text:
|Thread Tools
Note: Even though I mention some Epson projectors specifically, this method can be applied just as effectively to all projectors. In fact, this calibration philosophy is applicable to all display devices.
Stereomandan's Calibration Method for Epson 1080 (partial), 1080UB, 6100, 6500UB, 7500UB, 8500UB, 8700UB...
From my discussions with folks here, I've discovered that the CMS (Color Management System) behaves the almost the same on all the projectors listed above (except the 1080 which doesn't have brightness control in the CMS, so a Epson 1080 owner will only get partial benefit) This means that my method listed below will perform roughly the same with any of these projectors. (Personally, I own the 1080UB the early brother to the 6500UB, 7500UB, 8700UB...)
As a side note. I have not had a chance to fool around with the THX mode on the newer models. I believe this mode is closer to the correct REC.709 standard than other presets on older models, but still can benefit from this method.
While performing detailed calibration of my 1080UB, I discovered that I could achieve what most would seem almost a perfect result. My primary and secondary color and brightness lined up perfectly with the REC.709 reference points, my gamma tracked dead-on 2.22, and my grayscale was fantastic at 6500K with a dE of less than 2 from 20% to 100% stimulus. Here is an example of my calibration, which I was extremely happy to achieve. Doesn't get much better than that huh? Well, read on.
The problem:
I noticed that areas of scenes looked washed out(gray), and as if color had been reduced. The picture was better than the "out of the box" settings though. While the picture looked good, it lost a lot of that colorful POP wow factor. It was most noticeable in mildly lit scenes. When colors were subtle, they looked washed out. The problem was particularly noticeable with skin tones, which are critical. Faces looked too gray, and the picture just looked flat. Outdoor, well lit scenes didn't seem to suffer as much.
What did I do?:
I tried to understand why colors looked washed out. This led me to the Color Saturation Windows in the downloadable AVSHD REC.709 disk found here:
I had been using this disk for my calibration, but had simply been using the 75% or 100% Brightness Color windows for calibration. This is what is commonly used, and the standard method for calibrating. See the top two arrows in the picture below:
For more background information, look here at Kurt's Dummies Guide for calibration, a fantastic source of information.
Important Information before you read on:
Color terminology. I will be discussing Color Brightness Windows, and Color Saturation Windows. They are NOT the same. When most people talk about using 75% or 100% color windows for calibration, they are talking about the Color Brightness windows. The saturation does not change between these 75% or 100% color windows. (the x, y locations remain the same.)
Using my calibration method, you will use the 75% Saturation windows (which are at 100% Color Brightness). I'll explain why later, and where you can find the patterns.
In order to understand what I mean, let's take a look at the color gamut triangle. Shown below is the color gamut from above, but with some explanations. Take the green primary for example (at the standard REC.709 reference point.) Let's say you were to pull up a 100% brightness color window for green. If you measure the Green location to be outside the REC.709 triangle, then it is oversaturated. If you were to measure the green primary and it was inside the REC.709 triangle, then it is undersaturated. Adjusting Hue spins the measured point around the D6500 reference white point, as shown. The goal is to get the measured value of green to match the reference point of the test pattern. This chart does not show the brightness of green, another critical measure. You can have green perfectly saturated and the correct hue, but it can still be to too light, or too dark. This is why there is a x, y location for all colors, but also a Y (Brightness) value. All three have to be set correctly to have an accurate color.
O.k., with that said; let's say you want to find out how accurately your projector displays more subtle colors of green, closer to the center 6500K white point in the color gamut. Are there test patterns for this? Yes, but the only ones I'm aware of are on the AVSHD REC.709 disk. They are listed in the Color menu, under saturation windows, as shown below.(the bottom arrow) Here are where the 75% Saturation windows are located (as well as 0%, 25%, 50%, 75 and 100% color saturation windows for all primaries and secondaries.) All of these patterns use 100% brightness (Y) as their reference. The patterns also assume your display gamma is 2.22. (By the way, the 6500K white point, shown in the photo above, is where all of the grayscale measurements are located, from black all the way on up the grayscale to white. This gray, "middle area", of the triangle is where there should be no noticeable color.)
This is where all of these saturation windows are located on a color gamut chart:
Don't confuse these with the standard 75% and 100% Color Window patterns shown below. These are the color windows found on most calibration disks. These color windows are only at the outer edge of the color gamut triangle, but the brightness (Y) is either 100%, or 75%. Here are where they are located on the AVSHD REC.709 disk.
So, what happens when you calibrate our Epson projectors to the standard color windows? Take a look below. The 100% saturation points, at the outer edge of the triangle look great, but look at the 75%, 50%, and 25% saturation points for all the colors. Pretty surprising huh? Let's take green again for example. When green is supposed to be 75% saturated, it will really only be close to 50% saturated! The same holds true for other colors. This is why I noticed the colors looking gray and washed out! It was really happening, as the measurements show.
So what do we do? Well, after studying my calibration files, I noticed that the 0, 25, 50 and 75% saturations seemed to perform o.k. after some adjusting, but then all heck broke loose at 100% saturation and became oversaturated. So I thought, well, maybe I can at least get the 75% saturation gamut(and lesser saturations) to look great. This 75% gamut is outlined by the light gray triangle in the picture above. This makes up a LOT of the available colors to choose from. The 100% saturation points will be off, but maybe this is overall a better solution.
So here are the results:
The 0, 25, 50, and 75% saturation points line up fantastic, and the 100% points are oversaturated. How does the picture look in real life, on the screen? Fantastic! Skintones are spot on, and WOW, the colors look beautifully accurate and have good POP. I'll explain more below.
How do you do this? Open up the saturation windows and use the 75% saturation window patterns for calibrating, instead of the typical 100% saturation windows. Here is a walkthrough:
Calibration Walk-through
Colorometer (I used the Display One LT when performing calibrations for this guide, and have since upgraded to an i1pro. All of the suggestions in this method still apply)
Download the ColorHCFR software:
Laptop or PC close to the screen
Tripod (to hold meter)
Blu-Ray Source settings:
Turn off any picture enhancement modes (sharpness, contrast, dynamic…)
If you are going to use 24fps for viewing, turn this on
Projector Initial Settings:
Color mode: Natural (yes, this matters. Do not use the Theater Black Modes)
Turn off any Frame Interpolation.
Iris: Off (Can be turned back on after calibration is complete)
Choose either low or high lamp mode, but don't switch during calibration session. You will need a separate calibration for each mode if you are going to use both high and low lamp mode. (This only impacts the grayscale, so that's all you need to adjust for each mode)
Color = -10 (this gives a good starting point)
Tint = -4 (this gives a good starting point)
Color temp = 6500K, or 6000K
Skintone = 0
You can turn on 2-2 or 4-4 pull down if the Blu-Ray player is set output 24fps
HDMI expanded (Depends on Blu-Ray player setting for Blacker Than Black and Whiter Than White setting)
1) Brightness = Set by eye with AVSHD pattern
2) Contrast = Set by eye with AVSHD pattern (I typically bump my contrast down two to four notches from what the test pattern would suggest. I had problems with overdriving the bulb when adjusting to meet the test pattern. This does sacrifice some lumens though)
Greyscale Calibration
3) Adjust grayscale using the gray window patterns on AVSHD (I use the 90% and 30 or 40% gray windows) You typically don't mess with Green, unless you have to. Only adjust Blue and Red to match Green. Use Gains first with the 90% window, and get the red, green and blue levels equal. Then use the Offsets to adjust the 30 or 40% window, again making red green and blue equal. You may have to go back and forth a few times between the 90 and 30 window to get the correct setting. Remember, gains first on the bright windows, then offsets for the darker windows.
4) Recheck brightness and contrast, and adjust as necessary. Sometimes, adjusting the Gains and Offsets can impact the correct brightness and contrast setting, particularly brightness.
Gamma Calibration
5) Adjust gamma. Use the Custom Gamma. My spreadsheet below helps with setting custom gamma.
My Excel Download
For this, I recommend using my spreadsheet. Instructions on how to use the spreadsheet are in the first post of the thread in link to below. I've attached a copy of this file at the end of this post as well. This spreadsheet has been a HUGE help for me. I developed it because I was tired of constantly calculating the correct gamma brightness, and also the primary and secondary color locations, and brightness. To use the spreadsheet, you copy and paste data from HCFR into the excel spreadsheet. It provides charting, target locations for colors and brightness, dE calculations... For your initial calibation, you only need to use the "Calibration Aid" tab. Here is the link:
Go to the Calibration Aid tab. Enter the measured Y value of your 100% Gray window from HCFR. See the pictures below:
Then, using the custom gamma sliders in the EPSON, adjust your Gray windows brightness to match the target Y values (cells N14 thru N24). You will need to adjust the gamma sliders for the 10%, 20%...90% windows. I start with the 90% window, and adjust that, then go to the 80% window and so on until I finish with the 10% window. Some gamma sliders impact more than one brightness window(especially the sliders to the far right), some only impact one (sliders to the left). The sliders on the left affect the darker windows, while the sliders on the right adjust the bright windows. Don't touch the first or last slider! (they impact your 0% grey, and 100% grey, which is brightness and contrast which you've already set)
Alternatively, I've included a table that shows the %Y for each gray window, shown below. (this is more work than my spreadsheet, but the table is provided in case you don't have Excel) For instance, the 30% gray window should measure 6.91% of the 100% gray window. If your 100%Y reading is 20 cd/m2, then the 30% window should read 1.38 cd/m2. This needs to be repeated for the 10-90% windows. Do NOT adjust the 0% or 100% window. (the first and last gamma slider bar). I like my gamma to be 2.22 for all windows except the 10% window, which I like to have at 2.15 gamma to improve shadow detail and prevent black crush.
Gray Window\tRelative to 100% Y 0%\t 0 10%\t 0.60% 20%\t 2.81% 30%\t 6.91% 40%\t 13.08% 50%\t 21.46% 60%\t 32.17% 70%\t 45.30% 80%\t 60.93% 90%\t 79.14% 100%\t 100%
6) Adjust Color Gamut
I go in this order. Red, Green, Blue, Yellow, Cyan, Magenta.
Example of 75% saturation Window
Here are the x, y locations and %Y for each color at 75% saturation.
\tx\ty\tRelative to 100% Y Red\t0.5582\t0.3298\t0.213 Green\t0.3032\t0.5323\t0.715 Blue\t0.1907\t0.1273\t0.072 Yellow\t0.3927\t0.4612\t0.928 Cyan\t0.2466\t0.3288\t0.787 Magenta\t0.3189\t0.1979\t0.285 White\t0.3127\t0.3290\t1.000
If you use my Excel spreadsheet, in the Calibration Aid tab, it will make it easier because the target brightness is also shown. When you adjust saturation on the Epson, the brightness will change. As you increase saturation, the brightness will go up and vice versa. Be aware of this. Your goal is to hit the x, y locations for the 75%, and the correct Y. For example, let's say your 100%Y reading is 25 cd/m2, then Red should hit 5.33 cd/m2 and Green should hit 17.88 cd/m2, and so on. You need to calculate the Y for each color. My spreadsheet does this for you automatically if you enter the 100% Y value.
Special Hint!
I have found a very easy way to hit the correct color locations. This takes away the headache of trying to hit x, y locations (as shown above) and how you adjust saturation and hue to get there. See the red, green, and blue bars in the HCFR picture above? (three pictures back) In the picture, the bars show 98%, 100%, 100% to the left of the ftL and cd/m2 readings. These are the bars I'm talking about. Here are the target %'s for the red, green, and blue bar for each 75% color saturation location. (They are also listed in my Excel spreadsheet on the "Calibration Aid" tab as shown a couple of pictures back).
\t Red Bar Green Bar Blue Bar Red Primary\t 378%\t24%\t24% Green Primary\t 15%\t133%\t15% Blue Primary\t 64%\t64%\t555% Yellow Secondary 106% 106% 17% Cyan Secondary\t 24%\t120%\t120% Magenta Secondary 247%\t41%\t247%
For example, lets say you want to calibrate red. To hit the correct saturation, all you have to do is increase or decrease the red saturation slider in the Epson RGBCMY menu until the red bar reads 378%, and the Green and Blue bar read 24%. If the green and blue bars are not equal, use hue to correct this. Hue is always used to balance colors. When calibrating blue for example, you want green and red to be equal. This creates the correct hue. When adjusting a secondary color, like yellow for example, you want an equal balance of green and red. (red and green will have a high %, while blue will be low.)
Keep in mind that you still need to set brightness (Y) for red, and all the colors The target value will be shown in the "Calibration Aid" spreadheet, or you can calculate it based on the 100% gray window. Remember, calibrate red, green, and blue before you calibrate the secondary colors.
That's it. You're done! Enjoy. You will notice that your 100% colors are oversaturated, but your brightness at these locations will also drop. (I'll write up some more on this later) This helps compensate for the oversaturation. I have found this method to look far superior to the standard method of using the 75% or 100% Brightness Color Windows. If the Epson CMS worked 100% accurately, we would not have to use my method. You could use the standard method.
O.k., so I mentioned that I would explain the brightness drop at 100% saturation, and why this is a good thing. The error in a color (Delta E, or dE) uses saturation, hue and brightness in it's calculation. This means that if a color is oversaturated, you can use a lower brightness to fool the eye into thinking the color is less saturated. This works, but there are limits.
As you can see from the results above, when you use my 75% saturation technique, the 100% locations are oversaturated. What does the brightness of each color do as you increase saturation from 0 to 100%? Look at the picture below. It stays well behaved up to 75%, but then drops at 100%. This drop in brightness helps compensate for the oversaturation. This is why the 75% method provides a picture superior to the standard calibration method even though the 100% points are oversaturated.
Gamut, Saturation, Brightness, dE Chart.zip 376.2724609375k . file
Keep in mind that the before and after photos below were from calibrations with an i1D2 meter, which wasn't reading perfectly at the time. I don't have photos from calibrations from my new i1Pro meter, but I can say that they look even better.
edit 4-10-09 Added the photos below to help keep this thread organized with the important data towards the beginning...
They say a picture is worth a thousand words...
Sorry about the confusion. I was looking to see a comparison between Out of the Box PQ and either 100% or 75% in the same mode. (Otherwise the comparison wouldn't be very accurate, no?) In other words, I am interested in seeing what kind of difference there is after calibration compared to how it arrives from the factory. I hope that makes more sense!
I got all of these pictures off the internet after searching for pictures that are used to show color accuracy. I loaded them onto my PS3, which is my Blu-Ray player.
Here you go. I see that my camera added a little warmth (red push) to the pictures, which I noticed in the picture of the little girls and fleshtones mostly. This is not the case in real viewing, but all pictures are taken with the same settings, so they all have the same warmth from the camera. First picture in each comparison is my 75% method. Second picture is the default Natural Mode. There is ABSOLUTLY NO DOCTORING OF THESE PICTURES. I can provide the originals if requested. I simply resized them(1600x1200 to 1024x768), and sharpened them (because my camera wasn't focusing properly, and resizing softens pictures). All done in Infranview. Camera is an older Canon A60 2MP set to manual mode, on a tripod. F 4.5, exposure 0.8 seconds for all. Color mode on camera was daylight mode, no flash of coarse.
For the Default Natural Mode: (natural is the most accurate color mode)
Brightness: 1 (same brightness as used in my 75% method)
Contrast: -2 (same contrast as used in my 75% method)
Color: 0
Tint: 0
6500K color temp.
Skintone 3
RGB and RGBCMY all set to Zero.
Gamma set to 2.2 preset
Low lamp mpde (same as used in my 75% method)
Auto Iris off (same as used in my 75% method)
My method:
My method:
My method:
My method:
My method:
A couple of example shots with my method:
Attached is the HCFR file from the "My Method" pictures.
Here are a couple more examples of my Epson projector calibrated using the standard calibration method, versus my 75% saturation method.
If you perform all 30 saturation window measurements in HCFR, you can see these plots. Go to Measures>>>Saturations>>>All Colors. Use the saturation windows in the AVSHD as I showed above.
See the two pictures below. Both curves in each picture show the error in color. The X axis is % saturation, and the Y axis is error. The top curve shows the error in saturation. If the line isn't at zero, then it is either oversaturated (above the zero line), or undersaturated (below the zero line).
The bottom curve in each picture is the error in Hue. These curves do not include error in saturation or brightness. It only looks at whether the color has the correct mix of red, green and blue. The goal is to stay below six, and more preferably below three.
Here is the chart for the standard method of calibration using 75% or 100% Brightness, 100% Saturation windows.
Here is the chart for my method of calibration, using 100% Brightness, 75% Saturation windows
Pretty amazing huh? Using the standard calibration method, the color saturation error and hue error is excellent at 100% saturation (the outer edge of the color gamut)… but what about colors inside the gamut? Horrible! Very undersaturated, and hue isn't the best either (especially red).
Looking at the second picture, using the 75% saturation method, look how excellent everything looks up to 75% saturation. This area makes up a very large part of the color gamut. Saturation error and hue are excellent. Things get oversaturated at 100%, but like I stated earlier, the drop in brightness at 100% color helps compensate.
You just gave me an excuse to once again do some more calibration.
Will try it out soon. Feedback will be given if appropriate.
Got it in there now. Thanks for the suggestion.
Any additional input or suggestions are welcome from all.
doug goldberg,
If you look at the color gamut, just remember that saturation moves you in and out from the triangle, and hue basically spins you around the triangle.
It's hard to generalize with x, y and how they impact saturation and Hue.
Red is probably the easiest though. x will impact saturation (higher x means more saturation). y will change hue.
Cyan: x will impact saturation (lower x means more saturation). y will change hue.
Green: y will mostly impact saturation (higher y means more saturation). x will mostly impact hue.
Magenta: y will mostly impact saturation (lower y means more saturation). x will mostly impact hue.
Blue and yellow are mixed mostly mixed with what x and y do.
...and yes, in HCFR if you have the continious measure on (green play button), and you go to the CIE Diagram (gamut chart), your measurement point will show up as a yellow dot. The only problem is that the 75% locations are not shown on the gamut chart in HCFR. It can still be useful to see how saturation and hue move the color though.
Bill Mitchell pointed this out to me in separate post. It is worth adding I think to the checklist, when running the final report.
By the way, if you are using the technique to measure the colors at 75% stimulus, you would be better off measuring the grayscale and the primary/secondary colors separately; that way HCFR will measure the 75% stimulus white at the same time as it measures the 75% stimulus colors. When you press its button to take all the measures at once, it inserts the grayscale 100% white measure as the white value in the color grid, which makes the delta E/delta luma entries in the primary and secondary color grid misleading.
Hope this helps and is it of use to you. I think it is a good point as I normally run the whole thing together, what do you think?
Thanks for the suggestion and what you say there is true. However, I don't use, and don't recommend using the 75% stimulus(Brightness) patterns on the Epsons. I've done measurements, and the 100% stimulus and 75% stimulus patterns give nearly identical results for the location of the primary and secondary colors. Using 75% stimulus windows just make it that much harder to figure out the correct brightness for all the colors.
If you run a full set of saturation measurements, you end up running the 100% stimulus patterns anyway.(at 0%, 25%, 50%, 75% and 100% saturation) This is under Measures>>>Saturations>>>All Colors. You then use the saturation windows that I point out above. This way you don't have to worry about the greyscale measurement, because everything is referencing 100% stimulus.
Most of the time, all I run are a full set of grayscale measurements, and the full set of saturation measurements. This gets you all the information you need.
You use 75% stimulus windows when a projector has a hard time with the 100% stimulus windows (like older CRT's and even some newer projectors(the JVC RS20 in custom user color modes)). Fortunately, the Epsons are good in this regard.
Interesting point, different from Bill's.
So when I recalibrate next, late next week, I will look at two files, a bit more work but it will give me a visual idea of what you wrote and he wrote.
Until then thank you for all the help and guidance.
On a "light" note;
"In the beginning there was nothing. God said, 'Let there be light!' And there was light. There was still nothing, but you could see it a whole lot better."
Ellen DeGeneres, (attributed)
US comedian and actress
"But was it 100% light, 100% saturated light, 75% light, or 75% saturated light?"
Attributed to me after reading too many posts on avsforums.com and drinking 12 beers during a calibration session.
Correction 12 organic ales.
Bill Mitchell doesn't have an Epson projector, so he is giving you advice based on other displays. If the Epson had problems with 75% and 100% stimulus(Brightness) patterns, I would also recommend what he suggests. Fortunately, the Epson is good in this regard, so it just makes things easier to use 100% stimulus patterns.
Just to be clear, the "Saturation Windows" all use 100% stimulus, so when you run all 30 saturation measurements, you end up running the 100% stimulus, 100% saturation patterns in the process.
This is identical to running the "100% Windows" seperately.
Ok, understood and agree.
Well I could not wait till the end of next week to get this done, so after the wife went to sleep last night, I calibrated (no beers).
The "Saturation-Luminance" chart was un-bloody believable, after saturation measures were run; straight as an arrow an all time first, but only adjusted brightness in RGBCMY. The gamut performance on the CIE was also remarkable, no bendies except a tiny bit in cyan. It was very late and I did not get time to adjust the hues and saturations. Will do this tonight, but still a remarkable method using your spreadsheet, you are to be congratulated.
The only problem I encountered was that my setting for Gamma was 2.0 and came in nearly dead on straight at 2.25. When I tried to adjust with the custom menu by moving the points up slightly it came in at 2.5!, so I had to move all the points a lot higher to get it back down - weird, but it was taking too long so I left it for tonight. I moved it back to 2.0 giving 2.25.
I might just have to go with that if I cannot bend the gamma back properly before setting the hue and saturation. I believe, but am not sure, the most likely reasons for this is, in order of likelihood are:
1. That throw maybe too close (too late to change) at 11'9". Making the ftL above 12.2 so harder to get perfect numbers as some say one needs to be below an ftL of 11.0
1.a On the good side the Y is 41.62 and as the Epson 6100 (140 hours) dims this should solve itself.
2. It might also be due to the LCD panel being organic, but that I really know nothing about, versus inorganic for the 6500UB.
3. Obviously the Epson 6100 is different from the 6500UB so maybe at these very extreme points(2.0 Gamma setting and too close at 11'9") it does not calibrate quite as well.
Should I then plug in Gamma as 2.25 on the spreadsheet if I cannot bend it correctly, or should I adjust the hue and saturations based on 2.22, hoping they will move the target down to 2.22? I believe the color was at -5, and tint at 0 or -1, I'm not near the PJ now, would that have any affect?
In HCFR they state in their help section that in a very dark room, which mine is as it has virtually no ambient light other than the color of the room itself, that a Gamma of up to 2.5 is acceptable, so should I just forget about battling Gamma down to 2.22 and just work off 2.25? My personal feeling is to leave it, as I believe the ageing of the lamp will solve the issue and the line is pretty straight on at 2.25. If so should I set the reference gamma in HCFR under "Preferences" at 2.25?. If you do agree with leaving it at 2.25 what would you think would be a good Gamma number at 10%?
Last question, do you know what the far left and right points on the custom gamma chart do? They are adjustable so one must assume they serve some purpose. I cannot find any posts that explain this on avsforums, may be nobody knows for sure.
Other than the Epson Gamma adjustment issue all went well so far. If I get it done tonight I will post it.
Thank you it seems to be going great.
To me, 2.5 gamma is way too dark and doesn't look natural. 2.25 is so close to 2.22 that you shouldn't even worry about it.
The far left and right points on the gamma curve would end up adjusting brightness and contrast. Since you already set this properly in the main menu, there is no reason to change the first and last slider.
Just be aware that the saturation-luminance curves in HCFR are all screwed up. In order to get accurate saturation-luminance curves you need to input the data into my spreadsheet. The saturation-shifts charts are fine in HCFR. In order to copy and paste data from HCFR, click the "Editable data" tab. Then you can hightlight the numbers you want, then copy and paste into my spreadsheet.
When you end up doing your color saturations and hue the saturation-luminance curve might change, but that's o.k. as I explained above.
"HCFR's gamma settings are unnecessarily complex. Do you have it set to Display Gamma in Advanced, Preferences, References? If you don't, then set it that way. If you do, then I am at a loss as to why you prefer a 1.9 gamma. Assuming that your black level is set correctly, I have never seen display with a gamma that low that offered optimal performance. Most users will find 2.2-2.35 to be the most subjectively pleasing tradeoff between shadow detail and image depth."
Tom Huffman
Rockville, MD
"Gamma is very important and unfortunately very tricky. The most important part of the gamma curve is the lower 10% and the ability to measure it at that level is a problem. For example, you can have an accurate curve of the other 90% and poor performance in the last 10% and it will wreck the image."
W. Jeff Meier
"Very true, I feel gamma is very important. It provides the overall tonal quality of the image. This can be the end all or be all for a film director trying to achieve the correct atmosphere within a film.
I've sacrificed slight shadow detail, by allowing a slight amount of black crush, to obtain a ruler flat gamma line of 2.2.
I suppose an analogy is to Hi-fi. Are you willing to sacrifice a good midrange performance for a more detailed treble output? Personally, I would always prefer to get a more natural accurate midrange."
"Gamma is very important.
I think it's unfortunate, however, that the ISF is telling people that the reference gamma is 2.2 when it is not. Now we have a whole generation of people doing calibrations who assume 2.2 to be the target."
"Also keep in mind that a gamma this low can make very dark scenes really 'pop' (inaccurately, but it can still look very impressive). What you should be looking at at the same time though, is how much contrast and how washed out and flat bright scenes will become with such a low gamma. This is why when tweaking gamma down a little bit for subjective reasons, while you may be doing so to improve subjective performance down low, the damage is being done in brighter images and that's where you want to be careful to make sure you're not making everything thats brighter look pasty and flat.
And of course, watch for a little while before making rash judgements. Any time you take a TV out of a calibrated mode and right into vivid or something, everyone will probably say OH WOW!!!! But after a while, and going back and forth and learning to appreciate an accurate image, few would agree with that quick and rushed judgement."
Any opinion, seems reasonable?
Well the half-German side of me wanted 2.22222222222, you know the bomb must drop precisely within 1mm of the target. The half-Russian side of me says who cares so long as it does the job have another vodka, so I will go with you and the Russians.
I liked that side of the family better anyway.
Have spent a few hours now preparing for a 75% saturation calibration, but instead I've been doing the gamma over and over again... that nasty little thing is a slippery one...
Reading Dan's guide again, with a set of tired eyes, I might actually have understood how you guys adjust gamma. Using the spreadsheet and the 10% IRE patterns, you are basically adjusting gamma in realtime to its "spreadsheet position". Am I correct?
Up til now I have adjusted, done a greyscale, analysed gamma, slight new adjustment, do greyscale, analyse gamma... painful stuff.
Good stuff guys!
I have a procedure I use for gamma with my Epson that is very easy. I'll try to write it up and post it tomorrow.
I have found that once you adjust greyscale, you don't need to mess with it again when you adjust gamma. (as long as you don't touch the first and last slider in custom gamma)
Ok correct me if I am wrong, as I stated earlier I set my "Color Saturation" on the Epson to -5, and "Tone" to -1, I think. Dan, you set yours initially to -10, and - 4 respectively. The reason I had such a hard time adjusting Gamma was perhaps I did not go low enough with my settings. Or perhaps the reverse is true I need to bring the levels up, but that to may create other issues such as balancing x and y.
Dan, I now remember that quite some time back, you had a discussion with a senior professional calibrator, I do not know who, where he agreed with you that adjustments to hues, saturations, and Gamma were easier if these two settings were turned down a lot. This is particularly so with less expensive (sub $25k) amateur PJs like the Epson, versus say a professional $25K - $35k plus PJ.
Pondering over this I think part of my problem with getting Gamma in line is I have these two settings turned up too high. I forgot about your discussion.
Dan, what do you think?
As you can see I to have the same problem as you but gave up. But I tried the same thing as I think you are suggesting, adjusting Gamma to fit the Ys, but in some percentages the adjustment was more than the custom scalar could handle. That is why I think my initial color/tone setup was wrong.
There is another way to get there and that is to lower contrast but that reduces ftL and that I am not willing to make that compromise. It is very easy from my experience to get a good calibration with a low ftL (lower than 11) but much more work to get it right with a high ftL. You could say it "Sorts out the men from the boys" or in your case "The Vikings from the weak little under fed English peasants"; right now I am a teenager, or an upper-class well fed English peasant, is this area of experience, but no Viking.
It may be that I will have to live with 2.25 (my German ancestors will turn in their graves and call me a useless lazy "Schweinhund", one my late Dad's favourite words), but my ftL is over 12, although I understand that a number of professional calibrators like 2.32, but they are most probably working with quite darkly decorated rooms with no ambient light (rich people's bat caves) and expensive PJs. However, I would like a flatter response line, even at 2.25, that is why I may try lowering "Color Saturation" and "Tone".
Personally I think the best test of which Gamma level to use is to put Penélope Cruz up on the screen if she looks "Good enough to eat" then you are on to something, unfortunately Penélope Cruz movies have been banned from our house by my wife so you will have to tell me.
It could also be that with amateur PJs with higher than an 11 ftL it simply is not possible to get Gamma well balanced. We will let others more experience calibrators comment on this theory.
If I do work with 2.25 I will adjust the Gamma in "Preferences" in HCFR to 2.25, and use Bill Mitchell's page "Ref Points Adj for Gamma" in the "Gamut, Saturation, Brightness, dE Chart" spreadsheet and paste it like he suggests into cells H2:M31 on the "Input Data" page, created I think by Dan, of the afore named spreadsheet, in order to work with accurate numbers.
If that does work well I will be singing "Deutschland Deutschland über alles" (Rough translation: "Germany, Germany, over everthing". But we really mean everyone not everything. Yup, kind of a crazy national anthem) for at least a week, in honor of my ancestors of course.
Meenenator, hope my 4 hours experience with battleing Gamma helps.
The great thing about this calibrating is that we will all get it right by the 2000 hour mark, just in time for a new bulb. And just in time for Dan's new system for flatenning out the color lines after 75%; utilizing Quantum Mechanics, the Large Hadron Collider in Geneva, in conjunction was his soon to be wildly popular but extremely expensive 12 Volume Theory "On Flatenning The Colors" available from him exclusively, cash only.
Dan, what do think?
There is one other solution, sell the spouse's car and buy a nice professional Gamma corrector.
See here:
It is nice to know we are not alone. If I am reading this correctly it could mean that pushing for a perfect Gamma may mean one has to drive the panel's electronic too hard which could mean shortening the live of the PJ, as one might do if you overclocked your computer's video card, something to consider. As I think I may be doing this I have my fan in "High Altitude" mode even though I life up a hill at 1000 ft, just as I do with my video card, for safety's sake. It is not noticeable.
I managed to get a average gamma of 2.19 last night with a fairly flat response above 10IRE. Red is the color with the highest gamma and I ended up with something with blue/green below 2.22 while red above 2.22. I might post a result of it.
At least I now understand why I shouldn't change the first and last line (contrast/brightness).
I do not mind some German perfection in here. As an Aeronatical Engineer I live for these things (at least 8h a day)
I loved your phrase about finally getting there at 2000h and then get a new bulb. Made my day
I will check my color and tint settings and post them here.
I'm surprised that you need to adjust your sliders that far to get correct 2.22 gamma. In HCFR, under references, you have the "Display Gamma" box checked correct? (don't use the one with black correction) On my 1080UB, here are where my sliders are set, and I hit 2.22 everywhere except 10% grey, where I intentionally set it to 2.15.
Left to right:
0, -6, -10, -11, -12, -13, -11, -15, 0
Keep in mind that I have HDMI video range set to "expanded", and my PS3 is set to output "Superwhite" (and RGB is set to expanded), so it is outputting blacker than black and whiter than white. This is why my contrast is +7, and my brightness is -9. Not sure is this makes a difference in the gamma settings (I doubt it, but it was worth mentioning). If your Blu-ray player is not outputting BTB and WTW, then your brightness and contrast settings will be much closer to zero and you don't want to use HDMI expanded on the Epson.
Yes, never, ever touch the first and last slider. I'm not sure why they even let us try it. The gamma calculation is based solely on the 100% grey window reading (which the last slider bar will impact), so if we change that, the gamma reading will change. You will be chasing your tail.
Here are some observations (this is all from memory). The second to last slider impacts more than one grey window. If you move that slider up and down, I think it impacts the 70%, 80%, and 90% grey windows. On the other hand the first few sliders are very precise. If you throw up a 10% grey window, only the second slider will impact that (I think). I think the same goes for the 20% grey window, which I think only the third slider impacts.
I use the "Adjust it from the graph" option in the custom gamma settings. I start at the 90% grey window and work my way down. So I pull up a 90% grey window, and look at my spreadsheet for what the cd/m2 value it should be. I have HCFR in continuous mode. I then simply move the slider down until I see the correct cd/m2 in HCFR. Then I move to 80% and find the slider that works for 80% grey (which I think is the same slider for the 90% grey adjustment) and adjust that, and so on. Keep in mind that as you move from slider to slider, when you have the correct slider the image will blink in the area that you are interested in. That's when you know you have the correct slider to use. Sometimes more than one slider will impact the same window, so the 4th and 5th slider might both impact lets say the 50% grey window a little. This happens sometimes too.
This might not be different than your procedure, but it works for me.
Remember, make sure to set the first and last slider to zero, and make sure your main brightness and contrast are set correctly before you begin gamma adjustments. Your problem with red might be due to having contrast set a few clicks too high, but I could be wrong.
Thanks for the feedback.
Your write-up and assumptions are correct.
Your gamma values are fairly like mine. Even contrast/brightness are fairly equal. I do think I have a contrast of 10 now. If I have a drop in gamma/luminance at 90-100% I drop it a drop a notch.
The red is low from 40-90ish (2.3-2.6), while blue/green is higher (2.0-2.2).
I might try to increase offset and reduce gain under the RGB controls.
Hopefully I get a chance to try this out tonight. Look forward to try out gamma adjustment in real-time
Thank you for the reply. I DID HAVE BLACK COMPENSATION CHECKED, ahhhhh. I tried searching the forum on this subject, some said to check it and others not to. I will now un-check it but what effect did it have on my readings and why should it be un-checked?
Did it seriously affect the readings?
Should it be off always?
I calibrated the PJ again last night and all went a lot better if I set "Color" and "Tint" to "0", this may be peculiar to the Epson 6100. Gamma stayed under control if set this way and to 2.0. But then again it may be because of the above discussed issue. Oh, well one more session, my wife is going to kill me. I will have to add that "Black Compensation" to my checklist.
Anyhow, it was getting late and I finally lowered contrast; that seems to helps with getting a better Gamma and maybe not having to resort to setting it at 2.0. But once again it was getting too late and I only found this Gamma "trick" at the end of the session so I need to play with it. My guess is one has to lower contrast until the ftL is in the below 11.0 range before one can normalize Gamma settings, so I do not get these peculiar results. HDMI expanded is off as is Superwhite. I am not sure if the Samsung Blu-ray BDP-2550 supports this feature, I do not see it in the menu so I think not.
While doing the above search, a writer stated that the Eye-One LT has to be re-calibrated every 10 to 15 minutes; I have never read that before, does this sound correct to you? It does not to me, but then again I am an amateur at this.
I did get a good calibration following your method to a "T" but blue's "Y" was impossible to get that low, could this be due to my color temp. of 5500K, or was it a "Black Compensation" issue, or contrast setting too high an ftL?
Your guidance on custom Gamma controls is very useful.
Your advice has been unbelievably helpful, so once again thank you.
You should adjust x, y and Y at the 75% point.
The excellent excel-spreadsheet stereomandan made gives you all details.
Hue and Saturation will change Y so one have to rebalance all the time, and visa-versa.
When doing 75% sat. cal I found that adjusting in smaller steps of Hue, Sat and Y it was easier to gradually find the correct points (instead of larger jumps)
Which brings me to whisky. Enjoying one now after calibrating using the 75% saturation patterns.
I must say that it DID MAKE a difference PQ wise.
Gamma took the most time (again), and to adjust to x, y and Y from the spreadsheet took little effort.
Gamma was adjusted using 10% grayscale patterns and the spreadsheet. Followed stereomandan suggestions, which was easier than my previous method.
Thanks guys and good luck!
This checklist, which I re-did today may help.
See here:
No. #505.
Hope this helps.
Thank you for the help. On my first beer getting ready for another session with the beast.
Good Luck with the whisky.
|Thread Tools
Show Printable Version Show Printable Version
Email this Page Email this Page
|Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts
BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off


text:
News | April 6, 2005
Cassini Mission Status Report
On this recent flyby, Titan's haze was the focus of ultraviolet observations. By mapping the haze, scientists hope to learn about particle size and properties. Titan's transient clouds were also studied during the flyby.
Titan's northern hemisphere was previously imaged with Cassini's radar instrument in October 2004 and February 2005. This time, Cassini's optical cameras got their best view of the same area, as did the visual and infrared mapping spectrometer.
Titan is a prime target of the Cassini-Huygens mission because it is the only moon in our solar system with a thick, smoggy atmosphere. Cassini was launched over seven years ago and has traveled 3.55 billion kilometers (2.2 billion miles).
All 12 of Cassini's instruments have been returning data, including tantalizing images. Recently, scientists noticed episodic interferences on the composite infrared spectrometer that were traced back to the time of orbit insertion. A mirror on the spectrometer is showing some signs of jitter. The movement may be associated with the use of the spacecraft reaction wheels, used for spacecraft pointing control. A motor on one of three sensors on the magnetospheric imaging instrument and another motor on the plasma spectrometer are also not working properly. However, a workaround has been identified for the latter. All three instruments continue to function, although with some reduced level of science data collection.
"We are working to understand why the instruments are not performing properly but it is likely to be a few weeks before we have definitive answers," said Robert T. Mitchell, Cassini program manager at NASA's Jet Propulsion Laboratory, Pasadena, Calif. "When running a mission for this long, you expect to have a few glitches. Cassini has been working remarkably well considering the duration and complexity of the mission."
Cassini's next encounter is with Titan on April 16 at an altitude of 1,025 kilometers (637 miles). This will be Cassini's closest flyby of Titan yet.
The latest images from this flyby are available at: http://saturn.jpl.nasa.gov and http://www.nasa.gov/cassini.
The Cassini-Huygens mission is a cooperative project of NASA, the
European Space Agency and the Italian Space Agency. JPL, a
division of the California Institute of Technology in Pasadena,
manages the Cassini mission for NASA's Science Mission Directorate,
Washington, D.C.
News Media ContactCarolina Martinez (818) 354-9382
Jet Propulsion Laboratory, Pasadena, Calif.

subset: commoncrawl


text:
Learn how MacUpdate Desktop can install apps on MacUpdate with the simple click of the icon. Plus, keep all your apps updated.
System Preferences in Lion only allows for configuring scrollbars globally. But one setting that applies to all applications does not reflect that for some tasks seeing/not seeing a scrollbar can be crucial (such as always showing a scrollbar for programs where you edit text/code vs. hiding it for Web surfing). For those times when you wish you could change the system default for certain applications, now you can! LionScrollbars allows you to configure scrollbar settings on a per-application basis, so you
What's New in LionScrollbars
- Added link to online help wiki.
- Added appearance tab for installing SIMBL/configuring *experimental* SIMBL plugin for customizing scroller appearance for some apps.
- Added filter textfield for quickly finding the app whose settings you want to change.
- Added prompt for optionally restarting target app from within LionScrollbars.
Requirements for LionScrollbars
- OS X 10.7 or later
- 64-bit processor


text:
OldSkool Music Rave Anthems Chat Reminisce those good old days! - Hardcore - Acid - House - Club - Hits
There are currently 1 users browsing this forum. (0 members & 1 guests)
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
Forum Rules


text:
Ukraine leader offers concessions in wake of deadly violence
KIEV, Ukraine -- Ukraine's president gave in to pressure from European diplomats and offered concessions Friday to defuse a crisis that has divided his country and left scores dead. Shots rang out near the protest camp and a skeptical opposition massed in central Kiev, divided over what to do next.The capital remained tense after President Viktor Yanukovych announced early presidential elections and promised to bring opposition members into the government - but didn't say when.
CBS News correspondent Holly Williams reports from Kiev that there were scuffles Friday morning in Ukraine's Parliament as opposition members called for snap presidential elections. The protesters in Kiev's Independence Square told CBS News that they were staying put until Yanukovych was removed from power.
European foreign ministers had stayed up all night in Kiev trying to negotiate an end to the standoff, prompted when the president aborted a pact with the European Union in November in favor of close ties with Russia instead.Small groups of protesters advanced toward the president's office, torching one truck and seizing two others. Scuffles broke out between a few dozen radicals who wanted to attack the building and more moderate protesters.
A group of police officers from western Ukraine arrived on Independence Square to show their support for the opposition, and one told The Associated Press that they had arms.
Yanukovych gave no time frame for new elections, and it's unclear whether his belated concessions will be enough to satisfy protesters who have occupied a piece of Kiev and government buildings around the country in a nationwide battle over the identity of their country.The U.S., Russia and European Union are deeply concerned about the future of Ukraine, a nation of 46 million that has divided loyalties between Russia and the West. Shots rang out again Friday near the protesters' camp in Kiev, a day after the deadliest violence in Ukraine's post-Soviet history. It is unclear who was targeted and whether anyone was hurt or injured in Friday's incident.
"As the president of Ukraine and the guarantor of the Constitution, today I am fulfilling my duty before the people, before Ukraine and before God in the name of saving the nation, in the name of preserving people's lives, in the name of peace and calm of our land," the president said in a statement on his website.
Yanukovych also promised constitutional reforms trimming presidential powers, a key demand of protesters.
The opposition has rejected similar invitations to join the government in the past, saying that constitutional reform giving parliament greater powers has to be passed first.
On the early elections, a Yanukovych ally earlier said that they would be held in December instead of March - not soon enough for many protesters enraged by police violence.
Lawmaker Inna Bogoslovskaya, allied with the opposition, told the AP that December is too late for elections. "After 77 corpses yesterday ... that changes the stakes," she said. "The Maidan (protest movement) demands immediate resignation of the president instead of early elections."
Protesters will not abandon occupied buildings until after the constitution is changed, she added.
Polish Foreign Minister Radoslaw Sikorski, who is involved in the negotiations in Kiev, called for calm and said he was going to meet with protesters on the Maidan. He tweeted that it's a "delicate moment for the settlement and all must remember you don't get 100 percent in a compromise."
The German Foreign Ministry tweeted that Foreign Minister Walter Steinmeier and Sikorsky were to hold more talks with opposition leaders and protesters Friday.
All this was not enough for some protesters, who accused the president of trying to buy time and want him out immediately.
"We don't believe him. He has cheated the people before. He declared a truce, and then there was shooting," said Valentin Mashul, manning a table with a collection box for money donations for the protesters.
"It's completely not enough," said protester Anton Gusev, standing at one of the barricades near city hall. Referring to the election date, he said, "December or March - what difference does it make?"
At the city hall barricade, protesters were busily organizing stacks of tires. The street was crowded with people heading toward the central square.
Several regions in the west of the country are in open revolt against the central government, while many in eastern Ukraine back the president and favor strong ties with Russia, their former Soviet ruler.
In a sign of the high tensions, armed law enforcement officers tried to enter parliament Friday morning during a debate over measures to end the crisis. Shouting lawmakers pushed them out.
The report of a deal followed the worst violence yet in the confrontation between the government and protesters.
Protesters advanced on police lines in the heart of the Ukrainian capital on Thursday, prompting government snipers to shoot back and kill scores of people in the country's deadliest day since the breakup of the Soviet Union a quarter-century ago.
A statement on the website of the Health Ministry said 77 people had been killed between Tuesday morning, when the violence began, and Friday morning. The statement said 577 people had been wounded and 369 hospitalized. Opposition sources claimed at least 70 on their side were killed Thursday.
There was no way to immediately verify the figures.
Protesters across the country are upset over corruption in Ukraine, the lack of democratic rights and the country's ailing economy, which just barely avoided bankruptcy with the first disbursement of a $15 billion bailout promised by Russia.The violence is making Ukraine's economic troubles worse. Ratings agency Standard & Poor's downgraded Ukraine's debt rating Friday, saying the country will likely default if there are no significant improvements in the political crisis, which it does not expect.


text:
Seen it at a lower price? View our Price Promise
Finance Options
From per month
Click here for more details
Order today for delivery in 4 - 7 Days
Bulova Watch Ladies Highbridge 96R105. The authentic story continues with classic confident designs. Since 1875, Bulova has been renowned for artistry and innovation, and aimed for superb craftsmanship and advanced technology.
Buy your new watch from C W Sellors - Jura Watches.
Try it on at home
If you do not like it, you can return it for an exchange, credit or full refund.
Let us adjust your bracelet
We can adjust the metal bracelet to fit your wrist size, see our size guide
Get free delivery
Buy online and we will ship your watch free and ready to use, fully insured by us and delivered to your door.
Free Gift Wrap
Luxury gift wrapping
Accessories for this watch
Please contact us if you need any straps for this watch.


text:
Tuesday, December 6, 2011
8 Departure Dangers from Gospel Centrality
-- Philippians 3:16
There are lots of distractions from and temptations to discard a commitment to gospel-centeredness. Here are just 8.
1. The Devil's Accusation
Every now and then I will hear some variation of this accusation from the evil one: "How can you get up there and talk about the gospel? You're a self-righteous hypocrite." Satan often tries to stifle gospel proclamation by reminding the proclaimer of his unworthiness. The specific accusation may change, but the motive is the same: get the gospel-centered preacher off his game. If the devil can get us to doubt our calling, our legitimacy as ministers, our capability as proclaimers, or merely our authorization to present the gospel, he knows he's closer to getting the gospel unheard.
2. The Devil's Insinuation
This word from the accuser is one I hear more often than any other: "This gospel stuff is gonna get old. Don't you think if you play this same old record every day people are going to get tired of it?" The devil would love to convince us that the gospel is not versatile or resilient, that it is not the every day power of salvation for all who believe.
3. Exasperation
Many times we are tempted to depart from gospel-centrality because we are fed up in not seeing the results we want or expect. Don't do that. Don't give up.
4. Rationalization
One distinguishing mark of heresy is just how reasonable it sounds. Paul warns not of wild-eyed malarkey but "plausible arguments." You may hear from some very sincere, honest, intelligent people who have been believers for a long time that the gospel-centered stuff is all very nice but they know the gospel already and what they really need to know is what the Bible says about getting out of debt or surviving the workplace. Sounds totally reasonable, no? Law-drivenness almost always does, and legalism rarely shows up these days in a three piece suit, red face, and fist pounding on a pulpit but in sweetness and light, from faithful tithers with kids in the youth group.
5. Accommodation
The rationalizers may not be able to get you to abandon gospel-centrality altogether, so they will instead try to get you to adopt "gospel plus." They're not saying to stop with the gospel stuff, they're just saying you need to be, you know, balanced. "Give us the gospel, sure, but also some of this and that too," they say. But Jesus + anything is not Jesus. Our people need the unadjusted, unadulterated gospel. They need it straight up, not mixed.
6. Minimization
Gospel minimization comes in a variety of forms, and it is itself a form of the error of accommodation. One claim gospel minimists make is that the gospel is not as important as other things, that it's the ABC's of the Christian life, perhaps, and what Christians really need to mature is the meat of "deeper teaching," which can encompass anything from systematic theology to eschatological speculation. Very often minimization comes in the form of gospel obfuscation, by which I mean the insistence that we simply imply the gospel to better make seekers comfortable or tack it on the end of a sermon in a public invitation or save it for a special sermon series or other special occasions. Sometimes minimizers want to dress up the gospel with songs from the radio, dance productions, cool videos, lasers, fog, stage-jumping dirtbikes, glowstick wielding ravers, or any number of other things the idol factory of our hearts haven't even manufactured yet.
7. Irritation
The same sun that melts the ice, they say, hardens the clay. Some people will just be flat-out offended or irritated by gospel-centered preaching, teaching, counseling, and ministry. A fear of man may lead us to acquiesce to their disgruntlement to keep the peace.
8. Insulation
Here's a big one, way too often not prepared for. A steady dose of faithful, robust gospel preaching will likely attract fringe-y people. Jesus had a way of attracting "those people." So it is with Jesus preached faithfully. If you commit to preaching the biblical Jesus and the radical grace of his gospel, you ought to commit to accumulating the kind of people that were attracted to Jesus. And, God willing, if your church grows from gospel preaching, it will change. You have no choice there. It must change. To grow is to change. And then what happens is that people who've been with the church a long time, people who may have been a part of your core or at least your core supporters and cheerleaders, may begin to turn on you. Because their church is looking different. Things are changing. And people don't tend to like change. Because the gospel enables us to obey the Great Commandment and empowers us to join the Great Commission, insulation is the enemy of the gospel.
(I've labeled the first two dangers as belonging to the devil, but all of these temptations to depart from the gospel come from the devil. Let's stand firm and resist.)
11 comments:
- chrisblackstone said...
Something that goes alongside Danger 1 is training ourselves, and others, to remember that a hypocrite isn't someone who messes up/sins but someone who outwardly professes to believe something that they inwardly don't. We can bury ourselves and others when we lay, or allow the Devil to lay, the tremendous burden of being a hypocrite on those who "just" fallen short of the truth and beauty and they actually do believe.
- December 6, 2011 at 8:48 AM
- Jared said...
Chris, that's good.
Further than that, a hypocrite is an "actor," someone who plays a role, who puts on one face for the public but is a different person inside. While the devil comes to accuse and condemn, the Spirit comes to convict us when we are playing the gospel-centered role apart from a gospel-centered life. The chief difference is that the Spirit would not have us ditch the gospel-centered teaching. ;-)
Good stuff.
- December 6, 2011 at 8:52 AM
- Mike Leake said...
Thanks for this. I've been struggling with a couple of these lately and your pointing them out has been used by God to display my ignorance, convict my heart, and point me to the all-sufficiency of Jesus.
- December 6, 2011 at 8:54 AM
- Ben Rearick said...
I've been reading your blog for the past 4.5 years, and I always thought my first comment would be way more substantial than this, but:
"simply imply" is my new favorite pair of words. [from #6]
And you've seriously been such an encouragement over the years, even if it has just been through the Internet Ether.
- December 6, 2011 at 10:35 PM
Here's one that I've been encountering lately that may align somewhere with your points 2 and/or 6 or may be a new category all-together. One could call it "Free-Floatification" - as in our tendency to disconnect life change from preaching or teaching that explains and dwells on the gospel. I've heard it argued like this: "Our people do not need more information and head-knowledge, they need application. We need to implore them to obey, instead of continually feeding them theology and gospel-talk." Over time, this makes life change "free-floating" and disconnected from Christ's saving work and wakefullness to the gospel (to borrow your term). Ironically, I've found that this over-emphasis on application or "just do it" slowly transforms a church into a softer, less authentic, "Christ is for those sinners over there" mindset. As with any of these, it seems to happen slowly and sounds decent at the outset.
- December 7, 2011 at 11:31 AM
I've also heard 'you focus too much on the cross, the real power for Christian life is in the resurrection, that's what we should focus on'.
And 'you spend too much time talking about Jesus and not enough about the Holy Spirit'.
i might answer a) both are part of the gospel, but where does Scripture focus and
b) among other things the Holy Spirit reveals Jesus to us, glorifies Jesus, and transforms us to be like Jesus. So a church that is focusing on Jesus/the gospel must mean the Holy Spirit is very active.
- December 7, 2011 at 5:27 PM
But I like surviving the work week, staying out of debt, and systematic theology, and I think that the gospel has application to these.
I assume that you bring these up only to make sure that they don't replace the gospel as the center. But, since I'm sometimes tempted to reduce the gospel to an intellectual system or morality, would you mind elaborating on what you mean here?
- December 7, 2011 at 9:39 PM
- Jared said...
I assume that you bring these up only to make sure that they don't replace the gospel as the center.
That's what I mean.
A message that is centrally about staying out of debt takes applications of the gospel and makes it the content of the gospel, which would make it a false gospel. And the execution of that sort of 6 steps to _______ usually ends up an exercise in legalism or moral therapeutic deism anyway.
- December 7, 2011 at 9:49 PM
Great post Jared. Thank you. Although, glowsticks do sound kinda fun. :)
- December 8, 2011 at 12:29 PM
- jasonmayfield.com said...
This is a great post! Thanks a ton for sharing. We've got to keep the main thing the main thing... preach the gospel!
- December 9, 2011 at 11:13 AM
- Ray Ortlund said...
Thanks, friend. Wonderful!
- December 30, 2011 at 7:36 AM


text:
There are lots of articles and essays of interest to modern Pagans out there, sometimes more than I can write about in-depth in any given week. So The Wild Hunt must unleash the hounds in order to round them all up.
- If I'm reading this right, it looks like Jessica Orsini, Alderwoman in Centralia, Missouri, and a Hellenic polytheist, isn't running for reelection in 2012. Quote: "Ward 3 incumbent Jessica Orsini is not a candidate; Landon Magley is the lone candidate for that two-year term." Orsini is in her third term as an Alderwoman, and one of the few openly transgender and Pagan elected officials. I'd like to thank Orsini for her public service, and wish her well in future endeavors.
- Selena Fox has announced the passing of De-Anna Alba (aka Wendy White), author of "The Cauldron of Change: Myths, Mysteries and Magick of the Goddess," and a member of Circle Sanctuary in its formative years. May she rest in the arms of the Goddess.
- In his latest column for Patheos, P. Sufenas Virius Lupus discusses the challenges faced by queer-oriented Pagan traditions, and broaches the idea that some form of recruitment might be necessary perpetuate them. Quote: "If the queer Pagan traditions with which I'm involved are viable, and therefore deserve to be continued in future generations after I'm dead (and even before then, with any luck), how else are those continuities to be made possible without "recruitment"?"
- It seems that the anti-Pagan spiritual warfare-loving New Apostolic Reformation makes up a pretty large chunk of Newt Gingrich's Faith Coalition. I guess all that "paganism" rhetoric makes a bit more sense now. You can read all of The Wild Hunt's coverage of this movement, here.
- Looking for more "The Wicker Tree" material after my post yesterday? Check out this video interview with writer-director Robin Hardy, recorded at 15th annual Fantasia Film Festival in Montreal. Meanwhile, the io9 blog calls the new film "thoroughly balls," which I don't think is a compliment.
- Over at her The Witching Hour blog, Peg Aloi notes that West Memphis 3 documentary "Paradise Lost 3: Purgatory" has been nominated for an Academy Award.
- The Religion News Service reports on Buddhist, Sikh, Jain,Muslim, and Hindu responses to Republican Rick Santorum's claim that the concept of equality comes only from his God, and is not found in other religions. Quote: "Indian religions predate Abraham, Jacob and all that Rick Santorum was talking about," said Sulekh Jain of Sugar Land, Texas, chairman of the International School for Jain Studies. "All souls are equal in every way. All feel pain and all feel pleasure. This concept is deeply embedded in the whole philosophy of Jainism."
- The BBC posts a story on Haitian-Americans finding connection and solace in Vodou. Quote: "Since the quake, voodoo has played an important role in the healing process. Many of these Haitian immigrants have found comfort in the faith and community that voodoo cultivates, practitioners of the religion in the US say." For more on this, see my January 25th post, "The Solace of Vodou for Haitian-Americans."
- Covenant of the Goddess points to an obituary for Gardnerian Elder Kevin Cornell (KC) Anton from Veneta, Oregon, who died trying to rescue his dog, swept out to sea. A memorial service is being held February 11th, more information can be found here. May his spirit rest and return to us again.
- LAShTAL points to an unofficial trailer for the in-production movie "Aleister Crowley: Legend of the Beast", a film that seems to break the mold and actually cast Crowley as a hero/protagonist instead of a villain. Looks like you can add that to the growing number of films created by Pagans and occultists, for Pagans and occultists.
That's it for now! Feel free to discuss any of these links in the comments, some of these I may expand into longer posts as needed.


text:
Honolulu Museum of Art School
1111 Victoria Street
Honolulu, Hawai'i 96814
Office hours:
Tue-Sat • 10am-noon, 1-4pm
Closed Sun + Mon
Gallery hours:
Tue-Sun • 10am-4:30pm
Closed Mon
Getting here
By car to the main museum
From Waikiki, take H1 to the Lunalilo Street exit, make a left at Ward Avenue, then left on Kinau Street.
From downtown or the airport, take the H1 to the Kinau Street exit.
Get driving directions.
By bus
From Waikiki, take the #2 bus from Kuhio Avenue towards downtown, approximately 20 minutes. Stops in front of the museum. The museum is on these bus lines: 1, 2, 1L, 2L.
Get TheBus schedule.
By JTB trolley
JTB customers only can get to the museum via the 'Oli 'Oli Trolley.
Get the trolley schedule (in Japanese)
The Honolulu Museum of Art School is diagonally across from the museum at
1111 Victoria Street between Beretania Street and Young Street.
Honolulu Museum of Art School lot
Located behind the Honolulu Museum of Art School, with entrances on Beretania Street and Young Street.
Hours: Mon–Sat 7am–11pm, Sun 10am–6pm
Up to five hours: $5
Each additional 30 minutes or fraction thereof: $2
Managed by Elite Parking, 808-734-7559.
Kinau Street lot
Located at 1035 Kinau Street, between Victoria Street and Pensacola Street (Diamond Head of the Admiral Thomas condominium).
The lot is closed to the public 10am-4:30pm Monday to Friday.
4:30-11pm and weekends: Open to the public and free.
Parking for visitors with disabilities
Main building: Parking is available at the museum's entrance gates on Ward Avenue and Victoria Streets. The five spaces are available on a first-come, first-served basis; they cannot be reserved.
Honolulu Museum of Art School: The parking lot is behind the Art School, with entrances on Young and Beretania streets. Enter the parking lot through the Young Street entrance, parking for visitors with disabilities is to the left. A ramp at the rear of the building leads to the elevator.
Parking for cyclists
The Honolulu Museum of Art has bike racks at its main entrance and at the entrance to Doris Duke Theatre, as well as at the Honolulu Museum of Art School.


text:
Login | Video | Open Account
Market and Applications and who uses this type of large format printer
We have one only (reconditioned, fully serviced and in excellent condition), RRP on this printer is £7125; our offer is £2000 + VAT & Delivery - Saving you over £5000!
For more information please click on the 'Make Enquiry' tab and fill in the form.
The award-winning HP DesignJet T2500 MFP (multifunciton printer) Series 910mm (36-inch) is a newly designed, two-roll, Web-connected multi-function Printer with A0-size print, scan and copy capabilities for the Architectural, Engineering and Construction, GIS and CAD communities. There are two versions available; the HP DesignJet T2500 MPF and HP DesignJet T2500 MFP PostScript.
Print, scan or copy maps, technical drawings, posters and renders with precise, accurate line quality and crisp text, with market leading, Web-connected HP DesignJet Printers and HP DesignjJet ePrint & Share. Users can connect to the printer while on the road and help boost productivity, ideal for medium to large workgroups.
The HP DesignJet T2500 MFP Printer Series is an ideal replacement for the HP DesignJet 500, 800 and 1000/1050 Printers, with improved printing economy, ease-of-use, print speed, and image quality.
View specific improvements here:
HP DesignJet T2500 MFP Printer Series vs. HP DesignJet 1000/1050, 800 and 500
HP T2500 eMFP 910mm
HP 1000/1050 910mm
610 or 1067mm
HP 500 610 or 1067 mm
Ink cost per copy, colour & B&W
Up to 30% lower
Ink cost per copy on GIS & rendered prints
Up to 5%
Pages printed without replacing a roll
4 x more pages
T2500 prints 2 x more pages
Line drawings speed (on A1/D). Printed Fast Mode, HP Bright White Inkjet Paper (Bond) and Original HP inks.
21 sec
45 sec
60 sec
90 sec
File processing memory
HP Embedded Web Server, HP Easy Print Care/Printer Utility and HP Web Jetadmin
Colour touchscreen with intuitive operation or print previews
Plug and Print directly from USB drive (TIFF, JPEG and PDF*)
Line accuracy
+/- 0.1%
+/- 0.2%
+/- 0.2%
+/- 0.2%
2400 x 1200
1200 x 600
2400 x 1200
1200 x 600
Number of ink cartridges
Number of media rolls
*PDF files only available with PostScript version of the HP T2500 MFP.
At Design Supply, a DesignJet Specialist and HP Gold Partner, we work closely with HP to provide the best solutions available to get the job done for your business and maximize your opportunities. With over 25 years of experience in the large format printer market, we offer expertise and knowledge in tailoring the exact solution for your specific application.
Key features of the HP DesignJet T2500 MFP Printer Series
The HP DesignJet T2500 MFP Printer Series eliminates the output clutter and delivers flat, collated prints thanks to the innovative integrated output stacking tray. Gain full control with the intuitive, full-colour 109 mm (4.3 inches) adjustable touchscreen which simplifies navigation and allows users to view printer status, monitor media rolls and track jobs during printing. Load two paper rolls effortlessly, even when seated, with true front roll loading and automatic roll alignment. Save space with a compact, 36-inch printer designed with a flat surface for quickly checking of your printouts.
Complete your work efficiently with True Print Preview designed to help print what's needed on the first try. Get dark blacks, true neutral greys and vivid colours with the six Original HP Vivera inks. Achieve high-quality results with new HP 6-ink system, including the HP Three Black Ink set. Process complex files at high speeds and fine detailed lines with 0.02 mm minimum line width and highly accurate drawings thanks to 128 GB virtual memory, 320 GB hard disk, HP-GL/2 technology, and innovative printhead technology and Original HP Vivera inks.
Print, scan and copy from virtually anywhere to any HP DesignJet printer without installing any drivers thanks to HP Designjet ePrint & Share, enabling printing to the HP DesignJet Printer from your laptop, Apple® or Android™ smartphone or tablet using a Designjet ePrint & Share account, an Internet connection to the printer and a connected Internet-capable device. Automatically save copies and scans to the cloud, manage content online, and email projects to the HP DesignJet T2500 MFP Printer Series. Walk up to your printer's touchscreen, access files on the Web, and print them with HP DesignJjet ePrint & Share. The T2500 MFP Printer Series is also AirPrint compatible.
Scan and copy up to 600 dpi with the HD Scanner, with a straight-through scan paper path for sheet and cardboard originals up to 0.8 mm (0.03 inch). Featuring a scan speed of up to 3.81 cm/sec (1.5 in/sec) in colour and 11.43 cm/sec (4.5 in/sec) in greyscale, the HD Scanner is fast and easy to use. Maximum scan size is 914 x 5000 mm (36 x 197 in) for PDF and 814 x 7000 mm (36 x 276 in) for TIFF file formats.
Specifications and specifications
The HP DesignJet T2500 MFP Printer Series produces 2400 x 1200 dpi resolution and prints line drawings in 21 seconds/page or 120 A1 prints an hour. Printing is easy with the HP DesignJet T2500 MFP, thanks to the included HP-GL/2, HP-RTL drivers for Windows® and the HP PCL 3 GUI driver for Mac OSX. The HP DesignJet T2500 MFP Printer Series features 128 GB standard memory and a 320 GB hard disk. The embedded Web server features basic security and job accounting features including a password administrator to enable/disable network/cloud.
The HP DesignJet T2500 MFP Printer Series features the new HP 727 printhead and six Original HP 727 Vivera inks. Bring a new level of accuracy and professionalism to your work and enjoy reliable, trouble-free printing with the single HP 727 printhead, designed and tested with Original HP 727 Vivera inks and the HP DesignJet Printer to provide consistent results. Intelligence built into the printhead makes Original HP supplies easy to use by continuously optimising print quality and maximising printhead life. The result – crisp text, fine line accuracy, smooth neutral grey transitions, and a range of vivid colours, even at the fastest print speeds. Interactive printing system technology includes intelligence built into Original HP printheads, cartridges and your DesignJet printer that send alerts when supplies need to be replaced, to help minimise interruptions. Count on reliable performance for time-saving, high performance over the life of the printer.
HP 727 Vivera inks use pigment matte black and photo black and dye-based colours, grey, cyan, magenta, and yellow to produce a wide colour gamut, sharp lines and text, smooth colour transitions, and smudge-resistant prints. HP 727 ink cartridges are mounted on the printhead carriage and are easy to replace. HP 727 colour ink cartridges are available in 40-ml and 130-ml sizes and matte black ink cartridges are available in 69-ml and high capacity 300-ml for unattended printing.
When using the HP DesignJet ePrint & Share mobile app, a compatible Apple® IOS or Android™ device and Internet connection are required. Date or connection charges may apply. Print times may vary. There is 2 GB of temporary storage per account. Wireless performance is dependent on physical environment and distance from access point, and may be limited during active VPN connections.
There are of over 20 HP media including bond and coated papers (bond, coated, heavyweight coated, super heavyweight plus matte, coloured); technical papers (natural tracing, translucent bond, vellum); films (clear, matte, polyester), photographic papers (satin, gloss, semi gloss, matte, high-gloss); backlit, self-adhesive (two-view cling, indoor paper, polypropylene, vinyl); and third party media compatible with the HP DesignJet T2500 MFP Printer Series. Our media specialists at Design Supply have the expertise to help you determine the best solutions for your particular printing needs.
Optional accessories available for HP DesignJet T2500 MFP Printer Series include additional 36 inch spindles, to accommodate for different media usage.
Count on dependable support to create the best image possible from HP and Design Supply. For added peace of mind, HP DesignJet printers feature a 12-month warranty. HP Care Pack Services, an extensive portfolio of installation and post warranty on-site support services are available to help you enhance your printing and imaging environment, protect your IT investment and grow your business. Ask us at Design Supply, and we can tailor the best solution possible for your needs.
If environmental factors are a consideration in your purchase of a large format printer, rest assured that HP incorporate a number of environmental initiatives into the design and manufacturing of HP DesignJet printers, cartridge, printheads, and media, as well as the recyclability of these components. HP Eco Solutions and HP Planet Partners programmes address energy usage, recycling, and renewing issues for printers, cartridges, printheads and media. HP even provide the HP Carbon Footprint Calculator for Printing to help you evaluate the energy consumption, paper use, carbon output and associated monetary costs of your printing.
The HP DesignJet T Series Printers won the BLI Buyers Lab "Wide Format Technical Printer Line of the Year" award in 2013. Buyers Laboratory LLC (BLI) is the leading global provider of information and testing services to the digital imaging industry. HP ePrint & Share received the BLI Buyers Lab "Outstanding Achievement in Innovation" in 2011.
For over thirty years, HP has been transforming the way design professionals in Architecture, Engineering, Construction, Geospatial and Graphics markets operate. In the late 1970's, HP developed the first pen plotter and HP-GL graphics language, now the industry standard. In the early 1990's, HP invented inkjet technology and applied it to DesignJet printers, making large format printing in black-and-white easy, fast and affordable. HP continued to innovate, and introduced colour, faster printing speeds, and the ability to print high resolution images and complex files in large format in the same decade. In the new millennium, faster printing speeds and sunlight-resistant UV inks were introduced, allowing Print Service Providers and Graphics Designers to create applications for both indoor and outdoor use. Photographers began to adopt HP large format printing to replace silver halide, demonstrating HP's ability to deliver superior image quality with prints lasting up to 200 years. In 2010, with the rise of mobility and globalisation, HP launched its first generation of ePrinters with web-connectivity features and the first multifunction large format ePrinters with copying, scanning and printing in a single device. HP have shipped over 3 million DesignJet printers around the world and are the leader in the market with the widest range of large format printers for design professionals, whether single or multi-user environments.
HP DesignJet T Series Printers feature HP thermal inkjet technology and use a number of advanced HP proprietary technologies to achieve incredible accuracy, sharpness and superior colour fidelity. HP DesignJet T2500 MFP Printer Series features HP Scalable Printing (SPT), the HP 727 printhead and Vivera inks, and ColorPRO Technology.
HP Scalable Printing Technology (SPT) allows HP DesignJet T Series and Z Series printers to deliver higher quality at higher speeds with more ink colours. HP SPT is the result of HP's investment of $1.4B and four years of research and development. SPT printheads were first introduced in 2005, and incorporate fluidic design and electronic control features required to meet the demands of commercial and industrial inkjet printing. HP thermal inkjet printheads are produced on a silicon wafer using SPT integrated circuit manufacturing processes customized for HP inkjet applications. SPT offers higher density circuitry that can place more electronic functionality on the printhead than was possible in previous generations of HP thermal inkjet printheads. Each SPT-based printhead incorporates electronic circuits that process input and output signals, manage power, control the drop generators and measure the printhead temperature. Ink channels, drop generator chambers and nozzles for the printheads are built tighter across the surface of the silicon wafer and the manufacturing techniques for SPT produce complete, integrated printhead structures with features that are defined and aligned together with sub-micron precision.
The HP DesignJet T2500 MFP Printer Series uses the new HP 727 printhead which features automatic self-maintenance and nozzle substitution routines to provide flawless image quality, lower running costs andmore efficient ink usage during installation and cleaning routines. The HP 727 printhead is part of a module that integrates the HP Thermal Inkjet printheads with ink delivery systems for the six inks. HP 727 ink cartridges are mounted on the printhead carriage and scan with it across the paper. HP 727 printhead features 9632 nozzles. The ink drop size ranges from 6 picoliters (cyan, grey, magenta, yellow and photo black) to 9 picoliters (matte black,). To ensure dependable and consistent image quality every time, the drop-ejection performance of every nozzle is periodically and automatically tested with an Optical Drop Detector.
The HP DesignJet T2500 MFP Printer Series features HP Vivera inks with the HP 6-ink writing system, designed and engineered together to provide high quality, high reliability, optimised efficiency and a wide colour gamut. HP Vivera colour inks are aqueous dye-based, (cyan, grey, magenta, photo black, and yellow) for the best range of colour across a range of printing materials to produce colours optimised for technical graphics and CAD applications. Precision colour-to-colour alignment in the HP727 printhead and dye-based HP727 Vivera colour inks deliver sharp colour lines and text, a wide colour gamut with smooth colour transitions. The HP Three-Black Ink set: photo black, matte black and light grey is included with the 6-ink writing system. The two black inks, photo (pK) for photo media with glossy and satin finish and matte (mK) for matte media such as fine art paper combined with the light grey ink, significantly reduce image grain and metamerism (greys appear green under fluorescent lighting) and provide accurate reproduction of neutral grey tones from white to black. The HP Three-Black Ink set prints true neutral greys and rich, dark blacks whether using matte or glossy papers, without wasting time and money swapping ink cartridges. HP Vivera pigment-based black ink delivers sharp black lines and text with maximum black optical density. HP 727 inks are fast-drying and smudge-resistant and produce superior lines and text and smooth colour transitions in images, renderings and illustrations. HP 727 ink cartridges are mechanically-keyed and colour-coded to ensure they are inserted into the proper ink slot. Ink cartridges are easily removed by a simple push-to unlock/pull-to-remove motion and installed by pushing them into their slot until the lock.
ColorPRO Technology is a licensing programme for a wider range of media products, technologies and applications. ColorPRO Technology was originally designed for uncoated papers containing proprietary surface-treatment chemistry resulting in bolder blacks, brighter colours and sharper lines when printed with aqueous–pigment based inks, ColorPro now includes coated papers, textiles, and films for large format printing applications. Papers and media with ColorPRO Technology perform to a strict set of specifications to meet industry–leading performance standards The specific technology behind media with ColorPRO Technology varies from product to product, however all products with ColorPRO Technology utilise advanced technologies which have been designed together with Original HP inks and HP printers to optimise printing system performance.
HP DesignJet printers are part of the HP Eco Solutions programme, aimed at energy usage, carbon footprint, recycling and environmental considerations. HP DesignJet printers meet strict energy efficiency guidelines without sacrificing performance or your productivity. HP DesignJet printers are ENERGY STAR® compliant to help you keep your energy costs down. ENERGY STAR is a joint program of the U.S. Environmental Protection Agency (EPA) and the U.S. Department of Energy. HP also aims to make it easy for you to reduce the carbon footprint of your printing.
What's in the box!
Software included:
Service and Support:
|Why lease with Design Supply?
* Fixed rates for the duration of agreement
* Major tax benefits - each payment Is 100% tax deductible
* The equipment can be earning your next payment from day one
* No need to have bank loans, overdrafts or pay cash
* Fast application turnaround
* Spread the cost of your equipment purchase
* Protect existing lines of credit and preserve cash flow for business growth
* Please note payments will be + VAT unless on Hire Purchase
All payments shown are for guidance only and subject to businesses trading in excess of 3 years, status and VAT. The tax relief shown is for illustration purposes only. Please contact us to discuss how tax relief can work for you or alternatively your accountant will be able to clarify matters for you. Options are available at the end of the lease; contact us for more information. Final approval is subject to acceptance from the underwriters.
Credit is provided by external finance companies as determined by Design Supply Ltd.
Design Supply Limited is registered in England and Wales 2604791. Registered office: Unit 2, Green Lane Business Park, 238 Green Lane, London, SE9 3TL. Design Supply Limited acts as a credit broker and is authorised and regulated by the Financial Conduct Authority. Our registration number is 728995. Credit provided subject to age and status.
Design Supply Ltd. part of the Design Supply Solutions Group


text:
Achieve with us.®
Home ... What We Do ... Public Policy ... Policy Issues ... Health Care Issues ... Acute Care Provisions
The Affordable Care Act (ACA) includes numerous provisions affecting health insurance for individuals and employers. The ACA reforms health insurance practices, gives states the option to expand Medicaid, establishes private health insurance marketplaces, requires plans include essential health benefits and much more. The information below may be subject to change as new regulations and guidance are issued.
Glossary of Health Coverageand Medical Terms
The Arc, 1825 K Street, NW, Suite 1200, Washington, DC 20006(800) 433-5255, ©2018 All rights reserved.
View Larger Map
Want to donate physical items? Contact a local chapter.


text:
- This event has passed.
Infusion Beer Release at Pueblo Vida Brewing
November 8, 2016 @ 4:00 pm - 10:00 pm
|Recurring Event (See all)
An event every week that begins at 4:00pm on Tuesday, repeating indefinitely
Event Navigation
We craft a different infusion every week from ideas our brewers, staff, friends, customers, neighbors, anyone really. It's one of the beers we already have on tap with an extra ingredient to make a one-time special brew. We only do one keg of each infusion and its only available at our taproom. A new infusion will go on tap every Tuesday and when it is out, it's gone. Let us know your favorites and if you have an idea for an infusion!
*Check Pueblo Vida social media or website for this week's infusion release.


text:
PRAGUE (AP) The last time the Czechs played Spain in the Davis Cup final, they were swept 5-0 on clay in Barcelona.
Three years later, the Czech Republic will play at home on a fast indoor hard court. Plus, Spain will play without injured star Rafael Nadal.
The Czechs hope to win their first Davis Cup title as an independent nation since the 1993 split of Czechoslovakia. Czechoslovakia won its only title in 1980, when Ivan Lendl led the team to victory.
Defending champion Spain is looking for its fourth title in five years.
``So far, it's the biggest moment of my career,'' sixth-ranked Czech star Tomas Berdych said. ``It is our goal to bring the trophy back (home) after so many years.''
The 100th Davis Cup final starts Friday with Radek Stepanek of the Czech Republic playing David Ferrer in the opening singles of the best-of-five series. Berdych will face Nicolas Almagro in the second singles match in the O2 Arena in Prague.
Ivo Minar and Lukas Rosol of the Czech Republic were selected to play Saturday's doubles against Marcel Granollers and Marc Lopez, who won the ATP World Tour Finals title in London on Monday.
But captain Jaroslav Navratil is expected to bring in Berdych and Stepanek, who are 11-1 in Davis Cup doubles.
In Sunday's reverse singles, Berdych is scheduled to face Ferrer and Stepanek will play Almagro.
The Czechs are seeking to complete a rare double just two weeks after the women secured the Fed Cup title at the same arena. No country has won both competitions in the same year since the United States in 1990.
The fifth-ranked Ferrer is wrapping up the best season, which includes a tour-best seven tournament titles.
``When I play him (Stepanek), it's always a very close match,'' Ferrer said after the draw on Thursday.
Ferrer has a career 6-3 record against Stepanek and beat him in five sets when the two teams met in the Davis Cup final three years ago.
``I remember the final in 2009. It was an amazing match,'' Ferrer said. ``This time, it's going to be a similar match on a different surface. But I have to play my best tennis to beat him.''
Spain hasn't lost on clay in 12 years, but the hard court plays to the Czech players' strengths.
``I'll try to use the surface to play my aggressive tennis,'' said the 37th-ranked Stepanek. ``Ferrer is known to be a big fighter, but anyone can be beaten.''
Berdych is 4-1 against the 11th-ranked Almagro this year.