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by Barry Green
While most of the camcorders on the market have traditionally used CCD sensors, many new camcorders are coming on the market are now using CMOS sensors. While CMOS and CCD both have unique properties that make each one suitable for one type of job or another, there are unique characteristics to each that need to be understood in order for a user to know whether a CMOS or CCD camera is more appropriate for the type of shooting they'll be doing.
All Sensors Are Not Created Equal
Choosing a CCD or CMOS system can have a very real impact on the type of footage you can gather, as well as ancillary impact such as the battery life of your camcorder (CMOS sensors are typically quite a bit more energy efficient, needing less electricity to power them and generating less heat than a comparable CCD.) CMOS sensors can scan and offload their footage quicker, making CMOS a more appropriate choice for high-speed cameras, for example. While CMOS and CCD sensors do the same basic job (gathering light and turning it into a video image), they go about it in different ways, and the differences can have very significant impact on your footage.
A full discussion of how the two differ is not in the scope of this article; in this article we're going to instead focus on the different artifacts that each sensor causes. There are four main sensor artifacts we're going to explore: Smear, Skew, Wobble, and Partial Exposure. Your type of shooting may or may not encounter these, but any prudent shooter should be educated as to what they are, how they affect your footage, and what circumstances cause them to happen. "Forewarned is forearmed," and having an understanding of typical sensor artifacts may keep you from potentially ruining footage that may otherwise have turned out well.
Smear, Skew, Wobble, and Partial Exposure
There are four main characteristics sensors may exhibit. CCDs can suffer from vertical smearing on bright light sources, while CMOS sensors are immune to that artifact. But CMOS sensors (equipped with "rolling shutters") can exhibit skew, wobble, and partial exposure; CCD sensors are immune to those effects. And a CMOS sensor with a "global shutter" would also be immune to them, but since no current CMOS camcorders are equipped with global shutters, a camcorder buyer needs to be aware of what the implications of a rolling shutter would be.
Before we go into what the various artifacts are, let's first examine the concept of a "rolling shutter" versus a "global shutter" and why it makes such a difference in the images that each produces. (For point of clarification, CCDs use a "global shutter"; CMOS can use either "rolling" or "global" but as a practical matter all the camcorders on the market use the "rolling shutter" technology).
A GLOBAL SHUTTER exposes the entire imager simultaneously. The entire frame is exposed and begins gathering light; when the predetermined "shutter speed" has elapsed, the sensor stops gathering light and turns its current exposure into an electronic image. There is no physical "shutter" that covers and uncovers the sensor; it's all done with timing. At the start of exposure the entire sensor starts gathering light; at the end of exposure the light-gathering circuitry is turned off and the contents of the sensor are then "read out" to become an image.
Here's a graphical illustration of basically how a Global Shutter would expose an image (of course, this example is in extreme slow motion; in reality the entire process would happen in typically 1/60th of a second).
A ROLLING SHUTTER is very different. The rolling shutter actually exposes different portions of the frame at different points in time, "rolling" through the frame. Again, it's not an actual physical moving shutter that's doing this (as opposed to a movie camera, which actually has a moving physical shutter). Instead, the sensor is telling different portions to become light-sensitive at different moments in time, and as this process proceeds down the course of the full frame, until the entire frame is exposed. Here's a rough simulation of how a Rolling Shutter system works:
(again, this is of course shown in extreme slow motion; in actual practice the entire process would occur in usually 1/48th to 1/60th of a second).
In order to understand the various image artifacts that arrive, the important thing to note here is that in the rolling shutter, different portions of the frame are exposed at different times than other portions. If the subject or the camera were to move during the exposure, the result would be reflected in the frame as one of the three Rolling Shutter Artifacts (Skew, Wobble, or Partial Exposure). For example, here's a simulation of what would happen if a rolling-shutter camera were to pan horizontally during exposure:
A Global Shutter avoids that problem; instead with a global shutter any motion during the frame would result in blurring of that motion.The amount of blur in a global shutter is dependent on the shutter speed; blur can only occur if the shutter's speed is slow enough that the object actually can move during one shutter cycle, and with a high shutter speed that's typically not possible and any motion will be frozen in time, resulting in crisp blur-less motion. Skew and other rolling shutter artifacts aren't affected by shutter speed, they're affected by the frame rate. The faster the frame rate, the less skew you'll see; the slower the frame rate, the more exaggerated the rolling shutter artifacts wil be."
Jason Rodriguez, of the engineering team behind the Silicon Imaging SI-2K CMOS camera, gives a great rundown of the differences between how a global shutter scans and how a rolling shutter scans, and explains why lower-cost cameras are more likely to have rolling shutters, HERE
Smear occurs when a very bright portion of an image causes an entire column of pixels to overload and bloom to white. Here's an example of vertical smear.
Any bright point of light can potentially cause smear; common offenders include street lights and car headlights; it can also happen if the camera is shooting footage of a camera flash, or even the sun. Avoiding smear involves lowering the exposure enough that the bright lights don't bloom and trigger a column of smearing; stopping down the iris to bring down the brightness of the bright lights can eliminate smear entirely, but also may cause the overall picture to be too dark. Smear is also one of the "dead giveaways" that your production was shot on video rather than on film; film doesn't "smear" like this. Controlled lighting can eliminate all traces of smear, but in uncontrolled circumstances it's going to happen. CMOS sensors function differently and are immune to smear.
Here's an example picture of a chandelier, where the lights are blown out to the point of provoking vertical smear. In the CCD picture you can see greenish lines running from the lights through to the bottom of the frame. CMOS sensors are immune to this smear artifact, so in the CMOS picture you'll notice no such lines.
The easiest way to see Skew is to think about taking a photo of a tall building. As the sensor scans down the frame, the building is "drawn" onto the chips and is represented accurately. But if the camera were to pan horizontally while the sensor was still exposing, what would happen? The top of the building would be on one side of the frame, and the bottom of the building would be on the other. The whole building would look like the Leaning Tower Of Pisa! This is called "Skew" and is one of the more prevalent Rolling Shutter effects. With horizontal camera motion, vertical objects can look like they're "leaning" one way or the other depending on which way the camera was moving.
HERE (click to view) are some still photos of the Skew effect
For motion examples, you can watch THIS (right click to download).
Skew is probably the least objectionable of the rolling shutter artifacts, since it typically only exhibits during a fast pan or with a slower frame rate. However, skew can play havoc with motion tracking for special effects compositing, so if you plan on doing compositing it's vital to be aware of the effect that skew can have.
Probably the most-talked-about rolling shutter effect is "wobble." Wobble is related to Skew, and is caused by the same root causes, but Wobble is far more troublesome. Whereas Skew represents a leaning of vertical objects, Wobble is a stretchy/rubbery look that happens to the video. Wobble is more likely to occur in handheld footage, or in situations where the camcorder is subject to vibration or sudden motion.
To imagine how Wobble might affect the scanning of an image, picture the idea of shooting a scene while tilting the camera upwards. If the camera moved fast enough, it may be possible for you to "race" the rolling shutter down the frame, and thus the camera would "stretch" any object that was being filmed – it'd keep repeating that same section over and over, pulling and stretching the object down the frame. Or when moving down, the image might become artificially shortened or compressed. Now, let's throw in the concept of handheld motion (a little up, a little down, some tilting or diagonal movement, etc) and you can see where the "wobble" comes in: as the camcorder is moving downward the image becomes stretched out; when it moves upward the image gets scrunched down, and as it moves side to side it leans one way or the other. The result is that your entire frame becomes "wobbly"; a way to describe it might be to say that it looks like you're shooting through a layer of Jell-O™ .
For a relatively static shot, this is obviously not a big deal. For a camera mounted on a tripod it shouldn't be a problem. But the more motion that's involved, and especially motion that reverses itself (like a bump or jolt), the worse it can become – or, for unintentional motion it can become a problem. HERE (right click to download) is an example of a shot on a tripod, where the tripod is occasionally "jiggled" by wind.
A sturdier tripod might help avoid that wobble. Another example is far more concerning; this is an example of the vibration caused by shooting from a helicopter. If you can imagine the stretching/shrinking effect, combined with the Skew effect, all running at very high frequency due to the fast vibration of a helicopter, then you can see why the footage turned out like THIS (right click to download).
This is perhaps the most extreme Wobble anyone's encountered. The shooter is Russ Andersson, of Andersson Technologies, makers of SynthEyes. He re-shot this footage using a CCD-based Canon XHA1 and the same mounting technique, and he says "the results are watchable even before stabilization."
Can wobble be corrected in post? Unfortunately, no. Regular Skew probably could, but the stretchy wobble can't be automatically compensated for. HERE (right click to download) is an example of wobbly handheld footage shot by user "Norbert" and the results of processing the footage through a post-production image stabilization product, SteadyHand.
SteadyHand can stabilize a lot of normal footage shake, but it can't deal with the stretchy/squishy effect of the wobble.
Chia-Kai Liang wrote a research paper attempting to correct for rolling shutter issues; an abstract and examples are HERE (click to view).
His CONCLUSION (click to view) is that it can't be compensated for automatically.
Obviously not all footage is ruined by excessive wobbling; it depends largely on the type of motion of the camera and the speed and direction of that motion; direct linear motion (such as a tripod pan) shouldn't cause any wobble at all (just skew), but handheld footage or footage subject to vibration is just going to wobble. Slower frame rates seem to accentuate the wobble, faster frame rates seem to minimize it. Higher shutter speeds make it more distinct, and slower shutter speeds mask the wobble under motion blur, but the wobbling effect is equivalent regardless of shutter speed. The amount of wobble you get all depends on how the camera moves during a shot, and how quickly it moves (or, how quickly the subject is moving; the wobble doesn't distinguish between camera movement and subject movement!) Under most circumstances you shouldn't see or notice wobble at all, but as the helicopter footage shows, there are just some types of shots that wobble will ruin.
Where wobble can be most troublesome would be for those wanting to use a CMOS camera for special effects work, particularly motion tracking or motion capture (hence Russ Andersson's exhortation that if you want to track objects, you should completely forget about using CMOS/rolling shutter cameras, HERE [click to view]).
How can you control wobble? That's a tough one, because the skew and wobble is inherent to the rolling-shutter technology. Faster frame rates will exhibit less wobble than slower ones (which means you'll see more wobble at 24P than you will at 60i, for example, and it becomes very obviously noticeable if you attempt to slow down your footage using slow-motion processing in post). But the stretching, skewing, scrunching and leaning are endemic to the nature of the rolling shutter. To eliminate wobble you would need to either a) eliminate all motion, or b) use a global shutter system. Since neither of these are practical options for a video camera using a CMOS sensor, you will have to determine if the amount of wobbling that happens in video is acceptable to you. If it is, and serves your purposes, then CMOS would be a viable option. If it's not acceptable to you, you would be better served looking at a CCD-based product.
Partial Exposure
Partial Exposure is perhaps one of the more pernicious but least-encountered image artifacts. It usually occurs under circumstances where there's a flash of light that significantly alters the exposure – a camera flash, a bolt of lightning, fireworks, etc.
Here's what it looks like:
In these cases, if you look at how the rolling shutter system works, you can easily see how part of the image would be dark and the rest of the image would be bright – as the shutter "rolls" through the frame, it will be exposing portions of the frame at the prevailing light conditions, and then when the "flash" occurs, the current portion of the frame that the shutter's exposing will be brightly lit. The result is that when you use a rolling-shutter camera in a scenario where flash photography is taking place (such as a wedding, a press conference, a red-carpet premiere, etc) it's possible that you'll encounter black or dark bands, or even bright bands, in your video.
Here are some more examples of flash-induced Partial Exposure artifacts:
DVINFO (click to view)
DVINFO (click to view)
Fortunately, this black-banding artifact will only affect one frame of video at a time. Unfortunately, there's not a thing you can do about it – you're at the mercy of the flashes. The longer the flash duration, the more even the exposure will be; the shorter the flash, the more banding will occur. If it's an occasional flash, it may not be much of an issue. But if you're at a red-carpet event where many flashes are going off frequently, or shooting in a nightclub under flashing lights, it may be more problematic.
Another dangerous situation for rolling shutters is slow-refresh fluorescent lighting. Modern fluorescent lighting uses high-frequency ballasts and produces a largely continuous stream of light, but older fluorescents used quite slow ballasts and as such, the intensity of the light could vary significantly over the course of 1/60th of a second. This varying intensity can play havoc with a rolling shutter camcorder. Be very cautious about shooting under fluorescent lighting with a rolling-shutter camcorder, and try to use only high-frequency-ballast fixtures with a rolling-shutter camcorder.
Slow ballasts could also prove problematic for global shutters, if the shutter speed is not in phase with the cycle of the light; that's why it's recommended to shoot using the same shutter speed as the lights (i.e., in PAL territories you'd use 1/50th exposure to match the 50Hz lights, in NTSC territories you'd use 1/60th to match the 60Hz lights). A Global Shutter system running with a shutter speed that's out of phase with the lights (50Hz shutter under 60Hz lights, for example) can exhibit some general flickering or color shifting under fluorescent lights. The Rolling Shutter system exhibits a very different artifact – bands of shifting color scrolling in the image, or darker lines flickering in and out on the image. It's easy to correct for this circumstance with a global shutter – just match the shutter speed to the light frequency. But it's not possible to do so with a rolling shutter system – instead, you'd have to turn off the offending lights and substitute in your own, high-frequency or constant-source lighting (constant source being a non-ballasted light system, such as tungsten lighting).
Here's an example video of how a rolling shutter system deals with a flickery fluorescent light:
The CCD artifact of Smear is well known, and for the most part shooters know how to deal with it and minimize or avoid it. But the new artifacts/characteristics that come from the new CMOS technology are likely to provide some nasty surprises for unprepared shooters. And camera manufacturers are likely going to continue to offer more and more CMOS camcorders. Which means we're likely to see more and more rolling shutter issues crop up, as the technology becomes more widespread. Shooters, educate yourselves as to what the issues are, how they affect the footage, and prepare yourselves for whatever steps you need to take to make sure that there are no unwelcome surprises in your footage.
For further reading, Point Grey Research has published an ARTICLE (click to view) describing the differences between the rolling shutter used in CMOS sensors and the global shutter used in CCD sensors.
Dalsa has also published some excellent articles discussing CMOS and CCD sensor technology:
ARTICLE ONE (click to view)
ARTICLE TWO(click to view)
ARTICLE THREE(click to view)
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OIF Summary, Dec. 8, 2009: Forces Capture 5 After Balad Attack
Dispatches from the Front:
WASHINGTON, Dec. 8, 2009 -- U.S. forces today assisted Iraqi security forces in arresting five people after an indirect-fire attack on Joint Base Balad, Iraq.
Pilots of AH-64 Apache helicopters responding to the mid-morning attack saw five people burying an improvised launch-rail system at the attack site. U.S. forces on the ground questioned and held them until local police arrived and arrested them on charges of suspected terrorism.
"What we've seen recently is irreconcilable criminals using these rail systems to launch rockets at the base," said Army Lt. Col. Patrick Cooley, Task Force Marne operations chief. "The rockets are wildly inaccurate, so it's a matter of safety for the people who live near the base. It's good to see the [Iraqi police] stopping these guys."
Another aspect to recovering this rail system is the effect it will have on future attacks.
"By taking this rail out of the enemy's hands, it will degrade his ability to launch future attacks, and it lets them know we are aggressively pursuing them with all available means," said Army Col. Jeff Finley, Task Force Marne effects coordinator.
There were no casualties or damage to equipment from the attack. Iraqi security forces are leading the investigation.
In other news from Iraq, U.S. forces advised the Baqubah Regional Commando Battalion in carrying out warrants for the arrest of five suspected terrorists in Diyala province Dec. 5.
The men are suspected of kidnapping, smuggling lethal weapons, conducting bomb attacks and extorting local people.
They are linked to Harith Sadun Dawud al-Rubayi, who was arrested in November for suspicion of murder, kidnapping and bombing attacks against civilians and Iraqi forces. The regional commando battalion arrested the men in their homes and collected evidence, including weapons and sensitive materials.
(Compiled from Multinational Corps Iraq news releases.)
Labels: Dispatches from the Front, GWOT, Iraq, Military, OIF, Terrorism

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A new Pentagon report out yesterday describes the continuing disaster in Iraq. One item was on refugee flows. It says that:
"The numbers of refugees fleeing the violence are immense: 700,000 have fled to Jordan; 600,000 to Syria; 100,000 to Egypt; 40,000 to Lebanon, and 54,000 to Iran. Over 3,000 refugees per day are now appearing in Syria and Jordan."
Renewing my visa at the Mugamaa last month I saw people with bundles of Iraqi passports at the window usually reserved for Palestinian sans papiers.
100,000 Iraqi refugees living in Egypt? I need to get out more. Does anyone know of any research done on the Iraqi community in Egypt?
Link to Pentagon report [PDF], which says:
Refugees. Many Iraqis have fled the country, and the number of refugees continues to rise. According to the United Nations High Commissioner for Refugees (UNHCR) November 2006 Iraq Displacement Report, for Iraqis living outside Iraq, "the figures in the immediate neighbouring states are still imprecise, but we now estimate that there are up to 700,000 Iraqis in Jordan; at least 600,000 in Syria; at least 100,000 in Egypt; 20,000–40,000 in Lebanon; and 54,000 in Iran. Many of those outside the country fled over the past decade or more, but now some 2,000 a day are arriving in Syria, and an estimated 1,000 a day in Jordan. Most of them do not register with UNHCR."


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Jay and Properties…
Jay wrote a post entitled Properties? Not my bag, baby.
When I first started writing C# code, I used properties for everything. But recently, I've felt that I was wasting a lot of time writing trivial properties. Yes, I know that in Whidbey I'll be able to use expansions to write them easily, but that still means that I have to deal with the property bodies cluttering up my code.
So, that got me thinking about whether it makes sense to be writing properties in the first place. After a bit of thought, here's my current position:
Properties are a great thing for component libraries. There are certainly cases where you would want the future-proofing and decoupling that properties gives you.
But when you're working on a single project that gets built all at once, I don't think you're getting any future-proofing benefits, and you have to pay the "property tax" the whole time.
This may be heretical, since "use properties" has been the common guideline.
What do you think?


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Match Report
Wigan 2-2 Stoke City
Potters pick up point at Wigan
Peter Crouch's header secured a point for Stoke from an entertaining Premier League encounter with Wigan at the DW Stadium that ended 2-2.
The Latics were 1-0 up just five minutes into the contest thanks to Shaun Maloney's penalty after Robert Huth had handled in the box, but they then conceded a spot-kick in similar circumstances five minutes before the break, Maynor Figueroa being penalised and Jon Walters converting.
Franco Di Santo's goal on the break five minutes into the second half put the hosts back in front, but Crouch levelled in the 76th minute to ensure the Potters' third draw from three league matches so far this season.
Wigan will have gone into the game full of confidence off the back of two victories over the past week, last Saturday's 2-0 league win at Southampton and a 4-1 Capital One Cup triumph at Nottingham Forest on Tuesday.
They also had a decent record against Stoke, losing only one of the eight Premier League meetings between the two teams, and it did not take long for Roberto Martinez's side to get on top once this afternoon's contest got under way.
The hosts exerted some early pressure and after James McCarthy had seen his shot strike Huth's hand in the area, referee Martin Atkinson awarded a spot-kick which Maloney comfortably tucked away, sending Asmir Begovic the wrong way.
Wigan appealed for another penalty just before the quarter-hour mark, with Di Santo appearing to be sandwiched by Ryan Shawcross and Andy Wilkinson, but Atkinson ruled the infringement to be on the part of the Latics player.
Martinez's men kept pressing with crosses into the box and the ball just not quite falling for Arouna Kone, but they were disrupted by an enforced change in the 28th minute as the injured Jean Beausejour was replaced by David Jones.
Stoke issued a warning soon after, with Geoff Cameron cracking one wide from distance, and the visitors then made an early substitution of their own, with transfer deadline day signing Charlie Adam coming on for his debut in place of Wilkinson.
The Potters were finding some rhythm and after an Adam free-kick had caused a goalmouth scramble which Wigan survived, the Staffordshire outfit drew level.
Again it came from a handball in the area, Figueroa the culprit as Crouch tried to get past him, and Walters stepped up to slot the resulting penalty past Ali Al Habsi.
Stoke finished the half strongly with Marc Wilson's volley deflected against the bar, but Wigan began the second period as they had the opening one, netting early on to restore their lead.
A counter-attack move saw Kone find himself through on goal and with red and white shirts advancing he laid the ball off to Di Santo, who fired in.
The Potters responded with Michael Kightly drilling in to Al Habsi's arms, but Wigan continued to attack and after Kone had just failed to find the right pass following a run into the box, Emmerson Boyce struck an effort wide.
Having weathered the storm, Stoke hit back and Walters met a long ball at the back post but could not keep his shot down.
Crouch then provided the equaliser with 14 minutes remaining, leaping to nod in Walters' cross.
The momentum was fully with the Potters again and after Al Habsi produced a save to deny substitute Cameron Jerome, he pulled off a superb one to keep the ball out when Adam's free-kick deflected off Gary Caldwell.
It was very much end-to-end stuff in the closing stages and the home fans cried out for another penalty as Shawcross tackled Wigan substitute Ryo Miyaichi in the box, but Atkinson rightly waved play on before blowing the full-time whistle to confirm the points were shared.
Wigan 2-2 Stoke City


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Introducing: The new WRAP website
By: Seth Lennon
On Thursday, September 24th, WRAP will be launching a new version of its website, wrapcompliance.org. This is the result of a year and a half of visualization, design, and implementation. The WRAP website is meant to be the virtual nexus of all of our activities, especially for training, factory certification, and compliance assurance. This new version of the website is designed to further those goals.
Immediately- you can see that the new site embraces our new, brighter color scheme. This look-and-feel is consistent throughout all of our print and online collateral, including our newsletter.
Much of the functionality that our stakeholders are used to, including our world map, remains, but with an updated presentation meant to streamline the user experience.
Most importantly, this website is designed to function within the mobile environment. In many countries where WRAP has an established presence- including Bangladesh, China, India, and Vietnam, internet use is done more through a mobile device rather than a desktop. Our new website embraces this reality, enabling stakeholders with the ability to interact with WRAP no matter where they are.
We hope that you find this website useful and informative moving forward. It is a tremendous source of pride for this organization, and we are excited about its long term potential.
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09.20.20 - Introducing: The new WRAP website
08.23.20 - Facemasks: a new frontier for compliance
07.12.20 - In Memoriam: Clay E. Hickson
07.05.20 - The tangible impact of COVID-19
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06.08.18 - Rocking the Red (Responsibly)
03.18.18 - New Set of Eyes
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09.06.17 - Sourcing efficiency is key to success, and WRAP can help
07.14.17 - Yesterday's Workers are Today's Owners
05.15.17 - Over The Horizon
04.04.17 - The Robots are Coming
01.19.17 - Looking Back, Looking Ahead 2016/2017
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10.02.15 - WRAP goes to Tanzania
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11.23.09 - Celebration of the Holidays
11.06.09 - Want More Business? Join WRAP at MAGIC!
11.02.09 - Ethics in Action: WRAP Support Services for Academic Programs
10.19.09 - WRAP Raises CSR Awareness Among College Students
10.09.09 - Welcome to Our New Website
09.09.09 - WRAP & SGS Host Labor and Environmental Compliance Seminars in China
09.09.09 - WRAP Partners with MFG.com
09.09.09 - WRAP Hosts Social Compliance Auditor Training
09.09.09 - WRAP Pavilion to Be Spotlighted at MAGIC in Las Vegas
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Earth Day
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33.6Kbps Laser Fax Machine
33.6Kbps Laser Fax machine
Product Actions
High Speed Super G3 Fax
The high speed 33.6 kbps modem built into the Panasonic KX-FL421 is designed for super fast and efficient document transmissions (up to 4 seconds per page1). The built-in Junk Fax Prohibitor feature helps prevent unwanted faxes from being received and wasting valuable toner and paper.
Convenient Desktop Copier
The built-in ADF on the the KX-FL421, allows the machine to be used as a desktop copier. Great for home office users who need to make an occasional copy. The KX-FL421 has a rated print speed of up to 10 CPM2 (Copies Per Minute)
See Who's Calling at a Glance
The KX-FL421 fax machine is Caller ID3 compatible so you can see who's calling before answering. Utilizing the devices 2 line by 16 character LCD display, you're able to see the name and number of your incoming callers. You can even display and print a list of Caller ID activity. All of this adds up to a great time saving feature for both business and personal use.
1. Transmission speed is based on the ITU-T No. 1 Test Chart
2. Based on letter size paper.
3. Requires subscription to Caller ID, a fee-based phone company service(s).
SpecificationsExpand All
- Print Method Laser
- Print Speed up to 10 PPM
- Paper Tray Capacity 250 sheets
- ADF Capacity 15 sheets
- 2-Line, 16-character LCD Display Yes
- Fax Modem Speed 33.6 Kbps Super G3 Fax
Transmission Speed4 seconds per page
Quick ScanYes
- Data Compression System MH/MR/MMR
Fax memory capacity
Approx. 120 pages of memory transmission
Approx. 170 pages of memory reception
Out of Paper ReceptionYes
- ECM Yes
- Dual Access Yes
- One-Touch Stations 20 x 3 station
- Speed Dial Stations 100
- Delayed Transmission Yes
- Journal Report Yes
- Telephone Handset Yes (Corded)
- TEL/TAD/FAX Switching Yes
- Redial Yes
Caller IDYes
- PC Print No
- Print Resolution 600 x 600 dpi
- Memory Copy Speed 10 CPM
- Resolution (Copier) 600 x 600 dpi
- Multi-Copy up to 99
- Reduction Copy 25% to 400% (1% step)
- Enlargement Copy 25% to 400% (1% step)
- Collate/Sort/Copy Yes
Power Consumption
Standby: Approx. 2 W
Transmission: Approx. 12 W
Reception: Approx. 240 W
Copy: Approx. 240 W
Maximum: Approx. 950 W
- Dimensions (H x W x D) 8.6'' x 14.2'' x 14.1''
- Weight 16 lbs
- PC Scan No
- PC Fax No
- Copy Yes
- Auto Fax Reduction Yes
- Warranty 6 Months Parts & Labor


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The Stratford Table Tennis League continues to swell, with 15 registered teams competing this Winter. This is thanks, in no small part , to the efforts of Kevin Taylor and Harry Azima , whose table tennis club, bearing this leagues name , have entered four teams into the competition.
Stratford upon Avon Table Tennis Club open sessions at the towns centrally located leisure centre are proving to be enormously popular , there is every reason to believe that there is huge potential for further growth of this most accessible of sports. Live Long Play Ping Pong!
Mike Evetts (TT365 Webmaster)
Tim Fell (General Secretary)
01564 783277 (h)


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TGI Fry-Day: Milanesa de Res Torta from Taqueria Los Comales
Reviews of fried food in Chicago.
Filling aside, the torta is as standardized a sandwich form as you'll find. At the Chicago taquerias I've frequented, the formula is constant: the bread will be toasted bolillo or telera with a smear of refried beans; the vegetation will be comprised of lettuce, tomato, and sliced avocado; each bite will feature a gentle tug from barely-melted shredded white cheese; and greatness will be judged based on the use of runny crema or cloying sour cream. As long as the filling is properly cooked and seasoned, the experience is rather homogeneous every time.
Still, given the right filling, the torta is capable of surprises. The Milanesa de Res Torta ($5.25) from Taqueria Los Comales in Logan Square is designed to address an issue with the common filling that I didn't even know existed. Unless cooked perfectly, our waitress explained, breaded steak has a tendency to fight back when you bite into it. Los Comales' solution for getting around tough, rubbery steak that leaves the rest of the sandwich behind is to run the beef (with a little pork thrown in for extra rich flavor) through a meat grinder. The ground meat is then flattened into thin disks, breaded, and cooked in fat on the griddle until crisp all over. The flavor and texture is gyros meets sausage meets smash burger meets breaded pork tenderloin meets schnitzel. Combined with the familiar torta garnishments, this fried sandwich was a genuine surprise, and one to seek out when you find yourself ho-humming the everyday torta.
Taqueria Los Comales
2148 N Milwaukee Avenue Chicago, IL 60647 (map)
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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The world depends on mariners. Mariners depend on SCI. And we depend on you.
Photos taken on the Ohio River around Louisville and West Virginia, March 2013.
Photos by the Rev. David Rider, President & Executive Director.
The Seamen's Church Institute cares for the hardworking men and women of maritime commerce, but our mission would not be possible without the help of individuals, churches, corporations and foundations that work with SCI to meet their needs.


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The following blog was written by a new employee of Natures Garden who is doing her best to learn the science and art of soap making. Please take that into consideration before commenting on her experiences, successes, and yes…failures.
Hello everyone!
The other day I wrote a blog about how I figured out my own recipe and all the details of my soap. I was so very excited about this project. I did really well throughout the whole process and was happy with the outcome of my soap. My soap bars were gorgeous and I was officially a successful soap maker!
Well, the following day, I was assigned a new project: to write another recipe from start to finish. This would include everything from ingredients, to scent, to color, whether or not to add sodium lactate or color stabilizer, the swirl technique (aka design), and the mold. We are talking about EVERYTHING! I said, OK, I can do that!
The only difference between this assignment and my last project was this time there was not going to be a double check. Yes, the last few times I embarked on this journey, my work was double checked. I am in training, and there are a lot of things you need to know about the soap making process and everything that comes along with it. With all of that being said, I felt confident I could do this…really! So off I went.
I figured out my recipe, gathered all of my ingredients, put on my safety gear, and prepped.
Once I melted all of my oils, put together my lye solution, emulsified and scented, I was ready to design. I placed my colors in their bowls, and I was ready for the in the pot swirl. If you have not noticed, I am fond of this technique! Everything was going smoothly!
I took the colored batter that I was using and plopped it into my main soap batter and began the swirling technique. And, let me just tell you, my soap looked beautiful. I couldn't even get over how nicely it poured into the silicone loaf mold. I was excited!
Now this was on Friday so I had to play the waiting game all weekend. By Sunday night, I couldn't wait to see my masterpiece. When Monday morning finally arrived, I was ready to unveil my homemade soap. I picked it up and started to the chopping block. Hmmm, this soap seemed a bit squishy. I thought this can't be good.
Starting to work the soap out of the mold, I realized that now it seemed sticky. This was not at all what I was hoping for. Finally, I got the soap out of the mold, and proceeded to cut it. That was when the soap stuck to my knife…just great! Despite the fact that the colors were awesome and it smelled great, I had messed up somewhere. My soap bars were tacky and very soft.
So, I checked my weights and percentages. Everything was good. Then, I had my recipe double checked by someone else. They pointed out their opinion of what the problem could be. I had too much castor oil in my recipe. Oopsy! I had totally overlooked the frequently-held opinion that when making soap that contains Castor Oil , you may want to stay at 8% or less castor oil in your formulation. My addition was 20%.
In the end, I felt defeated, and was totally bummed! I did however, make a note to self: while Castor oil is good for the "bubbly" in your soap, my experience showed me that using too much castor oil may produce soap that is tacky and hard to remove from the mold. In the future, if I want to produce a harder bar of soap, I may want to increase my percentages of oils that are known to produce harder bars of soap such as coconut oil, palm oil, palm kernel oil.
I predicted I was going to fail…and when I do, I do it right…lol.
So my epic failure is a lesson learned. And, even though I am hard on my little feelings, don't be too hard on yourself for your mistakes. My advice to any new soapers: Turn setbacks into future achievements, and lessons to be taught to others so they don't make the same boo boos.
Until next time, have a fabulous day!


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So Prettay : Alicia Keys Performing Doesn't Mean Anything & Interview On Regis & Kelly This Morning [10-12-09]
Alicia Keys with Regis * Kelly
Please click the "Report" button below if the video on this page is not working properly.
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USB onboard the Micro (and the UNO) is both an advantage and a liability. I've seen several UNOs that have lost their USB firmware and the end users do not have the ability or know-how to reload the USB interface. I've only seen one FTDI chip go bad in over 3000 328 based boards.
how reliable I've found FTDI chips to be in the past
IC that takes HIGH in and outputs GND
but last time I looked the new ones were more expensive.
FT230-XS SOIC package it's no smaller in size than the FT232R
I'm not sure why you are not buying from E-14 Aussie?


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ANY traveler who has tried to use frequent flier miles for a free ticket knows how frustrating that process can be. On top of the blackout dates and limited availability, there are fees for everything from fuel surcharges to last-minute bookings.
Spotting an opportunity, a handful of frequent flier fanatics are using their expertise to hunt down and book those award seats for you. "When you do this all day you begin to know which routes have availability, and the ins and outs of the computer systems," said Gary Leff, a mileage hound who started BookYourAward.com about three years ago. Business has been so brisk he recently took on a partner.
To see how well such services work, I contacted Mr. Leff and two other awards experts for hire to see if they could procure two coach tickets for trips to Spain and Ecuador with the modest number of miles I have accumulated in various accounts. All three uncovered seats for far fewer miles than I was able to obtain on my own by using the airline award booking sites, and all offered helpful tips to boost my mileage balances for future awards. I also found that each expert had his own approach that worked best for certain types of travelers, whether they are procrastinators looking for last-minute awards or clients who want someone to handle nearly all of their travel needs.
In general, the services are best if you want international seats, especially in first or business class, since the fees these experts charge often eat into the savings of a free domestic coach ticket. Keep in mind that you still have to pay taxes or other fees charged by the airline. And be realistic. Even experts will be hard-pressed to conjure up six first-class tickets to Australia over New Year's.
Below, an overview of the services I tried out.
FEE $150 a person.
BEST FOR Early birds. Most people sign up for frequent flier programs and associated credit cards without a thought as to whether it is the best way to earn miles for a particular destination. But if you are willing to plan, Gary Leff, who co-founded the frequent flier site Milepoint.com, can guide you. "I like it when people ask me questions long before they are ready to book so I can steer them in the right direction," he said, noting that some programs are better than others, depending on the destination. For example, American Airlines is best if you want to use miles to fly to South America, he said. Delta is a good choice for some of the most sought-after awards to places like Australia and Polynesia, thanks to the airline's partnerships with Virgin Australia, Air France and Air Tahiti Nui, which all accept Delta miles.
That said, Mr. Leff can still work with whatever miles you have. For instance, he pointed out that I could use 35,000 American Airlines miles for a round-trip coach ticket to Ecuador on LAN Airlines, because both airlines belong to the Oneworld alliance, which allow travelers to redeem miles for flights on other member airlines. By comparison, I couldn't find any tickets for fewer than 60,000 miles round trip for the dates I wanted on American's Web site, which only shows availability on American, and three partners — Alaska, British Airways and Hawaiian.
PRO TIP You can transfer American Express points to anyone whose frequent flier account accepts American Express Membership Rewards. "AmEx doesn't promote this," he said, "and if you ask they will say you cannot. But all you have to do is link the frequent flier account you want the points to go into on the American Express Membership Rewards Web site and then you can transfer points into it, no matter whose account it is." American Express says that such transfers, while possible, are against program rules.
FEE $75 an hour. For a flat fee of $250, SavvyTravel will assess your awards accounts and offer recommendations on maximizing your miles going forward.
BEST FOR Travelers in need of a personal concierge. Ryan Lile, the avid frequent flier who started this service, will not only handle your awards booking, he will also plan your honeymoon. "Most of my clients go well beyond simply having me find awards tickets for them, and outsource all of their travel booking to me," he said. Drawing from his own trips to more than 60 countries, he can recommend where to stay, what to do and how best to navigate the airport experience. Recently, he said, he saved a client about $10,000 on a honeymoon to Europe by helping to plan and book hotels, airport transfers, activities and two nonstop business-class tickets from New York to Madrid. His fee was $700.
Like the other awards experts, Mr. Lile pointed out that I could use American Express points to pad my Delta account for a 60,000-mile award ticket, for at least one coach ticket to Europe this summer. But to save miles, he recommended I transfer American Express points to ANA, All Nippon Airways, a Star Alliance member, which requires 43,000 miles for a routing from New York to Madrid on partner airlines.
PRO TIP Be persistent. "Award inventory is dynamic — check every day for the flights that you're after," he said. Airlines, he added, often release unsold seats for award bookings a few days before a flight. He noted that ExpertFlyer.com, which keeps track of airlines' seat inventories, is a useful tool for tracking award availability. Subscribers to its Premium Plan ($9.99 a month or $99.99 a year) can set up e-mail alerts for seat openings.
FEE $150 for the first person; $100 for each additional passenger on the same itinerary.
BEST FOR Procrastinators. If you tend to put things off, consider Awardexpert, the booking service of the frequent flier Web site Upgrd.com, co-founded by Matthew Klint. Mr. Klint has a knack for uncovering last-minute tickets. For a client who needed to fly from New York to Italy the next day for a funeral, he pieced together a trip using 60,000 American Express points for flights on United and Swiss. For someone who needed a same-day ticket from Chicago to Munich, he found a first-class ticket on Lufthansa for 125,000 miles round trip — half the miles for a "standard" first-class award ticket.
PRO TIP Be flexible. "Perhaps you have to make an extra connection or two or travel to a nearby city," he said, "but you can save a tremendous amount of money and miles by doing so." For example, Mr. Klint recently helped a family of nine get coach tickets from Los Angeles to Cape Town, South Africa, for 100,000 miles each round trip — about half the normal amount — by flying Delta to Washington and Air France to Cape Town via Paris.
For my trip to Ecuador he found seats in August on Copa Airlines, a United partner, for 40,000 round trip, but the return flight required two connections and I was short about 200 miles. As an alternative, he suggested visiting Peru — a trip that included only one stop on the return. He also recommended that I sign up for the Chase Sapphire Preferred card, which offers 40,000 bonus points after $3,000 in spending in the first three months, which can be redeemed on British Airways, Korean Air and United.
"With those three carriers," he said, "you have access to the three major airline alliances." That way, he added, "you'll have more than enough points for your next dream trip."


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the façade of this house in chicago boasts an array of twisting brick columns
a diverse digital database that acts as a valuable guide in gaining insight and information about a product directly from the manufacturer, and serves as a rich reference point in developing a project or scheme.
the building will house an art collection that consists of more than 500 works ranging from painting and calligraphy to photography and sculpture.
designed for an outdoor theater show, this subtle intervention nestles into the dramatic karst mountain landscape of yangshuo.
the showroom by bureau fraai stores the two jaguars, stacked on top of each other, with the use of an automatic car lift.
connections: +280
the design team has carefully retained the building's decorative floor tiles, basalt stones and dressed stone pillars.


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Sunset Beach Couple
Artist: Steve Hawthorn
Free UK deliveryInternational Delivery Prices
- Size: 20 x 15 x 1 inches (50.8 x 38.1 x 2.5 cm)
- acrylic on paper
- One-Off / Ready to Send
- Frame Required
About the artwork
Sunset Beach Couple is an original contemporary, acrylic painting on quality 140lb paper, signed and ready to frame. Great wall art for home or office.
Related CategoriesPaintingsSeascapesMedium (16 - 30")AcrylicGoldImpressionism
Steve Hawthorn
An established painter, I have been involved with several galleries over the past 20 years, mainly in Norfolk and Suffolk. I am now seeking an online presence to sell work direct, unframed, at truly affordable prices. Subjects, in watercolour or acrylics, are inspired by big skies, shifting light, coasts and places where land and sky and water meet.
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No rate set: Please 'contact the artist' on the above tab to request a quote.