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Dwarfism
What Are the Types of Dwarfism?
Individuals with dwarfism all have short stature. But there are many different causes of dwarfism. Each has their own unique features and physical traits.
In general, dwarfism caused by a skeletal dysplasia results in disproportionate short stature. This means that the limbs (arms and legs) and the trunk are not of the same proportion as average-height individuals.
The two types of this disproportion are short-trunk and short-limb:
Short-trunk dwarfism: The torso is shortened when compared with the limbs.
Short-limb dwarfism: The limbs are shortened when compared with the trunk.
By far the most common skeletal dysplasia is achondroplasia. This short-limb dwarfism happens in about 1 of every 25,000 babies born of all races and ethnic groups. People with achondroplasia have a relatively long trunk and shortened arms and legs. This is most noticeable in the upper parts of their arms and legs (called rhizomelic shortening).
Other common features may include:
a larger head with a prominent forehead
a flattened bridge of the nose
shortened hands and fingers
a sway of the lower back
bowed legs
The average adult height for someone with achondroplasia is around 4 feet tall.
Diastrophic dysplasia is another short-limb dwarfism. It happens in about 1 in 100,000 births. People who have this type tend to have shortened forearms and calves (called mesomelic shortening). They might also have:
a cleft palate
changes in the outer ear (also known as a cauliflower-like appearance)
differently positioned thumbs (also called hitchhiker thumbs)
clubfeet (inward or downward pointing feet)
spine curves that can change over time
Most people with diastrophic dysplasia have joint changes that limit movement. People with diastrophic dysplasia often benefit from mobility aids, such as crutches, a scooter, or a wheelchair to get around.
Spondyloepiphyseal dysplasias (SED) are short-trunk skeletal dysplasias that involve the spine and the end of the bones that make up the joints (epiphyses). Along with achondroplasia and diastrophic dysplasia, they're one of the more common types of dwarfism. In one type of SED, the short trunk may not be noticed until the child is school age. Other types are seen at birth.
Kids with an SED also might:
be born with clubfeet and/or cleft palate
have vision and/or hearing differences
have instability of the spine and/or curves in the spine that change over time
develop reduced joint mobility and arthritis early in life
How Is Dwarfism Diagnosed?
Most pregnant women have a prenatal ultrasound to measure the baby's growth at around 20 weeks. At that stage, features of achondroplasia aren't yet noticeable. Doctors sometimes suspect achondroplasia before birth if an ultrasound late in a pregnancy shows that a baby's arms and legs are shorter than average and the head is larger. But many children with achondroplasia aren't diagnosed until after birth.
Doctors can recognize some other types of skeletal dysplasia earlier in pregnancy. Others aren't noticed until the first few months or years of life, when a child's growth slows. A health care provider may take X-rays after birth to check for bone changes. Doctors also may use genetic testing before or after birth to confirm the diagnosis.
Possible Complications and Treatments
Each condition that causes dwarfism has its own possible medical complications, which can change over time. But doctors can treat many of these.
Children with dwarfism are cared for by doctors who specialize in orthopedics, neurosurgery, ENT, and pulmonology. Some medical concerns are treated with surgery. These are done with anesthesia, which can be more of a risk for little people because of their smaller body size and airways.
Because of their shorter stature and differences in bone growth, children with dwarfism often learn to roll over, sit up, and walk at different ages than average-height children. These are not considered delays, but developmental differences. Children with dwarfism figure out how to do it in their own time and in their own way.
People with dwarfism should try to keep a healthy weight. A few extra pounds can puts harmful stress on the back and joints. It's important for them to find safe and enjoyable physical activities.
How Can Parents Help?
People with dwarfism can lead healthy, active lives. The Americans with Disabilities Act protects their rights.
Types of skeletal dysplasia and the severity of medical needs vary from person to person. In general, with proper medical care, life span is not affected by dwarfism.
Parents can help their kids lead the best life possible by building their sense of independence and self-esteem right from the start.
Here are some general tips to keep in mind:
Treat your child according to their age and developmental level, not their size. A 2-year-old should not still use a bottle, for example, even if she's the size of a 1-year-old. And, if you expect a 6-year-old to clean up his room, don't make an exception because your child is small.
Make changes to your child's environment to promote independence. Simple, inexpensive options include light switch extenders or a step-stools.
Treat your child's skeletal dysplasia as a difference, not a problem. Your attitude and expectations can greatly influence your child's self-esteem.
Ask how your child wants to refer to their dwarfism. Some people prefer "little person" or "person of short stature."
Try your best to stay calm and positive when responding to other people's reactions. Address questions or comments as directly as possible, then point out something special about your child. Your child will see that you notice the qualities that make them unique. This helps prepare your child for responding to these situations when you're not there.
If your child is teased at school, don't overlook it. Talk to teachers and administrators to make sure your child is getting support they need. Offer to work with the school to educate others about dwarfism.
Help your child learn about their condition and possible health care needs as your child gets older and more independent.
Encourage your child to find a hobby or activity to enjoy. Check with your doctor about any sports to avoid. Music, art, computers, writing, or photography are also wonderful options to explore.
Stay active together as a family. If needed, choose or adapt the activity so your child can join.
Refer family and friends to websites that can help them learn about dwarfism, such as:
Understanding Dwarfism
Little People of America
Find support from groups like Little People of America. Getting to know other people with dwarfism — both as peers and mentors — can show kids how much they can achieve.
Reviewed by: Andrea Schelhaas, MS, CGC
Date reviewed: September 2020
Dwarfism Factsheet (for Schools)
Dwarfism: Emily's Story (Video)
Newborn Screening Tests
What Is a Growth Disorder?
Prenatal Tests: FAQs
Emily's Story: Little Person, Big Life (Dwarfism)
Feeling Too Tall or Too Short
Growth Problems
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Design F10 5 Series F13 6 Series Coupe MINI Motorrad
BMW & MINI Win Four GOOD DESIGN Awards
by Staff February 1, 2011 February 3, 2011
Official Release: The annually presented GOOD DESIGN Award for 2010 went to a full quartet of vehicles and concepts: the BMW 5 Series Sedan, the MINI Countryman, the BMW S 1000 RR and the BMW Concept 6.This most prestigious of international honours yet again recognised the exceptional standard of BMW Group Design. The prizewinners' products will be exhibited as part of the annual GOOD DESIGN SHOW to be held in June 2011 at the Chicago Athenaeum.
The world's oldest and most distinguished design award was called into being in Chicago in 1950 by the architects Eero Saarinen, Charles and Ray Eames and Edgar Kaufmann Jr., and is presented to this day by the Chicago Athenaeum and the European Centre for Architecture, Art Design and Urban Studies. For six decades now, this coveted prize is conferred on designers and manufacturers for particularly innovative and visionary products, concepts and ideas that reach beyond the bounds of ordinary product design. Not the least of its aims is to raise public awareness of contemporary design and related sustainability issues.
The selection of award winners is based on the criteria of function and aesthetic as originally laid down by Saarinen and Eames, and is complemented by an environmental stipulation for sustainable design, in keeping with the times. In 2010, an independent jury of design experts and architects made their selection from a record number of submissions from 37 different nations, and picked out more than 500 product and graphic designs to receive the GOOD DESIGN Award.
The MINI Countryman is the most expansive interpretation of the MINI design language. As the first MINI to feature four doors and measure more than four metres in length, the MINI Countryman's typical MINI design leaves no doubt as to its kinship with the brand. Within the product family, the newcomer stands out with its striking exterior that features faintly pentagonal headlights, a new-style "helmet" roof and three-dimensional, vertically aligned rear lights. The interior design likewise accentuates the practicality and robust character of the MINI Countryman.
The design of the new BMW 5 Series Sedan eloquently translates the vehicle's attributes into an authentic formal language.
Exuding sheer presence and stylish elegance, the Sedan's design expresses its premium quality and outstanding ride comfort, while its sporty handling is reflected in the dynamic lines of its body and an overall look suggesting athleticism. The superlative aesthetics of the new BMW 5 Series Sedan are further embodied in its perfectly balanced proportions and precisely finished details.
The highly dynamic design of the BMW S 1000 RR displays its racing bike heritage in a frank and authentic manner. Its flat and sportive front-end design features the hallmark asymmetrical BMW headlight arrangement that reiterates the look of the endurance racers (24-hour events).
The BMW Concept 6 design study persuaded the jury with its highly contrasting composition: while the lower half of the motorcycle reveals its mechanical underpinnings, the sensually tactile surfaces invite some close interaction with the driver. The two levels are fused by an organically designed air flow system.
The unique quality of BMW Group Design has been repeatedly recognised in the past by the GOOD DESIGN Award. In 2008, for example, the award went to the BMW 3 Series Convertible, the BMW 1 Series Coupé and the MINI Cooper S Clubman, as well as four BMW motorcycles. 2007 saw the new BMW X5, the BMW 3 Series Coupé, the new MINI and a further three BMW motorcycles win the GOOD DESIGN Award. And it isn't the first time the BMW 5 Series Sedan has been crowned: its outstanding design won over the jury of the internationally renowned red dot awards in 2010, secured the coveted iF Product Design Award in 2011, and – with the 2011 Design Award of the Federal Republic of Germany – captured the country's most prestigious prize for exceptional product design.
F39 X2 MINI Rumor
The X2; BMW\'s Future Compact Crossover Coupe
F10 5 Series
World Premier: The Refreshed 2014 BMW 5 Series
3 Series 5 Series 7 Series Design G01 & G02 7 Series
BMW Aims For Greater Design Differences in Future Models
Design Official News
BMW Named Most Innovative Company in Design
BMW & PSA Announce Joint Venture to Produce Hybrids
Activate the Future Episode 1: New City

redpajama_set_name: RedPajamaCommonCrawl


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Digital cinematography
December 27, 2017 December 27, 2017 visites-interactives Film and video terminology
Digital cinematography is the process of capturing a picture using digital image sensors rather than through film stock . As digital technology has been developed in recent years, this practice has become dominant. Since the mid 2010s most of the movies are digitally distributed . [1] [2] [3]
Many vendors-have Brought products to market, Including traditional movie camera vendors like Arri and Panavision , as well as new vendors like RED , Blackmagic , Silicon Imaging , Vision Research and companies qui-have traditionally Focused on consumer and broadcast video equipment, like Sony , GoPro , and Panasonic .
As of 2017 , professional 4K digital film cameras are about equal to 35mm film in their resolution and dynamic range capacity. Some filmmakers still prefer to use analogous picture formats to achieve the desired results. [4]
Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort puts with very little success. However, Julia and Julia (1987). [5]
Rainbow (1996) was the world's first film utilizing extensive digital post production techniques. [6] Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was sent to 35mm negative via electron beam recorder for theatrical release.
The first digitally filmed and produced feature film was Windhorse , shot in Tibet and Nepal in 1996 on a prototype of the Sony DVW-700WS digital-beta and the prosumer Sony DCE-VX1000. The offline editing (avid) and the online post and color work (Roland House / da Vinci) were also all digital. The film, best featured at the Santa Barbara Film Festival in 1998.
In 1998, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," to gain traction in the market. [ citation needed ] Shot and released in 1998, The Last Broadcast is believed to be the first feature-length video shot and edited entirely on consumer-level digital equipment. [7]
In May 1999 George Lucas challenged the supremacy of the movie-making medium of movie filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace . The digital footage blended seamlessly with the footage shot on film and he announced later that year he would film his sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the Phantom Menace . In June 2000, Star Wars: Episode II – Attack of the Clones began with Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video , partially developed by George Lucas using a Sony HDW-F900 camera, [8] following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch editing the sound for Spy Kids . Two lesser-known movies, Vidocq (2001) and Russian Ark (2002), had also been shot with the same camera, the latter being a single long take .
Today, cameras from companies like Sony , Panasonic , JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras specifically at the digital cinema market. These cameras from Sony , Vision Research , Arri , Silicon Imaging , Panavision , Grass Valley and Red offer resolution and dynamic range That Exceeds That of traditional video cameras, qui are designed for the limited needs of broadcast television .
In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded the Academy Award for Best Cinematography [9] and the highest-grossing movie in the history of cinema, Avatar , not only was shot on digital cameras as well, but also made in the box office no longer by movie, but digital projection .
In late 2013, Paramount became the first major studio to distribute movies to theaters in digital format eliminating 35mm film entirely. [10] Anchorman 2 was the last Paramount production to include a 35mm movie version, while The Wolf of Wall Street was the first major movie distributed entirely digitally. [10]
Digital cinematography captures motion pictures digitally in a process analogous to digital photography . While there is no clear technical distinction That Separates the image captured in digital cinematography from video , the term "digital cinematography" is usually applied only in cases Where digital acquisition is Substituted for movie acquisition, Such As When shooting a feature movie . The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs.
Professional cameras include the Sony CineAlta (F) Series, Blackmagic Cinema Camera , RED ONE, Arriflex D-20 , D-21 and Alexa , Genesis Panavisions, Silicon Imaging SI-2K, Thomson Viper, Phantom Vision Research , IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and the Fusion Camera System. Independent filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking.
Digital cinematography cameras capture images using CMOS or CCD sensors, usually in one of two settings.
Single chip cameras designed specifically for the digital cinematography market often uses a single sensor (much like digital photo cameras ), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) to 65 mm film frame . An image can be projected onto a single large sensor in the same way it can be projected onto a film frame, so cameras with this design can be made with PL , PV and similar mounts, in order to use the wide range of existing high- end cinematography lenses available. Their large sensors also make these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. [11]
Unlike other video formats , which are specified in terms of vertical resolution (for example, 1080p , which is 1920 × 1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in " n K " notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture , digitized film frame is exactly{\ displaystyle 1024n}pixels. Here the "K" has a customary corresponding to the binary prefix " kibi " (ki).
For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with appearance ratios though; so 2K image with an HDTV (16: 9) aspect ratio is 2048 × 1152 pixels, while a 2K image with a SDTV gold Academy ratio (4: 3) is 2048 × 1536 pixels, and one with a Panavision ratio (2.39: 1) would be 2048 × 856 pixels, and so on. Due to the " n K" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm filmsoundtrack space, is only 1828 pixels wide, with rescaling accordingly. This is a plethora of motion-picture related video resolutions, which is quite confusing and often redundant with respect to nowadays few projection standards.
All formats are designed for digital cinematography are progressive scan , and are also used in the film. Some movies like this The Hobbit: An Unexpected Journey has a High Frame Rate of 48 fps, although in some theaters it was also released in a 24 fps version which many fans of traditional film prefer.
The standard DCI for cinema usually has 1.89: 1 aspect ratio, thus defining the maximum size for 4K as 4096 × 2160 pixels and for 2K as 2048 × 1080 pixels. When distributed in the form of a Digital Cinema Package (DCP), content is letterboxed gold pillarboxed have to fit Appropriate Within One of These container formats.
In the early years of digital cinematography, 2K was the most common format for digitally acquired major motion pictures however, 4K is becoming more prominent. The Arri Alexa captured at 2.8k image. During 2009 at least two major Hollywood movies, Knowing and District 9 , were shot in 4K on the RED ONE camera, followed by The Social Network in 2010. As of 2017 , 4k cameras are now commonplace, with most high-end movies being shot at 4k resolution.
Broadly, two workflow paradigms are used for data acquisition and storage in digital cinematography.
Tape-based workflows
With video-tape- based workflow, video is recorded on tape on set. This video is then ingested into a computer running a non-linear editing software, using a deck. On ingestion, a digital video stream is being converted to computer files. These files can be edited directly or converted to an intermediate format for editing. Then video is output in its final format, possibly to a film recorder for theatrical exhibition, or back to video tape for broadcast use. Original video tapes are kept as an archival medium. The files generated by the non-linear editing application contain the information necessary to retrieve footage from the proper tapes, should the stored data on the computer is hard disk be lost. With increasing convenience of file-based workflows, the tape-based workflows have become marginal in recent years.
File-based workflows
Digital cinematography has mostly shifted toward "tapeless" or "file-based" workflows. This trend has accelerated with increased capacity and cost of non-linear storage solutions, such as hard disc drives, optical discs, and solid-state memory. With tapeless workflows digital video is recorded as digital files on random-access media like optical discs, hard disk drives or flash memory-based digital "magazines". These files can be copied to Easily Reviews another storage device, to a wide Typically RAID (array of computer disks) connected to an editing system. Once again, they are ready to go to the storage media, they are erased and returned to the set for more shooting.
Such RAID arrays, both of "managed" (for example, SANs and NASs ) and "unmanaged" (for example, JBoDs on a single computer workstation), are necessary due to the required throughput for real-time (320 MB / s for 2K @ 24fps) or near-real-time playback in post-production , compared to throughput from a single, yet fast, hard disk drive. Such requirements are often termed as "on-line" storage. Post-production not requiring real-time playback performance (typically for lettering, subtitling, versioning and other similar visual effects).
Short-term archiving, "if ever", where it is possible to achieve RAID arrays, where playback is not possible (unless via proxy images), but minimal editing and metadata harvesting still possible. Such intermediate requirements easily fall into the "mid-line" storage category.
Long-term archiving is Accomplished by backing up the digital files from the RAID, using standard practices and equipment for data backup from the IT industry, Often to data tapes (like LTOs ).
Chroma subsampling
Main article: Chroma subsampling
Most digital cinematography systems by subsampling color information. Because the human visual system is much more sensitive to luminance than to color, it can be used in many other ways. at full resolution. This scheme may cause pixelation or color bleeding under certain circumstances. High quality digital cinematography systems are capable of recording full resolution color data (4: 4: 4) or raw sensor data .
Intra- vs. Inter-frame compression
Most compression systems used for the acquisition of the digital cinematography world. This is called intra-frame compression. Inter framecompression systems can further compress data by examining and eliminating redundancy between frames. This leads to higher compression ratios, but displaying a single frame will usually require the playback system to decompress a number of frames from before & after it. In normal playback, this is not a problem, as each successive frame has been played, so the preceding frames have been decompressed. In editing, however, it is common to jump to different frames and to play backwards or different speeds. Because of the need to decompress extra frames in these situations, inter-frame compression can cause performance problems for editing systems. Inter-frame compression is also disadvantageous because of the loss of a single frame (say, The following is a brief description of this article. In the case of theHDV format, for instance, this movie is lost with 720p recording, or 15 with 1080i. [12] An inter-frame compressed video stream consists of groups of pictures (GOPs), each of which has only one full frame, and a handful of other frames referring to this frame. If the full frame, called I-frame , is lost due to transmission or media error, none of the P-frames or B-frames (the referenced images) can be displayed. In this case, the whole GOP is lost.
Main article: Digital cinema
For theaters with digital projectors, digital movies can be digitally distributed, or shipped via the Internet or satellite networks. Digital Cinema Initiatives, LLC , has a joint venture of Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios, has established standards for digital cinema projection. In July 2005, they released the first version of the Digital Cinema System Specification, [13] which encompasses 2K and 4K theatrical projection. They also offer compliance testing for exhibitors and equipment suppliers.
Theater owners initially balked at installing digital projection systems because of high cost and concern over increased technical complexity. However, new funding models, in which distributors pay a "digital print" fee to theater owners, have helped to alleviate these concerns. Digital projection also offers increased flexibility with respect to showing trailers and pre-show help attract consumers who can now access high-definition content at home. These factors have resulted in digital projection becoming an attractive prospect for theater owners, and the pace of adoption has been increasing.
Since some theaters nowadays do not have digital projection systems, even if a film is shot and post-produced digitally, it must be transferred to film if a large theatrical release is planned. Typically, a film recorder will be used to print digital image data to film, to create a 35 mm internally . After that the duplication process is identical to that of a traditional negative from a film camera.
Comparison with film cinematography
Main article: Digital versus film photography
Unlike a digital sensor, a film frame does not have a regular grid of discrete pixels.
Determining resolution in digital acquisition seems to be straightforward, but it is less complicated in the real world. This is PARTICULARLY true in the case of high-end digital cinematography cameras use a single wide That bayer pattern CMOS sensor. Rayer data at every point; instead, each pixel is biased towards red, green or blue, and a full color image is aided by this checkerboard of color by processing the image through a demosaicking algorithm. Generally with a bayer pattern sensor, actual resolution will fall somewhere between the "native" value and half this figure, with different demosaicingalgorithms producing different results. Additionally, most digital cameras (both bayer and three-chip designs) optical low-pass filters to avoid aliasing ; suboptimal antialiasing filtering.
Grain and noise
Film has a characteristic grain structure. Different film stocks have different grain.
Digitally acquired footage lacks this grain structure. It has electronic noise .
Digital intermediate workflow and archiving
The process of using digital intermediate workflow, Where movies are color graded digitally INSTEAD of via traditional photochemical finishing technology, Has Become common.
In order to utilize digital intermediate workflow with film, the camera must be scanned to a digital format. Some filmmakers have years of experience in their work with traditional photochemical workflow, and prefer that finishing / editing process.
Digitally shot movies can be printed, transferred or archived on film. Large scale digital productions are often archived on film, as it provides a medium for storage, benefiting insurance and storage costs. [14] As long as the negative does not completely degrade, it will always be possible to recover the images from it in the future, regardless of the fact that it is a simple photographic reproduction.
In contrast, even if digital data is stored, it will be necessary to reproduce it. Changes in technology can thus render the format unreadable or expensive to recover over time. For this reason, film studios distributing digitally-originated movies often make movie-based separation masters of them for archival purposes. [14]
Film proponents have argued that digital cameras lack the reliability of film, particularly when filming sequences at high velocity or in chaotic environments, due to digital cameras technical glitches . Cinematographer Wally Pfisternoted that for his shoot on the film Inception , "Out of six times that we shot on the digital format, we only had one useable piece and it did not end up in the movie. with the Photo-Sonics and 35mm running through it, every single shot was in the movie. " [15] Michael Bay stated that when filming Transformers: Dark of the Moon , 35mm cameras had to be used when filming in slow motion and sequences where the digital cameras were subject tostrobing or electrical damage from dust. [16]
Criticism and concerns
Some film directors such as Christopher Nolan , [17] Paul Thomas Anderson [18] and Quentin Tarantino have criticized digital cinema, and advocated the use of film and film prints. Tarantino has suggested he can not do it because he will not be able to have his films screened in 35mm in most American cinemas. Tarantino considers digital cinema to be simply "television in public." [19]Christopher Nolan has speculated that the film industry's adoption of digital formats has been driven purely by economic factors as opposed to digital being a superior medium to film: "I think, truthfully, it boils down to the economic interests of manufacturers and [a production] industry that makes more money through change rather than maintaining the status quo. " [17]
Another concern with digital image capture is how to archive all the digital material. Archiving digital material is turning out to be extremely costly, and it In a 2007 study, the Academy of Motion Picture Arts and Sciences found that the cost of storing 4K digital masters is "enormously higher – 1100% higher – than the cost of storing film masters." Furthermore, digital archiving faces challenges to the insufficient longevity of today's digital storage: no current media, be it magnetic hard drives or digital tape, can reliably store a film for a hundred years, something that is stored and managed film can do. [20]Although it has been used in the United States by the United States, it has been published in Utah, published M-DISC , an optical storage solution, designed to last up to digital storage as a viable storage solution. [21] [22]
Digital versus film photography
Filmizing
List of motion picture topics
Motion picture film scanner
Jump up^ "Qube Cinema Supports Cinecolor in Its Transition to Digital Cinema in Latin America" . qubecinema.com .
Jump up^ "How To Digital Conversion Is Killing Independent Movie Theaters" . Rolling Stone .
Jump up^ Michael Hurley (2 January 2014). "Film Abandon Studios, Small Theaters Struggle – And Ther – Indiewire" . Indiewire . Archived from the original on 2016-02-01.
Jump up^ "Film vs. Digital: A Comparison of the Advantages and Disadvantages". PetaPixel . May 26, 2015 . Retrieved 2016-06-28 .
Jump up^ "Julia and Julia" .
Jump up^ Digital Filmmaking: The Changing Art and Craft of Making Motion Pictures . ISBN 1136053549 .
Jump up^ The Last Broadcast is A First: The Making of a Digital Featurehttp://www.thelastbroadcastmovie.com/
Jump up^ "Robert Rodriguez Movie Once Upon a Time in Mexico This is a structural review" . WriteWork . Retrieved 2013-04-22 .
Jump up^ "Silicon Imaging" . siliconimaging.com .
^ Jump up to:a Megan Geuss b (January 18, 2014). "Anchorman 2 was Paramount's final release on 35mm movie" . Ars Technica (via Los Angeles Times) . Retrieved 2014-01-20 .
Jump up^ "Putting the FULL FRAME confusion to bed – Personal View Talks" . Personal-view.com . Retrieved 2013-04-22 .
Jump up^ recordingadamwilt.com
Jump up^ Digital Cinema System Specification
^ Jump up to:a b "KODAK Color Asset Protection Film 2332" . Motion.kodak.com. Archived from the original on 2013-05-21 . Retrieved 2013-04-22 .
Jump up^ "From The Dark Knight to Inception, Wally Pfister, ASC refuses to compromised" . kodak. Archived from the original on 2013-05-23 . Retrieved 2013-05-19 .
Jump up^ "TRANSFORMERS: DARK OF THE MOON Edit Bay Steve Watches 20 Minutes of the Movie Michael Bay for Over 2 Hours!" . Collider . December 8, 2010 . Retrieved 2013-05-19 .
^ Jump up to:a b Merchan, George (2012-04-15). "Christopher Nolan talks about film vs. digital, his take on CGI, his disinterest in 3D, and much more in insightful DGA interview – Movie News" . JoBlo.com . Retrieved 2013-04-22 .
Jump up^ "pta on digital vs. movie" . Youtube. 2006-08-10 . Retrieved 2013-04-22.
Jump up^ Published Friday, Nov 30, 2012, 09:34 GMT (2012-11-30). "Quentin Tarantino: 'I can not stand digital filmmaking, it's TV in public' – Movies News" . Digital Spy . Retrieved 2013-04-22 .
Jump up^ "The Digital Dilemma: Strategic issues in archiving and moving digital motion picture materials". Academy of Motion Picture Arts and Sciences . 2007.
Jump up^ "What is M-Disc ™?" The M-DISC ™ " . Mdisc.com. Archived fromthe original on 2013-01-29 . Retrieved 2013-04-22 .
Jump up^ Harris, Robin (2013-01-14). "The 1,000 year DVD is here" . ZDNet . Retrieved 2013-04-22 .
Index of articles related to motion pictures
Breathing (lens)
Negative checking
Poverty Row
Digital backlot
Digital compositing


Sabrina Mahfouz is a poet, playwright, performer and writer. She has just won the 2013 Sky Arts Futures Fund Award for her poetry work. As part of this award she's set up P.O.P (Poetry On Production), a company creating, producing and promoting performance poetry in many forms.
This August Sabrina has a play at the Traverse in Edinburgh called Clean, about three women on a high-energy crime adventure and a poem as part of PEEP at the Assembly Rooms, about very rude stuff.
Her play A Shop Selling Speech about the political situation in Egypt will be part of the 2014 National Theatre Connections Season and she is producing a number of spoken word shows to be performed at the Underbelly next summer.
Sabrina is currently Associate Artist at the Bush Theatre and a Global Shaper with the World Economic Forum.


Anne et Mary montent dans l'ascenseur. Anne presse le bouton du quatrième étage, et une voix enregistrée annonce: "attention, fermeture des portes", au grand étonnement de Mary.
Anne and Mary board the elevator. Anne presses the button of the 5th floor (US English - "le quatrième étage" is 4 floors up from the street level), and a recorded voice announces at Mary's stupefaction: "Caution. Doors are closing".
Quand elles arrivent à destination, la même voix proclame: "Quatrième étage. Attention, ouverture des portes".
When they reach their destination, the same voice announces: "Fifth floor, opening of the doors".
Et voilà, c'est ici ! Tu vas pouvoir rencontrer le dernier membre de notre famille, ma fille Sylvie.
Here we are. You're going to meet the last member of our family, my daughter Sylvie.
Salut Mary. Ça va ?
Hi Mary. How are things?
Bonjour Sylvie, ça va merci.
Hi Sylvie, everything is fine, thanks.
Tu n'es pas trop fatiguée par le voyage ?
You're not too tired by the trip?
Non, pas trop, merci. Wow, c'est super joli ici. J'adore la décoration !
No, not too much, thanks. Wow, it's really beautiful here. I love the decoration/style!
Oui, ce n'est pas très grand, mais c'est calme, ce qui est super rare pour Paris. Viens, je vais te montrer ta chambre. Paul y a déjà mis ta valise. Ça l'amuse de la faire rouler !
Yes, it's not very big, but it's calm, which is super rare for Paris. Come, I'll show you to your room. Paul already brought in your suitcase. He finds it fun to make it roll!
Il a l'air trop mignon ton frère.
Your brother seems so cute.
Ouais, on peut dire ça… Tu sais, il a huit ans, et moi quinze ans, alors ce n'est pas toujours l'amour entre nous ! Et toi, tu as quel âge ?
Yep, you could say that… You know, he's 8, and I'm 15 so it's not always love between us! And you, how old are you?
Donc, ben là, c'était l'entrée, et puis à droite là, tu as le salon. Il est tout petit !
So, well there, that was the foyer, and then to your right, over there, you have the living room. It's tiny!
Oui, mais très lumineux. J'aime bien les couleurs.
Yes, but it's very bright. I like the colors.
Bon, ici tu as des toilettes. Et là, à gauche, la salle à manger cuisine. C'est la plus grande pièce de la maison, et c'est bien comme ça parce qu'on y est tout le temps. Il y a aussi un petit balcon, pas très grand mais c'est agréable de s'y asseoir quand il fait beau.
OK, here, you have the toilets. And there, to the left, the dining room / kitchen. It's the biggest room of the house (meaning more "home" here), and it's a good thing because we're there all the time. There is also a small balcony, not very big but it's pleasant to seat there when it's nice out.
Dis donc, ta mère a la main verte ! C'est une vraie jungle ce balcon !
Gosh ("say"), you're mother has green thumbs. This balcony is a real jungle!
Oui, elle adore jardiner. Alors comme on n'a pas de jardin… Voilà les chambres: à droite, celle des parents, à gauche, celle de Paul, et à droite encore, la tienne. La salle de bains est au bout du couloir.
Yes, she loves to garden. So since we don't have a garden… Here are the bedrooms: to the right, my parents', to the left, Paul's, and to the right again, yours. The bathroom is at the end of the corridor.
Et toi? Tu dors où ça ?
What about you? Where do you sleep?
Ben là, avec Paul. Je te donne ma chambre.
Well right now (we say "right here"), with Paul. I'm giving you my room.
Oh non… Tu es sûre ? Tu es vraiment trop gentille, ça me gêne.
Oh no… Are you sure? You are really too kind, I'm embarrassed.
Mais non Mary, c'est normal. Et puis Paul est plein de défauts, mais il ne ronfle pas encore ! De toutes les façons, comme dit Maman, je suis tout le temps chez mes copines. Non, vraiment, ça ne me gêne pas du tout. Allez, installe-toi, cet après-midi je crois que Maman veut t'emmener au marché !
Not at all Mary, it's normal. Besides, Paul is full of flaws, but he doesn't snore yet! Anyway, like Mom says, I'm always at my girlfriends'. No, really, it's no trouble at all. Go, settle in, I think that this afternoon Mom wants to take you to the open-air market!
Chapters 5 and 6 were written at an High Beginner level (A2). This is the level of A Moi Paris, Level 3 - New Challenges.
In addition to simply answering the questions out loud, you can also use these short sentences as a dictation and check your French spelling.
You may also want to use them to train on your French pronunciation, and just repeat out-loud after me, trying to mimic my voice and intonation as if you were an actor.
1. Les Castel habite à quel étage ?
What floor do the Castel live on?
They live on the fourth floor [fifth floor in the US].
2. Qu'est-ce qui étonne Mary quand Anne et elle prennent l'ascenseur ?
What surprises Mary when Anne and she take the elevator?
Une voix annonce l'étage et dit de faire attention aux portes.
A voice announces the floor and warns people about the doors.
3. Qui est-ce que Mary n'a pas encore rencontré ?
Who did Mary not meet yet?
Sylvie, la fille des Castel.
4. Pourquoi Paul a-t-il déjà mis la valise de Mary dans sa chambre ?
Why did Paul already put Mary's suitcase in her bedroom?
Parce que ça l'amuse de la faire rouler.
Because he thinks it's fun to make it roll.
5. Quels âges ont Sylvie et Mary ?
How old are Sylvie and Mary?
Sylvie a quinze ans et Mary dix-sept ans.
Sylvie is fifteen and Mary seventeen.
6. Où se trouve le salon ?
Where is the living-room ?
Il est à droite de l'entrée.
It's to the right of the entrance.
7. Qu'est-ce qu'il y a sur le balcon ?
Il y a beaucoup de plantes.
8. Combien de chambres il y a-t-il dans l'appartement ?
9. Pourquoi Mary est-elle gênée ?
Parce que Sylvie va lui donner sa chambre.
Because Sylvie is going to lend her her bedroom.
10. Et du coup, Sylvie va dormir où ?
And so, where is Sylvie going to sleep?
Elle va dormir avec Paul.
She'll bunk in with Paul.
Typically, in my other À Moi Paris audiobooks, we would be studying vocabulary about the house, giving directions in French, and the use of "il y a" to match the story.
However, in this audiobook, I thought I'd finish by sharing with you some useful tips about learning French.
Learning French, like any other new language, implies a lot of memorization, and often, as adults, our memory is not what it used to be. These tips will help you memorize new information longer, and learn French more efficiently.
As you now understand, and have experienced in the previous chapters, written French and spoken French are almost 2 different languages.
Picking the right audio tool though is essential: a French beginner will be discouraged with a French movie. At that stage, French movies should be used as a recreation, not a serious study tool.
When it comes to learning languages, not everybody is the same. I've taught hundreds of students, and I can tell you from experience that some people have an easier time with languages than others. It's not fair... and it's not popular to say it… but it's the honest truth.
It doesn't mean that someone less gifted cannot learn French, but it means that self studying is not necessarily for everybody.
Some students need the expertise of a teacher to guide them through their studies, motivate them and find creative ways to explain the same point until it is understood. Skype French lessons can be a good solution. If you really want to boost your French, try one of the immersions at a teacher's home I recommend.
So if you don't translate in your head, what should you do?
Try as much as possible to link any new French vocabulary to images, situations, feelings and NOT to English words.
For example, when learning "j'ai froid", visualize that you are cold, bring up the feeling, not the English words "I – am – cold" – which won't translate well since in French we don't use "I am", but "I have".
If you are creating flashcards to study French – which I strongly encourage you do – draw the word/situation whenever possible instead of writing English.
Even if you are not a good artist, you'll remember what your drawing meant, and it's much more efficient to learn French this way.
Furthermore, cognates always have a different pronunciation, and your English brain is going to fight saying that word the French way. I hear many students having a hard time with the word "chocolat".
In French, the ch is soft, as in "shave", and the final t is silent. Shocola. Most English speaking students tend to pronounce it "tchocolaT", a bit like "chocolate" in English.
Finally, there are many false cognates: words that exist in both languages but don't have the same meanings (like 'bras' in English (a kind of underwear) and 'bras' in French (which is an arm).
Learn the new French vocabulary in a sentence. Like that you will learn "in context": you'll remember the situation and words longer, and you'll already have a series of words that go well together handy for your next French conversation!
"le chien de Peter est noir, Fluffy est noir". (Peter's dog is black, Fluffy is black).
This is the same idea as the concept of learning French in context. Use larger flashcards and on the same flashcard, write all related French vocabulary as you come across it. You'll get to the info faster if you have processed and memorized it all together.
If you study French all afternoon, chances are that you'll exhaust yourself, and are much more likely to get frustrated, lose your motivation or attention span.
Spending 15 minutes a day learning French – not while multitasking but with 100% of your attention – will get you better results than two hours during the weekend with the kids or TV playing in the background.
11. Constantly Review – Repetition is the Key!
This is probably the number one mistake most students make.
Rule of thumb: for each hour spent learning new things, you need to spend a minimum of one hour reviewing older things.
Remember... Repetition is the key!
Congratulations! You have completed "À Moi Paris First Encounter". As you noticed, this audiobook started quite simple, and then the French got more complex through the chapters.
However, since there are only six chapters, that progression was quite fast! Don't worry, in my audiobooks, the transition will be much smoother.
Now, the only thing left to do is to pick up the right "À Moi Paris" audiobook to study with. The story is indeed ongoing, so for a nice review of the basics and to know everything about Mary's life, why not start with Level 1?
However, should you be more advanced in French, don't worry, there is a recap of the story so you can go directly to a higher level and still have lots of fun.
Follow the links on the pictures on the transcript to go the each audiobook page on FrenchToday.com, access the description and table of content and listen to audio samples of each level.
In any case, all our audiobooks have a 120 days 100% money back guarantee - so if you feel you've chosen the wrong level, just contact us, and we'll exchange it for you.
Olivier, Leyla and I wish you good luck with your French studies. And hopefully we'll touch base soon on French Today's social networks (see below for links).


While officials for Red Hat and Novell's SUSE have welcomed the move as good for the industry, they also downplayed its competitive significance.
Leading Linux distributors Red Hat and Novells SUSE have welcomed the news that Dell is going to prebundle Ubuntu Linux on certain consumer machines, saying the move is good for society, customers and the industry.
"Its great news that Dell has decided to join other OEMs in delivering Linux desktops. Demand for Linux clients is increasing across the board and were glad to see this further evidence of the inexorable expansion of open source to new users and new markets," Scott Crenshaw, the vice president of Red Hats enterprise Linux platform business, said May 1.
For Justin Steinman, Novells director of marketing for Linux and open source, the move is just one more proof point in the continued growth of Linux.
"As proponents of open source and Linux, were happy to see Linux being preloaded onto consumer desktops."
But Steinman then downplayed its significance. "I wouldnt necessarily refer to the Dell-Ubuntu deal as major. Dell is only going to load Ubuntu on three machines targeted at the technical consumer market, and the only support option available will be through online technical self-help forums, which will be monitored by the community," he said.
/zimages/1/28571.gifTo read more about Dells decision to preload Ubuntu Linux on some consumer machines, click here.
However, Jane Silber, Canonicals director of operations in London, told eWEEK that the company will provide commercial Ubuntu support for customers who choose to buy this through the Dell Web site when available.
But, for Novell, Dells announcement is nothing more than the loading of Linux onto desktops aimed at the technical enthusiast community—the same community of people who voted on Dells IdeaStorm Web site. These are not Novells target customers for the Linux desktop, Steinman said.
"Our target customer is the enterprise business user, and so weve focused SUSE Linux Enterprise Desktop squarely at the business market," Steinman said.
"We believe the Linux desktop is ready for mainstream deployment in the enterprise, and that means you need to have enterprise quality support—something that Ubuntu does not offer."
Novell, Steinman then claimed, was in "serious conversations with several leading hardware OEMs" about preloading a Linux desktop that will be targeted at broad enterprise use.
"When we release SUSE Linux Enterprise Desktop on a preloaded machine, it will come with the enterprise support that our customers require to run their businesses. Stay tuned for more details," he said.
Red Hats Crenshaw also offered up a litany of reasons why the deal with Dell was not appropriate for Red Hat, saying that while the Raleigh, N.C., company continues to invest in delivering client solutions, "we wont be all things to all people."
/zimages/1/28571.gifRead more here about how Dell is confronting its problems and focusing on a new direction.
Red Hat was focusing on encouraging the growth of free and open-source software, as this created better software, communities and value, he said.
While Red Hat was also approached by hardware vendors about preloading its software onto desktop or laptop computers, the company said that it pursues these deals "when the arrangement makes appropriate financial and strategic sense…Buying market share is an easy way to get headlines, but doesnt build a sustainable business model, which allows continued support or investment," Crenshaw said.
/zimages/1/28571.gifRead more here about how Red Hat is planning a Linux desktop offering for the masses.
He said that Red Hat decided to focus its client investment in a few key areas because the company doesnt think it is its their mission to build a Windows clone.
"We think its our mission is to make computing better, more accessible and more powerful. In Red Hat parlance, we want to democratize technology," Crenshaw said.
But, that being said, Crenshaw expressed the hope that the Dell-Ubuntu project is successful.
"The real win for everyone is accelerated adoption of open source," he said.


text:
Amends es el décimo episodio de la tercera temporada de Buffy the Vampire Slayer.

Argumento

Es Navidad y Ángel comienza a revivir en sus sueños las muertes que ha provocado. Una de sus víctimas fue Daniel, a quien asesinó en Dublín en 1818. En las calles se encuentra con Buffy, que está de compras. A lo lejos ve al mismo hombre que asesinó hace más de 180 años.

Oz decide darle una segunda oportunidad a Willow. Joyce y su hija quieren comprar un árbol de navidad. Invitan a Faith a pasar la noche con ellas, pero ésta rechaza la invitación con la excusa de otros planes.

Ángel decide acudir a Giles en busca de ayuda. Quiere averiguar cómo y por qué regresó del infierno, pero se marcha al ver a Jenny Calendar junto al Vigilante. En la Mansión sueña con otro momento de su vida, cuando mató a una criada, Margaret. Tras beber su sangre descubre a Buffy observándolo. Ambos despiertan sobresaltados.

En la biblioteca, Giles y Buffy deciden investigar la razón del regreso de Ángel. Cuando ella se queda dormida, comparte un sueño con Ángel. Ambos hacen el amor en el cuarto de Buffy, pero son interrumpidos por la visión de un hombre sin ojos. Ángel acaba mordiendo el cuello de Buffy y ambos despiertan. Los hombres sin ojos son sacerdotes de «El Primero», la maldad absoluta, quien adopta la apariencia de cualquier persona que haya muerto al menos una vez.

Jenny trata de convencer a Ángel de que matar a Buffy le traerá la paz que tanto desea. Buffy y Xander deciden visitar el bar de Willy para obtener algo de información. Parece que los sacerdotes se esconden bajo tierra. Willow invita a Oz a su casa: está lista para acostarse con él, pero Oz la rechaza.

Faith acude a casa de Buffy, aceptando finalmente la invitación. Lleva algunos regalos. Buffy va a su cuarto y se encuentra con Ángel, que ido a matarla. Pero Ángel huye, regresa a la Mansión y le dice a Jenny que acabará con su vida antes de hacer daño a Buffy.

Buffy está preocupada y, junto a Giles, descubre que nada crece cerca de la guarida de los sacerdotes. Acude al lugar donde vio los árboles de Navidad muertos cuando fue a comprar el suyo. El Primero, a través de Jenny, anuncia que Ángel morirá al amanecer.

Buffy llega a la Mansión pero encuentra a Ángel en una colina cercana. Quiere que se proteja del sol pero él se niega: no puede continuar viviendo sabiendo que su existencia representa una amenaza para la mujer que ama. Repentinamente la nieve empieza a caer sobre Sunnydale por primera vez, y el espeso manto de nubes impide que pasen los rayos del sol. Buffy y Ángel pueden, por primera vez, disfrutar de una caminata romántica por Sunnydale de día, mientras los copos de nieve caen.

Reparto

Personajes principales

 Sarah Michelle Gellar como Buffy Summers.
 Nicholas Brendon como Xander Harris.
 Alyson Hannigan como Willow Rosenberg.
 Charisma Carpenter como Cordelia Chase.
 David Boreanaz como Angelus.
 Seth Green como Oz.
 Anthony Stewart Head como Rupert Giles.

Apariciones especiales

Kristine Sutherland como Joyce Summers.
Saverio Guerra como Willy el Soplón.
Shane Barach como Daniel.
Edward Edwards como Travis.
Cornelia Hayes O'Herlihy como Margaret.
Eliza Dushku como Faith Lehane.
Robia LaMorte como  El Primero/Jenny Calendar.

Personajes secundarios

Mark Kriski as Hombre del tiempo.
Tom Michael Bailey Smith como Vendedor de árboles.

Producción

Música

 Barry White - «Cant Get Enough of Your Love, Babe»
 Christophe Beck - «Dreaming Of»
 Christophe Beck - «Dublin»
 Christophe Beck - «Magic Snow Music»
 The Crystals - «He's a Rebel»

Continuidad

Este capítulo tiene repercusiones que alcanzan tanto esta temporada como las siguientes, y a su vez hace referencia a temporadas anteriores:

Para la tercera temporada

 El Primero le dice a Ángel, «tarde o temprano, beberás de ella», cosa que se vuelve realidad en Graduation Day (II).

Para todas o las demás temporadas

 Joyce continúa incomodándose cuando se menciona el nombre de Giles, esto viene de la relación que tuvieron en el episodio Los chocolates embrujados.
 Es la primera vez que se hace una referencia a la familia de Xander.
 Es la primera aparición de El Primero y los portadores, quienes no aparecerán de nuevo hasta Lecciones.
 Buffy y Ángel renuevan su relación.
 Es la última aparición de Jenny Calendar.
 Oz perdona a Willow y retoman su relación.

Para los cómics u otra de las series del buffyverso

Errores en continuidad

 Aunque en la temporada siete se dice que El Primero no puede tocar nada, bajo la forma de Jenny Calendar toca a Ángel y, aunque el roce es breve, se nota como su pelo se mueve.

Enlaces externos

 Crítica Peripheral Visions
 Crítica Swing the Sickle
 The Weekly Standard - Mejor episodio
 *Uno de los anuncios que se emitió en la televisión por Navidad con protagonistas de Buffy

Episodios de la tercera temporada de Buffy the Vampire Slayer

redpajama_set_name: RedPajamaWikipedia


text:
School Logo Another School Logo
District Zone Map and Descriptions
School District Report Card
Board Meeting Agendas & Minutes
Hamer Elementary
Terreton Elementary
West Jefferson Jr. High School
West Jefferson High School
Child Nutrition Department
Maintenance & Custodial Department
West Jefferson School District is located in Terreton, Idaho. Terreton is 32 miles west of Rexburg and 35 miles northwest of Idaho Falls. The community has breathtaking mountain views to the north and west and unlimited recreational activities such as hunting, fishing, boating, ATV riding, and camping. Agriculture is the main economic source to the community, with Alfalfa, Barley, Wheat, and Potatoes being the main crops. You will discover family-oriented, hard working communities tucked away from big city life. Terreton is a 2 hour drive to West Yellowstone, 2 hour drive to Jackson Hole, and 1 hour drive to Craters of the Moon. Come and enjoy the best of all worlds!
West Jefferson School District is made up of four distinct communities. Monteview, Mud Lake, Terreton, and Hamer. Many students from other districts come to West Jefferson to take advantage of our unique educational experience. Our district has 590 students K-12, with West Jefferson High School having 205 students in grades 9-12.
West Jefferson School District 253 is governed by a set of policies that are developed and administered by a five member, elected Board of Trustees. The day-to-day operation of the school district is overseen by the Superintendent, Shane Williams. District Board meetings are held the 3rd Thursday of every month.
Approved Calendars
Phone: 208-663-4542 media@wjsd.org 1256 East 1500 North, Terreton, ID 83450


text:
San Martín Peras es uno de los 570 municipios que conforman al estado mexicano de Oaxaca. Pertenece al distrito de Juxtlahuaca. Su cabecera es la localidad homónima.

Geografía
El municipio abarca 245.83 km² y se encuentra a una altitud promedio de 2200

Colinda al norte con el municipio de Silacayoápam y el municipio de San Francisco Tlapancingo; al este con el municipio de San Sebastián Tecomaxtlahuaca, al sur con el municipio de Santiago Juxtlahuaca y con el municipio de Coicoyán de las Flores. Al oeste limita con el estado de Guerrero.

Demografía
De acuerdo al censo, realizado por el INEGI en 2010, en el municipio habitan 11 361 personas, de las cuales 5,473 se identificaron como del género masculino y 5,888 como del femenino. 9 587 manifestaron ser hablantes de una lengua indígena. El grado de marginación económica es considerado muy alto (88.37%) y alto (4.65%) en este municipio. También posee el IDH más bajo de todo México, con tan solo 0,425, ósea que puede ser comparable con países como Sudan del Sur.

Localidades
En el municipio de San Martín Peras se localizan las siguientes localidades, las principales y su población en 2010 se enlistan a continuación:

Política

Representación legislativa
Para la elección de diputados locales al Congreso de Oaxaca y de diputados federales a la Cámara de Diputados federal, el municipio de Santiago Ayuquililla se encuentra integrado en los siguientes distritos electorales:

Local:
 Distrito electoral local de 7 de Oaxaca con cabecera en Putla Villa de Guerrero.

Federal:
 Distrito electoral federal 6 de Oaxaca con cabecera en Heroica Ciudad de Tlaxiaco.

Presidentes municipales
 (1993-1995): Francisco López Carrizal
 (1996-1998):  Samuel López
 (1999-2001):  Juan Ángel Salvador
 (2002-2004): Ciriaco Díaz Martínez
 (2005-2007):  Francisco Ramírez Méndez
 (2008-2010): Genaro Perea González
 (2011-2013): Quirino flores Rivera
 (2014-2016): Aniceto Rodríguez Salvador
 (2016-2017): Santiago Ramírez Cervantes

Referencias

Notas

Fuentes

Municipios del estado de Oaxaca
Distrito de Juxtlahuaca
Peras


Prosecutors in the United States have charged a man with 29 offense is including hate crimes on murder in connection with a mass shooting at a synagogue in Pittsburgh, 11 people died off. The gunman opened fire at 6 is what wounded suspect has been named as 46 year old Robert Fallas on North America. Correspondent Gary O'Donoghue has this report just a few short hours off to the hatefield 11 Jewish worship. His hundreds of people from this community came to grieve and to comfort one another. Some chose to speak up some just a stand and remain silent. Ellen shocking. This over the horror of water taken place full day. The police were at the scene of the shooting meticulously Gathering that evidence that she has scale of brutality of the crime becoming clearer by the minute later. In the evening, Robert Bowers was indicted with 29 separate charges laid against him. Many accusing him of murder motivated by religious hatred, election campaigning in Illinois, announcing his intention to travel to Pittsburgh in the coming days. He'S also ordered Flags be flown at half-mast on the White House and other Federal buildings for the next 4 days. This evil antisymmetric attack is an assault on all of us. It'S an assault on Humanity, lights are the names of those who died, will be released. Answer questions about how someone with such a flagrantly anti-semitic online presence wasn't picked up. A Justice will be Swift and severe before the Jewish community of Squirrel Hill. Take a long, long time to come to terms with how someone could commit such a hateful crime. BBC news Pittsburgh.
The suspect was also wounded in a shootout with police.


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My skills include writing, editing, blogging, social media, interviewing, and radio broadcast aka Coral FM.
Rob Barkshire and I had a great time chatting about everything Blues Fest. In this podcast we feature the artists that are playing the TDKDF for 2017 from our great local musicians to a wide variety of other artists that are gracing the stage this year! For more info on all things BLUESFEST - go to www.kitchenerbluesfestival.com - There you can find the Official Bluesfest APP and The Blues Cam! See ya at the stages! Let the fun begin! VROOOM! VROOOM!
Eric Burdon has one of the most influential and powerful voices in the annals of music.
There has been so much written about him – and he influenced so many singers through the decades from Jim Morrison of The Doors who became his good friend, to Detroit rock rebels MC5.
In this interview we chat about Burdon's crazy days on British weekly television live music programs "Top of the Pops" and "Ready Steady Go", and his chance meeting with childhood blues heroes Jimmy Witherspoon and Big Joe Turner. Burdon, speaks about his time with Witherspoon. He produced and sang on Witherspoon's 1971 album "Guilty" the first album he did after he left the band War. He had some unforgettable times.
**Eric Burdon has been a music hero of mine since I was 10 years old living in Belfast and listening to countless 45's from his revolutionary band The Animals and beyond. He is a hero to many in music for his fabulous voice and songs which shook up and shaped rock and roll history for all time to come.
A Very Special Thanks to Eric and to Marianna Burdon, for setting up the interview.


0.5kg Pink 4.5 out of 5 based on 21 ratings.
Solid 18 Dumbbell Handle (x1) How To Make Your Own 3D Print Of A Video Game Character – I used Sculpteo to handle my 3D printing. Once I packaged my model. My Faceless Void cost about $18, and measured 1.9 x 2.1 x 1.1 inches (price scales with size). There's a slew of other services a. Body Power Solid 18"
A subsequent search of Gose's apartment uncovered "enough ingredients to produce about 1lb (0.5kg) of the stimulant, which has a street value of over $40,000," the BBC reports. Gose's story is notewor.
Make sure this fits by entering your model number.; TRAINING WEIGHTS – Coloured training and fitness weights for beginners and experienced users and are ideal for use at home, in the gym or as running weights.
A pepper with so many possibilities – Whitener then garnishes the sauce with a pinch of the powdered dried plum known as huamei. The bright pink powder is at once salty, tart and sweet. "Shishito preparation is often so repetitive," White.


text:
The barbecue murders, also known as the BBQ murders, refers to a 1975 double murder in Marin County, California, United States. Business consultant James "Jim" Olive and his wife Naomi were murdered in their home by their 16-year-old adopted daughter Marlene Olive and her 20-year-old boyfriend Charles "Chuck" Riley, who then attempted to dispose of the bodies by burning them in a barbecue pit at a nearby campground. Riley was convicted of two counts of first-degree murder and received a sentence of death, which was later changed to life imprisonment with the possibility of parole. Marlene Olive, tried as a juvenile, received a sentence of three to six years in a California Youth Authority juvenile facility, from which she was released at age 21 having served a little over four years.

The case gained worldwide attention due to the age of the perpetrators, the details of the crime, and the wide disparity in sentencing between the two perpetrators. Riley and Olive have also been the subjects of continuing coverage in connection with his repeated bids for parole and her subsequent convictions for numerous other crimes.

Background

Olive family background
Marlene Louise Olive was born in Norfolk, Virginia, on January 15, 1959, to an unmarried mother. She was adopted as a newborn by a middle-aged childless couple, James "Jim" and Naomi Olive. Marlene Olive spent her childhood up to her early teens in Guayaquil, Ecuador, where Jim Olive worked as a marketing executive for Tenneco and Gulf Oil. She was very close to her adoptive father but had a troubled relationship with her adoptive mother, who reportedly had alcoholism and a mental illness commonly thought to be schizophrenia.

When Marlene Olive was 14, her father lost his job and he moved the family back to the United States, settling in Marin County, California, in the Terra Linda community of the city of San Rafael. Jim Olive became a self-employed small business consultant and spent less time with his daughter as he tried to make his business succeed. Marlene Olive had difficulty adjusting from her relatively sheltered life in Ecuador to the unfamiliar, permissive Northern California teen culture. She developed a stomach ulcer requiring prescription pills and soon began to use the pills and other drugs recreationally and socialize with other teenage drug users. She also became interested in glam rock, witchcraft, and prostitution, the third interest stemming from repeatedly being called a "whore" by Naomi Olive, her adoptive mother.

The relationship between Marlene and Naomi Olive worsened after the move to the United States, and their arguments began to erupt into domestic violence. Over time, Marlene Olive also developed resentment toward her father for siding with her mother in disputes and suspected him of informing police about her friends' drug activities. She shoplifted, stole her parents' credit cards, used and overdosed on drugs, ran away from home, and received stolen goods from burglaries committed by a boyfriend. She talked to several friends about wanting to kill her parents and asked some of them to help, but the friends either did not take her seriously or decided not to get involved. At one point, she attempted to poison her mother herself by mixing large doses of prescription drugs into her mother's food, but the drugs made the food taste bitter, and Naomi refused to eat it.

Chuck Riley's background
Charles "Chuck" Riley was born on May 2, 1955 in Marin County to Oscar and Joanne Riley and lived most of his life there in Santa Venetia, the son of a bakery worker and a nurse's aide. Having been obese since childhood, by age 15, he weighed over . Before he met Marlene Olive, he had never had a girlfriend. Riley dropped out of high school in his senior year and worked as a newspaper and pizza deliveryman, bartender, and factory worker. He was a heavy drug user and also dealt drugs, both to earn money and to gain social status and popularity. He owned several guns and was a skilled marksman.

Chuck Riley's relationship with Marlene Olive
When he was 19, Riley met 15-year-old Marlene Olive while dealing drugs at her high school. He developed a crush on her and began to pursue her. Although she was initially put off by his weight, the couple eventually had sex and began a relationship largely controlled by Marlene Olive. Riley provided her with free drugs, gifts, and transportation, listened to her problems, and sometimes helped her carry out sexual or criminal fantasies. She frequently threatened to break up with Riley unless he did what she wanted and claimed to have magical powers of control over him, in which he reportedly believed. He was anxious to please her in order to continue the relationship and twice attempted suicide when she briefly broke up with him. As she had with previous boyfriends, Marlene Olive soon began to ask Riley for help or advice in killing her mother or suggest that he himself kill her parents. Jim and Naomi Olive initially approved of their daughter dating Riley, finding him polite and responsible.

At Marlene Olive's suggestion, the couple carried out a prolonged shoplifting spree, stealing approximately $6,000 in merchandise (primarily women's clothing and accessories) from local stores over several weeks until they were caught in the act and arrested for grand larceny in March 1975. Riley had no prior history of delinquency or antisocial conduct as a juvenile (aside from drug dealing), and this was his first adult arrest. In May 1975, Riley was arrested again for possession of marijuana and a sawed-off shotgun. Jim and Naomi Olive threatened their daughter with juvenile hall, planned to send her away to school, and forbade her to see Riley again, the prohibition also being included in a court order. Jim Olive ordered Riley to stay away from the Olives' house, threatening to kill him if he ever returned.

Murders

On Saturday, June 21, 1975, following another argument with her mother, Marlene Olive telephoned Riley and told him, "Get your gun, we've got to kill the bitch today". She arranged to go out with her father, leaving her mother home alone and leaving a door unlocked through which Riley could then enter and kill her mother. Riley, who was carrying a loaded .22 caliber revolver and later said he had taken LSD, entered the house where Naomi Olive was sleeping.

Afterward, Riley told police that he had struck Naomi Olive "many times" with a hammer (a statement he later recanted under hypnosis) and also stabbed and suffocated her. While Riley was still in the house, Jim Olive returned, saw his wife lying in bed covered with blood, picked up a knife, and started toward Riley, exclaiming, "I'll kill you". Riley drew his gun and shot Jim Olive four times, killing him.

Marlene Olive and Riley tried to dispose of the bodies by transporting them to a wooded area at nearby China Camp and burning them in a barbecue pit with gasoline and logs in an attempt to make them unrecognizable. The couple left while the bodies were still burning. A fireman who arrived shortly thereafter to put out the unattended fire initially mistook the partially burnt remains for a deer carcass. The couple later returned to the park and further burned the remains along with additional evidence.

With a friend, the couple cleaned up the room where the killings had taken place, removing blood from the carpet, walls, and furniture. They confided in the friend who helped clean and in several other friends that they had killed the Olives, with Riley physically carrying out the killings. Riley told friends, "We had to do it. They wouldn't let me see her." Marlene Olive and Riley continued to live together at the Olives' house for several days, attending a Yes concert, shopping, eating at restaurants, and paying their expenses using cash, checks, and credit cards taken from her dead parents. They allegedly planned to wait for Jim and Naomi to be declared dead, collect the life insurance money, and move to Ecuador.

After a few days, Jim Olive's business partner became concerned about his absence from work and contacted police, who visited the Olive house and spoke with Marlene Olive. She provided various alibis for herself and Riley, which the police later determined were false, and stories about her parents having either disappeared or died, claiming that one parent had killed the other and then disappeared with the body or that both parents were killed by Hells Angels. Police also noted the recently cleaned room in the otherwise disordered house. The friend who had helped clean informed the police about the blood in the room and the couple's statements about killing the Olives and burning their bodies. Acting either on information from Marlene Olive or from her friend, police searched the China Camp barbecue pit and determined that it contained fragments of burnt human remains. Marlene Olive and Riley were arrested.

After his arrest, Riley made a detailed confession, in which he said that he and Marlene Olive had been planning to kill her parents for some time, that he had beaten, stabbed, and suffocated Naomi Olive and then shot Jim Olive, and that Marlene Olive had made him do it. However, Marlene Olive claimed that Riley had killed her parents of his own accord and that afterward, he had held her hostage and forced her to take drugs.

Court proceedings

Chuck Riley's trial
Based on his initial confession, Riley, who was an adult over 18 (aged 20) at the time of the crime, was charged with two counts of first-degree murder for killing Jim and Naomi Olive and faced the death penalty. Under hypnosis, Riley later recanted the part of his initial confession about beating Naomi Olive with the hammer, saying that when he entered the house, he found Naomi Olive lying in bed, bleeding from head wounds and near death, with the hammer embedded in her head. Riley thus implied that Marlene Olive (who had been using the hammer that morning to repair a platform shoe) had fatally beaten her mother with the hammer before leaving the house. Riley contended that he had stabbed and suffocated Naomi Olive because she was suffering and near death from the hammer attack, and he was trying to end her misery. He said that he initially confessed to killing Naomi Olive in order to protect Marlene Olive by taking the blame for her actions. Riley admitted shooting Jim Olive, but said he acted out of fear and self-defense as Jim had threatened to kill him.

At his trial, Chuck testified under hypnosis about the events of the murder and that he had not beaten Naomi Olive. The jury was not convinced, and convicted him on both counts of first-degree murder for killing both victims. He was sentenced to death on January 26, 1976.

Author and reporter Richard M. Levine later wrote that compared to Marlene Olive, Riley did not harbor much anger at Naomi Olive, whom he barely knew, and therefore Riley would be less likely to use a method of homicide suggesting rage; that Riley would have used his loaded gun as the weapon rather than a hammer; and that Marlene Olive had previously asked Riley how hard she would have to hit Naomi Olive in order to kill her. However, others have noted that Marlene had no blood on her clothing when she left the house and would not have had time to change clothes; that Riley used a hammer to avoid alerting neighbors because it made less noise than a gunshot; and that according to a hypnosis expert, Riley's revised confession lacked credibility. Marlene Olive continued to maintain that Riley had beaten and killed her mother in addition to shooting her father, and denied that she herself had any part in the killing of either parent.

Marlene Olive's juvenile court trial
Marlene Olive, who was a minor aged 16 at the time of the crime, was tried as a juvenile rather than an adult, and was represented by the well-known defense attorney Terence Hallinan. She was charged with violating Section 602 of the California State Welfare and Institutions Code, which at that time covered any crime committed by a juvenile, from petty crimes up to and including murder. The court ruled that she had violated Section 602, stating that she "did encourage, instigate, aid, abet, and act as accomplice in the homicides of her parents." In announcing his decision, Judge Charles R. Best stated, "The uncontroverted evidence regarding the father is that Chuck Riley killed him. As to who actually did in the mother, we'll never know."

Marlene Olive was sentenced to a term of four to six years' confinement at the California Youth Authority at Ventura (also known as the Ventura School). She was to be released by her 21st birthday unless the youth authority determined she had not been rehabilitated, in which case she could be kept in custody up to age 23.

Aftermath

Chuck Riley
In December 1976, the California state supreme court ruled that the California death penalty statute, which then required a mandatory death penalty for certain categories of murder, was unconstitutional in view of the U.S. Supreme Court's recent rulings in Gregg v. Georgia and other cases. As a result, California prisoners sentenced to death under the unconstitutional statute, including Riley, could not be executed. Riley's sentence was changed from death to two concurrent life sentences with the possibility of parole after 7 years. While in prison, Riley lost weight, received his high school diploma and earned the equivalent of a college degree.

After becoming eligible, Riley applied for parole approximately a dozen times and was denied each time. In 2011, Riley, now aged 56 and physically disabled, appealed his most recent denial on the grounds that there was no evidence he continued to be a danger to the community, that the parole board did not consider his age, and that his sentence had been unconstitutionally excessive. Riley won a new court-ordered parole hearing, at which the parole board found him suitable for release and granted parole. However, on February 6, 2015, the parole board's decision was reversed by California Governor Jerry Brown, who explained that "although [Riley] professes to accept some responsibility, he continues to downplay his role in this crime. Until Mr. Riley is able to come to terms with his role in this horrendous double murder, I do not believe he will be able to avoid violent behavior if released."

Riley appealed the Governor's reversal of the parole board's decision. On December 3, 2015, the California Court of Appeal for the First District vacated the Governor's reversal and reinstated Riley's grant of parole, stating, "We cannot affirm the Governor's decision because the premise of his conclusion—that Riley has failed 'to come to terms with his role in the double murder'—is unsupported by any evidence. There being no evidence in the record that Riley 'continues to downplay his role in this crime,' the Governor's decision cannot stand." Following the court's directive, the parole board's 2015 annual report released in January 2016 showed Riley as having been deemed suitable for release and granted parole .

Marlene Olive
Marlene Olive began serving her sentence at the Ventura School and was later allowed to serve part of her time living outside the school with a young woman who had been a juvenile services volunteer. A few weeks before Marlene Olive was due to be paroled, she escaped and fled to New York City where she worked as a prostitute. She was eventually arrested and returned to California to finish her sentence, finally being released in 1980 when she was 21.

After being released, she moved to the Los Angeles area, where she changed her name numerous times and was arrested at least seven different times over the next decade on forgery and drug-related charges, serving two one-year terms in jail. In 1986, she was one of 14 people arrested in Los Angeles for allegedly operating a large counterfeiting and forgery ring, of which she was thought to be the ringleader. She was subsequently convicted and sentenced to five years in prison. She served additional prison terms in California after a 1992 conviction for making a false financial statement, and a 1995 conviction for possessing a forged drivers' license. In 2003, in Kern County, California, she pleaded guilty to passing a fictitious check in Bakersfield and was sentenced to seven years in prison. A 1992 Los Angeles Times article called her "the queen of the trashers" due to her alleged skills at committing forgery and fraud and creating false identities based on documents, such as voided checks, obtained from discarded garbage. Police said "they [had] rarely come across a street-level forger believed to be as prolific or as skilled as Olive."

Marlene Olive saw Chuck Riley only once after they were arrested for murder, when she visited him in prison in 1981. After the visit, Riley correctly predicted, "I'll never see her again."

In popular culture

Richard M. Levine, a feature writer for numerous publications including The New York Times, New York, Harper's, and Esquire, wrote a true crime book about the case, Bad Blood: A Family Murder in Marin County (Random House, 1982), which was widely reviewed and became a bestseller. The case was also discussed in John Godwin's book Murder U.S.A.: The Ways We Kill Each Other (Ballantine, 1978) and in several later true crime anthologies.

During the 1990s, Levine's book inspired American artist Marlene McCarty to create a series of drawings about the teenage Marlene Olive, her relationships, and the barbecue murders. These led to a broader group of works by McCarty on the subject of teenage female murderers known as Murder Girls, which explored issues of female aggression, sexuality, sexism, and family relations. Marlene Olive continued to be, in the words of Maud Lavin, the "chief protagonist" of the series, and at least one exhibition of McCarty's work focused solely on her and the barbecue murders. McCarty's drawing, titled Marlene Olive: 353 Hibiscus Way — Marin County, California — June 21, 1975., (Mural 2: Chuck, Jim, Marlene – December 21, 1974) (2003), is now in the collection of the Museum of Modern Art. McCarty based her art works concerning Marlene Olive on the theory, presented by Riley's defense counsel and Levine, that Marlene Olive had beaten her mother Naomi to death with the hammer.

The barbecue murders were dramatized in a 2014 episode of the true crime documentary series Killer Kids titled "Please Kill For Me" (season 3, episode 12).

See also

 List of homicides in California
 Murder of Tynesha Stewart
 Richardson family murders

References

1975 murders in the United States
Deaths by beating in the United States
1975 in California
Murder committed by minors
Murder in the San Francisco Bay Area
June 1975 events in the United States
History of Marin County, California


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text:
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Abu Dhabi, United Arab Emirates – Milan Linate Airport will be closed from 27 July 2019 until 26 October 2019 for runway maintenance. Domestic and international operations will be redirected to Milan Malpensa Airport, increasing aircraft and passenger congestion.
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text:
{-# LANGUAGE DeriveDataTypeable #-}
{-# LANGUAGE FlexibleInstances #-}
{-# LANGUAGE GADTs #-}
{-# LANGUAGE MultiParamTypeClasses #-}
{-# LANGUAGE OverloadedStrings #-}
{-# LANGUAGE RecordWildCards #-}
{-# LANGUAGE StandaloneDeriving #-}
{-# LANGUAGE TypeFamilies #-}

module Web.Socdiff.Instagram.DataSource where

import Control.Concurrent.Async
import Control.Concurrent.QSem
import Control.Exception
import Control.Monad.IO.Class
import Control.Lens
import Data.Aeson.Lens
import qualified Data.ByteString.Lazy.Char8 as CL8
import Data.Hashable
import qualified Data.Text as T
import Data.Typeable
import Network.Wreq

import Haxl.Core

data InstagramReq a where
   GetFollowerUsernames :: T.Text -> InstagramReq [(T.Text, T.Text)]
  deriving Typeable

deriving instance Eq (InstagramReq a)
deriving instance Show (InstagramReq a)

instance Show1 InstagramReq where show1 = show

instance Hashable (InstagramReq a) where
  hashWithSalt s (GetFollowerUsernames username) = hashWithSalt s (1::Int, username)

instance StateKey InstagramReq where
  data State InstagramReq = InstagramState { numThreads :: Int
                                           , accessToken :: T.Text
                                           }

instance DataSourceName InstagramReq where
  dataSourceName _ = "Instagram"

instance DataSource u InstagramReq where
  fetch = instagramFetch

initGlobalState :: Int -> T.Text -> IO (State InstagramReq)
initGlobalState threads token  = return $ InstagramState threads token

instagramFetch :: State InstagramReq -> Flags -> u -> [BlockedFetch InstagramReq] -> PerformFetch
instagramFetch InstagramState{..} _flags _user bfs =
  AsyncFetch $ \inner -> do
    sem <- newQSem numThreads
    asyncs <- mapM (fetchAsync accessToken sem) bfs
    inner
    mapM_ wait asyncs

fetchAsync :: T.Text -> QSem -> BlockedFetch InstagramReq -> IO (Async ())
fetchAsync token sem (BlockedFetch req rvar) =
  async $ bracket_ (waitQSem sem) (signalQSem sem) $ do
    e <- Control.Exception.try $ liftIO $ fetchReq req token
    case e of
      Left ex -> putFailure rvar (ex :: SomeException)
      Right a -> putSuccess rvar a

-- Yes, the API really does give UIDs as strings.
getUID :: T.Text -> T.Text -> IO T.Text
getUID token u = do
  resp <- get ("https://api.instagram.com/v1/users/search/?access_token=" ++ T.unpack token ++ "&q=" ++ T.unpack u)
  return $ resp ^. responseBody . key "data" . values . key "id" . _String

followersToTupleList :: Response CL8.ByteString -> [(T.Text, T.Text)]
followersToTupleList resp =
  resp ^.. responseBody . key "data" . _Array . traverse .
    to (\o -> ( o ^?! key "username" . _String
              , o ^?! key "full_name" . _String
              ))

-- If you have >2900 followers, this will probably fail with some weird HTTP
-- code. TODO: Fix that.
getAllFollowers ::
  [(T.Text, T.Text)] -- ^ The result of the previous fetch(es)
  -> Maybe T.Text -- ^ The next cursor URL
  -> IO [(T.Text, T.Text)]
getAllFollowers xs Nothing = return xs
getAllFollowers xs (Just url) = do
  resp <- get (T.unpack url)
  let nextUrl = resp ^? responseBody . key "pagination" . key "next_url" . _String
      followers = followersToTupleList resp
  getAllFollowers (xs ++ followers) nextUrl

fetchReq :: InstagramReq a -> T.Text -> IO a
fetchReq (GetFollowerUsernames user) token = do
  -- The instagram API is even more annoying than Twitter regarding pagination.
  -- At least with Twitter, you can get it to dump you a list of follower IDs
  -- to get out of having to worry about pagination unless you have >5k
  -- followers. With Instagram, you only get 100 follower objects, and they all
  -- contain everything about the user (first name, last name, bio, etc).
  -- There's no way to only get UIDs and then request more information as you
  -- need it (e.g. to render a socdiff diff). Oh, and they limit you to 30 API
  -- requests per hour, so if you ever get more than (29 * 100 = 2900)
  -- followers, socdiff becomes practically useless. (We subtract 1 from 30 due
  -- to the extra call we have to make to get your UID from the API). Alas, we
  -- pretend that this is useful in any way and continue. You've been warned.
  uid <- getUID token user
  resp <- get ("https://api.instagram.com/v1/users/" ++ T.unpack uid ++ "/followed-by?access_token=" ++ T.unpack token)
  let url = resp ^? responseBody . key "pagination" . key "next_url" . _String
      followers = followersToTupleList resp
  getAllFollowers followers url

redpajama_set_name: RedPajamaGithub


At the present days, we are feel and talk about the dehydration. This is just because of the high temperature.
A significant loss of body fluid that impairs normal bodily functions. Dehydration occurs when you use or lose more fluid than you take in, and your body doesn't have enough water and other fluids to carry out its normal functions. If you don't replace lost fluids, you will get dehydrated.
Anyone may become dehydrated, but the condition is especially dangerous for young children and older adults.
The basic causes of dehydration are not taking in enough water, losing too much water, or a combination of both.
The most common cause of dehydration and related deaths. The large intestine absorbs water from food matter, and diarrhea prevents this from happening. The body excretes too much water, leading to dehydration.
Leads to a loss of fluids and makes it difficult to replace water by drinking it.
The body's cooling mechanism releases a significant amount of water. Hot and humid weather and vigorous physical activity can further increase fluid loss from sweating. Similarly, a fever can cause an increase in sweating and may dehydrate the patient, especially if there is also diarrhea and vomiting.
High blood sugar levels cause increased urination and fluid loss. Tips for handling summer heat for people with diabetes.
Usually caused by uncontrolled diabetes, but also can be due to alcohol and medications such as diuretics, antihistamines, blood pressure medications and antipsychotics.
Blood vessels can become damaged, causing fluid to leak into the surrounding tissues.
It is a serious issue among many people with anywhere from two out of three people being unknowingly dehydrated. However there is surprisingly little awareness of the effects of. dehydration, especially when. considering its effects on the human body.
Our lifestyles are certainly part of. the. problem. Most people do not drink the recommended eight glasses (over 2 litres) of water every day to replace lost fluids. Drinking coffee or tea and spending time in air – conditioned or heated environments exacerbates the problem.
The average adult loses over 2.5 litres of water every day. We can lose approximately 0.5 litres from breathing, 0.5 litres when sweating in a temperate environment (this increases dramatically in hot. weather, heated rooms or when exercising) and anywhere from 1-1.5 litres through urination.
If mild dehydration is not treated, the body begins to shut down. Shock, coma and death can occur if the replenishment of fluids does not take place.
It is without a doubt a serious issue in today's world. And the only way to counter, it is to ensure that at least 2 litres, or eight glasses, of water is consumed every day. Getting into the habit of drinking this amount of water will help counter the effects of dehydration and lead to a happy and healthy body and mind.
Severe. dehydration is a life – threatening medical condition caused by excessive fluid loss from the body. You can develop dehydration due to illness, prolonged exposure to heat or by. simply not drinking enough fluids. Contact your doctor immediately if you develop any of the symptoms of severe dehydration.
Dehydration can happen very slowly over time, or it can happen suddenly. Toddlers with an illness, especially stomach flu, should be monitored closely for signs of dehydration. The warning signs aren't always obvious.
In the most serious cases, your toddler can become delirious or unconscious.
It can also be caused by heat exposure, high fever, vomiting and diarrhea, diuretic and laxative medications and fluid imbalance caused by certain conditions.
Drink plenty of water, as directed by your doctor.
Eat foods with high amounts of water like fruits and vegetables.
Avoid or limit drinks with caffeine like coffee, teas and soft drinks.
Avoid or limit drinks with alcohol.
If you or your loved one has symptoms of severe dehydration, including excessive thirst, fever, rapid heartbeat, fast breathing, little or no urine, concentrated urine with a dark color and strong odor or confusion, contact your doctor immediately.


text:
Q: Calculate frame PTS according to elapsed time when encoding with libav I'm building a library to record X11 windows. In order to keep a steady frame rate, I measure the elapsed time between frames and wait as needed. It works well when the encoding procedure goes faster than the expected framerate, but if the encoding is slower and it cannot keep up with the frame rate, something curious happens: the recorded video looks "sped up".
That's because, for a time span of 10 seconds and a frame rate of 60fps, there should be 600 frames, but the computer is too slow and is only capable of recording 300 frames, so the frame that should appear on t = x ends up appearing at t = x/2, because I'm calculating the PTS according to the number of frames, not the time elapsed from start.
I initially calculate the time base using:
    int outputFrameRate = 60;
    double outputFramePeriod = 1.0 / outputFrameRate * 1000;
    AVRational timeBase = { 1, outputFrameRate };

I then use it in the AVCodecContext instance:
    pCodecCtx->time_base = timeBase;

And then, I have an increasing framecnt counter that is used to calculate the pts of each output frame like so:
    pOutputFrame->pts = av_rescale_q(framecnt, pCodecCtx->time_base, pVideoStream->time_base);

I now have an elapsedTime variable with the time elapsed from the beginning in milliseconds. How would I go about calculating the pts using that?

A: Set the timebase to {1, 1000} and pass the elapsedTime to the rescale function.
Frequency: 1/60 => number of frame (duration of one frame is 1/60 seconds; framerate: 60)
Frequency: 1/1000 => number of milliseconds (duration of one frame is 1/1000 seconds or one ms; framerate: 1000)
From ffmpeg doc:

rescale_q is mathematically equivalent to a * bq / cq.

Frame number to milliseconds:
framecnt: 3 (frames)
bq: 1/60
cq: 1/1000
3 * (1/60) / (1/1000) = 50 (ms)

Milliseconds to frame number:
framecnt: 50 (ms)
bq: 1/1000
cq: 1/60
50 * (1/1000) / (1/60) = 3 (frames)

redpajama_set_name: RedPajamaStackExchange


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