engine: machine for powering equipment: a machine that converts an energy source into mechanical power or motion
"Engine" has the same root as "ingenious," and is attested in the English "engine," "gin," (like cotton gin) "ginny," and "jenny" (like "spinning jenny").
If it transduces force (force of a working fluid under heat/pressure or any other force) into motion, it's an engine. It's a positively ancient concept and the use of the term (and its cognates) predates the industrial revolution.
Hollywood has finally figured how to use 5.1 sound, some movies (even Oscar winning) can even sound "almost mono" but music industry could never figure how to use 5.1 sound.
When exactly didn't we know how to use 5.1 sound? I'm curious, just for professional reasons:)
Just for your information, theatrical motion pictures have had 4 and 6 channel mixes, with boom tracks and all the accoutrements since at least the late 1950s -- all 70mm formats had 6 channel mixes with surround and LF effects, depending on the particular format (Todd-AO, Cinemascope, Dolby format 42, 43, etc.) The last motion picture recorded in Mono to win the Academy Award for Best Sound was All The President's Men in 1976. In '77 Star Wars won and the entire industry switched over to the Star Wars format -- 4-channel Dolby Stereo with Type-A noise reduction -- essentially overnight.
You have to distinguish between privatization and private capture. Privatization is when you disintermediate consumers and providers -- like when you make people contract their own trash pickup. In that case the government no longer can make decisions about who picks up your trash or how that operations shield be run. This often makes things cheaper because it generates competition.
Private capture is when the government still calls the shots but instead of performing the job itself is pays someone else to do it. This often makes things more expensive because the contractor needs to make a profit and generally rigs the deal so it doesn't have to compete. And the company is often in the position of lobbying for more business -- private prisons and mercenaries are examples of this. Private prisons are just as bad, if not more insidious lobbyists than prison guard unions, for which private prisons were supposed to be the cost solution.
Which, in the end, is paid by the ultimate consumer of the goods/services they sell.
"In the end," everybody dies. Wether a company can pass it's tax burden along to it's customers depends on the elasticity of prices in that company's market -- a company can't raise prices beyond the point that people are prepared to pay, regardless of their costs. There's a lot of play between company costs and consumer prices, they aren't in an iron linkage. There's a pareto-optimal tax rate on producers that maximizes taxes without reducing demand. Wether you actually want to BILL that rate is a fair question, but it's simply not true that all corporate taxes are passed, automatically, onto the customer.
Nobody in the IT industry can honestly think that quality actually gets you anywhere. It's marketing, lawyers and sales, advertisers that are the cockroaches that ruined innovation for good.
If only there was some way of creating a business where the engineers sold their raw prototypes at cost to customers, and tech support would consist solely of an animated GIF of an engineer in a constant eye-roll... This is the vision of a slashdotter's technology company.
Power ground and signal ground are isolated in most pro studio environments -- the audio ground goes to a stake in the Earth and the power ground goes to the utility green wire. Ground loops in a studio don't involve the power distribution as often as miswired microphone or tie lines that connect chassis together in more than one place and aren't lifted appropriately.
Nit: S/PDIF and AES have error detection built in, but there isn't enough redundant data for proper recovery, just a parity bit to let the receiver know if a subframe is malformed.
OTOH, I am currently mixing a movie about the Marines fighting aliens that invade Los Angeles, so then again maybe I'm a "sell-out." But that sort of attitude isn't limited to artists-- I'm sure RMS thinks more than a few developers are "sellouts," etc..
A lot of "artists" work in advertising and commercial trades and are quite well paid, thank you very much. An artist who only ekes by is something of a mediocrity, with rare exception, or maybe thats just me being "snooty."
Why is that a bad thing? There's no real reason to shoot on film anymore, it just adds cost.
On the very low end, a RED versus an Arriflex will be cheaper, but if you're spending $100 million on a film (which for a 3D production is what we're talking about), the cost difference between 3 or four perf Super 35 and digital is pretty much irrelevant, even if you shoot a million feet of film. For every foot of exposed film versus 16 frames of digital, you might save pennies or dimes, but you're spending several orders of magnitude more money per foot on the actors and crew and production value in front of the camera.
Some directors like film better for aesthetic reasons, and no digital process really looks as good as IMAX, which is something Chris Nolan in particular likes to shoot in...
I'm not sure on what planet J. J. Abrams and Chris Nolan are "old people."
There is no reason why 3-D can't be a good thing
Except it adds tens of millions of dollars to the film's budget, it gives the audience headaches and all the existing technologies are 80% dimmer on screen by foot-lamberts, none of the present processes support photography on film (IMAX or super 35 -- they have to shoot digitally and blow it up). And the tickets are 20-40% more, which is the only reason they've ever pushed the tech anyways. Sound adds to the story, color adds to the verisimilitude, but its not really clear yet what 3D adds. The tech they have now really doesn't make the image more "real," mainly because there's still a screen and a proscenium effect.
I won't go so far as to say that 3D will NEVER be accepted as standard in films, but the tech they have now has too many hangups. Early color processes were screwed up and didn't work, same with sound processes.
What actually surprises me at this article is the fact that the list of countries as well as the identity of at least one of the persons is public. In some environments, even this is a security breach.
If we're all going to be using and trusting the information these people and organizations validate, some transparency is advised. Otherwise DNSSEC is just a cabal. The idea is to create a system that is MORE trustworthy than the present system, secrecy is the means to the trust, not the end in itself.
I think it says a lot about how much people have internalized the "management"/corporatist/Randroid line when someone argues with a straight face that living with constant anxiety about your employment and having working hours that afford you no personal life are simply "the norm."
Say: "Welcome to show business.". All of the things in the parent have happened to me in the film business, and they were de rigeur in the theater as well.
May I recommend you form a union? Or maybe just a guild/mutual benefit society that allows you all to prevent your employer from working you 80 hours a week for no overtime? Just like in show business, there will always be some 17 year old in his garage with no wife, kids or mortgage that would be happy to do your job for less money, more hours and no complaint. Something generally has to be done before the labor pool destroys itself and the ONLY people you can find to do the work are 17 year old greenhorns; the video game medium will never develop artistically if the work environment is actively hostile to people who want to spend a lifetime doing it.
Guess what guys? The reason programming is hard is because you must clearly and unambiguously state what you want to have happen. Yes, the languages could surely be better - the syntax and intricacies of C++ are pretty nightmarish, and Java only fixes some of those issues while introducing others.
Java and C++ aren't overly complex because they give you tools to unambiguously describe an algorithm; every language has that. Java and C++ are "complex and bureaucratic" because they supply a huge set of tools not for describing algorithms, but for describing how other programmers are allowed to interface and reuse algorithms. Algorithms that are unambiguous to the interpreting machine can be VERY ambiguous to another programmer that has to call or extend the original, so formalisms of interfaces and types and generics are added so that developers can use the language to tell other developers what to do and set policy.
It's called "slide film" because it's reversal stock: it develops as a positive that can go straight into a slide frame, without an intermediate negative. The film doesn't have any physical characteristics that make it appropriate ONLY for projection.
The bloatware on the HTC EVO is all Sprint Apps not an android issue
It's not an issue with the OS, certainly, but the Android platform in particular and the OHA in general was founded with the intention of putting the carriers back in the drivers seat and give them back the control over the phones that they were beginning to lose to RIM, Danger and Apple. Get it? It's OPEN, thus the user can do whatever it wants with it... Of course the end user is a user, unless they're buying a heavily subsidized and locked phone, in which case they're merely a partner with the real user, the carrier.
At some point, we can only hope, people are going to accept the most simple explanation, that Germany and Russia both wanted a chunk of Poland and that's why there was an alliance between the two, and at one point further down the road, Germany needed oil and eastern territory more than it needed Russian acquiescence, and so the alliance collapsed.
The idea that communism and fascism are some sort of ideological fusion, and that this fact has any effect on history, is hokum, and both Nazi Germany and Communist Russia were driven by their leadership's self-interest and geopolitical pressures, and that their ideology had nothing to do with it. Unfortunately we are damned to live among people who expect history to have an ideologically consistent basis, so that the "bad guys" and the "good guys" can have nice, narrative-ready reasons for losing and winning, instead of having to accept that the outcome was simply a consequence of many practical decisions made in the heat of the moment that could have just as easily gone the other way. Asking someone what their ideological attitude about private property is, or what they believe constitutes a "nation" or "people," tells you almost nothing about wether they are "good" or "Evil" or if they'll naturally agree with someone else on issues that happen to have a confluence of interest.
In a corporate context, insider attacks are the most common. So having passwords laying around the office could really be a security concern.
This is where you would start being serious about which keys you assign to whom, and who's contactless pass lets you into who's room. And then for the sensitive people you do three-factor, and we-own-your-children Non-Discolsure Agreements.
Slashdot Mirror
Christ.
"Engine" has the same root as "ingenious," and is attested in the English "engine," "gin," (like cotton gin) "ginny," and "jenny" (like "spinning jenny").
If it transduces force (force of a working fluid under heat/pressure or any other force) into motion, it's an engine. It's a positively ancient concept and the use of the term (and its cognates) predates the industrial revolution.
When exactly didn't we know how to use 5.1 sound? I'm curious, just for professional reasons :)
Just for your information, theatrical motion pictures have had 4 and 6 channel mixes, with boom tracks and all the accoutrements since at least the late 1950s -- all 70mm formats had 6 channel mixes with surround and LF effects, depending on the particular format (Todd-AO, Cinemascope, Dolby format 42, 43, etc.) The last motion picture recorded in Mono to win the Academy Award for Best Sound was All The President's Men in 1976. In '77 Star Wars won and the entire industry switched over to the Star Wars format -- 4-channel Dolby Stereo with Type-A noise reduction -- essentially overnight.
Private capture is when the government still calls the shots but instead of performing the job itself is pays someone else to do it. This often makes things more expensive because the contractor needs to make a profit and generally rigs the deal so it doesn't have to compete. And the company is often in the position of lobbying for more business -- private prisons and mercenaries are examples of this. Private prisons are just as bad, if not more insidious lobbyists than prison guard unions, for which private prisons were supposed to be the cost solution.
"In the end," everybody dies. Wether a company can pass it's tax burden along to it's customers depends on the elasticity of prices in that company's market -- a company can't raise prices beyond the point that people are prepared to pay, regardless of their costs. There's a lot of play between company costs and consumer prices, they aren't in an iron linkage. There's a pareto-optimal tax rate on producers that maximizes taxes without reducing demand. Wether you actually want to BILL that rate is a fair question, but it's simply not true that all corporate taxes are passed, automatically, onto the customer.
If only there was some way of creating a business where the engineers sold their raw prototypes at cost to customers, and tech support would consist solely of an animated GIF of an engineer in a constant eye-roll... This is the vision of a slashdotter's technology company.
Job's war on WORA could be paraphrased by Napoleon: Never interrupt your enemy when he is destroying himself.
Power ground and signal ground are isolated in most pro studio environments -- the audio ground goes to a stake in the Earth and the power ground goes to the utility green wire. Ground loops in a studio don't involve the power distribution as often as miswired microphone or tie lines that connect chassis together in more than one place and aren't lifted appropriately.
Nit: S/PDIF and AES have error detection built in, but there isn't enough redundant data for proper recovery, just a parity bit to let the receiver know if a subframe is malformed.
OTOH, I am currently mixing a movie about the Marines fighting aliens that invade Los Angeles, so then again maybe I'm a "sell-out." But that sort of attitude isn't limited to artists-- I'm sure RMS thinks more than a few developers are "sellouts," etc..
A lot of "artists" work in advertising and commercial trades and are quite well paid, thank you very much. An artist who only ekes by is something of a mediocrity, with rare exception, or maybe thats just me being "snooty."
Posted from my iPad.
On the very low end, a RED versus an Arriflex will be cheaper, but if you're spending $100 million on a film (which for a 3D production is what we're talking about), the cost difference between 3 or four perf Super 35 and digital is pretty much irrelevant, even if you shoot a million feet of film. For every foot of exposed film versus 16 frames of digital, you might save pennies or dimes, but you're spending several orders of magnitude more money per foot on the actors and crew and production value in front of the camera.
Some directors like film better for aesthetic reasons, and no digital process really looks as good as IMAX, which is something Chris Nolan in particular likes to shoot in...
Except it adds tens of millions of dollars to the film's budget, it gives the audience headaches and all the existing technologies are 80% dimmer on screen by foot-lamberts, none of the present processes support photography on film (IMAX or super 35 -- they have to shoot digitally and blow it up). And the tickets are 20-40% more, which is the only reason they've ever pushed the tech anyways. Sound adds to the story, color adds to the verisimilitude, but its not really clear yet what 3D adds. The tech they have now really doesn't make the image more "real," mainly because there's still a screen and a proscenium effect.
I won't go so far as to say that 3D will NEVER be accepted as standard in films, but the tech they have now has too many hangups. Early color processes were screwed up and didn't work, same with sound processes.
If we're all going to be using and trusting the information these people and organizations validate, some transparency is advised. Otherwise DNSSEC is just a cabal. The idea is to create a system that is MORE trustworthy than the present system, secrecy is the means to the trust, not the end in itself.
GP was using "norm" in the sense of normative, you are using "norm" in the sense of prevailing local conditions.
I think it says a lot about how much people have internalized the "management"/corporatist/Randroid line when someone argues with a straight face that living with constant anxiety about your employment and having working hours that afford you no personal life are simply "the norm."
May I recommend you form a union? Or maybe just a guild/mutual benefit society that allows you all to prevent your employer from working you 80 hours a week for no overtime? Just like in show business, there will always be some 17 year old in his garage with no wife, kids or mortgage that would be happy to do your job for less money, more hours and no complaint. Something generally has to be done before the labor pool destroys itself and the ONLY people you can find to do the work are 17 year old greenhorns; the video game medium will never develop artistically if the work environment is actively hostile to people who want to spend a lifetime doing it.
Don't recycle an G5, particularly a multiple-core: they're still worth at least $400 on eBay!
Java and C++ aren't overly complex because they give you tools to unambiguously describe an algorithm; every language has that. Java and C++ are "complex and bureaucratic" because they supply a huge set of tools not for describing algorithms, but for describing how other programmers are allowed to interface and reuse algorithms. Algorithms that are unambiguous to the interpreting machine can be VERY ambiguous to another programmer that has to call or extend the original, so formalisms of interfaces and types and generics are added so that developers can use the language to tell other developers what to do and set policy.
It's probably because the ambient color temperature on an overcast day is higher and the clouds diffuse a broader spectrum... :)
Kodachrome looks different. Not better or worse. The selection of one over another is aesthetic, like oil (Ekta) versus watercolor (Koda).
Super-8 mm film
It's called "slide film" because it's reversal stock: it develops as a positive that can go straight into a slide frame, without an intermediate negative. The film doesn't have any physical characteristics that make it appropriate ONLY for projection.
It's not an issue with the OS, certainly, but the Android platform in particular and the OHA in general was founded with the intention of putting the carriers back in the drivers seat and give them back the control over the phones that they were beginning to lose to RIM, Danger and Apple. Get it? It's OPEN, thus the user can do whatever it wants with it... Of course the end user is a user, unless they're buying a heavily subsidized and locked phone, in which case they're merely a partner with the real user, the carrier.
At some point, we can only hope, people are going to accept the most simple explanation, that Germany and Russia both wanted a chunk of Poland and that's why there was an alliance between the two, and at one point further down the road, Germany needed oil and eastern territory more than it needed Russian acquiescence, and so the alliance collapsed.
The idea that communism and fascism are some sort of ideological fusion, and that this fact has any effect on history, is hokum, and both Nazi Germany and Communist Russia were driven by their leadership's self-interest and geopolitical pressures, and that their ideology had nothing to do with it. Unfortunately we are damned to live among people who expect history to have an ideologically consistent basis, so that the "bad guys" and the "good guys" can have nice, narrative-ready reasons for losing and winning, instead of having to accept that the outcome was simply a consequence of many practical decisions made in the heat of the moment that could have just as easily gone the other way. Asking someone what their ideological attitude about private property is, or what they believe constitutes a "nation" or "people," tells you almost nothing about wether they are "good" or "Evil" or if they'll naturally agree with someone else on issues that happen to have a confluence of interest.
"The enemy knows the system."
This is where you would start being serious about which keys you assign to whom, and who's contactless pass lets you into who's room. And then for the sensitive people you do three-factor, and we-own-your-children Non-Discolsure Agreements.