text:
(Frequently Asked Questions)
Q: How does 3D filmmaking work?
A: Most of us humans see life in 3D. That's because we have two separate, distinct eyes that naturally create two, slightly different perspectives. In the brain, this small variance in image perspectives is interpreted as depth and dimension. In the world of 3D filmmaking, we replicate this process by using two cameras. One camera to represent the left eye and a second camera for the right eye. Then we sync, place the cameras on a 3D rig, align and offset the two cameras. We're then able to film a subject, deriving two images with a slight perspective shift. When these images are overlaid in post, the perspective shift produces the illusion of dimension, or 3D. What's miraculous about our human eyes is the ease, speed and accuracy at which they're able to re-focus, converge, and shift from one object to another, delivering a beautiful 3D picture all in under a millisecond. It's much more difficult to re-create these precise actions in a 3D filmmaking environment. But human eyes, although amazing, do have a few setbacks when it comes to stereo viewing.
Since the distance between our eyes is 'fixed' on our faces, as the distance to objects increases or decreases from us, our eyes can't change their position, or perspective. For example, notice that mountains in the distance appear flat. This is because the perspective shift (distance) between your two eyes is fixed and slight, so that at such distances you see virtually the same image and therefore no discernable dimension. In such an instance, 3D filmmaking has an advantage over human eyes. Filmmakers are able to increase the IO (inter-ocular) distance. In this context IO refers to the distance from the center of one camera lens, or eye, to another. An increase in IO creates a greater shift in the image perspectives and thus accentuates the 3D effect. So when filming mountains at a great distance (miles away) in 3D, your two cameras may be 10-20 feet apart or more, depending on your shooting ratio and/or desired 3D effect. This ability to change the IO is the 3D filmmaker's primary tool for manipulating dimension – depth and pop. Conversely, pushing two cameras closer together (decreasing the IO), diminishes the perspective shift, thus reducing the 3D effect. Beyond IO manipulation, stereographers (3D experts) can incorporate secondary tools like convergence (tow-in) and image alignment (xyz axis) to achieve a comfortable, eye-catching 3D images that ultimately serve the story. As a side note, when filming mountains in 3D at a distance, typically NO convergence (tow-in) would be used, but rather the cameras would be fixed straight ahead.
Q: Why do I need a beam-splitter (mirror) rig to film 3D, can't we just mount two cameras side-by-side?
A: The short answer is – you CAN shoot 3D using two cameras mounted side-by-side. As a matter of fact, this is the preferred method for filming scenic 3D landscapes, wide shots and any longer focal lengths. But unfortunately, for shots where the focal length is about 25 feet, or less (medium and close-up shots), you need a beam-splitter, or mirror box rig. Why? Because objects filmed at closer proximities require only a slight or small perspective shift between both cameras to achieve comfortable 3D images. Put simply, your 2 cameras must literally share part, or most of the image area being filmed. Unfortunately, with a side-by-side setup the camera bodies "get in the way" and won't allow your lenses to get any closer than about 5 or 6 inches, making 3D uncomfortable. Conversely, a beam-splitter rig allows the cameras to actually get on top of each other, sharing the same image area. In the simplest terms, beam-splitter rigs let one camera typically positioned horizontally shoot "through" a piece of optical-grade mirror glass -- while a second camera set perpendicular and vertical, films "off the reflection" on the front side of the mirror glass. In this posture the shift in perspective between the two cameras can be very, very slight. We highly recommend that your beam-splitter mirror glass be an optical-grade, very flat, very clear variety with highest-grade 50/50 coating. If your glass quality is in the least bit substandard (and most inexpensive mirror glass is) – your images will be unsatisfactory and your 3D images unusable as professional 3D.
Q: Why not use a dual lens camcorder to shoot stereoscopic 3D, like the Panasonic 3DA1?
A: The "fixed lens" nature of a dual lens 3D camcorder restricts the IO distance (it's fixed) and therefore the control over the 3D effect. Rather 3D camcorders rely completely on camera convergence (tow-in) to manipulate the 3D effect. Convergence is typically set after the stereographer sets his or her IO. Convergence is the icing on the cake, so to speak, not the main course. So using a dual lens camcorder, limits the types of 3D scenes you can capture – no medium or close-ups, flat landscapes and doesn't allow for things like polarizing filters or lens choices. So with camcorders like the Panasonic 3DA1, with a lens separation of about 3.5″ (70mm), you're restricted (for comfortable 3D) to subjects between approximately 12ft (4m) to 40ft (12m). Beam-splitter rigs don't have this same limitation as the camera separation can be adjusted all the way down to zero if necessary for objects directly in front of the rig. This is of major importance when you consider that most theatrical stereoscopic 3D productions use inter-ocular (IO) distances of between 1″ to 2″ (25-50mm) and shoot using high-grade lenses – something only attainable on a beam-splitter rig.
Q: How come your 3D rigs are so much cheaper than other company's rigs? Do they really work?
A: Yes, not only do they work, but they produce high-quality stereoscopic 3D images. Just ask EA Sports, Sephora, Disney, Discovery, ESPN, Disney, NASA and a bunch of USC Film students. They've all captured high-quality, stereoscopic images using our 3D rigs.
Yes it's true, our rigs are the most affordable, professional 3d rigs on the market today. Why? Because wherever possible, we use pre-existing aluminum materials in our rig construction. It makes sense to us and saves on manufacturing costs. We pass that savings on to you. Several critical parts, however, like our fully adjustable camera mounts (xyz axis, convergence and elevation), glass mounts, tripod mounts, etc. are custom machined and hand fit to function at the highest level. The overall result is a precise, rigid, black anodized aluminum frame - that's nearly indestructible. We also don't compromise on the optical-grade 50/50 beam-splitter glass, something that we 've been perfecting with our vendor for three years now. Beware of using a Do It Yourself (DIY) rig. Why? Because you can't get true optical-grade 50/50 beam-splitter glass. To do so requires ordering quantities of 20-30 units at a time. On the other hand, our competitors' rigs typically utilize a wide variety of custom carbon graphite and aluminum parts. Few expenses are spared. The actual quality of the 3D images they produce isn't any better than ours, but I will admit, some of their rigs look pretty damn cool.
Q: How easy is your 3D Rig to adjust and set up?
A: With the exception of 2 or 3 parts, our 3D rigs are shipped fully assembled. It typically takes less than 30 minutes to unpack the rig, attach a few parts and insert the mirror glass. The second phase is rig calibration. This is the process (about an hour) where the user gets to know the rig -- aligning frame, camera mounts and glass, to fit your specific cameras. Once calibration is complete, the rig can be ready to shoot 3D in minutes, from case to set-up, assuming you use the same cameras.
For everyday 3D filming, there are five principle adjustments on the rig to achieve image alignment and manipulate the 3D effect. Camera height allows you to adjust the elevation of the camera/lens height. Once set (thumb knobs) with particular cameras it's unlikely to need further adjustment. Camera Tilt/Roll: This is the pitch, yaw and roll (XYZ axis) of each camera/lens and is done via four thumb knobs on one or both camera plates. Mirror Tilt: This can be adjusted to compensate for any camera tilt or lens centering errors and is done with two thumb knobs at the sides of the beam splitter box. Convergence: Allows users to adjust the tow-in point if you prefer to shoot converged. Again this is an easy to adjust using two thumb knobs. Inter-ocular (IO): This is the most frequently used operation, and needed to manipulate camera separation. Our beam-splitter rigs offer IO distances varying between 4" to 6" and operate using a variety of simple methods.
To be real - to get completely familiar with the working of any 3D rig, and be capable of shooting quality 3D - you need professional, hands-on instruction. You can't get it via online research. It's for this reason alone that we offer professional, hands-on 3D training workshops. They're an excellent way to get started. Over the past several years our veteran stereographers have taught hundreds of participants to shoot good 3D. See the '3D Training' page for locations, dates and registration information.
Q: How easy is the rig to transport?
A: Fairly easy, depending on the particular rig you choose. We have several, but All of our beam-splitter rigs breakdown for transport and/or shipping. Or if you prefer, you can pack a rig in a single pelican style case. We travel with them all the time – Africa, South America, even Hollywood.
Q: Do the cameras need to by gen-locked (synchronized)?
A: Yes - you will need to have at least one gen-locked camera to sync it to another camera, or use LANC equipped cameras with a 3D LANC controller. If you don't gen-lock your cameras, it's very likely that some of your frames may be out of phase with each other. Please understand that you CAN NOT correct this phenomenon in post and it may render all, or some of your footage useless in 3D. In such a case, you'd have to use the 2D version. The bottom line is, if you're shooting a professional 3D you need to use two identical cameras that gen-lock.
Q: What cameras can I use on the rigs?
A: You can use almost any pair of cameras that physically fit on a rig (we have several models) and gen-lock. Currently, the most popular 3D camera choices are Arri Alexa, Red One, Epic, Sony EX3, F3, F950, Canon XF305, XF105, H1, 5D, 7D, Si-2K, any DSLR and many others.
Q: What is the 'Field of View' and what lenses can I use?
A: Most of our rigs feature wide-angle mirror boxes and an adjustable mirror centering option, not found on other rigs. This feature allows our rigs to accommodate a wide variety of lens lengths and sizes. More than most other rigs. If there is an image discrepancy, or any box interference, cinematographers can easily trim the image edges in post.
Q: What is the light loss?
A: With a true 50/50 beam-splitter mirror each camera only gets half the light. Therefore the light reaching each camera is reduced by approximately 1 f-stop. It is impossible to design a mirror rig with less loss, the light is after all being divided by half. Be wary of any rig with anything other than a 1 f-stop per camera loss.
Q: Can you teach me how to use the rig?
A: Yes. We offer a popular, monthly 3D Training Workshops in Los Angeles and San Diego. These are intensive, hands-on 3D filmmaking classes where veteran stereographers teach you how to shoot professional style 3D. As a matter of fact, over the past 3 years we've conducted more 3D training workshops than any other source. Check our website under '3D training' for workshop times, locations and registration information.
Q: Are your 3D rigs good enough to film a movie or 3D TV with?
A: Absolutely. Our 3D rigs are designed to align and manipulate 3D images, while locking two cameras into position. And of course, the beam-splitter glass quality is of major importance. The rest is dependent upon the cameras you choose and your moviemaking ability. For the best results, however, we recommend using the Arri Alexa, Red One, Epic, Sony 950, F3, or other high-end HD cine-style cameras. To date our rigs have been used by Discovery 3D, ESPN, Disney, Honeywell, NASA, students at USC Film School, just to name a few.
Q: Can I zoom my cameras with your rig?
A: Yes, but you might not want to. First you will need to find a way to synchronize the two zoom lenses. This can be done with most newer 2/3" digital broadcast zooms. Fujinon now has special matched pairs of lenses available for 3D applications. But it's difficult to use with smaller compact camcorders, as lenses do not normally zoom in sync. You should be aware that as a zoom lens changes focal length, the center point shifts slightly which will misalign both cameras. Even more importantly, is that zooming "in and out" in 3D, is not a pleasurable effect for the viewer. A zoom foreshortens the image, while the 3D depth increases. In reality, it's a funky visual effect that takes the rattles the viewer out of the picture. It's best avoided if at all possible. We found it's best to shoot your master shots, then push in, re-frame and shoot your medium and close-ups. We recommend shooting "in zones", where the camera remains equidistant from the subject, but moves in a variety of side-to-side fashions.
Q: Is the mirror glass delicate?
A: No more than any other piece of 3mm glass. The mirror is an optical-grade, clear glass, so drop it and it will break. When filming 3D - we always take a spare piece of mirror glass with us. If your single piece of glass breaks, without an extra - your shoot comes to a halt.
The high-grade coatings on the surface are to precise 50/50 specs, so gentle cleaning is not an issue provided you follow our cleaning instructions included with the rig. In addition the mirror box and frame assembly does give the mirror some protection during transit and everyday use. Treat it gently and it should not break.
Q: Why do you offer several 3D rigs to choose from? Which 3D rig should we use?
A: It's our belief that no one rig can fit all the needs of production. Therefore, we offer a variety of 3D rigs – big, small, top mounted, bottom mounted, custom and more. This gives the client the right options to match their production needs. Here are some examples of what our rigs do.
All of our rigs are optimized for use with CMOS sensors. These sensors scan from side-to-side. In this regard, we have carefully chosen camera positions (both top and bottom designs) that eliminate any "rolling shutter" effects that might otherwise be present. Some other "top" configured rigs have the camera in the wrong orientation and therefore exaggerate this "rolling shutter" effect, rendering much of the footage un-useable. This is especially true when the rig is panned or if anything moves through the shot due to the skew of the two CMOS cameras going in opposite directions.
For example, our large 3D-BS PRO RIG is structurally re-enforced to easily handle large ENG and CINE style cameras. A rig like this is necessary when shooting with the Red One, or Arri Alexa. Our smaller rigs and others on the market that use aluminum rod systems can firmly support two fully loaded Red's.
Top configured cameras can be top heavy if your cameras are heavy, but provide greater light dampening in some situations and set-down easily with simple foot pads.
Bottom configured camera rigs work well with steadicam devices and have a low center of gravity, but on the negative, they prove problematic when filming low angle or specialty shots and besides a tripod, they don't set down easily. They can also experience overpowering light intrusions when filming over reflective surfaces, such as water or glass.
It's important to give thought to your production needs and choose based on those specs. To find the proper 3D rig for your cameras we've created a "suggested cameras" list on each page. This will tell you which cameras fit easily onto the rig. If you have more concerns related to your specific production needs, please don't hesitate to contact us.
Q: Should I use a 3D monitor when shooting 3D?
A: Yes, you should be monitoring (watching) everything your shooting in real-time, stereoscopic 3D. Filming in 3D without using a 3D monitor – is like driving blindfolded. For that reason, we have a plethora of easy to use, affordable 3D monitors and multiplexors to choose from. A multiplexor is a device that combines the signal from 2 cameras in real-time, then translates them into a single 3D image – usually anaglyph or polarized. The monitor you select is dependent on several factors. Are you shooting in the field without a 120V power source, or in studio? In the field, we recommend a fully contained 12V 3D viewer system. In the studio we recommend a multiplexor and large screen HD montor. Is your project being created for YouTube, TV, the big screen ? If so, we recommend the largest monitor possible to accentuate any errors.
Q: Can we use one of your 3D Rigs to shoot an HDR (high dynamic range) video or film ?
A: Yes. You can use ANY of our 3D camera systems (set at 0 parallax) to shoot high-quality HDR photography or videography. Assuming of course, that you're using good quality cameras - you will get a good hdr image with the 3D rig. It's accually necessary to use this type of beamsplitter camera rig to film HDR when the subject matter is moving and not still. The rig provides a means to shoot thru the glass and off the glass, so you achieve 2 identical or alignes images that can be overlaid in post. The main difference between shooting 3D and shooting HDR, is that in HDR you set the parallax (center of the images generated by 2 distinct cameras) to zero (0) so the 2 images captured are identical in framing and completely aligned with one another.
The Company
Located in sunny San Diego, California, the 3D Film Factory is the leader in professional, affordable 3D camera rigs and real-time 3D viewing systems. In addition we provide a host of 3D production and post production services, including 3D gear rental, stereographers 'for hire', 3D exhibition solutions, as well as, hands-on 3D training workshops. Clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios, Honeywell and many others.
The 3D Film Factory is dedicated to providing professional, affordable stereoscopic 3D systems that allow our customers to create high-quality 3D images for a fraction of the cost of competitive systems.
Robin Laatz President
Shawn Gilmore Director of Operations
Keith Driver Director of Stereography (DOS)
Victor Lou Lead Stereographer / Cinematographer
Chris Wright Stereographer / Camera Operator
Nate Tieman Assistant Stereographer / Red Camera Operator
John Blythe Assistant Stereographer / Camera Operator
Stephen Barr 3D Video Tech / Camera Operator
Joe Richardson 3D Editor & Post Supervisor
Bob Cooper 3D Production Assistant
About 3D Film Factory
Since 2008 we've been the leader in professional, affordable 3D camera rigs and 3D production monitors, as well as a full-service 3D production company that offers 3D rig rental, stereographers 'for hire', and 3D post production, as well as, 3D training workshops and seminars. Our veteran stereographers are some of the best in the World and they've filmed stereoscopic 3D projects for major clients on almost every continent. Our clients include Disney, ESPN, NASA, Discovery Channel, Honeywell, USC Film School and many others.
Developed by award-winning filmmakers and veteran stereographers, our line of 3D beam-splitter (mirror box) and side-by-side rigs offer filmmakers a viable alternative to a high-priced, behemoth 3D rig, costing ten times as much and more. A 3D Film Factory rig is lightweight, precise and features unlimited alignment and XYZ axis control, allowing users to create perfectly aligned 3D images.
"Since 2008 our goal has been to proliferate 3D to ALL filmmakers, not just the James Camerons of the World", said company operations manager Shawn Gilmore. "Our goal is to make a quality 3D rig that every filmmakers can afford. We're succeeding, because today our 3D rigs create fantastic stereoscopic images and they're affordable."
The 3D Film Factory's rigs are designed to accommodate a wide range of professional HD cameras, including Red One, epic, Sony F3 & EX3, Canon 305's, 105's & Canon 5D, Arri's Alexa, and a broad range of camcorders, compact HD cameras and all the DSLR cameras.
The beam-splitter rigs (mirror box) are fully adjustable, allowing users to have total control over convergence settings (1° to 5°), inter-ocular (camera-to-camera) distances (0" to 6") and complete yaw, tilt and roll (XYZ axis), for perfect 3D alignment. The black anodized aluminum frames are virtually indestructible, yet completely modular. The side-by-side systems are easy-to-use, fully adjustable and offer inter-ocular distances of 30" or more.
At the center of the 3D rig is the mirror box with its optically engineered, 50/50 beam-splitter glass. It's fully encased in high-grade, specially formulated foam plastic, that's light-dampening, detachable and cooler than sheet metal or carbon fiber boxes. Finally, the entire rig readily attaches to most professional tripod heads with a simple aluminum tripod adapter (¼-20 & 3/8- 16 screws).
The result is the World's most affordable, professional line of stereoscopic beam-splitter and side-by-side rigs. Together they make 3D filmmaking precise and amazingly simple. When combined with a 3D production monitor, cinematographers can capture extraordinary, eye-catching 3D images for a fraction of the cost of other options.


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In this section you can find all the info you need when stocking up on your favorite snus, snuff, chew and all the Swedish goodness that Northerner has to offer. You have a more specific question about the order process? No problem - just check out our FAQ section.
Age Requirement
To place an order with us you have to be 18 years or older.
*The minimum age requirements for tobacco use at your location might vary, please check with your local authorities.
We currently offer two payment options:
Credit Card:
This option enables you to pay instantly by card on our website. We accept Visa, Mastercard and AMEX. In order to ensure a secure online payment we use the services of PAYEX**. Please choose PAYEX as payment option at checkout. The currency we use on our site is Euro. This means that all credit card orders despite the currency chosen on our site will be charged in Euros. You will however be able to see all charges in the currency of your choice even on your invoice.
**PayEx is a full-service payment provider based in the Nordic region. For more information regarding PayEx, please visit their website www.payex.com
Bank Wire Transfer:
You have the option to pay by bank transfer for orders from 25.00 euros. This option allows you to manually transfer the amount to us. You will receive the payment details with your order confirmation email. As soon as we have received your payment your order will get approved and an invoice confirmation will be sent to your email. Please note that your products will not ship until the order has been paid.
Please make sure to take into account any additional currency exchange or other bank fees. Do not forget to enter your order number as reference. An international bank transfer takes 2-5 business days to clear.
Shipping Destinations
We ship all around the globe with exceptions to Belarus, Finland, Iceland and Russia.
We ship to Norway on our Norweigan website snus.com.
US states we do not ship to: Arkansas, Arizona, Georgia, Iowa, Maryland, Oklahoma, Oregon, South Dakota, Utah, Vermont, Washington and Wisconsin. For further information about US orders please go to the US selection below.
Shipping Costs
Shipping costs vary depending on weight and destination. Once you've placed the items of your choice in the shopping cart and filled in your address details the shipping costs can be calculated and will be displayed.
Shipping Methods
We currently offer two types of shipping:
Regular Mail: If you live outside the US your order will be delivered with your local postal services. Unfortunately there is no tracking option for this shipping method and we're only able to let you know once the parcel leaves our warehouse.
UPS Express: If you live within the US your orders will be delivered with UPS. All UPS deliveries require an adult signature upon delivery. If you're order is shipped to an APO/DPO/FPO address please see further information under the US selection.
Order Processing Times
We aim to ship all orders within 48h after payment has been matched with your order. However, we do not guarantee shipping within 48 hours. Our warehouses operate Monday to Friday with exceptions for national public holidays.
Please note that bank transfer payments may take up to 5 working days to reach us. Once the payment has been matched, your order will be packed and shipped out.
Shipping Times
We offer shipping from two different warehouses and use both UPS and regular mail service. Therefore, shipping times vary. Below you can see estimated shipping times. Please note that these are stated in working days (Monday-Friday).
Products shipped from our US warehouse
Within USA: 1 working day (UPS Next Day Air***)
Within USA: 2 working days (UPS 2nd Day Air***)
Within USA: 1-5 working days (UPS Ground***)
To Europe: 5-14 working days (Mail)
To Rest Of World: 5-14 working days (Mail)
Products shipped from our Swedish warehouse
To Europe: 1-3 (UPS Express Saver***)
To Europe: 3-6 working days (Mail)
To Rest Of World: 5-14 working days (Mail)
*** Adult signature requirement, the minimum age requirements might vary, please check with your local authorities. You have to be at the delivery location to sign for your package when it arrives. UPS makes 3 delivery attempts before returning the delivery to us. UPS only delivers to physical addresses, not to PO box, or APO/FPO addresses. This due to the adult signature requirement.
Change of Shipping Address
Due to strict tobacco regulations we can´t change the delivery country of any orders. We can only change the address as long as an order has not yet been shipped***. Please make sure that your address is correct when you place your order. If you have provided us with a faulty or incomplete address and your order has already been shipped there is unfortunately nothing we can do. We do not refund shipped orders with address faults. We also do not refund or reship orders that were sent to a temporary address (for example hotel addresses during your holiday) and did not arrive in time before the end of your stay. Please make sure to state a shipping address where you will be staying for a duration of at least 2 months from the date of the order placement.
*** If your order is being delivered by UPS we may be able to change the shipping address as long as it's within the same state. UPS takes out a charge of $11.00 for this service.
Tobacco and nicotine products do have a lot of regulations regarding them around the world which is good to have in mind when placing an order with us.
When ordering to countries like Australia, Canada and Switzerland (for example) you might have to pay a fee when the package arrive in order to receive it. We recommend that you check locally or with your local customs how much that fee might be and if there are any restrictions in order to avoid getting a high customs fee when you receive your order.
Below is a list to make it easier for you to know about your specific ship-to country (please note that regulations worldwide change all the time! We will do our best to update frequently to help you avoid paying high custom fees):
Australia doesn't allow big amounts of tobacco or nicotine products to be imported at one time, therefore we ship orders in many smaller batches (2-4 items in each batch, a day).
Local import fees? Yes, maybe. Please check with your local customs for the latest information about fees and restrictions.
When ordering from the US your package might end up at your local customs, depending on what you have ordered. If a delay occurs we recommend that you check with your local customs first before contacting us about delayed shipments.
Local import fees? No, not that we know of.
Orders to Brazil might take a while longer than 14 business days due to slow postal service and that the order might end up at your local customs. We recommend that you check with them if there are any delays before sending us an email about it.
Local import fees? No, not that we know of.
Orders to Canada usually arrive within the estimated delivery time. If not, they are almost always at the local customs office.
Local import fees? Yes, maybe not on every package, but most of our customers must pay some kind of fee when importing tobacco or nicotine products to Canada.
When ordering from the US your package might end up at your local customs, depending on what you have ordered. If there are any delays we recommend that you check with your local customs first before contacting us.
Local import fees? No, not that we know of.
Orders to Switzerland usually arrive without any issues. We cannot send more than 30 items in each batch due to a local restriction, so if you order 60 items you will get 2-3 packages, instead of all products in one singular package.
Local import fees? Yes. Check locally for more information about local fees and restrictions.
We are not sure about the latest local regulations but there have been some customers contacting us about issues with customs. You might need a license to import larger quantities.
We definitely recommend that you check locally on the latest regulations to avoid any unpleasant surprises when ordering to Turkey.
Local customs fee? No, not that we know of.
For all countries:
We advise you to always contact your local customs to gain information about their policies on tobacco import before you place your order, no matter to which country you are ordering.
All products that are imported might be subject to import duties, taxes and customs handling fees. Any such charges levied in relation to customs clearance must be borne by you.
As the importer of a regulated substance you are obliged to know and follow the current laws, restrictions and regulations when placing your order.
We mark all packages with a specific product description of your order and state the full product value.
Orders to some countries are sent out in batches of 5 or 10 products per shipment and day due to local regulations. If your local customs require additional product information for clearance, please contact our customer support team.
If you refuse your order due to local duties, or your local customs refuses your package due to local restrictions there is unfortunately nothing we can do. We do not reship, or refund refused orders since this matter is out of our control.
Info for US customers
All orders to the US are sent out by UPS signed-for-delivery. This means that you will have to be at the delivery location to sign for your parcel upon arrival. UPS makes 3 delivery attempts before returning the items to us.In some states you have to be over 21 in order to sign for your package upon arrival. The age to buy tobacco products is 18 and that is what we comply with. Please check locally for more information on the age regulations in your state before placing your order. If UPS refuses to release the package to you due to local age regulations there is unfortunately nothing we can do further in this matter.
Age Verification:
APO, DPO and FPO
Please note that you need to place any order to an APO, DPO or FPO address to United States and not the country that you are located in. Make sure to choose the United States site view and your state (Armed Forces location) before browsing and adding items to your cart. All orders to US military addresses are sent with mail and not UPS.
U.S states we are not allowed to send to:
If you live in Arkansas, Arizona, Georgia, Iowa, Maryland, Oklahoma, Oregon, Utah, South Dakota, Vermont, Washington or Wisconsin, we are unfortunately not allowed to sell tobacco to you. It's forbidden with online sales of tobacco in these states.
U.S states with exceptions:
If you live in New York State or Rhode Island, we can only send you tobacco or mint (mint, wintergreen, frosted, cold) flavored tobacco products. There are local laws in the States of NY and RI that prohibits sales of tobacco products with other flavors than mint and tobacco. If you order products with other flavors they will be cancelled and refunded.
Return Policy
Due to tobacco being a fresh product we can unfortunately not accept returns.
If there is an issue with your received order or if you have received any faulty items, please contact our customer support team as soon as possible. Make sure to keep the products, packaging and shipping documents intact during the claims period. Please note that you need to report any issues with an order within two months of the purchase date.
Customer Support
Our customer service team is based in Sweden and available Monday to Friday 8.00am-5.00pm CET. You can contact them via our website contact form or through your customer account. Please make sure to choose the correct topic for your contact form so that your question can be attended to as soon as possible.
You can also email our support team directly at firstname.lastname@example.com

subset: commoncrawl


text:
East Tennessee Natural Gas Company
Second Revised Volume No. 1
Contents / Previous / Next / Main Tariff Index
Effective Date: 10/15/2000, Docket: RP00-556-000, Status: Effective
Third Revised Sheet No. 62 Third Revised Sheet No. 62 : Superseded
Superseding: Second Revised Sheet No. 62
Rate Schedule LMS-PA
Load Management (Pooling Area) Service (Continued)
7.1 The Balancing Party's monthly imbalance shall be the net total of
daily variances from all points covered by the OBA adjusted for
make-up quantities and imbalance trading transactions. Unless
Transporter and the Balancing Party mutually agree to correct the
imbalance in kind on a nondiscriminatory basis, each month
Transporter and the Balancing Party shall "cash out" any imbalance
between Scheduled Quantities and actual receipts. To determine
the % monthly imbalance, Transporter shall divide the lesser of
the monthly imbalance based on Operational Data or the actual
monthly imbalance by the total scheduled quantities for all days
of the month for all points covered by the Balancing Agreement,
then multiply by 100.
7.2 (a) If the monthly imbalance is due to an excess of actual
receipts relative to scheduled quantities, then the monthly
imbalance shall be considered a "positive" imbalance and
Balancing Party/Shipper shall sell to Transporter, and
Transporter shall buy from the Balancing Party/Shipper, in
accordance with the formula listed in Section 7.2(a) of this
Rate Schedule. If the monthly imbalance is due to a
deficiency in actual receipts relative to scheduled
quantities, then the monthly imbalance shall be considered a
"negative" imbalance and Transporter shall sell to the
Balancing Party/Shipper, and Balancing Party/Shipper shall
buy from Transporter, in accordance with the formula listed
in Section 7.2(a)(ii).
The amounts due hereunder shall be paid in accordance with
Section 16 of the General Terms and Conditions of
Transporter's FERC Gas Tariff.


text:
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Feast or famine is an old story in the Dallas art world. There are weeks when nothing seems to be happening, and there are weekends, such as this one, when everyone seems to be opening a new show, whether it's a gallery, a museum or the more than 90 artists of Aurora, who made the buildings of the Arts District their sweeping vertical canvas.
Old, familiar venues have opened new shows, while new galleries have picked October as the best time to open — period.
Balcony House Gallery debuted this weekend on Owens Street with "Across This Great Land," featuring "historic works by Thomas Moran, Worthington Whittredge, Julian Onderdonk and others."
Terry Maker arrived at Kirk Hopper Fine Art in Deep Ellum with a show titled "You Are Here," addressing "issues of human desire, death and resurrection."
Samuel Lynne Galleries in the Design District chronicles the "extensive landscape" of Tom Holland's career.
On Thursday, photographer Paul Greenberg comes to Photographs Do Not Bend to wax eloquent on the work of Dallas-based photographer Chris Regas, who has a new show at PDNB.
Fort Worth is hardly immune to the fall frenzy. Two of its better galleries have opened new shows, with William Campbell Contemporary Art trotting out Ken Dixon's "3 Short Stories & 12 Options," and Artspace 111 welcoming John Hartley's "Now and Then."
The Kimbell Art Museum is hosting its crowd-pleasing Picasso-Matisse show, while the Amon Carter Museum of American Art has unveiled its own new show: It commemorates the 100th anniversary of the death of José Guadalupe Posada, one of the key figures in the development of modern Mexican printmaking.
This weekend, of course, marks the massive unveiling of the 10 artworks in the more than $3 million Nasher XChange endeavor, which honors the Nasher Sculpture Center's 10th anniversary.
In Deep Ellum, Salvadoran artist Mayra Barraza has opened "The Animal That Therefore I Am" at Liliana Bloch Gallery. It's pretty obvious, looking at her work, that Barraza likes cats.
Meredith Pardue's brightly colored paintings make up "The Elysian Fields," now on view at Laura Rathe Fine Art.
Craighead Green Gallery, the arbiters of "New Texas Talent" and three-artist shows, has opened one of the latter, with Louisiana native Jay Maggio taking the lead. His paintings chronicle what his hosts call "rambling countrysides of seemingly never-ending blue skies and green pastures." The other participants are Arturo Mallmann and Gary Schafter.
Barry Whistler Gallery in Deep Ellum has opened a show featuring paintings by Joe Andoe and sculpture and paintings by John-Paul Philippe.
At the University of Texas at Arlington — its venue is the Gallery at UTA — Sarah Williams paints "isolated buildings, void of human presence in the quiet after-hours," and Amy Blakemore offers "offbeat photographs of ordinary events and people."
The Museum of Geometric and MADI Art has opened "Absolute and Infinite: New Interpretations of Islamic Geometric Designs." The artists include Lateefa Spiker, who flew in from London, and the Pakistani-born Shafaq Ahmad, who lives in Dallas.
One of my favorites, "Where Wild Won't Break," is up and running at Dallas Contemporary, which is showcasing the work of Faile, the Brooklyn, N.Y.-based tandem of Patrick McNeil and Patrick Miller. Their works, according to their hosts, "have catapulted them to the forefront of post-Warhol imagery."


text:
The immediate task might be coaxing a toddler into one more swallow of nasty-tasting medication. Longer term, there are tough choices to be made about telling that child -- and the surrounding community -- why those daily doses might be needed for the rest of his or her life.
While most adoptions present challenges, there's a distinctive set of them facing parents who decide to adopt children living with HIV. A twice-daily medication regimen, lingering prejudice and fear and uncertainty about the child's longevity.
Yet the number of U.S. parents undertaking HIV adoptions, or seriously considering them, is surging -- from a trickle five years ago to at least several hundred. Most involve orphans from foreign countries where they faced stigma, neglect and the risk of early death.
"I can't think of a more significant way to make an impact than to do this," said Margaret Fleming, a 74-year-old Chicagoan whose nine adopted children include three HIV-positive first-graders.
"These kids were, in many ways, the modern-day lepers," she said.
IGNORANCE AND BIAS related to HIV haven't vanished in the United States. But the stigma is steadily lessening, especially compared with many of the other countries.
In February, Bethany Christian Services -- the largest U.S. adoption agency -- unveiled a detailed educational package about HIV adoptions to help the growing number of interested parents make informed decisions.
"We didn't feel we could ethically place these kids without some really solid education for these families," said Sara Ruiter, Bethany's international services coordinator. "There are some very unique, chronic challenges that we want to be on the parents' mind."
Ryan and Stacy Vander Zwaag of Mears, Mich., have decided to be open about the HIV status of their newly adopted 2-year-old daughter, Luisa, who just arrived from Colombia on March 19. They even have a detailed section about HIV on the family blog.
"We did not have to tell anyone," the Vander Zwaags write. "But we believe God has given us this opportunity to educate others about the precious children like Luisa (and adults too) that are living with HIV and AIDS and help raise awareness and truth instead of ignorance and fear."
THERE ARE NO FIRM figures on the number of HIV-positive adoptions in the U.S., though adoption experts say most involve children from abroad because American mothers with HIV are usually able to avoid transmitting the disease to their babies by taking medication during pregnancy.
Throughout most of the AIDS epidemic, only a handful of HIV-positive children came to the U.S. because of immigration policies that limited entry for anyone with the disease. In January 2010, that restriction ended enabling children with HIV to enter as easily as other adoptive children."


text:
Jul 30, 2007 Phil Blackwell Uncategorized
With their history of success on the mat at East Syracuse-Minoa, the quartet of Matt Letcher, Mick Letcher, Brett Adams and Dustin Moss expected to reach the medal stand at the 30th edition of the Empire State Games.
As it turned out, they all came home with gold medals after a perfect run in the ESG scholastic wrestling meet held at Mount Saint Michael Academy in the Bronx.
Adams earned his title in the 178-pound Greco-Roman division. Going 4-0 in preliminary matches, he carried that domination over to the finals, where he beat Central region teammate Coty Cute in two periods 5-0, 4-1, to earn the gold.
Matt Letcher worked at 143 pounds in the Greco-Roman discipline. After going four-for-four in early matches, he faced Matthew White (Adirondck) in Friday's final. Letcher won the first period 3-1, then dropped the second period to White 3-0 before rallying for a tense 2-1 victory in the third period to finish on top.
As for Mick Letcher, his early success in the 154-pound Greco-Roman division continued into the finals against Long Island's Paul Diorio. In two periods, Letcher racked up lots of points to claim an easy 7-1, 7-2 victory for ESM's third gold in as many events.
Moss would complete the sweep the next day, at 154 pounds in the freestyle division. Like Adams and the Letchers, he won all four of his early matches to set up the final. Unlike them, he won the title match with a pin, taking just 2:13 to finish off Chris Collura (Western) and conclude Spartan domination of the ESG mat.
Both Adams and Mick Letcher will be back on the football field for the defending Section III Class A champion Spartans when practice starts on Aug. 13.
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Release Date: 2005 |
Nice review...
Yeah I'm definitely checking this out.
The Sun Awakens is better than this. Good review.
This sounds cool.
Review is good.
Like this alot.( review and album)....
Album Rating: 4.5wow this album rules hard
mos definitely
Album Rating: 4.0yeah this album is great
So damn good.
Album Rating: 4.5been on a six organs binge since the Asleep on the Floodplain was released
I still haven't listened to the new one. Need to get on it.
Album Rating: 3.0title track is the bees knees
Album Rating: 4.0pure amazement
Album Rating: 4.0Flawed did you ever get around to checking this out? Flawed?
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


text: Hey guys, I'm selling: Head Prestige Classic 600 Mid and Head Liquidmetal Prestige Mid I have to sell my racquets since I'm going to college... Conditions: PC600 - (8.5) Grip size 4 3/8. Minimal scuffs, little paint surface line at 6 o'clock. overall in very good condition Liquidmetal Prestige Mid - (8.0) also in good condition. Pictures will explain. Pictures: PC600 - Currently strung with Luxilon Big Banger Ace 18 http://i16.photobucket.com/albums/b25/stevekim8/Photo0074.jpg http://i16.photobucket.com/albums/b25/stevekim8/Photo0075.jpg LM Prestige Mid - Currently strung with Gamma Asterisk 16 http://i16.photobucket.com/albums/b25/stevekim8/DSC02761.jpg http://i16.photobucket.com/albums/b25/stevekim8/DSC02762.jpg http://i16.photobucket.com/albums/b25/stevekim8/DSC02763.jpg http://i16.photobucket.com/albums/b25/stevekim8/DSC02764.jpg Price: Head Prestige Classic 600 - $170 shipped Head Liquidmetal Prestige Mid - $75 shipped I will be shipping through USPS Priority mail with delivery confirmation. It takes 2~3 days to get to the destination. my email address is firstname.lastname@example.com i will be selling them to those who PAYS first, not to those who REPLIES first. my paypal address is firstname.lastname@example.com I have many positive references. Also, i check my email frequently, so i will reply fast through email. Thanks! -Steve


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I've acquired the 3d blu ray of monsters vs. aliens movie, which was released in april 21th, and I want to do a rip of the stereoscopic files (.ssif extension), to output the videos (trailers, a short and the movie) in separate files.. But seems that this format of files are new to the bluray world, and it was encoded with the mvc-avc (multi-view codec) I suppose.
So, anyone know or have a clue on how can I manage to rip these SSIF format files to avi, mkv,... files? Is there already a codec for these files?
Here is a picture from the directories which I am talking about
On this folder, I can play these videos (m2ts).. but all are played in a "2d" way, what I want to do is to extract the files from the SSIF folder, which has the content showed on the second pitcure
Any help will be much appreciated
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I have no idea really! I also wonder if there's already a codec for it
no, it doesn't have a codec yet.
Actually a user from another forum got the files decoded, but I still don't know how he did it.
When I learn, I'll post it here.
Obviously, since they've been ENCODED, they've used an encoder, and whoever makes MVC encoders also makes MVC decoders (my guess is Sonic Solutions through Mainconcept, or Sony/Panasonic, etc). MVC is too new of a standard to have "consumer" encoders or decoders yet. Yes, there are HARDWARE/FIRMWARE decoders in BD settops that support this, but that's probably about it right now. Of course, if you hear of one, especially opensource, PLEASE LET US KNOW!
Also, tell us which site you heard about this other dude that could get them decoded. Maybe he just played them out to "side-by-side" or dual-channel format and then re-capped them?...(maybe you could do this too)
If we hear anything more, we'll let you know.
BTW, thanks for the screenshots, we'll have to add the additonal structure features to the knowledge base.
Good luck,
A user, alexpk, managed to decode the videos:
http://www.biohemmet.se/forum/viewtopic.php?id=18&p=7 (you'll need an account, free)
Here's 2 trailers that i've ripped from the disc using the procedure described on the link
yes, I do not trust everything..... therefore I have tried something....... do have only anaglyf spectatles with simple monitor ........
but conversion from 3D BluRay disk to simple file IS WORKING !!!!
more at:
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text:
Incorporating location, routing and inventory decisions in supply chain network design
This paper for the first time presents a novel model to simultaneously optimize location, allocation, capacity, inventory, and routing decisions in a stochastic supply chain system. Each customer's demand is uncertain and follows a normal distribution, and each distribution center maintains a certain amount of safety stock. To solve the model, first we present an exact solution method by casting the problem as a mixed integer convex program, and then we establish a heuristic method based on a hybridization of Tabu Search and Simulated Annealing. The results show that the proposed heuristic is considerably efficient and effective for a broad range of problem sizes.
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Volume (Year): 46 (2010)
Issue (Month): 5 (September)
Pages: 582-597
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By Philip Jankowski
Killeen Daily Herald
Killeen police are seeking the public's assistance in identifying two men they believe have been working together during several burglaries in Killeen.
The men are described as a heavyset black man and a stocky white man. The Killeen Police Department released photos of the men, though Smith could not say where those photos originated.
"We need to find out who these guys are," Smith said.
The two men are believed to have burglarized a vehicle Nov. 3 in the 1800 block of Sunset Street. A resident notified police after hearing what he believed to be a gunshot.
When police arrived, they found a window shot out and items stolen from a vehicle.
Smith said it is uncommon for vehicle burglars to break windows, whether with a gun or any other instruments.
Burglars tend to commit crimes of convenience, targeting cars with unlocked doors and those with valuables visible from the windows.
Smith said people need to remember to lock their doors at all times. Valuable items should be removed from the vehicle or at least moved.
"Don't make it easy," Smith said.
Detectives are asking anyone who can identify the two men to call Crime Stoppers at (254) 526-TIPS (8477), go online at www.killeencrimestoppers.com or text the word KILLEEN along with the tip to CRIMES (274637).
All tips are confidential and can be anonymous. Tips resulting in an arrest are eligible for a $1,000 reward.
Contact Philip Jankowski at firstname.lastname@example.com or (254) 501-7553. Follow him on Twitter at KDHcrime.


text:
Accused of shooting up fentanyl on the job
Medical board says UCSD anesthesiologist had been to Betty Ford
Don Bauder 9 a.m., Nov. 23
The crest of the Brass Rail rises into the sky, an insistent purple and flesh-pink-deco-kitsch rectangle, colors mounting colors. It might be the prow of a ship — a purple, flesh-pink, and terracotta ship, with its name spelled out in black letters on a bright yellow sign — sailing northeast, carrying in its hold the seeds and history of Hillcrest's life as San Diego's gay district.
3796 Fifth Avenue, Hillcrest
The Brass Rail provided the occasion for my own discovery of the gay community in Hillcrest, four years ago. After three months of living in Little Italy and bumming around downtown, I went looking for an apartment and happened to turn left off of Grape Street and onto 5th Avenue. By the time I got to University, I was enchanted by the look of the area, and when I chanced on Balboa Park, bordering Sixth Avenue, I knew where I wanted to live. A friendly guy who gave me directions struck me a probably being gay, but nothing else tipped me off. (This was before Gay Mart opened on the corner of Sixth and University.)
There were no vacancies along Sixth, so I took my search back to Fifth Avenue and found the boxy, stately pink stucco house next door to Celadon. Thirty-six twenty-four, a one bedroom apartment on the first floor, was about to be vacated, and I jumped at it. The ceilings were high, the windows weighted, the rooms spacious, and most importantly, the place felt old and solid and elegant, like houses back East.
An older guy I knew from college needed somewhere to live, so we rented the apartment together. (Something made me want to explain to the lady renting it to us that we would not be sharing a bedroom, but I wasn't sure what.) Since I paid more rent, I slept in the bedroom, and he set up in the dining room, building a standing closet to serve as a partition from the rest of the apartment.
The day I signed the lease, I took a walk down Fifth toward the shopping district, past the Brass Rail. It was then I made my discovery. On the side of the building hung a banner that read: "Every Wednesday — Whipped Cream Wrestling With The Go-Go Boys." The banner was adorned with a drawing of na buff fellow in a thong, in case of any difficulty in imagining Go-Go Boys. I had just rented a one-bedroom apartment with another man — an older, more muscular man — two blocks from the epicenter of San Diego's gay district. What would my girlfriend, miles away in Kansas City, think?
We didn't live in Hillcrest long after we married — we found a secluded guest house in Mission Hills that was more to our liking – but I often wondered how Hillcrest was chosen, if it was chosen at all, as the center of gay life in San Diego.
The August 31, 1973, issue of the Pacific Coast Times, a now defunct locally based magazine for gays and lesbians, features an interview with "Ed from the Brass Rail." In it, he recalls an establishment that, "during the middle '30ss, became the smartest restaurant in town. A chef wearing a tall white hat was always visible in the front window, and the food he prepared was extremely delicious…[T]he old-fashioned image was completed by the authentic brass spittoons and a genuine brass rail. This was the first Brass Rail, and both restaurant and br were popular with theatergoers."
The Brass Rail was located at the corner of Sixth and B downtown, in the same building as what was then the Orpheum Theater. In 1957, the restaurant and bar was purchased by Lou Arko. Lou no longer owns the Brass Rail, but he owned it for a long time, long enough to see it flourish in its current location.
I meet with Lou at #1 Fifth Ave., a bar owned by Omar Lowry, who has been tending bar in San Diego since 1969. Omar is with us and adds his own insights and stories to Lou's. Lou's hair is white, and he peers out though black horn-rimmed glasses. Though he's not gay, he has been owner or part-owner of numerous gay bars and considers himself a friend to the gay community. He is at turns genial and gruff, businesslike and affable. Omar, younger, tall and bearded, introduced him as the man to talk to if I wanted to know about Hillcrest.
Lou remembers the Orpheum, which occupied the corner at Fifth and B, "was the biggest theater at the time. In between (the Orpheum and Brass Rail) was a sandwich shop — on the first floor, that is. All the rest, upstairs – I think it was a six-story building — were offices. Insurance companies, attorneys. It was very ornate from the outside. You had these columns, you know, the kind of old-fashioned fancy work."
Inside, the Brass Rail "was high-ceilinged, 15 to 18 feet. A lot of it was painted. I think the place opened in 1934, right after Prohibition and all that. The guy who owned it had a party in 1936 – I've got a picture – and there were tons of people. They were not all gay. During the war, I think, for whatever reasons, little by little the military started to come in. Then, how it turned out to be gay, I don't know."
Bridget Wilson, a longtime gay activist and attorney, might see a connection. She tells me that "like most of San Diego, (the gay community) is a product of World War II and the slightly pre-World War II aircraft industry. San Francisco had had its gay community for years, had its Barbary Coast decadence that had always gone on there, but in this town, the gay community was built by the military.
"I know that would make them crazy, but the fact is that what happened was that people came here in the '40s because of the war. Lots and lots of people came here to be in the Navy, be in the Army, go on their way across. World War II was the largest conscription of forces in the history of the country, and in those days, the concept of telling them you were gay to get out of the service was a little less popular. And if you did, they didn't care, they just sent you over. You were just as good cannon fodder. So really, World War II is where transient populations of all kinds came, saw the beauty, and stayed."


text:
- What other names is Acacia known by?
- What is Acacia?
- How does Acacia work?
- Are there safety concerns?
- Are there any interactions with medications?
- Dosing considerations for Acacia.
What other names is Acacia known by?Acacia arabica, Acacia senegal, Acacia verek, Arbre à Gomme Arabique, Bum Senegal, Bomme Arabique, Bomme de Senegal, Bummae Momosae, Goma Arábiga, Gomme Acacia, Gomme Arabique, Gomme d'Acacia, Gomme Sénégal, Gommier Blanc, Gum Acacia, Gum Arabic, Khadir, Kher, Kumatia, Mimosa senegal, Senegalia senegal.
What is Acacia?Acacia is the gum that is exuded from the acacia tree. It's a dietary fiber that can dissolve in water.
As a medicine, acacia is taken by mouth to reduce cholesterol levels and to help increase weight loss.
In manufacturing, acacia is used as a pharmaceutical ingredient in medications for throat or stomach inflammation and as a film-forming agent in peel-off skin masks.
Don't confuse acacia with sweet acacia (Acacia farnesiana).
Possibly Ineffective for...
- High cholesterol. Taking acacia by mouth does not seem to lower cholesterol levels.
Insufficient Evidence to Rate Effectiveness for...
- Dental plaque. Early research suggests that chewing acacia gum for 10 minutes five times daily for 7 days reduces dental plaque more than sugar-free chewing gum.
- Weight loss. There is early evidence that shows taking 30 grams of powdered acacia daily might help weight loss.
Natural Medicines Comprehensive Database rates effectiveness based on scientific evidence according to the following scale: Effective, Likely Effective, Possibly Effective, Possibly Ineffective, Likely Ineffective, and Insufficient Evidence to Rate (detailed description of each of the ratings).
Next: How does Acacia work?
Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
Women's Health
Find out what women really need.


text:
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152-01 88th Avenue
Commute to Downtown Elmont
Daily errands do not require a car.
World-class public transportation.
Flat as a pancake, good bike lanes.
About your score
152-01 88th Avenue has a Walk Score of 94 out of 100. This location is a Walker's Paradise so daily errands do not require a car.
152-01 88th Avenue is a two minute walk from the E 8 Avenue Local and the F Queens Blvd Express/ 6 Av Local at the Parsons Blvd stop.
This location is in the Jamaica neighborhood in New York. Nearby parks include Rufus King Park, Captain George H Tilly Park and Tilly Park Pond.
Explore how far you can travel by car, bus, bike and foot from 152-01 88th Avenue.
152-01 88th Avenue is a Rider's Paradise which means world-class public transportation. Car sharing is available from Zipcar and RelayRides.
Rail lines:
E 8 Avenue Local
0.1 mi
F Queens Blvd Express/ 6 Av Local
0.1 mi
J Nassau St Local
0.3 mi
Port Jefferson
0.5 mi
West Hempstead
0.5 mi
Oyster Bay
0.5 mi
0.5 mi
0.5 mi
0.5 mi
0.5 mi
Bus lines:
Q83 Cambria Heights - Jamaica
0.0 mi
Q110 Jamaica Ave - Hempstead Ave
0.1 mi
Q113 Guy Brewer Blvd - Rockaway Tpk
0.1 mi
Q65 College Point Bl - 164 St
0.1 mi
Q111 Guy Brewer Blvd - 147Th Ave
0.1 mi
Q112 Liberty Ave
0.1 mi
Q34 Willets Pt Bl - Kissena Bl - Parsons Bl
0.1 mi
Q25 127 Street - Kissena Bl - Parsons Bl
0.1 mi
Q43 Floral Park - Jamaica
0.1 mi
Car shares:
View all Jamaica apartments on a map.
152-01 88th Avenue is in the Jamaica neighborhood. Jamaica is the 116th most walkable neighborhood in New York with a neighborhood Walk Score of 88.
Moving to New York from another city? View our moving to New York guide.


text:
To kick the bucket which means to die.
eg: The old man kicked the bucket.
Once in a blue moon which means very rarely
eg: My friend lives in China, so I get to meet her only once in a blue moon.
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