text:
VFX Houses
S/VFX Shots Race
VFX BOX↴
The skyrocketing number of special effects shots in the Star Wars movies has become a shorthand for the way movies in general have become more SFX-heavy. But while the Star Wars films may have started the SFX arms race, they didn't win it. None of the three Star Wars prequels has as many special effects shots as King Kong. Also, the visually stunning first Matrix movie only has less SFX shots as The Empire Strikes Back.
It's important to note, of course, that number of S/VFX shots is not the same as complexity of effects. It's also possible that different movie directors define the term "special effects shot" differently. But still, the raw number of special effects shots in a movie is often used as a proxy for how effects-heavy it is, and how fancy it looks. So here's a ranking of SFX shots per movie, starting with the stunning amount of VFX Shots in the Bollywood Action Comedy film, Son of Sardaar.
Name Film
S/VFX Shots
Prod. Budget
Worldwide Gross
2019 Aquaman 2300 Industrial Light & Magic (ILM),Scanline VFX, Moving Picture Company (MPC), Method Studios, Rodeo FX, Weta Digital , Digital Domain , Luma Pictures $180,000,000 $1,148,000,000
2019 Captain Marvel 2124 Industrial Light & Magic (ILM),Trixter Film, Animal Logic, Lola Visual Effects, Framestore, Digital Domain, Rising Sun Pictures,
Scanline VFX, Luma Pictures, RISE Visual Effects Studios , Double Negative (DNEG) $152,000,000 $1,128,000,000
2019 Dumbo 1766 MPC, Framestore, Rodeo FX, Rising Sun Pictures, RISE Visual Effects Studios, Atomic Arts $170,000,000 $352,000,000
2019 Avengers: Endgame 2496 Industrial Light & Magic (ILM), Weta Digital, Double Negative (DNEG), Framestore, Cinesite, Digital Domain, RISE Visual Effects Studios $356,000,000 $2,781,000,000
2018 Ready Player One 1200+ Industrial Light & Magic (ILM) (900+), Digital Domain (300), Framestore $175,000,000 $575,000,000
2018 Black Panther 2456 Industrial Light & Magic (ILM) (403), Luma Pictures (232), RiseFX (180 shots), Scanline (385), RiseFX (180), Mammal (578 shots), Method Studios (407), Trixter (205), capital T (41 shots), Double Negative (78 shots), Exceptional Minds (38), Ghost (41 shots), Storm (8 shots) $200,000,000 $1,318,000,000
2018 Avengers: Infinity War 2680 Framestore (253 shots, 160 artists), Weta Digital (398 shots), Industrial Light & Magic (ILM), Double Negative (496 shots, 800 people), Digital Domain (513 shots, 340 people), Cinesite (215 shots), Method Studios, Rise FX (26 shots, 30 artists), ScanlineVFX $400,000,000 $1,710,000,000
2017 The Commuter 1400 Cinesite (862), Iloura, $40,000,000 $116,000,000
2017 Downsizing 625 Industrial Light & Magic (ILM), Framestore (110), Rodeo FX, Atomic Fiction $68,000,000 $55,000,000
2017 The Shape of Water 600 Rodeo FX $19,000,000 $195,000,000
2017 Star Wars: The Last Jedi 2000 Industrial Light & Magic (ILM), Jellyfish, Rodeo FX, Base FX, Ghost VFX $200,000,000 $1.333,000,000
2017 Jumanji: Welcome to the Jungle 1100 Moving Picture Company (MPC), Iloura (374), Rodeo FX, OllinVFX, Crafty Apes $90,000,000 $956,700,000
2017 The Mountain Between Us 300 Moving Picture Company (MPC) $35,000,000 $63,000,000
2017 King Arthur: Legend of the Sword 1000+ Framestore (430), Method Studios (430), Moving Picture Company (MPC), Nvizible, One Of Us, ScanlineVFX,
Vitality Visual Effects $175,000,000 $137,900,000
2017 Alien: Covenant 2300 Framestore (295), Animal Logic, Atomic Fiction, Luma Pictures, Moving Picture Company (MPC) (700 shots, 500 artists), Peerless, Rising Sun Pictures (144) $97,000,000 $220,100,000
2017 Guardians of the Galaxy Vol. 2 2300 Weta, Framestore, Method (500 vfx shots), Trixter, Scanline, Animal Logic (150), Lola, Cantina Creative, Luma (200), Technicolor and an InHouse team $200,000,000 $847,900,000
2010 The Social Network 1000 Lola Visual Effects, Savage Visual Effects, Outback Post, Eden FX, OllinVFX, A52 and
Hydraulx $40,000,000 $224,900,000
2017 The Fate of the Furious 2600 Digital Domain (775), Double Negative (443), Exceptional Minds, Factory VFX, Lola Visual Effects, RISE Visual Effects Studios (50), Rodeo FX (300), Solid FX, Trixter Film $250,000,000 $1,060,000,000
2016 A Cure for Wellness 777 Double Negative (377) $40,000,000 $26,500,000
2016 Hidden Figures 328 Crafty Apes $25,000,000 $228,400,000
2016 Hacksaw Ridge 705 Animal Logic $40,000,000 $175,300,000
2016 Silence 700 ILM (50 artists) $40,000,000 $16,000,000
2016 A Monsters Call 180 MPC (180, 200 artists), Glassworks $47,000,000 $198,000,000
2016 Allied 776 Atomic Fiction, UPP, Raynault & Lola $85,000,000 $119,500,000
2016 Rogue One 1697 ILM $200,000,000 $1,056,000,000
2017 The Great Wall 1750 ILM (1087, 250 artists), BaseFX (452), Hybride (86), Animal Logic (59), Ghost (32) $150,000,000 $332,000,000
2017 T2 Trainspotting 350 Union VFX $18,000,000 $40,400,000
2017 Ghost in the Shell 1000 MPC (600 artists), Lola, Atomic Fiction, Framestore (7 shots, 40 artists, 10 weeks) $110,000,000 $163,900,000
2016 The Magnificent Seven 900 Zero VFX (80 people) $108,000,000 $160,400,000
2016 Passengers 1400 Moving Picture Company (MPC) (1150 shots), Digital Domain, Instinctual VFX, The Senate Visual Effects $110,000,000 $57,400.000
2016 Arrival 700 Alchemy 24, Folks, Framestore (33 artists, 9 shots, 10 weeks), Hybride Technologies (245, 90 employees), MELS, Oblique FX, Raynault VFX, Rodeo FX (60) $47,000,000 $145,900,000
2016 Fantastic Beasts and Where to Find Them 1500 Double Negative, Cinesite (98 shots), Image Engine Design, Framestore (800 shots), Moving Picture Company (MPC), Method Studios, Rodeo FX (144 artists, 126 shots) $180,000,000 $772,500.000
2016 Doctor Strange 1450+ Industrial Light & Magic (ILM) (100 people, 288 shots), Framestore (365 shots), Luma Pictures, LolaVFX, Method Studios (140 people, 300 shots), Rise VFX (44 artists, 88 shots), Crafty Apes (16 artists, 120 shots) $165,000,000 $657,200,000
2016 Rogue One 1600+ Industrial Light & Magic (ILM), Hybride, Atomic Fiction, Scanline VFX, GhostVFX, Whiskytree $200,000,000 $263,200,000 Still on Theatres
2017 Valerian and the City of a Thousand Planets 2734+ Double Negative (1300), MPC (200), Scanline, RodeoFX $170,000,000 $?? Not released yet
2016 Miss Peregrine's Home for Peculiar Children 1500+ Double Negative (1300), MPC (200), Scanline, RodeoFX $110,000,000 $245,200,00
2016 Star Trek Beyond 1450 Double Negative, Atomic Fiction (450, 100 artists), RodeoFX $185,000,000 $341,900,000
2016 Warcraft 1000 Industrial Light & Magic (ILM), RodeoFX, BaseFX, Hybride $160,000,000 $433,500,000
2016 The Legend of Tarzan 1200 Framestore (700), MPC, Rodeo (200, 65 artists), Lola, Method, Rising Sun and One Of Us $180,000,000 $356,700,000
2016 Independence Day: Resurgence 1750 Weta (230, 400 people), MPC, Scanline (300), ImageEngine, Cinesite, Luxx Studios, Uncharted Territory and Digital Domain. $165,000,000 $389,700,000
2016 Mechanic: Resurrection 1134 Worldwide FX (100 artists) $40,000,000 $109,400,000
2016 Suicide Squad 650+ Moving Picture Company (MPC) (350), Sony Imageworks (300) $175,000,000 $745,000,000
2016 Teenage Mutant Ninja Turtles: Out of the Shadows 1300 Industrial Light & Magic (ILM), BaseFX, Virtuos and WhiskeyTree. 550 artists in total $135,000,000 $245,000,000
2016 Deadpool 1200 Weta Digital (284 shots, 57 artists), Digital Domain (240 shots), Image Engine Design, Rodeo FX (230 shots, 90 people), Atomic Fiction (247 shots, 130 people), Blur Studio (37 shots), Luma Pictures $58,000,000 $781,575,627
2016 Pride & Prejudice & Zombie 200 Cinesite $28,000,000 $16,374,328
2015 Bridge of Spies 200 Pixomondo, Double Negative $40,000,000 $165,478,348
2016 Batman v Superman: Dawn of Justice 1500 Weta Digital, Moving Picture Company (MPC) (450), Double Negative, ScanlineVFX (350 shots, 200 artists) $250,000,000 $872,662,631
2016 The Jungle Book 1200 MPC (1200 shots, 800 artists) $175,000,000 $934,577,614
2016 X-Men: Apocalypse 1200+ MPC (996), Digital Domain, Cinesite (30), Hydraulx, Rising Sun Pictures $178,000,000 $529,129,059
2016 Warcraft 2000 Industrial Light & Magic (ILM), Rodeo FX, Hybride Technologies, El Ranchito $160,000,000 $422,095,150
2016 Alice Through the Looking Glass 2000 Sony Pictures Imageworks (1700), Double Negative (300) $170,000,000 $260,344,919
2016 Central Intelligence 589 Factory VFX, Rodeo FX, Weta Digital $50,000,000 $124,747,074
2016 Captain America: Civil War 3000 Industrial Light & Magic (ILM) (637 shots, 220 people), RiseFX (300 shots, 120 artists), Luma Pictures (200 shots), Double Negative, Animal Logic , Image Engine, Lola Post, Method Studios, Trixter, Prime Focus, RiseFX, Crafty Apes, $250,000,000 $990,976,153
2016 Gods of Egypt 2550 Iloura, Rising Sun Pictures, Cinesite, Raynault, Rodeo FX, UPP, Tippett and Comen VFX $140,000,000 $138,669,740
2016 Crouching Tiger, Hidden Dragon: Sword of Destiny 500 Lola VFX (65 shots, 15 people), Pixomondo Toronto (335 shots, 65 people) and Zoic Studios Vancouver (150 shots, 65 people) $??? $31,000,000
2015 The Man from U.N.C.L.E. 500+ BlueBolt (224 vfx shots, 8 months, 30 people), Cinesite, Rise VFX (212 vfx shots, 15 months, 65 people) $75,000,000 $109,645,109
2015 The Revenant 630 Industrial Light & Magic (ILM), MPC, Cinesite (135) and Gradient FX $135,000,000 $232,197,600
2015 Star Wars: The Force Awakens 2100 Industrial Light & Magic (ILM), BaseFX & Hybride (1300 vfx shots, 920 artists), Kelvin Optical (800 shots, 80 artists) $200,000,000 $1,948,345,219
2015 Southpaw 500 Zero VFX (6 months, 50 people) $30,000,000 $90,903,415
2015 The Last Witch Hunter 1023 Rodeo FX (400), Luma Pictures (90), Method Studios (36), Cinesite (60), Image Engine (137). The remaining 400 shots were split between Lola, Synaptic and Big Sky $90,000,000 $84,910,596
2015 Spectre 1500 ILM (opening sequence and helicopter fight and Spectre base), DNEG (all the London stuff at the end), MPC (the Alpine and torture room sequences), Cinesite (334 shots, all the Rome and Tangier bits), Peerless (a lot of other odds and sods.) $250,000,000 $542,100,000
2015 Goosebumps 900 MPC (700 shots), Sony Pictures Animation and Vitality Visual Effects $58,000,000 $55,366,046
2015 Everest 900 RVX (400 shots, 50 people), Framestore (200 shots), Evolution FX, Important Looking Pirates, Milk Visual Effects, One Of Us and Union Visual Effects $55,000,000 $168,233,106
2015 The Martian 1100 MPC (425 shots), Framestore (338 shots), Industrial Light & Magic (ILM), Milk Visual Effects, Prime Focus World, The Senate Visual Effects and Territory. 700 artists in total. $108,000,000 $595,745,402
2015 The Walk 672 Atomic Fiction (250), RodeoFX (100) and UPP. 500 artists in total. $35,000,000 $43,233,547
2015 Mission: Impossible – Rogue Nation 1000 Double Negative, Lola Visual Effects and Territory $150,000,000 $438,563,000
2014 The Monkey King 1800 Crafty Apes, Macrograph, CafeFX. 3 months of work (crazy) $82,000,000 $181,900,000
2015 Zhongkui: Snow Girl and the Dark Crystal 1200+ Macrograph, Pixomondo, W2 Studios $130,000,000 $64,470,000
2015 Terminator: Genisys 1200 Double Negative (900 shots, 500 crew), MPC (250 shots), Industrial Light & Magic, Lola VFX, One of Us, and Method Studios $155,000,000 $353,090,000
2015 Pixels 632+ Digital Domain (361 shots, 160 people), Sony Pictures Imageworks (246), Trixter (25), Atomic Fiction, Pixel Playground, Lola VFX, Shade VFX $88,000,000 $173,882,000
2008 Hancock 525 Sony Imageworks $150,000,000 $624,386,746
2006 Casino Royale 580 Peerless Camera Co (430), Double Negative (50), Cinesite (30), MPC (20), Baseblack (20), Fuzzy Goat (20) $150,000,000 $599,045,960
2004 The Chronicles of Riddick 800 Double Negative, Rhythm & Hues and Hammerhead $105,000,000 $115,772,733
2007 I Am Legend 800 Sony Imageworks (800) $150,000,000 $585,349,010
2009 Angels & Demons 917 Double Negative (359), CIS Vancouver (240), MPC (201) shots, The Senate (196) and in-house unit (161) $150,000,000 $485,930,816
2006 Silent Hill 619 BUF Compagnie (197), and C.O.R.E. Digital Pictures (227), Mr. X (68), Intelligent Creatures (6), Invisible Pictures (17), Frantic Films (47), Mokko (45) $50,000,000 $97,607,453
2014 San Andreas 1300 Method Studios (247), Cinesite (160), Hydraulx, Atomic Fiction, ScanlineVFX, Image Engine, Soho VFX $110,000,000 $460,985,432
2014 Into the Storm 600 Cinesite, Digital Domain, Gentle Giant Studios, Hydraulx (150), Method Studios (180 shots in 4 months), Rhythm & Hues Studios $50,000,000 $160,602,194
2006 Final Destination 3 340 Meteor Studios (144), Digital Dimension (100), Soho VFX (35) $25,000,000 $117,719,158
2005 Doom 350 Double Negative (200), Framestore (130) $60,000,000 $55,987,321
2007 28 Weeks Later 404 Rising Sun Pictures and Animal Logic in Australia, Lip Sync, The Senate, The Mill, Rushes, Framestore CFC, DNA, Tim Walton and Chocolate Lab in London $15,000,000 $64,238,440
2004 I, Robot 800+ Digital Domain (500 shots in 14 months, including about 460 shots featuring CG robots), Weta Digital (300) $120,000,000 $347,234,916
2008 Max Payne 264 Spin (107), Soho (30) and Mr. X (12) $35,000,000 $85,416,905
2013 White House Down 1400+ Uncharted Territory (1000 shots in 12 months), Baseblack, Prime Focus World (326 shots, 174 artists), Hybride Technologies, Scanline VFX (9), Image Engine (100) and Method Studios (185 shots, 65 artists, 8 months) $150,000,000 $205,366,737
2012 Dark Shadows 340+ MPC (340), BUF Compagnie, The Senate and Method Studios $150,000,000 $245,527,149
2008 Asterix at the Olympic Games 1400 Duboi (530), BUF Compagnie (515) and Mikros Image (315) $113,500,000 $132,900,000
2007 The Golden Compass 1500 Rhythm & Hues & Rhythm & Hues India (755), Cinesite (475), Framestore (322), Digital Domain (150), Rainmaker UK (114), Peerless Camera (74), Tippett Studio (28), Digital Back Lot (13), Matte World Digital (7) $180,000,000 $372,234,864
2008 10,000 BC 320 Double Negative (170), MPC (150) $105,000,000 $269,784,201
2005 The Brothers Grimm 800 Peerless Camera $88,000,000 $105,316,267
2005 Charlie and the Chocolate Factory 800 MPC, Cinesite (160), Framestore (70), Digital Domain $150,000,000 $474,968,763
2009 Stardust 830 Double Negative (350), LipSync Post, Cinesite, The Senate, Baseblack, Machine and Rushes $88,500,000 $135,560,026
2009 Gamer 1000 yU+co (568 shots), LookFX (381 shots), Furious FX (209 shots), Therapy (120 shots), Sub/Par (the in-house staff, which did 107 shots), Duran Duboi (61 shots), Celluloid (24 shots), Gradient (4 shots) and Luma Pictures (4 shots) $50,000,000 $40,828,540
2008 Mutant Chronicles 1645 Men-From-Mars (1454 shots, 30 people, 6 months). Dinamo Prods., Baseblack and Lipsync Post $25,000,000 $2,131,057
2006 Crank: High Voltage 440 Luma Pictures, Duran Duboi, LOOK Effects, Furious FX, Celluloid $20,000,000 $34,560,577
2006 Poseidon 140 Industrial Light & Magic (ILM), MPC, Lola VFX, Hydraulx $160,000,000 $181,674,817
2006 Underworld: Evolution 553 Luma Pictures (195), Ntropic (79), Furious FX (78), Company 3 (42), CafeFX (23), Krypton (15), Framestore (12) $45,000,000 $111,340,801
2006 Mission: Impossible III 550 Industrial Light & Magic (ILM), Lola VFX $150,000,000 $397,850,012
2011 Mission: Impossible – Ghost Protocol 700 Industrial Light & Magic (ILM), Fuel VFX, Base VFX, Pixomondo $145,000,000 $694,713,380
2015 Ted 2 1600+ Iloura (1000, 9 months), Tippett Studio (600) $68,000,000 $153,489,224
2015 Mad Max: Fury Road 2000+ Iloura (1500), Hybrid Enterprises and Method Studios $150,000,000 $367,104,128
2015 Cinderella 823 MPC (800), Rodeo (23) $95,000,000 $538,541,000
2011 Spy Kids: All the Time in the World 1114 Hybride (1114) $27,000,000 $85,600,000
2015 Avengers: Age of Ultron 3000+ Industrial Light & Magic (ILM) (810 shots – 425 artists), Double Negative, Luma Pictures, Method Studios, Animal Logic, Lola Visual Effects $279,900,000 $1,388,522,000
2015 Baahubali: The Beginning 4500+ 600 artists and 17 visual effects studios $18,000,000 $89,000,000
2014 Into the Woods 300 MPC $50,000,000 $204,302,372
2014 Kingsman: The Secret Service 220 Nvizible: 220 shots, 110 of which were legs. 30 artists. $81,000,000 $401,071,116
2014 American Sniper 200 MPC $58,800,000 $541,761,848
2015 Chappie 1300 Image Engine (1300 shots (about a 1000 of those being Chappie)) $49,000,000 $84,600,000
2014 Interstellar 700 Double Negative (600+ were in Imax 5.6K, 450 people) $165,000,000 $671,600,000
2014 Teenage Mutant Ninja Turtles 1000+ ILM (1000 shots, 450 people), Image Engine (a good portion of the snow chase sequence), Base FX (some of the young turtles and youthful rat work), Tippet (the flashback sequence with the young turtles and Splinter), Atomic Fiction (CG environment work). $125,000,000 $477,204,754
2014 Dracula Untold 700+ Framestore, Level256, Milk VFX, Windmill Lane VFX and Method LA (250 people) $17,000,000 $215,000,000
2014 Night at the Museum: Secret of the Tomb 886+ Digital Domain (340), MPC (250), Method Studios (209), Cinesite (87) $127,000,000 $360,224,307
2014 Paddington 756 Framestore (350 – 25 artists) $50,000,000 $42,600,000
2014 Godzilla 960 MPC (350), Double Negative, ScanlineVFX, Weta Digital $160,000,000 $507,463,953
2014 Exodus: Gods and Kings 1800 Double Negative (1300 shots, 2000 artists and producers), MPC (500 shots, team of 787 all sites), One of Us, Peerless $140,000,000 $268,031,828
2014 Transformers: Age of Extinction 600+ Industrial Light & Magic (ILM) (600 shots, 1,5 years, 550 artists), Atomic Fictio, Method Studios $210,000,000 $1,091,405,097
2014 Guardians of the Galaxy 2750 MPC (857), Framestore (633), Industrial Light & Magic (ILM), Sony Pictures Imageworks (SPI) (88), Luma, Method Studios, … $170,000,000 $772,349,244
2014 Kick 1000 Prime Focus $16,000,000 $56,000,000
2010 The Chronicles of Narnia: The Voyage of the Dawn Treader 1400 MPC (700), Framestore (60), Cinesite, The Senate and The Mill $155,000,000 $415,686,217
2012 The Twilight Saga: Breaking Dawn – Part 2 450+ Tippet Studio (380), Method Studios, Rodeo (50) $120,000,000 $829,685,377
2011 The Twilight Saga: Breaking Dawn – Part 1 1275 Tippet Studio (150), Method Studios (62), Soho, Spin $110,000,000 $712,171,856
2013 The Hunger Games: Catching Fire 840+ Double Negative (400), Method Studios (155), Weta Digital (85 shots, 200 artists, 4 months), Rodeo (100) $140,000,000 $864,565,663
2012 The Hunger Games 1200 Hybride (367), Rising Sun Pictures, Pixomondo, ILM, Rhythm & Hues, Whiskytree, Digiscope, Clearcut FX $78,000,000 $691,200,000
2001 Harry Potter and the Sorcerer's Stone 600 MPC (95), Cinesite, Industrial Light & Magic (ILM) $125,000,000 $974,755,371
2007 Harry Potter and the Order of the Phoenix 1400 Double Negative (950), MPC, Framestore, Cinesite $150,000,000 $939,885,929
2011 Thor 1309 Digital Domain (350), Luma (310), Buf (288), Whiskytree and Fuel (55) $150,000,000 $449,300,000
1999 Wild Wild West 400 Industrial Light & Magic (ILM), Cinesite $170,000,000 $222,105,681
1995 Waterworld 400 Cinesite, Rhythm & Hues $172,000,000 $264,218,220
2011 Green Lantern 1315 Sony Pictures Imageworks (SPI) (1000), MPC, Rising Sun $200,000,000 $219,851,172
2009 2012 1315 Scanline, Digital Domain, Double Negative, Sony Pictures Imageworks, Pixomondo, Hydraulx $200,000,000 $769,679,473
2006 Superman Returns 1400 Sony Pictures Imageworks (SPI) (317), Framestore (313 shots, 70 artists, 8 months), Rhythm and Hues, Orphanage (200) $204,000,000 $391,081,192
2012 Battleship 1200 Industrial Light & Magic (ILM) (1000) $209,000,000 $303,025,485
2010 Alice in Wonderland 1700 Sony Pictures Imageworks (SPI), Cafe $200,000,000 $1,025,467,110
2012 Wrath of the Titans 844 Framestore (300), MPC (280), Nvizible (70), Method Studios (114) and The Senate (80) $150,000,000 $305,270,083
2012 Skyfall 1300 Double Negative, MPC (300 shots, 150 artists, 9 months), Cinesite (100 shots, 40 artists, 9 months), Framestore, BlueBolt (97 shots, 20 artists) $200,000,000 $1,108,600,000
2011 Harry Potter and the Deathly Hallows: Part 2 1200+ Double Negative (410), MPC (325), Framestore (90), Baseblack, Cinesite (400), Union (50), Rising Sun $250,000,000 $1,341,511,219
2010 Harry Potter and the Deathly Hallows: Part 1 600+ Double Negative (166), MPC (180), Framestore, Baseblack (300), Cinesite (46) and Rising Sun $250,000,000 $960,283,305
2005 Batman Begins 650 Double Negative (300), MPC $150,000,000 $374,200,000
2008 The Dark Knight 650 Double Negative, Framestore (226), BUF, Cinesite $185,000,000 $1,004,558,444
2012 The Dark Knight Rises 450 Double Negative $275,000,000 $1,084,439,099
2005 The Chronicles of Narnia: The Lion, the Witch and the Wardrobe 1617 Industrial Light & Magic (ILM), Sony Pictures Imageworks (SPI), Rhythm and Hues $180,000,000 $745,013,115
2008 The Chronicles of Narnia: Prince Caspian 1800 MPC (842), Framestore (514), Weta Digital (296), Scanline, Rising Sun $225,000,000 $419,665,568
1997 Titanic 516 Industrial Light & Magic (ILM), Digital Domain $200,000,000 $2,186,772,302
2009 Avatar 2500 Weta Digital, Industrial Light & Magic (ILM), Framestore $237,000,000 $2,787,965,087
2011 Sherlock Holmes: A Game of Shadows 1000+ Framestore (500 shots, 100 artists, 1 year), MPC (400 shots, 150 artists, 1 year) $125,000,000 $545,448,418
2009 Sherlock Holmes 500+ Framestore (450 shots, 1 year), Double Negative $90,000,000 $524,028,679
2010 Prince of Persia: The Sands of Time 1000+ Cinesite (285 shots, 60 artists), MPC (300 shots, 100 artists), Framestore (220 shots, 60 artists) and Double Negative (200 shots, 100 artists) $200,000,000 $336,365,676
2011 Battle: Los Angeles 1000 Cinesite (110 shots, 34 artists, 10 months), Hydraulx, SPIN (200 shots, 50 artists, 3 months), The Embassy, Shade, Luma Pictures, Soho $70,000,000 $211,819,354
2011 Sucker Punch 1100 MPC (150 shots, 70 artists, 9 months), Animal Logic (200 shots), Prime Focus (180 shots, 1 year), Pixomondo (200 shots, 120 artists, 1 year) $82,000,000 $89,792,502
2011 X-Men: First Class 1100 Rhythm & Hues, Cinesite (150 shots), Luma Pictures (95 shots, 60 artists), Digital Domain, MPC (125 shots, 115 artists, 8 months) and Weta Digital $160,000,000 $353,624,124
2011 Transformers: Dark of the Moon 1000+ Industrial Light & Magic (ILM) (580 shots, 355 artists, 18 months), Digital Domain (350) $195,000,000 $1,123,794,079
2011 Rise of the Planet of the Apes 1000 Weta Digital (600 artists, 1,5 years), Soho, Atomic, Lola $93,000,000 $481,801,049
2011 Final Destination 5 150+ Prime Focus (130 shots, 70 artists, 9 months), Soho $40,000,000 $157,887,643
2012 John Carter 2000+ Double Negative (960 shots, 850 artists, 1,5 years), Cinesite (831 shots, 400 artists), MPC (180 shots, 160 artists, 9 months), Nvizible $250,000,000 $284,139,100
2012 The Avengers 2200 Industrial Light & Magic (ILM) (700 shots, 300 artists, 1 year), Weta Digital (400 shots, 500 artists, 1 year), Scanline, Hydraulx, Fuel (150 shots, 50 artists, 5 months), Luma (200 shots, 80 artists), Digital Domain $220,000,000 $1,518,594,910
2010 Robin Hood 1200 MPC (570), Prime Focus, Lola $150,000,000 $321,669,730
2012 Prometheus 1400 MPC (420), Weta Digital, Fuel (200) $130,000,000 $403,300,000
2012 The Amazing Spider-Man 1600 Sony Pictures Imageworks (671), Pixomondo, Method, Rodeo FX $230,000,000 $757,930,663
2012 The Amazing Spider-Man 2 1600 Sony Pictures Imageworks (SPI) (1000), MPC (300), Pixomondo (272 shots, 202 artists, 6 months) $200,000,000 $706,204,650
2012 The Expendables 2 1547 Worldwide FX (1186 shots, 277 splendid folks, artists, 24 weeks) $100,000,000 $311,900,000
2012 Dredd 750 Prime Focus (650 shots, 70 artists, 24 weeks), Baseblack (12 artists, 5 months) $45,000,000 $41,000,000
2012 Flight 1000+ Atomic Fiction (400 shots, 35 artists, 6 months) $31,000,000 $161,772,375
2009 Star Trek 1000+ Industrial Light & Magic (ILM), Digital Domain $150,000,000 $385,494,555
2013 Oblivion 804 Digital Domain (370), Pixomondo (434) $120,000,000 $286,168,572
2014 X-Men: Days of Future Past 1311 Digital Domain (450 shots, 242 artists, 8 months), Rising Sun (46 shots, 5,5 months), MPC, (372 shots, 250 artists) $200,000,000 $736,316,366
2013 Star Trek Into Darkness 1800+ Industrial Light & Magic (ILM) (1400 shots, "hundreds of people", 2 years), Pixomondo (380 shots, 350 artists, 1 year) $185,000,000 $467,365,246
2013 World War Z 1000+ MPC (450 shots, 150 artists, 2 years), Cinesite (400), Industrial Light & Magic (ILM), Framestore, Lola $190,000,000 $540,007,876
2013 The Lone Ranger 1000+ Industrial Light & Magic (ILM) (422 shots, 170 artists, 8 months), MPC (550), Lola, Atomic Fiction $250,000,000 $260,502,115
2014 Pompeii 500 Mr. X, Scanline, Soho, Spin, Rocket $80,000,000 $101,819,748
2013 Non-Stop 500+ Prime Focus (474 shots, 5 months), Method Studios $50,000,000 $225,742,160
2013 47 Ronin 1200 Framestore (700 shots, 200 artists), Baseblack (315 shots, 30 artists, 21 months), MPC (250) $175,000,000 $150,962,475
2014 300: Rise of an Empire 1215+ Scanline (700), MPC (215 shots, 300 artists, 5 months), Cinesite (300) $110,000,000 $331,114,051
2014 Robocop 1080+ Framestore (600), Method Studios (280 shots, 127 artists, 3 months), Mr. X (200 shots, 82 artists) $130,000,000 $242,688,965
2013 Sharknado (TV Movie) 350 The Asylum (10 artists) $250,000 TV Movie
2014 Edge of Tomorrow 1200 Sony Pictures Imageworks (SPI) (430 shots, 14 months, 130 artists), Framestore, Nvizible (400 shots, 1 year, 20 artists), Cinesite (189 shots, 70 artists), Rodeo $178,000,000 $351,830,000
1983 Star Wars: Episode VI – Return of the Jedi 900 Industrial Light & Magic (ILM) $32,500,000 $475,106,177
2007 Spider-Man 3 900 Sony Pictures Imageworks (SPI) (250 artists) $258,000,000 $890,871,626
2013 The Hobbit: The Desolation of Smaug 2000 Weta Digital $225,000,000 $960,366,855
2012 The Hobbit: An Unexpected Journey 2135+ Weta Digital $180,000,000 $1,017,003,568
2002 Spy Kids II 1050 Cinesite, Hybride (650) $38,000,000 $119,723,358
2010 TRON: Legacy 1565 Digital Domain (880), Mr. X, Prime Focus (120) $170,000,000 $400,062,763
1977 Star Wars 360 Industrial Light & Magic (ILM) $11,000,000 $775,398,007
2005 King Kong 2400 Weta Digital $207,000,000 $550,500,000
2011 Pirates of the Caribbean: On Stranger Tides 1200 Industrial Light & Magic (ILM), MPC (305 shots, 90 artists, 9 months), Cinesite (300), Bluebolt, Method Studios $379,000,000 $1,045,713,802
2006 Pirates of the Caribbean: Dead Man's Chest 1100 Industrial Light & Magic (ILM), Method Studios $225,000,000 $1,066,179,725
2007 Pirates of the Caribbean: At World's Ends 1400 Industrial Light & Magic (ILM) (750), Digital Domain (300), Method Studios $300,000,000 $963,420,425
2003 Lord of the Rings: Return of the King 1500 Weta Digital $94,000,000 $1,119,929,521
1999 The Matrix 412 Animal Logic $63,000,000 $463,517,383
1999 End of Days 450 Rhythm and Hues, Stan Winston Studios $80,000,000 $211,989,043
1997 Starship Troopers 500 Industrial Light & Magic (ILM), Stan Winston Studios $105,000,000 $121,214,377
2002 Star Wars: Episode II – Attack of the Clones 2200 Industrial Light & Magic (ILM) $15,000,000 $649,398,328
1996 The Frighteners 570 Weta Digital $26,000,000 $29,359,216
1980 Star Wars: Episode V – The Empire Strikes Back 605 Industrial Light & Magic (ILM) $33,000,000 $538,375,067
2002 The Lord of the Rings: The Two Towers 800 Weta Digital $94,000,000 $926,047,111
2001 The Lord of the Rings: The Fellowship of the Ring 480 Weta Digital $93,000,000 $871,530,324
1999 Star Wars: Episode I – The Phantom Menace 1950 Industrial Light & Magic (ILM) $115,000,000 $1,027,044,677
2005 Star Wars: Episode III – Revenge of the Sith 2200 Industrial Light & Magic (ILM) $113,000,000 $848,754,768
1996 Independence Day 430 Digiscope $75,000,000 $817,400,891
2003 The Matrix Revolutions 804 Sony Pictures Imageworks (SPI) $150,000,000 $427,343,298
2003 The Matrix Reloaded 1227 Sony Pictures Imageworks (SPI), Animal Logic $150,000,000 $742,128,461
2002 Minority Report 477 Industrial Light & Magic (ILM) $102,000,000 $358,372,926
1998 Godzilla 400 Sony Pictures Imageworks (SPI) $130,000,000 $379,014,294
2014 The Hobbit: Battle of the Five Armies 1836+ Weta Digital $250,000,000 $955,119,788
2013 Man of Steel 1500+ Weta Digital (607 shots, 1,4 years, 500 artists), Double Negative (400), MPC (450 shots, 1,5 years, 250 artists), Scanline $225,000,000 $668,045,518
2013 Oz the Great and Powerful 1500+ Sony Pictures Imageworks (SPI), Luma Pictures, Method Studios. The movie had 1800 shots in total. $215,000,000 $493,311,825
2011 Hugo 800 Pixomondo $170,000,000 $185,770,160
2009 Transformers: Revenge of the Fallen 800+ Industrial Light & Magic (ILM) $200,000,000 $836,303,693
2008 Iron Man 800+ Industrial Light & Magic (ILM) $140,000,000 $585,174,222
2010 Iron Man 2 1000+ Industrial Light & Magic (ILM), Double Negative (250 shots, 200 artists), Fuel (130) $200,000,000 $623,933,331
2010 Iron Man 3 2000+ Digital Domain (250), Weta Digital (422 shots, 40 artists, 4 months), Scanline (250 shots, 125 artists, 13 months), Method Studios (80 shots, 75 artists, 9 weeks), Cinesite (104 shots, 44 artists, 9 weeks), Fuel (70 shots, 30 artists, 5 months), Framestore (113 shots, 97 artists, 4,5 months), Luma Pictures $200,000,000 $1,215,439,994
2007 Transformers 630+ Industrial Light & Magic (ILM), Digital Domain $150,000,000 $709,709,780
2013 G.I. Joe: Retaliation 700+ Industrial Light & Magic (ILM) (180), Digital Domain (227), Method Studios (230 shots, 70 artists – 7 months) $130,000,000 $375,740,705
1993 Jurassic Park 50 Stan Winston Studio & Tippett Studio $63,000,000 $1,029,153,882
2015 Jurassic World 2000 Industrial Light & Magic (ILM) (1500), Image Engine, Hybride (180) $150,000,000 $1,465,838,000
2012 Life of Pi 690 Rhythm and Hues (446), MPC (110 shots, 220 artists, 2.5 years), Look (60 shots, 6 artists, 1 year). The movie had a total of 960 shots. $120,000,000 $609,016,565
2008 Quantum Solace 900+ Double Negative, Framestore, MPC $200,000,000 $586,090,727
2014 Noah 1000+ Industrial Light & Magic (ILM) (380 shots, 235 artists, 1 year), Look (300 shots) $125,000,000 $359,200,044
1991 Terminator 2: Judgment Day 54+ Industrial Light & Magic (ILM), Stan Winston Studio $102,000,000 $519,843,345
2012 Men in Black 3 1214+ Sony Pictures Imageworks (650) $215,000,000 $624,026,776
2014 Maleficent 1500+ MPC (850), Digital Domain (540 shots, 320 artists), Method Studios, The Senate $180,000,000 $668,994,000
2014 Divergent 381 Method Studios $85,000,000 $269,276,713
2009 Star Trek 1005+ Industrial Light & Magic (ILM) (797). Digital Domain $150,000,000 $385,494,555
2014 The Grand Budapest Hotel 340+ LOOK! Effects (12 artists – 10 months) $31,000,000 $166,728,513
2015 Tomorrowland 1300+ Industrial Light & Magic (ILM) (1200 shots, 200 artists), RodeoFx (50), Hybride (68) $190,000,000 $203,380,000
2013 Ender's Game 941 Digital Domain (700). The movie had 1200 shots in total. $110,000,000 $125,537,191
2013 Elysium 1000+ Image Engine (700), Method Studios, MPC, Industrial Light & Magic (ILM). 178 vfx shots were cut out. $115,000,000 $286,140,700
2013 Pacific Rim 1566 Industrial Light & Magic (ILM) (785), Rodeo (200), Base FX, Hybride (318) and Ghost VFX $190,000,000 $411,002,944
2013 Now You See Me 600+ Rodeo (350 shots, 55 artists, 1 year), Modus Fx (227), Image Engine, Industrial Light & Magic (ILM) (2) $75,000,000 $351,723,989
2009 Terminator Salvation 1250+ Industrial Light & Magic (ILM) (366), Rodeo (17), Rising Sun Pictures $200,000,000 $371,353,001
2014 Sin City: A Dame to Kill For 2000 Prime Focus $65,000,000 $39,407,616
2015 Jupiter Ascending 2000 Double Negative, Framestore (500), Method Studios (320), Blue Bolt, Rodeo FX $176,000,000 $181,887,723
2014 Captain America: Winter Soldier 2500 Industrial Light & Magic (ILM) $170,000,000 $712,575,22
2011 Ra.One 3500 Prime Focus, Alien Sense $21,000,000 $40,000,000
2012 Son of Sardaar 3800 Pixion $5,000,000 $25,000,000
1998 Pleasantville 1700 Cinesite $42,000,000 $49,805,462
Ordered by VFX Shots delivered
Source extracted from interviews, official website companies and official statements.
Any correction/addition, drop me a line.
© Copyright Upcoming VFX Movies - About - Contact

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Horizontally centering glyph over text In the given MWE, note that the new slur command is not centered with the two Fs that it connects.
I've tried adjusting the scale of lilyGlyph, but it remains too far left. I would like the ends of the slur to be centered with either F. But if it's not too difficult, I'd also like to see how one could make the ends centered with the entire F$^x$ unit.
\stackon from the stackengine package may be helpful, as shown in Two-lined text (text over text) (see also Stackengine centering problem). I've supplied an attempt at the bottom of the MWE, but it's still not adequately centered, nor can I find a way to lower it.
(And for anyone curious, this is for a particular type of musical notation.)
%XeLaTeX
\documentclass{report}
\usepackage{fontspec}
\usepackage{graphicx}
\usepackage{lilyglyphs}
\usepackage{stackengine}

\newcommand{\slur}{%
    \scalebox{2}[1]{%
        \rotatebox{180}{\lilyGlyph[scale=1.5,raise=-2.0]{ties.lyric.default}}%
            }%
        \phantom{\textendash}%
        }

\begin{document}
G$^2$--F$^2$\slur F$^1$--E$^1$

G$^2$--\stackon{F$^2$\phantom{\textendash}F$^1$}{\scalebox{2}[1]{\rotatebox{180}{\lilyGlyph[scale=1.5]{ties.lyric.default}}}}--E$^1$
\end{document}

A: I changed the stacking gap, the horizontal scale of the slur, and added a small kern.  I also used the full \stackengine macro to readily obtain the "useanchorwidth" setting as true.
I put it in a macro, with an optional argument, that determines a horizontal scaling.
%XeLaTeX
\documentclass{report}
\usepackage{fontspec}
\usepackage{graphicx}
\usepackage{lilyglyphs}
\usepackage{stackengine}
\newcommand\slur[3][3.5]{%
\stackengine{-.5pt}{#2\phantom{\textendash}#3}%
  {\scalebox{#1}[1]{\rotatebox{180}%
  {\lilyGlyph[scale=1.5]{ties.lyric.default}}}\kern1pt}%
  {O}{c}{F}{T}{S}
}

\begin{document}
G$^2$--\slur{F$^2$}{F$^1$}--E$^1$

G$^2$--\slur[2.4]{F}{G}--E$^1$
\end{document}

redpajama_set_name: RedPajamaStackExchange


text:
Q: Android: extra security for strings by encryption I would make my Android app show a toast to remind the user to upgrade to premium version.
I would like to know whether it does make sense to conjure the message by decrypting a resource text file with secret strings so it cannot be pirated.
I mean: if the message string in the strings.xml is replaced in the apk with an empty string by a pirate (who wants to distribute the apk on a website) the user can use the app without being bothered so never purchases it.

A: If you place these strings within your apk, it will never be secure enough.
The better option here is to use a backend API to retrieve these strings resources. This way, if you're need to use some of its functions. It have to contact your backend API first to retrieve these resources.


A corporate clothing supplier has kitted out the Great North Air Ambulance Service (GNAAS) with a small but important piece of uniform. Dimensions donated shoulder patches – known as epaulettes – to the charity to help its emergency workers be more easily identified on the scene of an incident. Mark Cotgrave, paramedic at GNAAS, said: "The shoulder epaulettes are a vital part of the uniform. "The patches allow each team member on scene at an incident to identify each other's position, for example, doctors from paramedics." Paul Lippeatt, account manager at Dimensions said: "We are very pleased to hear that the epaulettes we provided to the GNAAS have been well received. "As suppliers of uniform to the emergency services, we despatched over 40,000 pairs of epaulettes in 2015 and were very happy to assist the charity with their request." Mr Cotgrave added: "Thank you to Dimensions for their kind donation, this will allow public donations to go further in the charity to keep saving lives." GNAAS needs to raise £4.5m every year to continue to operate its three helicopter air ambulances.
A corporate clothing supplier has kitted out the Great North Air Ambulance Service (GNAAS) with a small but important piece of uniform.
Dimensions donated shoulder patches – known as epaulettes – to the charity to help its emergency workers be more easily identified on the scene of an incident.
Mark Cotgrave, paramedic at GNAAS, said: "The shoulder epaulettes are a vital part of the uniform.
Paul Lippeatt, account manager at Dimensions said: "We are very pleased to hear that the epaulettes we provided to the GNAAS have been well received.


On Saturday (12/4) North and Central California was getting left over waist high or so glassy surf coming from what was a gale in the Northeastern Gulf of Alaska. Southern California was dead flat and clean up north. Down south it was maybe thigh high and clean. Hawaii's North Shore was getting leftover north angled swell with waves head high or so on the sets at top spots and clean though still a little warbled. The East Shore report was not available. The South Shore is not being monitored for the winter and presumed to be asleep with waves 2 ft or less.
The forecast for North and Central CA is for new Gulf swell to arrive Sunday at 6.0 ft (faces) and likely troubled by south winds. Monday the swell drops out at 2.0 ft with much south chop on top, then even flatter by Tuesday. Possible larger swell building on Wednesday to 13 ft fading from 13 ft early Thursday. Southern California is to see new swell building to thigh to waist high for later Sunday from a northerly direction. Knee high leftovers expected at best early Monday and then flat Tuesday. Possible new northerly swell on Wednesday to near head high late pushing 1 ft overhead or more early Thursday at exposed breaks. The North Shore of Oahu is to see waist high leftover north swell on Sunday. Monday might have some new waist to chest high northwest swell pushing in late reaching 2 ft overhead on Tuesday with luck and then to 13 ft on Wednesday then fading from 12 ft on Thursday. The East Shore is to see east windswell dropping from head high Sunday then waist high Monday and fading out. The South Shore is asleep for the winter.
A gale fell southeast through the Eastern Gulf Thursday to a point 1000 nmiles west of Northern CA late Friday (12/3) producing up to 40 kt northwest winds and 26 ft seas Friday AM at 47N 142W setting up some rideable swell for California by Sunday (12/5). And a broader gale remains forecast to follow in the Northeastern Gulf on Sun-Mon (12/6) peaking into early Tuesday with 40-45 kt northwest winds and now up to 35 ft seas at 40N 147W (on Tuesday) aimed both at Hawaii and California likely making larger swell arriving at both locations by Wed (12/8). Otherwise a broad fetch of east winds (aimed at Japan) and 25 ft seas are holding solid over the dateline pushing west into later next week (Thurs 12/9) suggesting that high pressure and a barrier remains in.cgiace in the middle of the traditional Aleutian storm corridor. The only hope is energy falling out of the Northern Gulf.
On Saturday (12/4) the unfavorable .cgiit jetstream pattern remained in control of the North Pacific. The jet was pushing east off Japan with the main flow pushing hard northeast over the Aleutians into the Bering Sea at the dateline and then trying to fall southeast over the Eastern Gulf of Alaska but not making it, veering hard north again. A cutoff trough was somehow able to hang on off California slightly supportive of low pressure there. The .cgiit point in the jet was just off Japan with a weak secondary flow tracking southeast and now pushing even south of Hawaii and fragmenting east of there. It doesn't get much more unfavorable. Over the next 72 hours things are to clear out of the Northeast Gulf with a new trough pushing hard southeast on Monday (12/6) with winds building to 150 kts in the jet holding into Wednesday AM and wrapping under the trough, providing decent odds to support gale development there. But back in the west the .cgiit jet pattern is to get even more pronounced with the .cgiit point moving directly over Japan and the northern branch tracking up the Kuril Islands over Kamchatka then into the Bering Sea. Beyond 72 hours the .cgiit jetstream pattern is to only get more pronounced with the northern branch of the jet pushing well up into if not north of the Bering Sea, only to fall hard south again feeding the trough in the Eastern Gulf. That said, near the California coast a ridge is to start building and pushing north, driving the eastern flank of the Gulf trough north up into British Columbia. Looks like gale development potential in that trough will be fading later in the week, and precipitation potential will start falling off for California at that time too.
At the surface on Saturday (12/4) a confused weather pattern was in.cgiay. Low pressure was in the Eastern Bering Sea at 986 mbs getting ready to fall south into the Northern Gulf of Alaska. Another fading low was 600 nmiles west of Pt Conception and starting to integrate with a weaker low just off the San Francisco Bay area. They were rotating around each other. But mainly high pressure was 800 nmiles north of Hawaii generating trades there in the 20 kt range with another high at 1036 mbs falling south along the dateline and forming a gradient with weak low pressure south of it generating 35 kt east winds aimed at Japan and totally blocking the normal winter storm corridor.
Over the next 72 hours another broad low pressure system is to drop out of the Bering Sea into the Gulf of Alaska on Saturday PM (12/4) producing 30 kt northwest winds over a decent sized fetch area at 51N 160W with seas on the increase. The gale is to continue to ease southeast on Sunday AM (12/5) with 30 kt northwest winds at 45N 160W generating 19 ft seas at 47N 162W building to 20 ft and pushing to 43N 158W in the evening. This swell should be pushing well towards Hawaii down the 355 degree path. On Monday AM (12/6) the gale is to get re-energized with 45 kt northwest winds expected at 45N 152W moving to 40N 150W in the evening building seas to 34 ft in the evening at 42N 151W. The main fetch is to be fading on Tuesday AM though pushing east with winds down to 40 kts at 40N 145W with 36 ft seas building at 40N 147W pushing towards California up the 287 degree path. In the evening the gale is to be fading out with 30 kts residual fetch and seas fading from 32 ft at 40N 140W (285 degrees NCal). In all this is not to be a particularly strong system, but it is a major upgrade from previous projections. With winds at 45 kts 15-16 sec period swell is possible with the bulk of the energy aimed towards the US West Coast and mainly California. Solid sideband swell energy might be expected for Hawaii too if all goes as forecast. This is just a projection so don't expect anything too much, but it's all we have to monitor.
On Thursday AM (12/2) a small gale had developed in the Northern Gulf with a small area of 35-40 kt northwest winds (from the interaction of the low itself with high pressure at 1036 mbs north of Hawaii). The gale fell southeast in the evening with more 40 kt northwest winds at 50N 146W generating seas of 20 ft over a tiny area at 50N 147W. The gale continued southeast Friday AM with 35 kt northwest winds at 45N 141W with 26 ft seas 46N 143W. The gale was gone by Friday evening with seas from previous fetch fading from 23 ft at 42N 140W or 800 nmiles west of the Oregon-CA border. Some degree of northwest swell is expected to result for Northern and Central CA arriving on Sunday (12/5) at 5 ft @ 12-13 secs (6.0-6.5 ft faces) from 305 degrees.
On Saturday (12/4) low pressure was circulating 400 nmiles off Monterey Bay drawing warm moisture from the tropics up into it while another low was starting to develop just northwest of it and falling south. The net effect was south winds building along the Central CA coast with a moisture.cgiume starting to push into the Pt Conception area and more queuing up off the coast. By Sunday the core of the initial low is to push onshore over Central CA with south winds in firm control down into Southern CA and rain expected down to Pt Conception. The second low is to be developing and pushing east at the same time, expected moving onshore in the evening into Monday AM. Rain and south winds down to Southern CA. Light snow is expected in the Central Sierras on and off over the weekend with no significant accumulation until the second low makes it's push inland Sunday evening into Monday AM, with maybe 10 inches of accumulation total. Snow level to be fairly high though (near 6000 ft). A clearing pattern is expected on Monday through south winds to linger early over Central CA while the next system builds in the Central Gulf with a front reaching extreme Northern CA late. Tuesday (12/7) south winds are to reach down to near Monterey Bay but rain holding north of the SF Bay area. Wednesday the front is to make it to San Francisco with south winds down to maybe Morro Bay and rain down to Monterey Bay, but going no further south. South wind to fade some on Thursday but still light south from Monterey Bay northward with rain continuing from Monterey Bay northward through Friday. No snow forecast for the Sierra, but instead rain, with temps high due to the inflow of tropical moisture from Hawaii. High pressure is to build in behind on late Friday setting up north winds at near 20 kts over Pt Conception, but not reaching up into North CA nor into Southern CA.
At the oceans surface no swell producing fetch was occurring. Over the next 72 hours no change is forecast with no swell producing weather systems modeled.
Beyond 72 hrs a cutoff low is to be circulating on the dateline Sunday (12/5) blocked by going anywhere by high pressure at 1032 mbs falling south over the dateline, generating a pressure gradient and east winds at 35 kt all aimed towards Japan. The core of the low is to start actually tracking northwest (the exact opposite of what direction a low should heading) and increasing in areal coverage with winds to 40 kts again all aimed east, generating up to 30 ft seas, and eventually impacting the northern Kuril Islands on Thursday (12/9). This remains a highly unfavorable setup. .
Otherwise there's no other signs of swell production forecast for the next 7 days.
As of Saturday (12/4) the Southern Oscillation Index (SOI) continued well in positive territory. The daily SOI was at 27.30. The 30 day average was up some at 16.86 with the 90 day average down slightly at 19.74. Overall, averages remained high, though down slightly from the peak in mid-to-late October.
Wind anomalies as of Friday (12/3) at the 850 mb level (approx 5000 ft up) as defined by models finally indicated what we had suspected was occurring all along, namely that easterly anomalies were filling the North Pacific from Central America to New Guinea. They were not particularly strong, but were present none-the-less and are clearly indicative of the Inactive Phase of the MJO. That's the bad news. It's interesting, but we've gotten comfortable enough now with these models to see the holes in the long term wind record, and that enables us to grossly determine what the MJO is doing regardless of what the models predict. The good news is the Active Phase of the MJO is building in the Central Indian Ocean with west anomalies indicated there. East anomalies (Inactive Phase) in the Pacific are to be fading out through 12/13 while westerly anomalies (Active Phase) start pushing east into the Western Pacific at about the same time, arriving over New Guinea on 12/13, then fading there through 12/18 with a dead neutral pattern forecast by 12/23. But typically what 'really' happens, regardless of the models, is the remnants of the Active Phase push east into Central America. This is expected to hold through the first week in January. Since the Active Phase supports the development of low pressure in the Northern Pacific, if anything, the best shot for swell in Hawaii and the US West Coast will be roughly over the Christmas holidays. Then a week after the New Year the Inactive Phase will likely be coming back and shutting it all down into early February.
Sea Surface Temp anomaly data (12/2) continues to indicate that cold waters (-2 C degs or cooler) had a stable grip on the equator covering solidly from South America west to the dateline and beyond, but are not getting any colder and not expanding their coverage. And if anything, the areal coverage of the coldest waters seems to have dissipated some. Maybe we have already reached the peak of this La Nina event, but that is likely just wishful thinking. The models suggest a second surge of this La Nina event is to develop and take hold by late Jan-early Feb, which will likely send water temps much colder. Colder than normal waters covered the equator from Ecuador west to New Guinea with feed bands originating off the US West Coast and South America sweeping fully to the intersection of the dateline and the equator, only serving to reinforce what is already a solid La Nina pattern. These colder waters are a reflection of stronger than normal high pressure built in over both hemispheres causing upwelling in the Gulf of Alaska and off South America. Looks like a classic La Nina setup. Below the surface on the equator no Kevin Wave activity was present and if anything colder than normal water was strong on the equator south of Hawaii and locked in position (sort of like a stationary cold Kelvin Wave). This pocket was -5 degs below normal (up from the -6 degs below normal on 10/18 and -7 degs in mid- Sept). Regardless, it is not moving and is not expected to move for months. This is not good.
Over the entire Equatorial Pacific trades were blowing all the way to the Philippines and beyond. And now from a historical perspective these easterly winds were now fully anomalous, blowing harder than normal from the east to the west, as would be expected looking at all the other data. But this is a rather recent development, with only normal winds indicated prior to 9/11. The interesting twist to all this is that the Pacific current that runs along the equator turned abruptly from flowing towards South America to flowing towards the Philippines in mid-March (2010), right as the SOI started it's impressive drive into positive territory and the North Pacific winter storm machine abruptly shut down. And it has not wavered since. But trades never waiver from the normal range. This suggests trade wind anomalies might be a byproduct of the Pacific equatorial current change and not the other way around i.e. the trades do not drive the temperature change initially, but the current change does. And then the atmosphere responds in kind to the change, building high pressure and reinforcing the flow and water temps. Said a different way, the change in the current might actually foretell a coming change in the trades, and then with the advent of the trade wind change, it only serves to reinforce the current in a self a.cgiifying loop, until such time as the cycle runs it's course and the self feeding system collapses over a multiyear period. At that time the current then switches direction, and a whole new self-enforcing cycle stars anew. Something to consider (regarding the formation and El Nino/La Nina).
A moderate.cgius strength La Nina Pattern (where the Inactive Phase takes control) is expected for the remainder of 2010 extending well into 2011 and likely to early 2012. In short, the next year and half is going to be tough for surfers on west facing shores in the Eastern Pacific and Eastern Atlantic, though east facing shores of the West Pacific and Atlantic might do well from the Inactive Phase's dominance. That is not to say there will be no storms, in fact, there could be short periods of intense activity when the Active Phase gets an opportunity to come to fruition, but that will be the exception rather than the rule, with the Inactive Phase trying to keep a cap on storm activity.


Philadelphia Bird Control: Pigeons, Sparrows, & Starlings can be a big problem in commercial warehouses. Each year millions of dollars are spent to clean the environment because of these pest birds. Signage is ruined, buildings are damaged and all due to bird infestation.
Action Termite and Pest Control of Toms River, Philadelphia, will supply a Mist Net which is specifically for the capture of Sparrows, Pigeons and Starlings. The net has a border cord threaded around the perimeter and a loop at each corner. There are also two horizontal cords used to form the pouches running across the net.
All cords have a loop at each end for ease of installation. The mist net for Pigeons and Starlings measures approximately 8ft x 40ft.
When pest birds fly into a mist net, they almost never hit the net at a 90 degree angle and get caught. They usually hit it at a far greater angle and lose air speed almost immediately. They tumble down the net and into the pouches where they remain until removed. The mist net must also not be tight, but rather quite loose.
Mist nets are only for use in catching pest birds. Where multiple birds are in a facility, some will be caught but other will see this happen, recognize it as an area of danger and avoid that area. In facilities where steel roof joists are exposed, it may be necessary to block these temporarily to force birds to divert their flight path to go under them and hence into the mist net.
Baiting is used as a chemical frightening agent to remove pest birds from a given location. Birds eating the treated bait will be affected in a manner that will artificially cause them to emit distress and alarm cries and visual displays used by their species. This will frighten the flock and cause them to leave the site.
Bird Droppings are a Major Source of Disease!
Birds are host to ticks, fleas, and other pests that pass disease on to humans. Birds are also know to transmit over 60 different diseases. Their droppings are also a major disease source.
Protecting your home or office from these bird pests is paramount to having a healthy environment.
Call 800-920-0906 for a free estimate.


text:
Oz Minerals Is On The Move
Relocating to the Adelaide Airport Business District, Oz Minerals' new office will reflect the next phase of their growth, providing a contemporary working environment for up to 80 staff.
The transformation of the existing warehouse will retain its industrial aesthetic as a key element of the brief. Polished concrete floors and exposed steel trusses will be complemented by the insertion of expansive skylights to create a light, airy and contemporary feel. Oz Minerals' progressive shift towards Activity Based Working requires a workplace that fosters a flexible and collaborative working environment. The office space will be entirely open plan and will incorporate a central spine to create a defined zone for collaborative working.
Externally the building facades will be upgraded through the introduction of sinuous feature screens, entry portals and building signage.
The new headquarters will be the catalyst for drawing other high-calibre businesses to the area, with the vision of turning the district into a top tier business centre in the Asia Pacific.
Works are set to be completed in mid 2018.
Read more about the project here
New Faces at Studio Nine


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text:
Coconuts Bali
BALI NEIGHBORHOODS
Found: Russian climber who ventured into Agung's exclusion zone
By Coconuts Bali Jan 25, 2019 | 3:51pm Bali time
View of Mt. Agung from Sidemen. Photo: Flickr/Paul Arps
A Russian hiker who was reported missing yesterday after attempting to hike up Mount Agung has today been found. The man, identified only as "Aleksandr," took on the ascent with a group of three friends yesterday morning, apparently unaware of authorities' warnings against doing so.
According to a report in Kumpuran, Aleksandr obtained some kind of leg injury during the trek and decided to rest on the mountainside while the others continued to the summit. But when the group returned to the spot where their friend had stopped, there was apparently no sign of him.
As soon as they got down, the rest of the climbing party—a Frenchman and two Ukrainians—reported the incident at the police station in nearby Rendang after which search and rescue (SAR) teams were quickly alerted.
Seven SAR personnel were reportedly deployed to try and find the missing foreign national yesterday. However, it wasn't until today that the missing climber was located, as reported by detiknews.
At this point, the particulars of the rescue, including whether Aleksandr was injured when he was discovered, are unclear, but we'll be sure to keep you updated when we hear news.
Bali's highest peak and most active volcano, Mount Agung currently has an alert status of Level III, or "standby" status. As such, visitors, climbers and residents are warned against entering the hazard zone, which stretches a four kilometer radius around the peak crater.
Police arrest German for allegedly punching driver in Seminyak
Police yesterday said that a German national has been named a suspect...
Police in NTB arrest couple for allegedly raping and filming foster child
Police in Bima, West Nusa Tenggara (NTB) are investigating a rape...


The Cisco CCNA� Exploration curriculum provides a compre- hensive overview of Features. CCNA Exploration courses include embedded e-doing, which. From Nitro PDF Software: Use PDF Download to do whatever you like with PDF files on the Web and regain control. Web to PDF--Convert any Web pages to high-quality. Warning and Disclaimer This book is designed to provide information about the Cisco Network Fundamentals CCNA Exploration course. Every effort Cisco Press is the official publisher for Cisco certification and network technology self-study resources, providing candidates with flexible learning options.
CCNA is a long topic to talk about and there are many tips that can help you save much time when sitting in the exam hall. From the comments here and information. � 2012 Cisco and/or its affiliates. All rights reserved. Cisco Confidential 1 CCNA Security Overview Rick Nordensten CCNA Security Product Manager, Cisco Networking. Use this control to limit the display of threads to those newer than the specified time frame. CH A P T E R 1Basic Router Configuration The Cisco Secure Router 520 Series routers are designed for small businesses. Download and Read Http 104 140 137 17 Download Lele Dudu Lele Mp3momo Pdf collegeville church history time line cinema hayao miyazaki jeremy robinson collected works. Learning Java? Great, this book will help you. I uploaded this Java Programming PDF to share with IT Elective 1 (Object Oriented Programming with Java) classmates. Providing free CCNA lab scenarios with Packet Tracer for students preparing for the CCNA exams. 12/20/2016 05:38:00. 4/26/2016 06:28:00. 4/26/2016 06:21:00. 4/26/2016 06:21:00. 4/26/2016 06:21:00. 11/1/2016 05:47:00. 4/26/2016 06:27:00. 4/27/2016 06:25:00. The associate-level CCNA courses cover the basic foundations of networking. The professional-level Cisco CCNP� courses build CCNA (Cisco Certified Network Associate) is an information technology (IT) certification from Cisco. CCNA certification is an associate-level Cisco Career certification.
Cisco Certified Network Associate Routing Switching (CCNA) validates the ability to install, configure, operate, and troubleshoot medium-size routed and switched. CCNA Study Guide v2.71 � Aaron Balchunas All original material copyright � 2014 by Aaron Balchunas ( aaron@routeralley.com ), unless otherwise noted. Network Fundamentals CCNA Exploration Companion Guide Mark A. Dye Rick McDonald Antoon W. Rufi Cisco Press 800 East 96th Street Indianapolis, Indiana 46240. In 2008 Free CCNA Workbook originally started as a sharable PDF but quickly evolved into the largest CCNA training lab website on the net! The website was founded.
Ccna 5, ccna study guide, ccna questions, ccna 5 answers, ccna answers, ccna exam study guide, free ccna study guide, ccnp study guide, ccna books Network fundamentals : CCNA exploration companion guide/Mark A. Dye, Rick Using a Networker's Journal� PDF booklet providing important insight into er is referred to as an upload, and data from a server to a client is a download. Ii CCNA Exploration Course Booklet: Network Fundamentals, Version 4.0. CCNA Exploration upload and data from a server to a client as a download. Roll over the tabs Packet Tracer Skills Integration Instructions (PDF). To Learn. Ii LAN Switching and Wireless, CCNA Exploration Companion Guide the Cisco Network Academy CCNA Exploration curriculum. Every effort has been Using a Networker's Journal� PDF booklet providing important insight into the value. CCNA Exploration Companion Guide. 560 Pages�2007�9.09 MB�393 Downloads. Network Fundamentals, CCNA Exploration Companion Guide untitled.


text:
namespace enterprise_reporting {

// iOS implementation of the reporting delegate factory. Creates iOS-specific
// delegates for the enterprise reporting classes.
class ReportingDelegateFactoryIOS : public ReportingDelegateFactory {
 public:
  ReportingDelegateFactoryIOS() = default;
  ReportingDelegateFactoryIOS(const ReportingDelegateFactoryIOS&) = delete;
  ReportingDelegateFactoryIOS& operator=(const ReportingDelegateFactoryIOS&) =
      delete;
  ~ReportingDelegateFactoryIOS() override = default;

  std::unique_ptr<BrowserReportGenerator::Delegate>
  GetBrowserReportGeneratorDelegate() override;

  std::unique_ptr<ProfileReportGenerator::Delegate>
  GetProfileReportGeneratorDelegate() override;

  std::unique_ptr<ReportGenerator::Delegate> GetReportGeneratorDelegate()
      override;

  std::unique_ptr<ReportScheduler::Delegate> GetReportSchedulerDelegate()
      override;

  std::unique_ptr<RealTimeReportGenerator::Delegate>
  GetRealTimeReportGeneratorDelegate() override;
};

}  // namespace enterprise_reporting

#endif  // IOS_CHROME_BROWSER_POLICY_REPORTING_REPORTING_DELEGATE_FACTORY_IOS_H_

redpajama_set_name: RedPajamaGithub


text:
Breakthrough reached in Gulf dispute with Qatar - Trump administration
The development is the latest in a series of Middle East deals sought by Washington.
ABU DHABI'S Crown Prince Sheikh Mohammed bin Zayed al-Nahyan attends the Gulf Cooperation Council summit in Mecca, Saudi Arabia, last year.
(photo credit: BANDAR ALGALOUD/COURTESY OF SAUDI ROYAL COURT/REUTERS)
A breakthrough has been reached in Qatar's three-year-old dispute with Saudi Arabia and three other Arab countries and an agreement to end their rift is to be signed in Saudi Arabia on Tuesday, a senior Trump administration official said.
"We've had a breakthrough in the Gulf Cooperation Council rift," said the official, who spoke to Reuters on condition of anonymity.
The development is the latest in a series of Middle East deals sought by Washington - the others involving Israel and Arab states - aimed at building a united front against Iran. All of the countries involved in the deals are US allies.
White House senior adviser Jared Kushner, assigned to work on the dispute by US President Donald Trump, helped negotiate the deal and was working the phones on it until the wee hours of Monday morning, the official said. When in December, Saudi Arabia's foreign minister said a resolution to the dispute seemed within reach, Iran's Foreign Minister Mohammad Javad Zarif in a Twitter post said he hoped Gulf reconciliation "contributes to stability and political and economic development for all peoples of our region."
Saudi Arabia, the United Arab Emirates, Bahrain and Egypt have imposed a diplomatic, trade and travel embargo on Qatar since mid-2017 accusing it of supporting terrorism. Qatar denies it and says the embargo aims to undermine its sovereignty.
Kushner, joined by Middle East envoy Avi Berkowitz and Brian Hook, a special State Department adviser, were flying to the Saudi Arabian city of al-Ula to attend the ceremony, the official said.
Gulf Arab leaders are expected to gather in Saudi Arabia on Tuesday for an annual summit that is expected to announce a deal towards ending the rift.
Under the emerging agreement, the four countries will end the blockade of Qatar, and in exchange, Qatar will not pursue lawsuits related to the blockade, the official said.
"At the signing on the 5th, leadership from the Gulf Cooperation Council plus Egypt will be coming together to sign an agreement that will end the blockade and put an end to the Qatari lawsuits," the official said.
If the deal holds, the Gulf dispute will be added to a string of diplomatic victories achieved by the Kushner team, a list that includes normalization deals last year between Israel and the United Arab Emirates, Bahrain, Sudan and Morocco.
Kushner, who is also Trump's son-in-law, has been working on other normalization deals between Israel and other countries in the Arab world but may run out of time with President-elect Joe Biden due to take over the presidency on Jan. 20.
"It's just a massive breakthrough," the official said. "The blockade will be lifted. It will allow for travel amongst the countries as well as goods. It will lead to more stability in the region."
Tags saudi arabia qatar


The current VAT regime is one of the biggest threats to the future of our built heritage and the industries that it supports such as tourism. Repair and maintenance is vital, yet the current system inadvertently incentivises the demolition of historic buildings which require significant maintenance work due to the 20% VAT tax burden compared to new construction which largely has a 0% VAT rating. The Heritage Alliance is a long-term proponent of VAT changes to benefit the UK's heritage – we would welcome the opportunity to provide any further evidence the committee required.


Was an advanced civilization lost to history in the global cataclysm that ended the last Ice Age? Graham Hancock, the internationally bestselling author, has made it his life's work to find out -- and in America Before, he draws on the latest archaeological and DNA evidence to bring his quest to a stunning conclusion.We've been taught that North and South America were empty of humans until around 13,000 years ago - amongst the last great landmasses on earth to have been settled by our ancestors. But new discoveries have radically reshaped this long-established picture and we know now that the Americas were first peopled more than 130,000 years ago - many tens of thousands of years before human settlements became established elsewhere.Hancock's research takes us on a series of journeys and encounters with the scientists responsible for the recent extraordinary breakthroughs. In the process, from the Mississippi Valley to the Amazon rainforest, he reveals that ancient 'New World' cultures share a legacy of advanced scientific knowledge and sophisticated spiritual beliefs with supposedly unconnected 'Old World' cultures. Have archaeologists focussed for too long only on the 'Old World' in their search for the origins of civilization while failing to consider the revolutionary possibility that those origins might in fact be found in the 'New World'?America Before: The Key to Earth's Lost Civilisation is the culmination of everything that millions of readers have loved in Hancock's body of work over the past decades, namely a mind-dilating exploration of the mysteries of the past, amazing archaeological discoveries and profound implications for how we lead our lives today.


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Terrie Rouse-Rosario served during the start-up phase as the Chief Operating Officer for the National Center for Civil and Human Rights in Atlanta that opened in June 2014. From 2007-2011 she was the founding CEO for the Capitol Visitor Center at the US Capitol. Ms. Rouse previously served as Executive Vice President/Director of Museums for Kansas City's 900,000 square foot Union Station, which encompasses Science City, the Kansas City Museum at Corinthian Hall, The City Extreme Screen, Planetarium, exhibitions within Union Station, as well as its permanent collections. She also provided consultant services to a number of cultural, non-profit organizations across the United States, including a joint project between the City of Philadelphia, the National Park Service, and Independence National Historic Park (The President's House: Freedom and Slavery in Making a New Nation); and work with the City of Charleston on the development of the International African American Museum. She also worked as a consultant for the King Abdulaziz Center For World Culture, in Daharan, Saudi Arabia. Prior to her position in Kansas City, Ms. Rouse served as: Executive Director of the Atlanta Ballet; President and CEO of the African American Museum in Philadelphia; Director of the New York Transit Museum; and Executive Director at the Children's Museum of Maine. In addition, she has served on a number of professional associations and boards—including the AAM Board—has published extensively in many academic and art publications, and has conducted presentations and lectures on subjects ranging from cultural tourism to the management of art collections in the US and abroad.


Getting out in the field and seeing plants emerge is the best way to help you better understand crop health and identify yield-limiting threats during the growing season. But managing a farming operation is demanding, and if you have multiple fields, it can be hard to scout every field often enough to see subtle changes that can lead to big problems down the road.
Fortunately, you can get ahead of potential issues across all your fields before your yield is impacted through satellite imagery in the palm of your hand. This way, you can get a bird's-eye view of lower performing areas in the field that you couldn't see with the naked eye, enabling you to get out there and take action early-on.
As a remote-sensing scientist at Climate, it's not only my job, but a passion of mine to make scouting and decision-making activities easier for you. My team has been working hard to help farmers in their efforts to identify crop health issues and areas of stress in-season.
We collect data from a variety of public sources and field experiments conducted on our research farms that span across 35,000 acres in 20 U.S. states, and we ingest millions of these data points to help quantify soil and crop properties across various growth stages and hybrids; along with planting, water and fertilizer management practices. Through detailed analysis of these data sets, blended with various remote-sensing imagery sources, we've made some exciting new enhancements to our Field Health Advisor.
Through a new proprietary imagery process, we've built sophisticated models that use various imagery sources to generate more frequent and consistent images to help you easily identify areas in your field(s) that may need attention. Additionally, we've designed a cloud detection model that reduces the impact of clouds on field health images to help you get a clearer view of what's happening in your fields.
We now use more than 250 color shades depicting field-level variability, more than 10 times the detail from our previous version of Field Health Advisor. This will help you quickly identify problem areas in your fields with a more detailed color-scale, reduced pixelation, and a higher degree of clarity and consistency between images.
Through our cloud detection model, we've reduced the impact of clouds on field health images so you can get a clearer view of what's happening in your fields and can be confident your scouting image isn't falling victim to cloud interference. You also can expect more frequent images throughout the season since our cloud detection model continues to generate data even when clouds are present.*Note: You will still receive images with cloud cover so that you can maintain regular visuals of your fields. However, fields with more than 50 percent cloud cover will not be released as these images likely wouldn't provide enough information on your crop performance to be of value.
While our improved cloud detection enhancement helps reduce the impact of clouds on field health images, we unfortunately can't get rid of clouds altogether. However, True Color Overlay can help you detect if clouds or shadows are infringing on a particular image. This way, you can quickly make an analysis that a cloud was indeed present at the time the image was taken so that you can remain informed.
Less pixelation and better color consistency across our satellite providers means more comparable, dependable high-quality field images that enable you to consistently track each field and specifically keep an eye on problem areas throughout the season.
With field health images now available to be viewed side-by-side, right in the cab with other key data layers like hybrid, population, soil and imported maps, you can use current images to visually analyze how your planting plan is coming along, like how a particular hybrid is performing mid-season. New this year, side-by-side view is available in the Climate FieldViewTM Cab app. It will also be available in our full app later this year.
While my team continues to work every day to find new and better tools to support on-farm decision making, we think these enhancements to our Field Health Advisor can make a big difference for farmers right now – providing a better tool to support field health.
Field Health Advisor is offered as part of Climate FieldViewTM Pro. First-time users of FieldViewTM Pro, can get their first 120 acres free. Farmers can also use the service across their whole operation for as little as $999 for farms up to 2,500 acres. Larger farms can enroll in the service at additional price points.
guidance, the geospatial research team focuses on projects that integrate geospatial data with cutting-edge science and scalable models to provide farmers with actionable insights. His team's research helps drive new tools to enable sustainable agriculture, increase agricultural productivity, reduce crop inputs and improve the lives of farmers.
Demir has been working on applications of remote sensing and geographical information systems for two decades. From 1996 to 2004, Demir was the co-founder and technical director of a company that provided geospatial solutions to government institutions in Turkey. After moving to the U.S. in 2004, he started working for a geospatial software development company as a technical manager. Demir joined Monsanto in 2008 and switched his focus to precision agriculture. After Monsanto's acquisition of The Climate Corporation in 2013, Demir transitioned into his current role.


From that day onwards, I've been friends with the pri—I mean, Luca. Yes, I shouldn't be addressing to him as the prince anymore. It's just "Luca". Forget his title~!
He's the first friend of the same age that I've ever made and stayed in touch with.
The more time I spent with him, the more I know that he's such a prideful little one, as he has hard times admitting things like defeat—and he even had a hard time when I told him to apologize to all the maids and others that fell into his pranks.
Yes, this is what happened. I could still feel the frustration from remembering this particular event.
"Excuse me, but Luca wants to say something to you," I half-dragged Luca by his shirt. He seemed quite reluctant to follow through with my suggestion.
But he has to apologize, at all cost!
It's bad if he is not used to admit his mistakes and apologize!!
In front of me, there was the young maid we teased the other day.
"Y-yes, what is it?" The maid pondered.
"For the other day, I'm really sorry for the prank. Also…," I shifted my eyes towards Luca who was standing behind me.
"…," Luca faced away in response.
Luca timidly glanced at the young maid, who was attentively looking at the prince, worrying over what might the prince want to tell her.
Luca finally opened his mouth, but boy, that's not what I expected to hear!
"Oh, the water prank the other day? I'm okay," the young maid exhaled in relief.
"Then, all is good," Luca started to walk away.
BUT!! THAT!! IS NO WAY A PROPER APOLOGY!
I quickly grabbed his shirt again.
"Uuuugh…," his ears were getting red again.
"Ahaha, it's okay, it's okay, I get it," the young maid smiled, after seeing Luca's reaction.
"See? She already got it!" Luca argued.
There is no need to say what she's already understood, so he thought.
"Arrggghhhhh!!" I was left speechless.
Well, but I think his apology got across, so it's okay, at the end of the day.
This… can be counted as an improvement… right?
From that day too, he has never skipped any of his private education and training. He stopped his mischief in exchange of my companion.
He also tried to get along with the other kids around—such as the maids' kids who are now wary of him, and I usually would encourage them to not be that cautious around us.
Luca has gotten closer to his sister, and now he's starting to accept and understand his role as a big brother. Instead of pouting in jealousy when his mother needs to tend to his sister, he'd even assist his mother nowadays, as I suggested to him.
He was unwilling to assist his mother in anything involving Leti before this, but thankfully he's started opening up for Leti.
Even Leti seems to develop an attachment to Luca. Like how she seems to be smiling whenever Luca comes to see her. Perhaps developing their bonds as siblings also helped in mending his loneliness.
Thankfully, he doesn't become a doting brother that has a sis-con, despite how cute Leti is. Perhaps it has something to do with his own natural predisposition, as he has hard times in being honest.
Besides just playing with Luca, I was also squeezed into his education or training from time to time! Nobody seemed to object my participation, and Luca was glad—I mean motivated, to have a rival!
What about my own "noble" education?? Shouldn't it also start, just as how Luca's started on his education?
For your information, Altaire would often have his private noble education with a tutor Dad hired for him, starting when he was four, especially during when my parents were busy enough that at times, they couldn't spare enough time to privately educate Altaire.
The private sessions are reduced when Alt-nii started to enter school, as he'd have education on morals and etiquette in school, as well. He may need to have some courses on other things such as dancing or leading his partner in a dance—but that will be for when he's older.
Well, needless to say that I've long passed that stage (in my past incarnation).
But obviously, the matter regarding my education is finally being talked out.
I have expected it to come!
My mom was considering on the tutor she'd hire for me, and she is aware that I sometimes accompanied Luca on his private education.
"Hmmm, all of them are okay, Mom!" I answered honestly, as I don't have any favorite among them.
And that's how Mom finds out that I showed a remarkable attitude and result during my sessions with Luca and his tutors.
(Luca was really taken aback by this and as competitive as he is, vows that he will defeat me if he tries hard enough).
The tutors talked about this with my mom and they agreed on testing me before my mom decided on educating me.
Truthfully, after years and years of education, especially the queen's training, the correct etiquette and attitude's been drilled to my head. Now I'm in dilemma.
If I were to show all that I can do and know, they will surely wonder on how can I grasp all that despite not having been educated all this time?
But, if I were to deliberately make mistakes and limit my abilities to a normal 4 year-old's, I'd be doomed to repeat all I've been through.
Between the two of them… I finally decided.
I'd just go all out and show them what I'm capable of!!
So that I can have more free time!!
No way in hell I'm going to invest my time in something that I've been learning all my life (yes, all my life, literally, during my past incarnation).
It is certainly not a safe thing to do, but I don't want to waste my second life.
Like, intuition, or from shows I've seen, or story books, or learning from other people's behavior that I observed, things like that. They are now under the impression that I'm a fast learner—an absurdly fast one.
Or I was just born gifted to be a noble.
Oh, whatever, let's just face it head-on, after the deed's done.
After showing my remarkable ability that can even pass the queen's selection test, my parents and the tutors all trembled in horror.
The tutors all questioned me. My parents also stared at me with puzzled expressions.
…wait, 'hohoho'? Who was it? It is definitely not the present me, and not the past me.
But, I can't answer them like that!! I definitely can't!! What will they say about it afterwards? How will they judge me?!
More importantly… what will my parents think of a child like me?
They must think that the whole idea of their child… wasn't really their child—or rather, she was someone else's reincarnation… would totally be a revolting thought.
They must think that I—the soul of Reinst—took over the body of their child. I won't completely be their child that way, as I retained who I was, before even being born as their child.
…I don't want to be shunned, no, no.
I must hide this abnormality of mine, at all cost!!
…like hell I could say this honest answer?
As I said that, the tutors murmured and my parents were silent, thinking.
"Learning from her environment and the things she read and heard alone…? Seriously?!" A tutor shouted in her disbelief.
They still couldn't comprehend my results and answers. No indication of cheating, no way that could happen under their strict supervision. And no bribing.
Those were the lines that I heard from my parents after they decided to abort their "thinking" mode.
In the end, I was dismissed after the results were out.
At the end of the day, my parents didn't say anything but… they would surely be curious and even suspicious, right?
I am so prepared to their questioning at home, but what comes out of Mom's mouth during when we are home, surprises me.
Where is my questioning, Mom, Dad?
But they don't seem to give me any follow-up questions after what were questioned to me at the castle.
Their gazes are fixed on me, and I don't sense anything negative from their gazes. They are fully waiting for me to answer.
And that is how I won't have to relearn everything that I've already mastered!
But sometimes, I'd drop by in Luca's training session just to update my knowledge and to lit the fire of competition in Luca's eyes.
It's quite fun teasing him!
Oh, and, due to my remarkable result especially in terms of the noble lady's education and training, the tutors highly recommended me to be the prince's suitor.
The king is interested in this possibility, of course!
I knew it!! The king's ulterior motive!!
"Yeah, but everyone's been recommending that idea to me. I'm also interested in becoming in-laws with you!" The king's eyes were suddenly lit.
"…," Dad went silent and his gaze went very far away.
"W, w, what?! What are you talking about, Father?" Luca asked.
He may accept that offer with how our relationship is, right now.
He really did enjoy my company.
I started to sweat bullets and got all fidgety. My face also turned stiff, thinking about the future.
It's not that I hate Luca, but I can't say that I love him, as well. For now, he's just a friend.
If we were getting engaged but then in the future, he finds someone else he truly loves or if I were to be attracted by another man, what will happen?
Needless to say, I was really used to killing my own feelings, but I never really felt love before, so I don't have the courage to say that it will be fine.
Being betrothed to the crown prince is a heavy burden!! I can't afford to make any mistake!! Any mistake made could even get me (or even my family) accused of lese majeste.
Still, I tried to keep my composure.
Why is it hard to regain my way of thinking and life back then as Reinst, now, after years as Lyra?!
I think I could pretend to be calm, but… it might not be as perfect as it was.
I felt that Luca stared at me for quite some time, before he finally spoke.
At his words, I breathed out in relief. And Dad was very astonished with the unexpected answer.
Be as unexpected as it may be, but it works in my favor, so… I'll gratefully accept it!
Dad's stiff expression finally loosened after hearing that.
Since he was engaged to his wife by his own choice, so that might affect his way of thinking regarding his son's betrothal.
It's rather unusual for nobles to get married out of love, but that's a good thing that the king is on the "Marriage of Love" faction!
Yes, promote that romance!! It shouldn't be restricted to books and shows, it should be spread out to the reality!
…realistically speaking, it should still be hard though if a noble wants to court a commoner.
Also… from Luca's reaction, he doesn't seem to view me that way at all. Yes, yes, I am just his friend, after all!
Besides, we're only kids!! Too early to talk about romance.
My mental age is worrying me, however. There's no way I'd be attracted to kids, but hey, physically, I am also a kid. If I were to love somebody around my real mental age, we would have a wide age gap, don't you think?
Like, my mental age is only a few years younger than both of my parents, I believe, if I counted the age gap right.
Though I don't deny that my mental age seems to have regressed a little bit, due to me getting used to acting in accordance to my physical body's age.
The body affects the mind, besides the mind affects the body?
I can't decide if it is a good thing… or a bad thing?
Ah well, let's just enjoy my second childhood~!
Anyway, how does a normal child spend their childhood…?
Back when I was still Reinst, I spent my childhood with… studying and training?
Huh? Is that what a normal child does during their childhood?
I didn't have a good childhood in my first playthrough?!
So, my mental age regression is because deep down I want to reclaim my lost childhood…?
I can speculate all I want, but I can't prove if it's correct or not.
…Living a life where you can do what you want to do seems nice, though.
And I have taken my first big step by refusing to repeat all my studies.
Let's not have any regret in this second life!
And that's how I finally get to establish my goal of life at four years old* (*second playthrough).
To finally live my life to the fullest, this time.
LoL took her long enough to figure it out, nice chapter.
Just… wow. I'm half-suspicious of the prince being reincarnated as well. Or is he just wise beyond his years?


text:
Alliance Eldercare Senior Placement Service
Committed to Helping You Make Educated Choices for Your Loved One's Care
My grandmother and I used to joke with each other about the subtle difference in meaning between the words 'subscribe' and 'ascribe' (now that I'm thinking about it, that joke doesn't seem like a joke at all - at least not in the joking-as-comedy way. Ok, ok, we're language nerds).
But I think the beauty in each one of those words' individual meanings gives light to a great many situations I find myself in as an adult, dealing with each day's new challenges and obstacles. Particularly, when I think on the task of helping to care for my grandmother as she aged. Ascribing to something means to think of it in the sense of belonging- giving a thing qualities, or characteristics. Subscribing, on the other hand, denotes membership: signing up, signing onto a mission, pledging something.
As adults moving through the world, we ascribe to, and subscribe to on a daily basis, typically with little thought to the consequences. Signing up for a newspaper? You get the daily news. Calling someone brave when they kill a spider in the house? They receive a compliment. Put your grandfather, father, mother into a senior home? What could possibly happen? Have you broken down that decision? I'll bet dollars to doughnuts if you start joking around about ascribe/subscribe, you'll come to the same conclusions I did: especially when you consider the depth and breadth of services provided by Alliance Eldercare.
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Derek was able to witness his grandmother's legacy in action, as well as the firsthand experience he garnered observing his father care for his aging grandmother in-home until she passed at the age of 91. For over a decade, Derek has been working in the healthcare industry, dedicating his life to helping families find care options for their loved ones that match up with the seniors' needs.
"In 2014, I completed the Residential Care Facility for the Elderly certification in order to better serve seniors," he says. "I was blessed to have my father live with me, at the age of 83, and care for him to the best of my ability until he passed away in February."
Ascribing gentleness, kindness, and passion to Derek aren't hard, and those are the first qualities you see when greeted by the staff at Alliance. Their mission: to find the best senior healthcare options available for your loved ones, is simple, and crystal clear. In its fifth year of operation, Alliance Eldercare is your one-stop source to help navigate the myriad of (oftentimes overwhelming) senior care options on the market - from independent senior living and board and care homes to memory care communities, long term, hospice, Parkinson's, and more.
"I've seen every option out there from my grandmother's boarding house to the in-home I provide for my father and everything in between," says Derek. "At Alliance, we're not just searching for an open bed for someone - we're searching for the right care for your loved one."
Client Cheri West sent the following to Derek as a testament to his personal approach: "You have gone far beyond our expectations of helping make sure my mom will be happy with her assisted living! You gave her your full attention and listened to her wants and desires and have made sure the place that was chosen was the best place for her. She has depended on you to do things that should have been handled by family, but you wanted to make sure it was handled correctly and followed through to the end. I hope we can keep in contact, I really feel you're part of the our family!"
Alliance comes to you: to sit and talk face to face. Offering free guided tours of Assisted Living facilities and Board and Care Homes puts seniors and their families in the position to gain a true understanding of the options available to them, as opposed to trying to make a decision based on cold-calling or emailing a laundry list of homes.
"I prefer the personal touch," he says. "That's what sets us apart. Seniors need advocates, and we are happy to do our part." The clincher? There is no obligation, and their service is completely free of charge. "When you do the right thing, word gets out." Now that's an idea I'll subscribe to.
For a FREE Care Needs Assessment, Derek and the Alliance Eldercare team can be reached by calling (866) 936-4241 or visit www.AllianceEldercare.com
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1. Parents are expected to support their child in making 100% commitment to the team, games, and practices.
2. Parent's are encouraged to contact their son's/daughter's coach for any concerns in regards to their child. Parents are asked not to engage in any such conversations during a game/practice.
3. Parents are expected to show good sportsmanship and accept decisions made by coaches, referees and other basketball officials. Parents are expected to provide positive encouragement to the team during games and help set an example of sportsmanship for players. If a parent is found harassing players, coaches, or officials, they may be asked to leave the gym.
1. Players are expected to support their child in making 100% commitment to the team, games, and practices.
2. All players will participate in at least 25% of playing time during each game. However, any unexcused missed games and / or practice, along with any inappropriate attitude/behavior could result in additional sitting time.
3. Players are expected to show good sportsmanship and to accept decisions made by the coaches, referees, and other basketball officials. They are expected to provide positive encouragement to their teammates and show positive support under all circumstances.
4. Players are expected to follow the BYBA's rules, guidelines, and philosophies.


The latest Project Runway episode challenged the designers to dress Brooke Shields for her role in the TV show, Lipstick Jungle. I've never watched the show, but I kinda wanted to roll my eyes (again) at the shameless NBC cross-marketing machine. But, it turns out, I like Brooke Shields. She came off warm, down-to-earth, and I think I want to be friends with her. The designers, on the other hand, are ego-maniacs!
Despite their inflated opinions of themselves, there were some good designs. Korto does it again, along with partner Joe, on her ethnic-bohemian getup. Unfortunately, the dress couldn't carry itself alone. Unless paired with some funky animal print shoes, like these from Dolce & Gabanna? Roar. I so wanted to pair the dress with the Christian Louboutin leopard haircalf platforms, but I resisted.
While I really like Jerrell's use of textures, I wish I could take this outfit down a notch. I think Tim calls it "using your editing eye?" Get rid of the over-sized bag, sunglasses, and tone down that zebra-gold-trimmed belt (keep the zebra, save the gold accents for the shoes). The shoes in the gallery photo work, but I'd also consider these Tory Burch crocodile embossed slingbacks. Love the stacked heel and soft, patent leather peep-toe.
Finally, the winning design. I would love Keith and Kenley's creation for myself. The layered, high-waisted skirt and flowy, floral top — I'm a big fan. I'd get rid of the scarf, and maybe all the dark accessories. That way, I can pop into my own pink Ferragamos.
Shoes and Cocktails would love to hear what you think about the designs, shoe pairings, and of course, what to drink! I think I see a martini in our future.
Bitterly insane is exactly what I would be if I didn't own these shoes. They are by far the most elegant (and expensive) shoes in my closet. Lucky for moi, I didn't pay a dime for them (another shout-out to LC). They are classic and timeless. They are Ferragamos.
Italian designer, Salvatore Ferragamo, was a pioneer of fashion. Born in 1898, he had already made his first pair of shoes at that age of nine. From a family of poor farmers, who couldn't afford to buy shoes for his sisters' first communion, Ferragamo borrowed materials from the local cobbler and made their shoes, rather than facing the same of seeing them wear clogs to church.
Ferragamo's talent and genius ascended him to Hollywood and he earned a reputation for being a "shoemaker to the stars." Though my research is inconclusive, it appears he designed Dorothy's ruby slippers in the Wizard of Oz, and he's credited with inventing the wedge(!) in 1938, for Judy Garland. His most famous invention was the cork wedge, which paved the way for platforms. He was a visionary and an inspiration, and now, my obsession.
The shoes are fitted for the red carpet and the streets of Paris. For me, they mean I have an absolute go-to item for any cocktail party, fancy dinner, or event where I want to stand out. If it is a party I'm hosting? Bring on the bruschetta, antipasto, caponata, and this unique pre-dinner cocktail.
I can't get enough of the old-school cocktails. The Negroni is a perfect match because of its sublime color, because it is Italian, and because it is made with Campari. The Negroni was invented in Florence in 1919, at Caffe Casoni, because Count Camillo Negroni added gin to his favorite drink, the Americano. Campari, the notable ingredient, is definitely an acquired taste, and is probably better known for their vintage posters. It is a grand aperitif.
I've altered the original recipe slightly by adding extra sweet vermouth and extra orange. I definitely recommend this version for first-timers. The bitterness is like nothing you've ever tasted.


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Q: Converting a "RC" format to "A1" - Excel formulas I'm writing a VBA code, in which I need to reference in one sheet a formula from a different sheet for instance: in sheet A in cell (1,3) there's a formula
"=RC[-1]*RC[-2]"

and I want in sheet B in cell (1, 3) to put the formula
"=A!RC[-1]*A!RC[-2]"

when I write
"Temp = Worksheets("A").Cells(1,3).Value"

I get
"Temp = B1*A1"

In my sheet I work in "RC" format, but the VBA returns a "A1" format...
How can I retrieve it in the format I use? or convert the formula I get to a "RC" format?

A:
How can I retrieve it in the format I use? or convert the formula I get to a "RC" format?

You retrieve the formula in the R1C1 format by using the FormulaR1C1 property of the Range object.  This will be true no matter what reference style you are using.
If need be, you can retrieve the reference style you are using with the ReferenceStyle property of the Application object.
As I wrote in my comment, the rest of your question needs clarification.