text:
A digital media encoder/decoder performs quantization/dequantization based on quantization parameters taken from a harmonic quantizer scale. The harmonic quantizer scale can include a normal portion consisting of quantization parameter values harmonically-related as simple fractions of each other, and a denormal portion of quantizers having a linear or other relation. The encoder/decoder further supports a scaled quantizer mode where quantization is performed based on the quantization parameter as scaled by a fractional value. A compressed domain contrast adjustment is effected by adjusting the quantization parameters in the compressed bitstream, without having to adjust and recode the digital media data in the compressed bitstream.
1. A method of coding/decoding digital media, comprising:
applying forward or reverse operations of a transform on blocks of digital media data;
applying forward or reverse quantization to transform coefficients of the digital media data based on a quantization parameter chosen from a harmonic quantizer scale; and
performing coding or decoding of the quantized transform coefficients in a compressed bitstream.
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. The method of
9. The method of
signaling at least one quantization parameter chosen from the harmonic quantizer scale in the compressed bitstream using a coded symbol for the integer-valued index i.
10. The method of
modifying the coded symbol of the integer-valued index i in the compressed bitstream to effect contrast adjustment of an image represented by the digital media data.
11. The method of
signaling a plurality of quantization parameters flexibly applied to separate partitions of the digital media data in the compressed bitstream using a sequence of coded symbols to define a table of quantization parameters represented via the rule by integer-valued indices i.
12. The method of
modifying the coded symbols in the table of quantization parameters in the compressed bitstream to effect contrast adjustment of an image represented by the digital media data.
13. The method of
14. The method of
signaling at least one quantization parameter chosen from the harmonic quantizer scale in the compressed bitstream as a quantization index that represents the value of the quantization parameter according to a harmonic quantizer scale rule.
15. The method of
signaling to use a scaled quantization mode or a non-scaled quantization mode in the compressed bitstream;
in the non-scaled quantization mode, performing said forward or reverse quantization of the transform coefficients using the quantization parameter without scaling; and
in the scaled quantization mode, performing said forward or reverse quantization of the transform coefficients using a scaled fraction of the quantization parameter.
16. The method of
modifying the quantization parameter to effect contrast adjustment of an image represented by the digital media data.
17. A digital media processing device comprising:
a memory for storing digital media data; and
a digital media processor programmed to encode and/or decode the digital media data by applying forward or inverse operations of a transform to blocks of the digital media data, and performing quantization or dequantization of transform coefficients of the blocks based on at least one quantization parameter taken from a harmonic quantizer scale.
18. The digital media processing device of
19. At least one program-storing carrier having program code stored thereon for causing a digital media processing device to perform a method of decoding digital media data according to a codec, the method comprising:
decoding a quantizer symbol from a compressed bitstream representing a quantization parameter chosen from a harmonic quantizer scale for at least a portion of digital media data in the compressed bitstream;
decoding transform coefficients of the digital media data portion in the compressed bitstream;
dequantizing the decoded transform coefficients based on the quantization parameter; and
performing an inverse transform to reconstruct digital media.
20. The at least one program-storing carrier of
This is a continuation-in-part of Tu et al., "Flexible Quantization," U.S. patent application Ser. No. 11/418,690, filed May 5, 2006.
1. Block Transform-Based Coding
Transform coding is a compression technique used in many digital media (e.g., audio, image and video) compression systems. Uncompressed digital image and video is typically represented or captured as samples of picture elements or colors at locations in an image or video frame arranged in a two-dimensional (2D) grid. This is referred to as a spatial-domain representation of the image or video. For example, a typical format for images consists of a stream of 24-bit color picture element samples arranged as a grid. Each sample is a number representing color components at a pixel location in the grid within a color space, such as RGB, or YIQ, among others. Various image and video systems may use various different color, spatial and time resolutions of sampling. Similarly, digital audio is typically represented as time-sampled audio signal stream. For example, a typical audio format consists of a stream of 16-bit amplitude samples of an audio signal taken at regular time intervals.
Uncompressed digital audio, image and video signals can consume considerable storage and transmission capacity. Transform coding reduces the size of digital audio, images and video by transforming the spatial-domain representation of the signal into a frequency-domain (or other like transform domain) representation, and then reducing resolution of certain generally less perceptible frequency components of the transform-domain representation. This generally produces much less perceptible degradation of the digital signal compared to reducing color or spatial resolution of images or video in the spatial domain, or of audio in the time domain.
More specifically, a typical block transform-based encoder/decoder system 100 (also called a "codec") shown in
The block transform 120-121 can be defined as a mathematical operation on a vector x of size N. Most often, the operation is a linear multiplication, producing the transform domain output y=Mx, M being the transform matrix. When the input data is arbitrarily long, it is segmented into N sized vectors and a block transform is applied to each segment. For the purpose of data compression, reversible block transforms are chosen. In other words, the matrix M is invertible. In multiple dimensions (e.g., for image and video), block transforms are typically implemented as separable operations. The matrix multiplication is applied separably along each dimension of the data (i.e., both rows and columns). However, non-separable block transforms also can be used in codecs for multi-dimension digital media.
For compression, the transform coefficients (components of vector y) may be selectively quantized (i.e., reduced in resolution, such as by dropping least significant bits of the coefficient values or otherwise mapping values in a higher resolution number set to a lower resolution), and also entropy or variable-length coded into a compressed data stream.
At decoding in the decoder 150, the inverse of these operations (dequantization/entropy decoding 160 and inverse block transform 170-171) are applied on the decoder 150 side, as show in
In many block transform-based coding applications, the transform is desirably reversible to support both lossy and lossless compression depending on the quantization factor. With no quantization (generally represented as a quantization factor of 1) for example, a codec utilizing a reversible transform can exactly reproduce the input data at decoding. However, the requirement of reversibility in these applications constrains the choice of transforms upon which the codec can be designed.
Many image and video compression systems, such as MPEG and Windows Media, among others, utilize transforms based on the Discrete Cosine Transform (DCT). The DCT is known to have favorable energy compaction properties that result in near-optimal data compression. In these compression systems, the inverse DCT (IDCT) is employed in the reconstruction loops in both the encoder and the decoder of the compression system for reconstructing individual image blocks.
2. Quantization
According to one possible definition, quantization is a term used for an approximating non-reversible mapping function commonly used for lossy compression, in which there is a specified set of possible output values, and each member of the set of possible output values has an associated set of input values that result in the selection of that particular output value. A variety of quantization techniques have been developed, including scalar or vector, uniform or non-uniform, with or without dead zone, and adaptive or non-adaptive quantization.
The quantization operation is essentially a biased division by a quantization parameter QP which is performed at the encoder. The inverse quantization or multiplication operation is a multiplication by QP performed at the decoder. These processes together introduce a loss in the original transform coefficient data, which shows up as compression errors or artifacts in the decoded image.
Quantization is the primary mechanism for most image and video codecs to control compressed image quality and compression ratio. Quantization methods supported by most popular codecs fail to provide an adequate range of control over quality and coded bitrate. Popular codecs generally permit only certain discrete values of QP to be coded in the bitstream.
Several issues are involved in the design of the quantizer and dequantizer, including the specific quantization rule, variation of quantizers across frequency bands, signaling of quantizers and choice of the quantization parameter.
The following Detailed Description presents variations of a harmonic quantization scale technique that provides the ability to finely control quantization over the range of bitrates supported by the codec, in such way that the quantization also is efficiently signaled in the bitstream and computationally efficient for the decoder.
According to one implementation of the technique, a digital media codec permits choice of the quantization parameter from a harmonic scale. The term "harmonic" is used to denote a sequence of values in which successive values are related as simple fractions of each other. This has the benefit of providing a wide range of permissible values of the quantization parameter, while also having a relatively even control of bitrate and quality across the range. Further, the choice of quantization parameter from the harmonic scale can be efficiently signaled using a quantization index, which may be a fixed length value. In some implementations, a flexible variation of the quantization parameter over separate partitions of the digital media within the bitstream (e.g., different quantization parameters applied to separate sub-bands and channels of an image) can be signaled by defining a table of quantization indices at a suitable hierarchical level of the bitstream syntax, and referencing the quantization index out of the table with a coded symbol to signal the quantization parameter applied to a portion of the digital media.
According to a further aspect of the technique, the harmonic quantization scale further permits contrast adjustment of digital media (e.g., image data) in the compressed domain, including when variable quantization has been applied across the digital media. The contrast is adjusted in the compressed domain by uniformly adjusting the quantization indices across the digital media.
This Summary is provided to introduce a selection of concepts in a simplified form that is further described below in the Detailed Description. This summary is not intended to identify key features or essential features of the claimed subject matter, nor is it intended to be used as an aid in determining the scope of the claimed subject matter. Additional features and advantages of the invention will be made apparent from the following detailed description of embodiments that proceeds with reference to the accompanying drawings.
The following description relates to coding and decoding techniques that define a scale or rule governing the permissible values of the quantization parameter used in a digital media codec. The described quantizer scale technique is referred to herein as a "harmonic quantizer scale." The following description describes an example implementation of the technique in the context of a digital media compression system or codec. The digital media system codes digital media data in a compressed form for transmission or storage, and decodes the data for playback or other processing. For purposes of illustration, this exemplary compression system incorporating this harmonic quantization scale is an image or video compression system. Alternatively, the technique also can be incorporated into compression systems or codecs for other digital media data. The flexible quantization technique does not require that the digital media compression system encodes the compressed digital media data in a particular coding format.
1. Encoder/Decoder
The 2D data encoder 200 produces a compressed bitstream 220 that is a more compact representation (for typical input) of 2D data 210 presented as input to the encoder. For example, the 2D data input can be an image, a frame of a video sequence, or other data having two dimensions. The 2D data encoder divides a frame of the input data into blocks (illustrated generally in
A "forward overlap" operator 240 is applied to each edge between blocks, after which each 4�4 block is transformed using a block transform 250. This block transform 250 can be the reversible, scale-free 2D transform described by Srinivasan, U.S. patent application Ser. No. 11/015,707, entitled, "Reversible Transform For Lossy And Lossless 2-D Data Compression," filed Dec. 17, 2004. The overlap operator 240 can be the reversible overlap operator described by Tu et al., U.S. patent application Ser. No. 11/015,148, entitled, "Reversible Overlap Operator for Efficient Lossless Data Compression," filed Dec. 17, 2004; and by Tu et al., U.S. patent application Ser. No. 11/035,991, entitled, "Reversible 2-Dimensional Pre-/Post-Filtering For Lapped Biorthogonal Transform," filed Jan. 14, 2005. Alternatively, the discrete cosine transform or other block transforms and overlap operators can be used. Subsequent to the transform, the DC coefficient 260 of each 4�4 transform block is subject to a similar processing chain (tiling, forward overlap, followed by 4�4 block transform). The resulting DC transform coefficients and the AC transform coefficients are quantized 270, entropy coded 280 and packetized 290.
The decoder performs the reverse process. On the decoder side, the transform coefficient bits are extracted 310 from their respective packets, from which the coefficients are themselves decoded 320 and dequantized 330. The DC coefficients 340 are regenerated by applying an inverse transform, and the plane of DC coefficients is "inverse overlapped" using a suitable smoothing operator applied across the DC block edges. Subsequently, the entire data is regenerated by applying the 4�4 inverse transform 350 to the DC coefficients, and the AC coefficients 342 decoded from the bitstream. Finally, the block edges in the resulting image planes are inverse overlap filtered 360. This produces a reconstructed 2D data output.
In an exemplary implementation, the encoder 200 (
The illustrated LT and the ILT are inverses of each other, in an exact sense, and therefore can be collectively referred to as a reversible lapped transform. As a reversible transform, the LT/ILT pair can be used for lossless image compression.
The input data 210 compressed by the illustrated encoder 200/decoder 300 can be images of various color formats (e.g., RGB/YUV4:4:4, YUV4:2:2 or YUV4:2:0 color image formats). Typically, the input image always has a luminance (Y) component. If it is a RGB/YUV4:4:4, YUV4:2:2 or YUV4:2:0 image, the image also has chrominance components, such as a U component and a V component. The separate color planes or components of the image can have different spatial resolutions. In case of an input image in the YUV 4:2:0 color format for example, the U and V components have half of the width and height of the Y component.
As discussed above, the encoder 200 tiles the input image or picture into macroblocks. In an exemplary implementation, the encoder 200 tiles the input image into 16�16 pixel areas (called "macroblocks") in the Y channel (which may be 16�16, 16�8 or 8�8 areas in the U and V channels depending on the color format). Each macroblock color plane is tiled into 4�4 pixel regions or blocks. Therefore, a macroblock is composed for the various color formats in the following manner for this exemplary encoder implementation:
Accordingly, after transform, a macroblock in this representative encoder 200/decoder 300 has three frequency sub bands: a DC sub band (DC macroblock), a low pass sub band (low pass macroblock), and a high pass sub band (high pass macroblock). In the representative system, the low pass and/or high pass sub bands are optional in the bitstream—these sub bands may be entirely dropped.
Further, the compressed data can be packed into the bitstream in one of two orderings: spatial order and frequency order. For the spatial order, different sub bands of the same macroblock within a tile are ordered together, and the resulting bitstream of each tile is written into one packet. For the frequency order, the same sub band from different macroblocks within a tile are grouped together, and thus the bitstream of a tile is written into three packets: a DC tile packet, a low pass tile packet, and a high pass tile packet. In addition, there may be other data layers.
Thus, for the representative system, an image is organized in the following "dimensions":
Spatial dimension: Frame→Tile→Macroblock;
Although the representative system organizes the compressed digital media data in spatial, frequency and channel dimensions, the flexible quantization approach described here can be applied in alternative encoder/decoder systems that organize their data along fewer, additional or other dimensions. For example, the flexible quantization approach can be applied to coding using a larger number of frequency bands, other format of color channels (e.g., YIQ, RGB, etc.), additional image channels (e.g., for stereo vision or other multiple camera arrays).
2. Desired Quantizer Scale Properties
The quantizer scale of a codec is a rule that governs the range of permissible choices for the quantization parameter (QP). Generally, only certain discrete values for the quantization parameters are allowed to be signaled in the compressed bitstream. The scale or range of permitted values of the QP for a codec desirably would have the following properties: (1) provides fine and meaningful control of quality and coded bitrate; (2) addresses the entire range of desired quality levels; (3) addresses the entire range of bit depths encountered; (4) is bit-efficient for signaling in the compressed bitstream; and (5) is computationally efficient, particularly in the dequantization process.
With respect to the first property, the range of permissible values for QP should have a sufficiently fine granularity such that any arbitrary bitrate (R) can be achieved to within a reasonably good degree of approximation (i.e., to within reasonable bounds). For example, the reasonable bounds might be that there exists a permissible quantization parameter in the scale that results in a coded bitrate no more than 10% from a desired target bitrate, across the entire range of bitrates supported by the encoder and digital media data. In other practical examples of reasonable bounds, if it is desired for an image to be stored in 1 MB of memory, there should be some quantization parameter in the scale that can compress the image between a desired reasonable bounds, such as 0.9 to 1.1 MB. Likewise, if it is desired that the peak signal to noise ratio (PSNR) of the compressed frame be 40 dB, then the scale should include some quantization parameter to produce a PSNR within a desired reasonable bound (e.g., 39.8 dB to 40.2 dB).
As for the second property, the QP should span a wide range of quality levels. A QP=1 should be permitted for a codec to allow lossless encoding of data. Sometimes, a QP<1 also may be necessary for certain codecs that do not use an invertible transform. On the other extreme, large QPs may be needed to allow for maximum compression (translating to lowest acceptable quality of signal). This problem is exacerbated by the range of data itself being large. For instance, image data may span anywhere between 1 bit per pixel channel, all the way to 16 bits per pixel channel, and more. In one extreme, QP=1 is required for lossless encoding. In the other extreme, QP>10000 may be desired to encode 16 bit per pixel channel data at a very low quality.
The above two properties could be met using a quantization scale that spans a large interval of integers or fractions. For instance, a 16 bit wide quantizer may be defined with 14 significant bits and 4 fractional bits. This 16 bit wide quantizer scale provides adequate flexibility across bitrates and quality/bitdepth levels. However, such quantizer scale is overkill in practice because the gradation would be overly fine at high QP values. For instance, there is practically no difference between the quantizer values: 10000.0, 10000.25 and 10000.5, or even 10100. The 16 bit wide quantizer scale design therefore would lead to redundancies in the signaling of QP.
However, a more severe issue than the signaling redundancy for the 16 bit wide quantizer design is that such fine quantizer scales are inefficient from a computational standpoint. The decoder implements dequantization, which as mentioned earlier, is essentially a multiplication step. For computational efficiency, it is desirable to keep the number of significant digits small in multiplication operations. For example, if a quantizer value of about 10000 is chosen to achieve a desired quality or bitrate, setting the QP instead to 0x2700 (equal to 9984) would reduce the significant bits to less than 8. If the next permissible QP choice on the scale were defined as 0x2800 (equal to 10240), it would be a meaningful yet fine step up from 0x2700. As compared to the 16 bit wide quantizer scale, the computational efficiency would be improved while also achieving the fine control over quality and bitrate property.
3. Harmonic Quantizer Scale
The above properties can be achieved through use of a harmonic quantizer scale. The term "harmonic" is used to denote the fact that quantizers in the scale are simple fractions of each other. In other words, the scale is a sequence of permissible QP values, where values in the scale are all related as simple fractions of each other.
In one example implementation of a harmonic quantizer scale, the scale of permissible QP values for a codec (e.g., the representative codec 200, 300 (
This formula meets the definition herein of a harmonic scale. It can be seen that if a certain QP=q is in the scale, then the scale also includes QP=2q (within the limits of a maximum limit of QP allowed for the codec implementation). Likewise, QP=q/2 also is in the scale (for q>31).
Due to the term
in the formula (1) defining the harmonic quantizer scale, the harmonic quantizer scale has the benefit of permitting a wide range of values for QP. Further, the harmonic scale provides a relatively even degree of rate and quality control across the entire range of permitted QP values. Due to the simplicity of the mantissa term (i.e., ((i mod 16)+16)) in the formula (1), the dequantization process is simply a multiplication by an integer between 16 and 31. The number of significant digits is minimized as compared to codec that use a logarithmic or geometric quantizer scale. Yet, with 16 discrete indices per octave of the harmonic scale, the formula provides a high degree of resolution.
In one exemplary codec implementing a harmonic quantizer scale based on this formula, the index value i is an integer ranging from 1 to as high as an upper limit of 240, which upper limit is chosen to provide control of quality and bitrate across the dynamic range of digital media data supported by the codec. More generally, the rule (1) defining the harmonic quantizer scale can be extended for alternative codec implementations to support a wider dynamic range data by allowing a larger range of the index i, including values less than 1 and over 240. The rule also can be extended for other codec implementations to permit different quality gradations by changing the periodicity of the mantissa in the formula. For instance, the mantissa may take on one of 32 values (as opposed to 1 of 16 defined in the formula (1)), or alternatively 1 in 12 or other number ratio. The exponents may be allowed to vary on the negative side as well, either obviating the denormal rule or moving it to a different part of the domain.
With reference to
4. Fractional QP Values and Scaled Arithmetic
The harmonic quantization scale also can be varied to permit fractional or scaled arithmetic. The representative codec 200, 300 defines two modes of quantization/dequantization operations—non-scaled and scaled. In the non-scaled mode, the harmonic quantizer scale defined in formula (1) is used. In the scaled mode of operation, QP is defined to be � of the rule defined by formula (1). In other words, the quantizer has two fractional bits. The max limit of the range of QP is reduced to 0x10000, but the scaled mode allows for finer QP adjustment at the low values. This is desirable for lossy encoding where the transform itself uses scaled or fixed point arithmetic for reducing the rounding error.
The mode of operation (non-scaled or scaled) is indicated with a bit in the bitstream (called the "no scaled flag"), which is sent in the header at the image plane of the compressed bitstream. This bit also indicates whether the transform uses non-scaled (purely integer) or scaled (fixed point integer) arithmetic.
5. Flexible Quantization
In the representative encoder/decoder, various quantization parameters (QP) chosen from the harmonic quantizer scale can be applied to separate partitions across the digital media using a flexible quantization technique.
As discussed above, the quantization operation is essentially a biased division by a quantization parameter QP which is performed at the encoder. The inverse quantization or multiplication operation is a multiplication by QP performed at the decoder. However, alternative implementations of the flexible quantization described herein can utilize other forms of quantization, including uniform and non-uniform, scalar or vector, with or without dead zone, etc. The quantization/inverse quantization processes together introduce a loss in the original transform coefficient data, which shows up as compression errors or artifacts in the decoded image. In a simplistic codec, a certain fixed value of QP can be applied to all transform coefficients in a frame. While this may be an acceptable solution in some cases, it has several deficiencies:
The human visual system is not equally sensitive to all frequencies, or to all spatial locations within a frame, or to all luminance and chrominance channels. Using different QP values for different coefficients may provide a visually superior encoding even with the same or smaller number of compressed bits. Likewise, other error metrics can be suitably optimized as well.
Rate control or the ability of an encoder to produce a compressed file of a desired size is not easy to perform with a single QP across the entire frame.
Ideally therefore, it should be possible to allow the encoder to vary QP across the image in an arbitrary manner. However, this means that the actual value of QP used for each data partition (macroblock/tile/channel/sub band, etc.) should be signaled in the bitstream. This leads to an enormous overhead just to carry the QP signaling information, making it unsuitable in practice. What is desired is a flexible yet bit-economic means of signaling QP, particularly for commonly encountered scenarios.
The flexible quantization technique provides the ability to vary quantization along various partitions or dimensions of the encoded digital media data. For example, one implementation of the flexible quantization technique in the representative encoder 200/decoder 300 system can vary quantization over three dimensions—over (i) spatial locations, (ii) frequency sub bands, and (iii) color channels. However, quantization can be varied over fewer, additional or other dimensions or partitions of the data in other alternative implementations of the flexible quantization technique. This technique also includes ways to efficiently signal the flexible quantization in the encoded media data. The benefit of this quantization approach is that the overhead incurred by quantization related side information is minimized for the primary usage scenarios, while allowing maximum flexibility if desired by the encoder.
The flexible quantization technique provides fine spatial granularity control of the quantization. In one particular implementation, the flexible quantization allows control over quantization applied to the frame, tile, or down to the macroblock. If the frame is not quantized uniformly, then each tile can be quantized uniformly; if a tile is not quantized uniformly, then each macroblock will be quantized differently.
The flexible quantization further allows quantization control along the frequency sub band dimension. In one particular implementation, the flexible quantization includes a sub band mode to specify a quantization relationship among frequency sub bands. The sub bands can be quantized uniformly, or partially uniformly (low pass sub band using DC sub band quantizer, and/or high pass sub band using low pass quantizer), or independently.
The flexible quantization also allows control over quantization applied along the channel dimension of the data. In one particular implementation, the flexible quantization includes a channel mode to specify a quantization relationship among color channels. The channels can be quantized uniformly, or partially uniformly (chrominance channels uniformly but luminance independently), or independently.
The flexible quantization described herein also provides techniques to efficiently signal in side information of the compressed digital media data, combinations of the above quantization control over spatial, frequency sub band and channel that are of significance to the primary usage scenarios. Further, the flexible quantization technique provides a way to efficiently define choice of quantizer by indexing from a defined subset of possible quantizers in the digital media data.
6. Flexible Quantization in the Spatial Dimension:
In the spatial dimension, three choices are provided by the flexible quantization technique in the representative encoder/decoder:
One means of signaling these possibilities is as follows: A binary signal is sent in the bitstream at the frame level indicating whether the first possibility is true. If not, a fixed length symbol is sent in the bitstream within each tile indicating the number of quantization rules used for this tile. If the tile uses more than 1 quantization rule, then a variable length symbol is sent within each macroblock within the corresponding tile that indicates the quantization rule used by the macroblock. The decoder interprets the bitstream in a manner consistent with the encoder.
The representative encoder 200/decoder 300 uses a variant of the above signaling. A binary signal, represented by a generic syntax element, herein labeled as "XXX_FRAME_UNIFORM," is only sent at the frame level (where XXX is a placeholder specifying the particular frequency sub band or channel dimension of quantizer control). At the tile level, the number of distinct quantizer rules is sent in a tile-level syntax element (XXX_QUANTIZERS) only when the frame level syntax element (XXX_FRAME_UNIFORM) is false. If this number is equal to 1, it means that there is only one rule and therefore all macroblocks within the tile are uniformly coded with the same quantization rule (indicating choice 2), and if not it indicates choice of the third possibility.
7. Flexible Quantization Across Frequency Bands:
For flexible quantization across frequency bands, the bitstream syntax of the representative encoder 200/decoder 300 defines two switches:
These switches are enabled at the frame layer when the entire frame uses the same quantization rule, or at the tile layer otherwise. These switches are not enabled at the macroblock layer. All macroblocks within a tile therefore obey the same rules across frequency bands. A binary symbol is sent for each of the switches at the appropriate (frame or tile) layer.
8. Flexible Quantization Across Image Channels:
For flexible quantization across channels, the bitstream syntax of the representative encoder 200/decoder 300 permits three choices:
9. Combinatorial Flexible Quantization:
The representative encoder 200/decoder 300 uses a bitstream syntax defined in the code tables shown in
Some salient features of the combinatorial quantization rules as defined in the syntax of the representative encoder/decoder are as follows.
DC quantization is not allowed to vary on a macroblock basis. This allows the differential coding of quantized DC values without having to do an inverse scaling operation. Coding the DC band of an image tile with a relatively small quantizer even when the AC (low pass and high pass) bands are coded with varying quantization does not appreciably affect the bit rate.
At one end of the scale, all transform coefficients within a frame use the same quantization parameter. At the other end of the scale, low pass and high pass quantization rules for all channels are allowed to vary independently for each macroblock of the tile/frame. The only restriction is that the number of distinct low pass and high pass quantizer rules (covering all channels) is each restricted to 16. Each such rule may specify independent values of quantization parameter for each channel.
Between these extremes, several combinations are permitted as specified by the syntax tables shown in
10. Indexing of Quantizer Parameters:
The specific quantization parameter (QP) in the representative encoder/decoder is based on the harmonic quantizer scale discussed above. An 8 bit value of a quantizer parameter index (QPI) corresponds to a value of QP according to the formula (1) above, which QP value can be relatively large. A second level of indexing is performed so that QPIs varying across macroblocks can be coded in an efficient manner.
More particularly, the encoder 200 can define a set in the bitstream containing between 1 and 16 QPI "vectors." Each QPI vector is composed of one or more QPI values, based on which XXX_CHANNEL_MODE is chosen. Such sets are defined for DC, low pass and high pass sub bands, based on the frequency band switch. Further, the DC set has only one QPI vector since only one DC quantizer is permissible in a tile-channel. The coding of these sets is defined in the tables shown in
As shown in the tables of
At the macroblock level, it is sufficient to send only the index QI of the desired QPI vector from within the QPI set. The tables in
11. Flexible Quantization Variations
The above description of the flexible quantization is specific to its implementation in a representative encoder and decoder, and syntax. However, the principles of this technique are extensible to other digital media compression systems and formats as well. For instance, the representative encoder/decoder has only three frequency sub bands (DC, low pass and high pass). But, more generally, alternative implementations of the flexible quantization can be extended in a straightforward manner to a multitude of frequency sub bands. Likewise, alternative flexible quantization implementations can vary the quantizer at finer spatial granularity, such as by sending quantization index (QI) information at the sub-macroblock (such as block) level. Many extensions to the underlying principles of the flexible quantization technique are possible within the same framework.
12. Compressed Domain Contrast Adjustment
The harmonic quantization scale described herein above also enables contrast adjustment of an image in the compressed domain. With QP chosen from a harmonic scale per rule (1) above and signaled by the index QI, the contrast of the image can be easily adjusted in the compressed domain itself by tweaking the QI values signaled in the bitstream. The transform coefficients themselves need not be altered. In this way, contrast adjustment can be accomplished without having to fully decode, adjust the contrast in the spatial/time domain, and re-encode the image. This is possible since the quantization index can be incremented or decremented across all the quantizer parameters for the various sub-bands and color channels.
In the representative encoder/decoder, the compressed domain contrast adjustment technique performs contrast adjustment by uniformly incrementing (or decrementing) the quantization index values encoded in the QPI vector sets of quantizers (tables shown in
Some additional adjustments may be needed if the mantissa parts of the various QPs vary by a large amount. Further, this simple rule does not apply in the denormal portion of the quantizer rule (1), i.e., for QI between 1 and 15 inclusive. However, for a large class of compressed images, the harmonic scale and fixed length signaling of QI provides a simple means of adjusting contrast in the compressed domain itself. This has the benefit of computational ease, and also minimizing re-encoding error.
13. Computing Environment
The above-described processing techniques for flexible quantization can be realized on any of a variety of digital media encoding and/or decoding systems, including among other examples, computers (of various form factors, including server, desktop, laptop, handheld, etc.); digital media recorders and players; image and video capture devices (such as cameras, scanners, etc.); communications equipment (such as telephones, mobile phones, conferencing equipment, etc.); display, printing or other presentation devices; and etc. The flexible quantization techniques can be implemented in hardware circuitry, in firmware controlling digital media processing hardware, as well as in communication software executing within a computer or other computing environment, such as shown in
With reference to
A computing environment may have additional features. For example, the computing environment (1500) includes storage (1540), one or more input devices (1550), one or more output devices (1560), and one or more communication connections (1570). An interconnection mechanism (not shown) such as a bus, controller, or network interconnects the components of the computing environment (1500). Typically, operating system software (not shown) provides an operating environment for other software executing in the computing environment (1500), and coordinates activities of the components of the computing environment (1500).
The storage (1540) may be removable or non-removable, and includes magnetic disks, magnetic tapes or cassettes, CD-ROMs, CD-RWs, DVDs, or any other medium which can be used to store information and which can be accessed within the computing environment (1500). The storage (1540) stores instructions for the software (1580) implementing the described digital media encoding/decoding with flexible quantization techniques.
The input device(s) (1550) may be a touch input device such as a keyboard, mouse, pen, or trackball, a voice input device, a scanning device, or another device that provides input to the computing environment (1500). For audio, the input device(s) (1550) may be a sound card or similar device that accepts audio input in analog or digital form from a microphone or microphone array, or a CD-ROM reader that provides audio samples to the computing environment. The output device(s)
(1560) may be a display, printer, speaker, CD-writer, or another device that provides output from the computing environment (1500).
The communication connection(s) (1570) enable communication over a communication medium to another computing entity. The communication medium conveys information such as computer-executable instructions, compressed audio or video information, or other data in a modulated data signal. A modulated data signal is a signal that has one or more of its characteristics set or changed in such a manner as to encode information in the signal. By way of example, and not limitation, communication media include wired or wireless techniques implemented with an electrical, optical, RF, infrared, acoustic, or other carrier.
The described digital media encoding/decoding with flexible quantization techniques herein can be described in the general context of computer-readable media. Computer-readable media are any available media that can be accessed within a computing environment. By way of example, and not limitation, with the computing environment (1500), computer-readable media include memory (1520), storage (1540), communication media, and combinations of any of the above.
The described digital media encoding/decoding with flexible quantization techniques herein can be described in the general context of computer-executable instructions, such as those included in program modules, being executed in a computing environment on a target real or virtual processor. Generally, program modules include routines, programs, libraries, objects, classes, components, data structures, etc. that perform particular tasks or implement particular abstract data types. The functionality of the program modules may be combined or split between program modules as desired in various embodiments. Computer-executable instructions for program modules may be executed within a local or distributed computing environment.
For the sake of presentation, the detailed description uses terms like "determine," "generate," "adjust," and "apply" to describe computer operations in a computing environment. These terms are high-level abstractions for operations performed by a computer, and should not be confused with acts performed by a human being. The actual computer operations corresponding to these terms vary depending on implementation.
In view of the many possible embodiments to which the principles of our invention may be applied, we claim as our invention all such embodiments as may come within the scope and spirit of the following claims and equivalents thereto.
Patent Citations
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Stay Safe Solutions of Sacramento has purchased the document shredding and recycling businesses PRIDE Industries. Since PRIDE is a non-profit I hope the proceeds go to their charitable mission. The acquisition is part of Stay Safe's aggressive growth strategy.
ID Theft Alerts
A monthly email update on identity theft and personal privacy.

subset: commoncrawl


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Cheap DMK to Kansas City flights
Popular Flights from Bangkok, Thailand
Top Bangkok Flights to US Destinations
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Browse the most popular airlines servicing the Kansas City (MCI) airport. Visit their flights pages to learn more about the most popular routes these carriers fly.


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hi, i installed SL 10.6.8 on my hp 8730w notebook with nvidia quadro fx2700 and everything works (updated with the official nvidia drivers, also i installed cuda drivers) except it doesn't recognize my second monitor attached to the hdmi port. is there any fix for that?
second monitor not recognized in SL (dual screen)
Started by zooliat, Oct 28 2011 07:41 AM
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Hamilton paramedic arrested for inappropriate contact with minor
Timothy M. Ward, 31, of Sterling, is charged with indecent liberties with a child by a person in a custodial or supervisory relationship and use of a communication device to solicit a child.
Ward, a lieutenant at the Hamilton Volunteer Rescue Squad and a volunteer paramedic with the Sterling Rescue Squad, is being held at the Loudoun Adult Detention Center on no bond.
The Loudoun County Sheriff's Office is not releasing any other information about the case at this time to help protect the identify of the child, according to a statement released earlier today.
Top / Public Safety / Eastern Loudoun / Sterling / Western Loudoun / Hamilton /


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Career Information for a Degree in Graphic Communications
Degree programs for graphic communications cover all aspects of visual design, including marketing and art. Explore the requirements of a degree in graphic communications and learn about career options, job growth, and salary info for graphic communications graduates.
Essential Information
A degree in graphic communications prepares students to work as graphic designers, production managers or even publishing specialists. Programs in graphic communications generally lead to an associate's or bachelor's degree. Students learn the artistic and technological skills they need to work as page designers or related roles. Some bachelor's degree programs and most graduate-level courses in graphic communications prepare students for higher-level work, usually in the field of management.
Specific subjects include production techniques, color theory and computer-generated imagery. Among many other potential job titles, graduates might become graphic designers, print supervisors or desktop publishers. Entry-level positions in graphic communications require little prior education, so a degree in graphic communications may help job candidates stand out from the competition.
|Graphic Designer
|Print Supervisor
|Desktop Publisher
|Education Requirements
|Bachelor's degree in Graphic Design
|Postsecondary nondegree award
|Associate's degree or Postsecondary nondegree award
|Projected Job Growth (2012-2022)*
|Median Salary*
|$45,900 (2014)
|$55,520 for all first-line supervisors of production and operating workers (2014)
|$37,040 (2012)
Source: *U.S. Bureau of Labor Statistics
Career Options
Through postsecondary nondegree programs or 4-year programs in graphic communications, students will find they are prepared for a number of jobs that deal with media management and publishing. Below are some examples of career options that utilize skills in graphic communications.
Graphic Designers
Graphic designers work for advertising firms, publishing companies, consulting firms and design companies. Many are also self-employed. They use visual media to create designs and layouts that communicate a message or inform an audience about an idea, product or concept. Many graphic designers are employed on the Web, but many others work to create printed products such as magazine layouts, brochures and posters.
According to the U.S. Bureau of Labor Statistics (BLS), graphic designers with computer and multimedia animation skills are likely to see slower than average employment growth between 2012 and 2022, at a rate of 7%. The median annual salary in this field was $45,900 as of 2014 (www.bls.gov).
Print Supervisors
Printed media includes items like books and magazines, but also advertisements, posters and clothing. The technological skills that a graphic communications program covers can prepare graduates for a job as a bindery worker or print technician, though this level of education may qualify individuals to obtain management positions. Coordinating complex print operations requires organizing not only projects, but also the people who complete those tasks. According to the job-search website, www.payscale.com, the median annual wage for printing supervisors is $47,884 as of 2014.
Desktop Publishers
Desktop publishers use specialized programs like Adobe InDesign and Microsoft Publisher to format and design pages for publication, printing or other uses. Although many desktop publishers work for publications, other types of organizations - from advertising firms to nonprofit companies - also hire desktop publishers to create newsletters, brochures, reports, advertisements and other print or electronic media products.
The BLS expects career opportunities in this field to decline 5% between 2012 and 2022 because of the ease with which a non-professional can accomplish desktop publishing tasks. The median annual salary for desktop publishers as of 2012 was $37,040.
Related to Career Information for a Degree in Graphic Communications
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text: Posted 19 Nov 2012 · Report post Wow, really? I feel for you guys but crying? [quote][color=#393939][font=Arial][size=4][background=rgb(255, 255, 255)] The [b]Carolina Panthers[/b] suffered a heartbreaking loss to the Tampa Bay Buccaneers on Sunday that was so crushing it reportedly moved one of the team's players to tears.[/background][/size][/font][/color] [color=#393939][font=Arial][size=4][background=rgb(255, 255, 255)] According to Joe Person of The Charlotte Observer, Panthers linebacker [b]Thomas Davis[/b] cried while talking about the team's loss. "Thomas Davis brought tears in describing the Panthers' latest loss," [url="https://twitter.com/josephperson/statuses/270288538787016704"]Person tweeted[/url].[/background][/size][/font][/color][color=#393939][font=Arial][size=4][background=rgb(255, 255, 255)] It's easy to see why Davis was so disappointed after the loss. The Panthers were up 21-10 with six minutes left and blew the lead. The defense allowed Tampa Bay to drive 80 yards in 50 seconds for a touchdown to make it 21-19 Panthers. Carolina also allowed to a two-point conversion to tie the game and send it to overtime, and then they allowed the Bucs to go 80 yards for a winning touchdown in overtime.[/background][/size][/font][/color][color=#393939][font=Arial][size=4][background=rgb(255, 255, 255)] Davis, who had a team-high 16 tackles, was penalized 15 yards on a questionable unnecessary roughness call during the tying drive. He also forced a fumble on a goal-line stand in the fourth quarter.[/background][/size][/font][/color][color=#393939][font=Arial][size=4][background=rgb(255, 255, 255)] At 2-8, there is no doubt many Panthers fans are crying along with Davis. At least he didn't [url="http://larrybrownsports.com/football/cam-newton-held-up-team-bus-sulking/156370"]hold up the team bus[/url] with his crying.[/quote] http://msn.foxsports.com/lacesout/loss-moves-panthers-lb-to-tears/#more-1400 [img]http://www.abload.de/img/untitled-3648oxm.gif[/img][/background][/size][/font][/color] 1 person likes this Share this post Link to post Share on other sites


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Listen: Pulp Release Studio Version of 'After You'
Written by Mike Hohnen on 2nd January, 2013
Though technically After You isn't a previously unheard track, Pulp fans can now experience the tune in an unheard quality. On Christmas, the band released the studio version of the tune, which featured on the 2001 album We Love Life.
Even though it was released, back in the day the track existed purely as a demo. LCD Soundsystem's very own James Murphy was at the helm during production, breathing a lot of new life into the track.
Though the band broke up many years ago, they have returned to the live setting, playing shows as recently as July of this year and SS Coachella in Jamaica on December 19. We Love Life marked the last studio effort offered to fans, but hey, maybe they caught the bug again after re-recording this little ditty.
Pulp released the track at one minute past midnight on Christmas Day. As reported, they really know how to treat their fans. Take a little bo-peep below.
(Photo By: Ashley Mar)
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18u A SOUTHERN ATTACK seeks strong starting pitchers. UNIFORMS AND TOURNAMENT FEES ARE PAID FOR BY OUR SPONSORS. We play College exposure and ASA tournaments including in Murfreesboro, Chattanooga, and Atlanta.We are also looking for a strong utility player (outfield/infield) with a strong bat. Contact coach torres at 865-680-8500 or email at firstname.lastname@example.com
Pitchers can come from any state:must be a srong pitcher: can be 16, 17, or 18 yrs old.
contact coach torres 865-680-8500
Still need a strong pitcher. Utility player position has been filled.
Pitcher must be able to travel to exposure games in Murfreesboro, Chattanooga, and Atlanta. Call or email me for a private tryout. Thanks
Coach Torres


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Introduction | Science | Tools | Partners
Achim Steiner: Seal the Deal appeal
Up in Smoke by Adam Wakeling
Filmed over 4 years in Honduras and the UK, the film follows British scientist Mike Hands, who has laboured for 25 years to perfect a sustainable farming technique to replace slash and burn farming in equatorial rainforests. This technique could save more carbon emissions annually than all global transport combined. It is a film about one of the biggest contributors to tropical deforestation and global warming: slash and burn agriculture.
Achim Steiner: Message to ITESM University
Achim Steiner:Message to UECO Institute - Brussels
From Fire To Flowers
"Combating climate change while simultaneously getting energy to the two billion people without access to it are among the central challenges of this generation. Geothermal is 100 per cent indigenous, environmentally-friendly and a technology that has been under-utilized for too long.." Achim Steiner, UNEP Executive Director
Climate Change - Call to Action
Heating Up The Renewable Energy Debate
Global Fuel Economy Initiative - 50 by 50 Campaign
The Global Fuel Economy Initiative: Clean Tech in Action - Improving vehicle efficiency is one of the most cost effective ways to reduce greenhouse gas emissions. Vehicle efficiency improvements could cap CO2 emissions from cars at current levels, even if kilometers driven double by 2050.
Achim Steiner: Aviation and the Environment
'Combating climate change while simultaneously getting energy to the two billion people without access to it are among the central challenges of this generation. Geothermal is 100 per cent indigenous, environmentally-friendly and a technology that has been under-utilized for too long.' Achim Steiner, UNEP Executive Director
Think Globally Act Locally
Buildings and Climate Change
Banking on Africa's Green Economy - Nuru Designs
The solar and pedal-powered rechargeable LED lights produced by Nuru Designs are transforming life in rural Rwanda, by enabling children to study, home-based businesses to operate, and households to function after dark, as well as reducing emissions. The African Carbon Asset Development Facility (ACAD)
Achim Steiner: The 30 Ways in 30 Days Initiative
UNEP's 30 case studies prove that solutions to combat Climate Change are available, accessible and replicable.
The Polar Explorer
Mark Terry's new climate change documentary reports on new scientific discoveries made at both poles – the Arctic and the Antarctic. Expeditions made by the British Antarctic Survey and ArcticNet were filmed in October 2010 to provide the most current findings.
Protectedplanet.net: Interactive Website on Protected Areas
UNEP has joined forces with the International Union for the Conservation of Nature (IUCN) to create protectedplanet.net – an interactive, social media-based website that provides in-depth information on both the leading lights and hidden gems of the conservation world. Using the latest satellite images, users can pinpoint individual protected areas – such as national parks or marine reserves - and zoom in for information on endangered species, native plant life or types of terrain.
Union of Green - Climate change
The need to change our production model is more urgent and more evident than ever before. While international agreements against climate change are being discussed, one of the keys to changing habits in the workplace will be the involvement of trade unions around the world.
Little hands can make a difference
The Big Help Environment Campaign introduces a series of environmentally themed programmes and activities to empower kids around the world to take action for the environment by connecting them to energy-saving, earthfriendly activities in their everyday lives.
Greening the Blue
The UN system is collectively developing a climate-neutral approach for its premises and operations... Flip and Norma do their best to be more sustainable at work, resulting in some practical - and some less practical - solutions
Africa Water Atlas
Africa Water Resources Atlas: challenges and opportunities - combines visual time series imagery to visually show how climate change threatens the fresh water resources on the African continent. Using satellite pictures taken over long periods of time, the atlas now makes it possible for us to see changes that we were not able to see just 10 to 20 years ago. In addition, complex scientific studies accumulated over numbers of years is now presented in a user friendly form that all can under
Chinese Painting Competition Wrap Up


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News from WTOP
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Mike Causey
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- Agency of the Month
- Business of Government Hour
- The CFO Agenda: Delivering value from financial transparency and audit efforts in the public and private sector
- Cloud-Driven Data Insights in Government
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- Disaster Resilience for America
- Federal News Countdown
- Government Perspectives on Mobility and the Cloud
- Reducing Risk in the Cloud
- Reimagining the Next Generation of Government
Shows & Panels
- AFCEA Answers
- American Readiness: Renewable Power and Efficiency Technologies
- Ask the CIO
- The Business Case for Cloud Computing in Government
- Cloud-Driven Data Insights in Government
- Connecting the Dots: Digital Authentication in Government
- Cybersecurity Game Changer: Real-Time Event Processing in Government
- Data-Centric Approaches to Government in the Cloud
- Delivering the Digital Government Mission
- Federal Executive Forum
- Federal News Radio's National Cyber Security Awareness Month Special Panel Discussion
- Federal Tech Talk
- The Future of Government Data Centers
- Government Perspectives on Mobility and the Cloud
- Industrialized, Interoperable and Insight-driven Federal Health Panel
- Innovation and Tech Superiority through Acquisition Reform
- Mitigating Insider Threats in Virtual & Cloud Environments
- Moving Agency Applications to the Cloud with PaaS
- Reducing Risk in the Cloud
- Security in the Age of Targeted Attacks
- Air Traffic Management Transformation Report
- The Business of Cloud
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- Cloud-Driven Data Insights in Government
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- On DoD
- Pentagon Solutions
- Reducing Risk in the Cloud
- Reimagining the Next Generation of Government
- Transforming Business Operations at the Defense Department
Justice Dept about to close probes of 2 detainees
Thursday - 2/2/2012, 10:55pm EST
WASHINGTON (AP) - Attorney General Eric Holder says the Justice Department is preparing to close investigations into the deaths of two detainees while in CIA custody, marking the final chapter in a controversial review by the Obama administration into treatment of terrorism suspects during the George W. Bush administration.
Federal prosecutor John Durham has been looking at the deaths of Gul Rahman and Manadel al-Jamadi. Rahman died after being shackled to a cold concrete wall in a secret CIA prison in Kabul, Afghanistan. Al-Jamadi died in 2003 at the Abu Ghraib prison in Iraq.
Holder made the comment at a House committee hearing Thursday.
He didn't say whether or not charges would be brought. Holder said things during the interrogations were antithetical to American values and resulted in the death of certain people.
(Copyright 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


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Carlo Ancelotti admits AC Milan must be at their very best if they're to test Inter in today's derby.
"It is our duty and desire to close the gap. We need a perfect performance, because Inter are so strong that if you do not play to your best then you risk humiliation," said the Rossoneri coach.
"At this moment the Nerazzurri have a few injury problems in midfield, but they manage to cover that with a formidable defence and attack.
"Perhaps Inter do have some weak points, but they are very good at hiding them. The atmosphere of a derby is always wonderful and it's great to go head-to-head like this."
The stars of the show are set to be Zlatan Ibrahimovic and Ballon d'Or and FIFA World Player of the Year Kaka.
"Both Ibra and Kaka have a profound impact on the success of their teams. Will Inter use a trident attack? I don't know, but Milan always field three forwards."


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Do you think it's a bad idea to fly there and bring my baby?
Any advice on what to say to her? I told her that our Heavenly Father has a plan for everyone, but just want to ask for advice.
Was she pg or how old was the baby?
I definitely wouldn't fly out there, especially with a baby, without asking her first. She may not want you physically there. That's how one of my BFFs was. She wanted people to know and be an emotional support, but she wanted the time alone with her DH to grieve and just try to understand things on their own. So I know that you think it may be helpful, but make sure it would be what *she* wants. Especially with the baby. I had a HARD time around babies after my first M/C.
~Chelle - mama to 3 amazing boys!!
Bubba (6), Buzz (5), and Bug (3)
"I'm not single; I'm romantically challenged."
Yeah - don't say any of the things that well meaning people say to try to be comforting... they are not comforting AT ALL...
"everything happens for a reason"
"heavenly father has a plan for you"
"you can always have more children"
"I understand how you feel" (unless you've actually experienced the same thing - then this one is ok)
etc., etc.
Basically anything that is trying to "fix the hurt." Nothing can fix the hurt. It just has to hurt. Trying to fix it feels like trying to say it shouldn't hurt.
I do not feel obliged to believe that the same God who has endowed us with sense, reason, and intellect has intended us to forgo their use. -Galileo
Mommy to 2 puppies & J 8/10, ^*^ Oct 2011, E 9/24/12, E 1/9/14
Personally, I wouldn't go out there with my baby. My sister found out she was pregnant the day after my D&E and it was a sore subject the entire pregnancy.
So sorry :( Just tell her that you are a phone call away if she ever needs to talk.
Mom to Justin (11) Jake (7) and 4 angels, 3/00, 9/03, 10/08 and 9/10 "My Girls In Heaven"


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African Red Tea Bars
African Red Tea Imports offers a chai flavored Rooibos. The flavored Rooibos gives consumers the option to enjoy Rooibos flavored with hints of ginger, cinnamon, and cardamom (I can t verify all the ingredients, but that s what I m detecting). You get all the benefits of an organic kosher Rooibos with the flavoring of a classic chai. I found the beverage to be good without any additives. If you d like, I m sure a little touch of your favorite sweetener would give it an extra buzz. The popular South African herbal known as Red Tea can be found in hundreds of different flavors. Since many tea drinkers and coffee shop tea drinkers know what a Chai is, they ll most likely relate to this Rooibos. Rooibos is naturally decaffianated and loaded with antioxidants. Since I m trying to rid of a sore throat, Rooibos is the perfect answer for relaxing in the evenings. The chai flavored Rooibos helped to soothe my throat without the caffeine.
About African Red Tea Imports Studies conducted at the institute for the science of aging at aichi medical university in japan showed red tea to contain super oxide dismutase (sod), an outstanding antioxidant and prime fighter for free radical damage. As a result of their studies, they termed red tea an anti-aging beverage , which can significantly counter the aging process. It has been prescribed for mild depression, nervous tension, digestive problems, and insomnia. Minerals in red tea include iron, potassium, calcium, copper, zinc, magnesium, fluoride, manganese, sodium, and is also rich in the flavonol quercetin, known to increase capillary strength.
Your Price: $5.97


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Anderson Spider Silva UFC fighter and SpikeTV's "World Most Dangerous Man," talks with Comedian David Feingold aka Fat Jewish Guy from fatjewishguy.com at the SpikeTV awards. watch video >>
Chael Sonnen vs. Anderson Silva, leading up to UFC 117 on Saturday, Aug. 7th on Pay Per View. watch video >>
Anderson Silva is the greatest fighter in UFC history, and Chael Sonnen almost beat him. Will he be able to pull of the upset this time and snatch the belt from the long-reigning champ? watch video >>
Will Anderson Silva be the first fighter to finish Stephan Bonnar? Can Bonnar achieve one of the greatest upsets in the history of the UFC? Find out tomorrow night at UFC 153 - Live on Pay-Per-View a watch video >>
UFC president Dana White says that he believes that the middleweight champion Anderson Silva is the greatest fighter ever in all combat sports, even greater than Mike Tyson when he was in his prime. watch video >>
UFC From All Angles goes behind-the-scenes to capture all of the skill, intelligence and intangible abilities of the greatest UFC fighter of all-time, Anderson 'The Spider' Silva. In this FUEL TV spe watch video >>
Anderson Silva is the greatest fighter to ever perform in the Octagon; Chris Weidman is the perfect man to end his reign. Watch what happens Saturday night at UFC 162: Silva vs. Weidman. watch video >>
http://www.MMAWeekly.com -- At the first stop of the UFC World Tour 2013 in Las Vegas, UFC welterweight champion Georges St-Pierre sat and answered questions with the media. Fans turned out in drove watch video >>


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Ohio Secretary of State certifies health care ballot measure
July 26, 2011
COLUMBUS, Ohio: It appears that the Ohio statewide ballot will feature a trifecta of ballot measures. Before the July 26, 2011 deadline could arrive, the Ohio Secretary of State certified the proposed health care amendment for the 2011 ballot, rounding out what appears to be the final ballot measure lineup.[1]
Previously, supporters had until July 6, 2011 to collect the 385,245 signatures from registered voters that are required for an initiated constitutional amendment to obtain ballot access. This number represents 10% of the votes cast for governor in the most recent election. In addition, signatures must be gathered from 44 of Ohio's 88 counties.
Reports confirmed that health care amendment supporters filed approximately 546,000 signatures by the petition drive deadline, more than the required number needed to make the ballot.
Originally the measure was proposed for the November 2, 2010 statewide ballot, however, days prior to the petition drive deadline supporters announced that they failed to collect sufficient signatures for 2010.
The two other measures set in stone for voters to decide are the Senate Bill 5 veto referendum and the judicial office age amendment, which would increase the maximum age a judge in the state could serve his or her position.
See also
- Ohio Healthcare Amendment (2011)
- Ohio 2011 ballot measures
- 2011 ballot measures
- Laws governing the initiative process in Ohio
- List of Ohio ballot measures
- Ohio Legislature


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Originated From
AOL Search
I'm answering this for my 86 yr. old mother,she doesn't have email or hear well enough to handle this case on the phone. Dispute # OE51524. This goes back to last year.2013. The date was Aug.16 2013 and it was from GOOD ON YA[ Beauty supplies/acc].First she was charged twice for the product and then that was cleared up. Now this year since this product has a 100% guarantee { and didn't work as promised }she told them she wanted her money back. She didn't give them much time to take care of this problem she called you people. A copy of the guarantee was sent to you . Thank you Ron Shirk
Other people asked questions on similar topics, check out the answers they received:
Other people asked questions on various topics, and are still waiting for answer. Would be great if you can take a sec and answer them


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Pronunciation: 觅食
Added on: 2010-11-08 Listened: 17 timesin: verb
Pronunciation in Cantonese [yue]
- Pronunciation by CPEG (Male from Hong Kong)
0 votes
Could you do it better? different accent? Pronounce 觅食 in Cantonese
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How to get nForce ethernet working with Yoper?
I downloaded the source tar file for the nForce drivers, but they don't install without error. Anyone had any luck? What did you have to do?
try a more supported distro of Linux.
The problems with rh81 betas and NVIDIA's OpenGL are due
to rh81 beta using glibc 2.3.
I need some new Nvidia drivers.
believe me mang, we all need new drivers. I completely gave up on the 4191 version and went back to 3123. Also instead of using the latest and greatest version of linux, you should stick to tried Tested and true versions. It will save you a ton of headache's. I suggest RH8, it works flawlessly for me.
Using the "latest and greatest version of linux" is what makes it fun for me. Using old versions is just stale and boring. I have to be on the cutting edge all the time.
fair enough. to each his own. :D
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California Governor Edmund Brown, Jr., recently declared a state of emergency for the City and ?County of San Francisco. The City and County of San Francisco and the San Francisco Public ?Utilities Commission had previously declared their own states of emergency and requested that ?Governor Brown do the same. The reason: wildfires threatening critical electric infrastructure that ?provides service to San Francisco. (These are the same wildfires threatening Yosemite National ?Park). Transmission lines and two of the three hydropower facilities serving San Francisco have ?been shut down as a result of the wildfires, which are threatening San Francisco's electricity ?supply. As a result of the declaration, San Francisco is authorized to spend $600,000 to purchase ?electricity on the open market.?
To date, the most widely publicized natural disaster threats to grid interruptions have been ?hurricanes (and superstorms), tornadoes and earthquakes. Now, add wildfires to that list.
One measure to defend critical infrastructure from an interruption of the electric grid is a ?microgrid. Microgrids protect against grid instability by being able to island electric usage in a ?defined area off from the grid using on-site generation and storage capabilities. The Southwest ?doesn't have many earthquakes or hurricanes, but it does have wildfires. Given the recent history ?of wildfires in Arizona and Colorado, it is likely that the Southwest's electric infrastructure, too, ?will be endangered by wildfires. Municipalities and users of critical infrastructure should look ?into microgrids as a mechanism to keep the power flowing in the face of a threat to the electric ?grid by a wildfire or another unforeseen grid interruption.
DISCLAIMER: Because of the generality of this update, the information provided herein may not be applicable in all situations and should not be acted upon without specific legal advice based on particular situations.
© Lewis Roca Rothgerber
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Game On for Online 'Jeopardy!' Tests
LOS ANGELES — What is the online contestant test, Alex? The answer is, the innovative method "Jeopardy!" has devised for potential participants to take the first step toward appearing on the long-running game show.
Fans will be able to take the 50-question preliminary general knowledge exam online from March 28-30 at http://www.jeopardy.com/onlinetest. Each day is designated for a specific time zone and will get different questions from the other two.
"Jeopardy!" executive producer Harry Friedman said the contestant coordinators evaluate more than 25,000 hopefuls every year. About 400 of those get to sign their name on the podium's screen as an actual contestant.
This new secure online testing method will reach out far beyond the cities his team can visit in person. It also will be more convenient and less intimidating, Friedman said.
"Our online testing process allows our many viewers the opportunity to take the test from their very own computer, at home, at the office — virtually anywhere," he said.
Cheating is theoretically possible, but it won't do much good. Those who pass the online test and are selected for an interview will have to travel to one of the in-person auditions and pass another test with proctors watching over them.
Fans must preregister and supply basic information, after which they receive a specific time during which they must log in and answer the questions.
Reuters/Hollywood Reporter


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Colten Moore wins gold, year after brother died at X Games
ASPEN, Colo. — Snowmobiler Colten Moore reached toward the sky and stuck three fingers into the air on one hand and his index finger up on the other. That number...
or email firstname.lastname@example.com
Published: January 24, 2014 | 11:07am
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text:
Newsweek's Scores
- Movies
For 898 reviews, this publication has graded:
60% higher than the average critic
3% same as the average critic
37% lower than the average critic
On average, this publication grades 6.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
|Highest review score:
|Out of Sight
|Lowest review score:
|Meet Joe Black
Score distribution:
Positive: 578 out of 898
Mixed: 253 out of 898
Negative: 67 out of 898
898 movie reviews
Infused with the bleak romanticism of Melville's gangster movies ("Le Samouraï," "Bob le Flambeur"), and deepened by his own experiences in the Resistance, this hard-bitten tribute to freedom fighters makes most current movies look flabby and undisciplined. Don't miss it.
It's one of the richest movie experiences of the year, a spellbinding American epic that holds you firmly in its grip for nearly three hours.
- Newsweek
- Posted May 22, 2014
- Read full review
A film as rich as a sauce béarnaise, as refreshing as a raspberry sorbet.
Once again, the Pixar wizards have pushed the animation envelope in unexpected directions and come up with a winner. Wondrously inventive, funny and poignant, WALL*E is part sci-fi adventure, part cautionary fable, part satire and part love story, which may be the best and most improbable part of all.
In Sideways, Payne has created four of the most lived-in, indelible characters in recent American movies. This deliciously bittersweet movie makes magic out of the quotidian.
The second installment was better than the first, and this one is best of all. It has spectacular action scenes and imaginary creatures, and it's by far the most moving chapter. The performances have deepened.
At once elegant and sublimely silly, contemplative and gung-ho, balletic and bubble-gum, a rousing action film and an epic love story, Crouching Tiger, Hidden Dragon is one bursting-at-the-seams holiday gift, beautifully wrapped by the ever-surprising Ang Lee.
- Newsweek
Days of Heaven is a big advance, hauntingly beautiful in image, sound and rhythm, unashamedly poetic, brimming with sweetness and bitterness, darkness and light. [18 Sept. 1978, p.97]
Reviewed by
Jack Kroll
Posted Mar 12, 2013
- Newsweek
- Reviewed by
One of the year's best: a rich, funny, enormously humane portrait of a middle-class Taipei family in the throes of romantic, economic and spiritual upheaval.
Schnabel, screenwriter Ronald Harwood and Spielberg's great cinematographer Janusz Kaminski have found a way to take us inside Bauby's mind--his memories, his fantasies, his loves and lusts--transforming a story of physical entrapment and spiritual renewal into exhilarating images.
There Will Be Blood is ferocious, and it will be championed and attacked with an equal ferocity. When the dust settles, we may look back on it as some kind of obsessed classic.
The Movie Works. It has real passion, real emotion, real terror, and a tactile sense of evil that is missing in that other current movie dealing with wizards, wonders and wickedness.
A tad dark for little kids, this one-of-a-kind movie delivers 80 minutes of idiosyncratic inspiration.
Marvelous, and surprisingly intimate.
- Critic Score
The images of war that Folman and his chief illustrator, David Polonsky, conjure up have a feverish, infernal beauty. Dreams and reality jumble together.
The results are wondrous, wrenching and crazily funny to behold.
You have to pay close attention to follow the double-crossing intricacies of the plot, but the reward for your work is dark and dirty fun.
Brings history to life with an uncanny sense of realism.
Filled with delicious backstage drama, and superb actors reveling in the opportunity to play their 19th-century counterparts.
I don't know how a movie this original got made today, but thank God for wonderful aberrations.
- Newsweek
The vocal performances are a blast, Hunter's and Lee's in particular. The animation of the villain's tropical isle is stunning.
- Critic Score
A painfully funny movie. There's nothing in the history of movie courtship quite like the first meeting between Pekar and his future wife and fellow depressive, Joyce Brabner.
A miraculous movie. It will rattle both your head and heart
- Critic Score
It's not to be missed in any language. In a year that has given us such marvelous animated movies as "Ratatouille" and "Paprika," this vibrant, sly and moving personal odyssey takes pride of place.
Their (Murray/Johansson) brief, wondrous encounter is the soul of this subtle, funny, melancholy film.
Smart, generous, as subtle as it is expansive, this is storytelling of a rare order. Six hours may seem like a big investment, but the emotional pay-back is beyond price.
It's hard to believe this is von Donnersmarck's first feature. His storytelling gifts have the novelistic richness of a seasoned master. The accelerating plot twists are more than just clever surprises; they reverberate with deep and painful ironies, creating both suspense and an emotional impact all the more powerful because it creeps up so quietly.
This is comedy from the danger zone, and it will genuinely offend some folks who feel certain subjects are not to be laughed at. They'd best stay at home. Fans should be warned as well: Borat can make you laugh so hard it hurts.
It's unprecedented, a sorrowful and savagely beautiful elegy that can stand in the company of the greatest antiwar movies.
In the hearts of losers, Zwigoff's found a real winner.
- Critic Score
Top Trailers
- 2:11
- (16445 views)
- 1:03
- (13935 views)
- 2:36
- (9650 views)


text:
Research Output for C Guest
Note: The 2012, 2013, 2014, 2015 publications have not been audited.
Jump to: Publications | Grants and Consultancies | HDR completions
C Guest may be from another institution or only recently joined Deakin University.
1995 External
Rowley, K., Guest, C.* and O'Dea, K. (1995) Hypertension and Cardiovascular Disease in Australian Aborigines, High Blood Press, vol. 0, no. 0, pp. 60-66, High Blood Pressure & Cardiovascular Prevention, Milan [C1]
ERA journal ID: Not matching ERA journal list
no DRO entry yet for this publication
Grants and Consultancies
All years
Research Income - National Competitive Grants
O`Dea, K, Best, J*, Mills, P* and Guest, C*. Obesity, Diabetes, and Cardiovascular Diseases in Aborigines and Torres Strait Islanders, National Health & Medical Research Council-PHRDC-Program Grant [T]
- 1997: $230,704
- 1996: $222,765
- 1995: $195,883
Higher Degree by Research Completions supervised by C Guest
No completions found or audited.
- Legend:
- * Not a member of Deakin University at time of output.
DRO to publications collection last synchronised: Friday 22nd May 2015 10:04pm


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NORFOLK 134 officers and sailors leftNorfolk Tuesday afternoon as their submarine deployed.
The Los Angeles fast-attack submarine USS Boise is going on a regularly-scheduled six-month deployment.
The sub will be on duty in the European Command area of responsibility, which includes all of Europe, large portions of Asia, parts of the Middle East and the Arctic and Atlantic Oceans. The command is responsible for U.S. military relations with NATO and 51 countries on two continents with a total population of close to a billion people.


text:
Edwards off his feet with enthusiasm
|01.27.09 at 9:08 pm ET
Though this blogger didn't witness it, we have a couple of reliable reports that NESN play-by-play announcer Jack Edwards got a little "overexcited"after Savard's game-tying goal in the second period, and — as a result — ended up on his back in the ninth floor press box at the Garden. Edwards, given the night off with Versus broadcasting the game, executed a double-fist pump and then went to high-five NESN sideline report Naoko Funayama following Savard's power play strike. As he enthusiastically rose from his chair, Edwards tripped over something and tumbled to the ground while shaking his fists in exultation.
Classic Edwards.
We can only imagine what he might have said on the air if he was actually broadcasting the game…perhaps something about stumbling into Wayne Gretzky's office.
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Tampa Bay Lightning at Florida Panthers
Wed, Dec 26, 2012 7:30 pm
BB&T Center (Formerly BankAtlantic Center), Sunrise, FL
Sorry, this event is no longer active. Please see similar events below.
|Tweet | State Guides | Gift Certificates | Policies | Blog | About Us | TicketMasters sold out |


text:
Oh, Mike, you might have been winning $1,400 on Jeopardy and wearing a nerdy sweater vest, but you're not fooling anybody. After your appearance on the popular trivia show, we can only assume what kind of weird stuff you're into.
When the question "A blow to the back of the neck is the punch named for this animal," Mike promptly buzzed in and answered with "What is a donkey." Oh, Mike. You and your dirty mind just made our Monday night a little funnier. While his risque response technically was not wrong, it wasn't the answer the folks at Jeopardy were looking for. Still don't get it? Well, then, just click here.
For those keeping tabs at home, the correct answer was rabbit punch.
While a contained chuckle can be heard from Alex Trebek, it amazes us he didn't laugh harder.
Watch the video below:
And since we assume you're a sucker for nationally televised sexual jokes, just like we are, here's a clip from an old Jeopardy episode where someone answered, "What is a threesome." (That was also the wrong answer).


text:
The 12 contestants through to the X Factor live finals have been revealed and we can now report the list in full with a little help from a few lookalikes.
Gary picked Melanie Masson, Carolynne Poole and Kye Sonnes to represent the Over 28s this year.
Melanie stood out from her first audition, however, we are still convinced she may be the secret love child of Nicola Roberts and Mick Hucknall.
We are still expecting Mick Hucknall to pop up and demand a DNA test. Copyright: [wenn]
Melanie told us in an exclusive interview that she really does think this is her last chance and we think she could quickly turn out to be one of the favourites.
For Carolynne, or as we like to call her Imogen Thomas, this really is her last chance after she previously appeared on both X Factor last year and Fame Academy in 2003!
Face of Imogen Thomas, wardrobe of 2003. Copyright: [wenn]
We love Carolynne, but can't wait to see what happens to her 2003 wardrobe after the makeovers!
Kye Sones is the singing chimney sweep who impressed Rita Ora by singing er, Rita Ora in his first audition.
Guy liner or soot? We're still not sure. Copyright: [wenn/rex]
We are still trying to work out whether he is wearing guy liner or just has soot in his eyes.
Nicole Sherzinger is in charge of the boys this year and she selected Jahmene Douglas, James Arthur *and* Rylan Clarke (yes, she actually went and did it people).
Jahmene may have spray-on hair, but easily stood out from his first audition however, in the words of any good X Factor judge: could nerves get the better of him?
Hair of lego man, smile of Barney the dinosaur.Copyright: [wenn/rex]
But we just are waiting to see if he ever undoes his top button.
James Arthur has the much needed bad boy edge and wowed the judges in his first audition when he was brave enough to cover Tulisa's Young in front of the lady herself.
James has the haircut of Miley Cyrus but the flow of Professor Green and is definitely one of our faves.
Hair of Cyrus, flow of Green. Copyright: [wenn/itv/Twitter]
He also has a super enthusiastic hilarious mum who we can't wait to spot in the audience.
Lastly, Nicole only went and actually did it, picking Rylan Clark: a decision which has already enraged loads of you on Twitter.
You might recognize Rylan from his appearance from Signed by Katie Price and the other 101 reality shows he has appeared.
We suspect Rylan might divide audiences, but we are just waiting for him to come out and confess that he in fact Bobby from TOWIE in disguise.
Rylan isn't fooling us, we know he is Bobby from TOWIE in disguise. Copyright: [wenn]
Tulisa is mentoring the girls this year and picked Jade Ellis, Ella Henderson and Lucy Spraggan.
Ella Henderson instantly impressed the judges with her gorgeous own original song, prompting iTunes to basically meltdown in the hours following the show.
Read our exclusive interview with Ella where she tells us that she doesn't want to step on Adele's toes.
We are almost certain that Ella is distantly related to Adele! Copyright: [wenn]
Well, while she might want to step on her toes, we are definitely still convinced that they might be distantly related.
Jade is without doubt this year's Yummy Mummy.
We are still convinced that Oriste off JLS did her hair, and after a quick listen to her sing you might just agree that she is Rebecca Ferguson meets Jenny from the block.
Listen to Jade and try and tell us she doesn't remind you of Ms Ferguson! Copyright: [wenn]
Lucy Spraggan is without doubt the X Factor's answer to Kate Nash.
Lucy totally reminds us of Ms Kate Nash. Copyright: [wenn/rex]
Lucy plays guitar and writes her own songs, which are actually amazing: we are still trying to find out when we can download Tea and Toast.
And yes, it is still stuck in out blimmin' heads.
And this year Louis Walsh is indeed 'overloaded with boybands', left in charge of the groups picking MK1, GDM3 and Union J.
MK1 might sound like a shopping centre in Mlton Keynes, but in fact MK1 are in fact Charlotte Rundle and Simeon Dixon.
Or as we like to call them Jedward's curlier older sister and Tinie Tempah's little brother.
MK1 in't a shopping center in Milton Keynes, it's Jedward's sister and Tinie's brother! Copyright: [wenn]
MK1 used to have three members until one got the boot at the audition stages.
Union J are Jamie Hamblett 24, George Shelley 19, Josh Cuthbert 20, Jaymi Hensley 22.
And we reckon One Direction has better hold on to their Directioners because these boys are hot on their All Saints boots.
Union J are basically One D minus One. Copyright: [wenn]
Originally, these boys were Triple J until the judges shoved in George Shelley who we are already calling this year's Harry Styles.
GMD3 are Greg, Dan, Mickey who met at school and have been singing together ever since.
Sharon Osbourne said the name sounds like a virus, but we just reckon Louis would say: you look like three little Justin Biebers.
On the bright side, if one is ill the Justin could definitely stand in. Copyright: [wenn/rex]
Not that that is a bad thing.


text:
Sharing of thoughts and information is what blogging is all about. This way we can learn from each other. Post A Comment!These postings are provided "AS IS" with no warranties, and confers no rights. You assume all risk for your use.
Resident Bloggers
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While participating in a discussion on LinkedIn (http://linkd.in/r3WJPl) where we were discussing what are the different processes\habits that people have in order to setup a newly acquired machine, i decided to document my own process. I personally use a mix of WinPE and ImageX to image the machine and that way preserve that new PC smell.
Here are the details:
to create the WinPE disk, Download the Windows Automated Install Kit from here (http://go.microsoft.com/fwlink/?LinkId=136976) and install in on a workstation.
On that computer, click Start, All Programs, Windows AIK, right-click Deployment Tools Command Prompt, and then select Run as administrator.
In the command prompt type "copype.cmd x86 c:\winpe_x86" to prepare the staging area.
In the command prompt type "copy c:\winpe_x86\winpe.wim c:\winpe_x86\ISO\sources\boot.wim" to copy the boot image to the staging area
In the command prompt type "copy "c:\Program Files\Windows AIK\Tools\x86\*.*" c:\winpe_x86\iso\" to copy all the tools for manipulating the wim files to the staging area.
Now you need to create a Bootable a USB key. you can refer to an old post of mine that explains and shows the video on preparing the USB stick here (http://blogs.technet.com/b/canitpro/archive/2009/02/16/windows-7-on-a-stick.aspx) or folow the steps below.
To prepare the USB key using the diskpart utility built-in to Windows 7.
now that the key is ready, copy the staging area to your key "Copy C:\winpe_x86\iso\*.* /e D:\" D: being the drive letter assigned to the USB key.
Your key is now ready. so boot your newly acquired PC (or any PC you need to capture) with the USB key we just created and once booted connect to the network share you want to use as your repository for the image.
in my case i use my home server so the command will be as follows "net use z: \\home\public" you should be prompted for credentials, and once supplied the drive Z: will be mapped.
once mapped, it's as simple as using the ImageX utility to capture your system partition to the network drive. the command line in my batch file looks like this, "imagex /capture d: z:\newpc\lenovox61data.wim "lenovo x61" /verify"
you can find more information on the ImageX command line structure here.
Once the process is finished, i have an image i can restore at any point should i need to.
I hope this helps.
Pierre Roman, MCITP, ITIL | Microsoft Canada | Senior Technical Account Manager | email@example.com phone: 613-212-2370 | mobile: 613-715-2311
IT Pro blog | Twitter | Facebook | LinkedIn
Obviously you can use a big USB key and save the image locally which would be faster than over the network.
Hello Ed.
You're right. I actually keep my "as delivered" images. Just in case I need to restore it. And the cost/gigabyte is lower on large drives than it is on USB keys. 90$ for a 1TB drive or 60$ for a 32Gb USB key.