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Digital Vs Medium Format Dilemma!
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Topic: Digital Vs Medium Format Dilemma! (Read 7796 times)
Sr. Member
Posts: 9171
Digital Vs Medium Format Dilemma!
October 05, 2002, 09:44:41 AM »
[font color=\'#000000\']But based on what I've been reading about the EOS 1DS (not particularly the camera, but more the direction of digital) I wondering if it's possible that some day, image chips / sensors the size of a 35mm frame may exceed even formats as high as 4X5?[/font]
[font color=\'#000000\']Interesting question! I'd like to know the answer to that. I don't know if a good quality 150mm standard lens for 4x5 format has higher resolving power than an equivalent quality 150mm 35mm telephoto. I get the impression the sharper results from the larger formats is due largely to the film not degrading the image as it clearly does with 35mm. OTOH, some people are making comments that the 1Ds full frame sensor is already close to the limits of a good 35mm lens.[/font]
Digital Vs Medium Format Dilemma!
Reply #1 on:
October 05, 2002, 09:50:04 PM »
[font color=\'#000000\']I'd hold on to those L series lenses if I were you. 35mm digital may never reach the quality of 4X5 film, but I'd be happy to have 35mm gear that could go toe to toe with medium format. I think with these new digicams and future models in the next couple years that it definitely will. Hold on to your L glass.[/font]
Wim van Velzen
Sr. Member
Posts: 359
Digital Vs Medium Format Dilemma!
Reply #2 on:
October 06, 2002, 02:54:30 AM »
[font color=\'#000000\']I really don't understand all the 'digital will be better than mf'. That's mixing format and film vs digital.
Let's say digital 24x36mm is better than 24x36mm film - even as good as 42x55 film.
With digital 40x50mm and within a year or 2 55x70mm sensors: how good will they be? As good as LF film? And LF digital?
The larger the better is the same with digital as with film.
Of course one might use 35mm digital where MF film was needed untill now.
BTW, I would always keep a 35mm kit when going mf or lf. But a 6x12 is veeeerrrry tempting
I don't have a signature.
David Lawson
Digital Vs Medium Format Dilemma!
Reply #3 on:
October 06, 2002, 10:25:15 AM »
[font color=\'#000000\']Not sure if things are the same in USA but in UK it is not that easy to get this size neg printed, it is very specialist. I can see in the future, with pro's using more and more, digital this format may well become even more difficult to get printed as print based labs cut back, if they do keep the service for the few users there are it could also get expensive. Just food for thought really. david[/font]
Digital Vs Medium Format Dilemma!
Reply #4 on:
October 06, 2002, 11:23:15 PM »
[font color=\'#000000\']Someone mentioned Darwin Wiggett and it occurred to me I haven't heard much, if anything about him in a long time. He used to have a monthly column in some travel photography magazine, but I haven't seen that magazine or his work anywhere for several years it seems. Apparently, from what you say, he's still out there and shooting.
George Lepp is also using the Kodak DCS 645 back with his Mamiya I think. There was a good article a few months ago in one of the magazines about him going to Holland and shooting with the MF digital back as well as a D60 during the annual tulip festival. He took a group over there and taught some and used a laptop screen to show what he had just shot on site. This was his first trip that was strictly digital.[/font]
Sr. Member
Posts: 9171
Digital Vs Medium Format Dilemma!
Reply #5 on:
October 06, 2002, 11:48:17 PM »
[font color=\'#000000\']There are some interesting issues in this topic (for me, anyway!). I've always been a bit perplexed at the really small apertures that large formatters use. I understand the reasons why it's necessary to use such apertures - to achieve a decent depth of field because of the long focal lengths that are standard with large format cameras - but I can't quite reconcile this with the oft quoted adage that all lenses are equal at f8. Whilst this might not be strictly true, it seems to me that, as one increase the f/stop beyond f/8, the truer that statement becomes, so that at f/64 (the aperture that Ansel Adams favoured, I believe) the quality of the lens becomes almost immaterial.
In other words, distortion due to diffraction is a property of f stop irrespective of the design, quality and focal length of the lens. We're stuck with it and we can't compensate for it (except perhaps a bit by tinkering around the edges).
It seems to me, the consequences of this concept are far reaching. Large format photographers, in oder to achieve the required depth of field, end up chucking away the resolution potential of their lenses in large shovels full. I can't see that there will ever be a truly large format digital back for this reason alone. Clearly, there's no incentive to develop better quality lenses if 'real world' contraints require that existing large format lenses are used well below their diffraction limit.
Just in case some people reading this might think I have a screw loose (and indeed I might. At best I might merely be propagating the half-baked truths and misconceptions one often finds on the net), the reason large format is 'better' is because all these defects which are really serious on 35mm film, such as film grain, diffraction distortion and other aberrations, although larger in absolute terms on large format are smaller in relative terms.[/font]
Geoff Shiel
Digital Vs Medium Format Dilemma!
Reply #6 on:
October 07, 2002, 05:27:28 AM »
[font color=\'#000000\']Well I would hold anyonewho thinks for one minute that 35mm digital equals MF with a pinch of salt. The article you refer to here while in some ways correct is also a little misleading. I for one have the top of the range Imacon scanner, not the bottom and the image and scan difference is huge to say the least. I still haven't found a digital 35mm that can match MF anywhere.
Mind you though the MF digital backs are very impressive but also very expensive. I know Darwin Wigget has the Kodax back for his Mamiya 6x4.5 and the quality does indeed exceed MF film at the same size, but saying 35mm does is a laugh.
So what to do.
You shoot landscape, why shoot it with a small format, a larger format will always outdo a smaller format. And don't go for a 6x12 go all out and get a 6x17 fantastic image, and I know of a Australian landscaper Ken Duncan
Who's images will blow your mind. I have seen his 6X17 images 1.5 meters long by .5 meter wide. Lets see digital do that[/font]
[font color=\'#000000\']What about the new canon eos1ds.
Compared to my scanned 6x4.5 fuji superior 100 negs, the couple of images from the canon have blown them away.
In a few words, no grain.
Scanner is a minolta dimage scan multi pro.
Bring on the canon.[/font]
Matt M
Digital Vs Medium Format Dilemma!
Reply #7 on:
October 15, 2002, 05:16:09 PM »
[font color=\'#000000\']To answer the original post, a 35mm sized image sensor using current tech does have a limit in density of pixels. They can only etch chips so small. Moore's law has to break down eventually, like any other exponential growth. But, that said, it may not happen for a long time. Let's play with the numbers: 35mm is about 1.29 sq. in. 4x5 is 20 sq. in. 20/1.29~16 times the film area. 35mm is about equal to the latest digital cameras (see the report about digital iq). So, to equal LF, it will take 4 doubleings of today's resolution, or about 72 months; a paltry 6 years to wait. And in nine years, digital 35mm sized sensors should be equal to 8x10 in pure resolution.
But lenses can't resolve that finely. At 60 lp/mm
you get 3600 resolvable pixels per mm^2. A 224 mp sensor (4x5 equivalent) 35mm sized, would be 31746 pixels per mm^2. That's an order of magnitude larger than what lenses can do. Put another way, 35mm sized sensors won't be able to get more resolution past 25.4 mp, because of lenses. Of course, this is all conjecture; the physical limits of the lenses could be different than what I estimated them to be. Medium format, at four times the size of 35mm (6x7), will enjoy 100mp sensors, assuming similar lens quality/design. That is still short of 4x5, and miles away from 8x10.[/font]
David Mantripp
Sr. Member
Posts: 712
Digital Vs Medium Format Dilemma!
Reply #8 on:
October 16, 2002, 06:24:18 AM »
[font color=\'#000000\']Well I'm here looking at a 4800dpi scan from Provia 100F on an Xpan, and a chance candid taken on my Olympus 4040 digital in "normal JPG" mode (i.e holiday snapshot mode). Whilst the Olympus obviously yields a smaller print, what a print it is. The image is more or less useable up to 100%. On the other hand, any scan, however good I get it, cannot match that, and has to be down-sampled due to grain, noise, focussing imperfections, dust, whatever. And this takes _hours_.
Whilst I don't have the means to go digital SLR, I have to say I'm beginning to get the point of it... My "heartstopping" Photokina announcement was the Hasselblad H1. Now I'm not so sure. Now I'm starting to look at EOS catalogues!
I don't really care a fig about all the blabla on lpm, real resolution, etc etc. That's engineer speak. I'm an engineer in the office. I'm a photographer at home, and to evalute photography I use my eyes.[/font]
David Mantripp
Digital Vs Medium Format Dilemma!
Reply #9 on:
October 16, 2002, 12:39:33 PM »
[font color=\'#000000\']as an addition to my earlier post, I did the figures for smallest pixel size for red light. 700nm is correct, no? in a 35mm sensor, the number is about 694 million pixels. That's assuming no space between pixels. So the wavelength wont be a limitation before lens characteristics. Anyway, I'll still be using film for a while; I like t-max (and have learned it too well) too much to give it up. maybe in ten years...[/font]
Jr. Member
Posts: 82
Digital Vs Medium Format Dilemma!
Reply #10 on:
October 16, 2002, 04:45:26 PM »
[font color=\'#000000\']I like the articles on this site that introduce the concept (or analogy) of noise and film grain. In short, the differences we see between film and digital is due to a high level of noise that film has relative to good digital imaging chips. Starting from here, things start to make sense.
The larger the film (going from 35mm to MF to LF) is an increase in signal. This is because for a particular object (or piece of an object), there is more film dedicated to recording that object. So there is more signal but the noise stays the same and ultimately we can get bigger prints before we begin to see the noise. You can reason this out by saying that you do not have to multply the image as much OR you can reason this out by saying that you have more signal to start with.
The larger the pixel area of a digital sensor, the more signal to noise it will have. But we already seem to be at a shockingly low level of noise. Increasing the area should increase the dynamic range since there will be less noise (relative to the signal). They can use 14 or 16 bit a-to-d's rather than 12 From what I can figure, if they really are giving a true 12 bit output, then moving to 14 bits of real and true output will give us two more stops of dynamic range. Moving to 16 will be another two stops.
Michael wrote that the 1DS has about 6 stops of range but I'm wondering if that is true after I saw the detail that he could pull out of the man on the bridge. I'm wondering if what Michael is seeing may not be due to output limitations rather than what the camera captured.
As far as the original posts asking if they should sell their EOS gear: you sound undecided so, give it time, and the answer for you will become clear.[/font]
Perry Smith
Brian R
Posts: 10
Digital Vs Medium Format Dilemma!
Reply #11 on:
October 25, 2002, 04:43:50 PM »
[font color=\'#000000\']The short answer to the original question is No! Larger chips are now out and I've tried them, and they still have a long way to go. Stick with your MF film and you will never regret it. I have been shooting professionally for 18 years, and for the last 5 years I have been shooting 85% digital. When I have something big to shoot i.e. landscape or archetecture, I use film. The quality is better! I have the advantage of being the director of photography for a fortune 500 company. That gives me no more photographic knowledge than any other photographer. What it does mean is that I have every digital back manufacturer comming to me to have me test their equipmint (In hopes I'll buy one). I've used most of them and my opinion stands firm.
I should mention that I use a Scytex Leaf Volare (Best on the market for color), on a Fuji GX680 and I love it.
A lot of people said they scaned their film and the digital looked as good or better. Ha! Now take that film to a service bureau and have it scaned on a laser drum scanner. The difference will astound you. there is no scanner on the market for under $30,000 that can hold up to even a medium range laser scanner.
Bruce Percy
Digital Vs Medium Format Dilemma!
Reply #12 on:
October 05, 2002, 05:10:34 AM »
[font color=\'#000000\']Hi Fellow Photographers,
Thanks for the very interesting report on the EOS1DS Michael.
I have an interesting dilemma at the moment in that I have two camera kits - an EOS system with L series glass and a Mamiya 7II.
For the last year, I've noticed that I seem to leave the EOS in the bag and use the Mamiya II pretty much all of the time. I take landscape photographs as well as like to travel and the Mamiya 7II is great for both.
Anyway, I was in the process of trying to sell my EOS kit (28-70 F2.8, 70-200 F2.
so that I could fund a move up to 6X12 as I've been hankering after making larger prints for a while.
But based on what I've been reading about the EOS 1DS (not particularly the camera, but more the direction of digital) I wondering if it's possible that some day, image chips / sensors the size of a 35mm frame may exceed even formats as high as 4X5?
Or is there a physical limitation somewhere that I'm unaware of?
Perhaps I'm being sucked into the 'hold of till the next version before I buy' sort of thing, but I'm really now starting to wonder if I should hold onto my EOS kit and start to think about a move to digital within the next couple of years instead?[/font]
Sr. Member
Posts: 9171
Digital Vs Medium Format Dilemma!
Reply #13 on:
October 05, 2002, 09:42:02 PM »
[font color=\'#000000\']Just came across some comments from the Large Format Lens Test Review at
. Here's an extract that seems relevant to your question, but I'm afraid there's a lot of confusion between 'real world' limits and theoretical limits. I have been of the view myself that, say, a 48 megapixel 36x24mm sensor would perhaps rival the quality of 4x5 and allow results that would reflect more closely the true aerial resolution of 35mm lenses. However, I'm beginning to have doubts because of the effects of real world constraints such as camera shake and imperfect focus.
..."Keep in mind, that due to the smaller negative size of the 35mm format,
you need to divide the 35mm on-film resolution numbers by 4 to get the
resolution required of a 4x5 lens for the same on-print resolution for
prints of equal size. In other words, a large format lens capable of
delivering 25 lpmm on film, will be the equal to, in final print
sharpness, the best 35mm lens (using Brian Guyer's 100 lpmm maximum for
an ideal diffraction limited lens). If you review the test results
Chris has posted, all but the very worst of the large format lenses we
have tested are capable of resolving 25 lpmm on film. The ones that
fail, are usually older wide angles at the corners at wide apertures.
Many of them exceed 25 lpmm when stopped down to normal working
apertures. A couple of the really poor performers have obvious defects
(separation in one of the 90mm Angulons for example - keep in mind many
of these older lenses are 40 - 60 years old). Of course, the best of
the modern 4x5 lenses (and several of the older ones, as well) far
exceed 25 lpmm, even in the corners, even at their "worst" aperture.
For example, look at the 110mm Super Symmar XL at f16, it is capable of
resolving, on film, 67 lpmm across the entire 4x5 field. You'd need an
on-film resolution of 268 lpmm from a 35mm negative to get equivalent
sharpness in the final print. Although the best of the current 35mm
lenses may be capable of such a high resolution at some apertures, they
will be not be capable of producing anywhere near such results on film
due to the limitations of currently available films"....[/font]
Digital Vs Medium Format Dilemma!
Reply #14 on:
October 06, 2002, 04:23:30 AM »
[font color=\'#000000\']Well I would hold anyonewho thinks for one minute that 35mm digital equals MF with a pinch of salt. The article you refer to here while in some ways correct is also a little misleading. I for one have the top of the range Imacon scanner, not the bottom and the image and scan difference is huge to say the least. I still haven't found a digital 35mm that can match MF anywhere.
Mind you though the MF digital backs are very impressive but also very expensive. I know Darwin Wigget has the Kodax back for his Mamiya 6x4.5 and the quality does indeed exceed MF film at the same size, but saying 35mm does is a laugh.
So what to do.
You shoot landscape, why shoot it with a small format, a larger format will always outdo a smaller format. And don't go for a 6x12 go all out and get a 6x17 fantastic image, and I know of a Australian landscaper Ken Duncan
Who's images will blow your mind. I have seen his 6X17 images 1.5 meters long by .5 meter wide. Lets see digital do that[/font]
Steve Kerman
Full Member
Posts: 142
Digital Vs Medium Format Dilemma!
Reply #15 on:
October 06, 2002, 08:16:09 PM »
[font color=\'#000000\']This discussion brings some interesting questions that I've been wondering about for a while.
A while ago I saw an analysis of lens resolution for different formats
when you take depth of field into account.
Certainly, when you compare 35mm with a 50mm lens at optimum aperture against 4x5 with a 150mm at optimum aperture, shooting a test target on a flat wall, the 4x5 will demolish the 35mm.
But, the story changes considerably when you set the lenses to give you the same depth of field. As we all know, to get much depth of field on a large-format lens, you have to stop way down. It turns out that when you graph the ultimate diffraction-limited resolution in lines over the entire image for a given depth of field,
the curves for 35mm, medium format, and 4x5 are almost on top of each other.
If you think about this for a while, it actually makes intuitive sense. If you think about what size of an aperture you need to have to keep near and far objects in similar focus, you can visualize how you need to have about the same size hole for a short lens covering 35mm, or for a longer lens covering 4x5. So, you would therefore end up with a similar amount of diffraction in both cases.
The folks who wrote this article then went on to do tests of very high quality 35mm, medium format and 4x5 lenses using very high resolution B&W film (I recall that they used either Tech Pan or T-Max). And, indeed, you see on their photomicrographs of the negatives that they were getting similar resolutions in all three cases. (However, the grain in the 35mm case were quite noticable--the film still wasn't as good as the lens.)
My point here is that there may not really be a huge amount of difference in what digital sensors are capable of in the different formats. With film, the larger formats produce higher-resolution images to a substantial extent because film is the limiting factor. (I note that color film, with its multiple layers, has much lower resolution than the single-layer B&W film they were using in their tests.) As we get electronic sensors with finer and finer resultion, we may well get to the point that the larger "formats" don't really give you much benefit.
(In a similar vein, the recent discussion on this forum about the "four-thirds" format asserts that 35mm lenses, because of their back focus distance, are limitited to around 6 micron resolution, whereas the four-thirds format could get down to something like 2 microns.)[/font]
Digital Vs Medium Format Dilemma!
Reply #16 on:
October 06, 2002, 11:26:57 PM »
[font color=\'#000000\']Since George Lepp is a bigtime Canon shooter, I suspect he'll be getting a 1Ds and may have helped test it out for Canon already. I'm sure he'll get first dibs on one of the first production models.[/font]
Sr. Member
Posts: 9171
Digital Vs Medium Format Dilemma!
Reply #17 on:
October 07, 2002, 11:05:46 AM »
[font color=\'#000000\']Steve,
I seem to be repeating what you've already expressed. Didn't see your post at the time. There's also another advantage that large format has in relation to film. I believe film performs best at small apertures (f/22 and smaller) because of the dispersion characteristics of light hitting the film surface. I don't know if the 3 dimensional digital sensors are subject to the same influences in this regard.[/font]
Steve Kerman
Full Member
Posts: 142
Digital Vs Medium Format Dilemma!
Reply #18 on:
October 15, 2002, 07:34:26 PM »
[font color=\'#000000\']Actually, I don't think that silicon technology is limiting the pixel density. Our current production processes are running around 0.13 micron feature size--that's 130 nanometers. The wavelength of green light is around 500 nanometers. (We've long since stopped using visible light to image masks.) The pixel size of current full-frame 35mm sensors is around 8-9 microns. That's
compared to most of the stuff we're currently building--we can build sensors that are smaller than the wavelength of light. In fact, I believe that some of the non-interchangeable-lens digicams
have substantially higher densities, although I don't happen know the specs on any of them.
I suspect that some of the following are factors that led to Canon's and Kodak's selection of pixel densities:
1. Lens resolution. As discussed by others, the current pixel size is approaching the point of dimishing returns as far as having useful information to record.
2. Already better than film. Similar to the preceding point, 8-9 micron pixels are already giving better results than the best film, so it's not clear that higher density would buy much additional market share.
3. Yields. While minimum feature size isn't a limiting factor, the overall size of the die
. 24x36mm is a
piece of silicon. To keep your yield up, it helps to go with relatively large features.
4. Noise. This is been discussed in this forum. The bigger the pixel, the better your signal-to-noise ratio.
5. The rest of the system. Once you've captured umpteen millions of pixels, you have to do something with them. You have to read them off the sensor in a reasonable period of time, you have to do whatever processing you do to the image, and you have to store it someplace. There's clearly a big tradeoff between pixel count and other useability issues.
6. Risk. Jumping from 6 megapixels to full-frame 12-14 megapixels is a pretty big technological leap. It makes good business sense to limit the size of your jumps so that you don't get blindsided by factors that you didn't even know to look out for.
In other words, I suspect that it is feasible
to build an EOS-1Dxx with four times as many pixels. It would cost twice as much because of the lower yields, you'd get one frame per second, one-fourth as many frames in a burst and on a microdrive, the ISO-100 performance would look about like the ISO-400 performance of the EOS-1Ds, it would top at about ISO-400, and it's not clear that you'd be able to see a whole lot more detail than you get with the EOS-1Ds.
Digital Vs Medium Format Dilemma!
Reply #19 on:
October 16, 2002, 04:37:39 PM »
[font color=\'#000000\']
I don't really care a fig about all the blabla on lpm, real resolution, etc etc. That's engineer speak. I'm an engineer in the office. I'm a photographer at home, and to evalute photography I use my eyes.
Couldn't have said it better myself DRM! Exactly!
BTW, with people like Pete Turner, Jay Maisel and Greg Gorman going digital as they have already, along with George Lepp and others too numerous to mention, that is the writing on the wall to me.
As for "maybe in ten years" this and that, it reminds me of something I said about four years ago. I was talking to someone during one of the Santa Fe Workshops one night and the subject of digital cameras came up. I said "maybe in 10 years digital cameras will be able to match film" in a skeptical, but polite tone. The guy, who I believe knew someone at Kodak in R&D said, "More like 5 years."
I was talking about digital vs film in general, but the unspoken or subconscious intent of saying at equal format sizes. 35mm digital vs 35mm film, 4X5 digital vs 4X5 film, etc. I believe he was on the same page with me. Anyway, I was skeptical then, but not now.[/font]
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- 2015 Federal Election
Split opinion on HandyDart shift to taxis
TransLink's decision to carry more HandyDart passengers via taxi was both jeered and cheered at the transportation authority's annual general meeting Wednesday.
HandyDart service levels have been frozen in recent years, but TransLink last year began dispatching more rides to taxis rather than HandyDart mini-vans and has just committed an extra $1 million to boost the share of taxi rides to nearly five per cent.
Officials argue taxis are more flexible, cheaper and help the system reduce the number of service denials, which have soared in recent years as a result of a funding freeze.
But South Surrey videographer Alison MacLean said she was re-injured when a HandyDart-dispatched taxi driver jammed a senior with a walker into the same cab she was taking to Peace Arch Hospital last summer.
"Taxis should only carry one passenger, but they're not doing that because it's all about cash flow," said MacLean, who used HandyDart in 2009 and again in 2013 while recovering from knee surgery.
"I saw a marked difference in the quality of service and access and everything else," she said. "I was shocked – I didn't understand how it could erode so drastically in three years."
Anmore resident Kimberley Yanko said her developmentally disabled son is house-bound because he's denied HandyDart service 40 per cent of the time.
"It's deplorable," Yanko told TransLink executives. "I challenge each and every one of you to get in a wheelchair and not get out of it for a week and try to access your own system and see how that goes."
Other speakers, including unionized HandyDart drivers who have consistently fought the taxi shift as a threat to union jobs, urged TransLink to reconsider.
But Jill Weiss, chair of the City of Vancouver's Persons With Disabilities Committee, applauded the TransLink strategy and urged officials to commit even more money to taxis.
She noted they cost half as much per ride as regular HandyDart and don't cost TransLink money when a passenger isn't on board.
"When you're paying for a taxi you pay only for the ride," Weiss said. "You're only paying for what you get. You don't have any waste. You don't have any deadheading."
A 2012 audit called for more use of taxis as a key way TransLink could become more efficient and serve more disabled and elderly passengers.
Weiss said the tactic is an international best practice.
"In San Francisco they use 50 per cent taxis," Weiss said. "They provide the same number of rides we do for half the amount of money."
B.C. Coalition of People With Disabilities executive director Jane Dyson also said she "fully supports" the taxi strategy, adding improved taxi driver training has made it safer.
"For many people with health issues, the shared ride service just does not work – the trips are too long," Dyson said.
She said a passenger backlash two years ago when TransLink tried to axe its TaxiSaver subsidy program was proof to her many HandyDart clients prefer taxis.
But MacLean questioned the allegiance of the disability groups because they've worked with TransLink on the taxi rollout and accepted grant money.
Researcher Eric Doherty called the pro-taxi advocates "naive" and said it's too soon to declare success.
He was the author of a 2013 report critical of HandyDart service denials in light of the region's rising seniors population. Doherty's report was funded by the union representing HandyDart drivers.
Community Events, September 2015
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Search Health Library
More headlines...
MRA is a study of the blood vessels using
magnetic resonance imaging
(MRI). Using a large magnet, radio waves, and a computer, an MRA makes two-dimensional and three-dimensional pictures.
This test is done in order to:
MRIs can be harmful if you have metal inside your body such as joint replacements or a pacemaker. Make sure your doctor knows of any internal metal before the test. Some people may also have an allergic reaction to the contrast dye. Talk to your doctor about any allergies you have. Also, let your doctor know if you have liver or kidney problems. These may make it difficult for your body to get rid of the contrast.
Before the test, your doctor may:
If your doctor prescribes a sedative:
At the MRI center, you will be asked if you have something in your body that would interfere with the MRA, such as:
You may be:
If contrast is used, a small IV needle will be inserted into your hand or arm before you are moved into the MRI machine. The contrast will be injected during one set of images. It helps to make some organs and vessels easier to see on the pictures. You might have an allergic reaction to the dye, but this is rare
You will lie on a special table. This table will be moved inside the opening of the MRI machine. Most MRIs consist of 2-6 sets of images. Each one will take between 2-15 minutes. You will need to lie still while the images are being taken. You may need to hold your breath briefly. Technicians will communicate with you through an intercom from another room.
40-90 minutes
The test is painless. If contrast is used, you may experience a stinging sensation when the IV is inserted.
Your doctor will discuss the findings with you and any treatment you may need.
Call your doctor if any of the following occur:
If you think you have an emergency, call for medical help right away.


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ANSYS is an engineering package and support routine for general-purpose finite-element analysis: statics, heat transfer, mode frequency, stability analysis, magnetostatics, coupled field analysis, etc. Supports are provided by ANSYS, Inc.
Availability & Restrictions
OSC has an "Academic Teaching Advanced " license for ANSYS. This allows for academic use of the software by Ohio faculty and students, with some restrictions. To view current ANSYS node restrictions, please see ANSYS's Terms of Use.
For academic users not on the OSU campus, OSC must pay an additional fee to Ansys to validate their use. For this reason, such new users must have their department or PI confirm their funding for ANSYS licenses.
|11.0 update
* Commercial users should use the "ndem" module.
Use of ANSYS for academic purposes requires validation. To obtain validation please complete and return "Academic Agreement to Use ANSYS." This can be obtained from your site consultant or from the files ansys.pdf, ansys.ps, oransys.txt located in the Academic Agreement Forms.
ANSYS supports X11 Windows and 3-D devices. PostScript and HP-GL output are available through the DISPLAY program.
Using ANSYS
The ANSYS commands and utility programs (see below) are located in your execution path. ANSYS is normally started with a module load command for the specific version, e.g. ansys110; or use only ansys for the default version (ansys110 on Glenn).
module load ansys
Following a successful loading of the ANSYS module, you can access the ansys commands:
ansys <switch options> <file>
The ansys command takes a number of Unix-style switches and parameters.
The -j Switch
The ansys command accepts a -j switch. It specifies the "job id," which determines the naming of output files. The default is the name of the input file.
The -d Switch
The ansys command accepts a -d switch. It specifies the device type. The value can be X11, x11, X11C, x11c, or 3D.
The -m Switch
The ansys command accepts a -m switch. It specifies the amount of working storage obtained from the system. The units are megawords.
The memory requirement for the entire execution will be approximately 5300000 words more than the -m specification. This is calculated for you if you use ansnqs to construct an NQS request.
The -b [nolist] Switch
The ansys command accepts a -b switch. It specifies that no user input is expected (batch execution).
The -s [noread] Switch
The ansys command accepts a -s switch. By default, the start-up file is read during an interactive session and not read during batch execution. These defaults may be changed with the -s command line argument. The noread option of the -s argument specifies that the start-up file is not to be read, even during an interactive session. Conversely, the -s argument with the -b batch argument forces the reading of the start-up file during batch execution.
The -g [off] Switch
The ansys command accepts a -g switch. It specifies that the ANSYS graphical user interface started automatically.
ANSYS parameters
ANSYS parameters may be assigned values on the ansys command. The parameter must be at least two characters long and must be a legal parameter name. The ANSYS parameter that is to be assigned a value should be given on the command line with a preceding dash (-), a space immediately after, and the value immediately after the space:
module load ansys ansys -pval1 -10.2 -EEE .1e6 sets pval1 to -10.2 and EEE to 100000
OSC Batch Usage
ANSYS can be run on OSC systems in interactive mode or in batch mode. Interactive mode is similar to running ANSYS on a desktop machine in that the graphical user interface will be sent from OSC and displayed on the local machine. Batch mode means that you submit the ANSYS job with a batch script by providing all the ANSYS input file(s) needed to run the simulation when resources become available.
Interactive jobs are run on compute nodes of the cluster, by turning on X11 forwarding. You can submit a simple one processor interactive batch job with X11 forwarding with the command qsub -I -X. The intention is that users can run ANSYS interactively for the purpose of building their model and preparing their input file. Once developed this input file can then be run in batch mode.
Batch jobs can request mutiple nodes/cores and long compute time, up to the limits of the OSC systems (refer to the computing pages). Batch jobs run on the compute nodes of the system and not on the login node. It is desirable for big problems since more resources can be used.
Interactive Example
To run interactive ANSYS, a batch job need to be submitted from the login node, to request necessary compute resources, with X11 forwarding. For example, the following line requests one node (the default), one core, for a walltime of one hour, with one ANSYS license.
qsub -I -X -l walltime=1:00:00 -l software=ansys+1
This job will queue until resources becomes available. Once the job is started, you're automatically logged in on the compute node; and you can launch ANSYS and start the graphic interface with the following commands:
module load ansys ansys -g
Batch Mode
For a given model, prepare the input file with ANSYS commands (named ansys.in for example) for the batch run. Assume the solution will need 30 hours and 1 processor. The following batch script would be needed for the serial applicaiton:
#PBS -N ansys_test #PBS -l walltime=30:00:00 #PBS -l nodes=1:ppn=1 #PBS -j oe cd $TMPDIR cp $PBS_O_WORKDIR/ansys.in . module load ansys ansys < ansys.in cp * $PBS_O_WORKDIR
To run this job on OSC batch system, the above script (named submit_ansys.job) is to be submitted with the command:
qsub submit_ansys.job
To take advantage of the powerful compute resources at OSC, you may choose to run distributed ANSYS for large problems. Multiple nodes and cores can be requested to accelerate the solution time. Note that you'll need to change your batch script slightly for distributed runs.
For distributed ANSYS jobs using one node (nodes=1), the number of processors needs to be specified in the command line with options '-dis -np':
#PBS -N ansys_test #PBS -l walltime=3:00:00 #PBS -l nodes=1:ppn=8 #PBS -W x=GRES:ansys+1%ansyspar+4 ... ansys -dis -np 8 < ansys.in ...
Notice that in the script above, the ansys parallel license is requested as well as ansys license in the format of
#PBS -W x=GRES:ansys+1%ansyspar+n
where n=m-4, with m being the total cpus called for this job. This line is necessary when the total cpus called is greater than 4 (m>4), which applies for the parallel example below as well.
For distributed jobs requesting multiple nodes, you need to specify the number of processors for each node in the command line. This information can be obtained from $PBS_NODEFILE. The following shows changes in the batch script if 2 nodes on Glenn are requested for a parallel ansys job:
#PBS -N ansys_test #PBS -l walltime=3:00:00 #PBS -l nodes=2:ppn=8 #PBS -W x=GRES:ansys+1%ansyspar+12 ... export MPI_WORKDIR=$PWD machines=`uniq -c ${PBS_NODEFILE} | awk '{print $2 ":" $1}' | paste -s -d ':'` ansys -dis -machines $machines < ansys.in ... pbsdcp -g '*' $PBS_O_WORKDIR
The 'pbsdcp -g' command in the last line in the script above makes sure that all result files generated by different compute nodes are copied back to the work directory.
Information on how to monitor the job can be found in the computing environments section.
Further Reading
See Also


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- Independent
- The Enterprise
- The Recorder
The Charles County liquor board recommended prohibiting liquor stores within 1,000 feet of accredited schools and halving the number of liquor licenses available in Waldorf and White Plains during an annual public hearing Wednesday on local legislative proposals.
County agencies and community groups made 11 proposals before the county commissioners and the Annapolis delegation, including a couple from the Board of License Commissioners spurred by the controversial approval of a liquor store near Westlake High School.
The liquor board also proposed requiring additional signs advertising a pending liquor license if its future location is not easily accessible to the public and splitting licenses for sales on premises into subcategories for restaurants, bars, taverns, nightclubs, hotels and stadiums, each with its own criteria and fee structure.
The school zone and public notice proposals are directly inspired by the local uproar over a liquor store set to open 506 feet from Westlake High in a new shopping center on Middletown Road, at its intersection with Smallwood Drive.
State law currently prohibits liquor stores from being within 500 feet of Charles County schools. In addition, pending liquor licenses must be advertised in a local newspaper and on the future premises.
With those requirements met, the liquor board approved the license for Cheers liquor store May 6.
But local residents were unaware of the hearing and quickly formed the Westlake Advocates group in protest of the board's decision.
"There was no opposition at the hearing. There was no opposition at the hearing because the community was unaware," said attorney Linda C. Carter, who has been hired by the Westlake Advocates.
The group plans to petition the board for a rehearing, claiming they were sealed off from the Cheers premises by an active construction site and could not see the sign advertising the May 6 hearing.
Dorchester resident and Westlake Advocates member Ivan Sherard cited national studies and federal statistics indicating that crime increases around liquor stores.
"You're adding an unsafe condition," he said.
Del. Peter F. Murphy (D-Charles) asked liquor board members Wayne Magoon and Thomasina Coates for the rationale behind making the school zone 1,000 feet, as opposed to 1,200 or 1,500.
"Frankly, we've had a little pressure lately," Magoon said, drawing a few laughs, before saying the proposal was drafted in conjunction with the Westlake Advocates.
The 1,000-foot zone would cover only state-accredited schools, but Commissioner Reuben B. Collins II (D) asked whether additional protection could be provided for day care centers. In addition to the high school, Cheers also would be within walking distance of a nearby day care.
Magoon said the 500-foot requirement used to include churches, but that the law was changed when churches started to lease space in strip malls, a popular location for liquor stores.
If the zone were applied to day care centers, many of which also are located in strip malls, "You may never put another [liquor store] anywhere," Magoon said.
Del. C.T. Wilson (D-Charles) asked whether a 1,500-foot zone was "too onerous." Magoon said such a restriction would keep responsible proprietors such as Nick's of Clinton, located near Thomas Stone High School in Waldorf, from opening in the future.
Wilson also suggested requiring that written notice be sent to properties contiguous to or in the immediate proximity of a pending liquor store, but Magoon again voiced caution.
"How many administrative things can you put on this? ... Where do you put a limit on it?" he asked.
The liquor board also proposed increasing the number of residents per liquor store license in the county's 6th Election District — which spans Waldorf and White Plains — from 1,350 to 2,700. Despite what already seems like a long list of liquor stores in Waldorf, its high population means there are still 18 available licenses in the district, Magoon said.
"There are, in our opinion, too many in Waldorf already," he said.
The commissioners and delegation agreed.
"I think there are an ample number of liquor stores in our community right now, particularly in the 6th District," Collins said. "I don't know how anyone could make a credible argument for more."
Other legislative proposals included:
•From the Charles County Board of Education, increasing the salaries of its chairman and members by $2,000 to $7,000 and $6,000, respectively, raising the members' annual expense stipends from $600 to $800, and providing a $1,000 scholarship for the board's student member.
•From the Charles County Sheriff's Office, prohibiting a person from extorting sexual images from another, and excluding correctional officers in probationary status from the Law Enforcement Officers Bill of Rights.
•From the Southern Maryland Carousel Group, a $250,000 bond bill to buy a platform — on which the carousel animals will sit — for a long-planned carousel in Hughesville.
•From the Charles County Department of Economic Development, establishing a property tax credit for businesses that create jobs via new construction.
•From the Charles County Department of Planning and Growth Management, an analysis of public facility impact fees for new development.
•From the Charles County Department of Community Services, implementing regulations on taxicabs, which are currently unregulated in the county.


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""..our apartment was equipped with a fully functioning kitchen, replete with oranges for juicing, a juicer, coffee grounds for grinding, a coffee machine, and the most swaggy open-plan living room, framed by a seemingly endless view..."" Wonderland Magazine
"The New York Times recently named our second city as one of the hottest destinations for 2012...Its favourite place to stay? Staying Cool's apartments atop the Rotunda..." The Sunday Times
"Leave the curtains open and wake up to the panoramic views from floor-to-ceiling windows." Time Out


text:
How to remove carpet stains
Removing Carpet Stains
Related Articles
Carpet Cleaning
Carpet Cleaning Solutions
New Carpet Care
Removing Carpet Stains
My puppy knocked a glass of red juice on the carpet. It is a tan carpet and it's stained now. There are other stains, too. What can I use for removing carpet stains?
Use Shaving Cream for Removing Carpet Stains
White foam shaving cream is very inexpensive and gets almost all stains out. Dampen the stain with a little water and then spray the shaving cream on it and work it in with a damp cloth. Scrub the stain well with the shaving cream and then keep rinsing the scrubbing cloth in a bowl of water (to start getting some of the shaving cream out) and you will work most stains out.
Removing Stains with Kids and Pets
I use KIDS 'N' PETS® for all my carpet stains. I have two large dogs, five cats, and three kids. This works on any stain and on any fabric. I have used this to remove stains on my sofa, ottoman, clothing, and carpet.
Works on All Kinds of Carpet Stains
One of the best carpet stain remedies I've ever seen is using a solution of regular carpet shampoo and oxygenated bleach alternative. Use the hottest water you can stand, wet the carpet with a rag, and mop up. Repeat until the stain comes clean. It may take several passes, but it'll come up. Be sure to concentrate on the edges of the stain inward. Next time, do it fast and furious. You can do this with all kinds of stains as well. I've even used it on pillows for spot cleaning. It also works for puppy stains, blood stains, and fecal matter. I've even used it for vomit.
Ironing Removes Carpet Stains
My son spilled a pitcher of red Kool-Aid® on our carpet. A Stanley Steemer guy told me to spray any kind of carpet cleaner on the spot, blot it with a white clean towel, lay a white clean towel over the stain, turn an iron on low, and iron over the towel. Keep the iron moving so it doesn't burn the carpet. The heat draws out the dye in the juice. It should take it out completely even if it is an old stain.
Replacing Section Removes Stain
Buy Spot Shot. It is great! Home Depot and Lowe's have the larger cans. A small can is sold at our local dollar store. If the carpet doesn't come clean, then consider cutting out the bad spot and putting it in a corner or under the sofa. Use the good carpet to repair the hole. If that doesn't work, consider having a carpet company come and "turn" and "cut" your carpet until it works for the room. If all that still doesn't work, then it's time to consider taking up the carpet and cleaning the floor underneath. My neighbor had her floor painted after the carpet came up and it worked great for all her kids and pets!
SCOE 10X. THE Odor Eliminator that actually works. Read the reviews here.
Removing a Red Wine Carpet Stain
Try Zep® Oxy Carpet & Upholstery Cleaner. A couple of years ago, I knocked over an entire glass of red wine on beige carpet. My son-in-law is in the restaurant business. He recommended this cleaner. Just follow the directions on the container. Our carpet came clean.
Take the Next Step:
- Check Steam Cleaner product reviews at Cheapism.com before you spend your money.
- Get more great time and money saving ideas in your inbox aimed to help you 'live better...for less'. Subscribe to Dollar Stretcher Tips newsletter, a twice weekly look at how to stretch your day and your dollar!
- Visit our "Handy Household Tips" board today!
- To read more on removing carpet stains or to add your own ideas, please visit The Dollar Stretcher Community.
Share your thoughts about this article with the editor
Also in Home
- 6 cheap, effective home security solutions
- 5 simple and affordable luxuries for your home
- 5 frugal ways to expand your living space
- Top 10 DIY mistakes made by home 'handymen'
- Tha basics of financing a home improvement project
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- Getting rid of hornets
- Does home ownership or renting make more sense in retirement? Expert Interview
- Finding an affordable safe handyman
- Make your decor pop with these little things
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Helpful Resources
- Find the best mortgage rates in your area
- 3 ways to use a mortgage calculator
- Mortgage calculator: Calculate your payment and more
- Home equity calculator: HELOC vs. line of credit
- Should I borrow from my home equity?
- How much can additional payments save me on my mortgage?
- Who offers the most home insurance discounts?


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The innovative bodyshell of the 911 fulfils two structural design requirements: first, excellent driving dynamics due to the body's extremely high rigidity; second, a low vehicle weight primarily as a result of the intelligent lightweight construction.
To meet the second requirement, we employed state-of-the-art techniques for combining various materials in order to utilise specific material properties exactly where they are needed.
For the bodyshell, therefore, we used very thin, but nevertheless extremely rigid, sheets of steel. Aluminum and magnesium were used extensively in areas such as the roof, underbody, front end, doors, rear wings and engine compartment and luggage compartment lids. Magnesium, which is a particularly lightweight material, was also selected for the cockpit and centre console support beam and, in the Cabriolet models, the hood shell elements.
Such material efficiency is key to reducing the overall weight and, as a result, fuel consumption of the vehicle.
For the driver, this intelligent blend of materials reduces the weight of the vehicle and offers a high level of comfort thanks to excellent vibration-damping characteristics and particularly high composite rigidity, a high degree of dynamic torsional stiffness, and especially sporty handling.
The long wheelbase improves comfort as well as straight-line accuracy and driving stability at high speeds and in fast corners.
© 2015 Porsche Cars North America, Inc. Legal notice. Privacy Policy.


text:
|forgot password
|create account
|Or use Mozilla Persona:
|Nick's post on Why Persona is Great
|about | help | code help+videos | done | prefs
> Warmup-1 sleep_in (python)
Sorry, no data available
About progress graphs. The graphs require a browser with excellent HTML5 support such as Firefox, Chrome, or Safari. Unfortunately IE8 is not up to it.
Copyright Nick Parlante 2006-11 - privacy


text:
You are here
Educational Workshop - Safe Kids Grand Forks - 12/11/2014 - 6:00PM-7:30PM
Child Passenger Safety Made Simple for New or Expectant Parents. Registration fee is included with the prenatal class registration fee of $15.00. (Fee waived if this is the only class being taken.) To register, please call 701-780-5179 or log on to altru.org. Please remember to bring your car seat along if you have purchased it already.
Thursday, December 11, 2014 - 6:00pm to 7:30pm
WhereRydell Auto Center
2700 South Washington Street
Grand Forks, ND


text:
Bids, RFPs, RFQs
Bids, RFPs and RFQs are to be delivered to the appropriate City Department no later than the due date and time for the application to be considered.
For questions or further information on individual items, please contact the Project Manager as indicated.
City of Santa Clara
The City of Santa Clara is not responsible for the content of external sites.
Thank you for visiting the City of Santa Clara website.


text:
- Independent
- The Enterprise
- The Recorder
Saltwater bacteria can be life threatening
By KATIE FITZPATRICK
Staff writer
With warmer weather approaching, county officials want to make sure the public is aware of the possibility of contracting a type of bacteria that can sometimes be life threatening.
During a Tuesday presentation to the Calvert County Board of County Commissioners, Walter Boynton of the University of Maryland Center for Environmental Science Chesapeake Biological Laboratory said non-cholera vibrio is a naturally occurring bacteria found in saltwater that can cause infections.
The bacteria can be contracted through consumption by eating contaminated undercooked seafood, or through cuts or open wounds on a person's body, primarily when water is warm and has a high salinity content, said deputy health officer Dan Williams.
According to the Calvert County Health Department's website, non-cholera vibrio infections have increased in the country in recent years. In Maryland, between 2006 and 2010, 168 cases were reported, 10 of which were reported in Calvert. In 2010, four cases were reported in the county, three of which were wound infections and one by consumption, the website states. Williams said no cases of vibrio have been reported this year.
Most vibrio infections, the website states, cause gastrointestinal illness and are associated with the consumption of contaminated shellfish. The bacteria also can cause severe skin infections in an open area of skin exposed to warm saltwater.
According to the Centers for Disease Control and Prevention website, vibrio can cause life-threatening illnesses in "immunocompromised persons" in which the bacteria can affect the bloodstream. Infections in the bloodstream are fatal about 50 percent of the time, the website states.
Williams said every "swimming season," the health department posts information about the bacteria on its website and also posts signs at beaches throughout the county.
Prior to entering the water, anyone with an open cut or wound should have a waterproof bandage covering the area. He said if someone gets in warm salt water and has uncovered open cuts, "clean yourself off and rinse yourself down."
Although Boynton said there was no "alarming trend" for vibrio reports in the county, Commissioner Susan Shaw (R) said not enough information has been distributed to the public to make them aware of the potential dangers of the bacteria. Shaw said one man, 63-year-old Jackie Thompson of Dowell, died recently from complications after he contracted vibrio two years ago through a blister on his foot.
Shaw said Thompson was healthy at the time he contracted the bacteria during a fishing trip on the Chesapeake Bay. She said the vibrio affected Thompson's entire body and caused liver failure. A week before his death, doctors found Thompson had kidney cancer, she said.
"It all stems from vibrio," Shaw said. "You could die very quickly from it or you can have a situation like he had, where it affects organs. He spent quite a long time at Washington Hospital Center."
Shaw said not many people know about the dangers of vibrio and "we need to be paying a lot more attention to it" and be more cautious when "conditions are right for it."


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Confirmation dose response of hits from multiplexed high-throughput screen for small molecule regulators of Bcl-2 family protein interactions, specifically Bim-Bcl-B
One arm of apoptosis is regulated by the balance of anti-apoptotic and pro-apoptotic Bcl-2 family members. In humans, six genes have been identified that encode anti-apoptotic proteins characterized by the presence of conserved motifs designated as three Bcl-2 homology (BH) regions, BH1, BH2, and BH3 [Reed, et al. 2004]. These domains form a hydrophobic cleft in tertiary structure. Pro-apoptotic more ..
Related BioAssays
Related BioAssays
BioActive Compounds: 9
Related Experiments
University of New Mexico Assay Overview:
Assay Support: NIH 1X01 MH079850-01
HTS to identify small molecule regulators of Bcl-2 family protein interactions
PI: Larry Sklar, Ph.D.
Assay Implementatiion: Peter Simons Ph.D, Susan Young MS, Anna Waller Ph.D, Mark Carter MS
Dose Response Assay Background and Significance:
One arm of apoptosis is regulated by the balance of anti-apoptotic and pro-apoptotic Bcl-2 family members. In humans, six genes have been identified that encode anti-apoptotic proteins characterized by the presence of conserved motifs designated as three Bcl-2 homology (BH) regions, BH1, BH2, and BH3 [Reed, et al. 2004]. These domains form a hydrophobic cleft in tertiary structure. Pro-apoptotic family members contain BH3 regions that form an amphipathic helix, and these helices bind in the clefts of the anti-apoptotic proteins. Overexpression of pro-apoptotic BH3 peptides has been shown to increase apoptosis of leukemia cells using in vitro and animal model studies [Holinger, et al. 1999; Wang et al. 2000; Walensky et al. 2004]. The binding of fluorochrome-conjugated BH3 peptides (including Bim) to Bcl-2 family members thus provides the basis for construction of fluorescence-based assays amenable to flow cytometry high throughput screening for small molecule regulators of these interactions. This is a multiplexed assay to identify small molecule regulators of protein interactions between the BH3 peptide of Bim and the following six Bcl-2 family members: Bcl-XL, Bcl-W, Bcl-B, Bfl-1, and Mcl-1 and Bcl-2 (the eponymous founding member of the Bcl-2 family).
Each component of the multiplex assay consists of a glutathione labeled bead, a GST Bcl-fusion protein target (six total, supplied by project collaborator), and a fluorescent peptide probe, F-Bim (FITC-Ahx-DMRPEIWIAQELRRIGDEFNAYYAR-OH; Commonwealth Biotech, USA). Bead sets are coated with individual GST-conjugated Bcl-2 proteins in HPSMTB buffer (30mM HEPES, 100mM KCl, 20mM NaCl, 1mM MgCl(2), 0.01% Tween-20, 0.1% BSA) and incubated overnight at 4 degrees C.
The multiplex is constructed by using beads for each protein target that have been labeled with varying intensities of red color, so that each assay is built on a unique bead set, and each bead set is associated with a unique optical address. Beads are first washed in HPSMTB buffer for 20 minutes before adding the appropriate GST-Bcl fusion protein. The bead sets (ThermoFisher Scientific product numbers XPR-1687-XPR-1696), have similar size (~ 4 micron diameter) and are distinguished by distinct emission characteristics at 665 +/-10 nm with excitation at 635 nm. Thus, GST-Bfl-1 might be non-covalently coated onto red level 1 beads, GST-Bcl-XL onto red level 2 beads, etc. The 6 bead sets (each with bound protein) and uncoated beads (see below) are first centrifuged separately, then combined and centrifuged again, and finally diluted just before loading into 384-well plates, to minimize bead-protein dissociation before the assay begins.
The HTS assay was conducted in 384-well microplates in a total assay volume per well of 10.1 microliters (5 microliters of bead mixture, 0.1 microliters of test compound, and 5 microliters of 100 nM F-Bim in HPSMTB). Test compound concentration was 10 microM. Controls, which contained bead mixture and F-Bim but no test compound, were located in columns 1 and 2 on each plate. Plates were placed horizontal axis on rotators and incubated for 1-2 hours at 4 degrees C.
A glutathione-only bead set control (no associated GST-protein) was incorporated into each well as a fluorescence scavenger to determine inherent fluorescent properties (at 530 nm emission) of the test compounds. Specificity of F-Bim binding was determined with a Positive Control using a block of the F-Bim fluor with a non-fluoresceinated Bim peptide. The F-Bim blocking control was run daily as a separate single tube assay using Bim at 5 microM.
The primary screen yielded hit compounds that were evaluated in previous dose response screens. In the study reported here, a series of compounds were re-ordered in powder form and a confirmational dose response evaluation was done. Test compounds at 10 mM concentration in DMSO were serially diluted 1:3.16 eight times for a total of nine different test compound concentrations. Final compound dilutions in DMSO ranged from 1 microM to 10 mM. These dilutions were then diluted 1 to 100 to give an assay concentration range of 10 nanoM to 100 microM. The compounds were tested in either duplicate or triplicate dose response curves.
Sample acquisition and preliminary analysis is conducted with the HyperCyt(R) high throughput flow cytometry platform. The HyperCyt system interfaces a flow cytometer and autosampler for high-throughput microliter-volume sampling from 384-well microtiter plates [Kuckuck, et al. 2001]. The stream of particles is excited at 488 nm and 635 nM, and flow cytometric data of light scatter and fluorescence emission at 530 +/- 20 nm (FL1) and emission at 665 +/- 10 nm (FL8) are collected on a Cyan Flow Cytometer (Dako). Analysis of the time-resolved acquisition data file uses IDLeQuery software to merge the flow cytometry data files with compound worklist files generated by HyperSip software. The raw data are parsed in IDLeQuery to produce annotated fluorescence summary data for each well. The parsed data are then processed through an Excel template file constructed specifically for the assay to segregate data for each target and the fluorescence scavenger in the multiplex. Gating based on forward scatter (FS) and side scatter (SS) parameters is used to identify singlet bead populations. Gating based on FL8 emission distinguishes the beads coated with different proteins, and the green median fluorescence intensity (MFI) per bead population (well) is calculated.
In dose response experiments, the assay was performed without compound and with nine different concentrations of compound, from 10 nanoM to 100 microM, to produce a series of 9 data points. IDLeQuery calculates the median channel fluorescence (MCF) for each of these ligand concentrations, generating competition curves. The percent inhibition response was calculated by the following equation:
% response = 100 x (DMSO - SampleFL)/(DMSO -BlockCntrl)
where all variables are Median Fluorescence Intensity associated with the bead set bound with a specific protein. SampleFL is for beads in wells containing test compound, DMSO is the plate average of wells without test compounds, and BlockCntrl is for measurement in presence 5 micromolar non-fluorescent Bim. Baseline of % response is 0%.
These % response values were fitted by Prism(R) software (GraphPad Software, Inc., San Diego, CA) using nonlinear least-squares regression in a sigmoidal dose response model with variable slope, also known as the four parameter logistic equation. Curve fit statistics were used to determine the concentration of added test compound competitor that inhibited fluorescent ligand binding by 50 percent (EC50, microM), the low and high boundaries of the 95% confidence interval of the EC50 estimate, the Hill Slope, and the correlation coefficient (r squared) indicative of goodness-of-fit. Note that an compound eliciting inhibitory responses would have positive Hill Slope and a compound eliciting activating responses would have negative Hill Slope due to the data being fitted are the % inhibition response.
Fluorescence of the compounds could be green, which would increase the apparent amount of F-Bim bound (signal). None of such artifacts occurred with the large dynamic range of this assay, and no effort was made to annotate them. Fluorescence of the compounds could be red, which would shift the bead sets out of their gates, which had been set using whole plate data. Again, none of such artifacts occurred (bead numbers decreased at the upper end of a few dose response experiments), and no effort was made to annotate them.
Compounds with EC50 less than 10 microM and magnitude of response greater than 40% (i.e., Bottom of sigmoidal curve < 0.6 * Top of sigmoidal curve, listed as FIT_PERCENT_SPAN) were said to be "Active", and thus given a PUBCHEM_ACTIVITY_SCORE. The PUBCHEM_ACTIVITY_SCORE was based on the following equation;
PUBCHEM_ACTIVITY_SCORE = 50 * ( 1 - EC50/10 microM) + 50 * (Response - 40)/40
In this assay active compounds have activity score greater than 0.
Keywords: NIH Roadmap, NMMLSC, high throughput flow cytometry, Bcl, Bim, Bfl-1, Bcl-XL, Bcl-2, Bcl-W, Bcl-B, Mcl-1, multiplex, bead-based, screening, dose response
Result Definitions
* Activity Concentration. ** Test Concentration.
Additional Information
Grant Number: 1X01 MH079850-01
Data Table (Concise)


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About us
Mission Statement
The Well Ed Program is committed to fostering culture of health andwell-being through the development of evidence and theory based programs and activities that empowers the campus community to manage their health and make healthy decisions.Our overall program objectives are:
- To empower students with the tools to live a healthy and balanced lifestyle both during their academic career and in preparation for life after college.
- To provide the Lehman College community with relevant and accessible resources in the areas of health education, wellness, and disease prevention.
- To foster the development of safe and inclusive environments for our students to receive the guidance and support to succeed academically and as leaders in their communities.
- To develop strong collaborative ties with diverse campus partners to support the needs of our diverse student body.
- To aid in the development of multi-layered wellness policies that meaningfully impacts the choices, activities and physical environments of the Lehman College Community.
Dugeidy Ortiz
Director, Wellness Education and Promotion Program
Email: firstname.lastname@example.com
My work at Lehman College focuses on improving the well-being of students through the provision of health education and other activities. My current goal at Lehman College is to develop impactful health education programming that not only attracts students but will provide them with accurate and timely information to help them make the right health decisions. The last four years I was a community outreach coordinator and program developer at the NYC Department of Health and Mental Hygiene (NYC DOHMH). My work at the NYC DOHMH focused on issues of health equality and food justice. My primary projects where with the Healthy Bodegas Initiative and Shop Healthy NYC! where I worked closely with community groups, schools, residents and business owners to help eliminate health disparities by increasing the availability of healthier food options to the South Bronx and Harlem. Previous to this I was a doctoral student pursuing a degree in Medical Anthropology at the University of Connecticut working on sexuality and reproductive health issues among young emergent adults of color.
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Bipika Joshi is a senior in the Health Services Administration Program at Lehman. This year Bipika will be serving as the peer coordinator for the Wellness Education and Promotion Program- working with our peer educators to engage the student body around different health topics. Having been a peer educator, Bipika understands the ins and outs of being a peer and will serve as a mentor to the Well Ed Peers. Bipika is passionate about health care and the provision of health services in high needs populations.
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10 September 2008Historic Scotland announce details for a dramatic re-enactment event taking place at Arbroath Abbey on Sunday 14 September.
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Sam's Lake
Horror, Suspense/Thriller
An escaped psychiatric patient slaughters his family in their sleep and disappears into the woods never to be found. Many years later the horrifying massacre has turned legend as disappearances haunt the surrounding towns.
Cast: William Gregory Lee, Fay Masterson, Sandrine Holt, Salvatore Antonio, Stephen Bishop
Produced by:
Directed by: Andrew Erin
Written by: Andrew Erin
Running time: 1hr 26min
Opens: Jan 30, 2009 LA
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Names and nicknames are a lot of fun, so to start with here's another question for you: what does a Pampas Bull have to do with the most successful marque in Formula 1 history?
Ferrari's F138 was launched in Maranello at the end of last week. The Lotus E21 was the 21st car to come from that team's Enstone stable, but where does the Italian constructor get its nomenclature from?
The logic behind the naming of the Scuderia's 59th car is not that complicated: 13 is for the year 2013, 8 for the number of cylinders, and their juxtaposition in the F138's name acknowledges the fact that this will be the last year, for the foreseeable future, of that particular engine architecture in Formula 1.
In 2014 we switch to V6 turbo-charged power and, as Ferrari President Luca di Montezemolo admitted at the F138 launch, that's not something familiar to the Maranello marque.
"A V6 engine is not part of the Ferrari tradition and in the name of the F138, we are paying homage to the 8-cylinder engine and the fact this is the last year we will use it," said the President. But he sounded a warning note for the team's rivals at the same time.
"I continue to maintain, for economic, musical and power reasons that it would be better to stick with 8 cylinders. But the decision has been taken to build the V6 and if next year, there will be modifications that are in the best interests of Formula 1, then I will even be pleased to see this engine at work and in fact, I'm sure Ferrari is capable of building the strongest V6 in the world."
F138, responding to last year's difficulties in calibrating wind-tunnel data, has been designed solely in the ex-Toyota wind-tunnel at their former F1 facility in Cologne, Germany.
- Carbon-fibre and honeycomb composite structure
- Ferrari longitudinal quickshift semi-automatic sequential gearbox; seven gears plus reverse; limited-slip differential
- Brembo ventilated carbon-fibre disc brakes
- Independent suspension, pull-rod activated torsion springs front and rear
- Weight (with water, lubricant and driver) 642 kg
- Ferrari Type 056 8-cylinder engine in a 90° vee
- 4 valves per cylinder; pneumatic distribution
- Total displacement 2398cc
- Weight 95 kg
- Electronic injection and ignition
Ferrari has pulled out all the stops to make sure it is not left behind, as it seemed to be at the start of 2012. Part of the effort is a restructuring of team management, with Chief Designer Nikolas Tomazis now helped by not one but two Deputies. At the same time Ferrari has two design 'cells' working on the 2013 and the significantly different 2014 cars.
"There was a significant performance gap to be closed," says Tombazis as he looks back to 2012 and forward to the new season.
"I would say the biggest changes relate to the front suspension, which has an improved layout, while at the rear the suspension is completely new. We also have a revised sidepod design, aimed at improving the aerodynamics in this area, as well as a completely new layout for the exhaust system."
Eagle-eyed fans will also note that F138 has a light but effective 'vanity panel' over the 'ugly duckling' stepped nose. Overall the Maranello backroom people have followed two guiding principles: weight loss and increased rigidity.
Less weight and improved rigidity? Maybe that's what Fernando Alonso is targeting as he opts to miss this week's first test at Jerez, concentrating instead on the fitness levels he will need to sustain another 19- or 20-race campaign.
"I can't say if it's a nice car or if it's good enough to make the difference," said the 31-year-old Spaniard with typical candour, "because tenths are not visible to the eye – you need to see them from the cockpit."
But Alonso is adamant that the Scuderia's drivers – who this year include, in a development role, the veteran Spaniard Pedro de la Rosa – act and speak as one. "We are lucky in this team to have a very good entente," he insisted. "Pedro and Felipe and me, we are one person and the same."
Tell Massa that when he gets his next 'telephone call' from long-time race engineer Rob Smedley, we hear you say...
Alonso is the latest in a litany of Ferrari's Grand Prix-winning drivers that stretches back almost to the beginnings of the World Championship in 1950. So far Fernando is the 37th on that list; Ferrari have won 219 times in their 851 World Championship races and they are the only team with more than 200 of everything: wins, poles and fastest laps.
Technical Director Pat Fry acknowledged that the F138 seen at the launch is a very different animal from the one we will meet on the grid at Albert Park. Such is the pace of development that the three pre-season tests – two in Jerez, the last one in Barcelona – will bring a host of changes.
But the overall objective is the time-honoured one in all forms of motor racing.
"We will have a better idea of what our true performance level is come the third test," said Fry, "but I'm not going to be happy until we are clearly quickest."
That sentiment was echoed by Team Principal Stefano Domenicali. "There will be three teams who win all the races," said the immensely popular Italian, "and we have to be one of those teams.
"The key objective that we must have is of immediately delivering a competitive car to our drivers."
*How did you go with our nicknaming conundrum? The answer is that it took Ferrari until the fourth Grand Prix of 1951, the British round at Silverstone, to claim the first of those 219 victories. It went to Froilan Gonzalez, a burly driver from Argentina whose nickname was... 'The Pampas Bull'. The 37-strong list had started.


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If you can dream it, you can do it. -Walt Disney
Quality is a great business plan. -John Lasseter
Let's make some funny pictures. -Tex Avery
I never considered a difference of opinion in politics, in religion, in philosophy, as cause for withdrawing from a friend. -Howard Zinn
When critics sit in judgment it is hard to tell where justice leaves off and vengeance begins. -Chuck Jones
And what do you benefit if you gain the whole world but lose your own soul? -Jesus
A man should never neglect his family for business. -Walt Disney
What's most important in animation is the emotions and the ideas being portrayed. -Ralph Bakshi
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2D Animation Project
Showcase your drawings, illustrations, video and media.
3 posts • Page 1 of 1
2D Animation Project
here's a 2D animation project that I'm working on. I would like to get some critiques on how I can improve it and make it better.
How's my followthrough and overlapping action?
How's the squash and stretch? Does it shows believable weight?
How about my timing.
And so on...
Thanks in advance! XD
Re: 2D Animation Project
That's a pretty good little clip, trckstrgod.
I think your attempt at follow through / overlapping action is fine for the most part. There's a lot of back and forth swing that may overwork the action, but it's a good exercise none the less. I looked at the animation frame by frame as much as possible and there's some volume fluctuation going on with your shapes. Try and keep the volume in your basic shapes as consistent as possible when animating. Play up the line of action as well. This will add more fluidity to the animation of your character.
There's positives in your animation of this character. Good luck and keep us updated with your progress.
Daily Z
Re: 2D Animation Project
Nice work trckstrgod!
Charles knows what he's talking about and has great suggestions, so definitely listen to him.
All looks good to me, but my only two small suggestions would be: to have the tip/point of the hat's motion have a little bit more follow-through so that it eases into the pose just before the anticipation of the throw. Also, maybe you'd like to show some interaction between the broom and the girl as she get's off of the broom...maybe it has a bend to it and it rises a bit as she gets off of it. Keep it up.
3 posts • Page 1 of 1


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NEW YORK — Phil Ramone, the masterful Grammy Award-winning engineer, arranger and producer whose platinum touch included recordings with Ray Charles, Billy Joel and Paul Simon, has died at 79, his family said Saturday.
Ramone's son, Matt Ramone, confirmed the death.
Few in the recording industry enjoyed a more spectacular or diverse career. Ramone won 14 competitive Grammy Awards and one for lifetime achievement. Worldwide sales of his projects topped 100 million. He was at ease with rock, jazz, swing and pop, working with Frank Sinatra and Aretha Franklin, Stevie Wonder and Paul McCartney, Elton John and Tony Bennett, Madonna and Lou Reed.
Ramone was on hand for such classic albums as The Band's "The Band" and Bob Dylan's "Blood On the Tracks." He produced three records that went on to win Grammys for album of the year — Paul Simon's "Still Crazy After All These Years," Billy Joel's "52nd Street" and Ray Charles' "Genius Loves Company."
"I always thought of Phil Ramone as the most talented guy in my band," Joel said. "So much of my music was shaped by him and brought to fruition by him. I have lost a dear friend — and my greatest mentor."
Ramone was also a pioneer of digital recording who produced what is regarded as the first major commercial release on compact disc, "52nd Street," which came out in 1982. He was even part of political history, advising presidential administrations on how to properly record a news conference and helping to arrange the storied 1962 party for President John F. Kennedy at Madison Square Garden that featured Marilyn Monroe crooning "Happy Birthday."
He won an Emmy for a TV special about Duke Ellington, a Grammy for the soundtrack to the Broadway musical "Promises, Promises" and a Grammy for the soundtrack to "Flashdance."
— Hillel Italie
Associated Press


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Shawnna Michelle Curtis, 26, was killed after her 2008 Ford struck a deer 7:15 p.m. Wednesday on Highway 34 in Montgomery County.
According to an Iowa State Patrol crash report, Curtis was driving east on Highway 34 when a deer entered the roadway. The deer collided with the vehicle, came through the windshield, and hit Curtis. The vehicle continued east, then entered the north ditch where it rolled once.
Curtis was pronounced dead at the scene.
A passenger, Lydia Powell, 9, was transported by Life Flight to Creighton Hospital in Omaha. She has since been treated and released.
Curtis and Powell were wearing seatbelts at the time of the accident, according to the report.