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Scandinavia and Baltic Cruises
Rich in history, and northern charm, you will be overwhelmed by the hospitality of the locals and history that remains in these European countries.
A Baltic Sea cruise offers the chance to appreciate charming cosmopolitan cities, cultures and iconic landmarks. The Baltic region is perhaps best observed on a cruise along the gleaming Baltic coast that will introduce you to Denmark, Estonia, Latvia, Finland, Germany, Lithuania, Poland Russia and more. Discover German coastal locations including Heiligendamm and Kühlungsborn as well as other atmospheric beach resorts. Wander along Sweden's wild west coast and make a memorable stop in Stockholm. Glide down the brimming Baltic waters towards Denmark and visit the Scandanavian sensation of Copenhagen for a seamless urban experience and classic cuisine.
Let a luxurious cruise guide you to Lithuania and visit the heavily cobbled town of Klaipeda with its distinctly German architecture and Dane River. Venture north to the Baltic gem of Estonia and discover the vibrant Tallinn- a perfect cocktail of modern, medieval, sophistication, charm and vibrancy with Baroque palaces and glass skyscrapers. See the dynamic culture and bewildering natural surroundings of Bergen and Norway from the optimal perspective of a cruise. From the heavenly harbourside of Finland's Helsinki to the contemporary creativity of Russia's St. Petersburg, a Baltic Sea cruise promises not to disappoint.
As the largest region in Europe, Scandinavia's diversity is no surprise, but when we consider than only 4% of the European population live here it's truly astonishing.
Denmark is the smallest and most typically European Scandinavian state. It equally boasts the best beaches and a unique Viking legacy. Its royal palaces in Copenhagen are as imposing as they are impressive. Norway is extremely popular among cruise goers due to the extensive fjord lands that exist there. In addition, passengers visiting this beautiful part of the world may have the opportunity to witness spectacles of nature such as the Northern Lights or the Midnight Sun.
Sweden is Scandinavia's largest country, and the Swedish Archipelago is the second largest in the Baltic Sea.Its spectacular and lengthy coastline is dotted with extraordinary cities such as Gothenburg and Stockholm, where traditional and modern architecture seamlessly blend together.
Finland, a remote Scandinavian country, is best known for its vibrant capital city Helsinki with its maritime silhouette, but the numerous islands and lakes hold the true essence of the country. If you're cruising in Scandinavia be sure to check out Iceland, the land of fire and ice, with its unique volcanic landscapes, snaking glaciers, cascading waterfalls and volatile geysers. There's something for everyone on a Scandinavian cruise.


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That's so funny that you notice New England this way- I have 5 children (as my siggy shows ) Im an adoptive mom of my last 2 children. I have nursed them both but need to bottlefeed as my supply did not produce enough through inducing lactation. I am a die hard boob advocate. My baby gets all boob juice in a bottle. I feel like everyone is a nursing mom. I wish I could shout to the world that there's breast milk in her bottles because Im so proud to be able to get milk for her through donors. Please dont always assume a mom with a bottle isnt nursing.
Hi everyone.
I think part of what is affecting me is that now instead of spending my days in the world of babies and toddlers I'm spending it in the world of school-aged children. Most of the other moms are out of the baby business and so there just aren't that many babies around. So it's a pretty small pool of moms-with-infants I'm observing anyway.
I mentioned this little anxiety to my husband and he said something like, "sooz, just feed our baby the way you've fed all our others. who cares? you'll be doing other women a favor. and don't worry about the 10 year old boys, they never notice anything anyway."
Anyway, thanks for the reassurance. I really think I'm extrapolating wildly here, and appreciate the reality check.
Me , DH married 24 yrs.,DD #1 (89), DD #2 (91), DD #3 (05), and DD #4 (6/11/11)
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Ray-Ban RB2132 901 Black 55 are the new Retro Wingtip design. This updated classic has glossy black finish and classic silver metal Ray-Ban details. These Ray-Ban sunglasses are great for medium to large face shapes.


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I was looking for something very minimal for my personal website. Here we are: 3 color, 1 font. No projects, just some info and a couple of links.
original One Page website
was reviewed by Rob Hope
I founded One Page Love back in 2008. It's come a long way but I want to continuously add value to your experience. Please tweet or email me with any questions or suggestions.


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Showcases the top improvements for guitarists, keyboard players, and audio engineers, from Flex Time editing to the Snap feature with Playback.
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You may have noticed the spanking brand new banner at the top of the site. That is thanks to new Israellycool contributor Jono, who could no longer stomach the old one, and could not suppress his creative urges.
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Jan. 16, 2009, 12:51 PM
He's been eating Ultium mixed with dissolved timothy cubes, but seems to be off feed again. Normally, sweet delicious Ultium makes up for having to eat the hay cubes, but now he won't touch any of it. Doesn't really eat hay - just chews it up, sucks out all the good taste, and spits it out. I think it's time to get the boy more roughage and calories - don't know if he's IR, but he is prone to diarrhea when he's eaten senior feed in the years before I had him. Any ideas?


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Sharpen your pencils, subTerrain #74 — The Colouring Issue — is out! Colour the cover, front and back, and enter to win a $150 dinner prize! #74 features new fiction from Alex Pugsley, André Alexis, Dania Tomlinson, Hege Anita Jakobsen Lepri, Carleigh Baker, Michael Knox, Kristyn Dunnion, Ashley Little, Brent van Staalduinen, and Doug Diaczuk; poetry from Eva H.D., Lisa Rawn, Jill Goldberg, and Christopher Gudgeon; creative nonfiction from Susan Cormier and memoir from Peter Babiak; Jim Christy's "Larger Than Life" column, plus commentary from Grant Buday; Matthew Firth from "The Crank & File" Department, and Nathaniel G. Moore's ongoing column, The Biography Channel; plus the 2015 Vancouver Writers Festival Contest Winners: Mark MacKichan (Fiction), and Susan Alexander (Poetry), as well as our regular batch of discerning reviews of new books by Fraser Nixon, Lisa Moore, Donna Decker, Danielle Metcalf-Chenail (Ed.), Don DeLillo, Carol Shields and Patrick Crowe, the Graphic History Collective, and S. Bedford.
Cover and interior illustrations by Josh Nusbaum.
Give a subscription of subTerrain as a gift to someone you love—even yourself. Extended until January 16, only $20 for two years.
Darryl Gillingham illustration
She'd read that the skin was the body's largest organ, that it could easily weigh fourteen pounds, and imagined it folded like a blanket, a wetsuit, or a flap of tripe. She put her hands to her face and explored the contours of her bone structure, tracing the ridge of her nose, the span of her cheekbones, the shallow depressions at her temples. She moved her fingers around to the bumps behind her ears then slid them across the wall of her brow, moving the skin and feeling its slippage over the bone.Fifteen Miles South of the Arctic Circle
The river valley is broad and shallow, smooth unblemished snow, from the western ridge where I stand, to the steeper eastern side. The river itself is deep and fast but it's frozen over, and except for the line of trees along the banks, you can't tell where it is.Chance
One day they were standing outside the annoying theatre where they worked, smoking a horrible menthol cigarette they'd bummed off a horrible patron, when a pale guy with black spiked hair, black acid wash jeans and a black Metallica T-shirt came up to them and said in an almost undetectable Scottish accent, "You look cool. Want tae run away with the circus?"
In my apartment taped to the fridge is a photograph I took in the summer of 1989 on the west Coast of Ireland. In it is the form of my father—now more than twenty years gone—middle-aged, stooped, overweight, nearly a shadow, walking away from the camera into the blue-green water, the only human figure on a vast, empty beach.Quiet Pipelines
"I'm not sure what I'm supposed to be saying to you guys. What do you want to know? I just found out what this was a few minutes ago. Pretty sad, isn't it? Not good. It's not good where I come from too. Actually, I'm from Fort Chip. I was working in the oil industry for about eight years. And I just got diagnosed with cancer this year. So I'm battling for my life right now. I got diagnosed with breast cancer."Working In Steep Ditches
So why did I go again? Couldn't tell you. Actually I could tell you. I could tell you it's because I woke up and I knew it would be a good day. That after the free hockey tickets, the overtime comeback, and the smile from the cute girl on the train, I knew it would be a good night. I could tell you it's because I was due. No one runs so bad for so long. Maybe I'd run cold again, but I wasn't going to run bad. My favourite, the one that always gets me moving, is that I'd only stay a couple hours, till two at the latest, and then I'd go. Right. This time for sure though.
Our Special Van125 Poetry Issue (#59) features 125 poems inspired by the fine city of Vancouver. Includes work by Al Purdy, Earle Birney, Brad Cran, Roy Miki, Peter Mitham, Sachiko Murakami, Nedjo Rogers, Carleton Wilson, Alan Twigg, Brian Kaufman, Tom Osborne, Lakshmi Gill, Roy Kiyooka, Larissa Lai, Joanne Arnott, Renee Rodin, Daniel Zomparelli, Phillip Quinn, Ray Hsu, Patricia Smekal, George McWhirter, Sharon Thesen, Fred Wah, Phinder Dulai, Clint Burnham. Copies still available.» Read more
Send us your coloured cover (front & back) scan, photo, or—egad!—the torn off cover itself!
Tim drives. The little red E on the dashboard flashes. His old neighbourhood shimmers and shines around him, spreading squares of grassy front yard waking up to the sun's truth-telling promise: spring brings summer, weather is inevitable. It doesn't lie, Tim thinks, not like—
The doorbell rings. It's 7:30 in the morning. June shifts into Norm and sighs. Her head is on his shoulder. Her legs are wrapped around his. It's her second true sleep in weeks.
A fist pounds against the door. Then the doorbell, ringing again.
June stirs. Norm?
A muffled yell—Open up! OPP!
The doorbell—ringing.
Wasn't that amazing? Jared is saying. Wasn't that just…so freakin' cool? The four others in the room—also college kids from Jared's local branch plant university—all nod and agree and talk among each other about how cool and awesome and freakin' it was. Susan considers Jared, sitting erect in her father's favourite armchair. He has not-quite shoulder length straight black hair. He's wearing scuffed leather boots and a jean jacket. His eyes are hazel, bright with the thrill of having been out in the world, having actually done something. He reminds her of young Susan, fifteen years ago.
When Tim wakes up he's back on his back. The ground underneath is cold and hard. He rubs his eyes against the soft, filtered light. It's late afternoon, he guesses. He remembers leaving his father's place. He remembers moving automatically, inexorably, back to the woods, back to his woods. He climbed the tree. He smoked another joint. And then another. The black night going bleary. Flattened cut-outs of the house, the backyard, the hole in the ground…all of it swirling around him like a cheesy dream sequence in one of those old black and white movies Carly likes to watch, special effects made with glue and scissors, orbiting mobiles, the scenes so long Tim wants to shout at the screen, yeah, yeah, we get it already.
Nighttime. Tim feels like he's the only one on foot in all of Wississauga. He pulls up the zipper of his thin jacket. Army surplus, its drab green lends him a menacing don't-screw-with-me vibe, helpful for dealing with the rich kids, the hockey and football types who think they can intimidate him into discount dime bags. He bought it after Clay pressed him into service. Welcome to the team, Clay said unctuously, slapping him on the back. He hasn't told Carly he's been promoted to dealing pot in the alley behind the bar during breaks and after work. She'll be pissed. She's right. It's a bad idea. But he said yes anyway. What else was he going to do? He already owed Clay a few grand by then. The situation, Clay said, speaking in that slow careful way of his, is becoming untenable. Tim hadn't actually known what the word meant at the time. But he'd gotten the idea.
June parks in the driveway. As she gets out of the car it suddenly occurs to her that she didn't actually accomplish the one thing she left home to do. There are no groceries to haul into the kitchen. No reusable bags bulging with organics to virtuously heft over to their gleaming new stainless steel refrigerator with French doors and a digital thermostat. No cases of Lime Perrier, Coke Zero, and Diet Green Tea Ginger Ale to lug to the basement, no frozen shrimp and T-bone steaks to store in the freezer chest for spontaneous you-should-stay! quick defrost barbecues. There's nothing for supper, June thinks absently.
In the fall of 1994 we had been in our new offices in the Lee Building at the intersection of Main & Broadway for close to three years. The old office was above Guys & Dolls Billiards, across the street, and was sort of funky. But the new premises were more impressive. Cleaner and seemingly more organized.
You don't work for a literary magazine for the money. You work for a literary magazine for the fringe benefits. And one of the advantages of working for a magazine like subTerrain is getting to attend a professional development symposium—you know, for free.
Before Vancouver's Main Street became a Portlandia branch plant there really wasn't much reason to spend any time on its sidewalks. There were no single-origin coffee shops, craft-beer meccas or faux rec-room restaurants. With the noble exception of Neptoon records, and a couple of places along Antiques Row, it wasn't much of a shopping destination either. No shops trumpeting local designers, organic materials, locally sourced handicrafts and oddball wares. Twee was pretty much absent on Main back then. Irony too.


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Appartamento Laura - Venice
This apartment is housed on the ground floor and is well furnished. There is a hall, a small sitting room with sofa bed, a kitchen, a bedroom, and a bathroom with shower; the flat is autonomous heated.
Dark, cool - ideal for hot summer days; very central location, but quiet. Non-working washing mashine, non-working oven (but stove-tops ok); smallish bathroom. No WiFi. No…
Appartamento Laura - Venice
Hotel Info: 1-877-214-4288from $102
- Standard Apartment
Also popular with travelers from the USA
At a glance
Key facts
Hotel size
- This hotel has 1 room
- Check-in time 3 PM-7 PM
- Check-out time is 10 AM
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
- Minimum guest age is 18
Travelling with others
- No cribs (infant beds)
- Pets not allowed
- No parking
Other information
- Caters to adults only
In the hotel
- Tours/ticket assistance
In the room
- Ceiling fan
- Coffee/tea maker
- Shower only
- Refrigerator
- Kitchen
- Stovetop
Appartamento Laura - Venice's small print
Also known as
- Appartamento Laura
- Appartamento Laura Apartment
- Appartamento Laura Apartment Venice
- Appartamento Laura Venice
All guests, including children, must be present at check-in and show their government-issued photo ID card or passport.
Cash transactions at this property cannot exceed EUR 2999.99, due to national regulations. For further details, please contact the property using information in the booking confirmation.
This property does not have elevators.
Mandatory fees
You'll be asked to pay the following charges at check in or check out:
- A tax is imposed by the city and will be collected at the property. This tax does not apply to residents of Venice City and children under 10 years of age. Further exemptions may apply to patients and their companions, and people staying in the city for specific purposes/duties, subject to the submission of proper documents to the property. A 30 percent reduction applies from 1-31 January.
- Cleaning fee: EUR 40 per accommodation, per stay
Optional extras
Late check-in between 7 PM and 10 PM can be arranged for an extra charge of EUR 30
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.


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Syracuse, NY - An East Syracuse woman apologized in court today as she was sentenced to state prison for trying to hire someone to kill her former girlfriend's husband.
"I didn't mean for any of this to happen. I'm terribly sorry," Marnie L. Nappi told state Supreme Court Justice John Brunetti.
Brunetti sentenced Nappi to 2 1/3 to seven years in state prison as agreed to in a plea deal.
Nappi, 40, of James Street, pleaded guilty Aug. 17 to a single felony count of second-degree criminal solicitation in the murder-for-hire plot.
Nappi was arrested Sept. 1, 2011, after attempting to pay an undercover state trooper to kill David Gardner of Minoa. Authorities said Nappi was trying to get rid of Gardner to further her relationship with Gardner's wife.
The sentence was the maximum for the criminal solicitation charge. But Nappi had been facing a more serious charge of second-degree conspiracy which could have sent her to state prison for up to 25 years.
According to authorities, Nappi tried five different times to hire someone to commit the murder. The sting using the undercover state trooper was set up after officials learned of Nappi's intentions.


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Sugar Shack, Teisco Del Rey, Neptones, etc.
This is the story of Johnny Romano, a Galveston surfing prodigy who succumbed to leukemia September 23, days after his family lost its home to Hurricane Ike. He was ten years old. Romano was a regular in the island's "grom" — surf-speak for tykes — competitions, where his board skills caught the eye of Stefanie Friedman, former drummer for beloved Houston garage-rockers Sugar Shack. "My five-year-old surfed with him and we couldn't believe how great he was," she says. "No one would have guessed [he had cancer], because his smile and his style were the model of health." The Romano family's massive medical expenses inspired Friedman to organize Sunday's surf-tastic benefit, capped by Sugar Shack's first show in four years. Also on hand will be Austin waverider Teisco Del Rey, Houston's Neptones — pipelining on their new CD Planet of Surf — and Luxurious Panthers, and primo poster artist Uncle Charlie stepping out from behind the easel to pick a few tunes. Simultaneously, Sig's Lagoon will host an art show and silent auction, and beach outfitter Ten Over will have several vintage surfboards, VW buses and wood-paneled surf wagons on display out front. Run, don't walk.
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The Union hockey team has dealt with bye weeks three of the past four seasons, when it earned a first-round bye in the ECAC Hockey tournament. But the week off that the Dutchmen will be dealing with this time is something completely different. The Dutchmen will be handling more media interviews this week, not just from the Capital Region, but nationally. Playing in your first NCAA Frozen Four will garner plenty of attention. Union coach ...
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Bull Terrier Health
A selection of articles related to bull terrier health.
Original articles from our library related to the Bull Terrier Health. See Table of Contents for further available material (downloadable resources) on Bull Terrier Health.
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Support a global agreement to stop climate change.
It's time to say "No" to devastating climate change and "Yes" to a healthy and prosperous future powered by renewables.
It's time to say "No" to devastating climate change and "Yes" to a healthy and prosperous future powered by renewables.
Any attack on one human, is an attack on humanity.
Don't let Congress deny your right to know: Oppose the DARK act
Build a advanced Culture of Compassion and Empathy for Humans,Nonhumans,Earth and
Llegó el momento de poner manos a la obra. No debemos dejar pasar más el instante precioso de definir nuestra
As many as 200 million females are missing because of gendercide. Stand up for girls and women everywhere.
We're getting more than we bargained for in all those bowls of popcorn: bee-toxic pesticides.
Solicitamos a la SEMARNAT y la SEDATU asegurar la conservación y uso sustentable de los recursos en el área protegida
Turn out your lights for one hour on Saturday, March 28 at 8:30 pm local time and take a stand against climate change.
Shell is putting the Arctic at risk. Tell the government to stop Arctic drilling.
Amazon is the only major Internet company that hasn't released ANY data on its energy use or environmental impact.
One country's vote at the International Whaling Commission could decide the fate of the South Atlantic whale sanctuary.
This campaign is important because the mexican judicial system is corrupted, and completely SOLD to the political mafias
La Organización Campesina ARIC ha tomado el control de las autoridades y ha firmado acuerdos que afectan 2,500 hectáreas
Lifting the ban would send a dangerous message to the Guatemalan Government that it's okay to violate human rights.
Se trata de una nueva ciudad que pretenden construir a un lado de Cabo Pulmo, lo cual amenza una vez más, su integridad.
Fair trade is the only way to stop environmental destruction, poverty, and child labor for cocoa.
La comisión de Cultura realiza la sesión en total opacidad, necesitamos ver lo que ahí dentro pasa.
Saving bees isn't just about saving the honey makers of the world so we can have it to drizzle on our toast in the
Honey bees are responsible for producing 1/3 of our food but they are being wiped out by the indiscriminate use of toxic
Únete al Carnaval del maíz a favor de la libertad en la producción de alimentos saludables, orgánicos sin transgénicos!
Peligra la última área conservada de selva entre Cancún y Playa del Carmen y el Jardín Botánico más grande de México.
The Genocide Case has been stalled, and is at risk of being annulled. Please act now to make a historic stand in
The National Geographic is circulated to over 4 million people in the United States every year [1]. When I receive my
No human is illegal. Would you call someone an "illegal driver" if they ran a red light? Of course not. Media giants
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If we want the system of law and order to respond ethically to rape and violence on women we will have to force the
The killing of Yellowstone's monitored wolves is the last straw in the wave of wolf slaughtering going on in America.
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The rare Mexican Gray Wolf, a sub-species of the gray wolf, with a distinct DNA, is becoming extinct with only 59 wolves
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'Dark Knight Rises' ends Batman series for Warner
The studio is trying to find a new one capable of matching Batman's box office success.
Los Angeles: Forecasts for opening weekend ticket sales were thrown into doubt after a shooting in Colorado on Friday at a midnight screening of the film. Twelve people were killed.
Warner Bros. said in a statement that the studio was "deeply saddened" by the incident and extended sympathy to the families of the victims.
New York City planned to deploy police officers at screenings of the film, and theaters nationwide began reviewing and tightening security.
Hollywood box office watchers said the movie industry had never faced a situation like this. "This is a tragic and unprecedented event," said Paul Dergarabedian, box office watcher for Hollywood.com.
The Time Warner-owned studio has been Hollywood's King of Franchises for years. Over the last decade it generated worldwide ticket sales of $12 billion from its 'Lord of the Rings', 'Batman' and 'Harry Potter' films.
Eight of the 20 highest-grossing films of all time come from one of those franchises, according to website Box Office Mojo.
'The Dark Knight Rises' will be the last of the Batman series that began in 2005, director Christopher Nolan said.
'Harry Potter', Warner Bros.'s biggest franchise, ended last summer with the largest of eight films, 'Harry Potter and the Deathly Hallows - Part 2', which generated $1.3 billion worldwide.
Franchise films are especially important to studios because they use the big-budget movies to ramp up revenue by creating theme park rides and TV shows and selling toys and memorabilia.
Warner Bros. is counting on a pair of 'Hobbit' movies to rekindle the magic of 'Lord of the Rings'. The first installment is due in December.
A reboot of the 'Superman' franchise is also scheduled for next summer with 'Man of Steel', made by 'Dark Knight' producer Legendary Pictures. Nolan, one of Hollywood's hottest directors, is a producer on that movie.
The films could pave the way for Warner to unite Batman, Superman and other characters from its DC Comics stable in a 'Justice League' movie, said Gitesh Pandya, editor of website Box Office Guru.
That would follow the strategy that brought staggering success to Walt Disney Co with 'The Avengers', a movie that brought together a handful of Marvel superheroes and generated nearly $1.5 billion in worldwide sales.
One problem for Warner Bros. is that not every DC Comics character has been a phenomenal hit, Pandya said.
Last summer's 'Green Lantern' did not work very well, he said, grossing $219.8 million. Some industry watchers said the movie cost $200 million to produce, though Warner has disputed that figure. Studios receive about half of box office sales.
The 2006 'Superman Returns' also disappointed, Pandya said.
The aim is to create another series like Batman, which won critical acclaim, fan devotion and $1.4 billion in ticket sales for 'Batman Begins' in 2005 and 2008's 'The Dark Knight'.
'The Dark Knight' grabbed $158 million in the United States and Canada on its opening weekend in 2008, a record at the time and still the highest debut for a movie that was not boosted by higher-priced 3D tickets.
Opening weekend ticket sales for 'Dark Knight Rises', which cost $250 million to produce, had been expected t o at least match the last Batman film, according to box office forecasters, and possibly reach as high as $198 million, just shy of the $207 million record set by 'Avengers' in May, some industry analysts said.
Beyond superheroes and the 'Hobbit', Warner intends to bring 'The Hangover 3' to theaters next summer, the next installment in the adult comedy series that has grossed $1 billion.
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text:
|Publication number
|Publication type
|Application number
|Publication date
|May 1, 2001
|Filing date
|Apr 2, 1998
|Priority date
|Apr 2, 1998
|Fee status
|Publication number
|Curtis Priem, David Kirk
|Original Assignee
|Nvidia Corporation
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (8), Referenced by (50), Classifications (6), Legal Events (3)
|External Links: USPTO, USPTO Assignment, Espacenet
1. Field Of The Invention
This invention relates to computer systems, and more particularly, to methods and apparatus for accelerating the rendering of images to be reproduced on a computer output display.
2. History Of The Prior Art
In three dimensional graphics, surfaces are typically rendered by assembling a plurality of polygons into a desired shape. The polygons are conventionally triangles having vertices which are defined by three dimensional coordinates in world space, by color values, and by texture coordinates. The color values define the brightness of each of red/green/blue (r, g, b) colors at each vertex and thus the color at each vertex. The texture coordinates (u, v) define the positions of each vertex on a texture map stored in memory. The texture map is a matrix of values which describe colors at intersections of the texture coordinates. The placement of the color values in the matrix describes a pattern which when applied to the surface of the triangle varies the colors in accordance with the pattern. Other characteristics such as fog, transparency, spectral colors, and additional textures may also define each vertex in a particular system to provide more sophisticated rendering.
The surfaces represented by an assembly of polygons are, as a generality, being viewed in perspective. In order to display a surface, the vertices of each triangle must be positioned in two dimensional screen space and the pixels which describe the entire triangle determined. Then the characteristics (attributes) for each of the pixels may be determined for each pixel.
The positions of the vertices of each triangle may be furnished in screen space or world space. If furnished in world space, the three dimensional world space coordinates are transformed into screen coordinates in which horizontal and vertical values (x, y) define screen position and a depth value z determines how near a particular vertex is to the screen and thus how and whether that vertex is viewed with respect to other points at the same screen coordinates. This may be accomplished by a perspective transformation algorithm well known to those skilled in the art. The other attributes are almost always furnished by an application program in world space.
It is a simple matter to determine the x and y coordinates of each pixel defining a triangle if the screen space coordinates of the vertices are known because the pixel positions are distributed linearly from vertex to vertex in screen space. However, all of the other attributes are distributed linearly across the triangle in world rather than screen space. Consequently, attributes accurately defining each pixel in two dimensional screen space may be determined from the linear distribution of those attributes at positions across the surface of the triangle in world space and the perspective transformation of values at those positions to the pixel positions in screen space.
Thus, the depth of the vertices of a triangle vary linearly in world space from one to the other vertex within the triangle. This allows the depth value for any position in the triangle to be determined in world space. The depth of each pixel which defines the triangle projected onto the screen may then be determined by perspective transformation of the world depth values using algorithms well known to those skilled in the art. Similarly, the color values and the texture coordinates for each pixel defining the triangle vary linearly from vertex to vertex in world space and so may be used to find the color values and texture coordinates for each pixel.
Once the values of all of the attributes for each pixel have been determined in screen space, the texture coordinates are utilized to determine texture values from the texture map for each pixel. Determining the texture values of each pixel in a triangle accurately is a lengthy process. The texture coordinates u and v of each pixel provide an index into a map of texture values typically stored in memory which describe colors at the individual coordinates and thereby define a particular texture pattern that is to be applied in world space to the surface of the triangle. The texture value is then used with the other attribute values to generate a color value for that pixel of the triangle.
Since each individual screen pixel describing the triangle covers some portion of the texture map as it is projected onto the screen, each screen pixel will cover some one or more texture values (texels) on the projected triangle. Texture coordinates obtained by processes combining linear interpolation and perspective transformation are not typically integer values. On the other hand, indexing into a texture map is accomplished using integral coordinates. There are a number of methods used in the prior art to derive texture values from the u and v values. A simple method of obtaining texture values uses the closest integral u and v values for each pixel obtained by either rounding or truncating to select the texture value at that intersection. A more accurate method of representing the texture pattern called bilinear interpolation utilizes the integer portion of the u and v coordinates for each pixel to determine four additional sets of integral texture coordinates surrounding the position of the original set of coordinates, uses those four sets to index into the texture map to obtain four texture values, and then utilizes the fractional portion of the original texture coordinates to weight the four texture values derived. These weighted values are combined and blended into a more accurate representation for modifying each pixel color value to reproduce the texture pattern.
However, those skilled in the art have recognized that where a pixel covers a very large number of texels on a texture map, only a small portion of those values will be represented in the final texture value selected to modify the color of that pixel using the bilinear interpolation method. Consequently, a more accurate method of texture mapping has been devised. The method provides a plurality of texture maps for each texture at different scales so that by selecting a map of the correct scale the pixels defining the individual triangles may be made to cover relatively constant numbers of texels. This allows most of the texels to used in reaching a final texture value for any pixel and provides a more accurate color representation. The process of selecting a texture value for a pixel then includes an initial step for each particular triangle being rendered in which a texture map is selected having a scale adapted to accurately represent texture values for the pixels of that triangle. One process for choosing a texture map of a correct scale is described in a paper entitled "Pyramidal Parametrics," presented at Siggraph Proceedings, 1984.
In order to make the scale selection process even more accurate, an additional process by which texture maps of the two scales closest to a desired size are selected and the texture values provided by those two different texture maps are interpolated to provide values closer to the desired scale.
Although these methods render pixels progressively more accurately on the screen if the triangle lies in a plane parallel to the screen surface, each of these methods is based on the assumption that the projection of a pixel onto the texture map is square or rectangular in shape. This assumption is incorrect in the greater number of cases when three dimensional shapes are being rendered. If the vertices of the triangle being mapped are at significantly different depths, the pixels describing a scan line are warped and of different sizes when projected onto the triangle. None of these methods is capable of describing with sufficient accuracy the texture values which should be attributed to the pixels when three dimensional shapes are rendered in any significant perspective on a flat screen surface.
Consequently, a new process has been developed which evaluates and combines texture values at a plurality of positions within each pixel. The positions are determined by deriving a large number of sets of texture coordinates by a process which evaluates the change in each of the texture coordinates sets to the change in pixel dimensions from one pixel to the next adjacent pixel in both the horizontal and vertical directions. Some method determining a texture value is utilized at each of the plurality of positions determined by a set of texture coordinates, and the resulting values are blended to provide a final texture value for each pixel. Evaluating texture values at a plurality of positions within a pixel provides a more accurate texture color representation.
The steps required to accomplish these manipulations in order to produce perspective correct pixel attributes are so complex that the processes have not been accomplished in hardware prior to the present invention.
Whatever the process used to determine texture values, once the texture values have been determined for any pixel, all of the attributes such as r, g, b, texture value, fog, and spectral r/g/b for that pixel are combined to produce a color for that pixel in the rendering pipeline. The manipulations by which this combination is accomplished are also quite complicated since they require evaluating the attributes with respect to one another.
As will be appreciated by those skilled in the art, the steps required to determine the final color values for each pixel in the rendering pipeline are very complicated and time consuming. Consequently, one way to accelerate the rendering process to a speed at which a useful output may be produced for display is to produce a number of pixels in parallel. However, each pixel produced in parallel requires its own circuitry for accomplishing the combination of attributes. The need for this circuitry greatly increases the complication, size, and expense of the circuitry.
It is desirable to provide apparatus and a method for rapidly rendering pixels representing perspective correct three dimensional shapes to the frame buffer at the lowest possible cost.
The present invention is realized by apparatus and a method which evaluate each sequence of pixels provided in a polygon to determine whether the pixels vary linearly, selects sequences of adjacent pixels which vary linearly, determines a processing factor for the sequence of pixels, processes only every one of a selected number of pixels of the sequence, and interpolates the data for pixels of the sequence between the processed pixels after the processed pixels have been processed.
The objects and features of the invention will be better understood by reference to the detailed description which follows taken together with the drawings in which like elements are referred to by like designations throughout the several views.
FIG. 1 is a flow chart illustrating the steps necessary for rendering pixels to the frame buffer in a three dimensional graphics accelerator designed to provide perspective correct rendering.
FIG. 2 is a block diagram illustrating a circuit for generating pixels for display on an output display device.
FIG. 3 is a block diagram illustrating a circuit for practicing the present invention.
FIG. 1 is a diagram illustrating the steps for processing values for each pixel being sent to the frame buffer using a graphics accelerator designed to accomplish such operations. It should be understood that such a graphics accelerator did not exist as herein described until the present invention.
In a first step, the three dimensional coordinates of the vertices of a particular polygon are furnished to a rasterizing engine which initiates a set up sequence in which those pixels which are to be described in order to render the polygon on the screen are first determined. This set up requires a conversion of the three dimensional x and y world coordinates (if the x and y dimensions are provided in world coordinates) into screen coordinates and a positioning of the screen coordinates of the vertices in order to determine the pixels encompassed within the polygon (triangle).
The pixels are, as pointed out above, linear in screen space so those pixels which describe the triangle may be determined (see step two) if the vertices are known. Once the pixels included in the triangle are known, a complex process (illustrated as step 3) evaluates the r/g/b color, texture coordinates, depth, and any other attributes of each pixel at the coordinates of each pixel. For perspective correct values, the process must both evaluate each of the attributes in the world space of the triangle where the attributes vary linearly and apply perspective correction to world space values in order to produce screen space values for each pixel included in the triangle.
A linear interpolation process may be used to determine the triangle attributes in world space because the triangle forms a plane in world space and any line connecting positions assigned known values lying in that plane may be divided into some number of equally-spaced positions each of which varies from the preceding position by the difference between the positions with known values divided by the number of positions on the line. The perspective transformation process is a triangulation process by which the attributes are mapped back to each of the pixels which define the triangle in screen space.
Circuitry and a process have been created which accomplish the complex operations involved in producing screen values for each of the attributes for each pixel of each triangle. The circuitry sets up a number of values which remain constant across the triangle and utilizes these constant values with x and y values of each pixel to determine the attributes for each pixel. The circuitry is described in an application Ser. No. 09/046,240, entitled Method and Apparatus for Producing Perspective Correct Graphical Images, Curtis Priem, filed Mar. 23, 1998, and assigned to the assignee of the present invention.
One embodiment described in the patent application may be carried out by the circuit of FIG. 2. The circuit 20 includes a setup engine 21 which receives input values for the various attributes defining the three vertices of any triangular surface being depicted. Before transfer to the setup engine 21, the x, y, u, and v values at the vertices of the triangle are processed by a scaling circuit 24 which receives the x, y, u, and v values at the vertices of the triangle and utilizes the maximum and minimum values of each to determine a proper scale for a texture map in a manner known to those skilled in the art. The x, y, and z coordinates may be provided by an application program as either screen space or world space values. The change from world space to screen space is based on a perspective transformation process utilizing the following equations for conversion:
where, H is the distance from the viewer to the center of the screen; S is half of either the width or height of the screen; F is the distance from the eye to the far clip plane, and the field of view in degrees is 2*arctangent (S/H).
The circuit 24 may also determine the pixels within a triangle from the x and y screen values at the vertices and generate specific screen x and y values for these pixels. The circuit 21 utilizes the x, y, and z screen values of the vertices to determine screen values for each of the attributes of each pixel in a triangle. One particular process of computing perspective-correct screen values for the attributes from world space vertex values is expressed by the geometric relationship:
where Es is the screen value of the particular attribute at the pixel defined by the X Y coordinates; and A, B, C, D, E, and F are constants over the triangle which depend on various dimensions of the triangle in screen and world space and the values of the attributes at the vertices in world space.
One specific sequence of operations which provide accurate perspective translations rapidly from world space to screen space for a number of attributes when the values X and Y in the basic formula are screen values are as follows:
A, B, C, D, E, F are the coefficients of the basic relationship
Xs0, Xs1, Xs2 Screen Coordinates of vertices
Ys0, Ys1, Ys2 Screen Coordinates of vertices
Zs0, Zs1, Zs2 Screen Z Buffer Coordinates of vertices
M0, M1, M2 Screen Z Buffer Coordinates of vertices
R0, R1, R2 World Red Lighting of vertices
G0, G1, G2 World Green Lighting of vertices
B0, B1, B2 World Blue Lighting of vertices
U0, U1, U2 Texture Coordinates of vertices
V0, V1, V2 Texture Coordinates of vertices
Input: Xs, Ys Screen Coordinates of pixels
Triangle Presetup
Triangle Presetup
ad0 = Ys1-Ys2;
psu0 = Xs1*Ys2;
ad1 = Ys2-Ys0;
psu1 = Xs2*Ys1;
ad2 = Ys0-Ys1;
psu2 = Xs2*Ys0;
be0 = Xs2-Xs1;
psu3 = Xs0*Ys2;
be1 = Xs0-Xs2;
psu4 = Xs0*Ys1;
be2 = Xs1-Xs0;
psu5 = Xs1*Ys0;
cf0 = psu0-psu1;
adm0 = ad0*M0;
cf1 = psu2-psu3;
adm1 = ad1*M1;
cf2 = psu4-psu5;
adm2 = ad2*M2;
bem0 = be0*M0;
bem1 = be1*M1;
bem2 = be2*M2;
cfm0 = cf0*M0;
cfm1 = cf1*M1;
cfm2 = cf2*M2.
Triangle Setup
D = adm0
E = bem0
F = cfm0
Zz = cf0
Az = ad0*Zs0 + ad1*Zs1 + ad2*Zs2;
Bz = be0*Zs0 + be1*Zs1 + be2*Zs2;
Cz = cf0*Zs0 + cf1*Zs1 + cf2*Zs2;
Au = adm0*U0 + adm1*U1 + adm2*U2;
Bu = bem0*U0 + bem1*U1 + bem2*U2;
Cu = cfm0*U0 + cfm1*U1 + cfm2*U2;
Av = adm0*V0 + adm1*V1 + adm2*V2;
Bv = bem0*V0 + bem1*V1 + bem2*V2;
Cv = cfm0*V0 + cfm1*V1 + cfm2*V2;
Ar = adm0*R0 + adm1*R1 + adm2*R2;
Br = bem0*R0 + bem1*R1 + bem2*R2;
Cr = cfm0*R0 + cfm1*R1 + cfm2*R2;
Ag = adm0*G0 + adm1*G1 + adm2*G2;
Bg = bem0*G0 + bem1*G1 + bem2*G2;
Cg = cfm0*G0 + cfm1*G1 + cfm2*G2;
Ab = adm0*B0 + adm1*B1 + adm2*B2;
Bb = bem0*B0 + bem1*B1 + bem2*B2;
Cb = cfm0*B0 + cfm1*B1 + cfm2*B2;
Per Pixel operations:
Dd = D *Xs + E *Ys + F;
Zn = (Az*Xs + Bz*Ys + Cz)/Zz; /*screen*/
Zn = ( Zz)/Dd; /*world*/
Un = (Au*Xs + Bu*Ys + Cu)/Dd;
Vn = (Av*Xs + Bv*Ys + Cv)/Dd;
Rn = (Ar*Xs + Br*Ys + Cr)/Dd;
Gn = (Ag*Xs + Bg*Ys + Cg)/Dd;
Bn = (Ab*Xs + Bb*Ys + Cb)/Dd;
As will be understood by those skilled in the art, this sequence of steps may be implemented by well known gating circuitry which carries out the addition, subtraction, multiplication, and division steps indicated to produce perspective correct screen values for each of the attributes at each pixel position.
The texture coordinates provided by the setup engine 21 are transferred to a texture engine 22. The texture engine 22 utilizes those input values to determine texture coordinates at a plurality of positions within each pixel in accordance with the foregoing discussion of the invention. For example, the texture engine 22 may translate the texture coordinates at each of a plurality of positions within a pixel into texture values at those positions and blend the texture values to realize a final texture value for each pixel. This final texture value is transferred to a lighting pipeline 23 where the texture value and the other various attributes from the setup circuit 21 are utilized to modify the color value of the particular pixel in the sequence of pixels utilized to describe the triangle. From the lighting pipeline, the pixels are transferred to the rendering pipeline.
Rather than carrying out the process for generating the screen values for each pixel to be displayed in the manner of FIG. 2, the present invention utilizes a number of fast modes in which exact pixel values are generated for only some of the pixels on a scan line. The values of intervening pixels on the scan line are determined by a process of linear interpolation. Because of this, it is not necessary (as it has been with typical with prior art graphics accelerators) for frame buffers to be constantly waiting for a next pixel to be generated. The present invention significantly accelerates the process by which pixels are generated and written to the frame buffer. In fact, the present invention reduces the average time to generate a pixel to one-half, one-quarter, or less of the time required by prior art graphics accelerators to generate pixels for a triangle.
The process of the present invention reduces the delay in pixel generation by detecting characteristics of sequences of pixels being rendered on a scan line during the setup process. When rendering the pixels of a polygon to a frame buffer utilizing a graphics accelerator designed in the manner described above, sequences of pixels may occur in which the attributes of adjacent pixels and especially the texture values vary linearly. It has been found that this condition will occur where the perspective does not change too abruptly and where the rate of change of texture values is not too great. Heretofore, the rendering circuitry has proceeded through its relatively complicated and, more importantly, time consuming algorithmic sequence in order to generate the correct attribute values for modifying the color values assigned to each pixel using the prior art techniques. In rendering pixels in a sequence, the process of relating attributes in world space to attributes in screen space, using the texture coordinates in screen space to accomplish texture mapping, and combining the attribute values to determine a color value for each pixel has been extremely time consuming. Consequently, if the time required for this processing could be reduced, the time required to render polygons could be significantly reduced.
When the attributes and especially the texture values are varying linearly across a particular scan line, there is often no reason to proceed through an exhaustive algorithm such as that described above in order to determine pixel attribute values by which the color values are modified. The time required to convert world attributes to screen attributes and to carry out the texture mapping process may be significantly reduced by limiting the calculation of attributes to some number of half or less of the pixels in a linear sequence. It is often sufficiently accurate to simply interpolate attribute values between these accurately determined values rather than utilizing the more rigorous methods. Linear interpolation takes very much less time and thus provides the ability to greatly accelerate the process of generating pixels for writing to the frame buffer. If only every other pixel, or every third, fourth, fifth, or some other higher number of pixels (indicated by a processing factor) in a sequence has its attribute values accurately computed using the methods described above or some other accurate method of determining attributes and texture values, and the values of the pixels between the accurately determined pixels are determined using linear interpolation, the time for rendering pixels in such a sequence can be reduced to essentially one-half, one-third, one-fourth, one-fifth, or some smaller number depending of the fraction of pixels which are produced by linear interpolation.
Using the present invention, illustrated in FIG. 3, allows pixels to be generated more rapidly than those pixels may be written to the frame buffer.
The manner in which the present invention accomplishes this acceleration is to detect whether the rate of change of attributes and especially of texture are essentially linear. A linearity circuit 32 receives the vertex data provided to a setup circuit 21 and the constants generated by the circuit 21 as input signals. The circuit 32 compares the change in the texture coordinates to the changes in pixels positions across a scan line. If the change in texture coordinates is small per pixel, then the texture attributes are considered to be varying linearly. If the texture attributes are varying linearly, then the ability of the circuit 21 to produce attribute values at selectable x and y screen coordinates is utilized to generate perspective correct values utilizing the precise process for only selected pixels on a scan line.
This may be better understood by considering the relationship of texels and pixels. A pixel defines a position at which a single color is placed to display one position in a triangle. A texel represents a single value which may be used to determine which single color a pixel displays. If a pixel covers a number of texels, then many different texels should be evaluated to determine a final color for the pixel. If a pixel covers approximately one texel, then that texel might be the only texel considered in determining the color for that pixel; however, a different texel covered by the next pixel might be an entirely different color. If, on the other hand, a pixel covers less than one texel then adjacent pixels probably have the same or very similar texture values since the color is assessed using the same texels. Consequently, by comparing the change in texture coordinates to the change in pixels over a scan line in a triangle (or some portion of a scan line or between the maximum and minimum x values in a triangle), a rate of change of one to the other may be determined which signifies that the change is linear.
The linearity of the pixels on a scan line may be determined in accordance with the following equations:
where the coefficients are those described above.
When the values resulting from the two equations are determined, the results are evaluated to provide a value which determines the mode in which to operate. In one embodiment, the results are added and if the sum is less than one-half, then mode two is selected; if the sum is less than one quarter, then mode four is selected. Other modes are possible in other embodiments.
The linearity circuit 32 may include circuitry which receives the u and v texture coordinates computed at the edges of each scan line of the triangle and determines a degree of linearity by determining the change of each u and v value with respect to the change of the x and y values for the scan line.
If texture is changing in a manner which is essentially linear, then one of the faster modes of generating pixels may be selected at a mode select circuit 33 based on the degree of linearity determined by the linearity circuit 32. In one embodiment of the invention, if the change in the texture coordinates from pixel to pixel on a scan line is less than one-half, then a fast mode is utilized. Specifically, if the change is less than one-half, then a processing factor indicating a fast mode of two is utilized; if the change is less than one-fourth, then a processing factor indicating a fast mode of four is utilized. A fast mode select input signal is provided by the mode select circuit 33 to the circuit 24 which generates x and y screen coordinates and to a linear interpolation circuit 36 to accomplish this. Although the different embodiments of the present invention actually increase the speed of pixel generation by two and four times; there is no theoretical reason that the speed cannot be increased by more by following the teachings of the present invention.
It should be noted that the changes in the u and v texture coordinates with respect to the changes in the pixel in the y direction may be computed in a similar manner by the linearity circuit 32 as are the changes in the u and v texture coordinates with respect to the changes in the pixel in the x direction using circuitry to accomplish the following steps:
where the coefficients are those described above.
The values which result may be evaluated to select modes for accomplishing linear interpolation of entire scan lines where changes in the y direction of the texture is linear.
If a faster mode is selected, then at the beginning of a scan line within a polygon, the pixels must be aligned to the mode. To do this in one embodiment, the value of the two dimensional coordinates of the first pixel are calculated in a pixel alignment circuitry of circuit 24. If the x value of a pixel is divisible by the value of the fast mode selected, then the mode may be started with the first pixel. If the x value is not divisible by the mode number, then the pixel position must be aligned for the mode. There are various manners of alignment as will be appreciated from the following description. However, essentially, the process requires that one or more pixels be treated individually by the alignment circuitry of the circuit 24 until the first pixel which is evenly divisible by the mode value is reached.
In a first embodiment, where a pixel position divisible by the mode number is but one pixel away from the start, a first mode is entered in which each pixel is individually computed. Thus, the first pixel is computed and its value entered in the pipeline. Then the next pixel is computed, and its value also entered in the pipeline. Then, the mode of computation is changed to a selected fast mode; and the pixel a mode value away (e.g., two or four pixels) is computed.
Attribute values are computed by the circuits 21 and 22 for the pixels on the scan line of a triangle. Once the values of the first pixel and some succeeding pixel (e.g., the second or fourth) are selected during this fast mode, the values of the intervening pixels are determined by linear interpolation of the values of the accurately-determined pixels at the linear interpolation circuit 36. For example, if the accurately-determined pixels are two apart in the sequence furnished to the circuit 36 from the lighting pipeline, the values determined through the combination of attribute values in the lighting pipeline 23 are added and divided by two to give the value for the intervening pixel. If the accurately-determined pixels are four pixels apart in the sequence, the values for those accurately-determined pixels are added and divided by two to give the central pixel between the two accurately-determined pixels. Then, the value of the central pixel is added to the value of the first pixel and divided by two to determine the value of the second pixel ; and the value of the central pixel value is added to the value of last pixel and divided by two to obtain the value of the third pixel in the sequence. Since the values of the beginning and end pixels determine the values of all of the intervening pixels, the values may be generated in sequence very rapidly. The two values last computed are then used to compute the one or three intervening values. The intervening values and the end value are placed in sequence in the rendering pipeline.
The process continues in the fast mode across the scan line computing only those pixels a mode value away using the slower more complicated process. The fast mode ends when pixels less than a mode value away remain to be computed. At this point, the operation switches to whatever mode provides computation of the next greatest number of pixels remaining in the scan line. For example, if two or three pixels remain to be calculated, the mode might change to mode two, compute a pixel two positions beyond in the sequence, linearly interpolate the intervening pixel, quit if no pixels remain to be computed on the scan line, or furnish the already computed value of the last pixel on the scan line to the pipeline if such a pixel remains.
In an alternative but slightly less accurate embodiment, the circuit 21 begins a scan line with the fastest mode available and then masks off the pixels not included in the scan line. This may be accomplished by including validity bits with the data stored in the pipeline to indicate which pixels are to be written to the frame buffer. The technique is slightly less accurate because it may use texture values outside of the triangle in order to determine the values for any particular scan line.
In one embodiment of the invention, a given triangle is rendered in one faster mode or another. However, it would also be possible to utilize different modes of operation for different scan lines within any particular triangle. Moreover, as discussed above, linear interpolation between successive scan lines may also be utilized.
It will be understood by those skilled in the art that the present invention has been described as accelerating the speed with which pixel data is rendered to the frame buffer primarily because of the reduction in time and circuitry required to accomplish the generation of pixels through the complex process of determining accurate screen attributes from world attributes. However, similar advantages are obtained by utilizing the invention to eliminate other steps in the computation of values of individual pixels where the attributes of the pixels vary linearly along a scan line.
Although the present invention has been described in terms of a preferred embodiment, it will be appreciated that various modifications and alterations might be made by those skilled in the art without departing from the spirit and scope of the invention. The invention should therefore be measured in terms of the claims which follow.
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|Fee payment
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text:
KUHF's Chris Johnson hosts the session.
The Front Row
The Front Row – Rice University
Shepherd School of Music faculty composer Karim Al-Zand talks about his Cabinet of Curiosities — that's the title of a concert of his new and recent chamber music, scheduled for Friday at Rice University. We also hear one of the pieces on his recital program performed by Shepherd School graduate-student violinist, Eric Siu…


text:
OFM Net Series 4 Legged Guest Chair with 7 Color Options
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For long-lasting comfort and durability coupled with a unique and modern looking guest chair, look no further than the OFM Net Series 4 Legged Guest Chair. This stylish and dependable chair can be used indoors and outdoors thanks to its rust and water-proof steel mesh. And, you can choose from seven different vibrant colors to match your pre-existing office color scheme or decor, allowing you to impress customers, clients, and patrons the minute they walk in the door.
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New Student Days - Fall 2016
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New Student Days is what we call our fall orientation program for new students. The next New Student Days will take place from Monday, August 15 - Sunday, August 21, 2016. Below is a tentative schedule for move-in day. You will notice that there will be time for families and guests to say farewell to their students on that Monday afternoon. Please note that this is an evolving document and may change before you arrive. Please check back often for updates!
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All International Students arrive on Thursday August 11, 2016. For more information about International Student arrivals and schedules, contact the Office of International Education.
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CBSE Class 09 PSA Questions Previous year question papers for CBSE, NTSE, PSA, Olympiads, CTET, JEE mains JSTSE and other exams in PDF format and for online tests are provided here. Last year exam question papers help to understand question paper pattern and difficulty level.
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Sony has found the easy way to get connected - with EZ-2-Connect™ that packs power, video and control solutions into one package. This particular kit, the EVIH100VWPAC4 is an RC4-SHD Dual Cable Solution Kit for EVI-H100 Series PTZ camera. Installation headaches are a thing of the past when you combine a high-quality, reliable Sony PTZ camera with a CAT5e/6 cabling kit. Ideal for faith-based communities, healthcare, education, government, videoconferencing, and sports, the EZ-2-Connect PTZ package provides quick and easy installation of EVI, SRG, and BRC PTZ cameras with a Sound Control Technologies Cable Connection Kit. With standard Ethernet cables, you can easily power and control Sony PTZ cameras – saving time and money.
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|Sony RM-BR300
Remote Control Unit for Sony Cameras
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|Sony BRC-WMZ330
Wall Mount Bracket for BRC-Z330
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Telemetrics Wall Mount Bracket in White for EVI PTZ Cameras
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|Sony RC893/1
RS232 Connecting Cable for EVI series
Sony's RC893/1 is a 3m RS-232C connecting cable, mini-din 8-pin to D-Sub 9-pin (D30/ 31/ G20/21), designed for use with Sony's EVI series cameras. It allows a computer to be connected to the camera as a controller.
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Outdoor Pendant Mount for the EVID70
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