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40. Re: A Proper Monitoring Solutionshooternz Oct 22, 2011 9:27 PM (in response to Jim_Simon)
Win 7 , CS5.5xx
Reluctantly.... I step into this but in the interest of those that may not know or have yet to discover how to do so...much of what is being discussed (as per the list) is already possible in Premiere.
I believe most of the list is covered already ..but I am not saying that there could not be improvements.
I am saying though , that I am very satisfied with the way my monitoring is set up and I have no issues with consistency thru my workflows and pipelines ie.Shoot>edit> post prod- cc , cgi & grade >broadcast / display.
These workflows have been tested and calibrated (as well as by simply using the eyeometer.)
1. Any graphics card with appropriate capabilities should work.
2. Premiere Pro (and After Effects, Photoshop, Encore) need to tap directly into the video port on that graphics card, be it composite, component, S-video or HDMI.
3. There is to be NO cloning or extending of the desktop. If Adobe apps are closed, nothing is sent out of the port.
4. For the Thumbnail and Source monitor, a signal matching the clip is to be sent to the video port on the card without alteration. Ports that cannot handle such a signal will get black. (i.e. Sending an HD signal to a composite port.)
5. For the Program Monitor, a signal matching the Sequence Properties (resolution, frame rate, field order, PAR, etc.) must be sent to the video port on the card. All scaling, deinterlacing, frame blending, pulldown insertion, etc. required to conform the footage in the sequence to the sequence settings must be done before sending the signal to the port, so that only a signal matching the sequence is output by the card, regardless of what's actually in the sequence.
My set up permits excellent monitoring of sequence, program and source monitor plus the project bin previews.
Does not use 3rd party hardware or CODECs.
I use a two monitor set up using a single monitor for the Premiere GUI!
My set up simply uses the 2nd monitor output from the card to a HQ HD monitor ( HP Dream Color or the Samsungs). The output is dedicated to monitoring. It turns black/dark grey if not monitoring from Premiere sources.
I can drag panes or windows to it should I choose to do so but monitoring will over lay them. All monitors and audio are in synch.
Different timelines playout as per the sequence settings to the 2nd monitor.
My set up is similar to other facilties ( FCP, Flame, Color Resolve) that I regularly work at. ie. Single monitor GUIs but they always rely on 3rd party hardware as well. Premiere is ahead in this respect IMHO but of course those facilties have additional hardware attached requiring different interfaces..
Regards #3. I do not clone or extend the desktop at all nor do I need to. Its a simple Playback setting for any or all sequences in a Pemiere project.
Now this perfectly working solution may not suit those with small monitors that require 2 GUI monitors.
But...I do find that a single large GUI is far more friendly to the mouse hand and most pros use shortcuts anyway (and also have larger monitor real estate as well).
Be interesting to see where Adobe goes with this without 3rd party involvement. I cant see what they can do without others being involved.
41. Re: A Proper Monitoring SolutionJon-M-Spear Oct 23, 2011 4:11 AM (in response to shooternz)
Congrats on the rugby shooternz.
Great if that set-up works for you...
...but as I thinnk I've mentioned before, I don't want to use only one monitor for my editing app - I want two, shooternz.
I want the outputs from my GFX card to power my two editing monitors. I want the third monitor to act as my preview/client monitor.
42. Re: A Proper Monitoring SolutionJim_Simon Oct 23, 2011 8:14 AM (in response to shooternz)
My set up simply uses the 2nd monitor output from the card
This feature request is not geared towards a computer output, but a video output. HDMI, Composite, Component, S-Video, SDI, whatever VIDEO output is on the card should work for signals that that port can normally handle.
With this setup, you would not be able to drag anything over to the video monitor. It's there strictly for video monitoring. Windows would not 'manage' the signal in any way. It would not be a VfW situation. It would be a pure video signal as you'd get from a piece of video gear.
43. Re: A Proper Monitoring Solutionlasvideo Oct 23, 2011 8:14 AM (in response to Jon-M-Spear)
JM-S, most professional editors working alongside clients feel exactly the same way you do. I certainly do. Adobe could very well loose a lot of its use in large and small facilities if this isnt addressed right away.
44. Re: A Proper Monitoring SolutionPeteGould Oct 23, 2011 8:58 AM (in response to lasvideo)
lasvideo and Jim-S - it sounds as though we're all saying the same thing. My primary issue with Adobe is that if they're going to produce a product that is used by professionals, they really need to support it as a professional product. With a consumer product you can get away with saying "we're a publicly held company and cannot comment on future releases" and all that. But with the pros, as lasvideo points out, we have clients of our own that we have to keep happy, and that means being able to do what they want RIGHT NOW or at least be able to tell them "we expect this to be fixed in a month or so," not "we have no idea when or how or IF this is going to be fixed, so just be patient." Clients don't have to be patient: they're paying. They get to tell us what they want and we either make it happen or they find someone else.
Adobe has a huge opportunity right now because Apple dropped the ball so badly with FCP. Adobe can pick up part of that market along with Avid. BUT it has to treat it differently from the consumer channel. Failure to realize that is what drove so many Avid users to FCP years ago when Avid got a CEO from the consumer sector who had no idea how to deal with people who make their living from the product, and who deal in a high-stress, deadline-driven environment.
To shooternz: the setup you describe is what I'm using: a single monitor for the Premiere GUI and a second monitor that JUST gets the sequence video output, full screen, and nothing else. If you look at that full-screen display critically, though, you'll see a couple of things wrong. First, even though the monitor resolution is 1920x1080 and you're playing a 1920x1080 sequence based on 1920x1080 camera originals, what appears in the monitor has jaggies that are consistent with dynamic rescaling. Output that sequence to a file and play it full-screen on the same monitor via Windows Media Player or other such software and there are no jaggies. Or for that matter play the camera original directly to the monitor and there are no jaggies. They only appear when playing from Premiere. So obviously the internal Premiere pipeline has some stuff going on and it appears to involve scaling the video down and back up again before sending it out the port. Also, at least on my Sony HDMI monitor, the black level is raised when playing from Premiere compared to when playing the file directly from Windows Media Player. This means that even the most basic color correction cannot be performed using the Premiere playback output because the levels are different from what will be seen when the resulting file is played.
If what we were doing was for high-end broadcast, obviously we'd have higher end hardware with serial digital video outputs, broadcast-grade monitors and the like. But at the moment we're outputting for the web and not working at a budget level that supports the higher-end hardware - though we ARE using an Adobe-spec'd NVIDIA card. Despite that fact, it should be a given that what comes out of Premiere as a monitor output must be identical to what the resulting file will look like on playback. That should really be a no-brainer and the fact that that is NOT currently the case should have everyone's attention at Adobe.
45. Re: A Proper Monitoring Solutionlasvideo Oct 23, 2011 10:24 AM (in response to PeteGould)
No argument here Pete. Unfortunately Adobe has no control over what AJA, Matrox and BM does. They can assist, but that's about it. Some of your "vitriol" need to be communicated to those folks as well. At this point they really hold the key to external video hardware / software and how it interacts with PrP. FYI, did you know that most major NLE vendors (Avid, FCP, Adobe, Autodesk) all use AJA for their external video process? That may explain a lot.
46. Re: A Proper Monitoring SolutionPeteGould Oct 23, 2011 10:29 AM (in response to lasvideo)
I have no problem at all tweaking the hardware manufacturers when it's warranted, but I'm not sure I understand how that's the issue here. This is a two-port NVIDIA card where the first port is used for the Premiere GUI and the second is used for the video output. If I play a file to that port via WMP it looks one way; if I play the same file to the same port from Premiere it looks another way. From what I can see, that's the software, not the hardware. Am I missing something?
47. Re: A Proper Monitoring Solutionlasvideo Oct 23, 2011 11:45 AM (in response to PeteGould)
Sorry, my mistake. I incorrectly thought my issues were the same as yours I use both feeds to 2 Apple Cinema monitors for software display. I rely on HD-SDI to feed my Panasonic engineering monitor with the Kona 3. On rereading your entry I see you have other concerns.
48. Re: A Proper Monitoring Solutionshooternz Oct 23, 2011 4:26 PM (in response to Jim_Simon)
My set up simply uses the 2nd monitor output from the card
This feature request is not geared towards a computer output, but a video output. HDMI, Composite, Component, S-Video, SDI, whatever VIDEO output is on the card should work for signals that that port can normally handle.
With this setup, you would not be able to drag anything over to the video monitor. It's there strictly for video monitoring. Windows would not 'manage' the signal in any way. It would not be a VfW situation. It would be a pure video signal as you'd get from a piece of video gear.
I understand that already...and know that it will continue to rely on 3rd party hardware just as it does of the moment. ie a card with a pure video output connection such as a Kona card. How Adobe supports that hardware differently as per your feature request will be worth waiting for. (Would anyone give up the Mercury advantage for it?)
Note: Be interesting to see if the solution as requested comes with the promised Color Correction that Adobe are hinting at for the near future. Premiere does not take advantage of any control surfaces currently either....so they may have a double challenge to undertake.
@J-MS. I never ever feel compromised by a single large GUI and was quite willing to use that as my modus operandi so as I could enable decent monitoring with Mercury enabled advantages. Its a no-brainer to me without a degree of compromise. Maybe too big a compromise for others such as your self but I dont actually understand why 2 GUIs are so vital these days.
I do actually have the hardware option of using BM Decklink Card but the compromise of using a BM codec is a real compromise I was not prepared to deal with. ie lack of NVidia Cuda Mercury advantage. ( the card gathers dust on the shelf)
I have client monitors as well as my own monitor. Everyone is absolutely satisfied with the consistency across all the monitors and the subsequent follow thru to the monitors at other facilities we utilise.
Yeah...it works for me and my clients without question.
@Pete Gould
Also, at least on my Sony HDMI monitor, the black level is raised when playing from Premiere compared to when playing the file directly from Windows Media Player. This means that even the most basic color correction cannot be performed using the Premiere playback output because the levels are different from what will be seen when the resulting file is played.
If what we were doing was for high-end broadcast, obviously we'd have higher end hardware with serial digital video outputs, broadcast-grade monitors and the like. But at the moment we're outputting for the web and not working at a budget level that supports the higher-end hardware - though we ARE using an Adobe-spec'd NVIDIA card. Despite that fact, it should be a given that what comes out of Premiere as a monitor output must be identical to what the resulting file will look like on playback. That should really be a no-brainer and the fact that that is NOT currently the case should have everyone's attention at Adobe.
Pete...What you have written is not my experience...and my work is for high-end broadcast. Very fussy , demanding advertising clients and facilties that are uncompromisingly perfection driven by professionals! The levels are checked and follow thru my workflow and facilties outside my own. We make effort to test and check levels via bars and scopes.
Black level issue - Calibrate your Sony maybe is a first step ..or get a better true monitor. Jaggies...I dont have jaggies and we use the monitor for application and evaluation of graphics.
Your second paragraph really identifies the issue you are having. Lack of hi spec monitoring gear. You want the capability without the investment. It has always been very expensive to achieve calibrated monitoring and that has not changed.
What I see in my suite is what I see when broadcast so I totally disagree with your last claim in your last sentence.
You also seem to be asking for a output file that matches source in Premiere. I guess that depends on what the output file is and as you mention web work..I suspect you are talking about encodes and transcodes. (hmmmmm! - high expectation and there are many factors involved - eg QT)
Any how.. I look forward with interest to how Adobe responds and see what they come up with.
49. Re: A Proper Monitoring Solutionjoe bloe premiere Oct 23, 2011 4:51 PM (in response to shooternz)
Welcome back, man!
50. Re: A Proper Monitoring SolutionPeteGould Oct 23, 2011 4:56 PM (in response to shooternz)
Let's start this over because we have obviously gotten off on the wrong foot. I have been a broadcast editor since the 1980s, spent several years as the chief engineer of a broadcast shop, and I've been a computer expert since I was building them from kits in the mid-1970s. I know the issues, I know the monitoring equipment available, I know what I'm looking at, and no, this is not a case of someone making web video and complaining that for some strange reason it looks different from the source after they've compressed the daylights out of it. I know we don't know each other and I know it's often difficult to ascertain operator error from product problem by reading someone's initial posts. So as I said, let's start over and I will more precisely identify what I'm looking at. And please don't take my frustration personally - I'm not yelling at you. If we were sitting in a room together it would take ten seconds to know where we stand. I get frustrated at the misunderstandings that happen from forum posts.
Anyway: when I described this issue in another forum I was directed to this thread. Perhaps it is something other than what I thought it was. Let's figure it out together.
The system here is based on an NVidia GeForce GTX 470 which as you know is a dual-output card. One output feeds the GUI monitor on the edit desk; the other feeds the large wall-mounted Sony video monitor.
Now, let's start with some pristine P2 video. Open it in Windows Media Player and move it, in a window, into the Sony monitor. While playing in the window the black level is higher than what it should be. Maximize the WMP window so it fills the screen but still has a visible frame displayed and the black level remains elevated. Click on the full-screen playback gadget at the lower right corner and not only does it go full-screen, the black level instantly snaps to the correct level (the level at which it was shot). From these steps I hypothesize that this is not a monitor issue but either a Windows issue (different playback pipelines being used depending on whether playback occurs in a window or full-screen) or a display adapter hardware issue or perhaps a driver issue. I primarily suspect Windows because either way the implication is that the video goes through a different path when displayed in a window than when displayed full-screen, and one is less accurate than the other. Also, when displayed in a window there is a reduction in resolution, but this makes sense because the video is being dynamically rescaled to fit in the window, and the hardware probably doesn't have enough horsepower to do this at full resolution in real time.
Okay, so now we know we can make that P2 video look perfect on the Sony monitor, just as it does on a broadcast monitor, by playing it full-screen, but not while playing it in a window. With me so far?
So now we go into Premiere and we import that same piece of P2-based 1920x1080, 30p video into a 1920x1080, 30p project. And inside Premiere we go to Sequence->Sequence Settings->Playback Settings and set the External Device to our large wall-mounted Sony monitor so it plays the sequence full-screen. When it plays, the black level is elevated in the same way as it is when playing via Windows Media Player in a window, and it shows the same reduction in resolution (you have to look closely to see this) that it does when Windows Media Player is playing it in a window and thus dynamically rescaling it. But it is not in a window and it is playing at the dimensions of the source file, so no rescaling should be taking place. And it's full-screen, not in a window. Which makes me go "Hmmmmmmm???"
To complete the exercise, we output this P2 clip to another P2 clip (or an AVCHD clip or whatever you want) that is the same dimensions, framerate, etc., as the source file. Close out of Premiere and open that file in Windows Media Player, and take it full-screen on the same Sony monitor. The black level will be the same as the source file; in other words, correct and unaltered. And there will be no jaggies. So this is PURELY a display issue; it has nothing to do with Premiere doing anything to the file.
THAT'S what I'm seeing. It has nothing to do with what monitoring equipment I'm using and it has nothing to do with the intended use of the material. Premiere's full-screen output looks different than the output of video player software when outputting from the same HDMI port.
Are we on the same page now?
51. Re: A Proper Monitoring Solutionshooternz Oct 23, 2011 6:08 PM (in response to PeteGould)
Pete...we are on the same page and I do understand your "test methodology and process" ... and also how you have arrived at your conclussion.
I have never tried what you have because I have never seen a need or reason to do so. ie. I have not experienced the issue of black level variability or jaggies in the situation you describe as your own.
Something maybe worth looking at is..Premiere does allow a choice of "Preview" codecs in certain sequence types. I am not at the studio so I cant check but from memory..P2 was one of them.
Also worth noting is that Premiere does have internal pipelines for different parts of the application. eg playing out from the Project Window is lower res than the Program Monitor IMO and I am sure you are aware that Playback res can be set for the GUI monitors. Never checked to see what impact that has on the second monitor because I am at FULL ..all the time.
BTW : Pete - I am sure Jim will NOT be happy that we are discussing this and diluting his thread! Seems to me you are looking for a slightly different solution to what he is though. eg the way Premiere manages the media play back.
I am only trying to contribute thoughts related to my own experince of Mointoring in Premiere. I consider it "proper monitoring" but do not exclude the possibilty of improvements that may suit others requirements.
52. Re: A Proper Monitoring Solutionjojejo Oct 24, 2011 4:59 AM (in response to PeteGould)
Hi Pete,
have you tried to change the settings in the Nvidia control panel>video>video color management (I'm working on a german PC, probably the translation is wrong)?
53. Re: A Proper Monitoring SolutionAsianOcean.com Oct 24, 2011 10:14 AM (in response to jojejo)
Feature request submitted.
We need output to a monitor from adobe projects, not from a Matrox or similar card's codec based projects that compromise system stability. And not by extending the desktop but by sending out an NTSC or PAL signal, as from a video player device such as a Blu-ray player. Tweaking or calibrating the 2nd (or 3rd) monitor is not the issue here.
May be CS6 will give us that.
54. Re: A Proper Monitoring SolutionPeteGould Oct 24, 2011 12:04 PM (in response to jojejo)
Hi jojejo,
Changing the NVidia control panel settings doesn't do any good (and yes, I have experimented with it) because the issue is the DIFFERENCE between the two pipelines - full-screen versus displaying in a window - and the fact that the Premiere full-screen output to the second monitor appears to use the displaying-in-a-window pipeline, which degrades the signal not just in terms of levels but also resolution. The NVidia controls can't really address that.
I'd LOVE to see someone from Adobe come on the forum and explain the internals so we know what's actually going on when this problem is observed.
55. Re: A Proper Monitoring Solutionshooternz Oct 24, 2011 1:35 PM (in response to AsianOcean.com)
Feature request submitted.
We need output to a monitor from adobe projects, not from a Matrox or similar card's codec based projects that compromise system stability. And not by extending the desktop but by sending out an NTSC or PAL signal, as from a video player device such as a Blu-ray player. Tweaking or calibrating the 2nd (or 3rd) monitor is not the issue here.
May be CS6 will give us that.
That of course requires hardware (plus additional software)... and no matter what magic Adobe does with their software (CS6) ...Adobe does not make the hardware. Thats where the 3rd parties come in and they already have technology such as KONA Cards that do exactly what they are supposed to and what you want.ie output video signals from digital files.
All facilities I use out of house use that technology succesfully but their reasons to use it are different to mine. My suite workflows are all file based whereas they also have digital tape machines etc to accomodate.
Just to clarify something in my set up. (Because I was asked in a PM and I see regular reference to " extending the desktop" and "window" in the thread)
I do not EXTEND the desktop or stretch a WINDOW to cover the second monitor. The Display setting option sends the image to the entire second monitor without a WINDOW. It can not be scaled (minimised/maximised) or altered (dragged/rfepostioned) at all. It plays at the rez of the sequence.
Put another way...none of my Premiere GUI extends onto the second monitor. It is a default EDIT set up with minor customisation within the single Monitor.
Note FWIW: In the Task bar at the bottom of my WIN 7 screen. There are always two application windows open when this set up is invoked.
'Premiere - project pathname' and 'Monitor'. (Premiere sits above the Monitor and they are obviously connected as applications)
57. Re: A Proper Monitoring SolutionJon-M-Spear Oct 24, 2011 11:53 PM (in response to rexeve)
Shooternz is right - some form of hardware interface will be essential to connect an external monitor.
I would be as happy as a pig in s**t if the solution involved something like the BM Intensity Pro that was so tightly integrated that it used the Adobe presets/codecs, and we could just forgot that it was there!
58. Re: A Proper Monitoring Solutionshooternz Oct 25, 2011 1:38 AM (in response to Jon-M-Spear)
Shooternz is right - some form of hardware interface will be essential to connect an external monitor.
Not necessarily. If one uses a workflow that is entirely digital file based you have no need of additional interface hardware for editing or monitoring.( apart from investing in high quality digital monitors)
If you work fully or partly inside an analogue realm..you will need the hardware that converts digital > analogue ....and vice versa and that will require 3rd party hardware with that capability. That hardware exists but how Adobe will decide to interface with "old" technology is anyones guess.
Adobe / Matrox / Blackmagic ---- history tells us its a path to dissapointment and I am certain that no one will give up Adobe Mercury advantages for what already exists as "proper monitoring" within Premiere.
59. Re: A Proper Monitoring SolutionPowered by Design Oct 25, 2011 1:58 AM (in response to Jim_Simon)
Sometimes I just WISH Adobe would just make the hardware and could just create it so it just worked.
If they had full control over the hardware then there wouldn't be any reason for things not to work or reasons of drivers being outdated.
Dont need the whole machine Adobe but maybe the graphics card would be great.
Multi screen setups with client screens all showing correctly.
60. Re: A Proper Monitoring SolutionJon-M-Spear Oct 25, 2011 2:01 AM (in response to shooternz)
This is where you appear to contradict yourself, shooternz. If not, you sure confuse the hell out of me.
In your last post, you said that output to an external monitor would require 3rd party hardware - and I agree. (still keeping to the 3-monitor metaphor). I'm not interested in a 2-monitor soloution. I know how to implement it, and have dismissed it as being unsuitable for my workflow.
I have a totally digital workflow (Xdcam EX) and I take full advantage of MPE via the BM card. Some people report MPE as not working with the BM card (mainly Mac users), but it works well on my Win 7 box. I have other BM issues with CS 5.5.1. But I still do not see how a totally digital workflow negates the need for 3rd party hardware to output to a third monitor (even if it means a 2nd GFX card).
61. Re: A Proper Monitoring Solutionshooternz Oct 25, 2011 1:00 PM (in response to Jon-M-Spear)
This is where you appear to contradict yourself, shooternz. If not, you sure confuse the hell out of me.
In your last post, you said that output to an external monitor would require 3rd party hardware - and I agree. (still keeping to the 3-monitor metaphor). I'm not interested in a 2-monitor soloution. I know how to implement it, and have dismissed it as being unsuitable for my workflow.
@J-MS:Sorry did not mean to confuse.
I should have included "two monitor" setup using standard Graphics cards in my post. This manages a full digital file based workflow but does not suit everyones needs for what ever reason.
In your own situation (specific 3 monitor absolute requirement)..there is no solution apart from 3rd party hardware. ie. the issue for you and those requiring "video signals" to feed extra devices is a graphics card with all the particular connections and some coding from Adobe to utilise them.
Seems like you know that and have that sorted with the hardware you have anyway. A pro set up and I am well pleased to hear that MPE works with it. That should encourage others requiring "proper monitoring" to do likewise.
Out of simple curiosity about your workflow J-MS.. how does two GUI monitors fit in and what was the issue with a single GUI monitor when you tried it.
Anyway...I am pretty much out on this topic.
I do look foward to developments Adobe may bring with the Color Suite when they release it and this thread is probably contributes part to its development.
62. Re: A Proper Monitoring SolutionJim_Simon Oct 26, 2011 1:32 PM (in response to shooternz)
(Would anyone give up the Mercury advantage for it?)
Man, I sure hope not. The point here is to add a long overdue and very much needed new feature, not to swap one out for features we already have.
We need both the current level of hardware acceleration (maybe adding some improvements), as well as proper video output from PP.
63. Re: A Proper Monitoring SolutionJim_Simon Oct 26, 2011 1:47 PM (in response to PeteGould)
Open it in Windows Media Player and move it, in a window, into the Sony monitor.
Therein lies the current problem. If you can drag something onto the second monitor, then Windows is managing it. The nVidia display driver has some control here. It's a VfW situation. That is what we need to change. Windows and the nVidia driver need to be out of the loop (so to speak). PP needs to tap directly into the video port. No other apps should have access to that video port. There should not be any kind of setup required such that other apps could have access to the video port. Only Adobe apps should have this access.
And whether Adobe apps are open or closed, Windows and the nVidia Control panel should still see only the one monitor. (Or two if you're running a dual-config with video to a third.)
THIS is the new feature was want and need. Essentially an AJA/BM/Matrox card without the expense of buying one, or the limitations of using their codecs.
64. Re: A Proper Monitoring Solutionjoe bloe premiere Oct 26, 2011 2:19 PM (in response to Jim_Simon)
What Jim said, except...
I would be willing to spring for more hardware if there is fully native support in Premiere.
(I know this is the one point on which we differ.)
Who's it gonna be?
65. Re: A Proper Monitoring Solutionshooternz Oct 26, 2011 6:35 PM (in response to Jim_Simon)
Therein lies the current problem. If you can drag something onto the second monitor, then Windows is managing it. The nVidia display driver has some control here. It's a VfW situation. That is what we need to change.
Jim - do you realise that in the way I have my set up working...I have no means or ways of dragging , minimising / maximising etc the image in the 2nd monitor . It is fixed and centred in the 2nd monitor at the rez of the sequence and the source material when played from either Program or Source in the Premiere GUI.
It is not a Window or a Pane. It is not an extension of the Premiere GUI. It has no borders or frames. It has no draggeable handles.
If that is not clear I will try and find a way of showing you. Maybe I could point a camera at the 2 monitor set up I use.
Actually I will take a photo of it right now and post it p shortly..
66. Re: A Proper Monitoring SolutionJim_Simon Oct 26, 2011 6:42 PM (in response to shooternz)
Yeah, I get that. But if you can still drag other software to it, then Windows and the nVidia Control Center are involved. That's not what is needed and wanted here.
It needs to be a pure video signal from the video port (not DVI or VGA) that sends absolutely nothing when Adobe apps are closed.
67. Re: A Proper Monitoring Solutionshooternz Oct 26, 2011 7:11 PM (in response to Jim_Simon)
Yeah, I get that. But if you can still drag other software to it, then Windows and the nVidia Control Center are involved. That's not what is needed and wanted here.
THIS is the new feature was want and need. Essentially an AJA/BM/Matrox card without the expense of buying one, or the limitations of using their codecs.
I see. You want a "feature" that is actually hardware... but its also free.
Good luck with that feature request.
Any how FWIW ...playback from Program Monitor / Timeline
Images playout same way from Source Monitor and the Project Bin Preview Window.
68. Re: A Proper Monitoring SolutionAsianOcean.com Oct 26, 2011 7:12 PM (in response to joe bloe premiere)
I am tempted to say that I will buy a Matrox (or BM or AJA) card if it is TOTALLY native to Adobe codecs, and NOT using thier codecs, but I am afraid, given my experience with Matrox cards (they did serve when they did), it is a dreadful thought. So Adobe has to manufacture or work with the manufacturer as in the case with CUDA/Mercury.
69. Re: A Proper Monitoring Solutionjojejo Oct 27, 2011 2:43 AM (in response to shooternz)
Shooternz, can you explain with a little more details how you set up your two monitor solution. I guess you use the fullscreen playback inside of premiere. How do you connect your preview monitor - via HDMI? What monitor model do you use? How do you deal with deinterlacing, does your monitor do the job?
70. Re: A Proper Monitoring Solutionjdmack01 Oct 27, 2011 6:26 AM (in response to shooternz)
Shooternz - just curious. What is the brand and model of your top HD monitor?
71. Re: A Proper Monitoring Solutionshooternz Oct 27, 2011 12:01 PM (in response to jojejo)
The set up is Default Adobe Premiere basically. (I slightly customised the layout within that)
When CS5 installs ...the Default Edit Workspace is a single GUI even if 2 Monitors are connected to the graphics card.
Playback to external device is a Sequence Set up setting. It is not Global. It monitors out at the resolution of the sequence. No up or down scaling is involved.
That upper monitor shown is a Samsung xx2440 . Full HD (It is extremely crisp and MAC users often comment on its quality)
(HP Dream Color monitor can be used in same place when prefered - I dont own it but have easy access to one)
Lower monitor for the GUI is a 27 inch BENQ. ( I find this to be plenty of real estate to deal with ergonomically.
A splitter can send the signals to other playback monitors ( client, meeting room)
It is placed above the other for easy eye ergonomics for editor and its is adjustable (tilts) so both monitors can be viewed on exactly the same viewing angle. ( A potential problem with all flat screens that I have eliminated.)
I have set up the monitors to image match using the excellent facility in WIN 7 Color Management using Bars and Pluges, Grey scale cards and the scopes in Premiere. Very easy and straight forward todo by eyeometer but if needs arose...I could use one of the set up gears often mentioned in this forum. (FWIW: It is impossible to absolutely match the purple pluge and no way of doing so in my experience).
I think I have my Nvidia Control Panel set to allow the applications to control the color space. (will check this)
I dont have interlace issues because I never shoot interlace or get interlaced media to edit. Not sure how or if any issues would display in my monitoring set up.
72. Re: A Proper Monitoring SolutionJim_Simon Oct 30, 2011 4:09 PM (in response to shooternz)
I see. You want a "feature" that is actually hardware... but its also free.
Well, not "free". Just "already paid for" with the graphics card we buy, which is more than capable of doing the job.
73. Re: A Proper Monitoring SolutionJim_Simon Oct 30, 2011 4:12 PM (in response to shooternz)
I have set up the monitors to image match using the excellent facility in WIN 7 Color Management
That's what needs to be eliminated. The ability of Windows to affect the output of the timeline. All calibration should be done on the monitor.
74. Re: A Proper Monitoring Solutionshooternz Oct 30, 2011 5:11 PM (in response to Jim_Simon)
Well, not "free". Just "already paid for" with the graphics card we buy, which is more than capable of doing the job.
Capable ....how so? Wouldnt that require the graphics card to have "pure video" type connections and RGB to "pure video" convertors built onto them. (Like the BM Cards). Still dont think that Hardware is Adobes role in this feature request which I also see as coming from a tiny minority of users. eg.I dont see any one (identifiable) from the likes of the BBC, WETA Studios, TVNZ etc... requesting a 'proper monitoring solution".
That's what needs to be eliminated. The ability of Windows to affect the output of the timeline. All calibration should be done on the monitor.
I disagree. You need the abilty to set up hadware thru' the pipeline. Garbage out = Garbage... no matter what picks it up.
Win 7 Color Mangement (as does Mac Color Management) combines with calibration on the monitors if they have that facility. Not so different , in analogy, to setting up the camera and setting up the field monitor or setting up a telecine and setting up the CC Monitor. Setting up final stage only is pointless.
75. Re: A Proper Monitoring Solutionartistdomain Oct 30, 2011 8:43 PM (in response to shooternz)
Hi Shooternz and all other here. Re this topic:
I believe I understand the premise of the original post and those of respondants who agree.
I've been involved with editing in a pro level, albeit not the high-end but the pro-sumer level since the Miro DV 300 and a 9GB SCSI drive that cost over 800 bucks (always Premeire and Windows). I've had Matrox DV 2000s (x2 units), Matrox RT X100s (x 2 units), a Black magic Intensity Pro and lately, with my upgrade to CS5.5, a Matrox MXO2 Mini (with max). I output to a Sony LMD 2030W (rec 709)
Anyway, I agree with you re not expecting Adobe to get into the hardware game. It seems to me they are working closely with Nvideo to do just what the original poster desires.
Shooternz, you said you use the Dreamcolor. I think I'll probably get one myself. It requires a true progressive RGB signal to work properly, which my new MXO2 mini can supply. But it can also take a Displayport connection from a VGA card which also, by neccesity, supplies a progressive, RGB signal. I assume you are connecting your Dreamcolor thusly if you are not using a third-party I/O card like BM or Matrox to drive it. What card are you using?
76. Re: A Proper Monitoring Solutionmedeamajic Oct 31, 2011 12:26 AM (in response to jojejo)
My advise is to dissable Windows Aero and use classic mode when using dual monitors. With Premiere Pro CS 5.5 right above where you select the realtime playback resolution you have the option to display the first field, second field or both. Displaying only one field will get rid of interlacing issues. In Premiere Pro CS4 you had to opt for draft previews. CS 5.5 is much better. If you are using a NTSC monitor that makes use of both fields and your video is interlaced you may want to display both fields. I have no problems with color correction on my system. If I opt to use my HDTV as a computer monitor I can. If I want to use it as an interlaced broadcast montior I can also do that. If you switch from TV monitor to computer monitor you will get a color shift becuase of the RGB Vs YUV color space. If you have an interlaced HDTV Monitor and you try using it for a comouter monitor the text and GUI of your sotware will look blotchy. Only use HDTV Mode if you want to output the realtime preview of Premiere Pro to a dedicated NTSC monitor. I was using PP CS4 in the video for the URL link directly below but I think it might be of some help. CS 5.5 works great for me. I may do another video about how to set up CS .5.5 http://www.youtube.com/watch?v=LY33kyQ52hg Below is a video using a DV converter and SDTV to monitor the realtime previews of PP CS4.0. You can copy and past the url into your browser. http://www.youtube.com/watch?v=Oj0JoFxoOyo A PP CS 5.5 video that might help some of you with interlacing issues. http://www.youtube.com/watch?v=fLBxut3tjE0
77. Re: A Proper Monitoring Solutionartistdomain Oct 31, 2011 9:01 AM (in response to medeamajic)
Hi Mediamajic,
If I may say so, and this is just my opinion but I find a few of your points questionable. First, Aero really has nothing to do with what is being discussed here. It has nothing to with interlacing v progressive technology or YUV v RGB color spaces. Any card powerful enough to drive Mercury playback should certainly be powerful enough to support that Aero on two PC monitors. I believe you are confusing interlaced v. progressive. As far as I know, only a VGA card with a TV tuner with an interlaced capable output can output an interlaced signal. Not all do and why should they nowadays when all LCD and plasma TVs are progressive. PC/Mac computer displays and the computer VGA cards installed in their host computers are progressive. If an interlaced signal is fed to one of those progressive monitors, it will de-interlaced it internally.
"Switching from TV monitor to computer monitor you will get a color shift because of the RGB Vs YUV shift" is incorrect because all TVs only display RGB and perform a realtime conversion of any YUV signal fed to them. YUV was devised as a technical workaround made to accomodate the production industry. Nay, the color shift is due to the fact that computer monitors are not made to support the rec 709 HD color space. Even much vaunted displays like the Apple Cinema Display (hailed as a Godsend upon its release) doesn't support rec 709. Apple issued a tech note warning not to use it for anything but content; it's not reliiable for color correction. You need a rec 709 monitor to even begin approaching proper pro color correction. And even then, inasmuch as consumer TVs do support it, you need be careful there since manufacturer preferences and tweaks make calibration issues a big factor. Color correction on a computer monitor cannot be done reliably within the industry's HD SMPTE color space. Various flavors of RGB and Adobe's RGB comes close from what I understand, however. And as of CS5, Adobe now does what is considered a professionally reliable YUV-to-RGB conversion in realtime. I have not yet investigated that since I just upgraded to it and I'm still working in YUV at the moment and all cameras except the very high-end like Red, etc.shoot in YUV. My new Matrox MXO2 Mini can do a realtime YUV-to-RGB conversion to my Sony LMD-2030W if desired (I did it as a quick test). That entry-level pro production monitor can be switched between Component YUV and RGB in the menu.
Indeed, one should aspire to be working in RGB (progressive too of course) for the reasons stated above and for other obvious reasons, and feeding it to a progressive monitor that supports Rec 709. I just dumped my Blackmagic Intensity in favor of the Matrox MXO2 because nothing by BM currently outputs the RGB signal needed to drive an HP Dreamcolor (which is high on my list to get when my budget allows).
For those of you who don't already know, I can suggest reading comprehensive info on this entire subject by a highly experienced pro and cogent writer named Alan Tepper, over at www.provideocoalition.com. Do a search on his name and "Dreamcolor" and or "rec 709" to "get a good picture" of this subject matter.
78. Re: A Proper Monitoring Solutionmedeamajic Oct 31, 2011 11:54 AM (in response to artistdomain)
Artistdomain, did you read who my response was for for(jojejo)? Did you watch my video ( http://www.youtube.com/watch?v=LY33kyQ52hg )? When using dual monitors as seen in the video for realtime previews Aero does make a huge impact on the realtime performace with my video display card (GT 240) and it could affect yours as well but I can not say for sure. Why would I lie about that or the interlacing issues( http://www.youtube.com/watch?v=fLBxut3tjE0 )? Also not all display drivers and monitors give you the same option as stated in my video. I miss having the anologue RGB output of my Nvidia 7600 video card. The Nvidia control Pannel gave you more options for those analogue ports. I know the difference between interlaced and progressive. My monitor is an HDTV as I stated in the video. Yes it can go into an interlaced mode and display 60 fields per second. Trust me on that. You get a color shift and the text will look blotchy if you try to use it to display software on the monitor. I state all monitors and graphic cards are different in the video. Did you watch any of my videos? The color space of TVs are different than that of a computer montiors even if the final out put is RGB. You will get a color shift the same as you would going from RGB to CMYK.
I am not talking about Apple monitors so why are you? Did I say Apple monitors give accurate CC? I am am hip to 709 HD color space but I am not saying a consumer HDTV is the best option for CC in any of my videos. I am only letting people know how to get the best settings when using Premiere Pro should they opt to use an HDTV from Best Buy to monitor realtime previews using an Nvidia or ATI graphics card. Learn to comprehend the intent of the video.
You stated one should be striving to work with RGB progressive? Dude get real. I would opt to use the Red One camera myself but I can not tell my clients what video formats to give to me for editing. If they give me interlaced HDV clips then I will edit them. That is what 50% of my video files are.
I don't realy care about your Decklink or MXO2 because we are talking about using Premiere Pro with off the shelf video cards. We are not talking about the best preview options on this thread. I am hip that my set up is not as good a Decklink system nor did I say it is the best solution. It does work good for client previes but my videos were made for my subscribers on youtube and my response here was for jojejo. Comprende mi amigo?
Your entire post has nothing to do with using Preimiere with a standard grahpics card. We all know at this point in time using the computers graphics card and a standard computer monitor is not the best option. My video only showed how to make things work optimal with what some people already have. The information is correct.
Do you finally get it because I have to question your entire post. I think rather than deal with the issue at hand (graphics cards for accurate preiews) you opted to try and school me. If you have better information about using the graphics card to monitor the realtime previews then post it. Like I said the thread is not about getting the most proffesional results but rather making the best use of the graphics card so why are you talking about Decklink products? I did not post on this thread right from the get go. Jojejo had asked about interlacing. That is why I made my post. And yes if I use a compter montior for realtime previews I can get interlacing atifacts on the second monitor if I don't opt to display just one field at a time. Premiere will try to display the interlaced image onto a progressive computer monitor which may end up looking like crap depending on your graphics card and settings. If you only use Premiere with one monitor it will not be an issue at all. Aero is not an issue if I just use one monitor either. I have but one question for you my friend.
Have you ever used the graphics card for realtime previews to a computer monitor or a HDTV?
79. Re: A Proper Monitoring SolutionPeteGould Oct 31, 2011 12:30 PM (in response to Jim_Simon)
In trying to analyze the pipeline issues with Premiere playback (and this may properly belong in another thread - Jim, feel free to tell me so and I will start one), I've found another clue.
This system is built on an NVidia GeForce GTX-470 and in the NVidia control panel there are two categories for display adjustments (given that as yet Jim's request hasn't been implemented and we still have Windows intervening in screen setup). The two categories are "Display / Adjust desktop color settings" and "Video / Adjust video color settings."
If I display a video on my Sony large-screen display using Windows Media Player, and I allow the NVidia control panel to make color adjustments (instead of clicking the radio button allowing the video player to control them), the control set that works on that image is the "Video / Adjust video color settings" controls.
BUT, when I'm editing in Premiere, and within Sequence Settings / Playback Settings I set the "External Device" to that same large screen monitor, and it displays full-screen video playing back from Premiere, the NVidia control set that would control the image are the Display / Adjust desktop color settings controls. The "Video / Adjust video color settings" are ignored and have no effect.
What that says to me is that Windows contemplates two different kinds of pipelines for reaching the screen; something it considers "Video" and something it considers "The Desktop," i.e., computer applications unrelated to video. Full-screen video being sent out of Premiere seems to go through the Desktop, i.e., "NOT VIDEO" pipeline. I think this may be the entire problem I am encountering and explains why video playing full-screen via WMP looks terrific while the same video playing from within Premiere is washed-out due to the black level being raised.
Is this coincident with others' observations?


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Biesse's technologies at Delhiwood 2015
Biesse technology on display in the 4th edition of Delhiwood, held from 4th - 7th Feb 2015 at the India Expo Center & Mart, (Greater Noida).
In a booth of 510 sqmt, 16 technologically advanced machinery are ready for demos to our customers. A lot of novelties launched: Flat Table CNC Router with Automatic Loading & Unloading device; a new range of Throughfeed Edgebanding machines with Panel Return System; hot press with 3 platen configuration; advanced CAD/CAM software for modular furniture production. Biesse India also launched a new 24x7 Service Support Portal for customers in order to stay closer to them in every production time. Discover all products at www.biessemanufacturing.com.

subset: commoncrawl


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Ana and Vlade Divac Foundation visiting Australia
Dear friends in Australia and New Zealand, we are very happy to have a chance to see you again this year! We are coming to Melbourne and Sydney this weekend. Many of you joined our team last year and helped us to improve lives of refugees in Serbia. This year we will present results that we have jointly achieved in 2012. We invite you to join us at several events that will be organized during our stay in Australia and support our continuous efforts to change reality in Serbia.
January 26, 2013 - Melbourne
Basketball club Beli Orlovi (White Eagles) together with The Serbian Orthodox Youth Association (SOYA) and many other Serbian organization in Australia invite you to attend: Humanitarian Evening for Ana and Vlade Divac Foundation. Join us on Saturday, January 26, 2013. at 7:.30pm in Serbian Sports Center, 310 Perry Road, Keysborough. Guests: His Grace Bishop Irinej, HE Serbian Ambassador Mrs. Neda Maletic Dragan Jovanovic, actor, Ana and Vlade Divac.
Program: The presentation of Ana and Vlade Divac Foundation, Choir Kornelije Stanković from St Archdeacon Stefan church and musical ensemble from Serbia - Tref bend.
Entrance fee 50 AUD (Entrance is free for children under 15). Proceeds from ticket sales, donations and sales of sports souvenirs signed by Vlade Divac are going for to Ana and Vlade Divac Foundation to help single parents and refugees in Serbia. View the invitation. Reservation and information: Bozo: 0410 612 953, Stanko: 0404 239 975. Facebook event: http://www.facebook.com/events/355361891229130/
January 27, 2013 - Monastery Saint Sava (Elaine)
February 3, 2013 - Church Saint Sava (Greensborough)
February 8, 2013 - Madera Restaurant, Sydney
Humanitarian dinner will begin at 8pm in Restaurant Madera, Shop 34/1 Sappho Rd Warwick Farm Hometown. Entrance fee 100 AUD per person. Ticket price includes food. All profits goes to the Foundation. View the invitation. Register here for Humanitarian dinner with Ana and Vlade Divac.
February 9-10, 2013 - Serbian Festival Sydney
Vlade Divac will attend Serbian Festival on February 9 and present initiatives of the Ana and Vlade Foundation. We invite you to join us in Tumbalong Park on Saturday, February 9 (11am-1pm).
Please share this calendar with your friends, family members and join us.Thank you for being part of our Team,


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WASHINGTON (AP) — President Barack Obama is sounding a conciliatory tone after his re-election victory, saying he has learned from those who supported him and those who opposed him. And he says he returns to Washington "more determined" and "more inspired."
He said he's hoping to work with Republicans to solve the nation's problems.
He spoke to a cheering crowd in Chicago shortly after Mitt Romney told supporters in Boston that it's time for the nation to unite behind the president.
Obama said he wants to meet with Romney to discuss how to work together.
As he starts his second term, Obama will once again be dealing with a Republican-controlled House and a Senate led by Democrats.


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SOURCE: IronKey, Inc.
November 10, 2011 17:01 ET
SUNNYVALE, CA--(Marketwire - Nov 10, 2011) - SC Magazine has named IronKey as a Finalist in two categories for the security industry's most prestigious awards -- the 2012 Reader's Trust Awards. IronKey's Trusted Access is a Finalist in the Best Fraud Prevention category, and IronKey's cloud-based management service, IronKey Enterprise Management Service, is a Finalist in the Best Mobile/Portable Device Security category. IronKey has twice won first place awards, and this marks the fifth consecutive year IronKey has been honored as a Finalist by SC Magazine readers.
IronKey's Trusted Access enables banks to provide their customers with a secure browsing solution for online banking and e-commerce that keeps them safe on their own PCs, even if the PC is infected with the latest zero-day attack that would go undetected by anti-virus and other software. According to research firm Gartner, Inc., crimeware designed to take over online banking accounts and steal money is now the most significant threat concerning U.S. banks. In August, the Financial Services Information Sharing and Analysis Center (FS-ISAC) reported online banking account takeovers grew over 150 percent in 2010.
Finalists for the Reader's Trust Awards are judged by a panel of leading security officers from large, medium, and small enterprises from all major vertical markets, representing the broad readership of SC Magazine.
As the industry's preeminent awards program, the annual SC Awards honor the professionals, companies and products that help fend off the myriad of security threats in today's corporate world, and the emerging threat landscape of tomorrow.
With Trusted Access banks deliver clients a customized, secure Web browser protected in a fully virtualized read-only environment, and tailored to work exclusively with IronKey's Trusted Network and the bank's systems to protect online banking sessions from known and unknown crimeware. It also offers customers Trusted Bookmarks, a safe way to access popular websites, including shopping and social media sites, using a "white list" managed by the bank. When shopping online the service assures customers that they are accessing an authentic site and that payments are not being monitored or tampered with.
IronKey's cloud-based management service, IronKey Enterprise Management Service, allows administrators to easily manage thousands of portable devices and enforce device-specific policies, including password strength, password retry limits and onboard portable applications. The IronKey Enterprise Management Service is currently used by over 3,000 enterprises with over one million devices.
The 2012 SC Awards U.S. Winners will be announced at the SC Magazine annual Reader Trust ceremony at RSA 2012 on February 28th in San Francisco. The event is a night filled with excitement, along with an opportunity to network with the top corporate IT professionals in attendance. To attend the Awards, please register at http://www.cvent.com/d/scqm6b/4W.
About SC Magazine
SC Magazine provides IT security professionals with in-depth and unbiased information through timely news, comprehensive analysis, cutting-edge features, contributions from thought leaders and the best, most extensive collection of product reviews in the business. By offering a consolidated view of IT security through independent product tests and well-researched editorial content that provides the contextual backdrop for how these security tools will address larger demands put on business today, SC Magazine enables IT security pros to make the right security decision for their companies. The brand's portfolio includes the SC World Conference and Expo, SC Congress Canada, SC Magazine Awards, SC Directory, SC Magazine Newswire and SC Magazine IT Security Executives Forums.
About IronKey
Ranked as the 14th best venture-funded company in The Wall Street Journal's "Next Big Thing 2011" survey, IronKey secures data and online access with software and hardware solutions managed through cloud-based services. IronKey's award-winning Trusted Access Platform helps financial institutions reduce the risk of online fraud, achieve compliance with Federal Financial Institutions Examination Council (FFIEC) guidelines, and acquire new customers with a competitive advantage. Starting with secure browsing that keeps customers safe from crimeware attacks on their PCs, banks can add multiple layers of security to meet the needs of client risk and value. Visit www.IronKey.com for more information.
Deb Montner
Montner & Associates
Deb Montner
Montner & Associates
See all RSS Newsfeeds


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Editor's note: This review was written by Tim Borket, who writes the blog, The Unlucky Blogger. Be sure to check out all his reviews and interesting articles here.
I purchased an amazing piece of software today. It is called the Shot Simulator and it is sold by Deer & Deer Hunting. I'm not necessarily a fan of Deer & Deer Hunting. I don't believe I have ever seen their show and I don't remember buying anything from them before. So, this is not a advertisement for them. I am very impressed by this piece of software.
|This deer is dead
Basically, it shows you a 3D picture of a deer. You can zoom, pan, and rotate the deer. You can also peel back layers of the deer to show its organs and bones. Everything is rendered nicely. The beauty of the program is not in the graphics. It is in the ability to shoot the deer and see what vitals were hit. Click anywhere on the deer and an arrow shoots out in slow motion and pierces the deer, leaving a line showing its path. It then gives you a list of the vitals you hit and you can zoom in and see exactly what and where your arrow hit. Here is their advertisement video.
|Preskinned. Sometimes I wish all deer came this way
In the one day I have been playing with this program I have learned a ton. Like many hunters, I am always a little unsure about vitals. Several shots I took on this digital deer were poor shots. I thought the placement was good but the program showed me otherwise. I would have taken this bad shot in real life.
|I thought this was good placement, but I was wrong.
For example, the shot above nicked one lung, and hit the paunch and intestines. Not a good shot! By playing with different angles I am already getting a better idea where I should shoot. I go through different scenarios and quiz myself on what the proper shot would be
This program is a simple, inexpensive tool that I think every new hunter should use. I think it would benefit even an experienced hunter. It costs $19.99 for the downloadable version and $29.99 for the "Deluxe" CD version. There is also an IPhone app for 4.99.
Where to Get It
Click here to get the PC/Mac download for $19.99.
Click here to get the PC/Mac Deluxe Edition CD (includes bonus articles, videos and a poster) for $29.99.


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Roasted Corn and Bacon Napa Cabbage Slaw
If you like it, save it!
Save and organize all of the stuff you love in one place.Got it!
If you like something…
Click the heart, it's called favoriting. Favorite the stuff you like.Got it!
Author Notes: I've had so much corn in my house lately that I've been whipping up all sorts of recipes. This one is a roasted corn recipe with a delicious smokey bacon dressing. My sister and I enjoyed this one night with some yummy red wine and relaxed!
http://brusselsforbreak... —Brussels Sprouts for Breakfast
Makes: 4 servings
ears fresh sweet corn
strips thick-cut bacon (cut into pieces)
head Napa cabbage (chopped into thin strips)
medium onion (thinly sliced)
tablespoons apple cider vinegar
tablespoons olive oil
sea salt
freshly ground black pepper to taste
- Pre-heat oven to 400 degrees. Shuck the corn and cut the kernels off onto a baking sheet. Coat the corn in olive oil, salt and pepper and toss into the oven for 15-20 minutes. Remove and let cool.
- While corn is roasting, heat medium saute pan over medium high heat. Add the bacon and cook until it starts to crisp up (about 10 minutes). Remove the bacon to a paper towel-lined plate, keeping the bacon fat in the pan.
- Lower heat to medium and add the apple cider vinegar and onions to the pan. Cook for about 5 minutes, until onions are soft.
- In a large mixing bowl, combine corn and cabbage. Pour all the contents from the saute pan with the onions over the corn and cabbage. Add the bacon, and salt and pepper to taste. Toss the salad until all cabbage is coated in the delicious bacon fat and vinegar. Serve immediately and enjoy with family and friends on a hot summer night!
- This recipe was entered in the contest for Your Best Recipe with Corn
- This recipe was entered in the contest for Your Best Portable Side
- This recipe was entered in the contest for Your Best Dish with Meat as a Flavoring
More Great Recipes:


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Houston Dynamo midfielder Boniek García and defender Jermaine Taylor were named to the Honduras and Jamaica national team rosters, respectively, for upcoming World Cup qualifiers, it was announced today.
García will join the Honduran national team camp in Miami, Fla. on September 2 following Houston's game at the Chicago Fire on September 1. He will be with Los Catrachos for their World Cup qualifying matches against Mexico at Estadio Azteca on September 6 and Panama at Estadio Nacional Tiburcio Carías Andino on September 10. García will return to the Dynamo before their September 14 match at Philadelphia.
Taylor, 28, will also join the Jamaican national team camp on September 2. He will be available for selection for Jamaica's World Cup qualifying matches against Panama at Estadio Rommel Fernández on September 6 and against Costa Rica at Kingston Independence Park on September 10 before returning to the Dynamo.
García, 28, has featured in each of Honduras' 12 qualifying matches for the 2014 FIFA World Cup, scoring one goal. The Tegucigalpa native has earned 85 caps for Honduras. García has tallied four goals and 10 assists in MLS play since joining the Dynamo in June 2012, including four assists this season. García was named Houston Dynamo Players' Player of the Year in 2012.
Taylor has earned 71 caps for the Jamaican national team, the last coming during World Cup qualifying matches in March. The Jamaican defender has started 20 MLS matches for the Dynamo in 2013, contributing one assist.
The upcoming matches continue the final round of qualifying for the 2014 FIFA World Cup, to be held in Brazil. The top three teams will advance to the 2014 World Cup, with the fourth place team advancing to a playoff series against the winner of the Oceania region.


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BMW is latching like a lamprey onto the idea of urban mobility in a big way. In addition to debuting the Husqvarna Concept E-go, zie Germans also launched the BMW Concept e at the Frankfurt International Motor Show today. An electric variant of the BMW Concept C we brought you last year, BMW realizes that when it comes to urban people-movers, the electric power train becomes a ripe contender.
Announcing that it will debut two maxi-scooters by the end of 2011 that address the needs for transportation in urban environments, with the Concept e being the electric component to that two-pronged solution. Though we are certain that the BMW Concept e is an electric maxi-scooter, we should note that BMW's press release makes conflicting statements about the eletric Concept e, which sees the media communication also state that BMW would debut two maxi-scooters that feature a twin-cylinder internal combustion motor.


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Electric Floor Heating Mat, 15 sq. ft., 240VAC, Watts Per Square Ft. 12, Width 18", Length 10 ft.
- Item # 14C446
- My Part #
- Mfr. Model # WW10-240
- Catalog Page # N/A
Using 360° Viewing:
- Rotate: Use top-to-bottom, side-to-side by use of mouse arrow.
- Zoom In: Double click on image.
- Zoom Out/Reset: Put photo at full zoom & then double click.
CAD Downloads
- Shipping Weight 1.8 lbs.
Technical Specs
- Item Electric Floor Heating Mat
- Heater Voltage 240VAC
- Watts Per Square Ft. 12
- Heating Area 15 sq. ft.
- Depth 1/8"
- Width 18"
- Length 10 ft.
- Min. Bend Radius 1-1/4"
- Heating Cable Spacing 3"
- Ambient Temp. Range 32 to 104 Degrees F
- Heating Cable Construction Dual XLPE Insulated Conductors, AL/PET Shield, Ground Wire, Flame Retardant Polymer Insulation, Chemical and Abrasion Resistant Outer Insulation
- Cold Lead 10 ft., 2-Wire 16 AWG, Plus Ground Braid
- Control Type Thermostat(Not Included)
- For Use With Ceramic Tile, Marble, Porcelain, Stone and Other Floor Coverings When Imbedded In Self Leveling Cement Such As Carpet and Vinyl Tile Where R Value is 1 or Less
- Manufacturers Warranty Length 25 yr.
- Standards UL 1693 and CSA 22.2 No. 130-2003
- Includes Heating Mat and Installation Instructions
Compliance and Restrictions
Alternate Products
Alternate Products may not be identical in style or function to original selection. Please compare below for more information.
Item # 14C447THERMOSOFT
Customer Reviews
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Grainger is neither responsible for, nor does it endorse, the content of any product review or statement posted. Any statements posted constitute the statements of the poster and are not the statements of Grainger. The statements posted by Grainger employees with the Grainger employee badge represent the views of such employees and are not the statements of Grainger. Grainger makes no representations as to the appropriateness, accuracy, completeness, correctness, currentness, suitability, or validity of any product review or statements posted, including those posted by employees with the Grainger employee badge, and is not liable for any losses, injuries or damages which may result from any such product review or statements. Use of any linked web site provided in a product review or post is at the user's own risk.


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posted by Thom Holwerda on Tue 6th Nov 2012 23:38 UTC
The Verge is reporting Microsoft is building its own gaming tablet. "The Xbox Surface will likely include a custom ARM processor and high-bandwidth RAM designed specifically for gaming tasks. We're told these specifications could be altered to accommodate an unannounced Intel SoC and that the Xbox Surface is being developed independent of specific hardware architecture. Microsoft's Xbox Surface won't run a full version of Windows, rather this 7-inch tablet will run a custom Windows kernel. Messaging and other tablet functions may be supported, but the focus is on gaming." Custom kernel. So, incompatible with Windows 8 and Windows Phone 8. Question. Why?


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Liam Hemsworth & Josh Hutcherson: 'Hunger Games' Roles Confirmed!
Josh Hutcherson and Liam Hemsworth have landed roles in the upcoming film adaptation of The Hunger Games, JustJared.com can confirm.
The actors will join previously cast actress Jennifer Lawrence in the film, set for a March 23, 2012 release.
Josh, 18, will play Peeta Mellark, a District 12 tribute who confesses his feelings for Katniss (Jennifer Lawrence) at the outset of the Hunger Games.
Liam, 21, is set to play Gale Hawthorne, a longtime friend of Katniss' who hopes that she'll make it out of the arena alive.
WHAT DO YOU THINK of the Hunger Games casting news?


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I was going to write my own tutorial on this, but Destruction sums it all up . . .
http://www.astalavista.com/index.php...=details&id=32How to get a reputation
How does one get a reputation you may ask? are you just starting out on the internet and want to make an impact well there is no better place to start than programming or maybe hacking.
There are often some very big mistakes which can holt your reputation and these cannot really be changed. In this short article I will be tlaking you through what is the best way to go about things . .
Astalavista Tutorials
Every punk I take out, my rep gets bigger. ~Dre.


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The October issue of Deer & Deer Hunting magazine features an exclusive interview with U.S. Rep. Paul Ryan of Wisconsin.
Ryan is the spotlight of the October issue's "I'm a Deer Hunter" column, in which he discusses what hunting means to his family, his first deer and what it is like to be an avid hunter and a member of the national government.
The issue hits newsstands on Sept. 4, but here is a sneak peek of that column.
Download The Paul Ryan Interview HERE
Click HERE to read even more about Ryan the outdoorsman and what his values mean to the political landscape. Also, see some of the exclusive quotes he shared on what hunting means to him and his family.


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Earl Barnes, 88 - April 18, 2007
Earl F. Barnes, 88, of Cozad, died Tuesday, April 10, 2007, at the Cozad Community Hospital.
Services were held on Monday, April 16, at the Berryman Funeral Home Chapel of Cozad with Jeremy Jech officiating. Graveside services were held at the Hillcrest Cemetery at Thedford.
Barnes was born on Sept. 2, 1918, near Milburn, to William and Cora Clarke Barnes. He attended rural school.
On Jan. 8, 1939, he married Alice Hopkins at her parent's home in Callaway.
The couple lived in the Thedford and Halsey areas where he was employed as a ranch hand and worked cattle.
In 1970, he and his wife moved to Cozad where he was employed by a feed lot and Monroe Auto Equipment Co. After retiring, he continued working at the feed lot. His wife preceded him in death in 1989.
On May 14, 1993, he married Evelyn VanCleave.
Barnes was a member of the I.O.O.F. for many years and the United Church of Christ in Thedford for 21 years. He was also a member of the Church of Christ in Cozad since 1977, and in 1993, he joined Parkview United Methodist Church.
?He enjoyed riding horses, bird watching, dancing, visiting with friends and time spent with his family as well as gardening and sharing the produce with others, according to family members.
?Barnes was preceded in death by: his first wife, Alice; a son, Harold, who died in Viet Nam in 1966; six brothers—Leonard, Ray, Carl, Glenn, Everett and Lyle; three sisters—Erma, Nina and Mary.
Survivors include: his wife, Evelyn of Cozad; a daughter, Josephine (John) Morris of Thedford; a son, Myron (Delores) Barnes of North Platte; step-daughter, Connie (Larkin) Rossitter of Nogales, AZ; step-son, Carroll (Ann) VanCleave of New Jersey; sister, Stella Carruth of North Platte; nine grandchildren, seven great-grandchildren, a great-great-grandchild, 10 step-grandchildren and three step-great-grandchildren; numerous nieces, nephews and friends.
Memorials are suggested to the donor's choice. Condolences may be shared online at berrymanfuneralhome.com.
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AFP – May 29, 2011
Iran's President Mahmoud Ahmadinejad considered resigning after supreme leader Ayatollah Ali Khamenei vetoed a minister's sacking, but ultimately decided not to, parliament's deputy speaker said Sunday.
"At one stage the president went as far as (considering) to resign, but he calculated that he should continue his work," Mohammad Reza Bahonar, the first deputy speaker of conservative-dominated parliament, was quoted as saying.
Ahmadinejad withdrew from public life for 10 days in late April in protest after Khamenei blocked his decision to dismiss Intelligence Minister Heydar Moslehi.
The showdown triggered a political crisis within the conservative camp in the Iranian political hierarchy, with the ultra-religious conservatives denouncing Ahmadinejad's decision as a threat to the regime and urging him to toe the line.
"The supreme leader wants the government to continue its work to the end of its term with serenity and on a natural course," Bahonar added referring to the end of Ahamdinejad's tenure in August 2013.
Ahmadinejad cannot run for the next presidential election set for June 2013 as the Islamic republic constitution prohibits more than two successive terms for presidents.
"It is not in the national interests of the country for the government to be weakened… but it is necessary for the government to gradually distance itself from the deviant current," said Bahonar.
He was referring to Ahmadinejad's staff, especially his chief of staff Esfandiar Rahim Mashaie, who the ultra-conservatives accuse of wanting to undermine the Islamic regime.
Ultra-conservatives blame the political crisis on Mashaie, who they say is too liberal, nationalistic and has too much influence on Ahmadinejad.


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Hello Could you use a Warmage from D&D 3.5? or a duskblade from 3.5?
Greetings all!
The multirulerpg pbp game on yahoogroups could use a couple more players. Currently we have a Bard (C&C), Hexblade (3.5), Cleric (AD&D2e), and Rogue (C&C). So we could use a mage type and another of any. Palace of Shadows, a Goodman Games adventure is what we have just started. As the name implies players can use almost any system they choose for their character because of how I multi-state enemies and situations. Then you simply post and have rules applied to you based on your ruleset. Currently allowed systems (in order of preferred):
Castles & Crusades, 3.x, Savage Worlds, Gurps 4e, D&D Rules Cyclopedia/OD&D, AD&D2e, others ask first.
Character level: 6, GURPS:200 pt average starting equipment for that level range.
you may use an existing character just let me review it for any munchkin items but I haven't had to deny anything yet. the character may even be from any campaign world due to a time/dimensional hopping NPC quest giver.
GM Rob
Hello Could you use a Warmage from D&D 3.5? or a duskblade from 3.5?
sure either one sounds interesting. We have enough people now after you
join the site, review the intro in the files--current adventure section and the "story so far" which is where I keep a log so to speak of posts so far so people don't have to scroll through all the threads if they forget something that happened or are new. assume your character was expected and arrived just as the wormhole was opening and thus are sucked through it with the others...
feel free to make a character file under the Files section after your rtj and approval. You'll keep your character sheet there, info on items you loot etc...
thanks for your interest, I look forward to seeing your rtj.


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PANRC, by the way, is the acronym for "Post-Apocalyptic Novel Reading Club" pronounced by those in the know (ie, the person who just made this up 3 seconds ago) as "Panric" ;-). And while December's selection (we'll start on 12/1), Jim Kunstler's _The Witch of Hebron_ has been out for a bit, Kurt Cobb's _Prelude_ (which is, in fact, an immediately pre-apocalyptic novel) is now out. YAY!!!!
I've read _Prelude_ and besides the fact that I think it is fun and readable – a peak oil novel someone might actually read for fun – I think what Cobb is doing is important and I want to support it. There are simply too many people out there who will never sit through a talk or read a book of non-fiction about our energy situation, but who would read a novel that lays the issues out clearly in the language of fiction. Cobb took on this project, not to write a best-selling novel, but to write the kind of book you can give to your sister-in-law who won't read the other books you want to give her!
As of now the story of peak oil has yet to reach the broad public, most of whom have never even heard the term, let alone contemplated its significance. Without broad public awareness it will be difficult for politicians and policymakers at all levels to find support for initiatives aimed at addressing peak oil.
When I conceived of Prelude three years ago, it was based on the notion that ideas only become widely dispersed in the public mind when they are infused in the arts. Since then several peak oil-themed novels have found their way to the bookstore shelves. Most of these, it turns out, are based either on an apocalyptic vision of a post-peak oil world or on the device of a sudden, catastrophic loss of oil, often through means that have little to do with peak oil production as it is commonly conceived.
I decided to create a narrative set firmly in contemporary society. I wanted a story that would reframe the way people read the daily news and the way they interpret their everyday experience. My premise was that readers would more readily identify with a world familiar to them than one set in the distant future or transfigured by an imaginary crisis.
A lot of the work that I do, that Cobb does, that all of us do is frustrating and kind of dull – we have to say the same thing over and over and over again until people hear it. I know I'd much rather go on to the next topic – I don't want to explain peak oil again, or climate change. But the reality is that until the general populace is ready to go there, thousands of us have to spend some of our time saying "here, look, this is important." Because if there are a million people who grasp peak oil in the US and a few million in the world, that's not enough – not enough to do what we need.
Cobb has done the community an enormous service by writing this. He's also written a good book – which is a service in itself. In many ways, I think his book is even more useful than the post-apocalyptic fiction that references peak oil like Kunstler's books or _Julian Comstock_ – because a lot of people who need these concepts aren't ready to go straight into the full darker implications of them. Cobb's is a transitional space, and one that was desperately needed. I'm excited that the book is out, and I hope many of you will read it, encourage your library to purchase it, or give it as a gift to that person you think it might influence.
I know in choosing a new book, I've made it hard for some of my lower-income readers, so Cobb has generously offered to donate a few copies that can be circulated by mail among my readers who genuinely can't afford to buy it and can't get it through their library systems. I have a copy as well that I'd be happy to share with others. We can set up a mail system to ensure that as many people possible get it. I know this places a burden on some readers, but I also think that if we want there to be more mainstream peak oil novels (and hey, I want to write one), the best way we can show that there is an audience for this is to support the work.
Kurt Cobb has also agreed to participate in our discussion about the book that will make it a lot of fun. I'll be extending the same offer to any living authors that we choose who I can locate and get in touch with, including Jim Kunstler, although I can't speak to their availability or interest. As you may remember, we had several spontaneous participations in the last PANRC discussions, most notably SM Stirling, which was terrific.
I know I'm looking forward to all this!


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Photos, video and extended coverage of the Aumsville tornado
AUMSVILLE, Ore. - A rare tornado struck the small town of Aumsville on Tuesday, tearing roofs off buildings, hurling objects into vehicles and homes and uprooting trees.
No one was injured but the destruction left behind was severe. The heaviest damage was in the central part of the town. Aumsville is located outside of Salem and around 3,500 people live there.
The National Weather Service has classified the Aumsville tornado as an EF2 with wind speeds of 110-120 mph and they said the tornado's damage trail was five miles long and 150 yards wide. They also reported that the tornado was not on the ground continuously, but lifted up and touched back down.
Late Tuesday, the Marion County Sheriff's Office reported that they had conducted a count of residences that were damaged by the tornado. They said 50 houses in Aumsville and the surrounding county area were affected, with 10 of them being unsuitable for occupancy. They will be tallying the businesses that were damaged on Wednesday.
Gov. Ted Kulongoski arrived in Aumsville early Tuesday afternoon to inspect the damage and help decide what the state will do to help the town's residents recover.
Witness Reports
Multiple witnesses said the tornado was preceded by heavy rain and hail. They said that as the storm hit, power lines arced and lights flickered. Then the storm bowled through the town in a matter of seconds.
Some homes and businesses had heavy damage while others were untouched. The T.G. Nichols Plumbing business was hit hard and one home was severely damaged by a tree uprooted by the wind. Another residence was off its foundation. Other homes had lesser damage, including damaged roofs, blown down trees and broken windows. A tall water tower in the middle of the town was still standing.
- "I thought it was the end," Resident Steven Worden, 56, said. He was cutting a customer's hair at his barber shop when the roof suddenly blew off.
- Juanita Nichol was working at T.G. Nichol Plumbing Inc. on Tuesday morning when she left to have work done on her car. Ten minutes later, a funnel cloud darkened the sky and the storm tore down the front wall of the plumbing store, ripped off the roof and destroyed part of another wall. "Think how God and his perfect timing took me away from that building," Nichol said.
- "We saw a trampoline fly over a church. It was like the Wizard of Oz," said Gara Adams, who works at Neufeldt's Restaurant on Main Street.
- "There's maybe a quarter of the building left," MaryAnn Hills, Aumsville's City Administrator, said. "Most of it ended up on the house next door."
- "I was freaking out," resident Justin Profitt, 22, said. "I have lived in Oregon all my life and I never thought I would actually see a tornado."
- "When I heard it coming over the house, I thought the house was going to come down," resident Joshua Farrer, 34, said.
- Resident Marilyn Ridgeway said she felt her home "lift up" and family members ran for shelter in the bathroom. "It was like a freight train coming through the house," she said. "It was crazy."
- "I stood out here and a piece of metal and a piece of fence came at me at about 200 miles per hour, so I thought I better go hide," Walter Sacha said. "My buddy was already hiding. He's from New Mexico."
- "What all Oregonians should do now is reach out and see what they can do to help the people here," Gov. Ted Kulongoski said, "because this is going to be a tough Christmas for the people in Aumsville."
- In their own words - residents describe what happened
- 'I was trying to decide whether to watch or run'
- '...all the windows are blown out'
- Two-by-four narrowly misses a newborn and her mother
- Plumbing business destroyed
- Tornado tears through mobile home park
- More witness accounts
More Reports
Reporter Dave Walker with KATU's sister station in Eugene, KVAL News, said one man reported seeing a large metal roof fly by at a high speed, along with other debris. Other reports indicated that windows were broken over a large area and a large pole barn had been completely demolished.
Also, the communications tower atop the fire department is "gone" according to a man who talked to KATU News by phone. He added that a large building at his location was "flattened" and several homes were also damaged.
Power and Gas
At one time more than 5,000 customers in the area were without power after a 69,000 volt power line went down, along with many poles and residential power lines. The communities affected were Aumsville, Scio, Lyons, Stayton, Turner, Gates and Mill City. By late in the evening, power had been restored to everyone. More than three dozen Pacific Power workers were on the scene.
A spokesperson for natural gas utility Northwest Natural said they had a crew in the town inspecting gas lines and shutting some off. She said that if people smell gas they should leave the area or building and call 9-1-1 to alert crews to the leak.
For Those Who Need Assistance
The Red Cross has opened a shelter at the Mountain View Wesleyan Church at 111 Main Street. Volunteers are delivering supplies, including food and beverages. Displaced families will also receive a debit card they can spend on clothing, food and specific needs, such as prescriptions.
Residents who need help with cleanup or supplies can call the city during normal business hours at (503) 749-2030.
The Bethel Baptist Church at 645 Cleveland Street is being used as a command center for city officials and they are also coordinating volunteer efforts. People wishing to donate or volunteer to help can call the church at (503) 749-2128 to be put on a list.
How Often Does Oregon Get a Tornado?
The tornado in Aumsville was one of four Oregon tornadoes in the past decade and the first tornado to touch down in Oregon since Dec. 9, 2009, when a twister hit Lincoln County near the coast, according to a list by the National Weather Service. Eleven homes and three cars were damaged in that weather event. There were no injuries.
In the 1990s, at least 16 tornadoes touched down, most causing minor damage. No people were injured, but six calves were killed at a dairy near Newberg in December 1993. On April 5, 1972, a tornado that started in Portland crossed the Columbia River and killed six people, injured about 300 more and caused $3 million in damage in the Vancouver area.
In 2008, an EF1 tornado across the river in East Clark County touched down, destroying a rowing club, toppling a semi and ripping up rooftops.
The National Weather Service has a complete list of tornadoes that have been confirmed in our area over the years. Their list dates all the way back to 1887.


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STARmeterTop 5000
Up 1,564 this week
Ian Whyte (II)
Ian Whyte was born in Bangor, North Wales and brought up in Brighton. He received athletic scholarships to Iona College in New York and Clarion University in Pennsylvania as a basketball player and later distinguished himself with 80 caps for England over a nine year international basketball career. In 2004 his physical attributes, his mental ... See full bio »
Born:in Bangor, North Wales, UK
More at IMDbPro » Contact Info: View agent, publicist, legal on IMDbPro


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Investor relations
Floated on the London Stock Exchange in 1997, Fidessa group plc has risen to become one of the most respected technology firms in its field.
Focusing on its suite of financial software products and services, Fidessa has returned impressive growth figures and cash to shareholders via dividends and special dividends.
The information contained within this website is subject to certain conditions and restrictions. For details of these, please read the Terms and Conditions.
Cash offers for Fidessa by ION Investment Group Limited and Temenos Group AG
Please click here for key documents relating to Cash offers for Fidessa by ION Investment Group Limited and Temenos Group AG.
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Tyrell's Story: Taking Pills for High Blood PressureSkip to the navigation
Tyrell's story
When Tyrell's doctor told him he had high blood pressure, he was shocked.
"I thought, 'Hey, I'm a physical fitness trainer. I'm in great shape. How could I have high blood pressure?'"
He knew that both of his parents have high blood pressure. And one of his uncles recently had a stroke. But Tyrell had always been kind of a health nut. It just didn't seem possible that he could be sick.
"My doctor put me on two kinds of pills," the 35-year-old says. "And for a few months I was really good about taking them every day. But they made me a little tired, and I got tired of being tired."
Instead of going back to his doctor, Tyrell just stopped taking his pills. Then, a few months later, he was working at his fitness club when he heard sirens. An ambulance had been called because a club member had collapsed while lifting weights. Tyrell found out the next day that the club member had had a stroke, probably caused by high blood pressure.
"I learned that it doesn't matter how healthy you feel-if you have high blood pressure, you're sick and you'd better do something about it," Tyrell says. He went back to his doctor, who changed his prescription.
The new pills still made him a little tired. But this time, instead of not taking his pills, he went back to the doctor yet again. His new combination of blood pressure pills is working well-with no side effects.
"Now I often talk about high blood pressure with my clients," he says. "I tell them about my own high blood pressure-which always kind of surprises them-and let them know about the importance of taking those pills."
This story is based on information gathered from many people facing this health issue.
For more information, see the topic High Blood Pressure.
Related Information
ByHealthwise Staff
Primary Medical Reviewer E. Gregory Thompson, MD - Internal Medicine
Martin J. Gabica, MD - Family Medicine
Adam Husney, MD - Family Medicine
Specialist Medical Reviewer Robert A. Kloner, MD, PhD - Cardiology
Current as ofDecember 6, 2017
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RailWorks has extensive experience in quality assurance and quality control during the design and construction phases of complex work, which contributes to our unrivaled record of on-time and on-budget project delivery.
Contact us today to learn more about our transit construction and transit maintenance capabilities.


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FRAMINGHAM, Mass. (AP) — Authorities say a heavily intoxicated mother of the bride slapped her daughter as she tried to escort her out of her wedding reception in Massachusetts.
Prosecutors say 55-year-old Leslie Duane of West Haven, Conn., was drunk Sunday after the ceremony and caused a scene at the Arabian Horse Farm Inn in Sudbury. The bride and several guests escorted Duane out of the reception. Duane allegedly slapped her daughter as she was helping her into a car.
The MetroWest Daily News (http://bit.ly/1etYIDJ ) reports that Duane was freed on $200 bail and ordered to have no contact with her daughter after pleading not guilty to assault and battery Wednesday.
Duane's lawyer says the daughter tried to bail out her mother and that the no contact order is too much.
Information from: MetroWest Daily News (Framingham, Mass.), http://www.metrowestdailynews.com


text: So Im doing a network security audit for my grad project, and I was wondering if anyone knows any templates or examples of a formal security proposal. Like what I plan to do and how and such. Or maybe contact info for someone who does? Any help would be appricated


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Last year the winner was a combination of Flint and Quintec. The latter is another new mode of action material from Dow AgroSciences expected to be available next season as well.
Sovran and Rubigan, Flint and Elite, Sovran and Rally, Kaligreen in combination with Flint, Elite and Nordox, Flint alone alternated with a tank mix of Flint and Elevate; Quintec alone and Rally and Quintec all controlled powdery mildew statistically as well as Pristine.
Where Pristine became the grand winner is that in the trial where Pristine alone was at 28-day intervals — longest in the trial — it reduced powdery mildew to less than 1 percent. None of the others reached that level, however, all those statistically in the same ball park as Pristine in providing more than adequate powdery mildew control to satisfy winery contracts.
The trial was held in one of the most susceptible powdery mildew vineyards in the valley, a Carignane vineyard is surrounded by water just east of Madera where Leavitt each year subjects fungicides to the most rigorous powdery mildew test possible.
Highly susceptible
Carignane, along with Cabernet Sauvignon and Chardonnay, is one of the most susceptible powdery mildew varieties grown in the state. They are also the only known survivors from a powdery mildew epidemic that virtually wiped out European wine grapes decades ago.
Leavitt, veteran UC Cooperative Extension farm advisor in Madera who is often referred to as "Mr. Powdery Mildew" in the San Joaquin Valley for years of research on the most devastating disease of grapevines said growers have a boatload of good powdery mildew products to select from systemics to contacts. Making them work is the key. That requires proper timing and coverage, especially in the case of contacts, and thoughtful resistance management by rotating compounds with different modes of action.
"I often hear growers say 'my neighbor gave me powdery mildew'" said Leavitt. "Your neighbor's vineyard may give you more spores and increase the severity of the problem in your vineyards, but if you have powdery mildew it is not because of your neighbor. It is because you slipped up on spray intervals or did not put material on correctly.
"Powdery mildew can be controlled," he said. To prove his point, he said the untreated check in his Carignane trial vineyard has not been treated in more than a decade. In some years, the vines in the check have been all but killed by powdery mildew, "yet six inches away powdery mildew had been controlled with properly timed treatments."
This year the untreated vines fared better because Leavitt called 2003 an "average" year for powdery mildew severity. However, it started out bizarre weather-wise. "It was an unbelievable start. I did not think we were going to ever see summer," he said. "We went from winter to two weeks of spring and then summer."
Mildew 'exploded'
It was in those two weeks of spring that powdery mildew "exploded."
The powdery mildew risk index model developed by UC to help growers decide when to begin treating for powdery mildew triggered early in the year
"The model kicked off twice early and then went down quickly to zero both times," said Leavitt.
"Growers who treated right away were okay. Those who could not get into the vineyards because of irrigation water or for other reasons waited, had mildew," said Leavitt.
Leavitt recommended that growers wait after the second trigger incident because the index was indicating a low level of powdery mildew. In hindsight, Leavitt said his recommendation should have been to treat after the second time that the index reached 60.
The index adds and subtracts points based on canopy air temperatures of between 70 and 85 degrees for six hours.
While any new fungicide is welcome, particularly ones with new modes of action to fit into a resistance, Pristine is unusual.
It is the only one effective in a 28-day spray interval. It also may have application beyond in-season powdery mildew control.
Last season, Leavitt sprayed it on raisin trays left in a vineyard until late November to test it as a mold inhibitor. This is three months later than anyone would leave raisins drying in the field. The raisins treated with Pristine were "pretty clean" even toward Thanksgiving.
Helpful on raisins
While that is not applicable, he said it indicated Pristine could be useful as a raisin saver for dried-on-the-vine (DOV) raisins when rain is expected.
"I think there also may be an application for Pristine to hold Crimson Seedless on the vine later in the season," said Leavitt. "We already cover the vines with plastic, but if we could extend harvest until Nov. 1-15 by using Pristine to keep rot from forming it might give us a better marketing window for Crimson."