or even materialise them for an infinite amount of times just by mentally projecting one in the mind.
|Thread Tools


text:
Here's the second in our two-part video series from our interview with the 96-year-old former personal secretary to Blessed John XXIII, Archbishop Loris Capovilla. (In Part 1, if you missed it, the Italian archbishop spoke on the pope's decision to convene the Second Vatican Council.)
In this segment, Archbishop Capovilla talks about John XXIII's decision to invite "separated brethren" to attend Vatican II and begin the quest for Christian unity, about devotion to Mary as it relates to Protestants, and about his firsthand knowledge of the third secret of Fatima. You can read more about his comments on Fatima here.


text:
How Will You Be Shopping in 10 Years?
Intel futurist Brian David Johnson joins digits to discuss how robots, holograms and 3-D printers will be changing retail very soon.
This transcript has been automatically generated and may not be 100% accurate.
... I ... will we be shopping in the future what will technology could change that will commit Digits I'm Simon Constable and Brian David Johnson off and so he's been self interest joins us now on Digits again welcome back so please read that was digits ... the technology just those tanks that so and there are few things that weren't about to die ... Holland grounds of town and it changed everything ... who doesn't love holders combine everybody's was going on is the question I get is a futurist all the time and the answer use to always be ... ten years or ... so in nineteen eighty two during SPM is ten years ... two thousand to fewer than three weeks in ten years from twenty thirteen ... just lift up over the horizon it's getting closer and closer ... sourcing email about Holland Rams in our stores revealed a shop in interact with almost anything ... I'm all the data moved off the tour of one hand it's it's a toy from inside the package the Lego toys ... and that's what it is one one it's ... when you when it's finished ... that's that's coming soon right that it's coming very soon it's the ability ... to take any object ... though I'll shoppers acting interact with any object regardless if it's there in the store if it's halfway around the world ... he really starts to transform not only how we shop but then also kind of ... that the bones underneath reconsider how we tell works because it means ... you have to have all of that stuff in the back room ... then you can do to own a piece of written a piece of paper I mean it's not what took so long kilograms on the moving of being ... I'm ... you know in high school I was saying a whole grounds that some future just adult CEO point I'm a or sumthing and we'd look is that ... if you look of this in a darkened room with a rate of just what you can see something that we take the fight watched what change when we all saw a hologram Star Wars that's what everyone's now you're in or your only hope ... what changed was the first the three things have a hologram you needed three D camera mention you in the abaya and we got really have that now you can do XYZ ... we need the computers the fast enough and we just got there you've got ... GTU CCP is the command of the compression of her great eye ... for the things that changes the actual project or the pleat if you will the projects up the volume of turns black ... and or making huge strides in not only us but people all over the world ... just last month and weights he published a paper in the journal nature where they were will to create a Modulator where they can do ... a full color ... Oliver ... to the butterfly was full court was his son was amazing and really really beautiful ... and they believe that they can get downs of its affordable for free ... I'm out about cicada affordability ... let's move on to three D printing we've we know what three D printed fire on Sunday in the ... range in some quarters the back has has caused but it's more than just that is a mess ... my thinking you know we've we've all seen ... three printer so clean we've seen it ... in that box and doing the added to the printing ... when I think about three printers and I look ten to fifteen years I think about in a very different way I would take three freaking out that box ... and say what is it me if you could print ... them all ... what is it mean what would it be like if you could print this to work ... so it's a work in the store and workers in in in the shopkeeper what happens if I printed this ... and I can actually make my store a certain way maybe for holiday for back to school ... known and done him into the next season I recycle this can completely change the inside ... while some like that so what the federal pressures wanna have a flat some Eminem around a lot of stuff for recycling so it's not so it's it's out of the revolution in just a retail experience itself because ... so much and retell it got into a little bit of trouble online as I said that ... shopping is kind of of former personal expression that it's a ... it's a way that we are social with people it's this way that we live for New York anti social but one fact as I said that that that the that that has also so that that's interesting to making the store this can be really revolutionized things personalizing this morning getting it so that you with the shopkeeper is it Worse brands ... can costly change the store it's more sustainable because you can resell it and allows it to be much more but for for ... now until the levels of Brokaw stand and we have some ... fantastic bit of a robot that this gone on to its bank debt ... the question is what he's saying that it still ... wasn't done and what its function Alliance said that a robot is looking at the shelves and getting an understanding of what's on the shelves one of the ... biggest expenses in retail is ... maintaining the shelves making sure the right stocks in the right place that it's a very full ... this if you have a robot that's going around ... your base into bringing computational intelligence throughout the store so you know what's going on in the store but the robots in the computers are telling you to pay somebody to do with the robots doing on the ... market now what one other things that is the diamond Outback ... and invested through the end of the country that some police ... the wave of mass shelf looks is actually designed ahead of time by marketers and when to let the subway and occasionally you see the still tests without ... a little diagram and a half to put lights it's the bear with me not been on supplies to the ... point that it's all laid out right right and so this can help with that this could help with the tools to become a costing custom labor costs would also ... go shelves can also become smart they become intelligent but the humble shelf imagine ... there's one of the things was doing my research I see them as if we hadn't election shall hse ... people thought that it was a little crazy in the pool ... with me ... to imagine this imagine you've got ... a shelf and then shelf news you can you walk in ... that shelf is the point in which you act and interact with the physical products ... and what that means is that as you walk in but say that you may have a child was a mean your family has an allergy ... if you if you know that a new house we like in your life is serious business it's a serious thing ... to mention you walked in and enter into this assignment Simons gotta love when has that ... so every product that had nuts in it or was produced a factor that's the walk ... to calm and all use all were the ones that were say ... so right there we found a way to use computation intelligence ... information about you can make you are like super ... interesting ... for exciting and it is the future ... perhaps attract much to tell the difference prime David Johnson I'm Simon Constable and that was digits


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Ancient ship hulls were filled with clay jars called amphorae—the cargo containers of the B.C. world. (Illustration by E. Paul Oberlander, Woods Hole Oceanographic Institution) [ Hide caption ]
Brendan Foley hunts for shipwrecks, but he's not searching for gold or jewels. The sunken treasure he pursues comes not in chests, but mostly in curvaceous clay jars called amphorae—the cargo containers of the B.C. world. Holding remnants of goods and foodstuffs produced and traded by ancient civilizations, they are rare and valuable puzzle pieces, strewn and preserved on the seafloor, which scientists could piece together to reconstruct the agriculture, technologies, economies, art, and geopolitics of long-lost eras.
"Ships carry not only economic goods, but the ideas of people," said Foley, researcher at Woods Hole Oceanographic Institution (WHOI). "Even today, something like 85 percent of all goods are carried across water at some point, and that proportion was higher as you go back in time, because there were few roads and no airplanes."
Some proportion of those ships that set sail never made it back to port. So Foley believes the sea is full of shipwrecks too deep to be discovered by human divers. Over the past decade, advances in deep-sea vehicle engineering and DNA sequencing are giving scientists new abilities to search for, survey, and analyze these potentially fruitful archaeological sites, he said. Put another way, technological leaps forward are opening new vistas for scientists to make leaps into the past.
In particular, Foley has set his sights on the Mediterranean Sea during the Bronze Age, a period from about 3,000 to 1,000 B.C. when human civilization swiftly blossomed. The era was named after a technological advance—the development of metallurgy to produce bronze, an alloy of copper and tin, to make more durable goods. But this relatively brief period in the span of human history also spawned advances in cities, art, architecture, agriculture, written language, and long-distance seaborne trade spanning Egypt, Phoenicia, Greece, and island states throughout the Mediterranean Sea, such as Crete, Santorini, and Cyprus.
Ironically, original artifacts made of the very metal that named the era are much more likely to be found under water than on land, Foley said. "All the great bronze artwork in the National Museum in Athens, Greece, was found under water—some of them from shipwrecks; some of them may have been thrown in lakes or just off shore in advance of invasion. Bronze on land isn't preserved, because it's valuable and easily melted down and converted into something else: shields and swords, or later on into cannons or church bells."
"We shouldn't be parked on land and confining our search. There's too much to find out there," he said, pointing on a map to a blue expanse of the Mediterranean.
"This area is a cradle of civilization," he said. "With new techniques and tools for marine archaeology, we can start to look for answers to questions such as: What technological developments enabled the flowering of civilization? What was the nature of contact among ancient peoples? How, when, and where did trade networks first develop? How did trade affect cultural development throughout the Mediterranean world?
"Really, what I want to learn is the roots of our civilization—why we became what we are today," he said.
Foley began working with archaeologists from the Hellenic Ministry of Culture in Greece in 2005, obtaining a list of wrecks that have been reported over the years by fishermen, divers, and other researchers. Many of these shipwrecks, ranging from 700 B.C to 400 A.D., are located near the islands of Chios and Oinousses in the eastern Aegean just off the coast of Turkey.
During that first summer, Foley and a team of Greek archaeologists aboard the research vessel Aagaeo dove on only a handful of wrecks. In crystal-clear visibility of up to 200 feet, they used digital cameras encased in special waterproof housings to take dozens of photographs of the wrecks. Then, they used a WHOI autonomous underwater vehicle named SeaBED to take additional images.
Back on land, they pieced together the photos to compose detailed photomosaics that offered panoramic perspectives of entire swaths of seafloor. As with most ancient wrecks in that region, the hulls, decks, masts, sails, and most of the other organic material on the ships had been consumed by marine organisms. What remained poking out of seafloor mud was all of the inorganic material—hundreds of empty ceramic amphorae. These had been stacked within the long-gone hulls to carry commodities such as wine, olive oil, olives, nuts, and a type of fish sauce called garum.
Various civilizations established their own "factories" to manufacture bulk quantities of amphorae to transport goods, Foley said.
"Different people in different areas and in different times had their own style of ceramic amphorae that you can discern at a glance—they way you can discern a Heinz ketchup bottle from a Coke bottle," Foley said. "So these ceramic vessels are really good indicators of time and place and who was trading with whom."
But that doesn't provide much information about what the civilizations were producing or trading.
"Imagine if you were asked to analyze the American economy just by looking at the empty shells of 40-foot shipping containers," Foley said.
To find out what had been inside the amphorae, Foley turned to a close friend, Maria Hansson, a molecular biologist at Lund University in Sweden. She pioneered a sampling technique that enables researchers to swab the interior of ostensibly empty amphorae for traces of ancient DNA.
"Even if it looks like everything has been washed off, we can still detect quite a number of things," Hansson explained.
Hansson examined swabs from two amphorae recovered from a wreck off the coast of Chios, which the Greeks had discovered in 2004 and Foley and others examined the following year.
Hansson and Foley reported their findings in a 2007 article in the Journal of Archaeological Science. According to DNA data, one of the amphorae held an olive product (probably olive oil), flavored or perhaps preserved with oregano. The other most likely contained wine, because it appeared to contain fragments of DNA from mastic, a plant that grows on Chios and was used to preserve wine. (Hansson notes that the team wasn't certain of this latter hypothesis because the same DNA sequences are also found in pistachio nuts.)
Down the road, Foley hopes to apply this technique to other wrecks, combining DNA and other data to reconstruct the movement of crops and commodities across the Mediterranean region.
"If we can get an idea of how food was being preserved and prepared and what sort of value-added products were moving across the Mediterranean between cultures, it would be outstanding," he said. "If you go back to the fundamental questions of how civilization grows and spreads, maybe a precondition for large populations living in marginal areas like the Greek Isles includes the importation of foodstuffs from other, more fertile spots."
But first you have to find amphorae—and that's where autonomous underwater vehicles (AUVs) have the potential to expand the field. Unlike humans, who can't safely dive deeper than about 130 feet (40 meters), AUVs can reach into the depths. They can be programmed to conduct systematic sonar surveys covering many square miles of seafloor per day to search for wrecks.
That significantly ups the odds of finding more wrecks—including many in previously inaccessible deep-sea regions. Once wrecks are located, AUVs can map and survey the sites. In the future,they might be able to retrieve artifacts in places where divers cannot go or accomplish tasks more quickly than divers in shallower areas.
"We can get new information about ancient ships traveling long-distance routes, not just day-trippers staying close to shore," Foley said. "We [humans] can never be there ourselves. We need these robotic vehicles to act as intermediaries linking us to these sites.
"Instead of concentrating resources on a single site over many years as has been the practice in underwater archaeology, soon we will be able to survey dozens of sites in a single field season," Foley said. "Eventually AUVs will be deployed from shore, reducing project costs by eliminating the support ship."
Foley hopes to try that experiment, deploying WHOI-developed AUVs called REMUS (Remote Environmental Monitoring UnitS) from the Egyptian shoreline.
"The Egyptian Mediterranean coast in particular is probably one of the least-explored coasts in the whole Mediterranean region," said Emad Khalil, director of the Centre for Maritime Archaeology and Underwater Cultural Heritage at Alexandria University. "The use of advanced methods and techniques, as well as cooperation between institutions which are interested in the region, will certainly reveal a lot."
Foley is also teaming with WHOI engineer Dana Yoerger and WHOI geophysicist Jian Lin on a project with the Algerian government to mount a multibeam sonar on an Algerian naval vessel and map the entire Bay of Algiers in the western Mediterranean.
The scientific goals are twofold: to map submerged active seismic faults to assess Algeria's vulnerability to major earthquakes and tsunamis and help the government better prepare for them, and also to seize the opportunity to find shipwrecks and rediscover the country's rich maritime history, which extends at least as far back as the 10th century B.C., Foley said.
Meanwhile, as plans for Mediterranean expeditions continue to unfold, Foley has also pursued an underwater archaeology project in the Stockholm Archipelago in Sweden. There, with help from archaeologists representing the Swedish National Maritime Museum and the University of Southampton in England, Foley plans to build a small diver sled, with a thruster, for shallow-water investigations.
The sled will have a Doppler velocity log for relative navigation and a multibeam sonar for precise and accurate mapping of seafloor features. Eventually, Foley hopes to equip the vehicle with a stereo-pair color-camera system and use it as an AUV to create photomosaics of Viking-era shipwrecks.
Many of these ships are much more intact than their counterparts in the Mediterranean, because the low-salinity Baltic Sea lacks zooplankton that eat wood. Many of the wrecks have decks, masts, and bowsprits still standing and barrels full of cargo between the decks.
"It's the sort of vision of a shipwreck that Hollywood directors have in mind—ghost ships sitting on the seafloor," Foley said.
The big challenge in this environment will be visibility. On good days, researchers report visibility of no more than five feet—a green-shifted, dark, and gloomy place to try to image a shipwreck.
"With this technology, any shipwreck within diver-depth we can map to a high quality in maybe less than half an hour," Foley said.
If they can prove the concept in the Baltic, they will take the technology back to the balmier Mediterranean.This research was funded by the WHOI Wheeler Award for OceanScience and Society, and the Mary Sears Visitor Program. Private sponsors include Susan and Robert Bishop, George Moss, Jane and James Orr, Joseph Patton, Cathy and George Sakellaris, and others. Federal sponsors include the National Science Foundation Censsis Gordon Engineering Research Center, National Oceanic and Atmospheric Administration, and U.S. Department of State. Foreign sponsors include the Hellenic Ministry of Culture; Hellenic Centre for Marine Research; the Prefecture of Chios, Greece; Swedish National Maritime Museums; Lund University, Sweden; and the Royal Physiographic Society, Sweden.


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Crib Bedding Sets
If you are looking for baby stuff to decorate your new nursery with then Fantastic Baby Mall is where you need to be. We are a family owned business with affordable price since 2011. Make your selection from our wide range of hundreds of crib bedding sets and thousands of assorted accessories. Your bundle of joy will be happy for it. Our unique range of baby items come in a range of designs and can fit into any budget. We also offer Organic Nursery Bedding Sets for eco-conscious parents. Select from our impressive collection of luxurious Cotton Bedding Sets. Bedding in stock is available for immediate delivery
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Talk:Wiki Maintainers
From Openmoko
Revision as of 03:31, 21 July 2008 by Cheetah100 (Talk | contribs)
Feedback and advice is always welcome!
- Will volunteer to help maintain this in anyway, shape, or form. Would like to see direction come from Brenda, if not someone designated by her. I think as a group we can make a huge impact on this wiki, but in order for us to come up w/ some process, organization, and editing rules I feel that OM needs to endorse this. -westcoastmonson
- I won't put my name down yet, but I'll probably end up involved in Wiki editing once I get my Freerunner and start wanting to find information... Consider me an interested party. Darksatanic 21:28, 15 July 2008 (UTC)
- I'd love to take a crack at a better Getting Started for Brand New OpenMoko Developers - from after you have unwrapped your phone to "Hello World". The confusion over which Distro to use, and the constant references in the Wiki to the Neo 1973 sure dont help :-) - Vijay
- I agree. I think where there is commonality between various Openmoko products, pages should be shared, but the distinctions should be teased out. If that means editing some 1973 pages, so be it. - Matt
- biggest issue is reorganizing the pages into something that makes more sense, and keeping Brenda involved since she's in charge of the wiki as an OpenMoko employee. Secondary concern is that everyone who signs up understands wiki syntax - Ian Douglas
- I agree - we want to have Brenda in on this (be it as leader, advisor or both). As for understanding Wiki syntax, I'll settle for peope that are willing to learn it. Tingo 05:40, 16 July 2008 (UTC)
- I'm also not willing to be an official maintainer, but expect to contribute lots of edits. I don't really understand why references to the Neo 1973 are confusing. The company has two very similar devices and it's simply more efficient to discuss the same topic with respect to each in the same place. If someone really wants to duplicate such similar content in two separate places, go for it, but that's a lot of work for little payback, when we could instead educate wiki users that there are two devices out there. The main thing I think the maintainers should focus on initially is getting a very organized front page and better search functionality in place. Those two things prevent people from finding what they are looking for. The search is just abysmal and I can't even find pages I know I've edited in the past using the search. The front page cannot link to everything, but it should try to hit the main things people are looking for and also provide a prominent link to a more comprehensive index that can be used when the front page doesn't have what you're looking for. We might ask OpenMoko if they'd be willing to give us some website stats on the wiki so that we know which pages ARE most-visited and then could be sure to include those on the front page. - Brianwc
- I would like to spend time helping out with maintaining the Wiki. I feel that the future of the OpenMoko project will be determined by the community around it, not by advanced technology. We need to aim for involvement with many vertical market specialists, and they will need to be comfortable with the support infrastructure. The Wiki and other community tools will be central to this effort. I look forward to contributing. Cheetah100
- The navigation menu has a link to the Wiki Index Page, and Brenda mails monthly stats to the community mailing list. - John Reese


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Dear all,
After a few searches, I am still trying to get my server back to life. Windows has uninvitedly decided to restart my machine. All the things I was working on gone, and my server has some trouble.
- commandline acces to mysql shows that mysql is running and still has all my databases
- php admin is unavailable:
* #2002 - The server is not responding (or the local MySQL server's socket is not correctly configured)
- When trying to run a script, I get an error on the mysql_connect:
* Warning: mysql_connect() [function.mysql-connect]: [2002] An attempt was made to access a socket in a way forbidden by its (trying to connect via tcp://localhost:3306) in [..cut..]
What could this be? It was a fully working installation, which I have been using for weeks without issues. Xampp 1.7.4, control panel 2.5
Hope this sounds familiar to you..


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Announcement to NIRI Users in Semester 2001A and 2001B
You are here
Matt Mountain, Director
During our initial acceptance tests of NIRI on Gemini North, it was found that NIRI exhibited "flexure", or image motion instability problems that were far larger than expected and outside the original NIRI science requirements. The University of Hawaii's Institute for Astronomy (IfA), which is responsible for NIRI, has tried a number of measures to correct this problem. The image motion is caused by a poorly operating cryogenic bearing on the steering mirrors that select cameras within the NIRI cryostat. Though various attempts at correcting the problem have lead to gradual improvements, none of these have achieved an acceptable performance, and the IfA has concluded that further incremental changes are not likely to fully solve the problem.
At a meeting between Gemini and the IfA on 30th April 2001 it was decided that:
- Both the IfA and Gemini accepted that further commissioning of NIRI would be suspended, and that priority would instead be directed at fixing the image motion problems with NIRI that will require the IfA to redesign and re-engineer the steering mirror responsible for the majority of the flexure.
- The IfA believes that it should be possible to have a viable alternative mechanism ready for installation into NIRI by August 2001.
- With NIRI in its current state it is unclear at this time which programs could be effectively post-processed to remove the effects of flexure. Wide-field imaging programs using the F/6 camera, and possibly F/14 used at thermal wavelengths, may be able to deliver high-grade science observations.
Consequently, the Observatory has decided to inform the affected PIs, National Gemini Offices and National TACs that it will be canceling or suspending all NIRI Queue programs for Semester 2001A until we can determine which programs can be undertaken. (The individual NTAC's, not the Gemini Observatory, can recommend whether programs lost in 2001A should be reinserted into the proposed 2001B schedule.)
In the interim, the Gemini Observatory will proceed with a number of approved System Verification programs, making the resulting data available to the community, to determine which programs can be successfully undertaken before the NIRI flexure problem is fixed. The newly released Observing Tool will be used to define these programs as part of the System Verification process.
The IfA and the Gemini Observatory will proceed on the assumption that NIRI will be available for Semester 2001B, though NIRI will not be formally scheduled before September 2001.
In the event that there is a delay in the NIRI re-engineering of the steering mirror, the Gemini Observatory, in consultation with the IfA will be prepared to support early queue use of NIRI in 2001B for a restricted number of programs that the Observatory judges can be successfully undertaken with NIRI in its current state.
3 May 2001


text:
From a news account: "A longtime neighbor in San Diego, where Holmes grew up, remembers only a 'shy guy ...a loner' from a churchgoing family. In addition to playing soccer at Westview High School, he ran cross country."
Views: 536
Which group is this?
Thanks Steph, I'll check it out.
I joined up and posted my first reply!
And I don't think it has to do with introversion and extroversion. If you had a population of each and found the incidence rate of each group, I think it is highly unlikely to be those factors. I don't know what other factors.
I have been reading whatever I can find, and no clear image is coming through to me. How do we see the psychotic break before it happens?
Steph, being a loner or an introvert is not necessarily a clue to mental illness. Many loners just don't like small talk and have interests that others do not share. A healthy introvert looks inside him/herself for answers to challenges.
Of course you would never hurt anyone. In fact, you make everyone feel important and special. If I remember correctly, you are an INTJ, (Introverted iNtuitive Thinking Judging). How would our world benefit without such personalities? No! we need people who have ideas, strategic planning, are insightful, a natural leader, and I could go on, but you have read the profile.
Portrait of an INTJ
"INTJs are one of the rarest of the sixteen personality types, and account for about 1–4% of the population."[2][3] Wikipedia.
"Portrait of the Mastermind". Keirsey Temperament Scale
"All Rationals are good at planning operations, but Masterminds are head and shoulders above all the rest in contingency planning. Complex operations involve many steps or stages, one following another in a necessary progression, and Masterminds are naturally able to grasp how each one leads to the next, and to prepare alternatives for difficulties that are likely to arise any step of the way. Trying to anticipate every contingency, Masterminds never set off on their current project without a Plan A firmly in mind, but they are always prepared to switch to Plan B or C or D if need be."
You have good company!
As a retired academic, I know from experience that failure in graduate school can have serious psychological consequences. Bright students are sometimes over-invested in intellectual abilities, compensating for social deficits. Graduate studies are much harder than undergraduate programs. Students are sometimes allowed to spend years working at a thesis before it becomes clear they cannot succeed.
If academic success is the only thing you have going for you and you fail at it, the fall is hard to take. It may look as though life is over and nothing remains. Anger can turn against the thesis advisor, the department, or the university.
Theodore Streleski murdered Karel de Leeuw in 1978 with a hammer after failing to complete his Ph.D. thesis in mathematics after 19 years at Stanford. He served seven years in prison and was later interviewed on the Donahue Show.
To Dr. Clark...I read your note after I wrote mine. Glad to see confirmation of the deleterious mental effects of graduate study, which I have observed first-hand.
I'm not ready, at least at this stage, to pin this one on "theism." Until there is more information, it just seems as it's too convenient a scapegoat. I have worked (as an attorney) in the field of mental health for decades, side by side with psychologists and psychiatrists. Which, I'm the first to admit, does not make me one by any stretch of the imagination.
But, one thing I have learned, is that it can strike anyone, at anytime. Especially, though not necessarily, if there is a history of it in the family. As a prosecutor, I once had to try a case for involuntary commitment to a mental institution on a young and promising attorney, who had virtually overnight lost his grip on reality. Did the same with an Air Force cryptologist (unlike the movie, she was a real cryptologist). And, as a defense attorney, I had a musician who, at one time, was the opening act at the AstroDome in Houston, had his music videos all over TV. And, the last I heard after he was released, is living on the streets and penniless.
People have breaks with reality everyday. Some stand on the street corner chasing away invisible vampires in broad daylight. Others are relatively happy go lucky thinking they're the reincarnation of Teddy Roosevelt. And others get guns and try to kill the imagined "evil ones" around them. Like diabetes or cancer, no one asks to be stricken with mental illness.
My heart goes out to the families of those who tragically lost loved ones. And, if the shooter is sane, the Courts will deal with him. If insane, no matter where they put him, he'll have his own private hell to live in.
© 2019 Atheist Nexus. All rights reserved. Admin: The Nexus Group. Powered by


text:
Echolab Introduces Powerful Overture Series Production Switchers
Overture1™ and Overture2™ Offer Unique Combination of Power, Flexibility, and Ease of Use in Creating Visually Stunning Live Productions
BILLERICA, Mass. -- Feb. 25, 2008 -- Echolab Corporation, a leading provider of professional video production switchers and broadcast tools, today announced the release of the high-performance 1-M/E Overture1™ and 2-M/E Overture2™ production switchers, available in standard definition (SD) and multidefinition (MD) models. Both of these innovative systems combine internal conversion and synchronization with powerful key layering and special effects to provide simple control over complex production tasks and, in turn, streamline creation of a sophisticated on-air look.
"The Overture series builds on the success of our popular Opera dual-format production switchers, supporting flexible and reliable live production while introducing additional keyers and rich new transition, layering, and keying features that enable easy application of stunning effects," said Echolab President Nigel Spratling. "Internal conversion, synchronization, and still stores eliminate the need for external systems, further streamlining the workflow and reducing expenses associated with external equipment."
In addition to four ME keys and two downstream keyers, which enable title keying for graphics, logos, and bugs, the Overture family features unique SuperSource™ crosspoint keys that make it easy to achieve expert transitions with minimal effort. Rather than tie up existing switcher keyers, the SuperSource feature adds three new keyers that allow the operator to build a custom layout, which can consist of up to three sources using three keyers, available through a crosspoint button. With this keying capacity, SuperSource also makes it easy for the operator to transition in and out of a two-box shot.
A DVE key in each "take block" enables instant transition effects, and the MD Overture systems offer as many as four channels of DVE with warp and lighting effects. Robust DVE capabilities are complemented by as many as 34 internal graphics/still stores.
The Overture systems also feature the unique new Stinger™ transition, a special "take block" keyer with combined mix/wipe and graphic control that reduces complex animated transitions to a single button press. While this type of transition can be very difficult to set up, the Stinger feature keeps it simple by managing timing issues and ensuring successful execution of the transition. Like the SuperSource feature, the Stinger transition leaves existing keyers free for other uses.
Echolab designed the Overture series for ease of use, and customizable features come standard with each switcher. Overture1 and Overture2 include user-customizable RGB mnemonics, typically an expensive switcher option for other systems, and user-definable graphic macro keys. Overture2 boasts 10 macro buttons that can be programmed to execute any task.
Overture switchers accept up to 32 multiformat analog and digital signals and provide as many as 16 multiformat outputs. Internal frame synchronization helps to ensure the quality of effects, and integrated up/crossconversion within MD models streamlines switching of video in multiple formats. By eliminating the need for genlocked sources and external A-to-D converters when working with sources such as DVD players, satellite, remote studios, and microwave links, the Overture systems simplify installation and significantly reduce overall system costs.
Internal frame stores allow unused inputs to be loaded with often-used stills. This frame store option provides easy access to graphics and can even replace a dedicated clip/still store in some applications. Because frame stores can be assigned to any input, they offer tremendous flexibility within a streamlined workflow and help minimize the need to reconfigure wiring. Stills can be captured from any input or loaded via PC, CG, or other device. An FX pack adds DVEs, linear and chroma keyers, and extended clean-feed and DSK functions to the switcher's functionality.
Built on the same award-winning System on Chip (SoC) technology used in Echolab's Opera™ switchers, the Overture1 and Overture 2 accept and deliver both digital and analog signals without the need for external analog-to-digital converters. Users can choose between analog or digital input modules to customize the switcher for each production environment. Simultaneous dual-format output is standard on every system, allowing the switcher to be integrated into analog facilities without the need for additional gear. Both systems are available with either of Echolab's award-winning Opera (SD) or OvationMD™ (MD) video production switchers, giving users the flexibility needed for fluid, cost-effective growth.
More information about the Overture series and other Echolab products is available at www.echolab.com.
# # #
About Echolab
Echolab Corporation is a leading provider of video production switchers and tools that offer flexibility and on-air reliability for the production and distribution of digital media in a variety of formats. The company's products include the Overture1™ and Overture2™ video production systems and Conductor control integration system, all of which provide functionality and ease of use critical to professional-quality production. Echolab is online at www.echolab.com.


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Home > News & Events > Wayland Press Release Archives > 2007 News Releases > June 2007 > Alumni events on tap featuring baseball, dessert and theatre
Alumni events on tap featuring baseball, dessert and theatre
PLAINVIEW – Three events have been planned for alumni and friends of Wayland Baptist University for the coming weeks, aimed at providing entertaining getaways and chances to fellowship.
The first hits June 12 in conjunction with the Southern Baptist Convention in San Antonio, when WBU will host a Texas-sized dessert bar reception at 9 p.m. following the Tuesday night session of the convention. The reception will be at the Marriott Rivercenter located just across from the convention center and is free for WBU alums, friends and guests.
The second event, planned for Friday, June 15, is an outing to the Amarillo Dillas game against Edinburg at the Dilla Villa, located adjacent to Dick Bivins Stadium on East Third Street. The evening begins with a meal served from 6:05 p.m. to 7 p.m., featuring an all-you-can-eat barbecue buffet of brisket, smoked sausage, potato salad, cole slaw and beans. Then the Dillas take the field at 7:05, including former Pioneer baseballers Jonathan Reynoso, Taylor Allen and Mike Irby.
The WBU group will have the opportunity to get autographs from the team mascot and several players after the game and will be announced as a visiting group. The group will also have door prize drawings as well as time to fellowship during the meal.
Cost for the outing is $15 for adults (includes the meal and the game ticket) and $10 for children. Contact Danny Andrews at (806) 291-3603 by June 13 to reserve your tickets. Payment will be made at the gate.
The final event in June will be a weekend getaway to Ruidoso, N.M., culminating in the performance of Shadowlands by the Wayland theatre department at 8 p.m. Saturday, June 23, at the majestic Spencer Theater for the Performing Arts. The weekend officially begins with a free Saturday morning brunch at First Baptist Church, followed by a golf scramble for interested persons ($105 charge) or afternoon free time for shopping, hiking or relaxing. The theatre show, a drama about the life and love of Christian author C.S. Lewis, will round out the day. Sunday morning the WBU group will gather for worship at First Baptist Church.
Tickets for the theatre production are $30, which includes a reception afterward for the cast and Wayland guests. Lodging reservations and transportation to Ruidoso should be booked by the travelers. Golf and theatre reservations must be made by June 15 with payment due at the time of reservation.
For information or to reserve space for the Ruidoso weekend or other alumni events, contact Andrews at 291-3603 or by email at firstname.lastname@example.com.


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Non Conforming Home Loan F580 75% 80% Non Conforming Home Loan - F580 - 75% - 80%
6.72%p.a Standard Variable
6.83%p.a Comparison**
$2,193Upfront fees
$180Annual fees
80%Max LVR
$2,427Per Month*
About Better Choice Home Loans
Standard Variable
Repayments calculated to take into account ongoing monthly and anual fees.
- Monthly repayment*
- $2,427
- rate per annum
- 6.72%
Loan to Value Ratio
Borrow up to the maxium of 80% of the value of the property.
Lenders Mortgage Insurance, or LMI, will be payable on most loans where the borrowings are greater than 80% of the value of the property.
However, you may be able to capitalise LMI into your loan, increasing the overall loan amount by about 2% (in order to cover the cost of the insurance). Contact a loan market broker to find out how LVR and LMI might impact the cost of your loan repayments.
- Lvr
- 80%
- Capitalise LMI
- Yes
For Equity, Investment, and Owner Occupied in NSW, NT, QLD, SA, WA, VIC, TAS, and ACT.
- Term
- 10 - 40 years
- Min
- $50,000
- Max
- $1,250,000
The level of financial documentaion and credit history required to apply for the loan.
- Financials
- Full Doc
- Credit History
- Non Conforming
- Genuine Saving
- Not Required
Offset Account
Save on interest repayments by holding spare cash in an offset account.
- Offset account
- Offset
- 100%
Redraw Facility
Get quick access to cash by drawing on the loan to pay for renovations or other purchases.
- Redraw Facility
- Min Redraw
- $1000.0
- Redraw fee
- $0
Banking Features
Given the wide range of loans on offer – with different interest rates, product features and fees – it pays to shop around to find the loan that fits your needs and circumstances. Some loans offer features that may be appropriate for your situation and result in savings over the life of the loan.
Some features you may wish to consider include:
- an offset account;
- ability to make extra repayments;
- a redraw facility; and
- linked credit card and savings accounts;
- ability to split your loan between fixed and variable interest rates
- Offset Account
- Redraw Available
- Internet Banking
- Telephone Banking
- Credit Card
- BPay Option
- Portability of Loan
- Professional Pack
- Check Account
- Direct Salary Credit
- Free Transactions
- Minimum Redraw
- Redraw Fee
You can make your repayments Fortnightly, Monthly, and Weekly.
- Interest Only Option
- Max Interest Only
- 5 years
Upfront Fees
Upfront fess associated with estabilishing the loan. Other loan set-up fees, such as valuation fees and lender's mortgage insurance, and Government charges, such as registration fees and stamp duty on property transfer, have not been included. These will be determined after application.
- Total
- $2,193
- Valuation
- $303
- Legal/Solicitor
- $440
- Settlement
- $1,450
Ongoing Fees
Monthly and annual fees and charges during the loan period.
- Total
- $180
- Ongoing Monthly
- $15
Exit Fees
Fees associated with prematurely ending the loan.
- Total
- $1,000
- Exit
- $850
- Early Repayment
- $0
- Switch To Fixed
- $150
Standard variable loan available with 100% offset account with optional Visa debit card
LVR Notes
Max 80% includes Purchase & Refinance O/O & Investment.
Not required
Fee Notes
A Risk Fee loading of 0.50% will apply on loan amounts >$1,000,000 on F5 Non Conforming Home Loans and Non Conforming Low Doc Home Loans. Note: Please see lender's Risk Fee document for applicable fees.


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News to know
Prince Harry deployed to Afghanistan on Friday and will stay there four months, the British military said. Harry will serve as an Apache helicopter pilot.
Quote of note
�I won�t pretend the path I�m offering is quick or easy. I never have. You didn�t elect me to tell you what you wanted to hear. You elected me to tell you the truth. And the truth is, it will take more than a few years for us to solve challenges that have built up over a decade.� � President Barack Obama in his acceptance speech Thursday night.
Hot video: Dash cam: Hero cop saves unconscious driver, sleeping toddler
A Utah sheriff�s deputy saved an unconscious driver and sleeping toddler by stopping their drifting car on a busy freeway. Check out the video at http://landing.newsinc.com/shared/video.html?vcid=23799751&freewheel=90108&sitesection=gatehouse.
GateHouse News Service
Today in the news: Prince Harry deploys to Afghanistan
News to know


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- Description
DetailsStep into these neutral men's running shoes and you will rethink everything you know about what fast and comfortable feel like. They're built with boost™ for incredible energy-returning cushioning beneath your feet. With a breathable adidas Primeknit upper for a flexible and supportive fit and a STRETCHWEB outsole for a smooth, neutral transition.
- Weight: 304 g (size UK 8.5)
- adidas Primeknit is carefully engineered to naturally expand with your foot while you run to give you a more comfortable fit and help reduce irritation
- boost™'s energy-returning properties keep every step charged with an endless supply of light, fast energy
- STRETCHWEB rubber outsole is lightweight and elastic, adapting to the ground for stability and working strategically to optimise the unique properties of boost™ from touchdown to push-off
- TORSION® SYSTEM for midfoot integrity; Moulded 3-Stripes and heel counter for support and optimum heel hug
- Runner type: neutral; Stack height: 30.5 mm / 20.5 mm (10 mm differential)
- Details
- Brand: adidas
- Gender: Mens
- Age group: Adult
- Colour: Blue
- Season: aw16
- adidas Mens Road Running Shoes & Trainers
- Reviews
Be the first to submit a review.
Write Your Own Review
- Delivery and Returns
METHOD TIME COST SERVICE SPRINT Next working day FREE on orders over £115
(£6 for orders up to £115)
RUN 2-3 working days FREE on orders over £60
(£3.50 for orders up to £60)
Royal Mail
CLICK & COLLECT (Glasgow) Same day (Mon-Fri) FREE SATURDAY DELIVERY 1 working day £12 Royal Mail
Orders received before 3pm (Monday-Friday) are processed on the same day - after 3pm orders will be processed on the next working day.
Click & Collect
Collect your order in person from the achilles heel Glasgow running shop. Orders placed before 3pm will be available for collection on the same working day; orders placed after 3pm will be available for collection on the following working day. Orders placed over the weekend will be available for collection on the Monday.
As soon as your order is ready for collection we will email to let you know. When you collect your order please ensure you bring your order confirmation & identification.
International Delivery
We'll package and post your order to most locations across the world as quickly as we can - for full details of delivery charges for international orders check our delivery charges page.
Spend £200+ and get FREE EU delivery.
At achilles heel we aim to please, so if you're not completely satisfied with your order, we'll do whatever we can to make it better. Items can be returned for free for an exchange or a refund within 28 days of purchase - we offer free & easy tracked returns within the UK via Royal Mail, for full details please check our returns page.
It can be hard to get things right so we are giving 28 days from Christmas Day to return your gifts on all orders made during November and December. Our returns policy will revert to the standard 28-day period for items purchased after December 31st.


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How to dual boot Vista and XP (with Vista installed first) — the step-by-step guide with screenshots
Scenario: You want to install Vista on your PC alongside your XP installation on the same drive. You have installed Vista already. (If you have XP installed first check out our earlier tutorial on how to dual boot Vista and XP with XP installed first.)
Tutorial Summary: We need to shrink the Vista partition on the hard disk and create enough space for an installation of XP. This can be done in three ways – using the GPartEd Live CD the DISKPART utility on the Vista DVD or the Vista Disk Management GUI – and we'll cover all three. We'll then install XP and install EasyBCD to reinstate the Vista bootloader which will be overwritten during the XP installation and then use EasyBCD to configure Vista's bootloader to boot the XP partition.
Updated September 2008: This is an updated tutorial based on our first Windows Vista/XP dual-booting workshop. The main differences are that we are now using Windows Vista SP1 and Windows XP SP3. EasyBCD has also been updated and this makes some of the steps in our first tutorial redundant – the whole process is now easier.
This tutorial has been tested on a VMWare 6 Workstation.
[#PAGE-BREAK#Create Free Space for Windows XP#]
We assume that before you start this tutorial you have backed up the drive (partitions and data) that will host the two operating systems.
Your first step will be to modify the Windows Vista system partition to make space for XP using GParted
The GParted Live CD ISO is available here â burn it to CD and boot the system from the disc. The version we used was 0.3.7-7.
When you boot from the GParted LiveCD depending on your system you should just need to select the auto-configuration boot option.
Option 1 – Using GPartEd
During boot press Enter twice when prompted to select the keymap and language settings.
When the main GUI loads right-click on the main Windows XP NTFS partition (depending on your setup probably /dev/hda1) and select Resize/Move.
Use the slider to reduce the partition size and free up enough room to install XP (at least 5GB) and click Resize/Move.
The changes haven't actually been made they've just been scheduled to run. To commit the changes and resize the partition click Apply. GParted will ask to confirm the changes â hit OK and away you go.
Option 2 – Using DISKPART
Boot the machine from the Vista DVD. Select the appropriate language and then "Install Now".
On the product key page press SHIFT + F10 to launch a Windows PE 2.0 command window. Then type in DISKPART and press enter to get into the DISKPART utility.
Now type in LIST VOLUME – this gives you a readout of the volumes available on the system. Select the main Windows XP volume by typing in SELECT VOLUME 0 (in most cases it will be Volume 0 – in our lab in was Volume 1).
Now type in SHRINK. Vista will reduce the size the selected Volume by around 50%.
Option 3 – Using Disk Management
Using the Disk Management GUI is really no different to using DISKPART (it's the GUI frontend to the DISKPART utility) but using the GUI does mean that you can make the changes within Vista before rebooting to install XP without needing to use the Vista DVD.
Right-click on Computer and select Manage. In Computer Management expand Storage and select Disk Management.
Right-click the primary partition (the one you need to make space on) and select Shrink Volume
The default values which Vista provides represent a fairly aggressive shrink – as long as the values will give you enough space to install XP accept the defaults and select Shrink.
Vista will churn away for a moment and then you'll see the newly-created free space on the primary disk. Now you can reboot and install XP.
[#PAGE-BREAK#Now Install Windows XP#]
When the Windows XP setup reaches the point where you're prompted where it is to be installed you'll see that while XP can see the space we created earlier it can also see the partition with Vista on it.
You should be able to see the space you reclaimed on the disk earlier which has become "unallocated space".
Create a second partition using the Windows XP installer screen above by selecting the free space on the drive and pressing "C" to create a partition (if prompted choose NTFS as the file system.)
Irritatingly XP assigns a drive letter to this partition (C:) which means that it will use the next available drive letter after all the other physical drives have been taken into account.
This means that the system drive of the XP installation won't be C:.
From XP's perspective this isn't really a problem â it's smart enough to figure out where everything should go â but some applications make assumptions about where they should install to and can't cope with a non-standard Windows configuration.
This was also the case with our tutorial on dualbooting Ubuntu and XP where Ubuntu had been installed first. However in that scenario even though the XP system drive had a non-standard drive letter it couldn't read the Linux partitions so there was no danger of the two systems overlapping. This is not the case with Vista/XP.
Nonetheless install XP as normal â there's no need to do anything differently.
IMPORTANT NOTE â after the initial file copy Windows XP reboots and loads up the GUI-based component of the install. You may get the following error: âA disk read error occurred â press Ctrl-Alt-Del to continueâ. This is caused by a corrupt bootloader â click here to see how to fix this problem.
When the system reboots it won't bring up a boot menu. Although XP recognises the Vista partition it doesn't recognise Vista itself. This is because the Windows XP bootloader gets installed to the MBR thus overwriting the Vista bootloader and so Vista can no longer boot – the XP bootloader can't be made to recognise Vista.
When XP loads open up Windows Explorer and you'll see something interesting â a C: and (in this case) an E: drive.
The C: drive contains Windows Vista and as Windows XP can read NTFS partitions it can browse and modify Vista's file structure.
More importantly applications which have installation paths hard-coded into their install scripts rather than using Windows system parameter variables could easily dump files into C: when they should be installing to E:. This isn't such a great situation – really the optimal XP/Vista dualboot scenario is to install Vista on a pre-existing XP system.
[#PAGE-BREAK#Restore Vista Bootloader and Enable Dualbooting#]
We need to restore the Vista bootloader in order to restore Vista functionality and configure Vista/XP dualbooting. In the previous version of this tutorial we used the Vista DVD to restore the bootloader and EasyBCD to set up dualbooting.
Since that tutorial was written EasyBCD has been updated and can now restore the Vista bootloader from within the application. Also it can be installed on Windows XP so this means that there's no need for any more reboots or playing with recovery DVDs.
Once the XP system is up and running download and install Microsoft .NET Framework 2.0 and then download and install EasyBCD (version 1.7.2 at the time of writing).
Launch the application. EasyBCD isn't looking at the XP bootloader – it has found the bootloader on the Vista partition so this is what you're directly editing.
Go to the "Add/Remove Entries" tab. You'll see that there's only one option available in the Vista bootloader at the moment. In the "Add an Entry" section change the Drive in the dropdown menu from C: to E:. Change Type to "Windows NT/2k/XP/2k3" and the Name to "Microsoft Windows XP". Then click "Add Entry" and "Save".
Then go to the "Manage Bootloader" tab. Make sure that "Reinstall the Vista Bootloader" is selected and then click "Write MBR" and restart the system.
On reboot the Vista bootloader is now active and you'll see two boot options.
[#PAGE-BREAK#Removing Windows XP#]
If you eventually decide that dualbooting XP as the second OS isn't all it's cracked up to be it's pretty easy to undo the changes made.
Use EasyBCD to remove the Windows XP boot entry and then go into Computer Management (right-click on Computer Manage) and go to Disk Management.
Right-click E: drive (the Windows XP partition) and select Delete Volume.
Right-click the newly-created partition and select Delete Partition.
Then right-click the C: drive (the Vista system partition) and click Extend Volume â this opens up the Extend Volume Wizard.
The wizard gives you a readout on how much space is actually available to extend the partition â enter in how much you want to use and press Next. Vista will extend the system partition to reclaim the disk and Windows is well and truly gone.
[#PAGE-BREAK#Fixing the Corrupt Bootloader#]
If the Windows XP bootloader corrupts during the install performing a reinstall won't fix it nor will going into the XP Recovery Mode and attempting to repair the MBR.
Luckily the install was up to the stage where all you need to do is be able to boot from the Windows XP partition and the install will pick up from where it left off.
To do this you will need to restore the Vista bootloader so that you can then boot into Vista install EasyBCD and create a boot entry for Windows XP. Once this has been done you can boot into the XP partition and the installation will continue.
Boot from the Vista DVD and on the screen where you're prompted to âInstall nowâ select âRepair your computerâ.
The next screen searches for local Vista installations â there should only be one so click Next.
This loads the System Recovery Options screen. Select the first option â Startup Repair. This looks for problems which would prevent Vista from loading (like a missing bootloader) and automatically fixes them.
If you click on âClick here for diagnostic and repair detailsâ and scroll to the bottom of the list it shows that the problem detected and repaired was a corrupt boot sector (according to Vista anyway).
Click Close and then Finish and the system will restart and boot into Vista. Now you need to download and install EasyBCD and follow the steps on Page 4 to add a boot entry for Windows XP.


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Mom (or Dad) keeps an eye on the young ones from a perch in the water
Okay, kids, it's time for a nice snail for snack time.
This little guy would rather sun himself than eat a snail.
Galapagos, Quito & Amazon
May, 2014 Galapagos and Amazon Trip. OAT.
Cotopaxi Volcano is the second highest summit in the country, reaching a height of 5,897 m (19,347 ft). Some consider it the world's highest active volcano.
phone check
Plaza de la Independencia, or Plaza Grande, a huge square surrounded by the fantastic colonial buildings
Red-Billed Tropic Bird
Albatross in Flight
Getting our passports stamped at the Equator
Entrance to the Equator museum grounds
Obligatory picture at the equator
Common noddy.
SX50 HSLake HendersonInverness FL2015BirdsCanon SX50 HSCanon SX50InvernessSandhill Cranes