text:
Durango Loveseat
Durango Loveseat
Select Color
Limited Stock Estimated arrival
Durango Loveseat
Soft and supple to last a lifetime
Experience the magic of 100% Italian leather with the Durango Loveseat. Featuring track arms, solid walnut feet, and plush two-over-two cushioning, this tailored sofa is the epitome of luxury. Classic and handsome, the Durango offers extreme comfort and a high-end look. The soft and supple brown or grey leather complements a wide range of design aesthetics, while the webbed spring seating and hardwood frame ensure that this loveseat will last a lifetime.
Made in Italy.
Additional Information
67" L x 42" D x 35" H
- 100% Italian leather
- walnut solids, hardwood frame
- webbed springs
- track arms
- attached cushions
Other Pieces in this Group


text:
Benefits of Employment
Wouch Maloney offers a generous benefits package which includes the following:
Health, Long Term Disability & Life Insurances – health (including prescription) and dental insurance plans, group life insurance, and long-term disability insurance.
Paid Time Off – paid vacation time determined by length of service, annual sick paid time, and nationally recognized holidays.
401(k) Plan – employer matching 401(k) plan.
Professional Staff Benefits – WM pays for CPE courses for the professional staff, and professional license fee renewals including CPA, CVA and CFF licenses. WM also pays employee fees for membership in professional organizations including, but not limited to the AICPA and PICPA. Professional staff members will receive a reimbursement fee towards the purchase of a Blackberry/PDA phone and reimburses monthly costs thereafter of up to $45 per month including taxes.

subset: commoncrawl


text:
Will travel 30 miles
$60 per hour.
4.95 175 ratings
I write test harness software and frequently use a myriad of Perl to accomplish parsing/logging and regular expression matching to do data-mining. I have tutored in mathematics and physics during my graduate years while earning my PhD in experimental particle physics. I have a passion for mathematics and physics and love continuing to learn myself. I find it rewarding to see others learn in these areas as well. I have a large base of subjects for which I am qualified to assist in. My motto as a tutor is "to be able to put myself out of business". My style is to empower the student to beco [more]
I have used the PERL programming language as engineer with Intel Corporation. I used PERL to create data processing programs used in by engineers and in a manufacturing environment. My PERL knowledge is largely self-taught and draws heavily on the languages similarity to C. I have worked with the language for about 3 years. My name is Ted. I have many years of formal education and learning through work experience to share with others. I have always enjoyed helping others understand and master new concepts throughout my life ? helping individual children, teaching children and adults in a clas [more]
Will travel 20 miles
$50 per hour.
4.57 7 ratings
While teaching at B-H from 1997 onward, one of the classes I taught was Perl. Proficiency in Perl got me the $80,000 contract at 1Vision in Loveland, although the job was actually done in Java. It provided the grist for a pamphlet entitled "The Perils of Perl" that was distributed by TSE (Test Systems Engineering) in Ft. Collins. The 1Vision Perl activity was to edit and filter incoming submitted data to determine a stream of data that could be processed by their other systems. I love the subject and teaching. I bring considerable knowledge about computers and computer programming to the ta [more]


text:
As many of people know, or, at least, know about me, I was very excited for Toy Soldiers: War Chest. It was a franchise I was interested in, and was ready to check out when it was announced last year. Once it became known that the game was going to have four different armies to choose from, and four new ones with three of them based off old Hasbro properties, the hype increased. Now that it's out, and I rented the PlayStation 4 version of the Hall of Fame Edition, what do I think about the game? Well, I do think Toy Soldiers: War Chest is a unique game among the tower defense genre, but due to Ubisoft and a few other unfavorable elements, the game has become underwhelming. Not to say that this is a terrible game, because it really isn't, but I do think the game had some problems because of the higher-ups.
Toy Soldiers: War Chest is an action-oriented tower defense game. You get a cool tabletop battlefield, the kind that you see when you go to those stores that sell those plastic tabletop RPG stuff. You place different turrets around the battlefield to take down the different soldier types. For example, you should place down machine gun turrets around walking paths to take care of those pesky soldiers, and anti-armor turrets on open areas to take down of any armored vehicles. Another good idea is to place anti-aircraft turrets by the base to take down flying opponents. The cool gimmick of the Toy Soldiers series is that you can take control of individual turrets you set up/upgrade to take the action into your own hands. In this game, you can fill up a power meter to unlock multiple special abilities, like launching massive vehicles, or using the leader of the army as a special soldier. As you take down enemies and vehicles, you will be gaining money, and can upgrade your turrets to be stronger, hit in a wider area, or be able to take up more damage. Outside of the main combat, you can buy upgradable levels for your weapons or additional armies if you didn't buy the Hall of Fame Edition, and you can play online with a friend or co-op. No matter which version you pick up of the game, you are going to have a huge amount of content.
Graphically, it looks fine. It's nothing technically powerful, but it does pull off the plastic toy look very well. The music is nothing super special, since it's very ambient and forgettable. It's pretty much there to get you pumped for the next wave of enemies.
This is the part everyone has been waiting for. I shouldn't be surprised, since for one reason or another, people relish in hearing the negatives. Well, there is a lot to complain about. Ubisoft, why put in your terrible UPlay service and microtransactions into this game? No one liked them in your past games from last year, and no one likes them now. People are already paying about $30 to get everything from the base game to the four additional armies. No one should be paying more than they should for a game. It's tedious, since if you buy the physical disc version of the Hall of Fame Edition, you still have to use a voucher code to download the four fan service armies. That really screws over people like me, who rented the game expecting all eight armies to be on the disc. Maybe instead of forcing people to pay additional fees, you could have used all that time and talent to rebalance enemy forces and bosses. Too many times do the enemies and bosses, even if you are using the right turrets, soak up damage. The only way I could beat the first official boss of the game, which was this giant tank, was to upgrade my anti-air cannons, because they were the only ones who did enough damage to do anything to the boss. The overall game feels like a grind, and it seems like the enemies always have a clear advantage over you. I would rather have the playing field be even across the board, since at times, having a well-planned out strategy doesn't cut it. Sometimes, you just have to take control yourself, because the AI controlling the turrets isn't fast enough to react. It also almost costs way too much to upgrade everything. The enemies don't give up enough money unless you get lucky, and your anti-infantry turrets mow down a load of soldiers in unison, or your anti-armor turrets blow up a group of them with a couple of mortar rounds. One of the coolest elements in the game, being able to play as the main leader of whatever army you choose, is locked behind this action bar that fills up the more times you mow down enemies as a turret you control. The cool-down meters take too long to cool down, and the loading times for upgrades and reloading become tedious. I think if they gave you more freedom without some of the restrictions like cool-downs and meters, the game would be a lot more intense and satisfying. The sound effects are fine, but once you hit the halfway point of the story mode, the missions just become longer versions of the Horde Mode seen in Gears of War. I think once you hit the three-game milestone, you need to start expanding on everything else. At least they could have made the bosses and enemies not be bullet sponges, which is a criticism I have heard from the past two games in the franchise. The overall pacing hits a brick wall, and it feels like this game was meant to be more heavily microtransactions-heavy, but stopped halfway through, and then forgot to change the overall pace to not be so grind-heavy. I am all for a challenge, but it seems like I am the one always at a disadvantage, while the enemies don't get the same limitations. Just having more money from killing enemies would greatly help the pace.
So, it sounds like I hate this game with its unbalanced areas, micro-transactions, bullet sponge enemies, and road-block pacing at the halfway point. Well, I still stand by my opinion that I am disappointed with this game, but I have played far worse games this year. You still have eight different armies that have their own quirks to them, satisfying combat, and something different for the tower defense genre. If you want everything in one go, just bite the bullet and get the Hall of Fame Edition digitally or in a physical form. It's one of the more interesting games of the year that is sadly brought down by corporate greed and questionable design choices. Just avoid the PC version for now, since I hear it is quite buggy. Get this game if you are a fan of the series, but you can afford to wait for a sale. You can count on me putting my toys away until the next war.
This game gets a 6 out of 10.


text:
ghost witch and ghost thoughts
I just lost the file for the texts of these images. I hope to be able to upload it on Monday. Have a nice weekend to all. By the way, there are some pictures over here.
The texts which I had promised to upload was so long and I really lost it. It is about a true story about a ghost experience I had in the past. Maybe, one of these days if I have the time. Anyway, the first image here is an image of one my models and have manipulated and turned it into a witch using the filter distort-spherize, burn and dodge tools. The second image is a picture that I also manipulated using distort spherize, burn and dodge, brush tools.
By the way, I had a week off from work and had a one week autumn holiday at home, relaxing and doing some light things like putting holes on my wall for my paintings. It was a quiet time for me and I had the time to reflect about what I had been thru and, I can't believe that I was able to make it. It was truly a painful experience but they were ghost thoughts already that might haunt me once in a while well, only to remind me how it was before and now.
I hope I can share more in the near future. Have a nice week all of you!


text:
Pally vs Shammy Round 3, Final Round
Today's event is offensive spellcasting. The Paladin will go first
Paladin The paladin has decent offensive spellcasting. The paladin is designed to be versatile, but many offensive spells are mana pigs. When they use offensive spells coupled with their own buffs, they can survive quite a bit,
Shaman Two words. Frost-shock. Shamans have the most overpowered instant cat offensive spells in the game. They can slug it out with most spellcasters and come out on top.
Shaman Wins!
Final Scores
Paladin: 2
Shaman: 1
Paladin Wins the Competition


text:
Many investors have successful investing careers without ever once looking at options. Given the wide variety of stocks, bonds, mutual funds, exchange-traded funds, and other investments available, you can easily come up with investing strategies that will put you on track to reach your financial goals even if you never have a single option in your portfolio.
And yet options can truly help you achieve your financial dreams. By letting you establish the precise level of risk you're willing to take in your investments, options can help you adapt to changing market conditions without having to make massive course corrections in your portfolio over and over again.
Still, many people are convinced that options are just another trick that Wall Street brokers use to separate you from your money. Let's take a look at how people misuse options and then introduce four basic strategies that, when used correctly, can actually reduce risk levels in your portfolio.
Why options scare some investors to death
Many investors avoid options like the plague for what they see as a very good reason: Those who buy options often lose every penny they pay for them. Unlike shares of stock, which only rarely suffer complete losses, options routinely expire worthless. That gives them a reputation for being dangerous.
At the same time, many options advocates point to specific options strategies designed to resemble get-rich-quick schemes. It's true that if you buy options at exactly the right moment, you have the potential to enjoy gains that greatly exceed anything you could achieve through owning shares of stock. The most obvious example is buying options immediately before a company receives a takeover bid. In such situations, a stock price might double, while options might jump in value by 100 times or more. Although the promise of potential riches attracts certain short-term traders, it puts off long-term investors who know better than to think that they can count on such ideas to pay off with any regularity.
What too many investors never realize, though, is that there's an alternative to swinging for the fences and striking out 99 times out of 100. Rather than standing on their own, most smart options strategies integrate the options you buy or sell with other positions in your portfolio. By using options this way, it's a lot easier to dial the risk level of your portfolio up or down however you want.
Four options strategies to consider
Options have almost infinite flexibility. With hundreds of different stocks, ETFs, and other investments offering options with a multitude of different expiration dates and strike prices, investors can tailor their choice of options with great precision. Moreover, the options that one speculator might use to bet on an unlikely event are the same ones you might use to control risk and enhance your portfolio's profitability.
One common options strategy involves what are known as covered calls. With this strategy, you sell call options on shares of stock that you already own, accepting the payment for the option as an income-enhancing method in exchange for giving up some potential upside. That payment is yours to keep no matter what the underlying stock does, and even if the stock climbs high enough for the option buyer to exercise that option, you'll end up selling your shares at the price you selected -- which many often choose at a significantly higher level than where they opened the position.
Conversely, you can write put options. Puts give the option buyer the right to sell you stock at a predetermined price, and again, you'll get paid an upfront amount to take on the obligation of buying shares. Often, investors choose bargain prices at which they'd be tempted to buy the stock anyway, and for them, put-option income is just gravy.
The other two major options strategies involve buying options. Many investors buy as many call options as they can afford to bet on a big jump, but you don't have to use leverage to open a call-option position. Instead, a modest call-option portfolio gives you exposure to stocks or other investments without putting as much money at risk.
Finally, buying put options on stocks that you already own can give you full or partial protection from share-price declines. You have to pay a price for that protection, but for many investors, even temporarily preserving their profits can be worth that price.
What each of these four ideas shares is that none of them is inherently a high-risk strategy. If you emphasize controlling risk rather than taking extra risk with options, then you'll find that you're more likely to make money and less likely to get fleeced by a professional trying to take advantage of your inexperience.
If you are interested in receiving more information from The Motley Fool about investing in options, please click here. And be sure to stay tuned for more options content from the Fool in the days and weeks to come.


text:
The Asian Pacific American Heritage Organization (APAHO) will present its 24th Annual Asian Fest Saturday, May 16th from 10 a.m. to 4 p.m. at the Virginia Beach Sportsplex. The event is free and open to the public.
Hosted this year by the Philippines, the festival aims to promote a greater understanding of Asian communities and cultures. Attendees can enjoy cuisine, entertainment, arts, crafts and cultural displays from each of the representative countries. The celebration will also give Hampton Roads students of Asian heritage an opportunity to receive a scholarship.
Among Asian Pacific Heritage Month observances nationwide that recognize the contributions of Asian Pacific Americans, the event is sponsored by APAHO and several Asian associations in the region.
There will be events for all ages, including special activities for children, so bring out the whole family to enjoy Asian Fest 2015!


text:
FRONTLINE reports from Iraq on the miscalculations and mistakes behind the brutal rise of ISIS.
ISIS' growing foothold in Afghanistan is captured on film.
Get Our Newsletter
Follow Us
Here is a collection of articles about Karl Rove and the 2004 presidential election from The Washington Post archives.
Rove Is Promoted To Deputy Chief of Staff
"During President Bush's first term, outsiders often suspected that Karl Rove was really behind virtually everything. Now it's official." (Feb. 9, 2005)
On Nov. 2, GOP Got More Bang For Its Billion, Analysis Shows
"When Bush moved into the Oval Office in 2001, planning for his presidential reelection campaign began almost immediately. Under the direction of Karl Rove, Bush's top White House adviser who served as a kind of chairman of the board … the Bush political team developed a strategy for 2004, began investing in innovative techniques to target voters and prepared an early and cost-effective advertising plan." (Dec. 30, 2004)
Resident Thinker Given Free Rein in White House
"Pete Wehner has the rarest of White House jobs. He is paid to read, to think, to prod, to brainstorm -- all without accountability. He recalls the words of White House senior adviser Karl Rove when he interviewed for the job: 'He said my job is to bug him.'" (Dec. 13, 2004)
The Many Faces of Karl Rove
"Almost everyone, it seems, is giving Rove an enormous amount of credit for winning his boss a second term last week. From his office in the West Wing, Rove has been President Bush's senior adviser and chief political strategist. What people don't tend to agree about, however, is whether Rove won it elegantly -- or down and dirty." (Nov. 8, 2004)
Four More Years Attributed to Rove's Strategy
"Admired, disparaged, respected and feared, Rove joins an elite cadre of political strategists who can claim two presidential victories. Bush's adviser can now look toward the goal he has pursued since he was an obscure direct-mail specialist in Texas: the creation of a durable Republican majority in Washington and across the country." Also, read an online chat with reporter Mike Allen about this article. (Nov. 7, 2004)
For the President, a Vote of Full Faith and Credit
"The 2004 presidential race and its aftermath have brought a new fusion between religion and politics. For the first time, vast numbers of evangelical Christians showed their clout at the grass-roots level without being organized by a national group such as the Christian Coalition or the Moral Majority." (Nov. 7, 2004)
Victory Bears Out Emphasis on Values; GOP Tactics Aimed At Cultural Divide
"Presidential stops in swing states, and the route of campaign bus trips, rarely included the largest cities. That was because Rove chose them scientifically, using three criteria that he explained to reporters in the waning days of the campaign. Rove said his targets were areas where Bush had underperformed in 2000, whether Republican or Democratic, and where the campaign's target for votes was higher than the number that showed up. Second were fast-growing exurban areas or Republican places where there were a large number of people who ought to register to vote and do not -- what Rove calls 'a large gap between participation and potential.' Third, he said, he paid attention to areas 'that have a significant number of swing voters, and swing wildly from election to election.'" (Nov. 4, 2004)
Rove Trims Sails but Steers for Victory
"Now, two weeks before the election, the Bush-Cheney campaign would be happy to eke out the barest, skin-of-the-teeth majority, and aims to cobble it together by turning out every last evangelical Christian, gun owner, rancher and home schooler -- reliable Republicans all. It looks like the opposite of Rove's original dream." (Oct. 17, 2004)
Bush Fortifies Conservative Base
"Although age-old campaign rules dictate that the general-election candidate must emphasize moderate 'swing' voters and political independents, Bush strategists are predicting that this election, more than previous ones, will be determined by the turnout of each side's partisans. Although not discounting swing voters, Bush is placing unusual emphasis so far on rallying the faithful." (July 15, 2004)
Rove Revels in Democrat Kerry's Lead
"Previously, Rove had claimed he was salivating that the Democrats would nominate former Vermont governor Howard Dean in the 2004 presidential race. But Dean had imploded and Sen. John F. Kerry, the Massachusetts Democrat, had won 12 of the first 14 Democratic primary contests and appeared to be headed for the nomination. Politics is a game of recovery, adaptability and optimism. So Rove had a new line. 'The good news for us is that Dean is not the nominee,' Rove now argued to an associate in his second-floor West Wing office." (April 18, 2004)
In New Hampshire, the Spotlight is on Rove
"Whatever mistakes the Bush campaign made here four years ago, his advisers appear determined not to repeat them, and the man who will oversee the reelection campaign was nothing if not on message today, fretting publicly about the weak economy, which bedeviled George H.W. Bush here in 1992 and led to his eventual defeat by Bill Clinton." (May 8, 2003)
White House's Roving Eye for Politics
"Karl Rove, the most powerful adviser in the White House, serves as President Bush's eyes and ears. But who serves as Rove's eyes and ears while he toils in the bubble of the West Wing?" (March 10, 2003)
The Political Mind Behind Tort Reform
"For those who argue that President Bush's support for limiting jury awards has nothing to do with politics, a complication has emerged: His top political adviser, Karl Rove, has taken credit for the issue. In an interview for a book published this week, Rove claimed responsibility for talking Bush into the subject of 'tort reform' when he was packaging Bush for the 1994 Texas gubernatorial race. (Feb. 25, 2003)
Karl Rove: The Strategist
"Rove is Bush's whirling dervish, a man in perpetual motion. No part of the campaign escapes his eye -- strategy, organization, message, polling, media, issues or money." (1999)
home · introduction · the mastermind · republican party · interviews
texas · join the discussion · producer's chat · teacher's guide
tapes & transcript · press reaction · credits · privacy policy
FRONTLINE home · wgbh · pbsi
posted april 12, 2005
FRONTLINE is a registered trademark of wgbh educational foundation.
web site copyright 1995-2014
WGBH educational foundation
FRONTLINE on


text:
Korea Teaching FAQ
There is a lot of information out there about TEFL, recruitment agencies and what teaching in Korea is like.
As a result, please find the information that is relevant to my journey but which I think can help you with yours.
TEFL Certification
Where can one get an online TEFL Certification?
I would recommend that you shop around and talk to people who have done TEFL to find the best option for you. Some companies offer better deals than others and others provide more comprehensive training. Also, not all companies that provide TEFL training are the best to apply to for a job. I studied with i-to-i.
Regardless of who you choose to do your course with you should do a minimum of 120 hours and make sure you include some in-class instructor led training. Generally, you will get the chance to teach a portion of the class which is very important especially if you have never taught before.
In fact, according to the Footprints website:
"Future applicants considering employment with EPIK in August 2013 or after should be aware that the 100% online TEFL courses will no longer be given equal consideration compared to those with an in-class component. Anyone considering applying to EPIK for next summer or after and who is planning to take a TEFL/TESL/TESOL course should be looking to take a course with at least 20 in-class hours as part of the course."
Footprints (see below) also provide TEFL certification training.
My thoughts on using i-to-i to complete my TEFL Certification
I studied with i-to-i and I really enjoyed their online certification and in-class training.
I did a combined 120 hour course which was extremely comprehensive and explained lots of grammar points in a detailed fashion.. I took some electives too (Young Learners, One-to-One etc) that have proved really helpful. The instructor led training was really interesting and very important to see different styles of teaching in action. As well, the instructor will give you lots of advice on your style and ways to improve it.
Contacting i-to-i
Phone: (UK number): 0870429 4227
Email for Jobs
Email for Courses
Recruitment Agencies
What is a reputable recuiting agency.
I applied with Footprints Recruiting as did my brother before me. I thought that they were very helpful and I had a good experience with them. They are based in Vancouver so sometimes there was a little delay in replying to questions because of the timezone factor. Please, note i-to-i also place teachers in South Korea. I went through Footprints as my brother had recommended them and I knew that they were one of the most experienced recruiters for South Korea.
My thoughts on using a recruiter (Footprints) to secure a position overseas.
I had an excellent experience with Footprints. They helped me frequently as I had some problems with providing two references as I had only worked at one company in the last 5.5 years prior to applying to work in Korea. They also made sure that I got criminal checks from both Ireland and America to cover all bases. I recommend using a recruiter because they will get on you if you've forgotten a step or if something isn't 100% perfect, which can lower your chances for acceptance.
Contacting Footprints
You can contact Footprints Recruiting via the following methods. Just click on each word below to direct you the correct link.
General Information
Is it better to teach in a public school or a 학원 ( hagwon - private school)?
I can't answer this question definitively as this is definitely based on personal choice and experience. I am based in two public schools in a new administrative region of Korea. For me, the best choice is the public schools due to some of the benefits. However, I do believe that the salary is comparative between public and private and they both provide accommodation for you. Having said that, you are more likely to hear of hagwon horror stories over public school ones (that is not to say that you won't hear terrible ones about Public schools because you will!).
The Footprints website gives a lot of good information about the benefits of both so I would suggest reviewing their information.
Again, this is not a question I can answer definitively. I am having a wonderful experience and I can only hope that others coming to Korea experience the same.
Will I like it in Korea?
Do I think it is worthwhile to come here? Definitely but you need to do so with your eyes wide open. For example if you want to teach but are not sure if it is something that is really for you, I would suggest getting your TEFL Qualification and trying out teaching in Korea for a year.
If you want to travel around Asia, Korea is a great place to base yourself from and you can get some pretty decent tickets.
If you want to experience a different culture but not be too overwhelmed by the differences, Korea may be for you. Korea is very western in a lot of ways and there are a lot of things living here that embrace a western culture and so make transition easier (abundance of coffee shops, internet cafe's called PC bangs, etc)
However, with all this said, I think that for people just out of college or who have been unemployed for a while and who have a GENUINE interest in teaching even for just a little bit, that this is a good option. You are paid a decent wage, you don't pay accommodation and generally (if you are wise) your bills are quite low too. I think it is a good transition job and especially for new graduates a fairly nice way to maneuver from student life to adult life.
Ultimately, it is your decision. I can't decide for you. I have had friends who are having a fairly rotten time. However, they enjoy the benefits of staying in Korea which include, but are certainly not limited to, travel and money. I have other friends who have loved everything about their experience that they have stayed many moons with no sight on when they will return.
I heard being a teacher in Korea is really easy. Is this true?
Yes and no. Some aspects are easy but others are extremely difficult. I hadn't taught before coming to Korea but I had coached and trained new employees in my old job. Additionally, I had worked in a day-care for about a year right before I went to college so not only did I know that I liked some aspects of teaching I had also worked with little kids and I knew that I liked working with them.
A lot will depend on your school and what they need as well as whether or not you work from a text book. My friends at 학원's usually have a way busier load than I do (they teach all day so lesson planning is in their free time). I can give you more information on what it's like to work in a public school. I will ask my friends' for some details about working at학원 that will help you. work from text books for my regular curriculum classes currently but when I teach afterschool, I teach from a variety of English storybooks and have several different lessons built around each story in addition to creating individual lessons. I also teach from a new book that the office of education in my area published for my other school's afterschool classes. Some classes are completely prepared by me without reference to a book. For example classes on numbers, shapes, colours, etc. It is hard work and I am spending a lot more time lesson planning than I did last year.
So a lot of things depend on whether or not teaching in Korea is easy. You also have to factor in the human element: your attitude and personality, your co-teachers' personalities and attitudes, your students' attitudes and personalities. Add to this the fact that you are teaching a second language that not everyone will want to learn and you will realise that whilst there are easy aspects to teaching here there are many difficult ones as well.
What should I do if I am homesick?
Well, everyone gets homesick. I get homesick and I am able to deal with it. I have small bouts once in a while: watching Poirot might send me into tears because the last time I saw it I watched it with my family; hearing a song will make me bawl and reach for the phone. These are all normal things but they are momentary and pass. Then there are times where you feel as if your are suffocating by being here, where you feel like you can't breathe because you are so lonely and homesick and all you want is your OWN bed and your Mam telling you that you'll be ok. This too will pass but it takes a lot more work. I had a big homesickness bout just before Christmas. I called my siblings and they talked with me, bolstered me up and kept me going. It took a few days to shake off the horrid feeling but I talked it out with my friends and family. That's my best advice - talk it out and then make your choice. There is no shame in realising you actually aren't ready to live abroad. Sometimes you need to have that little adventure somewhere else to realise your big adventure is actually right back where you were before.
If you can deal with your homesickeness but still feel a little lost and lonely, it's a good idea to contact some other expats from your own country. I'm lucky that since I've arrived I've had friends and family here from Ireland. I didn't see them often but when I needed them they were around. Also, now, there is another Irish girl in my town who I am friends with. If you don't have that option (and you are Irish), please consider contacting the IAK - The Irish Association of Korea.
What are some useful websites for TEFL teachers?
There are so many! Seriously! However, I always have small repertoire that I constantly use and recommend.


text:
Opinion Columns & Blogs - INACTIVE
Trump sends arrogant Capitol media into Obama withdrawal
Special to McClatchy
The Washington media, by and large, has been infected by the same arrogance and self-importance as the politicians there. The pols of both parties got their rude awakening Nov. 8, when the unthinkable happened: That brash billionaire boob from New York upset their expectations.
Democrats have floundered for explanations, all involving some evil outside force like Russia or James Comey. Republicans, who must face voters again in just 21 months, have worked on a new relationship with the big guy and have found erratic success.
Now it's the D.C. media's turn to adjust. Accustomed to cozy familiarity and ideological compatibility with Barack Obama, they're shocked by Donald Trump – and not pleasantly. You'll see this play out for the foreseeable future.
Here comes an administration that follows few of the norms these creatures of habit and privilege know. It plays them differently and calls them dishonest. Presidential aides call them the opposition. Shock!
Now why in the world would that be? The Center for Public Integrity reported in the fall that 96 percent of journalists' political donations went to Hillary Clinton. Republicans have long known the media they encounter daily is almost universally opposed to them.
What wasn't known before the autumn of WikiLeaks was how actively individual reporters at several news organizations have colluded with Democrats, offering strategy suggestions and running their stories by campaign aides for approval prepublication. One TV commentator even passed advance debate questions to Clinton's cadre.
Some Republicans appear to get along with D.C. media because of their willingness to provide statements, often at variance with party orthodoxy. This serves both sides. The reporter gets an easy reaction quote, often contentious. The pol gets national exposure. During this past cycle, Sen. John McCain, R-Ariz., appeared on Sunday talk shows so much he could have been a host.
When, by the way, was the last time you saw anyone from flyover country as a Sunday guest or panelist? Exactly. That's how all those pundits missed the biggest political upset in decades and failed their viewers.
Conservatives, especially disdained by media, have in the past put up token resistance. This is our lot, they figure. Don't fight unnecessarily with those who buy newsprint by the ton; it's bad enough already.
Suddenly a new president arrives who plays the media like a Stradivarius. He needs them politically, of course, to show how busily he's delivering on campaign vows. But this man also seems to need them to validate his success – his existence, even.
All presidents seek to manipulate media for their own ends. They feign friendliness, cater to deadlines, feed their entitlement, attend their dinners so journalists look like players in a status-driven town and appear to spoil them with favorable leaks and access. A pool report on Trump's first Air Force One trip noted with apparent disappointment that the free M&M's do not yet carry POTUS' signature.
Not only does Trump go around media via Twitter, this guy also pushes back. The media expect criticism but are unaccustomed to call-outs. The news media love to talk about themselves and especially about what they perceive as threats. Watch reporters steer coverage to easy trivial issues. Please!
Trump's press secretary, Sean Spicer, warned the briefing crowd there's a big difference between complaining and calling out:
"I'm going to come out here and tell you the facts as I know them. And if we make a mistake, we'll do our best to correct it. But … it's a two-way street. There are many mistakes the media makes all the time. They misreport something. They don't report something. They get a fact wrong."
And he's challenging media privilege. By custom, The Associated Press gets the first briefing question. But Spicer recently first called on the New York Post, then the Christian Broadcasting Network and Univision. But … but … but you can't do that. Wednesday, Spicer took an out-of-town questions from conservative journalists via Skype.
"There are voices and issues," Spicer says, "the mainstream media sometimes doesn't capture."
Do ya think?
Expect tumult and grumbling in your White House news coverage for some time. And perhaps little progress.
"Why has the media establishment become so unpopular?" journalist James Fallows asked. "Perhaps the public has good reason to think that the media's self-aggrandizement gets in the way of solving the country's real problems."
Fallows wrote that in The Atlantic 21 years ago.
Andrew Malcolm is an author and veteran national and foreign correspondent covering politics since the 1960s. Follow him @AHMalcolm.


text:
Randall Mueller's Practice focuses on:
(813) 250-0577
Board Certified in Construction Law
Over 28 years experience in litigation
A sample of Randy Mueller's reported decisions include:
AV Rating by Martindale-Hubbell
American Bar Association
Board certified construction law lawyer, Florida Bar Board of Legal Specialization and Education
Hillsborough County Bar Association
Member, Moot Court Team. Finalist, Kaufman Securities Law Moot Court Competitions
Florida Bar
Norther District of Florida
Middle District of Florida
Southern District of Florida
Eleventh Circuit Court of Appeal
Florida State University. J.D., with honors, 1990
Florida State University. B.S, 1986


text:
This isn't a great week to be British and watching the news for the last few days has been something of a depressing affair. Following the shooting of Mark Duggan last Thursday by armed officers in north London, there have been 3 nights of mindless violence with buildings being burnt and shops being looted all across the county.
The protest was meant to be in retaliation to the shooting of Duggan, but really it's just an excuse for thousands of moronic, feral thugs to come out in protest about how incredibly tough their pitiful little life is.
There was no real justification for that sort of protest in the first place. Mark Duggan was a self-styled 'gangster' who was being chased by police at the time he was shot. He was also, let's not forget, brandishing a gun. The fact that he didn't fire the gun at the police first is neither here nor there. Nice people who haven't done anything wrong don't tend to roam the streets with a firearm. And quite frankly, if you don't want to get shot then don't carry something you shouldn't have or give the police a reason to think you're dangerous.
Of course Scotland Yard have apologised to Duggan's family for the "distress" caused to them in the wake of his death. But it's hard to imagine Duggan, his family or 'crew' apologising to a police officer's family had the boot been on the other foot. Far from it, if he'd been the one left still standing on Thursday then he'd have probably high-fived his little friends and gone off to boast about how 'he's the man'.
So, injustice at this death aside, what the hell have these riots been about? From what I've seen it's all about smashing windows, grabbing what they can and running away with their loot tucked up a hoodie. Wow, what a hard-hitting social and political statement they're making. Why on earth aren't the British public nodding with agreement and sympathising with their grievances?
Having seen footage of the rioters hurling anything they can at police, burning cars and robbing people as they lay injured on the ground, I'm not sure what's scarier. That mob mentality can cause such wide-scale destruction in such a short space of time, or that people of a certain age in this country can be so incredibly thick.
You only have to hear the comments they come out with when asked for their reasons for doing this. Apparently – and don't quote me on this as none of them can actually speak anything resembling English – it seems their main gripe is that life's not fair, they don't have enough money to buy some sweets and they don't get enough respect. Oh, where do you even start with that lot?
First off, you little low-life runts, life isn't fair. Grow up and get over it. Secondly, perhaps if you'd shut your mouth a bit more, turned your mobile off and actually engaged your ears whilst in school, you might have educated your one lonely brain cell. Not to mention realise you need to take some responsibility for your own future and that Don't Care + Won't Try = Waste of Bloody Space.
If nothing more, they might at least have learnt how to speak properly when being interviewed on TV. And, come to think of it, realised that if you're admitting to being a looting little thief, then perhaps it's not wise to announce it to the nation.
These hard-done by kids complain that there is terrible unemployment where they live (which of course there is), that benefits are being taken away from them (which hopefully they will be) and that 'the rich' – that's those of us who work to bring in an income – have too much. Oh yes, they also whinge that they 'don't get no respect' from the police so they're not going to give them any in return.
Quite why these weapon-welding delinquents think the world owes them anything is beyond me. And quite why they believe the police should be respecting their 'freedom of expression' is probably passed anyone in my generation and beyond. If it wasn't so deeply depressing to hear some snivelling little layout bleating to the camera about how 'we're going to get the Prime Minister and the government and the rich people', it would be laughable.
Now Teresa May – that's our Home Secretary who's meant to stop the crime – may want to continue to use 'traditional' police methods to stop the riots, but perhaps she needs to face up to the reality that the sort of person involved in the riots need something a little more intimidating coming towards them than a policeman in a helmet. They need water cannons, stun guns and bloody tanks with spikes on the front if necessary.
Or, they could drop a large net on them from above, fly them off to the North Atlantic and drop the lot of them in. I'd like to imagine none of them ever listened long enough to learn how to swim. I don't believe for a second that 99.99% of the British public would actually have an issue with this. In fact I think they'd happily chip in to pay to have it done.


text: By Elizabeth Leary, Contributing Editor November 7, 2008 Hardly had the ink dried on Beat the Rush to the Banks, in our November issue, when Lehman Brothers declared bankruptcy, setting in motion dramatic events that have altered the landscape of the U.S. banking sector. The most significant: Uncle Sam's move to inject $250 billion into U.S. banks and take equity stakes in nine of the largest.Beyond that, consolidation is the new name of the game. After Washington Mutual's collapse marked the largest bank failure in U.S. history, JPMorgan Chase struck a $1.9-billion deal with the FDIC to acquire the thrift's banking operations and $307-billion loan portfolio. The acquisition vaults JPMorgan ahead of Bank of America as the largest U.S. bank by deposits. Another transformational event, Bank of America's $50-billion acquisition of Merrill Lynch, will turn the consumer-banking powerhouse into the world's largest brokerage when the deal is completed in early 2009. And, after fighting off a competing offer from Citigroup, Wells Fargo won Wachovia with an $11-billion bid. The deal will give Wells Fargo the largest branch network in the country. Meanwhile, the curtain has fallen on the golden age of investment banking. In September, Goldman Sachs and Morgan Stanley converted to conventional deposit-taking institutions. That gives them increased access to Federal Reserve funding, but at the expense of greater oversight. The banks will need to rein in the amount of leverage they use, precluding the possibility of returning to profitability highs anytime soon. Advertisement The market has chosen survivors, which means investors can get back to worrying about what the bank stocks are worth rather than which companies will still exist in a month. The big money-center banks still offer the most attractive opportunities. Standard & Poor's analyst Stuart Plesser says the elimination of competitors has undoubtedly been good for these businesses. And our November picks -- JPMorgan (symbol JPM), Wells Fargo (WFC) and Bank of America (BAC) -- proved themselves strong enough to be opportunistic in a crisis. While Goldman and Morgan Stanley are unlikely to suffer the fate of Lehman or Merrill, their survivor status alone isn't reason to buy the stocks. Both appear to have more deleveraging to do -- a process of shrinking their businesses and possibly diluting shareholders with capital raises. Don't count on the stocks finding a floor until that process is complete.


text:
Living Social: Sam's Club Membership Deal $45
If you missed this offer yesterday, it is still available for one more day!
Details: Today on Living Social you can get a great deal on a Sam's Club membership. For only $45 here are deals you will get:
- $45 ($79.84 value) for a one-year Membership package
- Includes a $20 Sam's Club gift card and $19.84 in food-service vouchers
- Food vouchers valid for an Artisan Fresh Rotisserie Chicken, a 16″ Artisan Fresh Take-and-Bake Pizza, and two boxes of 6-, 12-, or 24-count Artisan Fresh Cookies
Sam's club is a whole sale store where you can buy a larger amount of product, then you can find in your local grocery store. This offer is for new Sams Clubs members only.
Check Out: Sam's Club Membership Deal


text:
RadChart Labels
In this article, you will learn to use the labels in Telerik Chart for NativeScript: how to use the labels for the series and for the axes and how to customize them.
Series Labels
All series have their default labels. In order to display them, you simply need to set the
showLabels property of the series to true.
Axes Labels
All axes have their default labels. They are visible by default. In order to display or hide them, you simply need to use the
showLabels property of the axis.
All axes have properties which provide various customization options for the labels:
labelTextColor: used to change the color of the text in the label.
labelSize: used to change the size of the text in the label.
labelMargin: used to change the margins of the label.
labelFormat: used to change the format string of the text in the label.
Want to see this scenario in action? Check our SDK examples repo on GitHub. You will find this and many other practical examples with NativeScript UI.


text:
As a fine wine and spirits merchant, we understand that making something really special takes time.
From the grower who makes the wine, to grapes that end up in your glass; it is our responsibility to respect our producers' livelihoods for our customers' enjoyment. Curating and collecting, guiding with expert care and attention, and ensuring that every step of the way we abide by our own high standards and principals, are attributes that are vital to not only our wine portfolio, but also our philanthropic endeavours.
Ensuring we share blended value approaches with charities, both locally and globally. Engaging with our communities through targeted giving, promoting sensible, ethical and sustainable partnerships. Through our position in the Royal Warrant Holding community, The Duke of Edinburgh's Awards and QEST, we can provide support to charities that in turn act as a symbol of trust and inspiration to others. It is our long term commitment to these philanthropic initiatives that is of increasing importance. Our work with Tusk Trust, Marie Curie, and The Benevolent sees a drawing together of complementary capabilities to empower relationships in a meaningful and impactful way.
Tusk is a dynamic and pioneering organisation, universally acknowledged as a highly effective and efficient force in African wildlife conservation. Tusk has been, and always will be, at the forefront of efforts to protect Africa's wildlife and combat the illegal wildlife trade threatening iconic species as the lion, elephant and rhino.
Over the past 25 years, Tusk's focus has concentrated on conservation programmes combining wildlife protection with community development and education programmes, designed to provide lasting benefit for the people and wildlife of Africa.
The Benevolent was founded in 1886 with the mission of helping colleagues from the drinks industry facing serious medical or financial hardship. Today The Benevolent continues to be the heart of the UK drinks industry; providing high impact solutions - both in preventative and caring capacities - that improve the quality of life for vulnerable members of the trade. In partnership with the drinks industry the charity works to combat issues such as financial hardship, loneliness, serious illness and disability in our community, as well as providing practical, emotional and financial support to members of the trade when they need it most.
The Jubilee Sailing Trust (JST) is an international, United Nations accredited disability charity, promoting integration through the challenge and adventure of tall ship sailing. Providing life-changing adventures to people of all ages, backgrounds and levels of physical ability. The voyages change lives by improving self-esteem, building confidence, and providing fantastic leadership and life skills. When people sail with JST they don't just learn about life at sea. With the chance of actively working as part of team in a physically and mentally challenging environment, catering for all types of disabilities, they open their eyes up to a world of possibilities.
Proceed to Checkout
Continue Shopping
IB stands for In Bond. Wines that are stored In Bond have not had UK Duty and VAT paid on them.
Most of our wines are available for purchase under bond, as fine wines often need to be laid down in order to allow them to mature. Many clients choose therefore to store them in our bonded warehouse and pay the tax as and when they wish to get the wines delivered. Please note that Wines purchased In Bond can be exported to non-EU countries without the need for Duty and VAT to be paid.
DP stands for duty paid. If you wish to get wines delivered for drinking, the duty and VAT will need to be paid as it leaves its bonded state in the warehouse. The wine is then said to be duty paid.
All taxes must be paid in order for us to be authorised to ship or deliver wine (unless the wine is bonded and being moved to another bonded warehouse or being shipped directly outside of the EU.)
EP stands for En Primeur. These wines are currently held with the Estate and Domaine's we work with and will be shipped in due course.
Please sign up and be the first to receive our latest offers, news and invitations.
How would you rate your experience?


text:
Client Partnership
We put this document together for two reasons: first, because we feel it's imperative to communicate just how important your participation is in the process of designing and building your project. And second, because we share the same goal as you – to arrive at a successful project that meets or exceeds all of your expectations. Ultimately, our hope is to inspire in you a lasting sense of pride in having actively helped to create your new building.
We see your involvement as critical to the success of your project: As you're hopefully beginning to understand, we don't do things like most other architecture firms. We operate under the assumption that you actually want to be an active participant in the design and construction of your project. When we conceive of our team at BUILD, we're thinking of you and us together. It's a "we" thing.
It starts with a foundation of trust: Collaboration is key to our ability to deliver successful projects on time and on budget. Without a foundation of trust, this level of collaboration just isn't possible. We place earning your trust at the top of our to-do list, and we ask that you do the same.
We're all part of the process: There's no denying it, your role as our client is every bit as important to getting the job done as ours is - which is why we're here to guide you through the process every step of the way. You bring your hopes, desires, concerns and a willingness to learn; we'll bring nearly two decades of experience designing and constructing affordable modern projects and a willingness to listen.
The best kind of communication is open, honest and often: We want to hear what you're feeling and thinking, and we believe you should have the same level of transparency from us. It comes back to trust and collaboration. The best partnerships work, not because people say what everyone wants to hear, but because they say what everyone needs to hear.
There's no such thing as a dumb idea: Except the one you don't say. Be bold, we don't bite.
Time is of the essence: Design and construction involves managing hundreds of timelines that need to coordinate in lockstep. Wherever possible, we build-in opportunities for you to sit with big decisions, ask questions, and consider your options. Anything we can do to avoid taking steps backwards is going to lead to better, faster and more effective (in time and money) results.
In return, we ask that you respect the timelines and understand that revisiting decisions of the past has considerable implications for the future. Experience has shown us that staying on track works much better than the alternatives.
Your budget is the budget: We provide up-front design scope confirmation and project pricing to establish a reasonable framework for completing your project on budget and on time. This includes all fees, construction costs, landscaping allowances – everything.
What we ask from you is timely payment of invoices from us and the suppliers we use. It's one of the primary ways we keep costs low and the process flowing. In return, we'll do everything within our power to ensure that as long as your scope doesn't change, your budget won't either.
Mutual respect goes a long way: We're professionals, you're professionals. We have great respect for your decision to work with BUILD and we'll do everything we can to exceed your expectations. In return, we ask that you respect our experience and training as architects and builders. This doesn't mean you shouldn't speak up if you disagree, it means that if we're making a recommendation, there's probably a good reason for it. We'll be happy to discuss it with you and consider alternatives.
It's our job to lead the way: Design and construction can be very chaotic and stressful experiences, but they don't have to be. Our role is to be your beacon, guiding the way to the best possible outcome. Our processes have been time tested and refined to manage the chaos into relatively orderly steps that, if followed, lead to successful results. Period.
The last word:
We view ourselves as an industrious modern architecture firm. Our commitment to an integrated design and construction process means the custom projects we create are conscientious, cross-functional and deliver enduring value to the people we're thankful to call our clients. We understand just how important this decision is for you.
Team BUILD


text:
I just finished shooting my first feature film on the Canon C300 Mark II: Equipment Review
I just finished shooting my first feature film on the Canon C300 Mark II: Equipment Review, blog post by Darius Stevens Wilhere
In advance I apologize for the rambling nature of this article, it's just how I blog, but I hope you find it informative. I'll put up a vlog as well on it. I'll also make some 4K footage available next week for subscribers to play around with.
Update Nov 25th, 2015: Almost done with the VLOG which will show actual footage. Wanted to share a link that I found to a fantastic article by the extremely talented Tim Fok which between this article and his, should provide an excellent source of information on the C300 Mark II. Find his article here:http://timfok.com/2015/11/10/canon-c300-mark-ii-mini-review/ End Update!
Okay, how to start this article? I just spent the last three weeks working 20-22 hours a day, stressed out of my mind, constantly on the edge of a nervous breakdown and simultaneously having the time of my life while shooting my first feature film entitled The Hollywouldn'ts: A comedy about the struggle of trying to hold onto your dreams as actors and filmmakers while attempting to make a movie with almost no money.
While we didn't have enough money, enough crew or enough time to make The Hollywouldn'ts we certainly had an overabundance of ambition shooting a script with 50 plus locations, more than 35 speaking roles and a ridiculous number of scenes for less than $45,000 in the middle of the LA Film Zone (notoriously expensive).
Make no mistake, at this budget level (no to very low) the most crucial skill you have to possess as a director is the ability to problem solve. I have several dozen things I want to share with you to catch up to what I'm doing now (I'm preparing the footage for editing in the background), but before I ramble too much, let me focus this article on the subject of the camera equipment I chose and why. To understand the why, you have to also understand the size of the crew.
In addition to being the writer/director I also opted to be the director of photography simply because I didn't have a budget that afforded me one. My camera crew was my chief gaffer (the brilliant Axel Johannsson) and my DIT/On-set dailies assembler and professional on screen wiper (the inimitable Joe Bagtas).
This meant there was no lofty directorial airs as I pranced around like a gazelle waiting for a team of crack professionals to set-up everything for me. I was pretty much always first in and last out, setting up and breaking down the gear with my two compadres, sweating my ass off and working my guts out as we all do in the independent film world.
Added to the three of us there was a make-up artist (the fantastic Jessica Vergnon), a locations manager/line-producer who was also one of the actresses in the film (the unstoppable Amelie Pimont), we also had a one man sound crew (Mr. Shoulders like Boulders Ben Kamm), script supervisor (the eagle-eyed Ihab Gabra), two people in the Art Dept (the beast Mr. Jesse Taylor and Lawrence Kim) and then we had two friends/family helping on make-up and hair, behind the scenes and crew food plus general all around confusion control (the amazing Marine and Karen Ramelli).
It was essentially a ten person crew trying to do the work of a 17 person film and we all felt the burn, but I think we all had a great time doing it.
I've shot on the Arri Alexa, the RED Epic + Dragon, the F55, BMCC, the FS7, the C100/300/500 and pretty much every DSLR out there and I don't believe that there is a one camera fits all type solution, but I knew from the start that I wanted this film to have a very warm, rough around the edges, handheld independent feel to it.
Also I didn't have the crew to run an Arri Alexa. I needed the camera package to be as light and movable as possible. I knew that I'd have to be doing between 50-70 set-ups daily as a minimum and I knew we'd be moving to new locations every day and multiple times per day and we had no camera or grip truck, so it needed to fit in my car.
I figured I would probably go with the C100 Mark II with an external recorder. I wasn't thrilled about this because I did want to do a capture in 4K, but I was also very aware of the budget limitations and speaking frankly, the C100 does have an amazing image that is very flattering on skin tones in particular. While not as good as the Arri, it's a fraction of the cost and pretty damn effective.
Note: If this had been a sci-fi I'd probably have gone with the Sony or a RED because of their tendency to produce extremely clean (almost clinically so) images that would be an easier push in final coloring to get the look I wanted.
But for this film I really had my heart set on the C300 Mark II, the problem was that it wasn't released yet. So I was in between C100 MK II and C500, but my heart still yearned for the C300 MKII.
Fortunately for me, my lead actor and fellow producer Serge Ramelli is an internationally renowned photographer and wrote to Canon asking them to sponsor our film by lending us the C300 Mark II prior to official release. We also asked for the full set of Canon Cine Primes.
Meanwhile I kept moving forward, with a plan to shoot the film on the C100 MKII and L-Series lenses. But one day before we started principal photography I won the Canon lottery and a package with the C300 MK II and the Canon 15.5-47 Compact Zoom, Canon 30-105 Compact Zoom and a Canon Cine 85mm 1.3 prime. Canon asked us to try and shoot the film using only the zooms to see why so many film makers were opting to do just that.
Serge had also asked Zacuto to sponsor the use of the Recoil rig and the Gratical Viewfinder for the length of the shoot which they also graciously did and for which I am extremely grateful. I knew that being the Director as well as the DP/Camera Operator and A/Cam was going to be beyond taxing and that I needed to be able to put the camera down on a tripod as fast as possible so I could talk with my actors and crew. The recoil rig was my go to solution for that.
C300 Mark II
Two 128gb Lexar 3400x Cfast 2.0 cards and 2 Sandisk 64gb SDXC cards for proxies
Canon 15.5 - 47 Compact Zoom f/2.8, Canon 30-105 Compact Zoom f/2.8, Canon 85mm f/1.3 Cine Prime, 24-105 f/4 L-Series.
Zacuto Recoil Rig with Gratical Viewfinder and Tornado focus knob
Marshall 7" monitor
Kessler 5' Cine Slider
One tripod that wasn't rated for the weight of the camera.
One Laptop with two 2tb rugged drives for immediate offload of shots.
As a disclaimer, I wouldn't have been able to afford this camera had it not been lent to us as a sponsorship, but I am certainly saving up for one!
Image: Let me state openly that when I saw the official film release for the C300 Mark II "Trick Shot" there was absolutely no inspiration to run out and buy this camera. I'm sorry Canon, but it was underwhelming at best. I don't say that in slight to the film makers or Canon, I'm just being honest about my personal reaction to the film as a sales piece for the camera. I'd shot on the C300 plenty and I didn't feel there was anything there that I couldn't get out of the C300, other than some small amount of detail in the windows during the bar scene. But in the months that followed I started seeing a couple of random test clips bouncing around the internet and was thinking "this is more like it." But I don't like to shoot on a camera that I haven't tested so I knew I was taking a gamble on the camera just showing up and being as amazing as I hoped it would be.
My reaction? In short: love at first sight. The image is just ridiculously good. I remember shooting on the C300 and having windows blowing out during interior scenes on location and wishing for a few additional stops of DR and wow does the Mark II have it! But beyond that is Canon's secret sauce on color. I have no doubt that you could intercut this footage with the Arri cameras and 99 out of 100 people wouldn't be able to tell the difference.
I know that there are some gripes out there about this camera for two things: the price and the frame rate. And I know that a lot of people have opted for the feature heavy FS7 which I almost bought, but didn't for one important reason: there just is something about the native Sony image which felt too clean and too "video'ish" for me for this film. It's hard to describe but it is the way Sony handles colors vs Canon and for the image I wanted to get straight from the recording I knew Canon would be closer to the look I wanted. Because reaction to image is such a personal thing, it's always hard to comment on image without offending someone else out there, so realize this is my personal taste.
And so my biases are clear: up until now the Arri Alexa has been my defacto standard for any film where the principal focus would be on actors and making them look good. So Rom-Coms, dramas, thrillers and so on, Alexa would be my go-to choice for films or projects with a budget that could absorb those costs. But as I mentioned, for Sci-Fi and a futuristic look I'd go RED or Sony because the image from those cameras naturally lends itself to my perception of that aesthetic. But here is the problem with the Alexa, you really need a three man camera team minimally to handle that camera properly and a large DIT station. I needed to be a one man camera team and the Canon C300 Mark II was everything I hoped it would be.
As a final note on this, if you have the budget for a top notch colorist to work your film over, you can pretty much shoot on whatever you want. They can almost make anything look like anything these days. But the budget for such a finishing color pass would probably be 5x the budget of my film, so I opted for an image that if I had to, I could color to get what I wanted as fast as possible.
Price: I do wish it was about $8K. But I also wish I could afford a Tesla. At our budget level we just have to wait longer to get the level of technology we want at a price we can afford, but it will be affordable within a year I have no doubt. As a rental it's a no brainer.
Frame Rate: Here's why frame rate doesn't bother me: I rarely shoot slow motion and when I do, I rent a high speed camera designed to do that awesomely, such as the Phantom. But 99% of my work is done at 23.976 FPS so frame rate has never been a deal breaker for me. Would I like to have it? Sure. But more important to me is amazing image quality.
Light Sensitivity: The camera is also ridiculously sensitive to light without introducing lots of noise, even in situations with almost no light, I rarely went above 1250 ISO and the camera's native ISO is 800. I also like that while shooting in CLOG2:Cinema that you still can drop the ISO down to 160. Shooting on the Sony with SLOG3 and ridiculously high ISO was incredibly frustrating for me due to the amount of ND'ing I needed. Also the C300 has ten stops of BUILT IN NDs. For the low budget/no budget film maker, this is amazing. I will state that I have a slight concern with one of the shots I did where I wanted very little light in the scene other than the light that was directly falling on the actor. I haven't had a chance to review the 4K footage yet, but through the viewfinder I'm pretty sure I saw a surprising amount of noise despite the fact that I was only at 1250 ISO. I'll report back on this later. I don't remember seeing this in any other low-light scenes, so I'm still a bit baffled. But when I review the 4K footage later this week, I'll get to the bottom of it.
Battery Life: Canon nailed it with these batteries. Even when shooting 16 and even 18 hour days, there was never a day when the two battery packs didn't last me til the end of the day. I always had the charger nearby, but never ended up needing it. Stunning accomplishment.
I could go on and on, but it's probably better to just ask me questions in the comments section about any specific things you want to know and I will answer as best as I can. I also did a video interview with Serge that should be up on his channel soon.
I've never shot on the Canon Cine Zooms before so this was a real treat. But I very rarely have used Zooms in any of my filming always preferring to use primes and "zoom with a dolly or your feet." But I'd certainly seen a lot of movies and tv shows doing this and read a lot about cinematographers having cameras with one zoom on it and shooting entire films without removing it, so I was curious about the method.
These lenses are works of art by themselves. Solidly crafted. Beautifully smooth aperture, zoom and focus rings and the optic quality is simply superb. As for optics, I love Canon glass. There is a smoothness and richness to the images it captures. A quality to the flares. Etc. What can I say? I like this glass. I've done a ton of shooting on Zeiss and Arri lenses which are also fantastic. I've never used any Cookes or Panavisions myself but I've certainly seen enough images made with them and I think DPs who expect the highest quality of image resolving, color matching and smoothness in their light falloffs will not be disappointed in these lenses.
They are certainly way above my pay grade, but for a rental item, if you want to use zooms to simplify camera change outs or have the flexibility or need to do snap zooms as part of your shooting style, these lenses are amazing.
That being said, having used these I still prefer primes. Why?
Let's be honest amongst us kids, no matter how amazing the Cooke or Arri Master Primes or any other high-end brand primes are, most of us don't have the kind of bank account to have a set of those at our beck and call. Sure I have nice L-Series glass for run and gun situations that require it, but after you've used Cinema quality primes, you kind of don't want to shoot anything else when not absolutely required, largely because (aside from optic quality and color matching) pulling focus and aperture shifts is incredibly easier on cinema primes.
And up until Canon's release of the Cine Primes, the only affordable high quality option was the Zeiss CP.2s which I owned a set of for 5 years and used continuously until selling them off along with a lot of other gear when my second daughter arrived. I know there are some other Asian cinema prime lenses on the market, but the last time I tried one (granted this is a couple years ago now), I wasn't impressed with the build quality, which at that price is understandable.
So I've been on the fence for a bit about buying the Canon Cine Primes. I'd heard some amazing things about them, but I'd used and loved the Zeiss Compact Primes as my go to lenses for low budget work for six years now and just love their flexibiity, sharpness and ease of use. Plus the ability to change out from PL mount to any other mount is awesome.
After having used the Canon 85mm Cinema Prime for the last 3 weeks I can say with full confidence that I will be working towards buying a set of these babys. Just spectacular imaging and while it is sharp as a tack at critical focus, it still has that Canon quality of not being unpleasantly sharp for skin. Again, this is my subjective reaction to the glass so take it for what it's worth. I'll put up some ungraded 4K footage for subscribers later this week for you to play around with and make your own judgement call. It has shots with the Canon Cinema Zoom 15.5 - 47, the 30-105 Zoom and then the 85mm Cinema prime.
Now why can I state so emphatically I'll be going back to the primes instead of using the zooms?
It absolutely has nothing to do with quality. These zooms are outstanding. So what is it then?
My shoot style rarely employs optical zooms or snap zooms (and when it does, then of course I'll use zooms), so for the price to work ratio I wouldn't be able to justify it. But again that's not really the deciding factor because I'll be renting for some time before I'm able to buy.
So how do I say this? For me the difference between f/2.8 (which is as wide as the zooms go on their aperture) and the f/1.3 that the primes hit is just too large a gap to give up. It isn't just the difference in the amount of light between 2.8 and 1.3, it's how the light reacts at that aperture. It's hard to describe but you know it when you see it. And let's face it, since these primes are all the same size, you don't have to change around follow focuses or matte boxes, you can just do a 30 second change out and you are good to go.
Besides the primes are also significantly lighter than carrying the cinema zooms around on your shoulder for three weeks. It's a minor point, but worth thinking about.
I know many people are saying "Oh no, he's one of those shallow depth of field fetishests who like everything mushy." Not so. I just like the flexibility to drop below 2.8 when I need it. Focusing is hard enough at 2.8, and at 1.3 it's damn near impossible. But I have my tricks for when I need to go there and it is absolutely worth it every time.
In summary: I greatly enjoyed the speed at which the zooms allowed me to work but I'd be lying if I didn't tell you that I really felt like I was missing my set of primes on this shoot.
Case in point, I really did try to stick to just shooting on the zooms as challenged by Canon, but about halfway through the film I had a scene where I really had absolutely no light, and then I went and pulled out the 85mm Cinema Prime and wow. Blown away. After that I pulled that lens out continuously for my close-ups, particularly on my lead actress.
The gratical viewfinder is amazing. On the C300 shooting, I'd always tried to use the monitor which for handheld situations is a total pain in the ass because it doesn't go far enough forward for a comfortable shoulder shooting situation. The gratical is easily positionable, the image is amazing and the ability to see your shot with a lut on it while your shooting is pretty dope. It's also got a ton of scopes to ensure you are keeping everything groovy plus magnification, peaking, exposure aids and a ton of other stuff. Definitely, definitely, strongly recommend this now that I've used it and it will be on my mandatory gear list for future rentals.
The recoil rig was great. Let me get one small beef out of the way real quick so I can then talk about all the good things about this rig. When Zacuto released the C300 MKII interview video they had the smiling dude holding the rig with an L-Series lens on and it balanced perfectly. And then in all the interviews they had the rig set-up with the Cinema Zoom on a tripod. Subliminally this made me think the rig was good to go with Cinema Zooms. It is not. If you want to balance this rig perfectly with a Cinema Zoom on it, you are going to need to add weight to the back. The C300 MKII simply cannot get far enough back on this rig to offset the front heavy load of the zoom. You also can't use the Zacuto lens support under there either as there simply isn't enough room. Okay. That's my gripe. Let's get to the plus'es.
First off, I knew from the start I wanted to use the Zacuto rig as it was the only one I could see that had the ability to go from handheld to tripod stably in the blink of an eye. Being the director and operator, it was critical to have this ability so that I could interact with the cast and crew between takes and not be glued to the camera or have to set it somewhere awkwardly. This feature alone makes it a winner for a run and gun handheld situation.
Second, it does take some getting used to. With the weight of the C300 + a cinema zoom, it can hurt your shoulder until you adjust. It's critical that you take the time to balance this rig as best as possible because handholding a shoulder rig all day for 21 shoot days means that any ergonomic flaw is going to hurt. A lot. When I shot with an L-series lens for a test shot, this was a no issue as it was so light!
Third, beware the extender cable that goes from the Canon handle to the side of the C300 MKII where the handle used to be. It notoriously came loose several times during the shoot costing me several crucial shots because in the heat of the moment, I hadn't noticed that the camera didn't start to roll. This was extremely frustrating and ultimately I wrapped a rubber band around the camera to keep it in.
Fourth, the tornado focus knob is very cool for being a one man operator and A/Cam. But I've also used the Redrock rigs plenty when pulling my own focus using their follow focus rigs, and I have to save that it was easier using a more traditional follow focus for critical focus in telephoto situations. The tornado is great for balancing, but I really, really missed having positive stops on the focus wheel so that I could have an A focus mark and a B focus mark when following actors around on their marks. Otherwise it's a fantastic balance between being able to handhold your rig and focus at the same time.
We've all been waiting for the Holy Grail of cameras: 8K sensor, 500 fps with 20 stops of dynamic range priced at around $2,500. And I have no doubt in 6 years that will be available.
For me, the C300 MK II is my holy grail of cameras. It is the one I have been waiting for since the Camera Wars began back in 2009. The image quality, the sensitivity to light, the form factor, the fact that I can shoot 4K internally, that you can shoot out of the box with nothing else required other than memory cards, the dual proxy recording and on and on. Yes I wish it was at least $6,000 cheaper, but I know that this is a camera that will last me far into the foreseeable future and that's asking a lot of a camera these days.
I know that within 2 years Canon will have a C500 MKII but I can only assume that will be competing in the 6K resolution plus market which I have no need for. I've seen 4k projection and that is going to be good enough for at least the next 10-15 years of Cinema and certainly far beyond that for home viewing.
So, yes, the C300 MK II is definitely on my Christmas list this year and I want to again thank my amazing friend and fellow producer Serge Ramelli and the incredible people at Canon and Zacuto for giving me this opportunity to use their gear to shoot The Hollywouldn'ts. I also want to thank my amazing cast and crew for all their hard work and sticking with me through thick and thin.
As mentioned above, I've got a ton of other topics to cover which I will do as fast as I can in the weeks to come while I edit the film.
I just finished shooting my first feature film on the Canon C300 Mark II: Equipment Review, blog post by Darius Stevens Wilhere


text:
A merle pit bull is actually an American pit bull terrier bred with a Catahoula leopard dog. These dogs have solid or piebald base coats with mottled patches of red, brindle or blue spots. They may also have blue or odd-colored eyes. Dogs with a merle pattern should be bred with a dog of solid color, as breeding two merle dogs can cause severe health issues to their offspring.
Often incorrectly referred to as a color, merle is a pattern in a dog's coat. It is a typical distinguishing feature of some dog breeds, such as the Australian shepherd, Shetland sheepdog and various breeds of collies. There is no purebred American pit bull with a merle pattern, and the American Kennel Club deems the pattern a disqualifying trait among pit bulls. Merle pit bulls are not considered as a purebred pit bull but more of a Catahoula dog from which the American pit bull terrier was bred.
The American Dog Breeders Association found that dogs with this pattern and color often exhibit a genetic flaw. Moreover, a dog with two copies of merle genes is more likely to be born deaf. The ADBA also states that APBT dogs with this genetic flaw could not perform their genetic task without a handicap.


text:
Ah, the perennial FIFA. It comes round every year with a different sound track, flashier visuals and another few licences. It isn't really football, for that you need to play Pro Evolution Soccer.
Now that was the view of many people until last year, but FIFA 2003 was different. Sure it had the sound track, the visuals and the licences but they actually changed the game engine. EA really put some effort into turning the whole series around. It looked like football, it sounded like football, but last year, it also played like football.
The players feet connected with the ball, the animations flowed together and the passes didn't look like they were laser-guided. It just played like FIFA should have done all along. It still had problems though, like a dodgy frame rate and the odd lapse in AI.
So where does this leave FIFA 2004? It's got huge potential if they can iron out the problems of last year's game. They're also adding a few new features as usual and this time it looks like it'll be a more tactical affair.
The major change this time is the introduction of a more advanced strategy system, for which EA sought help from FIFA's Technical Committee. Erich Rutemoller, a member of the coaching staff for the German national side, came on board to share his vast knowledge of tactics with the development team. What this pans out to be, looks like more flexibility in the team management section, possibly including some improved AI.
Also reaping the benfits of an upgrade is the career mode, which allows you to take a team to the top from the lower divisions, signing new players along the way. LMA took management sims down to the pitch, and FIFA looks like it's taking football sims up to the boardroom. A full season mode with all the bells and whistles? Yes please.
There is also talk of online play for the PC and PS2 (there's no talk of Xbox Live thanks to EA's disagreement with Microsoft over the way it is run) and the GameCube version will enjoy connectivity with the GBA. Yes, online play with FIFA. Just imagine 16 people in a match, fighting it out, possibly using a microphone to communicate. What a possibility. GBA connectivity? That'll be secret tactical changes presumably. Oh, and a note to EA, please make this Xbox LIVE compatible, you know it'll make sense! What an oppertunity wasted, eh?
The next round in the FIFA vs. Pro Evolution war has begun. I'm just hoping that this year, EA'll give Konami a run for their money.


text:
Body of a Presentation
In your presentation, focus on the points that matter most. You don't have to say everything about a given topic. And if you can say something in fewer words, do so; the audience will appreciate your respect for their time.
The body of your talk should flow naturally from the introduction, developing ideas with vivid examples and details. Help the audience follow your train of thought by expressing your points clearly and organizing them logically.
Keep in mind that since your message will be delivered with spoken and not written words, your listeners won't have the luxury of rereading passages. Therefore, avoid overly ornate sentence structures as well as accumulations of dense ideas. In addition, you may wish to employ repetition as a tool to ensure that your central themes register with the audience.


text:
Rogue's Issue N°6 Preview
We are proud to announce the release of Rogue's Summer Issue N°6. With 3 different cover stories on Emily Browning, Martin Garrix and Aubrey Plaza. The Summer Issue N°6 is available for pre-order now and will be released June 20th on stands nationwide and available digitally worldwide.
Issue 6 features Emily Browning, Martin Garrix, Aubrey Plaza, Alt-J, Steve Aoki, Claire Holt, Adam Scott, Jake Johnson, Noah Cyrus, K. Flay, Halsey, Olivia Holt, Dua Lipa, James Vanderbeek, Portugal. the Man, The Kills, Julian Morris, Valfre, LANY, Sam Evans, Cameron Boyce, Josh Henderson, The Revivalists, Sophia Lillis, The Knocks, Cold War Kids, Alexandra Savior, ZZ Ward + much more in fashion and culture! You can order a copy now in our shop.


text:
Guitar Player
June 2001 by Adam Levy
Orchestral Maneuvers/Leni Stern Plays with Symphonic Textures Leni stern's latest album, Kindness of Strangers, features the guitarist/songstress in a setting she hasn't explored on any of her previous albums. Her evocative songs and crystalline, jazz-meets-blues guitar lines are still the main attraction, but, this time out, she has surrounded herself with orchestral textures. Her interest in this new approach began in 1998, when she was commissioned to write and perform a piece for guitar and orchestra. While working on this project, stern became enchanted by the richness and depth of the symphonic sounds, and decided to include the commissioned song, "Vedo Il Tuo Viso ( I See Your Face)," on Kindness.
With the lush, 19-minute piece serving as the album's cornerstone, Stern decided to use orchestral textures throughout the album to shade, color, and highlight her already resplendent songs and guitar playing. To keep her recording budget from going overboard, Stern opted to use sampled orchestral sounds instead of live players. But because she and coproducer/coorchestrator George Whittey took pains to make sure the counterfeit cellos and oboes behave like their acoustic counterparts, the album never sounds less than luscious. Stern's voice and guitar tracks - and her rhythm section's animated bass and drum tracks - all meld perfectly with the orchestrated samples, and the album maintains a live-in-thestudio vibe, even though it was crafted in two different studios over a two-month period. Using a fusion of big-studio and home-studio environments, and high-tech and low-tech tools, Stern and Whitty crafted Stern's most ambitious album to date - and managed to have a little fun in the process.


text:
mmColorTarget v2.0
This location is for Registered Users Only.
Perhaps you need to login or register.
9.0, 8.0, 7.0 or later
Useful Nukepedia Tool #8. Explore this video:
- Make sure you have Numpy installed, compatible and accessible with your Nuke version. (see Blogpost with additional Information )
- Plug two images showing a MacBeth Colorchecker into the source and target inputs.
- Corner Pin the source and target sampler to its corresponding ColorChecker and adjust the sampler Size
- (Switch inputs using the 'currentView' dropdown)
- Hit the 'Calculate Matrix' Button to get the output ColorMatrix.
Changes v2.0:
- More intutive UI with callbacks
- Fixed a problem introduced in Nuke 9.0v8 that broke the entire functionality
- The reference target now comes with a dynamic colorspace selection instead of fixed sRGB Values. (generously provided by Thomas Mansencal at colour-science.org)
- Additional sampling method 'no clip' (EXPERIMENTAL!)
- More stability due to no more expression-based-sampling in the background
Tested successfully on Windows 7/10 (Nuke7/8/9) and CentOS 6/7 (Nuke7/8/9/10b)
Mac Users: The Gizmo should also work on Mac, but you need to find/compile a compatible version of numpy yourself, since i don't have a Mac. Please help me out be sharing your information on this.
the other way would be to add the following to your init.py file:
import sys
sys.path.append("/Library/Pytho n/2.7/site-pack ages")
It's still possible that you'll get an error if the compiler version doesn't match, which is the point where i can't help any further, since I didn't get enough feedback from Mac users yet. But it should at least find the module now and tell you what's going on.
I hope it helps, and please share your information if you suceeed.
I've found the NumPy installer (1.6.1) for Python 2.7 for Mac. I'm running a mac osx 10.6.3 with NukeX 8.0.3.
It works fine with osx 10.6
I've checked in the OSx command line if the package got installed and yes, it worked and found all the files
I found the folders inside "/Library/Pytho n/2.7/site-pack ages" and copied to: .nuke/Framework s/Python.framew ork/Versions/2, 7/lib/python2.7 /site-packages" I'v copied there the numpy folder.
When I load the gizmo, it works well but when I try to calculate the matrix there it appears an error: " .../site-packag es/numpy/core/m ultiarray.so: no matching architecture in universal wrapper "
I've tried importing with the init.py command but it does not work.
import sys
sys.path.append("/Library/Pytho n/2.7/site-pack ages")
Is there any way I can fix it??or I'm doing something wrong..?
I would appreciate any help.
Thanks Marco and amazing gizmo!
- Guillem R.
You might wanna check any of those solutions:
Have you already tried any of the official installers for osx10.6? For example:
Providing google help is really the best i can do right now :(
Very thanks Marco! I've been searching for this for a long time!
I'm the first Mac user to get this working??
I've just added the new site-packages created on the /Library/Frameworks/Python.framework/Versions/2.7/lib/python2.7/site-packages
Never underestimate google help
Thanks again!!
Well you're not necessarily the first Mac user ever to get it working, but you sure are the first to give me some positive feedback.
So thanks a lot for sharing!
Could you give us a tip for work with spydercheckr 24 without hide 2 rows ( it are inverted in this color card) (second color and grey)
Thank you!!
1. It does not manage levels well - I would look at adding an exposure, levels, or some other way of balancing brightness before applying the chart. I fixed that by manually adjusting levels first.
2. It crashes in Nuke 9.0.3. Numpy works in 9 OK - I was able to test it - so something else isn't working.
Thanks again!
/usr/local/Nuke9.0v8/libgcc_s.so.1: version `GCC_4.2.0' not found (required by /lib64/libgfortran.so.3)
I found this morning the new video. Thanks for making it. I followed along on OS X 10.11.5 with Nuke 10.0v1 Non-Commercial.
I still can't make it work.
The gizmo is coming with a .json file, is that also belonging in the gizmos folder?
When I hit "calculate" I get the following error:
'NoneType' object has no attribute 'knob'
Did I install it okay? Is there a way to check inside of Nuke?
And what does this error message means?
Thanks in advance,
Best regards
Daniel (toodee)
you are right, in the normal licensed version it works fine.
It would be nice that the Foundry would actually give the user some hints, that a restriction causing an error in the NON-COM. version.
Current problem is:
'NoneType' object has no attribute 'knob'.
Can you please share the documentation for the math behind the transform matrix? Thanks
It is a Multivariate Linear Regression: https://en.wikipedia.org/wiki/General_linear_model and uses numpy.linalg.ls tsq: https://docs.scipy.org/doc/numpy/reference/generated/numpy.linalg.lstsq.html
One thing that seems to have always some discrepancy when comparing different documentations are the RGB values on the Macbeth chart. For example, here on Nukepdia the values used on mmColorTarget tool are different to the ones of V_ColorRenditio nChart... Also different documents seems to have different information on the normalized values of RGB for the same illuminant:
Can anyone expand on this differences and how / where these values of this tool were obtained?
Thanks a lot Thomas.
Can anyone expand on this differences and how / where this values of this tool were obtained?
Absolutely :) As explained in the description they were generated by myself, the file that yielded the value is there: https://github.com/colour-science/colour-nuke/blob/master/colour_nuke/notebooks/mmColorTarget_dependencies.ipynb
They are based on XRite ColorChecker 2005 values as described here: https://github.com/colour-science/colour/blob/cdbffd063b0c44bb32d752b01647137871434851/colour/characterisation/dataset/colour_checkers/chromaticity_coordinates.py#L114-L114
Now colour rendition charts are never produced equal, so it is normal to find discrepancies between them, not only that but there are also differences in the various RGB colourspaces / whitepoints values depending where you source your data.
This reminds me that I should regenerate the Notebook/JSON file with the latest values content from Colour.
Hi guys, anybody tried with Nuke 10 on win7 ? Thanks
Have it working in Nuke 10.5 in Windows 7 at work, I got the numpy build from the link in Marco's blog above
It drops in just fine and functions well. When I save and open the script again i get a slew of "no such knob" errors and the property window looks like an empty node. Any ideas?
Please do you know what could be the problem?
thank you for this very useful tool.
Is there any way to keep the lumincance untouched? Often I would like to just get it neutrlized without the patches hitting absoloute value (like .18 for middle grey).
Usualy I am going with the "no clip" choice instead of direct, because the direct mode tend to do funky stuff to overbrights. Is this recommended?
thank you for this very useful tool.
Is there any way to keep the lumincance untouched? Often I would like to just get it neutrlized without the patches hitting absoloute value (like .18 for middle grey).
Usualy I am going with the "no clip" choice instead of direct, because the direct mode tend to do funky stuff to overbrights. Is this recommended?
I've been struggle trying to make it work on windows.
Theres is a step by step installation for this OS?
I just installed gizmo, phyton, numpy; modify init.py
I can bring the node but can't calculate matrix because it says: This gizmo requires the Python module 'NumPy'.Please install it first and make sure Nuke can import it.
But it is installed.
Any help please?
Thanks before hand.
into your ".nuke" directory?


text:
february 2017—roll 10
My final roll of February was a roll of "redscaled" color film I put through an Olympus OM-1 I used to own (since sent to a good home). The red color comes from the fact that you are shooting through the red layer of the emulsion. It's a cool effect, and as I think I've mentioned before, it also means that you are capturing a mirror image of what you see, which is also pretty neat. These photos were more or less taken on a stretch of D.C around Union Station and the Capitol Building. I can't say I'm thrilled about them all, but I figured I would share them nonetheless.


text:
Please click anywhere to continue browsing our site.
Shop For TiresBack To Tire Brands
Get Where You Need to Go
Finding the right tires for your needs can be overwhelming. Let PT TIRE & SERVICE, CORP. take the lead on your search for new tires! Our selection of Nitto tires for customers in Brandon, WI, Fond du lac, WI, Ripon, WI, and surrounding areas is second to none.
As a branch of the Toyo Tire & Rubber Co., Ltd., Nitto Tire was founded in 1949 in Japan. In 1966, Toyo Tire became the first Japanese tire manufacturer to establish a distribution branch in the United States, then began manufacturing tires in the U.S. in the late 1980s.
Nitto Tire is propelled by passion and invention. Nitto is committed to producing tires for both auto enthusiasts and drivers who use their cars only to get from point A to point B.
The innovative design of Nitto tires is a product of cutting-edge development, superior manufacturing, and demanding testing measures. The verified technological developments by Nitto Tire in tread composites allow Nitto to engineer first-rate tires, including lengthy tread life, improved traction, and high levels of driver satisfaction.
Shop our online tire catalog to browse our selection of Nitto tires.
Nitto Tire makes a conscious effort to expect swings in consumer trends and to be prepared for any and all customer needs. Nitto Tire combines current aesthetics with state-of-the-art technology, which has helped the company develop some of the most attractive tire designs available in the industry.
Nitto tires are durable, quality tires perfect for auto enthusiasts and standard drivers alike. Nitto tires are for life's next adventure.
We stand behind our selection of Nitto tires because these tires are made to last. If you're in the market for a set of replacement tires, contact us online or come into PT TIRE & SERVICE, CORP. for a new set of Nitto tires today.
Here's how it works at PT TIRE & SERVICE, CORP. - You call (920) 346-TIRE, and we do the rest. Whether it's commercial roadside assistance for a flat tire or mobile farm service for AG tire installation, we're available around the clock to get you moving again. For drivers who can make the trip over to our shop, we also perform a wide range of automotive services and have a wide selection of tires for sale. Use our website to learn more about the many services we provide, or reach out to us now. We're on standby for your call. We proudly service drivers in Brandon, WI, Fond Du Lac, WI, Ripon, WI, and surrounding areas.


text:
Halloween Decor & DIYs:
A little photoshopin' + modpodge + thrifted frames = scary halloween DIY decor!
The family portraits...
DIY Katniss Costume Arrows
Spray painted candlesticks matte black for a fun mantle display.
signage, chalkboard edition.
Candlesticks, black feather wreath & vinyl spider clings on mirror.
Dining room display


text:
family/twin room
With a double and a single divan bed this room is perfect for families or those wishing two beds. A further full size single bed or a comfortable fold down bed can also be accommodated in this room, allowing occupancy of 4 adults or 2 adults and 2 children.
This is a beautiful south facing room, the original formal lounge of the house. Large and spacious with original fireplace and a bay window overlooking the front garden, it provides everything you will need for a relaxing stay.
Fluffy towels, bathrobes, hairdryer and ironing facilities are provided for your comfort along with a kettle and cafetiere for tea and coffee. There is a 32 " flat screen television in the room and wireless Internet is available throughout the property.


text:
2 PC. Sailor Cadet, includes hat with patch and collared dress with pleated skirt.
You're reviewing: RED WHITE BLUE 2PC SAILOR CADET HALLOWEEN COSTUME
© 2017 Lollicouture.com. All Rights Reserved.
Sign up to get most updated promotion and updates delivered to your inbox. First Time sign up to get a FREE lipgloss apply with first order.