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Boeing 777-200 Tutorial/KSFO-KLAX
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- 1 Welcome to the Vaerospace Advanced Flightgear tutorial pages
- 2 Learn to Fly the 777-200ER like a Pro !
- 3 Messing with george the Ap (Autopilot)
- 4 Your first all instrument approach to KLAX
Welcome to the Vaerospace Advanced Flightgear tutorial pages
Learn to Fly the 777-200ER like a Pro !
Your first City to City Flight...!
Note: It is necessary to have the scenery for Los Angeles Installed(It does not come with the standard package and ***MUST*** be downloaded. Download Link(105 MB), Extract the Package into your Scenery Folder
We begin with flight planning. The first thing we have to plan is which standard departure route we need to fly and which standard high altitude route we are going to follow(Thats in real life!!!). For now we need to get up and level at 300-320 knots around 15,000-20,000 ft and follow the VOR (and VORTAC) beacons as specified in this tutorial.
[Thanx to Boeing for this modern miracle http://en.wikipedia.org/wiki/Boeing_777 all you need to know here]
What You need to Know
The FAA instrument manual(8 MB) Very Informative Manual, Must Read for better Understanding!
The Automatic Direction Finder uses a transmitter and aerial on the ground , an NDB (Non Directional Beacon )that allows the ADF instrument to point to the aerial that is tuned at a specified frequency . So..no matter what direction you are travelling in ...the needle (the "middle" portion that moves from side to side tells you how close or far away you are from your desired course steer in the opposite direction to the direction it is moving to move back to the desired course this part of the needle is called the CDI ...Course Deviation Indicator)... the main part of the needle points to the station . In the RMI (radio Magnetic Indicator ) we can select a plain ADF frequency or the more information rich VOR signal , which is similar but has more information...it points to a selected direction 0-360 to the beacon you which once the needle is pointing at twelve o' clock or straight forward toward your selected VOR ( vor = Vhf {very high frequency) Omnidirectional Range-finder )you can press F12 and enter your current heading plus or minus 180 , in the radial box on the nav 1 line . (RADIALS are the Direction In Degrees directly FROM a VOR Tower 180 degrees opposite from your real Heading ...Towards ...a Tower)
The current should read 280 by default change that to the heading you are on when the needle is pointing forward ie 12 bells
All of these instruments are combined in the left screen of the 777-200ER
Note headings work in 360 degrees ...0/360 is always north 90 east.. 180 South... and 270 west so adding 180 degrees to your salinas heading which sould be 140 will give a RADIAL of 320 no matter wheather you add or subtract ...in the radio comms dialog enter the heading plus or minus 180 deg. for your RADIAL
Messing with george the Ap (Autopilot)
We are doing this to set the OBS LIne which is set as "heading Bug" in F11 autopilot popup menu ...press F11 and enter your HEADING appox 140 in the heading bug section' to get the purple dotted line to it's correct position Press Close
[ http://www.navfltsm.addr.com I strongly Recomend this site ! For learning more on aerial navigation navfltsim is 5 star site You need this... ]
[ http://www.skyvector.com It's time to learn how to plan your route with this 5 star Free Airchart Site -USA charts only]
Otherwise just fly as you did and learn as much as possible you should be well for your landing at KLAX ...RULE ONE AT VAEROSPACE Don't Panic Once you get the "feel" for it... Try and do it with the internet feature ..check the fetch real weather in the Flightgear Launcher ...but at first practice with setting the weather to as clear as possible. Ie Noon with clear weather.
Using the Auto Pilot for the first time
Assuming you are in the air and at above 3000ft get the 777 roughly on course and to cruise speed ,now set the heading dial on the Autopilot to your heading (the inside part of the dial) of say 150 and press the hold key (it should light or yellow) now set the altitude to 19500ft using the altitude dial and press alt button ,you can change the settings while you have these functions engaged so instead of de-activating them to make ajustments you simply set the desired course and altitude while they are engaged ...note please read the flightgear Autopilot wiki carefully to more fully understand the Auto pilot ,there are many things you need to know.
Pick a runway at KSFO (San Francisco intnl.) ...such as 28 R .get off the ground and turn on heading of 150 degrees ...now set nav1 to Salinas(117.3) DME about 65 naughts away and steer the 777 toward the needle ( if the needle deviates from the 12'o clock position ) you steer toward or into the needle ,it will begin to move back toward 12'0 clock ...doing this frequently is called bird dogging (or bracketing) and should be avoided
Paso Robales 114.3
Oki-doki...set nav 2 (be sure to switch both nav toggle switches on on the panel and set nav 2 to 114.3 ...when you are approx 20 -30 dme away from salinas steer onto the nav 2 needle to 12'o clock ie pointing straight ahead and set nav 1 to our next beacon ...make sure you remember which needle is for nav1 and which is for nav 2 ...nav two is the "skinny one" :)
San Marcus 114.9
Using the same strategy to avoid to much bird dogging ((chasing the needle)
turn onto the nav1 needle 20 DME from paso robales and maintain your chosen flight level ...do not exceed 25 000 ft (you're a beginner /Flight Level 250 )...once on route to San Marcus immediatly switch nav 2 to Oxnard and use the same procedure
Oxnard 108.7 Coming Down
30 Dme from oxnard bring the aircraft down gently (no more than 150 ft per min) to 8000 ft and level out at 285 knts..do not use speedbrakes
Now do a visual check ..as you come into the bay area over the water Klax is close stay 4-5 DME out to sea ..and descend to 2500 ft
Your first all instrument approach to KLAX
Your first all instrument approach will be to runway 6 R ,which is the 2ND of 4 main runways as seen from left to right in your current approach . ILS (Instrument Landing System . which is a special type of radio beacon for landing ) or 'Localiser' Now set nav 1 to 111.7(the localiser beacon) set nav 2 to KLAX VOR 113.6 (note you must be under 2500ft for the vertical guidance or "glide slope " portion to "intercept" it's signal so ,lining your approach up to set up the ILS is vital. (We will tackle this in our next flight from Boston to New York)The localiser gives you traditional VOR guidance from up to 20 DME away and vertical "glideslope Guidance" 4-5 DME and under 2500ft directly in front of the runway .(note the vor CDI green needle will not point to the correct heading of your runway when close by or on approach as it it not situated on the runway , establish the exact magnetic and true headings for you runway and set your heading bug in the F11 autopilot menu , you can obtain all the information you need from airnav.com) I have also included the headings you need in the next section.
Set nav1 to the localiser for runway 6 R (right) (that the 2nd leftmost runway visable from out at sea maintaining your heading untill the needle is at 10 o' clock (ie pointing left ) now turn the aircraft into the needle so it point forward or upright again... you should be on a heading of approx. 69 degrees magnetic degrees you need to be on this heading as it is the EXACT direction of the runway (069 in the heading bug )... to make sure you can land you should plot a position PAST the oxnard vor...out into the bay area and then at the right moment turn left onto the runway heading of 69 degrees , this is called your Final Approach Fix (FAF) do this using a chart if you intend trying this in anything other than perfect visual conditions .In my new route we continue learning the various ways of determining your FAF and Navigation between Cities . Boston -New York (coming soon)
... at the bottom of the left flightscreen (primus 1000 efis) there are white markers and another white indicator will appear , if this indicator is in the centre of the marks , there are two sets ...one for heading into runway and the other(verical white ticks on the right of the left screen) for pitch or "glideslope" these scales and thier markers should always be "Dead Center" if they are you are bang on line for your runway... only good planning will make this so . In real life an IFR (Instrument Flight Rules) landing will require two charts (amongst others SIDS , TAC , RUNWAY , SECTIONAL , EN ROUTE , and NOTAMS Notices to Airman) that the pilot must obtain ... the first is for a Standard Arrival Route (STAR chart) and the second for the specific runway approach information called an "Approach Plate" which contains specific information for each runway .
NEVER do an instrument approach with the nose of the 777 pointing down more than 3-5 degrees ..you will crash ! Your decent and heading into any runway must be carefully planned ! The weather ALWAYS PLAYS A CRUCIAL ROLE ....
Head for Runway 6 Right and land as usual...Remember ..runway numbers are reciprocal , 180 degrees , so runways are marked with thier Approximate Headings , typically numberd as such , the zero's in brackets serve as illustration only ...1-19(0) 2-20(0) 3-21(0) 4-22(0) and L(eft) or R(ight)... in the case of Two Parallel Runways. KLAX has 4 ...long , almost parallel , Runways...marked 6 - 24 L/R and 7-25L/R
I knt in the 777-200ER is 1.1515 Miles per Hour
Now upgrading and Expanding please revisit ;)
[Go now to Captain Vaeron's main site at googlepages http://www.vaero.za.net]


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6 Item(s)
Barrie 11/328/2019 11/25/2019
Great recipe, moist, great flavor, and not too sweet. I did make a frosting and put it on top.
Victoria 12/346/2018 12/13/2018
I used raspberry pie filling rather than pumpkin. Stuck with ground walnuts. Instead of pumpkin pie spice, used a combination of Cinnamon, Mace, and Nutmeg. Had to use slightly more mix, since we are in the mountains.
Linda 05/131/2018 05/12/2018
Everybody loves this! Gluten free or not!
Laura 11/330/2018 11/27/2018
UPDATE: I made this substituting the sugar for xylitol and it was still great. (I still think chocolate chips would be good). Just started weight watchers and that substitute reduced the "points" from 15 to 10. I am going to try replacing the butter next with applesauce, which will reduce the "points" down to 6. I will keep you posted.
Laura 11/319/2018 11/16/2018
I agree with Kevin's comments. It is GREAT, though a few chocolate chips wouldn't go amiss. My husband is GF but I am not and we both love it.
Kevin 05/146/2018 05/27/2018
This pumpkin coffee cake is absolutely amazing! I've made it 3 times in the last couple weeks. Everyone at church enjoys it whether they need to eat gluten free or not; they can't tell the difference. I wouldn't change a thing with the recipe.
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I Am an Actor with Notes
I'VE COME TO THINK of my composition process on a film as being similar to an actor's in some ways. Let me explain by talking a bit about my process for "The Performance", the film I am scoring starring Nicholas Campbell and Nick Mancuso.
I first analysed the story by using the script (normally I'd use the rough cut, but didn't have it at the time.)
I had a preliminary talk with the director about his goals, his ideas, his thoughts, his view of the story and the characters. Jotting down key words in my notebook (pictured here) and asking questions along the way.
My first goal was to decide where there would be music and where there wouldn't. Because this bit of information is obviously the first step in identifying what role music could take.
Read the whole blog post over on my personal site at www.alainmayrand.com
First Steps – form and function
What are the functions of a film score?
In my opinion, it is the first thing you should identify in the scoring process.
I am starting work on a new feature film called "The Performance", and my initial steps are to spot the film, see when and where there will be music, to unearth the form of the score and to define its function.
Why not just start writing, see what comes up? Would that not be faster?
My answer to that is simple: you need a target in order to aim.
And furthermore: how do you know if you hit the target without having one in the first place? You'll know when I hear it? No! Just throwing notes around to see what works is haphazard and random, and how can you achieve anything of quality if everything is by chance and not by design?
Well, maybe it's just me…but this works very well for me.
So, what is the function of a film score? There can be multiple functions of course. Here are a few.
CHARACTER INFORMATION & DEVELOPMENT: developing a part of the character and his/her development that either supports the acting or shows things that are not present.
SUBTEXT: showing a part of the story that is not on the surface.
FORESHADOWING: (see this Getting the Score post from a while ago, it's a good one.)
MUSICAL SIGNALS/SIGN-POSTS: story points that benefit from musical emphasis, and perhaps motivic one too that return and have an arc. (I'll post on that soon.)
MOOD & TONE: this helps the audience understanding the story, what it's about, what the mood and tone of the story is…
ENERGY & MOVEMENT: action music of course, but this can also be during a visually static scene where there is an underlying tension that is not visible and that the characters are not privy too.
And there is more for sure. If you have any ideas leave them in the comment section!
For "The Performance", which is a character-driven and dialogue-heavy drama, I am looking at what the music could enhance story-wise and how I could build an arc with it. Perhaps this is not possible, but having a structured score that uses symmetry, repetition, development is what I am looking to do. (This is something I was able to achieve with "No Letting Go", which ended up with only two themes for the whole film.)
So there you have it, my first steps for this score. Please comment below and share!
POV in Film Scoring – and a mother's scream in "No Letting Go"
POV stands for "point of view", and is used to indicate that the audience is seeing something from a specific angle or through a particular character's eyes.
Considering POV makes a HUGE difference in the decision making process when scoring any given scene. As I mature as a film composer I think about POV more and more and it really informs my choices.
Here is an example from the film I just completed called "No letting Go".
There is a scene where the young boy named Tim is being taken away to get help as his mother and father look on. Without divulging too much about the film, let's just say it is a very sad and emotional scene.
There are three characters in this scene: Tim, his father and his mother.
It is not a loud scene, although there is some screaming at the start, and at one point the sound drops out entirely and it is only music and visuals.
On the surface, the most obvious choice would have been to score the sadness of the scene, and perhaps to score it gently in order to avoid making it trite or overly dramatic. I considered that briefly but I don't think I even wrote a note of music music in that direction. It didn't work. And the reason? You guessed it… POV.
Thinking it through I realized the scene was from the mother's POV. Every shot and angle the director chose supported this. And thinking about the events from her perspective I realized she would not be feeling a quiet sadness, but rather a guttural pain, an overwhelming sadness, a silent scream…or perhaps not so silent as the scene does indeed end with her crying and screaming off-screen.
So, having made the decision to represent the mother's POV in the music, the composition/decision process just flowed, and I used the strings fairly high at times, building up to aggressive triple and quadruple stops leading into loud, sustained double stops for a full, rich sound that represented that crying out of the mother. This is not meant to sound like an actual scream of course, but more musically stylized. (Listen at 1'06")
So in the end, something that might have seemed over the top in another context was exactly right for this scene because of the POV, and it became a very powerful statement.
Here is part of the resulting cue.
Alain is a film composer, orchestrator and amateur cook. He is also the author of ScoreClub.net, where he just released the first module of his composer training course. He is available for one-on-one composition/orchestration lessons over Skype. You can find more information on his site here.
No Letting Go – Pacing the Score
No Letting Go Work Diary Entry
As I am working on a cue this morning I am thinking about a few things as I make compositional decisions.
Writing a scene you should always keep in mind where you are in the film, in the arc of the story and the character's development. How you play scenes early in the film will be different than when it's the film's denouement, for example.
This particular scene I am scoring is an important moment for the main character and the story. Things are getting under-way to resolve the film's central problem.
However, it's early in the film and, as in all stories; things will get worse before they get better. So I need to consider that in the tone of my cue.
I therefore aim to balance those two aspects:
- Things are getting under way towards eventual resolution
- It's not the resolution yet!
So understanding how this scene fits in the pacing of the film I make certain decisions before I get a single note down.
- The music shouldn't get big, but still give a sense that something has gotten underway for solving the films central problem
- It's a gentle, positive scene, and the music should be as well to some degree, while staying hesitant since it's early in the film.
- At the end of it the main character is still unchanged it appears, so the tone gets darker at the end, or at least more quiet and unresolved.
The writing here has more movement than other scenes I have done so far, a bit of lightness and warmth with some degree of hesitation.
So I have chosen certain modes like Lydian and Dorian, I avoid big chord changes, orchestrated with the palette of the score: strings, harp and piano with the addition of the clarinet in the chalumeau register which I haven't used up to this point.
Back to work!
The Need for Sleep
Any leader"s goal should be to get the best out of his team, for each of them to perform to the best of their abilities to achieve the highest quality and most profitable end result.
Composition requires a high amount of cognitive clarity, we can agree on that. So check out this quote.
"Research by the US military has shown that losing just one hour of sleep per night for a week will cause a level of cognitive degradation equivalent to a .10 blood alcohol level. Worse: most people who've fallen into this state typically have no idea of just how impaired they are. It's only when you look at the dramatically lower quality of their output that it shows up. " Link
It's common for composers to be given such schedules that they end up with very little sleep for extended periods. So how much better quality creative material could we deliver with more generous music production schedules?
I personally want to give 100% to the project I am on for two simple reasons:
1) it's best for the film and for my relationship with the film makers
2) it represents me better for future work and for those who listen
So scheduling sleep is part of the equation, simple as that.
Keeping Track
Yesterday was the recording session for "Primary". Today, as I review the cues, I am reminded of something I did for the first time on this film; keeping track of themes using the cue sheet.
I am sure others have done this before, but it was the first time for me and it made me wonder why I had never thought of it.
It came out of necessity: I had three weeks to write about 45 minutes of score, with mockups, approved, orchestrated and parts ready for recording 10 musicians on the 25th. Since it is low budget and I'm on my own, that's a lot of work and the writing had to go very fast with a high amount of clarity and control in order to get the best results possible.
One of the problems when writing is keeping track of the form. Even on a single piece of music (as opposed to multiple cues on a film) it's easy to get so familiar with your material that you forget that your main tune has only been heard twice for example even though you have heard hundreds of times already. Soon you start diverging from it, complicating things until it becomes an randon-sounding, unmemorable mess.
On the other hand, because I was going so fast, I was cautious of over-using the melodic materials.
So in order to avoid either scenario, I kept track of my melodic ideas/sections on my working cue sheet using the typical letters of form: A, B, C, etc… which I combined with colour coding.
This was so SIMPLE and yet SO effective. It gave me this bird's eye view of the score and an instant perspective that made sure I always knew where I was.
Here's what it looked like…
1M3 | A (suspense var.)
1M7 | B – Andrea motive only, not whole tune
1M9 | C (epic tune mf)
1M11 | B – w/pno. ostinato
(these are just two columns of the spreadsheet cue list. I also colour coded the themes on the spreadsheet. Other columns included in, out, timecode position, notes, check-boxes for a variety of production stages.)
And so on…
Such a simple thing, but very effective and a big help.
Being Organized
Being a film composer requires some technical know-how that's for sure, and don't wait to learn this on the job with huge deadlines. Make sure you learn ahead of time.
I have just completed composition work on a local feature and this is what I am doing now as I prepare for the recording sessions and mix.
- Preparing the MIDI and audio tracks for the recording engineer. I am doing a once over of the MIDI tracks to make sure I have the performance I want from each of them.
- Cleaning up the MIDI to import into Finale. You need to know what will translate well and most clearly into the notation software, and that means seeing the sequencer's piano roll as notation and not caring about the actual music result.
- Have a solid system to keep track of your progress. My spreadsheet has colums for demo/approved/cleaned/mixer/score/parts/delivered and I add and removed columns as needed. I also use colour coding to keep track of everything, very easy to do and see at a glance. Much better than crosses and noughts, for examples.
- Preparing scores and parts in Finale.
Right now I am hugely pressed for time and just thought I would take two minutes to post this. If you are not fast at any of these steps and don't have a system in place to keep track of your work, don't wait.
Now back to work.
Random Scoring Thoughts – dialogue
Here are some random thoughts as I score my current feature.
I just scored an important dialogue scene that takes place over the phone at the start of the film where the inciting event takes place. Here are some things I was conscious of while writing.
- Know the mood. In this case; questioning, unsure, dark, moody.
- Pace the film, this was the start of the film so I made sure the music was appropriate for this point of the story.
- Important story beats and structure of the scene, music is a big help for that. For this scene it was about building to the inciting event/ that moment of decision that gets the story under-way, and making sure the music is part of it.
- Using thematic/motivic elements that will come back later as this story element develops. This requires planning so don't jump the gun and start writing too soon, get your material first.
- Don't over-plan either, at some point you need to just go and start writing.
- Don't be afraid of re-writing. Leave time for this if you can, because it can lead to great things by giving you perspective. Scripts aren't done in first drafts.
- Plan your tempo carefully. I adjusted the tempo at the end of this cue at least half a dozen times until it was spot on.
- Good dialogue writing can blend in the background, that's perfectly fine. When the music fits so well that it 'disappears' then you did great.
- Good dialogue music doesn't need to be invisible either. You can play melody as people talk and it's fine. It's more than fine actually, it's great. It depends on what is happening with the characters and the part of the story you are in. It's all relative.
My worskspace
This is my workspace.
Although I use plenty of music technology, my writing room is set-up to have lots of space for good old-fashioned paper.
It is as rich, bright and energetic as possible with my one small window. I used to like it darker but tastes change. I am no longer a fan of dark, gloomy studios for writing music.
Now I think the next iteration of my writing space will have lots of windows if possible, as long as there is nothing outside to take my mind away from my writing. Trees, I'd like if it was only trees on the other side of my windows…
I usually sketch on the big board in the back to various degrees of completion then bring it over to the smaller board where I do mockups and fix-ups and whatnots.
What I'd like to add next is a writing board on the desk that I can write more easily on. That would make writing the inevitable changes as I do my mockups more convenient. Right now I use the side of the desk. That works fine, but not as elegant.
This is not as barebones as John Williams' workspace but certainly less techno-heavy than Hans Zimmer's studio.
Action / Reaction – How to Hit Action in a Natural Way
In visual arts, music and film, we relate most everything to our own own human experience. Things make sense to us when it relates to what we know, and that's our own minds and bodies. This makes sense right?
So when scoring you should often ask yourself "how would the audience react?"
Because as much as film scoring can add layers of subtext to the storytelling, as much as film makers are fond of saying "I don't want the score to tell the audience what to feel!", the fact is that a score will frequently heighten what is already on screen.
That's why great composers like Jerry Goldsmith would first view the film as an audience member, to see how they reacted emotionally first.
Following what is on screen well is not easy or simple, and it is not cheap, not if it is well done. And like all other arts, beauty is in the details.
So here's a detail for us to look at: how to hit a certain jarring piece of action.
The scene is from "The Adventures of Tintin": Sakharine draws his sword abruptly and points it at Tintin's face. The context for the scene is this: a threatening exposition scene with no physical action. (Always consider the context!)
So… how do you hit this particular action in the particular context?
- Don't hit it at all?
- Do some Mickey mousing by having a small flourish that ends as the tip of the blade stops?
- A small hit as the blades comes to a stop, no flourish?
How did John Williams approach this scoring detail? Here's the clip.
The musical hit is as a reaction.
Consider this: If you get a blade drawn in front of your face at that speed, first you would have a reflex action and then a realization of the threat! This is what the music does here. Watch it again.
The music follows the natural way we react and, in this case, is not a "sound effect" as true Mickey Mousing would be, but rather follows the reaction the protagonist and the audience would have. The result is music that seems completely natural and organic to the picture.
Following the movement of the blade with the music (Mickey Mousing) would have had what effect on the scene? Would it have been a poorer or better choice and why? Leave your comments below!
Themes are not just for characters
I am currently scoring a feature film called "Comforting Skin". Right now I am in the planning stages, setting goals for the score and there is an approach I plan on taking I'd like to discuss here.
This is a dramatic piece with horror, suspense and some supernatural elements. Because of the genre, this is not going to be a big thematic score.
However, there will be motives and themes, and after reviewing the story and film and discussing it in detail with the director, part of my current plan is to have a theme or motive for "dread".
Dread, this feeling of impending doom, is a main thematic element in the film, it is the drive of the story. (I am being simplistic in order to not give anything in the story away, but you get the idea.)
As the story advances, my plan is to have this motive, or theme, develop in length and strength. I will only hint at it at the start and it will gradually overtake everything.
It will be present when appropriate as other melodies or textures are played and will not be associated to any specific character.
The bottom line is this; a motive or theme doesn't have to be associated to a character, place or event, but can be something that drives the tone, mood or a concept in the film.
Making Good Movies, Pixar Style
Pixar is doing something right, we all know that. I mean, 9 movies in a row that are big financial hits?
So what are they doing? Lee Unkrich, director of Toy Story 3 put it best right here.
"It's important that nobody gets mad at you for screwing up," says Lee Unkrich, director of Toy Story 3. "We know screwups are an essential part of making something good. That's why our goal is to screw up as fast as possible."
Creativity, or the act of coming up with something new and good, requires that you play around with ideas without the fear of making mistakes.
So how does that translate to the whole purpose of this blog: getting the score?
- Allowing for mistakes means giving more time for the score. Leaving only a couple of weeks for 2 hours of music means that the composer will always play it safe. Giving more time gives the freedom to experiment and explore and the start of the writing process.
- Give freedom to explore. Locking a composer within the confines of a temp track will not lead to new, creative avenues.
I can't think of anything else right now and I have work to do, but I thought this was a great, great article with a very great message about creativity.
Movies are expensive and people get tense, and the more tense you are the less creative you get because you worry about it being good.
Pixar understands that, they allow their people to be creative and that means making mistakes. It is part of their process and the result? $500 million average gross per movie.
AND happy employees!
Silk Boy Post Mortem #2
One thing that became clear while working on Silkboy was that melody and the function of a scene are intertwined.
Some scenes are more important than others in a movie: some scenes are big, important, flashy scenes, while others are transitory, functional scenes that take you from point A to point B so that the story makes sense.
Both of course are important and part of storytelling, and very often the skill of actors and directors shine the brightest in making those functional scenes become interesting and alive and not simply functional.
Since Silkboy was animated, that meant wall to wall music, and I had to navigate these transitional scenes musically. For advice I turned to the master of themes, John Williams, especially the Harry Potter and Indiana Jones films, both of which had a similar musical approach to the score I was writing.
The bottom line is this:
Giving a big thematic moment to a transitional scene goes against the grain. It is better to write transitional music instead, e.g.: a bridge in a song, or an episode in a fugue or invention.
The transition scene can use secondary musical material, development of main material or simply a sequence (a musical one) or something that leads to the next scene. It is a case where musical structure again supports film structure!
Guest Post
Hey there, I got offered to write a guest post at the popular film composer website Score Cast.
I wrote a post about finding form during spotting.
Roller Coaster Scoring
How often can you change moods and how quickly?
That was the question that I posed myself as I worked on this film, and so I looked at the master John Williams for advice, especially his cartoony Indiana Jones scores, including my favourite of the four Indy scores: The Temple of Doom.
The answer is: pretty damn quick.
There are some scenes, like that one in the airplane when the pilots and leave them to crash, or when they are leaving the Indian village to start their journey to Pankot Palace, where the music there is fragmented, changing from theme to theme very quickly, only presenting a bit of one theme then a bit of the other.
I have also realized that this type of fragmented, stop-and-go music happens in scenes that are preparation for action.
And so yesterday I scored a scene that presented many things quickly; running, despair, sadness, reunion, meeting and comedy, all in the span of like 40 seconds or so.
It was a transitory scene that is leading to the longer sections of the ending.
At first I admit I tried to play through the scene and it didn't work. But when I watched the completed cue with the image, I knew it didn't work, but I also knew why and how to fix it.
So I followed every part of the scene; started quick and breathless and a bit funny, sad and h0llow winds, then romantic strings have a quick swell (presenting two themes in counterpoint) and then a quick descent into humour before stopping right before the punch line.
This might sound schizophrenic, but here's the paradox;
- the first cue which was more melodic and musically coherent totally stuck out
- But this more active, "roller coaster" cue with all its ups and downs actually blends seamlessly with the scene since it follows it so well, disappearing in the story even if mixed in loud.
How cool is that!


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It drives them wild because this stuff costs so little and really works claims the guy in the white shirt to his amazed customer.
It Drives Them Wild
Published by mtltechwriter
Photos, videos, and graphics allow me my creativity. Advances in new electronic digital technology provide the possibilities for it, giving my background and engineering abilities to explain it all in this blog. View all posts by mtltechwriter


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Work has started on a bridge a linking Kirkuk to Mosul at a total cost of 6 billion Iraqi dinars [$5m], as part the Provincial Development Budget (PDB) for the year 2010, a local official in Kirkuk told Aswat al-Iraq news agency.
"The Sadr al-al-Nahr bridge will link Mosul to Kirkuk in the district of al-Huweija, 65 km southwest of Kirkuk and would be the longest in the province," said senior engineer Qassem Hamza al-Bayyati, the director of the Kirkuk Roads & Bridges Department.
"The bridge is 450 meters long and 12 meters wide," he added.
(Source: Aswat al-Iraq)


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Monday, October 24, 2016
Hello Fall :)
20 comments:
What an awesome idea! This looks great!ReplyDelete
Looking fantastic! Love that you celebrate the change of seasons like this....& that is one GREAT gift to receive, too:):)ReplyDelete
This looks great! I love the autumny colors of the leaves.. A very clever lady to make a wooden pumpkin like that!ReplyDelete
Fun, I so much prefer that to a jack-o-lantern look.ReplyDelete
It's gorgeous Julie!ReplyDelete
Great autumny look!ReplyDelete
How fun!!!!ReplyDelete
Such a fun fall piece of decor! :)ReplyDelete
SO pretty!!!ReplyDelete
Oh wow. It's really pretty my friend! LOVE!:)ReplyDelete
Hi Julie! What a great gift to receive from a friend! And I absolutely LOVE what you did with it. You are so creative!!!! Have a great day! Hugs, SharonReplyDelete
You always make fun things!ReplyDelete
Omgosh, you are one lucky girl! I would love to receive an awesome palette pumpkin like that! So super adorable to begin with, and then your fun details really put it over the top into the cutest fall decor piece ever!!ReplyDelete
SO cool!! Love what you did to it and now it's a combined project... love that!! So awesome and pretty!ReplyDelete
What a great decoration...love your fabulous pumpkin!ReplyDelete
Great embellishments.ReplyDelete
Perfection! You're ready for fall now, love ;)!ReplyDelete
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Becker College Outstanding Sophomore Award recipient announced
Becker College was presented the Outstanding Sophomore Award at a virtual Academic Awards ceremony. This award is given to the sophomore who has shown commitment to the Becker College Community both inside and outside the classroom. This award recipient is well-rounded and recognized as a leader by fellow classmates.
Founded in 1784, Becker College is an undergraduate and graduate, career-focused private college, providing a supportive and inclusive learning community that prepares graduates for their first to last careers. Nearly 1,700 students from the United States and around the world attend Becker College, which has campuses both in Worcester and Leicester, Massachusetts. With nationally recognized programs in nursing, game design and animal studies, Becker has been consistently ranked as a "Best College" for undergraduate education by The Princeton Review.To view these students click here: https://becker.meritpages.com/achievements/Becker-College-Outstanding-Sophomore-Award-recipient-announced/123413


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After 8ish years I recently reached 'peak gel' at the OHV 3 + 3 event. I literally couldn't put another gel in my mouth. I have no idea what brought it on – the heat, the general phasing of sweet foods out of my diet, who knows? Although I had used Shotz gels successfully through many events a lot of my clients were using Infinit. I've always been reluctant to go down the carb-solution road as it has been proved to be devastating the oral health of athletes, and I'm still currently cavity-free. It also didn't seem to present the same opportunities to adjust energy and rehydration needs to suit the conditions (eg. The ability to take on sufficient energy when fluid requirements were low). Energy requirements during races of equal duration and intensity don't vary much while fluid requirements can change wildly depending on temperature and humidity.
I defied all the advice I give to my clients and used the Singletrack 6 stage race in Canada to test out the new strategy. After competing and placing 3rd in this race 2 years ago I noticed that my fluid intake was a fraction of what I would have in Australia. Two and a half hour stages were completed on less than a 600mL bidon, which would have left me quite desiccated if attempting that in Australia. We were racing early in the morning where temperatures were struggling in the low 'teens and it lacked the humidity of Queensland which meant that sweating was more efficient in cooling the body. I wasn't thirsty indicating that this was an appropriate amount of liquid for my needs.
Considering this I placed all of my Infinit in a single water bottle and filled it with about 400mL of water. If I planned to race for 3 hours I put a little over 3 hours of Infinit in the bottle calculated on 60 grams of carbohydrate per hour, which is sufficient for endurance racing while not causing stomach upset. I then put plain water in a camelback which I would rely on for hydration and use to rinse my mouth after carb intake to save my tooth enamel.
I found several advantages in this system:
1. There was no awkward reaching into my pocket for a gel or flask, something that would have been quite difficult on the singletrack-heavy course. A couple of sips of my Infinit bottle and that was my energy needs sorted for the next 30 to 60 minutes. Also there are no gel packets to fall out of my pocket and litter the pristine course.
2. My fluid was easy to reach when required and I could drink on the downhills by shoving my camelback tube in my mouth. The plain water washed away any lingering sweetness so I wasn't 'sugar-fatigued' at the end of each stage
Jason from Infinit did a custom blend so dialled the flavour right back and doubled up on the electrolytes as I'm a salty-sweater. Having the electrolyte separated from the fluid worried me, but ingesting too much sodium should have made me want to drink more, not less. As it was I found very little need for the additional water and lugged a camelback around for no point on many of the stages. But it was always there if I needed it so worth taking. Of course it would be ideal for bike manufacturers to start fitting small frames with a second bottle cage but I don't see that happening soon.
Not having the thick gel consistency to deal with meant I was never reluctant for my next scheduled carb hit. It was just like drinking normally and not overpoweringly sweet. I also found that I was able to ingest MORE than the normal 60g per hour without any stomach upset which meant I felt stronger towards the end of the stages, particularly the longer stages. I think this definitely gave me the edge when I took the podium on the last and longest stage of the event.
I am quite impressed with the system so far and look forward to trialling it in the hotter conditions in Queensland for a more traditional marathon-style event. This is when I most struggle with nutrition in the back half of the race. Jason has also provided a mix specifically for ultra-endurance XPD events that I will be using in the upcoming XPD China race in Altay. I might test it out a bit more before then though as it would be a painful lesson to learn in a 72 hour event.
Getting your nutrition right is an essential part of a successful race. There are several ways (gels, liquids, solids) to get to the same place so it's worth experimenting to see which works for you.


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Tuesday's Torch
By: Tim Sader
They cried to the Lord in their trouble, he saved them from their distress. (Psalm 107:19)
Going to MDA Camp each year was the week I most looked forward to growing up. Being there with Bobby and others like me helped me realize that others knew my struggle. One of those struggles showed up when I was about fifteen; I began to develop a curvature in my spine from sitting and favoring my right side. The scoliosis seemed insignificant at twelve degrees but next appointment it was twenty-five. By my third set of x-rays I had a fifty-five degree curve and they want to do surgery if it's above thirty. My parents left the decision up to me so I gave it some thought and decided that being healthy was far more important than my temporary comfort. We scheduled the surgery for some time in March and I would be out of school the rest of the year. I couldn't believe how many pre-op appointments I had to go to and all of them were in Charlotte an hour away. On four different days I had to see the orthopedic surgeon, a pulmonologist, cardiologist and an anesthesiologist to be Okayed for surgery. On surgery day I had to be there at 5:30 in the morning for preparations. The surgery took five and a half hours and I needed three pints of blood that my dad gave for me. My parents had to go home to get my brother after school so they let them see me when I woke in the recovery room. Mom said I looked swelled and kind of green when she saw me; it made her cry all the way home. When they came back later that evening mom was relieved to see me sitting up in a chair eating and watching TV. The pain at times was intense, it felt like someone took my body and replaced it with one that couldn't move well. Going home was scary I had to learn to do things differently than I did before and somethings I never did again. My parents along with the help of our church, my aide and best friend Joseph took me on the journey down the long road of recovery.
Recovering at home after major surgery isn't easy for anyone yet alone having a physical disability in the midst of it. We had to call out to the Lord in our time of troubles and He saved us in our distress. There were many unknowns coming home from the hospital. How was I going to bathe, use the toilet, get lifted without holding around my back and at first I wasn't even able to control my wheelchair. The Lord helped us think of ways to do all of these things so we were able to manage. What He spoke to us in our time of need truly was a life saver (Ps. 107:20). The surgery itself was a help to my overall health, though a man was used to do it I know God is the healer and ultimately He spared my life (Ps. 30:2-3). Many times while getting better I felt sad and heartbroken but God used the love and humor of others to bind those wounds (Ps. 147:3). One night mom and my friend Joseph helped get me in bed and they laughed so hard when I said everything was ok but my pinky wasn't right. Another night I took my pain medicine with a big clump of jello that I swallowed but the pill didn't go down. I spit it out and it shot across the room like a bullet; Joseph rolled in the floor laughing for about an hour. In His home town Jesus could do no miracles there except lay His hands on a couple sick people to heal them (Mk. 6:5). I know Jesus did this instantly but not without first placing hands on them. When we help someone get well we are touching them and helping them heal. One sign of a true believer is that we would put our hands on sick people and they would get well (Mk. 16:17-18). It is my thought that sometimes putting our hands on the sick might involve more than a simple touch; we might have to help with a need that will assist them in the process. The help I had at this time literally contributed to making me strong. Their assistance gave my feet a level path so that I could be healed (Heb. 12:12-13). Back surgery was hard and I could have never done it without the support of family and friends.
Remember that recovery takes time and it is different for everyone. The amount of time it takes to get well is unimportant as long as we do what it takes to get there. Healing from our wounds is not always physical. Wounds come in many forms; they can be mental, emotional and even spiritual. Sometimes physical wounds need to heal in another form and the other forms can heal in different ways to. The medical community has learned many great things concerning our health and anatomy but the Spirit of God inside of us knows all things and He will guide us on our path of health and wellness.
Lord I ask that you would help me look for the proper means of my personal health and wellness. Surround me with the right medical team that I can trust to help me make choices that are most necessary. Help those people in my support system to provide me with an environment that is conducive for getting well and remaining that way. When I am wounded Lord give me the courage and humility to ask for and accept help from my loved ones. Mostly Lord help us to remember that when we are sick that you are most able to touch us and make us well. In Jesus name, Amen.
Tuesdays Torch has been viewed in countries all across the globe through our website and social media. We pray the words of every Torch will sink into the hearts and minds of readers. Please share Tuesdays Torch and encourage others with it. To partner with Tuesdays Torch and help expand our reach please contact us. We pray the Lord will touch our readers. All of what Christ did was so we would believe. He told us not to believe because of what He said but in what He did (John 14:11). Every Tuesday we talk about what He did and is still doing. The best thing God's done is send His Son so we could be saved (John 3:16). If anyone is not a believer we pray they will invite the Lord into their lives by asking Him to forgive their sins and believing that He is the Son of God. Please share testimonies, feedback or encouraging words by email at: firstname.lastname@example.com we enjoy hearing from you. Look out for next Tuesdays Torch on our website http://www.tuesdaystorch.com , by email, on Facebook as Tuesdays Torch or Twitter @tuesdaystorch Thanks and God Bless!
No one lights a lamp and hides it in a clay jar or puts it under a bed. Instead, they put it on a stand, so that those who come in can see the light. Luke 8:16


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What Happened To Play?
What happened to play?
Did you make mud pies when you were a child? Perhaps you spent time in a playground or a sandbox. Did you build castles in the sand? What happened to the joyful spirit of play in your life?
Enter Insecurity
I was raised in a conservative environment so work and conditioning started at a young age. I am not good about being indoctrinated so I noticed when anyone tried. To this day, I notice. I like to work but I do not like fear being used to try to get me to work or to work more. Unfortunately, creating of a toxic environment of fear and insecurity has an effect whether you like it or not. It causes sadness, pain and loneliness. And insecurity.
I experienced all of those things. The fear world causes us to pull back and stop fully engaging with life out of normal self-protection. When that happens a part of us dies a little bit at a time.
Who Gets Hurt?
Children are known to be sensitive to the hurt in others. Many comfort those around them who are in pain. They are not, however, sophisticated in understanding the source of that pain.
How many of us are taught that if we are not obedient and quiet, we are a source of pain to others? How many of us are taught that when we are joyful we are hurting others? How many of us are taught that happiness is something we earn? How many of us are taught that curiosity is bad? How many of us are taught that our creative, fully alive spirit is too much?
How many of us are taught that the more alive we are, the more of a burden we are?
No Room For Play
Trial and error are how we learn; it is how we become strong. So when we slowly close the door on play, we disempower ourselves and others. Playing is the basis of trial and error and give and take. Play helps us to be open to possibility and to the good wherever we find it.
Playing with others helps us learn to trust them even if they are very different from us.
Play: The Path To Empowerment
Play lets us be more process-oriented so that we are less focused on outcomes and more focused on our engagement in the trial and error process of creating. Play lets us work through a problem, so we learn how to do it. When we engage in play we learn when to move forward and when not to. We learn to act, reflect on our actions and make adjustments. We learn what works and what doesn't and we acquire our own skills and knowledge independent of anyone else.
Children used to go outside to play all the time. It was important to do so because it gave you direct access to your experience and eventually helped you develop skill and wisdom. You did not require the validation of anyone else. Directness develops power. That appears to have changed and now young people have structured activities that are usually supervised and controlled.
Are they are better off?
Coming Into Our Own
We all need to find and take our place in the world. To do so we need to find our strengths and that occurs through play. Play enables us to take calculated risks and teaches us how to handle our successes and failures. Play makes failure a normal part of life. How many of us have a healthy attitude toward failure? In the interest of safety and security we may have given up our resilience and spirits and I am not sure that we have made the right bargain.
Play helps us become who we were meant to become. It helps is come into our own.
Which is why it is so important.
7 Comments
Will this app be available for Android? Thanks!
Thanks for asking. The app was created through DWNLD and they currently offer apps on Iphone, Ipad and Ipods. The Android app will be available soon.


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The Vegas Golden Knights will put together their team on Wednesday in the NHL's Expansion Draft, and they're asking for help from fans as they assemble their roster.
On Sunday morning, the full list of available players was released by the NHL, and several notable members of the Chicago Blackhawks were on it.
Names like Marcus Kruger and Trevor van Riemsdyk will be available to the Golden Knights, who will get to choose one player from each of the 30 NHL teams to assemble their first roster.
During the process, the Golden Knights' social media team is asking fans for their input, and they are asking for help in choosing which Blackhawks player will suit up in Sin City next season:
Reports have been swirling that the Blackhawks already have a deal in place to ensure that the Golden Knights take Kruger in the draft, but the official announcement will not be made until after the draft on Wednesday.


text: Mirasol display? Sure, the technology provides something of a comprise between traditional E Ink displays and tablet LCDs, with full video and color, low power consumption, and the ability to be viewed in bright sunlight, but it still has some decided drawbacks: like a lack of backlighting. Qualcomm showed off a simple and elegant solution at this week's CES on the Hill, essentially embedding a book light into the device, lighting it from the front -- it's not the first time we've seen an e-reader arrive at this answer, but still, sometimes the easiest solutions are the best. The prototype shown off in DC this week had buttons on the rear for adjusting brightness, though according to The Digital Reader, Qualcomm will also be showing off a device with an ambient light sensor in the near future. The technology should be on store shelves this fall -- no word whether the device is capable of yelling at you for "ruining your eyes" by reading in the dark.


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Basement Waterproofing: What You Should Learn About It
A lot of homeowners actually have some issues and some ordeal gone through because of basement waterproofing. The problem generally becomes worse if ever the solutions made to the problem are not enough or are not effective. If ever you have your basement properly waterproofed, it can be an avenue for you to do many things that you cannot possibly do in other areas of your home.
You will basically need to have the basement waterproofing done only after every single need for the foundation of the basement has been finished. Sometimes, the best and most ideal time to make use of the basement is already when it has undergone basement waterproofing so that there can be more benefits enjoyed. The reason why the foundation stage of a basement is the best time to do waterproofing is because there will be no other distractions that should be considered, making the whole process easier to complete and get done with. If ever your house is an old one, you will need to have your basement checked right before you let it undergo a lot of processes for the waterproofing. The wisest thing to do, just like in any other circumstances, would be to ask for help and guidance from a professional basement waterproofing service provider so that you don't have to deal with damages in the future.
You can actually choose from two different kinds of waterproofing. The two kinds that we are talking about here is the internal or the interior type and the external type. For external waterproofing, a very common and usually used method is the tanking. This kind of method consists of having to apply this certain bonding substance to the outer part of the walls of the basement itself. You must be able to perform this method right before you vacate into your homes, or when you still have those homes constructed, especially if you have your basement put under the ground or below the surface. Another kind of external waterproofing method would be the use of the drainage system found outside of the home. Through this method, you will have the floors of the basement be sloped towards the house's sump pump. For you to be able to get rid of moisture of any sort, you will need to apply some plastic honeycomb membrane on the walls and on the floor of the basement itself. You can also make use of the french drain, which many people know of as another way to externally waterproof the whole basement.


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Plot twist:
Upon freeing windows,
when one can finally stomach that light.
Summer unhides such and such glories,
Of Monarch butterflies with a taste for blood,
Of the world fragranced as one remarkable ass-crack,
Of excellent ugliness finding audacity in the sun,
Of trembling rumps, smiling luvs, merciful nuns.
Paper kites finally kiss the bay,
Frowning infants, baked in Winter, stop traffic.
Sunny girls in Easter colors perform vulgar giggles,
Seafaring men pray up winds to upset skirts,
Children, rodents slice the composed boulevards,
Assassins, poets gander from shadow attic windows.
Pickpockets find joy in the crowd.
The neighbor finally masters wife-beating,
He is excellent. Kicks. Wails. Silence. Dinner is ready.
And alas, that Veronique from Nantucket,
Light of my life,
Sugar in my tea,
Daisy-fresh Veronique,
Veronique, starved of cruelty,
She rules these streets,
Vanishes into Ginkgo trees.
Floats out the ass of an ice-cream truck,
Kicks an empty Japanese boy in the jawbone,
Pinches the jowls of Old Man Benji.
Who knows what fires she will start?
Who knows what loins she must boil?
Who knows what rascal she swindles come Winter?
Who knows what poet in the window she will so upset to horrible writery?
Don't you feel like an orange in the sun, Veronique?
Nobody perishes in Summer, dearest Veronique.
Nobody dies correctly,
What a rotten time to compose,
The whole world, is at once joyful and harsh,
And there is a deadly Veronique in the gutters.
Nothing superior to pen,
Hank, they have learnt to live without us.
Image: Feeling Alone | https://www.pinterest.com/pupplach/feeling-alone/


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Coconut Ice is for the coconut lovers out there… Raspberry Coconut fudge topped with Vanilla Coconut fudge… you will love this fudge if you love coconut!
"I love the dessert coconut ice, but I love the coconut ice fudge even more! Same great flavour except it's so smooth and just so delightful! Definitely worth every bite!" Tammy Cardwell


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George Takei is blaming all the attention being given to the sexual assault allegations against him on Russian bots.
On Friday, former model Scott R. Brunton accused the "Star Trek" legend of sexually assaulting him in 1981.
Takei denied the allegations on Saturday, saying that he was "shocked and bewildered" by the claims.
The story has received tons of online attention, coming at the end of a week when more Hollywood celebrities, including Richard Dreyfuss,Louis C.K. and "Gossip Girl" star Ed Westwick, were accused of sexual misconduct, assault or rape.
But Takei apparently didn't consider that or his own massive fame as a reason why Brunton's allegations attracted so much attention.
Instead, on Monday, Takei suggested via two tweets that Russian bots were responsible for amplifying the story.
The reason? Takei thinks it's because he has criticized Vladimir Putin's anti-LGBT policies, according to Towleroad.com.
One tweet that showed a chart of Russian bot activity read:
"A friend sent me this. It is a chart of what Russian bots have been doing to amplify stories containing the allegations against me. It's clear they want to cow me into silence, but do not fear friends. I won't succumb to that."
The chart in the since-deleted tweet showed the name "Takei" had increased in popularity almost 20,000 percent while "George Takei" had jumped more than 15,000 percent.
The chart ― credited to SecuringDemocracy.org, which tracks "Russia-linked influence networks on Twitter" ― supposedly reflected bot and troll activity, not natural interest in a serious allegation against a well-known celebrity.
Takei explained the reason for this conspiracy theory in another tweet:
"By way of background, when I criticized Putin's anti-LGBT policies publicly, Russian bots attacked my FB page relentlessly, and we had to develop special security measures and ban all traffic from within the Russian Federation and the Ukraine. I am accustomed to their practices."
Both tweets have since been deleted, but one eagle-eyed man saved them for posterity.
Uproxx noted that "it's not unreasonable" to imagine that Russian bots might spread a negative story about a high-profile celebrity who's criticized both President Donald Trump and Putin.
However, it also rightfully pointed out that downplaying the allegations by playing the victim isn't a good look.
Twitter users didn't think so either.
Journalist Glenn Greenwald also commented on Takei's bot suspicions, saying that the man formerly known as Sulu is citing some suspect characters in an attempt to make his conspiracy theory plausible.
Takei did not immediately respond to a request for comment.


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Every once in a while, a major company will join a consortium or group dedicated to a technology standard in an effort to push that standard. Usually because it aligns with its goals.
Apple has now joined The Thread Group, a group of companies that support a mesh network standard called Thread, according to 9to5Mac. The goal of the Thread standard is to make it easier for all sorts of devices - from lighting to thermostats - to more easily work together.
Essential reading: How HomeKit can catch up to Alexa and Assistant
Lots of devices don't do a good enough job of talking to one another; you often need hubs or services that pull everything together. It works, but there are bad connections - plus, it tends to soak up a lot of power. Thread would allegedly improve the connections between devices, make it secure and use less energy.
One of the cornerstones of Thread is easy setup. This includes using a smartphone, tablet or computer to set up your device and install codes to make sure only authorized devices are set up on your smart home network, which - by the way - can apparently scale up to over 250 supported devices at a time. There's also "banking-class" cryptography to help protect all of this.
Google, Amazon and Nest are already part of The Thread Group. At the very least, Apple joining seems to signify a future where smart devices will work seamlessly between Alexa, Google Assistant, HomeKit and Works with Nest.
This also would shore up one of the weaknesses of Apple's smart home ecosystem. The company has made good strides in the past couple of years, but that's after falling behind Amazon and Google despite a hearty head start on both companies. Setting up HomeKit devices is more annoying than an Alexa or Google Assistant device, and there still aren't as many smart home devices compatible with HomeKit as the others.
If nothing else, Apple joining The Thread Group publicly shows that the Cupertino Company knows what's up in the smart home game, and that it needs to make more strides to catch up.


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Salmon is one favorite fish to cook and eat. It is readily available, can be cooked in so many ways, and is a tasty fish to enjoy. Many don't know that salmon skin is absolutely delicious when deep-fried with skin on. It is crispy and tasty, but cooking it without burning is rather an acquired skill. The skin, making direct contact with the pan or grill, is most likely to burn before the inside of the salmon is cooked.
The best way to ensure the fish is thoroughly cooked is to use the method of sous vide. It is a French method of cooking, where the food, in this case the salmon, is placed inside the food bag, along with its seasoning or herbs. It is then vacuum-sealed using a vacuum-sealer, which locks in the flavors of the seasonings and herbs. The vacuum-sealed food bag is then given a water bath in a sous vide water oven or using a sous vide immersion.
Source: https://www.pinterest.co.uk
It is important that the food bag is tightly sealed to lock in flavors, and to prevent water from entering the bag, thus ruining or diluting the flavors. As important as the sous vide equipment is the vacuum-sealing system you use. According to Abigail's foodsaver reviews, a countertop vacuum sealer can do the trick, and most models these days are automatic, making it so easy to use. After the pre-set cooking time is done, remove the salmon, and give it a quick searing on the grill or pan to make the skin crispy.
Another way to enjoy salmon is poaching it. It is a method of cooking where the food is submerged in water, or in this case, we are going to use extra virgin olive oil for added flavor and to make this meal totally healthy and good for the heart. Read More →


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What Is Annual Adjusted Net Cash Flow?
Knowing the annual adjusted net cash flow of a business helps determine its profitability. It also helps a buyer determine a good offer for the business. The adjusted annual net cash flow is a straightforward calculation that can be determined with a company's annual financial report and annual tax return.
Adjusted net cash flow or adjusted net income represents a business's earnings after expenses. In accounting terms, it shows the earnings before interest, depreciation and taxes, but it also includes additions or subtractions for such items as the owner's salary and discretionary, one-time and noncash expenses.
What It Tells You
The annual adjusted net cash flow illustrates the real bottom line of a business. It shows a potential buyer what the business can reasonably clear on an annual basis, and whether the business returns are positive, break-even or a loss. The annual adjusted net cash flow provides a starting point to determine potential profits under a new owner and a new management style.
To find the annual adjusted net cash flow, add to the annual net income the owner's salary; amortization; interest; one-time expenses, such as equipment or vehicles; depreciation; the owner's personal business expenses and retirement; and rent, if the property is part of the business. Other optional items you may add to the annual net income include the salaries of managers the new owner will replace, as well as salaries of the owner's family members who don't work at the business.
A computer business nets $127,000 annually. The owner draws an annual salary of $48,000, and there are no outstanding loans, so interest does not apply. There's $10,000 in amortization, a one-time cost of $15,000 for a delivery van, and $7,000 in annual expenses. The owner does not own the property from which he runs the business, so rent will still apply to the new owner. Added together -- $127,000 + $48,000 + $10,000 + $15,000 + $7,000 -- these numbers yield annual adjusted net cash flow of $207,000.
Photo Credits
- Hemera Technologies/AbleStock.com/Getty Images


text: So, if I understand correctly: 1) I can call GC_malloc either from a DLL, or from initialising a global variable in the program before main is invoked. 2) when main is invoked, I must call GC_INIT. Can you please confirm that the above are true? O/H Boehm, Hans έγραψε: >> -----Original Message----- >> From: Achilleas Margaritis [mailto:axilmar at otenet.gr] >> >> So do I have to call GC_INIT or not? >> > The short, safe answer is yes. There are platforms (currently cygwin and AIX, I believe) on which your code won't work without it. It is strongly recommended that you call it from the main program (not from a DLL) before you make any other GC calls. > > The longer answer is that on common platforms you should often be able to get away without it, and trying to insist that it always be called first on all platforms, as in 7.0, turned out to be problematic. In the CVS version, you can get away with calling GC_malloc first (and having it perform the initialization) instead of calling GC_INIT on nearly all platforms. But if you need maximal portability, you can't. > > That's not as simple an answer as I would like. But it seems to be as simple as we can make it. > > Hans > > >> If I do, do I have to call it from main, WinMain or it does >> not matter? >> >> O/H Boehm, Hans έγραψε: >> >>> The CVS version forces initialization on a GC_malloc call. >>> >> Version 7.0 does not. Even with the CVS version, some more >> esoteric calls might cause problems if they are made before >> initialization. >> >>> Hans >>> >>> >>>> -----Original Message----- >>>> From: gc-bounces-o/PNRNCSakrWxDs0y9d3MAC/G2K4zDHf at public.gmane.org >>>> >>>> >> [mailto:gc-bounces-o/PNRNCSakrWxDs0y9d3MAC/G2K4zDHf at public.gmane.org] >> >>>> On Behalf Of Achilleas Margaritis >>>> Sent: Monday, December 31, 2007 1:47 AM >>>> To: gc-o/PNRNCSakrWxDs0y9d3MAC/G2K4zDHf at public.gmane.org >>>> Subject: [Gc] Using the GC from a DLL >>>> >>>> How can I use the GC from inside a DLL? >>>> >>>> What if the DLL does allocations in its initialization >>>> >> code before I >> >>>> am given a chance to call GC_INIT? >>>> >>>> _______________________________________________ >>>> Gc mailing list >>>> Gc-V9/bV5choksm30D7ZfaTJw at public.gmane.org >>>> https://www.hpl.hp.com/hosted/linux/mail-archives/gc/ >>>> >>>> >> >> > > > > __________ NOD32 2760 (20080102) Information __________ > > This message was checked by NOD32 antivirus system. > https://www.eset.com > > > >


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L'Occitane en Provence Cherry Princess Eau de Toilette Review
I'm in love.
With a princess.
A Cherry Princess!
Princess Peach Toadstool's reign is over, I vote we replace her with L'Occitane Cherry Princess please.
Run, run like the wind to your nearest L'Occitane Boutique and sniff yourself some of the limited edition gorgeousness that is Cherry Princess. Now grab a cart and stockpile as much of it into your bag as you can.
It's gorgeous!
Please tell me someone has sniffed it so we can bask and roll around in the glory of it all.
Unlike, their original Cherry Blossom fragrance this is something entirely new and exciting. The scent is a floral fruity concoction that's youthful, bright, unique, and just happy. It makes you smile on first spritz!
The fragrance contains cherry extra but the base notes are all floral with the cherry in the background adding a very playful, sweetness that brightens up the scent. Lemon, grapefruit, and cherry give the fragrance its fruit notes while a blend of musk, precious wood, and a bouquet of spring floral notes add a touch of softness.
Cherry Princess is bright, cheery, and oh so very sweet. The linger and throw happens to be the best I've tried from L'Occitane for an EDT formula as they are typically easily absorbed into my skin with a very short wear time.
If you like your fragrances lighter and happy this one is for you. I can't get enough of it. My only disappointment? The lack of a makeup collection to go along with it.
A delightful must have fragrance for fans of sweet, cheerful blends.
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Chris Matthews drops his Hillary Clinton mask
…and much more…
by Jon Rappoport
November 4, 2016
(To read about Jon's mega-collection, The Matrix Revealed, click here.)
At the Hillary PR firm otherwise known as MSNBC, during a recent discussion of pay-for-play at the Clinton Foundation, Chris Matthews took off his Hillary mask, let his hair down, and said this:
Transcript: "Every time I have watched a politician engage in a certain pattern of behavior before they go to the White House, they continue to engage in that pattern afterwards. People don't change because we swear them into the White House. They become that person big-time. And the Clintons were raising money like this hand over hand back in — hand over fist back in 1996 using, we called it Motel 6. They were bringing people, hoard[ing] them in, pulling them in by train loads of contributors, and then letting them sit in the Lincoln Bedroom for a while, then charging them by the hour. This is what they did before. They is what they – you can still vote for Hillary Clinton, but, remember, you`re getting this as part of the package, because that's been their pattern."
Even with that indictment, Matthews is intimating that this is what you get in a Presidential election—a candidate with the policies you favor, but with the wrong personality. Deal with it.
Of course, Matthews' idea of the wrong personality doesn't include Hillary's central role in the destruction of Libya: turning that nation into a chaotic hell hole.
As thegatewaypundit.com writes about the now-famous "tick-tock" email (also here), exposed by Wikileaks:
"[In the email] Hillary's team provides Clinton credit for her many actions that led to Qadhafi's toppling in Libya including, but not limited to: suspending the operations of the Libyan embassy in Washington; evacuating US embassy personnel in Tripoli and closing the embassy there; obtaining sanctions against Qadhafi and his family; working to suspend Libya from the Human Rights Council; appointing Special Envoy Chris Stevens to be the U.S. representative to Benghazi; engaging with UAE, Qatar, and Jordan to seek their participation in coalition [military] operations; holding meetings with House Democrats and Senate Republicans to persuade them not to de-fund the Libya operation; and lastly, it was noted that Hillary worked to construct a $1.5 billion assets package to the [Libyan] National Transitional Council or NTC."
"Hillary saw this email sent to her from Cheryl Mills because as noted at WikiLeaks she asked for it to be printed in a subsequent email to a colleague."
"This email proves that Clinton's team created a list to show her responsibility for being the architect behind the overthrow of Qadhafi in Libya and the subsequent horror as a result. It is now known that the NTC in Libya is no longer in charge but it is unknown what happened to the $1.5 billion Hillary pushed to prop up this group."
"Hillary's actions in Libya resulted in the eventual death of four Americans in Benghazi, including Chris Stevens. These Americans died due to Hillary's and Obama's inaction when the US staff in Libya called for help while under attack in 2012 as was famously portrayed in the movie 13 Hours."
"Clinton is also responsible for the thousands of violent Libyan deaths since her efforts to over throw Qadhafi. She is also responsible for the numerous atrocities in Libya over the past eight years. Today Libya is a quagmire and ISIS's strongest branch outside of Syria-Iraq."
But in the major media, Hillary's prime role in the destruction of Libya is filed under "wars produce casualties." And that's that. At worst, the air invasion of Libya is now considered "ill-advised" or "a mistake."
Hillary's partner in this war crime, the ever-fatuous Obama, issued this statement, when Chris Wallace asked him to name the worst mistake of his Presidency: "Probably failing to plan for the day after [the completion of the Libya attack]…"
Ah yes, it was an oversight. The Obama-Hillary team forgot to figure out what would happen when Ghaddafi was killed and US backed terrorist-thugs took over the country, packing US supplied weapons.
We're supposed to believe the topic never came up in planning meetings. Perhaps a staffer inadvertently erased it from the agenda and no one caught "the error."
We're never supposed to think that chaos was the true purpose of the military mission, that it was part and parcel of the Hillary-Obama plan for the whole region.
We're never supposed to realize that wreaking destruction is the policy, the intent, and the goal of the Hillary-Obama team.
Chaos, then New Order—the playbook of psychopathic Globalists.
Life, liberty, and the pursuit of happiness, replaced by death, slavery, and misery.
No. It was all just a mistake, like forgetting to order champagne for the lawn party.
As we speak, Hillary contemplates moving back into the White House and the Oval Office, where her decrees will carry the imprimatur of the Commander-in-Chief of the United States.
Now, consider Chris Matthews' words again, in this much deeper context: "Every time I have watched a politician engage in a certain pattern of behavior before they go to the White House, they continue to engage in that pattern afterwards. People don`t change because we swear them into the White House. They become that person big-time."
Indeed, Chris. Indeed.
Jon Rappoport
The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.


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Today's Top Stories: Google Semantic Search, Thinner MacBook Pro Coming?
Welcome to this morning's edition of "First To Know," a series in which we keep you in the know on what's happening in the digital world. Today, we're looking at three particularly interesting stories.
Google Semantic Search Coming in the Next Few Months [REPORT]
Google will make significant changes to its search algorithm in the coming months, according to a report by the Wall Street Journal. We know that Google wants to introduce more "semantic search" elements into its search engine; the question is how many, and how will this change sit with users?
Mozilla Details Firefox Roadmap for 2012
Although it just launched Firefox 11, Mozilla has more big plans for its web browser in 2012. Two features that we'll likely see in late 2012 are silent updates and the ability to share links and updates on social networks.
Thinner MacBook Pro Coming in April [RUMOR]
Apple might launch a thinner version of its 15-inch MacBook Pro in April, How To Arena reports citing a "reliable source in the Far East Asian supply chain." If the rumor is true, the new MacBook Pros will be powered by Core i5 and Core i7 CPUs of the Ivy Bridge variety.
Image courtesy of iStockphoto, DNY59


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While going through the CSR reporting in India, Survey Report 2013 by KPMG I stumbled upon a heading 'Regulation drives reporting'. This seems so true in the common scenario. The natural human behaviour is to react to a situation than to respond knowing fully well that it is the response that is going to achieve positive result vis-a-vis reaction. Can a CSR report generated out of reaction mitigate the risks that companies face due to social and environmental impact? I read an article where the writer had been asked to recommend 7 short reports (under 20 pages). We love reports which spare us the jargon and reflect the real picture.
Why report at all? Yes its required due to the new section 135 in Companies Act but it's just a part of the existing Financial Report and one can do the to the point reporting to meet the legal requirement. The companies worldwide have been doing CSR reporting without any legal binding simply because it enhances the returns from their CSR efforts. The impact of a CSR project can be enhanced if it is reviewed periodically by stakeholders. To do that we need to have a CSR policy that envisages active stakeholders' engagement. The new CSR regulation also envisages the companies to initiate the process by creating a committee which puts together a well thought CSR strategy. In words of Sun Tzu, "Strategy without tactics is the slowest route to victory. Tactics without strategy is the noise before defeat." The corporate sector has realised that along with traditional functions like marketing, branding, R&D etc., CSR is also a viable component of their overall business objective. The current reporting as is observed in the CSR Reporting Survey by KPMG 2013 merely indicates that the company is performing its social responsibility. There is a room for improvement so that CSR projects provide substantial benefits to all stakeholders and the business. It's a win-win situation where the CSR can enhance impact for the society and profits for the business.
At present the reporting is higher of the positives and low of the negatives. Generally, the financial statements indicate the inflows and outflows and net result. Similarly the CSR reports should be made to reflect the efforts versus impact. Currently he CSR projects by the businesses are standalone activities without any linkages to the value chain of the business and fail to indicate the impact of the business on the social and environmental issues. To sum up the CSR reporting should use lessons from the financial reporting to develop a CSR reporting system to inform the stakeholders and yield better connect.
Ruchi is a CA who has carved out her niche in the area of process improvements and automations while working with companies like GE on various automation projects which have had an impact on reducing costs and impr
oving productivity. She has also worked on social impact projects related to education, career prospects of rural women.


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March 16, 2017
Do You Really Believe?
This is the fourth installment in the "Walking the Unity Talk" series exploring Unity Principles. In this week's article, I review and summarize the first and second principles, while setting the stage for the exploration of Unity's third principle. In the introduction to this series (which you can read here), I stated that the entire series is guided by two fundamental questions:
Do I really believe Unity's Five Principles are true?
If yes, then what am I going to do to live that truth?
Do You Really Believe Unity Principles?
We will more directly address the second of these questions later on in the series. For our purposes today, we will only deal with derivatives of the first question. With respect to the earlier articles, "One Power, One Presence" and "In the Image and Likeness," which respectively explore the first and second principles, derivatives of the first question might look like the following:
Do I really believe there is only "One Power, One Presence" active in the universe and in my life?
Do I really believe this "One Power, One Presence," which we call God, is absolutely good?
Do I really believe that we are, each one of us, created in the "image and likeness" of God?
Do I really believe that, being created in the "image and likeness of God," all people are also inherently good?
Walking the Unity Talk
In order to walk the Unity talk, these are deep questions that each one of us must ask of ourselves. Answering "yes" to each of these questions could run counter to much of what you may have experienced in your lifetime before coming to Unity. More traditional or mainstream religious Judeo-Christian orientations teach concepts of duality, sin and evil. These and other traditional concepts fly right in the face of the first two principles of Unity.
So, if you, like me, come from such traditional backgrounds, Unity principles could present a challenge to your embedded beliefs. Some call this challenge "cognitive dissonance." Unity refers to it as "chemicalization." Whatever term used to describe the experience, the bottom line is we encounter new information that challenges our old belief system, which, in turn, invites us to re-examine everything we believe.
Many of us experience this as conflict, especially in the early stages of spiritual transformation. There is an innate resistance because when we say "yes" to the new, we simultaneously must say "no" to the old. For many of us, letting go of old, outmoded beliefs that no longer serve, can still be experienced as conflict and resistance. It's the old, "devil that I know" idea still embedded in our consciousness. As much as we might desire the new, we often resist letting go of the old. So, let's take a look at these questions one at a time to see what it really means to answer "yes" to them.
One Power, One Presence
Do I really believe there is only "One Power, One Presence" active in the universe and in my life?
To answer "yes" to this first part of Unity Principle #1 is to say "no" to duality, "no" to an opposing power and "no" to ideas of an evil incarnate in the form of the Devil, Satan, Lucifer. That is a lot for some to take in all at once, because the world's belief systems seem to be largely grounded in duality. For many, it is a lot more comfortable to blame an oppositional, evil power working against God's plan. Why? Because it allows us to escape from accepting personal responsibility when things go wrong in the world and in our lives.
Do I really believe this "One Power, One Presence," which we call God, is absolutely good?
To say "yes" that there is only "One Power, One Presence" active in the universe and in our lives, and that this "Power and Presence" is absolutely good is to further release any notions of sin or evil. Many of us get hung up right here because the concepts of sin and evil have been so deeply embedded in our consciousness, individually and collectively. It is far too tempting to stay stuck in following the pack, especially when so much of what is going on in the world appears to evidence both sin and evil as we have been taught to believe.
However, if we accept that the "One Power, One Presence," which we call God, is all there is and is only capable of producing absolute good, then, in order to live in accordance with this truth, we must evaluate everything that occurs in the light of the good it expresses. From this perspective, we have to re-evaluate our ideas about everything from war to disease, from racism to poverty, and so much more. For many, it feels like a lot of work to undertake, perhaps too much. After all, who has time to overhaul a dualistic way of thinking when the world produces so much evidence to support its seeming reality? It is often uncomfortable to go against the grain, so to speak. Fortunately, the "Power and Presence" that is within us is greater than any apparent power in the world.
In The Image And Likeness
Do I really believe that we are, each one of us, created in the "image and likeness" of God?
Unity Principle #2 is where we really start getting challenged. It is one thing to grapple with ideas of whether there is only God, and that the Devil does not really exist as an oppositional power to God in the battle for the fate of the universe, even if you believe that God is absolutely good. However, it is quite another to believe that not only is God absolutely good and without peer, but that everyone of us (without exception) is created in the "image and likeness of God" and that we too are inherently good.
Do I really believe that, being created in the "image and likeness of God," all people are also inherently good?
If we answer "yes" to this question, then our ideas and concepts about virtually every human being on the planet must undergo a thorough cleansing. We must release all ideas and concepts about anything we negatively judge about others. All ideas of prejudice, bias and discrimination must also likewise be released. We can still advocate for our beliefs and our principles, we can even disagree with others. But, we can no longer criticize, attack or demonize others who believe differently than we do. Actually, we can still do those things. We just can't do it and still be at integrity with the beliefs we say we believe.
These examples barely scratch the surface of the spiritual investigation we undertake when we say "yes" to Unity Principles. It is not just a matter of answering "yes," we also simultaneously say "no" to all ideas and concepts that do not align with these principles. Truly walking the Unity talk means aligning our words and actions in the world with the thoughts, beliefs and attitudes we maintain about the principles we hold in our consciousness.
In the next installment of the "Walking the Unity Talk" series, we will explore Unity Principle #3, which deals directly with the thoughts and feelings we maintain in our consciousness and how they serve to create our experience in the world.


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Nike is still trying to cash in on Kristen Stewart, reportedly offering her a lot of money to sign a long-term endorsement deal with them.
A source tells Radar that the feelings run mutual, explaining, "It's no secret how much Kristen loves Nikes. She often changes into a pair of Nikes after walking the red carpet in heels." But even then, Nike's going to have their job cut out for them in trying to convince Kristen. She already has one endorsement deal with Balenciaga, and I think it'll be difficult for her to consider another high-profile deal.
As the source explains, Kristen has constantly shunned chances to endorse products, especially while she was still associated with Twilight. While she's loosened up since then, she's reportedly still 'terribly self-conscious' about seeing her face on any products.
It's also possible that Kristen's ex-boyfriend, Robert Pattinson, either directly or indirectly influences Kristen to sign on to the Nike deal. Rob's partnership with Dior has been very successful, and he's started to be much more open to endorsement since then. Kristen, while she does already have Balenciaga, would benefit greatly from a Nike partnership. She already wears the brand everywhere she goes, and it's not like her film career is keeping her all that busy at the moment. Plus, why turn down millions of dollars? Rob's reasoning is that they did Twilight for a lot of money, so signing a deal with a brand that you love shouldn't be too difficult in comparison.


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You are a very self sufficient person. You can get along well without much help.
Your friends see you as insightful, encouraging, and progressive.
About the Author


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Stock Photo Description
Stock photo of Mountain view from the Sarawak River at Kuching in Malaysian Borneo. This is Borneo Adventure Travel a great starting point for an adventure getaway in the Tropical Paradise that is Borneo. This landscape view consists of a glimpse of real Borneo with traditional Dayak stilt house on the Sarawak River with the towering mountain of Gunung Matang in the background which can be glimpsed through the low lying cloud. The peak is clearly visible. Palm trees are interspersed between the rustic wooden stilt houses with the river water having a smooth effect due to a long exposure photography technique being used. This is Borneo Adventure Travel!


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London Sights Around St. Paul's, 1860-70, © Museum of London
This pocket square is based on a handkerchief within the collection of the Museum of London that features a board game entitled "London Sights all around St. Paul's". The game works in a spiral format and was originally a plate print in red dye created somewhere between 1860-1870. The spiral format used for the game on this handkerchief was a popular device for games and jigsaw puzzles from 1790 onwards and was not always printed with the rules down the sides. Usually these games aimed to test the participants' knowledge of history and would have been originally printed on cotton whereas we've recreated it on 100% silk.
This square is a great talking point and the white base makes it a very flexible pattern that has universal appeal. We particularly like it in a 1 point or puff fold.
Reviews: Click to read Customer & Expert Product Reviews.
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Questions? If you have any questions for us regarding any aspect of our products, or just need some tips, then please don't hesitate to get in touch at email@example.com.
Map of the Battle of Trafalgar, published by William Blackwood and Sons, Edinburgh & London, 1848 (hand-coloured engraving). 100% Silk Hand Rolled Designed and Printed in Britain 42cm x 42cm...
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