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OK, we have a cool tutorial in the works and some fascinating behind the scenes action based on our recent short movie but after that I want to explore Stereo 3D production. I've been collaborating with an amazing team of stereo experts and got a chance to talk to some pros handling the stereo workflow on the upcoming film Tron and it's been a fascinating journey. In 3D!!
It seems a fair amount of people understand the basics of Stereo 3D and how it works but once you get into the science, it is easy to over-simplify and destroy the illusion. Now I don't know if Stereo 3D is here to stay, but hollywood is going to be busy with it for many years ahead and I want to share everything that I've been learning over the last few months through behind-the-scenes interviews, tests and tutorials.
The concept of Stereo 3D is simple, 2 cameras capture a scene at about eye-distance apart. Now the challenge of Stereo 3D is delivering the image from the left-side camera back to the viewers left-eye and the right-eye image to the right one.
In the past, stereo 3D suffered from a poor delivery method known as anaglyph, which is the 2-colored glasses that aren't the most comfortable to wear and coupled with extreme inter-occular distances, pop-corn bags were quickly refilled. With new and upcoming technology, stereo 3D is more comfortable and immersive just like a snuggie.
Although the concept is simple, there is a brave new world dedicated to getting the best quality and most comfortable image using the proper camera rigs, setting a balanced interocular distance (2-cam distance), and keeping continuity of your convergence plane (like the Point-of-interest). But we'll get into that stuff later
Good Stereo 3D is not about having everything popping out of the screen but instead think of it like a window into a world… like the villains from Superman 2.
Request: Although anaglyph is a rough method it is cheap, so please pick up a pair of Red/Cyan glasses if you would like to see the tests and demos we do in the weeks ahead.
What are your questions about Stereo 3D?
I am jose here from india, i am working for a film post production , i am not much expert in any VFX softwares , i need some help to clarify and learn about the works in film projects , looking forward to ur positive responce,
Sir i have some clarification in some of the topics i am clearly mentioned below , please sugest me the tutorial link or send me a notes
1.3d conversion:
sir i have left and right footage , i need convert this as 3D (for films)
How do i take the output, which format, and instruction(anagyph, left/right)
(tell me the whole work flow and process )
2. Rotoscopic:
i have the footage to remove Wire and touch up how do i do that ( which software is better ) ( tell me the advance options)
Sir please help me to clarify this
Stereo 3D video !!!!!!!!
When working with cyan/red glasses, can I use red colors in my comps? Is it possible ?
I am about to embark on a 3d stereoscopic project and need to do some research. Lucky loads of of post are here. I normally like a visualy representation..it stick better then just reading...
Great topic. We've done some work testing out the stereographic workflow, and our biggest issue right now is how do I ouput from AE to an active or passive 3D Monitor? We want to use a consumer HD 3D Monitor (these are active polarization) to view the graphics as we build them in 3D. I know the 3D glasses effect in AE can output LR, TB, and interlaced, but we've been using anaglyph to view which isn't great. Any suggestions on workflow as far as viewing on a 3D monitor as we build in AE? That's key.
I'm very interested in an answer of the sayantan's question cause i'll be in the same trouble soon. My boss want me to make a short on his new 3D screen who's using the active shutter system (double frame rate).... if you have any idea about how it work i'll take your answers thanks.
note that a french company is creation a 3d screen without glasses: alioscopy.
I am in the process of making a stereoscopic 3d movie of an architectural project. I have used 3ds max to generate the 2 sets of image sequences. I have checked the movie after compilation using anaglyph glasses and they look good. But the client may need to see the same thing with active shutter glasses to be seen with the new series of 3dTV the likes of sony and samsung.
I need to know how difficult is the compositing for the same using softwares like AE or Primiere, considering that i have the sequences rendered and ready.
When do you think you'll get a tutorial out on S3D? I'm much more interested in the polarized / shutter glasses version rather than the 'painful' anaglyph stuff... eg compositing side by side normal footage in the right format for modern s3d tvs...
Ive been doing some research in anaglyphic footage (i thought you'd forgot about this post) and was wondering if you were still in the process of completing a tutorial? I'm actually more interested in this than the payment plan and particle shadows, however awesome those techniques are. You really are a gift in the field :]
Mark Battistella
this would make stereo workflow so much easier.
oh, and the ability to spit out MVC bluray stereo codec would be hot too for testing....
I'm looking forward to seeing what you can do with 3D. Are you shooting stereoscopic?
I'm shooting stereoscopic with a pair of 7D's and I love it.
Side note: I ran across this bit from 2005. Boy has your on air voice and personality changed! LOL
It's actualy quite easy depending on the setup of the multiple cameras.
I did a test a while ago with some footage from "glamcam 360" such as: http://www.youtube.com/watch?v=LhPuWT5GxAg
Using the crosseyed method you can have two copies of one of these videos running next to each other one frame (one camera position) appart and it gives a decent 3d effect.
So long as there is no adjustment of the vertical position of the cameras then this method will work. But for a freeze effect where the camera rises as well as rotates there will need to be two cameras for every height position.
Thanks, Leslie
I just found some script to make anaglyph 3d in after effects. now to view the final result I had to buy a red/cyan glasses. I did :D. but now I can see the final output which is quite impressive but cud still see some color coming out from the obejct from the red channel. In a way things were not sharp. How can I crack it. I guess there is some mismatch in the color of my glasses screen and the red channel left view which I am making. Would appreciate if someone can find a solution.
does any one know how can we make a 3d projection without glasses.I heard of some LCD tv but its 2 expensive. Any other wat of doin it.
@ Andrew : Awesome is too small word for you. :P
Published on 6/3/2010
And anaglyph glasses really are painful.
Great to know that you are gonna make it easy to understand.I am so excited about this.I hope it has combination of cg elements with real shoot.
Ravi yadav
Just did a whole project with anaglyph and found it challenging to maintain focus for longer periods of time.
If you want a live action movie/video.. then you need to cameras.
If you do everything cgi.. you do not need a camera and you can play with the rigging and workflow all you want in AE and have stereo 3D movies/videos.
how fun this will be.
I am student of filmproduction on a german based filmschool in Babelsberg and we have just finished our own stereo-3D shortmovie with 23 minutes.
We have developed an interesting stereo-3D 90 seconds intro animation with After Effects, that will probably blow you away.
Unfortunately, the movie and its website is in german, but we will release a english subtitled version of the movie soon. So maybe we get the chance of showing you something in a couple of weeks.
If you are interested.
Let me know.
Best from Germany,
Btw have patience with the guy who explains the AE workflow.
I'm excited to see what you come up with Andrew.
Making a 3D from a raw A.E. composition is really going to be interesting, I can't wait to see the tutorials!
here is the stereo verison : http://vimeo.com/12121929
(if you are in full screen plz keep away at least 1 meter away from youe monitor)
And here is the normal one : http://vimeo.com/12121929
I look forward to see your touch to it. My glasses are ready.
Here is a tutorial I posted today on 3d camera rigging
ATT juan palacios.
Can you handle them like one feed, and if the camera areslightly off in color or exposure can that be automatically matched.
Basically is there a way to edit it just like if it was 2D
whats the best (and cheapest) way to get some red/(cyan glasses?
"This 3D film has been modified from its original version. It has been formatted to fit your screen and save your bowels."
It'd be interesting to know what studios are doing about 3D distribution for more than one format. It's important to keep your presentation format in mind when shooting stereo for a 60ft movie screen or even IMAX but... what's the transfer process to different sizes especially when released on BluRay? Thanks!
From what I learned, converging the cameras is the second best option. Shooting with a parallel setup and an interaxial distance of just above 1 inch will give you the most flexibility in most cases.
If you do shoot converging cameras, do not adjust the convergence during the shot - what you do with that is shifting the zero-parallax point (i.e. the virtual screen plane). It will result in the impression that the whole room starts moving towards you while the actor is staying at the same distance from you although getting smaller and smaller... Not quite realistic. :)
You'll have to pull the focus, though.
But Panasonic seems to come with one of the first affordable (?) 3D production integrated systems.
Have a look:
So far, I still don't know how to deal with this footage when it comes to do 3d compositing in AE.
Here the scenario: The actor is moving away from the camera.
Question: In order to keep the actor properly in 3D, do the cameras need to pivot on some axis and adjusting the focus as long as the actor is moving further away? Or, they can be fix on a frame and only the focus is going to be adjust?
Sorry for my poor English(I'm a French Canadian)
Maybe it's not a mathematic process, maybe it's visual, but how do you marry the stereo settings among those different programs/real world cameras?
A simple example integrating a 3D text AE layer on a real or virtual stereo shot would be great.
nvidia's 3d vision computer kit is the same thing - active shutter.
not the best way to go but i can see why the tv companies are doing it - the technology is not exotic and they don't need to radically retrofit their mass-manufacturing processes in order to add the extra D. as long as a tv can do 120hz refresh or better, it's already stereo capable - all they need to do is sync in an ir emitter, add a surtax of shutter glasses and it's done. if they're smart, they'll start releasing nvidia like "kits" to adapt monitors that are 120hz but non stereo now to view 3d content... always best not to p1ss off your big spenders (120hz+ monitors tend to be on high end).
toshiba had circularly polarized realD compatible monitors at CES but they were "professional" monitors that cost $5k - $10k. hyundai and i think samsung and lg have polarized monitors too but i think they also carry a price premium.
May I ask - have you already shot some stereo footage? If so, what cameras and what kind of rig did you use? I thought about shooting a stereo short for some time, but seeing that there is no way to synchronize any of the cameras I have access to, I guess I'll postpone that - or buy me a beam splitter sometimes. :-)
The industry is pushing hard to make stereo-3D the new standard and chances are, they will manage it this time. I only hope that it won't fall prey to horror movies like Step Up :) and Piranha again. The technology has finally cought up with the original intention. Let's use it, yay. :)
it's Awesome
Andrew ....
What is the Dragon Filter ...!?
I see it via Last tuts !
Can you till us a bout it ? :)
I know it sounds kindda stupid, but with thw amazing things technology has achieved, I don't see it as hard as it seems.
For those interested in 3d and sharing their experiments we've got a Stereoscopic 3D Channel on vimeo and an associated group.
Do please take a look and get involved.
Channel - http://vimeo.com/channels/stereoscopic3d
Group - http://vimeo.com/channels/stereoscopic3d
If anyone is interested you can see my 2010 InvaZion Award winning stereoscopic 3D short created entirely in Adobe After Effects on the channel too.
I am a great movie lover want to become a director too. I have loved to go to the cinema's, but lately i just wait for the normal dvd or blu-ray releases. How is your opion about the way the companies handle 3d. I think it's a baby rushed to become an adult.
Greetz from holland keep up the good stuff LOVE IT!! :)
Hum....human eyes have a 'special' computer in the back, I mean human brain....one of the most complicated machines. It's real a sci-fi challange! Great Andrew to begin this exploration it!
It looked really cool, but it's of the sort that requires the 3D glasses to really get the most out of the tut and workflow.
Even though I cannot fully enjoy the "Anaglyph 3D Experience" (my eyes have differing focal lengths, colour perception and convergence issues) I will be joining in over the weeks ahead as much as my streaming eyes will allow. Having seen the sheer volume of 3D kit at the recent BSC Openday at Elstree, I realise that 3D is going to be with us in one form or another for some time to come and I should learn all I can now before the real talent joins the party and blows my cover!
Thanks in advance for the forthcoming insights into 3D :-)
Did someone said Holograms
go to the holographic 3D section and watch the video there, what your looking for is musion eyeliner 3D, Also this is a great site.
@ANDREW, CHRIS and others.
We use stereo imagery at work. Like Chris said it's a very old technology it has been around since early 1900s, and died off and never caught on for everyday people later down the road until recently. The military still used it quite a bit. Especially for launching certain types of missiles. However, this isn't the military so as for video etc...
There are two types anaglyph and polarized. Anaglyph is your red and blue glasses and polarized is things like REAL 3D and others with the black glass etc... The reason why you can only do anaglyph stuff for tutorials and web, is because there are no polarized monitors that are cheap or readily available. There are screens that you can place over your monitor that can give you the polarized effect however. The reason you can see polarized video in the "3D televisions by Samsung" that were currently released is because they started building these polarization filters into the components of the televisions. If you wanted to produce videos for polarized systems (in my opinion better). Then you would need to use two cameras, like mentioned in other post set at a correct occular distance. Also, for most cases you would need to project this back using two projectors stacked side by side or on top of each other.
As for anaglyphic video and imagery, you dont need to use two cameras. You can use two, but dont need to. All this manipulation can be done in AE with the color channels and a few other depth adjustments etc... Personally anaglyphic imagery gives me a headache and I cant look at it two long but is still cool cause its dirt cheap to do. Also, they have been doing many studies on the long term eye effects from anaglyphic imagery and they say the result from eye strain isn't good. However, eating to much ice cream isn't good either so who knows.
The moral of this story is that
Anaglyphic = Web / non polorized devices... oh yea and print
Polarized = New TVs and Movie Theaters
Who is to say if this will stay or go, fad this... fad that... However I do know that Playboy just did there first anaglyphic centerfold hahha
good luck guys, Im sure Andrew will put out a smashing tut like always. If you guys have any questions post them here. or email me at jundaj at gmail dot com
I'd be thrilled if they Hollywood or anyone else concentrated on a decent 2D movie with a decent plot. I dont want to see more lousy movies, in 3D. If it weren't for Megan Fox I never would have taken my kid to Transformers 2 it was beyond horrible despite the amazing fx. Every DSLR short on Vimeo had some distressed woman walking on some city sidewalk shot at f1.4 with weepy music.
I'd rather sit home and watch something shot by Hitchcock or Welles a gazillions years ago.
I am also surprised that anyone thinks that 3D enabled LCD and plasma TV's are somehow going to "take off" given the horrendous economy. About .1% of this country is going to trade in their current 1080p plasma.
The industry is flooded with people looking for work, budgets are low, smaller production companies are trying to substitute DSLR's for RED where they can. Demand for 3d? I dont see any except in Hollywood. So while the technology is neat, I'd rather have a $10,000 video camera that can shoot 14 stops over a 3D rig any day.
I will admit though, even I would pay for Megan Fox in 3D,
I can understand all the back-and-forth regarding stereo as gimmickry, but just as color and sound expanded the horizon of filmaking, so will 3D.
It's all about the artists use of the new medium, not just the technology.
I'm going to point to an article in Computer Graphics World that contains a sidepiece that seems to hit the nail on the head, when it comes to utilizing stereo techniques to enhance storytelling.
The portion of the article I'm referring to is about halfway down the page in a blue frame, entitled 'Authoring in Stereo' -
Hope you guys have a look.
Of course, as always, VideoCopilot rocks!
As always, you da man!
CHeck these out they should help you out
(scroll down to the stereoscopic tracking part)
Just remember, Its a long and complicated process for the result involved, but coming from someone who creates and authors Stereo DCP packages....its worth it :)
I think there has been so many variations of stereo til now that the details ARE very confusing so hopefully we can sort them all out.
It will be great to explore this subject with the community but it's also been a blast for me too.
i don't know if it's just bad red/cyan glasses or because my sight has deteriorated in one eye more than the other as i've got older (31 now).
Anyone that knows me knows that I HATE being wrong, but I'll defer to the research you've done and wait for your tut. Admittedly, I've never myself worked on anything remotely professional in 3D in either format, but I've read a lot myself and (at least until today) it was my understanding that the processes differ based on whichever technique.
I also understand that to take a movie like 'Journey' or 'Coraline' from a polarized presentation to anaglyph for DVD consumers requires a process akin to making the film 2D, then re-outputting it with the color filters in place. Simple adding a red hue to the left channel and a cyan hue to the right just wont do it.
BUT, I could be wrong and don't mind being enlightened by those smarter and more talented than I.
The further something is from the camera the flatter it will become, its one reason to make sure there are other depth elements in the shot to make this less evident.. even when trying to make a wide shot of some scenery or mountain in the distance, without foreground items the shot would be a waste.
Andrew, when you saw Avatar, didn't the background look flat? It almost looked like everything was separate images put together in 3D, for some reason it didn't fit together very well.
If you try to take any 3D shot using 2 camera and the focal setting are not exactly the same, and im mean perfectly spot on, it can ruin the the final shot...
I learned a trick about manipulating shots in post to adjust the depth and subject matter. off centering one of the images in post editing can alter the amount of depth in that shot and control how much of the image comes out of the screen. So look at is like moving the total shot on a z Axis just by sliding one of the images left or right very slightly.
The film 'Journey to the Center of the earth' was presented in theaters with polarized projection but the DVD came with anaglyph glasses so people could see the 3D on regular TVs. The point is that the film get's made in full color with 2 separate streams and then gets converted for various delivery methods.
The reason they use Anaglph is so that it can be seen on current tvs and monitors but future TVs will be able to handle active shutter glasses or polarized filtering to present stereo films in full color.
What I learned is when setting up a 3D shot still or other wise its best to have decent elements that give good dept queues and perspective. While most standard 2D shots really don't have anything between the camera and the subject, a 3D shot takes advantage of foreground and background items to pull off the effect. Just about any camera movement works great in 3D as long as there is foreground and background objects in the scene.
3D film is projected through polarized filters, and the glasses you wear have polarized filters that correspond to the projected image for each eye.
New TV 3D effect uses a pair of LCD shutter glasses, where the image on the TV swaps between the left and right eye image very rapidly, while the LCD glasses black out each eye at the same rate to control the correct image to each eye.
So depending on what your setting up for the 3D process for each delivery system is really created in the post stage, the actual filming is the same no mater which of the 2 delivered systems you use in the end.
Film projection would require you to create 2 separate movies for each Eye, While 3d for Television would interlace alternating images, but 3D tv is still going though its early stages and there is, like everything else a fight over standardization.
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But seriously,how do they do match move?
And do they literally make a movie twice?! (left,right)
that's not entirely accurate. For the most part, anaglyph filmmaking/photography separates the red and cyan channels, offsetting based on distance to the camera. This effectively reduces the color information from any given image/video. Only certain color mixtures can be accurately reproduced. Skin tones in particular get destroyed.
Polarized filmmaking has virtually no loss of color, because each polarized side contains the full spectrum. The downside to polarization is ultimately a loss of contrast and detail. Theaters were forced to upgrade their screens with higher contrast screen coatings in order to reflect back more light to help defeat that, but pass the expense onto their customers, averaging an extra 5 dollars a ticket for the same movie.
That would exclude too many groups! Like this guy:
and what about Pirates?
There is no difference between a anaglyph and polarized workflow. The only difference is how you broadcast the resulting 2 video streams. Anaglyph uses a color process and polarizing blends the 2 streams.
When you watch stereo 3D on a polarized monitor in full color HD resolution, it is not painful or strange feeling, it's incredible. It's even better than a polarized projection like at the movies.
With a polarized monitor, the 2 streams (left and right)are interlaced together (odd and even lines) and the polarized glasses block out odd lines and even lines so each eye is only seeing one image. It's quite stunning and the price of these are getting cheaper along with the active ones which require the shutter glasses make a great full color 3D picture.
As far as using it in the real world, compositing jobs for many upcoming movies will require a deep understanding of a Stereo workflow so that's kind of the "real world".
This is actually another reasons I want to get into this is because I had many of your same thoughts and misconceptions so it was surprising to fully understand the concept and delivery of stereo.
If 3D were presented in theaters without the use of glasses would be great, but I like using MY OWN EYES to watch a film and not wearing some clunky glasses for 2 hours.
For me 3D is neat, but at home even I'd rather watch on my big screen without 3D. I think 3D is getting way overused now and is purely pointless in many films out there. One example... Alice in Wonderland. DID NOT Enhance the movie experience at all. Avatar was great in 3D, but for longevity I prefer the good ol' 2D viewing experience. Get rid of the use of glasses and that could change.
Looking forward to it!
also its interesting that you can see 3D pictures without glasses or so.
It's called "Stereo Cross-Eyed Viewing"
Here a technique to cross your eyes:
and here some pictures:
How is this done?
Andrew, I have a deep respect for your work and what you and your team have accomplished with this website. However, I have to ask, why invest any amount of time in creating a tutorial on a grossly outdated technology? My feelings on current 3D tech and its use in film aside, your tutorial can only be applied to creating anaglyph imagery. Inexpensive or not, it doesn't apply to any real world filmmaking.
It would be like doing a tutorial on how to record music onto a cassette tape from the radio. Sure, people have the equipment and you can easily demonstrate how to do it, but virtually no one is going to be able to use it in the real world effectively.
You would be better off demonstrating techniques that apply to creating videos with polarized filming in mind. Viewers would likely not be able to see the final result, but at least they could be exposed to how things work and take that with them, even if it does fade into oblivion a few years from now (fingers crossed).
I didn't get information how they solved this, cause I didn't see glasses with batteries or any electric things, that's why I think the polarized thing will it be.
Did they say to you this, and whats their point?
I prefer iMAX
i work in the industry as a stereographer and one thing i'd love to see in AE is the same kind of camera rig we're using for our shows:
- variable interocular distance to determine how strong the depth effects will be in general. but this is optionally slaved and driven by:
- 3 different planes that the user can set:
zero point plane (screen plane)
near point plane
far point plane
the zpp is always at zero parallax and registers as being on the screen. this is user positionable and determines the horizontal offset (in maya). unfortunately, there is no equivalent setting in ae i don't think and so it would just be up to cropping the sides after the fact.
the npp is set at the object that is closest to the audience and is usually exhibiting negative parallax though can be at zero or behind. the important thing is that this plane is user positionable (along z-axis) and the user can assign it a value in terms of PIXELS OF PARALLAX (i.e. for a point at that plane, how many pixels discrepancy is there between left eye image and right eye image. this is the measurement we use to determine how far something is popping out into our face or receding. it's the best and most useful measure of the stereo effect imo and far better than generalized rules like the interocular being 1/30th or 1/20th the distance to the nearest object.
the fpp is the plane in the scene that determines the farthest relevant objects in scene and like npp is user positionable and again, the user can determine the pixels of parallax that is desired at this distance.
using the above, it's pretty trivial to do tests for a given viewing situation (computer, pc, standard tv, etc - unfortunately, size of screen and distance from it affect the stereo effect and so what works well in a theater would be somewhat flat if watched at home on a tv or computer monitor) and determine the maximum positive parallax (objects behind the screen plane) and maximum negative parallax (objects coming at us out of screen plane) and then use those rules of thumbs to do your shots.
there's a script out for AE now that does a very good job in setting up a stereoscopic project and gives you good control and viewing options. but the fact that it lacks numerical controls and forces you to eyeball things instead of having concrete pixels of parallax as a metric makes it less than ideal when you want to do multishot sequences where depth continuity is important (although it works great for single shots where you don't have to worry about such things).
anyhoo, good luck! rock on! let me know if you need any relevant math formulas cuz i got a notebook full of em! totally looking forward to what you'll cook up! if it's anything like your other stuff, it can't fail but to be awesome.
Suggested topics:
-Pre-planning (depth script)
-When to use large IO settings
-Converged lenses vs parallel
-Matching AE camera settings to real world footage
-Output formats (over-under, side-by-side, etc)
I can't wait!
1- How is the post-production works? Do they do the compositing and redering twice, one for each eye?
2-Does the final resolt screw the VFXs, by blurring it?
we have Andrew and other pro's trying to make it better,
If we didn't...well it would surly die and never get to an advanced and immersive technology that is pleasing enough
to enjoy daily.
The result is fairly good, but the problem is that it took me hours to do it, because I had to set the camera convergence every 10 frames, and the particles just killed the render.
Of course this is a special case, because it is continuously moving (the particles and the camera), but it took me hours to make a 30s spot and I can't imagine doing something with a bigger time.
You can see it here:
I would like to know something about the conversion of 2D to 3D, when the movie release on DVD. I can't figure out how they "melt" 2 camera angles down to 1. Are they only using 1 of the cameras when you see it in 2D?
I kind of agree with Alex, 3D does seem to be a fad, and I can't stand it. But that being said regardless how much we hate something, Hollywood will continue utilizing it as long as it turns a profit, and from the looks of things, like Andrew says, we have at least a few years of 3D ahead of us, regardless of how much we hate it. So I would love to learn it, just another tool to add to the belt, lets do it Andrew, I'm ready! :)
Stuff SHOT in 3D is always great, no complaint there. Tron is going to be awesome.
The only realy question I have is, in the future how are we on the internet supposed to use stereo 3D glasses to view it?
My understanding of 3D is limited but I thought that the only way to view stereo was to use a fancy 3D television or a special projector. How do we edit 3D video in premiere?(I've seen something about Avatar being edited in Primiere) do you have to composite it in a special way? or do you edit the video like normal than export it using a 3D setting?
I really am facinated with the whole idea of 3D, I just have no idea how to do anything with it. If you could clarify how the whole process works that would be great because in my research on 3D i'm running into words like binocular disparity and it gets kinda intemidating sometimes. Any response would be great and I absolutely love what you do. You have inspired me to pursue a career in Video and Motion Graphics and I can't thank you enough.
Sorry Andrew not really a question that...
Take a look:
On the other hand, I am interested in how 3D conversion is done. For example, Clash of the Titans, which was shot in 2D and then converted to 3D.
When I didn't have glasses yet, I learned myself to view cross-eyed 3D, in which you basically cross your eyes at two images, creating a 3rd, 3-Dimensional image. It's not as easy as it seems, it's very hard to focus when you're trying it the first time.
Then I bought a DVD that came with 4 pairs of red-cyan glasses, but I noticed that I couldn't see things coming out of the screen! I know how to create this illusion, but instead of seeing something coming out of the screen, I see the red and cyan channel crossing each-other..
anyways, I made some 3D stuff with my camera and Maya, I even made a short 3D stop motion, and I'm rendering something 'big' in Maya.
I'm very interested in this stuff, and it's a pity I can't see thing coming out of the screen.. The main purpose is adding depth anyway.
I've read that a deeper DoF is actually better for 3D. According to what I've read from various production bloggers, Shallow DoF makes things look more like a popup book than an immersive 3D world. It could have a lot to do with Post-3D instead of Production-3D, though.
Anyways... I've got a couple of matching cameras, and I would love to have a basic "this is how you shoot, edit, post" a 3D production. Mostly just for fun; I have a friend who recently suggested we do something in 3D, but I didn't really know where to start... I definitely don't have any clients clamoring for 3D, but it would be a fun exercise...
It's a fad, and it needs to die. It does not add to the film experience, in fact the depth diminishes the longer you view the film.
A true 3D experience would be holographic.
looks brill cant wait to see the tutorial :)
"Optical Flares in 3d!"
That would be epic.
-Brent Pierce
How about how to composite effects INTO Stereo plates!?
as the 3D image allows your view to wander through the 3D space, from front to back, as in nature, generally everything should be focussed, so a huge DOF actually is a must. only if you want to work very artistically, or if you want to draw the attention of the viewer to some special object in focus, you might think of having other areas out of focus to prevent the viewer from looking there, but that is something that never would happen in natural viewing, and you should find other means to draw the viewers attention to where you want him to look at.
unfortunately, of course, DOF (resulting from aperture) in creative and artistic photography is one of the three and only parameters (aperture, exposure and focal length) there are in 2D photography, doing without one of them seems tough, but 3D requires a completely different approach to creative photography that up to now has not really been explored.


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Don't buy into the Atlantic Ave - Delray swanky hype... Your simply paying for the atmosphere with this burger.
For any burger that costs $13 (base) with additional $2 per item upgrade is a wallet draining price. Add-ons include: Vermont Cheddar, Blue Cheese, home smoked bacon, caramelized onions, sautéed mushrooms & a fried egg. Any of those worth an extra $2 eac? No. But I decided to add Vermont Cheddar & a Fried Egg. The 'house ground' meat patty was a solid portion. Cooked to my liking. But the add ons and presentation really made this a poorly executed, expensive burger.
The cheese was hard to find & taste. It seemed to disappear under the fried egg completely when melted. Evaporating Vermont Cheddar, never heard of it. Then the placement of the fried egg was horrible. It was slanted to the edge of the burger so when sliced open, ALL the egg yolk dropped right off the side of te burger. Not a SINGLE bite of my burger had egg yolk on it to enjoy. How dries the chef not see this when you paying extra for it... Poor execution overall but still solid flavors.
Overall rating:
- on a scale of Rare(1) to Well-Done(5)
Medium (3)

subset: commoncrawl


text:
Level 4, 230 Victoria Street, Bugis Junction Towers, Singapore 188024
Cardio Area 1 Cardio Area 2 Free Weights Area Resistance Area
Monday to Saturday:
6:00 am - 12:00 midnight
Sunday and Public Holidays*:
8:00 am - 10:00 pm.
* Public holiday hours may vary from the above hours, please check club for details.
Welcome to California Fitness Bugis Club. We offer a wide range of group exercise classes, personal training, state-of-the-art equipment and more, in the heart of the Bugis district. Whether you plan to lose weight, tone-up or just to get fitter, let us help you live better through fitness.
To join our Central fitness club, simply visit How to join or call 6337 2577 for a free tour.


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Shock Doctor Youth Gel Max Convertible Lip & Mouthguard
Product Information:
The Shock Doctor® Youth Gel Max Convertible Lip and Mouthguard features a heavy-duty rubber Exoskeletal Shock Frame™ and Gel-Fit™ liner for maximum protection, fit and comfort. The Youth Gel Max Mouthguard and Lip Guard has an easy-to-fit, triple-layer design and a Breathing Channel, which allows for easy inhalation while the mouthguard is clenched. Can be used strapped or strapless. For ages 10 and under.
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- Model: 3101Y
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Country of Origin: United StatesWeb ID: 4004878
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Rated 3 out of 5�by MrsW1 Shock Doctor Youth Gel Max Convertible Lip Mouthguard My son says the mouth piece is just okay... It was a little pricey... Don't think I will be purchasing the same one from Dicks for future football seasons. August 25, 2015
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Rated 5 out of 5�by Kevbigbuck Does exactly what we were hoping for! Easy to prep for use, much more complicated for my fidgety boy to gnaw on and ruin. Like the idea of no fingers getting into his mouth. August 19, 2015
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Rated 5 out of 5�by Sheyla21 Great feel and comfortable I bought this for my son and he loves it. We have tried several mouth guards and he would chew right through them. This one so far has been the best mouth guard and protects his lips which is amazing. July 14, 2015


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Contact Us
After submitting the screening questionnaire, you will be contacted by a research coordinator who will conduct a phone interview and complete enrollment. Please read the following document for more information about the Registry.
toll free phone:
mailing address:
1660 S. Columbian Way MS-182 GRECC
Seattle, WA 98108
Text of Information Statement:
May 4, 2014 PRINCIPAL INVESTIGATOR: Cyrus Zabetian, MD, MS If you have any questions about this form, please feel free to contact us at 206-277-6080 or 888-365-9901. RESEARCHERS' STATEMENT You are being invited to participate in a research study. The purpose of this Information Statement is to give you the information you will need to help you decide whether to be in the study. Please read this form carefully. You may ask questions about the purpose of the research, what we would ask you to do, the possible risks and benefits, your rights as a volunteer, and anything else about the research or this form that is not clear. When we have answered all your questions, you can decide whether you want to be in the study. This process is called "informed consent." You may keep this form for your records. PURPOSE OF THE STUDY The purpose of this research study is to create and maintain a database registry of information from people who are willing to participate in Parkinson's Disease (PD) research. People with PD or related disorders or people without PD (controls) are eligible to participate. People with a diagnosis of atypical parkinsonism, including progressive supranuclear palsy (PSP), multiple system atrophy (MSA), corticobasal degeneration (CBD), and dementia with Lewy bodies (DLB), are also eligible to participate in the Registry. The database will consist of information about the subject's disease and contact information in order to make it easier for researchers to enroll people into new research studies. Different investigators from the University of Washington and non-University of Washington affiliated institutions will conduct these research studies. By creating this registry, we hope to improve access to those who are willing to participate in research studies and to facilitate the recruitment process for researchers. We are asking you to give us verbal consent in order to obtain details of your disease, your biographical information, and your permission to be contacted for future research studies. Your participation is completely voluntary and there is no cost to participate in these research studies. If you consent to these terms, we will include you in the Washington Parkinson Disease Registry and contact you in the future when suitable research studies arise. PROCEDURES We will follow these procedures: Screening Process. If you express an interest in participating, you will be asked 15 questions to determine your eligibility for the Registry. These include questions about diagnosis, medications, and symptoms. If you meet the basic criteria for inclusion in the study, we will explain the purpose, procedures, benefits, and risks of participation outlined in this Information Statement. Consent Process. While most consent forms require your signature and a witness signature, we will be asking for verbal consent either over the phone or in person. This process is described as a waiver of written consent. Other than the difference in asking for verbal consent, there is absolutely no difference in the degree of security or confidentiality in this process. You might not be able to provide verbal consent for several reasons, including: 1. You might have diminished decision-making capacity 2. Your disease might have affected your ability to communicate (for example, you may have a soft voice or slurred speech) Under these circumstances, we will ask your legally authorized representative (guardian, durable power of attorney, spouse, or other next of kin) to provide verbal consent. In addition, we will need to establish your willingness to participate in the Registry by asking your permission to be included in the Registry. Data Acquisition: Once we verify that you have provided verbal consent, a Registry Coordinator will collect the following information: Biographical information such as name, address, phone number, date of birth, ethnicity, and email address. Medical information such as initial and current symptoms related to Parkinson disease, medications, complications from medications, history of deep brain stimulation (if applicable) and family history of Parkinson disease. Your interest in participating in various types of studies such as drug trials, genetics research, studies on environmental exposures, and "biomarker" research. We will also ask for your legally authorized representative's contact information (phone number, address, email) if different from yours. This is necessary since it will facilitate the follow-up/ update process. The interview process will occur over the phone or in person and should take no more than one hour. The interview can be made shorter and easier if you can prepare a list of medications and doses, physician names, and Parkinson disease symptoms beforehand. We will keep the information obtained during the interview process indefinitely unless you choose to withdraw from the Registry (see below). We will ask for updates to both your biographical and medical information every year. This will ensure that we have the most up-to-date information on file. These one-year updates can be done by mail-in questionnaires or over the phone. Operation of the Registry: An executive board will review all requests to use the Registry. The main function of the Executive Board, which consists of researchers from the University of Washington and the Seattle VA Medical Center, is to make sure that only quality studies are allowed to utilize the Registry. The Registry is also overseen by an advisory board which consists of representatives from the American Parkinson Disease Association, Northwest Parkinson's Foundation, and Northwest Collaborative Care. Once a suitable research study arises, we will contact you either by mail or email and provide you with contact information for the study's research coordinator. If you agree to participate in any study, you will be asked to sign a specific consent form that describes that particular study in detail. Certain studies may not appeal to you. You are free to decide not to participate in any study and remain in the Registry. You are encouraged to call us at any time if you have questions or concerns about your participation in a particular study. Some of the information obtained from your participation in other research studies will be given back to us and we will store this information in your Registry records. We will take a number of measures to ensure the confidentiality of this transferred information. Information given to us by outside research groups will not be available to you through the Registry. You may inquire about this information directly by contacting the research group that conducted the study. RISKS, STRESS, OR DISCOMFORT During the interview process, you may feel uncomfortable answering some questions. You may skip any question that you do not want to answer. We will make sure that the entire interview process is as stress free as possible. If you choose to provide personal information on our website, there is a risk that your information may be viewed by unauthorized users. If you participate in other research studies, those researchers will protect the privacy of the information they collect about you. However, there is always a risk that someone could find out that you are a research participant and could learn private information about you. BENEFITS OF THE STUDY We do not expect you to directly benefit from being in this study. However, the facilitation of research studies and the improved access to these studies might provide future benefits to individuals with Parkinson disease and related disorders. OTHER INFORMATION Security Measures: Your confidentiality is one of our primary concerns. All telephone interviews are conducted in a secure, private office. Information obtained in the Registry will be accessible only to those individuals and groups listed in this form. Your information will never be given or sold for advertisement or fund-raising. All of your research records will be kept in locked cabinets and protected computer files. If you choose to submit personal data on the Registry website, there is a risk that your information may be viewed by unauthorized users. However we use security measures to minimize the risk to you. These measures include encrypting information during the transmission from your web browser to the Registry server and keeping encrypted identifiable information separate from coded research data. The server is secured in a locked room with access limited to Registry staff. We will not place your name on any research data. Instead, we will assign a code number to your information. We will keep the master list that links your name to your code number in a locked cabinet. We will not share your information with anyone unless you ask us to. The only exception is if there is a risk of possible harm to others or to your self. Your name will not appear in any reports about the Registry. All information and results from the Registry will be kept indefinitely unless you withdraw from the Registry. Alternatives To Taking Part In This Study: Being in this study is voluntary. You can decide not to be in the study. Your decision to participate will in no way affect the quality of your health care, and there will be no penalty or loss of benefits to which you are otherwise entitled. Over-sight Committees: In some cases, the following people or groups might ask us to review our records to make sure that we are following all the regulations properly: The VA committees that oversee research, including the Institutional Review Board that oversees the safety and ethics of VA studies. Seattle Institute for Biomedical and Clinical Research (SIBCR). SIBCR is the nonprofit institute that works with the VA to conduct research and administers our research funds. Other government oversight agencies that oversee research, such as the Department of Veterans Affairs, Department of Health and Human Services, and National Institutes of Health. Withdrawing from the Registry: • You can withdraw from the Registry at any time by notifying us in writing. • All information except for your responses to the screening questionnaire form will be deleted. This form will not contain any personal identifying information and cannot be linked to you. For regulatory reporting purposes, we will also retain gender, veteran status, racial and ethnicity information. • Your decision will not affect the quality or level of care provided by your physician. • If we are notified that a Registry subject has died, we will retain all of his/her information for regulatory reporting and statistical purposes. • If a legally authorized representative requests to remove information, we will remove personal identifying information and retain responses on the screening questionnaire form, as well as gender, veteran status, racial and ethnicity information. For Subjects Participating in Other Parkinson Disease Studies.: If you are a current participant in Parkinson disease-related studies conducted here at the University of Washington and the VA Puget Sound Health Care System (Alzheimer's Disease Research Center: Participant Registry and Sample Repository, The PaGeR Study, or PANUC Clinical Core and Data Management), we are asking you to give us verbal consent in order to obtain the following: • Your permission to provide the Registry with personal information: Name, date of birth, home address, phone number, sex, ethnicity/race, email address if applicable, and legally authorized representative's contact information if applicable. • Your permission to transfer your medical information from the above-mentioned studies to the Registry: Information about your Parkinson disease or related disorders such as age and year of first symptoms, age and year of diagnosis; current symptoms, Hoehn & Yahr stage; results of available tests related to Parkinson disease (such as Unified Parkinson's Disease Rating Scale (UPDRS), Mini-Mental State Examination (MMSE), neuropsychological testing data, depression scales, sleep scales/studies); use of, response to, and complications from anti-Parkinson medications; family history of Parkinson disease and related disorders; and relevant medical/surgical history (for example, history of deep brain stimulator placement, low blood pressure, and damage to nervous system outside the brain or spinal cord). • Your permission to provide the Registry with yearly personal and medical updates • Your permission to be contacted for future research studies If updates to your research records occur after we transfer your information to the Registry, we might also transfer this updated information to the Registry whenever this occurs. OTHER: • You will not be paid or otherwise receive compensation for taking part in the Registry. • If you have any questions regarding the diagnosis or treatment of Parkinson's disease, we can refer you to the appropriate agencies (such as the American Parkinson Disease Association and the Northwest Parkinson's Foundation) that can provide lists of support groups and physicians in your area. • We will not provide any medical advice. • Information generated by utilizing this Registry may be published in medical literature or used for medical education. Your identity, however, will never be included. • If you choose to be informed of updates and studies by email, we cannot guarantee the confidentiality of this information. SUBJECT'S STATEMENT This study has been explained to me. I volunteer to take part in this research. I have had a chance to ask questions. If I have questions later about the research, I can ask one of the researchers listed on page 1 of this form. If I have questions about my rights as a research subject, I can call the Human Subjects Division at (206) 277-1715. I will retain a copy of this Information Statement. RESEARCHERS: Cyrus Zabetian, MD, MS, Associate Professor, Dept. of Neurology Ali Samii, MD, Professor, Dept. of Neurology Debby Tsuang, MD, MSc, Professor, Dept. of Psychiatry & Behav. Sci. Mike Kim, MD, Acting Assistant Professor, Dept. of Neurology Shu-Ching Hu MD, PhD, Assistant Professor, Dept. of Neurology Katelan Longfellow, Movement Disorders Fellow, Dept of Neurology Marie Davis, MD Movement Disorder Fellow, Dept. of Neurology Veronica Hicks, PA-C, Dept. of Psychiatry & Behav. Sci. Gretchen Todd, PA-C, Dept. of Psychiatry & Behav. Sci. Erica Martinez, Research Supervisor, SIBCR Jennifer Pate, Research Coordinator, SIBCR Sarah Heniges, Research Coordinator, SIBCR Gigi Streidl, Research Associate, Dept. of Neurology Heli Venkov, Research Coordinator, SIBCR Emily Ashmore, ResearchCoordinator, SIBCR Tiffany Thompson, Data Management Specialist, SIBCR Renee Agatsuma, Research Assistant, SIBCR Darla Chapman, RN, Dept. of Psychiatry & Behavioral Sciences Kristin Okinaka, Research Assistant, Department of Pathology M. Ragan Hart, Research Assistant, SIBCR Zeljka Jurcevic, Coordinator, SIBCR
[click here to save or print Information Statement for your records]
Copyright © 2008 RegisterParkinsons.org. All Rights Reserved.


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March 2, 2011
Santa Clarita, CA -
Follow UCLA Athletics on Twitter
UCLA Athletics on Facebook
The No. 3 ranked UCLA women's golf took home the team title at the second annual Bruin Wave Invitational, winning by an astounding 20 strokes over Arizona and earning Coach Carrie Forsyth her 37th tournament victory as UCLA head coach.
Sophomore Lee Lopez captured the individual title as well as the Bruins took the top three spots with Glory Yang finishing second and Stephanie Kono finishing third. Yang fired a third round 70 (-2) to take second at 213 (-3) while Kono shot a 73 (+1) to take third at 214 (-2).
The Bruins led the entire tournament wire-to-wire and finished with a total of 860 (-4) after shooting a 285 (-3) for their final round. They were also the only team to finish the tournament under par. Arizona took home second place with a score of 880 (+16) while Pepperdine finished in third with a score of 881 (+17). Stanford and San Diego State rounded out the top 5 by finishing at 896 (+32) and 898 (+34) respectively.
Individually, Lopez entered the day in a tie for third but shot the lowest score of the day to come from behind and win individual medalist honors. She birdied the final two holes of her round to overtake teammates Kono and Yang for the win. This is Lopez's first collegiate victory after transferring from Long Beach State back in 2009. Yang recorded her best finish of the season with her second place finish while Kono recorded her third top 10 finish of the year with her third place finish. As for the rest of the Bruins, sophomore Tiffany Lua finished tied for 18th with a round of 75 (+3) to give her a score of 224 (+8). Freshman Ani Gulugian ended up tied for 21st after shooting a final round 73 (+1) to end up at 225 (+9). Finally, junior Brianna Do competed as an individual and shot 73 (+1), finishing tied for 26th at 227 (+11).
UCLA will be back out on the course from Sunday, March 20th to Tuesday, March 22nd at the Aztec Invitational in Rancho Bernardo, CA.
For complete results from the Bruin Wave Invitational, click here.


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I found tasty surprises and original dishes at the Koi Restaurant and Lounge. Koi is not like any other Japanese restaurant! Their new Omakase and Skinny menus entice guests with exotic flavors and one-of-a-kind recipes.
Executive Chef Tim Horrock purchases all fresh ingredients from the Farmer's Market. "I buy the best try not to hide all of the natural tastes."
Mike, my producer, decided to try the special Omakase menu, an EIGHT course meal featuring the finest signature entrees from their main menu. Omakase means "The Chef's Choice" and Chef Tim invites their guests to customize the eight courses depending on their likes and dislikes. There are so many choices and an unparalleled flexibility for your dining pleasure.
The Omakase dinner began with a First Course of Tuna Tartare on a crispy won ton adding a bit of crunch to the tuna. This original recipe mixes the tuna with avocado, soy, and sesame.
For the Second Course, the Hamachi Fusion contained truffles usually not found on Asian menus. Chef Tim felt, "The truffle essence fuses the soy-yuzu and the jalapeño provides just the right amount of spice."
I have seen Carpaccio served in many different ways but never like the Third Course of Salmon Carpaccio. The Salmon Carpaccio seemed to be floating in citrus soy sauce with another type of truffles, the black truffles complimenting the fattiness of the fresh salmon.
The Forth Course, Spicy Seared Albacore was so colorful with crispy red onions and Ponzu sauce.
The Fifth Course consisted of Crispy Rice with Spicy Tuna, but not too spicy. The rice was pan fried and topped with the spicy tuna. The chef can prepare your dishes as spicy or mild as you wish.
After the parade of different fresh fish, the Sixth Course featured a warm Baked Crab Roll wrapped with soy paper.
The finale of all of the entrees, the Seventh Course was a Grilled, Ichimi glazed Lamb Chop leaning on mashed potatoes.
If you still have room for the Eighth Course, the Artisinal Mochi Ice Cream dessert covered in rice pastry.
I was thrilled with the Skinny menu but think it should be called the Healthy menu instead. The menu is based on healthy eating with an Asian touch. Even though you are eating a healthy meal, you still can indulge yourself with some of their mouth watering selections prepared with you in mind.
It was great biting into the large (U-10) Pan Seared jumbo Sea Scallops topped with tangerine butter and served on black forbidden rice.
The Koi Skinny specials include a Grilled Chicken Lettuce Hand Roll. You hold the lettuce around the chicken along with Julianne carrots, tofu lime sauce, and Daikon, and just eat like a sandwich.
Another unique pairing is their truly Asian Tuna and Tofu Caprese which includes fresh wasabi and American caviar.
The Koi Restaurant & Lounge is located inside the Planet Hollywood Resort, in Las Vegas. www.koirestaurant.com


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Author Archives: Steve Cronin
Almost everyone knows what 911 represents. Emergency! Help! Chaos! After September 11th, 2001, nine-one-one became nine-eleven and those numbers took on a whole new meaning. Without a doubt, it was a day that changed the course of history — a day that woke up an entire generation of Americans to a very real threat of terror at any time, any place. I certainly remember where I was ten years ago on September 11th, 2001. The day was so vivid for me, in such a unique way, though I was nowhere near New York City or Washington. I was in Akron, Ohio, at a Hilton Hotel, attending a one-day innovation training being facilitated by Idea Champions. A couple of hours into the course we were on a break, at the hotel lounge, when the news flashed on a huge TV screen — news of a plane hitting the World Trade Center, … Continue reading


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Emmanuel Papoutsakis
- Near Eastern Studies
I studied Classics at the University of Athens, Greece (BA 1990), and Hebrew at University College London (BA 1994). As part of my degree in London, I spent the 1992-1993 academic year at the Hebrew University of Jerusalem. At UCL I was also introduced to Classical Armenian. In 1994 I began my doctoral research in Syriac studies at the University of Oxford under the supervision of Sebastian Brock. I worked on the verse homily On the Flood by the Syriac poet and exegete Jacob of Serugh (d. 521), a representative of the golden age of Syriac literature (fourth-seventh cent.), and submitted my dissertation in 2000. In my years at Oxford (1994-2001) I continued my study of Classical Armenian under the guidance of Robert Thomson.
In 2001 I was awarded a post-doctoral fellowship at Princeton University and in the spring semester of 2002 I taught Syriac and Classical Armenian as a visiting lecturer in the Department of Near Eastern Studies. During the 2002-2003 academic year I was a Research Fellow at Harvard University's Dumbarton Oaks in Washington, D.C., where I worked on the Syriac literary background of the sixth-century Byzantine poet Romanos. Between 2003 and 2008 I taught as a lecturer in Near Eastern Studies at Princeton where I offered courses in Syriac and Classical Armenian languages and literatures. Before my re-appointment as an assistant professor, I spent the 2008-2009 academic year as a member at the Institute for Advanced Study, Princeton.
Research Interests
Syriac Christianity, its literature and history
Interaction between Greek and Syriac, especially in the areas of poetry and homiletical literature, transmission of literary motifs, and translation literature (Greek into Syriac/Syriac into Greek)
Bilingualism in Late Antiquity
Translation theory and practice in Late Antiquity
Interaction between Syriac Christianity and Judaism
"The Making of a Syriac Fable: From Ephrem to Romanos," Le Muséon 120, 1-2 (2007), pp. 29-75.
"Ostriches into Sirens: Towards an Understanding of a Septuagint Crux," Journal of Jewish Studies 55 (Spring 2004), pp. 25-36.
"A Small Thing: Early Syriac Views of Zoar (Gen. 19:20-22)," in Wiles, M.F. and Yarnold, E.J., (eds.), Studia Patristica XXXV (Thirteenth International Conference on Patristic Studies, Oxford, 1999), Leuven, 2001, pp. 484-487.
"Formulaic Language in the Verse Homilies of Jacob of Serugh," in Lavenant, R., (ed.), Symposium Syriacum VII (OCA 256), Rome, 1998, pp. 445-451.
Edited Volumes
(In collaboration with Philip Rousseau) Transformations of Late Antiquity: Essays for Peter Brown, London, 2009
Past Conferences
Syriac Studies Workshop, Princeton University, May 4-6, 2005
Dumbarton Oaks Colloquium on Romanos the Melodist, Washington , D.C. , November 12, 2005
Current Projects
Preparing my doctoral dissertation for publication
A series of articles on the Byzantine poet Romanos and his Syriac literary background
Annotated translation, with an introduction, of the Syriac Julian Romance for the series Translated Texts for Historians, Liverpool University Press (under contract)


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TUCSON, Ariz. ?- The No. 2 Arizona softball team notched a last-second win over No. 3 Cal on a seventh-inning grand slam by Kristie Fox on Saturday, 4-2.
Cal took an early 1-0 lead in the top of the first, when third baseman Vicky Galindo got a leadoff triple to the gap in right center. Left fielder Lindsay James put down a bunt to drive in Galindo and give the Bears a one-run edge.
In the top of the fifth, Cal got its second run of the game when right fielder Alex Sutton led off with a bunt single. With two out and Sutton on second, center fielder Kaleo Eldredge dribbled a single up the right field line to score Sutton and put the Bears up, 2-0.
Arizona remained scoreless until the bottom of the seventh. With two out and Allyson Von Liechtenstein on first, Caitlin Lowe reached first on a fielder's choice and Von Liechtenstein got to second on a Cal error. Autumn Champion put down a bunt to load the bases, and Kristie Fox hit a first-pitch grand slam over the fence in left center to give the Cats the win.
Alicia Hollowell got her 19th win, allowing seven hits and two runs while striking out nine and walking three. Arizona got its 28th overall win and its second Pac-10 victory.
The Wildcats will take on the Bears again on Sunday at 1 p.m. at Hillenbrand Stadium.


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Pattern Detail
Techno Hat - free pattern
Design by Colleen Powley
Free Pattern
This pattern is available as a free download. Click to download PDF.
Relevant Blog Post: Pretty in Pink
ExperienceAdvanced Beginner
• Blue Sky Alpacas TECHNO (50g/120yds): 1 hank
• Size 8 (5mm) 16" circular needle, or size needed to obtain gauge
• Size 10.5 (6.5mm) 16" circular needle, or size needed to obtain gauge
• Size 10.5 (6.5mm) double pointed needles, or size needed to obtain gauge
• Tapestry needle
SizesBrim circumference: 17", unstretched
GaugeIn St st, 4 sts = 1", using larger needle
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Browsing as: Guest_65
Canonizer algorithm:
This section is a table of contents for this topic. It is in outline or tree form, with supporting sub camps indented from the parent camp. If you are in a sub camp, you are also counted in all parent camps including the agreement camp at the top. The numbers are canonized scores derived from the people in the camps based on your currently selected canonizer on the side bar. The camps are sorted according to these canonized scores. Each entry is a link to the camp page which can contain a statement of belief. The green line indicates the camp page you are currently on and the statement below is for that camp.
Open Government Initiative
The Open Government Initiative started out with a temporary name: ExpertNet?. The purpose for this topic is to survey for which names have the most consensus and make this information visible to everyone. The suggest a name wiki page for the project is here.
Please create a camp for each proposed name, and the statements can be more information about it, or a concise statement about why everyone in the camp likes it...
People can vote for (join) more than one camp.
If the final decision is going to made by some managers, or something, only taking this popular vote as advisement, we can create a canonizer algorithm to represent this process for all to see. For example. If Barrack Obama might get 10,000 votes, Aneesh Chopra and Shelley Metzenbaum: 1000, anyone that contributes: 100, any US citizen 10, and anyone else 1. Such could easily be implemented if such information was provided so everyone can have real time visibility into how each name stands.
Supporters can delegate their support to others. Direct supporters receive e-mail notifications of proposed camp changes, while delegated supporters dont. People delegating their support to others are shown below and indented from their delegates in an outline form. If a delegate changes camp, everyone delegating their support to them will change camps with them.
Total Support for This Camp (including sub-camps): 4.99
Topic Name: New ExpertNet Name
Name Space:
Camp Name: Agreement
Title: New ExpertNet Name (Open Government Initiative)
Key Words:
Related URL:
Related Nick Name:


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The Eastern Daimones resemble the Telkhines of Keos.
Diodorus Siculus, Library of History 5. 55. 4 (trans. Oldfather) (Greek historian C1st B.C.) :
"Poseidon, the myth continues, when he had grown to manhood, became enamoured of Halia, the sister of the Telkhines (Telchines), and lying with her he begat six male children and one daughter, called Rhodos, after whom the island [of Rhodes] was named . . . And while these were still young men, Aphrodite, they say, as she was journeying [after her birth in the sea] from Kytherea (Cytherea) to Kypros (Cyprus) and dropped anchor near Rhodes, was prevented from stopping there by the sons of Poseidon, who were arrogant and insolent men; whereupon the goddess, in her wrath, brought a madness upon them, and they lay with their mother [Halia] against her will and committed many acts of violence upon the natives. But when Poseidon learned of what had happened he buried his sons beneath the earth, because of their shameful deed, and men called them the Eastern Demons (proseoous daimones); and Halia cast herself into the sea."
Diodorus Siculus, Library of History 5. 55. 5 :
"And at this period in the eastern part of the island [of Rhodes before the great Deluge] there sprung up the Gigantes (Giants) [the Daimones Proseoous], as they were called; and at the time when Zeus is said to have subdued the Titanes (Tians), he became enamoured of one of the Nymphai (Nymphs) [of the island], Himalia by name."


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Gramercy Patio Panel
Enhance your privacy, update your decor, and help block drafts with this patio door treatment. Grommet top. 100% polyester. Machine washable. Imported. 100"W x 84"L. Select from available colors listed below.
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Enjoy the gentle strains of these classic melodies: Fur Elise, Home Sweet Home, Swan Lake, The Cuckoo's Waltz, Toy Symphony, Long, Long Ago, and 10 more – 16 melodies in all! This graceful clock strikes up the music at the top of each hour. Night shut-off and rotating pendulum. 11¾"W x 18½"H, made of plastic and glass with rhinestone hour markers. Batteries not included. One year limited warranty.
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A touch of the fingertips is all you need to operate this stylish and convenient lamp. With a pleated fabric shade and metal and porcelain base, this decorative touch lamp will look so lovely in your home, you'll want another one. Touch this three way lamp once for night light, twice for medium light, and three for bright. 19"H. Bulbs not included.
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Jeff Tambellini knows about what it takes to play in a team's bottom six forward group. Although he was selected in the first round by the Los Angeles Kings in the 2003 NHL Entry Draft as an offensive player, the … Continue reading
Hockey Ops Trevor Linden RSS
Canucks can't afford to wait for Dan Bylsma
Now that Jim Benning is officially in place as the Canucks' new GM, the NHL team could find itself in another waiting game. President of Hockey Ops Trevor Linden definitely caught a break when the Canadiens upset the Bruins in … Continue reading


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Same Day Delivery To Miami
Dj By Dominic Jones
Large thorn stud earrings
Large thorn stud earrings in teal from DJ by Dominic Jones. These thorn stud earrings feature a teal and black web design, and a push back fasten. Please note we cannot accept returns for earrings.
Item ID: 10301129
- Composition:
- Metal (Other)
- Brand Style ID:
Same Day Delivery
We offer same day delivery from the boutique to you in select delivery areas. Please click here to see if your postal code is eligible. Orders placed by 10:00 AM local time will be delivered the same day (Monday to Friday). Orders placed after 10:00 AM local time will be delivered the following business day. Weekend delivery service is unavailable at this time.
Your order will be shipped directly from the boutique to you. Farfetch ships worldwide, and you will be able to track your order at any time. The cost of shipping your order will be calculated at the checkout.
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Delivery duties are included in the item price when shipping to all EU countries plus USA, Canada, China, Australia, Puerto Rico, Switzerland, Singapore, Republic Of Korea, Kuwait, Qatar, India, Norway, Saudi Arabia, Taiwan, Thailand, U.A.E., Japan.This means all import duties are included in your order, so the price you see is the price you pay. You will not receive an additional duty bill from the courier to receive your shipment. If you are ordering from within your own customs zone or country, import duties will not be applicable anyway, however you may have to pay VAT or local Sales Taxes where applicable (for the UK and USA these are included at the checkout).
Delivery duties are not included in the item price when shipping to all other countries. This means you may be liable to pay import duties on receipt of your order.
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You have 14 days from receiving your order to return the item to the boutique using our free returns pick-up service. We strongly recommend that you book your free returns pick-up within 7 days of receiving your order to ensure that it arrives back to the boutique in time. Please note for standard orders we can only collect returns from the same country to which your order was delivered. For click and collect orders we can collect your return from the country your order was delivered to and also the country of the original boutique you ordered from. Click here to read our full returns policy.
The Webster
Miami , United States
The Webster is a luxury multi-brand boutique located in the heart of Miami Beach. Housed in an historic Art Deco building designed by the architect Henry Hohauser, it features three floors devoted to fashion, photography and entertainment. The Webster recently opened its second location at the Shops at Bal Harbour.


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Provincial Archives of Alberta > Services > Sandra Thomson Reading Room
Public access to records held by the Provincial Archives of Alberta is done primarily in the Sandra Thomson Reading Room, staffed full-time with Archivists who are available to provide advice on locating and accessing records, and using the Reading Room's equipment.
This space is available to the public to research and view the Provincial Archives' holdings, and to access the 14,625 volumes of library holdings focusing on the history and culture of Alberta and Western Canada. This unique Library collection includes extensive holdings of histories for communities across Alberta.
The Sandra Thomson Reading Room is home to the following:
Monday: Closed
Tuesday: 9:00am – 4:30 pm
Wednesday: 9:00am – 4:30pm, 4:30pm – 9:00pm (limited service)
Thursday: 9:00am – 4:30pm
Friday: 9:00am- 4:30pm
Saturday: 9:00am – 4:30pm
Sunday: Closed
*There is no retrieval of archival material from 11:30am - 1pm and from 3:30pm onwards.
1950 – 2004; Provincial Archivist from 1993 – 2004
Sandra Thomson is presented with an award from the Archives Society of Alberta
(ca 2003) From left to right: Joanne Munn-Gafuik, President of the Archives
Society of Alberta; Sandra Thomson, Provincial Archivist; Michael Gourlie,
Executive Director of the Archives Society of Alberta)
Dr. Sandra Thomson strove to ensure the Provincial Archives of Alberta and the archival community were valued and used by Albertans from all walks of life to their fullest potential. She worked tirelessly behind the scenes to promote and raise public awareness about the Provincial Archives, and her dedicated and persistent advocacy led to the acquisition of the new and larger home for the Archives on Roper Road in southeast Edmonton in the fall of 2003.
Dr. Thomson saw the Provincial Archives as core to understanding the history of Alberta, envisioning a more user-friendly space where genealogists, scholars, journalists, students and business people could more easily access unique records and primary sources held in the Archives' vaults. She strongly believed that a society without an understanding of its history could not prepare or plan for the future, and worked every day to promote the appreciation and understanding of Alberta's individual culture and history through the Provincial Archives of Alberta.
Dr. Thomson also provided a strong voice for the Archives Society of Alberta, which serves all Archives across the province of Alberta.
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"X Factor" stars One Direction, Demi Lovato and Fifth Harmony are among the first group of nominees announced for the 2014 "Teen Choice Awards", which made the announcement on June 17, 2014. The rest of the show's nominees, participating celebrities and the show's host are to be announced.
Fox will have the U.S. telecast of the 2014 "Teen Choice Awards", which take place on Aug. 10 at UCLA's Pauley Pavilion in Los Angeles. Voting for the awards show opened on June 17, 2014, at the official "Teen Choice Awards" website. The show is asking that only people ages 13 to 19 vote, but there's realistically no way of knowing the ages of the people who vote online.
One Direction received nominations for Choice Music Group and Choice Male Hottie. Fifth Harmony is up for Choice Music Group. Lovato and One Direction's Harry Styles are each nominated for Choice Smile. One Direction and Lovato have received several Teen Choice Awards in the past. This is the first time that Fifth Harmony has been nominated for a Teen Choice Award.
One Direction came in third place on "The X Factor" U.K. in 2010. The group was formed on the the show when Simon Cowell and other "X Factor" decision makers decided to put five singers (Harry Styles, Liam Payne, Niall Horan, Zayn Malik and Louis Tomlinson) who originally auditioned as solo contestants into the same group. Cowell was One Direction's mentor on "The X Factor" U.K., and he signed the group to Syco Music, the record company he co-owns with Sony Music. One Direction has since become the biggest-selling worldwide act to emerge from "The X Factor," by having No. 1 hits and sold-out tours in numerous countries.
Fifth Harmony came in third place on "The X Factor" U.S. in 2012. Just like One Direction, the group was formed when Cowell put together five singers (Camila Cabello, Ally Brooke, Normani Hamolton, Dinah Jane Hansen and Lauren Jauregui) who originally auditioned as solo contestants into the same group. Cowell was Fifth Harmony's mentor on the show, and he also signed the group to Syco Music. Fifth Harmony has had modest sales for the group's 2013 EP "Better Together" and the singles from the EP. Fifth Harmony performed at several music festivals, and has been the opening act for Lovato and "X Factor" U.K. alum Cher Lloyd on separate tours.
Lovato was a judge on "The X Factor" U.S. in 2012 and 2013. She quit the show at the end of the show's third season in December 2013 because she said she wanted to focus on her music career. "The X Factor" U.S. was officially cancelled two months later.


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Royalty Free Music & Incredible Ways To Customize It
Royalty Free Music — Spoken Word/Narration & Strings
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Royalty Free Spoken Word/Narration & Strings MusicSpoken Word/Narration Sub-Production Types: Background Biography Indie Film Short Film Documentary Corporate Tribute/Memorial Action-Drama TV/ Film Drama Meditation MORE »
Track Search Results Switch to ALBUM VIEW
The following tracks match: Spoken Word/Narration, Strings
Breathless-NTDelicate piano, strings and woodwinds lend a romantic, tantalizing and yearning feel to this engaging track.https://www.smartsound.com/strata/images/STRATOH_200.jpgSingle7100156-ST$ 39.957100156-EX$ 59.957100156-W$ 149.95Production Types: Cinematic, Documentary, Indie Film, Film Trailer, Biography, Home Videos, Spoken Word/Narration, Tribute/Memorial, Background Instrument: Orchestra, Studio Orchestra, Oboe, Piano, Strings, Instrumental Genre: Nostalgic, Orchestral, Waltz Emotions: Inspirational, Delicate, Dramatic, Gentle, Heartwarming, Inspiring, Intimate, Light, Melancholy, Refined, Reflective, Serene, Uncertain, Mellow, Emotional, Quiet
Breathless-NT from the album Orchestral Hues
Infinite LoveOpening strings outline chords of hope, which are then picked up by the piano resulting in a beautiful development of the main theme, all the way to the bright and hopeful last chord.https://www.smartsound.com/strata/images/STRATTM_200.jpgSingle70404-ST$ 39.9570404-EX$ 59.9570404-W$ 149.95Production Types: Documentary, Nature, Religion, Wedding, Biography, Spoken Word/Narration, Tribute/Memorial Instrument: Orchestra, Piano, Strings, Instrumental Genre: Romantic, Orchestral Emotions: Positive, Calm, Dramatic, Heartwarming, Serene, Soothing, Tender, Touching, Drama, Hopeful, Emotional, Poignant
Infinite Love from the album Tender Moments
So Far From YouA slightly playful piano opens this peaceful track, with strings providing a steady and introspective element that glues the performance together into a touching reverie.https://www.smartsound.com/strata/images/STRATTM_200.jpgSingle70408-ST$ 39.9570408-EX$ 59.9570408-W$ 149.95Production Types: Nature, Religion, Wedding, Biography, Spoken Word/Narration, Tribute/Memorial Instrument: Orchestra, Piano, Strings, Instrumental Genre: Romantic, Orchestral Emotions: Calm, Delicate, Heartwarming, Light, Reflective, Serene, Solemn, Tender, Touching, Tranquil, Hopeful, Angelic, Emotional, Poignant, Soft
So Far From You from the album Tender Moments
Reflective MemoriesFirm piano chords open the piece followed with support from warm and emotional strings, ripe for personal and thoughtful moments.https://www.smartsound.com/strata/images/STRATTM_200.jpgSingle70407-ST$ 39.9570407-EX$ 59.9570407-W$ 149.95Production Types: Nature, Religion, Biography, Spoken Word/Narration, Tribute/Memorial Instrument: Orchestra, Piano, Strings, Instrumental Genre: Romantic, Orchestral Emotions: Dramatic, Gentle, Melancholy, Pensive, Reflective, Sad, Tender, Touching, Drama, Emotional, Poignant
Reflective Memories from the album Tender Moments
Auburn SkyA plaintive guitar gives this track an air of sophistication while low strings add a sense of melancholy. Perfect for scenes with characters contemplating big changes in their lives.https://www.smartsound.com/strata/images/BS10IF_200.jpgSingle54301-ST$ 39.9554301-EX$ 59.9554301-W$ 149.95Production Types: Documentary, Indie Film, Biography, Spoken Word/Narration, Background Instrument: Studio Orchestra, Guitar (Electric), Strings, Instrumental, Guitar Genre: Themes, Ballad, Indie Artist, Minimal, Indie, Specialty Emotions: Atmospheric, Ethereal, Pensive, Sparse, Mellow, Quiet, Soft
Auburn Sky from the album Indie Film 01
Past TenseA tender and heartfelt work featuring acoustic guitar and strings.https://www.smartsound.com/strata/images/STRATHF_200.jpgSingle66007-ST$ 39.9566007-EX$ 59.9566007-W$ 149.95Production Types: Indie Film, Short Film, Action-Drama, Biography, Spoken Word/Narration, Tribute/Memorial Instrument: Guitar (Acoustic), Piano, Strings, Acoustic, Instrumental, Guitar Genre: Ballad, Lyrical, Indie, Easy-Listening/New Age Emotions: Heartwarming, Reflective, Touching, Drama, Hopeful, Emotional, Poignant, Quiet, Soft
Past Tense from the album Heartfelt
Remembering The YearsA poignant, dramatic work for piano and strings.https://www.smartsound.com/strata/images/STRATNB_200.jpgSingle65208-ST$ 39.9565208-EX$ 59.9565208-W$ 149.95Production Types: Cinematic, Indie Film, Short Film, Spoken Word/Narration, Tribute/Memorial Instrument: Piano, Strings, Instrumental Genre: Orchestral, Ballad, Lyrical, Indie Emotions: Delicate, Gentle, Heartwarming, Melancholy, Touching, Hopeful, Emotional, Poignant, Quiet, Soft
Remembering The Years from the album Narration Backgrounds
Season's EndA sparkling and tender work featuring piano and a smooth strings bed.https://www.smartsound.com/strata/images/STRATSE_200.jpgSingle61809-ST$ 39.9561809-EX$ 59.9561809-W$ 149.95Production Types: Indie Film, Short Film, Biography, Spoken Word/Narration, Background Instrument: Piano (Electric), Strings, Instrumental Genre: Ballad, Easy-Going, Indie, Easy-Listening/New Age Emotions: Atmospheric, Delicate, Heartwarming, Innocent, Mellow, Hopeful, Angelic, Soft
Season's End from the album A Change of Seasons
The Space BetweenStriving and sparse, this piece can help add an aural space to your feature. Warm strings back an acoustic guitar lead.https://www.smartsound.com/strata/images/strataRM_200.jpgSingle59008-ST$ 39.9559008-EX$ 59.9559008-W$ 149.95Production Types: TV/ Film Drama, Indie Film, Short Film, Spoken Word/Narration Instrument: Guitar (Acoustic), Strings, New Age Ensemble, Instrumental, Guitar Genre: Themes, Minimal, New Age, Indie, Easy-Listening/New Age Emotions: Atmospheric, Reflective, Sparse, Quiet, Soft
The Space Between from the album Reflective Memory
Know By HeartThis tender background can work well in positive and emotional points in your story.https://www.smartsound.com/strata/images/STRATHF_200.jpgSingle66006-ST$ 39.9566006-EX$ 59.9566006-W$ 149.95Production Types: Indie Film, Short Film, Action-Drama, Biography, Spoken Word/Narration, Tribute/Memorial Instrument: Guitar (Acoustic), Strings, Acoustic, Instrumental, Guitar Genre: Ballad, Lyrical, Indie, Easy-Listening/New Age Emotions: Uplifting, Delicate, Heartwarming, Touching, Drama, Hopeful, Emotional, Poignant, Quiet, Soft
Know By Heart from the album Heartfelt
Choose your license:
|Customizable with Sonicfire Pro and Quicktracks
|Unlimited lifetime customizations
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SystemPal shows memory/CPU usage status, CPU temperature and fan speed, network status and disk reading/writing status on the menubar. SystemPal is becoming an ALL-IN-ONE app. It also provides a tool kit including mini music player, screenshot capture, memory cleaner.
- Shows status directly on the menubar. It is very convenient to check system status.
- Shows a mini music player on the menubar. This mini music player controls iTunes to play songs in your iTunes library. It is very convenient to see song name and artist on the menubar. You can also check the album artwork, read the more...
What's New
Version 5.1:
- Fixed the minor UI issues
- OS X 10.10 or later
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Mar 19, 2011 11:14 AM
We're fast approaching gardening season, and some of you are already potting your seeds indoors! Keep everything in one place with the Wooden Garden Stand ($46, on sale) from Pottery Barn. Once the weather turns and it's time to get those seedlings in the ground, just bring the stand with you for easy transplanting. Then, fill it with mismatched vases and clippings all summer long for a lovely rustic display.
If you've got a product or service that you'd like to promote on Outblush, click here to find out about our advertising opportunities.
Outblush is a blog for girls who love to shop. Our staff digs up the best clothes, home stuff, beauty items, and more. New items are posted every day — bookmark us and check out:


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The Rattlesnake Museum in Old Town is an interesting trip you can take when you're in the area and looking for something to do. They claim to have "the largest collection of different species on public display in the world", even more than San Diego Zoo, Bronx Zoo, the National Zoo, Philadelphia Zoo, San Francisco Zoo, Denver Zoo and all other zoos in the world! It's kind of hard to believe, but I guess it's true. To the average person, you would just think there's maybe a dozen different species on display, but I guess there's more than what you might think.
Tickets cost $5 for adults and $3 for kids with a discount for Albuquerque Journal Press Pass members. If you happen to find yourself already in Old Town, especially on a hot day, then the Rattlesnake museum provides the perfect outlet to cool down while enjoying some really cool snakes and reptiles on display. You start off by getting a certificate of bravery as your entrance pass. As you enter the doors, you are greeted by enormous crocodile and alligator skulls on display. You would be terrified if these animals were still alive and in your presence. You can then walk around looking at the various snakes on display, including a pure white one, a diamond back, rattlesnakes, local snakes, poisonous snakes, tiny snakes and big ones. These are all alive.
In addition to the snakes, there are also other animals such as a snapping turtle, Gila monster, scorpion and other reptiles. In the last room there are more animals on display. There is also a collection of very interesting beer cans that feature snakes and reptiles on them. You can also see bottles that were used to collect snake oil for medicine and it even says this is still a common and legal practice in China. The last room also shows a National Geographic movie on snakes. It's very interesting and actually captures a lot of people's attention. There are areas to sit and enjoy under the cool air conditioning. There is a store to purchase cool gifts before you leave the museum.