text:
|Publication number
|Publication type
|Application number
|Publication date
|Aug 24, 2004
|Filing date
|Oct 28, 2002
|Priority date
|Apr 16, 1998
|Fee status
|Also published as
|Publication number
|Stephen K. Decker, Hugh L. Brunk, J. Scott Carr, Geoffrey B. Rhoads
|Original Assignee
|Digimarc Corporation
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (98), Non-Patent Citations (16), Referenced by (67), Classifications (49), Legal Events (8)
|External Links: USPTO, USPTO Assignment, Espacenet
This patent application is a continuation in part of U.S. application Ser. No. 09/741,779, filed Dec. 21, 2000 (now abandoned, published as U.S. Application Publication 2002-0080992), and a continuation in part of U.S. application Ser. No. 09/292,569, filed Apr. 15, 1999 (now abandoned), which claims priority to U.S. Provisional Application No. 60/082,228, filed Apr. 16, 1998, which are hereby incorporated by reference.
The subject matter of the present application is related to that disclosed in U.S. Pat. No. 5,862,260, and in application Ser. No. 09/503,881, filed Feb. 14, 2000 (now U.S. Pat. No. 6,614,914; which are hereby incorporated by reference.
The invention relates to digital watermarking and integrating digital watermarking methods with optically variable devices.
Digital watermarking is a process for modifying physical or electronic media to embed a machine-readable code into the media. The media may be modified such that the embedded code is imperceptible or nearly imperceptible to the user, yet may be detected through an automated detection process. Most commonly, digital watermarking is applied to media signals such as images, audio signals, and video signals. However, it may also be applied to other types of media objects, including documents (e.g., through line, word or character shifting), software, multi-dimensional graphics models, and surface textures of objects.
Digital watermarking systems typically have two primary components: an encoder that embeds the watermark in a host media signal, and a decoder that detects and reads the embedded watermark from a signal suspected of containing a watermark (a suspect signal). The encoder embeds a watermark by altering the host media signal. The reading component analyzes a suspect signal to detect whether a watermark is present. In applications where the watermark encodes information, the reader extracts this information from the detected watermark.
Several particular watermarking techniques have been developed. The reader is presumed to be familiar with the literature in this field. Particular techniques for embedding and detecting imperceptible watermarks in media signals are detailed in the assignee's co-pending application Ser. No. 09/503,881 and U.S. Pat. No. 5,862,260, which are hereby incorporated by reference.
Digital watermarks can be exploited in a variety of applications, including authenticating electronic and physical objects and counterfeit deterrence. They may also be used in conjunction with other security technologies.
Optically Variable Devices (OVDs) are another type of technology used in security applications. OVD is a class of devices that includes Diffractive Optically Variable Image Devices (DOVIDs), such as holograms. Within the field of holography, there a variety of types of DOVIDs including, for example, Exelgram™, Kinegram™, and Pixelgram™ DOVIDs. This document uses the term hologram to generally encompass diffractive devices, including DOVIDs manufactured on metallized or clear film, by the replication of a surface relief pattern (e.g., embossed hologram), through laser exposure (e.g., photopolymer holograms), or other known processes. The state of the art of manufacturing holograms offers several methods for creating a diffraction pattern and mass reproduction of them.
FIG. 1 is a diagram illustrating a process of creating a master hologram and reproducing it. To create a master hologram, the method records a diffraction grating on a photosensitive surface, such a photoresist plate (100). The diffraction grating represents an interference pattern of two interfering beams of light. One way to form this interference pattern is to use a diffusely reflecting three-dimensional model. The model is illuminated by a laser whose output passes through a beam splitter to create separate beams. One of the beams is directed as a reference beam onto the photoresist for interference at a finite angle with another beam reflected from the model.
The photoresist is developed to create a surface relief pattern of the diffraction grating (102). Next, a highly reflective, opaque layer is applied to the surface relief pattern to create a reflective hologram. An image can then be reconstructed and viewed by reflecting light from an ordinary light source. A first order diffracted beam reconstructs the image.
The hologram may be used to create a second hologram. For example, a first hologram is illuminated with coherent light from a laser to reconstruct an image of the original model. A photoresist plate is placed at the location of the reconstructed image. In order to form a new hologram, a beam splitter is positioned in the laser output beam in order to direct a portion of its intensity directly onto the photoresist plate for interference at a finite angle with a first order diffracted beam that is diffracted from the first hologram.
In the process of creating a hologram, several exposures, each with different masks and grating parameters, may be used. For each exposure, the mask controls the portions of the photoresist plate to be exposed. Computer driven machinery may be used to create discrete grating dots or pixels at resolutions of 50 to 2000 dots per inch (dpi). These types of diffraction gratings are sometimes referred to as dot matrix OVDs.
To mass produce the hologram, a metal master of the surface relief pattern is created from the developed photoresist (104). One way to do this is to use a metal electroforming process to apply a metal layer on the developed photoresist plate. The resulting metal layer becomes a surface relief master used to replicate the surface relief pattern (106).
There are a number of ways to reproduce the hologram using the surface relief master. One way utilizes an embossing technique where the metal surface relief master are urged against thin, smooth, clear plastic film under an appropriate amount of pressure and heat in order to form a replica of that surface relief pattern. A second way utilizes a casting technique, where the surface relief metal master is used as a mold to which a clear liquid resin is applied and cured between an optically clear flexible plastic substrate and the master mold. A continuous casting process is used where the master hologram is fitted on the outside of a drum over which the substrate passes, and the resin is cured by passing ultraviolet light through the substrate while in contact with the master.
After reproducing the surface relief pattern on a film, a highly reflective, opaque layer is formed on the surface relief pattern. One way to do this is to evaporate aluminum onto the surface relief pattern formed on the film.
There are a number of alternative ways to create holograms. Another type of hologram is a Denisyuk hologram. Denisyuk holograms are recorded on silver halide film, photopolymer film or dichromated gelatin film. The resulting hologram is laminated into a card or applied to product as a tag or label.
Diffraction gratings can be creating without using light interference, but instead, using microlithography engraving technologies. This class of diffraction gratings may be classified as "non-optically recorded diffraction gratings." Microlithography based OVD recording technologies, like electron-ion lithography, are used to form diffraction gratings with desired optical properties. Examples of such gratings include binary, blazed, curvilinear, and subwavelength (less than the wavelength of visible light) gratings.
Rather than using physical models, light sources and optical elements, diffractive structures may also be generated by computer (Computer Generated Holograms). In a CGH, a computer makes wavefront calculations to compute the hologram's surface profile or transmission characteristics. To create a master, the resulting holographic structure may be recorded optically by projecting a map of the computer generated holographic structure onto a photosensitive material, or using microlithography such as e-beam lithography to record the holographic structure on a surface of a master. A variety of computer implemented methods, such as Fourier Transform iterative algorithms, are described in published literature relating to computer generated holograms. See P. Stepien, Computer Generated Holograms and Diffraction Gratings in Optical Security Applications In Optical Security and Counterfeit Deterrence Techniques III, Rudolf L. van Renesse, Willem A. Vliegenthart, Editors, Proceedings of SPIE Vol. 3937 (2000).
The invention provides methods for integrating digital watermarks into holograms, watermarked hologram structures, and related applications. One aspect of the invention is a method of embedding a digital watermark in an optically variable device. This method creates a watermark image, and then embeds the watermark image into a holographic structure.
Another aspect of the invention is a method for integrating a digital watermark into a hologram. This method creates a halftone watermarked image, and forms the halftone watermarked image in the hologram by creating hologram dots corresponding to the dots in the halftone watermarked image.
Another aspect of the invention is a watermark reader operable to decode a watermark from a watermarked hologram. The decoder comprises a watermark decoder and message decoder. The watermark decoder detects a watermark signal in an image scanned from a watermarked hologram. The message decoder extracts a message from the watermark signal.
Further features will become apparent with reference to the following detailed description and accompanying drawings.
FIG. 1 is a diagram illustrating a process of creating a master hologram and reproducing it.
FIG. 2 is a diagram illustrating a method for embedding a watermark in a hologram image.
FIG. 3 is a diagram illustrating an alternative method for embedding a watermark in a hologram image.
FIG. 4 is a flow diagram illustrating a process of decoding the watermark signal from the holograms created in FIGS. 2 and 3.
FIG. 5 is a flow diagram illustrating a process for embedding a watermark signal into a hologram where the physical structure of the hologram is modulated to carry a watermark signal.
FIG. 6 is a flow diagram illustrating a method for reading the watermark embedded in a hologram according to the method shown in FIG. 5.
This document provides a number of ways to integrate digital watermarks into OVDs, such as holograms. First, the following description provides a description of digital watermark embedding and reading operations. Next, it describes methods for integrating watermarks into OVDs. Finally, it describes applications of watermarked holograms.
Watermark Embedding and Reading Operations
There are a variety of known methods for embedding digital watermarks into images and reading the watermark from a watermarked signal. This section describes examples of digital image watermark methods suitable for integrating with OVDs.
In the following digital watermark method, an embedder modulates a carrier signal with a message comprising one or more binary or M-ary symbols to create a watermark signal. The embedder then embeds the watermark signal into the host image by modulating characteristics of the host such that they carry the watermark signal. The host image may be a multi-level per pixel image representation such as an array of N-bit luminance values (or multilevel color vector per pixel), or a halftone image where each element has a binary value of on or off.
One way to embed the watermark signal into a multilevel per pixel image is to add it to spatial or transform domain samples of the host signal.
Similarly, the watermark signal may be embedded in a halftone image with the following variation. First, a multilevel per pixel watermark signal is created at the resolution of a target halftone image. The watermark embedder produces a multilevel per pixel watermark signal at the desired resolution of the halftone image, or at some other resolution and up or down samples it to match the resolution of a target halftone image. This watermark signal is then added to the host image at the same spatial resolution to create a composite, watermarked image. An error diffusion process or some other type of halftone process may then be applied directly to this composite image to generate a watermarked halftone image. This technique applies to a variety of halftone processes including ordered dithering (e.g., blue noise masks, clustered dot halftones, etc.) as well as error diffusion halftone processes.
There are a variety of ways to generate the watermark signal. One approach is to take an auxiliary message comprising binary or M-ary symbols, apply error correction coding to it, and then spread spectrum modulate the error correction encoded message. One way to spread spectrum modulate the message is to spread each binary symbol in the message over a pseudorandom number, using an exclusive OR operation or multiplication operation. The resulting binary message elements in the spread spectrum modulated message signal are then mapped to spatial image locations. The watermark signal may be expressed in a binary antipodal form, where binary symbols are either positive or negative. To increase robustness, the spread spectrum modulated message signal may be repeated throughout the host image, by for example, embedding the message signal in several blocks of the host image. In particular, the watermark encoder may embed instances of the watermark signal into contiguous blocks of pixels throughout a portion of the host image or throughout the entire host image.
Perceptual modeling may be applied to the host image to calculate a gain vector with gain values that correspond to the message signal elements. For example, in the case where the upsampled watermarked signal is added to the host signal, the gain values may be used to scale binary antipodal values of the message signal before adding them to the host signal. Each gain value may be a function of desired watermark visibility and detectability constraints. In particular, the perceptual model analyzes the image to determine the extent to which it can hide a corresponding element of the watermark image. One type of an analysis is to compute local contrast in a neighborhood around each pixel (e.g., signal activity) and select gain for a pixel or group of neighboring pixels as a function of local contrast. A detectability model analyzes the host signal to determine the extent to which pixel values are biased toward the value of the watermark signal at the corresponding pixel locations. It then adjusts the gain up or down depending on the extent to which the host image pixels are biased towards the watermark signal.
This type of watermark may be read from the watermarked halftone image (e.g., binary bit map) or other image representations of that watermarked image, such as a multilevel per pixel representation of the image at a resolution sufficiently high to represent the watermark signal. To decode the watermark, a watermark decoder detects the presence and orientation of the watermark in the watermarked image. It then performs an inverse of the embedding function to extract an estimate watermark message signal.
The message signal is robustly encoded using a combination of the following processes:
1. repetitively encoding instances of a message signal at several locations (e.g., blocks of the image);
2. spread spectrum modulation of the message, including modulation techniques using M sequences and gold codes; and
3. error correction coding, such as convolution coding, turbo coding, BCH coding, Reed Solomon coding, etc.
The watermark decoder reconstructs an embedded message from the estimated watermark signal by:
1. aggregating estimates of the same message element in repetitively encoded instances of the message;
2. performing spread spectrum demodulation, and
3. error correction decoding.
In one implementation, the decoder uses an orientation signal component of the watermark to detect its presence and orientation in the watermarked image. It then performs a predictive filtering on the image sample values to estimate the original un-watermarked signal, and subtracts the estimate of the original from the watermarked signal to produce an estimate of the watermark signal. It performs spread spectrum demodulation and error correction decoding to reconstruct an auxiliary message embedded in the watermarked signal.
For more details about embedding an image watermark, and detecting and reading the watermark from a digitized version of the image after printing and scanning see assignee's co-pending application Ser. No. 09/503,881 and U.S. Pat. No. 5,862,260, which are hereby incorporated by reference. In order to make the watermark robust to geometric distortion, the watermark includes an orientation watermark signal component. Together, the watermark message signal and the orientation watermark signal form the watermark signal. Both of these components may be added to a host image at the resolution of the halftone image before the host image is converted to a the halftone image. Alternatively, these components may be combined to form the watermark signal used in modulating the error diffusion threshold used in an error diffusion type halftone process.
One type of watermark orientation signal is an image signal that comprises a set of impulse functions in the Fourier magnitude domain, each with pseudorandom phase. To detect rotation and scale of the watermarked image (e.g., after printing and scanning of the watermarked image), the watermark decoder converts the image to the Fourier magnitude domain and then performs a log polar resampling of the Fourier magnitude image. A generalized matched filter correlates the known orientation signal with the re-sampled watermarked signal to find the rotation and scale parameters providing the highest correlation. The watermark decoder performs additional correlation operations between the phase information of the known orientation signal and the watermarked signal to determine translation parameters, which identify the origin of the watermark message signal. Having determined the rotation, scale and translation of the watermark signal, the reader then adjusts the image data to compensate for this distortion, and extracts the watermark message signal as described above.
The image watermarks described above may be used in combination with one or more other watermarks. In one application, for example, a robust watermark is used to carry a key that specifies the dot locations of a halftone watermark. In particular, the robust watermark's message payload carries a key that identifies specific dots (the high-resolution binary values) that were turned on or off in a specific pattern. These binary valued bits act as a secondary fragile watermark that can be verified by close inspection of the image. In particular, to authenticate the watermarked object, the user scans the object with a high resolution scanner capable of discerning the halftone dots and then uses the watermark decoding software described above to decode the robust watermark payload specifying the locations of the fragile watermark dots. The software then checks the high resolution scan for the presence of the dots in the fragile watermark.
Using the techniques described in this document, the implementer may embed robust, fragile or combinations of robust and fragile watermarks in holograms. A robust watermark is a watermark designed to be readable despite transformations to the signal that carries the watermark. A fragile watermark is one in which the watermark signal degrades or becomes unreadable as a result of transformations to the signal carrying the watermark. In applications involving watermarked holograms, these transformations may include operations involved in reproducing the hologram, e.g., attempting to reproduce a surface relief pattern. The degradation of a fragile watermark can be measured by determining the decrease in the signal energy of the detected watermark relative to a threshold.
As noted, some applications can advantageously use both robust and fragile watermarks. The robust watermark persistently carries machine readable information such as a digital message conveying information or a machine instruction relating to the object on which the watermarked hologram resides, or an index to a database entry carrying such information or instructions. It may also include information about the fragile watermark, such as a decoding key indicating how to detect and read the fragile watermark. The presence or absence of the fragile watermark indicates tampering with a hologram. In addition, the fragile watermark may include a digital message.
Integrating Watermarks Into OVDs
In this section, we describe methods for integrating watermarks into holograms. FIG. 2 is a diagram illustrating a method for embedding a watermark in a hologram image. In this method, a watermark embedder uses the technique described above to embed a watermark signal into a computer model used to create a computer generated holographic structure. The computer model represents a 2D or 3D image. The computer model carries the watermark signal in a manner that survives the transformation of the model to a holographic structure and subsequent manufacture of the holographic structure.
The process begins by creating a 2D or 3D digital image model that carries the watermark signal (120). This model is a digital representation comprising an array of discrete samples (e.g., the robust watermark pixels) corresponding to spatial locations in a two-dimensional plane, for a 2D image, or a three dimensional space, for a 3D image. First, a watermark embedder generates the watermark signal by spread spectrum modulating a binary message. The embedder maps the elements in the resulting array of values to spatial locations within the model. For 2D image models, it maps the elements of the watermark signal to samples in a 2D block of the 2D image model. For 3D image models, it maps the elements of the watermark signal to the surface of an object represented in the 3D model. It then modulates the sample values of the model at those locations according to the corresponding values in the watermark signal. There are a number of alternative ways to modulate the sample values of the model. The following paragraphs detail some examples.
In the case of a binary image where the sample values are one of two states, the embedder modulates the values using the halftone embedding process described above. In the case of multi-valued image (e.g., 8 to 32 bits per pixel), the embedder modulates the values by increasing corresponding sample values to encode a 1 and decreasing corresponding sample values to encode a zero. Each element of the watermark signal may modify a single sample or group of neighboring samples at a corresponding location in the model.
In the case of a three dimensional image representing the surface of an object, another approach is to modulate the geometric structure of the object's surface. In particular, the embedder creates a peak in the surface to encode a one from the watermark signal, and creates a trough in the surface to encode a zero. The surface modulation may be in the form of a binary anti-podal watermark signal, where binary elements increase or decrease the surface positions by a fixed amount. Each binary element of the watermark signal may be mapped to a smoothly varying peak or trough that modulates the position of a group of neighboring surface elements. Each of these peaks and troughs in the resulting holographic structure create discrete positive or negative fluctuations in light intensity when the holographic structure is illuminated and imaged at a particular orientation and focal plane. As such, the embedder modulates selected surface elements of the model such that the variations in light intensity created by the peaks and troughs are discernable at the particular orientation and focal plane.
Next, a holographic structure generator makes wavefront calculations to convert the model into a holographic structure (e.g., a kinoform). In particular, an iterative Fourier transform wavefront calculator converts the model into a holographic structure (122). For more information about such methods, see P. Stepień, R. Gajda and T. Szoplik, "Distributed kinoforms in optical security applications", Opt. Eng. 35, pp. 2453-2458, (1996); and P. Stepienń, and R. Gajda, "Pure-phase iteratively generated Fourier hologram as a security mark", SPIE Proc. 2659, 223-228 (1996).
The process then records the holographic structure on a physical medium. As shown in FIG. 2, one approach is to display the structure on a photosensitive material such as a photoresist and develop the photoresist to create a surface relief pattern (124). Another approach is to use microlithography to re-create the holographic structure on a physical substrate.
The process creates a master by, for example, using electroforming to reproduce the surface relief pattern on a metal master (126).
FIG. 3 is a diagram illustrating an alternative method for embedding a watermark in a hologram image. In this method, the watermark embedder uses the technique described above to create a two dimensional watermark image (146). The discrete elements of the watermark signal are mapped to locations in a block of image sample locations. This block is replicated to expand it to the desired size. This image is then optically merged with the hologram image such that the resulting holographic structure includes a composite of the watermark image and the hologram image.
The process illustrated in FIG. 3 is similar to the one shown in FIG. 2 except that the watermark signal is introduced into the holographic structure as a 2D image. As in FIG. 2, this process creates a computer image model (140) and uses a holographic structure generator to convert the model into a holographic structure (142). It then combines the holographic structure with the 2D watermark image (144, 146). In particular, the two-dimensional watermark image and the hologram image can be transformed to the holographic structure such that they reside at distinct focal planes relative to each other.
The process of recording the holographic structure on a physical medium (148), creating a master, and reproducing the hologram using the master (150) are the same as described for FIG. 2. The hologram may be replicated on a card (such as a credit card), identity document (passport, driver's license, etc.), value document (bank note, stock certificate, ticket, etc.), product label (e.g., product package, hand tag, sticker, etc.).
While the processes of FIGS. 2 and 3 are specifically implemented using software for computer generation of a hologram structure, the same processes may be implemented using conventional analog methods and physical optical and imaging devices. For example, rather than employing computer generated holography to create a holographic structure, the implementer can use a 3D physical model in which the digital watermark is embedded by surface modulation of that 3D model. Using the techniques described in the background and summary above, this implementation records an interference pattern of coherent light reflected from the model and a separate beam of coherent light directed to a photoresist material. Since the 3D physical model is optically recorded in the physical holographic structure on the photoresist, the watermark signal carried in the surface of that model is recorded as well.
Alternatively, the implementer may optically merge an optical projection of a watermark image on the photoresist. The watermark image may be created by mapping a spread spectrum watermark signal to discrete image locations, or may be created by modulating the pixels of a host image, such as a halftone or multilevel per pixel image, with a spread spectrum watermark signal using the watermark embedding techniques described previously. In separate holographic recording processes, the photoresist records one or more interference patterns of holographic structures. The resulting photoresist includes a composite of the watermark image and interference patterns of holographic structures. To mass produce the holographic structure, the manufacturer develops the photoresist and creates a metal master, which may then be used to create replicas of the holographic structure using embossing or casting techniques.
FIG. 4 is a flow diagram illustrating a process of decoding the watermark signal from the holograms created in FIGS. 2 and 3. First, a user places an object bearing a watermarked hologram into a holder (160). Then, a reader device including a light source and a digital camera illuminates the hologram (162) and captures a digital image (164) of an image formed by illumination of the hologram at a pre-determined focal plane and orientation. The type of illumination, either coherent light from a laser, or white light from white light source, depends on how the watermark signal has been embedded into the hologram. The watermark signal may be embedded in the hologram's model (FIG. 2) or added to the holographic structure (FIG. 3) so that it is visible at a particular focal plane using laser illumination. Similarly, it may be embedded in the hologram's model or added to the holographic structure (FIG. 3) so that it is visible at a particular focal plane using normal white light illumination. The focal plane where the watermark signal is readable may be kept covert. This makes the watermark signal difficult to detect and reproduce by hackers. For example, as noted previously, watermark image signal may be transformed into the holographic structure such that forms a hologram viewable at a different focal plane relative to other 2D or 3D images transformed into the holographic structure.
Once the digital image is captured at the desired focal plane, the watermark decoding process described previously decodes the watermark signal (166) using a watermark key (168), which specifies parameters, such as the pseudorandom carrier signal (or its seed number) used to spread spectrum modulate a message, an orientation signal, block size and resolution of embedding, etc. In some applications, such as authentication, detecting the presence of a valid watermark signal is sufficient to authenticate the object bearing the hologram. In other applications, the watermark message carries useful information, such as information about the bearer or issuer of the authentic object, or an index to a database entry storing such information. Since the digital image is captured at a desired focal plane, the orientation signal is not always necessary to calibrate the watermark decoder before reading the message. However, the orientation signal alone may serve as an authenticating watermark, and its presence indicates authenticity of the object bearing the hologram. In this case, there is no need for a spread spectrum carrier of a message.
After reading the watermark, the reading device (e.g., a networked personal computer connected to the light source, camera and holder) takes an action or set of actions associated with the watermark (170). This may include displaying a message indicating whether the object is authentic, displaying the embedded message, fetching relating information from a database using an index embedded in the watermark to index a database entry storing that related information, etc. A URL, for example, may be embedded in the watermark or stored in the database entry. In response to receiving the URL from the decoder or database, the reader fetches, or launches an internet browser to fetch, data stored at a network device at the URL, such as a web page, XML content, etc.
Another method of integrating a digital watermark in a hologram is to construct the hologram as a series of discrete dots or pixels. The dots collectively form a two-dimensional signal comprised of discrete elements that may be modulated using the above techniques to carry a watermark. In one example of this approach, the watermark embedder creates a watermarked halftone image using the technique described above. Then the binary elements in the resulting halftone image are converted to discrete hologram dots in a hologram formation process.
There are a variety of ways to create the discrete hologram dots. One approach is to create an embossed hologram that extends continuously over a film, and then apply a mask on that film to form a collection of dots that each either expose a hologram dot or mask it according to whether a corresponding bit is on or off in the watermarked halftone image.
Alternatively, a dot matrix hologram method may be used to create an array of discrete diffraction gratings in the form of dots. The diffraction gratings reflect light in a manner that is interpreted distinctly as a binary one or zero. In one implementation, for example, the discrete diffraction grating dots are formed at a resolution ranging from 50 to 2000 dpi using computer driven machinery to record each diffraction grating on a photosensitive plate. After recording the diffraction gratings, the plate is developed and then used to form a metal master of the surface relief pattern. The metal master may then be replicated by an embossing technique.
The orientations of the diffraction gratings are modulated according to a watermark signal created using the watermarking method described in the previous section. The modulation of the orientation of the diffraction pattern encodes a one or zero based on the binary value at a corresponding location in the watermark signal.
To read the watermark from the dot matrix hologram, a digital image reader captures an image of the hologram from a predetermined perspective and orientation. The reader decodes a message by interpreting the image created by the diffraction grating dots of varying orientation. In particular, the orientation of the diffraction gratings creates a distinct image attribute that the reader maps to a one or zero. It then spread spectrum demodulates the resulting binary signal derived from interpreting the images of the diffraction grating dots, and performs error correction decoding to reconstruct an embedded message. It is not necessary to manually align the hologram for reading. Instead, the orientation of the dots can be used to re-align the image before decoding the embedded message.
FIG. 5 is a flow diagram illustrating a process for embedding a watermark signal into a hologram where the physical structure of the hologram is modulated to carry a watermark signal. In this process, the physical structure of the hologram is formed so as to carry the watermark. In particular, the watermark signal is carried in a metalization pattern of a reflective metal layer formed over the surface relief pattern of a hologram.
The process begins by creating a halftone watermark signal using the technique described previously. In one implementation, for example, a multilevel per pixel watermark signal is added to a multilevel per pixel host image at a desired halftone resolution (e.g., 75 to 600 dpi). The resulting watermarked image is then converted into a halftone image at that resolution using a halftoning process. The host image may be a natural image or simply a solid monotone image. In the latter case, the resulting halftone image is an image of the watermark signal because it modulates a solid tone background image. In either case, the halftone watermark signal covers a block of image samples. This block is replicated in a two dimensional array of contiguous blocks to tile the watermark signal in a manner that covers the desired amount of surface area of a hologram. The watermark signal block may be replicated to tile the entire host image, or in case where the watermark signal modulates a solid, single tone image, to tile the desired surface area the hologram.
The resulting watermarked digital image is two dimensional pattern of halftone dots, where each dot has a value representing one of two binary states: either the presence or absence of a dot. In the physical representation of the mask, each dot represents the presence or absence of a metal layer after demetalization.
The process shown in FIG. 5 uses this digital representation to create a mask (182) used to demetalize a layer of reflective metal deposited on a holographic film. The mask includes tiny circular dots of masking material where the metal should remain; otherwise, there is no masking material. A conventional photolithographic process projects the mask (184) onto the metal layer on a holographic film. A protective material is then applied to the halftone pattern of the mask. This material protects the metal that it adheres to from being removed during a subsequent demetalization process (186)(e.g. acid bath) that removes the metal layer on the holographic film not covered by the protective layer. For more details and alternative methods for creating a pattern of dots on a hologram, see U.S. Pat. No. 5,411,296, which is incorporated by reference.
FIG. 6 is a flow diagram illustrating a method for reading the watermark embedded in a hologram according to the method shown in FIG. 5. A watermark decoder can read the halftone watermark from the pattern of reflective dots because a digital image captured of the hologram surface from a digital camera or scanner has light and dark areas corresponding to the presence or absence of a reflective metal dot. These light and dark areas are interpreted as a binary one or zero in a halftone image.
To begin, a reader device, such as personal computer connected to a scanner or digital camera captures a digital image of the dot pattern on the hologram's surface (200). Next, the watermark decoding process described above is used to decode the watermark from the halftone image (202). The decoding process initially performs a detection operation to detect an orientation signal, and then uses the orientation signal to compensate for rotation, spatial scale, and translation distortion. After compensating for the geometric distortion and finding the reference origin for a watermark tile, the reader decodes the message embedded in the spread spectrum modulated watermark signal.
Finally, the reader takes an action or set of actions associated with the watermark signal, or its message payload. The action or actions are application specific. Some examples are listed in the text corresponding to block 170 in FIG. 4, and in the next section.
Applications of Watermarking OVDs
This section describes several applications for watermarking OVDs. One application of digitally watermarking a hologram is to embed a machine readable serial number that uniquely identifies a specific hologram device, a hologram design, or a particular lot of holograms.
Once a serialized, the number embedded in a hologram's watermark may be used for a variety of applications, including authenticating the watermark and initiating machine, software or system functions associated with a particular serial number.
In authentication applications, the message carried in the digital watermark may be related to information that is printed or stored in machine readable form on another part of the object in which the hologram resides. For example, the hologram message may contain a first identifier that refers to the bearer or issuer of the object (e.g., credit card, identity document, ticket, etc). A second identifier is printed or stored on the object in a machine readable feature such as a bar code, RF tag, magnetic stripe, magnetic ink, etc. If the watermark is unreadable, or the first and second identifiers do not match, then the object is deemed to be a fake. To constitute a match between the first and second identifiers, the identifiers may satisfy a predetermined relationship, such as one being a one way cryptographic hash of the other, one pointing to a database entry that stores the other identifier, both pointing to a database entries with matching information, etc.
In high value documents such as bank notes, the digital watermark may be used as a covert mark that serves to authenticate the document, acts as a series identification, enables circulation control, and controls the usage of the image scanned from the document (e.g., inhibits reproduction or rendering operations like printing, scanning, and photocopying), etc. For examples of using watermarks in holograms for such applications, see U.S. application Ser. No. 09/287,940, filed Apr. 7, 1999, which is hereby incorporated by reference.
Given that the position of the hologram on a document is usually well known, it becomes a potentially good device to carry machine readable features that are processed in devices such as point of sale machines (credit cards), digital cameras, or banknote sorters. The means of reading could be special laser illumination, visible light illumination, or a combination of the two.
As noted above, the digital watermark process may be used to encode a robust and fragile watermark. The robust watermark may be used to carry information, such as a serial number. The fragile watermark may be designed to degrade in attempts to counterfeit the hologram. As noted above, the robust watermark message may include a key indicating where the fragile watermark resides (e.g., which locations in a holographic image or pattern of metal dots, etc.). Alternatively, the fragile watermark may be wholly unrelated to the robust mark.
Further, the robust or fragile watermark could be placed in a specific focal plane of the hologram, requiring laser illumination at a specific focal length to capture an image carrying the digital watermark signal, making the digital watermark more covert.
Watermarking Holograms
As also noted, digital watermarks can be realized as part of optical holograms. Known techniques for producing and securely mounting holograms are disclosed in U.S. Pat. Nos. 5,319,475, 5,694,229, 5,492,370, 5,483,363, 5,658,411 and 5,310,222. To watermark a hologram, the watermark can be represented in the image or data model from which the holographic diffraction grating is produced. In one embodiment, the hologram is produced as before, and displays an object or symbol. The watermark markings appear in the background of the image so that they can be detected from all viewing angles. In this context, it is not critical that the watermark representation be essentially imperceptible to the viewer. If desired, a fairly visible noise-like pattern can be used without impairing the use to which the hologram is put.
Concluding Remarks
Having described and illustrated the principles of the technology with reference to specific implementations, it will be recognized that the technology can be implemented in many other, different, forms. To provide a comprehensive disclosure without unduly lengthening the specification, applicants incorporate by reference the patents and patent applications referenced above.
The methods, processes, and systems described above may be implemented in hardware, software or a combination of hardware and software. For example, the digital watermark encoding processes and holographic structure generation processes may be implemented in a programmable computer or a special purpose digital circuit. Similarly, auxiliary data decoding may be implemented in software, firmware, hardware, or combinations of software, firmware and hardware. The methods and processes described above may be implemented in programs executed from a system's memory (a computer readable medium, such as an electronic, optical or magnetic storage device).
The particular combinations of elements and features in the above-detailed embodiments are exemplary only; the interchanging and substitution of these teachings with other teachings in this and the incorporated-by-reference patents/applications are also contemplated.
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|Cooperative Classification
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|Mar 5, 2003
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Lord Brabazon of Tara: My Lords, is the Minister aware that Mr Kiley has described the public private partnership as "fundamentally flawed" and a "prescription for potential disaster"? Does the noble Lord not recognise that Mr Kiley has a good deal more experience in running an underground railway than many other people in this country?
Lord Macdonald of Tradeston: My Lords, it is worth emphasising that there is a great deal of experience in running London Underground in its present management. Indeed, it is that management which is carrying on the negotiation at the moment. But I do stress that we have had a series of constructive meetings with Mr Kiley. We are both looking for the best management system. We understand that Mr
Lord Marsh: My Lords, but is not Mr Kiley still committed to financing the new situation on the basis of direct access to the bond market? Is there a compromise between that and the PPP?
Lord Macdonald of Tradeston: My Lords, I stress again that in our discussions we have made it clear that we are trying to seek as much common ground as possible. I am not aware that the question of bond finance would in the end frustrate an agreement were that agreement to be possible.
Lord Harris of Haringey: My Lords, does my noble friend agree with the views of the Labour group on the Greater London Assembly--I declare an interest as its leader--that any scheme for the funding of the Tube should deliver money quickly to deal with the under-investment over many years but should also be capable of external validation as to safety and value for money for Londoners? Does he also share the widespread amazement at the Mayor of London's stance in supporting the proposed strikes on London Underground?
Lord Macdonald of Tradeston: My Lords, we look both to the Health and Safety Executive to ensure that the safety regimes put in place are as rigorous as they should be and to the National Audit Office to ensure that whatever deal we do produces best value. I stress that we have said that the PPP must show itself to be the best value for London.
On the question of the dispute, I am aware of the judge's decision but I am not aware of the full details of the judgment. However, it is worth pointing out that, although safety has been one of the points made by the rail unions in the dispute, the other areas are no compulsory redundancies, established staff levels to be maintained and all employees employed at the date of the present dispute to remain on their existing terms and conditions of employment. It is a concern about change that the unions are expressing--in a way, I think, we would all believe is of great inconvenience to the travelling public. But change is, I believe, inevitably in prospect if we want to get into the railway the kind of investment to which the noble Lord referred.
Viscount Cranborne: My Lords, can the Minister satisfy what may be a rather selfish question? Did the Government welcome unequivocally the appointment of Mr Kiley and are they now happy to see him in place?
Lord Macdonald of Tradeston: My Lords, we were not consulted on that appointment and we did not expect to be consulted. However, I have met Mr Kiley on a number of occasions, most recently half an hour ago. I explained to him that I had to leave our meeting to come to the House and answer a Question about
Baroness Hamwee: My Lords, the House will glad to hear those comments. The Minister has pointed out that the Government are doing what they can best to accommodate Mr Kiley's thinking within the PPP framework. Does that not suggest that the Government's willingness to be flexible in their thinking is very limited? What further assurances can the Minister offer noble Lords that he is prepared to consider the framework so that ultimately we achieve the best outcome?
Lord Macdonald of Tradeston: My Lords, I stress again that our primary objective is to secure the best value for money for Londoners and to ensure that investment is put into the Tube as quickly as possible. We believe that the PPP is the best system for achieving that. However, we have been open in our discussions with Mr Kiley and have made it clear to him that we are prepared to discuss all of his objectives for the railway, for the Underground--I apologise to noble Lords for using American terms--and that we shall be happy to try to accommodate them where they do not threaten our core intention of providing best value.
Lord Berkeley: My Lords, can my noble friend assist me on a matter regarding the performance of the London Underground? He stated that the objective of the PPP is to improve performance. Can he confirm that recent press reports stating that the PPP will not require the contractors to improve on their performance are totally incorrect?
Lord Macdonald of Tradeston: My Lords, I can do so.
Lord Lawson of Blaby: My Lords, does the Minister recall that a few moments ago his noble friend asked him whether he would condemn the Mayor of London's explicit support for the proposed strike? Does he also recall that inadvertently he forgot to answer that question? Perhaps I may give him an opportunity to do so now.
Lord Macdonald of Tradeston: My Lords, I do believe that the Mayor of London is wrong to say that he will support the strike and take part in picketing. I think that it is also regrettable that, although the strike has been described as a one-day strike, it appears that it will be conducted in such a way that it will hit travellers over two days. That seems inherently unfair on the travelling public. As I have said, I think that the Mayor's actions are regrettable.
Baroness Gardner of Parkes: My Lords, is the Minister aware that a statement was made in a news broadcast to the effect that the Mayor intends to borrow a considerable number of millions of pounds from the fire brigade pension fund to commence immediately and without further delay the transport
Lord Macdonald of Tradeston: My Lords, many noble Lords will be aware that one of the underlying intentions of the PPP is to transfer risk to the private sector. We believe that if the intended PPP is disrupted in any way it would take one to two years to put in place alternative financing systems. However, I am not aware of any intention to use fire brigade pension fund money for that purpose.
Earl Attlee: My Lords, can the Minister tell the House what is the size of the public subsidy to London Underground and what is the capital requirement?
Lord Macdonald of Tradeston: My Lords, those questions will be covered by the rules governing commercial confidentiality. The noble Earl will understand that at this time that must influence many of our public statements as regards capital needs. As to past funding, in recent years that funding has been running at an average of around Ł500 million per year. By the end of 2001, I believe that, since the Government came to power, we will have put in around Ł3.4 billion. That figure contrasts with the previous government's spending plans, which included the elimination of any kind of grant to the Underground.
Lord Roberts of Conwy asked Her Majesty's Government:
Whether they will publish the terms of reference for Sir Anthony Hammond QC's inquiry in connection with matters relating to Mr Peter Mandelson's resignation.
Lord Bassam of Brighton: My Lords, the terms of reference for Sir Anthony Hammond QC's review, announced by the Prime Minister on Wednesday, 24th January, are:
Lord Bassam of Brighton: My Lords, it would be wrong for me either to describe or circumscribe in any way the extent of the inquiry being carried out by Sir Anthony Hammond. I believe that it would also be wrong to pre-empt the outcome of that review. No doubt the review will be as extensive as the noble Lord wishes.
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Unreal Tournament 2004 - PC - Review
You know, I still remember the first time I really got to get online and play a Deathmatch version of Quake III. I absolutely loved it, and it just raised the bar for me with FPS gaming due to the fact that you fought swarms of other gamers versus AI creatures all the time. Well, shortly after I caught wind of a new arena title on the block called Unreal Tournament, and being the curious soul that I am, I of course had to check it out also and see what it was all about. Well, I've always been a huge fan of Id software, but I really latched on to Unreal a lot more. A year ago, Atari dazzled online UT fans by releasing Unreal Tournament 2003, which was fantastic, and now Atari is at it once more with the newest online / offline FPS combat title known as Unreal Tournament 2004. Same bad attitude, but with some new additions that will make it worth picking up for fans of the series.
As usual, I like to give a brief synopsis of the plot for any of you who may have strayed onto this review simply looking to see what the game is all about. Basically, Unreal Tournament takes place in a time way into the future, where the favorite sport of the general population is a brutal death sport … a post apocalyptic gladiator match between some of the baddest and meanest warriors in the galaxy. Players select a character ranging from armor wearing and hulking human badasses and assassins to aliens and even some twisted, humnanoid life forms that are happy dealing out pain and torture. From there, players have the opportunity to run through some really cool stages playing a variety of matches that are sure to get your adrenaline pumping and give your mouse buttons a workout.
Control in UT2K4 is the same as before, with W,A,S,and D being used as your movement, the spacebar giving you the ability to jump, and the left / right mouse buttons providing primary and secondary weapons fire. All of these will be used constantly, as a newbie player will quickly find out that sitting still and trying to camp members of an enemy team is a great way to get your head blown off in a hurry. Speaking of blowing heads off, the great UT arsenal is back and ready to rock yet again, and players will be happily grabbing everything from assault cannons and plasma guns to rocket launchers and lightning guns to help obliterate their competition … and Unreal Championship veterans will be running back through all of their favorite stages that were released in the original UT2K3 title from a year ago. Well, seeing as how everything seems the same … should you pick it up? Yep … and I'll tell you why.
First off, there is a great new mode that has been introduced called Onslaught which introduces more of a futuristic BF1942 element into the game. Onslaught has opposing teams trying to capture different waypoints, known as Power Cores, and by linking these Power Cores to your home base, you can create a shield so that your home reactor cannot be destroyed. See, if the reactor gets blown up, your team loses the game … so you can imagine the unreal (no pun intended) amount of carnage that can go down if a team only has one waypoint opportunity left of both teams are fighting to capture a certain one. I always loved the whole BF1942 waypoint capture concept, and now getting to play it in Unreal just makes life a lot better. Oh wait … there's more!
Now, as if Onslaught wasn't enough reason to check the game out, the Onslaught mode also introduces vehicles into the game. Yep, no longer are you confined to running around, but now you can actually hop into a decent variety of vehicles like the Manta, a flying hoversled, the Scorpion … a dune buggy with a plasma like cannon attachment, or a Goliath … a big tank that not only has one big devastating turret, but a second machine gun post on the top that a second player can man for added firepower. Two of the vehicles allow for more than one player to occupy which is cool, but it can also get you out of a tight spot since you can hop into the cover of a tank if you are low on health.
Going along with the new vehicles, one thing I was really thankful for is the fact that the vehicles are not unstoppable, and a couple of good opponents can reduce even the toughest armor down to nothing in a short period of time. Tanks, dune buggys, trucks, flying machines, and stationary energy cannons can all be taken out with the weapons in your arsenal, and I can tell you from experience that a well coordinated attack from two battle hardened warriors with rocket launchers can quickly level even the best tank pilot into rubble quickly. The moral of the story? No matter how big and bad you may think you are behind the wheel, there's always someone out there who can (and will) take you out. Going along with that whole thing though is the fact that the vehicles themselves can be used as weapons, since the Scorpion has retractable blades that can decapitate an opponent and the Manta can do a quick drop to crush someone. Also, the vehicles can be used to just flat out run over people, so as you can imagine it can get quite ugly in the heat of battle.
Another thing that UT fans will be thrilled about is the re-adding of the gameplay mode known as Assault. Assault was introduced back in the days of the original Unreal Tournament, and was more of a mission based mode that had team A trying to beat an objective in a certain amount of time while team B was trying to stop them, and then the team roles change when the timer runs out. Well, it is back once more in UT2K4, so be prepared to run escort missions, steal items, and complete a bunch of different things to get from point A to point B once more, but also know that Atari added in an arrow and information as you run around trying to complete the mission to help you not get lost along the way. There is even one mission that has some space dogfighting in it which is really, really cool.
Now all of these things add up to a great multiplayer experience, which is where I have spent most of my time, but the single player mode is back again and is a lot of fun for the single player enthusiast. In standard UT fashion, players will get to compete in a variety of ladder based tournaments trying to win and move up the ladder to the ultimate trophy. One new thing about UT2K4 though is more of a management mode that has been added in that actually allows you to draft and add your own players to your team to go in and compete in matches. In addition, there are more ladders available after doing the one on one matches in the beginning (that any UT player will be familiar with), so players have a little more to choose from to begin their journey through the single player game mode.
Graphically, UT2K4 looks and plays superbly, as fans of the series have grown to expect. The colors, animation, and effects are sharp and detailed, and explosions and really violent battles will no doubt get a muttered "Wow" here and there from the player. There were also some neat "little things" added in to make it more interesting too, like HUD's when manning a cannon station or even the license plate of vehicles that have them displaying the name of the player that is driving at the time.
The sound to UT2K4 also is back and in full blast once more, and while there are some redone tracks from past titles that have been released, UT2K4 adds in a new slew of rock and techno style tracks to play in the background while you are on your "Killing Sprees" and "Rampages". Yes the dark voice is back to announce what level you have reached while killing, and yes the players have their taunts and insults that they can spew after killing you or getting ticked off that you had killed them. One of the coolest features sound wise for UT2K4 though is the addition of the voiceover chat feature, so players that have a USB headset can communicate and chat with their teams or just make the pain even more difficult to tolerate while insulting and taunting their opponents online verbally while blasting them away.
Overall, I was absolutely blown away by UT2K4. While up front I was kind of confused as to why I had to buy seemingly the same game as UT2K3 with a new mode, a remade mode, a few new characters, and a new name versus an expansion pack, playing it showed me that the expense of $50 was definitely well worth it, and I'll be playing this one for a long time to come. If you are an FPS fan, get it. If you are an Unreal fan, GET IT! The Unreal series has long shown why it has reigned supreme in the world of FPS arena combat, and it definitely does it once again in UT2K4. Definitely a nominee for game of the year for me personally.
Gameplay: 9.4
The standard controls make it easy for the UT fan to jump in and get rolling, and the movement, firing, driving, piloting, and switching weapons all were fluid, smooth, and were done with no problems. The older levels that were always a lot of fun are back from UT2K3, and the new levels from Assault and Onslaught were an absolute blast.
Graphics: 9.5
Once again, spectacular. The animation and lighting effects are definitely top notch, and you'd be hard pressed to find a game out that can stand up to what Atari and Epic have done with the series. The levels also are very well designed, detailed, and many are big enough to have a little fun with but still small enough as to not get confused or lost.
Sound: 9.5
Great music, and great voiceovers / sound effects. Also, the addition of the online chat using a USB headset was a great idea, since it runs through the game versus Ventrillo or something like that, and to make it even better players who aren't even using a headset can still hear the chatter from teammates over the speakers so they won't be left out in the cold.
Difficulty: Medium
This all depends. If you're new, I strongly suggest playing single player for a bit so that you can get polished up and ready to go since the game is high speed killing at it's finest. Also any Unreal veteran can tell you that due to the fact that everyone has their own personal abilities and play style, no matter how good you are at playing or how fast you are on the trigger, there will always be someone else waiting to turn you into a crater.
Concept: 9.4
While I was a little worried about spending money on another Unreal game that didn't look like it had enough to warrant the purchase, I can already tell you that I have gotten way more than my money's worth playing Onslaught alone, so getting to play Bomber Run, CTF, DM, TDM, and Assault in addition definitely make this one a must get.
Multiplayer: 9.7
Honestly, it just doesn't get any better than playing UT2K4 online. Constant team chatter, the typical flame wars and insult contests, and all of the glorious violence that goes along with the game while playing with X amount of other players online just makes my night after a hard day of work.
Overall: 9.5
Well, if the score doesn't sum it all up for all of you readers out there, then please go get a copy and try it out for yourself. Even people who aren't really big into FPS games seem to enjoy UT, and now even BF junkies can head on back to the dark side of FPS arena gaming and get a fix from playing in a little bit of a different way. Overall, Atari really did a great job with UT2K4 in all aspects, period. This game sums up what you buy an FPS for and once again raises the bar on what we gamers should expect when we go to buy a game.


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With environmental problems, resource shortages, financial uncertainty, and global hyper competition in full swing, it's a big scary world out there. And your business is going to have to change in order to survive. There is simply no more room for "business as usual." Evolve or Die shows how businesses that adapt the fastest are the ones that succeed the most. If you're ready, this audiobook presents a series of practical, proven real-world tools and techniques to start changing your business now to successfully meet current and future challenges.
Not afraid to take on major issues, Evolve or Die proves that these problems are actually huge opportunities. You'll find both inspiration and concrete examples as author and entrepreneur Robin Crow reveals how many "sustainable" practices are really just good business practices. Crow built his company, Dark Horse Recording, from the ground up and has set the gold standard for customer service and excellence in recording; it is home to Taylor Swift, Ashley Judd, Neil Diamond, Tim McGraw, and others. The lessons he imparts are both hard-won and proven, drawn from his own path to success.
Evolve or Die lays out a clear road map to ensure your business thrives as the 21st century kicks into high gear. You'll find seven steps enabling you to:
Your future successes will be in direct proportion to how you adapt to and anticipate change. Filled with optimistic yet practical solutions and helpful tools, Evolve or Die empowers you to hone your competitive edge and realize existing abundance in your personal and professional life. So unless you want your business to go the way of the dinosaur, it's time to Evolve or Die.
©2010 Robin Crow (P)2013 Gildan Media LLC
"It's inspiring to see Robin Crow tackling the big issues, daring himself and others to create businesses that are more efficient and more evolved. This timeless source of information will help you grow your business while encouraging environmental sustainability at the same time. A perfect audio book for the twenty-first-century businessperson!" (Dr. Nido Qubein, President, High Point University, and Chairman, Great Harvest Bread Co.)
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WASHINGTON -- This time, the Raps' prayers here were only half answered.
A buzzer-beating, three-point attempt, which Anthony Parker somehow got off in a sea of white shirts, found the mark to send a game the Raptors had no business even being in into overtime.
But unlike last season, when Morris Peterson's half-court heave did the same thing, this time the overtime did not go Toronto's way.
And no one in the building last night could honestly say the Raptors deserved better.
One look at the rebounding stats, particularly on the offensive end, told the story. And if that didn't, the fact that the Wizards won the game, 108-104, without Gilbert Arenas, who has not played since September, but also without Caron Butler, who was a late pre-game scratch with a hip flexor, certainly did.
Washington's 19 offensive rebounds did something very few people, let alone stats , have been able to do and that was render Sam Mitchell just about speechless.
"I don't know how to critique a game when you give up 19 offensive rebounds," Mitchell said. "Did we take bad shots? Yeah, everyone takes some bad shots. Did we make some silly turnovers? Yeah, everyone makes some silly turnovers. But I don't know what to say when this is what, three or four games when a team has gotten 15 or more offensive rebounds against us."
Adding insult to injury was the fact that six of those rebounds came from rookie Dominic McGuire, a 6-foot-9 product out of Fresno State who had a grand total of six in his previous 32 NBA games.
"I don't know where we're going to find it but some kind of way we have to learn to box out and go get the ball," Mitchell said. "We're just not doing it. We're not going to be a good basketball team until we learn to box out. We can play as good a defence as defence can be played but if we're not going to go get the ball, it's going to be tough."
In the five-minute overtime alone, when the Raps were outscored 13-9, Washington pulled down nine rebounds, four of them under Toronto's basket. The Raps had two defensive rebounds in the extra frame. For the game the Wizards turned those 19 offensive rebounds into 23 second-chance points. The Raps had eight.
"When teams get 14 or 15 more possessions than you get, it's hard to win," Mitchell said. "You have to shoot a very high percentage."
It didn't help matters either that outside of Chris Bosh, Jose Calderon and Kris Humphries, no one could barely buy a basket.
Bosh, Calderon and Humphries were a combined 27-of-42 shooting.
The rest of the team went a horrid 10-of-45 from the field.
"I'm looking at the stat sheet and if I even hit a couple of shots maybe we're not in that position," Parker said when talk turned to his overtime-forcing three. "I think (Calderon) and (Bosh) played well and shot the ball well, but I just couldn't get it going. I can't help but think if I hit a couple of shots, we're not in that position."
Without Butler, the Wizards leaned on Antawn Jamison and he didn't disappoint with a team-high 24 points and 20 rebounds. Andray Blatche, who got the start in place of Butler, filled in nicely with 19 as well as playing some tough defence.
About the only good news for the Raptors on the night is that they'll get a chance to avenge this one tonight when they face the Wizards again in a rare back-to-back, home-and home.


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Ever since last month's palace revolt at Curtis Publishing Co. forced the resignation of President Matthew J. Culligan, the company has been looking everywhere for a new boss. The directors hired Boyden Associates, a management consulting firm, to help in the search, and the names of outsiders reportedly under consideration got an almost daily workout in the New York press. The list seemed endless: McCall's Publisher A. Edward Miller, former Oil Company Executive Raymond D. McGranahan, former FCC Chairman Newton Minow, and Shelton Fisher, McGraw-Hill publication division president. Then last week...
Magazines: Rescue Work at Curtis
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Korean cooking forum topics
Home › Forums › Korean food discussion › Red sauce with bulgogi
This topic contains 0 replies, has 1 voice, and was last updated by tkamiya 3 years, 9 months ago.
At our local Korean restaurant, every time I order bulgogi, a waitstaff brings out a dark red sauce in a squirt bottle. It's thick and red. It is not as spicy as the color suggests and a little sweet. Can anyone identify what this is?? I asked and I was told "Korean hot sauce". Not helpful! :)
I think I tasted red pepper, sugar or honey, and sesame oil.
Thank you for your help.
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