Now, there very well may be some people who create something and live off it for the rest of their lives without creating another thing. So what? If someone creates something so wonderful/critical/popular that it still generates income 50 years later why shouldn't they benefit from that?
Ok, so how does having copyright last until 75 years AFTER THE DEATH of the author benefit the author? They're worm food.
As far a Disney, they take from the public domain, but do everything in their power to prevent their works enriching that same public domain. In addition, after they make their work, they may attack anyone else approaching that same PD source work for another project. Plus, they don't always have the rights they think they do when creating a work (example: Winnie the Pooh by A. A. Milne. Disney stepped well beyond the license they had to the work.)
ARM isn't "magical" and its been needing more and more extras like HD decoder chips to share the load because it simply can't get enough IPC to do the job on its own.
The last time I checked, x86 needed extras like the GPU to offload HD decoding to as well.
As for why, MS managed to lose control of (or whore out) the one true cert that all Windows installations are dependent on. In spite of that being public knowledge they haven't revoked it.
Except they did revoke it. That's what the emergency security update they pushed out yesterday was all about.
Can you provide links to any of the promotional material that uses stills from the movies? I poked around on their site, and so far, all I have found are drawings and paintings. (Though the background on one looks very similar to Viggo Mortensen, though not exactly.)
I'd rather have twice (or more) the battery life per charge than a removable battery which is one reason I have an iPhone 4S instead of an android handset.
Where are you going to keep those extra batteries that you have to swap throughout the day when you are not on a plane? What happens when you have then in your pocket with some keys and one of the keys short the terminals on a battery in your pocket?
Who said anything about carrying extra batteries? Let me count the number of times I have carried an extra battery for my phone (android or other) since phones changed from analog to digital carrier: never.
Having a removable battery allows for several things, such as removing the battery when something goes wrong (or to prevent it from going wrong), or replacing entirely when the original battery has worn out.
DEFLATE (which is used in gz files) also has a blocking mechanism. the problem is there is no magic value to search for like there is with bzip2. However, it is possible to recover data after a corrupt section of a tar.gz file. I know because I have done it just this month. "stored" blocks happen to be laid out in such a way that you can actually scan for them. once you find a stored block, you can then attempt to decode the deflate stream from that point. As long as no compressed blocks refer to data before that stored block, you've recovered data that you previously chalked up as lost.
3.5" and 5.25" floppy drives are generally quite dumb. they have no idea what a sector is. These are called "soft sectored" disks. The drive just streams flux reversal pulses out over the/READ_DATA line to the controller card. The controller is where the sector is decoded.
BTW, I have also checked and adjusted the calibration on a few different 3.5" drives. I don't have test media to check the alignment of a 5.25" drive, currently.
What method are you using to read them? If just a USB drive or an internal drive on a normal floppy controller, you might get better luck with a device such as the KryoFlux (if you are really determined to get that data back). It is a specialized floppy controller that records the timing of the flux reversals on the media, with the ability to sample a single track about 35 times in one pass, and retry many many times in an attempt to get everything. then software converts that to a usable disk image file.
If you are not interested on spending money on such a device, perhaps you could send the media to someone that has one. (Such as myself.)
Sure, you can encrypt the data, but you still have layer 3 information showing what servers you're communicating with. And with the extensions to allow vhosts on https (with different certificates for each vhost), you might be able to tell what site is being visited by logging the handshake.
I've not purchased new games from GameStop in quite some time, however I have heard from a couple other people that they open every new copy and keep the CD or DVD behind the counter as an "anti-theft" measure. (There is no incentive to shoplift, as there is no media and/or key in the box.) At least one of the people I have heard this from complained to someone at id Software, with the concern over unscrupulous employees making copies of the keys to use themselves or sell.
False. Copyright infringement is ANY copying or distribution for which you do not have permission. And before someone else mentions fair use: Fair use is a legal defense after the owner goes after you.
You may not agree with the current state of copyright law, but you should at least know it before making false claims about it.
I can't stand the crappy interpolation. One, you're potentially destroying (potentially misguided) artistic choices. Two, every time I have seen this, there has been a speed jitter after cuts, where the interpolation filter is trying to catch up. After it catches back up, it slows back down to match the incoming data rate. Three, it just looks wrong.
Also, this may be news to you, but almost every fully-scripted (non "reality" bs) show, at least in the US, is shot at 24fps, edited at 24fps, effects done at 24fps, and then pulled down to 59.94 fields or frames per second (depending on interlaced/progressive transmission medium).
You mean the millions of installed projectors worldwide is not a hardware issue? So what if you can manage to shoot film/video at 500 frames per second if the display everyone is using to project it can only do 24? Now you have to do crazy temporal blurring to get the correct motion blur for that output rate, or your movie looks all jerky.
Industry (2D film) projectors generally run at a refresh rate of 48Hz (I suppose some might run at 72Hz), flashing each image twice (or sometimes thrice) before advancing to the next frame. I have no idea how RealD 3D works.
Of course, if you're using digital projection, you're also dealing with DLP. I think I have been in theaters with 1-chip DLP, but most should have 3-chip. (with 1-chip, the three colors are projected in succession with a color wheel changing the color or the light. if you move your head or eyes fast enough, you should be able to see the colors separate).
Then there is IMAX, which can have a few possibilities. I don't know how digital projection of 3D works with IMAX, but I do know the good ol 70mm. There are two possibilities for 70mm IMAX 3D. Both involve two projectors, though one is two physically separate projectors, where the other is two projectors fused together (top/bottom) sharing a light source. Both methods use polarizing filters to differentiate the eye images. (Here is a segment from How It's Made where they build the latter. I can't find the English version I saw before.)
I have only seen 3D movies in 70mm IMAX, and then only 2 films. I got a headache each time. It has to do with the fixed scene focus. If I am looking somewhere other than the focal point of the scene, my eyes fight a losing battle trying to bring the image into focus.
That would be 120Hz frame interpolation. I turned it off the first day I had my new set with it. It not only made everything just look wrong for film/tv, but it also introduced a jitter at each cut. after a cut, the action would speed up for a second or so before slowing back down to the normal speed.
The member of parliament in charge of IT believes that if you oppose filtering, you support child-porn. It's simply a case of incompetent people in positions of power.
I'm not so sure... That seems like the perfect way to get your desired filtering agenda passed: link opposition to support for child porn, so that nobody would sabotage their political career opposing it.
I want the content to be released on physical media. Sure, I may then transfer the content to a more convenient form for my consumption, but I still want the original physical, (preferably) lossless copy. That way I can buy it and not be left at the mercy of a company that may not be around in 10, 20, 30, 50 years when I want to watch, listen to, or share some old piece of culture. If it is kept "in the cloud" on their servers, I can't be sure I can get to it then. The company may no longer be around in order to supply the content upon request.
Ignore for a moment the print/electronic differences between a print book and an ebook. If I were to buy a print copy of Nineteen Eighty-Four from Amazon, they cannot come into my house in the middle of the night and remove it from my collection. However, they can (and have) done the same with their ebook system.
Additionally, with Redbook audio CDs, the audio is in PCM, rather than MP3 or AAC. If another new CODEC comes down the road, I can re-encode my CDs (which I may have also ripped to a lossless CODEC such as FLAC) into that new CODEC without generational loss. DVD and Bluray aren't quite as good in that regard, but the amount of space needed for a lossless version of those would be far too large, so I forgive that. Not that this matters to the content producers. They would prefer you re-buy stuff with every format change. What they really would like is a leak-proof pipe from their source to your eyeball or eardrum, and charge you every time you watch or listen to the content.
Slashdot Mirror
Now, there very well may be some people who create something and live off it for the rest of their lives without creating another thing. So what? If someone creates something so wonderful/critical/popular that it still generates income 50 years later why shouldn't they benefit from that?
Ok, so how does having copyright last until 75 years AFTER THE DEATH of the author benefit the author? They're worm food.
As far a Disney, they take from the public domain, but do everything in their power to prevent their works enriching that same public domain. In addition, after they make their work, they may attack anyone else approaching that same PD source work for another project. Plus, they don't always have the rights they think they do when creating a work (example: Winnie the Pooh by A. A. Milne. Disney stepped well beyond the license they had to the work.)
ARM isn't "magical" and its been needing more and more extras like HD decoder chips to share the load because it simply can't get enough IPC to do the job on its own.
The last time I checked, x86 needed extras like the GPU to offload HD decoding to as well.
Except they did revoke it. That's what the emergency security update they pushed out yesterday was all about.
Can you provide links to any of the promotional material that uses stills from the movies? I poked around on their site, and so far, all I have found are drawings and paintings. (Though the background on one looks very similar to Viggo Mortensen, though not exactly.)
Here is how he works:
http://www.youtube.com/watch?v=DbHygyExIIk
Who said anything about carrying extra batteries? Let me count the number of times I have carried an extra battery for my phone (android or other) since phones changed from analog to digital carrier: never.
Having a removable battery allows for several things, such as removing the battery when something goes wrong (or to prevent it from going wrong), or replacing entirely when the original battery has worn out.
DEFLATE (which is used in gz files) also has a blocking mechanism. the problem is there is no magic value to search for like there is with bzip2. However, it is possible to recover data after a corrupt section of a tar.gz file. I know because I have done it just this month. "stored" blocks happen to be laid out in such a way that you can actually scan for them. once you find a stored block, you can then attempt to decode the deflate stream from that point. As long as no compressed blocks refer to data before that stored block, you've recovered data that you previously chalked up as lost.
3.5" and 5.25" floppy drives are generally quite dumb. they have no idea what a sector is. These are called "soft sectored" disks. The drive just streams flux reversal pulses out over the /READ_DATA line to the controller card. The controller is where the sector is decoded.
BTW, I have also checked and adjusted the calibration on a few different 3.5" drives. I don't have test media to check the alignment of a 5.25" drive, currently.
What method are you using to read them? If just a USB drive or an internal drive on a normal floppy controller, you might get better luck with a device such as the KryoFlux (if you are really determined to get that data back). It is a specialized floppy controller that records the timing of the flux reversals on the media, with the ability to sample a single track about 35 times in one pass, and retry many many times in an attempt to get everything. then software converts that to a usable disk image file.
If you are not interested on spending money on such a device, perhaps you could send the media to someone that has one. (Such as myself.)
No, I'm referring to Server Name Indication.
Sure, you can encrypt the data, but you still have layer 3 information showing what servers you're communicating with. And with the extensions to allow vhosts on https (with different certificates for each vhost), you might be able to tell what site is being visited by logging the handshake.
I've not purchased new games from GameStop in quite some time, however I have heard from a couple other people that they open every new copy and keep the CD or DVD behind the counter as an "anti-theft" measure. (There is no incentive to shoplift, as there is no media and/or key in the box.) At least one of the people I have heard this from complained to someone at id Software, with the concern over unscrupulous employees making copies of the keys to use themselves or sell.
I forgot to mention: I am not a lawyer, let alone YOUR lawyer. This is not legal advice.
False. Copyright infringement is ANY copying or distribution for which you do not have permission. And before someone else mentions fair use: Fair use is a legal defense after the owner goes after you.
You may not agree with the current state of copyright law, but you should at least know it before making false claims about it.
I can't stand the crappy interpolation. One, you're potentially destroying (potentially misguided) artistic choices. Two, every time I have seen this, there has been a speed jitter after cuts, where the interpolation filter is trying to catch up. After it catches back up, it slows back down to match the incoming data rate. Three, it just looks wrong.
Also, this may be news to you, but almost every fully-scripted (non "reality" bs) show, at least in the US, is shot at 24fps, edited at 24fps, effects done at 24fps, and then pulled down to 59.94 fields or frames per second (depending on interlaced/progressive transmission medium).
You mean the millions of installed projectors worldwide is not a hardware issue? So what if you can manage to shoot film/video at 500 frames per second if the display everyone is using to project it can only do 24? Now you have to do crazy temporal blurring to get the correct motion blur for that output rate, or your movie looks all jerky.
Most scripted TV shows are still shot at 24fps and go through the same slowdown to 23.967 and repeated frame/field pulldown as films on TV.
Industry (2D film) projectors generally run at a refresh rate of 48Hz (I suppose some might run at 72Hz), flashing each image twice (or sometimes thrice) before advancing to the next frame. I have no idea how RealD 3D works.
Of course, if you're using digital projection, you're also dealing with DLP. I think I have been in theaters with 1-chip DLP, but most should have 3-chip. (with 1-chip, the three colors are projected in succession with a color wheel changing the color or the light. if you move your head or eyes fast enough, you should be able to see the colors separate).
Then there is IMAX, which can have a few possibilities. I don't know how digital projection of 3D works with IMAX, but I do know the good ol 70mm. There are two possibilities for 70mm IMAX 3D. Both involve two projectors, though one is two physically separate projectors, where the other is two projectors fused together (top/bottom) sharing a light source. Both methods use polarizing filters to differentiate the eye images. (Here is a segment from How It's Made where they build the latter. I can't find the English version I saw before.)
I have only seen 3D movies in 70mm IMAX, and then only 2 films. I got a headache each time. It has to do with the fixed scene focus. If I am looking somewhere other than the focal point of the scene, my eyes fight a losing battle trying to bring the image into focus.
That would be 120Hz frame interpolation. I turned it off the first day I had my new set with it. It not only made everything just look wrong for film/tv, but it also introduced a jitter at each cut. after a cut, the action would speed up for a second or so before slowing back down to the normal speed.
like that was hard. the windows 95 era keys followed a very simple verification scheme.
PowerPole is a product of Anderson Power Products, not Amphenol.
I'm not so sure... That seems like the perfect way to get your desired filtering agenda passed: link opposition to support for child porn, so that nobody would sabotage their political career opposing it.
But... what does God need with a Klondike bar?
I want the content to be released on physical media. Sure, I may then transfer the content to a more convenient form for my consumption, but I still want the original physical, (preferably) lossless copy. That way I can buy it and not be left at the mercy of a company that may not be around in 10, 20, 30, 50 years when I want to watch, listen to, or share some old piece of culture. If it is kept "in the cloud" on their servers, I can't be sure I can get to it then. The company may no longer be around in order to supply the content upon request.
Ignore for a moment the print/electronic differences between a print book and an ebook. If I were to buy a print copy of Nineteen Eighty-Four from Amazon, they cannot come into my house in the middle of the night and remove it from my collection. However, they can (and have) done the same with their ebook system.
Additionally, with Redbook audio CDs, the audio is in PCM, rather than MP3 or AAC. If another new CODEC comes down the road, I can re-encode my CDs (which I may have also ripped to a lossless CODEC such as FLAC) into that new CODEC without generational loss. DVD and Bluray aren't quite as good in that regard, but the amount of space needed for a lossless version of those would be far too large, so I forgive that. Not that this matters to the content producers. They would prefer you re-buy stuff with every format change. What they really would like is a leak-proof pipe from their source to your eyeball or eardrum, and charge you every time you watch or listen to the content.