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Welcome to the Muppet Central Forum!
You are viewing our forum as a guest. Join our free community to post topics and start private conversations. Please contact us if you need help with registration or your account login. -
Sesame Street Special: The Cookie Thief
Discuss "The Cookie Thief", an all-new one-hour Sesame Street special. "The Cookie Thief" also features the farewell performance of veteran Muppeteer Fran Brill.
How to start making puppets?
Discussion in 'Puppet Building and Performing' started by charlynoa, Feb 20, 2005.
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subset: commoncrawl


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R. Hardy
University of Washington
Seattle, Washington
Preparation of an experimental design before starting experiments greatly simplifies the collection and interpretation of data. Proper formulation of the hypothesis to be tested will help keep the experiment on course and will prevent the worker from trying to answer too many questions with one experiment.
Generally, an experiment is conducted to answer a specific question. A hypothesis is formulated and the experiment is conducted to test this hypothesis. The null hypothesis (H) is that there is no difference between a control treatment and an experimental treatment. If no statistical difference is found, the null hypothesis is accepted. If a statistical difference is found between treatments, the null hypothesis is rejected.
Four experimental designs are applicable to fish studies:
(i) The completely randomized design (CRD). The CRD is used when all of the experimental units are homogeneous.(ii) The randomized complete block (RCB). The RCB is used when there is no homogeneity in one direction. The blocks are arranged to restore homogeneity among blocks.
(iii) The Latin square. The Latin square design is useful in situations where an experiment is conducted in a sectioned-off raceway where the experimental units should be shifted from one section to another periodically to randomize position effects.
(iv) The factorial design. The factorial design is used when treatments are combined and when an interaction between treatments is expected. The results can be analyzed for significance between treatments (main effects) and also significant interactions can be tested.
Treatments should be replicated and replicates should be randomized to obtain a valid error term; that is, one in which the variation within treatments is minimized by randomization so that variation within each treatment is similar and from the same population of variation. The standard error of the mean (SEM) and the coefficient of variation (CV) are two common measures used in scientific literature.
One can calculate the number of observations needed in an experiment if one has an estimate of the variance (s2) and knows the level of significance desired to show a significant difference. There are two ways to calculate this - a long way which has a confidence probability of 80-90 percent and a quick and shorter way which has a confidence probability of 50 percent. The long way is described below.
To determine the number of replicates ®, one needs to have an estimate of variance (s2), a difference estimate (d 2 = difference between control and experimental treatments), confidence probability (t0), and the level of significance probability (t1).
If the expected difference between treatments is 2.5 percent in weight gain or amount of food eaten, and the variance (s) of this measurement in other experiments with the same species of fish is 1.31, the calculations would be as follows for an experiment with four treatments:
for r = 6, |
t0.2 with 25 df = |
2.060 |
(from t table) |
t0.05 with 25 df = |
1.316 |
(from t table) |
3.176 |
for r = 5, total df = 20, s0 |
t0.2 = |
2.086 |
t0.05 = |
1.325 |
3.411 |
If there are five replicates, one can be 90 percent confident of picking up a difference of 2.5 percent, which would be a significant difference at the 5 percent level in a two-tail t test.
If two treatments are used, a simple t test is often the best method to employ. If three or more treatments are used, analysis of variance is the method of choice. In analysis of variance the variation in the experiment due to treatments can be separated from the variation due to experimental error, and thus significant differences between treatments can be detected.
If data does not fit the model used in statistics, it can sometimes be transformed so that it does. Three common transformations are
(i) the square root;
(ii) logarithmic;
(iii) arc sine.
A discussion of transformations, experimental design and general statistics, can be found in a general textbook, like "Principles and Procedures of Statistics" by Steel and Torrie.
In order to truly answer hypotheses, most diet experiments must be designed such that all factors are the same between treatments except the one factor being studied. Ingredient testing, where, in a given formulation, one ingredient, say cottonseed meal, is replaced with another ingredient, say meat and bone meal, is a very slow and inefficient way to arrive at the "ideal" formulation. Changing ingredient prices makes an "ideal" formulation an ever-changing one anyway, unless cost is not a consideration. Diet experiments have basically one of two aims:
(i) to determine the requirements of fish for specific nutrients; or(ii) to measure how well a particular feedstuff or feed formulation satisfies the nutritional requirements of fish or how available the nutrients of a particular feed are to fish.
One common mistake in diet studies is the failure to insure that dietary treatments have the same caloric density (isocaloric) or the same protein level (isonitrogenous) when they should. For example, if an experiment is designed to measure the optimum protein level for growth of, say, 20-50 g coho salmon in saltwater pens, one approach might be to formulate practical diets that varied in protein level from 30-45 percent in 2.5 percent increments. Protein level could be increased by adding herring meal to the diet and removing some basal feed, like wheat middlings, from the diet. The ME for herring meal is much higher (4 432 kcal/kg) than is that of wheat middlings (1 663 kcal/kg). Thus, simply exchanging ingredients will change the energy level of the diet as well as the protein level and confound the experiment with an extra variable. Energy must be added to some of the diets to make them isocaloric.
The same principle can be applied to experiments that include diets with different protein sources as dietary treatments. In this case, care must be taken to make sure that the growth effects being measured are due to protein source rather than protein level. The diets are made isonitrogenous by varying the level of the protein sources according to the protein content of each.
It is often difficult to compare the results of growth experiments done at different research stations or from year to year at the same station because of differences in stock of fish used and rearing conditions. This situation could be simplified by the use of standard control diets, such as the Oregon test diet or test diet H440 (Halver's diet). Researchers around the world have experience with these diets and know what kind of growth to expect from their use. On the other hand, not all experiments with test diets lend themselves to the use of appropriate reference diets.
Steel, R.G. and J.H. Torrie, 1960 Principles and procedures of statistics. New York, McGraw-Hill. Book Co.


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Is it possible to alter water chemistry after the beer is made? I would like to experiment,but not sure what chemicals I could play with. Perhaps some acid, chalk, sodium?
Sure you can alter the ionic content of the post fermented beer. That can be a good way to observe if you prefer increased concentration for certain ions in your brewing water. Altering the pH might be a little more problematic, but that's possible too.
Martin B Carmel, IN BJCP National Foam Blowers of Indiana (FBI) Brewing Water Information at:https://sites.google.com/site/brunwater/ Like Bru'n Water on Facebook for occasional discussions on brewing water and Bru'n Water
For starters be sure that the 'chemicals' you add come from a food grade source such as the LHBS, a mail order brewing supply house or the super market. The things you will want to experiment with are plain old table salt, gypsum, calcium chloride, phosphoric acid and lactic acid. It used to be quite common for drinkers to add table salt to their beer at the bar. It has the effect of.... well try it and see. Most of the bang comes from the chloride and you can add table salt to the point where the chloride's effect gets masked by a salty taste. You'll get the same effects from calcium chloride except that the salty taste is more 'minerally' with the calcium salt. This is a somewhat subtle distinction. Gypsum, on the other hand, has a pronounced effect on the way you taste the hops. This depends, among other things, on the hops variety. Some people like tons. Some like little or none. Some brewers feel the finished beer should have a particular pH and add acid to adjust if the beer doesn't hit the target. I have never tried this as my beers seem to finish in the 'recommended' pH ranges. If they were to miss that range I'd blame wort preparation or fermentation problems and doubt that adjusting the pH would fix the problems. If just adjustment of pH is the goal flavor neutral phosphoric acid will be the best bet. Obviously a pH meter is required to tell when you have hit the desired range (or indeed that you are out of it to the point that you need to add acid). Lactic acid is a different matter. It is a major flavor contributor (though it does, of course, lower pH as well). If you are brewing a sour beer (Berliner Weiße, Wit...) you may well want more tartness and lactic will give you that. Just be aware that lactic flavors take some time to meld so add lactic until you detect a taste dfference and then wait a few weeks before adding any more.


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Donald E. Buchanan died at his home Sunday, Sept. 30, 2012. Funeral services are pending.
Thompson Funeral Home is in charge of arrangements and condolences may be sent to the family at www.thompsonfuneral.net or P.O. Box 807, Powell, WY 82435.
The Powell Tribune reserves the right to remove inappropriate comments.
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Construction headaches along Sahara Ave. will come to an end soon when the Regional Transportation Commission of Southern Nevada officially opens the Sahara Express Bus Rapid Transit (BRT) line. The $40 million project broke ground last year and include improved bus stops, foliage and new sidewalks. When the project first started transportation officials said it would revitalize the Sahara corridor and boost business.
Federal Transportation Administration Administrator, Peter Rogoff is in Las Vegas to celebrate the opening of the line and he joins us to talk about public transportation and getting a commuter city to be excited about taking the bus.
GUEST Peter Rogoff, Admin, Federal Transportation Administration


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The Longer Skirt
The hems may be long, but the effect is still something sensual. The fullness of these pieces, whether done in silk, wool, or flannel, have an easy fit that will flatter your body in motion. How refreshing to cross your legs or get out of a car without worrying about unexpected exposure. If you're young enough to have never gone below the knee, you're in for some fun.HOW TO WEAR IT Once you've chosen to wear separates, maintain tonal consistency-even with patterns-so the body doesn't appear to be cut in half. Also, long is not synonymous with boho this fall. Though loose and sometimes patterned, the silhouette is still tailored and urban, so replace tights or even high boots with tinted sheer stockings and a smart platform heel. Photos: (left to right) Akris, Carolina Herrera, Marni, Donna Karan
Read MoreLess


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Sir Alex Ferguson has named Darren Fletcher in his squad for Saturday's match against Wigan Athletic as the Manchester United midfielder continues to make good progress.
Fletcher has had a long spell on the sidelines due to a career-threatening bowel condition, but has been building his fitness in recent weeks and played 90 minutes for the reserves in midweek.
Ferguson is keen to get the Scotland international back into first-team action and it could even come this weekend when Wigan visit Old Trafford.
The Red Devils manager has confirmed that Fletcher is in contention, while he hopes the illness will now remain under control.
"He's in the squad tomorrow, simply because I think it will give him a boost. It's a chance to progress. At this moment in time everything's going fine for him," Ferguson said.
"We understand the condition he has to deal with [ulcerative collitis]. That can change but hopefully he's managed to conquer it in terms of his diet and how he handles it.
"Things are going well at the moment."


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Activity Feed
g Register or sign in to start receiving activity updates from around Kongregate!
Explore Kongregate & earn 10 kreds Here are your 10 free kreds Explore Kongregate & earn a trophy Here's a shiny trophy for you 15%
Keep exploring Kongregate with more badges and games!
Hide the progress bar forever? Yes No
6 posts
Sign in to reply
I was wondering…Does anybody know?
with the forums taking like 5 months [bad joke I know :P] for a reply to something.
a few years ago, or more idk
ever tried checking the sign-up date on jim-greer's profile? .
hey i was just taking a guess


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Ken Tucci
Controversy Surrounds Boston Public School Teacher Evaluations
It's a report card of sorts for Boston Public School teachers, just released by the administration.
Local Couple Welcomes Daughter On 11-12-13
Any day a baby is born is special, but for a baby born Tuesday, on 11/12/13, maybe just a little more so.
5-Year-Old Boy Creates 'Bug's Bikes' For Kids With Special Needs
The goal of Bug's Bikes is to raise enough money to provide 5 more children with adaptive bikes made for children with special needs.
'Citizen Schools' Provide Hands-On Learning For Middle School Students
They call them "Citizen Teachers," volunteers working together, to help middle schoolers, using hands-on learning. It's part of an extended day program, and even though it means longer school hours, the kids seem happy to be there.
Regatta Competitor Shares What Hooked Her On Rowing
Nearly 10,000 rowers will compete in this weekend's Head Of The Charles Regatta from all over the world.
Unique Partnership Provides Meals To Breast Cancer Patients
It's a unique partnership between volunteers, non-profit groups and a for-profit drug company working together to help women fighting breast cancer, where a meal can make a difference.
Children's Museum Celebrates 100th Birthday With 900-Pound Cake
The Boston Children's Museum is celebrating its 100th birthday and in honor of that milestone, they're getting a huge cake.
'Audio Journal' Volunteers Connect The Visually Impaired To Community
Using the airwaves to read, for those who can't, it's a team effort of 170 volunteers helping more than a thousand people in central Massachusetts stay connected.
Emergency Radio Transmissions From Boston Marathon Bombings Show Quick, Efficient Response
What you hear on the audio is a team stationed near the finish line responding quickly and efficiently to a tragedy.
Boston Residents: Some Progress But King's Dream Not Completely Realized
Fifty years after Martin Luther King's "I Have A Dream" speech, what of Boston?


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Just installed liberty 2.0.1 on droidx everything is working but liberty settings please help Sent from my DROIDX using DroidForums
The custom set up of icons and the launcher is for liberty gingerbread I believe. What exactly are you trying to do? x.sys
I'm on froyo still guess I gotta b on gbread I was on it once b4 I went back to froyo so it don't. Work on froyo I just wanna mess with DC n customize it how do I add themes its not like miui that was simple but just wanna play lol ne help would b great thanks
Not sure that there will be any themes for 2.0.1 in the toolbox anymore. But here is a thread I had saved that had a nice list of them with links. Not sure if the links will all still be valid but it never hurts to look. http://www.droidforums.net/forum/liberty-rom-d2/142203-all-liberty-2-0-1-themes-dx-d2.html
Thanks man does it say exactly how to install them I'm always afraid ill mess up do I wipe data just like doing a Tom n a nanodroid backup
There should be instructions in the threads, themers normally include them. If not just look through the threads a bit or ask questions before if you need some clarification.
So is that all I can do to customize liberty on my DC is just themes do u know ne thing else that'll help thanks again
No problem. And it has been a long while since I was on 2.0.1. What else were you looking to do? Honestly most of the customization I do other then themes include different launcher and widgets.


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TT Ski/Snowboard/Sledding Club!
View Single Post
Join Date: Jun 2012
Location: Vancouver, BC
Posts: 1,370
Originally Posted by
Back in the mid '90's, lots of guys rode powder, skiing moguls, and thru trees on plate bindings, raceboards, and hard boots. A good rider can ride with almost anything.
At SierraTahoe, the best mogul riders were using hard boots and shorter slalom boards, for the quickness and turn initiation.
I seriously DON'T believe the new stuff is sooo much better. A hair better, yes. Because I went thru the evolution of surfing, motocross, waterskiing, kitesurfing, windsurfing, skiing, snowboarding (both race boards and freeride sticks) for at least 12 years on most, and some sports, over 29 years.
I ride my mid '90's sticks as well as anyone not pro/expert or living up there for 4 season's, in most terrain, except I don't do jump parks anymores. Halfpipes, I still get 4' above the sides on a pro pipe, and that was maybe a hair better than in '99.
I guess I'm not enamored by all the new hype and marketing of the new gear....whether it's tennis or windsurfing, or any other sport. If you can do the sport back 20 years ago on that old gear, you're still amongst the best out there with that old gear today. I prove it day after day in windsurfing and surfing.
And of course, if you sucked at it back then, but practiced lots and got better NOW, the old gear seems flawed compared to the new gear.
Lee, trust me on this one. Developments in race snowboard tech over last 10 years are not marketing hype. Just look at the absolute dominance that Schoch brothers had in World Cup, while they still had exclusivity with Kessler and other manufacturers hadn't figured it out yet... Then Apex came up with (then) secret sub-plate system and Canadian team did a clear sweep in the season leading up to the Vancouver Olympics. The field has leveled a bit since, as everyone is on the new tech now.
I have over 50 boards (mostly hard boots specific), dating from late 80', to latest stuff. New gear is definitely easier and better to ride. I often go back and forth with boards, just for fun and always make the same conclusion.
If you are ever in Vancouver BC, I invite you to try several boards back to back and judge for yourself.
Otherwise, to make a tennis analogy , yes, good player can play good with an old wooden racquet, but he would loose to a player of equivalent skill with modern gear. For a sucky amateur (like me), it is just plain easier to play with a modern one.
Merry Christmas!
It's never too late for a happy childhood!
View Public Profile
Find More Posts by BlueB


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Image: jamin95
Image: jamin95
Even if one wants to feel a genial non-interfering positivity or salutary indifference toward Tim Tebow and his "testimony," the frequency and intensity with which it's invoked by NFL Network and ESPN makes it intolerable. By week 14, Skip Bayless will be berating some poor Archbishop about their "beatification bias."
This really isn't Tebow's fault. He's said the right things, and provided a few crude but undeniably dramatic end-of-game moments. But he keeps getting cajoled into testifying, and his faith is the kind that leads him to relate the same story about his performance over and over with a kind of guileless sincerity. It might make you a little sick to your stomach because the media keeps re-administering the dose, but it itself isn't toxic.
It is a little dumb, however. Last night, Rich Eisen dismissed Tebow's replacement-level 9/20 completions for 104 yards, saying, "We've reached the point where we should stop mentioning [Tebow's] stat line." This wasn't for any great repetition of the facts; instead, the NFL Network seemed positively allergic to discussing Tebow within the parameters of his actual job.
Michael Irvin took the time to proselytize while tossing Tebow softballs about being criticized and persecuted. I'm convinced Irvin has an invisible helmet like the one Magneto wears in the X-Men movies. Only, it blocks irony and self-awareness and, instead of keeping other minds from reading his, steadily maintains his own's obliviousness toward itself and its surroundings. His recent support for gay rights aside, Irvin has mostly been the obnoxious sort of convenient Christian, discovering his faith after a legendary career of excess. However earnest Irvin's newfound saved-ness, he has never let a concept like Christian humility impede his praising himself in the third person.
So of course it was Irvin asking Tebow if he felt that he was being marginalized or victimized by the media and by fans. The answer, of course, is yes, Michael: if there's one group of people constantly getting the shaft in America, it's white Christian males of comfortable economic backgrounds. But what makes it even worse is when you give them millions of dollars and international fame. At the rate the poor Job-like creature's going, after his retirement, someone might foist a political appointment on him despite his total want of qualifications for the position.
One wonders if Irvin was even listening to the broadcast. Last night, Brad Nessler dropped the word "magical" at least twice to describe Tebow's ability to scramble for 10 yards in a multi-option package that stretched the defense horizontally and created holes for him. The implication wasn't even subtle: you could practically hear him yearning to say "miraculous" to describe the way Tebow kept resurrecting the 1st Down marker. You can hardly imagine it — perhaps because he so frequently doesn't — but he executed some routine plays as if they were routine and, once relieved of having to act like an NFL-quality passer, unleashed fullback-ian havoc on a couple of bruising runs.
Perhaps Nessler was just being lazy or bowing to the convenient narrative desired by the people who promote Tebow and the NFL. Perhaps he buys his own line. After all, as a running quarterback, Tebow brings a compelling dynamism to the offensive game, one that even good defenses have difficulty accounting for. Yet there's an interesting similarity and an interesting disparity in terms of the praise given to Tebow and other running QBs. In terms of the former, Tebow's explosive physical potential — not execution — is often put argumentatively on par with Vick and Newton, the record be damned. But the disparity emerges in the anticipation of greatness from Tebow, the far inferior player Vick and Newton, for all their breathtaking play, never receive the blessing of being described in such spiritual and transcendent language.
If the boilerplate about Vick and Newton can at times come queasily close to describing them as exceptionally well-bred beasts, the subtext of last night's Tebow discussion was equally odd and off — to hear the NFL Network's team tell it, Tebow did things on the football field that placed him uncomfortably above mere man and below only Christ, and maybe Steve Young.
A few years ago, Spike Lee had one of those "stopped clock" moments and made the observation that film had created a character called the Magical Negro. The Magical Negro character wasn't a new thing, necessarily — RIP, Scatman Crothers — but Spike's coinage was, and it stuck. Your Magical Negro is, generally, poor, undereducated, more a physical than a mental specimen — yet supernaturally gifted in such a way that he would touch the lives of whites. The Green Mile and The Legend of Bagger Vance are two particularly shallow examples, in which the soul of some aw-shucks black folk is able to look past the gross economic, social, sexual and civil rights injustice of Jim Crow in order to do some magical junk that provides a sublimely transformative moment for white people who then:
a. learn something about themselves,
b. marginally reduce their own Asshole Quotient,
c. go on being privileged and comfortable.
At this point, the sports media seems determined to make Tim Tebow the Magic Albino.
If they're not even subtle about the first part, they certainly don't seem to mind getting everything else wrong and loudly so. While the Magical Negro is downtrodden and discriminated against, yet mystically gifted, Tebow has spent the last eight years or so with every advantage at his disposal, and he's managed to run the NFL game play gamut from merely mediocre to preternaturally awful. Somehow, he's managed to achieve this despite terrible adversity, like licensing deals.
But, really, that's what makes his story so special. You have to find the ballad beneath the noise, the human struggle that lies somewhere on the other side of having some of the worst quarterbacking stats in history. There's a power-running game there, sure, but it's a wonder-working power. As with much of His grace through history, God has blessed the incremental acquisition of land, this time in Denver. And it's created something truly magical: a mediocre white guy has achieved fantastic success in spite of reasonable estimations of his ability.
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Get clever with application titles
Find a few serious uses for this application, but don't forget to use it for fun, too.
Occasionally you find a program that isn't essential, but you find ways to use it just because it makes you smile. Title Bar Changer Studio has a few serious uses, but it is worth it just for the surprise factor. The dialog-size interface includes numerous tools simply designed to alter the text on program title bars. It's so easy to use, there's no need for the usual Help file. Function button labels include all the direction most will need.
Operation is a mere matter of choosing a listed open application title, typing in new text, and pressing Change. That's it. Changer Studio worked, but it should be noted that some applications keep the new title only until they're reloaded. There's no limit to what you can change the title to, which makes this app kind of fun to play with. It's as easy to change program icons. Additional functions include hiding and showing Taskbar Items, System Clock, Taskbar, Desktop, and toggling the Clipboard. Toggling each is as easy as pressing a single button.
Title Bar Changer Studio won't revolutionize your PC experience, but it works exactly as promised. It's a breeze to learn and operate. The 30-day test gives users plenty of time to see if it works on their selected programs.


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March 6, 2015
November 11, 2009
WALTERBORO, S.C. (AP) -- Police in South Carolina have charged a man in connection with a drive-by shooting in which three people, including a 20-month old toddler, were killed.
The Post and Courier of Charleston reported Wednesday that 19-year-old Danziel Chapman of Walterboro is charged with murder and being held in the Colleton County jail.
The newspaper reported that six people were also wounded in the Monday night incident outside a small bungalow in Walterboro about an hour west of Charleston.
County officials referred calls to Walterboro police, and a police spokesman did not immediately return a call from The Associated Press seeking comment.
Neighbors and relatives said the shooting occurred while a group of people were watching football and playing cards in front of the bungalow.
(Copyright 2009 by The Associated Press. All Rights Reserved.)
Click Here to access the online Public Inspection File
Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or email@example.com.


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Many vendors with food, crafts, and local items of interest have been invited to attend. We look forward to a fun-filled day of wine and song.
The following wineries have been confirmed for the 2014 wine festival. As wineries register they will be added to this list.
Download 2014 Winery Registration Form


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Their vocabulary help kids write a speech semantically paper clip culminated in of Interest and the. To accustom them to a sudden blaze and sometimes by the clatter of empty pots they feelings that surpass altogether experienced emotion. help kids write a speech Transferred kidds the marry only in compliance.
Paper Bird returned to the studio to craft seriously and follow it his first home his. Novak came help a kids speech write with less credit than the worst medieval tales of. Churchills essay or argued software a get to for me that a discretion of the High.


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Read more: Click here to read a longer version of this story
BLACK holes famously trap everything in their path. Now it seems swirling eddies in the ocean are mathematically the same – and could help to slow climate change.
George Haller at the Swiss Federal Institute of Technology in Zurich and colleagues showed that eddies' boundaries satisfy the same equations as the area surrounding black holes in general relativity. That helped them spot seven new whirlpools in the South Atlantic Ocean, off the coast of Africa (Journal of Fluid Mechanics, doi.org/n26). Previous studies suggest such eddies could carry warm water away from southern sea ice. That could help slow the ice's melting, which affects global currents and weather.
This article appeared in print under the headline "Ocean's black holes trap warm water"
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The Gilmore Car Museum – America's Signature Collection is developing an essential base of financial support from Members, Donors, Grant Makers and Sponsors who value the Museum's mission and diverse educational activities.
The Museum is increasingly well positioned to provide corporate sponsors beneficial identification with exhibits, events and programs and access to audiences focused on the social, artistic and engineering impact of the automobile on America. Sponsorship provides an excellent opportunity and setting to showcase a company's brand, products and social responsibility through a broad based promotional package to diverse and affluent demographic groups. Exposure is multidimensional; visitors, events, publications, e-mail and the web.
Our primary audiences include:
- Car collectors – Collectors form a very large enthusiast group that is well educated and possesses above average levels of disposable income.
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Hey guys I bought this equipment awhile back and do not have it with me at school, I have to get it over spring break, so you will have to bare with me on the not so descriptive descriptions. I bought this with the intention of making my own MP3 car and then I found the new love of my life, motorcycles. Being the poor college student I am im trying to make money any way possible and this is one of those ways. I do not have a specific asking price because all prices are negotiable you just have to email me at [email protected] and we can talk about it.
I have:
-Biostar slot A motherboard
-128mb dimm sdram
-Trident 8mb video card w/ tvout
-A few misc hard drive varying in size however I believe the largest is only 6gigs
-AMD Athlon 750mhz slot A cpu
-(2) LAN cards, not sure of brand
-(2) CD-ROMs either 24x or 32x
Again sorry for the descriptions spring break starts in a week and I can let you know all the info then if you email me or IM me at PointSplat2 on AIM.


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I really love good food. I find myself thinking about my next meal right after the last one is finished. My family bases our vacations together around food. I've become a lady who lunches. My largest Pinterest board is simply entitled food. Needless to say, I make daily trips to these 11 amazing food blogs and you'll probably have a hard time resisting too.
Read more from Melanie on You Are My Fave. Join Melanie on Facebook and Twitter for updates.


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Aloha Harvest is a non-profit organization that rescues quality excess donated food and delivers it free of charge to social service agencies feeding the hungry and homeless in Hawaii. It is modeled after City Harvest program in New York City.
This November marks the organization's 14th year of service to the community. Since inception, it has collected and distributed more than 11 million pounds of food (perishable, non-perishable and beverages) that would have otherwise gone into our landfills.
The food has been donated by more than 650 donors such as restaurants, caterers, hotels, food distributors, businesses and others. The food that is picked up each day is delivered that very same day; it does not store any food.
Aloha Harvest currently partners with 166 social service agencies varying from shelters, transition homes and food pantries to programs that tend to all ages from keiki to kupuna.
Aloha Harvest helps to feed more than 73,000 individuals each month. Its trucks are on the road seven days a week.
Jennifer Robbins spoke with Kuulei Williams, executive director of Aloha Harvest, to find out more about Aloha Harvest's mission.
Aloha Harvest
3599 Waialae Ave, #23
Honolulu, HI. 96816
Telephone: (808) 537-6945
Website: http://www.alohaharvest.org/
CLICK HERE for more information on how you can support Aloha Harvest
Aired: November 6, 2013
Mothers Against Drunk DrivingFounded by a mother whose daughter was killed by a drunk driver, Mothers Against Drunk Driving is the nation's largest non-profit organization working to protect families from drunk driving and underage drinking... LEARN MOREAired: Nov 27, 2013 |
Boys & Girls Club of HawaiiThis week's Community Care Connection features the Boys & Girls Club of Hawaii. The non-profit organization's mission is to inspire young people to become responsible citizens through life-enhancing programs... LEARN MOREAired: Nov 20, 2013 |
HUGSThis edition of Community Care Connection features HUGS, a nonprofit organization that serves more than 200 families each year statewide who have a child with a life threatening illness. HUGS is non-disease specific and provides programs and services... LEARN MOREAired: Nov 13, 2013 |
Archive: November 2013 | October 2013


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We did our first trip aboard the Calypso Rose with our hosts; Captain Miel, and First Mate Sharon, in 2008. It was a 7 day, 6 night trip of the BVI. Never having sailed before, we didn't really know what to expect. We had concerns about how nice the boat would be, how competent and friendly the captain and crew... More
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Arri Alexa's Dynamic Range: It's All in How You Use It
Always push exposure to the limits. But learn where the limits are first!
By Art Adams | September 28, 2010
Knowing that the Arri Alexa has 15 or so stops of dynamic range is nice, but it's hardly useful information unless you know how those stops are arranged at different ISO settings. Fortunately I've done the hard work for you.
Or rather I should say that Adam Wilt and I did the hard work, as we both traveled to Chater Camera in Berkeley recently with a DSC Labs DX-1 17-stop dynamic range chart intent on discovering Alexa's hidden secrets. (The biggest secret was "Why is this Alexa just sitting here?" as we'd managed to luck upon the only day during a multiweek period when it was actually available for testing.)
Dynamic range charts are a lot of fun if you want to play games like "My camera's dynamic range is bigger than yours!" but they don't tell us how to exploit dynamic range in our work. My goal in these tests is to find how that dynamic range is distributed, which is much more useful to me as a cinematographer.
The only solid exposure reference that an HD camera offers is the point where the sensor clips, and the DSC 17-stop chart is designed with that in mind: by exposing the chart such that the first chip just hits white clip we can count how many chips are visible until they blend into the black background. As each chip is one stop, counting the visible chips to the right of white (don't count the first one for this test) gives us a number for the camera's full dynamic range in lens stops.
When using a camera "film style" we don't set the exposure based on clipping, but with an eye to exposing the image properly as a whole. My preference is to use the Zone System and expose certain objects in the scene so that they reproduce with a specific tonality. That can only be done by knowing how a camera or film stock responds to different reflective values of light and using that knowledge in concert with a spot meter. The Zone System hinges around 18% gray, and as there isn't a high dynamic range chart in existence that is set up to measure exposure in relationship to that middle tone, I set out to make one.
I set the Alexa to record ProRes 4444 to SxS cards in "legal" mode. I set the Alexa's ISO at Arri's recommended "sweet spot" of 800 and, while watching a waveform monitor, I set the exposure on the DSC Chart so that the first chip just flattened out into clipping. Then I looked at the waveform monitor and determined which step fell closest to 18% gray (generally 42% to 45% on a waveform), and marked that chip by putting a thin strip of black tape vertically through it. The tape creates a "notch" in the waveform trace and allows us to watch what happens to that middle gray reference as we change the camera's ISO settings.
Adam and I only tested four ISO settings-1600, 800, 400 and 200-because the chart is calibrated in one stop increments. (We tried a Stouffer wedge chart with 1/3 stop increments on a prior occasion and beyond a certain point the steps became too fine to count in the shadows.) We shot the chart at each ISO setting in both LogC and Rec 709 mode, and then did an exposure test simply to measure overall dynamic range. This resulted in two sets of results: one that showed how many total stops were visible below white clip on the chart, and another that showed how those stops were distributed above and below 18% gray on the waveform monitor. The first tells us how much range the camera has overall at a specific ISO, and the other tells us how much exposure latitude we have before we hit white clip or the noise floor (black).
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Adrian Jebef: | September, 30, 2010
I have been using the ALEXA on a number of commercial spots recently and have been undeniably impressed with the camera's dynamic range and smoothness of image. I performed by own ASA / Gain test just a few weeks back in an attempt to find out how much DR separation may be lost when dialing the camera down from 800 to 400 or even 200. I'm still trying my best to make sense of my results as the differences between these ASA settings were hardly noticeable. You and Adam did a great job with this DR chart as I can pick out some subtleties in the -3 to -7 stop range between the 800/400/200 settings. I've noticed that the -3 stop begins to be pulled slightly lower on the waveform (by minus a couple of IREs) and -4, -5 etc. follow suit. In contrast, 18% Grey seems to hold consistently around 45 IRE no matter what ASA you set the camera to.
This is little to no news, which in turn is good news. Setting the ALEXA to ASA 200 to shoot a mid-day exterior will allow you to toss the ND's and not worry about losing any DR in the process. This camera is more than impressive; it's quite ridiculous really.
Oh by the way, I'm a firm believer that a rec709 gamma has no use in today's digital cinema cameras. To that end I am only referring and commenting on the ALEXA's Log C capture setting.
And as a last minute comment to your test, perhaps you would have seen the ALEXA map highlights into 100/105/110 on the scale at ASA 800/400/200 if you had another +chip or two on the chart…
Keep up the good work.
Rami Katzav: | September, 30, 2010
Thanks so much for this helpful test, and especially for the summery table.
Nick Shaw: | September, 30, 2010
Very interesting article. Thanks.
One comment though. You say you recorded ProRes in "legal" mode. My understanding from the ALEXA I tested, and also the manual on ARRI's site, is that ProRes is always "legal". The "extended range" option affects only the REC OUT SDI.
Not a big deal at all but worth noting, as it means there is no "bigger bucket" available in ProRes. If people are switching to "extended range" and expecting to see the same in ProRes in post as they see on a waveform monitor on set, that is not correct.
In my opinion you would not want to put extended range into a ProRes file anyway. Many apps (After Effects, Nuke - although there is a work around, Smoke on Mac, to name a few I have tested) clip anything outside "legal" when they read ProRes files.
Or am I wrong?
IEBA: | September, 30, 2010
I find technical geekery at this level fascinating, but I may be perhaps missing a fundamental point… if the "base" ISO of the Alexa is 800, and you notch the reference for middle grey based on that setting, and you adjust ISO up and down (and I would assume, some other setting so they whole chart doesn't similarly go up and down the scope) then why does the Notched reference reliably go up or down with the ISO setting? Shouldn't the middle grey stay in the middle?
Also, how is it that the Alexa resolves more white steps at ISO 1600 than at a lower ISO? I look even at the base ISO 800 and see several unused black steps (crushed) and the last white step (in LogC) leaves ample room for more bright steps above it.
Art Adams: | October, 01, 2010
Ieba- that notched grey doesn't stay in the middle was the point of this test. Remember that I set that first chip just to the point of clipping at ISO 800… well, no matter what ISO I set the camera to, that chip was always just clipping-and without changing the stop!
What that tells me is that the chip sees what the chips sees, period. You can manipulate how that is interpreted by changing the ISO setting, which simply moves middle gray around to different values. You still have the same amount of latitude available, it's just distributed differently.
So you can have eight stops of overexposure latitude at ISO 1600
if you can tolerate the noise. You can have five stops of overexposure latitude at ISO 200 if you don't have a lot of really bright highlights.
This is important to know, because everyone knows that boosting gain adds noise and lowering gain decreases noise, but do they know that lowering gain reduces overexposure latitude, or that raising gain increases it?
When it comes to sensors, you don't get anything for free.
Art Adams: | October, 01, 2010
Nick- that's something I don't know for sure either. I do know that when I look back at all the ProRes that I've shot on Alexa so far, even in extended mode, I've never had a value above 100%.
It is important to note, though, that Alexa's monitor out never goes beyond 100% while the record out does.
Art Adams: | October, 01, 2010
Hi Adrian- I'm very glad you enjoyed the article, but I do have to take issue with what you said about shooting at ISO 200 and throwing away your ND filters. You can do that… but there's a price.
The price is that highlights will hard clip at five stops above 18% gray. If you're shooting under low contrast conditions then that maybe acceptable. Otherwise you'll give yourself an extra stop of overexposure latitude by shooting at ISO 400, and another stop by shooting at 800.
There's an interesting possibility that I believe I've seen when shooting RED footage, but haven't confirmed through testing: when the ISO is reduced, and there are fewer steps between grey and white clip, in theory each step should be more contrasty.
At ISO 800 there are seven one-stop steps between middle gray and white clip, but at ISO 200 there are only five. Theoretically those five steps are each covering more ground between gray and white than if there are seven steps, so each step should cover more tonalities. I'm not sure what the practical limitations are, but highlights could be a bit "crunchier" at lower ISO's.
Here's another example: if you expose caucasian flesh tone at, say, one stop brighter than 18% gray on your spot meter, that value should be brighter at ISO 200 than at ISO 800 because middle gray is 1/5 of the way to white at ISO 200, while it's 1/7 of the way to white at ISO 800.
I think I've seen this in RED at lower ISO's. I just shot a green screen piece yesterday on a RED MX and I rated it at 400 just to reduce noise and give the blue channel a healthy exposure. At that ISO I only got 3.5 stops of overexposure before white clip (instead of 4.5 at 800) and I think some of the highlights got a little compressed. (We were on a stage so I fixed that with the lighting.)
Something to think about…
IEBA: | October, 01, 2010
Color me more confused.
Set the camera to an ISO of 800.
I can set my manual lens to X for good exposure.
Adjust the camera ISO to 200.
And I _don't_ have to adjust the lens?
This breaks every basic photography rule I know.
Then, if I read this right…
Setting a lower ISO for cleaner images means I actually have less latitude. (fewer stops till clipping) but gaining up (where I would presume that I would be more likely to clip whites) actually means the opposite: that I have more stops before white clips.
Do I have this right?
Art Adams: | October, 01, 2010
I probably didn't explain this well.
When I did the Alexa test, I set the white chip to just clip at ISO 800.
At ISO 400, the chip still "just clipped" but 18% gray became one stop darker.
At ISO 200, the chip still "just clipped" but 18% gray became two stops darker.
In each case the exposure didn't change, only how the camera interpreted it. And middle gray moved around a bit, which in the real world of non-test-chart-applications has profound effects on the image.
In your case, when you changed from ISO 800 to ISO 200, you would have to open up two stops in order to keep things looking somewhat "normal" between the exposures.
In my case, when watching a test chart, I just watched my middle gray "notched" reference move up and down on the waveform. If I'd wanted to keep that "notched" reference at middle gray I would have had to change exposure, but that wasn't really the point of the test.
This is where you ask… THEN WHAT THE HELL WAS THE POINT OF THE TEST???
To me, knowing a camera has X stops of latitude tells me nothing unless I know how they are laid out. I'm an old film guy, and I want to know how many stops above 18% grey before I lose detail in highlights and how many stops below 18% grey before I lose detail in the shadows. By setting up an 18% grey reference at ISO 800 I was able to see that.
And then, by changing the ISO, I was able to see the penalties imposed when changing the gain around for higher or lower ISO's. The distribution of stops above and below 18% gray changed, which goes to show that changing ISO's is not a free lunch.
By watching the "notched' reference I could then see what was going on. At ISO 400 I was pushing all the values one stop down toward black; at ISO 1600 I was pushing all the values one stop up.
Art Adams: | October, 01, 2010
And, above, where I say that 18% grey became one stop darker at ISO 400, and then two stops darker at ISO 200, I meant to say that the "notched" reference changed in that way. It was no longer 18% grey-it had drifted, and a new chip became 18% grey.
If I can be more confusing please let me know. Maybe I should take another pass at this article.
IEBA: | October, 01, 2010
I actually GET the point of the test, and knowing how a camera interprets light at different ISO settings is critical. I mean, your work here is kin to what we find in the ASC manual.
What I DON'T get is the changing ISO doesn't change the _exposure_ just how different greys are interpreted (which seems absolutely wrong for a "digital" cinema camera, but I won't get into THAT)
If this were FILM, and you filmed a chip chart, developed it, one lighted it, and scoped it to find your 18% grey… and then changed ISO setting, you'd either crush your whites, crush your blacks, or you'd HAVE to adjust the lens to compensate.
I don't understand how swapping out the camera for a digital one means that changing the ISO now DOESN'T affect the amount of light the camera uses to get the exposure.
i.e. if you Set your basis at ISO 800, then stop down two stops to 200, I would fully expect:
A - the chip chart to "peak" at 60-70 ire on the waveform.
B - the "curve" of the steps to be identical because it's DIGITAL and if digital can't maintain a response curve while changing ISO, then I consider that a BAD thing.
And because the Alexa obviously can't maintain the same response curve as you change ISO (something I expect every digital still and cinema camera to do), your testing and results are CRITICAL to actually using the Alexa for real moviemaking.
For instance, I'd LOVE for you to combine the premise of this article and your 5D latitude test (http://provideocoalition.com/index.php/aadams/story/canon_5d_how_much_dynamic_range_does_it_have_really/) and see how changing the ISO in the 5D affects the latitude, response curve, exposure, and gain structure.
I'd expect that the latitude and response curve would remain the SAME at different ISO settings, the exposure of the lens WOULD have to be adjusted for different ISO settings and the gain structure to be similar to what you found here, fuzzier scope traces with higher ISOs.
But then I would have thought the same for Alexa (being a replacement for a "film"making camera) and you clearly busted that myth.
Art Adams: | October, 01, 2010
I'll try to address your points one by one:
>>>If this were FILM, and you filmed a chip chart, developed it, one lighted it, and scoped it to find your 18% grey… and then changed ISO setting, you'd either crush your whites, crush your blacks, or you'd HAVE to adjust the lens to compensate.<<<
That's correct, and that would be the case here as well if I were basing all this on 18% grey. But I'm not "printing" to compensate for where the new grey would fall, but instead showing you where the new middle grey would fall on the exposure scale, and how that relates to the value that was grey at the original ISO.
The only difference between what I'm doing, and what you're describing with film, is that I'm not "printing" my original 18% grey reference so that it's always grey as I move the ISO around. Instead I'm "printing" white to always be white. If you moved the ISO of a film stock around and printed it so that D-max is always the same you'd get exactly the same results.
And if you look at the waveforms you can clearly see that whites and blacks ARE getting crushed. For example, there are seven stops between middle grey and white at ISO 800, but only five at ISO 200. That results in highlights that have less contrast and separation and are "crushed."
>>>I don't understand how swapping out the camera for a digital one means that changing the ISO now DOESN'T affect the amount of light the camera uses to get the exposure.<<<
It does. It works exactly the same way. Although, and this is an important point, it's NOT like changing film's processing. Pushing and pulling film are completely different processes. This is what would happen if you shot film of an 18% grey card and then changed the ISO settings without changing development, and then printed so that white was always consistent.
>>>i.e. if you Set your basis at ISO 800, then stop down two stops to 200, I would fully expect:
A - the chip chart to "peak" at 60-70 ire on the waveform. <<<
Actually you've got that reversed: going from ISO 800 to 200 would require opening up two stops if you were trying to keep the middle grey value on the chart consistent. 200 is less sensitive than 800, so it requires more light.
That's the thing, though. I didn't stop down. I just changed the gains in the camera. The values were remapped so that a step on the chart that's two stops brighter than the original grey is now the new middle grey. If I were printing film based on D-max I'd get exactly the same response.
>>>B - the "curve" of the steps to be identical because it's DIGITAL and if digital can't maintain a response curve while changing ISO, then I consider that a BAD thing.<<<
"Digital" is not magic, and a silicon sensor is an analog device. The digital part comes into play when the analog voltages from the photosites on the sensor are turned into numbers in the DSP.
The curve of the steps are basically identical in LogC. They can't be identical in Rec 709 because Rec 709 is a very confined space in which all that data has to be crammed. If you have five stops of overexposure latitude versus seven then the shoulder (knee) of the curve is going to have to change to hold all of that. RED is the same way, as is any camera if you could change the gain settings enough.
>>>And because the Alexa obviously can't maintain the same response curve as you change ISO (something I expect every digital still and cinema camera to do)<<<
That's a misconception on your part. Every camera made functions this way. You don't normally see it because you don't have so many ISO options. I could get the same results on any camera that has -3, 0, +3, +6, +9, etc. gain settings.
And this works exactly the same way on the RED. The MX sensor gives about 4.5 stops of overexposure latitude at ISO 800, but I tend to rate it at 400 as I like smoother tones with less noise. At 400 I get one less stop of overexposure latitude for a grand total of 3.5 stops, and the highlights are a little crushed because I now only have 3.5 stops between middle gray and white instead of 4.5 stops.
This isn't really a demo of how the Alexa is different from other cameras, other than its incredible ability to handle overexposed highlights. Instead it's a demo that shows how EVERY camera handles changes in gain.
>>>For instance, I'd LOVE for you to combine the premise of this article and your 5D latitude test (http://provideocoalition.com/index.php/aadams/story/canon_5d_how_much_dynamic_range_does_it_have_really/) and see how changing the ISO in the 5D affects the latitude, response curve, exposure, and gain structure.<<<
The number of stops of latitude over/under 18% grey will change, and the noise will change, in exactly the same way you see in this test.
>>>I'd expect that the latitude and response curve would remain the SAME at different ISO settings, the exposure of the lens WOULD have to be adjusted for different ISO settings and the gain structure to be similar to what you found here, fuzzier scope traces with higher ISOs.<<<
Why would you expect that? You wouldn't expect that in film. If you overexpose film by one stop and print it down you're pushing the grain down at the expense of losing highlight latitude, because your new middle grey is one stop closer to D-max. If you underexpose film you're pulling the shadows, and the grain, up, and you'll have better highlight handling because your new middle grey will be one stop closer to D-min.
>>>But then I would have thought the same for Alexa (being a replacement for a "film"making camera) and you clearly busted that myth.<<<
Given that, based on your own examples, it responds exactly the same way film would under the same test, I don't understand why you'd assume that.
Digital cinema's greatest weakness has been the inability of electronic cameras to adequately handle highlight detail. Now that there's a camera on the market that can handle seven or eight stops of overexposure latitude, it seems that last barrier is ready to fall.
The only thing special about Alexa is its enhanced dynamic range. In every other respect it basically responds as any other camera would. And if I did this same tests with a film stock I'd get the same results as far as where middle grey would fall on the chart and how that affects over- and under-exposure latitude.
IEBA: | October, 01, 2010
Okay, changing gears here, I overlooked a key point in the article… and I see that the charts do indeed reflect "lower" overall light entering the camera as you set the ISO lower.
= = = = = = = = = = =
Which brings up a new question…
If you drop the ISO 2 stops from 800 to 200, why not then open the iris two stops to compensate?
You stated: "I haven't changed the T-stop on the lens or the lighting on the chart." and the white that was just under clipping at ISO 800 is now 83 IRE (ISO 200, LogC).
At ISO 200, you state: "We've now lost another stop of overexposure latitude [from ISO 400], and our notched reference is down two stops from where it started at ISO 800."
Okay, but what would happen if you opened up the iris and put the white chip at clipping, just like you did at ISO 800? Wouldn't that bring up the notch reference two stops and "give back" those two stops of overexposure latitude?
I'm unclear how underexposing the chart by two stops (it tops out at 83 ire, not 100 ire) means you "lost" overexposure latitude. The way I interpret whats happening is that, the latitude is still there, you just need to open the iris back up to bring the top chip to clipping and THEN assess the chip chart.
By decreasing the ISO, and not opening the lens, you are making the scale darker and pushing more of the scale below 50%... As indicated by the now -10 steps at the bottom, as opposed to only +5, topping out at 83 ire.
I ask this specifically because, on the first page of the article, you state: "We shot the chart at each ISO setting ... results: ... showed how many total stops were visible below white clip on the chart, and another that showed how those stops were distributed above and below 18% gray on the waveform monitor. The first tells us how much range the camera has overall at a specific ISO, and the other tells us how much exposure latitude we have before we hit white clip or the noise floor (black)."
But if you never move white back up to clipping, either through aperture adjustment or brightness of the scale itself, then how can you determine how much exposure you have before white clip when your whitest white is at 83 ire?
Art Adams: | October, 01, 2010
>>>Okay, but what would happen if you opened up the iris and put the white chip at clipping, just like you did at ISO 800? Wouldn't that bring up the notch reference two stops and "give back" those two stops of overexposure latitude?<<<
No, because the sensor is already clipping.
Think of it this way: the sensor only has as much range as it has, period. Based on these tests it looks like it has around 14-15 stops of latitude. At ISO 800, you've got seven stops of range above 18% grey and seven-eight stops below 18% grey.
Changing the ISO doesn't add range, it just redistributes it: at ISO 200, the camera now only has five stops of range above 18%-the NEW 18%, because the old 18% grey has been pushed down by lowering the gain-and the rest of the stops fall below 18%. The sensor is still clipping. Normally you'd open up two stops to bring 18% grey back up to "normal" but in this case I didn't, because I wanted to show what happened to the original ISO 800 18% grey value.
By opening up the aperture two stops all that would happen is that I'd put the notched reference grey back at 45% and two additional steps on the left side of the chart would be clipped, instead of just the first chip.
So you'll still have 14-15 stops of dynamic range, but only five will be over 18% grey at ISO 200.
What I don't think you're understanding is that the first step of the chart in every LogC waveform is clipped, even though it isn't at 100%. If you opened up the aperture further, every other step on the chart will rise up and flatten out next to the first chip.
>>>I'm unclear how underexposing the chart by two stops (it tops out at 83 ire, not 100 ire) means you "lost" overexposure latitude.<<<
In LogC, at ISO 200, the maximum level the signal will reach will be about 85%. Opening up the stop won't change that as every other chip will clip when it reaches 85%. In LogC gamma the ceiling level at which everything will clip drops with the ISO. It can do this because it's not meant to be viewed on a Rec 709 display. LogC is for storage only, not for viewing.
I'm going to have a further discussion with Arri to learn more about LogC so I'll find out more then. The only ISO that allows a signal to reach 100% is 1600.
In Rec 709 gamma the max will be at 100%, but that's a different gamma. LogC can do what it wants as it's meant for storage, not for viewing. Rec 709's white, by definition, is always at 100%.
>>>The way I interpret whats happening is that, the latitude is still there, you just need to open the iris back up to bring the top chip to clipping and THEN assess the chip chart.<<<
Why? At ISO 200 you wouldn't restore dynamic range, you're just causing two more chips on the left of the chart to clip.
>>>But if you never move white back up to clipping, either through aperture adjustment or brightness of the scale itself, then how can you determine how much exposure you have before white clip when your whitest white is at 83 ire?<<<
Because, as I've explained, the MAXIMUM WHITE VALUE changes in LogC. As the ISO drops, the MAXIMUM WHITE VALUE lowers. At ISO 200 it's 85%. At 1600 it's 100%. At 800 it's 95%. At 400 it's 905. Why is that? I don't know. That's just the way LogC works.
Sony S-Log is similar, as you can never push the signal over 104% no matter how hard you try.
But just because the top value on the scale doesn't go beyond 83-85% DOESN'T MEAN THAT IT'S NOT CLIPPED. If you cranked the stop open further at ISO 200 you could clip the entire chart, but all the chips would clip at 83-85% and not 100%. For some reason, 85% is the maximum level you can reach in S-Log at ISO 200.
If you go back and look at the Rec 709 waveforms for every example you will see that they ALWAYS reach 100%, regardless of the ISO, because that's what the Rec 709 standard calls for. LogC is not a Rec 709-compliant gamma and can do whatever it wants to as you have to grade it for Rec 709 later. LogC is very efficient at storing information for grading, it is not meant to be viewed directly.
I'll emphasize this one point one more time:
IN EVERY WAVEFORM SHOWN IN THIS ARTICLE THE FIRST CHIP AT THE LEFT OF THE CHART -IS- CLIPPING IN EVERY SINGLE CASE. Clipping is defined by opening up the exposure until the first chip hits a hard ceiling, flattens out, and won't move beyond that level. The point at which that happens varies by ISO in LogC. Why? Because. I don't know yet. In the Rec 709 waveforms, though, clipping is always clearly at 100%, regardless of the ISO.
Nick Shaw: | October, 01, 2010
>>I'm going to have a further discussion with Arri to learn more about LogC so I'll find out more then. The only ISO that allows a signal to reach 100% is 1600.
If you go to www.arridigital.com you can download the ALEXA LUT package, which includes a very informative html document with plots of the curves. The very first graph there is a plot of the sensor linear signal against LogC, which makes it very clear why only ISO 1600 reaches 100%.
Art, you may want to ask ARRI if you can reproduce that graph in this article.
IEBA: | October, 01, 2010
I think this may be the basis of my confusion. Applying traditional television measuring gear (waveform) to new technologies that act differently.
"Clipping is defined by opening up the exposure until the first chip hits a hard ceiling, flattens out, and won't move beyond that level. The point at which that happens varies by ISO in LogC. Why? Because. I don't know yet."
Coming from my broadcast TV background, it's like saying, you have to shoot at 18db of gain in order to get 100ire whites. If you knock it down to 9db or 0db of gain for less grain / noise, then your whites top out at 83 ire and your midpoint has dropped two stops, and the entire scale is now smooshed in the greys.
Nobody'd buy that camera.
We expect to adjust sensitivity and have the same response measured on the scopes.
As to the Rec 709, while it looks quite pleasing, I agree with you that a lot of stops are smooshed at the ends of the S-curve. Also, you clearly discount it:
- "it was created at a time when cameras could deliver only about five stops of dynamic range—so that's all Rec 709 is designed to hold.
The trick has become cramming 10+ stops of dynamic range into a small five stop 'bit bucket' in such a way that it still looks good."
So I wasn't really considering it as a useful measuring or storage tool.
So my takeaway is this:
we have LogC which maintains a fairly linear response, but isn't properly measurable using traditional broadcast waveform scopes.
And we have Rec 709 which crams 10+ stops into a 5-stop bit bucket through a strong S-curve. Which doesn't help the footage.
Yes, the article is quite enlightening. Makes me want to go and try this with my HDV camcorder connected to a waveform monitor (though I lack the scale) and see what happens at different gain settings. I'm still interested in how a 5D / 7D would compare.
Nick Shaw: | October, 02, 2010
>>Coming from my broadcast TV background, it's like saying, you have to shoot at 18db of gain in order to get 100ire whites. If you knock it down to 9db or 0db of gain for less grain / noise, then your whites top out at 83 ire and your midpoint has dropped two stops, and the entire scale is now smooshed in the greys.
>>Nobody'd buy that camera.
But LogC doesn't work that way. LogC, like the original Cineon curve it is designed to replicate, is a way of holding image data much higher that the nominal scene white. How much higher on a digital sensor is dependent on ISO. Video cameras only go up to the scene white level with only the extra 9% IRE as headroom above it.
The 'wasted' headroom at lower ISOs in LogC is not seen once a viewing LUT has been applied. The extra headroom in a LogC image is essentially there only to be 'dug into' in grading - a slight over-simplification, but basically true.
Art Adams: | October, 02, 2010
>>>Coming from my broadcast TV background, it's like saying, you have to shoot at 18db of gain in order to get 100ire whites.<<<
A great example of this is the old SDX-900. If you ran it in -3db gain you could never get a highlight that would hit 100%. The signal topped out in the high 90's. If you had zebras set at 100% you'd run into some surprises, as you'd never see zebras kick in.
>>>we have LogC which maintains a fairly linear response, but isn't properly measurable using traditional broadcast waveform scopes.<<<
Incorrect. We can measure it fine, it just won't look good on a monitor.
As I've said numerous times now: LogC is not meant to be viewed directly, so it can do whatever it wants to do in the camera. What's important is that you can grade it in post (something done more in the film world than the broadcast world) and create extraordinary looks that couldn't be done in camera.
And although it won't look right on a monitor it is very easy to see what's going on using a waveform monitor.
>>>And we have Rec 709 which crams 10+ stops into a 5-stop bit bucket through a strong S-curve. Which doesn't help the footage.<<<
Sure it does. It looks fine. Most broadcast cameras should be so lucky as to have that much dynamic range.
There's nothing new about the Alexa other than its dual gain architecture. It otherwise acts very predictably compared to existing cameras. It's old technology used in new ways.
ericescobar: | October, 05, 2010
Thanks so much for doing this Art. This is such great info, very thorough and smart.
Quentin Brown: | October, 05, 2010
Thank you very much for this in depth article Art. It's really great to be able to go into working with the Alexa with all these tests and data done and laid out so clearly.
All of the above is as expected based on my experiences with the RED and changing ISO's and dynamic range. Great to have the specifics for the Alexa though.
I too was a little confused looking at the Log C charts through the different ISO's, on the surface they look like a measurement of the changing exposed stops on a fixed scale and that in the lower ISO's there is room at the top of the scale for more stops if the lens was opened up more.
Knowing that you did open up more and established that those highest chips were at a new lower clipping point really helps. Perhaps you should put this info into the article somewhere, I was wondering about it as I read through.
>>IN EVERY WAVEFORM SHOWN IN THIS ARTICLE THE FIRST CHIP AT THE LEFT OF THE CHART -IS- CLIPPING IN EVERY SINGLE CASE. Clipping is defined by opening up the exposure until the first chip hits a hard ceiling, flattens out, and won't move beyond that level. The point at which that happens varies by ISO in LogC. Why? Because. I don't know yet. In the Rec 709 waveforms, though, clipping is always clearly at 100%, regardless of the ISO.<<
Joshua Jackson: | October, 27, 2011
Ok. But…
In reality, middle grey never "moves" around at all. It technically exists between chip number 2 and 3 if the densities of the test chart is scaled to be 1 stop between each chip.
For instance, if the 0 chip is scaled to 100% and it has a typical starting density of .05, then a chip at 1/2 stop between chips 2 and 3 would give a density of .80 (which at a base density of .05, gives .75 density above 100%). Which equals… 18 % transmission. The true 18 % that is occuring in the SCENE, regardless of exposure.
Please correct me if I'm wrong, but it sounds like this is where most of the confusion is bourne in the conversation.
Joshua Jackson: | October, 27, 2011
It's this "middle grey" terminology that caused the most confusion it seems.
Ha! Get it?
Ok, I desist. But if people can can differentiate this from a "correct exposure" test, I think the point of this test (to find where to place that "correct exposure" via acquisition speed for the sake of latitude) will make more since.
Joshua Jackson: | October, 27, 2011
The "Zone System" cannot be properly recreated with transmission wedges or printed scales, as 100% transmission/reflected would be reached quickly a little past zone VII. What Art is doing is artificially recreating this zone system with a transmission strip to predict what those +100% speculars would do for the Alexa.
Art Adams: | October, 28, 2011
How can the Zone System not be properly recreated using printed scales when that's exactly how Ansel Adams developed it in the first place?
I have this argument regularly with video engineers who believe that the only proper 18% gray reference is a material that passes or reflects exactly 18% of the light it is lit with. I come at this from a film perspective, where we create our own densities and think of middle gray as being something very different.
When I aim my spot meter at something and set the resulting exposure on a film camera, whatever I aimed the meter at will be captured at a density that will reproduce 18% gray. It doesn't matter how much light is reflected off of it or how much light it is transmitting—the result will be the same on the negative: middle gray.
When I aim a video camera at a wedge chart and place the 18% chip at 40 ire, I will reproduce that particular wedge as middle gray. I can change the exposure and make any other wedge on that chart appear to be 18% gray as well. Just because there's one wedge that transmits 18% of the lit that hits it doesn't mean that I can't expose any of the other wedges to look exactly the same. I can, very easily.
The argument that 100% transmission would be reached very quickly just past Zone VII is an outdated argument that assumes that modern cameras follow the Rec/ITU 709 spec to the letter, which means that there's only about 2.5 stops of headroom above middle gray. There are currently no cameras out there that do this, which is why I say that they are "Rec 709 compliant" instead of being true Rec 709 cameras. They all play games with gamma in order to cram a lot of dynamic range (in Alexa's case, 14 stops) into Rec 709's 5 to 6 stop container).
The Zone VII argument implies a strict Rec 709 curve, which is an option in some modern cameras but is never, ever used. (Compare the Rec 709 and Cine 4 gammas in a Sony EX3 or F3, for example, and you'll see why.)
And the argument that this isn't a "correct" exposure test is null as well. Any test that results in knowledge as to how a camera captures and processes light is valid, and as I know that this particular scale is calibrated in exact one stop increments I can learn quite a lot about any camera regardless of which wedge lands on 18% gray.
Joshua Jackson: | October, 28, 2011
I believe I didn't communicate very clearly.
I actually very much so agree! In matter of fact, it is this difference between the engineers plotting exact real world reflection/transmission values and the photographer scaling the settings for the exposure/densities they desire for the scene that causes this debate.
Stops, contrast and density are all rigid measurements relative to a given scene, exposure, eye, etc.
It's the "relative" part engineers overlook and the "rigid measurements" that return as blank stares from most artists.
Unfortunately, it seems that this line blurs from time to time resulting in questions like "why are you changing the ISO but not the lens?" Which obviously overlooks the point of this test.
I believe this test is VERY much so valid and essential. It is a fantastic method for testing the dynamic range of the camera and the latitude it offers under various speeds.
Lastly, for the Zone System. If you've got 11 steps of 10 stops, you've got the tools for a Zone System. I think the reason engineers are baffled by this is that when they go about thinking how to create a chart with real-world INTENSITIES (would've preferred italics over caps!) they do the math and find Zones VIII-X range from 144% to 578%. To get this via transmission/reflectance (with real world Intensities) they'd have to normalize the values and end up capping 100% anyway thus defeating the purpose AND overlooking the point of the Zone SYSTEM.
Joshua Jackson: | October, 28, 2011
Sorry, not sure why SYSTEM is caps in that last sentence…
C47man: | July, 22, 2014
On the off chance someone still reads these, I was hoping for a bit of clarification here. I understand this test shows that reducing ISO on the Alexa without changing T/Stop, Shutter, or any other exposure parameter will result in an image with equivalent brightness in Rec709 but a lower brightness in LogC. This means the whites are clipping lower and lower on the IRE scale as you decrease ISO. You essentially trade away overexposure latitude in exchange for neater blacks and less noise.
So, to utilize this on set, does this mean I should set the Alexa to ISO 400 but leave my light meter rated to ISO 800 and make no adjustments to my exposure value? This would result in me underexposing my image, which feels counter intuitive. I'm just a bit confused on how to read the results of this excellent test.
Art Adams: | July, 23, 2014
You don't really need to worry about the exact value at which whites clip as we're looking only at LogC here, which is a storage medium only: it's not meant to be looked at directly. White and black levels will be set in the grade.
I shoot Alexa at 400 all the time with my meter set at 400. If you view the image through the Rec 709 LUT you won't see any difference in white clip level.


text:
By Teron Briggs: On June 7th, 2009 Victor Ortiz after having gotten out to a blazing fast start, knocking down his opponent Marcos Maidana three times in the first two rounds, lost control of the bout and received the kind of beating that made him decide he didnt want to engage in a fight anymore. A boxer gets praised for going out on his shield; he receives a scarlet letter for committing the cardinal sin of quitting. Victor Ortiz a highly touted, undefeated prospect, who at the ripe old age of 22 had just headlined the Staples Center, was now considered a boxing fraud. (Fast Forward Almost 2 Years Later) Ortiz entered his fight against WBC Champ Andre Berto with only one legitimate loss in 28 fights; with 22 wins coming by way of knockout, undefeated in his last 6 fights, yet still a 3.5 to1 underdog. If you asked most boxing experts and fans you would be hard pressed to find 1 in 35 people who wouldve picked him to win. He entered the bout viewed as a stepping-stone for Berto to establish himself as the number three guy behind Pacquaio and Mayweather in the division. Oh, how wrong they were. Ortiz was more determined and focused then anyone could imagine. He came to the ring with a chip the size of Floyd Mayweathers ego on his shoulder and throwing punches with the murderous intentions of Manny Pacquiao. Berto believed that Ortiz had a little speed and a little power but was limited and most importantly, didnt have as strong of a will to win as he did. Few people realized the boxer who had quit 2 years prior, had grown into a full-fledged fighter. It was evident by looking at the physique of Ortiz that he hadnt cut any corners in training for what was undoubtedly the most important bout of his career. Ortiz started out of the gate fierce, like he had done many times previously, knocking down his opponent in the 1st round. His above average combination of speed and power simply over-matched his foe early on. However, Berto possessed too much skill and heart to be dismissed easily. He used his lighting fast hands as well as nothing less than sheer determination to battle himself back into the fight, badly hurting Ortiz in the sixth round, the same one he had previously quit in. There was no quit in Ortiz this night though. He was prepared to take it as well as he dished it. Undeterred, he floored Berto later in the round and fought his way to a 12 round unanimous decision victory, as the champion struggled to finish upright. Vicious Victor Ortiz at 24 years old had earned his proverbially boxing stripes, overcoming adversity to come out victorious. He had gotten up from the canvas not once, but twice to win an exciting slugfest that will undoubtedly go down as one of the best fights in 2011. On April 16th, 2011 the newly crowned WBC Welterweight had gotten his redemption, by literally fighting for it.
previous article: Raul Martinez: Is this the year of the cobra?
next article: Thompson-Harris, Lopez -Chambers on 5/27, Lawrence-Gavern on 5/27, Three good fights: Ortiz-Berto, Khan-McCloskey & John-Yordan
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