Guys,
I am new to this forum and would like to send out a request for help. I have an ambitious plan to build a monitoring system that can monitor 3x current circuits, 1x voltage circuit, multiple temp. sensors and one pulse output. I also want to access all this data online remotely if possible with graphing capacity.
I know I have to start with the emonbase but what I am having a difficulty wrapping my head around is which one to go with. Also, if I use the NanodeRF, will I need to have a laptop on site to log all this data or will it periodically send the data to a server?
Any help in this direction would be greatly appreciated. Thank you in advance!
Sheldon
Re: Building an energy monitoring system - 3x current circuits, 1x voltage circuit, multile temp and one pulse output
Welcome, Sheldon.
What I think you need is one emonTx, one base and emoncms.org.
For your base, you can use NanodeRF, OKG base, or a Raspberry Pi. The first two send the data via ethernet to either a local server - which could be your laptop or any (old?) machine that can run Apache, MySQL and PHP, i.e. LAMP/MAMP/WAMP - or emoncms.org. The RPi can function either in that mode as an Ethernet interface or, with attached storage (the internal SD card is not reliable long-term) as a local server.
Re: Building an energy monitoring system - 3x current circuits, 1x voltage circuit, multile temp and one pulse output
Robert,
Thank you for your reply. I think I will use the NanodeRF as the base and build the monitoring system to send the data via ethernet to emoncms.org. A quick question - does emoncms store the data? Are there any limits on the amount of storage capacity?
On the hardware side - can I use rope CT for the current measurement? I need to be able to measure upto 1200A since this product is intended to be installed in Buildings in NYC.
Thank you once again. I will keep posting results on my project.
Sheldon
Re: Building an energy monitoring system - 3x current circuits, 1x voltage circuit, multile temp and one pulse output
A quick question - does emoncms store the data? Yes
Are there any limits on the amount of storage capacity? Not at the moment (but if you're a commercial operation, a donation to the running costs would be appreciated).
On the hardware side - can I use rope CT for the current measurement? I need to be able to measure upto 1200A
As long as you get the interface right, you can use any current sensor. By "interface" I mean the output has to be centred at half supply voltage of your Atmel processor (1.65 V if you use an emonTx, 2.5 V for an Arduino board) and you need the correct burden resistor to give you close to 3.3 V (5 V) peak-peak output at maximum current, or if you're using a Rogowski coil its integrator output voltage must satisfy those conditions. If you're using a conventional c.t. it means it must have a sufficient VA rating (many only give 1 V p-p out).
since this product is intended to be installed in Buildings in NYC.
That is slightly worrying. The emonTx is a single phase unit, designed for the UK domestic supply (usually a TN-S or TN-C-S system). If you need to accurately measure power across three phases (or are they centre-tapped to neutral in which case it's 6?) then it's a lot more complicated than I thought. You need to measure at least 3 voltages - look at Martin Roberts's "Full-fat 3-phase monitor": http://openenergymonitor.org/emon/node/1170. If you have your own step-down transformers, it may be easier to measure on the primary side.
Re: Building an energy monitoring system - 3x current circuits, 1x voltage circuit, multile temp and one pulse output
Robert,
Thanks once again for the quick response. I need to do a lot more work before I can make this commercial - just building this out of curiosity.
I will work on the information you have provided and get back to this thread with more information.
Sheldon


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hello my name is katie hally. I live in delaware and i like to run. I like dogs. katie tyndall is very annoying. she stole my name.
- dogs are cool
- katie tyndall is not
- bridget kennedy can't smell


 It makes me feel like I am always alone in this world full of miracles and unexpected events.I have always thought that when it comes to loneliness, music can bring you peace in yourself. Its like that the music is striking your heart and is relating the lyrics to your life. Music can make me relax and imagine like I am in a peaceful place where I can lay down and feel the nature.
"When the pain penetrates, THE MUSIC Resonates."
Music does bring people together. It allows us to experience the same emotions. People everywhere are the same in heart and spirit. No matter what language we speak, what color we are, the form of our politics or the expression of our love and our faith, music proves: We are the same.
Whether I am an music enthusiast or not, the best way I can express my feelings, anger, love, passion, joy and other kinds of feelings is simply through music. It is rightly said that when words and letters failed, the best option is music. I will be able to express the intent of my heart through music which ordinarily may not be possible for me to either do in words or letters.


Gateway
BOT
05-Dec-18 08:42 AM
[dscrdvrsc] <Gloryman> @ph03nix @Diabolik You should ALWAYS mine something that isn't profitable.
[dscrdvrsc] <Takoy_Nahal> Do guys like me if today it is not profitable to mine Verus, get another coin, sell that coin and buy Verus. In general, invest in POS, it is now profitable
[dscrdvrsc] <Gordon Komodo> well, whatever decision miketout makes, I will still hold my coin and run staking because i believe in the vision. And i will buy more if there is dumping in the market
(edited)
[dscrdvrsc] <ph03nix> use common sense
[dscrdvrsc] <Gloryman> @ph03nix Use expert sense!
[dscrdvrsc] <ph03nix> @Gloryman you are the expert?
[dscrdvrsc] <Patrick ManBearPig> This is the only POS coin I have come across(and thank you to the guy who gave me the tipoff) where I could actually make a decent stake
[dscrdvrsc] <Gloryman> @ph03nix you are the common?
[dscrdvrsc] <ph03nix> meh, i'm done
[dscrdvrsc] <Takoy_Nahal> If it is not profitable to mine Verus mine another coin and buy Verus on it.
[dscrdvrsc] <Diabolik> Gloryman, don't get upset. We just have a different vision and a very different skin in the game. You leaved VRSC by selling you 500 coins; I'm mining it since 23 May, if I remember well and now staking ; never ever sold 1 VRSC and believe or not, I don't have 500 vrsc only
(edited)
[dscrdvrsc] <Diabolik> peace & love
[dscrdvrsc] <Gloryman> @Takoy_Nahal still doesnt solve the growth issue, buddy. But, yeah alot of people are doing that I heard.
[dscrdvrsc] <Patrick ManBearPig> I had to sell some profits recently. I would rather be doubling my stack
[dscrdvrsc] <Gloryman> @Diabolik I'm not upset. I'm just trolling people that i think are trolling me
[dscrdvrsc] <Patrick ManBearPig> I admit I was trolling with my comment about you selling me some cheap verus
[dscrdvrsc] <Patrick ManBearPig> I actually really wish I had some btc to spread around and keep taking advantage of these massive swings
[dscrdvrsc] <Gloryman> all my coin is in bitcoin now
[dscrdvrsc] <Patrick ManBearPig> But I also don't want to stop staking to move coins to the exchange
[dscrdvrsc] <Patrick ManBearPig> A year ago so was mine. Now it's all shitcoins and ethereum. Oh what happened. Oh well
[dscrdvrsc] <Patrick ManBearPig> I do have to wonder why you are still trying to hard to steer the conversation on this issue when you have already sold out your stake
[dscrdvrsc] <Gloryman> Just been talking in the community for months and I can buy into it again if the issue is sorted out
[dscrdvrsc] <ph03nix> gloryhole
[dscrdvrsc] <Patrick ManBearPig> I am not one to throw the F word around, but I would say it's appropriate here
[dscrdvrsc] <ph03nix> check mate son
[dscrdvrsc] <Gloryman> @ph03nix I've been upfront about buying one of these things for months, genius!
[dscrdvrsc] <ph03nix> goes against your recent narrative though
[dscrdvrsc] <Patrick ManBearPig> I do have to say that @kryptoshi nailed it
[dscrdvrsc] <Gloryman> @ph03nix What narrative and how?
[dscrdvrsc] <Gloryman> Yeah I saw that post
[dscrdvrsc] <Gloryman> Raping coins with a small network is the issue imo.
[dscrdvrsc] <ph03nix> cry me a river
[dscrdvrsc] <Gloryman> @ph03nix don't be offended snowflake
[dscrdvrsc] <Patrick ManBearPig> Ok guys take a step back and stop getting personal
[dscrdvrsc] <Gloryman> @Patrick ManBearPig it's ok, secretly gay guys love chatting to me. It's fine.
[dscrdvrsc] <ph03nix> anyways , it's became obvious to me that only people with money invested in old hardware complain about new hardware that is superior
[dscrdvrsc] <Godballz> Let us not let this Discord devolve any further. We have most of the information we are going to get. At the end of the day it is an investment. Use the information you have in hand to make informed decisions and blame no one but yourselves. This is something I have to remind myself at times when emotions can come into things
[dscrdvrsc] <Godballz> Sorry that reads harsher than I meant for it to sound. What I meant was if I make an investment based on the information that I have and it doesn't work out I can only blame myself really there is no one else we should be placing blame on here. I can see how it can be a shame but this is how things go and is the natural march of progress
[dscrdvrsc] <ph03nix> yes
[dscrdvrsc] <Godballz> But at the end of the day these are all Investments. It doesn't matter how you look at it, from a money perspective or from an altruistic perspective investing in the future.
(edited)
[dscrdvrsc] <Godballz> I hate to see us arguing over the same things and getting nowhere


I let my friend scan me and upload the scanned file to the computer. I used meshmixer to fix some problems of the scan. For example. "Solidify" eliminates the hole on my head and "drag" and "smooth" makes the outline more natural and smoother.
Next, I combine a sphere with my head. I intended to make it as a pedastal base but it cannot stand. I hope that I can alter the density when I a 3D modeling, so that I can make my sphere stand.
It turns out to be pretty cool.
Design rules and limitations for the MakerBot Replicator 5th Gen printers
Design Rules
You must use 3D modeling applications like Fusion360 and MeshMixer to design the object you will be printing and export it to .stl form.
After designing, you must import the stl file to MakerBot in order to print it.
Limitations
The printed objects must not be bigger than the size of the inner 3D printer.
The materials(colorful coils) of the 3D printers need to be replenished after it runs out
Objects that has empty spaces must have supports when printed.
The printer cannot capture intricate details.
I also designed a useful project--a box that can contain my makeup


Gary Endacott has served as Disability Facilitator for the Ministry of Education of New Zealand. He has worked to ensure the best possible outcomes for children with disabilities. He was the first person with a physical difference to climb Mount Kilimanjaro. Gary’s contributions to inclusion are extensive, especially in the world of sports where he has regularly excelled. He completed the New York City Marathon four times and became a world disabled tennis champ.
Gary ran the New York marathon 4 times and was the first person with cerebral palsy to complete it on foot.
Gary was NZ and World disabled tennis champion in the standing division.
Gary became the first person with cerebral palsy to climb Mount Kilimanjaro.
Gary has received many other awards over the years:
In 2013, Gary was the inaugural winner of the people's choice Attitude Award.
Personal experiences
Motivational
Inspirational
Entertaining
Attitudinal
Applicable to anyone
Keynote
After dinner
Corporate & Business
MC
Sports awards


About Our Company
ULKASOFT is an international software development company covering a full spectrum of IT services, including software design, development, implementation, testing, support, and consulting.
- We value our clients.
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ULKASOFT helps software companies in the United States and around the world with developing functionality and features for their products. At ULKASOFT, we are caretakers of your intellectual property, proprietary software and new development specifications. You retain full ownership of all intellectual property rights and software source code at the end of any project. We are your offshore software development partners and are fully focused on getting your project done quickly, efficiently and effectively.
Key Benefits
- Experience of developing customized, fully integrated systems.
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Our Strengths
- Company vision, culture, and skills fit well for outsourcing in target markets.
- Excellent working knowledge of English.
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- High transparency in management and production processes.
Project Cycle Activities
- Well-established requirements management.
- Good control of development process.
- Well-established QA approach.


--- title: (Blackfynn) get keywords: documentation theme, jekyll, technical writers, help authoring tools, hat replacements last_updated: July 3, 2016 tags: [getting_started] sidebar: matlab_docs_sidebar permalink: blackfynn_get.html folder: mydoc ---
get Returns any object based on its Blackfynn ID. OBJECT = get(OBJ, 'id') returns the object associated with the provided Blackfynn ID. Object ids from datasets, packages and folders are accepted. Example: BF = BLACKFYNN() PKG = BF.get('N:package:113335eb-2222-47fc-aa...')
| Access | public |
| Sealed | false |
| Static | false |


Preview: Magic dealing with injuries as Pacers await
by APTV: FOX Sports Florida
TIME: Pregame coverage begins at 6:30 p.m.
STREAM IT LIVE ON FOX SPORTS GO
Orlando Magic (6-8, eighth in the Eastern Conference) vs. Indiana Pacers (8-6, sixth in the Eastern Conference)
Eastern Conference foes Indiana and Orlando will play.
Indiana finished 33-19 in Eastern Conference action and 29-12 at home a season ago. The Pacers averaged 108 points per game last season, 15.8 from the free throw line and 28.5 from beyond the arc.
Orlando went 42-40 overall and 30-22 in Eastern Conference play during the 2018-19 season. The Magic averaged 6.6 steals, 5.4 blocks and 13.2 turnovers per game last season.
Indiana and Orlando matchup for the second time this season. The Pacers won the last meeting 109-102 on Nov. 10. Domantas Sabonis led Indiana to the win with 21 points, 16 rebounds and seven assists.
Pacers Injuries: Edmond Sumner: out (hand), JaKarr Sampson: day to day (back), Victor Oladipo: out (quad), T.J. McConnell: day to day (right groin), Jeremy Lamb: day to day (left ankle), Malcolm Brogdon: day to day (back).
Magic Injuries: Nikola Vucevic: out (right ankle), Aaron Gordon: out (right ankle), Michael Carter-Williams: out (left hip).


The main purpose of this report is to compare a bunch of test executions against some other test execution, called a baseline.
The report finds metrics which are common to all executions, and computes the percentage difference between the baseline and
other executions for these metrics.
There can be multiple such comparisons, each with its own set of executions. Multiple comparisons can be grouped into groups.
The test executions to compare can be selected in 2 ways:
- directly by test execution ID
- chosing a test and a set of tags
Since the second option can match multiple executions, the latest one is selected. Other strategies for selecting the execution
to compare are currently not implemented. Please note that the latest one is selected every time the report is shown, so if new
executions that match the tags were added since the report was created, the report will update as well. Use the first option
if you need fixed executions.
There can be only 1 baseline (don't be fooled by the checkboxes, I suck at jsf).
Multivalue executions are currently not supported.
In the resulting comparison table, hover over the percentage difference to see the actual value. Hover over the aliases
of the compared items to see which test execution id was selected for comparison (useful when defining the comparison
items with tags).
Threshold defines when the difference between an execution and baseline is considered bad or good. For example the default, 5,
means that if an execution e1 (baseline) has metric1=100, and execution e2 has metric1=94, the difference -6% will be shown in red
color to indicate significant regression in e2.


Jeffrey W.
9/1/14
It was unlike anything I've ever experienced in my life. I got to soar above the birds and enjoy a ride better than theme parks, flying horizontal over a canyon and the coast! Steve ("Stack") is a great pilot! He made me know I was safe.
Bryan S.
9/1/14
Absolutely AMAZING! I've lived in San Diego for at least 6 years and I can't believe it took me this long to try paragliding. The pilot was super-friendly and the views are totally amazing. I absolutely recommend trying this at least once in your life. Did I say it was totally AMAZING?!


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How to watch the Davis Cup Finals live
The Davis Cup Finals have been revamped this year, with a new format and Andy Murray's return to international tennis - here's how to watch live
by Dominic PrestonThe Davis Cup Finals are back this year in a whole new format, hot on the heels of the ATP Finals as the second epic calendar-ending men's tennis event.
That's not all though, as this year also marks Andy Murray's long-awaited return to international tennis after a year that's seen him work his way back into top-level tournaments - could we see Murray vs Nadal once again?
Here's what you need to know about the new Davis Cup format, when the matches are, and how to watch the tennis live, either online or on TV.
When are the Davis Cup Finals?
The tournament starts on Monday 18 November and runs until Sunday 24 November 2019.
Where is it held this year?
The 2019 tournament is taking place at the Caja Magica in Madrid, Spain.
What's the new format?
This year the Davis Cup is adopting a similar format to the ATP Finals, but with teams.
The 18 participating countries have been split into six groups of three. The teams within each group will play each other in best-of-three series consisting of two singles matches and one doubles, playing all three matches on the same day.
That round robin section lasts for four days, at the end of which the team with the most points in each group advances to the quarter-finals. In addition, the top two scoring second-place teams from across the groups will also advance, leaving eight teams in total.
Those eight then play against each other in a series of matches in a standard quarter-final, semi-final, final format to crown a final winner.
Davis Cup Finals groups
- Group A: France, Japan, Serbia
- Group B: Croatia, Russia, Spain
- Group C: Argentina, Chile, Germany
- Group D: Belgium, Colombia, Australia
- Group E: Kazakhstan, Netherlands, Great Britain
- Group F: Italy, Canada, United States
Davis Cup Finals match schedule
Note: all of the times below are for the UK
Group stage
Monday 18th November
Afternoon session from 3:00pm
Croatia v Russia
Belgium v Colombia
Italy v Canada
Tuesday 19th November
Morning session from 10:00am
France v Japan
Argentina v Chile
Kazakhstan v Netherlands
Afternoon session from 5:00pm
Spain v Russia
Australia v Colombia
USA v Canada
Wednesday 20th November
Morning session from 10:00am
Serbia v Japan
Argentina v Germany
Great Britain v Netherlands
Afternoon session from 5:00pm
Croatia v Spain
Belgium v Australia
USA v Italy
Thursday 21st November
Morning session from 10:00am
France v Serbia
Germany v Chile
Great Britain v Kazakhstan
Quarter-finals
Thursday 21st November
TBC
Friday 22nd November
TBC
Semi-finals
Saturday 23rd November
TBC
Final
Sunday 24th November
TBC
How to watch and stream live in the UK
Eurosport 1 is the official UK broadcaster for the Davis Cup final this year, which you can watch either on TV or on the Eurosport website or app.
You'll need to be a subscriber though, with prices from £6.99 per month or £39.99 for a year. Eurosport is also available as part of Sky TV's Entertainment package - ideal if you're already a subscriber or are tempted by one of its Black Friday offers.
Here's the UK TV schedule::
Monday 18th November: 3:00pm – 9:00pm
Tuesday 19th – Saturday 23rd November: 10:00am – 11:00pm
Sunday 24th November: 3:00pm – 9:00pm
The other option is to watch online with a subscription to the official Davis Cup online player (which also lets you watch the women's Fed Cup). That'll cost you €4.99 to watch a single tie, €7.99 for a round, or €39.99 to watch every Davis Cup and Fed Cup match over the next 12 months.
How to watch and stream live in the US
Fox Sports is the official broadcaster in the US, so that will probably be the easiest way to watch along live, whether on TV or streaming from Fox's online player. Remember that matches will take place in Spain, so most of the tennis will take place in the morning in the US.
Alternatively you can watch online with a subscription to the official Davis Cup online player (which also lets you watch the women's Fed Cup). That'll cost you €4.99 to watch a single tie, €7.99 for a round, or €39.99 to watch every Davis Cup and Fed Cup match over the next 12 months.


acyclic
Make a directed graph acyclic by reversing some edges.
Graphviz filters: `acyclic`, `bcomps`, `comps`, `edgepaint`, `gvcolor`, `gvpack`, `mingle`, `nop`, `sccmap`, `tred`, & `unflatten`.
More information: home page
- Make a directed graph acyclic by reversing some edges:
acyclic path/to/input.gv > path/to/output.gv
- Print if a graph is acyclic, has a cycle, or is undirected, producing no output graph:
acyclic -v -n path/to/input.gv
- Display help for `acyclic`:
acyclic -?


This intention specifies an explicit type arguments for an invocation whose type arguments are inferred.


This is a demo how to use the "expand" event.
Some short text.
Expandable but not expanded
This is a demo how to use the "expand" event.
Some short text.


In Ruby, a class serves as a manufacturing system for an object. The class works as a Henry Ford model factory, producing the same product time and time again. Just like with the Model-T, the objects a class produces can be altered later.
Here's a car class:
The output will be: It a sedan with a V8 engine, 235/30R20 wheels, and power steering.
This is a car, but if I handed you keys and said to find it in a full lot and drive it for the day, the object would be of little help. The body will give me a shape to look for, but having wheels and an engine do not help in this case.
So let's make another car class:
The output will be: It's a red with a Toyota engine, Camry wheels, and the license plate number is WJE 910.
With this car class, I can easily find my car in a full lot, so it must be the better class...
...No, each of these classes for car serves a different purpose. Car1 is more technical and less visual in its description. It will help if the application is for a mechanic but not for an app like Lyft or Uber. Well, maybe not Uber as it fails to tell you the color of the car (my pet peeve).


Fetching data
The bio
package solves the ongoing struggle of how to maintain sanity among diverse datasets. When you obtain data with bio
it becomes universally available to all tools in the package.
Getting data from NCBI (–fetch)
The --fetch
command downloads data identified via accession numbers from NCBI then stores
this data in a storage directory (~/.bio
). All subsequent commands in the bio
package can seamlessly access the stored data from any location and would not need to connect to the internet to use it.
# Run fetch in verbose mode.
bio NC_045512 --fetch -v
Running the fetch command the next time for the same accession number will not connect to the internet again, it will use the existing data instead. Use the --fetch --update
(see later) to force a re-downloading of data from NCBI.
Most commands can operate on multiple accession numbers at a time.
bio NC_045512 MN996532 --fetch
There will be commands like --rename
where it makes no sense to apply the operation on multiple data at the same time. In those cases only the first accession number is acted upon.
The internal, gzip compressed, JSON based representation used by bio
is simple, efficient and highly performant. A 330MB GenBank file for chromosome 1 of the human genome obtained from NCBI will in our data representation take just 67MB to store. More importantly our data representation can read and converted to fasta
format in 6 seconds:
time bio NC_000001 --fasta | wc -c
253105766
real 0m6.189s
Rename (–rename)
Accession numbers are tedious to handle. Almost always we rename data to be meaningful.
bio NC_045512 --fetch --rename ncov
the command above will store the data under the name ncov
. Within the data the sequence will still be labeled as NC_045512
. You may change both the name and sequence id:
bio NC_045512 --fetch --rename ncov --seqid ncov
bio NC_045512 --fetch --rename ratg13 --seqid ratg13
Now, not only is your data called ncov
but the sequence id inside the data is also set to ncov
.
Listing the storage (–list)
Each time data is fetched is will be stored locally. The bio
package will look in this storage no matter what directory you run it from. To list the content of the storage write:
bio --list
it prints:
22K ncov Severe acute respiratory syndrome coronavirus 2 isolate Wuhan-Hu-1, complete genome
19K ratg13 Bat coronavirus RaTG13, complete genome
Delete data (–delete)
To drop data from storage use:
bio ncov --delete
This command will only drop the JSON representation not the downloaded GenBank if exists.
If you want to update the original data use the --update
parameter.
Update data (–update)
To force fetch to download data that already seems to be present do:
bio NC_045512 --fetch --update
Note that you can’t update a renamed sequence. At that point the original accession number is lost. You can however fetch, update and rename all in one go like so:
bio NC_045512 --fetch --update --rename ncov --seqid ncov
There is a builtin order of operations, does not matter what order you list commands. For example --delete
would take place first before the --fetch
and so on.
View data
The default action is to view the stored data. Locally the data is stored in a JSON format that makes processing it much faster than the original GenBank yet has no loss of information:
bio ncov | head
Local data
bio
can also read and process data from local files. If you have a genbank or fasta file you can use that as input. Here we turn a genbank file into gff:
bio mydata.gb --gff
Data from command line
In addition, there is a so called interactive input of data (-i
) where the data can be listed at the command line:
bio ATGAATATATAC -i --translate
The above command will operate on the sequence as if it were stored in a FASTA file, the above prints:
>S1 translated DNA
MNIY
What is the point of getting data from command line?
It is an explicit way to explore and demonstrate information. For example, suppose you wanted to see how the same DNA sequence would be translated to different amino acides when using the the first or second reading frame:
bio ATGAATATATACT -i --translate --start 1
>S1 translated
MNIY
versus
bio ATGAATATATACT -i --translate --start 2
>S1 [2:13], translated
*IYT
or you can explore alignments:
bio THISLINE ISALIGNED --align -i
to see:
S1 THISLI--NE-
1 ||.: || 11
S2 --ISALIGNED


Prototype UI - AutoComplete unit test file
This file tests utility functions from
src/auto_complete/auto_complete.js
.


-
Health Insurance Marketplace, Affordable Care Act
www.healthcare.gov
Learn how the health care law affects you at Healthcare.gov. The official site of the Health Insurance Marketplace. See your health insurance choices.
-
Tickle King: The Hunt For The Truth In Competitive Tickling
www.kickstarter.com
A simple query about the quirky 'sport' of Competitive Tickling led journalist David Farrier on a very strange journey.
-
This Chart Shows An Alarming Rise In Florida Gun Deaths After 'Stand Your ...
www.businessinsider.com
There's some disagreement about whether stand your ground laws lead to increased gun deaths.
-
Vend - Point-of-sale you'll love to use.
www.vendhq.com
Vend is point-of-sale, inventory and customer loyalty software that makes it easy for retailers to set up, manage and grow their businesses. See how ...
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ACT MP gets unusual role
www.stuff.co.nz
First term ACT Party MP David Seymour gets an 'under secretary' role and a $175,600 salary - but no Crown limo.
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Whisky O'Clock conversations — Ever since we listened to the History of ...
whiskyoclock.tumblr.com
Ever since we listened to the History of misheard lyrics, I can’t listen to pearl jam without singing this. (People might never cue up Pearl Jam at ...
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Hate merchants at it again with smear tactics | Scoop News
www.scoop.co.nz
“It’s disappointing to see the hate merchants at it again with yet another attempt to smear and silence a health professional who’s doing research ...
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VillageUnits, eco friendly products from sustainable livelihoods for Kiwis ...
www.villageunits.com
VillageUnits is a New Zealand based organization that supports only either fair trade, not-for-profit and/or sustainable livelihood programs in ...
-
Nineties FTW (Wick-it's 90's Rock Nostalgia Overdose Mashup)
soundcloud.com
by: Wick-it the Instigator featuring: Beck vs. Nirvana vs. Soundgarden vs. Rage Against The Machine vs. Red Hot Chili Peppers vs. Alice In Chains vs. ...
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History of Misheard Lyrics
www.youtube.com
A couple of months ago we set off to create our most challenging "History" yet: a live-performed montage of favorite misheard lyrics throughout 70 ...
-
Santana - Soul Sacrifice 1969 "Woodstock" Live Video HQ
www.youtube.com
Santana - Soul Sacrifice (Album 1969) Woodstock Music Festival 1969, New York USA Carlos Santana - Guitar Gregg Rolie - Keyboards, Organ David Brown ...
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Black Sabbath - War Pigs (live Paris, 1970)
www.youtube.com
DVD: The Black Sabbath Story Volume One (2002) label: Sanctuary Records
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we sink to new depths
www.attemptingelegance.com
I woke up this morning to an anonymous commenter sarcastically attacking me for writing that Stephen Abram should apologize for the "Jane, you ...
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Koha Community Code of Conduct | Official Website of Koha Library Software
koha-community.org
All delegates, speakers, sponsors and volunteers at any Koha event are required to agree with the following code of conduct. Organisers will enforce ...
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Koha community adopts code of conduct | Official Website of Koha Library ...
koha-community.org
In order to help provide a safe and welcoming environment for all attendees at Koha events, the Koha community has approved a code of conduct and ...
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Ada Developers Academy
adadevelopersacademy.org
Ada Developers Academy is an intensive developer school for women in Seattle.
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Kiwi Companies at the Forefront of the SKA
catalyst.net.nz
Media Release Two New Zealand IT companies, Open Parallel and Catalyst, are at the forefront of the largest IT project in the world, the Square ...
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Say Something!
rowansimpson.com
The best sign I have that a company I’ve invested in is dead, or near death, is the silence. This is why I encourage all of the founders I work with ...
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Random stuff
ranginui.tumblr.com
The Minimalist Theme — Tumblr themes by Pixel Union | Powered by Tumblr
-
Award Categories | NZOSA
www.nzosa.org.nz
For the outstanding use of free and open source in the public sector in New Zealand.
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Coldplay - Paradise (Peponi) African Style (ft. guest artist, Alex Boye) - ...
www.youtube.com
Pre-Order "Wonders" on iTunes, Amazon here: http://smarturl.it/wonders_pre-order ________________________ We're on Tour! http://smarturl.it/tpgtour ...
-
Easy Star All Stars - Time (Dub Side of the Moon)
www.youtube.com
Easy Star All Stars - Time (Dub Side of the Moon) Pink Floyd - Dark Side of the Moon....In Dub.
-
Young MC - Principal's Office
www.youtube.com
http://www.deliciousvinyl.com Yes, Young MC did have another hit song after the year long chart run of Bust A Move, though nowhere impact of his ...
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Chuck D - Give We The Pride ft. Mavis Staples (Official Video)
www.youtube.com
Give WE The Pride/Get It Right BE Gone - Featuring Mavis Staples & Chuck D Pick up the Mavis Staples & Chuck D extended MP3 single Bundle over at ...
-
Public Enemy-Shut'em Down
www.youtube.com
Apocalypse 91... The Enemy Strikes Black(1991) Writer-Chuck D Producer-Imperial Grand Ministers of Funk I testified My mama cried Black people died ...


 Whether it's the heated mystery of THE BIG EASY, the nonstop action of HARD TARGET, or the gory scares of CANDYMAN, the cajun state has attracted projects in search of a setting like no other in North America. It is here, amidst the darkly beautiful swamps, that first-time director Kasi Lemmons has set EVE'S BAYOU, a fascinating tale of guilt, consequences, and voodoo.
One of the most important rules of writing -- whether it's screenwriting, article writing, or book writing -- is to start with a compelling first line. EVE'S BAYOU takes that lesson to heart, opening with this refrain: "Memory is a selection of images. Some elusive, others printed indelibly on the brain. The summer I killed my father, I was ten years old…" The moment the narrator speaks these words, our curiosity is piqued, and, for the next 100 minutes, our attention is engaged as we ponder their significance. The next time they are uttered, in the film's closing frames, they have acquired new meaning.
Beginning with this preamble, EVE'S BAYOU takes us to the Tennessee Williams country of the deep south and introduces us to the rarest of motion picture institutions: an affluent black family. (Judging by the movies, most blacks live in inner city ghettos.) Ultimately, however, this film is not about skin color, but about the deeply-rooted bonds that join women together, which not even the most tragic of mistakes can obliterate. The setting -- a small town in Louisiana during the 1950s - - serves its purpose, but the themes broached by the writer/director are anything but parochial in nature.
The focus of the film is on the five-member Batiste family.  Members of the extended family, particularly Louis' mother (Ethel Ayler) and sister, Mozelle (Debbi Morgan), are never far away. On the surface, Louis is the perfect husband and father, but he doesn't pay much attention to his marriage vows. His wife, who knows of his indiscretions, conveniently looks the other way, but, when his daughter Eve catches him in the act, the issue becomes a festering sore in the family's stability. The situation is further exacerbated when Cisely's near-worshipful affection for her father threatens to cross a forbidden barrier and when a voodoo priestess (Diahann Carroll) predicts disaster. "Look to your children," she cryptically intones to a frantic Roz.
EVE'S BAYOU deals frankly with the consequences of actions -- there's no moralizing or condescending to the audience. Louis pays both an emotional and a tangible price for his many affairs. Cisely's clouding of the truth has its own unfortunate result. And an ill- considered yet passionate decision on Eve's part has devastating ramifications. The film also makes a point of showing that everything is not as it seems, especially in the tangled web of family relationships. Lemmons applies the technique of the unreliable narrator to several sequences to illustrate how a slight change in perception can alter the impact of a scene. On two occasions, she presents events from varying viewpoints to demonstrate that minor differences can lead to a vastly different interpretation.
The strongest element of EVE'S BAYOU is the character interaction. Every member of the family (except young Poe) is developed into a unique individual, and all of the relationships are well-defined. The changes that occur are perfectly reasonable. What family doesn't go through an upheaval when secrets come into the open? The low-key plot, with its elements of voodoo and spiritual sight, allows us to the opportunity to get to know the Batistes. Lemmons' fine writing is complimented by a series of strong performances. Samuel L. Jackson, whose involvement was critical to getting EVE'S BAYOU made, is as solid as ever in a role that requires a less-flamboyant portrayal than we have become accustomed to. Lynn Whitfield radiates cool beauty while Debbi Morgan emanates sensual heat. Jurnee Smollett and Meagan Good, the young actors playing Eve and Cisely, are both believable as sisters with close ties and hidden jealousies. Smollett captures the essence of a 10-year old without ever seeming too cute or precocious.
If there's a weakness in EVE'S BAYOU, it's that the setting isn't used as effectively as it could be. Placing the film in and around the swamps of Louisiana affords a rich opportunity for atmosphere that isn't utilized. Several throwaway shots of reeds and water establish the location, but do little to imbue the bayou with a life of its own. Also, Lemmons' occasional use of collages of black-and-white images seems a little too artsy. Thankfully, the voiceover is confined to the beginning and end, and the writer/director obeys one of the most important tenants of film making: show, don't tell.
A subtle picture that treads a delicate line between drama and psychological thriller, EVE'S BAYOU is refreshing in that doesn't attempt to replicate Hollywood's ideal "black" film (either a bawdy sex comedy or an urban drama). Rather than perpetuating racial stereotypes, EVE'S BAYOU defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion. It's a movie like no other on the market today, and deserves to find its audience.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail<EMAIL_ADDRESS>Now with more than 1300 reviews... The ReelViews web site: http://movie-reviews.colossus.net/
"For me, the cinema is not a slice of life, but a piece of cake."
- Alfred Hitchcock
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
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Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


Lisa Armstrong and Tess Daly hit up Strictly's Blackpool after-party
Former Towie star Lucy Mecklenburgh showed off her baby bump at the Strictly Come Dancing after party in Blackpool on Saturday night.
Strictly stars let their hair down and partied until the early hours of Sunday morning… some reportedly leaving the venue at 5am.
Lucy, whose baby is due around January next year, waltzed into the venue wearing a stunning black jumpsuit and showing off her baby bump.
She linked arms with fiance Ryan Thomas, looking cute in a simple black tee, jacket, ripped jeans and white trainer combo.
Lisa Armstrong didn’t look like she was letting the claims of a bitter divorce between her and Ant McPartlin get to her, arriving at the after party looking ready to party.
Sporting leather trousers, high heel boots and a beautiful green flowing top, the star completed the look by wrapping a sparkly black scarf around her neck.
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Gorgeous.
Meanwhile, Strictly host Tess Daly went for a silver look, with oversized grey trousers and matching jacket, paired with grey and black leopard print flats.
She was clearly ready to break it down with the Strictly crew on the dance floor and judging by their Instagram accounts, that’s exactly what they did.
Fellow host Claudia Winkleman took to Instagram to show her enthusiasm for the evening.
She posted a series of photos with Tess and some pretty hilarious captions.
One simply read: ‘Sorry Blackpool’, while another read: ‘Leopard print in Blackpool is mandatory.’
Meanwhile Tess kept it more professional with the comment: ‘What a weekend that was! Hope you all enjoyed Blackpool as much as we did.’
Other celebrities present include judge host Motsi Mabuse, who looked stunning in a pair of silver strappy heels, sparkly slit dress and coat.
We wish we were there to see her whip that coat off and run to the dance floor.
The after party comes about after the shock elimination of RuPaul’s Drag Race host Michelle Visage from the latest episode of Strictly Come Dancing.
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She shared a heartfelt message to Instagram after Sunday’s results show and said that she was ‘proud’ to leave the show on their couple’s choice routine.
The 51-year-old explained: ‘We are SO proud of the dance we did, but for me, it wasn’t about judges scores. It was about shedding light on a group of people who deserve recognition and would otherwise not get it.
‘I owe my life to the LGBTQIA+ community so as an ally, I try to bring attention to them, their love, their struggles, in any way that I am able to.
‘In this instance it happened to be through dance and hear this: Voguing IS dancing.’
Michelle and Giovanni found themselves in the dance off with Saffron Barker and AJ Pritchard.
Strictly continues on Saturday 23 November, from 7pm.
Got a showbiz story?
If you've got a story, video or pictures get in touch with the Metro.co.uk Entertainment team by emailing us<EMAIL_ADDRESS>calling 020 3615 2145 or by visiting our Submit Stuff page - we'd love to hear from you.


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x.__init__(...) initializes x; see help(type(x)) for signature
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Load Control and initiate the events
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---
layout: post
title: 4.01 is here
tags:
- '4.01'
- class
- clearly
- glyphs
- patch
- rage generation
- talent points
- warrior
- wow
status: publish
type: post
published: true
meta:
aktt_notify_twitter: 'yes'
_aktt_hash_meta: ''
_edit_last: '2'
aktt_tweeted: '1'
_wp_old_slug: ''
---
It's been three days since the patch hit and rung in all the changes. Since I am still levelling, I can't comment on the DPS issues that warriors face since the patch came (the sky is always falling for some after a patch), but all I can say is I am really enjoying the changes. There were a few head scratching moments and a bit of disappointment to see certain abilities disappear or be moved to higher levels.  Two more levels and we shall be re-united.
Here's the build I settled on. I only have the prime and minor glyphs equipped as I find Glyph of Death Wish is just overpriced on Stormrage. 8o gold a pop and while I can understand that due to the changes glyphs are no longer disposable and a price rise was to be expected, I still think the price is a little steep. As an alternative I have been considering Glyph of Victory Rush.
Anyone who has ever levelled a warrior knows the pain of killing a few creatures, stop, sit down to eat, rinse and repeat all the way to the level cap. Now however, there's no more downtime! The change to Victory Rush combined with Bloodthirst, now easily allows us to storm into group after group of mobs and never really have to worry about your health or having to pause.
I also tanked a few instances as Fury and was pleased to see that my rage generation was no longer a problem. Threat generation wasn't too bad either. Battle Shout (I did miss Bloodrage for about 2 minutes, but now that BS generates rage...) , run in, Thunderclap, tab target Sunder Armor, then all you need to is Cleave and TC, whenever it's up and mobs should stick to you just fine, satisfying all of your groups AOE needs. Now that the patch has lowered the cost of Dual Talent specialisation to 100 gold, I will soon take a peak at the tanking tree and giving it a whirl.
My final comment is about the update to the textures, how gorgeous are they know? The water itself just makes me want to jump into it every time I see a puddle big enough!


Jenna Dewan spends Thanksgiving with daughter amid Channing Tatum 'custody row'
Jenna Dewan spent her Thanksgiving with her daughter Everly, amid claims her custody battle with ex-husband Channing Tatum has turned nasty.
The exes, who are officially single after filing for divorce in April 2018, share six-year-old daughter Everly, and it has been reported that the stars are struggling to come up with a custody agreement.
But Jenna, 38, got custody for Thanksgiving, as the little one celebrated the holiday with the dancer, her family and partner Steve Kazee.
The Step Up actress shared a number of attempts at group pictures with her father, her brothers and her boyfriend Steve, joking on Instagram: ‘The journey to get a good group picture though 😂 Grateful for so much today❤ Happy thanksgiving everyone!!!’
In the snaps, Jenna – who is pregnant with her first baby with Steve – wore a paisley dress as she held Everly – wearing a blue dress – on her hip.
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Jenna placed a heart emoji over her daughter’s face in the images, including one where Steve held her up for a group picture.
Another photo saw Once actor Steve, 44, cradling his girlfriend’s growing baby bump.
It is unclear where Channing, 39, spent Thanksgiving, although his girlfriend Jessie J, 31, was filmed cooking up a storm on her own Instagram story – so perhaps the couple, who have been dating for a year, enjoyed a turkey together.
Back in April 2018, Channing and Jenna, who married in 2009, confirmed their split with a statement reading: ‘We have lovingly chosen to separate as a couple. We fell deeply in love so many years ago and have had a magical journey together.
‘Absolutely nothing has changed about how much we love one another, but love is a beautiful adventure that is taking us on different paths for now.
‘There are no secrets nor salacious events at the root of our decision — just two best friends realising it’s time to take some space and help each other live the most joyous, fulfilled lives as possible. We are still a family and will always be loving dedicated parents to Everly.’
However, it has been claimed that rows over custody of their daughter has made things frosty between the pair.
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Jenna was reportedly ‘super upset’ after her ex filed legal documents with a judge, asking for help with a holiday custody schedule.
Insiders close to the pregnant star told TMZ she had already signed off on the entire schedule, something his sources have denied.
It has been claimed Magic Mike star Channing has refused to let his ex change their schedule over work commitments, and would not let her FaceTime Everly when he was taking care of her.
Got a showbiz story?
If you've got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us<EMAIL_ADDRESS>calling 020 3615 2145 or by visiting our Submit Stuff page - we'd love to hear from you.


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IFXRenderContext Class ReferenceAn IFXRenderContext object controls all aspects of 3D rendering in a portion of a window.
More...
Inheritance diagram for IFXRenderContext:
List of all members.
Detailed Description
An IFXRenderContext object controls all aspects of 3D rendering in a portion of a window.
The rendering can be done using DirectX8, DirectX7, OpenGL, or a software renderer. See IFXRenderServices for more info regarding the ways to specify which renderer to use.
The IFXRenderContext can handle rendering even when the rendering area spans multiple monitors. It will internally allocate multiple rendering systems depending on what the lower-level rendering API is being used.
An IFXRenderContext can also handle rendering into an offscreen location of memory. See IFXRenderContext::SetWindow() and IFXRenderWindow for more information.
If multiple processors are present, IFXRenderContext may use a secondary thread of execution to perform the actual rendering. This will not affect how IFXRenderContext and associated IFXRender* classes are used, but it may cause the thread that does use them to block on certain methods.
Constructor & Destructor Documentation
| IFXRenderContext::IFXRenderContext |
( |
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) |
[inline, protected] |
|
| virtual IFXRenderContext::~IFXRenderContext |
( |
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) |
[inline, protected, virtual] |
|
Member Function Documentation
| virtual U32 IFXAPI IFXRenderContext::CalculateNumPasses |
( |
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) |
[pure virtual] |
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Calculates the number of rendering passes required for the current device to render an object with the current texture units enabled.
Since the IFXRenderContext interface supports 8 texture units, and most current hardware does not support 8 simultaneous textures, this is needed to determine how many rendering passes the hardware requires for all textures.
To actually configure the hardware to render a specific pass, use ConfigureRenderPass(i) with i < the value returned from this method.
Changing texture unit or texture data after calling CalculateNumPasses() or ConfigureRenderPass() will invalidate the data generated in these calls and result in an error when calling any of the Draw* methods.
- Returns:
- A U32 value representing the number of rendering passes required to render an object with currently enabled and configured texture units and textures.
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::Clear |
( |
const IFXRenderClear & |
rClear |
) |
[pure virtual] |
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Clears the contents of buffers owned by the render context and specified with rClear.
- Parameters:
-
| rClear | Input reference to an IFXRenderClear object that specifies which buffers to clear and what values to clear them to. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::ClearPerformanceData |
( |
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) |
[pure virtual] |
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| virtual IFXRESULT IFXAPI IFXRenderContext::ConfigureRenderPass |
( |
U32 |
uRenderPass |
) |
[pure virtual] |
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Configures the current hardware device to render one of (possibly) many passes needed to render an object depending on the number of textures being used.
This first pass is designated with a uRenderPass value of 0.
- Parameters:
-
| uRenderPass | Input U32 specifying which pass number to configure. This value must be less than the number returned from CalculateNumPasses(). |
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_INVALID_RANGE | The value specified with uRenderPass was not a valid render pass number. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::DeleteTexture |
( |
U32 |
uTexId |
) |
[pure virtual] |
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|
Deletes the texture specified with uTexId.
- Parameters:
-
| uTexId | Input U32 specifying the texture id of the texture to be deleted. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, CIFXRenderContext, and CIFXRenderOGL. |
| virtual IFXRESULT IFXAPI IFXRenderContext::Disable |
( |
IFXenum |
eParam |
) |
[pure virtual] |
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Disables some state on the rendering device.
- Parameters:
-
| eParam | IFXenum value that represents what state to disable. |
- See also:
- Enable() for possible values of eParam.
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error |
| IFX_E_INVALID_RANGE | The eParam value is invalid. |
Implemented in CIFXRender, CIFXRenderContext, and CIFXRenderOGL. |
| virtual IFXRESULT IFXAPI IFXRenderContext::DrawMesh |
( |
IFXMesh & |
rMesh |
) |
[pure virtual] |
|
| virtual IFXRESULT IFXAPI IFXRenderContext::DrawMeshLines |
( |
IFXMesh & |
rMesh |
) |
[pure virtual] |
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Draws lines between vertices specified via IFXMesh objects contained in rMeshGroup.
- Parameters:
-
| rMesh | Input reference to an IFXMesh object that contains the lines to be drawn. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::DrawMeshPoints |
( |
IFXMesh & |
rMesh |
) |
[pure virtual] |
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Draws vertices specified via IFXMesh objects contained in rMeshGroup.
- Parameters:
-
| rMesh | Input reference to an IFXMesh object that contains the points to be drawn. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::Enable |
( |
IFXenum |
eParam |
) |
[pure virtual] |
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|
|
Enables some state on the rendering device.
- Parameters:
-
| eParam | IFXenum value that represents what state to enable. Possible values are:
- IFX_LIGHTING: Enables per vertex lighting.
- IFX_LIGHTn: Enables single HW light n (0-7).
- IFX_TEXUNITn: Enable texturing on texture unit n (0-7).
- IFX_FOG: Enable fog according to the set IFXRenderFog.
- IFX_DEPTH_TEST: Enable per pixel testing against the Z buffer.
- IFX_DEPTH_WRITE: Enable writing to the Z buffer.
- IFX_FB_BLEND: Enable blending with the frame buffer.
- IFX_FB_ALPHA_TEST: Enable alpha test during rasterization.
- IFX_CULL: Enable culling of front, back, or both facing triangles.
- IFX_STENCIL: Enable testing and writing to the stencil buffer.
- IFX_DEPTH_OFFSET: Enable "polygon offset" or an equivalant.
|
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error |
| IFX_E_INVALID_RANGE | The eParam value is invalid. |
Implemented in CIFXRender, CIFXRenderContext, and CIFXRenderOGL. |
| virtual IFXRESULT IFXAPI IFXRenderContext::GetCaps |
( |
IFXRenderCaps & |
rCaps |
) |
[pure virtual] |
|
|
|
Retrieves an IFXRenderCaps object that contains information about the capabilities of this render context.
- Parameters:
-
| rCaps | Output reference to an IFXRenderCaps object that will contain capability information about this render context. |
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_NOT_INITIALIZED | This render context has not been initialized yet. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXenum IFXAPI IFXRenderContext::GetColorFormat |
( |
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) |
[pure virtual] |
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Gets the color format ordering (either BGRA or RGBA) that this context uses natively.
- Returns:
- An IFXenum value.
- Return values:
-
| IFX_RGBA | The context uses RGBA color ordering. |
| IFX_BGRA | The context uses BGRA color ordering. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::GetFrustumPlaneNormals |
( |
IFXVector3 * |
pvPlaneNormals |
) |
[pure virtual] |
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Retrieves the plane normals of the top, bottom, right, and left frustum planes in camera space.
The planes that these normals represent all run through the point (0,0,0) in camera space if the projection mode is perspective. If using an orthographic projection, the plane normals are understood to be orthogonal to the coordinate system axis. What is provided in this case are points in camera space that lie on these planes.
- Parameters:
-
| pvPlaneNormals | Output array of 4 IFXVector3 objects. These 4 vectors will receive the plane normals of the frustum planes in this order: left, top, right, bottom. |
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_INVALID_POINTER | The pointer specified for pvPlaneNormals was not valid. |
Implemented in CIFXRenderContext, CIFXRenderDX7, CIFXRenderDX8, CIFXRenderNULL, and CIFXRenderOGL. |
| virtual IFXRESULT IFXAPI IFXRenderContext::GetGlobalAmbient |
( |
IFXVector4 & |
vColor |
) |
[pure virtual] |
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|
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Gets the global ambient color.
- Parameters:
-
| vColor | Output IFXVector4 representing the global ambient color. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::GetNumDevices |
( |
IFXRenderWindow & |
rWindow, |
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U32 & |
uNumDevices |
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) |
[pure virtual] |
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Gets the number of devices that the given IFXRenderWindow will cover.
This and SetDevice() is required per frame for proper multiple monitor support.
- Parameters:
-
| rWindow | An input reference to an IFXRenderWindow object specifying the parameters for the window. |
| uNumDevices | Output reference to a U32 that will be filled in with the number of devices that the given rWindow spans. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::GetPerformanceData |
( |
IFXenum |
eData, |
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|
U32 & |
ruData |
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) |
[pure virtual] |
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Retrieves performance data accumulated since the last call to IFXRenderContext::Initialize() or IFXRenderContext::Swap().
- Parameters:
-
| eData | IFXenum input specifying what data is to be returned. Valid options are:
- IFX_NUM_FACES
- IFX_NUM_VERTICES
- IFX_NUM_MESHES
- IFX_NUM_RENDER_CALLS
|
| ruData | Output U32 reference that will receive the requested information. |
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_NOT_INITIALIZED | This render context has not been initialized yet. |
| IFX_E_INVALID_RANGE | Invalid option specified for eData. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual U32 IFXAPI IFXRenderContext::GetRenderer |
( |
|
) |
[pure virtual] |
|
|
|
Retrieves the renderer ID associated with this context.
- Returns:
- An U32 representing the renderer ID.
- Return values:
-
| 0 | The actual renderer used is based on the requested renderer of the IFXRenderServices object. |
| PositiveInteger | The renderer ID that is being used by this context. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::GetRenderServices |
( |
IFXRenderServices *& |
pServices |
) |
[pure virtual] |
|
| virtual IFXRESULT IFXAPI IFXRenderContext::GetTransformMatrix |
( |
IFXMatrix4x4 & |
rMatrix |
) |
[pure virtual] |
|
|
|
Gets a complete local->screen matrix.
- Parameters:
-
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual const IFXRenderView& IFXAPI IFXRenderContext::GetView |
( |
|
) |
const [pure virtual] |
|
| virtual const IFXMatrix4x4& IFXAPI IFXRenderContext::GetViewMatrix |
( |
|
) |
[pure virtual] |
|
| virtual IFXRESULT IFXAPI IFXRenderContext::GetWindow |
( |
IFXRenderWindow & |
rWindow |
) |
[pure virtual] |
|
|
|
Gets the current window parameters for the current device.
- Parameters:
-
| rWindow | An input reference to an IFXRenderWindow object specifying the parameters for the window. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::Initialize |
( |
|
) |
[pure virtual] |
|
|
|
Initializes (or reinitializes) the IFXRenderContext instance.
- Returns:
- An IFXRESULT code.
- Return values:
-
- Todo:
- What other IFXRESULT codes does it return?
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual void IFXAPI IFXRenderContext::Reset |
( |
|
) |
[pure virtual] |
|
| virtual IFXRESULT IFXAPI IFXRenderContext::SetBlend |
( |
IFXRenderBlend & |
rBlend |
) |
[pure virtual] |
|
|
|
Sets the current alpha blending parameters.
- Parameters:
-
| rBlend | Reference to an IFXRenderBlend object that contains the set of alpha blending parameters. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetConstantColor |
( |
const IFXVector4 & |
vColor |
) |
[pure virtual] |
|
|
|
Sets the constant color that can be referenced as texture unit inputs with IFX_CONSTANT.
- Parameters:
-
| vColor | Input IFXVector4 specifying the constant color value. Each color channel is clamped to the range [0.0 - 1.0]. |
- Returns:
- An IFXRESULT error code
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetCullMode |
( |
IFXenum |
eCullMode |
) |
[pure virtual] |
|
|
|
Sets the cull mode.
Culling can be enabled and disabled using IFXRenderContext::Enable(IFX_CULL) and IFXRenderContext::Disable(IFX_CULL).
- Parameters:
-
| eCullMode | Input IFXenum specifying the culling mode desired. Valid culling modes are:
- IFX_CULL_CW: Cull triangles that are clockwise in screen space.
- IFX_CULL_CCW: Cull trianges that are counter-clockwise in screen space.
|
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_INVALID_RANGE | The value specified for eCullMode is invalid. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetDepthMode |
( |
IFXenum |
eDepthMode |
) |
[pure virtual] |
|
|
|
Sets the depth buffer comparison function.
The depth buffer comparison is done between the current value of the depth buffer and the depth value calculated for the pixel about to be drawn.
- Parameters:
-
| eDepthMode | Input depth comparison function. Possible values are:
- IFX_NEVER: The test never passes.
- IFX_LESS: Passes when incoming value is less than the buffer value.
- IFX_GREATER: Passes when the incoming value is greater than the buffer value.
- IFX_EQUAL: Passes when the incoming value is equal to the buffer value.
- IFX_NOT_EQUAL: Passes when the incoming value is not equal to the buffer value.
- IFX_LEQUAL: Passes when the incoming value is less than or equal to the buffer value.
- IFX_GEQUAL: Passes when the incoming value is greater than or equal to the buffer value.
- IFX_ALWAYS: The test always passes.
|
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_INVALID_RANGE | The value specified for eDepthMode is invalid. |
Implemented in CIFXRender, CIFXRenderContext, and CIFXRenderOGL. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetDevice |
( |
U32 |
uDevice |
) |
[pure virtual] |
|
|
|
Sets the current device number.
This number should be in the range of 0 - the value of (uNumDevices-1) returned from the most recent call to SetWindow().
- Parameters:
-
| uDevice | Input U32 specifying which device the following rendering calls should be used with. |
- Returns:
- An IFXRESULT code.
- Return values:
-
| IFX_OK | No error. |
| IFX_E_INVLAID_RANGE | The value for uDevice was greater than or equal to the uNumDevices value that was returned from the most recent SetWindow() call. |
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetFog |
( |
IFXRenderFog & |
rFog |
) |
[pure virtual] |
|
|
|
Sets the current fog parameters.
- Parameters:
-
| rFog | Reference to an IFXRenderFog object that contains the set of fog parameters. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetGlobalAmbient |
( |
const IFXVector4 & |
vColor |
) |
[pure virtual] |
|
|
|
Sets the global ambient color.
This color is multiplied by the material ambient color regardless of any specific lights enabled. This only has an effect if IR_LIGHTING is enabled.
- Parameters:
-
| vColor | Input IFXVector4 representing the global ambient color. The values are clamped to be within the 0.0 - 1.0 range. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetLight |
( |
IFXenum |
eLightId, |
|
|
IFXRenderLight & |
rLight |
|
) |
[pure virtual] |
|
|
|
Sets the light parameters for the given light.
- Parameters:
-
| eLightId | Input IFXenum specifying which light to apply these parameters to. Valid values are:
- IFX_LIGHT0
- IFX_LIGHT1
- IFX_LIGHT2
- ...
- IFX_LIGHT7
|
| rLight | Reference to an IFXRenderLight object that contains the set of light object parameters. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetLineOffset |
( |
U32 |
uOffset |
) |
[pure virtual] |
|
|
|
Sets the line thickness of lines drawn with with DrawMeshLines().
This value represents the thickness of the line in screen space pixels.
- Parameters:
-
| uOffset | Input F32 specifying the line thickness |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetMaterial |
( |
IFXRenderMaterial & |
rMat |
) |
[pure virtual] |
|
|
|
Sets the current material parameters.
- Parameters:
-
| rMat | Reference to an IFXRenderMaterial object. Contains input parameters like diffuse and specular. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetRenderer |
( |
U32 |
uRenderId |
) |
[pure virtual] |
|
|
|
Sets the renderer ID to be used for this context.
A uRenderId of 0 tells the context to use the requested render ID that is set in the IFXRenderServices object. Any other ID will override that setting and use a specific renderer. If an invalid uRenderId is specified, one that doesn't correspond to any renderer registered with IFXRenderServices::RegisterRenderer(), then it will behave as if 0 was specified.
- Parameters:
-
| uRenderId | Input U32 specifying the renderer id to be used for this render context. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetStencil |
( |
IFXRenderStencil & |
rStencil |
) |
[pure virtual] |
|
|
|
Sets the current stencil parameters.
- Parameters:
-
| rStencil | Reference to An IFXRenderStencil object. This contains input parameters such as stencil comparator, reference value, and pass and fail operations. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetTexture |
( |
IFXTextureObject & |
rTexture |
) |
[pure virtual] |
|
|
|
Copies the texture data to underlying rendering system if needed.
It will be needed if the underlying rendering system does not have it in memory yet, or if the texture object data has changed since the last time that it was used in SetTexture() with this render context.
- Parameters:
-
| rTexture | Input IFXTextureObject reference specifying the texture to send to the underlying rendering system. The rTexture object contains all texture settings related to the texture. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetTextureUnit |
( |
IFXenum |
eTexUnit, |
|
|
IFXRenderTexUnit & |
rTexUnit |
|
) |
[pure virtual] |
|
|
|
Sets the virtual texture unit eTexUnit parameters to those specified by rTexUnit.
- Parameters:
-
| eTexUnit | An IFXenum input value that specifies which texture unit the parameters should be applied to. Valid choices are:
- IFX_TEXUNIT0
- IFX_TEXUNIT1
- IFX_TEXUNIT...
- IFX_TEXUNIT7
|
| rTexUnit | Input reference to an IFXRenderTexUnit specifying the parameters for the texture unit. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetView |
( |
IFXRenderView & |
rView |
) |
[pure virtual] |
|
|
|
Sets the current view parameters.
- Parameters:
-
| rView | An input reference to an IFXRenderView object specifying the parameters for the view. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetViewMatrix |
( |
const IFXMatrix4x4 & |
mView |
) |
[pure virtual] |
|
|
|
Sets the world to camera transform matrix.
- Parameters:
-
| mView | Input IFXMatrix4x4 reference that represents the transform from world space to camera space. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetWindow |
( |
IFXRenderWindow & |
rWindow |
) |
[pure virtual] |
|
|
|
Sets the current window parameters for the current device.
- Parameters:
-
| rWindow | An input reference to an IFXRenderWindow object specifying the parameters for the window. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in IFXRender, CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::SetWorldMatrix |
( |
const IFXMatrix4x4 & |
mView |
) |
[pure virtual] |
|
|
|
Sets the model to world transform matrix.
- Parameters:
-
| mView | Input IFXMatrix4x4 reference that represents the transform from model space to world space. |
- Returns:
- An IFXRESULT code.
- Return values:
-
Implemented in CIFXRender, and CIFXRenderContext. |
| virtual IFXRESULT IFXAPI IFXRenderContext::Swap |
( |
|
) |
[pure virtual] |
|
© 1999 - 2006 Intel Corporation. All rights reserved.
* Other names and brands may be claimed as the property of others.
|
|


Classes or Pets?March 29, 2015
Classes, classes everywhere, but not a dog to bark
Let's get a brief snapshot of classes, how to use them, and how they can be very helpful with things like instance variables. If we have a vet hospital that is always receiving new clients, there are basic things we need to know about each one. Creating a class within our code is an easy way to make our code more readable and accessible by other people. Classes can help us eliminate repetitive code, and instance variables can help us understand exactly what our code is doing. Here is an example of creating a class, Patient, with a method built into it that will print out the name, breed, and age of an animal that is a current patient.
.class Patient
.....def initialize(breed, name, age)
.....# Instance variables
.........@breed = breed
.........@name = name
.........@age = age
.....end
.
.....def display
.........puts "I am #{@name}. I am a #{@breed} and am #{@age} years old."
.....end
.end
As you can see, the current age will be displayed when we call the method #display in the Patient class. The @ will call an instance variable. These must be defined within the class, or the code will break. Here we have a very very simple version of something that could really be much more complex. These instance variables can come in very handy when doing mathematical conversions. For example, if we were having to add 5 years, divide the age by 6, multiply it by 3, subtract 8, and then find the square of an animal's age, we wouldn't have to write that in our code over and over. We could simply say @age = (((age.to_i)+5)/(6*3)-8)**. I think we can all agree that we would rather not do all of that typing EVERY time we want to use a recalculated age. It is important to note that the instance variables lose their definitions if you try to use them within another class.
That is just a little bit about Ruby classes and instance variables, there will be more to come! Stay tuned!!


|
blmc_robots
|
When using relative encoders (like the quadrature encoders, we are using), we only get relative position changes (e.g. "motor moved by 13 degree"). By accumulating these changes, the position can be computed. However, when turning the robot on, the motor controller does not know the absolute position of the motor so it just defines the current position to be zero. This means that while the position is consistent while the robot is running, the same physical position can get different position values when the robot is turned off in between.
To solve this problem, the so called "homing" is performed in the beginning when turning the robot on. The idea is to search for a fixed physical position that can always be found, independent of where the joint is located when turned on (e.g. by having a switch that is triggered when the joint gets at that position). Once this "home position" is found, it can be set as zero position. This way, the same physical position will always correspond to the same position value, even if the robot is turned off between runs.
In the BlmcJointModule[s]
class, the following procedure is implemented:
The encoder index is a special tick on the encoder wheel that appears only once per motor revolution. This means once the encoder index is found, the absolute position of the motor is known. However, there is typically a gear box so that multiple motor revolutions are needed for one joint revolution. So while the motor position is now known, the absolute position of the joint is still unknown as there are multiple occurrences of the encoder index within the range of the joint.
To solve this issue, it needs to be ensured that the "correct" encoder index is found. For robots with joint end-stops (e.g. the Finger robot) this is done by first moving in one direction until the end-stop is reached (detected by waiting for the velocity to become zero). Then the encoder index search is started from the end-stop position, thus guaranteeing that always the same index is found. For robots without end-stops (e.g. Solo) this can be solved by first moving the robot manually to a defined position before starting the homing.
The home position is typically given by the mechanics (e.g. based on where the encoder index is located) and can not be influenced by the user. This position is often not the one where the user wants to have the zero position. To place the zero at a different position, the "home offset" parameter can be used. Once the home position is found, the zero is set to
zero_position = home_position + home_offset
This means, the zero can be placed wherever is best for the application by simply setting the home offset accordingly.
To determine the desired home offset value (e.g. when setting up a new robot), simply follow these steps:
When restarting now, the actual zero position after homing should be at the desired one.


nips nips2008 nips2008-188 nips2008-188-reference knowledge-graph by maker-knowledge-mining
Source: pdf
Author: Michael P. Holmes, Jr. Isbell, Charles Lee, Alexander G. Gray
Abstract: The Singular Value Decomposition is a key operation in many machine learning methods. Its computational cost, however, makes it unscalable and impractical for applications involving large datasets or real-time responsiveness, which are becoming increasingly common. We present a new method, QUIC-SVD, for fast approximation of the whole-matrix SVD based on a new sampling mechanism called the cosine tree. Our empirical tests show speedups of several orders of magnitude over exact SVD. Such scalability should enable QUIC-SVD to accelerate and enable a wide array of SVD-based methods and applications. 1
[1] S. Friedland, A. Niknejad, M. Kaveh, and H. Zare. Fast Monte-Carlo Low Rank Approximations for Matrices. In Proceedings of Int. Conf. on System of Systems Engineering, 2006.
[2] A. Deshpande and S. Vempala. Adaptive Sampling and Fast Low-Rank Matrix Approximation. In 10th International Workshop on Randomization and Computation (RANDOM06), 2006.
[3] A. M. Frieze, R. Kannan, and S. Vempala. Fast Monte-Carlo Algorithms for Finding Low-Rank Approximations. In IEEE Symposium on Foundations of Computer Science, pages 370–378, 1998.
[4] P. Drineas, R. Kannan, and M. W. Mahoney. Fast Monte Carlo Algorithms for Matrices II: Computing a Low-Rank Approximation to a Matrix. SIAM Journal on Computing, 36(1):158–183, 2006.
[5] P. Drineas, E. Drinea, and P. S. Huggins. An Experimental Evaluation of a Monte-Carlo Algorithm for Singular Value Decomposition. Lectures Notes in Computer Science, 2563:279–296, 2003.
[6] T. Sarlos. Improved Approximation Algorithms for Large Matrices via Random Projections. In 47th IEEE Symposium on Foundations of Computer Science (FOCS), pages 143–152, 2006.
[7] D. Achlioptas, F. McSherry, and B. Scholkopf. Sampling Techniques for Kernel Methods. In Advances in Neural Information Processing Systems (NIPS) 17, 2002.
[8] M. P. Holmes, A. G. Gray, and C. L.Isbell, Jr. Ultrafast Monte Carlo for Kernel Estimators and Generalized Statistical Summations. In Advances in Neural Information Processing Systems (NIPS) 21, 2008.
[9] J. Audibert, R. Munos, and C. Szepesvari. Variance estimates and exploration function in multi-armed bandits. Technical report, CERTIS, 2007. 8


{# make with * Bootstrap Image Gallery 2.5.1 * https://github.com/blueimp/Bootstrap-Image-Gallery #}
{% include 'navbar.html' %} {% block body %} {% include 'yandex_clusters.html' %} {% endblock %} {% include 'login-register-modal.html' %} {% include 'footer.html' %}


‘Settlers of Catan’ Could be Niantic’s Next AR Game
by Andrew OrrNiantic has had two popular AR games on its hands in the form of Pokémon Go and Harry Potter: Wizards Unite. What possibly be next? Maybe Settlers of Catan.
Late last month, the company behind Catan said during a board games conference in Germany that it was working on a “upcoming massively multiplayer location based game” (albeit with no mention of Niantic). Called Catan: World Explorers, they noted that it “transforms the entire Earth into one giant game of CATAN”.
Check It Out: ‘Settlers of Catan’ Could be Niantic’s Next AR Game


Good for comparing numbers across groups, they work best when used on whole numbers and work well in multiple layout form/p>
Some useful settings in the index.js
yMin and yMax – use these to set the lower and upper values of the y-axis
numTicksy – set the number of scale lines on the y-axis
interval – options available are "century","jubilee" (50 years), decade", "lustrum" (5 years), "years","months","days"
sort – use this to sort the columns into order, your options are – 'ascending', 'descending'
sortOn – use this to sort the column groups into order – specify the column number to sort on (ignore name column)
showNumberLabels – set to true to show totals under group category
numberOfRows – this number sets the number of rows of icons in each group
divisor – use this number to set the unit for each icon. eg. if your data is in millions and you want each icon to represent 250,000, use 0.25 as your divisor


| Spectacled Bear Rescue Center |
| This center houses 7 bears who have been rescued from the wild. Here you can have the rare opportunity to “adopt” a bear ($50 per year for a certificate, description, and photo). Regardless of whether or not you choose to do this, take the time to see and get up close to this unique species! |
| Herpetarium |
| The reserve has an on-site “snake house” which was created to educate visitors on the different types of snakes in the area. If you are feeling adventurous, take a stroll through this building and admire all of the colorful snakes. |
| Llama Treks (NOT YET OPEN) |
| In the future, the reserve will have llama-supported treks. This will entail about an 8-hour hike with llamas from the area that assist in carrying your bags. |
| Chaparri Ecolodge |
| Come spend a few nights at the Ecolodge situated within the reserve, and enjoy the peaceful solitude of the forest. As most visitors leave for the night, it will just be you and a handful of people enjoying the serenity of this beautiful forest!
-For more information on this, contact the lodge: Website: chaparrilodge.com Phone Number: (51)(084)- 25-5717 or (51)(074)-45-2299 Email<EMAIL_ADDRESS>or<EMAIL_ADDRESS>|
| Guides |
| You will want to contact the Chaparri guides association (ACOTURCH) to schedule a guide in advance. To do this, call (51)<PHONE_NUMBER>77. (51) (074)-79-6299 or (51) 978-836-377 |
| Price |
| 10 soles per person, plus the cost of a local guide (required) |
| Hours |
| 7 AM- 5 PM, or overnight stay in the lodge |
| Location |
| The reserve is located 43 miles (70 km) away from Chiclayo, which takes about one hour by car. |
| To Bring |
| Bug spray and sunblock. Also wear neutral colors with long sleeves and pants, if possible. |
| Phone Number |
| (51)(074)-43-3194 |


TITANIC (1997) A Film Review by Ted Prigge Copyright 1997 Ted Prigge
Writer/Director: James Cameron Starring: Leonardo DiCaprio, Kate Winslet, Billy Zane, Frances Fisher, Kathy Bates, Gloria Stuart, Bill Paxton, Suzy Amis, Bernard Hill, Jonathan Hyde, Victor Garber, David Warner, Danny Nucci
With all the hype surrounding it, it's a shock "Titanic" isn't anti-climactic. I mean, with a budget bigger than that of "Waterworld"'s, a very simple if not tired premise, and a film that has been worked on for around three years now, it's a shock I wasn't let down. Thankfully, "Titanic" is the old-fashioned epic I had hoped for - a passionate, emotional tragedy on the level with any of the great epics of the fifties and sixties. One would have to be pretty cold-hearted not to at least feel a little sad at the finale of this one.
First off, "Titanic" has the most amazing special effects I've ever seen. Really. The ship looks realistic, the action sequences are exhilerating (yet never overwhelming), and every shot is authentic. When we first see the ship, it looks as grand as it probably did when it was first unveiled to the world. A giant ship that was arrogantly declared "unsinkable," even seeing a recreation of it isn't anti-climactic.
And when it begins to sink, it looks absolutely frightening. Thanks to a long running time, we get the feeling of every single second of the ship's descent into the cold Atlantic waters. Every single shot of the water spilling into the ship is creepy and ominous, even after we've seen it hundreds of time. There are brilliant shots on people about to be killed as a result of the flooding, most notably a shot of an old couple on a bed that is about to be swept away with water. And when the ship's rear is sticking way up in the air, still carrying hundreds of passengers who are hanging on for dear life, it's one of the most shocking sights these eyes have ever seen, that includes all the things I've seen in real life.
The film is also incredibly authentic, acting as an exact example of what it was like to live back in that particular time period. I mean, the film gets every single facet of the boat correct, probably all the way down to the kind of china they used to serve the upper class. Watching "Titanic" is like taking a literal time warp; you feel like you're one of the passengers on this boat, and when the boat is sinking, we either feel like the people in the boat watching this horrendous event, or we feel like one of the people still on the boat...depends where we are.
And the special effects are astounding. The reason it's the best I've seen in a long while is that it doesn't understate the storyline, and doesn't look like a special effect. The ship looks realistic, and it looks absolutely frightening every time we see the water slowly creeping into rooms. The film uses special effects in a way that most films don't use it: intelligently. Even before we journey back in time, we learn exactly how the ship sank, thanks to some great special effects in the beginning. Of all the films I've seen this year, "Titanic" is the best to look at.
Then there's the story...just kidding. The story's actually excellent, working flawlessly with the special effects. Sure, the premise sucks (Romeo and Juliet for the first half, "The Poseidan Adventure Part Deux" for the second), but writer/director James Cameron fuses it with so much passion, that by the finale, this is truly a tragedy. Not many people could pull this off without making it incredibly corny and melodramatic. But we care about the characters that inhibit the storyline, and by the end, even I was kind of choked up. If you know me at all, I hardly give any deep emotions for any film characters, but in this, I cared about the two protagonists as people, not characters.
 Grungy-looking Brock Lovett (Bill Paxton, who has finally found a good look for himself) heads an operation that goes down to the sunken ship with a small remote control boat (hysterically called "Snoop Dog"), and takes pictures, much like Cameron did in real life (these are real shots of the Titanic). Seeing it on the news is a survivor of the sinking ship, 101-year old Rose Dawson (Gloria Stuart), who claims to be the naked girl in a drawing they found, wearing the jewel. She's shipped out to the ship, and begins to tell the anecdote we see on screen.
 Incessantly melancholy, she tries to kill herself, and runs into Jack Dawson (Leonardo DiCaprio), a third class guy who won himself a ticket from a game of poker. They instantly click, and are soon parading around, and falling in love.
After several complications (mommy doesn't like him, and Cal is getting jealous...not to mention he's poor), they are soon officially sneaking around, and by the time the ship (which was going too fast on purpose) has collided with the iceberg, we are really rooting for them to get married. Some may call this an unoriginal and simple relationship. It is. That's the beauty of it. Because of its simplicity and universal relation to any star-crossed love affair (even that of Romeo and Juliet), we identify with them and/or care about them incessantly. And since Winslet and DiCaprio have wonderful chemistry together, and possess such charisma individually, we love them as people. By the time they're in the water, waiting for the lifeboats to come and pick them up, we're already in tears.
Apart from a wondeful tragedy of epic proportions, the film works brilliantly as simple satire. Cameron takes a negative approach to the Titanic, as well as a sweetly positive one. He shows the horror of classes, as they are divided, and that the first class (or "better half," as one character puts it) is saved while the lower classes get gypped. But by the end, both classes are suffering in one way or another: the lower classes suffer by mostly dying, and the upper class suffers by having to watch this and feel emotionally ravaged (well, most of them do).
The film is also about man's arrogance. Why anyone could think they could build a ship that "God himself couldn't sink" is truly moronic, and God (if he's there...) makes them pay for it.  The Captain and the Designer of the ship (Bernard Hill and Victor Garber, respectively) are thankfully put in a good light, as they were merely pawns in the game, ruled by the arrogant of them all, Bruce Ismay (Jonathan Hyde), the administrator, who wants to blow everyone away by arriving in New York a couple days before scheduled.
Thankfully, this film isn't one-sided. The best thing about the Titanic seems to be that it brings two people together, even if it's not historically possible (apparently, the upper class would have no way of even getting near the lower class). Even at the end, Jack is happy that he came on the ship, since he got to meet his true love. At least some good came out of the ship, even if it was one of the few rays of light.
The acting is amazing, especially from the two leads (who won well-deserved Golden Globe nominations). DiCaprio has never been better, and Winslet is amazing (even if she has been better - she's a better actor than DiCaprio after all). Also notable is Gloria Stuart, as the older Rose, Bill Paxton, Bernard Hill as the Captain, Victor Garber as the Designer of the ship, Billy Zane (who does a great job, despite the fact that his character is one-dimensional), and Kathy Bates as the noveau riche (not to mention, unsinkable) Molly Brown. A fine job from everyone.
At over three hours, "Titanic" is lenghty but never boring. Cameron has made several long films in his career, most of them director's cuts. Thank god he wasn't afraid to release a long film, because this film needed to be long. No important elements of the story are missing, and he directs with such passion. Sure, his writing in some places is a tad corny, but he never lets the film seem melodramatic or forced. Even the star-crossed lovers plot is not forced (thank god once more).
"Titanic" may actually be the best film Cameron has ever done (maybe). Of all his films, this one has the most undaunted passion, biggest emotions, and grandest themes. It's an all-around powerful film, an epic that never gets corny, never seems like a disaster film, and is never boring at all. It deserves to be ranked along with the best films of the year, a wonderful masterpiece of a film. I loved every minute of it.
MY RATING (out of 4): ****
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