text:
Dim-Witted Larcenist Puts Palm Coast on David Letterman's Lips and Map
October 19, 2010 | FlaglerLive | 16 Comments
B marks the spot: David Letterman discovers Palm Coast.
It's the most—and certainly best—national attention Palm Coast has received almost since being the subject of a sprawling article in The New York Times on Jan. 6, 1974, when trees still outnumbered real estate agents in town.
Letterman Does Palm Coast: The Audio (edited to relevant bits)[media id=95 width=250 height=150]
On Oct. 15, Palm Coast was the banter of choice on David Letterman's Late Show, which is watched by an average of 3.8 million viewers every night. Letterman and Paul Shaffer on three occasions during the show's "Small Town News" segment wondered about Palm Coast, guessed about its location, its beauty, its palm trees, its proximity to Fort Lauderdale or St. Augustine. Letterman's guesses were accurate. Shaffer's were clueless.
Give credit to the Palm Coast Observer, the Flagler County Sheriff's Office, and a particularly discriminating—or idiotic—criminal. Letterman had seized on an item from the Observer's crime blotter–something about a larceny refreshingly short on goods. Here's Letterman's first exchange with Shaffer:
Letterman: This is from the Palm Coast Observer, Palm Coast, Florida. That sounds like a beautiful—have you ever been to Palm Coast?
Shaffer: Palm Coast? No.
Letterman: Doesn't that sound lovely?
Shaffer: It sounds great.
Letterman: Yeah, very nice.
Shaffer: Have you ever been there?
Letterman: Let's see… Huh?
Letterman: No, I've never been to Palm Coast. I'm guessing it's north of Fort Lauderdale.
Shaffer: Which coast? Do you think it's on the—
Letterman: I would think the Palms suggest that it would be on the Atlantic coast. I don't know this for a fact, but it sounds lovely.
Shaffer: They have palm trees on the Gulf coast.
Letterman: Or maybe up a little farther north like St. Augustine.
Shaffer: It could be St. Augustine. Yeah.
Letterman. Hmm. We'll find out. Eeeh. And you wonder why nobody watches this show. You wonder why they're watching that Jimmy Fallon hop up and down, aren't you?
Letterman shows off Palm Coast.
(Click for larger view)
Only then did Letterman finally turn to the crime item: "Larceny. Motor vehicle. The man stated that the GPS, satellite radio and his safety equipment were all still in his vehicle. The only thing taken were a soda from his cooler and two AA batteries." Letterman whooped a couple of times. "Sounds to me like a crime wave down there in Palm Coast."
He went on to a few other items, briefly jabbed at Palm Coast's bi-coastal mystery again ("hi, welcome to geography. We don't know anything") and finally returned to the matter at the end of the segment, map in hand. He circled St. Augustine and marked it "A," circled Palm Coast and marked it "B," and put the map up to the camera. There it was. Palm Coast had finally made it, with one more send-off from Letterman: "I bet it is beautiful. How can it not be beautiful?"
The city and the county's Tourist Development Council can thank their lucky Daves: it would have been disastrous for the city's reputation had it made it on Leno ("Big Jaw Leno" in Letterman lingo), reinforcing the notion that this is the place where second sand third acts go to die. And neither Letterman nor Shaffer once wondered if the thing even has a coast. Letterman must've assumed that if it didn't, it would, given some particularly well placed locals' proclivities for larcenies, eventually annex one. No GPS necessary.
The clip:
saw says
Most important part of the article (SPRAWL) "sprawling article in The New York Times on Jan. 6, 1974, when trees still outnumbered real estate agents in town".
So why is it today, we currently have almost as many Vote NO on Amendment # 4 signs, in the city as trees ?
It is because those same developers,the chamber, and realtors,etc. are using YOUR tax dollars from the Federal Bailout Funds to litter your city, in order to enable them to do business as usual.
To protect P.C. and our state, from irresponsible growth we must vote YES on Amendment #4, by doing so we the residents will have a say in all local major housing developements.
This is something the developers have nightmares about, people being in control of their destiny. you have a chance here to change the status quo, if you pass it up you may never have the chance again.
Please help our state, by voting YES on Amendment # 4 the state you SAVE will be your own.
Maurice says
This was a funny segment, props to the PC Observer
Vote YES ON 4 if you LOVE PALM COAST says
Letterman referring to Palm Coast – "It sounds lovely", is absolutely what the original planners wanted people to think when they heard the name. Spot on. BUT, the original vision for Palm Coast is being smashed before our very eyes by developers that have no ties, no regard, and no intention to honor the original vision for our area. That vision includes a natural balance between people and nature where canals are fresh and not stagnant, wildlife abounds everywhere, and where homes and businesses are planted into and alongside the existing landscape of wetlands and trees. We know that unchecked, developers would do the opposite, attack the landscape, see it razed and laid sterile like a theme park, where gardens and structures are then artificially overlayed. Welcome to Fake Florida. Palm Coast is not fake. Not yet. It's on the way, but there are still plenty of well-designed and preserved areas. Amendment 4 is our tool, our ally. We must pass it. If we the citizens and residents want to keep it a natural, peaceful, lovely place – a preserved natural paradise if you will, then VOTE YES ON 4! If not for the work of the city of Palm Coast to enact ordinances, regulate green development practices and oversee developers, then we would be walking forward into an even greater mess. But the city can't and shouldn't do it alone. Look at old Palm Coast east of I-95. Trees everywhere, Live Oak Canopies, southern natural charm, abundant natural corridors. This was the original vision. The fact that the Publix on A1A in the Hammock is so well hidden into the trees is no accident. But there is train wreck waiting ahead for the rest of Palm Coast's development if the current citizenry doesn't learn its local land-steward heritage and along with that step up to the responsibility of maintaining it's unique city of beauty. People and businesses may come (businesses especially) , so we have the choice whether to look and act like everywhere else in Florida and the country, where eventually developers conquer, concrete wins, sprawl devours, and people resign themselves to the familiar cliche, "That's progress for ya…." while cowering under the developer's anthem of "build it and they will come". Not here. Not ever. VOTE YES on 4 and send the message to big money interests, the chamber, the lawyers, the realtors, and all others that don't want your say in local matters. Tell them you and your city do matter. It matters to all those in the future who will look at Palm Coast as once and always having the guts and vision to truly teach the world what smart living, smart growth, and smart community stewardship is all about. Now that DOES sound lovely.
Sean O'Brien says
Dear Saw,
Your ignorance on Amendment #4 offends me almost as much as your lack of grammatical acuity. I surmise that, in your attempt to pen an intelligent and cohesive comment, you must not have had time to edit your words carefully. Otherwise, I cannot help but to implore you to relearn how to use commas, dependent, and independent clauses correctly. I assume, than, that your use of a pseudonym to mask your real identity was a temporary solution until you can edit your comment. Unless, of course, you have something to hide.
Sean Michael O'Brien
Dear Vote YES on 4 if you LOVE PALM COAST,
Please refer to my letter to Saw. Also, please add to run-on sentences to my list of grammatical errors for you to relearn. Thank you.
My dear Mr.O'Brien, thank goodness, you are a (school teacher ), for a moment there, I thought you might have been a realtor.
Evidently, you are not at all upset about the overkill of TAXPAYER funded NO signs, which currently proliferate our county, signs which by the way, will end up in the landfill in a couple of weeks.
That is of course, unless you find a way to re-cycle them, one would hope so.
We sincerely hope that the majority of our local residents, will not be fooled by this consortium (did I spell that word right ?) of special interests, and that they will VOTE YES on # 4, in favor of protecting our state into the future.
Please feel free to critque this comment, if you are not out placing more NO signs that is.
Joe von Miller says
I love the Palm Coast Observer.
Dear Saw says
I happen to be a friend of Mr. O'Brien. He is not a school teacher. Having first-hand seen him interact with children, my son included, I would be thrilled if he decided to change careers to help the youth of Palm Coast. I would be happy to take him under my wing, and help him earn his certification. I believe he would make an outstanding English or social studies teacher, educating his classes about representative democracy in a constitutional republic.
And he's not a realtor, either.
Vote for HOME RULE Over Being RULED OVER! says
I'll take run-on sentences anyday over run-on, unchecked, unwanted, unnecessary development, so VOTE YES on 4 if you LOVE PALM COAST and desire HOME RULE OVER BEING RULED OVER!
Saw, I sincerely applaud your attempt at a witty retort. I must point out that your failed grammar has, once again, taken the punch completely out of your intended message. I would like to take this opportunity to extend my hand to you as an open invitation for some grammar and civic knowledge.
HOME RULE, I love your grammar! Absolutely scintillating. You may want to join in with Saw for the civics portion of my class, however.
As a general note, I would like to point out that I am the only person using my actual name. I am not ashamed of my opinions or right to them. Certainly makes one wonder about everyone else.
Inna Hardison says
Mr. O'Brien,
In your strange attempt to dismiss an argument based on misplaced commas, you've neglected to actually address the sentiments voiced, which would lead a reasonable person to assume that you've no nothing intelligent to say on the subject at hand, big words notwithstanding. Having had teachers like you while growing up – I'd respectfully disagree with your friend. You'd make a lousy teacher. Lastly, your prose is not as error-free as you think, which makes this whole exchange sadly ironic.
Inna Hardison
Inna,
Great catch on my grammatical faux pas! Unfortunately, there is no way to edit posts after submission. I would certainly have done so if the opportunity was presented.
As to your assertions that I have nothing intelligent to say on the subject at hand and would make a lousy teacher, I beg of you not to assume. If you like to make an ass out of yourself, well, by all means. Please, however, do not make one out of me.
Most importantly, thank you for using your real name! It is quite refreshing to actually see someone stand up for their opinions instead of cowering in anonymity. My friend should know better.
P.S. A lack of humor on your part does not constitute a forgoing of the facts on mine. Always remember, those who argue with fools…
Sean – you are, indeed, the only one capable of making an ass of yourself. Quite capable, I might add. And now I leave you to your soapbox.
@Inna: Bravo!
To Funny says
Wow, so watching The Price Is Right this morning and one of the three prizes given out in the showcase showdown at the end was, you guessed it, a beautiful trip to "Gorgeous Palm Coast Florida". I mean really??? LMAO!!! Twice in one week Palm Coast has received national recognition on TV… To Funny!!!


Sheryl Bacon, APN - Valley-Wide Health Systems, Inc.
I am proud to be an NP and love helping people with their health concerns. I am married to a wonderful guy; we have 7 (grown) children; am the proud grandma of 15 grandchildren scattered around the country; and love living here in rural Colorado (having moved here from the suburbs of Denver).
I attended CSU Pueblo for my Master's Degree and completed the dual program for Acute Care and Family Practice, thus earning both the ACNP/AGACNP and FNP credentials.
I have been an RN for 35 years and an NP for nearly 2 years. I initially worked in Med-Surg nursing; then in ICU for 6 years, Emergency Dept for 15 years,and PACU (recovery room) and IR (interventional radiology) for 4 years. As a Nurse Practitioner, I worked for 18 months at San Luis Valley Health as an acute care NP caring for hospitalized patients, before joining Valley Wide inthe CCCC (Convenient Care Community Clinic).


On Wednesday, the Federal Open Market Committee (FOMC) will hold its monthly meeting—and in anticipation NerdWallet reported that mortgage rates for both 30-year and 15-year fixed-rate loans, as well as 5/1 ARMS, dropped. While market watchers do not anticipate policy changes to come out of this month's meeting, in light of last month's interest rate hike it seems as if that is not enough to ebb the pre-meeting caution the market is experiencing.
According to NerdWallet, on Monday that the 30-year fixed mortgage rate is at 4.16 percent APR (-0.04), the 15-year is at 3.54 percent APR (-0.04) and the 5/1 ARM is at 3.82 percent APR (-0.01).
Michelle Girard, Managing Director and Chief Economist of NatWest Markets at the Royal Bank of Scotland, forecasts that while rates will most likely stay the same this week, this will probably not be the case for the rest of the year.
Barrons.com reported that Girard predicts four rate hikes in total this year into early next year. "We also look for the Fed to announce a change to its reinvestment policy in Q4, and to begin tapering purchases of both Treasurys and MBS in January 2018. By October 2018, we believe all reinvestment will be ended. Market participants look for fewer rate hikes in 2017 (and beyond), in part because they believe that changes in the Fed's balance sheet may "substitute" for interest rate hikes. However, we expect the Fed to maintain its once-per-quarter hiking pace through 2018 even as reinvestment is ended," said Girard.
At its last meeting, the Fed raised interest rates to a range of 0.75 percent to 1 percent. After the hike, Fed Chair Janet Yellen commented, "It is important for the public to understand that we're getting closer to reaching our objectives."


Benefits of Spiritual Life Coaching.
If you are one who wants to know deeper about yourself, want more out of life and also live your heart's dream, then spiritual coaching is what you need. With this type of coaching, it doesn't involve a particular group of people but instead it deals with people of all ages who think are ready for such counseling. It mainly involves a spiritual coach learning about your life at a personal level, learning about your gifts and your soul's purpose alongside helping you in healing. Read more about Spiritual Life Coaching from spiritual development. Therefore, there are some benefits associated with such type of coaching so that it can reach its intended purpose of leaving you a happy soul.
In involving yourself in this work, you will see the beauty of life, your inner beauty and also the beauty surrounding you that is your environment. You will feel that life is made for you and that it is a beautiful place set by love for you. You can learn about the environment you live in or even that you work in so that you can appreciate it as something you have. You can also understand your relationship to your body and also your relationship to those surrounding you.
It makes you care more about yourself and respecting your needs and your feelings. By caring about yourself, you will be able to remove all the unnecessary feelings and emotions that bring discomfort to you. It brings out confidence and more self-acceptance so that you can be able to face the challenges life brings to you. You will find that you accept what life brings to you and learn from your life experiences.
It helps you build up stronger relationship with your community and help you work well with those you relate to. You will be able to understand the meaning of having true friendships and how you can deepen relationships. Click online life coaching to read more about Spiritual Life Coaching. Out there you will be able to endure disappointments, heartaches and find everything as a blessing especially in true and real friendships.
When you act according to what your heart wants and needs, you will find inner peace and also tour external peace. Everything in your life becomes simple and settles and you will be able to put down heavy burdens and negativity that is surrounding you. You will engage less in unnecessary drama, face no loss because you have accepted everything has its own purpose in your life. The external peace will also be created as you will dissolve all misunderstandings you may have with those around you.
By listening to your inner needs and desires, you will find purpose in your life hence making you more ambitious in living the life you desire. With learning the benefits that come with spiritual life coaching, you can now know if it will help you in resolving issues affecting your inner self. Learn more from https://www.encyclopedia.com/philosophy-and-religion/philosophy/philosophy-terms-and-concepts/spirituality.


Hope springs eternal, and in similar fashion our first depiction of Daisy Duck, whose hope of taming the volatile Donald is an eternal spring, is given the syroco treatment by Dark Horse and Yoe! Studio.
The Disney Comics & Stories Characters series depicts the cartoon characters as they were in the comics, but they are also somewhat more rough hewn than is common, with features including rough surface textures, visible seam lines, and other slightly 'distressed' aspects.
We now offer the third in the Disney Comics & Stories lineup-it's none other than Goofy. This is our first-ever depiction of this Disney mainstay. The Disney Comics & Stories Characters series depicts the cartoon characters as they were in the comics, but they are also somewhat more rough hewn than is common, with features including rough surface textures, visible seam lines, and other slightly "distressed" aspects.


text:
import {
	EntityRelationRecord, JSONEntityRelation, JSONRelation
} from "../../core/entity/Relation";
import {IQEntity} from "../../core/entity/Entity";
import {EntityMetadata} from "../../core/entity/EntityMetadata";
import {FieldMap} from "./FieldMap";
import {SQLStringWhereBase} from "./SQLStringWhereBase";
import {JoinTreeNode} from "../../core/entity/JoinTreeNode";
import {PHJsonCommonSQLQuery} from "./PHSQLQuery";
/**
 * Created by Papa on 8/20/2016.
 */

export enum SQLDialect {
	SQLITE,
	ORACLE
}

export class EntityDefaults {
	map: {[alias: string]: {[property: string]: any}} = {};

	getForAlias( alias: string ) {
		let defaultsForAlias = this.map[alias];
		if (!defaultsForAlias) {
			defaultsForAlias = {};
			this.map[alias] = defaultsForAlias;
		}
		return defaultsForAlias;
	}
}

export enum QueryResultType {
	// Ordered query result with bridging for all MtOs and OtM
	ENTITY_BRIDGED,
		// A flat array of values, returned by a on object select
		// Not supporting, requires support for order by (with field aliases) which is not currently implemented
		// ENTITY_FLATTENED,
		// Ordered query result, with objects grouped hierarchically by entity
	ENTITY_HIERARCHICAL,
		// A flat array of objects, returned by a regular join
		// Not supporting, requires support for order by (with field aliases) which is not currently implemented
		// ENTITY_PLAIN,
		// Ordered query result, with objects grouped hierarchically by mapping
	MAPPED_HIERARCHICAL,
		// A flat array of objects, returned by a mapped query
		// Not supporting, please use flat query
		// MAPPED_PLAIN,
		// Flat array query result, with no forced ordering or grouping
	FLAT,
		// A single field query result, with no forced ordering or grouping
	FIELD,
		// Raw result, returned by a SQL string query
	RAW
}

/**
 * String based SQL query.
 */
export abstract class SQLStringQuery<PHJQ extends PHJsonCommonSQLQuery> extends SQLStringWhereBase {

	protected entityDefaults: EntityDefaults = new EntityDefaults();

	constructor(
		protected phJsonQuery: PHJQ,
		qEntityMapByName: {[alias: string]: IQEntity},
		entitiesRelationPropertyMap: {[entityName: string]: {[propertyName: string]: EntityRelationRecord}},
		entitiesPropertyTypeMap: {[entityName: string]: {[propertyName: string]: boolean}},
		dialect: SQLDialect,
		protected queryResultType: QueryResultType
	) {
		super(qEntityMapByName, entitiesRelationPropertyMap, entitiesPropertyTypeMap, dialect);
	}

	getFieldMap(): FieldMap {
		return this.fieldMap;
	}

	protected abstract buildFromJoinTree<JR extends JSONRelation>(
		joinRelations: JR[],
		joinNodeMap: {[alias: string]: JoinTreeNode},
		entityName?: string
	);

	/**
	 * If bridging is not applied:
	 *
	 * Entities get merged if they are right next to each other in the result set.  If they are not, they are
	 * treated as separate entities - hence, your sort order matters.
	 *
	 * If bridging is applied - all entities get merged - your sort order does not matter.  Might as well disallow
	 * sort order for bridged queries (or re-sort in memory)?
	 *
	 * @param results
	 * @returns {any[]}
	 */
	protected abstract parseQueryResults(
		results: any[],
		queryResultType: QueryResultType,
		bridgedQueryConfiguration?: any
	): any[];

	protected getEntitySchemaRelationFromJoin(
		leftEntity: IQEntity,
		rightEntity: IQEntity,
		entityRelation: JSONEntityRelation,
		parentRelation: JSONRelation,
		currentAlias: string,
		parentAlias: string,
		tableName: string,
		joinTypeString: string,
		errorPrefix: string
	): string {

		let rightEntityJoinColumn, leftColumn;
		let leftEntityMetadata: EntityMetadata = <EntityMetadata><any>leftEntity.__entityConstructor__;
		let rightEntityMetadata: EntityMetadata = <EntityMetadata><any>rightEntity.__entityConstructor__;

		if (rightEntityMetadata.manyToOneMap[entityRelation.relationPropertyName]) {
			rightEntityJoinColumn = this.getEntityManyToOneColumnName(rightEntity, entityRelation.relationPropertyName, parentAlias);

			if (!leftEntityMetadata.idProperty) {
				throw `${errorPrefix} Could not find @Id for right entity of join to table  '${parentRelation.entityName}.${entityRelation.relationPropertyName}'`;
			}
			leftColumn = this.getEntityPropertyColumnName(leftEntity, leftEntityMetadata.idProperty, currentAlias);
		} else if (rightEntityMetadata.oneToManyMap[entityRelation.relationPropertyName]) {
			let rightEntityOneToManyMetadata = rightEntityMetadata.oneToManyMap[entityRelation.relationPropertyName];
			let mappedByLeftEntityProperty = rightEntityOneToManyMetadata.mappedBy;
			if (!mappedByLeftEntityProperty) {
				throw `${errorPrefix} Could not find @OneToMany.mappedBy for relation '${parentRelation.entityName}.${entityRelation.relationPropertyName}'.`;
			}
			leftColumn = this.getEntityManyToOneColumnName(leftEntity, mappedByLeftEntityProperty, currentAlias);

			if (!rightEntityMetadata.idProperty) {
				throw `${errorPrefix} Could not find @Id for right entity of join to table '${entityRelation.entityName}' `;
			}
			rightEntityJoinColumn = this.getEntityPropertyColumnName(rightEntity, rightEntityMetadata.idProperty, parentAlias);
		} else {
			throw `${errorPrefix} Relation '${parentRelation.entityName}.${entityRelation.relationPropertyName}' for table (${tableName}) is not listed as @ManyToOne or @OneToMany`;
		}
		let fromFragment = `\t${joinTypeString} ${tableName} ${currentAlias}`;
		fromFragment += `\t\tON ${parentAlias}.${rightEntityJoinColumn} = ${currentAlias}.${leftColumn}`;

		return fromFragment;
	}

}

redpajama_set_name: RedPajamaGithub


Reception built a small world that looked like Handa's village. We read Handa's Surprise and Handa's Hen and recreated some of the pictures with 3D elements. This helped us understand about backgrounds, foregrounds and perspective.
Year 5 have been fascinated by the story of the Empire Windrush and the amazing voyage that many Caribbean people made during the 1940s. We read the poem 'Windrush Child' by John Agard and used this as inspiration for our own poems. We hope you enjoy them!
As part of Black History Week, Year 5 have worked collaboratively to create this portrait of Nelson Mandela in the style of the artist Chuck Close. They had fun creating the different sections and then revealing the final piece!
As part of celebrating Black History Month, Year 2 have created collages inspired by the artist Alma Thomas.
Read More Inspirational black sportspeople.


text:
Q: static variable called in function giving error undefined codeigniter php I have defined static variable in controller but when I use that variable in functions it is giving undefined variable error.
Controller
<?php
defined('BASEPATH') OR exit('No direct script access allowed');

class Quiz extends Admin_Controller {

    private static $secure_key = "aXXXXXXXXc";

    public function __construct()
    {
        parent::__construct();
    }

    public function edit($id)
    {
        try
        {
            $token = JWT::encode($postdata, $secure_key);
            echo "<pre>";print_r($token);exit;
        }
        catch(Exception $e){
            $this->data['error'] = $e->getMessage();
            redirect('/','refresh');
       }
    }
}

$token gets printed properly with jwt but I am getting an error

Undefined variable: secure_key

I tried different methods to define $secure_key as
public static $secure_key = "aXXXXXXXc;
static $secure_key = "aXXXXXXXc;

I tried to define $secure_key in constructor also as
$secure_key = "aXXXXXXXc;
but no use. Why so? Please help. I am using codeigniter 3

A: Recommended Method (Based on Security)
Define variables in config.php and access it. This will work like Global Variable
$config['secure_key'] = 'myKey';
$this->config->item('secure_key'); # get
$this->config->set_item('secure_key', 'NewKey'); # set

Access it like this
$this->$secure_key

As per Comment by cd001
self::$secure_key

If function
$this->function_name();

A: Since $secure_key is declared as static inside your class. So it can be accessed using self or className as
self::$secure_key

or
Quiz::$secure_key

redpajama_set_name: RedPajamaStackExchange


A ticket to the world stage.
My Performing Arts Agency (MyPAA) recently hosted a pitching platform for performing arts groups from the region including entries from Malaysia, Philippines, Singapore and Cambodia. The session titled, 'Pitchpad ASEAN' was a first for MyPAA's annual Borak Arts series which serves as a springboard for conversation and networking with leading industry professionals from around the world.
It isn't always easy to find financial support for the arts within the region. While ASEAN's European counterpart actively engages in the preservation and cultivation of cultural heritage, ASEAN is only beginning to understand the potential within this region's artistic treasure trove.
Pitchpad 2015 is a starting point for this effort; as it hopes to encourage performing artistes and collaborators to network, learn, collaborate and discuss opportunities within the region and internationally.
– Izan Satrina, Founder and Director at MyPAA.
Gobyerno's methodology employs a participating audience to consider how they would re-imagine social institutions. Each project is developed as a live documentary series in which the audience is invited to consider perspectives within an imaginary community. This group aims to stimulate conversation and discussion in relation to the nature of government and social constructs with the hope that it will eventually affect policy.
The group focuses on immersive experiences and site specific projects. Their point of interest is in the performing body. Their approach is to produce, devise and compose a piece within a 2-3 week intensive timeframe, which includes research and study of the community and environment.
Rady Nget in Brodal Serei. Photo by Lin Chih-Yu.
Amrita Performing Arts' latest production, Brodal Serei, explores the life of the traditional Khmer boxer in the present day. This project aims to shed light on the nature of "success and struggle" as their livelihood becomes tangled within the context of "economy and sport". The performance presents a new dance vocabulary with physical movements from the Khmer boxing style.
The group was founded on its aim to explore and incorporate traditional forms of music in the region. Every piece uses traditional Malaysian-Chinese percussion as the primary foundation for other instruments and influences from Asia. Movement plays a central role in every performance to engage the viewer in an immersive experience.
ASWARA Dance Company (ADC) aims to bring traditional dance forms to modern audiences. The group's approach is experimental, as it aims to make "art that matters" and to create a new dialogue for dance within the traditional/contemporary space. Performances are often staged in a theatrical, storytelling format.
Written by Kee Thuan Chye, this play aims to discuss the idea of citizenship and power. The story begins with a young boy who is executed because the ruling King feared he would become too wise and powerful in old age. The playwright remarks that "art is about reflection" and invites the audience to reflect through this production.
Pentas Project Theatre Production (PPTP) is a collaborative effort between Loh Kok Man (director) and Pam Lim (producer / photographer). Each stage piece finds its inspiration in Pam Lim's photography. PPTP's performances interpret the interaction between people and the subject through contemporary dance. Their latest production, 'Double Punctum', reflects on the philosophy of Roland Barthes to consider an "accidental detail which pricks feeling".
The Malay Man and His Chinese Father is a physical performance which plays on the notion of dependence. The story portrays a sense of obligation felt by the young Malay Man towards his ailing Chinese Father and depicts how the two are begrudgingly tied to one another, through love and pain.
The group aims to develop a new dance language based on folk dance forms from the Philippines. 'Malay' is a solo performance piece by Al Garcia, who aims to explore the varying states of consciousness accessed when exploring folk dance languages. The piece is inspired by the word, 'Malaya', which stands for "freedom and conscious liberation".
Rhythm in Bronze (RIB) seeks to introduce Malaysian culture in an accessible way. The group focuses two ancient musical forms – Gamelan and Asian folk songs. They introduce movement and elements of dance into performances to create a more theatrical approach. The end result is a rhythmic experience, with the kind of ease and flow only ever achieved by masterful composition.
Pitchpad ASEAN is supported by MyPAA and George Town Festival. George Town Festival is sponsored by the Penang State Government and supported by Tourism Malaysia.
Next Article George Town Festival Opens With A Bang!


More Blog Posts in Monday Morning Monitor Anytime Where is this place located?
Focusing on academic and career success for all students.
To have information from your ag ed organization included in the Monday Morning Monitor, email Andrea Fristoe, NAAE Program Manager.
Judging assignments will be made by NAAE staff. Volunteers cannot judge an award application from a member of their own NAAE region. The established regional rotation of judging NAAE awards will be used to determine which applications will be judged by the committee members. Click here to sign up by May 12th!
NAAE is accepting proposals for professional development workshops to be presented at the 2018 NAAE Convention in San Antonio, Texas, November 27 - December 1, 2018, relating to topics appropriate for middle, secondary and post-secondary educators of agricultural education. Proposals are due by Friday, May 18th. Click here for more information and to submit your proposal.
Registration and the NAAE Housing Block are now open. Follow this link for more information and to start making plans for San Antonio!
Applications and updated scoring rubrics are now available online. Click here to start your application today! Applications are due by May 15th.Please note that the 2018 NAAE award applications have been revised. You can view the new award application requirements by clicking here.
There are three FAST symposium opportunities to choose from which will provide customized professional development, networking and mentoring for preservice agriculture teachers. Those not selected to receive the stipend may still participate in Session I and III at their own expense. Click here to select your session and apply by May 20th.
Presented by Zoetis, the Veterinarians on Call YouTube channel features real-life vets doing a variety of tasks. This week, veterinarian Lynn Locatelli shows how to handle large cattle with comfort and low stress, a model of animal husbandry. Click here to watch the video.
A $25 nonrefundable application fee.
All items much be submitted/postmarked by Monday, July 16. Applicants will be notified via email of their application status by Friday, Aug. 10. If you have questions, contact bct@ffa.org. Visit the convention and expo website for more.
Interested in presenting workshops to FFA members and advisors? We are looking for presenters to deliver student and/or teacher workshops at the 91st National FFA Convention & Expo in Indianapolis. Presenters will deliver at least one workshop but can present the same workshop up to three times. The presenter must create the workshop's curriculum, and content must align with at least one component of the FFA mission or be relevant to agriculture. Workshops are available Wednesday, Thursday and Friday during the convention and expo.Submitted workshop applications are selected based on the quality of content. We are open to unique workshop topics. Need ideas for topics? At the 90th National FFA Convention and Expo, students said they'd like to see workshops about motivating chapter members; plants; animals; new technology; how to obtain and engage sponsors; diversity; money and time management; benefits of FFA membership; leadership training; and self-empowerment. Teachers said they would like to see classroom resources; STEM; classroom management; animal science/animal care; utilizing technology in the classroom; aquaculture/natural resources; lesson plan ideas; connecting with different learning levels; agricultural mechanics; career and leadership development events; tips on recruiting alumni and supporters; agribusiness; and grant writing. Apply today before the application closes July 1. Questions? Email workshop@ffa.org.
FFA Alumni and Supporters working at John Deere and Monsanto are participating in a virtual pilot mentor program to help guide current FFA members in their future agricultural endeavors. Email alumni@ffa.org for more on this free program.
With the recent name and logo changes for alumni and supporters, all of the items that are mailed to new National FFA Life Members have been updated. The certificate, letter and membership card now reflect the FFA emblem. The official life member shirt pin has also been updated. Current life members can order a new pin for $5. Email alumni@ffa.org to order your pin today.
Curriculum for Agricultural Science Education (CASE) is pleased to accept applications for the 2018 CASE Awards. The CASE Awards program is supported by Vernier Software & Technology. Two award winners will be selected, one in each of the following categories.
The CASE Model School award is designed to recognize schools whose CASE certified teachers are teaching CASE courses to the highest fidelity. Ideal award candidates are facilitating CASE instruction in a model learning environment with proper classroom, laboratory, and/or shop space and prescribed equipment, supplies, and materials. Model Schools offer a structured sequence of CASE courses and scaffold student learning. Schools with one or multiple CASE certified teachers are encouraged to apply. CASE Model Schools may also leverage support not only through the school district, but also through the local community, agricultural industry, and/or state, regional, or national grants.
The CASE Innovation Award highlights creative classroom and teaching approaches as CASE certified teachers implement and promote CASE. Ideal innovations include but are not limited to classroom instruction, CASE Online, assessment strategies, social media, technology integration, industry partnerships, university partnerships, and state or regional collaboration.
All CASE certified teachers, except current CASE Advisory Committee Members, who are teaching CASE course(s) are eligible to apply for these awards. NAAE membership is required for award applicants. To join the National Association of Agricultural Educators (NAAE), click this link.Selected award winners are invited to receive their award and co-present a CASE workshop highlighting their achievements at the 2018 NAAE Convention hosted in San Antonio, Texas.
To apply for a CASE Award, please click this link. The deadline to apply is Thursday, May 31, 2018.
Not a cereal and not a vegetable drawer in the fridge—CRISPR is a scientific earthquake.
Friday, May 4, 2018: The gene-editing tool known as CRISPR is affecting medicine, agriculture, and seemingly everything else. Proposed label laws, ag infrastructure, and an upcoming rollout about the health and dietary effects of omega-3 fatty acids. Feisty kangaroos, a hungry alligator, and many more ag/science stories in this week's edition.
The Council for Agricultural Science and Technology's (CAST) weekly online newsletter, Friday Notes, is available free due to a grant from Land O'Lakes.


text:
'The suicide sanctions' against Russia will collapse America and Joe Biden was installed as the useless idiot that will usher in our destruction by design
A quick hat tip to Steve Quayle for "The Suicide Sanction" portion of the headline, as I lifted it from a SQ note.
(Article by Susan Duclos republished from AllNewsPipeline.com)
A recent quote from Energy Secretary Jennifer Granholm highlights the sheer suicidal nature of the sanctions against Russia on the part of America, after the Russia/Ukraine war began.
"As you know, gasoline comes from oil," Granholm told "Fox News Sunday." "Oil is traded on a global market. So we are at the whim, if you will, of what happens globally."
Globally Russia is the world's third largest oil producer, and "plays an outsized role in global oil markets," which means anything related to Russian oil in the global market, affects the entire world's energy costs.
Natural gas prices has already spiked to a 14-year high, and in Europe that is approximately seven times higher, according to CNN.
Analysts say Europe's natural gas crisis is contributing to the higher natural gas prices in America, although it's not the main driver.
The point here is that we have allowed ourselves to become so interconnected with the international community, that anything that effects them eventually ends up affecting Americans.
On August 8, 2022, it was reported that Goldman Sachs forecasted gas prices would once again rise back to an average of $4.35 a gallon.
Gasoline prices are set to rise back to roughly $4.35 per gallon by the end of the year, Goldman Sachs analysts said in a report.
Prices will continue to climb next year as well, rising to an average of $4.40 in 2023, according to the report.
By August 16, others were making the same predictions, as reports were warning Americans that "After falling 9 weeks straight, experts say gas prices may rise again."
BITING THE HAND THAT 'HEATS' YOU
Flash forward to Monday, September 5th, and we see that European nations, which joined America in sanctioning Russia over the Russia/Ukraine war, have just seen the rest of their gas supply from Russia, whom they depend on for heat during the upcoming winter, cut off.
European gas prices rocketed higher again on Monday (September 5).They were up as much as 30% in early trade. The jump came after Russia shut off supplies via the key Nord Stream 1 pipeline.
It says it's found a leak that will put the facility out of use until further notice. Europe says Moscow is just weaponizing energy supplies in retaliation for Western sanctions.
Nord Stream 1 used to transport about a third of the Russian gas exported to Europe, though it's recently been running at just a fifth of its usual capacity. Russian gas supplies via Ukraine, another major route, have also been reduced. It all leaves Europe scrambling to find alternative sources before winter.
Several states have triggered emergency plans that could lead to energy rationing.
Think about that.
Russia supplies European countries with the majority of their supply, and because said countries led by the United States, decide to "punish" Russia with sanctions because they don't approve of Russia's behavior regarding Ukraine, they are now "scrambling" to find alternative sources, while the markets are "rattled" and prices across Europe are now surging.
What did they expect to happen?
You do not bite the hand that feeds you, or in this case that 'heats you", and expect them to simply continuing offer the supplies, in this case, gas.
All those warnings about how gas prices will be going up again, without decreasing to what they were before Biden started occupying the White House, and now this.
BIDEN PRICE HIKES
As Joe Biden continues to claim the rise in gas prices are "Putin's price hikes," in a speech on June 22, 2022, Joe Biden admitted the following:
We could have turned a blind eye to Putin's murderous ways, and the price of gas wouldn't have spiked the way it has.
In other words, had Biden, on behalf of the United States of America, minded our own business, since there was no national security interests for America to justify inserting ourselves into what was happening there, we wouldn't have seen the price hikes.
Or so he claims.
In reality, our butting in where we did not belong simply made the matter worse, but did not create it. The gas price hikes started before the Russia-Ukraine conflict.
In March 2022, the Washington Times asked and answered the following question: "Who caused the gas price increase, Putin or Biden?"
What do the facts show? The last full month former President Donald Trump was in office, December 2020, the average retail price of gasoline in the U.S. was $2.20 per gallon. Mr. Biden, upon taking office in January, immediately declared war on the fossil fuel industry — as he said he would. He shut down construction on the infamous Keystone pipeline during his first week. His administration took away drilling permits and leases on federal land, denied permits for other pipelines, discouraged banks from lending to the petroleum industry, and held up permits for new or expanded LNG terminals to make exporting LNG more difficult and expensive, among other things.
By contrast, the Trump administration had a series of pro-oil and gas production policies to make the U.S. self-sufficient and even an energy exporter. The numbers show the Trump administration met its goals and then some.
Putin was to be Biden's scapegoat in order to abdicate his own responsibility for declaring war against the gas industry and forcing Americans to pay outrageous gas prices.
As Biden manipulated the price of gas by releasing 1 million barrels a day from the Strategic Petroleum Reserve (SPR), which depleted the reserves to their lowest level since 1986, meaning that "fix" which was nothing more than slapping a band-aid on a gaping wound, is unsustainable, especially since Biden has also been exporting more than 5 million barrels of oil from the reserves to Asia and Europe.
Now that Russia has cut some European countries off totally, citing the sanctions, with the claim that sanctions are preventing them from the maintenance needed to start supply them again, they are seeing the consequences of their own action.
The Europeans aren't the only ones that will suffer, as even before this latest hit on the energy sector in Europe, U.S. gas prices were expected to rise almost to where they were before Biden attempted to manipulate them downward with the SPR releases.
Read more at: AllNewsPipeline.com
Tagged Under: Collapse, corruption, economy, finance, government, Inflation, insanity, Joe Biden, risk, Russia, sanction, sanctions, suicide, White House
Top German diplomat who laughed at Trump's "energy dependence" comments in 2018 now silent
Germany will support Ukraine 'no matter what my voters think', says foreign minister
Surprise: Stocks tumble after Gazprom "completely halts" Nord Stream indefinitely due to "unexpected" leak
"Say nothing" phase of this fourth turning
Biden's Pentagon working to embroil US, NATO in war with Russia: Officials admit DoD had a hand in sinking Moscow's warships
It's a fact that needs repeating: The Federal Reserve is a suicide bomber
The fall of luciferian-dominated Western Civilization is a highly disruptive but NECESSARY step for human progress: Life, liberty and freedom hang in the balance
PhD economist says energy and financial situation in Europe is "much worse than many understand," warns of "mayhem" in weeks or months
Switzerland threatens residents who heat their homes this winter with jail time
$258 billion Dogecoin racketeering lawsuit filed against Elon Musk has expanded – massive crypto pump and dump scheme alleged
It could take trillions to bail out Europe's flagging energy sector because bad policies that created the crisis are still in place
German gas giant asks Berlin for BAILOUT as country faces energy crisis
Russia's Putin confirms he is using country's vast energy reserves as leverage to force EU to drop economic sanctions
Growth in Taiwanese exports slows to a trickle, raising alarms of global economic slowdown
It's not even close: Study finds far more bots are promoting pro-Ukraine propaganda
Flashback: CBS News mocked Trump for warning of German reliance on Russian gas
America's infrastructure is falling apart, as evidenced by water supply and power grid failures
Western Europe now facing "TOTAL FINANCIAL COLLAPSE" – experts and analysts urgently sound the alarm
Tech billionaires are buying up large-scale bunkers and survival gear in preparation for what's coming

redpajama_set_name: RedPajamaCommonCrawl


Traditional animation (or classical animation, cel animation or hand-drawn animation) is an animation technique in which each frame is drawn by hand on a physical medium. The technique was the dominant form of animation in cinema until the advent of computer animation.
Animation productions begin by deciding on a story. The oral or literary source material must then be converted into an animation film script, from which the storyboard is derived. The storyboard has an appearance somewhat similar to a comic book, and it shows the sequence of shots as consecutive sketches that also indicate transitions, camera angles, and framing. The images allow the animation team to plan the flow of the plot and the composition of the imagery. The storyboard artists will have regular meetings with the director and may have to redraw or "re-board" a sequence many times before it meets final approval.
Before true animation begins, a preliminary soundtrack or scratch track is recorded, so that the animation may be more precisely synchronized to the soundtrack. Given the slow, methodical manner in which traditional animation is produced, it is almost always easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. However, the scratch track used during animation typically contains only the voices, any vocal songs to which characters must sing along, and temporary musical score tracks; the final score and sound effects are added during post-production.
In the case of Japanese anime, as well as most pre-1930 sound animated cartoons, the sound was post-synched; that is, the soundtrack was recorded after the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, most notably Fleischer Studios, continued to post-synch their cartoons through most of the 1930s, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons.
Often, an animatic or story reel is made after the soundtrack is created, but before full animation begins. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack. This allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film; as traditional animation is a very expensive and time-consuming process, creating scenes that will eventually be edited out of the completed cartoon is strictly avoided.
Advertising agencies today employ the use of animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces (for example, an arm that reaches for a product, or a head that turns). Video storyboards are similar to animatics but do not have moving pieces. Photomatics are another option when creating test spots, but instead of using drawn artwork, there is a shoot in which hundreds of digital photographs are taken. The large number of images to choose from may make the process of creating a test commercial a bit easier, as opposed to creating an animatic, because changes to drawn art take time and money. Photomatics generally cost more than animatics, as they may require a shoot and on-camera talent. However, the emergence of affordable stock photography and image editing software permits the inexpensive creation of photomatics using stock elements and photo composites.
Once the animatic has been approved, it and the storyboards are sent to the design departments. Character designers prepare model sheets for all important characters and props in the film; these are used to help standardize appearance, poses, and gestures. These model sheets will show how a character or object looks from a variety of angles with a variety of poses and expressions so that all artists working on the project can deliver consistent work. Sometimes, small statues known as maquettes may be produced, so that an animator can see what a character looks like in three dimensions. At the same time, the background stylists will do similar work for the settings and locations in the project, and the art directors and color stylists will determine the art style and color schemes to be used.
While design is going on, the timing director (who in many cases will be the main director) takes the animatic and analyzes exactly what poses, drawings, and lip movements will be needed on what frames. An exposure sheet (or X-sheet for short) is created; this is a printed table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. Bar sheets show the relationship between the on-screen action, the dialogue, and the actual musical notation used in the score.
Layout begins after the designs are completed and approved by the director. The layout process is the same as the blocking out of shots by a cinematographer on a live-action film. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Character layout artists will determine the major poses for the characters in the scene and will make a drawing to indicate each pose. For short films, character layouts are often the responsibility of the director.
The layout drawings and storyboards are then spliced, along with the audio and an animatic is formed (not to be confused with its predecessor, the leica reel). The term "animatic" was originally coined by Walt Disney Animation Studios.
Once the animatic is finally approved by the director, animation begins.
In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using colored pencils, one picture or "frame" at a time. A peg bar is an animation tool used in traditional (cel) animation to keep the drawings in place. The pins in the peg bar match the holes in the paper. It is attached to the animation desk or light table, depending on which is being used. A key animator or lead animator will draw the key drawings in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major points of the action; in a sequence of a character jumping across a gap, the key animator may draw a frame of the character as he is about to leap, two or more frames as the character is flying through the air and the frame for the character landing on the other side of the gap.
Timing is important for the animators drawing these frames; each frame must match exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between sound and visual will be distracting to the audience. For example, in high-budget productions, extensive effort is given in making sure a speaking character's mouth matches in shape the sound that character's actor is producing as he or she speaks.
While working on a scene, a key animator will usually prepare a pencil test of the scene. A pencil test is a preliminary version of the final animated scene; the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to his assistant animators, who will add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have his scene sweatboxed, or reviewed by the director, producer, and other key creative team members. Similar to the storyboarding stage, an animator may be required to redo a scene many times before the director will approve it.
In high-budget animated productions, often each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. For scenes where two characters interact, the key animators for both characters will decide which character is "leading" the scene, and that character will be drawn first. The second character will be animated to react to and support the actions of the "leading" character.
Once the key animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, taking care in including all of the details present on the original model sheets, so that it appears that 1 person animated the entire film. The inbetweeners will draw in whatever frames are still missing in between the other animators' drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.
At each stage during pencil animation, approved artwork is spliced into the Leica reel.
This process is the same for both character animation and special effects animation, which on most high-budget productions are done in separate departments. Effects animators animate anything that moves and is not a character, including props, vehicles, machinery and phenomena such as fire, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s by filming slow-motion footage of water in front of a black background, with the resulting film superimposed over the animation.
After all the drawings are cleaned up, they are then photographed on an animation camera, usually on black and white film stock. Nowadays, pencil tests can be made using a video camera and computer software.
While the animation is being done, the background artists will paint the sets over which the action of each animated sequence will take place. These backgrounds are generally done in gouache or acrylic paint, although some animated productions have used backgrounds done in watercolor or oil paint. Background artists follow very closely the work of the background layout artists and color stylists (which is usually compiled into a workbook for their use) so that the resulting backgrounds are harmonious in tone with the character designs.
Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for photography, a process known as ink-and-paint. Each drawing is then transferred from paper to a thin, clear sheet of plastic called a cel, a contraction of the material name celluloid (the original flammable cellulose nitrate was later replaced with the more stable cellulose acetate). The outline of the drawing is inked or photocopied onto the cel, and gouache, acrylic or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. In many cases, characters will have more than one color palette assigned to them; the usage of each one depends upon the mood and lighting of each scene. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath the cel of another; and the opaque background will be seen beneath all of the cels.
When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the composite image is then photographed by a special animation camera, also called rostrum camera. The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, small holes along the top or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars before the camera to ensure that each cel aligns with the one before it; if the cels are not aligned in such a manner, the animation, when played at full speed, will appear "jittery." Sometimes, frames may need to be photographed more than once, in order to implement superimpositions and other camera effects. Pans are created by either moving the cels or backgrounds 1 step at a time over a succession of frames (the camera does not pan; it only zooms in and out).
A camera used for shooting traditional animation. See also Aerial image.
As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack. Again, editing in the traditional live-action sense is generally not done in animation, but if it is required it is done at this time, before the final print of the film is ready for duplication or broadcast.
Among the most common types of animation rostrum cameras was the Oxberry. Such cameras were always made of black anodized aluminum, and commonly had 2 pegbars, 1 at the top and 1 at the bottom of the lightbox. The Oxberry Master Series had 4 pegbars, 2 above and 2 below, and sometimes used a "floating pegbar" as well. The height of the column on which the camera was mounted determined the amount of zoom achievable on a piece of artwork. Such cameras were massive mechanical affairs which might weigh close to a ton and take hours to break down or set up.
In the later years of the animation rostrum camera, stepper motors controlled by computers were attached to the various axes of movement of the camera, thus saving many hours of hand cranking by human operators. Gradually, motion control techniques were adopted throughout the industry.
Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.
The current process, termed "digital ink and paint", is the same as traditional ink and paint until after the animation drawings are completed; instead of being transferred to cels, the animators' drawings are either scanned into a computer or drawn directly onto a computer monitor via graphics tablets (such as a Wacom Cintiq tablet), where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder, or printing to film using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget American animated productions, the bulk of the animation is actually done by animators working in other countries, including South Korea, Taiwan, Japan, China, Singapore, Mexico, and India). As the cost of both inking and painting new cels for animated films and TV programs and the repeated usage of older cels for newer animated TV programs and films went up and the cost of doing the same thing digitally went down, eventually, the digital ink-and-paint process became the standard for future animated movies and TV programs. Digital ink and paint has been in use at Walt Disney Feature Animation since 1989, where it was used for the final rainbow shot in The Little Mermaid. All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under, which was also the first major feature film to entirely use digital ink and paint), using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by Pixar.
While Disney was the first to switch to digital inking and painting, it took the rest of the industry longer to adapt. Many filmmakers and studios did not want to shift to the digital ink-and-paint process because they felt that the digitally-colored animation would look too synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects. Many animated television series were still animated in other countries by using the traditionally inked-and-painted cel process as late as 2004; though most of them switched over to the digital process at some point during their run. The last major feature film to use traditional ink and paint was Studio Ghibli's Princess Mononoke (1997); the last major animation production to use the traditional process was Cartoon Network's Ed, Edd n Eddy, which switched to digital paint in 2004. Minor productions such as Hair High (2004) by Bill Plympton have used traditional cels long after the introduction of digital techniques. Most studios today use one of a number of other high-end software packages, such as Toon Boom Harmony, Toonz Bravo!, Animo, and RETAS, or even consumer-level applications such as Adobe Flash, Toon Boom Technologies, UbiArt Framework TVPaint, and Toonz Harlequin.
Computers and digital video cameras can also be used as tools in traditional cel animation without affecting the film directly, assisting the animators in their work and making the whole process faster and easier. Doing the layouts on a computer is much more effective than doing it by traditional methods. Additionally, video cameras give the opportunity to see a "preview" of the scenes and how they will look when finished, enabling the animators to correct and improve upon them without having to complete them first. This can be considered a digital form of pencil testing.
This image shows how two transparent cels, each with a different character drawn on them, and an opaque background are photographed together to form the composite image.
The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character.
For a more complex example, consider a sequence in which a boy sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the boy continues to move as he draws his arm away from the plate. In this example, after the boy puts the plate down, the plate can then be drawn on a separate cel from the boy. Further frames feature new cels of the boy, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example, the still plate would be painted slightly brighter to compensate for being moved one layer down. In TV and other low-budget productions, cels were often "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film. Also, after the completion of the film, some of the cels were put into the "archive" to be used again and again for future purposes in order to save money. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors.
In very early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were drawn on separate papers. A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed. The cel animation process was invented by Earl Hurd and John Bray in 1915.
In lower-budget productions, shortcuts available through the cel technique are used extensively. For example, in a scene in which a man is sitting in a chair and talking, the chair and the body of the man may be the same in every frame; only his head is redrawn, or perhaps even his head stays the same while only his mouth moves. This is known as limited animation. The process was popularized in theatrical cartoons by United Productions of America and used in most television animation, especially that of Hanna-Barbera. The end result does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small television budgets.
Moving characters are often shot "on twos", that is to say, one drawing is shown for every two frames of film (which usually runs at 24 frames per second), meaning there are only 12 drawings per second. Even though the image update rate is low, the fluidity is satisfactory for most subjects. However, when a character is required to perform a quick movement, it is usually necessary to revert to animating "on ones", as "twos" are too slow to convey the motion adequately. A blend of the two techniques keeps the eye fooled without unnecessary production cost.
Academy Award-nominated animator Bill Plympton is noted for his style of animation that uses very few in-betweens and sequences that are done on 3s or on 4s, holding each drawing on the screen from 1/8 to 1/6 of a second. While Plympton uses near-constant three-frame holds, sometimes animation that simply averages eight drawings per second is also termed "on threes" and is usually done to meet budget constraints, along with other cost-cutting measures like holding the same drawing of a character for a prolonged time or panning over a still image, techniques often used in low-budget TV productions. It is also common in anime, where fluidity is sacrificed in lieu of a shift towards complexity in the designs and shading (in contrast with the more functional and optimized designs in the western tradition); even high-budget theatrical features such as Studio Ghibli's employ the full range: from smooth animation "on ones" in selected shots (usually quick action accents) to common animation "on threes" for regular dialogue and slow-paced shots.
A horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos. The animation consists of 8 drawings which are "looped", i.e. repeated over and over. This example is also "shot on twos", i.e. shown at 12 drawings per second.
Creating animation loops or animation cycles is a labor-saving technique for animating repetitive motions, such as a character walking or a breeze blowing through the trees. In the case of walking, the character is animated taking a step with its right foot, then a step with its left foot. The loop is created so that, when the sequence repeats, the motion is seamless. However, because an animation loop essentially uses the same bit of animation over and over again, it is easily detected and can, in fact, become distracting to an audience. In general, they are used only sparingly by productions with moderate or high budgets.
Ryan Larkin's 1969 Academy Award-nominated National Film Board of Canada short Walking makes creative use of loops. In addition, a promotional music video from Cartoon Network's Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in The Flintstones, in which Fred and Barney (along with various Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a house, wonder why they keep passing the same table and vase over and over again.
The multiplane camera is a tool used to add depth to scenes in 2D animated movies, called the multiplane effect or the parallax process. The art is placed on different layers of glass plates, and as the camera moves vertically towards or away from the artwork levels, the camera's viewpoint appears to move through the various layers of artwork in 3D space. The panorama views in Pinocchio are examples of the effects a multiplane camera can achieve. Different versions of the camera have been made through time, but the most famous is the one developed by the Walt Disney studio beginning with their 1937 short The Old Mill. Another one, the "Tabletop", was developed by Fleischer Studios. The Tabletop, first used in 1934's Poor Cinderella, used miniature sets made of paper cutouts placed in front of the camera on a rotating platform, with the cels between them. By rotating the entire setup one frame at a time in accordance with the cel animation, realistic panoramas could be created. Ub Iwerks and Don Bluth also built multiplane cameras for their studios.
Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process. This saved time and money, and it also made it possible to put in more details and to control the size of the xeroxed objects and characters (this replaced the little known, and seldom used, photographic lines technique at Disney, used to reduce the size of animation when needed). At first, it resulted in a more sketchy look, but the technique was improved upon over time.
Disney animator and engineer Bill Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by pressure, and then fixing it. It is not known if the process was ever used in animation.
The xerographic method was first tested by Disney in a few scenes of Sleeping Beauty and was first fully used in the short film Goliath II, while the first feature entirely using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in The Rescuers the characters' outlines are gray. White and blue toners were used for special effects, such as snow and water.
Invented by Dave Spencer for the 1985 Disney film The Black Cauldron, the APT (Animation Photo Transfer) process was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic process; the artists' work were photographed on high-contrast "litho" film, and the image on the resulting negative was then transferred to a cel covered with a layer of light-sensitive dye. The cel was exposed through the negative. Chemicals were then used to remove the unexposed portion. Small and delicate details were still inked by hand if needed. Spencer received an Academy Award for Technical Achievement for developing this process.
A cel overlay is a cel with inanimate objects used to give the impression of a foreground when laid on top of a ready frame. This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called line overlay, made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was first painted as shapes and figures in flat colors, containing rather few details. Next, a cel with detailed black lines was laid directly over it, each line drawn to add more information to the underlying shape or figure and give the background the complexity it needed. In this way, the visual style of the background will match that of the xeroxed character cels. As the xerographic process evolved, line overlay was left behind.
The methods mentioned above describe the techniques of an animation process that originally depended on cels in its final stages, but painted cels are rare today as the computer moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital paint instead of being transferred to cels and then colored by hand. The drawings are composited in a computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format.
It is now also possible for animators to draw directly into a computer using a graphics tablet, Cintiq or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The Goofy short How To Hook Up Your Home Theater (2007) represented Disney's first project based on the paperless technology available today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need of photographing line tests and scanning.
Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as Toy Story and Ice Age. However, often traditional animation and 3D computer animation will be used together, as in Don Bluth's Titan A.E. and Disney's Tarzan and Treasure Planet. Most anime and many western animated series still use traditional animation today. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe animated films produced by his studio which incorporated elements of traditional and computer animation equally, such as Spirit: Stallion of the Cimarron and Sinbad: Legend of the Seven Seas.
Many video games such as Viewtiful Joe, The Legend of Zelda: The Wind Waker and others use "cel-shading" animation filters or lighting systems to make their full 3D animation appear as though it were drawn in a traditional cel-style. This technique was also used in the animated movie Appleseed, and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many television shows, such as the Fox animated series Futurama. In one scene of the 2007 Pixar movie Ratatouille, an illustration of Gusteau (in his cookbook), speaks to Remy (who, in that scene, was lost in the sewers of Paris) as a figment of Remy's imagination; this scene is also considered an example of cel-shading in an animated feature. More recently, animated shorts such as Paperman, Feast, and The Dam Keeper have used a more distinctive style of cel-shaded 3D animation, capturing a look and feel similar to a 'moving painting'.
Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over actual film footage of actors and scenery. Traditionally, the live action will be printed out frame by frame and registered. Another piece of paper is then placed over the live action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand drawn but the motion will be remarkably lifelike. The films Waking Life and American Pop are full-length rotoscoped films. Rotoscoped animation also appears in the music videos for A-ha's song "Take On Me" and Kanye West's "Heartless". In most cases, rotoscoping is mainly used to aid the animation of realistically rendered human beings, as in Snow White and the Seven Dwarfs, Peter Pan, and Sleeping Beauty.
A method related to conventional rotoscoping was later invented for the animation of solid inanimate objects, such as cars, boats, or doors. A small live action model of the required object was built and painted white, while the edges of the model were painted with thin black lines. The object was then filmed as required for the animated scene by moving the model, the camera, or a combination of both, in real time or using stop-motion animation. The film frames were then printed on paper, showing a model made up of the painted black lines. After the artists had added details to the object not present in the live-action photography of the model, it was xeroxed onto cels. A notable example is Cruella de Vil's car in Disney's One Hundred and One Dalmatians. The process of transferring 3D objects to cels was greatly improved in the 1980s when computer graphics advanced enough to allow the creation of 3D computer generated objects that could be manipulated in any way the animators wanted, and then printed as outlines on paper before being copied onto cels using Xerography or the APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Little Mermaid (1989). This process has more or less been superseded by the use of cel-shading.
Related to rotoscoping are the methods of vectorizing live-action footage, in order to achieve a very graphical look, like in Richard Linklater's film A Scanner Darkly.
Similar to the computer animation and traditional animation hybrids described above, occasionally a production will combine both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney's Alice Comedies (begun in 1923). Live-action and animation were later combined in features such as Mary Poppins (1964), Who Framed Roger Rabbit (1988), Space Jam (1996), and Enchanted (2007), among many others. The technique has also seen significant use in television commercials, especially for breakfast cereals marketed to children.
Besides traditional animated characters, objects, and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give the animation, in general, a distinct visual appearance. Today special effects are mostly done with computers, but earlier they had to be done by hand. To produce these effects, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit animation, diffusing screens, filters, or gels. For instance, the Nutcracker Suite segment in Fantasia has a fairy sequence where stippled cels are used, creating a soft pastel look.
^ Laybourne 1998, pp. 202–203.
^ Laybourne 1998, p. xv.
^ Laybourne 1998, pp. 105–107.
^ Laybourne 1998, p. 339.
^ Laybourne 1998, pp. 302–313.
^ Laybourne 1998, p. 233.
^ "momotato.com - momotato Resources and Information". Retrieved 1 January 2017.
^ Laybourne 1998, p. 241.
^ Thomas & Johnston 1995, p. 30.
^ Culhane 1989, p. 212.
^ Laybourne 1998, p. 180.
^ Segall, Mark (1996). "Plympton's Metamorphoses". Animation World Magazine.
^ LaMarre 2009, p. 187.
^ Maltin 1987, p. 277.
^ Laybourne 1998, p. 213.
^ "A. Film L.A.: Nice Try, Bill..." Retrieved 1 January 2017.
^ Laybourne 1998, p. 168.
^ Laybourne 1998, pp. 30, 67.
^ Laybourne 1998, p. 176.
^ Laybourne 1998, pp. 354, 368.
^ Laybourne 1998, p. 172.
Blair, Preston (1994). Cartoon Animation. Laguana Hills, CA: Walter Foster Publishing. ISBN 156-010084-2.
Culhane, Shamus (1989). Animation from Script to Screen. New York: St. Martin's Griffin. ISBN 031-205052-6.
LaMarre, Thomas (2009). The Anime Machine. U of Minnesota Press. ISBN 978-0-8166-5154-2.
Laybourne, Kit (1998). The Animation Book : A Complete Guide to Animated Filmmaking—From Flip-Books to Sound Cartoons to 3-D Animation. New York: Three Rivers Press. ISBN 051-788602-2.
Maltin, Leonard (1987). Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. ISBN 978-0-4522-5993-5.
Thomas, Frank; Johnston, Ollie (1995). Disney Animation: The Illusion Of Life. Los Angeles: Disney Editions. ISBN 078-686070-7.
Williams, Richard (2002). The Animator's Survival Kit: A Manual of Methods, Principles, and Formulas for Classical, Computer, Games, Stop Motion, and Internet Animators. London: Faber & Faber. ISBN 057-120228-4.


Cement Mixer Coloring Pages Coloring Page | Hangenix.com cement mixer coloring pages.
Cement Mixer Coloring Pages Amazing Car Transport Special Free For 19. Cement Mixer Coloring Pages Motivate Page Ble Color Securank Intended For 11. Cement Mixer Coloring Pages Property Truck Hellokids Com And 3. Cement Mixer Coloring Pages Comfy Awesome Truck Gallery Printable And 15. Cement Mixer Coloring Pages Stylish Sturdy Truck Page Awesome Gallery And Also 5. Cement Mixer Coloring Pages Desire Truck Page For Kids Transportation 12. Cement Mixer Coloring Pages Stylish Page Twisty Noodle With Regard To 6. Cement Mixer Coloring Pages Interesting Page Free Online 2nd With Regard To 14. Cement Mixer Coloring Pages Interesting Filmoom Me Along With 17. Cement Mixer Coloring Pages Stunning Page Eskayalitim Pertaining To 10. Cement Mixer Coloring Pages Incredible Car Page Free Special Transport With Regard To 4. Cement Mixer Coloring Pages Warm Truck Colors For Kids With Construction Regarding 8. Cement Mixer Coloring Pages Very Noisy Truck Picolour Intended For 16. Cement Mixer Coloring Pages Dream Truck Page Simple And 18. Cement Mixer Coloring Pages Stylish Car Page Free Printable 2. Cement Mixer Coloring Pages Invigorate Truck Transportation Concrete And Also 1. Cement Mixer Coloring Pages Inviting Page Free Printable Along With 0. Cement Mixer Coloring Pages Attractive Truck 2018 Open Lovely For 7.


text:
local Q = require 'Q'
require 'Q/UTILS/lua/strict'
local plpath = require 'pl.path'
local dbg = require 'Q/UTILS/lua/debugger'
local load_csv = Q.load_csv

local tests = {}

local Q_SRC_ROOT = os.getenv("Q_SRC_ROOT")
local script_dir = Q_SRC_ROOT .. "/OPERATORS/LOAD_CSV/test"
local meta_data_file = script_dir .. "/good_data.lua"
local T = dofile(meta_data_file)

for i, v in ipairs(T) do

  tests[v.testcase_no] = function ()
    local meta_file, csv_file
    if not plpath.isabs(v.meta) then
      meta_file = script_dir .."/".. v.meta
      csv_file = script_dir .."/".. v.data
    end
    local M = dofile(meta_file)
    local D = csv_file
    local status, err = pcall(load_csv, D, M)
    if ( not status ) then
      error( "Failed testcase_no ".. v.testcase_no .. " Error: "..err)
    end
    print("testcase no: "..v.testcase_no .." name: ".. v.meta .." successful")
  end
end

return tests


text:
11 groups who participated in Women's March on Denver
Crowd ranged from little kids to an ambassador recently returned to Colorado
Photos taken by Andy Cross and Joe Amon, The Denver Post
By Hayley Sanchez & Danika Worthington
There were signs, pussyhats and plenty of women — and men, too.
The Women's March on Denver drew at least 100,000 people to downtown Denver Saturday. The mostly female crowd packed in the Civic Center Park was a mix of ages, races, abilities, sexualities, genders, religions and more.
They came from Denver, Westminster, Boulder, Aurora and Fort Collins, to name a few. But the message they all proclaimed, either through signs or through chants, was the same: we stand in solidarity with all people.
Here are snapshots of just a few of the marchers:
Michelle Swindle, Abi Vajda, Kristi Powell
These friends came in from Westminster to be in solidarity with all people, not just woman. Swindle and Vajda both have Loeys Dietz Syndrome, a degenerative disease of the connective tissue that does not have a cure and is considered a pre-existing condition by healthcare insurances.
"There's a lot of fear going around," Vajda said. "We're concerned about healthcare."
Swindle and Powell both had decorated their scooters. Powell was supporting her friends and was using a scooter because she is pregnant and has a broken ankle — not because of LDS. Swindle's pink scooter proudly proclaimed, "Girls just want to have fun-damental rights."
Katrina and Kassandra Rosas
The two Denver sisters said they aren't fans of Trump. As women of color, Katrina said the two were worried about their place in the country during the next four years. She said they weren't expecting as many women to show up.
"I was terrified when he got elected because I thought that so many people were on his side," Katrina said. "Now, seeing so many people, it's really refreshing. It's really great."
Addie Cutler, Riley Heatherly, Karey Riemersma
Colorado State University and girlfriends Addie and Riley said they wanted to be a part of a historical moment. Initially planning to go to Washington, D.C., the two Fort Collins women changed plans when they heard of the closer march in Denver.
Addie said she was especially concerned about the direction of healthcare under Trump's administration. As someone with a pre-existing condition, she said she was lucky to have a family willing to support her in the event that she loses her coverage. But not everyone has that cushion, she said.
Addie's older cousin Karey Riemersma, who lives in Denver, was not a newcomer to marches. She participated in a 1992 protest for abortion rights with her mother and mother-in-law in Washington, D.C.
"It's supremely infuriating that 25 years later, we're fighting the same damn fight. But we're not backing down and we'll never back down."
Nasreen Moloo and Ayesha Hussain
The mother and daughter duo walked to the march from their home in Capitol Hill. Originally from Austin, Texas, the family moved to Denver a year and a half ago. Nasreen rattled off a long list of reasons why she was attending, including showing solidarity for all people and humanity while standing against bigotry and hatred.
She would have continued listing reasons but her daughter interrupted her, saying, "Mom, you can't keep adding on."
Cassandra Meyers-Johnson and Ally Keyes
The two sisters from Aurora held signs and wore stickers supporting LGBT rights. Cassandra said their grandmother first brought up the idea of marching, and they felt it was the right thing to do. Their father had come, too.
"I believe that we all should have rights without being criticized or judged," Cassandra said.
Sam Casanova
Sam Casanova, 23, of Denver, said she was hesitant about attending the Women's March on Saturday but decided she needed to join to help represent women of color and the issues she says they face.
"I didn't want to come because I thought that it was only a space for white women," she said Saturday. "But my friend convinced me and I realized that in order for us to have those conversations about the issues (women of color) are concerned about we need to be here and have representation… I came here today to support all women — women who are gay and lesbian, trans, women of color, immigrants and more."
Casanova said many of her other friends refused to come because they did not feel topics like Black Lives Matter would have been welcome. She noticed some were hesitant to even shout "black lives matter" during the march.
"Women's issues are so vast," she said. "It's tough if we don't show up and aren't willing to talk about them."
José Luis Valdez Sierra
Many onlookers stood by as the crowd of thousands paraded and shouted through the streets including a construction worker José Luis Valdez Sierra, 42, who watched marchers during his lunch break with his co-workers.
"This is my first time seeing something like this," he said Saturday. "We were just working and then we see all of these people and it's really nice to see this."
Valdez Sierra said he is from Mexico and lives in Denver for work, but the rest of his family is in Houston. He smiled brightly as he watched the crowd pass loudly in front of the construction site.
"It's just nice and positive," he said. "I'm really surprised. They love each other and it's all about the people."
Cat Delaney
For some women, the Women's March on Denver was not their first time supporting women's rights. Cat Delaney, 65, of Denver, traveled to Los Angeles in 1985 with her family to march for women's equality, she said.
"When I started telling people I was going they would say, 'Well you know, you could get hurt,' but I've been a protesting, card-carrying hippie since '85 and I'm one today, too," she said.
As she drove to the march early Saturday morning, Delaney said she was ecstatic to see people lining up for the busses to get into downtown Denver.
"I was excited to hear that what they were doing in Washington they were also doing here and I said 'Sign me up.'
Greg Makle
Women and children were seen far and wide at the march, but men were also in heavy attendance. Greg Makle, 63, traveled from Idaho Springs, because he felt the march was an opportunity for people to express their concerns on a variety of topics.
"I'm worried about the environment," he said. "(Trump) will do irreplaceable harm and I know as Americans we're supposed to get together to back our president, but to tell you the truth I just can't respect the guy."
He said he was supporting women's rights with his wife, but the march today was much more complicated than that, and held a sign that read, "God if you're here, this isn't funny anymore.
Daniel Baer
Former U.S. Ambassador to the Organization for Security and Cooperation in Europe Daniel Baer, 40, was volunteering for the Women's March and said it was his first day back in Colorado after returning from his post in Vienna, Austria.
"It's been a great return," he said. "I think it's up to us to remind each other that they're not alone."
He was with his husband, Brian Walsh, and said many of the people at the march stood for good principles.
"We're going to have a long fight ahead," Baer said. "It isn't over and it's good to see so many people out here showing support."
Amy Stallings and family
Amy Stallings brought her son, Owen, 7, and her daughter, Ansley, 11, from Broomfield, because she said the march teaches her kids to express their voice. She became emotional when she talked about why she she is concerned about their future.
"The things happening today are going to affect them tomorrow," she said. "We feel strongly and it's important that we're here."
Her daughter said, "It's important to believe what we believe in," and her son held a colorful, homemade sign that read "women have their rights."
Gardner refuses town hall, resistance orgs host one
Colorado's bad roads cost drivers more than frustration
7 things to do in AK over spring break
Temple Grandin inducted in Women's Hall of Fame
Colorado students may face cuts to school programs
Women's March on Denver swells to more than 100,000
U.S. gold-medal paralympians win volleyball exhibition


Black JAW sneakers in neoprene, mesh, suede, and leather with thick shark jaw-style notched sole, rubber patch with red GIVENCHY signature on the tongue, and rubber GIVENCHY plaque on the laces. Jacquard GIVENCHY band on the back and GIVENCHY signature in relief on the heel. 4G emblem on the insole.


text:
Q: How does a cascode or beta-enhanced voltage amplification stage work? I'm studying electrical engineering and we just finished a project where we had to build a power amplifier. But I think I can do better than what we did.
I read Distortion In Power Amplifiers where Douglas Self discusses several VAS stages and their benefits over the basic CEC stage.

In his results, circuit C and D perform best, apparently by increasing local negative feedback through Cdom.
As I understand it, Cdom is very small (pF) and serves to make the circuit dominantly first order by filtering very high frequencies. Isn't it essentially an open circuit for audio frequencies? The only advantage of C and D seems to be a possibly improved input impedance.
I tried simulating his circuits in LTspice (though all of the biasing circuitry is not included in his schematics), but both the beta-enhanced and cascode don't work very well.

LTSpice file
Can anyone explain how these circuits work and what I'm doing wrong?

A: The enhanced VAS does offer high input impedance but its main advantages lie elsewhere. In a standard three stage amplifier the Beta-Enhanced VAS increases the OLG ceiling to something like 115-120dB making more available GNFB for the same closed loop gain, resulting in much lower THD and Zout.
Its main problem is awful clipping behavior. But that can be solved easily with a 220 ohm resistor in series with a clamp diode (normal signal diode like 1N4148) connected from the first transistor's base to the second transistor's collector, giving soft-clipping as well as guaranteed latch free overload characteristics. With that added, the enhanced VAS is a clear winner in all the six configs.
Considering the practical application of the configuration, in your simulation of the enhanced VAS there are a few apparent problems:
a)There should be no capacitor in parallel with the emitter resistor of the second transistor.
b)The input needs to be in the form of a current (from a collector-output node e.g. the long-tailed pair), referenced to the negative rail.
c)The first transistor's collector should be connected to ground, not the positive rail.