text:
[ADOBE CREATIVE SUITE 5.5 PRODUCTION PREMIUM] Hi, I'm Jason Levine, worldwide product evangelist for Adobe's video tools. In Creative Suite 5 we delivered breakthrough performance and truly raised the bar for nonlinear editing applications with the introduction of the 64-bit Mercury Playback Engine in Premiere Pro. With innovations like the revolutionary Roto Brush, we allowed motion graphic artists to rotoscope painstakingly difficult compositions in a fraction of the time. And with our open workflows and industry-leading truly native file-based format support, we allowed seamless collaboration with other nonlinear editors via AAF and XML exchange. Well, I'm happy to say that in 5.5 it's all gotten better. So let's take a look at some of the exciting new features in Creative Suite 5.5 Production Premium. [A Smoother Editing Workflow with Dual-System Sound Support in Adobe Premium Pro CS5.5] If you're filming movies, television commercials, really anything professional, more common than not is that you're going to use a secondary source to capture your audio. And that's simply because the audio that's captured on your camera really isn't high quality enough, especially if you're capturing on something like a phone. So this is known as a dual-system sound workflow where you have the audio on the camera present, but that's really just there for reference, and then later in post, you'll synchronize the externally captured audio with the camera audio. So again, you could use a number of different devices. Zoom makes them, Taskem makes them. They're very easy to access. And the idea is that previously in Premiere, it was a very long, painstaking process to synchronize all of this together. With our new native dual-system sound support and the Merge Clips feature, you can do this very quickly, and in some cases you can even do it in a single click. So let's take a look. What we have here is our video, and you can see that we have some 1080p content. This happens to be from a Canon XF, which is also a newly supported native file format in Premiere Pro CS5.5. And below it we have two channels of audio which were captured separately on external devices. And if we just play a moment of this... [movie dialogue] You fail because you're trying to control the elements with your body. ...you can very easily see that it's not in sync with the video. So what I've gone ahead and done is I went and added clip markers to all of these different clips and tried to find the exact sync point here, for instance, where we had that clapper board so that I can simply drag these together to synchronize them. So that's really the first step. I can take the secondary audio, click and drag, snap it to those markers, and now when I play this back... [movie dialogue] You fail because you're trying to control the elements with your body. ...you can see that everything is in sync. But there is a problem here because now I'm effectively working with four layers at a time, which means I have to cut between four layers. I have to move these around. And if I have lots of additional content that I want to use, this can get very confusing, very daunting, very difficult to work with. So with the new Merge Clips command, I can literally take these tracks, select them all, choose Merge Clips, click OK, and now what you'll see inside the Project panel is that it has created one single file which houses the dual-system sound and the camera video and everything together in one--one single clip. A new feature in Premiere Pro CS5.5 is that from within the Project panel I can simply right click and choose New Sequence From Clip, which will take that merge clip, place it into a new sequence for me with everything in sync. Brilliant, simple, easy. But I still had to add those markers and manually synchronize that together. Surely if I had timecode in my video or if I had timecode embedded in my audio files, couldn't I just use timecode for sync? In fact, yes, you can. So if I twirl down here, you'll see that we actually have similar audio clips, all of which have timecode embedded in them. So directly from the Project panel, if I have the associated audio and the video files that go together, I can simply select them, right click, once again choose Merge Clips, and now I can choose to synchronize via in point, out point, or timecode, click OK, and once again it creates the single file for me that now I can edit from. And if I've got timecode there, I don't have to do any manual synchronization at all. It happens automatically. So anybody working in broadcast or working in film, this is ideal because it means that you can do this very, very quickly. A great new feature of Premiere Pro CS5.5 is the ability to work seamlessly with other nonlinear editing applications. So we've redesigned the keyboard shortcut interface to make it easier to use the same keyboard shortcuts that you were previously familiar with in Final Cut or Avid. If we go up to the Edit menu and choose Keyboard Shortcuts, you can see now that we have proper shortcuts for Avid Media Composer 5 and Final Cut Pro 7. So if I would actually want to modify this keyboard shortcut, I can select it, Edit, and let's do something like Control S. And right away this tells me that Control S was already in use by this other application. So again, I can change it to something else, but it gives me instant feedback, making it very easy to customize these keyboard shortcuts. One of the other things that we've done, taking a play from our other nonlinear editing application friends, is some of their workflows-- in other words, the ability to take a clip that you've been working on in the Source monitor and simply drag and drop it into the Program monitor and insert or overwrite into your timeline. This is something that we didn't offer before, and now in Premiere Pro CS5.5 you can do this and it works wonderfully. So I can set my current time indicator to the place where I want to insert my content. I can set in and out points here inside the Source monitor and then very quickly I can simply click and drag into the Program monitor, and you can see that it says, "Drop to overwrite," or "Control to insert." And you'll notice that we actually changed the wording here. What is overwrite we used to refer to as overlay. Overwrite is now more standard. We changed it to overwrite. You can click and overwrite, drop your content into the sequence, and work just as you always have and use the same shortcuts that you were familiar with from those other applications. [Greater Performance Gains with the Mercury Playback Engine in Adobe Premiere Pro CS5.5] The 64-bit Mercury Playback Engine in Premiere Pro allows you to do incredible things with HD content, even mixed media. Different frame rates, different frame sizes, different formats can all live natively inside a single sequence. And with the power of Mercury and GPU, you can play these back in real time, you can add effects in real time, and you can do more than ever in real time in Premiere Pro CS5.5. So in this sequence that we have here, you can see that we have six basic layers of HD. And if I simply right click here and go into our Reveal in Project, this will first show you that our first piece of content is 960x540. If I go to the next one here--let's take a look at this-- we can see that this one is 1920x1080 at 23.976 and then another clip here which is at a different frame size, 1280x720. So right away three different frame sizes and at different frame rates all existing together. And if I simply start playback on this sequence and I hit the tilde key to go full screen-- again, one of the capabilities of Mercury is that playback never stops-- you can see that brilliantly, beautifully, it all plays wonderfully in real time--all six layers. But actually, as we dive down deeper, you can see that Video 1 is actually labeled composite. This is a nested sequence. So if we double click on that, that brings open another sequence which actually now showcases three additional layers of HD. If I select the first one, what you can see is that we actually have our Ultra Keyer applied here. So we've got some real-time keying happening as well as some real-time eight-point garbage matte. And if I show you what's happening here, you can see that the matte is actually animated over time. So we've got real-time keying, real-time garbage matte happening, and additional layers of HD content. All of that is playing in that first sequence together. But as we look at Video 1 again, we can again see that we have yet another nested sequence which houses three more layers of HD content at different frame sizes, different frame rates, and also with effects like the fast color corrector and the four-point garbage matte. So what we really have are ten layers of HD with real-time effects all playing brilliantly, all playing full screen, and playback never stops. How are we doing this? The Mercury Playback Engine actually has two methods. It has a software method which doesn't leverage any GPU, but it also can leverage the GPU on supported Nvidia cards. And I'm happy to tell you that in 5.5 we've added support for more than a dozen new Nvidia cards, including cards on laptops. Yes. So now not only can you take advantage of the 64-bit power of Mercury by itself, you can also use it in conjunction with an Nvidia card to get even better playback performance, faster render times, and typically do everything in a render-free environment. One other element of this is that we've also accelerated additional effects inside Premiere Pro CS5.5. So things like directional blur, fast blur, and our new film dissolve effect-- all of these are GPU accelerated, which means that you're just going to get incredible performance on this content the moment you drop it on. We can play this back. Let's go full screen. Here's our dissolve. Brilliant, beautiful, simple, easy. Also new in Premiere Pro CS5.5 and yet another thing that's taking advantage of the advanced Mercury Playback Engine is the new RED R3D Source Settings panel. You can see that it's been slightly reskinned, we give you access to curves, and we allow you to work natively with RMD files, and you can either reload or save to new RMD files directly from this Source Settings panel. These RMD files contain nondestructive color information which can also be added and manipulated inside REDCine-X. So anything that you've done in REDCine-X can also be leveraged here. All the information is nondestructive. You can apply it directly to your clips. You can see that we can even reload from an RMD or go back to the default look of this. Again, we've got complete control over the curves, just like this. We can draw our own, we can create presets, and then when we're done, we can click OK, bringing this back into Premiere Pro. And because this is just metadata, because it's very much like camera RAW, it doesn't put any additional strain on the CPU. You can continue to play this footage 2K, 3K, 4K, seamlessly, brilliantly, and very easily. We also allow you to reload color information from RMD files. You can reload or even save to RMD. RMD stands for RED metadata, and this contains all of the color information, all of the settings that you see here in a sidecar file. This same RMD can also be leveraged in REDCine-X. So whatever you're creating in REDCine-X can be leveraged here, you can apply it. You can see that we can reload from the RMD, we can draw our own curves, or we can go back to the Default view, click OK. The RMD information is applied to the clip, but of course it's all nondestructive. And because it's just metadata, it doesn't put any additional strain on the CPU during playback or decoding. [Improved 64-Bit Adobe Media Encoder in Premiere Pro CS5.5] The newly enhanced 64-bit Adobe Media Encoder-- it's easier than ever before to simply take your projects directly from the Premiere Pro timeline or even After Effects and render them in the background, use new presets to go out to mobile devices and tablet devices, and even create watch folders to do true background batch processing. Let's take a look at how we do that. What you can see inside Premiere Pro is that we finished up our dialogue sequence and now we're ready to export this. So now it's easier than ever before to simply drag and drop directly from the Premiere Pro interface into Adobe Media Encoder and begin the process of encoding. So I can grab my sequence, Dialogue Sequence Final, click, drag, drop, and there we are, and we're ready to begin the process of encoding. Of course we can choose Formats, and this is really going to showcase all of the native formats that we have in Premiere Pro, everything from H.264, DPX, AVC-Intra, P2 Movies, etc. Choose Presets and choose the output and begin the process of encoding. You'll notice that the interface has also been reskinned. Its much cleaner, it's much easier to follow. And if we twirl up the Current Encode option here, now we can actually see that it's almost done encoding the content. But it gets even better because I mentioned earlier, what if we actually want to take this piece of content once it's finished and actually export it out to multiple different types of media? For instance, we want to send it not only to the big screen, not only to Blu-ray, but what about devices, tablets, mobile devices? We can do that with our new watch folder support. Let's go ahead and twirl this up, and we're going to click on the Plus button here, and we're going to create a new folder and we'll just place it on the desktop, and I'll call this Tablet Exports, OK. So once we have that in there, now we can choose a format. If we go up to Preset, right there you can see iPhones, iPods, iPads, and of course you can customize all of the settings for these very easily. So let's make one for an iPad. I want to create multiple versions at one time. I want to be able to leverage this like true background batch processing. So we can do that now with our watch folders. We can simply add that same watch folder multiple times, choose a different format, so why don't we go into something like F4V, and again, lots of different phone and tablet presets here. These are all new. Lastly, let's go to something like our H.264 Blu-ray. We can just match the source attributes here. It already has the output set. So now we can take that export that we just created, drop it into this single watch folder, and in the background-- thanks to 64-bit--it will create versions automatically of all of these different formats that we've just selected. [Experience an Integrated Audio-For-Video Workflow] With Adobe Audition CS5.5 making its way back into the suite and now available on both Mac and Windows, you now have more power, more flexibility, and incredible control over your audio inside your Premiere Pro sequences. So what we have here is we've been working on this scene, and we want to effectively send all of this content to Audition so we can begin leveraging some of its incredible editing tools, mastering tools, and noise reduction capabilities, maybe even add some music and do some additional things, and then send it all back to Premiere. So we have a new method of doing this. It's very simple, and I'm going to show you how we can literally drag select all the clips in Premiere, send it all to Audition, work on it, and send it back very fluidly. So from within the Premiere interface, I'm going to select all of my clips, go up to the Edit menu, and choose Edit in Audition, Sequence. When you do that, it's going to bring up this dialog, and you can see that we have lots of different options here, whether we want to do the entire sequence or the work area. We're going to export a preview video, so this is going to take all of the video content inside the sequence and effectively create one single compiled video track that you can use for reference inside the Audition interface. You then have the ability to Render Audio Clip Effects, Send Clip Volume Keyframe Metadata, and then of course open this entire thing in Audition. I've already gone ahead and done that for you. So if we bounce over to Audition, now you can see that the same project with the same track names and the same individual audio clips live inside Audition's interface. [movie dialogue] I can't do this! Well, you can, in fact. What we want to do is begin tweaking some of the dialogue here and, as I mentioned, maybe adding some music. Audition has lots of power and incredible flexibility, and we have two unique views when working inside of Audition-- the Multitrack view and the Waveform view. If we want to individually process files, we can tackle that by going into the Waveform view. It's as simple as taking one of these clips, double clicking on it, and it'll bring you into the Waveform Editor here. So if we wanted to make a very simple change like just increase the overall volume, we can use our on-clip volume controls like this, increase the volume, and the change is applied. We can go back to our Multitrack and we can begin rebalancing some of these changes. We can do this to multiple clips. We can even batch process these clips. But we'll save that for later. The other thing that I want to do here before I send it back to Premiere Pro is actually add some music so I have the reference of music to watch inside Premiere Pro's interface. So if I scroll down, you can see that I have some music selected here. I can drop this into a new track. We can play this back. [♪♪] So if we need to make some very simple changes to this, we can go into our Mixer. You can see that on our music track here, I can just drop the audio volume down a bit. [♪♪] [movie dialogue playing] Okay. That's at a pretty good level. At this point I'm ready to send all this back to Premiere Pro. So if I bounce over to Premiere, the first thing I need to do is actually select a blank sequence which actually has a video reference already present. From here I can then go over to Audition, we can go up to Multitrack, Export to Adobe Premiere Pro, and here's where we have a whole series of options of how we want this audio, this new audio, to reappear inside the interface. We can either export each track as a stem, or we have the option to mixdown the session to mono files, stereo files, or a mixed 5.1, also known as an interleaved 5.1 file. Leveraging some of the power and the fast performance of Audition CS5.5, I'm actually going to export each track as a stem, and this means that all of those individual audio clips that live in a single track will now be one audio track that is the entire duration of the video clip. I'm going to choose Export each track as stem, open it in Premiere Pro, click Export. You can see we have the status monitoring there. And before I can even finish talking, it's done. It's exported a Multitrack session that was approximately one and half minutes long. Let's go ahead and insert it here. Done. That's it. It's all here. So fast. Bouncing takes time, doesn't it? Doesn't it usually take real time to bounce a one and a half minute song? Shouldn't it take one and a half minutes? No. That's the incredible speed of Audition CS5.5. So now that we have all of our audio content back in Premiere Pro, let's go scrub ahead and just listen to where we've added some of that music. [♪♪] [movie dialogue playing] Yes, you can. [Stabilize Shaky Footage with the Warp Stabilizer in After Effects CS5.5] With the popularity of DSLR cameras and the rise of mobile devices shooting incredible HD video, we're seeing more HD content everywhere. And that's great. But the issue is that most of the time, people who are shooting with those devices aren't using any kind of steady cam rig. They're not using dollies or tracks, and you end up with very shaky footage which can sometimes be less pleasing to the eye. Case in point, we have a shot here in After Effects which was shot handheld, no dolly, no tripod, nothing, and it's okay, but it's indeed a bit shaky. So let's take a look at this. I'll do a quick RAM preview here. Let's go full screen by hitting our tilde key. If we take a look at this footage, it's not bad, but, very clearly, it's handheld. And for someone like me, it's making me a bit uneasy. Stabilization and the ability to use stabilizers is not new to After Effects. The thing is, it's hard to do or it's been difficult to do, and you really needed to know what you were doing to make the footage look good. And just because you stabilized something didn't mean that everything was still in the frame and was pleasing to the eye. It took a lot of time and effort to make something stabilized and look good. Now with the new Warp Stabilization effect in After Effects CS5.5, I'm going to show you how we can take this handheld shaky footage and make it look like it was professionally shot with a dolly on a track and make it very pleasing to the eye. Let's go back here and let's go up to our Effects Controls panel. I'm simply going to enable the Warp Stabilizer. You can see that we have all different types of stabilization options here, one of them being Smooth Motion. This will look if there's actually any motion on the clip or no motion at all. We also have the ability to choose our method where we have position, scale, rotation, perspective, and subspace warp. Again, choosing the different types of methods here will give you different types of results. The great thing is I'm going to use defaults. I'm going to stick with the defaults to show you the power of this effect. One of the keys to doing successful stabilization is the cropping and framing. You can also see here that under the framing options we have the ability to stabilize, crop, and auto scale. If I just turn this back to 25% real quickly, this is automatically performing all three of these tasks. If I just have it stabilize only, this is what you would end up with. So you can see what I was talking about. This is great and it's stabilized, but somehow now we'd have to rescale this, we'd have to recrop. Now we can let the Warp Stabilizer do it for you. If we go ahead and choose Stabilize, Crop, Auto-scale, let's re-RAM preview this, let's go back to 50%, let's go full screen, and now what was once shaky looks beautiful. It's fluid, it's steady, and we literally used defaults to perform all of this. Why is this feature so great? On top of all of that, if you are a DSLR shooter, you'll notice one particular feature here, Rolling Shutter Ripple. Rolling shutter is a very common artifact present in all DSLR cameras, and you can see that by default we have that set to automatic reduction. So if you're experiencing rolling shutter, give it a try. The effect will amaze you. This is great by itself, but as an editor, I'm probably going to be working in something like Premiere Pro. I'm working on a shot, and I actually want to stabilize that shot, so I want to be able to use the power of 64 bit between Premiere Pro and After Effects, stabilize the shot, and keep on working. And of course you can do all of that with Dynamic Link. So let's pop over to Premiere where I actually have a RED clip. See here we have an R3D clip. Go ahead and bring this into the Source monitor, and if I go ahead and play this back, you can see that this too is in fact handheld. So we're going to set a couple of in points and out points here, something like this. Set an in. Let's go about two seconds, two and a half, set an out. And then I can simply right click on the clip here, and using our new feature, New Sequence From Clip, build a new sequence based on the attributes of that RED clip directly, automatically, OK. So I clearly want to stabilize this shot. Now very easily I can simply right click on this and choose to Replace With After Effects Composition. It'll automatically build the After Effects comp for me. Again, we can put this down to around 25%. Let's go ahead and turn on our pixel aspect ratio. Now I can simply take the Warp Stabilizer effect, drop it over top of the clip, and you can see that now it begins analyzing in the background-- background processing. Yes. So while that continues to analyze, if I go back to Premiere Pro, now you can see inside the monitor in Premiere it's analyzing, which means that I can go to another timeline and I can still work. I can cut, I can play, I can edit, I can do anything leveraging Dynamic Link and leveraging the power of the Warp Stabilizer between After Effects and Premiere. [Create Soft-Focus Effects with the Camera Lens Blur Feature in After Effects CS5.5] Creating dramatic lens blur, defocusing, and depth of field effects is really easy, especially if you're wanting to create something like realistic bokeh. But of course it's very easy if you have a camera and a lens that actually does that. Well, with the new Camera Lens effect in After Effects CS5.5, we allow you to create very realistic lens blur, even with footage that was shot in perfect focus. So let's take a look at how we do that. But first I'm going to show you what this finished version looks like. So if we take a look here, what we have is our character, and you can see that the focus shifts from the foreground to the background and back again or background to foreground and back again where we start in focus on his face, the focus shifts to his hand, back to his face, and then we have this light ball that's illuminating and again starts in focus as the focus approaches his hand and then defocuses as we move back. This process is known as a rack focus, and I'm going to show you first how we can create the rack focus. The idea here is that we're going to modify the distance settings to create a realistic rack focus, and then afterwards we're going to create that photo realistic bokeh and evidence all those edge halos as it renders those out of focus points of light, reproducing the exact characteristics of real cameras and lighting conditions. So in order to do this, I'm going to first start by turning off the effect. Let's go ahead and turn off our Camera Lens Blur on both of these layers. And allow me just to scrub through this so that you can see in fact that this entire shot is in focus. It's not out of focus. So everything that you saw a moment ago was created in After Effects. So let's do the rack focus. To do that we have to add a blur map. We add the blur map so we can not only defocus the entire layer but we can actually reduce the depth of field effects directly in that single image. So what you can see here is that I actually have a blur map, and you can take a quick look at that. You can see if we just zoom back out here, the blur map being drawn on the hand. And if I go up to my BG layer and I turn on Camera Lens Blur, you can see that the blur map layer is set to layer number 4 BG Blur Map and we're using the Luminance channel here. And simply by adjusting the blur focal distance which currently is set to 0, and you can see the hand is in perfect focus, of I raise this now to 1, it shifts the focus to his face. Back to 0, focus shifts to his hand. We've just created a rack focus very easily. So now what we want to do now that we've created that rack focus, let's focus on adjusting the actual look of the light ball in his hand. And for this we obviously want the light ball to be in focus as the camera approaches the hand, and then when it defocuses and moves back to his face, we want to create those circles of confusion, that beautiful photo realistic bokeh which actually mimics the shape of the camera aperture. And all of this can be done with the Iris Property settings inside Camera Lens Blur. So let's go up to the light ball layer here. You can see that we've got this set. Let's go ahead and turn that on. And right away it'll start adding that effect. If we scrub through, you can see that now as the focus shifts back to his face, we begin defocusing on that light ball and we get these really beautiful shapes here. You can see it's using a hexagon. If I actually wanted to mimic something like an 85mm prime F1.8 wide open, it might actually be a bit more circular. So I can set this to something like Octagon, I can adjust the roundness, but the key here is by using one single part of this effect, the blur radius, I can very quickly adjust how that's going to look. So simply by adjusting that one parameter, the blur radius, we can create those beautiful circles of confusion, that photo realistic bokeh, and really change the look of this. And again, remember this was all entirely in focus. Brilliant stuff. The best part about this too is that the AE composition cameras can even use these same settings to get more realistic depth of field blur. [Control Light Intensity Falloff with the Light Falloff Effect in After Effects CS5.5] If you're compositing in After Effects or, more specifically, 3D compositing in After Effects, then using lights is most likely part of your everyday workflow. And what you can see here is that I have a basic 3D comp where we have a ground plane, and let's call that the stage for now, and we have three layers of numbers that are set at different distances apart. What I'm going to do is use a light, a point light, to illuminate them. So if I do a quick RAM preview on this, what you'll see is using the standard settings, that even as the light diminishes, the intensity even with the number 3, which is the furthest away, is the same. And that's fine. But perhaps I actually want to gradually reduce the light intensity as the objects get further away and actually change the look of this. The issue is I want it to mimic natural light, but natural light doesn't maintain a consistent intensity over an infinite distance. It decays or falls off. So now in After Effects CS5.5 we have new light falloff options which can really improve the look of working with lights in 3D space. So if I use this same layer, let's go up to our Layer menu here and go to Light Settings. And if I go up to Falloff, you'll see that we have two options. Immediately when I turn on the Smooth option, you can see that where we are in this comp, suddenly the number 3 is disappearing. That's because here the intensity is decreasing in a completely linear fashion starting and ending at specific distances in pixels. And this is great, but this isn't still truly mimicking natural lighting. If we want the real natural light effect, we're going to go under Falloff and choose Inverse Square Clamped. And now when we go ahead--let's go ahead and OK this RAM preview-- you can see that this truly mimics the natural characteristics of light. This will create more natural lighting for 3D scenes, although light layers can still provide infinitely steady illumination to 3D layers. And the best things about this is it allows you to create the falloff with the same light types, intensities, and shadow casting settings that you've already been using in After Effects. [Get Direct Integration with Adobe Story and Adobe Premiere Pro CS5.5] Adobe Story is our collaborative script writing application that not only allows you to create scripts directly, import scripts from other popular script writing applications, but the key here is that you can turn all of this rich information into metadata such as dialogue and scene elements and directly import those into Premiere Pro. Some of the new features that we have in Story itself are the ability to track and review script changes by element or coauthor and then selectively approve these changes. So if we go up to the View menu, you can see that we have a couple of new panels. Our Track Changes toolbar here, which will allow you to see who is contributing and making changes, and then you can choose in which elements you want to view those changes--Action, Scene Heading, Teacher, Paladin, etc-- and these of course are representing characters in different parts of the script. With the Comments panel, this will very easily allow you to see comments that have been made inside the script and by whom, and by selecting one of those, it'll shuttle you to that exact position directly inside the script. And then if we go to the History panel, this too will allow you to see all of the revisions that have been made. The cool thing about this is that you can actually generate script versions on demand automatically at the end of each writing session, and you can easily manage in production script changes, even set up email notifications for changes made inside the script. Once you've done all this, of course we want to bring this into Premiere Pro. Previously you had to go through another application to do that, to actually tie the script metadata to Premiere clips. No longer is that the case. So from within Story now, I can choose File, Export As, and you'll see that in this case we would choose the ASTX file, but we also have options for other script writing applications, even MS Excel and Text Documents and such. We choose the ASTX file format, bounce over to Premiere Pro, where now we have some clips that we actually want to tie this metadata to, tie the script information to. And then we're going to run our speech analysis process to make the process of editing these clips easier, faster, and more accurate. So with our clip selected, we can play a bit of this back. [movie dialogue] You fail because you are trying to control it... We've heard this clip before. Okay. So now I want to effectively tie that metadata directly to this clip. I happen to know that this is from Scene 1. So you'll see here that inside the Project panel I've already indicated that this clip refers to Scene Number 1. By selecting this clip, I can go up to the File menu and choose Adobe Story, Attach Script File, navigate to where I keep my scripts, choose the ASTX file, click Open, and now as I twirl down the embedded Story Script panel inside the Metadata panel, you can see that all the information is there. But it doesn't stop there because right now all of this information is just living inside the clip. It's not referencing anything. This is where speech analysis comes into play. Quite simply, we can click on our Analyze button here, which will pull up the Analyze Content dialog. Here we can choose the language that we're going to use, the quality, we're going to tell it to use the actual embedded Adobe Story script, it can identify different speakers, and once we run this process which will of course happen inside Adobe Media Encoder CS5.5 in the background leveraging all the 64-bit capabilities, we can then go to the finished version. And I have one of them here where not only does it now see the embedded Story script but now we can actually see the analysis text. And because it's searching, because it's referencing the script, the accuracy here is far greater than it's ever been before. So if we wind this clip back--let's go ahead and select it here, wind back-- watch the cursor as Paladin begins speaking. [movie dialogue] I can't do this! It brilliantly follows the speech, and now we can literally click on words, shuttle to different positions inside this clip, set in and out points, and edit against the script, streamlining our workflow faster and more efficiently than ever before, and we can do it directly from Story to Premiere Pro CS5.5. [What's New in Audition CS5.5] Adobe Audition CS5.5 is the ultimate recording, mixing, mastering, and editing application that also features a fast, flexible roundtrip workflow with Adobe Premiere Pro, including some other new features like our new high-performance audio playback engine, faster startup, more responsive playback and editing, and the ability to work concurrently on multiple files and sessions. Not to mention the ability to exchange projects with other NLEs and DAWs via OMF and FCP XML interchange really makes this application the complete audio package. And the best part is it's now also available on the Mac. So what you're seeing right now is this version on the Mac. I'm going to take you through some of the interface and some of the features inside Adobe Audition CS5.5. One of the core things in Audition is that we have a Waveform view and a Multitrack view. Currently we're in the Multitrack view, and you can see that we have all of our tracks laid out. We've got our Mute, Solo, and Record buttons. We can play a bit of this back for you, and you can see we have our video window displayed here. [movie dialogue playing] And of course you can navigate this interface very easily. The nice thing is, just like with Premiere, just like with After Effects, the Interface panels work exactly the same. You can also very easily resize tracks either individually or globally. You can also scan through the entire interface very quickly with this portion bar up at the top. You can switch over to your Mixer view, and if you wanted something like your Multitrack and your Mixer side by side, you can simply grab the panel, dock it here, and now you've got your Multitrack Mixer and effectively your Multitrack Editor living side by side, allowing me to make very quick, very easy changes. Let's move this back. When it comes time to actually mixing audio inside Audition and if we're taking audio from Premiere Pro, we follow several different methods. If we were coming directly from an editing environment and if we're a video editor, we might be thinking in terms of Clip Effects. Clip Effects literally are applied to individual clips. So if I wanted to add something like, let's say, a reverb to this voice here, I can twirl down here, choose Reverb, go into something like Studio Reverb. Let's go ahead and solo this voice track, this dialogue track, like this. Quick playback. [movie dialogue playing] You can see now that we've just added in real time a reverb to simply only that clip. If we wanted to apply a reverb to all the tracks, to all of the vocal clips, to all of the dialogue clips in this track, we would then go to Track Effects. And this more commonly follows the way that most DAWs, digital audio workstations, work. So you've got two different methods of how you actually apply effects, again, making it very easy no matter what environment you're coming from. Similarly, if we wanted to actually start editing this, we can nondestructively edit in the Multitrack view. Remember that Audition has two editing methods. When you're working in the Multitrack, we're doing everything nondestructively. But if we want to destructively apply processes and filters or something like noise reduction to a clip, we can double click on it, bringing it into the Waveform view, and now any process that we apply is actually destructive. We're actually changing the original file. And of course we can save copies if we want to. Just to show you a little bit, we have the portion bar at the top here so that we can navigate through the interface. You'll notice that we have things like fade handles so that we can fade the ins and the outs of the file. This is just quick access to common everyday tasks for your audio clips, and you'll see that it'll actually redraw the waveform as we make these changes. There's your fade in, there's your fade out. You've also got your on-clip volume so we can visually readjust the volume here. And again, you've got the ability to add your effects and so on and so forth. Now, if we take a listen to this dialogue clip... [movie dialogue playing] ...we can hear that there's lots of noise on this. This is where I might want to use and leverage some of the noise reduction filters in Audition. This is really one of its biggest strengths, and it's very easy to do. We can do it sort of in the traditional way where we try and find a piece of noise, maybe something like this, and we highlight it, and from there we take a sample. You can see Capture Noise Print available in the right click contextual menu. However, we have something called the Spectral Frequency Display. The Spectral Frequency Display allows you to see frequency over time where we have frequency along our Y vertical axis and time along the X. And now as we actually zoom in, we can very clearly see-- Well, in these sections down here, clearly this is where people are talking. And where he is paused you can see nothing, just dead space. So what this enables us to do is actually see where the noise lives so that we can selectively and very accurately choose just the sections that are noise only to get the best profile so that we can denoise these files. This has been one of the core competencies of Audition for years, it still exists, and again, it's now on the Mac. So I can make a selection. You'll also notice that I'm using Photoshop style tools. We have our Lasso selection tool, Paintbrush, Spot Healing Brush, and the Marquee. For this example I'll use the Marquee. I can make a selection like this, right click, Capture Noise Print, go up to our Effects menu, Noise Reduction Process, and now I can begin previewing my noise reduction. The first thing I'll typically do is select the entire file, and then I can adjust my noise reduction sliders here to a specific amount--let's use about 80% reduction-- go ahead and twirl down to Advanced where you'll see we have all different types of settings. I'm going to set this one to around 0, click Apply. You'll see that it processes very, very quickly-- again, one of the new features of Audition CS5.5. And now when we play this clip back... [movie dialogue playing] ...the noise is virtually removed. Remember, what you're seeing here, color equals amplitude. So here's the before with the noise, and you can see all of these bright red amber areas. That's indicating that there's lots of noise on this clip. If we go ahead and redo the noise reduction, now you can see that they're virtually black. So the way that this works is the brighter the color or the closer the color is to yellow or white, the louder the amplitude at that particular frequency. So this is all dialogue hovering around 1K to 2K. It's bright, it's amber, it's loud. The noise, though, is all that purple red stuff living in this range here, 2K to 10K. Previously it was red and purple. Now it's black. The closer it is to black means it's quieter, it's softer. So visually, we're able to use Photoshop style tools to remove noise very effectively and accurately. And you can work this way with applying any kind of effect, not just noise reduction. But if you're mastering, if you're wanting to use any one of our numerous compressors or limiters, one of my favorites happens to be the Multiband Compressor. You can choose this. You can actually make a selection in the frequency space and only apply the compressor to those select areas very simply. And also, if you wanted to do something like a healing spot-- let's say that you had a click or a pop-- just like the Healing Brush in Photoshop, we can take the Spot Healing Brush here, we can adjust our brush size--let's size it down to around 15 or maybe even 11. And if we don't like this little piece right here, we can simply select it, [makes whooshing noise], it processes, and it's gone, just like in Photoshop. We're using our eyes to do noise reduction, effects processing, all kinds of processes very, very easily. So once again, this is just some of the things that you can do inside the editor. You'll also notice that you have a portion bar here so that you can visually see the Waveform view and the Spectral Frequency Display simultaneously. One of the other things that I love about Audition are the diagnostics. It's often been referred to as the After Effects of audio. And the reason for that is that you have so many different ways to look at and analyze the audio in your clips. One of my favorite things is the Frequency Analysis panel, which is now also supported in Multitrack as well. This happens to be a mono file, so if we play this back... [movie dialogue playing] ...you can see that we're getting a real-time analysis of all of the active frequencies, of the amplitude of the frequencies, in this Frequency Analysis panel. This can be very useful if you're trying to track down hum or other kinds of consistent noises that are resonating throughout the entire audio file. But probably my favorite panel and the one that I use on every audio file that I process is this one here, Amplitude Statistics, because quite simply, this is going to tell you everything that you need to know about your audio file, including Peak Amplitude, Sample Values, Clipped Samples, the actual Bit Depth, the Dynamic Range, and the RMS Amplitude, or more commonly referred to as the loudness, right? How loud is this? How do we perceive this file? So this is really all the stuff that you need if you're delivering files for broadcast, if you're delivering files for DVD. You need to know these things. And in a single click you can access all of those settings very easily and make any associated changes. When you're working in a video environment, very commonly you might be denoising or processing or using any one of our many filters. We also even have surround reverb because remember, you can also process and record and mix in 5.1 surround and send that media to Premiere Pro. But if you have lots of files like the ones that we see in our Multitrack here, it's quite common that you might want to process all of them with the same effects or the same filters or the same noise reduction. And you can do that leveraging batch processing. Batch processing on lots of files can often take a lot of time. One of the things that we've done with our new optimized engine inside of Audition is we allow you to batch process. You'll actually see the status of the files processing, but you can keep on working, and you can work on other sessions while it's doing that. So let's go ahead and actually do that. We're going to go up to our Edit menu and choose Batch Process. And now, just like you've seen in the other applications in Production Premium, I can simply take a series of audio files--and let's grab some of these here, some of these CLF audio files. Let's grab a whole bunch of them and drag and drop them into the batch processor. Okay. We've got dozens of them. Great. So now we can go into Batch Process, we can Apply a Favorite, and you'll see that under Favorites we have lots of presets. This is pointing to a lot of common processes--De-Essing so if you have a lot of dialogue that's very sibilant, this preset here, this favorite, will take care of that. Fade In, Fade Out, Hard Limiting, Normalizing, Removing DC Offset or 60 Cycle Hum or 50 Cycle Hum if you're in other parts of the world. You can use and create these favorites to process all of these files simultaneously. So let's just go ahead and normalize all of these to, say, -3. You can choose a file name prefix if so desired or just keep the file names the same. You choose the location where you want them to go. You can choose the format, and we'll keep these at Windows PCM wav. You'll see you also have the options for AIFF, MP3, and QuickTime. Choose the format. In this case we'll leave it Uncompressed, 32-bit Floating Point. 32-bit Floating Point is in fact the native file format for Audition. So no matter what you bring in, it's always processing in 32-bit Floating Point-- much like Premiere. Let's go ahead and click OK, and it starts processing. You can see that it's so fast it's done. I don't even have time to go to the other sessions. That's how quickly the batch processor works. The key here is that you can continue to batch process and work in the background. And you'll see of course we have multiple sessions open. So if I want to start working on my trailer session, I can pull my video window back up here, scrub through this. Let's play it. We can go to our 5.1 session, so here we're building out an actual 5.1 multichannel session. We're going to create an interleaved multichannel file which we can then leverage in Premiere Pro. You can see it here, and you can see our multichannel metering down below. [movie dialogue playing] But what if we actually want to take all of this and use this in another DAW or use this in another editor? Or perhaps we want to bring in content from another DAW or editor. We can do that, as mentioned earlier, via OMF and FCP XML interchange. So right here if we go under the Export menu, you'll see that you have the options to export multitrack mixdown, the session, FCP XML interchange, or OMF. So whether you're on the Mac or the PC, if you're looking for a powerhouse audio application that will allow you to record, to mix, to master for CD or Blu-ray, to master for the Web, to master your audio for mobile devices, or to take your session files from other editors or other DAWs or Premiere Pro and fix and master and clean up and restore audio and send it back, you can do all of that at Adobe Audition CS5.5. Whether you're on the Mac or the PC, it's all there, it's fast, it's powerful, and it will change the way you work with audio. [ADOBE CREATIVE SUITE 5.5] [ADOBE TV - tv.adobe.com]
Adobe Creative Suite 5.5 Production Premium Feature Tour Overview
Share this Episode
Adjust your embed size below, then copy and paste the embed code above.
442 x 256
515 x 296
640 x 367
Custom Size
Width: px Height: px
Community Translation
Open Interactive TranscriptBecome a translator Translate this Episode
Recently translated by
About This Episode
Discover all the top new features in Adobe Creative Suite 5.5 Production Premium.
Runtime : 00:43:38 Added : 04/10/2011
About this show
CS5.5 Production Premium Feature Tour
Discover all the top new features in Adobe Creative Suite 5.5 Production Premium.
Older Episodes
Next episode in this show
Other Suggested Episodes
Products used in this episode
After Effects
Premiere Pro
Creative Suite Production Premium
Related Shows


text:
New to the forums? Check out our Mentorship Program!
Our mentors will answer your questions and help you become a part of the community!
Welcome to Smogon Forums! Please take a minute to read the rules.
B2W2 - The Beginning Cup - A hint of things to come?
Discussion in 'Global Battle Union' started by OVERGRO, Aug 4, 2012.
Page 1 of 2
Page 1 of 2

subset: commoncrawl


text:
1972 Glenfarclas Family Cask # 3551 2012 Release
Dark amber in hue, this shows immediate mature elegance with great sweetness — think of spiced honey or mead. There are some light notes of pecan pie and all the while that thread of the sod. Glenfarclas can never fully escape its dark roots. There's dried peach and fruit leather, toffee, and, with water, biscuits dunked in tea. The palate is autumnal and soft — fruit compote and peppermint. This is what you want from fully mature Glenfarclas at its peak. (A U.S. exclusive). — Dave Broom Advanced Whisky Advocate magazine rating: 93
Available - Check All Stores »
750ml Bottle
750ml Bottle
Price with Binny's Card
1972 Gordon & Macphail Linkwood 1972 38 year old
Limited Please Call - Check All Stores »
750ml Bottle
750ml Bottle
Search Results: 1 to 2 of 2 for 365
Sort By: Results:
< Prev1Next >


text:
Zebra mussels, Dreissena polymorpha, are tiny, ranging from approximately 1/64th of an inch (0.5 mm) to 2 inches (50.80 mm), bivalve mollusks that inhabit fresh to brackish or even estuarine waters. Each mollusk is patterned with dark and light stripes on the small shell, which gives this non-native species its name. Zebra mussels are native to Eastern Europe, and it is believed that the planktonic larvae were transported in cargo-ship ballast water to the Great Lakes Region in the mid-to-late 1980's where they have become an invincible problem to industry and the native species of the area.
Since zebra mussels are filter feeders, they tend to be stationery, using thin and strong threads (called byssal threads) to adhere to many different surfaces. The planktonic larva, known as a veliger, is the free floating stage of the lifecycle. This dispersal mechanism permits the zebra mussel to locate and attach to virtually anything and quickly colonize, growing into layers, often inches thick. They attach themselves to any hard surface which includes: water intake pipes, buoys, and channel markers. They even attach to native freshwater mussels, clams, and crayfish, limiting their ability to move and often smothering them.
At this time, there are relatively few ways to control zebra mussels and/or prevent them from traveling further into the interior of the United States. While biologists are testing many different types of chemical controls such as chlorine, bromide and molluscides, they are finding that these solutions are only temporary and also can affect other marine organisms. Recently, a population of zebra mussels in a freshwater quarry in Virginia was successfully eradicated using potassium chloride treatment. More information on this project is found on the Virginia Department of Game and Inland Fisheries website. Alternatives to chemical control include: hand scraping, ultra violet light, and power washing, but these control methods are often expensive and tedious. Zebra mussels are here to stay.
To avoid accidental introduction of zebra mussels to significant Maryland waters, any live bait used in Pettyboy, Loch Raven, Tridelphia or Liberty reservoirs must be from zebra-mussel-free sources. Inquire if your bait dealer can confirm zebra-mussel-free certification before purchasing live bait for these locations.
It is illegal to import or possess live zebra mussels or their reproductive products for any purpose in Maryland, including scientific research, without written permission from the Secretary of the Department of Natural Resources. Contact Richard Bohn, permit coordinator for the Fisheries Service, at 410-260-8317 (Toll-free: 1-877-620-8DNR ext.8317) before importing any zebra mussels into Maryland.
Potential Proposal To Address Specific Nonnative Species
Date page was last updated: 04/21/2009


text:
By Gianmarco Segato, Adult Programs Manager
For Episode 19, the "Opera critics UNITE!" edition, we welcome back opera journalists Joseph So, and Paula Citron; Western Canadian opera presenter and journalist, Stephan Bonfield as well as opera blogger John Gilks. New to the panel is Toronto music critic and musician, John Terauds. Gianmarco Segato, the COC's Adult Programs Manager, is your host.
We took advantage of the critic-heavy presence this week to hold a round table discussion on the past, present and future of classical musical criticism (sneaking in a couple of other timely topics as well!)
Are you out there listening? What would you like us to talk about next time? Let us know by sending us your ideas/comments by commenting here, on Facebook, Twitter or by e-mail (email@example.com).
Posted by Danielle D'Ornellas / in The Big COC Podcast / comments (0) / permalink
On November 26, 2013, for the first time, nine finalists in the Ensemble Studio Competition will now perform from the mainstage of the Four Seasons Centre, accompanied by the internationally acclaimed COC Orchestra conducted by COC Music Director Johannes Debus and hosted by Grammy-nominated and multi-Juno Award winner, singer-songwriter and composer Rufus Wainwright. To watch the competition and see Canada's rising opera stars, visit our Centre Stage website and buy your tickets today! Over the next two weeks, follow along on Parlando as we introduce you to each of our finalists.
Iain MacNeil didn't find opera, opera found him, and he's never looked back.
Born and raised in Brockville, Ontario, Iain was introduced to opera in the first year of his music degree of Dalhousie University. Iain intended to become a music teacher. He studied voice, thinking that he'd be more successful as a vocalist than an instrumentalist in a university setting. However, his teacher at Dalhousie, Marcia Swanston, recognized potential when she heard it. Along with his other teachers, she opened Iain's eyes (and ears) to a world of music that he hadn't ever dreamed.
"I quickly fell in love with singing, and with classical music," he shares. "And lots of voice lessons and a healthy amount of stage experience has brought me to this point."
From Dalhousie University, Iain went on to the University of Toronto, where he is currently completing an opera diploma. His opera performances to date include Figaro in Le nozze di Figaro, Don Giovanni in scenes from Don Giovanni and Dulcamara in scenes from L'elisir d'amore (Centre for Opera Studies in Italy); Bobby in Kurt Weill's Mahagonny-Songspiel, Sweeney Todd in Sweeney Todd, Brewer in Comedy on the Bridge and Tom/John in The Face on the Barroom Floor (Dalhousie Opera Workshop). Most recently, in 2013, he participated in the Young Singers Project at the Salzburg Festival.
"What I find compelling about opera as an art form is that it depends on refined human voices, and uses them to marry several other powerful forces together, namely music and poetry," says Iain. "Furthermore, I find that honest use of the voice is one of the most compelling and soul-stirring events known to humankind."
When not thinking about opera, Iain's attention is turned to another passion: motorcycles. "I love motorcycles, so I would consider just thinking about owning one a hobby in itself – I certainly spend plenty of time doing that," he says. Otherwise, he's playing the guitar, jamming with friends, shooting hoops, longboarding, watching philosophical debates on YouTube or having philosophical discussions, drinking good coffee, sipping micro-brewed beers, having campfires, stargazing and swimming in lakes.
He doesn't have a dream role, yet, but is open to suggestions. Mozart's Figaro and Sondheim's Sweeney Todd are two parts, though, that are already on his radar, "Both are incredibly interesting and enjoyable to me, and having done them both already, I can't wait to do them again!"
The Ensemble Studio competition is Tuesday, November 26, 2013. Tickets to the Ensemble Studio Competition and Centre Stage cocktail celebration are $100.For more information and to purchase tickets, visit COCCentrestage.ca. You can buy tickets here, call COC Ticket Services at 416-363-8231 or go to the Four Seasons Centre for the Performing Arts Box Office (145 Queen St. W.). You can also chat about the event with us on Twitter using #COCCentrestage.
Posted by Meighan Szigeti / in Ensemble Studio / comments (0) / permalink
For the Winnipeg-based soprano, opera is a family affair.
Lara's father is responsible for introducing her to opera. "I was drawn to opera because of the quality time I spent with my father, starting when I was very young, listening to the Saturday afternoon radio broadcasts from the Metropolitan Opera," she says. "My dad played the music so regularly in our house and I found myself drawn to the drama and acoustic aesthetic of this art form."
Since falling in love with opera as a child, Lara has gone on to study vocal performance at the New England Conservatory of Music in Boston and completed a master's degree at The Juilliard School in New York.
Lara's credits include Donna Elvira in Don Giovanni (The Banff Centre); the American premiere of Alessandro Rossi's Ritual (The New Juilliard Ensemble); Giulia in La Scala di Seta (Juilliard); and Suor Genovieffa in Suor Angelica (Manhattan Opera Studio). She will also appear as Zerbinetta in Ariadne auf Naxos with Manhattan Opera Studio. But her dream role? She would love to play Violetta in Verdi's La Traviata and the title character in Alban Berg's Lulu.
Even if she wasn't an opera singer, Lara would still be involved in music in some way, as a musical director working on TV shows and films. She says, "It would be so interesting to get to seek out new music from artists across all genres and pair them with cinematic moments." When she's not singing, Lara enjoys musical hobbies like playing piano and collaborating with her friends in art song repertoire.
But she still has time for non-musical activities. Lara speaks some Hebrew, French, German and Italian and stays fit by snowboarding and practicing yoga. She also enjoys tinkering with her fantasy football team. Visit her website to learn more about Lara!
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001


text:
It's human nature to love being pampered. But did you know, it's animal nature to love it too? The folks at Bark 'N Bubbles know it is, and with today's deal, the self-service dog wash is offering a You Wash and Blueberry Facial for your favorite canine.
A You Wash includes a choice of shampoo, a creme rinse, combs, brushes, towels, the use of a warm air dryer, and an all-natural spritzer finish. The Blueberry Facial is a tearless face wash, shampoo, and brightener with Coconut Oil, Jojoba, Aloe, Blueberry, avocado, and Vitamins A, D, and E. You'll have a fun experience to share together at Bark 'N Bubbles, and your pampered pup will come out looking refreshed and gorgeous.
Bark 'N Bubbles has four Virginia locations. To purchase the deal for the ASHBURN location, simply click the "Make it Mine" button above.
To purchase at one of the other locations, please follow the links below (vouchers are only valid at the location purchased):
Bark 'N Bubbles is a premier self-service dog wash. They offer a more convenient way for pet owners to bathe their dogs. They strongly believe that "A regularly bathed pet is a healthier, happier pet". Their dog wash will supply you -- the dog owner -- with all the tools needed to bathe your dog with ease. They provide all natural shampoos, conditioners, combs, brushes, waist-high tubs, and much more.
Bark 'N Bubbles Ashburn
20604 Gordon Park Sq, #170
Ashburn, VA 20147


text:
The Friends' of the Hoyt Library will be having their annual booksale this week! The booksale is a great time to buy books and other items. Browse a huge variety of genres and subjects. This is also a great opportunity to come out and meet fellow members of your community and to donate to a great cause: your local library.
Dates and Times:
Thursday, June 7: 2pm-7pm
Friday, June 8: 10am-4pm
Saturday, June 9: 10am-3pm
We hope to see you there! Remember there will be hundreds of choices, and so much variety that you are sure to find something you are interested in.


text:
In Dean's Blog, mega-endurance athlete and best-selling author Dean Karnazes blogs about ultra-running, life, and the human spirit. Not necessarily in that order.
About the Author
Dean Karnazes is a renowned ultramarathoner and the author of several books chronicling his long-distance, international running exploits. His latest book is Run! 26.2 Stories of Blisters and Bliss.
See All Articles by Dean Karnazes
Recent Articles
6 Gear Items to Keep You Safe
These products will help to keep you visible on the roads.
Secret to Calming Pre-Race Anxiety
Focusing inward has helped me stay grounded at the starting line.
My Five Favorite "Superfoods"
These are a little obscure, but they help my running and overall health.
The Uncomfortable Truth About Recovery
Sometimes the best recovery is no recovery at all.
The Marathon
There is no luck involved in finishing the Marathon.
A Leashful
Over the miles, my dog and I have come to find our groove.
Diversify Your Training Time
Running at different times of day can help keep training fresh and dynamic.
Take Five
Focusing on running for time instead of distance helps new runners.
5 Bizarre Tips to Improve Your Running
Dean Karnazes makes these adjustments to his daily life to improve his running.
The Most Endearing Race of My Life
Nothing will ever surpass the cherished memory of running with my daughter.
Guilt Your Resolutions to Success
Accountability is a powerful motivator to get you out the door.
12 Runs of Christmas
A runner's take on the classic Christmas carol.


text:
Requirements definition and management to improve project outcomes
IBM Rational Requirements Composer has been renamed to IBM Rational DOORS Next Generation.
IBM® Rational® Requirements Composer software empowers teams to define, manage and report on requirements in a lifecycle development project. This web-based application supports iterative, waterfall and agile-at-scale development methodologies using lightweight requirements processes. Now you can reduce rework and costs, accelerate time to market, and improve business outcomes.
Rational Requirements Composer helps you address:
- Requirements information lifecycle—by implementing a broad, flexible approach that enables teams to collaborate, clarify and quickly achieve consensus about requirements as they develop business-driven solutions.
- Extended team—by unifying multiple stakeholders around the world, including the customer sponsor, users, marketing, legal and compliance, finance, education, operations and the project team members themselves.
- Project lifecycle—by aligning requirements, development, change management and quality management in a comprehensive IBM collaborative lifecycle management solution.
Requirements information lifecycle
- Use intuitive online rich documents, storyboards, process diagrams, use cases and other visual techniques to capture customer needs and drive your business.
- Manage, organize and analyze requirements and their changes efficiently using attributes, collections, tags and filters in dynamic information views. You can also use out-of-the-box templates and custom reports to understand a project's position—including requirement specification, audit history and traceability reports.
- Focus on current objectives by accessing updated information via project and user-specific views, including recent comments, requirements and artifacts. Rational Requirements Composer maintains an audit trail of artifact changes, helping teams quickly return to earlier versions of artifacts and information when necessary.
- Increase agility, customer focus and predictability with lightweight requirements practices. This more iterative project methodology can produce more customer value with less overhead.
- Use automated traceability to align work to requirements, quickly understand the implications of requirements changes and report project status. Team members can use system or custom-defined link types to manage the traceability relationship between requirements artifacts.
Extended team
- Involve all stakeholders and facilitate active collaboration around the requirements. With this software, you can engage a wide range of globally distributed customers and other stakeholders in a requirements-driven development process.
- Achieve shared vision and understanding of project and program requirements. Rational Requirements Composer helps ensure everyone is looking at the same information using a method each person can understand.
- Unify teams around a common vocabulary using the integrated glossary facility. With content assistant tools, you can link to glossary terms from anywhere there is text.
- Enable new team members to become productive faster by making your requirements, business context and past discussions available online.
Project lifecycle
- Combine Rational Requirements Composer with IBM Rational Team Concert™ and Rational Quality Manager software to create a comprehensive IBM Rational collaborative lifecycle management solution.
- Coordinate your software development activities from business needs to system delivery. Rational collaborative lifecycle management provides real-time planning, lifecycle traceability, in-context collaboration, development intelligence and continuous process improvement.
Rational Requirements Composer resources
- Rational Requirements Composer: Improve your requirements process from definition to delivery
See how to create a requirement, add comments and links, transfer it to IBM Rational RequisitePro® and synchronize any changes.
- Podcast: Applying requirements to the lifecycle development
Avoid traps of common project failure. Learn how requirements improve the complete development lifecycle.
- Solution brief: Requirements-driven quality for agile software delivery (PDF, 429KB)
See how agile project teams enjoy higher success rates, deliver higher quality and speed time to market.
- Data sheet: IBM Rational Requirements Composer (PDF, 784KB)
Discover how to improve project outcomes through better requirements definition and management.
Buy Rational Requirements Composer
Requirements definition and management to improve project outcomes
IBM Software Subscription and Support is included in the product price for the first year.
Download software online after purchase - no shipping costs!
- Collaborative development
- Graphical Data Display Manager (GDDM)
- Host Access Client Package
- HourGlass
- IBM ILOG DB Link
- Mathematical Acceleration Subsystem for Linux
- Merge Tool for z/OS and OS/390
- Migration Utility for z/OS
- Rational Application Developer for WebSphere Software
- Rational Business Developer
- Rational Change
- Rational ClearCase
- Rational ClearCase Change Management Solution
- Rational ClearCase Change Management Solution Enterprise Edition
- Rational ClearCase MultiSite
- Rational ClearQuest
- Rational ClearQuest MultiSite
- Rational Configuration Management
- Rational Configuration Management with Change
- Rational Configuration Management with ClearQuest
- Rational Configuration Management Limited Edition
- Rational Configuration Management Limited Edition with Change
- Rational Configuration Management Local Edition
- Rational Configuration Management Local Edition with ClearQuest
- Rational Dashboard
- Rational Data and Application Modeling Bundle
- Rational Deployment Automation Content Pack for RAFW and WAS
- Rational Developer for AIX and Linux AIX COBOL Edition
- Rational Developer for AIX and Linux C/C++ Edition
- Rational Developer for i
- Rational Developer for System z
- Rational Developer for the Enterprise
- Rational DOORS
- Rational DOORS Next Generation
- Rational DOORS Web Access
- Rational EGL Community Edition
- Rational Elite Support for Eclipse
- Rational Host Access Transformation Services
- Rational Host Integration Solution
- Rational Host On-Demand
- Rational Lifecycle Integration Adapters
- Rational Lifecycle Package
- Rational Lifecycle Package with ClearCase
- Rational Modeler
- Rational Programming Patterns
- Rational Rhapsody Architect for Software
- Rational Rhapsody Architect for Systems Engineers
- Rational Rhapsody Designer for Systems Engineers
- Rational Rhapsody Developer
- Rational Rhapsody Design Manager
- Rational Rose Data Modeler
- Rational Rose Developer for Java
- Rational Rose Developer for UNIX
- Rational Rose Developer for Visual Studio
- Rational Rose Enterprise
- Rational Rose Modeler
- Rational Software Architect for WebSphere Software
- Rational Software Architect Simulation Toolkit
- Rational Software Architect
- Rational Software Architect Design Manager
- Rational Software Architect Extension for C++
- Rational Software Architect Extension for Communications Applications
- Rational Software Architect Extension for Deployment Automation Planning
- Rational Software Architect Extension for Deployment Planning
- Rational Software Architect Extension for Integrated Architecture Frameworks
- Rational Software Architect Extension for SOA and WebSphere
- Rational Synergy
- TPF Toolkit
- VisualAge Generator
- WebSphere Telecom Web Services Server
Not in United States?
Considering a purchase?
Contact IBM
Considering a purchase?
- Email IBM
- Request a quote
Or call us at: 877-426-3774877-426-3774
Priority code: Rational


text:
RICHMOND, Va. - Brian Moran is leaving as chair of the Virginia Democratic Party, announcing that he won't seek another term after his party won presidential and senatorial elections last week.
Moran steps down next month when the state party's ruling central committee meets in Williamsburg. The committee will select a new chair that day.
Moran, who represented Alexandria in the House of Delegates, unsuccessfully sought the Democratic gubernatorial nomination in 2009, and is the brother of U.S. Rep. Jim Moran, who represents part of Fairfax, Arlington and Alexandria. He held the chairman's seat for two years.
(Copyright 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


text:
Browse by composer: Bach, Beethoven, Chopin, Diabelli, Handel, Mozart, Schumann, Sor. [Full list of composers]
Browse by instrument: Piano, Vocal, Organ, Violin, Guitar, Orchestra. [Full list of instruments]
Latest additions [More...]
2014/08/15 - Prelude Op. 23, No. 4, by RachmaninoffS - Op. 23 for Piano
2014/08/15 - Op. 35, Study No. 19, by SorF - Op. 35 No. 19 for Guitar
2014/11/20 - Oboe Sonata No. 2 in F (Rondeau), by DevienneF - from Opus 70 for Oboe and Bassoon (or other unfigured basso continuo)
2014/08/15 - Prelude Op. 23, No. 3, by RachmaninoffS - Op. 23 for Piano
2014/07/27 - Op. 35, Study No. 18, by SorF - Op. 35 No. 18 for Guitar
2014/07/27 - Ukiyo-Bushi, Traditional - for Koto
2014/07/27 - Fuku-Ju-So, Traditional - for Koto
2014/07/27 - Echigo Jishi, Traditional - for Koto
The Mutopia Project: Free sheet music for everyone
Classical and Contemporary Music
The Mutopia Project offers sheet music editions of classical music for free download. These are based on editions in the public domain, and include works by Bach, Beethoven, Chopin, Handel, Mozart, and many others. A team of volunteers are involved in typesetting the music by computer using the LilyPond software. Why not join them?! See the page on how to contribute for more information.
We also host a growing number of modern editions, arrangements and new music. The respective editors, arrangers and composers have chosen to make these works freely available.
Usage of the Music
All of the music on Mutopia may be freely downloaded, printed, copied, distributed, modified, performed and recorded. Music is supplied as PDF files for easy printing on either A4 or US Letter paper. The LilyPond source files are also available, which allow you to make your own editions based on ours. Computer-generated audio previews of the music are available as MIDI files, to give you a rough idea of what the music sounds like.
Most of our music is distributed under Creative Commons licenses. Each piece clearly lists what license it is distributed under. For precise details of what each license permits, see the license details page.


text:
How many times have you looked in your rearview mirror and seen your video gaming son and your ipod listening daughter tangled in each other's headphones? We're all sick of the knotted-up cords and wires that our devices require. Luckily there's a stylish solution to your family's wire woes.
Zip Dats' colorful, convenient headphones are here! These ear buds are uniquely designed to keep your whole family tangle-free - perfect for mom's workout, or when dad needs to tune out at work. Great for upcoming trips with the kiddos, Zip Dats zip up and down with ease and come with a slick, cylinder storage case. Pick a color for each member of the family: white, green, black, pink, blue, and purple and prevent ear bud switch-a-roos. Get a cute solution to your snarled cords today.
Get rid of the tangle with Zip-up Earphones from ZipDats.com. The latest stylish ear gear!


text:
Quick Links
Shop All Jewelry
BERZ10053 In Stock
These Golden Lace Vintage Style Oval Drop Earrings are unique and beautifully designed. Each earring has swirl like lines that are laced in different places to make these golden vintage earrings unique. Each earring has 4 3mm CZs that add sparkle and elegance to the overall earring along with a single white pearl to add elegance.
Eve's Addiction.com wants you to be a happy customer. We want you to be completely satisfied with the sterling silver jewelry that you receive from us, as we only sell high quality silver and cubic zirconia cz jewelry. We do understand that you may not like your purchase for some reason.
You may return or exchange your jewelry within 60 days of purchase if you are not satisfied with it. The jewelry must be returned in its original condition for a refund or exchange. Engraved, personalized, photo, monogram, name and initial, and clearance items are not returnable or exchangeable. To return jewelry to EvesAddiction.com, please follow the steps at the following link.


text:
I love my girlfriend
This great custom product in white/black from our department Men and Mug category can be printed just for you in the size and style you like. The design I love my girlfriend was created by Prinz and uploaded to Spreadshirt for you to have printed on a Mug. Next to a host of other great customized designs, you can find this I love my girlfriend design in Spreadshirt's Romance category. If you are interested in topics like Girl or Partner, then you'll love I love my girlfriend designs by Prinz. Spreadshirt also offers a huge selection of custom t-shirts, hoodies and accessories for the category Romance as well as top Valentine's clothing. Prinz's designs have already impressed many of our customers, so we are sure that we've got right stuff for you! Spreadshirt is your destination for great designs of all kinds – whether it's Girl, Partner or Valentine's. We are sure that you will find something nice in our shop, there are many amazing custom Romance t-shirts, hoodies, or accessories for you to find! Tags: Design ID: 12663716
Dill with it T-Shirts Designed by eat
Freddy Fazbear's Pizza Designed by Katsuhicon
Elf Costume T-Shirts Designed by flavored
Winner Winner Chicken Dinner T-Shirts Designed by THATSHIRTCRAY
Damn Gina Men's T-Shirt Designed by rouzdesign
A party without Cake is just a meeting T-Shirts Designed by eat
The Devil Made Me Do It Women's T-Shirts Designed by fluffshop
A bright start for your day: Indulge yourself with a hot drink from a personalized ceramic mug. The subtle optics of the contrasting trim and handle give your favorite brew a stylish setting. You'll be able to enjoy the mug for a long time as it is scratch-proof, UV-resistant and dishwasher-safe. Tip: Hand-washing will make it last even longer.
Material: Ceramic
Capacity: 10 fl. oz. Choose from: white/black, white/red, white/ blue
still to fill


text:
- olapic-scroller
west elm Gift Card
- Free Shipping
- Overview
- A gift card from west elm makes the perfect gift. Gift cards are available in denominations of $25, $50, $75, $100, $150, $200 and $250.
Gift cards may be used for making purchases at stores in the United States & Puerto Rico, by phone or online with west elm®, Pottery Barn®, pottery barn kids®, PBteen®, Williams-Sonoma®, and Williams-Sonoma Home®. They may not be redeemed for cash or applied as payment to any account, unless required by law. You may not purchase more than $10,000 in gift cards in one day.
We'll deliver it by first-class mail with your personal message within 7 to 10 business days – and there is no charge for shipping.
For two-day rush delivery, there is a charge of $6.50 per address. Rush Delivery orders received by 12PM (PST) Monday - Thursday will arrive in three business days; orders placed Friday - Sunday by 12PM (PST) will arrive on the following Wednesday.
If you are the recipient of a gift card, you can check your balance or redeem your card online here.
- Shipping + Return Info
General Shipping Information
Most purchases are shipped from our Distribution Center by UPS, to arrive in your home within 5 business days of order receipt.
Shipping Rates
The shipping rate varies depending on your order total and shipping options View Shipping Rates and Options
Rush Delivery Available For an extra charge of $15 per address, we can arrange for rush delivery to most destinations.
Return Policy
We take great pride in the quality of our merchandise. If for any reason you are not happy with your purchase, you may return the item(s) within 30 days of receiving the order for a full refund of the merchandise cost. After 30 days, we will replace or refund your purchase against manufacturer's defects ONLY. Please note that we cannot accept returns on final-sale merchandise, monogrammed/personalized items or on items damaged through normal wear and tear. We regret that we do not give price adjustments on previously purchased items.
For further assistance please call our customer service department at 1.888.922.4119 or send an email to firstname.lastname@example.com


text:
8 products
Easy-care bathroom rugs bring style and warmth to your bath. Sink your toes into the comfort of sumptuously soft bath rugs for a truly pampering feel. Our bathroom rugs are available in a wide range of sizes and colors to complement any decor. From prints to solids, our bath mats will make your bath feel fresh and new.


text:
JOIN OUR eZINE...
It only takes a second!
It is our goal to keep all citizens of Buncombe County informed in the fastest and most efficient way possible and in a cost effective manner. Sign up for the eZine and you'll get an email every Monday with all the latest news in Buncombe County Government.
Check out the current issue.
In 2013, an estimated 230,000 new cases of invasive breast cancer will be diagnosed in women. Every year over 39,000 women die of this deadly disease. Do you or the women in your life get a mammogram?
In this episode of Buncombe Life, join Kathy Hughes as she speaks with representatives of the Breast and Cervical Cancer Control Program, the Mission Foundation, and Rhonda Wellmon, a breast cancer survivor, who will tell her story of the importance of getting a mammogram.
Find out how you can get free yearly mammograms and not have to worry about any of the financial responsibilities if cancer is found.
Think You Can't Afford a Mammogram?
The Breast and Cervical Cancer Control Program (BCCCP) wants to help women get the screening tests they need to detect breast and cervical cancers. The program helps save the lives of women through early detection by providing those who qualify with FREE examinations. The exam includes a pelvic exam, pap smear, clinical breast exam and a mammogram.
BCCCP also provides you with knowledge by giving individual education and counseling services to teach you how to improve your health!
Because we want every woman to be tested regularly, BCCCP provides these free services to women who are between the ages of 40-64, who have little or no insurance and meet financial requirements. We even provide referrals and follow-up when needed. Some women who are 18-39 years of age may also be eligible for these services.
Give us a call – we're here to help! Call 250-6006.
Do you suspect abuse?
To make an adult or child protective services report any time, day or night, call the numbers below:
Child Abuse: (828) 250-5900
Adult Abuse: (828) 250-5800
Call (828) 250-5109 to report
Communicable Disease Reporting Form
<< Join Our Social Networks
© 2011 - Buncombe County Government


text:
Well, I LIKE the four-square current model.
The Vision is OK enough to succeed in the market, but to my eye has more than an echo of M-class and other generic SUVs.
The term "Must try harder" springs to mind. Don't follow the pack, lead it!
I like Land Rover Discovery Vision Concept - pictures
Great Design, but looks more sporty than the RR Sport.
The bottom line is does it off road well. The styling, seats and gestures are all detail.
As long as my two little people can see out of the rear windows (cant in the Evoque) my gun dog will fit in the boot along with my guns (not in the Freelander) and there is plenty of legroom in the rear seats for 6ft people (struggle in current 2014 D4...) and my wife feels confident driving it in two feet of snow around Coniston and she can park it then you've pretty much got it boxed off...! :) I've got one reserved at my local dealer for when it appears....
Lets hope it arrives in showrooms quicker than Virgin Galactic manage to send customers into space.
Ugly as sin - no class looks like it was made in india
Its ugly, and basically is Land Rover's new WAG-mobile IMHO.


text:
Skip to content
In association with
and found 1 items
Angus Farquhar, Daniel Thornton,
03 January 2008 18:49
In episode 20 of MCN Daily we check out some of the amazing bikes up for sale in January including some really special customs and the British Superbike Ducatis and watch as Robbie Maddison jumps to a world record of 98 metres. Subscribe to this podcast with RSS Subscribe with iTunes Check out the video below to catch up with ...
Save money by comparing quotes. It's quick and easy
With over 18,000 products, MCN shop is the best place to buy your biking kit
Motorcycle Cover | Cheap Motorcycle Insurance | Moped Insurance | Scooter Insurance | 125 Insurance | Work Experience | Complaints Policy
Car Magazine | Empire | FHM | Parkers | LRO | Today's Golfer | Zoo
Bauer Consumer Media Ltd (company number 01176085, 1 Lincoln Court, Lincoln Road, Peterborough, England PE1 2RF)


text:
{Let's talk TURKEYS!}
This is so darling for a kids' table. Cute centerpiece and then they can color while they wait for the food!
I'm going to attempt this. Isn't he adorable!?
I love this art project. Doubt it will happen this week but I am saving the idea for next year. Those feathers would be so easy to make with random scrap paper and my kids would be all over stepping in paint for the foot print/body.
Seems you can make all of your appetizers turkeys with just a little creativity!
Fun for breakfast on the big day - or any day in November for that matter. And so easy!
I love this for a November snack/lunch for the kids. Apples or peppers make great feathers!
Another fun and easy craft for the kiddos.
{Thanksgiving Decor}
The next three ideas are so simple and inexpensive. Great ideas for last minute decorating!
Candles, clear containers, popcorn kernels, candy corns, nuts. I can handle that.
Pumpkins are so fun to decorate with. I know everyone is about ready to put pumpkins away but I love this farmhouse decor and plan to do something like this on my table next year. When Kole isn't crawling all over my table on a regular basis.
I thought it would be fun on Thursday to have my kids go in grandma's backyard and gather leaves and then let them hang them with clothes pins like this. Very similar to my leaf banner we made last year --
Here is another fun leaf display I want to try next year.
And one last fun Fall decor pic. I love how all of the white makes those orange and red leaves just pop!
{Crafts for the Kiddos}
How cute are these Mayflower ships!? Love the personalized sails.
Not in the mood to get creative with crafts this year? Here are a few free Thanksgiving printables for the kids to color. Doesn't get any easier than that!


text:
New to the forums? Check out our Mentorship Program!
Our mentors will answer your questions and help you become a part of the community!
Welcome to Smogon Forums! Please take a minute to read the rules.
CAP 15 CAP 4 - Part 4 - Secondary Ability Discussion
Discussion in 'CAP Process Archive' started by bugmaniacbob, Sep 30, 2012.
- Thread Status:
- Not open for further replies.
Page 3 of 6
Page 3 of 6
- Thread Status:
- Not open for further replies.


text:
Hey guys,
I'm looking at buying a high end 70-200mm Canon fit lens, my budget is around £900 £1000 at an absolute push. Im lining up the Canon L 70-200mm NON IS f/2.8 at £929.
but ive seen a few MK 1 f/2.8 WITH IS for around £1000. As its not the latest model would it still be worth it?
Or is it worth going for the MK 2 and saving for a while?
Or any other advice would be great!
Thanks Ed


text:
Sorry for the quick hit here but I was tweeting about these brownies and how delicious they are so I needed to get it up quickly in my very limited time!
I took my favorite brownie recipe and replaced all of the fat from the butter with 1/2 cup of mashed ripe bananas and then placed slices on the top. These turned out moist and cakey on the bottom and deliciously gooey on top…
I made these from the following recipe but when thinking about it I really want to try it with a boxed brownie mix. It should work the same! Replace the full 1/3 cup of oil with 1/3 cup mashed up banana and follow the rest of the instructions…
Chocolate Banana Brownies adapted from Cooks.com
3/4 cup unsweetened cocoa powder
1/2 cup mashed bananas
2 cup sugar
1 teaspoon vanilla
1/2 teaspoon salt
2/3 cup flour
2 eggs
Sliced bananas for topping
Preheat oven to 350°F degrees.
Mix banana with 3/4 cup of cocoa powder. Then add 2 cup of sugar, 2 eggs, 1 teaspoon of vanilla extract, 2/3 cup flour and 1/2 teaspoon salt. Mix to combine.
Grease a 9X9 baking pan and bake for 35-40 minutes.
Remove from oven. Allow to cool for 5 minutes and gently remove from pan to cooling rack. Allow to cool completely before cutting and serving.


text:
Great comeback from Mao She is a strong LP skater.
Congrats to all medalists, great debut to Haruka and Dobbs.
Great comeback from Mao She is a strong LP skater.
Congrats to all medalists, great debut to Haruka and Dobbs.
Anybody have a youtube link for Mao's skate please?
Also, a breakdown of all the jumps & elements that Mao, Akiko, and Caroline did? Thanks in advance.
Wow Asada! showed she is a fighter!
she successfully landed both 3As and got ratified, proving she is still solid in the game after a sub-par SP and bad practice sessions(what a steely gut she has). She must be encouraged by what she has accomplished, although in a way I kind of feel she has regressed a lot in overall presentation of the program. It seemed like she was way too focused on landing those jumps so that even her stroking got a little tentative and the choreographies looked almost empty. Yes I am happy she has come back strong and executed all 7 jumping passes but seriously her performance this time has left a lot to be desired non-jump wise.
I'm not sure Akiko was delivering the vivacious quality and joyfulness in her step sequence she had at GPF and Nationals, probabably because she has gotten a little stiff after making mistake in the short and botching loop again at the free. However, I'm satisfied she had a nice skate other than that and left a good impressions on judges right before Olympics.
and congratulations to Caroline for winning bronze
Last edited by EyesOfLove; 01-29-2010 at 05:07 AM. Reason: ..
Sooo happy for Caroline. She was all smiles in the kiss and cry. (:
She ended the season with a bronze. Yay! I knew you could do it Caroline!
Happy for Mao and Akiko too!
Last edited by aftertherain; 01-29-2010 at 05:31 AM.
(is it just me or is the new format plain weird )
Congratulations to Mao for an amazing technical skate. I totally agree that she sacrificed the presentation for the execution of the technical content and this is a great skate for her heading into the Olympics.
Congratulations to Akiko for winning her 1st 4 Continents medal , this is a huge achievement since the event is considered one of the major competitions of the ISU! I totally loved her skate and it's great that she is not peaking early heading into the Olympics! I just hope and pray that she would really deliver and be scored justly especially for her PCS! She is an amazing skater and definitely deserves higher PCS scores!
I'm so proud of Caroline! She is a great skater especially when she is competing in the international circuit! Congrats for winning the bronze medal at the 4CC!!!! Whohoooo!!!!!!
Yeah, congrats to all the medalists! Definitely my three favorites here. Maybe my three favorites among all the ladies internationally?! So I can't be happier. I'm so delighted for Caroline to end her season on a high(er) note. I'm happy for Mao that she finally got two 3A's ratified this season -- and isn't it the first 6-triple program she's done in a long time?
(This font in the reply box is so small I really have to squint, and I have my contacts on... Will stop typing here)
I'm happy for Caroline and Mao's redemption too. But I kinda lost joy in watching Mao skate. She's become too focused on the 3 axel.
It's great that Caroline medalled here. I think that among the current American ladies other than Sasha, she has the first senior championship medal now.
Go Caroline! What a great comeback for her!


text:
Prep your pout by scrubbing with our sugary Lip Scrubs. With a clean finger, apply your Lip Balm or Tint and get ready to pucker up!
Chocolate Whipstick
Lip Balms and Scrub
0.3 oz.
Product Actions
This product may melt if shipped to a warm location.
This product may melt if shipped to a warm location.
More from Lip Balms and Scrubs:
For true chocolate lovers
We experimented immensely with flavor to make this popular lip balm for soft, chocolate-orange flavored lips. We mix Chocolate Whipstick by hand with a lip-soothing infusion of oats, beautiful almond and wheat germ oils, plus beeswax to protect lips from dehydration If that sounds a bit boring, worry not; we livened it up with real chocolate, vanilla absolute and orange oil. Delicious and good for you, which is a rare and lovely thing.
- For dry, cracked lips: Chocolate Whipstick is our thickest lip balm, ideal for dry or sensitive skin.
- Now, more flavorful!: strong> With a new formula that we make at lower temperatures so the flavor is stronger and more delicious than ever!
- Preservative-free: Whipstick doesn't contain any water or infusions so we're able to make it preservative-free!
Customer Review
from JenJen
"Chocolatey-orangey goodness in a pot! This lip balm tastes and smells great. It keeps my lips moisturized and smooth. I alternate between this and Honey Trap, which is equally as great. Lush balms are the best!"
Fresh ingredients
= Natural ingredients = Safe syntheticsFair Trade Shea Butter (Butyrospermum parkii) , Almond Oil (Prunus dulcis) , Beeswax (Cera alba) , Honey (Mel) , Organic Extra Virgin Olive Oil (Olea europaea) , Dark Chocolate (Unsweetened Chocolate, Sugar, Cacao Fat, Soy Lecithin, Natural Vanilla) , Glycerine , Organic Wheatgerm Oil (Triticum vulgare) , Flavor , Fine Oatmeal (Avena sativa) , Tangerine Oil (Citrus reticulata) , Sweet Orange Oil (Citrus sinensis) , Vanilla Absolute (Vanilla planifolia) , Cocoa Absolute , *Limonene , *Linalool
- How to use
- Inventors stories
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
- Customer Reviews
- Questions & Answers


text:
HOME Denver Broncos Gear Denver Broncos Mens Denver Broncos Mens T-Shirts Denver Broncos Mens T-Shirts Mens (258 items) Product ID: 1322467
Main Content
Order as many items as you like with our $4.99 flat rate shipping.
This item ships within one business day.
Order as many items as you like with our $4.99 flat rate shipping.
Need it faster?
Drop in temperature? There's no way that's gonna stop your Broncos pride. Show off Denver spirit when it gets chilly with this Arch tee from Nike! This long sleeve T-shirt boasts team-colored "Denver Broncos" lettering on the chest with a team logo, division and establishment date for a warm look that's full of fanaticism.
- 50% Cotton/50% Polyester
- Imported
- Officially licensed NFL product
- Screen print graphics
- Tagless
Broncos Customers also liked:
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.