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Staff Favorites - Gary Westby
Gary Westby
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I started at K&L in February of 2000, after 4 years of working down the street for another retailer, and although I take care of the Champagne buying here at K&L, I love to drink wine from all over the world. I prize authenticity in wine, and love representative examples of many different styles, whether it is a spicy dry creek zinfandel or a mineral driven Manzanilla. I almost always drink my wine with food, and am drawn to food wines rather than the softer styles that are good for drinking on their own. My wife Cinnamon and I cook a lot of Italian & French food at home, and my list of wines reflects those food choices. I also love value, at every price point, and can't stand "prestige" labels that under deliver in the bottle. I love honest wines for the table. If you love good wine to go with your good cooking too, I think that by joining my personal Sommelier list you will be treated to a wide variety of wines that represent a strong value for money at what ever price range you feel comfortable with. Give it a try!
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1997 Potensac, Médoc
Review Date: 10-8-2013
Cinnamon and I are on a very strict diet, and one of the most important parts of that diet is eating steak and drinking claret once a week. Bordeaux is magic with steak. I know that many of you might think it is less than cutting edge, but this pairing is a classic for a reason. Recently we picked up ¼ of a steer from Fred Manas at Double Bar O ranch in Esparto, CA and this past Friday we indulged in a T-Bone from our haul. We gave it four days of dry age in the fridge, added salt and pepper and tossed it in the cast iron pan. We let it rest with a dab of black truffle butter on top and made some fries and a salad to go with it. The 1997 Potensac, Médoc, $26.99 is one of the most youthful 1997s I have tasted, and needed the hour that we gave it in the decanter. It is very, very dark, and if I had tasted it blind I am positive I would have missed the vintage. That being said, I think the wine has a lot of charm now as well as power. This is a virile wine with plenty of strict tannin and acidity, but with plenty of black currant fruit to balance it out. It was perfect with the steak, but I would not trifle with this wine with finger food. It got better and better as the night went on and by the last glass was quite layered and complex. This is a steal and $26.99. If there is a steak in your future, dont miss it!
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Price: $26.99
2005 Island Distillery 7 Year Old K&L Exclusive "Exclusive Malts" Single Barrel Cask Strength Single Malt Whisky 750ml
Review Date: 10-2-2013
I love the balance of this young peaty whiskey. Unlike many young "craft" type malts, it does not try to hide the fact that it is young with tricks, and its freshness is a great part of its charm. It is a lovely dram as an after work drink with one large ice cube, and a bracing after dinner drink on its own. The texture is full without being oily, and the finish is remarkably long. I wonder who made it? I'll keep sipping and guessing!
Top Value!
Price: $59.99
1995 Joel Taluau St-Nicolas-de-Bourgueil Vieilles Vignes
Review Date: 9-27-2013
This is a lovely, mature bottle of wine that still has plenty of vivacious refreshment left in it! Cinnamon and I had it last night with French onion soup, and this light bodied, aromatic red was perfect for the bistro fare. The 1995 Joel Taluau is classic St Nicolas De Bourgueil with plenty of green olive and herbs on the nose and great almost carnation-like earthiness in the mouth. The tannin is completely resolved, and the wine finishes fresh!
Price: $26.99
Prevoteau-Perrier "Adrienne Lecouvreur" Brut Champagne
Review Date: 9-26-2013
Over the weekend Cinnamon and I invited some friends for dinner, and we started the festivities with a couple of the cuvees from Prevoteau Perrier since we were so excited that they had just arrived. We served this in the backyard with some popcorn with black truffle butter and it was even better than I remembered it from tasting with the family this spring. The Adrienne Lecouvreur delivers on the fancy Champagne promise of elegance; the complexity is there, but upfront it is all pleasure. The bottle went very quickly indeed!
Price: $39.99
Prévoteau-Perrier Brut Rosé Champagne (1.5L)
Review Date: 9-26-2013
Nothing beats showing up to a party with a magnum of rose Champagne... Everybody wants some! Over the weekend we enjoyed this in the backyard with friends who were over for a little Sunday dinner party. It has the friendly appeal of red cherry fruit but plenty of vinous intrigue to stand up to a wide range of foods. If you like rose, don't miss it!
Price: $69.99
Prevoteau-Perrier Rosé Brut Champagne
Review Date: 9-26-2013
This really hits the spot with some salmon mousse! Over the weekend we enjoyed this in the backyard with friends who were over for a little Sunday dinner party. I was giving Champagne sabering lessons, and my good friend Matt dispatched this bottle with style on his first attempt, and we drank it outside with wild salmon and caper mousse. It has the friendly appeal of red cherry fruit but plenty of vinous intrigue to stand up to wild salmon. If you like rose, don't miss it!
Top Value!
Price: $34.99
2003 Moet & Chandon "Dom Pérignon Koons" Brut Rosé Champagne
Review Date: 9-26-2013
Cinnamon and I paired this bottle with some chunky, rich, peppered smoked salmon from the Mountain View Farmers Market. This oily, flavorful fish on top of olive oil basted crostini brought out the best in the 2003. I would recommend a dish like this with this wine as it is a huge wine and likes the food. This is rose Champagne XL, with breadth and weight on the scale of Burgundy, but flavors that are all Champagne: clean dark fruit, transparent toast, and a yeastiness that DP fans will find familiar and love. The bead is effusive and the texture rich and thick with a finish that is round and fruit driven rather than mineral.
Price: $329.00
2002 Piper-Heidsieck "Cuvée Rare" Brut Champagne
Review Date: 9-25-2013
The wonderfully rich Cuvee Rare from Piper Heidsieck reminds me of the great tete de cuvee's of years gone past. Like those, it is made in tiny quantities and only in the very best years- only 8 vintages have been made in 36 years! We drank this wine at a staff sushi and Champagne party at my house, and loved it with the eel especially, but I think the ultimate pairing for this wine would be a nice sunset. It doesn't need anything! I love the warm toastiness of this wine and its fine balance. The refreshing finish will have you coming back for more!
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Price: $144.99
2005 Michel Loriot Vintage Brut Champagne
Review Date: 9-19-2013
If you are looking for a bottle of rich vintage Champagne- look no further! The Wednesday night crew here at K&L polished one of these off last night and I was very impressed with the golden opulence of this 2005. Michel Loriot makes full bodied Champagne, and this is a great example of the style. If you love wines like Krug, but don't always have the budget, this is worth a try!
Price: $44.99
City of London Gin 1L
Review Date: 9-19-2013
This is the new house pour for Cinnamon and I. It is a good high juniper style with plenty of excellent ginny taste. I love it for gin and tonics with fever tree, but best of all I love it for Negroni's. This, Campari and Carpano Antica Sweet Vermouth don't all come in liter bottles for no reason- in equal proportions they make my favorite fresh mixed Negroni!
Price: $22.99
2004 Pierre Moncuit "Cuvée Nicole Moncuit Vieilles Vignes" Grand Cru Brut Blanc de Blancs Champagne
Review Date: 8-20-2013
Champagne doesnt get better than this- I could not believe how much class this 2004 had, even though I have been lucky enough to have many, many past vintages of this cuvee. This great bottle of Mesnil Grand Cru is made from two over 90 year old plots, some of the oldest vines in all of Champagne. The nose is restrained, detailed and multifaceted: I found perfect baguette, savory spice and fresh pineapple in the bouquet. On the palate it had both the lush richness of ancient vines and the fabulous mineral focus of some of the best chalk vineyard in all of Champagne. This wine sings with both ripe fruit and mineral freshness
Too bad there is so little!
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Price: $74.99
Ruinart Brut Blanc de Blancs Champagne
Review Date: 8-17-2013
The Ruinart Brut Blanc De Blancs is a wonderfully different style of Chardonnay based Champagne than any other that we have. While almost all of the others that we carry rely on the laser precision of Cote de Blanc fruit exclusively, this wine balances this electricity with the rich, nearly grapey Chardonnay of the Mountain of Reims. The result is magic; a full bodied blanc de blancs that still finishes dry and long!
Price: $62.99
Jacquesson "Cuvée 736" Brut Champagne
Review Date: 8-17-2013
The Jacquesson Cuvee 736 might be the most pure Champagne that we stock. It is only dosed at 1.5g/l and is very, very dry, with excellent white fruit aromas and flavors. It was a fantastic contrast to the fat, toasty styles that we tasted so many of during our big Champagne team meeting. It does need food, and I would pick this out as being an exceptionally good partner to oysters or other shellfish.
Price: $64.99
2004 Taittinger "Comtes de Champagne" Brut Blanc de Blancs
Review Date: 8-17-2013
This is one of the greatest tete de cuvee's that Champagne has to offer, and the 2004 is one of the finest examples that I have ever tasted. The Comtes De Champagne from Taittinger delivers every year that it is made, but I think this vintage is a special one for them as this transparent, terroir driven harvest compliments the style of the house perfectly. This is usually one of the richest Blanc De Blancs on offer from the region, and while certainly richer than most 2004's this Comtes defines finesse with its balance of power and delicacy. I hope to taste it many more times over what is sure to be a very long life for this great wine!
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Price: $124.99
2008 Louis Roederer Brut Rosé Champagne
Review Date: 8-17-2013
This fantastic vintage Champagne is the first of the 2008's that we have received from a grand marque and a big statement on the quality of this long awaited vintage. The 2008's combine great ripeness with incredible acidity and the Louis Roederer Brut Rose balances these two features of the vintage perfectly. I have had the wine on three occasions already, and the best experience was at Quince, where the wine was paired with royal osetra caviar on brioche with edible flowers and hollandaise. The fine quality red fruit component and electric acidity of the wine was ideal for this great roe. This is subtle rose with a huge future!
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Price: $64.99
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Sedu Revolution Curlascious Clipless Curling Iron
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Sedu Revolution Clipless Curling IronTSedu Revolution Vs. Curling Iron?Do you think if I get the Sedu Revolution Flat Iron it will also be able to curl/wave and buying this is unnecessary? Because I kind of want both - but not sure if it is necessary to have both!! help!Reply to this postMay 17, 2011Link to this post
ErinCurling Iron For SureI have both the Sedu Revolution and the Clipless Curling Iron and I would definitely recommend getting both. I tried waving my hair with the Revolution and it looked terrible! Very unnatural and it left creases all over my head! This curling iron however creates beautiful waves. Since it's a larger barrel it creates looser curls/waves but they look great, very VS model-ish. I know they're not cheap but I think you'll be disappointed if you just get the Revolution.Jan 5, 2012Link to this post
KristynOregonGet BothI own the Sedu Revolution 1" flat iron and it works wonders for flat ironing your hair for results that last days long. However I find that curling your hair with it to be difficult. It is very possible to but the look of a clipless curling iron's curls will not be the same look achieved with the flat iron.
I would suggest getting which one you would use more often personally. I use curling irons (including clipless) more often than my flat iron. I love the different types of curls I can create and how easy Sedu products are to use once you practice.
Bottom Line; The flat iron is great for flat ironing, not so much curling.Jul 28, 2011Link to this post -
AshleyDifferent CurlsI have the Sedu Revolution flat iron, and I also have a clipless curling iron that has 3 different sized detachable barrels (so it isn't the Sedu brand). The curls are definitely different with the clipless iron... it's much easier, faster, and more of a "bouncy" curl look. The flat iron gives more of a relaxed look I think. I prefer curling with my barrel-less curling iron for sure.May 20, 2011Link to this post
Sedu Anti-Frizz Polishing Treatment with...Sally M.NycHow Much To Use?how bug of a dollop should I use for medium length hair, color treated hair?Reply to this postMay 13, 2011Link to this post
JessicaNYCDime SizeMy hair is color treated, fine and just past my shoulders. I use a dimes size on my hair and use most of the product on my ends. If your hair is thicker and less likely to get product build up, I think you could use 50% more and be ok.Mar 6, 2012Link to this post
Sedu Revolution Clipless Curling IronRaasi K.AustinMay 10, 2011Link to this post
Sedu Revolution Clipless Curling IronSusanHow Do I Use This???I can't figure out how to use this. It seems to be frying my hair in the meantime. It says hold tip down. Don't get the whole process. Can someone help before I send it back? Thanks.Reply to this postMay 3, 2011Link to this post
Sedu Revolution Clipless Curling IronNycgirlNew York, NY19 Mm Or 25mm?Hey girls! I read all the reviews here and im sold on buying this iron. however i dont know if i should get the 19mm or 25mm. Majority of the reviews were using the 19mm, however i want kinda big curls and im afraid the 19mm would give me the more skinnier curls.. Any suggestions? I have a lot of hair, its thin though so keeping a curl is impossible which is the reason why im afraid that the 25mm wont curl my hair:(!Reply to this postApr 25, 2011Link to this post
LoHollywoodGo For 25mm.....if you like longer looser waves (like kim kardashian) go with the bigger barrell. I have really fine hair that doesn't hold curl and i purchased the smaller one for my personal use. I find myself waiting to curl my hair w/ the 25mm at work b/c i am much happier with the waves I get with the bigger one. I was worried it wouldn't hold the curl as well but it totally does. I regret purchasing the smaller one! good luck!Jun 29, 2011Link to this post
SylviaNew York19mm Or 25mmI would suggest the 25mm for larger curlsMay 10, 2011Link to this post
I had this same issue choosing between the 19mm and the 25mm. I ended up purchasing the 25mm and after using this one I believe the 19mm would be too small for my taste. I also have a lot of hair. I will be posting a review with pictures so you can take a look.
Hope this helps.May 3, 2011Link to this post
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subset: commoncrawl


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The board has approved the plan to divide the entertainment side and the less profitable publishing parts.
"The power of [the British press] is indisputable," he said.
The answer is some degree of "very."
The phone-hacking scandal that launched a thousand resignations.
The former News Corp. editor was quite cozy with Scotland Yard.
Four current and former editors of The Sun were also arrested.
A longtime News Corp. employee becomes the seventeenth person arrested in the scandal.
Families of September 11 victims still haven't heard if they were hacked by News Corp.
The CNN host and former tabloid editor gave very careful answers today.
The News International boss still says he didn't know how bad the phone hacking was.
There's been a slight correction in the Milly Dowler phone-hacking case, details of which shut down the 'News of the World'.
Speculation continues about News Corp.'s succession plan.
Shareholder advisers are recommending that investors vote against the family.
A London theater company is staging an experimental show based on the News Corp. scandal.


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An investigation by California's Department of Toxic Substances Control found Clearwater Environmental Management, Inc. continued to transport hazardous waste after losing its license in 2007.
Dozens of comments urge the U.S. Coast Guard not to allow barge owners to ship shale gas extraction waste water via inland waterways, saying it is a threat to drinking water supplies.
Both public and private partners have been working together this week to help clean up an illegal dump in Ohio. It's been estimated that 14,000 tons will be removed from the former construction site that has been covered with waste that stretches 20 feet high and covers about an acre of land.
During the Dec. 7 SWANA online presentation, Allison Tyldesley, landfill technician at the Halton Waste Management Site in Ontario, Canada, will explain the actions that will keep it open until at least 2040.
A door hardware company in New Haven, Conn. will pay $39,075 in fines for violating state and federal hazardous waste laws.
The Zero Waste Challenge's goal is to divert 100 percent of the 2013 tournament's waste away from landfills and into recycling and compost facilities –- not easy for an event that claims to attract the largest galleries of any golf tournament anywhere.
Jeffrey Mousseau, currently a senior project manager for the lab's transuranic waste disposal program, is the new associate director for Environmental Programs.
Boehringer Ingelheim Vetmedica, Inc. has agreed to pay a $68,475 civil penalty and to spend at least $300,000 to build a state-of-the art hazardous waste storage facility.
Both are headquartered in Texas. R360 is a leading provider of non-hazardous oilfield waste treatment, recovery, and disposal services.
Seven workers and two members of the public have died since June 2012, most when they were struck by moving equipment, the British safety agency reports.
Vermont Gov. Peter Shumlin signed into law a bill that requires manufacturers of mercury-containing lamps to establish and finance a recycling program for spent bulbs from residents and small businesses.
A National Solid Waste Management Association study describes how cities can privatize their garbage collection, disposal, and recycling programs while protecting the environment and often while maintaining employment.
The agreement would resolve allegations in a lawsuit the United States and Indiana filed in September 2009, alleging violations of its Clean Water Act discharge permits.
Under the Resource Conservation and Recovery Act, the law would add a new category of "restricted electronic waste" that cannot be exported from the United States to developing nations, such as Ghana.
The Census of Fatal Occupational Injuries reports that 19 solid waste collection workers died on the job in 2009, down from 31 fatalities in 2008.
A laser-induced fluorescence tool may help map denser than water contaminants such as trichloroethylene and perchloroethylene.
EPA alleges that during 2007 and 2008, the facility processed lead in quantities that exceeded the reporting thresholds for lead and failed to file the required Toxic Release Inventory reports.
American Public Works Association and Solid Waste Association of North America cooperate by holding conferences in same city.
Boy Scouts are gathered in Fort A.P. Hill, Va., for their annual Jamboree, where Allied Waste has placed 450 trash and recycling bins to manage the cleanup.
According to EPA, many municipalities' stormwater management plans are out of date and have not been fully implemented, and permits don't always contain clear milestones to ensure that water quality standards would be met.


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Uh, leave it. Leave it easily. This is just hearsay, unsubstantiated and not backed by any kind of evidence from Blizzard. What you are experiencing is a combination of RNG and confirmation bias.Quote from Vaizard87I've been playing for a long time (as have most of you) but my #1 and #2 have been tried and true since launch. Take or leave
posted a message on Posted in: Diablo III General Discussion
posted a message on Posted in: Diablo III General Discussion
I don't understand this comment, but I don't watch streams either. Was the OP accused and/or guilty of manipulating game mechanics do get to P500? Personally, I think it's a really awesome accomplishment, so if there's not real evidence that he was "[breaking] the game," then I think it should be applauded, especially considering how far he's come in the last several days alone. For the record, I don't think utilizing mob-dense areas (like CotA) or taking advantage of multiple players, +XP gear, or the community experience bonus are game-breaking.Quote from kangaxx2890
gogo, keep on exploiting and trying to break the game in new ways just to level paragons as if it were a race, you really are a sour point in the community and an example not to follow -
posted a message on They can't be bought, sold, or traded; they are account-bound and have been since they first appeared in the game several patches ago. Sorry, but you've just got to keep farming up keys, making machines, and trying your luck on the Uber encounters for organs. Get into a LookingForGroup channel; it's usually not too hard to find some folks that want to do runs. Good luck!Posted in: Diablo III General Discussion
posted a message on I don't know about a timer "still" being in the game (I don't think there ever was one before), but I seem to recall a blue post from a while back saying something like legendaries should be dropping at least once every two hours or so from 2.0.1 on. That certainly seems to be the case with me, although I also got a 2-3 rapidly during my first play session with the new patch.Posted in: Diablo III General Discussion
posted a message on Posted in: Diablo III General Discussion
And how does this statement not apply to your original post (or any since)...?Quote from Twoflower
Funny to see that after more than a year we stillhave the same fucktards with the same arguments. -
posted a message on Posted in: Diablo III General Discussion
Looks like that's a resounding "no." I thought you did a great job of staying patient and trying your best to actually explain the argument/situation at hand, Daisy, so thanks. I also want to say that I think the cursed chests are a nice challenge, but I've been able to clear the 2-3 that I've found so far (albeit on Torment I), so like the way they are currently tuned.Quote from daisychopper
So are you going to respond at all to the possibility that your skill/gear setup may be to blame for your lack of success so far?Quote from Finder
Let me guess, you're an action house warrior or play on a difficulty that provides you no challenge whatsover? The thumping your chest you are trying to do really isn't impressing anyone though. -
posted a message on I was mostly just joking since you also provided a good answer in the other thread I just started. Thanks for the link to the blue post, I agree that the Blizztracker is going nuts now, especially with the powerleveling issue.Posted in: Diablo III General Discussion
posted a message on Once again, thanks for the reply, Bagstone! Maybe I should just start PMing you when I feel the urge to start a thread...Posted in: Diablo III General Discussion
posted a message on Ah, thanks Bagstone! I searched for a thread like that before making this one but couldn't find it.Posted in: Diablo III General Discussion
posted a message on So is there anyone out there who is playing at Torment VI? Can we confirm that it is more difficult than MP10 was? Looks like I'll be on Torment I for a while, as I like to play solo a lot and that's about all I can handle. I'll check out Torment II in a multiplayer game today; under the MP system I could handle MP4 solo easily, MP5 solo was a challenge, and MP6 I had to do multiplayer.Posted in: Diablo III General Discussion
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What Is ResNet?
ResNet (Residential Network) is the residential computer network service provided to students living at Cornell College. ResNet lets you connect your personal computer directly to the College's computer network and to the Internet.
This site provides information about services available through ResNet, acceptable use of ResNet, setup and configuration and keeping your computer secure.
For questions or comments, contact ResNet at 895-HELP (4357) or email us at firstname.lastname@example.com.
Services Available Through ResNet
Like all other broadband connections, ResNet is always connected -- no dialing necessary -- which means your phone lines are not tied up while you're online.
The ResNet connection is several times faster than ordinary dial-up connections allowing you:
- Computing from the comfort and convenience of your room
- Send and receive Email
- Browse the World Wide Web
- Access to online campus resources, such as the library and academic applications
- Use of your student email account
- Access to your web space
- An internally safe/secure computing environment
- And much, much more!!
ResNet provides one Ethernet outlet per student in each residence hall room. Residents must provide their own computers and Category-5 Ethernet patch cables.
You need the following items in order to access ResNet service:
a Cornell College network username
a computer with an operational wired or wireless network adapter
an operating system that supports TCP/IP and DHCP services (Microsoft Windows or Mac OSX)
a Category-5 Ethernet cable (RJ-45) to connect your card to the data port in your room
the CD-ROMs or disks for your operating system (in case they are needed to install certain files)
When you set up your computer in your residence hall room, connect one end of the cable to the data port in your room. Connect the other end to the Ethernet port on your computer. Then, launch your Web browser and begin the ResNet registration process. If you have problems you can call the Help Desk (4357).
To learn how to set up ResNet for your operating system, see the appropriate document in the Get Connected section.
Your subscription to ResNet includes:
Support from the ResNet help desk by e-mail or phone call to help you connect to and use the service
- Wireless network access in your room
An Ethernet port in your room to connect your computer to the Campus network and the Internet
Access to facilities on the College network such as the central user file store
Unlimited use of e-mail and the web
Activities Restricted On ResNet
Some electronic activities are discouraged or prohibited on the ResNet network. Additionally, you have certain obligations to protect your machine and make sure that your ResNet port is not used inappropriately by someone else, such as a roommate or friend.
For more information, see the Official Policy and Network Use Guidelines.
Support Provided For ResNet
If you have problems with ResNet or additional questions, using our Support FAQ is the fastest way to get resolutions to most ResNet problems. If you are unable to get your problems solved there, you can request email support by using our Work Order Request form. If these methods do not solve your problems, you should contact IT directly at extension 4357.


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Lympne, Kent.
Several shots of pilot Jim Broadbent standing beside his aeroplane after flying 10,000 miles from Australia in just over five days. Commentator says he has beaten Jean Battens time by nearly 14 hours, "so unlucky Jim is lucky at last!".
We always welcome comments and more information about our films.
All posts are reactively checked. Libellous and abusive comments are forbidden.


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Video: Top News
Eight dead in Philippines shooting rampage (0:55)
Jan. 4 - A lone gunman kills at least seven people, including two children, in a shooting spree south of Manila. Deborah Lutterbeck reports. ( Transcript )
Reuters TV Shows
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Application and Evaluation of Spatiotemporal Enhancement of Live Aerial Video using Temporally Local Mosaics Bryan S. Morse, Damon Gerhardt, Cameron Engh, Michael A. Goodrich, Nathan Rasmussen, Daniel Thornton, and Dennis Eggett Brigham Young University, Provo, UT 84602 morse@ byu. edu Abstract Camera- equipped mini- UAVs are popular for many ap-plications, including search and surveillance, but video from them is commonly plagued with distracting jittery mo-tions and disorienting rotations that make it difficult for hu-man viewers to detect objects of interest and infer spatial relationships. For time- critical search situations there are also inherent tradeoffs between detection and search speed. These problems make the use of dynamic mosaics to expand the spatiotemporal properties of the video appealing. How-ever, for many applications it may not be necessary to main-tain full mosaics of all of the video but to mosaic and retain only a number of recent ( temporally local) frames, still pro-viding a larger field of view and effectively longer temporal view as well as natural stabilization and consistent orienta-tion. This paper presents and evaluates a real- time system for displaying live video to human observers in search sit-uations by using temporally local mosaics while avoiding masking effects from dropped or noisy frames. Its primary contribution is an empirical study of the effectiveness of us-ing such methods for enhancing human detection of objects of interest, which shows that temporally local mosaics in-crease task performance and are easier for humans to use than non- mosaiced methods, including stabilized video. 1. Introduction Using video feeds from inexpensive Mini Unmanned Air Vehicles ( mUAVs) is becoming popular in a variety of ap-plications, including search and rescue, military reconnais-sance and target acquisition, counterterrorism, and border patrol. Their small size and ease of deployment enable mUAVs to gather up- to- date and high resolution surveil-lance that could be much more difficult to obtain otherwise. We focus here on the use of mUAV- acquired video for as-sisting search and rescue in remote wilderness areas ( see [ 3] for a description of the field deployment of these mUAVs coordinated with human search teams), but the methods and study presented here apply to a variety of applications. ( a) Original video ( b) Local mosaic video Figure 1. Temporally local mosaics for enhanced detection. A small object in the non- mosaiced video ( a), seen here at the lower- right corner of the frame and circled in red, may be visible in only a few frames. In the enhanced temporally local mosaic dis-play ( b) the same object, seen in the lower- middle of the view and again circled with red, is visible over nearly one hundred frames. Unfortunately, video from mUAVs suffers from three general problems that make the video difficult for humans to interpret. First, the video tends to be shaky or jittery due to the small size and maneuverability of the aircraft, making it difficult for people to identify and track interesting features in the video. Second, it is easy to become disoriented while watching video from a mUAV, especially when the aircraft is circling or turning frequently, making it difficult to relate features seen throughout the video to each other or to real world features, locations, or objects. Third, in order to pro-vide high enough resolution for detection and identification, UAVs will often use high- power lenses or fly lower to the ground, reducing the field of view and corresponding dura-tion for which objects of interest are visible. This is further compounded when the UAV has to fly quickly due to the time- critical nature of search- and- rescue. This paper proposes and evaluates the use of real- time temporally localized mosaics ( Figure 1) to enhance the spa-tiotemporal display of live video for human observers in search applications. The enhanced spatial view increases situational awareness by giving observers a larger and more consistent sense of localization, and the enhanced temporal view increases an observer's opportunity to detect targets of interest. We present here and evaluate three alternative methods for video viewing based on temporally local mo- 978- 1- 4244- 2243- 2/ 08/$ 25.00 © 2008 IEEE saicing alone, stabilization and consistent orientation alone, or a hybrid stabilization/ mosaicing approach. The primary contribution of this paper is a quantitative human- observer study evaluating detection performance us-ing these three display methods to each other and to unen-hanced video while simultaneously performing a secondary task, similar to field use of these systems. We first describe the construction of these displays, then focus primarily on the evaluation of their use. 2. RelatedWork Registering and combining multiple images together to form mosaics, larger images created by compositing multi-ple smaller source images, has been a well- studied problem in computer vision. This body of work is far too extensive to survey here, but we recommend [ 16] for an excellent recent survey and tutorial. Source images for mosaics can come from a variety of sources, including frames from a moving video camera to create larger views than obtainable through the field of view of any one frame ( e. g., [ 10, 6]). Video from UAVs can be used to create large- scale static mosaics of scenes from aerial imagery. ( See [ 7] for an overview of this and related work.) [ 5] points out that this mosaicing of video simultaneously extends not only the spatial information but the temporal information ( change capture) as well. By updating the mosaic as new video is obtained, one can create a dynamic mosaic [ 6, 12] to display " live" con-tent. The temporally local mosaics used here can be thought of as " memory- less" versions of these dynamic mosaics, in which we retain only the portion of the dynamic mosaic still in the display area. Using combinations of telemetry, terrain models, refer-ence imagery, and aerial video, one can further georegister the video to allow it to be overlaid in its larger context ( ter-rain with reference imagery) [ 8, 19, 9], but this is beyond the scope of what we explore here, which is the effect such mo-saicing has on detection of objects of interest. Obviously, once objects are detected and identified, such methods can help place them in proper geospatial context. 3. Methods We first present three methods for enhancing video dis-play for detection: local mosaicing, stabilization alone, and a hybrid stablization/ mosaicing approach. For each method, we preprocess each frames on the fly, perform frame- to-frame alignment using video data only, then display them according to the viewing method used. Because the core methods build on well- established techniques, we focus primarily on application- specific constraints and on spe-cific design and implementation details necessary for repro-ducibility of our empirical evaluation. 3.1. Video Acquisition The mUAV platform is a custom airframe with a 50" wingspan. The sensor suite includes 3- axis rate gyro-scopes, 3- axis accelerometers, static and differential baro-metric pressure sensors, a GPS module, and a 640 480 video camera on a gimballed mount. It uses a 900 MHz radio transceiver for data communication and an analog ( NTSC) 2.4 GHz transmitter for video downlink. The UAV includes an onboard autopilot that provides stabilization of the aircrafts roll and pitch angles, attitude stabilization, alti-tude controller, and ability to fly to a waypoint. Because of the small size of the mUAV, no onboard processing of the video is performed. 3.2. Preprocessing For all display methods, we preprocess each frame on the fly by deinterlacing it and correcting for radial distor-tion. Deinterlacing is essential for fast- moving mUAVs, as the translation between odd and even fields of the video is significant and introduces visible artifacts that impair de-tection as well as subsequent video processing. We have found it most efficient to simply use the 6 4 0 2 4 0 fields directly for the later vision algorithms, then upsample each to 6 4 0 4 8 0 frames for deinterlaced display. 3.3. Frame Alignment To align successive frames of video, we use the Harris corner detector [ 4] to identify feature points, then establish correspondence between these points and use RANSAC [ 2] to estimate the Euclidean transformation ( translation and rotation) between each pair of frames. Although the small variation of the terrain within the camera's field of view relative to the mUAV's height above ground allows us to do as others have done and model the frame- to- frame transformation as a homography ( e. g., [ 7]), our experience is that the inevitable accumulated error that occurs in all registration methods causes the scaling and skew components of the homography to adversely scale and distort the displayed frames over time. Because we are sta-bilizing video or creating temporally local mosaics in real time, not aligning entire sequences offline, we perform only frame- to- frame alignment and do not have the luxury of or a need for a global bundle adjustment [ 17]. Using only a Euclidean transformation can cause minor frame- to- frame alignment errors, but we have found these to be minimal compared to the need to display full- resolution, unskewed video for optimal detection by avoiding cumu-lative drift in scale or skewing. Since the drift in posi-tion and rotation ( camera roll) is gradual and much longer than the time an object is visible in the video, we can still composite the frames and present them with a consistent orientation, even though the absolute orientation may drift over time. This precludes geolocation or a true " north- up" display without the addition of heading telemetry from the mUAV, but this has no effect on the ability of an observer to detect objects of interest. 3.4. Display Methods Once we have preprocessed and aligned the frames, we then display them to the user according to the display method selected. 3.4.1 Mosaiced Viewing To allow the viewer a longer temporal window, we create a temporally local mosaic of recent video frames. This not only extends duration for which objects of interest are vis-ible but also provides natural stabilization and maintains viewing orientation. Let Q ( t ) denote the Euclidean transformation from frame I ( t ?? 1 ) to the current frame I ( t ) . We can then de-fine the cumulative transformation Q 0 ( t ) from frame I ( 0 ) to frame I ( t ) as the composition of these transformations using the following recurrence relation: Q 0 ( 0 ) = I ( 1) Q 0 ( t ) = Q ( t ) Q 0 ( t ?? 1 ) ( 2) For our temporally local mosaic, we build a composite image I 0 that is the size of the viewing window and keep in it only the frames that are still visible in the current dis-play. We begin each video display by copying the first frame I ( 0 ) onto the center of I 0 ( 0 ) and displaying it to the user. We then align each successive frame I ( t ) to its predecessor I ( t ?? 1 ) , warp frame I ( t ) using the cumulative transfor-mation Q 0 ( t ) to the corresponding position and orientation, and superimpose this frame onto the existing I 0 ( t ?? 1 ) to create I 0 ( t ) . Because of the temporal ordering of the frames and the desire to always show in full the current frame, no frame- to- frame blending is used. When the warped position of the new frame I ( t ) exceeds the bounds of the viewing window, we translate I 0 ( t ?? 1 ) by the minimum amount necessary so that the new frame can be added in full. Denoting this required offset ( if any) as ( x ( t ) ; y ( t ) ) and the corresponding translation matrix as T ( t ) , we can then denote the warp M ( t ) used to apply each frame to the already- translated mosaic I 0 ( t ?? 1 ) as M ( t ) = Q 0 ( t ) T ( t ) ( 3) Intuitively, the Q 0 ( t ) component of M ( t ) tracks the motion of the video while T ( t ) accounts for the required scrolling of the display so that each frame is placed correctly. For forward- moving mUAVs with downward pointing cameras, this causes the display to pan steadily with the di-rection of motion ( Figure 2( a)). As past frames composited onto I 0 move outside of the viewing display, their content is no longer retained. This simplifies the process of com-positing the video while still providing the desired temporal expansion. It also avoids awkward accumulated- error arti-facts when looping back over previously- seen areas or the need to test for and compensate for such artifacts ( e. g, [ 15]). 3.4.2 Stabilized Viewing with Consistent Orientation To see whether the effects of temporally local mosaics for display are due to the mosaicing or solely to the stabiliza-tion and consistently oriented display, we compare them to stabilized, consistently- oriented video without mosaicing. To stabilize the display of the image, we calculate the warped positions of the center of each image and fit a spline to the warped positions. This dampens the jittering caused by erratic motions of the small UAV while allowing general progression of the plane's search/ flight path. Let c ( 0 ) denote the position of the center of the image. We can then build the paths of the warped centers c ( t ) of the images as c ( t ) = Q 0 ( t ) c 0 ( 4) and use the most recent n transformed centers as controls points b i for a spline B : b i = c ( t ?? n + i ) ; 0 n ( 5) We define the smoothed location q ( t ) as the midpoint of the spline between c ( t ) and c ( t ?? n ) , which we evaluate using de Casteljau's mid- point algorithm [ 1]. We then warp the image to the displayed position using the transformation A ( t ) = Q 0 ( t ) T ( t ) S ( t ) ( 6) where S ( t ) causes translation by c ( t ) ?? q ( t ) and T ( t ) is cal-culated as for the local mosaic. Thus, the stablilizing trans-formation A ( t ) for frame t is a composite of the cumulative history Q 0 ( t ) tracking the moving center c 0 ( t ) of the image, the translations T ( t ) that would be used to keep this frame within view, and a stabilizing shift c ( t ) ?? q ( t ) . The relation-ships between these components are illustrated in Figure 3. Since the stabilized view uses Q 0 ( t ) and translations only, the orientation of the currently displayed frame is the rotation component of Q 0 ( t ) . This provides the same con-sistent orientation as with the temporally local mosaic. The effect of this stabilized display is that the content of the video moves smoothly and in a consistent orientation between frames, while the outer bounding box of the dis-played frame may jitter and rotate within a larger display ( Figure 2( b)). While it would be possible to crop the frame so that the jittering of the bounds of the displayed frame would not be visible, as is commonly done with stabilized ( a) Local Mosaic ( b) Stabilized Only ( c) Stabilized Mosaic Figure 2. View presentation methods. Example of the stabilized mosaic and stable mosaic view presentations, each with a view three times the size of the original capture frame size. displays, we avoid this approach because we want to pro-vide to the observer the full area seen by the current frame and not lose video content. We also avoid using methods for full- frame stabilization [ 14, 18, 11], which synthesize data from the current and surrounding frames to provide a full field of view, because we want to display only actual rather than synthesized content. 3.4.3 Stabilized/ Mosaic Viewing One effect of the temporally local mosaic translating the display only when the current frame exceeds the viewing window is that when the video jitters it may cause the dis-play to pan, then it may move back into the displayable area, then it may shift so as to cause the display to pan again. This causes jerky motion of the entire display as the cur-rent frame unpredictably " knocks" against the edge of the displayed area. To compensate for this, we combine the lo-cal mosaic and the stabilized presentation to create a hybrid stabilized mosaic ( Fig 2( c)) by warping each frame as with the stabilized view ( A ( t ) ), then compositing the new frame onto the translated I 0 ( t ?? 1 ) rather than clearing previous frames. Figure 3. Stabilization path. As the tracked center of the current image moves ( green), a spline is fit to the last n tracked frame cen-ters ( red). The difference between the lagging smoothed position and the actual position of the center of the image, as well as addi-tional translations used to keep the entire display within view, are used to create the stabilized path of the displayed frames ( blue). ( a) Invalid registration indication ( b) Mosaic reset Figure 4. Indication of data loss. When frames are corrupted, we drop them and change the highlight of the current frame to blue ( a) to indicate the data loss. After a predefined limit of lost frames, we reset the display and begin building the mosaic again ( b). 3.5. Interface Issues We have found it useful to highlight the boundary of the current frame so as to distinguish for the user the " live" frame and the recent history ( Figure 2). When frames are corrupted due to transmission prob-lems, as are inevitable when transmitting analog video from mUAVs, we may have frames that cannot be accurately aligned to the previous frame. We detect these corrupted frames by testing the accuracy of the alignment ( number of corresponding points in the RANSAC consensus set) and simply do not display these frames, continuing to display the last well- aligned frame and aligning future frames to it. Not only does this create a more pleasing display due to the removal of noisy frames, but it specifically avoids well-known visual masking effects in human perception that can interfere with detection of briefly seen objects [ 13] . While not displaying the corrupted frame( s), we change the color of the boundary highlight for the last displayed frame so as to indicate the data loss ( Figure 4). Should the number of lost frames exceed a predefined limit ( we use five frames), we clear the display and restart the presentation of frames by treating the next frame as I ( 0 ) . 4. User Study Design We here present the design for a user study we conducted to quantify the effectiveness of these different presentation methods at enhancing subjects' abilities to detect and iden- tify objects of interest within mUAV- acquired video while performing a secondary visual task. These tasks were de-signed to mimic common tasks performed in scenarios in which these mUAVs have been used. In addition to the three forms of enhanced video presented in Section 3, we also include the de- interlaced and undistorted but otherwise unenhanced original video. The study involved 14 na ¨ ive and 12 potentially biased volunteer subjects. Each participant was asked to perform two tasks simultaneously in a controlled scenario over 16 different trials. Prior to completing the trials, each subject was required to complete training, during which they were introduced to the tasks and allowed to practice them before proceeding to the measured trials. On the primary video display ( Figure 5( a)), each subject was presented with a controlled random ordering of 16 dif-ferent short video clips acquired using a mUAV engaged in common search patterns. Each clip lasted about 1.5 minutes and was presented to the subject using one of the four pos-sible views: original, stabilized, mosaic, or stable mosaic. Within each clip, there were a random number of objects of interest ( faint red umbrellas) placed randomly in the scene, which the subjects were asked to detect and identify. On the secondary task display ( Figure 5( b)), subjects were shown a controlled random set of uniquely colored spots dependant on the corresponding video clip. We re-generated a new display with 10 spots every 2– 5 seconds, using 12 unique colors. Of these, subjects were asked to detect and identify as many red spots as possible without jeopardizing their ability to detect and identify objects of in-terest in the primary video display. This task was designed to provide a measure of the subject's ability to simultane-ously perform a task similar to that traditionally required for operating the aircraft while performing a video search. In order to facilitate within- and between- subject video clip and display method ( view) comparisons, we use a coun-terbalanced design ensuring that every clip and every view-ing method is seen an equal number of times per subject as well as seen a progressively equal number of times by each subject. Across all subjects, each view was seen a total of 104 times and contained a total of 254 red umbrellas. Each clip- view combination was presented using an in-terface that allowed the subjects to easily select objects of interest in the video and secondary displays. This was de-signed to require as little training as possible so as to min-imize performance differences between na ¨ ive and biased subjects. The subjects interacted with the system using only the mouse, and the controls for the video display and the secondary display were intentionally similar. In order to decouple subjects' hand- eye coordination from the detection task, any time an object of interest was thought to be seen on the primary video display, they could freeze the frame by mouse- left- clicking anywhere in the ( a) Video Display ( b) Secondary Display Figure 5. User study displays presented using dual monitors. display window. Freezing the frame caused the display of the video to freeze but did not pause the video playback, which continued in the background. The longer the frame was frozen, the more video content the user would miss see-ing, just as in a live search situation. From there, the user could either left- click on the object of interest to identify it or right- click to indicate no selection, with either action re-suming playback. The secondary task display used a similar control interface, allowing subjects to place, adjust, or clear markers indicating a detected red spot. After each trial, each subject was asked to answer three post- trial questions presented on the secondary display. These questions related their perception of their perfor-mance on the trial and to their relative preference between the just- finished trial and the previous one. After complet-ing all 16 trials, each subject was asked to complete a brief questionnaire about their overall impressions and prefer-ences. 5. Results and Discussion In the described user study, we gathered hit rates for the primary and secondary tasks, hit rates given whether the subject is biased or na ¨ ive, hit rates within the current frame, hit rates within the history of the mosaic ( when applicable), and false- positive rates and types. We also gathered subjec-tive feedback from the participants. Three preliminary observations are in order before com-paring the main results. First, there is no statistical differ-ence between the objective results for na ¨ ive and biased par-ticipants, who had hit rates for the primary task of 73% and 72% respectively ( Table 1). Thus, the remaining analysis does not distinguish between the two participant types. Sec-ond, detection and identification success rates for the sec-ondary display are very high and consistent across all par-ticipants and all views at about 94% ( Table 2). This suggests that any influence from the additional cognitive load on the results will be expressed mainly in the differences among detection rates within the primary video display. Third, one particular video clip was an outlier wherein all participants identified all of the objects of interest regardless of the ac-companying view. This clip was removed from the analysis. ! P % improvement mosaic 1.6610 84.04% 45.33% stable mosaic 1.5486 82.47% 42.62% stabilized 0.3935 59.71% 3.26% unenhanced 0.3156 57.83% 0.00% biased 1.0051 73.21% - na ¨ ive 0.9543 72.20% - Table 1. Hit probability comparisons among the different presenta-tion views as well as between the na ¨ ive and biased subjects, where ! is the least- squares means estimate and P is ( e ! ) = ( 1 + e ! ) , i. e., the probability that the object of interest will be detected given the corresponding presentation view or subject. The im-provement over P l o w , the unenhanced view, was computed by ( P v i e w ?? P l o w ) = P l o w . Spot Hit Rate mosaic 94.88% stable mosaic 93.24% stabilized 93.67% unenhanced 94.99% Table 2. Performance at the secondary task by presentation view. 5.1. Primary Task Performance The detection hit rates for the primary task are shown in Table 1 and support our hypothesis that extending the spa-tiotemporal view using local mosaics increases the prob-ability that objects of interest will be detected throughout mUAV- acquired video. The mosaic view gave the largest increased percentage at 45.33% in hit probability over the unenhanced view. Also, there is a strong ( 4 3 % ) improve-ment from the non- mosaiced to mosaiced views. Comparisons of similarity obtained by a least- squares means indicate that the two mosaiced views were similar to each other ( p = 0 : 9 6 7 4 ) and that the two non- mosaiced views were likewise similar ( p = 0 : 9 8 0 4 ), but that the mo-saiced and non- mosaiced forms were statistically different ( p < 0 : 0 0 0 0 1 ). These results were obtained via a multiple-comparison ANOVA with the Tukey- Kramer adjustment. This improvement is largely explained by examples such as that in Figure 1. In the original video ( 1( a)), the object of interest ( red umbrella) is visible for only a few frames in the lower- right corner of the original view, and would appear similarly in the stablized view. However, in the cor-responding mosaicked view ( 1( b)), the object is visible for a much longer time over possibly hundreds of frames, or sev-eral seconds, before it moves out of the viewing frustum. 5.2. Hits in the Current Frame vs. Mosaiced History To see whether subjects were actually detecting the ob-jects in the current frame or in the mosaiced history ( if ap-plicable), we also recorded hits in each area respectively, the results of which may be seen in Table 3. It is interesting to note the connection between the in-creases in hit probabilities between the mosaiced and non-mosaiced presentation views shown in both Table 1 and the " History" column of Table 3. We believe that this reinforces Current Frame History Total mosaic 128 62.44% 77 37.56% 205 stable mosaic 137 68.66% 62 31.34% 199 stabilized 147 100.00% n/ a 147 unenhanced 144 100.00% n/ a 144 Table 3. Hits in the current frame vs. hits in the mosaiced history. that the increase in hit probability is largely due to the pro-vision of a history in the mosaiced presentation views. We also believe that the main difference in hit probabili-ties between the stable mosaic and mosaic views is because the stable mosaic view presents less of a history than the mosaic view. 5.3. Analysis of Types of Misses To further determine whether the mosaic's history was providing the increased detection, we examined the types of misses that occurred. Did the subject completely miss the object ( not detected) or did they see it and click on it only after it left the current frame ( late hit)? ( See Fig-ure 6.) By separating out the late hits from those targets that were not detected ( Table 4), we see a significant differ-ence in the types of misses that occurred when using the two mosaiced views compared to the two non- mosaiced views. The mosaic view, which displays the longest history, had the fewest number of late hits; the stabilized mosaic, which has a shorter history, had more late hits; and the two non-mosaiced views had more than four times the number of late hits. The greater number targets not detected in the non-mosaiced views indicates that these targets were completely missed. 5.4. False Positives Table 5 shows an increase in the number of false pos-itives ( FPs) that occurred using the mosaiced views. FPs Late Hits Not Detected Total mosaic 2 4.08% 47 95.92% 49 stable mosaic 7 13.21% 46 86.79% 53 stabilized 33 31.13% 73 68.87% 106 unenhanced 31 27.93% 80 72.07% 111 Table 4. Classification of the misses by presentation view. ( a) A stabilized view's " Late Hit" ( b) A stable mosaic view's hit of the same frame Figure 6. Example of a late hit. A user may detect but not react quickly enough with a non- mosaiced view ( a) but may be able to accurately detect and localize an object in a mosaiced history ( b). ( a) In the current frame ( b) In the mosaic Figure 7. Examples of believable false positives. All methods are equally likely to generate FPs for confounding objects in the cur-rent frame ( a). Once they pass from the current frame, they are more likely to be detected as FPs in the mosaiced views ( b). FP total Current Late / History mosaic 19 18.27% 7 6.73% 12 11.54% stable mosaic 11 10.58% 7 6.73% 4 3.85% stabilized 6 5.77% 4 3.85% 2 1.92% unenhanced 9 8.65% 7 6.73% 2 1.92% Table 5. False positives in current frame and in mosaiced history. can occur to the fault of a mosaic presentation mainly due to possible noise caused by the video transmission or cap-ture device, or due to possible misalignments in the mosaic. These would be manifest as FPs made in the history; and according to Table 5, our results show a significant increase in FP's in the history of the mosaic view over those made in the surrounding area of the unenhanced view. They also show a 4% chance of having a FP occurrence in the history given the stable mosaic view, and a 12% chance given the more lengthy history presented in the mosaic view. Reexamination of the video segments in which the FPs occurred showed that there were three kinds: ( 1) those oc-curring in the current frame ( Figure 7( a)), which are likely to occur regardless of the view presentation; ( 2) those oc-curring in the history due to an alignment error, which can be attributed to the mosaicing; and ( 3) true objects or transmission noise bursts in the scene that appear similar to the intended objects of interest ( Figure 7( b)), which are more likely to generate FPs in the history of the mosaiced views, not as a mosaicing artifact but due to demonstrated increased detectability in these views. In this last case, mo-saiced views cause more false positives just as they cause more hits because potential confounding objects are them-selves now more detectable. 5.5. Subjective Results After each trial beyond the first one, each subject was asked to compare the presentation view of that trial to the one preceding it and rank it as harder ( < ), about the same or easier ( > ). The collective results are shown in Table 6. We found no statistical bias in preference due to ordering, so we present here only the combined results for all times where one method was preferred to another, regardless of whether it preceded or followed the other. The mosaic stable mosaic stabilized unenhanced mosaic stable mosaic stabilized unenhanced mosaic 3 26 7 16 2 26 53 41 stable mosaic - 6 9 13 8 2 44 32 stabilized - - 5 23 1 14 8 10 unenhanced - - - 7 5 11 15 2 Row Column Row > Column Table 6. Subjective pairwise comparison of the presentation views. Values indicate how many times users found one method similar to another or preferred one to the other ( > ). Umbrellas Spots - 0 + - 0 + mosaic 10 64 30 21 49 34 stable mosaic 14 61 29 23 44 37 stabilized 11 44 40 20 44 40 unenhanced 9 44 49 19 53 32 Table 7. Hit confidence measures. Values indicate the number of times the subjects underestimated ("-"), accurately estimated ( 0), or overestimated the number of misses ("+"). results show an obvious heavy leaning towards the easiness of the mosaiced views over the non- mosaiced views. One unexpected result is that the stabilized view seems to have been perceived as more difficult than the unen-hanced view, and the stable mosaic view similarly more difficult than the mosaic view. Participant comments sug-gested that this difficulty was heavily influenced by the vi-sual secondary task that required the subject to be visually engaged on another screen. When they were forced to look away from the video display for a moment and then look back again, the current frame was in a much less predictable position on the video display. Because of the moving high-gradient boundary of the displayed frames, users' attention was drawn to the moving frame boundary, especially when looking back to the display but even to some degree when not shifting between displays. 5.6. Subject Confidence As a final subjective measure, we asked the subjects to estimate their own effectiveness in the tasks performed by asking them to report the number of spots and umbrellas they thought they missed during each trial. In a way sim-ilar to analyzing the late- hit misses, this allows us to see whether the subjects simply missed targets or saw them but didn't indicate them correctly. We then counted how many times the subjects underestimated ("-"), accurately es-timated (" 0"), or overestimated ("+") the number of misses ( Table 7). The results suggested that the subjects tended to consistently underestimate the number of misses, i. e., when they missed a target, they were usually not aware of it, but this was reduced when using mosaiced views. 6. Conclusion Enhancing mUAV- acquired video for human observers in real- time search applications imposes a number of con-straints on the processing of the video: real- time vision algorithms, high detection rates, handling of noisy or lost frames, consistency of relative orientation, and considera-tion of human perception and interface factors. The empirical evaluation presented here shows that the use of temporally local mosaics can significantly increase the detectability of objects of interest and ease of use for human observers. The two mosaiced display methods pre-sented here ( mosaicing alone or combined with stabiliza-tion) were nearly identical in their impact on performance and significantly better than either of the two non- mosaiced display methods ( unenhanced or stabilized alone). Mosaiced displays also bring a slight increase in the number of false positives, some of which are due to arti-facts in the mosaicing, but many of which are simply due to the fact that potential confounding objects are themselves likewise made more detectable. Study participants were also more likely to be overcon-fident when using the non- mosaiced forms of display than when using the mosaiced forms. This has significant impli-cations in search situations because it suggests that once an area is searched we may be too mistakenly confident that the area covered does not contain an object of interest. Stabilizing the non- mosaiced video surprisingly seems not to improve detection, nor did stabilizing the current frame in a mosaiced presentation. Study participants sug-gested that these forms of non- cropped stabilized display were actually harder to use, perhaps due in large part to the presence of a secondary visual task that required them to continually shift their attention between the video and an-other display. Not cropping the stabilized video allows the display to maintain full information but introduces a high-gradient moving boundary, which seems to make the task more difficult, especially when shifting attention. The study presented here did not assess the influence of non- visual secondary tasks, nor did it attempt to assess the impact of these display methods on long- term fatigue. Each of these would be interesting studies to pursue in the future. Although studied here in the context of search- and-rescue applications, these findings should extend to video presentation for other applications of mUAVs and similar video sources. Acknowledgments The work was partially supported by the National Sci-ence Foundation under grant number 0534736. Any opin-ions, findings, and conclusions or recommendations ex-pressed are those of the authors and do not necessarily re-flect the views of the National Science Foundation. References [ 1] P. de Casteljau. Courbes et surfaces ` a p ˆ oles. Technical report, Citro ¨ en, Paris, 1959. [ 2] M. A. Fischler and R. C. Bolles. Random sample consensus: A paradigm for model fitting with applications to image analysis and automated cartography. Commun. ACM, 24( 6): 381– 395, 1981. [ 3] M. A. Goodrich, B. S. Morse, D. Gerhardt, J. L. Cooper, J. Adams, C. Humphrey, and M. Quigley. Supporting wilderness search and res-cue using a camera- equipped mini UAV. Journal of Field Robotics, 25( 1): 89– 110, January 2008. [ 4] C. Harris and M. Stephens. A combined corner and edge detector. In 4th Alvey Vision Converence, Manchester, UK, pages 147– 151, August 1988. [ 5] M. Irani and P. Anandan. Video indexing based on mosaic represen-tations. Proceedings of the IEEE, 86( 5): 905– 921, 1998. [ 6] M. Irani, P. Anandan, and S. Hsu. Mosaic based representations of video sequences and their applications. In ICCV ' 95: Proceedings of the Fifth International Conference on Computer Vision, pages 605– 611, 1995. [ 7] R. Kumar, H. Sawhney, S. Samarasekera, S. Hsu, H. Tao, Y. Guo, K. Hanna, A. Pose, R. Wildes, D. Hirvonen, M. Hansen, and P. Burt. Aerial video surveillance and exploitation. Proceedings of the IEEE: Special Issue on Third Generation Surveillance Systems, 89( 10): 1518– 1539, October 2001. [ 8] R. Kumar, H. S. Sawhney, J. C. Asmuth, A. Pope, and S. Hsu. Reg-istration of video to geo- referenced imagery. Proceedings of IEEE CVPR, pages 54– 62, August 1998. [ 9] Y. Lin and G. Medioni. Map- enhanced UAV image sequence regis-tration and synchronization of multiple image sequences. In CVPR ' 07: IEEE Conference on Computer Vision and Pattern Recognition, pages 1– 7, 2007. [ 10] S. Mann and R. W. Picard. Virtual bellows: constructing high qual-ity stills from video. In IEEE International Conference on Image Processing, volume 1, pages 363– 367, 1994. [ 11] Y. Matsushita, E. Ofek, X. Tang, and H.- Y. Shum. Full- frame video stabilization. In CVPR ( 1), pages 50– 57. IEEE Computer Society, 2005. [ 12] H. Nicolas. New methods for dynamic mosaicking. Image Process-ing, IEEE Transactions on, 10( 8): 1239– 1251, 2001. [ 13] H. Pi ´ eron. The Sensations: Their Functions, Processes, and Mecha-nisms. Yale University Press, 1952. [ 14] A. Rav- Acha, Y. Pritch, D. Lischinski, and S. Peleg. Dynamosaicing: Mosaicing of dynamic scenes. Transactions on Pattern Analysis and Machine Intelligence, 29( 10): 1789– 1801, 2007. [ 15] H. S. Sawhney, S. Hsu, and R. Kumar. Robust video mosaicing through topology inference and local to global alignment. In ECCV ' 98: Proceedings of the 5th European Conference on Computer Vision- Volume II, pages 103– 119, London, UK, 1998. Springer- Verlag. [ 16] R. Szeliski. Image alignment and stitching: A tutorial. Foundations and Trends in Computer Graphics and Vision, 2( 1): 1– 109, 2006. [ 17] B. Triggs, P. McLauchlan, R. Hartley, and A. Fitzgibbon. Bundle adjustment— a modern synthesis. In B. Triggs, A. Zisserman, and R. Szeliski, editors, Vision Algorithms: Theory and Practice, vol-ume 1883 of Lecture Notes in Computer Science, pages 298– 372. Springer- Verlag, 2000. [ 18] Y. Wexler, E. Shechtman, and M. Irani. Space- time completion of video. Transactions on Pattern Analysis and Machine Intelligence, 29( 3): 463– 476, 2007. [ 19] R. P. Wildes, D. J. Hirvonen, S. C. Hsu, R. Kumar, W. B. Lehman, B. Matei, and W. Y. Zhao. Video georegistration: algorithm and quantitative evaluation. In ICCV ' 01: Proceedings of the Eighth IEEE International Conference on Computer Vision, volume 2, pages 343– 350 vol. 2, 2001.
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LA PAZ, Bolivia — Actor Sean Penn says he is with Jacob Ostreicher after a humanitarian operation was carried out to remove the New York businessman from Bolivia.
Penn said Ostreicher is safe, well and receiving medical attention at an undisclosed location.
In a statement sent by his publicist, Penn said Ostreicher needed to be extracted "from the corrupt prosecution and imprisonment he was suffering in Bolivia." He didn't provide any details about the operation or who was behind it.
Penn has taken a deep interest in Ostreicher's plight and traveled to La Paz a year ago to urge President Evo Morales to free him. After the visit, Ostreicher was released from jail and placed under house arrest while a money laundering investigation into the rice-growing venture he managed continued to work its way through Bolivia's justice system.


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Car in Portsmouth not linked to Colorado case
UPDATED 6:16 PM EDT Oct 11, 2012Portsmouth police said Thursday that a car found in the city is not involved in the case of a missing girl from Colorado.
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Found January 30, 2013 on
NFL Trade Rumors:
John Keim of the Washington Examiner assesses the Redskins' tight end situation as they end into the offseason.
According to Keim, Redskins will have to make key decisions on tight ends Fred Davis and Chris Cooley in the coming weeks.
The report underscores the Redskins' need at the tight end position and how the team must re-sign Fred Davis.
It would cost the team $6.6 million to franchise Davis for a second straight season, so the team will have to determine whether or not he's a part of their long-term plans. A long-term agreement would most likely reduce that figure, which in turn could give them some extra cash for upgrades at other positions.
Keim adds that it's "hard to imagine" Washington bringing back Chris Cooley next season.
Cooley, 30, played very little in his return to the team this season. It's really hard to say what he has left, which is somewhat surprising given his age, but injuries have obviously taken a toll on him.
We have Davis listed as the No. 45 best availab
Original Story:
Fred Davis may not have a choice but to re-sign with the Redskins
ESPN to Air a 25th Anniversary Doug Williams Piece with Robert Griffin III as Narrator
Alfred Morris says RG3 is pushing limits with his rehab
Redskins owner Dan Snyder blames Vinny Cerrato for allowing him to hire Jim Zorn
Redskins May Offer CB Josh Wilson New Contract
Pro Bowler Trent Williams Had a Little Too Much Fun at Hawaii Bar
Redskins raise ticket prices
Redskins will raise ticket prices for the first time in 7 years
What The Washington Redskins need to fill this offseason:
30 Year Anniversary of the Diesel Running Over The Dolphins
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While still in high school, Ned Vizzini began publishing his essays in a weekly New York newspaper. Now in his early 20's, Vizzini has two books under his belt. His novel, Be More Chill, is about a tiny computer teens can swallow that teaches them how to be cool.
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MechWarrior4 - Black Knight
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Our great commonwealth faces many challenges today, but unfortunately our current legislators have been either unable or unwilling to address the issues and find solutions.
With the looming pension crisis, out-of-control spending and just plain fiscal irresponsibility, we need someone who will bring sanity to Harrisburg. That person is John McGinnis.
Not only does John possess economic expertise, he is an honest, decent man who will not just "go along to get along."
His integrity, moral character and respect for our nation's founding principles are qualities that are greatly lacking in most of our elected officials today.
Please vote for John McGinnis on Nov. 6 for state representative for a new direction in Harrisburg.
Kimberly Mercer


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3M-Command Brand: Decorating Clips. Command adhesive strips hold on strongly but come off cleanly leaving no damage or residue! Each of these decorating clips measures 1/2-3/4 inch and is designed to hold small wires and cords in place. This package contains twenty Decorating Clips and twenty-four mini adhesive strips. Color: Clear. Clips imported; strips made in USA.


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We've been talking up the Nest thermostat for quite some time. Now you can actually buy one.
Nest Labs just made the announcement that the Nest Learning Thermostat is now available in more than 500 Lowe's stores across the country. In case it's not at the one near you, it's also available on Lowes.com.
The Nest Learning Thermostat actually learns your preferences, and can automatically adjust the temperature when you're away from home. It boasts energy-efficiency and a personalized temperature scheduled.
"There's a natural affinity between Lowe's and Nest," said Erik Charlton, Nest's VP of sales and marketing. "Both companies are committed to supporting DIY-minded customers seeking quality products. Most Nest owners choose to install the Nest Learning Thermostat themselves—and complete installation within 30 minutes—so it makes sense for them to buy from Lowe's, a great retailer that supports its customers' ingenuity and pride in their homes."
The Nest Learning Thermostat is available now, priced at $249.
Follow Electronic House on Facebook and Twitter.The new Episode subwoofers includes 6-, 8-, 10- and 12-inch sealed options.
High-performance audio upgrades topped this homeowner's renovation and home automation to-do list.
Owners of these high-tech basketball courts celebrate March Madness in style.


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Defeat Diabetes
Foundation 150 153rd Ave, Suite 300 Madeira Beach, FL 33708 |
Breakthrough in Tracking Islet Cells Will Help in Finding a CurePosted: Thursday, November 30, 2006Scientists in London have found a way to track insulin-producing islet cells after they have been transplanted, a breakthrough in the drive to find a cure for diabetes. "It is getting us closer to a cure," Dr. Joo Ho Tai, a researcher at the Lawson Health Research Institute", said.
Tai and Robarts Research Institute scientists Dr. Paula Foster and Dr. David White are the first in
Canada to image islet cells using the type of MRI scanner found in hospitals. Their work is published in the November issue of the journal Diabetes.
Islet cell transplantation, developed by scientists in Edmonton, has been heralded as a promising cure for diabetes, a disease that has hit more than two million Canadians. But there have been problems with the method.
The body's immune system views the transplanted cells as foreign invaders, wiping out as many as 80 per cent of them at the time of transplantation. And islet levels can continue to drop, leaving the individual dependent on insulin again and open to complications. The ability to obtain MRI images of islet cells will allow physicians to know how well the transplant has worked and monitor the survival of the cells over time. That will make it possible to adjust medications or change treatments to protect the islet cells.
"Without an image of the islets, doctors won't have the right cure or treatment," said Tai. "Imaging is not a cure itself, but it is a great tool."
To track the islet cells, Robarts imaging scientists developed a technique to place non-harmful iron particles inside the cells so they can be detected by the MRI scanner. Without the ability to produce images of the cells inside the body, physicians currently rely mainly on blood tests to check on their survival. But by the time blood tests show the transplanted cells being rejected and attacked by the body's immune system, it's too late, Foster said. "By the time they detect anything, it is all over. There is no way you can go in and help. "If the imaging can pick it up earlier, then you could decide do we need to put more islets in or do we need to give some different immunosuppressive along with it," she said. Source: Diabetes In Control |
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Went to today's game at the Binghamton's NYSEG Stadium. Good game that our local boys won 6-2. Go B-Mets!
Here are 3 of the 170+ pics that I shot at the game.
1.Travis Ozga out at first
2.Pitcher Collin McHugh bands his arm backwards prior to a pitch, hurts just to look at that.
3. Shattered bat! broke into 3 pieces and the ball is just above the batters head.
Memorial day at the ball park
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Rodriguez leads Hidalgo County District Attorney's raceWhen early voting results were released after polls closed at 7 p.m., Rodriguez had a lead in the race...04 March 2014Read More...
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The rumor is Coach Bickerton is already looking forward to next spring. Now July, Bickerton and his ball club are a couple of months past finishing the greatest baseball season in Sharyland High School history.
For his efforts in leading the 28-2 Rattlers to a District 30-5A, Bickerton was not only named the district's coach of the year but also the Valley's best as well.
However, Bickerton was not alone on the All-Valley list, but accompanied by his top player, Eric Gutierrez and others such as Tres Barrera and Erik Garcia. Gutierrez was named the Valley's top player while Barrera and Garcia were both named to the second team.
So why is Bickerton excited for next year? Because two of his All-Valley recipients are returning to the program next year, including Gutierrez and Barrera. Gutierrez just completed his junior year and Barrera his sophomore. And, of course, Bickerton is hoping the two can help the Rattlers defend their district championship and help the team make a deep playoff run.
Sharyland was not the only squad to have representatives on the All-Valley list. La Joya had one showing in outfielder Noel Munoz. The senior batted a .333 average and, defensively, recorded a fielding percentage of .964.
Perhaps the player who received the greatest recognition also came out of nowhere. Veteran Memorial's second baseman Desi Villarreal was given first team all-district honors in 32-4A, second team All-Valley honors and, finally, was honorable mention all-state. Of the six local teams, Villarreal was the only to garner at least honorable mention.
In addition to their selections on the all-district and All-Valley lists, local players were also put on the rosters for the RGVBCA All-Star Game. Joining Gutierrez, Barrera, Garcia, Munoz and Villarreal on the West Team, were Palmview's pitcher Joe Marquez, La Joya's Edgar Flores, Gabriel Barrera, Lee Ramirez, Sharyland's Brian Valencia, Fernie Martinez, Oscar Gonzalez and Mission's Alex Quintero.
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Thermo Scientific Atlas
Thermo Fisher Scientific
The Atlas chromatography data system controls hundreds of instruments from a variety of vendors in compliance with FDA regulations, including 21 CFR Part 11. Atlas was developed in partnership with l...read more
The Atlas chromatography data system controls hundreds of instruments from a variety of vendors in compliance with FDA regulations, including 21 CFR Part 11. Atlas was developed in partnership with leading chromatographers to easily configure to any laboratory's workflow while providing the flexibility to integrate with LIMS and other data management systems for a scalable, compliant solution.
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Anatomicae #28: Fog, Lights and Rock & Roll!
Spotlight Winner - TwoDD Anatomicae #28 - Fog, Lights and Rock & Roll! Challenge based from Blindrat's suggestion Due Date: June 18th, 2012, 12:00 PM PST Please make sure to visit the Reference Image guidelines ************************************************ How to Attach Images Challengers! Hereth lie the rules for this round's challenge! Make sure to read them entirely! "A Madman's Ramblings (Introduction)" Anatomicae Challenge #28 comes rushing in with hot, flashy new looks! And right at the middle of the spotlight is TwoDD's winning entry from Anatomicae round #26 - Human Chimera! I hope the design for the new banner is to everyone's liking Anyway, let's get back to business, folks. This past weekend I had the time of my life, I went to Diablo Swing Orchestra's Concert at Guadalajara City, Mexico. Not only that, but I got a backstage V.I.P. pass and actually got to meet them. However, as we awaited for the appearance of this band, one which it's public cried for with such fervor, like the damned crying out for the gods to save them, I couldn't help but remember Blindrat's suggestion for a challenge in the suggestions thread. As white fog rised and deep flooding colors kicked in, the band appeared, fading silhouettes dancing amidst an ocean of clouds and colors I thought to myself "Well, painting this would really be interesting!" and recalled Blindrat's suggestion of a challenge using fog and lights to study how light would act on solid objects and through fog or gas. I'll quote Blindrat on this one so you can all get a better picture: Quote:
Objectives Challengers will be tasked to study how different colored lights react upon solid objects and through mist or fog. To do this, the challenger will be tasked to paint a concert scenario filled with fog and colors. Rules and Requirements - Challengers are required to show their WIP and Reference Materials. These challenges are an opportunity for all of us to make contact with other artists and be a part of a growing community and it would be unfair for the artists who are making an effort to share their work and ideas if you are allowed to enter the finals without participating in the WIP thread. - Challengers are to paint any member of a concert (or the entire band if you wish!) enveloped almost entirely on theatrical fog (At least half of your final image must be filled with smoke) and splashed with colors like those found on a concert stage. Some Tips to get you on your way... - Strong silhouette and bold colors will help you a lot here, so be dashing and experiment! - You can choose from any member that would likely be on stage for the concert, go ahead and look up pictures of your favorite, singer, drummer or guitarist or the entire band! - Here are a couple reference images: Have fun, guys, and welcome to round #28! |
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Finals thread is up, guys!
http://cghub.com/forum/showthread.php?t=10655 Go ahead and post those finals, see you all in the next challenge! |
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Hey guys, great stuff here, sorry for joining in so late. I've always wanted to participate in a challenge since I joined CGhub, though sometimes finding time is a little difficult, although mostly it's cuz I'm just a little afraid to join cuz I'm afraid I will suck.
But I've been doing studies and practicing and stuff for awhile now, and the theme for this challenge is really interesting too, soo I decided to give it a shot! My primary goal here is really just to study and practice, and to see how far I've gone. And also to see what areas I need to improve on. Soo for this challenge, there are a few interesting things to study, but I main subjects I'll be focusing in will be - Lighting - This is a big one, main focus will be to practice painting proper form and also to study the theatrical/concert lighting stuff. It's waay different from the usual sunlight/random-single-light-source stuff junk that I've been doing Fog Effects - I've done fog and misty stuff before, though most of the time I'm using a soft round brush or someone else's custom brush (the ones I made for myself in the past didn't seem to work so well), plus in this case, rock and roll fog isn't just some soft blurry effect. The smoke actually has a bit of a solid, organic quality to it that will be pretty cool to study. Plus hopefully this will give me the opportunity to make a proper fog brush. Colour - One of my biggest weaknesses. Choosing the right colour and finding a good rendering workflow always causes me to go into a rage. Concert lighting is pretty interesting, so this will be a nice challenge. Gesture - I think gesture is pretty important for drawing figures, especially from imagination/memory. For things like rock and roll especially where this is a lot of energy, I getting the right gesture and movement is pretty useful. Also useful to create a strong silhouette. Female Anatomy - I decided to do a female rocker (just, because!) so this will be one of the big ones. Proper convincing anatomy always seem elude my drawings/paintings, so I'll be practicing that. Mostly it'll be on posing the character, hands (more specifically hands holding a microphone and a guitar) and hair (I haven't drawn much hair before) Composition - I haven't done many full illustration before, especially ones with a character in it, so I'll be taking this opportunity to do a picture with at least an interesting composition. My goal here will be to create an image with proper balance, depth (meaning foreground, midground, background) and with a strong focal point. Whew, that should be about it. Here we go - First, my reference! All just a bunch of screenshots from various music videos of a band I like. And from those I chose poses that were the most interesting and did some quick gesture sketches of it. Next I attempted to draw the anatomy using the gestures as a base, where I discovered that I suck at drawing hands - which lead to some hand studies. So I had 3 poses drawn out. The next step was to try to come up with a nice composition. Here you can see me shamelessly using my reference to do these. I think using the instruments/amplifiers as foreground elements give pretty good effect (plus a nice POV). Next is a fog/smoke study. I used only the round brush and chalk brush to "hand paint" the fog so as to understand how it meant to be painted. Then using what I learned I made fog/smoke custom brush and used it for another fog study (it's amazing how fast you can paint stuff like smoke and fog using custom brushes). I think it works pretty well. And finally, onward to the final image! Here's my WIP. I did the linework first because I wanted to practice my line drawing as well, it's quite scribbly - I struggled a lot with the face, despite liberally consulting my reference, it was pretty difficult draw the right expressions and everything. As for the 2nd part - I just scribbled in flat colours with no opacity - of course this didn't turn out so well when I put in the background because the colours didn't match at all! So I had to use a bunch of photoshop tricks to colour correct everything (curves, etc). Aand here's my final! It's really just adding the lights (lens flares) and more fog. Colour dodge is really a brilliant tool to create all those neon-type lighting effects. I think I relied a little too much on the reference. Basically only the background, lighting and fog is different, bleh. And that's it! So sorry for the long and tedious post and thank you!
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