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JEFFERSON CITY – Gov. Mike Parson kicked off the sixth session of The Missouri Way advanced management training today for about 200 health and family services professionals from the departments of Health and Senior Services, Mental Health, Social Services, and the Missouri Veterans Commission within the Department of Public Safety. The intensive, three-day training will go until Wednesday, May 15.
Gov. Parson launched the first-ever The Missouri Way training in August, establishing it as an important component to the state's management transformation. The program was created to develop leaders across the state's 16 executive departments. It equips supervisors, managers, and department leadership with the necessary management skills to better lead change and improve services for the citizens of Missouri.
The Missouri Way session this month brings together health and family services professionals across Missouri in a collaborative environment. They not only have the opportunity to learn new management and leadership skills, but also to discuss the strategic goals established for the State of Missouri and their departments. While unique individually, the four departments' strategic goals share the common mission of promoting the health, safety, and wellbeing of all Missourians.
"Health and family services professionals in these departments serve the critical health needs of Missourians every day in a variety of ways — supporting the Missouri Medicaid program, caring for veterans in veterans' homes, battling the opioid epidemic, monitoring communicable diseases, and more," said Drew Erdmann, State of Missouri Chief Operating Officer. "The growing demands on the state's health and family services professionals require our leaders to be equipped with strong management and leadership skills."
"Our ultimate goal is to protect the health of Missourians and keep them safe from harm," said Dr. Randall Williams, Director of the Department of Health and Senior Services. "To provide the best service to the citizens of Missouri, we must ensure leaders at all levels have the management and leadership skills they need. The Missouri Way training helps us accomplish that."
"The Missouri Way training offers leaders the tools and techniques necessary to support their teams in reaching their goals," said Mark Stringer, Director of the Department of Mental Health. "Our leaders are crucial to making a positive impact on those we serve — individuals with mental illness, substance use disorders, and developmental disabilities."
"I'm thankful for our team members in Social Services for embracing The Missouri Way training this week," said Jennifer Tidball, Deputy Director of the Department of Social Services. "We want to build the capacity of individuals, families, and communities to secure and sustain healthy, safe, and productive lives. Strong leaders are key to making this happen."
"Veterans deserve our best every day," said Col. Grace Link, Missouri Veterans Commission Executive Director. "The Missouri Way management training program helps our leaders be their best. I know they'll take back what they've learned to their teams, which will ultimately result in stronger teams and better care for our veterans."
The Missouri Way introduces senior leaders, managers, supervisors, and other emerging leaders to the tools and approaches of solving basic management challenges and improving their teams' performance. The program's first classes have included each department's top leadership ranks. Participants are identified by department leaders.
The state is holding the training approximately every 90 days, with the goal of training 1,000 managers by the end of 2019.
The Missouri Way's approach is practical and based upon proven principles from high-performing businesses and other government organizations. The curriculum will provide common approaches, tools, and vocabulary in areas ranging from how to manage change within an organization and redesigning business processes to customer experience and project management. The sessions involve a mix of classroom instruction with individual and group exercises.


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According to our friends on the piratecrew.com Treasure Trove, Patterson School wing forward Chris Turner will be making an official visit to Seton Hall in the near future. Among others expected to visit are Gregory Enchenique, Tristan Thompson, Dominique Rutledge, Omari Lawrence, Myles Mack and Plainfield's Isiah Epps.
Good to see that Seton Hall finally has consolidated its radio broadcast schedule after a few years of musical chairs between three different stations. This winter all Pirate hoops games will be aired on WABC-770 AM, which has one of the strongest signals on the dial.
The New Jersey Sports Writers' Association will honor Rutgers women's basketball coach C. Vivian Stringer at its annual banquet on Sunday, January 27th at the Pines Manor in Edison. The NJSWA is also hoping to induct Seton Hall baseball great Craig Biggio into its Hall of Fame, pending Biggio's availability. This event is open to the public. We'll provide more information on this next month.
Be sure to check back here on Friday, when I will be touring the Prudential Center and posting my observations on Hoops Haven shortly thereafter.

subset: commoncrawl


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Specialty Spirits is the largest category in both value and volume terms in the spirits market in Bulgaria led by Raki segment. The Whiskey category is forecast to register fastest growth during 2014-2019. Hypermarkets and Supermarkets is the leading distribution channel in Bulgaria's Spirits market and registered fastest growth during 2011-2014.
Key Findings
– Growing GDP per capita and low inflation rates provide opportunities in Bulgaria's consumer goods market
– Bulgaria's Spirit market is forecast to grow at a higher rate in value terms during 2014-2019 compared to 2009-2014
– The Specialty Spirits category has the largest volume share in the Bulgaria's Spirits market
– The Whiskey category is forecast to register the fastest growth in value terms during 2014-2019
– On-trade is the leading distribution channel in the Gin and Genever category
– Screw Top is the preferred closure type in Bulgaria's Spirits market
Canadean's Consumer and market insight report on the Spirits market in Bulgaria provides insights on high growth categories to target, trends in the usage of packaging materials, types and closures category level distribution data and brands market shares.
What else is contained?
– Market data: Overall market value and volume data with growth analysis for 2014-2019
– Category coverage: Value and growth analysis for Brandy, Gin and Genever, Liqueurs, Rum, Specialty Spirits, Tequila and Mezcal, Vodka, Whiskey, with inputs on individual segment share within each category and the change in their market share forecast for 2014-2019
– Leading players: Market share of brands and private labels, including private label growth analysis from 2011-2014
– Distribution data: Value shares within each category through channels such as Hypermarkets and Supermarkets, Convenience Stores, Food and Drinks Specialists and more
– Packaging data: consumption breakdown for packaging materials and containers in each category, in terms of percentage share of number of units sold. Packaging material data for flexible packaging, rigid plastics, rigid metal and others; container data for: trays, tubs, foils and others.
– Identify high potential categories and explore further market opportunities based on detailed value and volume analysis
– Existing and new players can analyse key distribution channels to identify and evaluate trends and opportunities
– Gain an understanding of the total competitive landscape based on detailed brand share analysis to plan effective market positioning
– Our team of analysts have placed a significant emphasis on changes expected in the market that will provide a clear picture of the opportunities that can be tapped over the next five years, resulting in revenue expansion"


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Will Fox Sports's Michael Vick Experiment Work?
In the old days, there was the talk-show apology tour, a trip to Oprah's couch or The Tonight Show with Jay Leno. Then came the reality era, with fare like Dancing With The Stars geared toward rehabbing reputations. These days, you might as well become a television analyst for Fox and FS1 if you are looking to change your image with the public.
Last month, the network added to its reputation as a sports rehab house when it hired former NFL quarterback Michael Vick as an analyst. Vick has long been a compelling subject as an athlete, but also intensely polarizing: He was jailed for 21 months in 2007 for his involvement in a dog fighting ring and recently suggested on FS1 that Colin Kaepernick would be wise to cut his hair as part of his pitch to work as a quarterback. (Vick apologized repeatedly afterward.)
I learned a long time ago that sports television executives do not factor in off-the-field issues with on-air hires unless their league partners have issues. They also do not factor in how a sports subject treated the media (including their own staffers) as a hiring prerequisite. For instance, Bobby Knight, a quintessential bully, could not have been more anti-media (including with ESPN reporters) during his career as a college basketball coach. So naturally ESPN hired him and feted him until his lousy broadcasting performance proved to do him in.
It is about one thing above all: Do sports network executives believe the person will be compelling on television? Fox Sports believes Vick will. Time will tell if the public agrees and forgives his crimes. There is currently a Change.Org petition with nearly 80,000 signatures for Fox Sports president Eric Shanks to remove Vick from his position. That won't have any impact unless the sponsors are impacted. Vick will appear on Fox NFL Kickoff, which runs on Fox the hour before Fox NFL Sunday. He will also make appearances on cable channel FS1 throughout the week.
One of Fox Sports's most successful rehab stories had been Pete Rose, whose crazy grandpa on-air persona proved to be a compelling watch on Fox's MLB studio show. But Rose will no longer appear on air — as reported last week by The Hollywood Reporter — following accusations of him having a sexual relationship with a woman in the 1970's before she turned 16, according to court documents. "We are not commenting on The Hollywood Reporter story," a Fox Sports spokesperson told SI.com last week.
Of course no one has used sports TV better to rehab their reputation than Alex Rodriguez. Suspended for the entire 2014 MLB season for using performance-enhancing drugs, Rodriguez has been a revelation for Fox as an MLB analyst, a thoughtful and cogent baseball wonk with an innate ability to explain things to an audience in a digestible way. His reinvention narrative has drawn plenty of interest in the media, even beyond sports. Last month Rodriguez was on the cover of The Hollywood Reporter with the headline: The Redemption of A-Rod Will Be Televised.
Asked by that publication how he was able to rehab his image, Rodriguez was succinct. "You have to own your sh--."
Discussing Florida State-Alabama and This Season's College Football Announcing Teams
(SI.com examines some of the week's most notable stories)
1. ESPN college football analyst Ed Cunningham resigned from the network this spring because of his growing discomfort with the damage being inflicted on the players he was watching each week. He'll be a guest of the Sports Illustrated Media podcast this week and we'll examine in-depth why he made his decision and whether it foreshadows others covering college football following in his lead.
1a. ESPN said its coverage of Alabama's win over Florida State on ABC drew 12.6 million viewers and had a streaming audience of 237,000 viewers. That makes it the ESPN network's most-watched and most-streamed kickoff weekend game on record. The overnight rating was up 49% from last season's ABC Saturday Night Football opener. ESPN said the average minute streaming audience for Alabama's victory was ESPN's second most-streamed regular season game ever behind last season's double overtime Michigan-Ohio State game. The game peaked at 14,118,000 viewers between 9 and 9:30 p.m. ET.
1b. The top 10 TV markets for Alabama-Florida State
1. Birmingham
2. Jacksonville
3. Columbus
4. Nashville
5. Knoxville
6. Greenville
7. Atlanta
8. Orlando
9. Memphis
10. West Palm Beach
1c. ESPN said its average overnight rating for the seven games on ESPN/ABC was a 2.8 overnight while Fox/FS1 averaged a 1.0 overnight for its four games.
1d. ESPN said its Ohio State-Indiana college football opener last Thursday drew 5.4 million viewers (5.1 on linear ESPN) on ESPN and its Megacast options. The company said that was its biggest Thursday college football opening game in history.
1e. ESPN said its Sunday night telecast of West Virginia-Virginia Tech on ABC drew a 2.9 overnight rating, beating UCLA-Texas A&M on Fox by 32%.
In Vintage Form, Alabama Capitalizes on Florida State Mistakes for Statement Win
2. Episode 134 of the Sports Illustrated Media podcast features two staffers from The Athletic: Stewart Mandel, the editor-in-chief of The All-American—a national college football site for The Athletic—and Seth Davis, the managing editor of The Fieldhouse—which will focus on national college basketball for The Athletic. In this podcast, Mandel discusses what kind of content his site will produce; why he made the writer hires he did; why he has not hired any writers of color; not being renewed by Fox Sports and when he learned Fox Sports was eliminating all written content to pivot to talking-head videos; how he would convince someone not from the local areas of The Athletic to sign up for it; how to convince people to pay for content they are used to getting for free; the college football teams with the most NFL talent; what he has learned about being an editor, and much more.
Davis discusses why he engages in politics on social media; whether he worries that discussing political or social issues will cost him potential readers; how CBS feels about him tweeting politics; who he has hired for The Athletic and why he hired them; when his site will launch; how The Athletic will be seen in college basketball circles, the importance of breaking news versus commentary, and much more.
You can subscribe to the podcast on iTunes, Google Play and Stitcher.
3. Cool moment on the Pac-12 Network: USC center Jake Olson, blind since age 12, snaps for the first time in a live game.
3a. Turner Sports has hired Rosalyn Gold-Onwude for a full-time NBA sideline position. Gold-Onwude has spent three seasons as the Warriors sideline reporter for NBC Sports Bay Area and earned praise for her work among viewers as well as longtime NBA media staffers.
An NFL Rehearsal: With Beth Mowins and Rex Ryan in the Monday Night Football Practice Booth
4. Sports pieces of note:
•On the politics of college football, by Spencer Hall of SB Nation
• Via Andrew Maraniss: Frank Dowsing, Mississippi State's first black football player, is almost unknown today
•ESPN's Mina Kimes profiled Aaron Rodgers
•New York Times writer Mike McIntire on allegations of academic improprieties involving former FSU football players
•GQ's Clay Skipper profiled Kirk Cousins
•Texas Monthly went inside the Texas quarterback factory
•Harvey Araton, on aging tennis players finding their best days
Non-sports pieces:
•The Houston Chronicle, with a definitive humanistic piece on Hurricane Harvey
•For Politico: Eric Columbus offered a detailed look at the immigration initiative, Deferred Action for Childhood Arrivals
•Via Jamie Lowe for The New York Times Magazine: The Incarcerated Women Who Fight California's Wildfires
•Dallas Morning News reporter Alfredo Corchado, on deportees becoming easy prey for gangs along the U.S.-Mexico border
•From Ryan Grim of The Intercept: The Sordid Double Life of Washington's Most Powerful Ambassador
•Via Bloomberg: Harvey Wasn't Just Bad Weather. It Was Bad City Planning
•From Adrian Chen of The New Yorker: The Fake-News Fallacy
5.Inside The NFL begins its 40th season with a new cast member: Former Ravens linebacker and current Fox Sports broadcaster Ray Lewis. He joins Phil Simms, Boomer Esiason and host James Brown. The show premieres Tuesday at 9 p.m. ET/PT.
5a. Showtime's season-long documentary series on Navy Football — A Season With Navy Football — debuts Tuesday at 10 p.m. ET/PT.
5b. After 46 days of production, HBO ends this cycle of Hard Knocks on Tuesday at 10 p.m. ET/PT. With the new roster reduction policy, the episode will feature 37 players being released by the Bucs.
5c On Sunday, NBC racing announcer Leigh Diffey called the F1 Italian Grand Prix in Stamford, then flew to Watkins Glen to call an IndyCar race three hours later. Nice work.
5d. This piece was an interesting glimpse into the world of sports media competition and sourcing. The background: (Denver) 9News Broncos reporter Mike Klis, a former Denver Post writer, inadvertently sent out a direct message on Twitter telling a source not to confirm to a Denver Post reporter that Brock Osweiler was being signed by the Broncos. This stuff happens in the sports media; it's just rare to see it out in the open.
5e. Former Fox Sports executive Jerry Steinberg says the Sports Broadcasting Fund, which helps people in the sports broadcasting business pay bills related to disasters and medical issues, has raised more than $35,000 to broadcast professionals in need in Houston.
For more information on the Sports Broadcasting Fund, visit here.


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- "Pathetic worm, prepare to face my wrath!"
- ―Rita 'the Razor'
Rita 'the Razor' was a pilot of the Black Sun crime syndicate during the time of the Galactic Civil War. Sometime following the Battle of Yavin in 0 BBY, Warvog Arkon of Havoc Squadron tasked a Rebel pilot with killing Rita and four other Black Sun pilots.[1]
Behind the scenesEdit
Rita 'the Razor' appeared aboard a starship in Jump to Lightspeed, the 2004 expansion pack for the 2003 video game Star Wars Galaxies: An Empire Divided, a massively multiplayer online role-playing game developed by Sony Online Entertainment and published by LucasArts, prior to its closure on December 15, 2011.[1][2]
- Star Wars Galaxies: Jump to Lightspeed (First appearance)
Notes and referencesEdit
- ↑ 1.0 1.1 1.2 1.3 Star Wars Galaxies: Jump to Lightspeed
- ↑ Important Information About Star Wars Galaxies. Sony Online Entertainment (2011-06-24). Archived from the original on November 24, 2011. Retrieved on July 25, 2015.
Community content is available under CC-BY-SA unless otherwise noted.


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Dear Ms. Debutaunt,
We have been unable to establish and maintain a satisfactory physician-patient relationship for your medical care. Therefore, we find it necessary to inform you that we will no longer be providing professional care to you.
If you are in need of emergency services in the next 30 days, we will be available*. During this time, we urge you to call your local medical society or your insurance company and select a doctor of your choice for your medical needs. We will make your records available to your new physician upon receiving a written request, which I am enclosing for your convenience. Thank you.
Lawrence A. Alder, M.D.
Dear Deb,
Because I dated you and dumped you for this crazy bitch, she had a shit fit and said that I couldn't come be one of your assistant's patients anymore. It doesn't matter that you are desperately sick, I am such a fuckwad that I don't have the balls to stand up to this bitch girlfriend of mine. I don't have the integrity to do my job as a physician and help you when you are truly in need.
Dr. Larry Asshole
Well you know what? Fuck you, dude! You and that crazy chick deserve each other.
My San Antonio transplant doc also contacted me today. I understand where he is coming from, but what he is asking isn't always feasible. He told me that I need to have all of my care at MD Anderson. Ok. So what if I'm incredibly sick and need to go to the ER? I'll take my invisible jet to Houston and go to the docs there Wonder Woman style. He recommended that I go to the MD Anderson ER ASAP. I phoned my Houston clinic and they agreed. They said that if I continue to feel bad and still have fever that I should come in. I'm going to try to go tomorrow. Today is over.
Today I feel lethargic and really really sore. My neck is killing me. I'm just very dejected and feel like no one will ever figure out what is wrong. I feel worse than I did before when I had cancer. I have no life because I am so tired and in pain, it makes doing the most simple things so difficult. I'm missing Seattle and Tim way way alot. I read through some old blog posts and saw that the first two times we were together (in SA and my first trip to WA with Zoe) I felt healthy and great. How did that go so wrong?
I can do this. I just am reaching out for some help.
Your assignment today is to do something nice for someone. Love love.


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Tom Richards was refreshingly outgoing and friendly compared to other faculty, behaving more like a big brother than a college professor. In reading Seth Resnick's posting here I was surprised to learn that in later years some students had been invited out to his home in rural Tully, about six miles from campus, where he had carved a landing strip for his vintage tow plane and glider that were always being "modified."
I remember the first military draft lottery. TR was in the group of us as we watched our birth dates and our draft numbers come off the AP ticker in Newhouse. There was mine— number 27.
This image of the little girl with her doll on the swings in Gunnersbury Park, down the street from where I lived in the Acton area, was typical of the kinds of pictures I gravitated to. Instead of the bright lights and historic buildings in the city I would take solo walks throughout the suburbs looking for moments like these. I had watched her for a while as she placed the doll in the swing, attached the safety chain and then pushed off in time with the the doll's swinging. Most of my time that fall was spent wandering through the intimate neighborhoods of the city patiently observing the small things in life like these. This is where I found myself as a photographer too.
Once a week, TR would meet each student one-on-one to review contact sheets. After a few weeks of pictures like the girl on the swing, TR told me that I should photograph people from my 6'7" vantage point. "None of us know what the world looks like to you, Walt. Why not go to Speakers Corner and not bend your knees?" So that's what I did. Each weekend I'd shoot looking down on the speakers and tourists with a 28 mm wide-angle lens. TR thought the vantage point was fun, and suggested including a few images for my portfolio. I was pumped by his positive spirit. When I got back to New York I took the portfolio around, and to my surprise, picture editors didn't share TR's enthusiasm for my point of view. "Kid, you've got to bend your knees."


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Ladies, grab a strong drink. I'd venture to say mid-30s are some of the scariest times for an American woman. Not to be compared with the struggles and strife of an Afghani or Sudanese woman – our struggles are certainly safer, and much of our creation – but significant nonetheless.
I went to a party this weekend with a friend who wore a shrug to cover what she refers to as "vagina arm," a surefire sign of aging, as she put it, and was lovingly told as a child. This happens to be the spot where extra underarm skin might hang. We laughed about it, but we have friends where age or any sign of aging is such a sensitive topic, you'd got to be cra-zee to bring it up.
Look, mid-30s can be great. Are you in great relationship? If you envisioned having a family, is it coming to fruition? How is your career? Have you figured out what you want to be yet? Have you moved into the corner office with the window yet? Have you responded "YES" to at least 50% of what I just listed? Are you freaking out yet? I warned you to get a drink. Did I not?
Sasha has a couple of single friends that I happen to adore, all around my age. So of course, when I see them the topic of finding a spouse comes up. One constant theme, they ain't looking for a woman my age! While I understand men are biologically programmed to spread their seed and in doing so they are programmed to be attracted to a woman at peak fertility (early 20s I suppose), for some reason I am slightly offended that my age puts me in the category of undesirable. Of course, this has nothing to do with me, but I'd be lying if I said there wasn't a certain sensitivity, a little stab at my self-esteem. Take the time one of them came for dinner and described his ex-girlfriend as being (slightly younger than me) with "the body of an 18-year old." In my mind, I'm thankful that he is comfortable enough to share this stuff with me. On the other hand, I'm wondering where the closest kitchen knife is. I've given birth. This isn't fair.
What can I say guys? It's not just the physical components. This age is like a ticking time bomb. Women are expecting major life things to happen now, or by now, and if things aren't happening, will they ever? It's tough. It's scary!
Okay, what's the consolation? I was 21 once. I'm 34 now. No one is young forever. The alternative is too sad. May we all be so lucky to get older, and old. Life gets better. I know myself better every year. I'm happier every year. I even make new friends every year. I'm older and wiser every year.
And you know what? Even at the ripe old age of 34, I can still go to my best friend's house, raid her mom's refrigerator, and laugh about it on Facebook. Forever young.


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On May 6th, in conjunction with our annual Spring Showcase, the Natchez Trace Parkway Association will be presenting "Living History," a live, interactive look back at the history and people that shaped this region. Come join us for this educational and family friendly event that lets you take a step back in time to when the Natchez Trace was one of the most vital links for communication and trade in the South. Living History takes you on an adventure led by an American settler around the grounds of the Mississippi Craft Center and down through the sunken Natchez Trace, meeting many important people from our state's past such as Turner Brashear, owner of Brashear's Stand, and General Andrew Jackson along the way.
There is no admission charge to Living History as it is part of our free annual Spring Showcase, and it is open to all-ages. Don't miss out on this chance to experience history like you've never seen it before!


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Judge's Finding Against Civil Commitment Of A Sex-Offender Is Reversed
- December 31st, 2014
- admin
- No comments
C.H. is a rapist with a history of sex crime convictions for acts committed from 1978 through 2005 against women ages 17 to 36. C.H. also has a history of convictions for drug offenses, robbery, receiving stolen property and theft,…
Evidence Of Other Man's Semen Admissible In Sexual Assault Case
- November 7th, 2014
- admin
- No comments
Bobby Perry was found guilty of second-degree sexual assault (N.J.S.A. 2C:14-2(c)(1)) and third-degree aggravated assault (N.J.S.A. 2C:12-1(b)(7)). He was sentenced to 8 years with an 85% parole ineligibility period under the No Early Release Act (N.E.R.A., N.J.S.A. 2C:43-7.2(a)) for the…


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3D Visualization
Visualization is an essential part of creation. No matter the stage of your project -- from napkin sketch to BIM files -- we can create stunning renderings and imagery for architectural and real estate, product and packaging design, and other venues. Our talented team of 3D artists take the worry out of the back and forth process by asking the right questions and providing enhancements that help sell your vision.


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The invitation went out with a call to come wearing hats, and wear hats they did. "Hats: An Anthology", curated by Stephen Jones and art-directed by John Galliano set decorator Michael Howells, opened this week at the Victoria and Albert Museum. The preview party, which could have been a quiet, sedate affair, became instead a riotous millinery exercise only London could have pulled off. Imagine Four Weddings And A Funeral clashing with the Ponystep club kids, with the late Isabella Blow styling, and you'll get an idea of what went on: all sorts of inventive, eye-catching, and often downright bizarre headwear, some of it the real Stephen Jones thing: a tricorne with an arc of pheasant feathers; a jeweled, deconstructed rapper's cap; a glittering red lobster; an old-school black vinyl record emblazoned with the Rolling Stones' lips logo; and an armada of sailing ships big enough to have thrilled Admiral Lord Nelson. Jones was honored later at a small dinner at San Lorenzo in Knightsbridge, where his speech was interrupted by his cell phone ringing. It was his long-term collaborator Galliano calling, wishing him congratulations. (left, Erin O' Connor)
Sign up for our weekly shopping newsletter, The Get!
The best products, from fashion to beauty to home, curated for you by Vogue's editors.


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VANCOUVER, BC – Cummins Westport Inc. (CWI), a leading provider of high-performance, alternative fuel engines for the global market, announced today that Daimler Trucks North America will offer the ISL G natural gas engine in Freightliner M2 tractor/truck configurations. Both LNG and CNG options are planned for introduction in mid 2009. The Cummins Westport ISL G, an 8.9 litre stoichiometric cooled-exhaust gas recirculation (EGR) engine, offers the lowest emissions available in the industry without sacrificing top-level performance and efficiency.
"Demand for the Sterling LNG tractor with the Cummins Westport ISL G natural gas engine has been encouraging. By introducing the Freightliner M2 112 with natural gas, in replacement of the Sterling Setback 113, we're continuing to provide our customers a hard-working truck with added economic & environmental benefits," noted Chris Patterson, President and CEO of Daimler Trucks North America of Daimler Trucks.
Guan Saw, President of CWI, added, "This is an opportunity to continue the CWI OEM platform with Freightliner, one of North America's market-leading truck manufacturers. Freightliner natural gas trucks will provide a clean, low emission solution for applications in short-haul port operations, as well as natural gas utilities and municipal fleets."
The ISL G meets EPA 2010 emission standards of 0.2 g/bhp-hr (grams per brake horsepower hour) NOx (nitrogen oxide) and 0.01 g/bhp-hr PM (particulate matter) today. The ISL G leverages Cummins' proven cooled Exhaust Gas Recirculation (EGR) with stoichiometric combustion allowing for the use of a three way catalyst, which is maintenance free. No further aftertreatment is required. In addition to delivering ultra-low emissions, the ISL G, with ratings from 250 to 320 horsepower, delivers increased thermal efficiency and over 30% higher low-speed torque compared with previous CWI "Plus" engines. CWI has already logged significant orders for the ISL G from Sterling Truck (a Daimler brand) as well refuse truck fleets and U.S. transit properties, including Los Angeles Metropolitan Transit Authority, Sacramento Regional Transit and the Orange County Transportation Authority. More information about the ISL G can be found at: www.cumminswestport.com/products/islg.php
Cummins Westport Inc. designs, engineers and markets 6–12 liter spark-ignited natural gas engines for North American commercial transportation applications such as trucks and buses. Cummins Westport is a joint venture of Cummins Inc. (NYSE:CMI), a corporation of complementary business units that design, manufacture, distribute and service engines and related technologies, including fuel systems, controls, air handling, filtration, emission solutions and electrical power generation systems, and Westport Fuel Systems Inc. (NASDAQ/TSX: WPRT), a global leader in alternative fuel, low-emissions technologies that allow engines to operate on clean-burning fuels such as compressed natural gas (CNG), liquefied natural gas (LNG), hydrogen, and biofuels such as landfill gas. For more information, visit www.cumminswestport.com.
This document contains forward-looking statements, including statements regarding the demand for our products, the future success of our business and technology strategies, investment, cash and capital requirements, intentions of partners and potential customers, the performance and competitiveness of our products and expansion of product coverage, future market opportunities, speed of adoption of natural gas for transportation, growth in demand as a result of new emission standards and terms of future agreements. These statements are neither promises nor guarantees, but involve known and unknown risks and uncertainties and are based on assumptions that may cause our actual results, levels of activity, performance or achievements to be materially different from any future results, levels of activities, performance or achievements expressed in or implied by these forward looking statements. These risks and assumptions include risks and assumptions related to our revenue growth, operating results, industry and products, the general economy, conditions of and access to the capital and debt markets, governmental policies and regulation, technology innovations, fluctuations in foreign exchange rates, global government stimulus packages, the acceptance of natural gas vehicles in fleet markets, the relaxation or waiver of fuel emission standards, the inability of fleets to access capital or government funding to purchase natural gas vehicles, the sufficiency of bio methane for use in our vehicles, the development of competing technologies as well as other risk factors and assumptions that may affect our actual results, performance or achievements or financial position discussed in our most recent Annual Information Form and other filings with securities regulators. Readers should not place undue reliance on any such forward-looking statements, which speak only as of the date they were made. We disclaim any obligation to publicly update or revise such statements to reflect any change in our expectations or in events, conditions or circumstances on which any such statements may be based, or that may affect the likelihood that actual results will differ from those set forth in the forward looking statements except as required by National Instrument 51-102.
Further strengthens liquidity of Emer S.p.A in Brescia, Italy
Highlights longstanding commitment to ESG performance
Westport Fuel Systems Inc. reported financial results for the second quarter ended June 30, 2020 and provided an update on operations.
MTM to Supply LPG Systems to the Growing Algerian Market
Transaction to Bolster the Liquidity of MTM in Cherasco, Italy
Natural gas vehicles (NGV) may get a boost as power markets and renewable equipment production are seen as potential casualties.
The statistics not only show continuously growing sales of CNG and especially liquefied natural gas fueled vehicles, but also the growth of corresponding fueling infrastructure.
Simeon's gas-powered Volvo is used to transport gas for partners. Stenberg is pleased with the new tractor unit.


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When you here someone say, "Teens Today", you know they aren't saying it in a complimentary way. (As in, teens today are so considerate.) Unfortunately, 99.9% of the time someone says that, it's accompanied with a roll of the eyes and a complaint. Teens today are so rude. Teens today have rotten attitudes. Teens today don't care about anyone but themselves. And truth be told, our generation is only popular with it self. We think we are pretty much the best group on the planet, but no one else likes us. As a Christian teen, does this bother you? Honestly, it bothers me. I don't want to be associated with a rotten attitude, selfish, rebellious generation. My favourite verse is Psalm 24:6. "This is the generation of them that seek Him, that seek thy face, Oh Jacob." (KJV). Several other versions translate that, "Oh God of Jacob". I apply this verse to my life and the life of my peers. My generation, our generation can be known as a group of young people that really wants to get to know God. We can seek after Him with our whole hearts. And God promises, "Ye shall seek me, and find me, when ye search for me with all your heart. And I will be found of you, saith the LORD. . . " (Jeremiah 29:13-14). I don't know about you, but I want to be known as a young person that is close to God.
How will getting close to God show up in your life? Well, the thing most people think of when they think of teens today is the attitude. Have your parents ever said, "What's with the attitude?" Everyone has an attitude. The question is, do you have a good or a bad attitude? A bad attitude is demonstrated with eye-rolling, big sighs, grudging obedience, etc. You get the point. If you seek God though, He will be found, and will be shown through your life. Think of some attributes of God. (More about these in a later post). Kindness, love, mercy, forgiveness--wouldn't you rather have these in your life? Think about it. . .


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With my wealth of knowledge and expertise* I have come to the conclusion that the best song ever is
Helter Skelter by the Beatles.
I know this is a boring debate done to death but considering how old the song is i put it on recently and it still sounds v fresh and that.
Sorry, I don't post on the music board often. I'll go now.
The answer is You're the Voice by John Farnham
you and Charles Manson
sittin in a tree
Bubblin' Hot
Pato Banton and Rankin' Roger
if it's a Beatles song, it's obviously I'm Only Sleeping
but i've got to agree with You're The Voice by John Farnham
My favourite song ever?
Lovely Day by Bill Withers never fails to move me. If we're talking Beatles, then In My Life.
this is the best song ever
the correct answer is this gladys Knight song
ah how much do I love that song
The answer's a lot obviously. Was tempted to put Back and Forth as my answer to this thread...
it is pretty incredble
So many layers of meaning in the lyrics for BaF, I've barely scratched the surface. I think Spider In The Snow might just be my favourite of theirs though
Sorry, we all decided years ago it was either Wichita Lineman or The Impression That I Get
You must be some kind of crazy person
#And I need you more than want you, and I want you for all time.#
I'm not generally regarded as a soppy bugger, but ^that kinda chokes me up just thinking about it.
The only other song that gets me like that is Cash doing Hurt.
So its not Jungle Love, by Morris day and the Time?
Rollin' by Limp Bizkit
Debate over!politelydeclined and SCROTUM this'd this
my best ever song changes regularly (I think its meant to)
currently 'No Lucifer' British Sea Power has just eclipsed goldfrapps 'deer stop'
(my perrenial favourate is 'Persephone' - cocteau twins)
The Fairytale of New York or Sister Winter
But only at Christmas time.
The rest of the year it's Subterranean Homesick Alien.


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27 April 2009
Fancy a chance of winning a free day trip for your YFC and £200 spending money?\n
National agricultural newspaper Farmers Guardian, which is once again sponsoring the NFYFC Senior Member of the Year award, has teamed up with John Deere to offer one winning club a day out at the firm's Nottingham headquarters in Langar, test driving some of the latest kit on the nearby airfield testing ground and having some fun on a variety of gators, combines and tractors.\n
The day includes a guided tour of the building, access to the training centre, mechanical workshops and machinery displays, lunch and the opportunity to take home some freebies.\n
For a chance to win the trip for your club, fill in a simple entry form at the FG stand, which will be in the foyer during Friday's registration and before the ARAC forum.\n
The first 1,000 members to enter the competition will also receive a free Farmers Guardian AGM T-shirt.\n
The newspaper will be reporting live from this year's event, and you can read a full AGM preview and YFC profile on the Cornwall Federation online at www.farmersguardian.com/youngstock.\n
There, you can also follow all AGM events as they happen online or through regular twitter updates, see the photographs in a dedicated YFC photo gallery, and read news of all the trophy winners.
26 April 2009
Beatbullying is the UK's leading bullying prevention charity working with young people to create a world whereby bullying is unacceptable. Beatbullying has directly or indirectly worked with 700,000+ young people over the past 5 years, assisting and supporting young people that are being bullied, re-educating and changing the behaviour of young people that bully, and preventing bullying in schools and communities across the UK.\n
The National Federation of Young Farmers are delighted to be working alongside Beatbullying to understand if bullying has effected any Young Farmers. Please click on the below link to complete an anonymous survey from Beatbullying – please be honest with your answers. NFYFC are very pleased to announce that Beatbullying will be at the AGM in Blackpool, able to answer questions you have relating to bullying.\n
Please click here to complete the survey
23 April 2009
Catch up with news from your Chairman Bryce Mackellar about his busy year in office; meet the new members of the NFYFC team and learn more about what has been going on at the Stoneleigh office.\n
You can also read a full round-up of what's in store at what promises to be another fantastic fun-filled Annual Convention over the coming Bank Holiday weekend. And don't forget to take part in our climate change quiz and send us your articles for a chance to have them published on the website later in the year.\n
Please click here to download your copy of Ten26.\n
Please click here to download your copy of Cyffro.
14 April 2009
See Madness live in concert, and meet your friends in a reserved YFC facility overlooking the pre-parade ring, thanks to an exclusive entrance and entertainment package being offered to Young Farmers by Newbury Racecourse, Berkshire.\n
Party in the Paddock, on Saturday 30 May, is one of the venue's biggest fixtures of the year and members are being offered an evening of great racing from 6.10pm, with a chance to spot the winning horses from the private YFC area, plus access to an exclusive cash bar and hog roast.\n
Eighties ska legends Madness will be playing live in concert after the racing, bringing some of their biggest hits, including Our House, Baggy Trousers, and House of Fun, to the racecourse stage.\n
YFC entrance and entertainment package tickets must be booked in advance by Tuesday 5 May and cost £35 per person.\n
For more information, or to book your tickets, contact Olivia Brocklebank on 01635 40015 or email firstname.lastname@example.com.
Designed by Kevyn Williams


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Arkansas City pair arrested in connection with child sex crimes
Matthews accused of criminal sodomy; Amundson of child endangerment
Two Arkansas City residents were arrested this week by the Arkansas City Police Department in connection with acts of sexual abuse involving a small child.
Timothy Ray Matthews, 21, was arrested Oct. 19 on suspicion of aggravated criminal sodomy.
He was transported to and booked into the Cowley County Jail in Winfield with no bond through Cowley County District Court in Arkansas City. Matthews remained in custody at the time of this release.
Matthews' bond will be set by District Court Judge Jim Pringle at his first court appearance.
Brandy Lynn Amundson, 29, was arrested Oct. 20 on suspicion of endangering a child. She was transported to and booked into the county jail in lieu of $1,000 bond through Arkansas City district court. Amundson remained in custody at the time of this release.
A defendant's guilt or innocence is to be determined by a court of law.
The arrests were the product of an extended investigation stemming from the initial report of child sex abuse that lasted for several days. Enough evidence was gathered to substantiate the initial report.
Police apprehended Matthews at 6:40 p.m. Oct. 19 in connection. His girlfriend, Amundson, was taken into custody the following day.
Anyone with further information about this case is asked to call Arkansas City Police Department Sgt. Eric Mata at (620) 441-4444.
Those wishing to remain anonymous may contact Cowley County Crime Stoppers, which offers rewards of up to $2,000 for information leading to an arrest.
Call (620) 442-7777 in Ark City or (620) 221-7777 in Winfield, or visit www.tipsubmit.com to make an anonymous report. An anonymous tip also can be submitted by texting ACTIPS to 847411.


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August 19, 2005
Up From Obscurity: Adobe Proxy
Big company, big products–something's bound to get lost in the shuffle. With that in mind, I'm going to try creating an "Up From Obscurity" category to shed light on features, resources, and techniques that deserve more prominence.
First up: Adobe Proxy. Anybody remember the late Adobe Magazine? Well, it's born again (sort of) in Adobe Proxy, a glossy quarterly focused on All Things Design (profiles of design shops, links to actions on Adobe Exchange–another great/totally obscure resource–etc.). Check it out at http://www.adobeproxy.com/.
[Edited 3:15pm per comments below]


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Friday, 30 March 2007
Weather control
Inadvertently acquired the Island's most efficient weather-control system. I turned off the central heating, first week of March, when the month's outlook brightened considerably from a typically damp and chilly February. Next day, there was a cold snap, and the house's low-temps gave me a bad case of morning sniffles. Switching the main radiators back on again, I found the sunshine returned, and everyone was going about the Village without coats. OK, so I turned the heating back off, again... and here comes the wind and rain, once more, and this cycle has been going on all month!
Posted by Tony Lee at 6:57 pm 1 comments
Labels: home
Tuesday, 20 March 2007
Day 5
The following took place between 16 March and 19 March...
Had a DVD blitz with season 5 boxset of TV series 24. Much less action and more drama than previous seasons. As ex-federal agent Jack Bauer, Keifer Sutherland still does his renegade action-man routine, but now the focus has changed noticeably, to examine the various professional motivations, personal struggles, and behind-the-scenes scheming of corrupt politicos, seemingly crazy 'patriots', ambitious or paranoid security guys, and the moral dilemmas faced by conscience-stricken heroes in the Counter-Terrorist Unit (so conveniently situated in Los Angeles, as is the US president's retreat).
It's often been said that 24 works exactly like a comic-book series, and that description applies perfectly to this season's fast-moving plots to release deadly nerve gas in crowded public areas (including a mall and a hospital). Having faked his own death last time around, Jack doesn't care much about breaking rules or laws, nowadays. On this fifth 'worst day' of his life, he even hijacks a plane. Of course, one of the signature facets of 24 is its keen satire of action-thriller cliches, and here there's a violent scene enacted in the seemingly-vulnerable presence of the president himself, and yet it's Jack who turns nasty when he threatens to torture and maim a suspected conspirator from the unidentified league of bad guys (ULoBaG).
This is the key to 24's comicbook narrative style. Criminal masterminds never make their presence known or felt until their sudden appearance or influence on the ongoing investigative storyline brings with it the delicious frisson of peeling away yet another layer of the onion. As a TV serial concept, the impact of ULoBaG on mystery-thriller plots works superbly every time in 24. There's always vital info withheld from viewers, and from our blindsided heroes, of course. We can rarely guess what will happen next, though we might suspect there's more going on, typically concealed in the background details, than is clear at first.
In the sinister drool of season 5, there's a lot of poisonous red herrings, barbed-narrative trapdoors, and auteur misdirection. And what's more, 24 is totally addictive television. How could fans of this show possibly tolerate any weeklong delays between episodes? I felt compelled to put another disc into the DVD player even after watching four episodes in a row. The utterly engrossing plotline, and its array of fascinating characters (even the patently absurd ones!), makes 24 one of the most compulsive viewing experiences yet.
Posted by Tony Lee at 3:10 pm 0 comments
Labels: TV
Friday, 9 March 2007
Cap RIP
Oh no, they've killed Captain America!
Friday, 2 March 2007
Just recently, I bought DVD copies of a couple of TV movies, Deadly Encounter and Birds Of Prey, and it was great to see both of these classic helicopter thrillers, for coverage on my Rotary Action site. It's very much a case of 'those were the days...', when aerial cinematography reached new standards, and especially because the filmmakers (obviously) used real helicopters for the various daredevil stunt flying sequences, instead of the fakery we often get, today, from CGI effects.
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Date: Jan. 6, 2017
From: Linda McKnight, Director, Human Resources – Advisory Services, and Michelle Berner, Director, Human Resources – Total Compensation
To: Deans, Directors, Department Heads and Administrators (Vancouver campus)
CC: Human Resources Advisory Services, Total Compensation, Payroll and Procurement Services
Subject: 2016 M&P Compensation Review
We would like to take this opportunity to provide an update on the 2016 M&P Compensation Review that the University has undertaken. Our last update was on April 28, 2016 (http://www.hr.ubc.ca/memos/2016-mp-compensation-review-april-28-2016/).
The University regularly conducts market reviews in order to evaluate the competitiveness of the University's M&P compensation. In late 2015, we commenced the current market review in order to benchmark our M&P compensation against external comparators. The University endeavours to pay at the 50th percentile of the relevant comparator market, within its ability to pay. It is important to the University to retain fair and competitive compensation for our M&P staff, and regular surveys are required by the agreement between the University and AAPS (the Association of Administrative and Professional Staff).
After receiving results of the survey in early 2016 from the external consultants (Mercer), the University analyzed the data, and developed a proposal to address the findings. This was presented to the AAPS Executive in July, and following this they took time to analyze the survey data as well as the University's proposal. We met with AAPS in December to hear their feedback, as well as their request for additional job family level increases beyond those outlined in the University's original proposal. We're in the process of reviewing AAPS' feedback and requests for additional increases, in consideration of the University's ability to pay. We will meet again with AAPS later this month.
Based on the status of the project, at this time we are unable to advise which job family levels in the M&P compensation matrix will be adjusted. We can say that some changes will likely be retroactive to July 1, 2016. We are considering a "phased approach", with some changes in each of three years: July 1, 2016, July 1, 2017, and July 1, 2018. We hope to be in a better position to advise on this after we next meet with AAPS.
As a final note, we recognize that faculties and administrative units find the financial impact of M&P increases difficult especially if retroactivity is involved. However, we also recognize the importance of addressing compensation issues and our commitments outlined in the University and AAPS Agreement. We will do our best to communicate more detailed information with regard to the increases and funding decisions as soon as possible.
Questions may be directed to Kathleen Cheng, Manager, Compensation, at firstname.lastname@example.com or 604-822-8148.
Thank you.


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Also found in: Thesaurus, Acronyms, Idioms, Encyclopedia, Wikipedia.
Related to Africa: Asia, Gambia, North Africa, South America
The second-largest continent, connected to Asia by the Isthmus of Suez and lying between the Mediterranean Sea and the Atlantic and Indian Oceans.
(Placename) the second largest of the continents, on the Mediterranean in the north, the Atlantic in the west, and the Red Sea, Gulf of Aden, and Indian Ocean in the east. The Sahara desert divides the continent unequally into North Africa (an early centre of civilization, in close contact with Europe and W Asia, now inhabited chiefly by Arabs) and Africa south of the Sahara (relatively isolated from the rest of the world until the 19th century and inhabited chiefly by Negroid peoples). It was colonized mainly in the 18th and 19th centuries by Europeans and now comprises independent nations. The largest lake is Lake Victoria and the chief rivers are the Nile, Niger, Congo, and Zambezi. Pop: 1 100 000 000 (2013 est). Area: about 30 300 000 sq km (11 700 000 sq miles)
Af•ri•ca(ˈæf rɪ kə)
a continent S of Europe and between the Atlantic and Indian oceans. 760,000,000; ab. 11,700,000 sq. mi. (30,303,000 sq. km).
ThesaurusAntonymsRelated WordsSynonymsLegend:
Switch to new thesaurus
|Africa - the second largest continent; located to the south of Europe and bordered to the west by the South Atlantic and to the east by the Indian Ocean
hunting expedition, safari, campaign - an overland journey by hunters (especially in Africa)
Boer War - either of two wars: the first when the Boers fought England in order to regain the independence they had given up to obtain British help against the Zulus (1880-1881); the second when the Orange Free State and Transvaal declared war on Britain (1899-1902)
Barbary - a region of northern Africa on the Mediterranean coast between Egypt and Gibraltar; was used as a base for pirates from the 16th to 19th centuries
Nubia - an ancient region of northeastern Africa (southern Egypt and northern Sudan) on the Nile; much of Nubia is now under Lake Nasser
eastern hemisphere, orient - the hemisphere that includes Eurasia and Africa and Australia
Maghreb, Mahgrib - the region of northwest Africa comprising the Atlas Mountains and the coastlands of Morocco and Algeria and Tunisia
African country, African nation - any one of the countries occupying the African continent
East Africa - a geographical area in eastern Africa
Namibia, Republic of Namibia, South West Africa - a republic in southwestern Africa on the south Atlantic coast (formerly called South West Africa); achieved independence from South Africa in 1990; the greater part of Namibia forms part of the high Namibian plateau of South Africa
Angola, Republic of Angola - a republic in southwestern Africa on the Atlantic Ocean; achieved independence from Portugal in 1975 and was the scene of civil war until 1990
Burundi, Republic of Burundi - a landlocked republic in east central Africa on the northeastern shore of Lake Tanganyika
Cameroun, Republic of Cameroon, Cameroon - a republic on the western coast of central Africa; was under French and British control until 1960
Central Africa, Central African Republic - a landlocked country in central Africa; formerly under French control; became independent in 1960
Republic of Chad, Tchad, Chad - a landlocked desert republic in north-central Africa; was under French control until 1960
French Congo, Republic of the Congo, Congo - a republic in west-central Africa; achieved independence from France in 1960
Belgian Congo, Congo, Democratic Republic of the Congo, Zaire - a republic in central Africa; achieved independence from Belgium in 1960
Cote d'Ivoire, Ivory Coast, Republic of Cote d'Ivoire - a republic in western Africa on the Gulf of Guinea; one of the most prosperous and politically stable countries in Africa
Benin, Dahomey, Republic of Benin - a country on western coast of Africa; formerly under French control
Togo, Togolese Republic - a republic on the western coast of Africa on the Gulf of Guinea; formerly under French control
Afars and Issas, Republic of Djibouti, Djibouti - a country in northeastern Africa on the Somali peninsula; formerly under French control but became independent in 1997
Equatorial Guinea, Republic of Equatorial Guinea, Spanish Guinea - a country of west central Africa (including islands in the Gulf of Guinea); became independent from Spain in 1968
Abyssinia, Ethiopia, Federal Democratic Republic of Ethiopia, Yaltopya - Ethiopia is a republic in northeastern Africa on the Red Sea; formerly called Abyssinia
Roman Empire - an empire established by Augustus in 27 BC and divided in AD 395 into the Western Roman Empire and the eastern or Byzantine Empire; at its peak lands in Europe and Africa and Asia were ruled by ancient Rome
Ruanda, Rwanda, Rwandese Republic - a landlocked republic in central Africa; formerly a German colony
Botswana, Republic of Botswana - a landlocked republic in south-central Africa that became independent from British control in the 1960s
Arab Republic of Egypt, Egypt, United Arab Republic - a republic in northeastern Africa known as the United Arab Republic until 1971; site of an ancient civilization that flourished from 2600 to 30 BC
Kenya, Republic of Kenya - a republic in eastern Africa; achieved independence from the United Kingdom in 1963; major archeological discoveries have been made in the Great Rift Valley in Kenya
Gabon, Gabonese Republic, Gabun - a republic on the west coast of Africa
Gambia, Republic of The Gambia, The Gambia - a narrow republic surrounded by Senegal in West Africa
Ghana, Gold Coast, Republic of Ghana - a republic in West Africa on the Gulf of Guinea; "Ghana was colonized as the Gold Coast by the British"
French Guinea, Republic of Guinea, Guinea - a republic in western Africa on the Atlantic; formerly a French colony; achieved independence from France in 1958
Châu Phi
Africa[ˈæfrɪkə] N → África f
n → Afrika nt


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The most important fútbol game in Spain, El Clásico pits Spain's two largest cities against each other for the ultimate rivalry. Each year, Real Madrid CF and FC Barcelona fight for national bragging rights as the best Spanish fútbol team. Because Barcelona hosted this year's match, 16 people in my program and I made the trip to the opposing team's city to see its attractions and experience its liveliest weekend of the year.
Day 1
With an airline delay, we landed an hour behind schedule for our first evening in Barcelona. Though the flight was a disappointment, my friends and I took the quick and convenient 5,90€ Aerobus airport transfer to the city's Gothic Quarter, arriving at the Sun and Moon Hostel, our residence for the weekend. With limited hostel experience, I was not prepared for the lodging's atmosphere. We entered the building to loud music and were introduced to a bartender shortly after arrival. Unsure of what I had gotten myself into, I soon learned that there are two types of hostels: the quiet, keep to yourself establishments, or the community-oriented, party hostels. Though we were staying in the latter, it did not pose a problem, considering our exchange of quality for location and price, even with the many small, unexpected fees we came upon during our stay.
Friday night was the best night to go to Barcelona's most popular club, Opium. Contrary to its severe name, the beach-access disco had a diverse customer base and relaxed atmosphere. With party-goes aged from early twenties to late forties, there was a place for everyone, be it on the dance floor, at the bar, or on the patio overlooking the sea. Though we ended the night early in preparation for our busy next day, I could have spent hours listening to the rumble of the waves mix with the beat of the music from the club.
Wanting to make the most of our weekend in Barcelona, a few friends and I had preordered tickets for the Sagrada Familia, one of the greatest religious structures of all time. I had heard about and seen images of the incredible work that architect Antoni Gaudí had done, but nothing could have prepared me for the first-hand experience. The church towers over you, so much so that the views of the entire facade are better seen off-site. The intricacy of the facade was impressive, but the interior blew me away. Tall, geometric columns glowed in all colors from the dream-like luminosity of the stained glass windows. Though the great number of visitors made the structure seem less like a place of worship and more like a circus, it made the religious house that much more of an dramatic offer to Catholicism. It's partial completion adds to its grandeur, making me wonder what the experience will be like when it is finished. Plans anticipate that 2026 will be the end of major construction, so I hope to get the opportunity to one day return and see Gaudi's vision complete.
Continuing with the morning's Gaudí theme (not difficult to do when in Barcelona), my friends and I walked from the Sagrada Familia to two famous Gaudí-designed houses: Casa Batlló and Casa Milà. We did not have the time (or money) to enter the buildings, so we admired them from the outside. The colors of Casa Batlló radiated down the street, with gentle turquoise and bright green glass making the facade dance like crystal-clear water. Casa Milà was more understated, but equally as curious. Though at first it blended in with the surrounding structures, standing below the skeleton-like building revealed more geometric intricacy, similar to that in the Sagrada Familia.
On route back to our hostel for an afternoon rest, we traveled down Las Ramblas, one of the busiest streets in Barcelona, lined with souvenir shops, food vendors, as well as formal stores and restaurants. We had been warned of the excessive pickpocketing on this popular street, but I never once felt targeted or suspicious.
Located on Las Ramblas is another one of Barcelona's must-see specialties, La Boqueria. This half outside/half inside marketplace is comparable to but bigger and better than the Mercado San Miguel in Madrid. La Boqueria boasts sweet snacks, fishy dishes, meaty meals, and fresh, fresh fruit, all available to eat in or take out. Over the course of our two hours wandering the market, we gnoshed on chocolate covered strawberries, samples of gourmet cheese, and, our favorite, fruit juice smoothies. Feeling adventurous, I first tried a dragonfruit, or pitahaya, juice, that went down sweet but left a terrible, sour aftertaste. My second try, a juice mix of strawberry and pineapple, was a success.
After a quick rest at the hostel, we were ready for the game! General public tickets for El Clásico went on sale at 11 a.m. on the day of the match. Thinking I had a chance, I logged on to the website hoping to secure admittance to the game. At 11:02 a.m., I was a customer in a queue of over 5,000 fútbol fans, or in other words, never getting a ticket. Accepting the inevitable of viewing the game from outside of the Camp Nou stadium, I wore my Real Madrid scarf with pride through the streets of Barcelona as our entire group took on the ambitious task of finding a bar in which all of us could watch. The size of the group ended up being a non-issue, because the pub that we waited in line for for over an hour reached full capacity before we even got to the door. Slightly panicked, with only a half hour until kickoff, we rushed to find another place to watch, leaving all hopes of comfort behind and sights set only on finding a screen.
Split between a small café and an even smaller bar, my group of friends slid in where we could and watched Barcelona dominate the first half. They started strong, had greater possession of the ball, and took more shots… but they didn't score. The second half brought Barcelona luck with a goal in the 56th minute. Real Madrid, however, responded with an incredible scizzor-kick goal by Benzema in the 63rd minute, followed by a tag-team play by Bale and Ronaldo in the 85th minute to clench the lead. As the Barcelona fans (just about everyone besides my friends and I) grumbled in disgust, we cheered in victory to our final stop for the night.
Recommended to us by other students studying abroad in Barcelona, the Dow Jones Bar was unlike any establishment I'd ever visited. Sure, it was dark, played bad music, and was outfitted in wooden decor like most other bars, but, as the name implies, the Dow Jones Bar had a schtick; it was a stock market bar. Screens hung above the bar sharing the how much a drink was currently worth with its corresponding percent increase or decrease— Fireball up 1.3%, Guinness down 3.8%. You paid based on the fluctuation of the worth of the drink, so you had to watch carefully when to buy. To add to the fun, there would be an occasional stock market crash ("crack", in Barcelona), when all drinks were sold as originally priced, but just for a few seconds. Though the bar itself is a relatively quiet way to spend an evening, the concept is definitely worth checking out.
Day 2
The next morning, following more suggestions from Barcelona study abroad students, my friends and I went to Brunch & Cake for brunch and cake. We chose to dine at their waterfront location, Brunch & Cake by the sea, to later visit the beach. Though the menu options were limited, I got scrambled eggs on a massive sunflower seed bagel and, paired with a strawberry smoothie, enjoyed every bite. Falling into the trap of the restaurant's tempting name, I split a piece of red velvet cake with a friend. With just a hint of cream cheese flavor, the icing made the treat, and it was some of the best red velvet cake I've ever had.
We walked off our meal at the Platja de Sant Sebastià, a beach full of sunbathers and surfers enjoying the sunny day. This was also the base of the Port Cable Car, a gondola ride providing views of Barcelona and transportation to the Montjuïc hill.
A few friends and I had tickets to the monitored Monumental Zone of Park Güell (the park itself is free) two hours from the time we got in line for the cable car. We hoped that the process would be quick enough to do both. It wasn't. After waiting way too long for what ended up being a tourist trap (seriously, it's so bad, do not go on the ride and save the 11€), we were late for our Park Güell time slot. Because some of Gaudí's work in the park has been granted UNESCO World Heritage Site status, a section of the park receives a limited amount of people at a time. My electronic ticket would not scan past our time slot, so being late was going to be a problem.
We took a taxi from Montjuïc to Park Güell and ran to the first worker we could find, my arm extended with the ticket. Over there, the worker directed. So we ran towards the area where she gestured and waited in a short line to speak with another worker. That window, the next attendant said, and we approached our third worker. Holding my breath in anticipation, I presented my ticket.
"What do you want me to do with this?" the park employee asked.
"Scan it?" I replied, confused.
"What time was your ticket for?" he requested.
"2 o'clock…." I reluctantly responded.
"40 minutes ago!?" he confirmed, as if I were crazy for even trying to enter. "This is the exit," he finally clarified.
My friends and I explained to him that this is where we were directed, not knowing that our first direction of "over there" meant the overlooked entrance around the corner.
"So you were waiting in this line the whole time?" he half asked, half declared, developing his own understanding of what happened. "I apologize for the misdirection and will notify my colleagues at the entrance to let you in."
Fortunately, they accepted us into the park, even though we were late and it wasn't really their fault. I know that this was my one "Overly Ambitious (read: Stupid) Traveler Forgiveness" pass, so I will try to avoid the close calls from now on.
Park Güell was beautiful, and it was worth paying for access to the iconic Gaudí monuments and designs. Less intellectual than the Sagrada Familia, the park was simply pretty, serving to aesthetically please. Gaudí knew how to make things that people like to look at!
After rushing around that morning and pacing through the park all afternoon, my friends and I rewarded ourselves with Chök treats. Usually donuts aren't my thing, but I was willing to make an exception for the Chök concoctions. Fortunately, I didn't have to, for the little sweets shop served many options. Settling on a kronut, it wasn't the best dessert I've ever had, but I didn't run away from this member of the donut family.
We left Barcelona to return to Madrid with Vueling Airlines. Because we did not know the date and time of the soccer game before we booked our flight, we scheduled a 10:30 p.m. departure. With Vueling, we took off an hour later than planned and had the least pleasant flight accommodations that I've encountered so far. Though we did make it back to Madrid for the last metro train, I am extremely dissatisfied with my Vueling experience and will try to avoid flying with them in the future.
Destination Locations
- Gothic Quarter, Barcelona
- Sun & Moon Hostel
- C/ Ferran, 17, 08002 Barcelona
- Opium
- Passeig Marítim, 34, 08003 Barcelona
- Sagrada Familia
- Carrer de Mallorca, 401, 08013 Barcelona
- Casa Batlló
- Passeig de Gràcia, 43, 08007 Barcelona
- Casa Milá
- Las Ramblas
- La Boqueria
- Les Rambles, 91, 08001 Barcelona
- Dow Jones Bar
- Carrer del Bruc, 97, 08009 Barcelona
- Brunch & Cake by the sea
- Passeig de Joan de Borbó, 5, 08003 Barcelona
- Platja de Sant Sebastià
- Montjuïc
- Park Güell
- Carrer d'Olot, s/n, 08024 Barcelona
- Chök
- Carrer del Carme, 3, 08001 Barcelona
Pau, Amor, Barcelona


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what's new and changed in After Effects CC 2014 (13.0)
As David Wadhwani has just announced, today we have released the next major update to Creative Cloud applications, including After Effects CC.
The After Effects CC 2014 update (version 13.0) is available to all Adobe Creative Cloud members. Just go to the Creative Cloud download center or open the Creative Cloud desktop application to download the new updates for After Effects and many other applications.
For information about purchasing a Creative Cloud subscription, go here. For more information about Creative Cloud, see this overview video and the Creative Cloud FAQ list.
Please, if you want to ask questions about these new and changed features, come on over to the After Effects user-to-user forum. That's the best place for questions (and, if you follow that link, you'll find more information about how to communicate with us). Questions left in comments on a blog post are much harder to work with; the blog comment system just isn't set up for conversations. If you'd like to submit feature requests (or bug reports), you can do so here.
new features in the After Effects CC 2014 (13.0) update
- Key Cleaner effect and Advanced Spill Suppressor effect
- text templates created in After Effects editable in Premiere Pro
- compositing options for each effect, including ability to confine the area affected by each effect with masks
- import of masks from Premiere Pro
- HTML5 panels using CEP infrastructure
- Kuler panel
- ProEXR v1.9: higher-performance OpenEXR importer, updated IDentifier and EXtractoR effects
- import of Sony RAW footage (raw files from F5, F55, and F65 cameras)
- import of MPEG-4 SStP (Simple Studio Profile) Sony SR MXF files
- video preview on external monitor using Mercury Transmit
- scripting access to render settings and output module settings
- automatic adjustment in Curves effect, plus improvements to Curves effect user interface
- menu command to add fonts from Typekit
- digital Cinema Package (DCP) export through Adobe Media Encoder
resources for learning about these new and changed features
- Chris & Trish Meyer's summary of the top new features
- John Dickinson's video overview, which does an great job showing effect masks and Curves effect
- Steve Forde's video overview of a few of the new features
Read on for a virtually comprehensive list of changes, with detail beyond the summaries of the top items listed above. We'll be posting a lot more detail over the coming weeks, and the outline below will be populated with links to in-depth articles and tutorials, so bookmark this page and check back.
Key Cleaner effect and Advanced Spill Suppressor effect
The Key Cleaner effect recovers detail from a scene keyed by a typical keying effect, including recovering detail from a keyed scene with compression artifacts.
The Advanced Spill Suppressor effect removes color spill on a foreground subject from a colored background used for color keying.
The Key Cleaner and Advanced Spill Suppressor effects are intended to be used along with any keying effect that can provide the original RGB data as input (e.g., as the Keylight effect can using its Intermediate Result setting).
Brian Maffitt demonstrates the use of the Key Cleaner and Advanced Spill Suppressor effects in this video on the Adobe website.
The Advanced Spill Suppressor effect has two methods for spill suppression: Standard and Ultra. The Ultra method is based on the spill suppression in the Ultra Key effect in Premiere Pro. The Standard method is simpler and requires less user input. In the majority of cases in our testing, the Standard method provides the better results, but the Ultra method can be useful for scenes in which the screen color is refracted through an object. If Standard doesn't work for you, then try Ultra.
Tip: You can use an effect mask on the Key Cleaner effect to restrict the result of a wider Additional Edge Radius value (e.g., hair) without causing unwanted semi-transparent regions in sharper regions (e.g., shoulders/arms).
You can control the contrast in the alpha channel in semitransparent regions (along edges) with the Alpha Contrast property in the Key Cleaner effect.
The easiest way to apply these three effects is with the Keylight + Key Cleaner + Advanced Spill Suppressor animation preset:
1. Apply the Keylight + Key Cleaner + Advanced Spill Suppressor animation preset, which is in the Animation Presets > Image – Utilities category in the Effects & Presets panel. This adds the Keylight, Key Cleaner, and Advanced Spill Suppressor effects to the layer. The Advanced Spill Suppressor effect is turned off by default to allow you to sample the key color in the Keylight effect.
2. Use the Keylight effect's Screen Colour eyedropper to sample the key color from the layer in the Composition panel. Adjust other Keylight effect settings as you normally would to get the best results.
3. Turn on the effect switch for the Advanced Spill Suppressor effect to remove color spill from the scene.
Note: If you use the Keylight + Key Cleaner + Advanced Spill Suppressor animation preset, the Key Color property is already linked with an expression to the Keylight effect's Screen Colour property, so you don't need to change it unless you want to use a different color for the despill process. If so, just disable or remove the expression.
To use a keying effect other than the Keylight effect, do the following:
1. Apply the keying effect to the layer.
2. Set the effect to the equivalent of the Keylight effect's Intermediate Result setting, so that the keying effect gives the full RGB result without attempting to perform its own spill suppression.
3. Apply the Key Cleaner effect after the keying effect.
4. Apply the Advanced Spill Suppressor effect after the Key Cleaner effect.
text templates created in After Effects editable in Premiere Pro
You can create text template compositions in After Effects for which the source text remains editable in Premiere Pro.
Any composition with text layers can be used as a text template, and any unlocked text layers in that composition will remain editable in Premiere Pro.
Brian Maffitt demonstrates the new text templates workflow in this video on the Adobe website.
Here is a basic set of instructions for exercising this feature that shows off how it works:
1. Create an After Effects composition with one or more text layers.
2. In the Advanced tab of the Composition Settings dialog box, check the box next to "Template (unlocked text layers editable in Premiere Pro". Note the important descriptive text under this control: "When 'Template' is checked, only template compositions in this project will be visible to Premiere Pro."
Animate, add effects, and do whatever else you like, just as you would normally work in After Effects.
3. Lock any text layers that you do not want to be editable in Premiere Pro.
4. In Premiere Pro, import the After Effects composition.
5. Load the composition in the Source Monitor (context-click the source item in the Project panel and choose Open In Source Monitor) and look in the Effect Controls panel in Premiere Pro, where you will see a new After Effects Editable Text category.
6. Edit one or more of the source text items in the Effect Controls panel in Premiere Pro, and verify that this appears in the content in Premiere Pro. The changes do not affect the original material in After Effects.
7. In After Effects, modify some aspects of the composition, including properties of the text layer, such as position and color. Verify that these changes are also shown in Premiere Pro.
8. In After Effects, modify the source text of one of the text layers for which you already changed the corresponding text in Premiere Pro. Verify that the text does not change in Premiere Pro.
As you can see by following these steps, changes made to the text in Premiere Pro cause the text content of that field to become "owned" by Premiere Pro, but all other changes in After Effects are carried through to Premiere Pro through Dynamic Link.
One convenient way to understand how text templates work in Premiere Pro is to think of the After Effects composition loaded into Premiere Pro as being just like any other media asset–like a movie file–and the text settings as being just like any other master clip effect.
compositing options for each effect, including ability to confine area affected by each effect with masks
In the Timeline panel, each effect's property group includes a Compositing Options property group.
By default, the Compositing Options property group includes an Effect Opacity property, which can be thought of as providing the same functionality as the Blend With Original control found in a few effects in previous versions of After Effects.
You can also add any number of mask references to an effect to constrain the area within which the effect's operations are applied. For example, you can draw and track masks around a subject's eyes and constrain the Change To Color effect to only operate within those two masks to change the eye color, leaving colors outside the masks unaffected. Another simple and common usage is to use a blur effect or the Mosaic effect on a tracked rectangular or elliptical mask to obscure a license plate, logo, or face, as in the example below:
To add a mask reference to an effect, click the plus sign next to the Compositing Options heading and choose a mask from the Mask Reference menu.
You can only choose a mask on the same layer as the effect. You can add as many mask references as you like. Note that you can use different masks for various effects on the same layer. Feathering, mask tracking, and mask expansion properties of the mask are honored in the constraints of the effect area.
When a mask is used as an effect mask, it is not also used as a layer mask – i.e., when a mask is used to constrain the area of an effect, the mask is not also used to modify the alpha channel of the layer. A mask that is used as an effect mask has a blue fx icon to the left of its name in the Timeline panel; clicking this icon expands the effect(s) for which the mask is used as an effect mask. Similarly, when an effect is constrained by a mask, the entry for the effect in the Effect Controls panel has a blue circle icon to the left of the effect name; clicking this icon expands and selects the mask(s) in the Timeline panel.
Brian Maffitt demonstrates the new effect masks and compositing options in a video on the Adobe website.
John Dickinson's video overview of the new features does an excellent job showing the effect mask feature.
import of masks from Premiere Pro
When you import a clip from Premiere Pro that includes masks, those masks are preserved and converted to After Effects masks.
This works for all methods of importing clips from Premiere Pro, including using the Replace With After Effects Composition command in Premiere Pro, copying and pasting from Premiere Pro to After Effects, and importing a Premiere Pro project into After Effects.
The mask shape, feather, opacity, expansion, and inversion properties are all preserved, including keyframes on those properties.
If a clip has a Crop effect applied in Premiere Pro, this is converted to a mask on a layer when imported into After Effects.
Auto adjustment in Curves effect
To adjust the curves in the Curves effect automatically, click the Auto button beneath the curves in the Effect Controls panel.
This automatic adjustment is based on a database of curve adjustments performed by color and photography experts on a broad range of input images. The adjustment made to an image is an interpolation between the adjustments made to reference input images with similar color distributions.
improvements to Curves effect user interface
The primary user interface element in the Curves effect (the curves graph itself) is now resizable using buttons immediately above the curves.
You can directly select and manipulate the individual color channels' curves without using the Channel menu.
The curves themselves are drawn more smoothly.
The icon-based buttons for Open, Save, Smooth, and Reset (which didn't even have tooltips) have been replaced with word-based buttons that make their functionality more discoverable.
John Dickinson's video overview of the new features does an excellent job showing the Curves effect improvements.
HTML5 panels using CEP infrastructure
After Effects now includes the CEP (Common Extensibility Platform) infrastructure for loading and using HTML5 panels. These panels have access to the entire After Effects scripting object model – in addition to being able to use HTML, CSS, and JavaScript – so a very wide variety of extensions can be created using this system.
Premiere Pro and several other Adobe applications have already integrated this infrastructure, so you may already be familiar with such panels as those created by stock footage companies, training providers, and so on. The previous name for the CEP system was 'CSXS', so you may know it by that name.
Kuler panel
The Kuler panel integrated into After Effects is one of the first instances of an HTML5 CEP panel built for After Effects.
Using this panel, you can load and explore collections of colors and sample from these swatches for use in After Effects.
menu command to add fonts from Typekit
In the File menu, there is a new command, Add Fonts From Typekit, which opens the Typekit website in your default web browser. You can then download fonts from the Typekit library for immediate use in After Effects and other applications.
ProEXR v1.9: higher-performance OpenEXR importer, IDentifier effect, EXtractoR effect
Brendan Bolles explains the new and improved features of the ProEXR plug-ins here and here, including a higher-performance OpenEXR importer.
Sony RAW importer (for raw files from F5, F55, and F65 cameras)
You can now import raw files from Sony F5, F55, and F65 cameras into After Effects.
To test this feature with Premiere Pro, start by importing such files into Premiere Pro and then import clips based on these files into After Effects using Dynamic Link, importing the Premiere Pro project into After Effects, et cetera.
As with ARRIRAW files, the source settings are not carried over when transferring a clip from Premiere Pro to After Effects.
video preview on external monitor using Mercury Transmit
We have replaced the QuickTime-based and DirectShow-based video preview system for external monitors with a system based on Mercury Transmit.
For details of these changes, see this article.
Video preview using Mercury Transmit sends the contents of the Composition, Layer, or Footage panel viewer to an external monitor. The external monitor can be a video monitor connected through third-party video hardware (e.g., AJA, Blackmagic, Matrox I/O devices), a DV device connected over FireWire, or it can be a computer monitor connected to your video display card (via HDMI, DVI, VGA, DisplayPort, etc.).
The video preview sent to an external monitor using Mercury Transmit is color-managed (treating the external video preview monitor as an HDTV Rec. 709 device). This fixes a long-standing limitation in external video preview in After Effects when using color management.
fixed bug in implementation of Perlin noise algorithm
We're not posting the details of all of the bugs fixed in the next version of After Effects, but this bug seemed worthy of special mention, since the fix does change the appearance and behavior of old projects.
The implementation of the Perlin noise algorithm used by After Effects has had a long-standing bug that caused results to be biased toward negative results, as well as causing excessive flat regions in the function's graph. This bug has been fixed.
The result is that the wiggle expression method, the Wiggle Transforms shape layer operator, and various other features that use this form of noise will render differently in this version of After Effects. In general, this should not be a concern, since it is unlikely that anyone was depending on any specific random values being generated. However, if you do have any examples where this change causes a problem, let us know.
expression sampling interval
After Effects evaluates an expression at various times to determine whether the values held in the global performance cache are current or are stale and need to be updated with fresh values. This sampling at various times along the composition can cause interactions in a composition that combines expressions and certain other features to be rather slow, which causes various interactions to be sluggish.
You can force the number of samples for a given expression to be exactly 1 for the entire composition by inserting the following comment in the expression:
// cacheCompareSamplesPerSecond 0
Even without the addition of this comment, After Effects will only use one sample for the entire composition if there are no features used that span across multiple frames, such as motion blur or wide-time effects (e.g., the Echo effect).
The risk of using this feature to specify that only one sample is used is that you may get stale values in the global performance cache. Only use this comment when you are experiencing slowdowns with expression evaluation; be sure to check your rendered frames to make sure that they are updating as they should.
You can also use the same comment with a whole number value to specify a sampling rate with the units of samples per second. For example, the following comment forces the expression to be sampled 25 times per second – i.e., on every frame of a 25fps composition:
// cacheCompareSamplesPerSecond 25
You should very rarely need to specify a higher sampling rate than the default, since After Effects will by default use an adaptive sampling rate that should be appropriate for most cases. Only set a higher sampling rate if you find that the frames that you are seeing contain the wrong image information that is not updating when it should. Specifying a high sample rate will slow down expression evaluation, so it should only be used when a problem is actually observed. You are only likely to run into this problem if the expression is upstream from a temporal effect such as Echo or Roto Brush or an extreme time speedup, or has very high frequencies and is motion blurred.
export of Digital Cinema Package (DCP) files through Adobe Media Encoder
Adobe Media Encoder is adding many new useful features, including the ability to export a Digital Cinema Package (DCP). See this page for more information, and stay tuned for additional details.
scripting access to render settings and output module settings
- Added: RenderQueueItem object getSetting, setSetting methods
- Added: OutputModule object getSetting, setSetting methods
- Added: RenderQueueItem object getSettings, setSettings methods
- Added: OutputModule object getSettings, setSettings methods
// Get current value of render setting's "Proxy Use"
// Key and value strings are English.
var rqItem1_proxyUse = app.project.renderQueue.item(1).getSetting("Proxy Use");
// Get string version of same setting, add "-str" at the end of key string
var rqItem1_proxyUse_str = app.project.renderQueue.item(1).getSetting("Proxy Use-str");
// Set value of "Proxy Use" to "Use All Proxies"
app.project.renderQueue.item(1).setSetting("Proxy Use", "Use All Proxies");
// You can use numbers, too.
// The next line does the same as the previous example.
app.project.renderQueue.item(1).setSetting("Proxy Use", 1);
// Get object containing string version of all current render setting
// values of render queue item 1.
// To get the values in the number format, use GetSettingsFormat.NUMBER
// as an argument.
var rqItem1_all_str = app.project.renderQueue.item(1).getSettings( GetSettingsFormat.STRING );
// Convert to JSON format so that it is human-readable.
var rqItem1_all_str_json = rqItem1_all_str.toSource();
// Get an object that contains string version of settable render setting
// values of render queue item 1.
// To get the values in the number format, use
// GetSettingsFormat.NUMBER_SETTABLE as an argument.
var rqItem1_settable_str = app.project.renderQueue.item(1).getSettings( GetSettingsFormat.STRING_SETTABLE );
// Set render queue item 2 with values that you got from render
//queue item 1.
app.project.renderQueue.item(2).setSettings( rqItem1_settable_str );
// Set render queue item 3 with values you create.
var my_renderSettings = {
"Color Depth":"32 bits per channel",
"Effects":"All On",
"Time Span Duration":"1.0",
"Time Span Start":"2.0"
app.project.renderQueue.item(2).setSettings( my_renderSettings );
// Get object that contains all possible values of all render settings of
// render queue item 1 and convert to JSON format.
var rqItem1_spec_str = app.project.renderQueue.item(1).getSettings(GetSettingsFormat.SPEC);
var rqItem1_spec_str_json = rqItem1_spec_str.toSource();
// Get object that contains the string version of all current output module setting
// values of output module item 1 from render queue item 1.
// To get the values in the number format, use GetSettingsFormat.NUMBER as an argument.
var omItem1_all_str= app.project.renderQueue.item(1).outputModule(1).getSettings( GetSettingsFormat.STRING );
// Convert to JSON format so that it is human-readable.
var omItem1_all_str_json = omItem1_all_str.toSource();
// Get object that contains string version of settable output module setting values
// of output module item 1 from render queue item 1.
// If you want to get the values in the number format, use
// GetSettingsFormat.NUMBER_SETTABLE as an argument.
var omItem1_settable_str = app.project.renderQueue.item(1).outputModule(1).getSettings( GetSettingsFormat.STRING_SETTABLE );
// Set output module item 1 of render queue item 2 with values that you get from
// output module 1 of render queue item 1
app.project.renderQueue.item(2).outputModule(1).setSettings( omItem1_settable_str );
// Set output module item 1 of render queue item 3 with values that you create.
var crop_data = {
"Crop Bottom":0,
"Crop Left":0,
"Crop Right":8,
"Crop Top":10
app.project.renderQueue.item(1).outputModule(3).setSettings( crop_data );
// Currently, the format setting in the output module is not settable, but it
// is readable. The next line will tell you the current format of output module
// item 1 from render queue item 1.
var current_format = app.project.renderQueue.item(1).outputModule(1).getSettings(GetSettingsFormat.STRING).Format;
// This line will tell you the output module file info.
var current_omFileTempalte = app.project.renderQueue.item(1).outputModule(1).getSettings(GetSettingsFormat.STRING)["Output File Info"]["File Template"];
// Note: there is a bug that causes OutputModule object to be invalidated after the
// output module setting is modified.
// So, you need to retrieve OMitem after you modify it.
// This is the new way to change the output file path of output module 1 of
// render queue item 1.
// In this example, output file is routed to the user directory.
var om1 = app.project.renderQueue.item(1).outputModule(1);
var file_name = File.decode( om1.file.name ); // Name contains special character, space?
var new_path = "~/new_output";
var new_dir = new Folder( new_path );
new_path = new_dir.fsName;
var new_data = {
"Output File Info":
"Base Path":new_path,
"Subfolder Path":"draft",
"File Name":file_name
om1.setSettings( new_data );
// This is the new way to change the output file path of output module 1 of
// render queue item 1.
// In this example, the output file is routed to the user directory,
// but this time using the full path.
var om1 = app.project.renderQueue.item(1).outputModule(1);
var file_name = File.decode( om1.file.name ); // Name contains special character, such as space?
var new_path = "/Users/myAccount/new_output";
var separator = "/";
if ($.os.indexOf("Mac") == -1)
new_path = "C:\Users\myAccount\new_output";
separator = "\";
var new_data = {
"Output File Info":
"Full Flat Path":new_path + separator + file_name
om1.setSettings( new_data );
After Effects localized into Russian and Brazilian Portuguese
The next version of After Effects will be available in two more languages: Russian and Brazilian Portuguese.
new command for saving backward one major version
The command for saving project as a copy for the previous version has been incremented to File > Save As > Save A Copy As CC (12). To save a project that can be opened by After Effects CS6 requires an additional step, saving back from After Effects CC (12).
old Spill Suppressor effect obsolete
The Spill Suppressor effect has been moved to the Obsolete category. It has been superseded by the Advanced Spill Suppressor effect.
removal of H.264, MPEG-2, WMV, FLV, F4V, and SWF exporters from After Effects
To export to final delivery formats such as MPEG-2, H.264, and WMV, use Adobe Media Encoder. You can either add compositions directly to the Adobe Media Encoder encoding queue (Composition > Add To Adobe Media Encoder Queue) or render and export a lossless master file directly from After Effects that Adobe Media Encoder picks up from a watch folder to encode to various final delivery formats.
The SWF, FLV, and F4V exporters were removed because the recommended workflow for creating movies that play in Flash Player is to create an H.264 video using Adobe Media Encoder and then use Flash Professional to link or embed that video in a SWF container.


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North Fork's Jazz Great, Capt. Teddy Charles Dies at 84
April 18, 2012
The Suffolk Times: Teddy Charles, who during a career as a pioneering jazz musician played with Charlie Parker, Miles Davis, Charles Mingus and other legendary performers, died Monday at Peconic Bay Medical Center in Riverhead at age 84.
More recently, Mr. Charles, a former Greenporter who lived in Riverhead for the past eight years, was known for his love of the sea and as Captain Ted Charles owned and operated the skipjack Pilgrim out of Greenport Harbor. He was considered by many to be the most experienced owner-operator of commercial sailing charters on the east coast, sailing extensively from Martha's Vineyard to the Caribbean.
Mr. Charles was considered to be one of the great jazz vibraphonists and composers of all time. But his talents went beyond that one instrument.
To read more:
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Dan Aykroyd sure knows how to make an entrance on Fallon
July 31, 2013 Matt Television, Video
Last night Dan Aykroyd made his first appearance on Late Night With Jimmy and he did it with a bang. As he and Fallon pulled no stops as they made a Blues Brothers themed introduction for the former Saturday Night Live cast members. SNL cast members should reunite on Fallon more often.
And here is Aykroyd's interview on the show which includes how he nearly died because of illegally obtained keys around 30 Rock. Unfortunately there was no talk about his UFO policy.


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Project Participants
The project developer – Independence companyIs a holding comprising a number of companies operating in a real estate and construction market. The company currently has premium class residential estate projects in Kiev (Prestige Hall residential complex), and Dnepropetrovsk
The project subcontractor - Aerobud CJSCIs a stable organization that dynamically develops and operates in construction market since 1995. Company portfolio includes many projects on building and reconstruction: Boryspil Airport Hotel, Premier Palace Hotel, UkrSibbank office center, Il'inskii and Leonardo business centers, «INFINITY» car showroom, Chaika logistics complex etc. Aerobud CJSC is among the leaders of construction industry in Ukraine.
Advertising and sales consultant - Kanzas Real Estate LLCThe company, which has proven itself as a team of highly skilled professionals in marketing, branding, and sales management of a primary residential property, since it cooperated with the developer in Prestige Hall residential complex - another project in Kiev.
Accredited design studio – Art Kanzas LLCThe studio offered one interior design option for each typical apartment in Art Hall club house. Art Kansas studio is ready to develop an individual design of apartments at the request of Art Hall clients and to embody idea by performing complex repair.