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A system and method disposed to enable real-time creation and manipulation of digital media within a conventional personal computer environment without dedicated hardware assistance is disclosed herein. In particular, one disclosed method is directed to generating a compressed video output signal using a computing device. The method includes decoding a previously compressed first digital video bit stream to obtain a first decoded digital video signal. The first decoded digital video signal is mixed with a second digital video signal in order to produce a mixed video signal. In addition, the mixed video signal is recompressed so as to form the compressed video output signal wherein the mixing and recompressing are performed by the computing device in substantially in real-time.
1. A method for generating a compressed video output signal using a computing device, said method comprising:
decoding a previously compressed first digital video bit stream to obtain a first decoded digital video signal;
mixing said first decoded digital video signal with a second digital video signal in order to produce a mixed video signal; and
recompressing said mixed video signal so as to form said compressed video output signal wherein said mixing and recompressing are performed by said computing device in substantially in real-time.
2. The method of
3. The method of
4. The method of
5. The method of
6. The method of
7. The method of
8. A computer-implemented system for generating a compressed media output signal, said system comprising:
a memory in which is stored a media mixing program; and
a processor configured to execute said media mixing program and thereby:
decode a previously compressed first media signal to obtain a first decoded media signal,
mix said first decoded media signal with a second media signal in order to produce a mixed media signal, and
recompress said mixed video signal so as to form said compressed media output signal wherein said mixing and recompressing are performed by said processor in substantially in real-time.
9. The computer-implemented system of
10. The computer-implemented system of
11. The computer-implemented system of
12. A method for generating a compressed media output signal using a computing device, said method comprising:
decoding a previously compressed first media signal to obtain a first decoded media signal;
mixing said first decoded media signal with a second media signal in order to produce a mixed media signal; and
recompressing said mixed media signal so as to form said compressed media output signal wherein said mixing and recompressing are performed by said computing device in substantially in real-time.
13. The method of
14. The method of
15. The method of
16. The method of
17. A computer-implemented editing system comprising:
a first computing device including:
a memory in which is stored a media mixing program, and
a processor configured to execute said media mixing program and thereby:
decode a previously compressed first media signal to obtain a first decoded media signal,
mix said first decoded media signal with a second media signal in order to produce a mixed media signal, and
recompress said mixed video signal so as to form a compressed media output signal wherein said mixing and recompressing are performed by said processor in substantially in real-time;
a band-limited communication channel in communication with said first computing device; and
a second processor in communication with said band-limited communication channel, said second processor being configured to decompress said compressed media output signal in substantially real-time.
18. The editing system of
19. A method for generating a compressed video output signal using a computing device, said method comprising:
decoding a previously compressed~first digital video bit stream to obtain a first decoded digital video signal;
mixing said first decoded digital video signal with at least one title or video effect in order to produce a mixed video signal; and
recompressing said mixed video signal so as to form said compressed video output signal wherein said mixing and recompressing are performed by said computing device in substantially in real-time.
20. The method of
[0001] This application is related and claims priority to U.S. Provisional Patent Application Serial No. 60/301,016, which is hereby incorporated by reference in its entirety.
[0002] The present invention relates to the manipulation and editing of plural multimedia information sources. More particularly, the present invention relates to the real-time mixing and editing of plural multimedia information sources using an efficient codec configured to produce a compressed mixed output signal capable of being directly communicated over a band-limited communication channel.
[0003] As is well known, digital formats are now widely used to develop and edit media content. For example, more sophisticated editing of video can be accomplished if the video source material is converted to a digital format prior to performing the desired editing operations. To the extent necessary, the edited digital images may then be converted back to the format of the original source material.
[0004] Although facilitating editing operations, digital content that has not been compressed generally necessitates use of significant amounts of memory and transmission bandwidth. For example, a single uncompressed digital image of only commonplace resolution may require multiple megabytes of memory. Since substantially greater resolution is often required, it is apparent that uncompressed video sequences containing many individual images may consume enormous amounts memory and transmission bandwidth resources.
[0005] Accordingly, standards for image compression have been developed in an effort to reduce these resource demands. One set of standards generally applicable to the compression of video has been developed and published by the Moving Picture Experts Group (�MPEG�). The MPEG standards contemplate that images may be compressed into several different types of frames by exploiting various image redundancies (e.g., spatial and/or temporal redundancies. Similarly, Digital Video (�DV�) is a standardized video compression format that has been more recently developed. DV produces a fixed data rate of approximately 25 Mbps utilizing a fixed compression ratio and, like MPEG, relies on discrete cosine transforms.
[0006] Prior to editing or otherwise manipulating MPEG and other compressed image information, each frame of interest is typically decoded in its entirety. That is, the combination or �mixing� of MPEG and other compressed video frames generally requires such complete decoding of �blocks� of frames in order to remove the interdependence between frames inherent in the compressed image content. In this regard images in an MPEG sequence are generally formed into a group of pictures (�GOP�), which upon decoding results in a sequence of individual uncompressed frames. Once completely decoded, individual frames from the same or different sources are represented independently of other frames and can be reordered or combined in non real-time. If the resultant composite image or sequence of images is desired to be compressed, the image or sequence is then recompressed using the MPEG standard.
[0007] Unfortunately, manipulation of compressed media content which is then re-encoded using accepted standards (e.g., MPEG and DV) tends to demand processing performance that is generally beyond the capabilities of conventional personal computers. This disadvantageous situation has arisen at least in part because accepted digital media standards have generally been geared toward aims other than facilitating editing or manipulation of digital content. For example, MPEG was developed primarily to serve as a distribution format for DVD and digital media broadcast. Digital video (DV) is believed to have been formulated as a mechanism for capture of tape-based information from personal video equipment such as camcorders and the like.
[0008] Although standards such as MPEG and DV have furthered their intended purposes, the internal format of each has rendered codecs compatible with such standards relatively ineffective in efficiently creating or manipulating digital media. That is, when used for the purpose of creating or manipulating digital media, such encoders tend to require a sufficiently large amount of computing resources to preclude real-time creation or manipulation of digital media content using conventional personal computer hardware. Real-time performance is attained when all video manipulation, mixing and encoding is effected in such a way that the resulting output is produced at the full video frame rate (i.e., frames are not lost or dropped).
[0009] For example, FIG. 1 depicts a known arrangement 10 for editing compressed digital video previously stored on disk memory 12. As shown, one or more compressed video streams 16 from the disk 12 are provided to a processing unit 20 (e.g., a conventional personal computer) configured to manipulate the information within the video streams 16. Specifically, the processing unit 20 decompresses the video streams 16 and then effects various desired editing functions (e.g., mixing of special effects, titles and transitions). However, existing encoding approaches executing on processing units 20 of the type incorporated within conventional personal computers are not sufficiently fast to allow the mixed, uncompressed video to be recompressed in real-time for transmission across a band-limited channel 22. That is, the processing unit 20 stores the mixed video to the disk 12 after it has been compressed as necessary for transmission. In a separate processing step, the mixed, compressed video is then retrieved from the disk memory 12 and buffered 24 by the processing unit 20. The buffered video is then output for transmission over a band-limited channel. It is observed that the use of conventional compression techniques precludes this transmission from being performed in real-time; that is, such techniques require that the mixed video be compressed and stored to disk 12 prior to being separately buffered and processed for transmission across channel 22.
[0010] When it has been desired to create and edit digital media content in real-time, one approach has entailed complementing existing personal computer platforms with dedicated compression hardware. FIG. 2 illustrates an exemplary arrangement in which such dedicated hardware comprises a video encoding device in the form of PCI card 40 in communication with the computer's processing unit via a PCI bus 42. In particular, mixed and uncompressed video produced by the processing unit is compressed by a dedicated encoding device and output for transmission over a channel. Unfortunately, such dedicated encoding devices tend to be expensive and may be inconvenient to install.
[0011] The present invention relates to a system and method disposed to enable real-time creation and manipulation of digital media within a conventional personal computer environment without dedicated hardware assistance. In particular, the present invention is directed in one aspect to a method for generating a compressed video output signal using a computing device. The method includes decoding a previously compressed first digital video bit stream to obtain a first decoded digital video signal. The first decoded digital video signal is mixed with a second digital video signal in order to produce a mixed video signal. In addition, the mixed video signal is recompressed so as to form the compressed video output signal wherein the mixing and recompressing are performed by the computing device in substantially in real-time.
[0012] For a better understanding of the nature of the features of the invention, reference should be made to the following detailed description taken in conjunction with the accompanying drawings, in which:
[0013]FIG. 1 depicts a known arrangement for editing compressed digital video.
[0014]FIG. 2 depicts a known arrangement for editing compressed digital video which utilizes dedicated compression hardware in the context of a conventional personal computer platform.
[0015]FIG. 3 is a block diagram illustrative of an encoding system configured to mix and edit digital media content in accordance with the invention.
[0016]FIG. 4 is a block diagram illustrating the principal components of a processing unit of the inventive encoding system.
[0017]FIG. 5 illustratively represents the filtering of a video frame using sub-band coding techniques in order to produce high frequency sub-band information and low frequency sub-band information.
[0018]FIG. 6 depicts the manner in which a pair of sub-band image information sets derived from a source image can be vertically filtered in the same way to produce four additional sub-band image information sets.
[0019]FIG. 7 illustratively depicts a way in which increased compression may be achieved by further sub-band processing a low-pass sub-band image information set.
[0020]FIGS. 8A and 8B illustrate one manner in which the symmetric CODEC of the present invention may be configured to exploit redundancy in successive image frames.
[0021]FIG. 9 is a flow chart representative of a video editing process performed with respect to each video frame included within a compressed stream.
[0022]FIGS. 10A and 10B illustratively represent exemplary data formats for video sequences edited in accordance with the present invention.
[0023]FIG. 11 is a block diagram of a computer system configured in accordance with an exemplary embodiment of the invention to decode video signals encoded in accordance with the present invention.
[0024] System Overview
[0025]FIG. 3 is a block diagram illustrative of an encoding system 100 configured to mix and edit digital media content in accordance with the invention. In the embodiment of FIG. 3, multiple compressed digital content streams 104 (e.g., sequences of frames of digital images or audio) are stored on disk memory 108. As shown, one or more of the compressed digital content streams 104 are provided to a processing unit 112 (e.g., a personal computer incorporating a Pentium-class CPU) configured to manipulate the information within the content streams 104 in accordance with the present invention. As is described below, the processing unit 112 decompresses the content streams 104 and, as desired, mixes them or otherwise effects various desired editing functions (e.g., introduction of special effects, titles and transitions). Advantageously, the present invention enables the mixed, uncompressed video to be recompressed by the processing unit 112 in real-time for transmission across a band-limited channel. As is described below, the processing unit 112 executes an efficient, wavelet-based compression process which permits the resultant mixed, compressed video 116 to be directly transmitted over a band-limited channel 120 (e.g., a Universal Serial Bus (USB), wireless communication link, EtherNet, or Institute of Electrical and Electronics Engineers (IEEE) Standard No. 1394 (�Firewire�) connection) without intermediate storage to the disk memory 108 or subsequent buffering by the processing unit 112. Moreover, contrary to conventional real-time editing approaches, the system 100 of the present invention may be executed using a conventional personal computer lacking a dedicated compression device.
[0026]FIG. 4 is a block diagram illustrating the principal components of the processing unit 112 as configured in accordance with an exemplary implementation of the present invention. In the exemplary implementation of FIG. 4, the processing unit 112 comprises a standard personal computer disposed to execute video editing software created in accordance with the principles of the present invention. Although the processing unit 112 is depicted in a �standalone� arrangement in FIG. 4, in alternate implementations the processing unit 112 may function as a video editor incorporated into a video recorder or video camera.
[0027] As shown in FIG. 4, the processing unit 112 includes a central processing unit (�CPU�) 202 adapted to execute a multi-tasking operating system 230 stored within system memory 204. The CPU 202 may comprise any of a variety of microprocessor or microcontrollers known to those skilled in the art, such as a Pentium-class microprocessor. As is described further below, the memory 204 stores copies of a video editing program 232 and a video playback engine 236 executed by the CPU 202, and also includes working RAM 234. The processing unit 112 further includes disk storage 240 containing plural video compressed video streams capable of being mixed and otherwise manipulated into a composite, compressed video during execution of the video editing program 232. The video streams may be initially stored on disk storage 240 in any known compression format (e.g., MPEG or JPEG). Disk storage 240 may be a conventional read/write memory such as a magnetic disk drive, floppy disk drive, compact-disk read-only-memory (CD-ROM) drive, digital video disk (DVD) read or write drive, transistor-based memory or other computer-readable memory device as is known in the art for storing and retrieving data. Disk storage 240 may alternately be remotely located from CPU 202 and connected thereto via a network (not shown) such as a local area network (LAN), a wide area network (WAN), or the Internet.
[0028] CPU 202 communicates with a plurality of peripheral equipment, including video input 216. Video input may be a camera or other video image capture device. Additional peripheral equipment may include a display 206, manual input device 208, microphone 210, and data input port 214. Display 206 may be a visual display such as a cathode ray tube (CRT) monitor, a liquid crystal display (LCD) screen, touch-sensitive screen, or other monitors as are known in the art for visually displaying images and text to a user. Manual input device 208 may be a conventional keyboard, keypad, mouse, trackball, or other input device as is known in the art for the manual input of data. Microphone 210 may be any suitable microphone as is known in the art for providing audio signals to CPU 202. In addition, a speaker 218 may be attached for reproducing audio signals from CPU 202. It is understood that microphone 210 and speaker 218 may include appropriate digital-to-analog and analog-to-digital conversion circuitry as appropriate.
[0029] Data input port 214 may be any data port as is known in the art for interfacing with an external accessory using a data protocol such as RS-232, USB, or Firewire. Video input 216 may be any interface as known in the art that receives video input such as a camera, microphone, or a port to receive video/audio information. In addition, video input 216 may consist of video camera attached to data input port 214.
[0030] Overview of Wavelet-Based Symmetric CODEC
[0031] In the exemplary embodiment the video editing program 230 implements a symmetric wavelet-based coder/decoder (�CODEC�) in connection with compression of a composite video signal generated on the basis of one or more video streams received from disk storage 240. The wavelet-based symmetric CODEC uses both spatial and temporal compression to achieve a data rate and image quality comparable to that produced using existing standards, yet achieves this performance using only a 2 frame (4 field) Group of Pictures (�GOP�) structure. This GOP length is small enough so that no further subdivision of the GOP is required for consumer and other video editing applications, greatly reducing system performance needs. In contrast to existing standardized approaches, the symmetric CODEC also facilitates �frame accurate� or sub-GOP video editing with relatively low processing overhead and at substantially lower data rates. In the exemplary embodiment the inventive CODEC is configured to be symmetric, meaning that substantially similar encoding and decoding transforms (i.e., transforms which are inverses of corresponding encoding transforms) are utilized and therefore substantially similar processing requirements are associated with execution of the encoding/decoding transforms. This results in the processing requirements associated with execution of the symmetric CODEC encoding transform being much less than those required by common encoding solutions utilizing motion estimation calculations (e.g., MPEG2). This may be attributed at least partially to the fact that such standardized CODECS have been designed for content distribution systems (e.g., for web streaming or for storage of lengthy films on DVD), in which encoding performance is substantially irrelevant (as decoding is performed far more frequently than encoding). Such standardized CODECs adapted for video distribution applications may generally be accurately characterized as �asymmetric�, in that substantially greater computing resources are required for the encoding operation relative to the decoding operation.
[0032] In contrast, in the exemplary embodiment the inventive CODEC is configured to be substantially symmetric in order to facilitate real-time editing and playback of plural sources of digital media content without the use of dedicated compression hardware. As discussed below, the computationally efficient and symmetric nature of the inventive symmetric CODEC enables a real-time editing and playback system to be created by placing a realization of the symmetric CODEC at either end of a band-limited channel. In this way multiple sources of digital media content may be mixed and compressed in real-time at the �encoding� side of the band-limited channel and played back in real time at the �decoding� side of the band-limited channel. As mentioned above, existing encoding techniques are not known to be capable of such real-time performance when executed using conventional personal computer hardware.
[0033] The inventive symmetric CODEC employs sub-band coding techniques in which the subject image is compressed though a series of horizontal and vertical filters. Each filter produces a high frequency (high-pass) component and a low frequency (low-pass) component. As shown in the exemplary illustrative representation of FIG. 5, a video frame of 720�480 pixels may be filtered using sub-band coding techniques to produce high frequency sub-band information of 360�480 pixels and low frequency sub-band information of the same size. The high frequency sub-band information is representative of edges and other discontinuities in the image while the low frequency sub-band is representative of an average of the pixels comprising the image. This filter can be as simple as the sum (low pass) and difference (high pass) of the 2-point HAAR transform characterized as follows:
[0034] For every pixel pair: Xi and Xi+1
[0035] one low-pass output: Lj=X i+Xi+1
[0036] and one high-pass output: Hj=Xi−Xi+1
[0037] In the exemplary embodiment all multiplication and division computations required by the transform are capable of being carried out using shift operations. The above transform may be reversed, or decoded, as follows:
X i=(L j +H j)�2
[0038] and
X i+1=(L j −H j)�2
[0039] As is known, the HAAR transform is one type of wavelet-based transform. The low-pass or �averaging� operation in the above 2-point HAAR removes the high frequencies inherent in the image data. Since details (e.g., sharp changes in the data) correspond to high frequencies, the averaging procedure tends to smooth the data. Similarly, the differencing operation in the above 2-point HAAR corresponds to high pass filtering. It removes low frequencies and responds to details of an image since details correspond to high frequencies. It also responds to noise in an image, since noise usually is located in the high frequencies.
[0040] Continuing with the above example, the two 360�480 sub-band image information sets derived from the 720�480 source image can then be HAAR filtered in the vertical dimension to produce the four additional 360�240 sub-band image information sets or depicted in FIG. 6. Each such sub-band image information set corresponds to the transform coefficients of a particular high-pass or low-pass sub-band. In order to effect compression of each high-pass sub-band, its transform coefficients are quantized, run-length encoded and entropy (i.e., statistical or variable-length) encoded. In this regard the blank areas in the high-pass sub-band image information sets are comprised largely of �zeros�, and are therefore very compressible. As shown in FIG. 7, increased compression may be achieved by further sub-band processing the low-pass sub-band image information set, which is typically done 3 to 4 times.
[0041] To improve the extent of compression beyond that possible using the �2,2� wavelet transforms illustrated above, longer filters such as those based upon �2,6� and the �5,3� wavelet transforms may also be employed. Both of the these wavelet transforms also exhibit the characteristics of HAAR wavelets in only requiring shifts and adds in order to perform the desired transform, and thus may be computed quickly and efficiently. The nomenclature arises as a result of the fact that a �2,6� wavelet transform is predicated upon 2 low-pass filter elements and 6 high-pass filter elements. Such a 2,6 wavelet transform capable of being implemented-within the symmetric CODEC may be characterized as follows:
[0042] For every pixel pair: Xi−2 through Xi+3
[0043] one low-pass output: Lj=Xi+X i+1
[0044] and one high-pass output: Hj=(−Xi−2−X i−1+8.Xj−8.Xi+1+X i+2 +Xi+3)/8
[0045] The above 2,6 transform may be reversed, or decoded, as follows:
X i=((L j−1+8.L j −L j+1)�8)+Hj)�2
[0046] and
X i+1=((L j−1+8.L j −L j+1)�8)−H j)�2
[0047] Use of a longer wavelet results in the use of more of the pixels adjacent an image area of interest in computation of the sum and difference (low and high-pass) sub-bands of the transform. However, it is not anticipated that video and other digital content may be compressed to the extent necessary to result in data transmission rates significantly below those associated with conventional image formats (e.g., JPEG) solely through the use of relatively wavelets. Rather, in accordance with the present invention it has been found that significant reduction in such data transmission rates may be achieved by also exploiting temporal image redundancy. Although techniques such as the motion estimation processes contemplated by the MPEG standards have lead to substantial compression gains, such approaches require non-symmetric CODECS and significant processing resources. In contrast, the symmetric CODEC of the present invention implements a substantially more efficient method of providing increased compression gains and consequently is capable of being implemented in the environment of a conventional personal computer.
[0048]FIGS. 8A and 8B illustrate one manner in which the symmetric CODEC of the present invention may be configured to exploit redundancy in successive image frames. After performing the first 2D wavelet transform described above with reference to FIG. 6, the resulting low pass sub-band image information set of a given image frame 280 is, in accordance with a HAAR transform, summed and differenced with the low-pass sub-band image information set of the next frame 284. The low-pass sub-band image information set 288 resulting from the temporal sum operation carried out per the HAAR transform can then be further wavelet compressed in the manner described above with reference to FIGS. 6 and 7. In the case where a significant amount of motion is represented by successive image frames, the high-pass sub-band image information set 292 resulting form the temporal difference computed per the HAAR transform can also be wavelet-compressed to the extent additional compression is desired.
[0049] Operation of Video Editor Incorporating Wavelet-Based Symmetric CODEC FIG. 9 is a flow chart representative of a video editing process performed, under the control of the video editing program 232, with respect to each video frame included within a compressed stream 104. In the preferred embodiment the video editing program 132 is configured to separately operate on each color component of the applicable color space. That is, the symmetric CODEC performs the wavelet transforms described above on each color component of each video frame as if it were a separate plane of information. In the exemplary embodiment the symmetric CODEC operates with reference to the YUV color space in view of its efficient modeling of the human visual system, which allows for greater compression of the constituent color components once separated from the brightness components. In particular, the symmetric CODEC processes standard video as three separable planes: a brightness plane (i.e., �Luma� or �Y�, which is typically 720 pixels across for standard video) and two color planes (�Chroma�, or �U� and �V�, each of which is typically 360 pixels across for standard video.). The component planes of other color spaces are similarly separately processed by the symmetric CODEC.
[0050] Referring to FIG. 9, when it is desired to playback a video sequence previously stored on disk storage 240 in a standard compression format, a timecode is reset (step 400) to a start position. This start position is optionally set to any position desired by the user within a predetermined timeline associated with a video sequence. The number of video channels selected for playback is assumed to be at least one (step 401) In the common case of no video clip present at a particular timecode, the timecode is simply considered to contain one channel of black video. The frame of video at the current timecode is fetched (step 500) from disk storage 240 by seeking to the requested position within the media file (steps 501, 502). The retrieved frame is then decompressed via the known decompression routine associated with its format (e.g., JPEG or MPEG) (step 503). The resultant decompressed frame of data many contain any number of single channel effects (504), such as color correction, blurs, sharpens and distortions (505). Each special or other effect that is required to be rendered during user viewing on the selected video channel at the specified timecodes is applied in sequence (steps 505, 506). Once all the required effects have be added to the frame being processed, the frame is ready for down-stream mixing and is output to the next processing stage (step 507). The foregoing steps are performed upon the current frame of each channel of video stored within the disk storage 240 that is being concurrently decompressed (steps 402, 403) by the video playback engine 236.
[0051] If multiple channels of video stored on the disk storage 240 are selected for concurrent playback, transitions (or similar dual stream effect) are used to mix the two selected channels into a single mixed output stream (steps 404,405,406). For two channels of video, only one transition mix is required (step 406.) For three channels, two channels are mixed into one, then this composite is mixed with the third to produce one final output. It follows that mixing of three channels requires two transition mixes, mixing four channels require three transition mixes, and so on. Once the channels of video selected for concurrent processing have been mixed into a single composite stream, titles can be applied and other editing functions may be carried out. In this regard titles and similar annotations or overlays can be considered simply another video channel and processed as regular video sources (steps 404-406). However, the addition titles and the like is depicted in FIG. 9 (see, e.g., steps 408-409) as a sequence of separate steps as such information is generally not stored in a compressed format within disk storage 240 and is thus not initially decompressed (step 500) along with other compressed digital media content. Just as multiple frames of video image content may be mixed as described above to produce a composite video frame, a number of titles can be mixed with such a composite video frame to produce a single uncompressed composite video output frame 420.
[0052] Once such an uncompressed composite video output frame 420 has been computed, the uncompressed composite video output frame 420 may be visually rendered via display 206 (step not explicitly shown). However, additional processing is performed upon the uncompressed composite video output frame 420 by the symmetric CODEC to the extent it is desired to transmit the information within the frame 420 across the band-limited channel 120. Specifically, the uncompressed composite video output 420 is forwarded to a compression engine of the symmetric CODEC (step 600). The frame 420 is received by the compression engine (step 601) undergoes an initial horizontal and vertical wavelet transform (step 602) as described above with reference to FIG. 6. As was described above, the result of this initial transform (step 602) is a first sub-band image information set of one quarter size relative to the frame 420 corresponding to a low-pass sub-band, and three additional sub-band image information sets (each also of one quarter size of the frame 420) corresponding to high-pass sub-bands. The sub-band image information sets corresponding to the three high-pass sub-bands are quantized, run length and entropy encoded (step 603).
[0053] In the exemplary embodiment the inventive compression process operates upon groups of two frames (i.e., a two frame GOP structure), and hence processes each of the frames within a given group somewhat differently. Accordingly, it is determined whether an �even� or �odd� frame is currently being processed (step 604). For odd frames only the sub-band image information sets corresponding to the three high-pass bands are transmitted (step 606) to the next processing stage. The low-pass sub-band image information set is buffered (step 605) until the next frame to complete the processing. When an even frame is received, the two low-pass sub-band image information sets of quarter size are summed and differenced using a HAAR wavelet (step 607). The high-pass sub-band image information sets can then be processed in one of two ways. If little differences exist between the two frames of the current 2-frame GOP (step 608), encoding the one of the high-pass sub-band image information sets representative of temporal difference between the frames of the GOP (i.e., the �high-pass temporal sub-band�) (step 609) enables relatively fast computation and high compression. If significant motion is represented by the two frames of the current GOP (step 608), the high-pass temporal sub-band may undergo further compression (step 610). The �motion check� operation (step 608) can be invoked either dynamically based upon the characteristics of the image data being compressed or fixed as a user preference. The low-pass sub-band image information set is representative of the average of the two frames of the current GOP (see, e.g., FIG. 8B), and may also be subjected to further wavelet compression (steps 611, 612, 613) as necessary in view of target data rates. Following any such further compression, the final remaining low-pass sub-band image information set is then encoded (step 614) and output to a buffer or the like in preparation for transmission (step 606.) Referring to FIG. 9, all of the encoded sub-band image information sets are output by the symmetric CODEC and transmitted as compressed data across the band-limited channel 120 (step 610.) The compressed data maybe wrapped in other formats (such as AVI or QuickTime) and/or packetized as needed for transmission via the channel 120. Once the compressed data corresponding to the current frame is transmitted (or buffered for subsequent transmission), the symmetric CODEC determines whether playback is to continue with the next timecode (step 401). It is then determined whether any user prompts have been entered to discontinue playback (step 410) and whether playback has reached the end of the selected sequence (step 412.)
[0054]FIGS. 10A and 10B illustratively represent exemplary data formats for video sequences edited in accordance with the present invention. Turning to FIG. 10A, a sequence of GOPs from a �video B� source is shown to be inserted via a pair of �cut� operations between a sequence of GOPs from a �video A� source and a �video C� source. The data format of FIG. 10A, in which edits are effected on GOP boundaries, is believed to be advantageous in that real-time playback is simplified as it is unnecessary to decode only a portion of a particular GOP. Moreover, this format obviates the need to simultaneously execute two decoding operations in connection with a given cut operation. In embodiments where 2-frame GOPs are employed, the short GOP length substantially eliminates the need for editing on sub-GOP boundaries for many applications.
[0055] Turning now to FIG. 10B, there is shown an exemplary data format for an edited sequence containing a number of transitions. In the embodiment of FIG. 10B each transition is effected through two simultaneous decoding operations; namely, and mixing operation and an encoding operation. The introduction of single-stream special effects are effected using a single decoding operation implemented using a mix and an encode. It is observed that all of the illustrated editing operations (other than cuts) are effected at least in part using an encoding operation, which may generally be executed quite rapidly by the inventive symmetric CODEC relative to existing encoding techniques. Due to the symmetric and efficient nature of the inventive CODEC, it has been found that the entire editing operation represented by FIG. 10B may be performed in real-time using less processing resources than are required by existing video coding techniques.
[0056] Decoding Operation of Video Editor Incorporating Symmetric CODEC
[0057] Turning now to FIG. 11, a block diagram is provided of a computer system 700 configured in accordance with an exemplary embodiment of the invention to decode video signals encoded by the encoding system 100. The computer system 700 may be implemented as a conventional personal computer system similar to the encoding system 100 of FIG. 1. In the exemplary embodiment the computer system 700 includes a processor 712, which may be realized using a Pentium-class microprocessor or similar microprocessor device. The computer system further includes memory 720, within which is included an operating system 760, video decoding program 762, and working RAM 764. The video decoding program includes a sequence of program instructions executed by the processor 712 in the manner described below.
[0058] In operation, encoded video signals are either retrieved from disk storage 704 or received by receiver 708 via band-limited channel 120. Processor 712 accesses the retrieved or received encoded signals via system bus 716 and decodes the encoded video signals in real-time for storage or display. Decoding of the encoded video signals entails reversing the compression operations implemented by encoding system 100. The resultant decoded signals may be stored within memory 720 by the processor 712 and subsequently provided to display 724 via system bus 716, or may be directly transmitted to display 724 via system bus 716. The display 724 may include a display processor (not shown) for processing the decoded video signals prior to rendering by way of a monitor (not shown) of the display. Such processing may include, for example, digital-to-analog conversion of the decoded video, upsampling, scaling and color conversion. Of course, certain of these processing steps may be implemented by the processor 712 rather than by a display processor of the display 724.
[0059] In the exemplary embodiment the encoding system 100 and decoding system 700 are realized as two distinct computer systems operatively coupled by band-limited channel 120. However, a single computer system including the components of systems 100 and 700 may also be used to encode and decode video signals in real-time in accordance with the present invention. In addition, the decoding system of the present invention may comprise a single integrated circuit communicatively linked to the encoding system through a band-limited channel. Such an integrated circuit could be embedded in, for example, a video appliance or the like.
[0060] The processor 712 effects decoding of the encoded video signals received over the band-limited channel 120 by reversing each of the steps performed during the above-described encoding process. In particular, each received sub-band is entropy and run-length decoded in order to reconstruct the -uncompressed sub-bands of an original image frame. Once all the sub-bands of the original image frame are decompressed at a wavelet level, the inverse wavelet transforms can be applied. These inverse wavelet transforms are applied in the reverse order of their respective application during the encoding process. With regard to encoding transforms based upon the �2,2� and other HAAR wavelets (such as the temporal difference sub-band and potentially interlaced video field difference sub-bands), the appropriate HAAR inverse transforms are executed during the decoding process. After decoding is carried out with respect to each sub-band encoding level, a higher-resolution version of the original image frame is reconstructed. Once the final (or �top�) level of the original frame is fully decoded, the resultant completely uncompressed video frame may be displayed by the system 700.
[0061] It is observed that the present invention may utilized in connection with real-time encoding and decoding of video which has been �interlaced� in accordance with standardized formats (e.g., PAL and NTSC). In such cases, it has been found that use of the 2,2 HAAR wavelet may offer superior performance relative to 2,6 HAAR or other transforms, which are not believed to be as well-suited to compressing temporal differences evidencing greater movement or scene change. In accordance with the invention, temporal differences between fields of interlaced video may be processed in substantially the same manner as temporal differences between frames. One difference may exist with respect to step 602, in which the vertical transform may be effected using a 2,2 HAAR (rather than a 2,6 HAAR) in order to compensate for the temporal nature of the fields. The applicable horizontal transform would generally still be performed using a 2,6 HAAR transform. That, is a shorter transform than is used in connection with other video sources may be employed in connection with the first vertical wavelet compression of interlaced video. Of course, if video from progressive sources (e.g., film or HDTV) is subsequently received, a switch to a longer transform could be very easily performed.
[0062] The foregoing description, for purposes of explanation, used specific nomenclature to provide a thorough understanding of the invention. However, it will be apparent to one skilled in the art that the specific details are not required in order to practice the invention. In other instances, well-known circuits and devices are shown in block diagram form in order to avoid unnecessary distraction from the underlying invention. Thus, the foregoing descriptions of specific embodiments of the present invention are presented for purposes of illustration and description. They are not intended to be exhaustive or to limit the invention to the precise forms disclosed, obviously many modifications and variations are possible in view of the above teachings. The embodiments were chosen and described in order to best explain the principles of the invention and its practical applications, to thereby enable others skilled in the art to best utilize the invention and various embodiments with various modifications as are suited to the particular use contemplated. It is intended that the following claims and their equivalents define the scope of the invention.
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Our business is to recover and refine chemicals wastes. The wastes are not only treated in a most environmentally friendly and cost-effective method; they are further refined, formulated and become industrial product with high commercial values. We are here to align with government`s effort to move from disposal to 4R (Reduce, Reuse, Recover and Recycle) for waste ...
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Search Tags: acquisition policy
Suspension, debarment numbers don't tell full story
Despite mounting pressure from certain quarters of the government and Congress to more aggressively suspend and debar irresponsible contractors, some agencies only rarely, if ever, do so. Rob Burton, the former acting administrator of the Office of Federal Procurement Policy, said data on suspensions and debarments isn't always an apples-to-apples comparison.
Tags: In Depth , Francis Rose , acquisition , suspension and debarment , Rob Burton , Venable law firm , industry , contracting , Industry Chatter , Inside the Worlds Biggest Buyer , Jack Moore
New OFPP administrator has sights set on workforce, 'buying smarter'
Joe Jordan has led the Office of Federal Procurement Policy for a little more than two weeks. But he's wasting no time setting priorities. Jordan spoke to In Depth with Francis Rose as part of Federal News Radio's week-long special report, Inside the World's Biggest Buyer.
Tags: acquisition , acquisition workforce , Inside the Worlds Biggest Buyer , Joe Jordan , OFPP , SBA , In Depth , Francis Rose , Jack Moore
Analysis: Partisan climate stymies long-term acquisition improvements
Two former administrators of the Office of Federal Procurement Policy, Al Burman and Steve Kelman, discuss how acquisition reforms and improvements often fall prey to partisanship. One of OFPP's goals is not only to create acquisition policy, but systems that last beyond one administration. "You want to try to have continuity, as much as you can and keep better management of the procurement system out of partisan politics as much as you can," Kelman said. "If it's just an initiative if it's forgotten in six months it's never going to accomplish anything."
Tags: Al Burman , Steve Kelman , acquisition , acquisition workforce , In Depth , Francis Rose , OFPP , Jack Moore
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Frank Kendall, the undersecretary of Defense for acquisition, technology and logistics, is promising a Better Buying Power 2.0, an revision to earlier reforms. That's good news to many in the defense industry, who hope the changes provide more nuanced guidance as opposed to strict blanket policies to agency contracting officers. Stan Soloway, president and CEO of the Professional Services Council, In Depth with Francis Rosethe time is ripe for an update.
Tags: acquisition , industry , PSC , In Depth , Francis Rose , Stan Soloway , Jack Moore
Administration's strategic sourcing push successfully resonates with agencies
The administration decided to dust off the idea that the government is one big shopper and not 130 medium-sized ones as part of their Campaign to Cut Waste. Federal News Radio examines the issue as part of our special report, The Obama Impact: Evaluating the Last Four Years.
Tags: acquisition , contracting , strategic sourcing , Dan Gordon , Campaign to Cut Waste , Obama Impact
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Recognizing longstanding challenges in communication between government and industry, the Obama administration rolled out its Mythbusters initiative to dispel misconceptions around agency-vendor communication. But the guidance has had only limited success. Federal News Radio speaks Steven Grundman, the Lund Fellow for emerging defense challenges at the Atlantic Council, as part of the special report, The Obama Impact: Evaluating the Last Four Years
Tags: industry , acquisition , OFPP , Dan Gordon , Mythbusters , Steven Grundman , Obama Impact
Improvements to how agencies buy goods, services bear out little fruit
In part 4 of Federal News Radio's special report, The Obama Impact: Evaluating the Last Four Years, we examine progress the administration has made in the acquisition arena. We rated one initiative as effective (green), three as ineffective (red) and two as more progress needed (yellow). View the details of each initiative through our interactive dashboard.
Tags: Obama Impact , acquisition , contracting , strategic sourcing , DoD , OFPP , high risk contracts , inherently governmental , vendor-agency relationship , small business , Jason Miller
Reducing high-risk contracts yields mixed results
Agencies failed to meet a lofty goal to cut spending on new contracts considered high-risk by 10 percent. But despite the inconclusive results, contracting experts and agency procurement chiefs told Federal News Radio there's more to evaluating the effort to reduce high-risk contracts than the failure to reach the goal. Federal News Radio examines this as part of the special report, The Obama Impact: Evaluating the Last Four Years.
Tags: OMB , OFPP , Dan Gordon , Debra Sonderman , Bill McNally , acquisition , contracting , high-risk contracts , Obama Impact , Jack Moore
OFPP keeping a close eye on struggling acquisition system consolidation
GSA's System for Award Management is finding its footing after a rough start. OFPP Administrator Joe Jordan said he's watching the systems' progress carefully.
Tags: acquisition , OFPP , GSA , DoD , Joe Jordan , Dick Ginman , System for Award Management , strategic sourcing , GAO , High Risk list , Interagency contracting , Coalition for Government Procurement , Jason Miller


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Story: Nov 18, 2014
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News . Feature Stories . CIA grad shines in international design competition
May 29, 2013
Interior Architecture major wins $1,500 prize for her family-friendly restaurant concept
A 2013 Cleveland Institute of Art graduate has placed second in an international student design competition sponsored by the Retail Design Institute. The competition drew 128 entries from students studying at 20 different colleges in three countries.
Natalie Benos, who majored in Interior Architecture, won the $1,500 cash prize in recognition of her detailed concepts for a family friendly restaurant she titled CHERRY: Wholesome Family Eatery.
Benos was part of the CIA team that won first place in the group category of this competition last year. During her student years at CIA, she served internships at WD Partners and The Little Tikes Company. In June, she begins a full-time job as an environments designer at Interbrand Design Forum in Dayton.
"I am very proud of my accomplishment and the CIA Interior program," said Benos, a native of Parma, Ohio, who graduated from Padua Franciscan High School in 2009.
This year, the Retail Design Institute gave students the challenge of designing a new American-fare restaurant brand with a healthy menu located in the Midwest. In developing Cherry, Benos drew inspiration from the 1950s and 1960s, incorporating mid-century modern furniture, textures, colors, accessories, and even fonts used in signage.
"RDI really looks for creating a brand in their projects, not just creating beautiful renderings. They look at what the consumer experiences," Benos said. She said her CIA education prepared her well for that challenge. "CIA teaches us not only that we have to draw and render well, but that we have to think about all the other things that make up a brand and the experience that the user has."
Benos designed the floor plan of her restaurant to accommodate family and large-party seating, with a central bar where children to create custom drinks, in a call-back to the days of malt shops. Her menu would feature sharable dishes instead of strictly individual plates, and a complimentary bowl of fresh cherries brought to each table when guests arrive.
While her major was Interior Architecture, Benos has also excelled in graphic design and product design. She is a freelance product designer for a Northeast Ohio manufacturer. "I feel very well rounded, kind of like a triple threat coming out of CIA," she joked.
The Retail Design Institute represents the retail industry's creative professionals including architects, graphic designers, lighting designers, and interior designers. The organization's International Student Design Competition, now in its forty-third year, simulates the real-world development of a retail or restaurant environment, starting with a request for proposals (RFP) issued to students. The goals of the competition are to help students develop a process for solving design problems, and to recognize emerging design talent, according to the organization's website. This year, Retail Design Institute awarded $10,000 in prize money. Sponsors were stylmark and Toshiba.
For more information about this or other CIA news, contact us here.


text:
US Constitution, Our Documents
Finkelman, Paul. Slavery and the Founders: Race and Liberty in the Age of Jefferson. New York: M.E. Sharpe, Inc., 2001.
Why did the Founders find it necessary to provide protections for slavery in the US Constitution?
Students will examine aspects of Article II of the Constitution for specific information related to the requirements for and method of electing the president.
How could our Founding Fathers balance the needs of the states as we created a national government?


text:
Please enter a valid mileage
By Micah Muzio
KBB Expert Rating: 8.1
When it launched in 2009 the Kia Soul joined the Nissan Cube and Scion xB in a hip class of vehicles defined by low prices, funky styling and youthful verve. Radical! Five years later the Cube and xB are sailing towards oblivion like the Honda Element before them, while the Kia Soul basks in unforeseen sales success. To maintain that momentum Kia has introduced a new Soul for the 2014 model year, complete with a fresh exterior, upgraded interior and an impressively expanded roster of standard and optional equipment. The Mini Countryman, Fiat 500L and Nissan Juke slot in as possible Soul alternatives, but the Kia's competitive price, cheerful styling and radically improved interior make it a standout in the cute, cheap, compact-box family of vehicles.
Kia has nailed the daring-but-darling design aesthetic with the 2014 Soul. People love the look of the Soul, and we're guessing you might too. As a bonus that cute exterior houses a surprisingly plush interior for the price and more passenger space than you might imagine.
Cool looks and fun-to-drive don't always align. Though greatly enhanced versus the original iteration, the 2014 Kia Soul isn't particularly satisfying to steer and lacks the gutsy acceleration found in its quicker competitors.
out of 2Fuel Economy
out of 2Horsepower
For 2014, the Kia Soul has been heavily redesigned. That means a new, more rigid chassis, a reworked suspension, updated styling inside and out, and a host of new features. The only major carryover is the engine lineup, which sees slight modifications for 2014.
Driving Impressions Thanks to a nearly 29-percent stiffer chassis, expandable foam body sealing and a reworked suspension, the new 2014 Kia Soul interfaces with the road far more gracefully than the 2013...... model. In-motion noise levels are well controlled and the suspension absorbs, with dignity, all but the largest road imperfections. Regardless of which "Flex Steer" resistance setting you choose, the steering wheel remains a poor conduit of information between the driver and the front tires. Even so, the Soul steers predictably and corners with a level confidence unseen in the old Soul, which tended to skitter over less than pristine roadways. Acceleration is merely adequate when overtaking traffic or merging on the freeway, even with the more powerful 2.0-liter engine, making the Soul feel better suited to urban adventures than highway excursions.
For most situations, the quickest way to add fun is to add sun. That's why we dig the positively-huge, optional panoramic sunroof. Just as important, the sunroof includes a totally opaque sunscreen, for when you need a little privacy or just want to cool down.
A sweat-free posterior is a wonderful thing. How cool is it, then, that the glorious comfort of ventilated front seats is available in the Kia Soul – a car with a sub-$16,000 base price? Sure, the ventilated seats cost extra but man – are they worth it.
The Kia's interior hasn't grown by much, but passenger space was never really a Soul shortcoming – material quality is what needed improving. For 2014, that's exactly where Kia focused their efforts. Feel your way through the interior and you'll notice softer surfaces, more comfortable seats and window switches that operate with a decidedly un-cheap feel. Besides feeling better, the cabin also looks better with an expressive, upscale design that refines the previous car's circular theme. With a 24.2 cubic foot cargo area, expandable via split/fold-down seats, the Kia Soul is a surprisingly adept cargo carrier.Exterior
From some angles the new Kia Soul looks a lot like the old Kia Soul, but that's ok, we liked the original design. The new car retains what we liked, just in modernized fashion. The Soul's tall profile isn't strictly about fashion, it's also about function. Along with abundant head and luggage space, the high roof allows for raised seating positions, providing good visibility for all inside. Offered in a variety of fun colors the top-line Exclaim (!) trim is distinguished by body-color bumper accents and 18-inch wheels, while 16- and 17-inch units come fitted on the base and Plus (+) trims respectively.
Buy a base level Kia Soul and you'll be treated to a 6-speaker audio system with USB and auxiliary inputs, power windows, mirrors and door locks, Bluetooth, air conditioning and a 6-speed manual transmission. Cloth seats come standard as do 60/40 split folding rear seats, but a nifty rear center armrest is optional on the base trim. On the safety front, the Kia Soul boasts six airbags, stability and traction control and, for all the Soul fans in San Francisco, hill-start assist.
If you're willing to throw extra funds at your Soul, there are plenty of enticing options to choose from. Standouts include heated and ventilated leather seats, heated rear seats, a heated steering wheel, push-button engine start/stop, automatic climate control, and a backup camera. Those purchasing a mid- or top-level Soul can add a package that bundles an Infinity premium audio system with an intuitive navigation system featuring an 8-inch capacitive touch screen.
The 4-cylinder engines of the previous Kia Soul carry over to the 2014 model and include a 1.6-liter in the base trim and a 2.0-liter for the higher Plus and Exclaim trims. Maximum horsepower for the 2.0-liter engine remains flat at 164, while the base 1.6-liter actually loses eight horsepower in the model changeover. Those underwhelming peak numbers resulted from a tuning effort that increased torque in each engine's lower rpm range. Having driving the 2.0-liter we can say that it's still no rocket ship, but at maximum acceleration the engine did seem less buzzy and strained. Handling gearchange duties are a 6-speed automatic and a 6-speed manual that's only offered with the base engine.
1.6-liter inline-4
130 horsepower @ 6,300 rpm
118 lb-ft of torque @ 4,850 rpm
EPA city/highway fuel economy: NA mpg (manual), NA mpg (automatic)
2.0-liter inline-4
164 horsepower @ 6,200 rpm
151 lb-ft of torque @ 4,000 rpm
EPA city/highway fuel economy: NA mpg (automatic)
Pricing for the 2014 Kia Soul starts at $15,495 ($795 destination charge included). Fling caution to the wind and you'll pay a touch over $26,000 for a fully loaded Soul Exclaim trim. Compared to its fun-loving and wide-ranging competitors, including the Nissan Cube, Scion xB, Fiat 500L and Mini Countryman, the Kia Soul is less expensive by varying degrees, making it the bargain of the funky compact pack. When it comes to resale values, Kia's numbers have climbed steadily in recent years, with the Soul standing out as one of the brand's top performers. That's a trend we expect to continue with the 2014 Kia Soul.
To compare current market prices, check out KBB.com's car classifieds to view the new and used Kia Soul vehicles for sale near you.
Based on 25 Ratings for the 2014 - 2015 models.Review this car
By Mr. Tru on Monday, October 20, 2014
I own this car - My approximate mileage is 14,000overall rating 10 of 10rating details
Pros: "incredible value, stylish, spacious, safe,"
Cons: "none"
Likely to recommend this car? (1-10): 10
"i've driven and owned many vehicles in my life and this one ranks in the top. It's spacious, well designed, comfortable, perky, stylish, gets great gas mileage and SAFE. It has amenities not found standard in other more expensive autos. My friend went and bought one on my suggestion and the fact I couldn't stop raving about mine and how much I enjoyed driving it. I drove it like a Rally Car (of course not exceeding the speed limit and never any unsafe maneuvers:) and it took it like a champ. Unfortunately someone else loved my car too, and it went missing this past weekend so I came on to KBB to research a replacement.. I definitely will be looking for another KIA Soul, I would be a fool not to."
7 people out of 11 found this review helpful
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By JamesR34 on Sunday, October 19, 2014
I own this car - My approximate mileage is 350overall rating 8 of 10rating details
Pros: "quiet and comfortable."
Cons: "no arm rest, radio won't save time and calendar."
Likely to recommend this car? (1-10): 9
"I bought this car about a week and a half ago and use it as my daily driver. The car is quiet and roomy. The cluster looks great and I love the car overall. I only have a few gripes and they are: no standard center console with arm rest. The radio refuses to save the time and date after the car has been off longer than 3 hours. Last, I have a hard time getting used to the lack of power. I've been driving manual for over 5 years and I just can't get the hang of the relaxed motor that just won't rev. Despite those reasons, I still would recommend this car."
4 people out of 5 found this review helpful
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By Pappy Steve on Tuesday, October 07, 2014
I own this car - My approximate mileage is 100overall rating 10 of 10rating details
Pros: "Great Value and features"
Cons: "None yet!"
Likely to recommend this car? (1-10): 10
"I have been a KIA owner for years trading in my KIA Spectra5 year 2005 for the KIA Soul Plus and have only been driving it for a week and I am absolutely in love with this car from all the features ( sound system,UVO,bluetooth,color lights lol and navigation and more to the handling of the car and the overall feel that I am in a more expensive vehicle! Just the perfect amount of space for me and for traveling with a friend or two. Keep it up KIA!"
8 people out of 11 found this review helpful
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The rug's bold pattern and sensational use of color recalls classic sari silk designs from India. Hand-knotted over the course of a year by skilled artisans and weavers, the attention to detail can be seen in its intricate design and enduring quality. Because each rug is meticulously made by hand, no two are exactly alike and quantities are limited. A rug pad is recommended to keep this piece securely in place.Over 40 years of experience in the rug weaving and import business has culminated in the introduction of Solo Rugs, a curated collection of handmade one-of-a-kind rugs, imported from around the world and sold online only, through One Kings Lane.
Fenix 7'10"x10'5 Rug, Multi $11,100 $4,649


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Is double-buffering still required when Desktop Composition is enabled?
In Microsoft's Application Compatibility Guide:
Graphical Device Interface (GDI)
Prior to Windows Vista and Windows Server 2008, a window handle (HWND) was painted directly to the screen, which had certain benefits, but limited how Windows could display and manage top-level windows. In Windows Vista and Windows Server 2008, all top-level windows are rendered to an off-screen bitmap (similar to WS_EX_LAYERED), and the Desktop Window Manager combines the images together to draw the desktop.
It sounds like all rendering is now done to an off-screen bitmap:
windows are rendered to an off-screen bitmap
Is this correct?
The reason i ask is because i still see flickering during the standard paint cycle:
while desktop composition is enabled:
i would have assumed that between the calls to
BeginPaint(hWnd, paintStructure);
EndPaint(hWnd, paintStructure);
that all painting would happen to a back buffer:
windows are rendered to an off-screen bitmap
Meanwhile the a front buffer would stay unaffected.


text:
Profile of a great boss
There are many secrets to being a 'super' boss.
In one way, a bad economy is terrific for managers. When jobs are scarce, bosses are free to be inept without the fear of chronic staff turnover. But when economic times are good and unemployment is low, like it is today, the best workers are in demand, so it's more important than ever for bosses to excel.
What do you think makes a great boss? Leave your comment below
But what makes a great boss? Leadership Management Australasia, a training company, asked 3000 employees late last year to name their ideal characteristics in a manager. Here's the top ten list.
Coming in at number one is a boss that's 'trustworthy and open in approach'. In his book, The Speed of Trust, Stephen Covey describes trust as being a combination of character and competence. The character component includes integrity, motive, and intent, while the competence part is about capabilities, skills, results, and track record. "You might think a person is sincere, even honest," he writes, "but you won't trust that person fully if he or she doesn't get results."
At number two is a manager that 'clearly communicates where we are going'. Trouble arises with how people define the word 'communication'. For example, to email isn't to communicate. Often, that's just spam. The ultimate definition of communication is the exchange of understanding, which is best served when employees are engaged in a conversation rather than as victims of a monologue.
In third place is a boss that 'gives me the space to do my work, but supports me', which is another way of saying 'back off but be there'. Micromanagement makes insecure bosses feel better, but it makes capable employees feel overwhelmed and stifled.
Fourth is a manager that 'listens to and respects my input into decisions'. Running random staff surveys doesn't count. What employees are stating with this characteristic is their wish to be consulted when matters of significance occur in the workplace. This one action alone will make them more receptive to change and less likely to resist it.
Taking the fifth spot is a boss that 'gives regular and honest feedback on how I am going'. The annual performance appraisal isn't enough, which human resource professionals (if they were truthful) would admit is almost always a waste of time. Instead, immediate feedback provided amiably is a winner.
At number six is a manager that's 'fair and even-handed and makes reasonable demands'. The antithesis of this is captured in the character of Miranda Priestly in The Devil Wears Prada when she asks her assistant to get her a copy of the new Harry Potter book. The assistant responds by saying she'll go to the store right away. Rolling her eyes, Miranda snaps: "Did you fall down and smack your little head on the pavement?" Not that I can recall, replies the assistant, before realising with dread her boss is after the unpublished manuscript.
In seventh place is a boss that 'provides the resources I need to do my job'. On the one hand, it includes simple stuff like stationery, training material, and client information. On the other, it includes more substantial objects like fast computers and functional technology. For an extreme reaction to a deficiency in the latter, check out this guy.
At number eight is a manager that 'recognises me for extra efforts and results'. I'm surprised this isn't higher up on the list. In December, the Australian Institute of Management surveyed 3000 people. A third of those are planning on resigning this year. A big reason is this: 40 per cent of respondents don't feel appreciated by their employer.
In ninth spot is a boss that 'coaches and develops me'. There was another poll conducted last year by Towers Perrin, one in which Australian managers fared better than other countries on how they led their employees during the global financial crisis. However, in the same analysis, 66 per cent of employees said they want the opportunity to develop their skills at work, but only 40 per cent are given the chance.
And lastly in tenth place: a manager that 'trusts me with challenging work'. There's that word again. Trust. It's a theme weaving in and out of this top ten list. It's a lack of trust turning bosses into micromanagers and it's a lack of trust making them refrain from seeking feedback. There's a greater eventual consequence for managers, though, if they hold back on trusting their employees.
As the late Frank Crane, an American clergyman, said: "You may be deceived if you trust too much, but you will live in torment if you do not trust enough."
16 comments so far
If you see one of these "great bosses", call the men in white coats, because you're clearly delusional and in need of professional assistance.
Take the tables and you'll realise they exist only in the fantasies of job hunters, journalists, and the morons who run management training seminars.
- Commenter
- No_subject
- Location
- Erskineville
- Date and time
- January 21, 2011, 9:10AM
incorrect. i am a great boss. in 10 years of management, never had an employee leave my teams to take another role in another company. have only lost staff to promotions or travel.
the above points, whilst clinical, are where you need to be, to be like me.
kudos to me
- Commenter
- matty
- Location
- vic
- Date and time
- January 21, 2011, 9:49AM
He who recommends himself has a fool for a referee.
(I'd quote a source, but such rigour is never required in management theory)
- Commenter
- No_subject
- Location
- Erskineville
- Date and time
- January 21, 2011, 10:06AM
My boss is a fantastic fair weather boss. We are given support and space and resources BUT if something goes wrong he retreats. We had a staff member who was not only inept but also created problems workwise, such as computer problems, lost cheques, lost data, unmailed mail etc etc, had high absenteeism and was also highly unpleasant. After time the rest of the staff put forward their problems with this such as having to repair damage, put up with unpleasantnes and receiving the same rate of pay as the rest of us. We were told this would be dealt with but after two years and numerous complaints to higher up the only reason it was dealt with was the rest of us started looking for other jobs and faced with being left with just the inept one and losing all others he reluctantly got rid of them but because he had failed to follow due process for sacking the person they received a whopper redundancy! We're now in fair weather and he is a great boss but the way he treated us as whistle blowers, that is, if we would just shut up the problem would go away, means that he has lost a large percentage of loyalty.
- Commenter
- dlg
- Date and time
- January 21, 2011, 10:13AM
matty....in 10 years you have never performance managed someone out of the team.....your recruitment must be A1 standard...you truely are a great leader!
For everyone else; they are good solid points to aspire to; not always practical and not easy to do...unlike matty Im sure my teams would say there are ways i can improve!
- Commenter
- finding new levels of incompetence
- Location
- Sitting Down
- Date and time
- January 21, 2011, 11:49AM
"Leadership Management Australasia, a training company, asked 3000 employees late last year to name their ideal characteristics in a manager" -- sounds to me like the 3000 employees were asked to pick from a pre-arranged list. I've never heard an employee use any of these terms, and I'm suspicious that there is no mention of "gives me lots of money and doesn't ask me to do too much" -- that's my idea of a great boss, and I'm sure 3000 people would tick it if it was on the list.
Also high on the list would be "my ideal boss goes on leave or on courses because the office runs better when he/she is not there".
Incidentally, I would also be suspicious of any training company that believes we are living in a time of low unemployment. Over 5% of the workforce in Australia is officially unemployed. The same number is underemployed. Possibly half have given up looking for work, and there are bucketloads of older workers who are on "disability" pensions to save them from looking for non-existent jobs. Not to mention the hundreds of thousands of students who are marking time at uni or school when they would prefer a decent and real job with real money.
- Commenter
- Professor Rosseforp
- Date and time
- January 21, 2011, 12:45PM
11. Boss actually does some work themselves instead of just delegating everything.
Current boss is a funnel. Collects work from all around the org and sends it straight through his desk to ours. I suppose I am a bit old fashioned - I like a boss who can actually do work not just shuffle paper around, man the phones and speak management.
- Commenter
- Kris
- Date and time
- January 21, 2011, 3:00PM
I work in medical research & there have been howls of laughter reading this as the boss exhibits the exact opposite of all these traits, except for the last one. He is quite happy to delegate, but is then equally happy to take credit for the ideas generated by his subordinates.
- Commenter
- gromit
- Date and time
- January 21, 2011, 3:54PM
Wouldn't a 'great boss' be different depending on the kind of work and the worker?
These kind of things are great for people who want to be at work, but not nescessarily for everyone.
- Commenter
- HighlyDubious
- Location
- http://bassfreqs.com
- Date and time
- January 21, 2011, 4:07PM
@gromit I think I worked there, does he also insist on having his name on all publications no matter how little he contributes? Ahh med research, created by doctors for doctors.
- Commenter
- Adam
- Location
- Sydney
- Date and time
- January 21, 2011, 9:10PM
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