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Any portable device to read the SD card by my iPad 3? Or transfer?
Started Jan 10, 2013 | Questions thread
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RobG67 • Contributing Member • Posts: 818
Re: Any portable device to read the SD card by my iPad 3? Or transfer?
In reply to Barrie Davis • Jan 10, 2013
AFAIK, none of the above are possible with an iPad (or any iThing). To the best of my knowledge, iThings have no USB ports, don't like communicating with non-iThings via wi-fi, and positively refuse to have anything to do with any of the useful Bluetooth protocols. Which is why I bought an Android tablet, and will buy an Android phone when I manage to kill my iPhone4. (Soon, my pretty, soon...)
There are a few aftermarket dongles for iThings, but mostly, it's genuine Apple bits with all their attendant restrictions...
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It's no longer about the gear; all of it's good, and most is better than our skills warrant. Go and learn the craft, learn to see the art, and make fewer, better, photographs.
Seriously, it's NOT about the gear any more.
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By Captain George Livingstone One of the great 'maritime' authors of the 20th century is Jan de Hartog, born in Holland, his seagoing career spanned the glory years of Dutch ocean towing. Thankfully for those of us who love a good sea story, he turned to writing. One of my favorite quotes from him - "The call of the sea ceases only when it is finally … [Read more...]
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Conrad and the Craft: Sea Stories for Real Sailors (part 2)
By Colin Dewey, In the first part of this essay, I talked about craft: Joseph Conrad's somewhat mysterious term describing the ability good mariners have to dip into a common pool of knowledge, experience, and technique, and through a combination of superior ethical and almost spiritual sensibility, perform their duties to the utmost. Margaret Cohen's analysis of sailors' … [Read more...]
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Conrad and the Mariner's Craft: Sea Stories for Real Sailors (part 1)
By Colin Dewey, The maritime industry, perhaps more than any other industrial profession, respects tradition. Sometimes though, seafarers seem to revere tradition to the point of rejecting useful innovation. Worse, we have even used the rubric "tradition" to resist social and cultural changes necessary to bring our profession into line with the modern world in … [Read more...]
International Shipping Crisis – What about the Professional Mariner?
By Captain George Livingstone One would have to have lived under a rock to have not noted the severe crisis international shipping has faced, across most segments, for several years. Some recent headlines... International Shipping News 21/01/2016 "Shipowners in financial distress as dry bulk crisis deepens" Telegraph: "Zombie ships send maritime freight into … [Read more...]

subset: commoncrawl


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As volunteers, parents at McKinley Elementary School have organized walking school buses, secured funding for speed radar signs and bike racks, and taken other steps to create a more pedestrian-friendly school neighborhood.
But even as they networked with parents at other schools to expand their Safe Routes to School efforts, they realized their volunteer power could only stretch so far. Last week, they found out they had secured a $50,676 grant to cover a part-time, district Safe Routes coordinator for three years.
The new employee, targeted to start in the 2015-16 school-year, will be able to seek out more funding options and collaborations for safety around all district schools.
"We've been informally helping other schools but to make this really effective we really needed someone working for the district that was driving this," said Jeff Roznowski, an alderman and parent at McKinley.
Roznowski helped write the grant for the funds along with Sarah Lerand, another McKinley parent who has led the Safe Routes efforts at the school. Awarded by the state Department of Transportation, the funding is coming from the federal Transportation Alternatives Program. The Wauwatosa Safe Routes program was one of 27 projects in the state to share $13 million in TAP funds, including Safe Routes efforts in other districts like Milwaukee.
Lerand said a paid coordinator will be able to identify and pursue more grant opportunities and distribute district resources thoughtfully throughout the schools.
"The coordinator position is going to be able to build on a foundation that has been started over the last several years, branching out safe routes to all the schools," she said. "We have the neighborhood schools and we have the ability for our students to have ways to walk and bike to school; we want to make sure those remain safe."
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text:
|Publication number
|Publication type
|Publication date
|Jan 23, 1973
|Filing date
|Oct 6, 1970
|Priority date
|Oct 6, 1970
|Publication number
|Pelzer H
|Original Assignee
|Krupp Gmbh
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (2), Referenced by (6), Classifications (5)
|External Links: USPTO, USPTO Assignment, Espacenet
United States Patent Pelzer Jan. 23, 1973 LONG-DISTANCE BELT CONVEYOR AND METHOD OF OPERATING SAME 3,217,863 11/1965 Duncan ..l98/208 Primary ExaminerEdward A. Sroka Att0rneyWalter Becker A long-distance conveyor with supporting means spaced relatively far from each other in the longitudinal direction of the conveyor, in which the tension of the belt means of the conveyor is automatically varied in conformity with the loading condition of the belt means in such a way that the preload on the belt is increased in conformity with a decrease in the load carried by the belt.
ABSTRACT 3 Claims, 8 Drawing Figures o r -"*7, 2% I 8 l PATENTED JAN 2 3 I975 SHEET 1 OF 4 Inventor.- //0)7S 3A2 er- PATENTEDJAN 2 3 I975 SHEET 2 BF 4 /m e/7for. 1 9/26 e/z er PATENTEDJAN23 ms 3.712.457
sum u (If 4 LONG-DISTANCE BELT CONVEYOR AND METHOD OF OPERATING SAME The present invention relates to long-distance or trunk conveyors for conveying ore, coal, gravel, i.e. material with bulk density values of 0.8 kp/dm or more. Such long-distance conveyors which are equipped with sets of rollers or idlers suspended in such a manner as to define the contour of a trough and supporting and correspondingly shaping the conveyor belt drive terminal B being the belt width in meters and In being the natural logarithm. The untroughing of the belt between the sets of troughing idlers is prevented by inclining the lateral rollers of the set of troughing idlers in a manner known per seat an angle of at least 30.
When with such trunk conveyor the conveyor belt is not fully loaded, it may occur, in view of the cor-' responding lower driving force, that the pulling stress or tension in the belt will be insufficient to prevent an. undue sagging of the belt under partial load between two sets of troughing idlers spaced from each other by a rather wide distance. This is particularly intolerable when an incomplete loading of the conveyor belt occurs not only in rare instances at the start and at the end of a conveying operation but when it occurs frequently due to outer circumstances. It will be appreciated that under such circumstances a conveyor operation will encounter frequent considerable sagging of the belt with the inherent harmful stresses on the belt and on the bearings for the sets of troughingidlers.
It is, therefore, an object of the present invention to provide a long-distance conveyor and method of operating same which will overcome the above mentioned drawbacks. I
- This object and other objects and advantages of the invention will appear more clearly from the following specification in connection with the accompanying drawings, in which:
FIG. la diagrammatically illustrates a portion of a long-distance conveyor of the type involved.
FIG. 1 diagrammatically illustrates a long-distance conveyor according to the present invention with the conveyor belt loaded over its entire length.
FIG. 2 diagrammatically illustrates a side view of the conveyor belt of FIG. 1 and shows the pulling stresses occuring in the belt as ordinates rectangular to the contour of the endless belt; the conditions shown in FIG. 2 applying to the fully loaded belt of FIG. 1.
FIG. 3 is a view similar to that of FIG. 1 with the conveyor belt only partially loaded. I
FIGS. 4 and 5 are views similar to that of FIG. 2 but for a partially loaded conveyor belt; FIG. 4 showing the conditions without applying the present invention and FIG. 5' showing the conditions when applying the present invention.
FIG. 6 diagrammatically illustrates a first embodiment of an automatic belt tension control according to the invention.
FIG. 7 shows another automatic belt tension control according to the invention.
The long-distance conveyor according to the present invention is characterized primarily in that when the conveyor .belt during its operation is not fully loaded, the preload in the belt is by means of a tensioning device increased to such an extent that at least within the region of the greater distance between the sets of troughing idlers there will'prevail approximately the same belt tension as in the normally preloaded belt when it operates under full load. The respective change in the belt tension or belt preload is preferably effected automatically. Accordingly, the tensioning device may have a control system which responds, for instance, to the current consumption of the conveyor belt driving system or which is influenced by the load on the bearings of the reversing drum supporting the belt.
Referring now to the drawings in detail, FIG. 1a diagrammatically illustrates some of the general elements making up a long-distance conveyor. The long-distance conveyor shown in FIG. la comprises primarily stands generally designated a each of which has two posts b rigidly connected to each other by a cross bar 0. Above the cross bar c there is a set of troughing idlers generally designated 5 and having, for instance, a central idler d linked to lateral idlers e and f. The three idlers d, e and f form an articulated chain which by means of pivots g is suspended on and secured to the upper ends of the posts b. The lateral idlers e and f are arranged at a relatively steep angle which prevents the untroughing of the load carrying upper side or taut strand of the conveyor belt. Underneath the cross bar 0 of the stand a there is provided the return idler h.
Referring now to FIGS. 1 and 5 diagrammatically explaining the present invention, it should be noted that in view of the limited space available for the drawing, the conveyor is, incomparison to the spacing between the sets of troughing idlers, relatively short. In practice, the conveyor may have a length of several hundred meters and in special instances may have a length of some kilometers. Furthermore, in FIGS. 1 to 5 it is assumed for the sake of simplicity that the reversing drum 1 at the discharge end of the conveyor belt 2is driven and that the reversing drum'3 at the opposite'end of the conveyor is horizontally displaceable by a tensioning device generally designated 4. The upper side or run of the conveyor belt 2 is supported by troughing idlers or roller sets 5. These roller sets, as indicated in connection with FIG. la, have a minimum'distance a from each other as defined above.
According to FIG. 1, the conveyor belt 2 is fully loaded which means that its upper side or run carries over its entire conveying length an approximately evenly high layer 8 of material to be conveyed. The tensioning device 4 places the belt 2 under a selected preload V1 which prevails as long as the belt is not driven. FIG. 2 showsthat the preload -Vlis over the entire length of the conveyor belt the same in the upper belt section as well as in the lower belt section. V
When the conveyor belt 2 is driven by means of dru l, the latter will in the belt produce an additional pulling stress which is necessary in order to overcome the frictional resistance in the bearings of the roller sets 5, of the reversing drums l and 3 and of the supporting rollers 6 for the lower belt section. This additional pulling stress or pulling tension Z1 is highest at the drivof rollers which are kept in motion by the pulling tension prevailing at the said point. In the lower section of the belt in the vicinity of the driving drum 1, the additional pulling tension or pulling stress Z11 in the belt becomes negative. In the upper section of the belt, the additional pulling tension Z1 will be all the greater the more the belt is loaded because the bearing of the troughing ldlers' or roller sets are under a correspondingly higher load.
According to FIG. 3, the loading of the conveyor belt 2 was interrupted for some time so that only a remaining pile 9 was left on the upper section of the belt. It may for the time being he assumed that according to FIG. 4 the preload in the belt is the same as that in FIG. 2 during full load. The additional pulling tension Z2 in the belt is, however, considerably less than the additionalpreload Z1 when the belt isunder full load. In this connection it should be borne in mind that in view of the small load acting on the conveyor belt, the resistance against the movement of the belt is correspondingly smaller. Accordingly, also the total pulling tension V1 Z2 acting upon. the belt is considerably smaller than the total pulling tension when the belt is under full load. The reduced pulling tension is, however, insufficient to prevent an undue great In order to prevent such sagging of the conveyor belt,
the preload in the belt is, in conformity with the present invention, increased by the tensioning device 4 when the conveyor belt is only under partial load. In FIG. 5
the increased preload is designated with the character V2. In FIG. 3 it is indicated that the reversing drum 3 is by means of the tensioning device 4 displaced upwardly relative to the position of FIG. 1. The force required by the tensioning device for this purpose is in FIG. 3
ing a control motor 15. One of the three conductors 16, 17, 18 has interposed therein the primary coil 19 of a transformer 20 the secondary coil 21 of which is by a conductor 22 electrically connected to two terminals of controller 14. Control motor 15 is drivingly connected to a pulley 24. There are furthermore provided idling pulleys 25 and 26 rotatably supported by a stationary support 27, and a further stationarily supported idling roller 28. Slidably mounted on support 27 is a carriage 29 having mounted thereon the tensioning device 4 comprising a cylinder 30. Cylinder 30 has reciprocably mounted therein a piston 31 which by means of a piston rod 32 is connected to the bearing 33 for the reversing drum 3, said bearing 33 being slidably mounted on a stationary support 34 so as to be' slidable in two opposite directions along the plane extending in the longitudinal direction of connecting rod 32. A pressure spring 30 is interposed between the bottom of cylinder 30 and piston 31 while continuously urging piston 31 to move toward the right with regard to FIG. .6. Finally,.a
cable, chain or belt, e.g. a V-belt 35 passes over the driving pulley 24 and the idling pulleys 25, 26, 27 and has one end connected to one end 29a of carriage 29 and the other end to the other end 29b of carriage 29.
From the above it will be appreciated that when the load on belt 2 decreases, he current supply of the drive .motor 12 decreases, which fact is translated by the transforrner'29 to the control motor 15 with the result that motor 15 through the intervention of pulley 24 and cable 34 moves the tensioning device 4 toward the right with regard to FIG. 6 so that the preload on belt 2 will be increased. When inversely the loadon belt 2 will again increase, the current supplylto drive motor 12 will correspondingly increase withthe result that ten,-
sioning device 4 moves toward the left with regard to placeably mounted in a carriage 36 and have interdesignated with the character S2, which force is greater than the corresponding tensioning force of FIG. 1.
FIG. 5 furthermore illustrates that the additional pulling force Z2 in the belt which pulling force is to be Referring first to the embodiment illustrated in FIG.
6, it will be that drum 1 by means of a shaft 10 is connected to the drave shaft 11 of a drive motor 12 which may e.g. be a three phase motor receiving its current supply from a main circuit connection 13 which latter is also electrically connected to a controller 14 includposed therebetween spring means F. Thus, when with decreasing load acting on belt 2, the load on the bear--' ing means 35 for reversing drum 3 decreases so that spring F expands, the bearingmeans 35 will be displaced on carriage 36 toward the right with regard to FIG. 7. As a result thereof, the control resistor 37 arranged adjacent said bearing means is so adjusted that the connected circuit will act upon the controller 14 for the control motor 15 in such a way that carriage 36 by cable 34 is moved toward the right with regard to FIG. 7 with the result that the preload on or tensions of belt 2 is increased.
It is, or course, to be understood that the present invention is, by no means, limited to the specific showing in thedrawing but also comprises any modifications within the scope of the appended claims.
What I claim is: v
1. Along'distance conveyor which comprises: supporting means spaced from each other in the longitudinal direction of the conveyor and including troughing idlers, endless belt means supported by said supporting means and movable over said troughing idlers, driving means drivingly connected-to said belt means, tensionv ing means associated with said belt means for-exerting a variable preload upon said belt means, and control means operatively connected to said tensioning means power consumption of said motor means and operatively connected to said control means for actuating the same.
3. A long-distance conveyor which comprises: supporting means spaced from each other in the longitudinal direction of the conveyor and including troughing idlers, endless belt means supported by said supporting means and movable over said troughing idlers, driving means drivingly connected to said belt means, tensioning means associated with said belt means for exerting a preload upon said belt means, control means operatively connected to said tensioning means and operable in conformity with variations in the load being transported by said conveyor to control said tensioning means in such a manner that the preload exerted by said tensioning means upon said belt means will be increased in response to a decrease in the load and vice versa, reversing drum means at the end portions of the conveyor for reversing the moving direction of the belt section passing thereover, bearing means respectively rotatably supporting said drum means, and means responsive to the load acting upon at least one of said bearing means and operatively connected to said control means.
|Cited Patent
|Filing date
|Publication date
|Sep 28, 1960
|Apr 3, 1962
|United States Borax Chem
|Tensioning means for belt conveyors
|Oct 7, 1964
|Nov 16, 1965
|Mining Engineering Co Ltd
|Tensioning means for belt conveyors
|Citing Patent
|Filing date
|Publication date
|May 28, 1974
|May 6, 1975
|Bainbridge Cecil
|Tiltable tray sorting system with adjustable drive means
|Aug 27, 1985
|Oct 25, 1988
|Jonkers Cornelius O
|Belt conveyor with active part of the belt supported by a gas layer
|Jul 8, 1998
|Feb 29, 2000
|Dbt Automation Gmbh
|Method for controlling drives of conveying machinery
|Nov 5, 1999
|Sep 24, 2002
|Sig Simonazzi Germany Gmbh
|Method for adjusting a treatment machine
|Aug 8, 2002
|Mar 20, 2003
|Jean-Francois Robert
|Device for tensioning transport belts of different transport belt systems
|Aug 8, 1989
|Mar 14, 1990
|Konstruktiewerken Berlikum B.V.
|Conveyor floor comprising a belt conveyor device
|U.S. Classification
|International Classification
|Cooperative Classification
|European Classification


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قصص سكس سحاقيات مكتوبه بالعربية This forex trading system is used for end of day trading allowing you to walk away from your computer after you have placed a trade and do what you have to do. سكس مولع Hey, given it represents 30 percent of Google`s revenue, a major competitor for publishers` traffic could be interesting. We want to teach you simple forex entry setups that are also easy to identify, because we really believe trading should also be kept simple. سكس مولع Where they differ is most search people don`t mind that the large companies aren`t there raising the cost of clicks, whereas affiliate marketers would love them to enter the fray so they could have more well-branded products to market. سكس نور How to avoid the 7 biggest, most costly mistakes you can make as a Forex trader.
سكس مولع I know a lot of japanese words and developing my skill to speaking and talking in english .
Market sentiment is driven primarily by the economic and geopoplitical news of the day. قصص سكس سحاقيات مكتوبه بالعربية So easy to learn that most of my traders many who are also completely new to forex trading put Forex Gladiator to work only 1 day after learning it. Moreover, we are also bind by thinking of statue between men and women. The process mirrors a lot of the work being done by successful affiliates already.
Simply applying this one technique can make all the difference in the world.
سكس نور Once things for sure, you can count on these tested trading systems to select the right entries and exits.


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Ever wonder what President Barack Obama would sound like singing Carly Rae Jepsen's Call Me Maybe? Well wonder no longer because thanks to BarackDubs that fantasy is now a reality.
Barack Obama Singing Call Me Maybe by Carly Rae Jepsen video
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+210 Intelligence
+245 Intelligence
+406 Intelligence
+453 Intelligence
+95 Intelligence
+321 Intelligence
+220 Intelligence
This feature lists your most prevalent gear bonuses. You may select a bonus to see which items provide that bonus.
Strength: 68
Primary attribute for Barbarians and Crusaders.
Increases all damage for Barbarians and Crusaders by 68.00%.
Increases Armor by 68.
Dexterity: 234
Primary attribute for Demon Hunters and Monks.
Increases all damage for Demon Hunters and Monks by 234.00%.
Increases Armor by 13.35%.
Intelligence: 2201
Primary attribute for Witch Doctors and Wizards.
Increases all damage for Witch Doctors and Wizards by 2201.00%.
Increases resistances by 220.1.
Vitality: 767
Increases Life, allowing more damage to be taken before dying.
Each point of Vitality increases Life by 39.
Armor: 1979
Reduces all damage from enemies of the same level as you by 0.00%.
Damage: 77793.00
The amount of damage per second you can deal.
Damage is based on your weapons, attributes, attack speed, Critical Hit Chance,
Critical Hit Damage, passive skills, and dual-wielding attack speed increase.
Toughness: 164152
The total amount of raw damage you can take.
Toughness is based on your maximum Life, armor, dodge chance,
average resistances, and missile, melee, and elite damage reduction.
Recovery: 25096
The amount of Toughness you can recover every second in combat.
Recovery is based on your Toughness, Life per Hit, Life per Second, Life per Kill,
Life per Fury/Spirit/Wrath Spent, Life Steal, and Health Globe Healing Bonus.
Maximum Life: 33656
If you lose all your Life, you die.
Life can be increased by skills, items, and Vitality.
Arcane Power 114/114
A fast-regenerating resource used
for most Wizard skills.
|Forceful Push
|Powered Armor
|Focused Mind
|Crippling Shot
|Dirty Fighting
|Powered Shot
Last updated on Nov 11, 2015 4:05 PM PST


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1958-A U.S. Navy P5M aircraft enroute from San Juan to Norfolk lost one engine and changed course to the island of San Salvador, British West Indies, to attempt a night ditching. AIRSTA Miami sent up a Coast Guard UF amphibian plane, later reinforced by a second amphibian. After contacting the disabled US Navy plane, the pilot of the first amphibian talked the Navy pilot out of attempting to ditch without benefit of illumination and alerted the commanding officer of the Coast Guard LORAN station on San Salvador for assistance after ditching. In true Coast Guard tradition, the LORAN station's CO borrowed a truck and an 18-foot boat to assist. The commanding officer managed to be on the scene 1 1/2 miles offshore, when the Navy P5M landed with two minutes of fuel remaining. While one of the amphibians provided additional illumination, the Navy plane was guided through a dangerous reef to a mooring, using her operative port engine. There were no casualties.
2007-The CGC Storis was decommissioned after 64 years of service.
(Source: USCG Historian's Office)
Maritime Today
The Maritime Industry's original and most viewed E-News Service
The Red River was closed Sunday from mile marker 40 to mile marker 42, after a barge reportedly ran aground and was protruding into the channel near mile marker 41, according to the U.
The U.S. Coast Guard medevaced an ailing crew member Saturday from a tanker off Virginia Beach.
Coast Guard watchstanders at the 5th District Command Center
A 599-foot Norway flagged chemical tanker Champion Ebony ran aground near Nunivak Island, Alaska on June 24.
U.S. Coast Guard Sector Anchorage watchstanders
1861 - While commanding a gunboat flotilla, Cmdr. James Harmon Ward is mortally wounded by a musket ball while aiming the bow gun of his flagship, USS Thomas Freeborn at Mathias Point, Va.
Gerardo Borromeo, Vice Chairman of the International Chamber of Shipping (ICS) took the opportunity today to highlight the courage that is currently being displayed by seafarers,
The marine terminal of Vadinar Oil Terminal Ltd (VOTL), which is part of Essar Ports Ltd, has been the best performing terminal in the Kandla Port Trust (KPT) for two consecutive years.


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Picture: Brooklyn TruckStop - Dinah Shore Las Vegas weekend Closing Party Day 3 - Las Vegas, Nevada, United States - Sunday 28th April 2013
In the latest challenge to a movie about real-life events, the daughter of the pitcher who is seen in 42 throwing a bean ball at Jackie Robinson has charged that the event never took place as depicted. Sherrill Ostermueller Duesterhaus, the daughter of Pittsburgh Pirates pitcher Fritz Ostermueller, insists that the ball her father threw hit Robinson on the wrist, not the head, and that he never yelled at the Brooklyn Dodger batter, You don't belong here! News reports of the incident appear to confirm Duesterhaus's complaint. Sportswriter Les Biederman of the Pittsburgh Press-Gazette wrote at the time, Jackie Robinson collected a single to center and beat out a bunt to run his batting streak through 14 games in a row. Osty threw a high inside pitch that caught Robinson on the left wrist in the first inning. Moreover, another report indicated that Ostermueller apologized to Robinson later, and there was no Melee among the players after Robinson was hit. In an interview, Ostermueller later recalled that he had studied Robinson carefully before The Game. I noticed he crowded the plate and lunged at every pitch. He didn't give the pitcher 'much room'. I didn't like that at all ... I told my wife the night before I pitched I might have trouble with Robinson -- that one of my pitches would hit him, if he didn't move back. I knew, too, some people would say it was intentional. It wasn't at all, but in his first trip to the plate I hit him. After that he moved back a couple of inches and showed me some respect.
The House actor has been entertaining audiences almost four decades
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She's isn't just a small screen legend.
Kanye West is causing friction among his peers again.
'Game of Thrones' star Kit Harington has revealed that got into a fight with a much bigger...


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Below are their stories, including a few secrets to their success.
Adobe: What inspired you to start making videos for YouTube?
Su: I'm a screenwriter by trade. I like to tell stories, but from behind the camera. The rise of YouTube created a growing market for scripted narrative content, so I jumped at the opportunity. I now create shows for multiple channels, some of which have very large followings, which is exciting for me.
Melson: YouTube is a great outlet for filmmakers to test and refine their skills. My goal is to direct a feature film someday, but you can't run before you can walk, right? YouTube is the perfect platform for experimenting with different effects and building a following. My audience lets me know what they like, and what I need to work on, so the feedback loop is constant.
Wickert: I've always been captivated by the magic that can be created on-screen through visual effects, so when I was 12, I decided to learn how to do it myself! I met my business partner Eric in grade school, and we started a YouTube channel. We're now college roommates, and we still find it cool to create content from scratch.
SoKrispyMedia – Chalk Warfare 3.0
Adobe: How have you cultivated your YouTube following?
Melson: I spend most of my time learning how to improve the content, versus growing the channel per se. In my experience, if people like what they see, they'll share it and your following will grow organically.
Su: I'm focused on quality, consistency, and longevity. If the body of work stays consistent over a period of time then word of mouth will support the shows and create the audience. My goal isn't to get a million views in first week; it's to get 50 million views in the first year.
Adobe: Tell us about your creative process. How do you go about creating new content, and how long does it usually take?
Wickert: It always starts with an idea that Eric and I toss back and forth. I usually come up with something generic, and he helps to bring it into focus. From there, we work together on creating an outline. Our goal is to make it fun, and sharable. We aim for two productions a month, and we try not to spend more than a month on a project.
Melson: I share my script with friends and colleagues for their feedback. Once I'm satisfied with it, I plan the shoot carefully, because you only have a limited window to capture and keep your audience's attention. The length of the shoot itself varies depending on the project. My longest project took eight months, with me shooting once or twice a week.
Su: We release eight episodes a month, so we're constantly in all stages of production. We don't shoot an entire novel before we start releasing episodes, so we can react to the fan base, see what's working and not working, and adjust if we need to.
Bernie Su – The Lizzie Bennet Diaries
Adobe: What are your tools of the trade?
Su: We use Adobe Premiere Pro CC and Adobe Photoshop CC for editing and graphics, and Adobe After Effects CC as well. As a writer, I like to use Adobe Story Plus because it's very collaborative. My team can go in and edit, make notes, and get the script ready for production. With our rolling production schedule, working in the same ecosystem helps us stay organized.
Melson: Adobe Premiere Pro CC is where all our creative power comes from. It's at the heart of our film production. I like using Adobe After Effects CC, Audition CC, and SpeedGrade CC as well, but if I want to I can do titles, mix an entire film, and color it using the Lumetri color panel all in Premiere Pro CC, it's crazy.
Wickert: I'm obsessed with visual effects, so Adobe After Effects CC is my favorite.
Adobe: What's next?
Wickert: Eric and I are attending Chapman University, so our priority is to finish our degrees while continuing to grow the channel. I hope to work in the virtual reality space someday, and I'm really excited to dig in to the new features for virtual reality in Premiere Pro.
Su: I formed a company called Canvas Media Studios. My plan is to continue producing scripted series that bring audiences into the story world so they can jump around, explore, interact, and be a part of each narrative in their own way.
Melson: I'd like to direct films for theater, and hope to be in production next year. But I still plan to continue creating and uploading short films to YouTube.
HappyFox Productions – Hangman
Adobe: Do you have any advice for up-and-coming YouTube stars?
Su: Be authentic, and work with people who share your passion for telling great stories.
Wickert: Make content that excites you. The easiest way to produce regularly is to make something that you really love.
Melson: Film as much as you can and upload often. Know your style and grow it.
1. Wind
A gentle breeze, a sudden gust, or a raging storm brings a shift in the atmosphere, reminding us we are not the center of the universe, but part of something big and beautiful. It can clear your head, or blow your mind.
2. Earth
For millennia people have been using mud for healing purposes, as a remedy to ease arthritis or muscle pain and reinvigorate skin. Mud treatments prove highly beneficial to the body, skin and mind. Besides its luxury attributes, mud has become popular as an obstacle to rummage though either by foot, bike or four-wheel drive. Photographing the earth means you can capture interesting textures and patterns.
3. Water
Our origin, our food source, our means of exploration. Today people are drawn to water for fun, relaxation and to essentially to return 'home'. We enjoy it in its every form; glaciers, frozen lakes, hot lagoons, rivers, oceans, and swimming pools to the vapor rising from raging waterfalls.
4. Fire
When our ancestors harnessed the power of fire our food became safer and more digestible. This in turn meant we could spend more time finding food and creating other tools through the heat of fire, essentially allowing our brains to evolve to do some really creative thinking! Today, we enjoy cooking on an open fire to feel more connected with nature and our environment, or as a means of celebration with bonfires and fireworks to bring people together.
Ever notice how refreshing walking through a city park can be? Escaping traffic, crowds and chaos and wandering though the tranquility of nature can only bring relief. For those of you who live closer to waterfalls, forests, lakes, glaciers or even the sea, lucky you! Yours is the paradises we travel to for brief relaxation, and to reset our energies. We encourage you to go out an explore the world with your camera and get inspired by the nature around you!]]>
Agile development methodology has become increasingly popular in recent years and most people, like myself, would never want to revert back to a waterfall development process. However, Agile poses some unique challenges when it comes to UX design.
One would think that Agile and UX go well together since Agile methods appear to match the way people typically solve problems, through adaptive planning, flexibility and continuous improvement. But since the Agile methodology is defined only by a set of principles and not a specific framework, it leaves room for interpretation.
This is where Scrum, an Agile software development framework that is based on several iterations (known as sprints) that last for a fixed amount of time, comes in. Scrum effectively introduces teams to an Agile type of thinking due to its prescriptive structure. By pairing the Scrum framework with Agile methodology, you solve the problem of interpretation.
In order to maximize the contribution of all the teams involved, Scrum defines roles which lead to a shared understanding of who needs to do what. It defines the product owner, the development team and the scrum master, but it doesn't account for other roles like that of the UX team.
Due to the fact that UX's role isn't clearly defined, many organizations whose development teams adopted Scrum as their preferred Agile method, are struggling to integrate UX design into the process.
Scrum is focused on the development team and leaves the rest of the roles involved, including UX, working around the development effort. This can leave the UX team acting merely as a support for when development needs wireframes and specifications.
In order to have a better team dynamic, UX needs to be integrated with the development team and it needs to be flexible when it comes to creating prototypes up-front or designing alongside developers in the same sprint.
Lately, there seems to be a push toward the idea that the UX team should be working one or two sprints ahead of the current development sprint. This makes sense from the perspective of the product owner needing to align UX work to the development team's sprint schedule. By doing so, time is allocated for UX reviews and to fine tune any corner cases that appear in the planning sessions before the next development sprint.
However, by always keeping UX ahead of the current sprint, the designer is disconnected from what is actually being developed. This in turn creates a small waterfall process that runs in between sprints. By designing first, then reviewing and waiting for the sign-off before the next sprint starts, Agile thinking is ignored and the process starts to look waterfall-ish.
If developers aren't included in the design process until the review, it is more likely that they will not understand user needs and will implement a hybrid solution that incorporates their personal beliefs on the matter.
If they don't feel ownership over the initial design, the need to "make it their own" might affect the end result negatively. With no UX designer overlooking the development process and answering research related or good design practice questions, whenever a corner case appears it will be handled randomly based on personal preferences.
So while the designer is working on the next piece of work, the actual delivery is different than what was signed off on. And by the time it is reviewed, in most cases refactoring would be too costly for the project, as deadlines need to be met.
To make this happen, the development team, as a Scrum role, should embrace UX designers as their own and work side-by-side. The practice of not designing the full solution before starting development may seem difficult for many UX designers, but being agile involves being responsive to change. By changing the belief that UX needs to be done ahead of the sprint will help the development process in multiple ways.
Agile processes present huge challenges to UX, whether you work ahead, or in the current sprint. There is no foolproof path to make design and development work together as the collaboration depends on the team's experience and trust. In this sense, even if a project requires design up front or not, it is up to the whole team to try and work more closely together and to develop a shared understanding of what needs to be delivered.
The UX team needs to become the link between the user, the business, and the development team. It needs to coach the development team on the user's needs and transform them into UX supporters. This way all those involved in the development process will understand the value that lies within creating a great user experience for the end client.]]>
Adobe: What prompted you to start creating content for YouTube?
Lahav: Before doing what I do on YouTube, I had no idea it was such a big deal. Sure, I knew of it, I was familiar with certain viral videos and knew some names, but I was pretty ignorant as to how big and influential it was. I always knew I wanted to do something creative, I just never imagined it quite like this!
Prokhnevskiy: When I graduated from college I thought I was ready for anything. I'd been working with Adobe software since I was young and I was very confident in my abilities. But the fast pace of a design studio environment was a struggle for me. So I decided to focus on the basics. I created a YouTube channel that teaches people the fundamentals of Adobe After Effects and it caught on.
Kavett: I started making videos in early 2008. A lot of people I knew were doing it too and I thought it was a really interesting way to communicate. My channel has evolved a lot through the years, from vlogging and talking about things that interested me to my current focus on DIY and graphic design videos.
Karen Kavett – 12 Ways to Make Better YouTube Thumbnails
Adobe: How have you grown your YouTube audience?
Kavett: A lot of my audience growth comes from working with other people. Inviting guests on my channel and collaborating on videos has had the biggest impact on my subscriber growth.
Lahav: I guess the old cliché of being true to what you do and what you love really did the trick. I've tried appealing to others' expectations for years while ignoring what I love myself, and it only left me frustrated and unhappy. Once I got back to doing what I love it became noticeable.
Prokhnevskiy: I focus on creating content that is simple, practical, and to the point. I want people to be able to get in, learn something, and get out. I think a lot of people appreciate this approach.
OnlyLeigh – Frozen is the New Black
Adobe: How long does it take you to create content for your channel?
Prokhnevskiy: It's a fluid process. Sometimes I start doing one thing, and end up doing another because I stumble on something interesting. What I've learned is that the more time I spend on tutorials, the better they are. Quality matters.
Lahav: I write with my husband. We try to let the ideas come naturally, instead of forcing them. Sometimes that takes time. The timeframe for the whole process varies from a week to a month or more.
Kavett: I tend to work on videos in batches of two or three at a time. DIY videos take at least three days to make.
What software can you not live without?
Kavett: Adobe Premiere Pro CC and Photoshop CC. I use these every single day!
Lahav: Adobe Animate CC (formerly Flash Professional CC) is a long-time companion. It's reliable and very easy to use. You'd be surprised what you can do with it! I always edit using Adobe Premiere Pro CC, and create magic with Adobe After Effects CC.
Prokhnevskiy: Adobe After Effects CC. It's my bread and butter!
Adobe: What does the future have in store for you?
Kavett: I'd like to continue working on my channel and contributing to HGTV Handmade for as long as I can. I have so many ideas!
Prokhnevskiy: I really enjoy teaching. My goal is to create courses, and maybe introduce some premium course material as well. I'd also like to develop some practical plugins, something that saves time so people can focus on what's really important—the creative content.
Lahav: I just launched a new show, Belle & Tina are Time Travelers. Looking ahead, I'd really love to be a showrunner. I love TV and bossing people around!
Adobe: What advice would you give someone just getting started on YouTube?
Lahav: Just make the jump. It's really hard to get out there and expose yourself through your art. You need to just go for it. There's no time like the present and you'll just get better and better.
Kavett: Have a solid idea to describe what your channel is and how it differs from the rest. You are your own target audience, so make the content that you wish already existed. And be patient! It took me more than a year to get my first 100 subscribers.
Prokhnevskiy: There's no such thing as winning the lottery. Success looks a lot like hard work and nobody gets there accidentally.]]>
Patar is part of the Adobe Make a Masterpiece campaign, a project which challenged four digital artists from the Behance community to faithfully re-create lost, stolen or destroyed art using just Adobe Stock assets. It also challenged them to revisit their assumptions about the creative potential of stock assets.
"I approached the re-creation the same way Rembrandt would have, starting with the sky and working forward from there," said Ankur Patar, who used 236 stock images to re-create The Storm on the Sea of Galilee. "This is a dream project for me, and I hope it inspires other artists with the possibilities of Adobe Stock."
The other three Make a Masterpiece digital artists and their assigned pieces of art include:
Karla Cordova (Ecuador) and Frida Kahlo's The Wounded Table
Jean-Charles Debroize (France) and Caravaggio's Saint Matthew and the Angel
Mike Campau (US) and Karl Friedrich Schinkel's Cathedral Towering Over a Town
It's impossible to assess the monetary value of these artworks, but pieces by these painters fetch between $5M-137M at auction. While we may never be able to enjoy these masterpieces, the result of Patar, Cordova, Debroize and Campau's intricate and tedious hard work is four authentic reproductions of the paintings that could pass for the originals. Although if you look closely enough, you might notice that Patar took a few artistic licenses with his assignment.
"One of the portraits in the painting is a self-portrait of Rembrandt. I wanted to add my own self-portrait," he confesses.
Watch the video below to get a glimpse into Patar's creative process (and to spot his Easter egg):
Visit the Make a Masterpiece website for an interactive look at all four artworks, including the stock libraries, layers and techniques that breathed new life into these missing masterpieces.]]>
This collection was developed to serve customers who need authentic and high-quality commercial content with straightforward licensing plans. We launched with ten thematic categories that span across lifestyle, wildlife, food and industrial photography, as well as galleries that showcase the work of individual contributors.
How is the Premium collection different than the rest of the Adobe Stock?
Each image in the Premium collection has been carefully selected by our team of expert curators to ensure its commercial, technical and artistic quality. We look for images that are visually striking, emotionally impactful, and for those with a strong narrative element.
How is the Adobe Stock Premium collection different from Fotolia's Infinite Collection?
The Adobe Stock Premium collection is being curated as an independent set of images and customer experience, although some images may appear in both collections as premium content.
Can I contribute to the Premium collection?
At launch, the Premium collection represents a relatively small group of artists and agencies who have been hand-selected for their personal style and the quality of their work. Over time, we'll be expanding to a broader community of contributors. We'll be sure to keep you informed!]]>
First, let's talk about Adobe Stock, which now has more than 55 million royalty-free, high-quality photos, videos, illustrations, and graphics. There's no easier way to start or perfect a creative project than using Adobe Stock. In fact, research from Pfeiffer Consulting confirms that incorporating Adobe Stock with Creative Cloud apps delivers up to 10 times the efficiency, compared to other stock services.
Adobe Stock enhancements include:
Coming soon in a future release, stock contributors will be able to contribute stock directly from the Adobe Lightroom CC and Bridge CC apps, giving them an easy on-ramp to showcase and sell their creative work. Also, a new Contributor Portal (beta) will launch, which will feature intelligent auto-tagging capabilities to make contributions even faster and easier.
If you haven't yet tried Adobe Stock, there's no better time. You can start now with 10 free images.
For Photoshop users, there are several exciting new features and performance improvements with this release. Some of my favorites:
For more info on these and other great new Photoshop features, check out the Ps "What's New" blog post.
Adobe Illustrator users will appreciate:
For more info on this and other great new Illustrator features, check out the Ai "What's New" blog post.
For user experience designers:
For more info on this and other great new Adobe XD features, check out the XD "What's New" blog post.
Premiere Pro & After Effects users may have heard about the exciting new video app features we announced from the NAB conference in April. All of those new features arrive with this release, including:
Learn more about new features in Premiere Pro and After Effects.
Of course, this is just a small sampling of the great new updates in our June 2016 release. To see even more, be sure to check out our "What's New" page or our Muse, InDesign, Animate, Audition and Dreamweaver blogs.
We can't wait to see what you create.]]>
In these latest releases of Creative Cloud, we're making media ingest and editing workflows faster than ever in Premiere Pro CC and Media Encoder CC. These powerful new Media Management features allow you to copy media and edit it during ingest, transcode media on ingest, and generate lightweight proxy versions of RAW/Native files which can be switched to and from with a single click. Plus, Premiere Pro will have new virtual reality capabilities including field of view mode for spherical stitched media. In addition, you'll get a more responsive After Effects as well as performance and stability enhancements across the Adobe video applications. The Essential Sound panel – now available in Audition CC – enables users to easily mix and fix their audio. Find and license the 4K video content you need with a seamless workflow between Adobe Stock and the Creative Cloud Libraries panel in your favorite applications. And the latest update to Premiere Clip brings Dropbox support, the ability to publish directly to Twitter, as well as a simple way to watermark your content.
Feature highlights of the latest update to Creative Cloud video and audio tools include:
"The videos we make at RocketJump are pure entertainment," said Freddie Wong, Founder of RocketJump the hybrid studio/production company behind the popular RocketJump YouTube channel with nearly 8 million subscribers and 1.3 billion views. "We've been users of Adobe's Creative Cloud for years and are pleased as punch about the new features. In addition to editing native footage in Premiere Pro and creating awesome visual effects in After Effects, we use Photoshop for graphics, Audition to sweeten audio, Media Encoder to export content, and now Creative Cloud Libraries to share assets." See for yourself how Adobe Creative Cloud video and audio tools work together for a seamless, efficient workflow.
Learn more about enhancements in Adobe Creative Cloud pro video and audio tools, and become a Creative Cloud member now to get the latest features. For more information about Creative Cloud, see this overview video and the Creative Cloud FAQ list.
Follow us on social media to stay up-to-date on the latest news:
• Twitter: Creative Cloud, Premiere Pro, After Effects, Adobe CC Video & Audio, Premiere Clip]]>
What a journey the team has been on developing preview after preview of Adobe Character Animator, available with Adobe After Effects CC. The past year we've focused on improving features and developing new features based on customer's feedback. And with Preview 4, we've added several new features that make it even easier to bring your creations to life. Plus, we've added a more advanced feature that we didn't expect to add into this release, but more on that later in this blog.
Easier Puppet Tagging
Up until now, users had to name a character's Photoshop or Illustrator layers a certain way to work within Character Animator. By naming a layer "left pupil," you could control the movement of that layer with your own left pupil in a webcam. But remembering all of these canonical names made artwork preparation a bit more tedious.
With Character Animator Preview 4, you don't have to worry about naming your layers anymore. Within Character Animator, you can select any layer and tag it appropriately using the new visual or text-based tags panel. For example, if I want Layer 42 to be my right eyebrow, I can tag the right eyebrow using the example face in the new tagging panel. If I want to experiment with some different mouth shapes or head turn positions, I can quickly tag and untag layers to view the results.
For those of you still wanting to name your original artwork layers with the canonical names, that's fine – they'll come in with the appropriate tag automatically applied. You can easily switch between visual or text-based tags at any time.
Sometimes, I find it helpful to see use the original tagging procedure as validation, it is much easier to identify and fix untagged parts. I've also found that tags are a great reference tool, whether it's comparing the 14 example mouth shapes or having a clear outline of what expressive features are available to my characters.
New Realistic Behaviors
Behaviors are extra functionality sets that can be applied to characters (such as head turning and breathing), and Preview 4 adds some useful options to add depth to your creations.
Motion Trigger allows you to switch between different views based on the direction a character or part is moving. For example, as a character moves to the right, you can switch to a profile view of the character running with motion trails behind it.
The movement of the character can either be direct (you dragging it across the scene) or indirect (a motion effect attached to a hand on an arm that swings because the torso is moving).
Auto Blink automatically triggers a layer, such as eyelids that blink or lights that you want to flicker. The blinking can occur at regular intervals or with some randomness. You can use this behavior to have a character blink randomly, but it can work in combination with the Face and Keyboard Triggers behaviors if you also want to control blinks with the webcam or key presses.
Both of these behaviors combine extremely well with other behaviors. For example, the existing Cycle Layers behavior allows for frame-by-frame animation– just put your sequential frames in a group. So dragging a character with Motion Trigger left or right might also trigger a 12-frame walk cycle animation. Or auto-blinking could randomly trigger a robot's multi-frame blink animation, glowing buttons, or steam shooting from a gasket. It's pretty impressive how much expressiveness and personality you can add to your characters with just a few clicks.
There are also dozens of performance optimizations and additional new features, including:
Export for Live Animation (and with Adobe Media Encoder)
I mentioned earlier that we added a feature to Character Animator we didn't plan on during our Preview stages. That feature is support for live animation. But when the creators of The Simpsons calls, you take the phone call and you make it work. In case you missed the airing of Homer Simpson taking audience questions, you can watch a replay. To learn more how Character Animator was used The Simpsons, check out this blog post.
Realtime live animation enables a live feed to be fed over the air via any Syphon client. Character Animator now supports this on
Mac OS X. Just open the scene in the Scene panel, run your Syphon client (e.g., a live video application), and choose the Character Animator "Scene" as its frame source (Syphon server).
If you want to forego the live route and take some capture and edit your performance to a video, you can now render your scene and export it to any format using Adobe Media Encoder.
To export from Character Animator Preview 4, you'll need to install the 2015.3 version of Adobe Media Encoder.
We're really looking forward to seeing what people create with Preview 4 of Adobe Character Animator. Good luck!
Making Your First Character (Adobe Character Animator Tutorial) from Adobe professional video on Vimeo.]]>
Today we're tremendously excited to be releasing the latest versions of Premiere Pro and Adobe Media Encoder CC (2015.3), which are accompanied by new releases of After Effects and Audition… not to mention updates to creative applications across Adobe Creative Cloud.
Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html.
Please note that 2015.3 requires an update to the project file format, and as such projects saved in 2015.3 can not be opened in previous versions.
The new versions of Premiere Pro and Adobe Media Encoder contain all the features we previewed at NAB in April, including powerful new Media Management features, which allow you to copy media and edit it during ingest, transcode media on ingest, and generate lightweight proxy versions of RAW/Native files which can be switched to and from with a single click. New features in the Lumetri color panel include powerful new HSL Secondaries, new SpeedLooks linear looks, support for color control surfaces, enhanced Lumetri scopes and support for monitoring Rec2020 color space. Also new is amazing new support for VR Video workflows, which enables you to enter a specific monitoring mode with equirectangular stitched media to experience the view from inside the sphere. When you have completed your editing – publish to Facebook or YouTube with the correct metadata tags for a 360 viewing experience.
Adobe Media Encoder also now features the familiar Media Browser making it easy to work with file-based video media and projects. Our destination publish adds Publish to Twitter for easy, direct sharing with your followers.
Alongside the key features listed above, there are many other new features and enhancements to both applications, a full list of which appears below.
Performance optimizations
Enhancements to the editing experience
New and improved format support


text:
Man gets 15 years for fatal shooting
WEST PALM BEACH, Fla. (AP) -- A South Florida teen has been sentenced to 15 years in prison for the fatal shooting of a man at a park.
The Palm Beach Post (http://goo.gl/OYHbda) reports that 19-year-old Charles Wright was sentenced Friday after pleading guilty to manslaughter. He had been facing a charge of first-degree murder.
Authorities say 24-year-old John Ruff IV was sitting on a park bench in 2014 when he was shot and killed.
Prosecutors say they offered the plea deal because most of the witnesses were young children, who were playing in the park when the shooting occurred.
A second suspect was never positively identified or charged.
Information from: The Palm Beach (Fla.) Post, http://www.pbpost.com
© 2016 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed. Learn more about our Privacy Policy and Terms of Use.


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Yesterday, 09:10 PMNot sure but on average we pay .30 more a gallon, and I am sure thats helping to fund this program. Pretty sure New Jersey does the same thing.16 replies | 359 view(s)
Yesterday, 08:49 PMI've had so many arguments with fuel tenets about me trying to pump my own fuel, them spilling fuel on my truck and with the boat I only let them...16 replies | 359 view(s)
Yesterday, 08:42 PMI honestly don't know, I would like to think they got slightly bigger because I was thinking the free-board is a little more on the 23 and its a...21 replies | 402 view(s)
Yesterday, 04:00 PMThey don't mention that if you screw the cap on to tight it's nearly impossible to remove after the temps drop either lol It's always a fun...16 replies | 359 view(s)
Yesterday, 03:57 PMmmandley replied to a thread Wakemakers Coupon in General ChatThanks Dusty, Anyone I have given the code to can share it with others, please only share it in a PM though Thanks11 replies | 312 view(s)
Yesterday, 03:55 PMFor the bags I think they run around 280 each but you can get the discount on them. Bracing, I have the braces but never installed them yet21 replies | 402 view(s)
Yesterday, 09:36 AMHAHAHA good to know, I was planning on testing mine in a bucket first. Claudia got it because its so much hotter in GA and she keeps saying something...214 replies | 11801 view(s)
Yesterday, 09:34 AMWakeMakers makes custom bags for the Mojo, 1180s I have a pair and they fill completely up and I have full use of under seat storage in the rear.21 replies | 402 view(s)
Yesterday, 01:45 AMIs that a Yeti beer cozy I spy? Claudia got me one for my birthday and can't wait to try it out this weekend214 replies | 11801 view(s)
Yesterday, 01:43 AMGoing from my 08 LSV exact same boat as yours really to the Mojo was a huge upgrade. Worth every penny. Space is significant, is wider, deeper in...21 replies | 402 view(s)
06-28-2016, 10:38 AMmmandley replied to a thread Pick'n her up today in Pride & JoyCongratz sweet looking boat, I have always had a thing for purple but like above, Claudia wouldn't allow that much purple LOL I like it though...12 replies | 271 view(s)
06-28-2016, 10:36 AMmmandley replied to a thread Steering wheel position? in General ChatHAHA On your plates yea they should be level on both sides, I would at least call your dealer, email hi the pic or Text him. That plate sitting...15 replies | 284 view(s)
06-28-2016, 10:31 AMI can only suggest you fill slower, or possibly check the vent tube routing and make sure its on the higher side of the fuel inlet. I can agree...16 replies | 359 view(s)
06-26-2016, 12:12 PMmmandley replied to a thread Moomba accelerating slowly in Service & RepairI'm still going with Timing issue until you verify it.4 replies | 167 view(s)
06-24-2016, 02:36 PMmmandley replied to a thread Help with shaping 2013 mojo wake in WakeSurfingInternal Bow Sac. Basically wraps around the bow under the seats4 replies | 140 view(s)
06-23-2016, 05:44 PMmmandley replied to a thread Moomba accelerating slowly in Service & RepairI would be looking more at your timing, I would assume it has a distributor and inside is counter weights that swing out as the rpm increases. To...4 replies | 167 view(s)
06-21-2016, 08:19 PMmmandley replied to a thread Docking Lights in Moomba ModificationsInteresting because I think you find you don't have docking wires. In the LSV which had these they are a simple harness that just ran to the dash...2 replies | 136 view(s)
06-21-2016, 08:13 PMWe launched off 10th in West Linn Yea I decided not to do WTW this year, boat is stored by West Linn, hour to the boat, hour to Hagg, then do it...214 replies | 11801 view(s)
06-21-2016, 11:03 AMGot out for the afternoon yesterday on the Mojo, only 3rd time in the water this year. Wow, that hurts typing that fact LOL. Was real warm low 80s,...214 replies | 11801 view(s)
06-20-2016, 01:10 PMmmandley replied to a thread 2015 440 Raptor motor "Hum" when the key is turned on in Service & RepairI would look into the surf system, idk if swell is like my wave control but it only moves with boat moving. On mine when you shut batteries off...3 replies | 175 view(s)
06-20-2016, 01:04 PMmmandley replied to a thread Looking for a new Surf style board in WakeSurfingSoul craft honu with blunt nose15 replies | 553 view(s)
06-20-2016, 06:41 AMDrove down to Eugene area to spend the day with Mike Mays <Jester> on his Non SC boat. Was a great day, only 4th time I have been out since I...214 replies | 11801 view(s)
06-20-2016, 06:37 AMmmandley replied to a thread JMVOTTO's XLV wave is dialed! in WakeSurfingThis is exactly what I was poking at LOL. Glad someone caught it lol13 replies | 624 view(s)
06-20-2016, 06:35 AMmmandley replied to a thread (6) Wetsounds xs65-i in Moomba ClassifiedsYes they will fit, in the cabin the upper screw will be a tight fit but use a long screwdriver and you5 replies | 316 view(s)
06-19-2016, 11:56 AMmmandley replied to a thread No inflatables! in General ChatI bet your fuel ticket was less lol2 replies | 185 view(s)
06-19-2016, 09:10 AMmmandley replied to a thread JMVOTTO's XLV wave is dialed! in WakeSurfingI don't get how Jmvotto's wave or boat is the Best..I mean its a 2010 and clearly we all know the 2008 Model was the best design ever built. ...13 replies | 624 view(s)
06-18-2016, 01:22 AMmmandley replied to a thread Wakemakers Code Please in General ChatCodes sent.12 replies | 461 view(s)
06-15-2016, 08:03 PMmmandley replied to a thread Boat registration yearly fees in General ChatI can't exactly recall by boat fees but I think it's like 125 every other year in OR. Never paid my trailer because it's a 4 year tag and the LSV...23 replies | 629 view(s)
06-14-2016, 10:23 PMmmandley replied to a thread Vest recommendations in General ChatWe buy the HO vests from Costco. For surfing I use competition vests for better flexibility.6 replies | 221 view(s)
06-14-2016, 10:21 PMmmandley replied to a thread Rear Locker Storage Trays in General ChatI use these as well for ropes and small things. Careful about heavy items as the doors tend to close on their own Also I would plan on getting...11 replies | 594 view(s)
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I have been looking at LESS (http://lesscss.org/) which adds variables and macro like features to CSS. This means you can define an RGB colour once somewhere, then use that variable all through your CSS. Basically, it looks like a really cool solution.
However, it depends on Ruby, which is not part of my normal dev stack, so I thought I would ask here to see if anyone knows of similar CSS extensions that are implemented in other languages that I might be able to add to my tool chain more easily? Thanks.