qid int64 1 74.7M | question stringlengths 12 33.8k | date stringlengths 10 10 | metadata list | response_j stringlengths 0 115k | response_k stringlengths 2 98.3k |
|---|---|---|---|---|---|
2,512,718 | I wrote a PHP shell script which include queuing jobs in centOS with 'at' command.
The queue jobs may vary in time and contents which means the system need to keep quite a large number of jobs.
The application logic will also be a bit difficult to setup with cronjob.
Is there a limit in number of queue jobs in centOS or is there any alternative way of queuing jobs? | 2010/03/25 | [
"https://Stackoverflow.com/questions/2512718",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/298819/"
] | I really like this article:
[A re-introduction to JavaScript](https://developer.mozilla.org/en/A_re-introduction_to_JavaScript) | <http://eloquentjavascript.net/>
It may be a little wordy, but it gives you some excellent examples that will stick with ya. |
2,512,718 | I wrote a PHP shell script which include queuing jobs in centOS with 'at' command.
The queue jobs may vary in time and contents which means the system need to keep quite a large number of jobs.
The application logic will also be a bit difficult to setup with cronjob.
Is there a limit in number of queue jobs in centOS or is there any alternative way of queuing jobs? | 2010/03/25 | [
"https://Stackoverflow.com/questions/2512718",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/298819/"
] | [Douglas Crockford's](http://en.wikipedia.org/wiki/Douglas_Crockford) - [Code Conventions for the JavaScript Programming Language](http://javascript.crockford.com/code.html) would be a good place to start.
I learned a lot of useful information in regards to code convention through his [video tutorials](http://video.yahoo.com/watch/111593/1710507), which I suggest viewing. I posted the link to the first video out of the four in the series.
Also, as suggested by [Ben](https://stackoverflow.com/questions/2512713/where-do-i-find-a-good-explanation-of-javascript-ese/2512727#2512727), (*which is a book I would also highly recommend*) is Douglas Crockford's book [JavaScript: The Good Parts](https://rads.stackoverflow.com/amzn/click/com/0596517742)
If you want to find good explanations on jQuery, check out the creator, lead developer and fellow [StackOverflower](https://stackoverflow.com/users/6524/john-resig) [John Resig's website/personal blog](http://ejohn.org/). | <http://eloquentjavascript.net/>
It may be a little wordy, but it gives you some excellent examples that will stick with ya. |
2,512,718 | I wrote a PHP shell script which include queuing jobs in centOS with 'at' command.
The queue jobs may vary in time and contents which means the system need to keep quite a large number of jobs.
The application logic will also be a bit difficult to setup with cronjob.
Is there a limit in number of queue jobs in centOS or is there any alternative way of queuing jobs? | 2010/03/25 | [
"https://Stackoverflow.com/questions/2512718",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/298819/"
] | I really like this article:
[A re-introduction to JavaScript](https://developer.mozilla.org/en/A_re-introduction_to_JavaScript) | I would also recommend "Secrets of a JavaScript Ninja" by John Resig. It will be out in July this year and would definitely be an excellent resource.
Else, Douglas Crockford "JavaScript:The good parts" is excellent. |
7,976,438 | I have few EMF (Enhanced Windows Metafile) files. How I can convert them into ps/pdf/tiff on Linux (CentOS 5.x)? Command line interface is preferred. | 2011/11/02 | [
"https://Stackoverflow.com/questions/7976438",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/948212/"
] | [unoconv](http://dag.wieers.com/home-made/unoconv/) can convert emf to pdf and tiff via command-line:
For pdf: unoconv filename.emf
For tiff: unoconv -f tiff filename.emf
It doesn't seem to support ps file export, though.
You are still required to install OpenOffice.org/LibreOffice because this tool uses them as the backend. | as far I know, to convert **EMF** to **.ps** and **.pdf**, keeping vector quality, you need to import in OpenOffice and then generate a **pdf** that you can convert in a ps with **pdftops**
a command-line tool (as import filter for **sk1**), is in preparation, but it seems not yet ready:
* <http://sk1project.org/modules.php?name=Products&product=pymfvu>
you can then, once made a pdf, convert from pdf format to tiff with latest releases of **pdftoppm** (despite its name it has gained ability to convert to tiff format) or use **pdftocairo** at desired resolution
* <http://poppler.freedesktop.org/releases.html> |
10,789,835 | **Now**(6:13pm Jun 1, 2012): I resign myself to learning git and github so that I can do version control. I won't need to mail copies of the (compressed) code to myself, but I still don't understand the mechanism after a day of looking at this stuff.
I get the SHA1 concept for uniquely identifying a file, and using the first 2 characters fo the hash as a directory name. But I'm still confused on the updates, pointers, merge business.
**Previously**: I have multiple versions of programs, so I can regress to an earlier one to solve a problem.
I used to like to compress the one I was using, and send it to myself via email, but today when I did that the compressed version was too small (49 kb instead of 6 mb). So I guess I am referencing the "workspace" (the extension on the app is ".xcworkspace").
I probably shouldn't waste too much time on this problem, since it is merely a backup, but on the other hand, having the full size is an indication that the whole app is self contained, instead of pointers elsewhere that may be inadvertently changed or destroyed.
Is there any way to "undo" my current version to have all the correct data, or is it really tough? | 2012/05/28 | [
"https://Stackoverflow.com/questions/10789835",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/945869/"
] | From personal experience I agree with other commentators that Git is the way to go, or even Mercurial. The learning curve bends down after a while especially if the needs are modest.
As to the need for a "Poor Man's Version Control", sometimes you do need one. For example, you work at a employer that does not allow downloading and use of non-corporate software and the centralized VCS is not allowed to be used for Ad Hoc, Experimental, or skunk work.
Related post: [poor mans source control zip project files on build](https://stackoverflow.com/questions/7701573/poor-mans-source-control-zip-project-files-on-build) | I'm not sure how to get back any changes without knowing more about your set up, but I can recommend that you look into a slightly new setup: your email-an-archive-to-yourself system sounds like a poor man's Revision Control System, except worse than poor, because there are plenty of great RCS tools available for free.
I recommend you spend an hour or so and read about `git`. If you learn a few commands you can have a complete change history of your project, and jump back to any point in time you like. (And then change history, creating alternate timelines, become your own grandparent, and cause all sorts of problems/adventures.) Most of the time version control is used in the context of a development team, but it provides a lot of benefit even for a lone wolf. |
67,672 | Given a diatonic chord in a scale, what are the rules to find out which tensions among 9, 11#, 13, I can use? | 2018/03/07 | [
"https://music.stackexchange.com/questions/67672",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/46644/"
] | And don't forget the 7th!
Well, you probably don't want to clash too closely with the melody. And you should consider the harmonic density - a b9#11 chord can sound a bit odd when surrounded with plain triads.
Above all, try not to see chords as seperate entities, but as a combination of melodic lines. | As a rule of thumb, an interval of a b9 between any two chord notes usually is considered too dissonant.
For major chords, available tensions are 9, #11 or 13.
For minor chords, available tensions are 9, 11 or 13.
For dominant chords, available tensions are any 9, #11, b13 or 13.
As always, music theory can be considered recommendations. Needless to say, if b9's really rock your boat then you will not get arrested for using them. |
67,672 | Given a diatonic chord in a scale, what are the rules to find out which tensions among 9, 11#, 13, I can use? | 2018/03/07 | [
"https://music.stackexchange.com/questions/67672",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/46644/"
] | By counting up the Major scale, you'll find the 9th, 11th, and 13th notes that make up the 9th, 11th, and 13th chords. If you look at a Major 13th chord you can see that it also contains the 7th, 9th, and 11th notes in the chord. This is the way that any diatonic extension is made on a chord in "theory". However, in practice, it is not necessary to include all of these notes. The important note is the 7th. If you have C-E-G-B-A, you have enough notes to imply a C Major 13 chord. If you take away the 7th, you end up with C-E-G-A, a C6 chord. You can extend Major, minor, and Dominant Chords. Chromatic alterations occur most frequently in chords having a flatted 7th note - chords in the Dominant family. | As a rule of thumb, an interval of a b9 between any two chord notes usually is considered too dissonant.
For major chords, available tensions are 9, #11 or 13.
For minor chords, available tensions are 9, 11 or 13.
For dominant chords, available tensions are any 9, #11, b13 or 13.
As always, music theory can be considered recommendations. Needless to say, if b9's really rock your boat then you will not get arrested for using them. |
67,672 | Given a diatonic chord in a scale, what are the rules to find out which tensions among 9, 11#, 13, I can use? | 2018/03/07 | [
"https://music.stackexchange.com/questions/67672",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/46644/"
] | By counting up the Major scale, you'll find the 9th, 11th, and 13th notes that make up the 9th, 11th, and 13th chords. If you look at a Major 13th chord you can see that it also contains the 7th, 9th, and 11th notes in the chord. This is the way that any diatonic extension is made on a chord in "theory". However, in practice, it is not necessary to include all of these notes. The important note is the 7th. If you have C-E-G-B-A, you have enough notes to imply a C Major 13 chord. If you take away the 7th, you end up with C-E-G-A, a C6 chord. You can extend Major, minor, and Dominant Chords. Chromatic alterations occur most frequently in chords having a flatted 7th note - chords in the Dominant family. | And don't forget the 7th!
Well, you probably don't want to clash too closely with the melody. And you should consider the harmonic density - a b9#11 chord can sound a bit odd when surrounded with plain triads.
Above all, try not to see chords as seperate entities, but as a combination of melodic lines. |
179,199 | Typically we follow an Agile development process that tends not to put an emphasis on writing requirements and technical documents that nobody will read. We tend to focus our limited manpower to development and testing activities with collaborative design and whiteboarding as a key focus.
There is a mostly standalone web component that will take quite a few weeks to develop, but this work can be mostly parallel with other project work going on. To try and catch up time I was given a budget for hiring a developer on oDesk to complete this work.
While my team isn't accustomed to working off of a firm SRS document, I realize that with outsourced development that it is a good idea to be as firm and specific as possible so I realize that I need to provide a detailed Requirements and Technical Specification document for this work to be done correctly.
When I do write a Requirements document I typically utilize the standard IEEE SRS document template but I think this is too verbose and probably overkill for what I need to communicate to a developer. Is there another requirements document that is more lightweight and also accepted by a major standards organization like the IEEE?
Further, as what will be developed as a software module that will interact with other software modules, my requirements really need to delve into technical specifications for things to work correctly. In this scenario does it make sense to merge technical and requirements specifications into a single document, and if not, what is a viable alternative? | 2012/12/12 | [
"https://softwareengineering.stackexchange.com/questions/179199",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/25476/"
] | The best option is probably to take an [existing template](http://en.wikipedia.org/wiki/Software_Requirements_Specification) or [two](http://www.processimpact.com/goodies.shtml) (for purchase - also found in the appendices of [Software Requirements](http://rads.stackoverflow.com/amzn/click/0735618798)) or [three](http://readyset.tigris.org/nonav/templates/frameset.html) and tailor them. Remove sections that are irrelevant to your needs or add new sections that you like from one template into the rest of another template. Merge sections together if that makes sense. When combined, these would probably cover every possible type of question that might be asked, it's just a matter of filling in the details where they are needed.
Tailoring would make it not match templates by major standards organizations, but tailoring is a key component of process improvement and deployment programs. I don't think that anyone would have a problem with a tailored template, in most cases. To me, the explicit removal of sections makes for a nicer and more reader-friendly document than text that says "does not apply".
As far as providing specifications, I'd be hesitant on what is provided. If you will be providing inputs in a specified format, provide that format. If another system will be consuming outputs, provide the expected output format. These could be railroad diagrams, XML schemas, byte layout maps, and any sample inputs/outputs (sanitized, if necessary). If you're specifying something that needs to be a drop-in replacement for another system, specifying the public interface may be necessary as well. However, I'd recommend leaving as much leeway to the developer as possible to design and build a system around your requirements.
In my experiences, there's often a separation of the requirements of the system and a detailed description of the interfaces between components. I don't think this is always necessary, though. Conformance to a specified interface is, technically, a communication or environment requirement ("the system shall provide output in XML that conforms to the schema defined in schema file"). Separating the two is probably more appropriate when describing a system of related components rather than a single component, where I'd argue that having a single, comprehensive resource for what I'm expected to produce is better.
I'd recommend approaching this as defining only what you need from this system, leaving as much as possible up to the developer. If you spend too much time doing the specification such that there's only one or two solutions, then you've done most of the time intensive work (in my experience). As a developer yourself, you probably know what questions you might ask if you were presented with the general scope of the system you want - answer those as clearly and specifically as possible and hope the developer will ask any other questions you might not have thought of. | Summary
-------
If it is Agile, there is a couple of issues to consider. Firstly, SRS is a no-go in Agile, and secondly, the IEEE won't back it up by any standards as they don't apply here.
User Stories, not SRS
---------------------
The best option would be to reconsider the methodology to something like [RUP](http://en.wikipedia.org/wiki/IBM_Rational_Unified_Process), or to practice Agile properly and benefit from its native solutions to problems, i.e. in agile, requirements are specified as [User Stories](http://en.wikipedia.org/wiki/User_story).
Agile Methodologies
-------------------
Consider [Scrum](http://en.wikipedia.org/wiki/Scrum_%28development%29), for example. All stories are first piled up in Product Backlog. Then, the Product Owner (you) select stories that should be implemented in the next sprint by putting them into Sprint Backlog. Finally, the iteration starts and you can watch the Burndown chart to see how stories are being implemented.
Another recommended Agile methodology is [TDD](http://en.wikipedia.org/wiki/Test-driven_development) or [BDD](http://en.wikipedia.org/wiki/Behavior-driven_development) where it is refined. The developer first writes tests based upon user stories and then codes the actual internals of the software to pass the tests.
Similarly, there is [Extreme Programming](http://en.wikipedia.org/wiki/Extreme_programming), [Crystal](http://en.wikipedia.org/wiki/Crystal_Clear_%28software_development%29), [DSDM](http://en.wikipedia.org/wiki/Dynamic_systems_development_method) and other agile methodologies to consider.
Software Process
----------------
When practicing Agile, or any other methodology, it is imperative that the particular methodology is chosen well and followed with a certain rigor. Otherwise, "we are using Agile" becomes "we are using a process which is not formally recognized and we are actually not even sure of the outcome, we don't know what we are doing, but let's already start hacking stuff" |
577,202 | my system doesn't have a hard disk, so I am using a USB stick of 16gb. I am running live ubuntu without installation, it's taking about 3 GB of space. is it possible that can I create a partition for USB so that I can save files in USB when using live ubuntu at the same time? | 2020/04/01 | [
"https://unix.stackexchange.com/questions/577202",
"https://unix.stackexchange.com",
"https://unix.stackexchange.com/users/403275/"
] | I also tried a lot to do this. Actually there is a term for this called "persistence". In my experience, it works only when I create the bootable usb drive with Rufus. In Rufus, when you are creating the bootable usb, there will be an option to set persistence and the size of the persistent partition. It will make the live boot slower but at least you will be able to save your changes.
(edit: Hi, I think I misinterpreted your question. If you just want to store some other files on the USB Drive, you can simply create a new folder in the USB Drive and store them, (you might not be able to use them while you are in live boot) but if you want to store files which you can access in the ubuntu during live boot and also want to save other software installed in ubuntu, then you should make persistent partition in Rufus as I told earlier ) | Make Sure You *Activated* it Because it Came 0 Gb By default And 0 Means thats the **persistence** is *desactivated*.
There is it.
**strong text**[](https://i.stack.imgur.com/ol85k.png) |
577,202 | my system doesn't have a hard disk, so I am using a USB stick of 16gb. I am running live ubuntu without installation, it's taking about 3 GB of space. is it possible that can I create a partition for USB so that I can save files in USB when using live ubuntu at the same time? | 2020/04/01 | [
"https://unix.stackexchange.com/questions/577202",
"https://unix.stackexchange.com",
"https://unix.stackexchange.com/users/403275/"
] | I also tried a lot to do this. Actually there is a term for this called "persistence". In my experience, it works only when I create the bootable usb drive with Rufus. In Rufus, when you are creating the bootable usb, there will be an option to set persistence and the size of the persistent partition. It will make the live boot slower but at least you will be able to save your changes.
(edit: Hi, I think I misinterpreted your question. If you just want to store some other files on the USB Drive, you can simply create a new folder in the USB Drive and store them, (you might not be able to use them while you are in live boot) but if you want to store files which you can access in the ubuntu during live boot and also want to save other software installed in ubuntu, then you should make persistent partition in Rufus as I told earlier ) | In at least 18.04 live boot, it permits plugging in a second USB, which shows up promptly. I was then able to drag and drop files from the failing hard drive to the second USB. |
577,202 | my system doesn't have a hard disk, so I am using a USB stick of 16gb. I am running live ubuntu without installation, it's taking about 3 GB of space. is it possible that can I create a partition for USB so that I can save files in USB when using live ubuntu at the same time? | 2020/04/01 | [
"https://unix.stackexchange.com/questions/577202",
"https://unix.stackexchange.com",
"https://unix.stackexchange.com/users/403275/"
] | In at least 18.04 live boot, it permits plugging in a second USB, which shows up promptly. I was then able to drag and drop files from the failing hard drive to the second USB. | Make Sure You *Activated* it Because it Came 0 Gb By default And 0 Means thats the **persistence** is *desactivated*.
There is it.
**strong text**[](https://i.stack.imgur.com/ol85k.png) |
143,865 | I would like to install a whole house fan in my 2400 sf house. However, with only three 1 ft x 2 ft gable vents, I'm looking at an NFVA of only 3 sf of exhaust vent when taking into consideration that they are screened!
I'm assuming that I would need ~10 air exchanges per hour to get a "breeze effect with the fan turned on. However, I would need an additional 4sf of exhaust vent: 3500cfm/500cfm/sf = 7sf - 3sf existing exhaust vent.
I currently have 1.17sf of soffit intake vents (84 3" holes under eaves) vs 6sf exhaust vents(3 gable vents). Since these vents should actually be same ratio, by adding 4sf of additional exhaust vents, the ratio would be even more skewed!
The Quiet Cool website suggested that an attic power vent could be run in tandem with a whole house fan and eliminate the need for additional exhaust vents to be installed on the roof. With that said, would this be the best solution for my dilemma?
[](https://i.stack.imgur.com/qa6rr.jpg)
Below is a picture indicating the type house ventilating fan I am considering
[](https://i.stack.imgur.com/A8anO.jpg) | 2018/07/24 | [
"https://diy.stackexchange.com/questions/143865",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/68493/"
] | It sounds like you’re trying to cool your house without increasing your air conditioner size (or add air conditioning) by 1) adding air movement in your house, and 2) lower the air temperature in your attic, which could be “heating” your house.
1. Yes, adding air movement (even warm air) will give you the feeling of cooling. That’s why sitting in front of a fan feels cool. However, that air needs to blow across your skin to be effective. (I think you’ll need to get in your shorts and wear short sleeves. )
2. Stagnant air in the attic will heat up throughout a warm day, so increasing the air movement in the attic is probably good.
However, your notion about “intake vents” and “exhaust vents” is not quite correct. Actually, the small 3” round vents in the eaves are not just “intake vents”...they’re “exhaust vents” too. Your house (especially where you live) has a windward and leeward side. This creates positive air pressure and negative air pressure on your house. Openings (vents) allow air in and out. Generally, we like these openings balanced. That is to say about equal sized.
However, the Code has established minimum sizes to prevent moisture condensation...not for cooling requirements.
The minimum amount of venting by Code is 1/150th the area for CROSS VENTILATION or 1/300th the area if you have cross ventilation AND between 40% and 50% the area is located not more that 3’ below the ridge. (See IRC R806)
It sounds like your attic ventilation meets this requirement. (A 2400 s.f. House will require 2400/300=8 s.f. and you have about 4 s.f. Ridge vents. I know you think you have 3 s.f., but I think you’ve compensated too much for the screening in the vents.) (BTW, I think you have 4.1 s.f. of venting from the 3” holes not 1.17s.f. that you think you have. Did I do that right?)
In summary,
1. I think you have adequate attic ventilation and increasing it will give you a minor benefit
2. power venting your living space can help, but you’ll need to sit close to the fan.
Alternate idea: In Hawaii and the Caribbean, they remove the exterior walls and rely on the tradewinds. Now, you probably can’t remove your walls, but you live where there is plenty of wind. Can you enlarge windows/doors to capture these winds? If not, then add a fan...but provide the same amount of “intake” as “outlet” available. | I would increase the size of the gable vents. I made about a 32" X 7' gable vent ( can't remember the roof pitch) for a 2400sf size house; It worked fine.I would not consider adding a power vent to the attic, the house fan has sufficient power. I have had 3 houses with attic/whole house fans and I strongly recommend a belt drive rather than a direct drive to reduce fan noise. In my present house ( same size) there is 2" wide strip in most of the soffit and traditional plastic ridge vents. They provide enough venting for the fan . |
143,865 | I would like to install a whole house fan in my 2400 sf house. However, with only three 1 ft x 2 ft gable vents, I'm looking at an NFVA of only 3 sf of exhaust vent when taking into consideration that they are screened!
I'm assuming that I would need ~10 air exchanges per hour to get a "breeze effect with the fan turned on. However, I would need an additional 4sf of exhaust vent: 3500cfm/500cfm/sf = 7sf - 3sf existing exhaust vent.
I currently have 1.17sf of soffit intake vents (84 3" holes under eaves) vs 6sf exhaust vents(3 gable vents). Since these vents should actually be same ratio, by adding 4sf of additional exhaust vents, the ratio would be even more skewed!
The Quiet Cool website suggested that an attic power vent could be run in tandem with a whole house fan and eliminate the need for additional exhaust vents to be installed on the roof. With that said, would this be the best solution for my dilemma?
[](https://i.stack.imgur.com/qa6rr.jpg)
Below is a picture indicating the type house ventilating fan I am considering
[](https://i.stack.imgur.com/A8anO.jpg) | 2018/07/24 | [
"https://diy.stackexchange.com/questions/143865",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/68493/"
] | It sounds like you’re trying to cool your house without increasing your air conditioner size (or add air conditioning) by 1) adding air movement in your house, and 2) lower the air temperature in your attic, which could be “heating” your house.
1. Yes, adding air movement (even warm air) will give you the feeling of cooling. That’s why sitting in front of a fan feels cool. However, that air needs to blow across your skin to be effective. (I think you’ll need to get in your shorts and wear short sleeves. )
2. Stagnant air in the attic will heat up throughout a warm day, so increasing the air movement in the attic is probably good.
However, your notion about “intake vents” and “exhaust vents” is not quite correct. Actually, the small 3” round vents in the eaves are not just “intake vents”...they’re “exhaust vents” too. Your house (especially where you live) has a windward and leeward side. This creates positive air pressure and negative air pressure on your house. Openings (vents) allow air in and out. Generally, we like these openings balanced. That is to say about equal sized.
However, the Code has established minimum sizes to prevent moisture condensation...not for cooling requirements.
The minimum amount of venting by Code is 1/150th the area for CROSS VENTILATION or 1/300th the area if you have cross ventilation AND between 40% and 50% the area is located not more that 3’ below the ridge. (See IRC R806)
It sounds like your attic ventilation meets this requirement. (A 2400 s.f. House will require 2400/300=8 s.f. and you have about 4 s.f. Ridge vents. I know you think you have 3 s.f., but I think you’ve compensated too much for the screening in the vents.) (BTW, I think you have 4.1 s.f. of venting from the 3” holes not 1.17s.f. that you think you have. Did I do that right?)
In summary,
1. I think you have adequate attic ventilation and increasing it will give you a minor benefit
2. power venting your living space can help, but you’ll need to sit close to the fan.
Alternate idea: In Hawaii and the Caribbean, they remove the exterior walls and rely on the tradewinds. Now, you probably can’t remove your walls, but you live where there is plenty of wind. Can you enlarge windows/doors to capture these winds? If not, then add a fan...but provide the same amount of “intake” as “outlet” available. | Thanks for the picture, it helps.
There are two issues: 1) attic ventilation, and 2) house ventilation.
1) Attic ventilation is based on CROSS ventilation. If you have the correct amount of vents installed and the attic is still hot, you can add a mechanical ventilator and “exhaust” air out of your attic.
Yes, it appears you have the correct amount of ventilation in your UPPER roof (if all the vents are open and not blocked). However, you do NOT have CROSS ventilation in your LOWER roof. Also, I doubt if you have the correct amount of vents (in square feet) in your lower roof, much less it’s not CROSS ventilation.
I’d install a thermometer in each attic and test for a few days. I think you’ll find that the lower roof is the problem. (That lower roof should not be venting into the garage. )
I’d stop referring to exhaust vents too. It’s all about cross ventilation so some are intake one day and exhaust vents another. If you install a mechanical vent in the attic, it’s an EXHAUST vent. It does not push air into your attic so you don’t need to worry about “exhaust” vents.
2) House ventilation is SEPARATE from attic ventilation and has very little to do with each other.
Yes, if you cool the attic, the house should cool too. However, with attic insulation it would need to get really hot in the attic before it could affect the temperature in the House very much. |
36,788,837 | I am starting my App from XCode and with a specific behaviour it just disconnects and the app disappears from my IPAD screens.
So I guess the app crashes.
Now my question. Where Do I get this crashlog ? I already looked into
Window -> Devices -> choose my Ipad -> "View Device Logs" . But I cant see any actual crash log. I have some from earlier times, but my actual doesn't show up.
How do I get a crashlog ? | 2016/04/22 | [
"https://Stackoverflow.com/questions/36788837",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1344545/"
] | check if you have enabled Share with app developers option in settings. Privacy -> Analytics -> Share with App Developers.Xcode was not showing crash logs, enabling this helped me | You need to look at the device console under windows, devices in Xcode.
Its possibly saying something about code signing, bundle id's or missing libraries. |
36,788,837 | I am starting my App from XCode and with a specific behaviour it just disconnects and the app disappears from my IPAD screens.
So I guess the app crashes.
Now my question. Where Do I get this crashlog ? I already looked into
Window -> Devices -> choose my Ipad -> "View Device Logs" . But I cant see any actual crash log. I have some from earlier times, but my actual doesn't show up.
How do I get a crashlog ? | 2016/04/22 | [
"https://Stackoverflow.com/questions/36788837",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1344545/"
] | check if you have enabled Share with app developers option in settings. Privacy -> Analytics -> Share with App Developers.Xcode was not showing crash logs, enabling this helped me | Try to delete the crash logs from "earlier times".
You have maximum amount of saved crash logs, and if you passed it - you won't see the new crash logs |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | **My conclusion:**
A snake hunts using vibrations, movement detection, and smell. For this reason, I would place your snake close to the ground, **inside or near caves**. This would solve your dual problem of hiding and hunting, because the snake could consume whatever creature was foolish enough to enter or be near the snake's cave.
[](https://i.stack.imgur.com/0ESNT.jpg)
The main drawback to this solution is that the snake would be limited to traveling from cave to cave. This would be less problematic if your environment was fairly cave-prone, perhaps something like this:
[](https://i.stack.imgur.com/z5NsM.jpg)
My thought process:
**1. How will the snake hide?**
My immediate reaction was that the snake could hide in sand (like beaches, deserts, or riverbanks), like the [Sandworm](https://en.wikipedia.org/wiki/Sandworm_(Dune)) from [Dune](https://en.wikipedia.org/wiki/Dune_(novel)).
[](https://i.stack.imgur.com/r5MEo.jpg)
Obviously, this creature could easily inspire terror. As for the mechanics of a snake of that size moving through sand, I am unsure- you would have to do further research on that, depending on how hard you want your science to be.
But, you have a tropical climate with plentiful large trees. While I might normally suggest that the snake climb trees, I feel that a six-foot-diameter snake is far too large for a normal-size tree. It must:
* Climb the tree
* Not break the tree
* Ambush prey from the tree (I assume), so it must fall out of tree with limited damage, which is difficult for a snake of that mass
Unless, of course, you have a very, very large tree or trees:
[](https://i.stack.imgur.com/qukX1.jpg)
The problem with this is that if you have a limited number of massive trees, you can simply avoid the area with these trees.
**2. How will the snake eat?**
Depends on what you want your snake to eat. The [Titanoboa](https://en.wikipedia.org/wiki/Titanoboa), a massive prehistoric snake, was possibly piscivorous, meaning that it primarily consumed fish. But, you say that you do not want your snake to be tied to the coast. (I am assuming that you also do not care for lakes or large rivers, though a large river would not be out-of-place in a tropical environment).
I think the answer to this question depends largely on what other animals live in the snake's environment, as it would likely evolve to prey on these animals.
You might find these resources helpful:
* [List of largest living snakes (Wikipedia)](https://en.wikipedia.org/wiki/List_of_largest_snakes)
* [Titanoboa, 40-foot prehistoric snake](http://www.smithsonianmag.com/science-nature/how-titanoboa-the-40-foot-long-snake-was-found-115791429/)
* [Titanoboa (Wikipedia)](https://en.wikipedia.org/wiki/Titanoboa) | If you're only worried about food, then make it an ambush predator that will happily snack on anything silly enough to walk in it's mouth at any time but active mostly at night. Tropical jungles can hide tanks and plane wrecks from views, they can hide a six foot snake head.
The snakes main problem would be the noise it makes moving around but it could use that as part of it's hunting strategy to trap prey by circling in on the prey so that when it hears the snake and runs, it actually runs into another part of the snake ready to grab it and squeeze it to death. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | **My conclusion:**
A snake hunts using vibrations, movement detection, and smell. For this reason, I would place your snake close to the ground, **inside or near caves**. This would solve your dual problem of hiding and hunting, because the snake could consume whatever creature was foolish enough to enter or be near the snake's cave.
[](https://i.stack.imgur.com/0ESNT.jpg)
The main drawback to this solution is that the snake would be limited to traveling from cave to cave. This would be less problematic if your environment was fairly cave-prone, perhaps something like this:
[](https://i.stack.imgur.com/z5NsM.jpg)
My thought process:
**1. How will the snake hide?**
My immediate reaction was that the snake could hide in sand (like beaches, deserts, or riverbanks), like the [Sandworm](https://en.wikipedia.org/wiki/Sandworm_(Dune)) from [Dune](https://en.wikipedia.org/wiki/Dune_(novel)).
[](https://i.stack.imgur.com/r5MEo.jpg)
Obviously, this creature could easily inspire terror. As for the mechanics of a snake of that size moving through sand, I am unsure- you would have to do further research on that, depending on how hard you want your science to be.
But, you have a tropical climate with plentiful large trees. While I might normally suggest that the snake climb trees, I feel that a six-foot-diameter snake is far too large for a normal-size tree. It must:
* Climb the tree
* Not break the tree
* Ambush prey from the tree (I assume), so it must fall out of tree with limited damage, which is difficult for a snake of that mass
Unless, of course, you have a very, very large tree or trees:
[](https://i.stack.imgur.com/qukX1.jpg)
The problem with this is that if you have a limited number of massive trees, you can simply avoid the area with these trees.
**2. How will the snake eat?**
Depends on what you want your snake to eat. The [Titanoboa](https://en.wikipedia.org/wiki/Titanoboa), a massive prehistoric snake, was possibly piscivorous, meaning that it primarily consumed fish. But, you say that you do not want your snake to be tied to the coast. (I am assuming that you also do not care for lakes or large rivers, though a large river would not be out-of-place in a tropical environment).
I think the answer to this question depends largely on what other animals live in the snake's environment, as it would likely evolve to prey on these animals.
You might find these resources helpful:
* [List of largest living snakes (Wikipedia)](https://en.wikipedia.org/wiki/List_of_largest_snakes)
* [Titanoboa, 40-foot prehistoric snake](http://www.smithsonianmag.com/science-nature/how-titanoboa-the-40-foot-long-snake-was-found-115791429/)
* [Titanoboa (Wikipedia)](https://en.wikipedia.org/wiki/Titanoboa) | I suspect that the scale you're talking about would run into the square cube issue. Using the Green Anaconda as a model, our girtheist living snake, at 29 feet you only get a foot of diameter. Your snake would be approximately 174 feet long... That's big.
If we handwave that we still have the issue that as far as we know all very large snakes have been semi-aquatic. Being huge it helps to displace your weight in water.
Handwaving that we still have some issues to address.
Heat being the first that comes up. A very large reptile will have problems maintaining body temperature. Some reptiles have limited reproductive endothermy, but that's still a stretch for one that's a full six feet thick and one hundred and seventy four feet long. So it'll need to be hot, like really really hot, all the time.
The next issue is food. Now surprisingly this may not be as big a problem as you might think. The Green Anaconda can go weeks without a good meal, so with a slow metabolism your snake may only need a cow every week or so... But how would this monster sneak up on a cow?
This leads me to the point of all this. I suspect that the only way such a creature could exist on Earth would be in captivity. Some snakes really do get significantly larger in captivity... Some even seem to match their enclosures.
Now if your giant snake was carefully maintained by studious herpetologists, who very carefully cared for it, you may be able to get your monster. Unfortunately it wouldn't survive long on it's own.
This arrangement would require some handwavium, but a little less. These snakes exist in the wild, they're just significantly smaller. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | **My conclusion:**
A snake hunts using vibrations, movement detection, and smell. For this reason, I would place your snake close to the ground, **inside or near caves**. This would solve your dual problem of hiding and hunting, because the snake could consume whatever creature was foolish enough to enter or be near the snake's cave.
[](https://i.stack.imgur.com/0ESNT.jpg)
The main drawback to this solution is that the snake would be limited to traveling from cave to cave. This would be less problematic if your environment was fairly cave-prone, perhaps something like this:
[](https://i.stack.imgur.com/z5NsM.jpg)
My thought process:
**1. How will the snake hide?**
My immediate reaction was that the snake could hide in sand (like beaches, deserts, or riverbanks), like the [Sandworm](https://en.wikipedia.org/wiki/Sandworm_(Dune)) from [Dune](https://en.wikipedia.org/wiki/Dune_(novel)).
[](https://i.stack.imgur.com/r5MEo.jpg)
Obviously, this creature could easily inspire terror. As for the mechanics of a snake of that size moving through sand, I am unsure- you would have to do further research on that, depending on how hard you want your science to be.
But, you have a tropical climate with plentiful large trees. While I might normally suggest that the snake climb trees, I feel that a six-foot-diameter snake is far too large for a normal-size tree. It must:
* Climb the tree
* Not break the tree
* Ambush prey from the tree (I assume), so it must fall out of tree with limited damage, which is difficult for a snake of that mass
Unless, of course, you have a very, very large tree or trees:
[](https://i.stack.imgur.com/qukX1.jpg)
The problem with this is that if you have a limited number of massive trees, you can simply avoid the area with these trees.
**2. How will the snake eat?**
Depends on what you want your snake to eat. The [Titanoboa](https://en.wikipedia.org/wiki/Titanoboa), a massive prehistoric snake, was possibly piscivorous, meaning that it primarily consumed fish. But, you say that you do not want your snake to be tied to the coast. (I am assuming that you also do not care for lakes or large rivers, though a large river would not be out-of-place in a tropical environment).
I think the answer to this question depends largely on what other animals live in the snake's environment, as it would likely evolve to prey on these animals.
You might find these resources helpful:
* [List of largest living snakes (Wikipedia)](https://en.wikipedia.org/wiki/List_of_largest_snakes)
* [Titanoboa, 40-foot prehistoric snake](http://www.smithsonianmag.com/science-nature/how-titanoboa-the-40-foot-long-snake-was-found-115791429/)
* [Titanoboa (Wikipedia)](https://en.wikipedia.org/wiki/Titanoboa) | **Hiding**
Since you say fresh water is OK, I'd make it live in swampy / forest-surrounded lakes. It's pretty much impossible to see anything in murky water, so 'too big to hide' shouldn't be a concern as long as the water is more than six feet deep.
Given that big pythons and such can go months without eating, it might even coil up and cover itself with vegetation, thus disguising itself as a hummock in the swamp.
**Food supply**
This thing is going to be absolutely huge. It would probably weigh something like 60 tons\* even if relatively short, say 80 feet / 25 meters.
However, that's not necessarily completely unreasonable. The Sperm Whale is about that mass, and its a macropredator. And as a mammal, it has a much higher metabolism (and thus higher food needs) than this low-metabolism snake will.
So you're probably best off with a large region with lakes, rivers, swamp, forest etc. (maybe something like the Mississippi Delta & Atchafalaya swamp on the US Gulf Coast before its development by humans) Wetlands can be very biologically productive, and you could have its main diet be things like alligators and large fish (paddlefish, alligator gar, and giant catfish for example).
\*body radius - 0.9m, cross sectional area is pi \* r^2 or 2.54 m^2, total volume 2.54 \* 25 or 63.5 cubic meters). If this is a water-dwelling creature, it should have roughly neutral buoyancy, so about 1 ton per cubic meter. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | **My conclusion:**
A snake hunts using vibrations, movement detection, and smell. For this reason, I would place your snake close to the ground, **inside or near caves**. This would solve your dual problem of hiding and hunting, because the snake could consume whatever creature was foolish enough to enter or be near the snake's cave.
[](https://i.stack.imgur.com/0ESNT.jpg)
The main drawback to this solution is that the snake would be limited to traveling from cave to cave. This would be less problematic if your environment was fairly cave-prone, perhaps something like this:
[](https://i.stack.imgur.com/z5NsM.jpg)
My thought process:
**1. How will the snake hide?**
My immediate reaction was that the snake could hide in sand (like beaches, deserts, or riverbanks), like the [Sandworm](https://en.wikipedia.org/wiki/Sandworm_(Dune)) from [Dune](https://en.wikipedia.org/wiki/Dune_(novel)).
[](https://i.stack.imgur.com/r5MEo.jpg)
Obviously, this creature could easily inspire terror. As for the mechanics of a snake of that size moving through sand, I am unsure- you would have to do further research on that, depending on how hard you want your science to be.
But, you have a tropical climate with plentiful large trees. While I might normally suggest that the snake climb trees, I feel that a six-foot-diameter snake is far too large for a normal-size tree. It must:
* Climb the tree
* Not break the tree
* Ambush prey from the tree (I assume), so it must fall out of tree with limited damage, which is difficult for a snake of that mass
Unless, of course, you have a very, very large tree or trees:
[](https://i.stack.imgur.com/qukX1.jpg)
The problem with this is that if you have a limited number of massive trees, you can simply avoid the area with these trees.
**2. How will the snake eat?**
Depends on what you want your snake to eat. The [Titanoboa](https://en.wikipedia.org/wiki/Titanoboa), a massive prehistoric snake, was possibly piscivorous, meaning that it primarily consumed fish. But, you say that you do not want your snake to be tied to the coast. (I am assuming that you also do not care for lakes or large rivers, though a large river would not be out-of-place in a tropical environment).
I think the answer to this question depends largely on what other animals live in the snake's environment, as it would likely evolve to prey on these animals.
You might find these resources helpful:
* [List of largest living snakes (Wikipedia)](https://en.wikipedia.org/wiki/List_of_largest_snakes)
* [Titanoboa, 40-foot prehistoric snake](http://www.smithsonianmag.com/science-nature/how-titanoboa-the-40-foot-long-snake-was-found-115791429/)
* [Titanoboa (Wikipedia)](https://en.wikipedia.org/wiki/Titanoboa) | >
> What is its strategy when it comes to food?
>
>
>
The [spitting cobra](https://en.wikipedia.org/wiki/Spitting_cobra) comes to mind. Why chase down the food when you can spit a deadly venom at it that will cause it pain and possibly damage it enough to slow it down or stop it? With such a large snake- one would imagine it would be able to launch quite the loogie for quite a distance since it'll have a very good angle and range.
An alternative would be a snake with above-normal intelligence for a snake. With such a large body and skull- it should have a larger brain as well. Obviously size alone doesn't make/break intelligence but this is a creature you're inventing after all. Have the giant thing knock over a tree onto its prey, dig a pit, set up a trap or enclosed area to chase something to, track something by scent to the lair- once you introduce higher cognitive thinking to a creature you're limited only by your imagination.
I do have to agree that snakes as a massive creature are not the best survivors. Think of all that mass that's entirely open to attack- something starts biting the snake in the rear and by the time it brings its' head the hell around to deal with the threat- it's long gone. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | **My conclusion:**
A snake hunts using vibrations, movement detection, and smell. For this reason, I would place your snake close to the ground, **inside or near caves**. This would solve your dual problem of hiding and hunting, because the snake could consume whatever creature was foolish enough to enter or be near the snake's cave.
[](https://i.stack.imgur.com/0ESNT.jpg)
The main drawback to this solution is that the snake would be limited to traveling from cave to cave. This would be less problematic if your environment was fairly cave-prone, perhaps something like this:
[](https://i.stack.imgur.com/z5NsM.jpg)
My thought process:
**1. How will the snake hide?**
My immediate reaction was that the snake could hide in sand (like beaches, deserts, or riverbanks), like the [Sandworm](https://en.wikipedia.org/wiki/Sandworm_(Dune)) from [Dune](https://en.wikipedia.org/wiki/Dune_(novel)).
[](https://i.stack.imgur.com/r5MEo.jpg)
Obviously, this creature could easily inspire terror. As for the mechanics of a snake of that size moving through sand, I am unsure- you would have to do further research on that, depending on how hard you want your science to be.
But, you have a tropical climate with plentiful large trees. While I might normally suggest that the snake climb trees, I feel that a six-foot-diameter snake is far too large for a normal-size tree. It must:
* Climb the tree
* Not break the tree
* Ambush prey from the tree (I assume), so it must fall out of tree with limited damage, which is difficult for a snake of that mass
Unless, of course, you have a very, very large tree or trees:
[](https://i.stack.imgur.com/qukX1.jpg)
The problem with this is that if you have a limited number of massive trees, you can simply avoid the area with these trees.
**2. How will the snake eat?**
Depends on what you want your snake to eat. The [Titanoboa](https://en.wikipedia.org/wiki/Titanoboa), a massive prehistoric snake, was possibly piscivorous, meaning that it primarily consumed fish. But, you say that you do not want your snake to be tied to the coast. (I am assuming that you also do not care for lakes or large rivers, though a large river would not be out-of-place in a tropical environment).
I think the answer to this question depends largely on what other animals live in the snake's environment, as it would likely evolve to prey on these animals.
You might find these resources helpful:
* [List of largest living snakes (Wikipedia)](https://en.wikipedia.org/wiki/List_of_largest_snakes)
* [Titanoboa, 40-foot prehistoric snake](http://www.smithsonianmag.com/science-nature/how-titanoboa-the-40-foot-long-snake-was-found-115791429/)
* [Titanoboa (Wikipedia)](https://en.wikipedia.org/wiki/Titanoboa) | The Boundary Ouroboros
----------------------
The good news is that snakes have less of an issue with the square-cube law than other animals. Since they lie against the ground, as long as any segment of the body can support itself, the total length of the snake can be basically whatever you want. This doesn't tend to occur in nature because extra length requires more food to grow and move but doesn't convey any real benefit, but since your story is a fantasy I will presume that the giant snake is created, not evolved, and therefore doesn't need a plausible evolutionary history explaining its size.
However, this means that your snake is not going to look like an enlarged version of existing snakes - it is going to be very long, and very thin relative to its length. It will not pursue prey, as moving the whole body will be extremely costly - no more costly than moving a bunch of snakes positioned end-to-end, but it only has one mouth, and therefore cannot waste energy moving its whole body to chase prey it might not catch.
I would propose the following lifestyle:
Your snake is only a few feet in diameter (big, but not BIG big), but extremely, *extremely* long - we're talking one to several kilometers in length. It lives in lush areas with many large animals, and loops around its territory ouroboros-style, making its body a boundary. It winds back and forth as it encircles the area, leaving some slack in every part of its body. Its scales are rough and enable it to camouflage. When a large enough animal crosses any part of its body, it quickly throws the nearest "loop" around it, then constricts it to death. It then moves the loop along its body to bring the carcass around toward the head where it can be eaten, or moves its head toward the captured prey. By lying in a loop, it minimizes the average distance between the head and any given part of its body.
However, it should sometimes allow animals to cross over its body, particularly if they are small, moving toward the center of the ring, and are on the part of the body far away from the head. This is because the farther away from the head the animal is caught, the more energy it will take to actually bring them to the mouth (or bring the mouth to them). It will also prevent the prey population within the ring from being depleted, allow younger animals into the ring to grow up and be consumed later, and prevents animals from simply learning to avoid the snake's body entirely. Small animals may even learn to cross over the snake's body when being pursued by predators - the snake will allow the small prey to cross but may capture the larger predator.
Any prey that comes near the head can be caught and constricted in the manner of a normal big snake. It will not be venomous - venomous snakes bite prey and then pursue it slowly until it dies, and pursuing prey long distances is one thing this snake does not want to do.
When it is ready to move to a new location, or when all the animals inside the ring have learned not to cross its body, it will "harvest" the population within the ring by slowly spiraling its head towards the middle, tightening the loop and capturing any prey that crosses the boundary as it does so. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | I suspect that the scale you're talking about would run into the square cube issue. Using the Green Anaconda as a model, our girtheist living snake, at 29 feet you only get a foot of diameter. Your snake would be approximately 174 feet long... That's big.
If we handwave that we still have the issue that as far as we know all very large snakes have been semi-aquatic. Being huge it helps to displace your weight in water.
Handwaving that we still have some issues to address.
Heat being the first that comes up. A very large reptile will have problems maintaining body temperature. Some reptiles have limited reproductive endothermy, but that's still a stretch for one that's a full six feet thick and one hundred and seventy four feet long. So it'll need to be hot, like really really hot, all the time.
The next issue is food. Now surprisingly this may not be as big a problem as you might think. The Green Anaconda can go weeks without a good meal, so with a slow metabolism your snake may only need a cow every week or so... But how would this monster sneak up on a cow?
This leads me to the point of all this. I suspect that the only way such a creature could exist on Earth would be in captivity. Some snakes really do get significantly larger in captivity... Some even seem to match their enclosures.
Now if your giant snake was carefully maintained by studious herpetologists, who very carefully cared for it, you may be able to get your monster. Unfortunately it wouldn't survive long on it's own.
This arrangement would require some handwavium, but a little less. These snakes exist in the wild, they're just significantly smaller. | If you're only worried about food, then make it an ambush predator that will happily snack on anything silly enough to walk in it's mouth at any time but active mostly at night. Tropical jungles can hide tanks and plane wrecks from views, they can hide a six foot snake head.
The snakes main problem would be the noise it makes moving around but it could use that as part of it's hunting strategy to trap prey by circling in on the prey so that when it hears the snake and runs, it actually runs into another part of the snake ready to grab it and squeeze it to death. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | **Hiding**
Since you say fresh water is OK, I'd make it live in swampy / forest-surrounded lakes. It's pretty much impossible to see anything in murky water, so 'too big to hide' shouldn't be a concern as long as the water is more than six feet deep.
Given that big pythons and such can go months without eating, it might even coil up and cover itself with vegetation, thus disguising itself as a hummock in the swamp.
**Food supply**
This thing is going to be absolutely huge. It would probably weigh something like 60 tons\* even if relatively short, say 80 feet / 25 meters.
However, that's not necessarily completely unreasonable. The Sperm Whale is about that mass, and its a macropredator. And as a mammal, it has a much higher metabolism (and thus higher food needs) than this low-metabolism snake will.
So you're probably best off with a large region with lakes, rivers, swamp, forest etc. (maybe something like the Mississippi Delta & Atchafalaya swamp on the US Gulf Coast before its development by humans) Wetlands can be very biologically productive, and you could have its main diet be things like alligators and large fish (paddlefish, alligator gar, and giant catfish for example).
\*body radius - 0.9m, cross sectional area is pi \* r^2 or 2.54 m^2, total volume 2.54 \* 25 or 63.5 cubic meters). If this is a water-dwelling creature, it should have roughly neutral buoyancy, so about 1 ton per cubic meter. | If you're only worried about food, then make it an ambush predator that will happily snack on anything silly enough to walk in it's mouth at any time but active mostly at night. Tropical jungles can hide tanks and plane wrecks from views, they can hide a six foot snake head.
The snakes main problem would be the noise it makes moving around but it could use that as part of it's hunting strategy to trap prey by circling in on the prey so that when it hears the snake and runs, it actually runs into another part of the snake ready to grab it and squeeze it to death. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | >
> What is its strategy when it comes to food?
>
>
>
The [spitting cobra](https://en.wikipedia.org/wiki/Spitting_cobra) comes to mind. Why chase down the food when you can spit a deadly venom at it that will cause it pain and possibly damage it enough to slow it down or stop it? With such a large snake- one would imagine it would be able to launch quite the loogie for quite a distance since it'll have a very good angle and range.
An alternative would be a snake with above-normal intelligence for a snake. With such a large body and skull- it should have a larger brain as well. Obviously size alone doesn't make/break intelligence but this is a creature you're inventing after all. Have the giant thing knock over a tree onto its prey, dig a pit, set up a trap or enclosed area to chase something to, track something by scent to the lair- once you introduce higher cognitive thinking to a creature you're limited only by your imagination.
I do have to agree that snakes as a massive creature are not the best survivors. Think of all that mass that's entirely open to attack- something starts biting the snake in the rear and by the time it brings its' head the hell around to deal with the threat- it's long gone. | If you're only worried about food, then make it an ambush predator that will happily snack on anything silly enough to walk in it's mouth at any time but active mostly at night. Tropical jungles can hide tanks and plane wrecks from views, they can hide a six foot snake head.
The snakes main problem would be the noise it makes moving around but it could use that as part of it's hunting strategy to trap prey by circling in on the prey so that when it hears the snake and runs, it actually runs into another part of the snake ready to grab it and squeeze it to death. |
78,949 | Disclaimer: This is not a duplicate of [this question](https://worldbuilding.stackexchange.com/questions/78778/how-would-a-giant-marine-snake-like-creature-survive). This question deals with a specifically non-marine snake.
My fantasy story requires a giant snake. The easiest way to create one (as far as food goes, at least) is to have it be marine, but I don't want to tie my setting to the ocean coast. For that reason, I want a giant snake which is land-based (or at least not ocean-going).
The most immediate problem I see with this is food: snakes seem to operate on two basic strategies:
1. **Strangulation.** The snake lies in wait, crushing its victims or drowning them.
2. **Venom.** The snake lies in wait, relying on fast reflexes to strike its target with paralyzing/killing venom, making for an easy meal.
The problem I see my snake having is its size. It's going to be too big to hide, and I can't really see it moving fast enough to poison anything. What is its strategy when it comes to food?
If there are other problems involved with a giant snake, please let me know and feel free to address them as well.
**How can I get a giant non-marine snake?**
*Notes:*
* The snake needs to be six feet wide in diameter. This is a must. There is no requirement on length, but I would imagine this width will make the snake very long.
* The climate is tropical. Large trees are plentiful.
* While I don't want a marine snake, lakes, rivers, or other bodies of water are perfectly fine. | 2017/04/23 | [
"https://worldbuilding.stackexchange.com/questions/78949",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/6620/"
] | The Boundary Ouroboros
----------------------
The good news is that snakes have less of an issue with the square-cube law than other animals. Since they lie against the ground, as long as any segment of the body can support itself, the total length of the snake can be basically whatever you want. This doesn't tend to occur in nature because extra length requires more food to grow and move but doesn't convey any real benefit, but since your story is a fantasy I will presume that the giant snake is created, not evolved, and therefore doesn't need a plausible evolutionary history explaining its size.
However, this means that your snake is not going to look like an enlarged version of existing snakes - it is going to be very long, and very thin relative to its length. It will not pursue prey, as moving the whole body will be extremely costly - no more costly than moving a bunch of snakes positioned end-to-end, but it only has one mouth, and therefore cannot waste energy moving its whole body to chase prey it might not catch.
I would propose the following lifestyle:
Your snake is only a few feet in diameter (big, but not BIG big), but extremely, *extremely* long - we're talking one to several kilometers in length. It lives in lush areas with many large animals, and loops around its territory ouroboros-style, making its body a boundary. It winds back and forth as it encircles the area, leaving some slack in every part of its body. Its scales are rough and enable it to camouflage. When a large enough animal crosses any part of its body, it quickly throws the nearest "loop" around it, then constricts it to death. It then moves the loop along its body to bring the carcass around toward the head where it can be eaten, or moves its head toward the captured prey. By lying in a loop, it minimizes the average distance between the head and any given part of its body.
However, it should sometimes allow animals to cross over its body, particularly if they are small, moving toward the center of the ring, and are on the part of the body far away from the head. This is because the farther away from the head the animal is caught, the more energy it will take to actually bring them to the mouth (or bring the mouth to them). It will also prevent the prey population within the ring from being depleted, allow younger animals into the ring to grow up and be consumed later, and prevents animals from simply learning to avoid the snake's body entirely. Small animals may even learn to cross over the snake's body when being pursued by predators - the snake will allow the small prey to cross but may capture the larger predator.
Any prey that comes near the head can be caught and constricted in the manner of a normal big snake. It will not be venomous - venomous snakes bite prey and then pursue it slowly until it dies, and pursuing prey long distances is one thing this snake does not want to do.
When it is ready to move to a new location, or when all the animals inside the ring have learned not to cross its body, it will "harvest" the population within the ring by slowly spiraling its head towards the middle, tightening the loop and capturing any prey that crosses the boundary as it does so. | If you're only worried about food, then make it an ambush predator that will happily snack on anything silly enough to walk in it's mouth at any time but active mostly at night. Tropical jungles can hide tanks and plane wrecks from views, they can hide a six foot snake head.
The snakes main problem would be the noise it makes moving around but it could use that as part of it's hunting strategy to trap prey by circling in on the prey so that when it hears the snake and runs, it actually runs into another part of the snake ready to grab it and squeeze it to death. |
257,721 | I have two signal lines, both will be running at the same time on a PCB. RGB lines running at 75 ohms impedance -0.3-+0.7v (1v). (Standard video lines). Currently both lines are active/running/receiving a signal at the same time. Lets just use two lines Red and Green for simplicity. I'm looking for a switch/or method where when Red is active, Green is disconnected. I know this is a very simple question, but I was thinking of using logic gates, but 0.7v is considered low so that wouldn't work. And from my limited knowledge I know that basic transistors only turn on at 0.6v so that wouldn't work either.
If Red is active, Green needs to be disabled. I am not using a cable. It's a PCB design. Switching needs to be done on the PCB circuit | 2016/09/13 | [
"https://electronics.stackexchange.com/questions/257721",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/122262/"
] | A MosFET doesn't have a volt drop across the gate, but a resistance, so that would be my first thought. You obviously need an active circuit to control the switching FETs. A comparator would be my first choice to detect the Red voltage and boost it to a level sufficient for logic operations and thus control the Mosfet gates.
When Red is detected as high, switch the Red FET on and Green FET off, when it's low, Red off and Green on. You would want to select a mosfet with a low Drain-Source resistance.
This is assuming that the lines are fully on or fully off, that is only switching high and low as implied by your question. | Will this do what you want?
[simulate this circuit](/plugins/schematics?image=http%3a%2f%2fi.stack.imgur.com%2fHvXgR.png) – Schematic created using [CircuitLab](https://www.circuitlab.com/)
If these are video signals, the wires should be coax cables, with the shields connected together at the switch. |
81,098 | I was looking up some interesting feats to add to my magus build, and ran into intensified spell. I was wondering in which way the feat is actually applied, however. I understand its effects from a mechanic standpoint on a single, but I was wondering how I apply it to my spells.
* Do I choose a single spell, and from that moment on, every time its caster level is +1?
* Do I choose a spell (always the same) and apply it if I want it to, when studying my spells at night?
* Do I choose a single spell (can be different ones, depending on which one I want to prepare) and apply it if I want it to, when studying my spells at night?
* Can I select a number of my spells ((can be different ones, depending on which ones I want to prepare) and apply it if I want it to, when studying my spells at night?
The reason why I ask is because I would feel bad about spending a feat on a spell which I might not use again later on (as in, level 15 - 20). | 2016/06/02 | [
"https://rpg.stackexchange.com/questions/81098",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/24065/"
] | Metamagic feats are usually more versatile than that
----------------------------------------------------
When a prepared caster like a [magus](http://www.d20pfsrd.com/classes/base-classes/magus) that possesses a [metamagic](http://www.d20pfsrd.com/feats/metamagic-feats) feat like [Intensified Spell](http://www.d20pfsrd.com/feats/metamagic-feats/intensified-spell-metamagic) prepares his spells for the day he can opt to modify any number of his spells—including multiple different iterations of the *same* spell—using that metamagic feat. Preparing a spell modified by a metamagic feat increases the spell slot level the modified spell occupies by the amount listed in the feat's level adjustment. (However, except in the case of, like, the feat [Heightened Spell](http://www.d20pfsrd.com/feats/metamagic-feats/heighten-spell-metamagic---final), this spell slot level increase does *not* change the spell's *actual* level that's used, for example, to determine a spell's saving throw DC.)
A metamagic feat usually is *not* usually limited to, for example, only one spell picked when the feat's gained nor to only one spell in the caster's daily repertoire.
Thus, for example, a magus could prepare the spell [*shocking grasp*](http://www.d20pfsrd.com/magic/all-spells/s/shocking-grasp) modified using the metamagic feat Intensified Spell, and that intensified *shocking grasp* spell occupies one of the magus's 2nd-level spell slots (instead of a 1st-level slot like *shocking grasp* normally occupies). After casting that intensified *shocking grasp*, the magus won't be able to cast that intensified *shocking grasp* again *either* until he prepares intensified *shocking grasp* again the next day *or* unless he's also prepared a second or more intensified *shocking grasp* as a 2nd-level spell. | **Intensify spell**
>
> Benefit: An intensified spell increases the maximum number of damage dice by 5 levels. You must actually have sufficient caster levels to surpass the maximum in order to benefit from this feat. No other variables of the spell are affected, and spells that inflict damage that is not modified by caster level are not affected by this feat.
>
>
> Level Increase: +1 (an intensified spell uses up a spell slot one level higher than the spell’s actual level.)
>
>
>
This feat can be applied to any spell. Every spell that you intensify will take a Spell Slot of one level higher, than original spell.
It doesn't increase the spellcaster level, it increases the spell's limit.
For example: intensified fireball deal maximum 15d6 damage and takes 4th level spell slot.
Furthermore
>
> Can I select a number of my spells ((can be different ones, depending on which ones I want to prepare) and apply it if I want it to, when studying my spells at night?
>
>
>
This sentence is wrong. First you have to take a rest, then you prepare spells.
>
> A magus may know any number of spells. He must choose and prepare his spells ahead of time by getting 8 hours of sleep and spending 1 hour studying his spellbook. While studying, the magus decides which spells to prepare.
>
>
>
**Metamagic feats**
>
> Effects of Metamagic Feats on a Spell:
>
>
> In all ways, a metamagic spell operates at its original spell level,
> even though it is prepared and cast using a higher-level spell slot.
> Saving throw modifications are not changed unless stated otherwise in
> the feat description.
>
>
>
**When you prepare your spells you may decide to apply metamagic feats to them. If you do, you must have sufficent ability score.**
For example maximized and intensified fireball will take 7th level spell slot. |
357,053 | I am interested in knowing how software update works (technically). What all are the components that checks, downloads and installs new update and how do they work. | 2013/10/12 | [
"https://askubuntu.com/questions/357053",
"https://askubuntu.com",
"https://askubuntu.com/users/201001/"
] | Click on the **More info** button, and then you will see the package description, a screenshot of the application if there is one available and an **Install** button located on the right-hand side of the window. | You should click on any application or software you need to install. It will open a new window, and on top-right side you will be able to see whether it is free/commercial version and also an Install button with it. |
21,981,816 | I have a huge circuit diagram that contains symbols like diodes, resistors, transistors.
I have to select symbols (based on a input template) from this image and highlight those using a rectangular bounding box. The symbols may be rotated (and scaled) - but for now let's not consider scaling/rotation. There could be multiple symbols and lines in the same column/row.
The image size is 5600x3600. It is grayscale, converted to b/w and then the whole thing can be mentioned as 0s and 1s where 1 == black pixel. I think white pixels can be considered as "don't-cares"
What is the correct and faster method to do this?
I have a template image extracted from the larger image - for example "diode.png". Let's say that at least one symbol matches exactly without scaling or rotation.
Brute force template/matrix comparison approach works for me - but it is very slow.. takes 45 minutes (on the latest MBP-2.4ghz-Intel i5 / 8GB) to detect one exact match. I am using numpy wherever I could - but probably I am not using certain numpy iterators.
Unfortunately, I cannot do this outside python and cannot reduce the image size below 5600x3600 without making symbols unrecognisable.
Another way to put the problem is to : find all matching sub-matrices from a large matrix.
What is the correct and performing method to achieve the above?
I do not understand signal processing much - but could that help here? The template size (submatrix) in here is minimum 50x50
EDIT: OpenCV is not an option for me - skimage is available. However, please do not let that stop your inputs.
I cannot share the actual diagrams but a sample is here. For example diodes are labeled as D1 and D2 here. The full diagram is as clear as this but on a canvas of 5600 x 3600
<http://www.controlcircuitdiagram.com/diagramcircuitelectronic.com/wp-content/uploads/2011/08/electronic-circuits.jpg>
I would also like to add that match\_template from skimage works perfectly with smaller tiles extracted from the larger image | 2014/02/24 | [
"https://Stackoverflow.com/questions/21981816",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1509228/"
] | The term you're looking for is "[template matching](http://en.wikipedia.org/wiki/Template_matching)".
It's normally assumed that due to image noise and other factors, there will not be an exact match for the template. Instead you look for the image region with a minimal error score.
You can find an implementation using [normalized cross-correlation](http://en.wikipedia.org/wiki/Cross-correlation#Normalized_cross-correlation) in scikit-image:
* <http://scikit-image.org/docs/dev/auto_examples/plot_template.html>
* <http://scikit-image.org/docs/dev/api/skimage.feature.html#match-template>
It would help if you added your existing code and a sample image and template. | I suggest you to use opencv, it works for python as well.
There you need to use essential functions:
>
> [findContours](http://docs.opencv.org/doc/tutorials/imgproc/shapedescriptors/find_contours/find_contours.html)
>
>
>
then iterate through each contour
>
> for each(contours)
>
>
>
to obtain a sequence of points of contour, pointed by the variable 'contour'
>
> [approxPoly](http://docs.opencv.org/trunk/modules/imgproc/doc/structural_analysis_and_shape_descriptors.html#approxpolydp)
>
>
>
[Here](https://opencv-code.com/tutorials/detecting-simple-shapes-in-an-image/), you find an interesting example |
21,981,816 | I have a huge circuit diagram that contains symbols like diodes, resistors, transistors.
I have to select symbols (based on a input template) from this image and highlight those using a rectangular bounding box. The symbols may be rotated (and scaled) - but for now let's not consider scaling/rotation. There could be multiple symbols and lines in the same column/row.
The image size is 5600x3600. It is grayscale, converted to b/w and then the whole thing can be mentioned as 0s and 1s where 1 == black pixel. I think white pixels can be considered as "don't-cares"
What is the correct and faster method to do this?
I have a template image extracted from the larger image - for example "diode.png". Let's say that at least one symbol matches exactly without scaling or rotation.
Brute force template/matrix comparison approach works for me - but it is very slow.. takes 45 minutes (on the latest MBP-2.4ghz-Intel i5 / 8GB) to detect one exact match. I am using numpy wherever I could - but probably I am not using certain numpy iterators.
Unfortunately, I cannot do this outside python and cannot reduce the image size below 5600x3600 without making symbols unrecognisable.
Another way to put the problem is to : find all matching sub-matrices from a large matrix.
What is the correct and performing method to achieve the above?
I do not understand signal processing much - but could that help here? The template size (submatrix) in here is minimum 50x50
EDIT: OpenCV is not an option for me - skimage is available. However, please do not let that stop your inputs.
I cannot share the actual diagrams but a sample is here. For example diodes are labeled as D1 and D2 here. The full diagram is as clear as this but on a canvas of 5600 x 3600
<http://www.controlcircuitdiagram.com/diagramcircuitelectronic.com/wp-content/uploads/2011/08/electronic-circuits.jpg>
I would also like to add that match\_template from skimage works perfectly with smaller tiles extracted from the larger image | 2014/02/24 | [
"https://Stackoverflow.com/questions/21981816",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1509228/"
] | Did you try [Sum of Absolute Difference](http://en.wikipedia.org/wiki/Sum_of_absolute_differences) ? It is one of the simplest way to do template matching but it is also a brute force method.
I applied it for logo spotting in document images (A4, 300 dpi, 2500 \* 3500 pixels). It is slow but it don't take 45 minutes ! In order to speed up you can split the image (chose overlapping zones in order to don't miss your symbol). | I suggest you to use opencv, it works for python as well.
There you need to use essential functions:
>
> [findContours](http://docs.opencv.org/doc/tutorials/imgproc/shapedescriptors/find_contours/find_contours.html)
>
>
>
then iterate through each contour
>
> for each(contours)
>
>
>
to obtain a sequence of points of contour, pointed by the variable 'contour'
>
> [approxPoly](http://docs.opencv.org/trunk/modules/imgproc/doc/structural_analysis_and_shape_descriptors.html#approxpolydp)
>
>
>
[Here](https://opencv-code.com/tutorials/detecting-simple-shapes-in-an-image/), you find an interesting example |
21,981,816 | I have a huge circuit diagram that contains symbols like diodes, resistors, transistors.
I have to select symbols (based on a input template) from this image and highlight those using a rectangular bounding box. The symbols may be rotated (and scaled) - but for now let's not consider scaling/rotation. There could be multiple symbols and lines in the same column/row.
The image size is 5600x3600. It is grayscale, converted to b/w and then the whole thing can be mentioned as 0s and 1s where 1 == black pixel. I think white pixels can be considered as "don't-cares"
What is the correct and faster method to do this?
I have a template image extracted from the larger image - for example "diode.png". Let's say that at least one symbol matches exactly without scaling or rotation.
Brute force template/matrix comparison approach works for me - but it is very slow.. takes 45 minutes (on the latest MBP-2.4ghz-Intel i5 / 8GB) to detect one exact match. I am using numpy wherever I could - but probably I am not using certain numpy iterators.
Unfortunately, I cannot do this outside python and cannot reduce the image size below 5600x3600 without making symbols unrecognisable.
Another way to put the problem is to : find all matching sub-matrices from a large matrix.
What is the correct and performing method to achieve the above?
I do not understand signal processing much - but could that help here? The template size (submatrix) in here is minimum 50x50
EDIT: OpenCV is not an option for me - skimage is available. However, please do not let that stop your inputs.
I cannot share the actual diagrams but a sample is here. For example diodes are labeled as D1 and D2 here. The full diagram is as clear as this but on a canvas of 5600 x 3600
<http://www.controlcircuitdiagram.com/diagramcircuitelectronic.com/wp-content/uploads/2011/08/electronic-circuits.jpg>
I would also like to add that match\_template from skimage works perfectly with smaller tiles extracted from the larger image | 2014/02/24 | [
"https://Stackoverflow.com/questions/21981816",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1509228/"
] | The term you're looking for is "[template matching](http://en.wikipedia.org/wiki/Template_matching)".
It's normally assumed that due to image noise and other factors, there will not be an exact match for the template. Instead you look for the image region with a minimal error score.
You can find an implementation using [normalized cross-correlation](http://en.wikipedia.org/wiki/Cross-correlation#Normalized_cross-correlation) in scikit-image:
* <http://scikit-image.org/docs/dev/auto_examples/plot_template.html>
* <http://scikit-image.org/docs/dev/api/skimage.feature.html#match-template>
It would help if you added your existing code and a sample image and template. | Did you try [Sum of Absolute Difference](http://en.wikipedia.org/wiki/Sum_of_absolute_differences) ? It is one of the simplest way to do template matching but it is also a brute force method.
I applied it for logo spotting in document images (A4, 300 dpi, 2500 \* 3500 pixels). It is slow but it don't take 45 minutes ! In order to speed up you can split the image (chose overlapping zones in order to don't miss your symbol). |
97,923 | A little background info,
I'm currently working as a lab technician in a drug lab which focuses on clinical chemistry and toxicology. I wish to eventually, within a few years tops, go back for my upper level degrees. I didn't have any close relationships with professors of mine as an undergrad, and as a result, I'm currently lacking possible grad school recommendations.
Would anyone recommend using recommendations from chemists, with PhD's, who work in the industry as beneficial grad school recommendations? They both serve as my employers/ bosses, and I'm 99.99% they would give high recommendations if asked. However, would these even help me on my applications?
Also, if anyone has any possible actions I could take that would help me strengthen a grad school application, that are possible with the time window mentioned above, 2-3 years, that would be very much appreciated. | 2017/10/26 | [
"https://academia.stackexchange.com/questions/97923",
"https://academia.stackexchange.com",
"https://academia.stackexchange.com/users/81882/"
] | Assuming you're applying for Ph.D. programs, the basic question admission committees usually need to answer is "Is X capable of becoming a good researcher?" If your supervisors, both of whom have Ph.D.'s, can answer that question successfully, then there's no reason not to use them—particularly if they know your work more closely than someone who only taught you in courses. | In addition to aeismail's good answer, I would add, **don't worry.**
* Going back to graduate school after a few years in industry is normal.
* Not having close academic contacts for references in such a situation is normal, too.
* Being successful in industry lab work in your field is good, relevant experience. In some ways, it puts you ahead of someone with a purely academic background who may have never held a "real" job. Being able to just bear down and get the work done is a big part of success in any research degree.
>
> any possible actions I could take that would help me strengthen a grad
> school application
>
>
>
If there were any way you could get involved in more research now, that would be a plus. A couple of examples:
* Is your employer partnering with any academic researchers on projects? If so, can you get involved somehow?
* Are you involved in any work that will be written up as peer-reviewed publications (or could be)? Can you participate in this?
If you have a good relationship with one or both of your bosses, I would talk to them about your interest in being involved in more academic research, and see if there are any such opportunities.
Also, it's typically worth exploring whether your employer will support you getting a higher degree. Sometimes they may pay for it, in return for you working for them for a few years. |
166,108 | *I am currently taking the [Nand2Tetris](http://www.nand2tetris.org/) course online, where I am in the process of building a virtual computer all from nand gates. I have learned what an ALU is, how it works, and build a simple virtual one myself.*
Now I would like to make my own physical 8 bit ALU from simple 74(HC) series IC's. I have experience in building electronics and using the IC's, on a hobby level. My only real problem is that I don't know which functions to choose for my new ALU. In the virtual ALU I build there are input x and y, and 6 functions:
- zero x
- not x (bitwise),
- zero y,
- not y (bitwise),
- f (0: x AND y 1: x + y),
- not(bitwise, on everything).
I am going to build a whole whole computer, so i could of course just for example add multiplication with software later, but I would probably like to have more hardware functions. From my research i found out about in- and decrementers, left/right shifting, other "full" multiplying/dividing circuits and of course more logical implementations. **But i have no idea what functions are needed/useful to have in an ALU, and what is a good balance between hardware and software implementations.** | 2015/04/22 | [
"https://electronics.stackexchange.com/questions/166108",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/-1/"
] | I currently use GIT with Altium to back up my files. I watched this <https://www.youtube.com/watch?v=XXSMZMNnvww> video which helped me set it up. It's not an exact Altium to GIT but it does give you the general steps to do so. | [Git](http://en.wikipedia.org/wiki/Git_%28software%29) is one popular free open-source choice that is scalable (it works with distributed workflows). |
166,108 | *I am currently taking the [Nand2Tetris](http://www.nand2tetris.org/) course online, where I am in the process of building a virtual computer all from nand gates. I have learned what an ALU is, how it works, and build a simple virtual one myself.*
Now I would like to make my own physical 8 bit ALU from simple 74(HC) series IC's. I have experience in building electronics and using the IC's, on a hobby level. My only real problem is that I don't know which functions to choose for my new ALU. In the virtual ALU I build there are input x and y, and 6 functions:
- zero x
- not x (bitwise),
- zero y,
- not y (bitwise),
- f (0: x AND y 1: x + y),
- not(bitwise, on everything).
I am going to build a whole whole computer, so i could of course just for example add multiplication with software later, but I would probably like to have more hardware functions. From my research i found out about in- and decrementers, left/right shifting, other "full" multiplying/dividing circuits and of course more logical implementations. **But i have no idea what functions are needed/useful to have in an ALU, and what is a good balance between hardware and software implementations.** | 2015/04/22 | [
"https://electronics.stackexchange.com/questions/166108",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/-1/"
] | I use SVN, but not within Altium, I just check in the SchDoc, PcbDoc, OutJob, and PrjPCB. The nice thing is that the Altium version control tools (like diff) work just fine, and I didn't ever have to configure Altium for version control - it just saw that the files were under SVN and knew how to handle them. It works quite well, especially with the Altium files. I also tag releases when I send them off to manufacturing. | [Git](http://en.wikipedia.org/wiki/Git_%28software%29) is one popular free open-source choice that is scalable (it works with distributed workflows). |
252,268 | A question about 'completeness'. These two operators are commuting, but I want to know more about their completeness.
How do you know if {H}, {B}, {H,B} and/or {$H^2$,*B*} are forming (a) Complete Set(s) of Commuting Operators?
[](https://i.stack.imgur.com/aXgmp.png) . | 2016/04/26 | [
"https://physics.stackexchange.com/questions/252268",
"https://physics.stackexchange.com",
"https://physics.stackexchange.com/users/102382/"
] | I'm sorry I first misinterpreted your braces as anticommutators and not as set inclusions! First absorb the constants into the normalizations of **H** and **B** so the (1,1) entry of each is now 1. The common eigenvectors of them both are then the transposes of (1,0,0), (0,1,1), and (0,1,-1); the eigenvalues of each are, under **H**: 1,-1, -1 ; and under **B**: 1, 1, -1, respectively. So eigenvalues for the pair [**H**,**B**]: [1,1], [1,-1], [-1,-1], specify each one of these 3 eigenvectors, uniquely.
So the set {H,B} is a CSCO, but no other set is. Note that since $H^2=I$, the fourth set is identical to the second. Of the four sets only the 3rd one is CSCO. | Operators form a complete set if specifying eigenvalues of all of them already determines a state uniquely (up to normalization and phase). Since they commute, they will have simultaneous eigenspaces. Eigenstate is uniquely determined if all these eigenspaces are one dimensional. |
356,574 | I have a search I'd like to run against a zOS dataset, and I know how to form the grep command. I have access to the machine via Unix system services, how to I address a dataset from that environment? | 2012/02/03 | [
"https://serverfault.com/questions/356574",
"https://serverfault.com",
"https://serverfault.com/users/1834/"
] | No need to cp first. You can cat, tail, grep etc. The thing to remember is the special quoting and that the DSN is preceded by two slashes:
cat "//'s052WX.EO.REXX(MYREXXSOURCE)'" | grep parse
If you look in the UNIX command reference manual under the cp command there’s more info. | * z/OS supports UNIX ([Single UNIX Specification](https://en.wikipedia.org/wiki/Single_UNIX_Specification)) APIs and applications through [USS](https://en.wikipedia.org/wiki/UNIX_System_Services) (**U**NIX **S**ystem **S**ervices).
* The Open Group certifies z/OS as a compliant UNIX operating system – with UNIX/Linux-style hierarchical HFS and zFS file systems. |
17,828,613 | Currently I have Java SE on my linux machine and use Eclipse as my IDE. Is there a way that I can 'upgrade' my Java SE to EE? Since EE is just basically a few extra libraries...
Also I understand that Eclipse is by default only 'configured' to use Java SE, so if I upgrade to EE, should I install some extra plugins for Eclipse, get an entirely different version of Eclipse, so on?
Thanks in advance! | 2013/07/24 | [
"https://Stackoverflow.com/questions/17828613",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/-1/"
] | >
> Is there a way that I can 'upgrade' my Java SE to EE? Since EE is just basically a few extra libraries...
>
>
>
Basically no. Your characterisation of Java EE is incorrect.
Java EE is (typically) embodied as a "Web container" or "EJB application server", and large parts of it only make sense as part of a web container. (And indeed, a large part of an Java EE *implementation* is actually specific to the web / application container.)
Having said that, some of the (abstract) APIs and some of the libraries are available as separate JARs and can be installed on a piece-meal basis. And if what you want to do is *develop for EE*, then there are Eclipse plugins/features/whatever for that ...
---
>
> So basically it's recommended (or safer) to just remove my Java SE, install Java EE. Then remove Eclipse and install 'Eclipse for EE development' ?
>
>
>
There's no need to uninstall Java SE. Indeed, some Java EE implementations *require* an installation of Java SE. Read the instructions ...
For Eclipse, it might depend on your OS, but on Linux the "installation" process is simply expanding a ZIP file. I've found that two Eclipse installations can coexist side by side in separate directories.
However ...
* Be careful that you don't accidentally install one version / edition *on top of* another one. IIRC, the ZIP file's root directory is always "eclipse" ... which makes it a cinch to shoot yourself in the foot! (Sigh).
* It is prudent to make a backup copy of everything including your old Eclipse install and your workspaces.
* In fact, some people recommend throwing away all of your workspaces and starting afresh by checking out / materializing projects from version control. | You need Web Tools Platform (WTP) added to Eclipse installation for Java EE development. First go to eclipse help menu->install new software->add the site
You can find the update sites here
<http://wiki.eclipse.org/WTP_FAQ#How_do_I_install_WTP.3F> |
3,492 | As onomatopoeia, the words used for animal sounds are often quite similar across many languages. However, there are non-trivial differences, even for something as common as the croak of a frog.
I was wondering if these differences could generally be grouped (or explained) according to language family or if it's basically just chance (eg, the term that caught on due to some local story or song).
Another way to put this is to ask to what extent the animals actually sound different to speakers of different languages (without getting too philosophical). | 2013/04/05 | [
"https://linguistics.stackexchange.com/questions/3492",
"https://linguistics.stackexchange.com",
"https://linguistics.stackexchange.com/users/1767/"
] | Onomatopoeia is non-arbitrary, but that doesn't mean it's immune to the normal processes that happen to any arbitrary word—including:
* arbitrary historical choices of onomatopoeia (like @acattle commented about "ribbit" above; copy-pasting):
>
> Incidentally, frogs make a wide array of sounds. Only a single species actually goes "ribbit", the Pacific Treefrog indigenous to the US west coast. Despite this, "ribbit" is the frog onomatopoeia of choice for most English speakers around the world. The reason is because [early Hollywood movies used the frog's distinctive call as a stock sound effect](http://www.frog-shots.com/Who_says_RIBBIT_.html). This explains why English's frog onomatopoeia is [noticeably different from other languages'.](http://en.wikipedia.org/wiki/Cross-linguistic_onomatopoeias#Frog_croaking)
>
>
>
* inheritance through language families, like any other cognate
There looks to be a pan-Slavic *[h]am [h]am* onomatopoeia for "eating food", for example (English *nom nom* or *yum yum*), which doesn't appear elsewhere in the Wikipedia list (although Turkish *ham hum* is close.)
* compliance with language-specific phonotactics
Turkish takes \**mjau* for "meow", and ends up with *miyav*. A lot of languages don't have initial /mj/ clusters; Turkish seems to make that official even for meowing. (Turkish doesn't have initial /m/ at all natively, admittedly; but /mj/ is a bigger hurdle than just /m/.) The final -av is another concession to Turkish phonotactics.
* areal diffusion
The Modern Greek sneeze, for example, /apsu/, is pretty obviously borrowed from the Turkish (and more onomatopoeic) /hapʃu/; dropping /h/ and /ʃ/ > /s/ is just fitting /hapʃu/ to Modern Greek phonotactics. I have heard, to my profound shock, my cousin-nephew in Athens spontaneously utter /auts/ "ouch", when the Greek exclamations I knew were /ax, ox/. The fact that /twit/ for bird noises is shared between English and Dutch, but not German, points to either common heritage, or English influence on Dutch via comics (which I suspect for Finnish *tviit* and Tagalog *twit*).
I only realised the Greek/Turkish link of /apsu/ last year, and I was shocked, because I assumed onomatopoeia was completely non-arbitrary. But there you have it. Onomatopoeia does get culturally conventionalised, and is subject to the same borrowing and diffusion as any meme, let alone any lexeme. Just like kids drawing houses with chimneys, even if they've never seen a chimney.
And not that I'm equipped to answer your final question, but if you pressed a bilingual in Greek and English like me, I would not be able to tell you that Greek [ɲau] is more or less authentic a realisation of a cat's vocalisation than the [mjau] that occurs just about everywhere else. (Latvian in any case is happy to use both: *mjau, ņau*.) | When I married my husband, from Cuba, I was SHOCKED to find out that the dogs there spoke Spanish! They didn't say, "woof-woof" or "bow-wow," but "jao-jao" (translated: how-how!) That's actually closer than bow-wow! I don't know what other animals say. I just laughed so hard at that realization, that I never went any further. |
2,989 | How can one build a device that presents itself as a mass storage device to a machine via usb, then whatever files are transfered to it, get sent to a remote location via wifi (can be ad hoc). Something like the eye-fi but that can send any files.
Something similar to these devices :
<http://www.infinitec.com/> (Why can't use : Will be released first of july which is too late for me )
<http://www.hsti.com/> (Why can't use : Remote file system is mounted read only)
Thank you | 2010/06/12 | [
"https://electronics.stackexchange.com/questions/2989",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/-1/"
] | You could buy an embedded Linux board with an SD card, a usb port, and a wifi card. Write a script that uses the [rsync](http://en.wikipedia.org/wiki/Rsync) command to synchronize the contents of the SD card with your remote server over an SSH connection. Set the [cron](http://en.wikipedia.org/wiki/Cron) daemon to execute the rsync script once per minute (or maybe less frequently, depending on the speed of the connection).
You would have to generate an SSH key pair and put the public key on the remote server so that the board could login without a person having to type in a password.
For hardware, I'd try something like one of the following:
1. [Hawkboard](http://www.hawkboard.org/)
2. [Beagleboard](http://beagleboard.org/)
3. [TS-7552](http://www.embeddedarm.com/products/board-detail.php?product=TS-7552) | If you're looking to just "get the job done", I'd go with Linux as suggested. It'll work and be fast.
If you're trying to build something with a low bill of materials, you could consider a microcontroller talking USB mass storage, connected to some non-wifi radio. Then, bridge the radio to ethernet/wifi at the other end. Won't be anywhere near as fast as wifi though.
One approach could be a couple of [jeenodes](http://shop.jeelabs.com/products/jeenode). One running [V-USB](http://www.obdev.at/products/vusb/index.html) to talk mass-storage, the other hooked to [ethernet](http://shop.jeelabs.com/products/ether-card). |
2,989 | How can one build a device that presents itself as a mass storage device to a machine via usb, then whatever files are transfered to it, get sent to a remote location via wifi (can be ad hoc). Something like the eye-fi but that can send any files.
Something similar to these devices :
<http://www.infinitec.com/> (Why can't use : Will be released first of july which is too late for me )
<http://www.hsti.com/> (Why can't use : Remote file system is mounted read only)
Thank you | 2010/06/12 | [
"https://electronics.stackexchange.com/questions/2989",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/-1/"
] | You could buy an embedded Linux board with an SD card, a usb port, and a wifi card. Write a script that uses the [rsync](http://en.wikipedia.org/wiki/Rsync) command to synchronize the contents of the SD card with your remote server over an SSH connection. Set the [cron](http://en.wikipedia.org/wiki/Cron) daemon to execute the rsync script once per minute (or maybe less frequently, depending on the speed of the connection).
You would have to generate an SSH key pair and put the public key on the remote server so that the board could login without a person having to type in a password.
For hardware, I'd try something like one of the following:
1. [Hawkboard](http://www.hawkboard.org/)
2. [Beagleboard](http://beagleboard.org/)
3. [TS-7552](http://www.embeddedarm.com/products/board-detail.php?product=TS-7552) | If I may make a twist on @Joby's answer, I think you might be able to use a WiShield on an Arduino to get you the wireless aspect. Then I bet there's someone who's made a MassStorage Shield (if not, that might be a good idea for me to try and pull off someday...) |
2,989 | How can one build a device that presents itself as a mass storage device to a machine via usb, then whatever files are transfered to it, get sent to a remote location via wifi (can be ad hoc). Something like the eye-fi but that can send any files.
Something similar to these devices :
<http://www.infinitec.com/> (Why can't use : Will be released first of july which is too late for me )
<http://www.hsti.com/> (Why can't use : Remote file system is mounted read only)
Thank you | 2010/06/12 | [
"https://electronics.stackexchange.com/questions/2989",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/-1/"
] | If you're looking to just "get the job done", I'd go with Linux as suggested. It'll work and be fast.
If you're trying to build something with a low bill of materials, you could consider a microcontroller talking USB mass storage, connected to some non-wifi radio. Then, bridge the radio to ethernet/wifi at the other end. Won't be anywhere near as fast as wifi though.
One approach could be a couple of [jeenodes](http://shop.jeelabs.com/products/jeenode). One running [V-USB](http://www.obdev.at/products/vusb/index.html) to talk mass-storage, the other hooked to [ethernet](http://shop.jeelabs.com/products/ether-card). | If I may make a twist on @Joby's answer, I think you might be able to use a WiShield on an Arduino to get you the wireless aspect. Then I bet there's someone who's made a MassStorage Shield (if not, that might be a good idea for me to try and pull off someday...) |
153,725 | Using QGIS2.4.0 I just added 2 maps to an existing project. Both are scanned images of pre-1800 plans. One is a jpg file, I georef'd and added to QGIS no problem and plan displays in the project.
I carried out exactly the same process with the other plan, a tif file, and the process completed but the plan just displays as a black rectangle, can anyone advise a very novice novice what might have gone wrong please.
Could it be because the jpg was a colour image, but the tif is a greyscale? I've had problems with greyscale images before. | 2015/07/08 | [
"https://gis.stackexchange.com/questions/153725",
"https://gis.stackexchange.com",
"https://gis.stackexchange.com/users/25974/"
] | It might be necessary to add an additional NODATA value for transparency.
Activate the layer, click on the Info icon, and pick the value from a part of the picture where you know there is no data (like the triangles between the original image content and the rectangle you got after georeferencing).
Then stretch the greyscale again between Min and Max. | I almost always have to manually add shades to greyscale .tiff images in QGIS.
In the Layer Properties, under Style, Band Rendering, you can manually add a numbers to the Min and Max box, and select Stretch to MinMax in Contrast Enhancement.
It works well for viewshed analysis results and such, but I cannot guarantee it is good for scanned images. |
153,725 | Using QGIS2.4.0 I just added 2 maps to an existing project. Both are scanned images of pre-1800 plans. One is a jpg file, I georef'd and added to QGIS no problem and plan displays in the project.
I carried out exactly the same process with the other plan, a tif file, and the process completed but the plan just displays as a black rectangle, can anyone advise a very novice novice what might have gone wrong please.
Could it be because the jpg was a colour image, but the tif is a greyscale? I've had problems with greyscale images before. | 2015/07/08 | [
"https://gis.stackexchange.com/questions/153725",
"https://gis.stackexchange.com",
"https://gis.stackexchange.com/users/25974/"
] | It might be necessary to add an additional NODATA value for transparency.
Activate the layer, click on the Info icon, and pick the value from a part of the picture where you know there is no data (like the triangles between the original image content and the rectangle you got after georeferencing).
Then stretch the greyscale again between Min and Max. | I managed to get 2 greyscale TIF files to georef by first opening them with a graphics editer and converting the images to 24bit colour. |
47,182 | I’m interested in the origin of the idiom:
>
> If "ifs" and "buts" were candy and nuts, we'd all have a merry Christmas.
>
>
>
When was it first used? Is this the original idiom, or was there an older version? Furthermore, how should its meaning be interpreted? | 2011/11/03 | [
"https://english.stackexchange.com/questions/47182",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/14486/"
] | From [The Phrase Finder](http://www.phrases.org.uk/bulletin_board/49/messages/1111.html):
>
> "If "ifs" and "buts" were candy and nuts, wouldn't it be a Merry Christmas?" seems to be attributed to Don Meredith (the American football player/ commentator). To rephrase it: if all these reasons why we can't do something were party foods instead of words, we could have a really great party.
>
>
> It would seem to be patterned after "If wishes were horses, then beggars would ride" and "If I had a 'coin' for every 'something', I'd have 'a lot of money'" (insert your favorite coin, something and amount of money).
>
>
> | It is used to express the fact that "if" and "but" are used too many times, so the speaker of this utterance disapproves of their use. |
47,182 | I’m interested in the origin of the idiom:
>
> If "ifs" and "buts" were candy and nuts, we'd all have a merry Christmas.
>
>
>
When was it first used? Is this the original idiom, or was there an older version? Furthermore, how should its meaning be interpreted? | 2011/11/03 | [
"https://english.stackexchange.com/questions/47182",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/14486/"
] | The aphorism was coined by the Dallas Cowboys quarterback, Don Meredith, who later became a sports commentator for the TV show *Monday Night Football* in 1970.
>
> 17 December 1970, Ada (OK) Evening News, pg. 7, col. 1:
>
>
> Howard Cosell: “If Los Angeles wins, it’s a big one, but San Francisco is still very much in it.”
>
> Don Meredith: “**If ifs and buts were candy and nuts, we’d all have a merry Christmas.**”
>
> Howard: “I didn’t think you’d remember that old canard.”
>
> Don: “Is that what it was?”
>
>
> [Source](http://www.barrypopik.com/index.php/new_york_city/entry/if_ifs_and_buts_were_candy_and_nuts_wed_all_have_a_merry_christmas): Barry Popik.com
>
>
>
The 1970 quip soon became Meredith's catchphrase, but it was a modern and comical twist on a much older proverb dating from the 19th century
>
> “**If ifs and ands were pots and pans, there’d be no work for tinkers’ hands**”
>
> [Oxford Reference](http://www.oxfordreference.com/view/10.1093/oi/authority.20110803095957542)
>
>
>
This proverb is used as a humorous retort to someone expressing a forlorn regret (e.g. *if* only I had the money...) or an unrealistic and perhaps over optimistic condition (... *and* if I had the right connections, I could be famous.)
The earliest example I found on Google Books is dated **1845** from *[The step-mother](https://books.google.it/books?id=HF4gAAAAMAAJ&pg=PA207&dq=%E2%80%9Cpots%20and%20pans%22%20%20%22no%20work%20for%E2%80%9D&hl=en&sa=X&ved=0ahUKEwig_t249uDJAhWE33IKHZFwAMEQ6AEINTAE#v=onepage&q=%E2%80%9Cpots%20and%20pans%22%20%20%22no%20work%20for%E2%80%9D&f=false)* by George Payne Rainsford James.
>
> “**Ay! if ifs and ands were pots and pans, there would be no work for the tinkers.**”
>
>
>
@Sven Yargs has discovered an even earlier example, in [The New Monthly Magazine and Literary Journal](https://books.google.it/books?id=EpkeAQAAMAAJ&pg=PA407&dq=%22ifs%20and%20ands%22&hl=en&sa=X&redir_esc=y#v=onepage&q=%22ifs%20and%20ands%22&f=false), **1828**, from a poem entitled *A chapter of Ifs*
>
> A Chapter of Ifs
>
>
> **If Ifs and Ands were pots and pans,
>
> ’Twould cure the tinker's cares**:
>
> if ladies did not carry fans,
>
> They’d give themselves no airs:
>
> If down the starry skies should fall,
>
> The starlings would be cheap:
>
> If Belles talk'd reason at a ball,
>
> The band might go to sleep.
>
>
> […]
>
>
>
And finally, printed in **1821**, an excerpt translated from a poem entitled [Hans Beudix](https://books.google.it/books?id=-nAEAAAAQAAJ&pg=PA266&dq=%22pots+and+pans%22+tinker&hl=en&sa=X&ved=0ahUKEwj4o_Pex-HJAhUKtBQKHagxAqs4ChDoAQg9MAY#v=onepage&q=%22pots%20and%20pans%22%20tinker&f=false) by the German poet [Gottfried August Bürger](http://www.britannica.com/biography/Gottfried-August-Burger) (1747-1794)
>
> Hans Beudix
>
>
> Are you there, my old fox, with your ifs and your ans?
>
> But I need not remind you, they're not pots and pans,
>
> Else tinkers would starve, (as I learnt from my nurse;)
>
> Still the answer shall pass, for it might have been worse.
>
>
>
The original German poem can be found here: [Der Kaiser und der Abt](http://gutenberg.spiegel.de/buch/gottfried-august-b-621/30). Maybe someone can confirm if the translation is faithful.
Below is an [Ngram](https://books.google.com/ngrams/graph?content=buts%20were%20candy%20and%20nuts%2Cands%20were%20pots%20and%20pans&year_start=1968&year_end=2008&corpus=17&smoothing=5&share=&direct_url=t1%3B%2Cbuts%20were%20candy%20and%20nuts%3B%2Cc0%3B.t1%3B%2Cands%20were%20pots%20and%20pans%3B%2Cc0#t1%3B%2Cbuts%20were%20candy%20and%20nuts%3B%2Cc1%3B.t1%3B%2Cands%20were%20pots%20and%20pans%3B%2Cc1) comparing the two aphorisms: Don Meredith's “...buts were candy and nuts” (blue line), and the German/British “ands were pots and pans” (red line) side by side in the American English corpus. The time span is between 1968 and 2008. The 1968-72 results for Meredith's coinage are false positives, so it's always wise to take Ngrams with a pinch of salt. No results are displayed for the American rhyme in the British English corpus.
[](https://i.stack.imgur.com/WwVkS.png)
If we expand the time scan between 1835 and 2008 we obtain the following
[](https://i.stack.imgur.com/Xc3qC.png) | From [The Phrase Finder](http://www.phrases.org.uk/bulletin_board/49/messages/1111.html):
>
> "If "ifs" and "buts" were candy and nuts, wouldn't it be a Merry Christmas?" seems to be attributed to Don Meredith (the American football player/ commentator). To rephrase it: if all these reasons why we can't do something were party foods instead of words, we could have a really great party.
>
>
> It would seem to be patterned after "If wishes were horses, then beggars would ride" and "If I had a 'coin' for every 'something', I'd have 'a lot of money'" (insert your favorite coin, something and amount of money).
>
>
> |
47,182 | I’m interested in the origin of the idiom:
>
> If "ifs" and "buts" were candy and nuts, we'd all have a merry Christmas.
>
>
>
When was it first used? Is this the original idiom, or was there an older version? Furthermore, how should its meaning be interpreted? | 2011/11/03 | [
"https://english.stackexchange.com/questions/47182",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/14486/"
] | The aphorism was coined by the Dallas Cowboys quarterback, Don Meredith, who later became a sports commentator for the TV show *Monday Night Football* in 1970.
>
> 17 December 1970, Ada (OK) Evening News, pg. 7, col. 1:
>
>
> Howard Cosell: “If Los Angeles wins, it’s a big one, but San Francisco is still very much in it.”
>
> Don Meredith: “**If ifs and buts were candy and nuts, we’d all have a merry Christmas.**”
>
> Howard: “I didn’t think you’d remember that old canard.”
>
> Don: “Is that what it was?”
>
>
> [Source](http://www.barrypopik.com/index.php/new_york_city/entry/if_ifs_and_buts_were_candy_and_nuts_wed_all_have_a_merry_christmas): Barry Popik.com
>
>
>
The 1970 quip soon became Meredith's catchphrase, but it was a modern and comical twist on a much older proverb dating from the 19th century
>
> “**If ifs and ands were pots and pans, there’d be no work for tinkers’ hands**”
>
> [Oxford Reference](http://www.oxfordreference.com/view/10.1093/oi/authority.20110803095957542)
>
>
>
This proverb is used as a humorous retort to someone expressing a forlorn regret (e.g. *if* only I had the money...) or an unrealistic and perhaps over optimistic condition (... *and* if I had the right connections, I could be famous.)
The earliest example I found on Google Books is dated **1845** from *[The step-mother](https://books.google.it/books?id=HF4gAAAAMAAJ&pg=PA207&dq=%E2%80%9Cpots%20and%20pans%22%20%20%22no%20work%20for%E2%80%9D&hl=en&sa=X&ved=0ahUKEwig_t249uDJAhWE33IKHZFwAMEQ6AEINTAE#v=onepage&q=%E2%80%9Cpots%20and%20pans%22%20%20%22no%20work%20for%E2%80%9D&f=false)* by George Payne Rainsford James.
>
> “**Ay! if ifs and ands were pots and pans, there would be no work for the tinkers.**”
>
>
>
@Sven Yargs has discovered an even earlier example, in [The New Monthly Magazine and Literary Journal](https://books.google.it/books?id=EpkeAQAAMAAJ&pg=PA407&dq=%22ifs%20and%20ands%22&hl=en&sa=X&redir_esc=y#v=onepage&q=%22ifs%20and%20ands%22&f=false), **1828**, from a poem entitled *A chapter of Ifs*
>
> A Chapter of Ifs
>
>
> **If Ifs and Ands were pots and pans,
>
> ’Twould cure the tinker's cares**:
>
> if ladies did not carry fans,
>
> They’d give themselves no airs:
>
> If down the starry skies should fall,
>
> The starlings would be cheap:
>
> If Belles talk'd reason at a ball,
>
> The band might go to sleep.
>
>
> […]
>
>
>
And finally, printed in **1821**, an excerpt translated from a poem entitled [Hans Beudix](https://books.google.it/books?id=-nAEAAAAQAAJ&pg=PA266&dq=%22pots+and+pans%22+tinker&hl=en&sa=X&ved=0ahUKEwj4o_Pex-HJAhUKtBQKHagxAqs4ChDoAQg9MAY#v=onepage&q=%22pots%20and%20pans%22%20tinker&f=false) by the German poet [Gottfried August Bürger](http://www.britannica.com/biography/Gottfried-August-Burger) (1747-1794)
>
> Hans Beudix
>
>
> Are you there, my old fox, with your ifs and your ans?
>
> But I need not remind you, they're not pots and pans,
>
> Else tinkers would starve, (as I learnt from my nurse;)
>
> Still the answer shall pass, for it might have been worse.
>
>
>
The original German poem can be found here: [Der Kaiser und der Abt](http://gutenberg.spiegel.de/buch/gottfried-august-b-621/30). Maybe someone can confirm if the translation is faithful.
Below is an [Ngram](https://books.google.com/ngrams/graph?content=buts%20were%20candy%20and%20nuts%2Cands%20were%20pots%20and%20pans&year_start=1968&year_end=2008&corpus=17&smoothing=5&share=&direct_url=t1%3B%2Cbuts%20were%20candy%20and%20nuts%3B%2Cc0%3B.t1%3B%2Cands%20were%20pots%20and%20pans%3B%2Cc0#t1%3B%2Cbuts%20were%20candy%20and%20nuts%3B%2Cc1%3B.t1%3B%2Cands%20were%20pots%20and%20pans%3B%2Cc1) comparing the two aphorisms: Don Meredith's “...buts were candy and nuts” (blue line), and the German/British “ands were pots and pans” (red line) side by side in the American English corpus. The time span is between 1968 and 2008. The 1968-72 results for Meredith's coinage are false positives, so it's always wise to take Ngrams with a pinch of salt. No results are displayed for the American rhyme in the British English corpus.
[](https://i.stack.imgur.com/WwVkS.png)
If we expand the time scan between 1835 and 2008 we obtain the following
[](https://i.stack.imgur.com/Xc3qC.png) | It is used to express the fact that "if" and "but" are used too many times, so the speaker of this utterance disapproves of their use. |
47,182 | I’m interested in the origin of the idiom:
>
> If "ifs" and "buts" were candy and nuts, we'd all have a merry Christmas.
>
>
>
When was it first used? Is this the original idiom, or was there an older version? Furthermore, how should its meaning be interpreted? | 2011/11/03 | [
"https://english.stackexchange.com/questions/47182",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/14486/"
] | Consistent with Mari-Lou A's excellent answer, Google Books and Elephind newspaper database searches yield no earlier matches for the expression attributed to Don Meredith in 1970:
>
> If **"ifs" and "buts"** were candy and nuts, we'd all have a merry Christmas.
>
>
>
However, Elephind does find a somewhat similar (and significantly earlier) sing-song rhyme about "ifs and buts" from Australia. From "[They Spoil Everything](http://trove.nla.gov.au/newspaper/article/58819878?searchTerm=%22ifs+and+buts%22)," in the *Perth [Western Australia] Sunday Times* (March 14, 1937):
>
> Were **"Ifs" and "Buts"**/ Just tents and huts,/ How gaily could we hide!/ If "Buts" and "Ifs"/ Were yachts and skiffs/ How merrily we would ride!/ But **"Ifs" and "Buts"**/ They Interfere/ And spoil the whole affair./ If it were not/ For **"Ifs" and "Buts"**/ I'd be a millionaire!
>
>
>
It seems unlikely that Meredith (who grew up in a small town east of Dallas, Texas; went to college at Southern Methodist University in Dallas; and spent his entire NFL playing career with the Dallas Cowboys) had ever heard the "tents and huts" rhyme before sharing his "candy and nuts" rhyme on TV, but I suspect that he didn't invent his version either. It's the sort of deflating thing that parents and schoolteachers tell children to bring them back down to earth.
---
***'Ifs and buts' before 'candy and nuts' or 'tents and huts'***
The phrase "ifs and buts" appears in Google Books search results going back to Luther Martin, [*Modern Gratitude, in Five Numbers: Addressed to Richard Raynal Keyne, Esq. Concerning a Family Marriage*](https://books.google.com/books?id=j6EEAAAAYAAJ&pg=PA95&dq=%22ifs+and+buts%22&hl=en&sa=X&ved=0ahUKEwiq25rSxevRAhUH32MKHduqDD8Q6AEIHDAA#v=onepage&q=%22ifs%20and%20buts%22&f=false), which includes this outraged footnote:
>
> 12. Precious Hypocrite! "Who with **Ifs and Buts** would damn fair fame."
>
>
>
I haven't been able to find a source for the sentence that Martin puts in quotation marks.
An Elephind search discovers another seemingly aphoristic expression involving "ifs and buts." From an advertisement headed "[Ifs and Buts](http://chroniclingamerica.loc.gov/lccn/sn83030214/1910-06-20/ed-1/seq-5/#words=%22ifs+and+buts%22)" in the *New-York Daily Tribune* (June 20, 1910):
>
> The **ifs and buts** of life are thicker than confetti at a fair.
>
>
>
Far more common (especially in content from Australian sources) are doggerel/jingle rhyming of "ifs and buts" with "nuts" (or "ruts" or "guts"). From "[Old Fashioned Eats](http://chroniclingamerica.loc.gov/lccn/sn89074274/1917-08-16/ed-1/seq-2/#words=%22ifs+and+buts%22)," in the *[Valley City, North Dakota] Weekly Times Record* (August 16, 1917):
>
> No arguments/ With **ifs and buts**,/ Will e'er excuse/ Such meatless nuts.
>
>
>
From "[Gay Adventures](http://trove.nla.gov.au/newspaper/article/126037563?searchTerm=%22ifs+and+buts%22)," in the *Maitland [New South Wales] Daily Mercury* (April 11, 1935):
>
> Are you afraid to adventure? Haunted by **"ifs" and "buts"**? Then how can you hope for the sort of success that's not to be found in ruts? If never a risk you're taking—if you gaze at fortune's tide, and ponder too long your chances—in safety-rut you'll bide!
>
>
>
From "[Obvious](http://trove.nla.gov.au/newspaper/article/58966883?searchTerm=%22Though+by+ifs+and+buts%22)," in the *[Perth, West Australia] Sunday Times* (October 1, 1939):
>
> A London society paper states that as a result of the war the usual "nuts" are entirely absent from the swagger cafes in Piccadilly.
>
>
> Though by **ifs and buts**/ We're oft repelled,/ May we say that the nuts/ Are away being shelled!
>
>
>
And from "[We Australians](http://trove.nla.gov.au/newspaper/article/81493688?searchTerm=%22ifs+and+buts%22)," in the *[Charters Towers, Queensland] Northern Miner* (January 29, 1940):
>
> We're a nation young, a nation small,/ Maybe perhaps you're right/ That distance makes our help a pall/ In England's present plight./ We're a nation gay of **"ifs and buts"**/ "That fool around in mobs,"/ We're a nation, too, that has the guts,/ Minus in titled snobs.
>
>
> | It is used to express the fact that "if" and "but" are used too many times, so the speaker of this utterance disapproves of their use. |
47,182 | I’m interested in the origin of the idiom:
>
> If "ifs" and "buts" were candy and nuts, we'd all have a merry Christmas.
>
>
>
When was it first used? Is this the original idiom, or was there an older version? Furthermore, how should its meaning be interpreted? | 2011/11/03 | [
"https://english.stackexchange.com/questions/47182",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/14486/"
] | The aphorism was coined by the Dallas Cowboys quarterback, Don Meredith, who later became a sports commentator for the TV show *Monday Night Football* in 1970.
>
> 17 December 1970, Ada (OK) Evening News, pg. 7, col. 1:
>
>
> Howard Cosell: “If Los Angeles wins, it’s a big one, but San Francisco is still very much in it.”
>
> Don Meredith: “**If ifs and buts were candy and nuts, we’d all have a merry Christmas.**”
>
> Howard: “I didn’t think you’d remember that old canard.”
>
> Don: “Is that what it was?”
>
>
> [Source](http://www.barrypopik.com/index.php/new_york_city/entry/if_ifs_and_buts_were_candy_and_nuts_wed_all_have_a_merry_christmas): Barry Popik.com
>
>
>
The 1970 quip soon became Meredith's catchphrase, but it was a modern and comical twist on a much older proverb dating from the 19th century
>
> “**If ifs and ands were pots and pans, there’d be no work for tinkers’ hands**”
>
> [Oxford Reference](http://www.oxfordreference.com/view/10.1093/oi/authority.20110803095957542)
>
>
>
This proverb is used as a humorous retort to someone expressing a forlorn regret (e.g. *if* only I had the money...) or an unrealistic and perhaps over optimistic condition (... *and* if I had the right connections, I could be famous.)
The earliest example I found on Google Books is dated **1845** from *[The step-mother](https://books.google.it/books?id=HF4gAAAAMAAJ&pg=PA207&dq=%E2%80%9Cpots%20and%20pans%22%20%20%22no%20work%20for%E2%80%9D&hl=en&sa=X&ved=0ahUKEwig_t249uDJAhWE33IKHZFwAMEQ6AEINTAE#v=onepage&q=%E2%80%9Cpots%20and%20pans%22%20%20%22no%20work%20for%E2%80%9D&f=false)* by George Payne Rainsford James.
>
> “**Ay! if ifs and ands were pots and pans, there would be no work for the tinkers.**”
>
>
>
@Sven Yargs has discovered an even earlier example, in [The New Monthly Magazine and Literary Journal](https://books.google.it/books?id=EpkeAQAAMAAJ&pg=PA407&dq=%22ifs%20and%20ands%22&hl=en&sa=X&redir_esc=y#v=onepage&q=%22ifs%20and%20ands%22&f=false), **1828**, from a poem entitled *A chapter of Ifs*
>
> A Chapter of Ifs
>
>
> **If Ifs and Ands were pots and pans,
>
> ’Twould cure the tinker's cares**:
>
> if ladies did not carry fans,
>
> They’d give themselves no airs:
>
> If down the starry skies should fall,
>
> The starlings would be cheap:
>
> If Belles talk'd reason at a ball,
>
> The band might go to sleep.
>
>
> […]
>
>
>
And finally, printed in **1821**, an excerpt translated from a poem entitled [Hans Beudix](https://books.google.it/books?id=-nAEAAAAQAAJ&pg=PA266&dq=%22pots+and+pans%22+tinker&hl=en&sa=X&ved=0ahUKEwj4o_Pex-HJAhUKtBQKHagxAqs4ChDoAQg9MAY#v=onepage&q=%22pots%20and%20pans%22%20tinker&f=false) by the German poet [Gottfried August Bürger](http://www.britannica.com/biography/Gottfried-August-Burger) (1747-1794)
>
> Hans Beudix
>
>
> Are you there, my old fox, with your ifs and your ans?
>
> But I need not remind you, they're not pots and pans,
>
> Else tinkers would starve, (as I learnt from my nurse;)
>
> Still the answer shall pass, for it might have been worse.
>
>
>
The original German poem can be found here: [Der Kaiser und der Abt](http://gutenberg.spiegel.de/buch/gottfried-august-b-621/30). Maybe someone can confirm if the translation is faithful.
Below is an [Ngram](https://books.google.com/ngrams/graph?content=buts%20were%20candy%20and%20nuts%2Cands%20were%20pots%20and%20pans&year_start=1968&year_end=2008&corpus=17&smoothing=5&share=&direct_url=t1%3B%2Cbuts%20were%20candy%20and%20nuts%3B%2Cc0%3B.t1%3B%2Cands%20were%20pots%20and%20pans%3B%2Cc0#t1%3B%2Cbuts%20were%20candy%20and%20nuts%3B%2Cc1%3B.t1%3B%2Cands%20were%20pots%20and%20pans%3B%2Cc1) comparing the two aphorisms: Don Meredith's “...buts were candy and nuts” (blue line), and the German/British “ands were pots and pans” (red line) side by side in the American English corpus. The time span is between 1968 and 2008. The 1968-72 results for Meredith's coinage are false positives, so it's always wise to take Ngrams with a pinch of salt. No results are displayed for the American rhyme in the British English corpus.
[](https://i.stack.imgur.com/WwVkS.png)
If we expand the time scan between 1835 and 2008 we obtain the following
[](https://i.stack.imgur.com/Xc3qC.png) | Consistent with Mari-Lou A's excellent answer, Google Books and Elephind newspaper database searches yield no earlier matches for the expression attributed to Don Meredith in 1970:
>
> If **"ifs" and "buts"** were candy and nuts, we'd all have a merry Christmas.
>
>
>
However, Elephind does find a somewhat similar (and significantly earlier) sing-song rhyme about "ifs and buts" from Australia. From "[They Spoil Everything](http://trove.nla.gov.au/newspaper/article/58819878?searchTerm=%22ifs+and+buts%22)," in the *Perth [Western Australia] Sunday Times* (March 14, 1937):
>
> Were **"Ifs" and "Buts"**/ Just tents and huts,/ How gaily could we hide!/ If "Buts" and "Ifs"/ Were yachts and skiffs/ How merrily we would ride!/ But **"Ifs" and "Buts"**/ They Interfere/ And spoil the whole affair./ If it were not/ For **"Ifs" and "Buts"**/ I'd be a millionaire!
>
>
>
It seems unlikely that Meredith (who grew up in a small town east of Dallas, Texas; went to college at Southern Methodist University in Dallas; and spent his entire NFL playing career with the Dallas Cowboys) had ever heard the "tents and huts" rhyme before sharing his "candy and nuts" rhyme on TV, but I suspect that he didn't invent his version either. It's the sort of deflating thing that parents and schoolteachers tell children to bring them back down to earth.
---
***'Ifs and buts' before 'candy and nuts' or 'tents and huts'***
The phrase "ifs and buts" appears in Google Books search results going back to Luther Martin, [*Modern Gratitude, in Five Numbers: Addressed to Richard Raynal Keyne, Esq. Concerning a Family Marriage*](https://books.google.com/books?id=j6EEAAAAYAAJ&pg=PA95&dq=%22ifs+and+buts%22&hl=en&sa=X&ved=0ahUKEwiq25rSxevRAhUH32MKHduqDD8Q6AEIHDAA#v=onepage&q=%22ifs%20and%20buts%22&f=false), which includes this outraged footnote:
>
> 12. Precious Hypocrite! "Who with **Ifs and Buts** would damn fair fame."
>
>
>
I haven't been able to find a source for the sentence that Martin puts in quotation marks.
An Elephind search discovers another seemingly aphoristic expression involving "ifs and buts." From an advertisement headed "[Ifs and Buts](http://chroniclingamerica.loc.gov/lccn/sn83030214/1910-06-20/ed-1/seq-5/#words=%22ifs+and+buts%22)" in the *New-York Daily Tribune* (June 20, 1910):
>
> The **ifs and buts** of life are thicker than confetti at a fair.
>
>
>
Far more common (especially in content from Australian sources) are doggerel/jingle rhyming of "ifs and buts" with "nuts" (or "ruts" or "guts"). From "[Old Fashioned Eats](http://chroniclingamerica.loc.gov/lccn/sn89074274/1917-08-16/ed-1/seq-2/#words=%22ifs+and+buts%22)," in the *[Valley City, North Dakota] Weekly Times Record* (August 16, 1917):
>
> No arguments/ With **ifs and buts**,/ Will e'er excuse/ Such meatless nuts.
>
>
>
From "[Gay Adventures](http://trove.nla.gov.au/newspaper/article/126037563?searchTerm=%22ifs+and+buts%22)," in the *Maitland [New South Wales] Daily Mercury* (April 11, 1935):
>
> Are you afraid to adventure? Haunted by **"ifs" and "buts"**? Then how can you hope for the sort of success that's not to be found in ruts? If never a risk you're taking—if you gaze at fortune's tide, and ponder too long your chances—in safety-rut you'll bide!
>
>
>
From "[Obvious](http://trove.nla.gov.au/newspaper/article/58966883?searchTerm=%22Though+by+ifs+and+buts%22)," in the *[Perth, West Australia] Sunday Times* (October 1, 1939):
>
> A London society paper states that as a result of the war the usual "nuts" are entirely absent from the swagger cafes in Piccadilly.
>
>
> Though by **ifs and buts**/ We're oft repelled,/ May we say that the nuts/ Are away being shelled!
>
>
>
And from "[We Australians](http://trove.nla.gov.au/newspaper/article/81493688?searchTerm=%22ifs+and+buts%22)," in the *[Charters Towers, Queensland] Northern Miner* (January 29, 1940):
>
> We're a nation young, a nation small,/ Maybe perhaps you're right/ That distance makes our help a pall/ In England's present plight./ We're a nation gay of **"ifs and buts"**/ "That fool around in mobs,"/ We're a nation, too, that has the guts,/ Minus in titled snobs.
>
>
> |
38,960,191 | I have a very interesting problem.
I was under the impression that when my app uses the microphone, and the Android system process (like incoming or outgoing call) needs the microphone, my app releases it without any consideration.
But i guess that is not the issue anymore, since i have received few complains that when the app is being used and there is incoming call, the other side on the call, can not hear them.
Is there any way to assure that whenever system process requests the microphone, to be released? | 2016/08/15 | [
"https://Stackoverflow.com/questions/38960191",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/5060716/"
] | Currently, **there is no way to check whether another app requests the microphone**. However, there are some workarounds:
* If you record sound in an Activity, simply release the microphone in `onPause()`, so that the foreground app can use it. This won't work if you record audio in a background service.
* Pause the recording when there is an incoming call. To detect incoming (and outgoing) calls, take a look at [this excellent answer](https://stackoverflow.com/a/15564021/2829009). When the call ends, resume the recording.
* A dirty hack: If detecting incoming calls isn't enough, you could loop through all running apps and see if they have the microphone permission. As soon as an app with microphone permission is running, pause the recording. Getting all running apps can be difficult. For more infos, look [here](https://stackoverflow.com/questions/30619349/android-5-1-1-and-above-getrunningappprocesses-returns-my-application-packag), [here](https://stackoverflow.com/questions/24590533/how-to-get-recent-tasks-on-android-l/26885469), [here](https://stackoverflow.com/questions/3873659/android-how-can-i-get-the-current-foreground-activity-from-a-service/27642535) and [here for checking the permissions](https://stackoverflow.com/questions/4461504/determine-list-of-permissions-used-by-an-installed-application-in-android). | As far as I know, **there is no way to know the microphone's state** is Busy, Available or **if somebody is requesting** for it because it's somehow these are responsibility of system to manage processes and resources so keeping this in mind , you can't keep the microphone forever and there so no way you can control it mean you can't mange and detect the request on resources .Following there is some info that might help you.
What you can try is , overcome the all possibilities when system can use microphone like setup a broadcast receiver for call broadcasts and when they triggered release the microphone and when call is done then you can acquire it again. |
38,960,191 | I have a very interesting problem.
I was under the impression that when my app uses the microphone, and the Android system process (like incoming or outgoing call) needs the microphone, my app releases it without any consideration.
But i guess that is not the issue anymore, since i have received few complains that when the app is being used and there is incoming call, the other side on the call, can not hear them.
Is there any way to assure that whenever system process requests the microphone, to be released? | 2016/08/15 | [
"https://Stackoverflow.com/questions/38960191",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/5060716/"
] | Currently, **there is no way to check whether another app requests the microphone**. However, there are some workarounds:
* If you record sound in an Activity, simply release the microphone in `onPause()`, so that the foreground app can use it. This won't work if you record audio in a background service.
* Pause the recording when there is an incoming call. To detect incoming (and outgoing) calls, take a look at [this excellent answer](https://stackoverflow.com/a/15564021/2829009). When the call ends, resume the recording.
* A dirty hack: If detecting incoming calls isn't enough, you could loop through all running apps and see if they have the microphone permission. As soon as an app with microphone permission is running, pause the recording. Getting all running apps can be difficult. For more infos, look [here](https://stackoverflow.com/questions/30619349/android-5-1-1-and-above-getrunningappprocesses-returns-my-application-packag), [here](https://stackoverflow.com/questions/24590533/how-to-get-recent-tasks-on-android-l/26885469), [here](https://stackoverflow.com/questions/3873659/android-how-can-i-get-the-current-foreground-activity-from-a-service/27642535) and [here for checking the permissions](https://stackoverflow.com/questions/4461504/determine-list-of-permissions-used-by-an-installed-application-in-android). | In my case I created background thread that checked incoming bits from microphone. If they would zero (or several seconds data lag) the app interrupt the process. Nevertheless, of course, this is not a "good" solution but might be helpful. |
2,690,459 | I want to be able to read any well-formed RSS/ATOM file. That would mean I would not not know the tags, start the loop and the fields. How do I go about doing it in PHP.
Thanks
Jean | 2010/04/22 | [
"https://Stackoverflow.com/questions/2690459",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/257705/"
] | You can try [Zend Framework's feed class](http://framework.zend.com/manual/en/zend.feed.html).
But you should be more specific about your task.. | You can use SimpleXML <http://php.net/manual/en/function.simplexml-load-string.php> |
145,057 | >
> **Possible Duplicate:**
>
> [How does accept rate work?](https://meta.stackexchange.com/questions/16721/how-does-accept-rate-work)
>
>
>
I normally post questions on stackoverflow relating to my programming work, but sometimes the nature of the problem does not make for a speedy solution.
In most cases, if I can't get an answer right away on stackoverflow, I'll come up with a solution or work around to the problem on my own some time after posting the question. This means that I no longer need answers and cannot actually accept any answers as having solved the problem because none did. When this happens I generally delete the question.
Is this a bad thing? (I believe I saw something about someone getting their account deleted for doing this). Does this improve my accept rate?
Mathematically, I believe the accept rate is calculated based on total questions vs accepted answers. So as I figure it, if I have one less unanswered question on one side of that scale, surely the accept percentage should increase... | 2012/08/27 | [
"https://meta.stackexchange.com/questions/145057",
"https://meta.stackexchange.com",
"https://meta.stackexchange.com/users/190326/"
] | No, it won't help your accept rate, unanswered questions are not counted there.
When you come up with the answer to a question yourself, just post that answer and accept it. All future visitors that come to your question will benefit from the solution. Nobody benefits if you delete the questions. | Accept rate is not really something you should worry about. It's a flawed metric at best. Did you accept answers for all the questions where that answer was helpful or correct? Great. You've done just fine. Even if that would (theoretically) mean that your accept rate is 10%. Of course, if most of your questions go unanswered, perhaps your questions can be improved. But that's besides the point.
If you've managed to answer your own question, good for you. Well done. Go ahead and answer your own question. You are explicitly encouraged to do so. The questions you ask here are ideally not only for your own benefit, but for that of others as well. As a result, adding an answer is a good thing as well.
Whatever you do, don't delete your questions. Or, at the very least don't do so with great frequency. That only signals that you ask bad questions to begin with. And while the exact details are not know to us, this does seem to factor in to a possible automatic question ban. That is certainly something you would want to avoid.
All that being said, unanswered questions don't factor in to the accept rate. So in that sense deleting them does not help your rate along anyway. |
626,766 | **The setup**
I'm currently doing some experimentation with 3-phase inverters for BLDC motors and current sense. I have at hand [this board](https://github.com/ChenDMLSY/FOC-SimpleFOC-MotorDriveDevelopmentBoard/blob/main/%E5%A4%A7%E5%8A%9F%E7%8E%87FOC_LMV324_%E4%BD%8E%E7%AB%AF%E7%94%B5%E6%B5%81%E7%9B%91%E6%B5%8B%E6%9D%BF.pdf) featuring:
* [IR2103](https://www.infineon.com/dgdl/Infineon-IR2103-DataSheet-v01_00-EN.pdf?fileId=5546d462533600a4015355c7b54b166f) MOSFET driver. LIN# inputs are connected to HIN inputs through jumpers
* 5 mohm shunt resistor
* [LMV324](https://www.st.com/resource/en/datasheet/lmv324.pdf) Op-Amp for low-side current measurement, in non-inverting configuration, Gain=25
The setup comprises of:
* STM32 NUCLEO F411RE providing to the inverter 3 HIN inputs and 3.3V VCC (for Op-Amp)
* 24V power supply for PVDD
* 3 27 ohm resistors connected at the motor terminals in Y configuration, to "simulate" a 3-phase load.
In the code, I'm generating 3 left-aligned PWM signals (frequency=25 kHz) for a-b-c terminals with duty cycles of, respectively, 30%, 50%, 80%.
With an oscilloscope I'm monitoring the 3 "motor" terminals and the IS1, IS2, IS3 terminals (the amplified voltage across the low-side shunt resistors on the 3 branches)
**What I expect to see**
1. 3 0-24 V square waves with duty cycles of, respectively, 30%, 50%, 80%.
2. The IS1 (Ia) current-sense voltage:
* 0V for the first 30% of the cycle, since all high-side mosfets are ON (and low-side ones are OFF)
* some voltage corresponding to ib+ic = -ia (theoretically around 592 mA) for the following 20% of the cycle, since the low-side MOSFET on branch a is ON while on the other 2 branches the high-side is ON
* some voltage corresponding to -ia = ic/2 (theoretically around 296 mA) for the following 30% of the cycle, since only the c high-side MOSFET is ON
* 0V for the rest of the period, since all low-side switches are ON
3. The IS2 (Ib) current-sense voltage:
* 0V for the first 50% of the PWM period since b low-side is always OFF
* some voltage corresponding to -ib = ic/2 (theoretically around 296 mA) for the following 30% of the cycle
* 0V for the rest of the period
4. The IS3 (Ic) current-sense voltage always 0V (all low-side MOSFETS ON, no current circulation)
I simulated the approximated circuit with the [Falstad](https://www.falstad.com/circuit/circuitjs.html) circuit simulator, obtaining the following results, which seem to agree with the above analysis (currents Ia, Ib, Ic are currents flowing from the low-side MOSFETs' source to ground):
[](https://i.stack.imgur.com/JDf8Z.png)
**What I actually see**
The voltages at "motor" terminal appear to be correct: 0-24 V square waves with the correct duty cycles:
[](https://i.stack.imgur.com/cvmv4.jpg)
What I cannot understand is the output of the current-sensing amplifiers:
[](https://i.stack.imgur.com/qFSQQ.jpg)
Where the first signal is the voltage at terminal "a" (for reference with the previous image, used also for triggering) and the following 3 signals are the Is1, Is2, Is3 current sense output voltages.
I understand that for a current of 592 mA I should get an amplified voltage of:
Vs = Gain \* Rsense \* I = 25 \* 0.005 \* 0.592 = 0.074V
which is maybe hardly detectable on the oscilloscope, but I cannot understand the big transient at the beginning of the PWM cycle, with its long-lasting settling tail. Wouldn't this invalidate any ADC readings performed on these signals in order to implement current control (field oriented control)?
So the question is, what am I looking at? Is the previous analysis wrong? Is there some hardware problem with the Op-Amp or the board in general?
[EDIT]
Adding a clarification: at this stage I'm **not** controlling a motor or doing some meaningful switching patterns: the load at "motor terminals" is just 3 resistors in Y configuration. I'm just experimenting with the current sensing circuitry, applying a *known* PWM pattern (maybe not meaningful for proper motor control) and checking if the signals are coherent with what I expected.
[EDIT]
I add some more waveforms after some comments regarding the possibility of shoot-through. These are the signals related with turn-on and turn-off of leg "a" of the inverter, output of IR2103. From top to bottom, first is HO, second is Vs ("motor" terminal), third is LO.
[](https://i.stack.imgur.com/Jlgf2.jpg)
[](https://i.stack.imgur.com/UwqYw.jpg)
With some difficulties I was also able to probe the current sense resistor, whose voltage is the fourth signal in the following image:
[](https://i.stack.imgur.com/cbZe7.jpg) | 2022/07/09 | [
"https://electronics.stackexchange.com/questions/626766",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/264684/"
] | The output capacitance (drain / source) of the low side MOSTFETs must be charged when the high side FETs turn on. So you can expect a short voltage peak across the shunt resistors.
The LM324 is a bit slow and integrates this peak internally. The limited slew rate and the feedback loop response via 24 kohm together with the input capacitance is not that fast either. This creates a large overshoot at the OpAmp output.
You can ignore that and sample the current after the settling time or use a much faster OpAmp. A low pass R/C filter between the shunt resistors and the IN+ inputs of the OpAmps stretches and attenuates this voltage peak in a way, that the LM324 may can follow. However, a delay before the current measurement can be taken, is needed as well. | It looks to me as though the bootstrap capacitors are discharging faster than the switching rate can recharge them. One option is to increase them by, say, a factor of 10 and see whether my inference is correct. This should keep the bootstrap capacitor charged for long enough to operate the high sides throughout a switching period.
A bigger problem is with the waveform itself. Without knowing what you motor really wants to see, I'm surprised. I would have expect two high sides to be on and one low side also to be on, with the particular combination switching like this: ABc aBC AbC and repeating. Perhaps what you're doing is correct, but it is not obviously correct. |
626,766 | **The setup**
I'm currently doing some experimentation with 3-phase inverters for BLDC motors and current sense. I have at hand [this board](https://github.com/ChenDMLSY/FOC-SimpleFOC-MotorDriveDevelopmentBoard/blob/main/%E5%A4%A7%E5%8A%9F%E7%8E%87FOC_LMV324_%E4%BD%8E%E7%AB%AF%E7%94%B5%E6%B5%81%E7%9B%91%E6%B5%8B%E6%9D%BF.pdf) featuring:
* [IR2103](https://www.infineon.com/dgdl/Infineon-IR2103-DataSheet-v01_00-EN.pdf?fileId=5546d462533600a4015355c7b54b166f) MOSFET driver. LIN# inputs are connected to HIN inputs through jumpers
* 5 mohm shunt resistor
* [LMV324](https://www.st.com/resource/en/datasheet/lmv324.pdf) Op-Amp for low-side current measurement, in non-inverting configuration, Gain=25
The setup comprises of:
* STM32 NUCLEO F411RE providing to the inverter 3 HIN inputs and 3.3V VCC (for Op-Amp)
* 24V power supply for PVDD
* 3 27 ohm resistors connected at the motor terminals in Y configuration, to "simulate" a 3-phase load.
In the code, I'm generating 3 left-aligned PWM signals (frequency=25 kHz) for a-b-c terminals with duty cycles of, respectively, 30%, 50%, 80%.
With an oscilloscope I'm monitoring the 3 "motor" terminals and the IS1, IS2, IS3 terminals (the amplified voltage across the low-side shunt resistors on the 3 branches)
**What I expect to see**
1. 3 0-24 V square waves with duty cycles of, respectively, 30%, 50%, 80%.
2. The IS1 (Ia) current-sense voltage:
* 0V for the first 30% of the cycle, since all high-side mosfets are ON (and low-side ones are OFF)
* some voltage corresponding to ib+ic = -ia (theoretically around 592 mA) for the following 20% of the cycle, since the low-side MOSFET on branch a is ON while on the other 2 branches the high-side is ON
* some voltage corresponding to -ia = ic/2 (theoretically around 296 mA) for the following 30% of the cycle, since only the c high-side MOSFET is ON
* 0V for the rest of the period, since all low-side switches are ON
3. The IS2 (Ib) current-sense voltage:
* 0V for the first 50% of the PWM period since b low-side is always OFF
* some voltage corresponding to -ib = ic/2 (theoretically around 296 mA) for the following 30% of the cycle
* 0V for the rest of the period
4. The IS3 (Ic) current-sense voltage always 0V (all low-side MOSFETS ON, no current circulation)
I simulated the approximated circuit with the [Falstad](https://www.falstad.com/circuit/circuitjs.html) circuit simulator, obtaining the following results, which seem to agree with the above analysis (currents Ia, Ib, Ic are currents flowing from the low-side MOSFETs' source to ground):
[](https://i.stack.imgur.com/JDf8Z.png)
**What I actually see**
The voltages at "motor" terminal appear to be correct: 0-24 V square waves with the correct duty cycles:
[](https://i.stack.imgur.com/cvmv4.jpg)
What I cannot understand is the output of the current-sensing amplifiers:
[](https://i.stack.imgur.com/qFSQQ.jpg)
Where the first signal is the voltage at terminal "a" (for reference with the previous image, used also for triggering) and the following 3 signals are the Is1, Is2, Is3 current sense output voltages.
I understand that for a current of 592 mA I should get an amplified voltage of:
Vs = Gain \* Rsense \* I = 25 \* 0.005 \* 0.592 = 0.074V
which is maybe hardly detectable on the oscilloscope, but I cannot understand the big transient at the beginning of the PWM cycle, with its long-lasting settling tail. Wouldn't this invalidate any ADC readings performed on these signals in order to implement current control (field oriented control)?
So the question is, what am I looking at? Is the previous analysis wrong? Is there some hardware problem with the Op-Amp or the board in general?
[EDIT]
Adding a clarification: at this stage I'm **not** controlling a motor or doing some meaningful switching patterns: the load at "motor terminals" is just 3 resistors in Y configuration. I'm just experimenting with the current sensing circuitry, applying a *known* PWM pattern (maybe not meaningful for proper motor control) and checking if the signals are coherent with what I expected.
[EDIT]
I add some more waveforms after some comments regarding the possibility of shoot-through. These are the signals related with turn-on and turn-off of leg "a" of the inverter, output of IR2103. From top to bottom, first is HO, second is Vs ("motor" terminal), third is LO.
[](https://i.stack.imgur.com/Jlgf2.jpg)
[](https://i.stack.imgur.com/UwqYw.jpg)
With some difficulties I was also able to probe the current sense resistor, whose voltage is the fourth signal in the following image:
[](https://i.stack.imgur.com/cbZe7.jpg) | 2022/07/09 | [
"https://electronics.stackexchange.com/questions/626766",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/264684/"
] | The output capacitance (drain / source) of the low side MOSTFETs must be charged when the high side FETs turn on. So you can expect a short voltage peak across the shunt resistors.
The LM324 is a bit slow and integrates this peak internally. The limited slew rate and the feedback loop response via 24 kohm together with the input capacitance is not that fast either. This creates a large overshoot at the OpAmp output.
You can ignore that and sample the current after the settling time or use a much faster OpAmp. A low pass R/C filter between the shunt resistors and the IN+ inputs of the OpAmps stretches and attenuates this voltage peak in a way, that the LM324 may can follow. However, a delay before the current measurement can be taken, is needed as well. | Your board looks fine.
>
> The setup comprises of:
> STM32 NUCLEO F411RE providing to the inverter 3 HIN inputs and 3.3V VCC (for Op-Amp)
>
>
>
[IR2103](https://www.farnell.com/datasheets/33227.pdf) needs to be told when to turn on each FET separately. So it has one input signal per FET, total 6 inputs signals for your three phase bridge.
So you must generate the 6 signals with your micro and insert some dead time to make sure the top FET and the bottom FET of the same leg of your bridge do not turn on at the same time, which would short the power supply and cause a huge current to flow.
It looks like your micro is only sending 3 signals and not 6, so I guess you do have some cross-conduction, a huge current spike does flow, and the current sense opamps just do their job and report it.
This will heat your MOSFETs unreasonably, so an investigation is in order.
If you want a driver chip that will insert the dead time automatically, so it needs only one PWM signal to drive both FETs, OnSemi has a whole family of drivers like that. Check ADP3120, but there are many more recent ones. |
18,749,179 | I have a lot of scripts (.do files) in different folders, which are frequently moved around. I would like to have Stata detect where the script is, and use that as a pwd (working directory). I know people that have this functionality seemingly by default (the pwd is changed to the script location when the script is run), but we cannot figure out why I am not so lucky. It is a bit tedious always having a "cd" line at the top of my scripts, and having to change this line to reflect the current directory. I'm using Stata 12 with Windows 7 Professional. | 2013/09/11 | [
"https://Stackoverflow.com/questions/18749179",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/2769997/"
] | It looks to me like something similar is answered in this question:
[Paths to do-file in Stata](https://stackoverflow.com/questions/14835165/paths-to-do-file-in-stata)
What it seems like you could do is keep an MS Excel file that somehow tracks the location of all your scripts, and then use that to generate a simple high-level do-file that calls all your programs (although this may not be how your scripts work). If your folder locations are changing I am not sure how you can completely avoid updating at least some lines of code when something gets moved around. This would at least centralize the necessary updates into one place. | You can use Sublime text.
<https://sublime.wbond.net/packages/Stata%20Enhanced>
When you build the do file (or a selection) using sublime text, the filepath of the do file automatically becomes the current directory. |
10,182 | According to the [US State Department website](http://travel.state.gov/travel/cis_pa_tw/cis/cis_1088.html#entry_requirements) (emphasis mine):
>
> A Tourist Card will be issued for a stay of up to 90 days upon payment of a reciprocity fee, currently US $160. **Currently, the fee is only charged at the Santiago International Airport.** Payment can be made in U.S. currency or by credit card.
>
>
>
Does this mean that if I were to enter Chile via other means (e.g., a different airport or via overland travel) that I would not be required to pay the reciprocity fee? Or would I be required to make arrangements to pay the fee before I arrived? | 2012/10/16 | [
"https://travel.stackexchange.com/questions/10182",
"https://travel.stackexchange.com",
"https://travel.stackexchange.com/users/-1/"
] | **Edit: Note that the reciprocity fee has been removed for US citizens - see [Is there still reciprocity fee at Chile airport entry for US citizens? (after US Visa waiver)](https://travel.stackexchange.com/questions/27876/is-there-still-reciprocity-fee-at-chile-airport-entry-for-us-citizens-after-us) for more details.**
Original answer, still correct for citizens of some countries :
Officially I believe the fee is payable no matter how you enter the country, however the simple truth is that it's only collected at Santiago International Airport, and it's only collected on arrival.
If you do not enter via SCL, then you will NOT have to pay the reciprocity fee - regardless of how you do enter the country (land, water, or air via another airport). It is not collected on exit, even if you didn't pay it on entry so you can still depart from SCL without having to pay. | On my recent trip, the reciprocity fee was required of citizens of only four countries and the US was not one of them. These countries were easily identified by their flags in the immigration area of the SCL airport (if this is your country's flag, turn left here): Albania, Australia, Canada and Mexico. |
380,217 | According to the **Stack Overflow Developer Survey Results**:
* these are the [most popular development environments and tools in 2018](https://insights.stackoverflow.com/survey/2018/#development-environments-and-tools).
* and these are [the most popular ones in 2017](https://insights.stackoverflow.com/survey/2017#technology-most-popular-developer-environments-by-occupation) by occupation.
Visual Studio ([Plain](https://visualstudio.microsoft.com/) & [Code](https://code.visualstudio.com/)) get a top position.
Top for all development occupations and second for sysadmin/devops ones.
If both are added together they get about 69%.
[Sublime Text](https://www.sublimetext.com/) and [Notepad++](https://notepad-plus-plus.org/) get also a very good position.
Between 28% to 32% depending on occupations, but not as good as Visual Studio ones.
Traditional IDEs, like [IntelliJ](https://www.jetbrains.com/idea/) and [Eclipse](https://www.eclipse.org/) (sorry [Netbeans](https://netbeans.org/)...) also score well.
[Vim](https://www.vim.org/) gets a 25.8% for all respondents in 2018. [Emacs](https://www.gnu.org/software/emacs/) gets a small 4.1%.
Vim usage also boosts for sysadmin/devops occupations that gets about 40%.
There is [Vi/vim Stack Exchange site](https://vi.stackexchange.com/).
There is also an [Emacs Stack Exchange site](https://emacs.stackexchange.com/).
I have used all the ones I have mentioned, and some others.
Being currently an Emacs user, I wonder why Emacs got that small result.
Though I think somehow I know the answer and the reasons.
But what really amazes me is that ***Vim and Emacs both have Stack Exchange sites***.
And none of the rest have a site. Isn't that curious?
Why do you think is that?
* Is it because they have been around more time than the rest?
* Is it because their user community is dedicated and love its tool?
* Is it because they have their own language or scripting mechanism?
(which allows the user to tweak and tinker them to the unlimited)
* Is it because they are open source? | 2019/02/14 | [
"https://meta.stackoverflow.com/questions/380217",
"https://meta.stackoverflow.com",
"https://meta.stackoverflow.com/users/316232/"
] | First and foremost, because they asked for them. They built a community that could support a separate site and [went through our process for getting such a site built](https://area51.stackexchange.com/).
Second, these tools are sufficiently complicated to require *highly* specialized knowledge. If you are at all used to standard desktop GUI tropes, then Visual Studio, VS Code, Notepad++, etc are things that you can do basic stuff in. You know where to find menu options, you have some idea how to do standard operations like copy and paste, etc.
Emacs and Vim aren't like that. Vim is *infamously* obtuse for the novice user. Emacs is practically a development *platform*. Both tools require a fairly high degree of knowledge before you can achieve minimal functionality. And both tools have an exceptional degree of depth.
Nobody makes a game that executes in Visual Studio. Well, I suppose a plugin *could*, but you don't see that happen with any regularity.
This is also why we have a website for TeX, but not for Microsoft Word or Libre Office Writer. Yeah, they "technically" do "the same thing" to a first order approximation, but you're really talking about the difference between shooting a bullet and *throwing* it.
Third, on a smaller note, there are a lot of emotions around Emacs and Vim that don't really exist for other tools. Questions regarding some complexity of one of them can occasionally attract comments from passionate users of the other tool. That's a lot less likely to happen if they live on their own site. | It's worth noting that Emacs isn't a text editor or IDE: it's a programming language platform for building a customized text editor or IDE.
Vim is not quite a platform in the same way that Emacs is, but it's still far *more* of a platform than traditional "out-of-the-box" IDEs like IntelliJ, Eclipse, or Visual Studio.
I have rarely seen a user of Eclipse or Visual Studio that has written code for extending it. However, nearly *every* serious user of Emacs or Vim ends up writing code to extend their editor eventually.
As a result, questions about these tools are very different. Questions about Eclipse or Visual Studio tend to be "which checkbox do I check in the configuration to get this behavior?" or "which plugin do I install to get this behavior?" Existing sites tend to handle those kinds of questions well.
Additionally, there is arguably less of a need for a Stack Exchange style Q&A platform for a tool that is easier to learn to use. Since Emacs and Vim are among the hardest tools to learn to use, it makes sense that they generate more Q&A activity. |
380,217 | According to the **Stack Overflow Developer Survey Results**:
* these are the [most popular development environments and tools in 2018](https://insights.stackoverflow.com/survey/2018/#development-environments-and-tools).
* and these are [the most popular ones in 2017](https://insights.stackoverflow.com/survey/2017#technology-most-popular-developer-environments-by-occupation) by occupation.
Visual Studio ([Plain](https://visualstudio.microsoft.com/) & [Code](https://code.visualstudio.com/)) get a top position.
Top for all development occupations and second for sysadmin/devops ones.
If both are added together they get about 69%.
[Sublime Text](https://www.sublimetext.com/) and [Notepad++](https://notepad-plus-plus.org/) get also a very good position.
Between 28% to 32% depending on occupations, but not as good as Visual Studio ones.
Traditional IDEs, like [IntelliJ](https://www.jetbrains.com/idea/) and [Eclipse](https://www.eclipse.org/) (sorry [Netbeans](https://netbeans.org/)...) also score well.
[Vim](https://www.vim.org/) gets a 25.8% for all respondents in 2018. [Emacs](https://www.gnu.org/software/emacs/) gets a small 4.1%.
Vim usage also boosts for sysadmin/devops occupations that gets about 40%.
There is [Vi/vim Stack Exchange site](https://vi.stackexchange.com/).
There is also an [Emacs Stack Exchange site](https://emacs.stackexchange.com/).
I have used all the ones I have mentioned, and some others.
Being currently an Emacs user, I wonder why Emacs got that small result.
Though I think somehow I know the answer and the reasons.
But what really amazes me is that ***Vim and Emacs both have Stack Exchange sites***.
And none of the rest have a site. Isn't that curious?
Why do you think is that?
* Is it because they have been around more time than the rest?
* Is it because their user community is dedicated and love its tool?
* Is it because they have their own language or scripting mechanism?
(which allows the user to tweak and tinker them to the unlimited)
* Is it because they are open source? | 2019/02/14 | [
"https://meta.stackoverflow.com/questions/380217",
"https://meta.stackoverflow.com",
"https://meta.stackoverflow.com/users/316232/"
] | It's worth noting that Emacs isn't a text editor or IDE: it's a programming language platform for building a customized text editor or IDE.
Vim is not quite a platform in the same way that Emacs is, but it's still far *more* of a platform than traditional "out-of-the-box" IDEs like IntelliJ, Eclipse, or Visual Studio.
I have rarely seen a user of Eclipse or Visual Studio that has written code for extending it. However, nearly *every* serious user of Emacs or Vim ends up writing code to extend their editor eventually.
As a result, questions about these tools are very different. Questions about Eclipse or Visual Studio tend to be "which checkbox do I check in the configuration to get this behavior?" or "which plugin do I install to get this behavior?" Existing sites tend to handle those kinds of questions well.
Additionally, there is arguably less of a need for a Stack Exchange style Q&A platform for a tool that is easier to learn to use. Since Emacs and Vim are among the hardest tools to learn to use, it makes sense that they generate more Q&A activity. | I think it is because the SE doesn't see technologies, they see communities. The Area51 is before you. You can initiate a community about any technologies you like. The question is, if they would get the required support.
Btw, vi/vim is much more than an ncurses-based text editor. It is such a complex IDE like eclipse or the others.
P.s. what counts as "traditional", depends on the first softwares you've faced. For me, "vi" is "traditional". |
380,217 | According to the **Stack Overflow Developer Survey Results**:
* these are the [most popular development environments and tools in 2018](https://insights.stackoverflow.com/survey/2018/#development-environments-and-tools).
* and these are [the most popular ones in 2017](https://insights.stackoverflow.com/survey/2017#technology-most-popular-developer-environments-by-occupation) by occupation.
Visual Studio ([Plain](https://visualstudio.microsoft.com/) & [Code](https://code.visualstudio.com/)) get a top position.
Top for all development occupations and second for sysadmin/devops ones.
If both are added together they get about 69%.
[Sublime Text](https://www.sublimetext.com/) and [Notepad++](https://notepad-plus-plus.org/) get also a very good position.
Between 28% to 32% depending on occupations, but not as good as Visual Studio ones.
Traditional IDEs, like [IntelliJ](https://www.jetbrains.com/idea/) and [Eclipse](https://www.eclipse.org/) (sorry [Netbeans](https://netbeans.org/)...) also score well.
[Vim](https://www.vim.org/) gets a 25.8% for all respondents in 2018. [Emacs](https://www.gnu.org/software/emacs/) gets a small 4.1%.
Vim usage also boosts for sysadmin/devops occupations that gets about 40%.
There is [Vi/vim Stack Exchange site](https://vi.stackexchange.com/).
There is also an [Emacs Stack Exchange site](https://emacs.stackexchange.com/).
I have used all the ones I have mentioned, and some others.
Being currently an Emacs user, I wonder why Emacs got that small result.
Though I think somehow I know the answer and the reasons.
But what really amazes me is that ***Vim and Emacs both have Stack Exchange sites***.
And none of the rest have a site. Isn't that curious?
Why do you think is that?
* Is it because they have been around more time than the rest?
* Is it because their user community is dedicated and love its tool?
* Is it because they have their own language or scripting mechanism?
(which allows the user to tweak and tinker them to the unlimited)
* Is it because they are open source? | 2019/02/14 | [
"https://meta.stackoverflow.com/questions/380217",
"https://meta.stackoverflow.com",
"https://meta.stackoverflow.com/users/316232/"
] | First and foremost, because they asked for them. They built a community that could support a separate site and [went through our process for getting such a site built](https://area51.stackexchange.com/).
Second, these tools are sufficiently complicated to require *highly* specialized knowledge. If you are at all used to standard desktop GUI tropes, then Visual Studio, VS Code, Notepad++, etc are things that you can do basic stuff in. You know where to find menu options, you have some idea how to do standard operations like copy and paste, etc.
Emacs and Vim aren't like that. Vim is *infamously* obtuse for the novice user. Emacs is practically a development *platform*. Both tools require a fairly high degree of knowledge before you can achieve minimal functionality. And both tools have an exceptional degree of depth.
Nobody makes a game that executes in Visual Studio. Well, I suppose a plugin *could*, but you don't see that happen with any regularity.
This is also why we have a website for TeX, but not for Microsoft Word or Libre Office Writer. Yeah, they "technically" do "the same thing" to a first order approximation, but you're really talking about the difference between shooting a bullet and *throwing* it.
Third, on a smaller note, there are a lot of emotions around Emacs and Vim that don't really exist for other tools. Questions regarding some complexity of one of them can occasionally attract comments from passionate users of the other tool. That's a lot less likely to happen if they live on their own site. | I think it is because the SE doesn't see technologies, they see communities. The Area51 is before you. You can initiate a community about any technologies you like. The question is, if they would get the required support.
Btw, vi/vim is much more than an ncurses-based text editor. It is such a complex IDE like eclipse or the others.
P.s. what counts as "traditional", depends on the first softwares you've faced. For me, "vi" is "traditional". |
9,915 | I heard that [Prince of Persia: The sands of time movie](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time_%28film%29) was based on the [Prince of Persia: The sands of time video game](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time). However in the wiki article it is said:
>
> Prince of Persia: The Sands of Time is a film loosely based on the game.
>
>
>
I also found that the writers of the movie are Jordan Mechner, Boaz Yakin, Doug Miro. I am not aware of the story of the game. So is the story of the film not the same as that of the game? Also I could not see any attribute in the film to the game. So did the producers not buy the story legally from Ubisoft? What is the back story? | 2013/02/08 | [
"https://movies.stackexchange.com/questions/9915",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/3271/"
] | As I commented, the story of the film only loosely has ideas from the game like the setting and some characters.
Judging solely from my experience playing the game and the summary from [Wikipedia](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_(film)), there are many more differences than I realized.
To start, the prince is nameless in the game, and he is an actual prince, not an orphan brought into the king's court, nor does he have any siblings at all, nor does he have a princess selected out. In fact, the girl you meet in the game is but a lowly citizen that you meet during the adventure who in turn, helps you to complete the game.
The reason his father dies in the game is because, after raiding a city, they loot the Sands of Time containing the Dagger of Time. The kingdom is then betrayed by the Vizier. He tricks the prince into releasing the sands, killing almost everyone around the kingdom by turning them into fearsome sand beasts, including your father. The entire plot of the game revolves around collecting enough of the Sands of Time in order for the Prince to revert time back to the moment he released them, and to stop this action in order to save his kingdom.
Instead, the movie focuses on more of a plot of deception from within the kingdom. Dastan, who is essentially the Prince, is being betrayed by his Uncle Nizam for the throne. Nizam realizes that he can use the dagger to prevent the Prince from being the king of Persia. | As an addition to *Tyler*'s answer, while the story, the locations, the characters and their particular relationships are different from the game, there are still many general similarities in the story development of both the movie and the video game, apart from the obvious presence of the *"Sand of Time"*, the dagger and the *"Prince of Persia"* himself:
Similar to the movie the *Vezier* (though not being related to the *Prince*'s family) more or less persuades the *Prince*'s father to conquer a realm for more or less normal reasons (game: wealth and honor, movie: preemptive attack) just to secretly get his hands on the *Sand of Time*. The *Prince* in turn tries to impress his father, and steals the *Dagger of Time* during this attack (not knowing what it can do), much to the dismay of the *Vezier*'s evil plans.
On his way to correct things (though in the game everybody is dead/evil and in the movie he is merely banned/wanted for betrayal), he meets a girl who in the end knows much more about the *Sand* and the *Dagger*. She wants to get her hands on it in order to correct things, while the *Prince* is rather stubborn, doesn't trust her and wants to do things his own way by keeping the dagger getting both into conflict.
At the end, they manage to find the source of the *Sand of Time*, and by reuniting it with the *Dagger*, turn back the time to the start of the adventure. The *Prince* gets the chance to prevent all those evil things happening, and just hints at the girl (who has no memory of her adventure in the other timeline) as to what actually happened.
So while the story is quite different, major plot elements along with the general personalities and relationships of the major characters are not that dissimilar between the movie and the game. |
9,915 | I heard that [Prince of Persia: The sands of time movie](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time_%28film%29) was based on the [Prince of Persia: The sands of time video game](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time). However in the wiki article it is said:
>
> Prince of Persia: The Sands of Time is a film loosely based on the game.
>
>
>
I also found that the writers of the movie are Jordan Mechner, Boaz Yakin, Doug Miro. I am not aware of the story of the game. So is the story of the film not the same as that of the game? Also I could not see any attribute in the film to the game. So did the producers not buy the story legally from Ubisoft? What is the back story? | 2013/02/08 | [
"https://movies.stackexchange.com/questions/9915",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/3271/"
] | As I commented, the story of the film only loosely has ideas from the game like the setting and some characters.
Judging solely from my experience playing the game and the summary from [Wikipedia](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_(film)), there are many more differences than I realized.
To start, the prince is nameless in the game, and he is an actual prince, not an orphan brought into the king's court, nor does he have any siblings at all, nor does he have a princess selected out. In fact, the girl you meet in the game is but a lowly citizen that you meet during the adventure who in turn, helps you to complete the game.
The reason his father dies in the game is because, after raiding a city, they loot the Sands of Time containing the Dagger of Time. The kingdom is then betrayed by the Vizier. He tricks the prince into releasing the sands, killing almost everyone around the kingdom by turning them into fearsome sand beasts, including your father. The entire plot of the game revolves around collecting enough of the Sands of Time in order for the Prince to revert time back to the moment he released them, and to stop this action in order to save his kingdom.
Instead, the movie focuses on more of a plot of deception from within the kingdom. Dastan, who is essentially the Prince, is being betrayed by his Uncle Nizam for the throne. Nizam realizes that he can use the dagger to prevent the Prince from being the king of Persia. | As per your production rite question, the answer is yes they brought the rights , As per [Wiki statement](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_%28film%29)-
>
> In March 2004, the production company Jerry Bruckheimer Films sought
> to acquire feature film rights to the 2003 video game Prince of
> Persia: The Sands of Time with the film to be distributed by Walt
> Disney Pictures.
>
>
>
And giving attribute to game depends on the agreement terms and condition. And I think their is no need to give attribute if you brought the full rights.
The movie is just loosely based on the Prince of Persia: The Sands of Time and Elements from Prince of Persia: Warrior Within and Prince of Persia: The Two Thrones are also incorporated in it.
>
> Mechner, in writing the script, re-conceived the storyline to shift
> the perspective from the interactive one experienced by video gamers
> to the non-interactive experience by film audiences. The screenwriter
> left out elements of the Prince of Persia video games Warrior Within
> and The Two Thrones and did not anticipate including these elements in
> the film's possible sequels. [(source)](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_%28film%29)
>
>
>
Rather then explaining all the differences, we can only say that its story retelling by just taking some of characters but with different origin stories and little different situation. They removed the context of sand storm and monster and just made the movie full of more human rather the sand monsters. Other major differences are the death of king in different way, completely different princess story (princess is a prisoner in the game), Vezir's have no relation to king in the game, an extra character brother of prince and different love story too. In the game prince doesn't trust the princess because of the wrong treatment to her by his own kingdom and she earned the trust later in the game. |
9,915 | I heard that [Prince of Persia: The sands of time movie](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time_%28film%29) was based on the [Prince of Persia: The sands of time video game](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time). However in the wiki article it is said:
>
> Prince of Persia: The Sands of Time is a film loosely based on the game.
>
>
>
I also found that the writers of the movie are Jordan Mechner, Boaz Yakin, Doug Miro. I am not aware of the story of the game. So is the story of the film not the same as that of the game? Also I could not see any attribute in the film to the game. So did the producers not buy the story legally from Ubisoft? What is the back story? | 2013/02/08 | [
"https://movies.stackexchange.com/questions/9915",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/3271/"
] | As I commented, the story of the film only loosely has ideas from the game like the setting and some characters.
Judging solely from my experience playing the game and the summary from [Wikipedia](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_(film)), there are many more differences than I realized.
To start, the prince is nameless in the game, and he is an actual prince, not an orphan brought into the king's court, nor does he have any siblings at all, nor does he have a princess selected out. In fact, the girl you meet in the game is but a lowly citizen that you meet during the adventure who in turn, helps you to complete the game.
The reason his father dies in the game is because, after raiding a city, they loot the Sands of Time containing the Dagger of Time. The kingdom is then betrayed by the Vizier. He tricks the prince into releasing the sands, killing almost everyone around the kingdom by turning them into fearsome sand beasts, including your father. The entire plot of the game revolves around collecting enough of the Sands of Time in order for the Prince to revert time back to the moment he released them, and to stop this action in order to save his kingdom.
Instead, the movie focuses on more of a plot of deception from within the kingdom. Dastan, who is essentially the Prince, is being betrayed by his Uncle Nizam for the throne. Nizam realizes that he can use the dagger to prevent the Prince from being the king of Persia. | Yes. The 2010 movie ***Prince of Persia: The Sands of Time*** was based on the 2003 video game of the same name.
[From Wikipedia](https://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_(film)#Production):
>
> In March 2004, the production company Jerry Bruckheimer Films sought to acquire feature film rights to the 2003 video game Prince of Persia: The Sands of Time with the film to be distributed by Walt Disney Pictures. Under John August as executive producer, the series' creator Jordan Mechner was hired to write the script. Producer Jerry Bruckheimer's Pirates of the Caribbean film trilogy served as a touchstone in how a theme park ride was converted into a film franchise. According to Mechner, "Rather than do a straight beat-for-beat adaptation of the new videogame, we're taking some cool elements from the game and using them to craft a new story." Mechner previously considered producing an animated film based on the games, but could not resist Disney and Bruckheimer's offer. In February 2006, Disney hired screenwriter Jeffrey Nachmanoff to write a new script for Prince of Persia.
>
>
>
So much so that Director Mike Newell had ["an assistant playing the video games to brief him on key details."](http://editorial.rottentomatoes.com/article/mike-newell-drops-early-prince-of-persia-details/)
While based on the game, the movie is not a straight adaptation. |
9,915 | I heard that [Prince of Persia: The sands of time movie](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time_%28film%29) was based on the [Prince of Persia: The sands of time video game](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time). However in the wiki article it is said:
>
> Prince of Persia: The Sands of Time is a film loosely based on the game.
>
>
>
I also found that the writers of the movie are Jordan Mechner, Boaz Yakin, Doug Miro. I am not aware of the story of the game. So is the story of the film not the same as that of the game? Also I could not see any attribute in the film to the game. So did the producers not buy the story legally from Ubisoft? What is the back story? | 2013/02/08 | [
"https://movies.stackexchange.com/questions/9915",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/3271/"
] | As an addition to *Tyler*'s answer, while the story, the locations, the characters and their particular relationships are different from the game, there are still many general similarities in the story development of both the movie and the video game, apart from the obvious presence of the *"Sand of Time"*, the dagger and the *"Prince of Persia"* himself:
Similar to the movie the *Vezier* (though not being related to the *Prince*'s family) more or less persuades the *Prince*'s father to conquer a realm for more or less normal reasons (game: wealth and honor, movie: preemptive attack) just to secretly get his hands on the *Sand of Time*. The *Prince* in turn tries to impress his father, and steals the *Dagger of Time* during this attack (not knowing what it can do), much to the dismay of the *Vezier*'s evil plans.
On his way to correct things (though in the game everybody is dead/evil and in the movie he is merely banned/wanted for betrayal), he meets a girl who in the end knows much more about the *Sand* and the *Dagger*. She wants to get her hands on it in order to correct things, while the *Prince* is rather stubborn, doesn't trust her and wants to do things his own way by keeping the dagger getting both into conflict.
At the end, they manage to find the source of the *Sand of Time*, and by reuniting it with the *Dagger*, turn back the time to the start of the adventure. The *Prince* gets the chance to prevent all those evil things happening, and just hints at the girl (who has no memory of her adventure in the other timeline) as to what actually happened.
So while the story is quite different, major plot elements along with the general personalities and relationships of the major characters are not that dissimilar between the movie and the game. | As per your production rite question, the answer is yes they brought the rights , As per [Wiki statement](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_%28film%29)-
>
> In March 2004, the production company Jerry Bruckheimer Films sought
> to acquire feature film rights to the 2003 video game Prince of
> Persia: The Sands of Time with the film to be distributed by Walt
> Disney Pictures.
>
>
>
And giving attribute to game depends on the agreement terms and condition. And I think their is no need to give attribute if you brought the full rights.
The movie is just loosely based on the Prince of Persia: The Sands of Time and Elements from Prince of Persia: Warrior Within and Prince of Persia: The Two Thrones are also incorporated in it.
>
> Mechner, in writing the script, re-conceived the storyline to shift
> the perspective from the interactive one experienced by video gamers
> to the non-interactive experience by film audiences. The screenwriter
> left out elements of the Prince of Persia video games Warrior Within
> and The Two Thrones and did not anticipate including these elements in
> the film's possible sequels. [(source)](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_%28film%29)
>
>
>
Rather then explaining all the differences, we can only say that its story retelling by just taking some of characters but with different origin stories and little different situation. They removed the context of sand storm and monster and just made the movie full of more human rather the sand monsters. Other major differences are the death of king in different way, completely different princess story (princess is a prisoner in the game), Vezir's have no relation to king in the game, an extra character brother of prince and different love story too. In the game prince doesn't trust the princess because of the wrong treatment to her by his own kingdom and she earned the trust later in the game. |
9,915 | I heard that [Prince of Persia: The sands of time movie](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time_%28film%29) was based on the [Prince of Persia: The sands of time video game](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time). However in the wiki article it is said:
>
> Prince of Persia: The Sands of Time is a film loosely based on the game.
>
>
>
I also found that the writers of the movie are Jordan Mechner, Boaz Yakin, Doug Miro. I am not aware of the story of the game. So is the story of the film not the same as that of the game? Also I could not see any attribute in the film to the game. So did the producers not buy the story legally from Ubisoft? What is the back story? | 2013/02/08 | [
"https://movies.stackexchange.com/questions/9915",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/3271/"
] | As an addition to *Tyler*'s answer, while the story, the locations, the characters and their particular relationships are different from the game, there are still many general similarities in the story development of both the movie and the video game, apart from the obvious presence of the *"Sand of Time"*, the dagger and the *"Prince of Persia"* himself:
Similar to the movie the *Vezier* (though not being related to the *Prince*'s family) more or less persuades the *Prince*'s father to conquer a realm for more or less normal reasons (game: wealth and honor, movie: preemptive attack) just to secretly get his hands on the *Sand of Time*. The *Prince* in turn tries to impress his father, and steals the *Dagger of Time* during this attack (not knowing what it can do), much to the dismay of the *Vezier*'s evil plans.
On his way to correct things (though in the game everybody is dead/evil and in the movie he is merely banned/wanted for betrayal), he meets a girl who in the end knows much more about the *Sand* and the *Dagger*. She wants to get her hands on it in order to correct things, while the *Prince* is rather stubborn, doesn't trust her and wants to do things his own way by keeping the dagger getting both into conflict.
At the end, they manage to find the source of the *Sand of Time*, and by reuniting it with the *Dagger*, turn back the time to the start of the adventure. The *Prince* gets the chance to prevent all those evil things happening, and just hints at the girl (who has no memory of her adventure in the other timeline) as to what actually happened.
So while the story is quite different, major plot elements along with the general personalities and relationships of the major characters are not that dissimilar between the movie and the game. | Yes. The 2010 movie ***Prince of Persia: The Sands of Time*** was based on the 2003 video game of the same name.
[From Wikipedia](https://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_(film)#Production):
>
> In March 2004, the production company Jerry Bruckheimer Films sought to acquire feature film rights to the 2003 video game Prince of Persia: The Sands of Time with the film to be distributed by Walt Disney Pictures. Under John August as executive producer, the series' creator Jordan Mechner was hired to write the script. Producer Jerry Bruckheimer's Pirates of the Caribbean film trilogy served as a touchstone in how a theme park ride was converted into a film franchise. According to Mechner, "Rather than do a straight beat-for-beat adaptation of the new videogame, we're taking some cool elements from the game and using them to craft a new story." Mechner previously considered producing an animated film based on the games, but could not resist Disney and Bruckheimer's offer. In February 2006, Disney hired screenwriter Jeffrey Nachmanoff to write a new script for Prince of Persia.
>
>
>
So much so that Director Mike Newell had ["an assistant playing the video games to brief him on key details."](http://editorial.rottentomatoes.com/article/mike-newell-drops-early-prince-of-persia-details/)
While based on the game, the movie is not a straight adaptation. |
9,915 | I heard that [Prince of Persia: The sands of time movie](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time_%28film%29) was based on the [Prince of Persia: The sands of time video game](http://en.wikipedia.org/wiki/Prince_of_Persia%3a_The_Sands_of_Time). However in the wiki article it is said:
>
> Prince of Persia: The Sands of Time is a film loosely based on the game.
>
>
>
I also found that the writers of the movie are Jordan Mechner, Boaz Yakin, Doug Miro. I am not aware of the story of the game. So is the story of the film not the same as that of the game? Also I could not see any attribute in the film to the game. So did the producers not buy the story legally from Ubisoft? What is the back story? | 2013/02/08 | [
"https://movies.stackexchange.com/questions/9915",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/3271/"
] | Yes. The 2010 movie ***Prince of Persia: The Sands of Time*** was based on the 2003 video game of the same name.
[From Wikipedia](https://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_(film)#Production):
>
> In March 2004, the production company Jerry Bruckheimer Films sought to acquire feature film rights to the 2003 video game Prince of Persia: The Sands of Time with the film to be distributed by Walt Disney Pictures. Under John August as executive producer, the series' creator Jordan Mechner was hired to write the script. Producer Jerry Bruckheimer's Pirates of the Caribbean film trilogy served as a touchstone in how a theme park ride was converted into a film franchise. According to Mechner, "Rather than do a straight beat-for-beat adaptation of the new videogame, we're taking some cool elements from the game and using them to craft a new story." Mechner previously considered producing an animated film based on the games, but could not resist Disney and Bruckheimer's offer. In February 2006, Disney hired screenwriter Jeffrey Nachmanoff to write a new script for Prince of Persia.
>
>
>
So much so that Director Mike Newell had ["an assistant playing the video games to brief him on key details."](http://editorial.rottentomatoes.com/article/mike-newell-drops-early-prince-of-persia-details/)
While based on the game, the movie is not a straight adaptation. | As per your production rite question, the answer is yes they brought the rights , As per [Wiki statement](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_%28film%29)-
>
> In March 2004, the production company Jerry Bruckheimer Films sought
> to acquire feature film rights to the 2003 video game Prince of
> Persia: The Sands of Time with the film to be distributed by Walt
> Disney Pictures.
>
>
>
And giving attribute to game depends on the agreement terms and condition. And I think their is no need to give attribute if you brought the full rights.
The movie is just loosely based on the Prince of Persia: The Sands of Time and Elements from Prince of Persia: Warrior Within and Prince of Persia: The Two Thrones are also incorporated in it.
>
> Mechner, in writing the script, re-conceived the storyline to shift
> the perspective from the interactive one experienced by video gamers
> to the non-interactive experience by film audiences. The screenwriter
> left out elements of the Prince of Persia video games Warrior Within
> and The Two Thrones and did not anticipate including these elements in
> the film's possible sequels. [(source)](http://en.wikipedia.org/wiki/Prince_of_Persia:_The_Sands_of_Time_%28film%29)
>
>
>
Rather then explaining all the differences, we can only say that its story retelling by just taking some of characters but with different origin stories and little different situation. They removed the context of sand storm and monster and just made the movie full of more human rather the sand monsters. Other major differences are the death of king in different way, completely different princess story (princess is a prisoner in the game), Vezir's have no relation to king in the game, an extra character brother of prince and different love story too. In the game prince doesn't trust the princess because of the wrong treatment to her by his own kingdom and she earned the trust later in the game. |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | DLLs are dynamic-link libraries:
>
> Dynamic-link library, or DLL, is
> Microsoft's implementation of the
> shared library concept in the
> Microsoft Windows and OS/2 operating
> systems. These libraries usually have
> the file extension DLL, OCX (for
> libraries containing ActiveX
> controls), or DRV (for legacy system
> drivers).
>
>
>
See [Dynamic-link library](http://en.wikipedia.org/wiki/Dynamic-link_library) on Wikipedia. | A dll is a library of functions that can be used by other programs. Not all dll's need to be registered, that applies only to those that expose their fuctionality as [COM](http://en.wikipedia.org/wiki/Component_Object_Model) objects.
Dll's can come from many places; a good number of them make up Windows as such, others come as part of various software that you install. Microsoft Office, for instance, registers dlls that exposes COM interfaces that allows other applications to incorporate functionality from the Office applications. |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | DLLs are dynamic-link libraries:
>
> Dynamic-link library, or DLL, is
> Microsoft's implementation of the
> shared library concept in the
> Microsoft Windows and OS/2 operating
> systems. These libraries usually have
> the file extension DLL, OCX (for
> libraries containing ActiveX
> controls), or DRV (for legacy system
> drivers).
>
>
>
See [Dynamic-link library](http://en.wikipedia.org/wiki/Dynamic-link_library) on Wikipedia. | dll stands for "Dynamic Link Library". As the name implies, it is a collection of functions (libray) that is linked to your program dynamically during runtime (compared to static linking).
Generally dll contain only function. "Modern" .NET dll contain normal .NET objects.
Dlls can be registered. This process (e.g. regsvr32 N:\ame.dll) makes this dll known for the operating system. As an alternative, the dll can be placed in the same directory as the executable or in a directory in the Path. A second alternative is to load the dll via Windows API (LoadLibrary()).
The normal procedure is to register the dll during installation or just copy it in the same directory as the executable. |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | DLLs are dynamic-link libraries:
>
> Dynamic-link library, or DLL, is
> Microsoft's implementation of the
> shared library concept in the
> Microsoft Windows and OS/2 operating
> systems. These libraries usually have
> the file extension DLL, OCX (for
> libraries containing ActiveX
> controls), or DRV (for legacy system
> drivers).
>
>
>
See [Dynamic-link library](http://en.wikipedia.org/wiki/Dynamic-link_library) on Wikipedia. | Let's not forget rundll32.exe. This Windows utility allows you to invoke a function exported in a dll. <http://support.microsoft.com/kb/164787> |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | DLLs are dynamic-link libraries:
>
> Dynamic-link library, or DLL, is
> Microsoft's implementation of the
> shared library concept in the
> Microsoft Windows and OS/2 operating
> systems. These libraries usually have
> the file extension DLL, OCX (for
> libraries containing ActiveX
> controls), or DRV (for legacy system
> drivers).
>
>
>
See [Dynamic-link library](http://en.wikipedia.org/wiki/Dynamic-link_library) on Wikipedia. | A program is a series of instructions. Normally the computer will read and execute instructions one after another in series.
This is great, but most programs will do the same task at various times, or the same task with slight variations at various times. Rather than rewrite the instructions of that task over and over, an option available to programmers is to package those instructions into a subroutine or *function*.
Then, instead of copying the instructions over and over, you tell the program to *call* that function and therefore save space. *Linking* binds this function to all places that call it in the program, when the program is built. The program is also easier to maintain since, if you want to change that task, you can change it one place and not all over the program.
Most programs have functions that are used within that program. They are part of that program, loaded with it, and only accessible to that program.
But what if you have a great function (such as one that takes a date and returns the day of the week) and want to use it in many different programs? *Dynamic Link Libraries*, or .dll files in Windows, allow this. It's called *dynamic linking* because the linking occurs at runtime when program is loaded rather than at build-time when it is compiled (in this case it's called *static linking*).
You can package the function in a specific .dll, and then tell your main program you want to use, or *import* functions from that .dll.
Now, if you want to update what that function does, or fix bugs, you're in an even better situation since all you have to do is change the functions in one file and every program that uses it will be automatically updated. The disadvantage is now your program depends on another file to work properly. Usually the benefits outweigh the disadvantages for everything except emergency system recovery programs that need to work when you can't load anything from disk and such. |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | A dll is a library of functions that can be used by other programs. Not all dll's need to be registered, that applies only to those that expose their fuctionality as [COM](http://en.wikipedia.org/wiki/Component_Object_Model) objects.
Dll's can come from many places; a good number of them make up Windows as such, others come as part of various software that you install. Microsoft Office, for instance, registers dlls that exposes COM interfaces that allows other applications to incorporate functionality from the Office applications. | Let's not forget rundll32.exe. This Windows utility allows you to invoke a function exported in a dll. <http://support.microsoft.com/kb/164787> |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | dll stands for "Dynamic Link Library". As the name implies, it is a collection of functions (libray) that is linked to your program dynamically during runtime (compared to static linking).
Generally dll contain only function. "Modern" .NET dll contain normal .NET objects.
Dlls can be registered. This process (e.g. regsvr32 N:\ame.dll) makes this dll known for the operating system. As an alternative, the dll can be placed in the same directory as the executable or in a directory in the Path. A second alternative is to load the dll via Windows API (LoadLibrary()).
The normal procedure is to register the dll during installation or just copy it in the same directory as the executable. | Let's not forget rundll32.exe. This Windows utility allows you to invoke a function exported in a dll. <http://support.microsoft.com/kb/164787> |
15,728 | What is a DLL? What is it doing in our computer? Why we need to register it? Is DLL registration a common process of a single command? Is this installed/registered while we are installing a software? | 2009/05/20 | [
"https://superuser.com/questions/15728",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | A program is a series of instructions. Normally the computer will read and execute instructions one after another in series.
This is great, but most programs will do the same task at various times, or the same task with slight variations at various times. Rather than rewrite the instructions of that task over and over, an option available to programmers is to package those instructions into a subroutine or *function*.
Then, instead of copying the instructions over and over, you tell the program to *call* that function and therefore save space. *Linking* binds this function to all places that call it in the program, when the program is built. The program is also easier to maintain since, if you want to change that task, you can change it one place and not all over the program.
Most programs have functions that are used within that program. They are part of that program, loaded with it, and only accessible to that program.
But what if you have a great function (such as one that takes a date and returns the day of the week) and want to use it in many different programs? *Dynamic Link Libraries*, or .dll files in Windows, allow this. It's called *dynamic linking* because the linking occurs at runtime when program is loaded rather than at build-time when it is compiled (in this case it's called *static linking*).
You can package the function in a specific .dll, and then tell your main program you want to use, or *import* functions from that .dll.
Now, if you want to update what that function does, or fix bugs, you're in an even better situation since all you have to do is change the functions in one file and every program that uses it will be automatically updated. The disadvantage is now your program depends on another file to work properly. Usually the benefits outweigh the disadvantages for everything except emergency system recovery programs that need to work when you can't load anything from disk and such. | Let's not forget rundll32.exe. This Windows utility allows you to invoke a function exported in a dll. <http://support.microsoft.com/kb/164787> |
7,126 | 2-logics quantify over predicates, 3-logics over predicates of predicates and so on.
Unlike 1-logic where we have nice meta-logical properties of soundness, completeness & effectiveness - these properties fail for higher logics.
But they're reobtained if instead of using full semantics we use Henkin semantics where the quantifiers are bounded. This means they reduce to typed 1-logic.
Consider the statement: Beethoven has all the properties that make for a great musician.
Surely, here one needs to restrict to properties that are applicable to human beings and not say to the moon for example?
Does this mean that typed 1-logic is more natural than just 1-logic? We have nice meta-logic properties, plus the expressibility of higher logics.
For example stating the least upper bound property for the reals is not possible in 1-logic, but it is in 2-logic.
Is there a strong argument for considering 1-logic more fundamental than typed 1-logic? | 2013/06/03 | [
"https://philosophy.stackexchange.com/questions/7126",
"https://philosophy.stackexchange.com",
"https://philosophy.stackexchange.com/users/933/"
] | Henkin semantics is equivalent to first-order logic + comprehension schema in expressive power. So if there's any reason to accept Henkin semantics over first-order logic, it will be insofar as one takes the comprehension schema to be logical truths.
There's a subtlety in the interpretation of these schema, viz. the quantified predicate variables are better thought of as *sets* as opposed to *properties*. So for instance, the sentence "Beethoven has all the properties that make for a great musician," if schematized in second-order logic, would say (roughly) "Beethoven is in every set that every great musician is in", or equivalently "Beethoven is in the set of great musicians," which doesn't quite have the intended meaning you suggested.
Perhaps this may make the comprehension schema look more plausible. But even if they're *true*, that doesn't yet mean they are *logically true*. Similarly, "Beethoven has all the properties that make for a great musician" doesn't yet give us reason to adopt Henkin semantics over, say, full semantics. For while it's *natural* to assume these properties are human properties (technically, the quantifiers range over the power set of the set of humans), that may not be something which is determined by our *logic*. If anything, our logic should be *neutral* to whether or not these properties being referred to are ones that only apply to humans (surely it's *logically* possible for the moon to sing, right?). But now, for comprehension schema, if they're true, are they true by virtue of logic? That will depend on your view regarding more fundamental philosophical issues. | Henkin semantics is important for higher order logic, but keep in mind that it is not automatically fully specified in every situation. Especially, are there any comprehension axioms at all, and if there are comprehension axioms, should they be predicative (i.e. avoid "inner" quantification over higher order variables) or impredicative (i.e. using arbitrary formulas including quantification over higher order variables as if they were first order variables).
Also note that the comprehension axioms can have a sort of "last word" property, i.e. if you introduce additional non-logical symbols into the language, all additional comprehension axioms enabled by these additional symbols become immediately available. Worse still, consider that the context of the logic can be extended to include Henkin quantifiers, cardinality quantifiers (or "nasty" transfinite quantifiers) or forms of infinitary logic (since we must assume an underlying set theory anyway). But all this additional expressivity of the language is automatically available for the comprehension axioms too. (I'm not so sure about impredicative comprehension axioms here, since they might quickly lead to paradoxes in case the language is extended beyong pure first-order logic.)
On the other hand, consider also the case where quantification over higher order variables is nearly absent, like in pure propositional logic where one just has a formula including propositions, and just want to know whether the formula is satisfiable (corresponding for existential quantification over all propositions), or whether the formula is a tautology (corresponding to universal quantification over all propositions). If we treat unquantified higher order variables in the same way, will standard semantics actually be different from Henkin semantics? |
7,126 | 2-logics quantify over predicates, 3-logics over predicates of predicates and so on.
Unlike 1-logic where we have nice meta-logical properties of soundness, completeness & effectiveness - these properties fail for higher logics.
But they're reobtained if instead of using full semantics we use Henkin semantics where the quantifiers are bounded. This means they reduce to typed 1-logic.
Consider the statement: Beethoven has all the properties that make for a great musician.
Surely, here one needs to restrict to properties that are applicable to human beings and not say to the moon for example?
Does this mean that typed 1-logic is more natural than just 1-logic? We have nice meta-logic properties, plus the expressibility of higher logics.
For example stating the least upper bound property for the reals is not possible in 1-logic, but it is in 2-logic.
Is there a strong argument for considering 1-logic more fundamental than typed 1-logic? | 2013/06/03 | [
"https://philosophy.stackexchange.com/questions/7126",
"https://philosophy.stackexchange.com",
"https://philosophy.stackexchange.com/users/933/"
] | I asked a similar question on [Math-overflow](https://mathoverflow.net/questions/132625/is-there-a-nice-characterisation-of-topoi-with-nice-meta-logical-properties), answered by Andrej Bauer: To quote:
>
> "The undesirable properties of higher-order logic are created by an insufficient notion of model. That is, we cannot have all three, soundness, completeness and effectivness (decidability of proof checking), if we insist that formulas be interpreted in the "standard" set-theoretic way. Henkin semantics does not suffer from this defficiency.
>
>
> What this says is not that something is wrong with higher-order logic, but that something is wrong with those who refuse to look at semantic models, even when they are right in front of their faces, because these models are "unintended", "philosophically unacceptable", "not what mathematicians think", etc. This phenomenon of refusing to accept new interpretations of old theories is quite persistent, and always very harmful. Didn't someone stall progress in noneuclidean geometry because it was unthinkable that there would be strange new models? Aren't imaginary numbers so called because they were unthinkable and did not "really exist"? Doesn't higher-order classical logic suffer because it is being denied its natural notion of models on the grounds that they are non-standard?"
>
>
>
The following observations are my own from the perspective of mathematical logic in a categorical, geometric & physical mood rather than philosophical logic.
Quine made a couple of observations about higher logics, first that they did not have good meta-logic properties - for example they weren't complete, sound or effective; and secondly they resembled set theory. To him these were good reasons to abandon considering them as logic per-se.
Its possible to turn this on its head and think that set theory is *dual* to logic. In the same way that in modern theories of geometry - algebra is dual to geometry (this followed from Descartes discovery of coordinatising geometry).
Now, a contemporary move to do this is from Category Theory. It has been observed that Sets have certain categorical properties which defines the category of sets uniquely. It turns out that a nicer theory prevails if we drop a few properties because it then connects up with logic and geometry much more neatly, broadly & deeply. (One could say this is an aesthetic application of Occams Razor). These kinds of categories are called Toposes and from the above perspective are thought of as generalised set theories.
Now, in the usual model theory one interprets logic in set theory. But in this new perspective we have many set theories to choose from. How does this change things?
We wish to get a duality between logics & set theories as alluded to above. This principle then tells us that the natural logic to consider is typed intuitionistic higher order logic and that they are dual to all toposes. This mean we also have a natural model theory context. A choice of this kind of logic tells you exactly which generalised set theory one should interpret it in.
What makes this natural, is that in the natural model context one immediately gets nice meta-logic properties; the ones that failed in the standard higher logic now hold - that is completeness, soundness and effectiveness.
Since, classical higher order logic is a specialisation of the typed intutionistic higher order logic we get nice meta-logic properties for it too.
In a sense what is been done is setting Henkin semantics for higher-order logic in a natural context.
Finally, a further feature about toposes that makes them nice to work with is that they are also geometric: The starting point here is manifolds which are traditionally built via atlases - that is local pieces of a manifold (which are easy to define) are patched together. A different perspective is using sheafs, this uses the same idea of patching but also uses Descartes idea of algebra being dual to geometry. Instead of patching local bits of geometry we patch the local algebras defined by each local piece of geometry. That is Toposes are also sheaves.
This means that we can now give geometric interpretations of logic - for example the forcing construction in set theory has a nice geometric interpretation in toposes.
Forcing is important because Cohen showed that the continuum hypothesis was independent of ZFC in mainstream mathematical logic; that a geometric perspective on this is now possible is another piece of evidence that Toposes are a good way to add new perspectives not available in mainstream set theory. This of course is not to dispute the central importance of ZFC.
Further, from a geometric perspective toposes are *pointless* - this goes with Aristotles observation who argued against the atomists for the continuum to be made up of points, and argued for *infinite divisibility*. Further, a contemporary movement in mathematical treatments of physics is that the idea of particles as points is being abandoned - the barrier of the planck distance - strings of course are not points and are infinitely divisible - spin foams where the spacetime is discrete but with structure.
So, my answer to my own question is that from a certain philosophical perspective - more mathematical (& physical) than I proposed in my question - that full semantics isn't justified, and new semantics have been found given the hint by Henkin.
Note, I'm saying its an **additional** perspective and not a **replacement**. | Henkin semantics is important for higher order logic, but keep in mind that it is not automatically fully specified in every situation. Especially, are there any comprehension axioms at all, and if there are comprehension axioms, should they be predicative (i.e. avoid "inner" quantification over higher order variables) or impredicative (i.e. using arbitrary formulas including quantification over higher order variables as if they were first order variables).
Also note that the comprehension axioms can have a sort of "last word" property, i.e. if you introduce additional non-logical symbols into the language, all additional comprehension axioms enabled by these additional symbols become immediately available. Worse still, consider that the context of the logic can be extended to include Henkin quantifiers, cardinality quantifiers (or "nasty" transfinite quantifiers) or forms of infinitary logic (since we must assume an underlying set theory anyway). But all this additional expressivity of the language is automatically available for the comprehension axioms too. (I'm not so sure about impredicative comprehension axioms here, since they might quickly lead to paradoxes in case the language is extended beyong pure first-order logic.)
On the other hand, consider also the case where quantification over higher order variables is nearly absent, like in pure propositional logic where one just has a formula including propositions, and just want to know whether the formula is satisfiable (corresponding for existential quantification over all propositions), or whether the formula is a tautology (corresponding to universal quantification over all propositions). If we treat unquantified higher order variables in the same way, will standard semantics actually be different from Henkin semantics? |
90,164 | I will be arriving in Tbilisi on Tuesday 4 april at 04:30, and need to get to Baku from there as quickly as possible by bus.
My questions is, what bus station should I go to for transport at around this time?
Didube, Ortachala, Sadg. Moedani etc?
Any form of public transport is good - buses, mashrutkas, shared taxis, etc - so long as I can reliably find it at around that time in the morning. | 2017/03/20 | [
"https://travel.stackexchange.com/questions/90164",
"https://travel.stackexchange.com",
"https://travel.stackexchange.com/users/39782/"
] | My wife, native of Tbilisi, suggests that all buses and marshrutkas from Tbilisi to Baku leave from Ortachala. Search around Russian language sites seems to confirm it. (Note: all links below are to Russian language sites.)
[This site](http://travelask.ru/questions/55046-kak-dobratsya-iz-tbilisi-v-baku) talks about actually buses, not marshrutkas, that go from Ortachala to Baku.
[This site](http://za7gorami.ru/avtobusy_i_poezda_v_gruzii) specifically talks about marshrutkas and indicates that the route is from Ortachala to Baku, however this site states 2013 as the date.
[This site](http://permistika.ru/wiki/index.php?title=%D0%A2%D0%B1%D0%B8%D0%BB%D0%B8%D1%81%D0%B8) suggest a couple other options:
* marshrutka from main Railway station to "Red Bridge" (წიტელი ჰიდი - Tsiteli Hidi), then from there buses to Ganja and Baku
* bus from Lilo market near Tbilisi airport to Red Bridge, then buses as above
* marshrutka from main railway station to Marneuli, from there there are buses to Baku.
Finally, that same site suggests that you can take a taxi to the Georgia-Azerbaijan border, which costs about USD $40 ($10 per person, shared ride) - from there, cross the border on foot and take a bus from the Azerbaijani side. | Upon arrival in Tbilisi (04:30 in the morning) I went to the Courtyard Marriott hotel, whose staff has been super helpful to me in the past despite me not staying there. After doing some research, they said there was "unlikely" to be public transport to the border before 11:00
So they got me a taxi to the border for exactly 58 lari (USD 24 or EUR 22), saying that was a pretty good price. |
90,164 | I will be arriving in Tbilisi on Tuesday 4 april at 04:30, and need to get to Baku from there as quickly as possible by bus.
My questions is, what bus station should I go to for transport at around this time?
Didube, Ortachala, Sadg. Moedani etc?
Any form of public transport is good - buses, mashrutkas, shared taxis, etc - so long as I can reliably find it at around that time in the morning. | 2017/03/20 | [
"https://travel.stackexchange.com/questions/90164",
"https://travel.stackexchange.com",
"https://travel.stackexchange.com/users/39782/"
] | My wife, native of Tbilisi, suggests that all buses and marshrutkas from Tbilisi to Baku leave from Ortachala. Search around Russian language sites seems to confirm it. (Note: all links below are to Russian language sites.)
[This site](http://travelask.ru/questions/55046-kak-dobratsya-iz-tbilisi-v-baku) talks about actually buses, not marshrutkas, that go from Ortachala to Baku.
[This site](http://za7gorami.ru/avtobusy_i_poezda_v_gruzii) specifically talks about marshrutkas and indicates that the route is from Ortachala to Baku, however this site states 2013 as the date.
[This site](http://permistika.ru/wiki/index.php?title=%D0%A2%D0%B1%D0%B8%D0%BB%D0%B8%D1%81%D0%B8) suggest a couple other options:
* marshrutka from main Railway station to "Red Bridge" (წიტელი ჰიდი - Tsiteli Hidi), then from there buses to Ganja and Baku
* bus from Lilo market near Tbilisi airport to Red Bridge, then buses as above
* marshrutka from main railway station to Marneuli, from there there are buses to Baku.
Finally, that same site suggests that you can take a taxi to the Georgia-Azerbaijan border, which costs about USD $40 ($10 per person, shared ride) - from there, cross the border on foot and take a bus from the Azerbaijani side. | Take a taxi to the border of Azerbaijan from the airport. Cross the border by foot and there are lots of buses and shared taxis waiting on the Azerbaijani side going to Baku. |
90,164 | I will be arriving in Tbilisi on Tuesday 4 april at 04:30, and need to get to Baku from there as quickly as possible by bus.
My questions is, what bus station should I go to for transport at around this time?
Didube, Ortachala, Sadg. Moedani etc?
Any form of public transport is good - buses, mashrutkas, shared taxis, etc - so long as I can reliably find it at around that time in the morning. | 2017/03/20 | [
"https://travel.stackexchange.com/questions/90164",
"https://travel.stackexchange.com",
"https://travel.stackexchange.com/users/39782/"
] | Upon arrival in Tbilisi (04:30 in the morning) I went to the Courtyard Marriott hotel, whose staff has been super helpful to me in the past despite me not staying there. After doing some research, they said there was "unlikely" to be public transport to the border before 11:00
So they got me a taxi to the border for exactly 58 lari (USD 24 or EUR 22), saying that was a pretty good price. | Take a taxi to the border of Azerbaijan from the airport. Cross the border by foot and there are lots of buses and shared taxis waiting on the Azerbaijani side going to Baku. |
105,877 | I was debating with my students this week about which software to submit their files in for my package design class. A few advantages of InDesign I see are as follow:
* The capability of creating mixed swatches with Pantones.
* The ability to customize the links panels so I can see right away which files and in what color mode and resolution, etc.
* Better type management, and in many languages.
* Getting a warning if I have overset text.
* Possibility of lowering the display performance if the file is heavy
After checking opinions on a few forums, it seems Illustrator is the preferred choice for package design. I've also freelanced in an agency specialized in package design and all their stuff was in Illustrator but after discussing, this seems to have been due to habit and the investment it would have required to switch everything to InDesign...
Am I missing something that makes the industry prefer Illustrator over InDesign? What would be the pros and cons of using Illustrator vs. InDesign for package design? | 2018/02/22 | [
"https://graphicdesign.stackexchange.com/questions/105877",
"https://graphicdesign.stackexchange.com",
"https://graphicdesign.stackexchange.com/users/18168/"
] | Some printers require files to be submitted in Illustrator format, so ultimately it will come down to vendor requirements. However, I think of Illustrator and Photoshop as tools to generate layout resources, and InDesign as the best way to efficiently assemble those resources. Illustrator is great for creating the die cut and score template as well as all of the vector-based assets, but it is weak in areas where InDesign excels. Unless your vendor states otherwise, there is no reason not to get the most out of both platforms. | I've worked at as an in-house designer for a publisher with it's own very large press, as well as a designer and art director for larger agencies, creating work for international clients (coke, mcdonalds, lipton), and I think you are spot on in your assessment of the programs & their use.
* Illustrator is excellent for vectors, which is what printers are all about, but sucks at handling raster images.
* Photoshop isn't ideal for print stuff, but people accomodate it due to it's widespread use as the #1 design program.
* Indesign isn't a great creation tool, but does a great job at consolidating color profiles, keeping working vectors & laying out images. It's especially great for packaging because it's masters allow the creation of templates for consistency across product labels.
+ I've actually experienced situations where printers prefer illustrator exclusively because of the preflight plugins for it. Realistically, its more laziness because they can just as easily make any prepress adjustments off an appropriately exported PDF. |
105,877 | I was debating with my students this week about which software to submit their files in for my package design class. A few advantages of InDesign I see are as follow:
* The capability of creating mixed swatches with Pantones.
* The ability to customize the links panels so I can see right away which files and in what color mode and resolution, etc.
* Better type management, and in many languages.
* Getting a warning if I have overset text.
* Possibility of lowering the display performance if the file is heavy
After checking opinions on a few forums, it seems Illustrator is the preferred choice for package design. I've also freelanced in an agency specialized in package design and all their stuff was in Illustrator but after discussing, this seems to have been due to habit and the investment it would have required to switch everything to InDesign...
Am I missing something that makes the industry prefer Illustrator over InDesign? What would be the pros and cons of using Illustrator vs. InDesign for package design? | 2018/02/22 | [
"https://graphicdesign.stackexchange.com/questions/105877",
"https://graphicdesign.stackexchange.com",
"https://graphicdesign.stackexchange.com/users/18168/"
] | Some printers require files to be submitted in Illustrator format, so ultimately it will come down to vendor requirements. However, I think of Illustrator and Photoshop as tools to generate layout resources, and InDesign as the best way to efficiently assemble those resources. Illustrator is great for creating the die cut and score template as well as all of the vector-based assets, but it is weak in areas where InDesign excels. Unless your vendor states otherwise, there is no reason not to get the most out of both platforms. | My name is Gil, Designer and a print production guy for the last 25 year
I will sum it like that:
Illustrator is printers choice because you have plugins and apps like ESKO or ORIGAMI or ENGView or IC3D (which works with Indesign as well)that handles the trapping and the proof process of a package.
Illustrator has a cloud of fans because no one has been there before them.
Although there is no built-in preflight, no info about images and no way to find overset text without looking, the industry got used to it and "ESKO" is the Adobe of the Packaging industry.
That said, Indesign produces PDFs just as weel, it plays better in the global market has it can be localised using Cat tools (translators can work with indesign files easily), it has all the preflight you can think of, it has better text tools and can easily generate data based packaging.
Why everyone is using photoshop? Illustrator or Indesign? Adobe is kind of a monopoly, especially in Israel where type is written from right to left - not all companies invest in supporting hebrew or arabic (hebrew is 8-15 million people, while arabic is almost a billion world wide)
There for, for now, ESKO rules, Illustrator rules
but Indesign is smarter, better tool. As a printer, you should get a print ready file. But because not every designer can supply a package ready for real printing, there are bunch of people that work in a package PrintHouse that "fixes" all the client mistakes. If a plugin like "ESKO" or IC3d which does work with Indesign, will grab more market share, I am sure that Indesign will become the main tool for Handling Package variation (not design).
The designers will do what ever they need to do in order to create stunning design and then they will create the full package in Indesign including Localisation or data based design, and tools like IC3d will create samples and mockups and trapping and folding and all the stuff needed not to make mistakes in this packaging industry! |
105,877 | I was debating with my students this week about which software to submit their files in for my package design class. A few advantages of InDesign I see are as follow:
* The capability of creating mixed swatches with Pantones.
* The ability to customize the links panels so I can see right away which files and in what color mode and resolution, etc.
* Better type management, and in many languages.
* Getting a warning if I have overset text.
* Possibility of lowering the display performance if the file is heavy
After checking opinions on a few forums, it seems Illustrator is the preferred choice for package design. I've also freelanced in an agency specialized in package design and all their stuff was in Illustrator but after discussing, this seems to have been due to habit and the investment it would have required to switch everything to InDesign...
Am I missing something that makes the industry prefer Illustrator over InDesign? What would be the pros and cons of using Illustrator vs. InDesign for package design? | 2018/02/22 | [
"https://graphicdesign.stackexchange.com/questions/105877",
"https://graphicdesign.stackexchange.com",
"https://graphicdesign.stackexchange.com/users/18168/"
] | ### As someone who's worked for and with multiple print shops,
From my personal experience everything is done in Illustrator and Photoshop.
Mostly Illustrator with Photoshop elements inside of it, as it is the most popular format to prepare for print.
Illustrator and Photoshop are the program you want to use to create things in because they have the highest amount of support for pre-press.
Esko, which is the most popular pre-press software, creates it's plugins for Illustrator and Photoshop, not InDesign. If you're printing in bulk you're probably not using digital printing. If you're not using digital printing you're probably using Esko software. If you're using Esko software you need to use Illustrator and Photoshop for the Esko plugins to make sure you have proper trapping, color layering, color separation etc...
Also as joojaa pointed out
>
> PDF generated by InDesign is fine but since the press does not
> exactly create pages as such but individual sheets many of the
> features of indesign are counter productive for the prepress work
>
>
>
You will find most shops will ask for an EPS, PDF, or AI file.
Side Note: Most artwork is sent in PDF format. (Because everyone and their grandma can look at it without special software)
Extremely rarely does anything come in as InDesign. (When that happens everyone hates it and I haven't seen any in that format in years.)
InDesign is great for books and pamphlets but not print or packaging. | I've worked at as an in-house designer for a publisher with it's own very large press, as well as a designer and art director for larger agencies, creating work for international clients (coke, mcdonalds, lipton), and I think you are spot on in your assessment of the programs & their use.
* Illustrator is excellent for vectors, which is what printers are all about, but sucks at handling raster images.
* Photoshop isn't ideal for print stuff, but people accomodate it due to it's widespread use as the #1 design program.
* Indesign isn't a great creation tool, but does a great job at consolidating color profiles, keeping working vectors & laying out images. It's especially great for packaging because it's masters allow the creation of templates for consistency across product labels.
+ I've actually experienced situations where printers prefer illustrator exclusively because of the preflight plugins for it. Realistically, its more laziness because they can just as easily make any prepress adjustments off an appropriately exported PDF. |
105,877 | I was debating with my students this week about which software to submit their files in for my package design class. A few advantages of InDesign I see are as follow:
* The capability of creating mixed swatches with Pantones.
* The ability to customize the links panels so I can see right away which files and in what color mode and resolution, etc.
* Better type management, and in many languages.
* Getting a warning if I have overset text.
* Possibility of lowering the display performance if the file is heavy
After checking opinions on a few forums, it seems Illustrator is the preferred choice for package design. I've also freelanced in an agency specialized in package design and all their stuff was in Illustrator but after discussing, this seems to have been due to habit and the investment it would have required to switch everything to InDesign...
Am I missing something that makes the industry prefer Illustrator over InDesign? What would be the pros and cons of using Illustrator vs. InDesign for package design? | 2018/02/22 | [
"https://graphicdesign.stackexchange.com/questions/105877",
"https://graphicdesign.stackexchange.com",
"https://graphicdesign.stackexchange.com/users/18168/"
] | ### As someone who's worked for and with multiple print shops,
From my personal experience everything is done in Illustrator and Photoshop.
Mostly Illustrator with Photoshop elements inside of it, as it is the most popular format to prepare for print.
Illustrator and Photoshop are the program you want to use to create things in because they have the highest amount of support for pre-press.
Esko, which is the most popular pre-press software, creates it's plugins for Illustrator and Photoshop, not InDesign. If you're printing in bulk you're probably not using digital printing. If you're not using digital printing you're probably using Esko software. If you're using Esko software you need to use Illustrator and Photoshop for the Esko plugins to make sure you have proper trapping, color layering, color separation etc...
Also as joojaa pointed out
>
> PDF generated by InDesign is fine but since the press does not
> exactly create pages as such but individual sheets many of the
> features of indesign are counter productive for the prepress work
>
>
>
You will find most shops will ask for an EPS, PDF, or AI file.
Side Note: Most artwork is sent in PDF format. (Because everyone and their grandma can look at it without special software)
Extremely rarely does anything come in as InDesign. (When that happens everyone hates it and I haven't seen any in that format in years.)
InDesign is great for books and pamphlets but not print or packaging. | My name is Gil, Designer and a print production guy for the last 25 year
I will sum it like that:
Illustrator is printers choice because you have plugins and apps like ESKO or ORIGAMI or ENGView or IC3D (which works with Indesign as well)that handles the trapping and the proof process of a package.
Illustrator has a cloud of fans because no one has been there before them.
Although there is no built-in preflight, no info about images and no way to find overset text without looking, the industry got used to it and "ESKO" is the Adobe of the Packaging industry.
That said, Indesign produces PDFs just as weel, it plays better in the global market has it can be localised using Cat tools (translators can work with indesign files easily), it has all the preflight you can think of, it has better text tools and can easily generate data based packaging.
Why everyone is using photoshop? Illustrator or Indesign? Adobe is kind of a monopoly, especially in Israel where type is written from right to left - not all companies invest in supporting hebrew or arabic (hebrew is 8-15 million people, while arabic is almost a billion world wide)
There for, for now, ESKO rules, Illustrator rules
but Indesign is smarter, better tool. As a printer, you should get a print ready file. But because not every designer can supply a package ready for real printing, there are bunch of people that work in a package PrintHouse that "fixes" all the client mistakes. If a plugin like "ESKO" or IC3d which does work with Indesign, will grab more market share, I am sure that Indesign will become the main tool for Handling Package variation (not design).
The designers will do what ever they need to do in order to create stunning design and then they will create the full package in Indesign including Localisation or data based design, and tools like IC3d will create samples and mockups and trapping and folding and all the stuff needed not to make mistakes in this packaging industry! |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Here is the description from Nikon's own web site:
**D-Type NIKKOR Lenses**
A D-type lens relays subject-to-camera-distance information to Nikon D-SLRs that feature 3D Color Matrix Metering (all versions), 3D Matrix Metering, 3D Multi-Sensor Balanced Fill-Flash and i-TTL Balanced Fill-Flash. Many D-Type lenses have an aperture control ring and can be used on older Nikon SLR cameras that allow for manual control of the aperture, as well as on D-SLRs—especially useful for adjusting aperture while recording D-Movies on higher end models. When used on a D-SLR, the aperture control ring needs to be locked at the smallest possible aperture (generally designated in orange), and the aperture control is maintained through the camera's command dial
**G-Type NIKKOR Lenses**
A G-type lens does not have an aperture control ring and are intended for use on Nikon D-SLRs that allow the lens aperture to be adjusted via the camera's command dial. Because G-type lenses relay subject-to-camera-distance information to the camera, where it is used to help determine ambient and flash exposure, they are also considered to be D-type lenses. The lack of an aperture control ring is perhaps the easiest way that you can tell if a lens is a G-Type NIKKOR or not. [The AF-S NIKKOR 24-120mm f/4G ED VR lens, shown above is an example of a G-Type lens. Note there is no aperture ring on that version of the lens, while there is an aperture ring on the AF version, above right.]
<http://www.nikonusa.com/en/Learn-And-Explore/Article/go35b5yp/which-nikkor-lens-type-is-right-for-your-d-slr.html>
To me the main different is that a G lenses are newer lenses where Nikon have removed the aperture ring. | Any G lens is a D lens. Not all D lenses are G lenses.
The difference is that a G lens lacks an aperture ring for manually setting the aperture on the lens (rather than the camera). This isn't very important on modern cameras (everything producedin the last 20 years or so) except sometimes in full manual mode it can be more convenient than using the camera controls.
The reason he advised that lens is not that it's a D rather than a G lens, but because its far wider maximum aperture makes it much more capable in low light situations than the lens you already have (it can capture a lot more light, meaning shorter exposure times). It's also optically far superior to your kit lens, giving better photos with less distortion and lens artifacts. Neither is related to D vs. G, it's just differences in the design and materials used in the lens construction.
The main reason to omit an aperture ring on many current lenses is cost (it's extra construction, materials, etc.), and there being no space for one on a lens that has VR (the number of contacts on the electronic linking between the lens and body means Nikon could not design a lens that has both VR and an aperture ring without changing their lens mount, which would break compatibility between new and existing lenses and bodies, which they've always avoided). |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Any G lens is a D lens. Not all D lenses are G lenses.
The difference is that a G lens lacks an aperture ring for manually setting the aperture on the lens (rather than the camera). This isn't very important on modern cameras (everything producedin the last 20 years or so) except sometimes in full manual mode it can be more convenient than using the camera controls.
The reason he advised that lens is not that it's a D rather than a G lens, but because its far wider maximum aperture makes it much more capable in low light situations than the lens you already have (it can capture a lot more light, meaning shorter exposure times). It's also optically far superior to your kit lens, giving better photos with less distortion and lens artifacts. Neither is related to D vs. G, it's just differences in the design and materials used in the lens construction.
The main reason to omit an aperture ring on many current lenses is cost (it's extra construction, materials, etc.), and there being no space for one on a lens that has VR (the number of contacts on the electronic linking between the lens and body means Nikon could not design a lens that has both VR and an aperture ring without changing their lens mount, which would break compatibility between new and existing lenses and bodies, which they've always avoided). | The Nikon D5100 camera body does not have an in-built focus motor.
The G lenses are AF-S lenses which include a focus motor inside the lens - these lenses can be used with entry level camera bodies such as the D3100, D3200, D5xxx series.
AF-S lenses also do not include an aperture ring and will not be compatible with older Film cameras.
The D lenses are older lenses. These lenses would include an aperture ring and would be compatible with older Film cameras.
Few D lenses are AF lenses which do not include an auto-focus motor inside the lens. If auto-focus is a requirement, these lenses require a camera, generally in the mid-to-high-pro-level body range which include a screw-drive focusing motor (auto-focus motor) inside the camera. These lenses will work on the entry level Nikon cameras but focusing will need to be done manually.
Few of the D lenses range also have AF-S. These lenses will be able to auto-focus on the entry level Nikon cameras including the D5100. The 300mm f/4D AF-S is an example of this which is currently available.
The D lenses are also somewhat cheaper compared to the G lenses. However, to use auto-focus on the D lenses with AF, you need to invest more on the higher level camera body - D7000 and above.
If you are currently using the 50mm 1.8D on your D5100 camera, you are probably using manual focus for taking your photographs.
List of Nikon F-mount lenses with integrated autofocus motor - Wiki Link - <http://en.wikipedia.org/wiki/List_of_Nikon_compatible_lenses_with_integrated_autofocus-motor> |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Any G lens is a D lens. Not all D lenses are G lenses.
The difference is that a G lens lacks an aperture ring for manually setting the aperture on the lens (rather than the camera). This isn't very important on modern cameras (everything producedin the last 20 years or so) except sometimes in full manual mode it can be more convenient than using the camera controls.
The reason he advised that lens is not that it's a D rather than a G lens, but because its far wider maximum aperture makes it much more capable in low light situations than the lens you already have (it can capture a lot more light, meaning shorter exposure times). It's also optically far superior to your kit lens, giving better photos with less distortion and lens artifacts. Neither is related to D vs. G, it's just differences in the design and materials used in the lens construction.
The main reason to omit an aperture ring on many current lenses is cost (it's extra construction, materials, etc.), and there being no space for one on a lens that has VR (the number of contacts on the electronic linking between the lens and body means Nikon could not design a lens that has both VR and an aperture ring without changing their lens mount, which would break compatibility between new and existing lenses and bodies, which they've always avoided). | You commented that you cannot focus automatically on your kit lens. There should be a switch on the lens which you can use either for Auto or Manual focus - marked A and M. Set this to A for auto-focus. On the auto dial, set your camera to Auto mode and check auto-focus.
If you are using the camera in other modes (as per the command dial) such as Aperture or Manual, there is an option inside the camera also to switch between Auto-focusing and Manual-focusing. You will also be able to select the focus mode and focus-points by pressing the "i" button on the camera and changing the options available on the LCD screen.
The best way to know/learn this is to go through the camera manual which provides these instructions along with illustrations. If you are still not able to auto-focus after setting all these options, then you need to take the camera back to the shop or service-center for getting it checked. |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Any G lens is a D lens. Not all D lenses are G lenses.
The difference is that a G lens lacks an aperture ring for manually setting the aperture on the lens (rather than the camera). This isn't very important on modern cameras (everything producedin the last 20 years or so) except sometimes in full manual mode it can be more convenient than using the camera controls.
The reason he advised that lens is not that it's a D rather than a G lens, but because its far wider maximum aperture makes it much more capable in low light situations than the lens you already have (it can capture a lot more light, meaning shorter exposure times). It's also optically far superior to your kit lens, giving better photos with less distortion and lens artifacts. Neither is related to D vs. G, it's just differences in the design and materials used in the lens construction.
The main reason to omit an aperture ring on many current lenses is cost (it's extra construction, materials, etc.), and there being no space for one on a lens that has VR (the number of contacts on the electronic linking between the lens and body means Nikon could not design a lens that has both VR and an aperture ring without changing their lens mount, which would break compatibility between new and existing lenses and bodies, which they've always avoided). | 50mm 1.8 d has no auto focus motor. If you want to auto focus with this lens use d7000 or higher because this camera has built in auto focus, use 50mm 1.8 G if you want auto focus to the camera d5000 below. Because 50 mm 1.8 G is designed for cameras d5000 and below for auto focus. Ok |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Here is the description from Nikon's own web site:
**D-Type NIKKOR Lenses**
A D-type lens relays subject-to-camera-distance information to Nikon D-SLRs that feature 3D Color Matrix Metering (all versions), 3D Matrix Metering, 3D Multi-Sensor Balanced Fill-Flash and i-TTL Balanced Fill-Flash. Many D-Type lenses have an aperture control ring and can be used on older Nikon SLR cameras that allow for manual control of the aperture, as well as on D-SLRs—especially useful for adjusting aperture while recording D-Movies on higher end models. When used on a D-SLR, the aperture control ring needs to be locked at the smallest possible aperture (generally designated in orange), and the aperture control is maintained through the camera's command dial
**G-Type NIKKOR Lenses**
A G-type lens does not have an aperture control ring and are intended for use on Nikon D-SLRs that allow the lens aperture to be adjusted via the camera's command dial. Because G-type lenses relay subject-to-camera-distance information to the camera, where it is used to help determine ambient and flash exposure, they are also considered to be D-type lenses. The lack of an aperture control ring is perhaps the easiest way that you can tell if a lens is a G-Type NIKKOR or not. [The AF-S NIKKOR 24-120mm f/4G ED VR lens, shown above is an example of a G-Type lens. Note there is no aperture ring on that version of the lens, while there is an aperture ring on the AF version, above right.]
<http://www.nikonusa.com/en/Learn-And-Explore/Article/go35b5yp/which-nikkor-lens-type-is-right-for-your-d-slr.html>
To me the main different is that a G lenses are newer lenses where Nikon have removed the aperture ring. | The Nikon D5100 camera body does not have an in-built focus motor.
The G lenses are AF-S lenses which include a focus motor inside the lens - these lenses can be used with entry level camera bodies such as the D3100, D3200, D5xxx series.
AF-S lenses also do not include an aperture ring and will not be compatible with older Film cameras.
The D lenses are older lenses. These lenses would include an aperture ring and would be compatible with older Film cameras.
Few D lenses are AF lenses which do not include an auto-focus motor inside the lens. If auto-focus is a requirement, these lenses require a camera, generally in the mid-to-high-pro-level body range which include a screw-drive focusing motor (auto-focus motor) inside the camera. These lenses will work on the entry level Nikon cameras but focusing will need to be done manually.
Few of the D lenses range also have AF-S. These lenses will be able to auto-focus on the entry level Nikon cameras including the D5100. The 300mm f/4D AF-S is an example of this which is currently available.
The D lenses are also somewhat cheaper compared to the G lenses. However, to use auto-focus on the D lenses with AF, you need to invest more on the higher level camera body - D7000 and above.
If you are currently using the 50mm 1.8D on your D5100 camera, you are probably using manual focus for taking your photographs.
List of Nikon F-mount lenses with integrated autofocus motor - Wiki Link - <http://en.wikipedia.org/wiki/List_of_Nikon_compatible_lenses_with_integrated_autofocus-motor> |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Here is the description from Nikon's own web site:
**D-Type NIKKOR Lenses**
A D-type lens relays subject-to-camera-distance information to Nikon D-SLRs that feature 3D Color Matrix Metering (all versions), 3D Matrix Metering, 3D Multi-Sensor Balanced Fill-Flash and i-TTL Balanced Fill-Flash. Many D-Type lenses have an aperture control ring and can be used on older Nikon SLR cameras that allow for manual control of the aperture, as well as on D-SLRs—especially useful for adjusting aperture while recording D-Movies on higher end models. When used on a D-SLR, the aperture control ring needs to be locked at the smallest possible aperture (generally designated in orange), and the aperture control is maintained through the camera's command dial
**G-Type NIKKOR Lenses**
A G-type lens does not have an aperture control ring and are intended for use on Nikon D-SLRs that allow the lens aperture to be adjusted via the camera's command dial. Because G-type lenses relay subject-to-camera-distance information to the camera, where it is used to help determine ambient and flash exposure, they are also considered to be D-type lenses. The lack of an aperture control ring is perhaps the easiest way that you can tell if a lens is a G-Type NIKKOR or not. [The AF-S NIKKOR 24-120mm f/4G ED VR lens, shown above is an example of a G-Type lens. Note there is no aperture ring on that version of the lens, while there is an aperture ring on the AF version, above right.]
<http://www.nikonusa.com/en/Learn-And-Explore/Article/go35b5yp/which-nikkor-lens-type-is-right-for-your-d-slr.html>
To me the main different is that a G lenses are newer lenses where Nikon have removed the aperture ring. | You commented that you cannot focus automatically on your kit lens. There should be a switch on the lens which you can use either for Auto or Manual focus - marked A and M. Set this to A for auto-focus. On the auto dial, set your camera to Auto mode and check auto-focus.
If you are using the camera in other modes (as per the command dial) such as Aperture or Manual, there is an option inside the camera also to switch between Auto-focusing and Manual-focusing. You will also be able to select the focus mode and focus-points by pressing the "i" button on the camera and changing the options available on the LCD screen.
The best way to know/learn this is to go through the camera manual which provides these instructions along with illustrations. If you are still not able to auto-focus after setting all these options, then you need to take the camera back to the shop or service-center for getting it checked. |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | Here is the description from Nikon's own web site:
**D-Type NIKKOR Lenses**
A D-type lens relays subject-to-camera-distance information to Nikon D-SLRs that feature 3D Color Matrix Metering (all versions), 3D Matrix Metering, 3D Multi-Sensor Balanced Fill-Flash and i-TTL Balanced Fill-Flash. Many D-Type lenses have an aperture control ring and can be used on older Nikon SLR cameras that allow for manual control of the aperture, as well as on D-SLRs—especially useful for adjusting aperture while recording D-Movies on higher end models. When used on a D-SLR, the aperture control ring needs to be locked at the smallest possible aperture (generally designated in orange), and the aperture control is maintained through the camera's command dial
**G-Type NIKKOR Lenses**
A G-type lens does not have an aperture control ring and are intended for use on Nikon D-SLRs that allow the lens aperture to be adjusted via the camera's command dial. Because G-type lenses relay subject-to-camera-distance information to the camera, where it is used to help determine ambient and flash exposure, they are also considered to be D-type lenses. The lack of an aperture control ring is perhaps the easiest way that you can tell if a lens is a G-Type NIKKOR or not. [The AF-S NIKKOR 24-120mm f/4G ED VR lens, shown above is an example of a G-Type lens. Note there is no aperture ring on that version of the lens, while there is an aperture ring on the AF version, above right.]
<http://www.nikonusa.com/en/Learn-And-Explore/Article/go35b5yp/which-nikkor-lens-type-is-right-for-your-d-slr.html>
To me the main different is that a G lenses are newer lenses where Nikon have removed the aperture ring. | 50mm 1.8 d has no auto focus motor. If you want to auto focus with this lens use d7000 or higher because this camera has built in auto focus, use 50mm 1.8 G if you want auto focus to the camera d5000 below. Because 50 mm 1.8 G is designed for cameras d5000 and below for auto focus. Ok |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | The Nikon D5100 camera body does not have an in-built focus motor.
The G lenses are AF-S lenses which include a focus motor inside the lens - these lenses can be used with entry level camera bodies such as the D3100, D3200, D5xxx series.
AF-S lenses also do not include an aperture ring and will not be compatible with older Film cameras.
The D lenses are older lenses. These lenses would include an aperture ring and would be compatible with older Film cameras.
Few D lenses are AF lenses which do not include an auto-focus motor inside the lens. If auto-focus is a requirement, these lenses require a camera, generally in the mid-to-high-pro-level body range which include a screw-drive focusing motor (auto-focus motor) inside the camera. These lenses will work on the entry level Nikon cameras but focusing will need to be done manually.
Few of the D lenses range also have AF-S. These lenses will be able to auto-focus on the entry level Nikon cameras including the D5100. The 300mm f/4D AF-S is an example of this which is currently available.
The D lenses are also somewhat cheaper compared to the G lenses. However, to use auto-focus on the D lenses with AF, you need to invest more on the higher level camera body - D7000 and above.
If you are currently using the 50mm 1.8D on your D5100 camera, you are probably using manual focus for taking your photographs.
List of Nikon F-mount lenses with integrated autofocus motor - Wiki Link - <http://en.wikipedia.org/wiki/List_of_Nikon_compatible_lenses_with_integrated_autofocus-motor> | You commented that you cannot focus automatically on your kit lens. There should be a switch on the lens which you can use either for Auto or Manual focus - marked A and M. Set this to A for auto-focus. On the auto dial, set your camera to Auto mode and check auto-focus.
If you are using the camera in other modes (as per the command dial) such as Aperture or Manual, there is an option inside the camera also to switch between Auto-focusing and Manual-focusing. You will also be able to select the focus mode and focus-points by pressing the "i" button on the camera and changing the options available on the LCD screen.
The best way to know/learn this is to go through the camera manual which provides these instructions along with illustrations. If you are still not able to auto-focus after setting all these options, then you need to take the camera back to the shop or service-center for getting it checked. |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | The Nikon D5100 camera body does not have an in-built focus motor.
The G lenses are AF-S lenses which include a focus motor inside the lens - these lenses can be used with entry level camera bodies such as the D3100, D3200, D5xxx series.
AF-S lenses also do not include an aperture ring and will not be compatible with older Film cameras.
The D lenses are older lenses. These lenses would include an aperture ring and would be compatible with older Film cameras.
Few D lenses are AF lenses which do not include an auto-focus motor inside the lens. If auto-focus is a requirement, these lenses require a camera, generally in the mid-to-high-pro-level body range which include a screw-drive focusing motor (auto-focus motor) inside the camera. These lenses will work on the entry level Nikon cameras but focusing will need to be done manually.
Few of the D lenses range also have AF-S. These lenses will be able to auto-focus on the entry level Nikon cameras including the D5100. The 300mm f/4D AF-S is an example of this which is currently available.
The D lenses are also somewhat cheaper compared to the G lenses. However, to use auto-focus on the D lenses with AF, you need to invest more on the higher level camera body - D7000 and above.
If you are currently using the 50mm 1.8D on your D5100 camera, you are probably using manual focus for taking your photographs.
List of Nikon F-mount lenses with integrated autofocus motor - Wiki Link - <http://en.wikipedia.org/wiki/List_of_Nikon_compatible_lenses_with_integrated_autofocus-motor> | 50mm 1.8 d has no auto focus motor. If you want to auto focus with this lens use d7000 or higher because this camera has built in auto focus, use 50mm 1.8 G if you want auto focus to the camera d5000 below. Because 50 mm 1.8 G is designed for cameras d5000 and below for auto focus. Ok |
45,814 | I recently bought a Nikon D5100. And along with this camera, I got the AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR lens as kit. It's "G" type lens, right?
One of my friend suggested to buy a 50mm f/1.8D prime lens for a good aperture. I bought it too, and it's "D" type lens.
Main thing is I'm confused about what these "G" and "D" type lens means. I know it's a common question but I didn't find any solid answer. | 2013/12/10 | [
"https://photo.stackexchange.com/questions/45814",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/19263/"
] | You commented that you cannot focus automatically on your kit lens. There should be a switch on the lens which you can use either for Auto or Manual focus - marked A and M. Set this to A for auto-focus. On the auto dial, set your camera to Auto mode and check auto-focus.
If you are using the camera in other modes (as per the command dial) such as Aperture or Manual, there is an option inside the camera also to switch between Auto-focusing and Manual-focusing. You will also be able to select the focus mode and focus-points by pressing the "i" button on the camera and changing the options available on the LCD screen.
The best way to know/learn this is to go through the camera manual which provides these instructions along with illustrations. If you are still not able to auto-focus after setting all these options, then you need to take the camera back to the shop or service-center for getting it checked. | 50mm 1.8 d has no auto focus motor. If you want to auto focus with this lens use d7000 or higher because this camera has built in auto focus, use 50mm 1.8 G if you want auto focus to the camera d5000 below. Because 50 mm 1.8 G is designed for cameras d5000 and below for auto focus. Ok |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | Communication channels will depend vastly on the type of product you have and your target clients. You can consider a few of following strategies.
**\* Social Media**
Most important ones (Twitter, Facebook) already mentioned here. If your product is some web application which is targeted directly to end users this channel may prove to be the most valuable. Just remember that once-in-a-quarter updates don't work. These streams have to be alive no matter if you have a software update to announce or not. Note: for big products or those addressed to big clients this channel won't work that well.
**\* Product/company blog**
When we are on social media another popular strategy is a blog: either product-related or company-related. As an example of the former you can take [Google Reader Blog](http://googlereader.blogspot.com/) as an example of the latter you can take [TargetProcess blog](http://www.targetprocess.com/blog/). Also you can approach this one creatively - for example [Eric Sink on his personal blog](http://www.ericsink.com/index.html) writes mostly on the stuff of his company. In this case, again, it will work better if your relationships with clients/potential clients are rather informal. I'm yet to see a good corporate blog out there.
**\* Auto-updates messages**
This one assumes you have a good auto-update mechanism, but for web based solution somewhere in the cloud I take it for granted. After successful update you can display messages with description what has changed. Many people will dismiss it anyway, but some will read.
**\* Messages within application**
You can put information about new features within the application. This is something Facebook sometimes does - you can see a box on the top of your stuff which for example says that privacy settings have been changed or that a new localized version of the site is available. If I remember correctly it hangs there unless users closes the box, so direct action i required to dismiss the message which raises the chance that the message will actually be read.
**\* Mailing list**
Since the discussed application is web-based I assume you have users' credentials, including emails. You can use them to send the message about new features. Note: it is important not to break privacy policy (if you have one). Also I'd be very careful with frequency of such emails. On the other hand that's probably the best method to inform about important changes.
**\* Trade shows/Conferences**
As crazy as it might sound [people actually do that](http://www.joelonsoftware.com/items/2010/10/21.html). If you know places where you can meet your users go there, talk with them, tell them what has changed. Direct communication always is more convincing than communication through electronic tools.
**\* Viral marketing/Buzz/Advertising**
You can consider a campaign to share news about your new features. It won't work with every update you do, but for major changes it can be a good idea. A good example of this strategy is what Google did with Google Wave, which is by the way already dead product. There was a lot of buzz and viral messages spread all over the world about new cool Google product and what Google basically was doing was unveiling some details about the product to sustain interest. Of course this can be made easier with completely new products than with a stream of update messages. | If your updates are small and can be made public, I would include Twitter in your list. Take [the Twitter stream for OmniFocus](http://twitter.com/#!/OmniFocus), [or for FreshBooks](http://twitter.com/#!/FreshBooks) as examples. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | Communication channels will depend vastly on the type of product you have and your target clients. You can consider a few of following strategies.
**\* Social Media**
Most important ones (Twitter, Facebook) already mentioned here. If your product is some web application which is targeted directly to end users this channel may prove to be the most valuable. Just remember that once-in-a-quarter updates don't work. These streams have to be alive no matter if you have a software update to announce or not. Note: for big products or those addressed to big clients this channel won't work that well.
**\* Product/company blog**
When we are on social media another popular strategy is a blog: either product-related or company-related. As an example of the former you can take [Google Reader Blog](http://googlereader.blogspot.com/) as an example of the latter you can take [TargetProcess blog](http://www.targetprocess.com/blog/). Also you can approach this one creatively - for example [Eric Sink on his personal blog](http://www.ericsink.com/index.html) writes mostly on the stuff of his company. In this case, again, it will work better if your relationships with clients/potential clients are rather informal. I'm yet to see a good corporate blog out there.
**\* Auto-updates messages**
This one assumes you have a good auto-update mechanism, but for web based solution somewhere in the cloud I take it for granted. After successful update you can display messages with description what has changed. Many people will dismiss it anyway, but some will read.
**\* Messages within application**
You can put information about new features within the application. This is something Facebook sometimes does - you can see a box on the top of your stuff which for example says that privacy settings have been changed or that a new localized version of the site is available. If I remember correctly it hangs there unless users closes the box, so direct action i required to dismiss the message which raises the chance that the message will actually be read.
**\* Mailing list**
Since the discussed application is web-based I assume you have users' credentials, including emails. You can use them to send the message about new features. Note: it is important not to break privacy policy (if you have one). Also I'd be very careful with frequency of such emails. On the other hand that's probably the best method to inform about important changes.
**\* Trade shows/Conferences**
As crazy as it might sound [people actually do that](http://www.joelonsoftware.com/items/2010/10/21.html). If you know places where you can meet your users go there, talk with them, tell them what has changed. Direct communication always is more convincing than communication through electronic tools.
**\* Viral marketing/Buzz/Advertising**
You can consider a campaign to share news about your new features. It won't work with every update you do, but for major changes it can be a good idea. A good example of this strategy is what Google did with Google Wave, which is by the way already dead product. There was a lot of buzz and viral messages spread all over the world about new cool Google product and what Google basically was doing was unveiling some details about the product to sustain interest. Of course this can be made easier with completely new products than with a stream of update messages. | I would suggest **to avoid** any promotional one-way communications in this particular case (and in almost every other case). Try to make the product speak for itself without a product manager behind every message. One of the methods is "[promotion through education](http://gettingreal.37signals.com/ch13_Promote_Through_Education.php)". Turn your customers into evangelists. They will promote your product. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | Communication channels will depend vastly on the type of product you have and your target clients. You can consider a few of following strategies.
**\* Social Media**
Most important ones (Twitter, Facebook) already mentioned here. If your product is some web application which is targeted directly to end users this channel may prove to be the most valuable. Just remember that once-in-a-quarter updates don't work. These streams have to be alive no matter if you have a software update to announce or not. Note: for big products or those addressed to big clients this channel won't work that well.
**\* Product/company blog**
When we are on social media another popular strategy is a blog: either product-related or company-related. As an example of the former you can take [Google Reader Blog](http://googlereader.blogspot.com/) as an example of the latter you can take [TargetProcess blog](http://www.targetprocess.com/blog/). Also you can approach this one creatively - for example [Eric Sink on his personal blog](http://www.ericsink.com/index.html) writes mostly on the stuff of his company. In this case, again, it will work better if your relationships with clients/potential clients are rather informal. I'm yet to see a good corporate blog out there.
**\* Auto-updates messages**
This one assumes you have a good auto-update mechanism, but for web based solution somewhere in the cloud I take it for granted. After successful update you can display messages with description what has changed. Many people will dismiss it anyway, but some will read.
**\* Messages within application**
You can put information about new features within the application. This is something Facebook sometimes does - you can see a box on the top of your stuff which for example says that privacy settings have been changed or that a new localized version of the site is available. If I remember correctly it hangs there unless users closes the box, so direct action i required to dismiss the message which raises the chance that the message will actually be read.
**\* Mailing list**
Since the discussed application is web-based I assume you have users' credentials, including emails. You can use them to send the message about new features. Note: it is important not to break privacy policy (if you have one). Also I'd be very careful with frequency of such emails. On the other hand that's probably the best method to inform about important changes.
**\* Trade shows/Conferences**
As crazy as it might sound [people actually do that](http://www.joelonsoftware.com/items/2010/10/21.html). If you know places where you can meet your users go there, talk with them, tell them what has changed. Direct communication always is more convincing than communication through electronic tools.
**\* Viral marketing/Buzz/Advertising**
You can consider a campaign to share news about your new features. It won't work with every update you do, but for major changes it can be a good idea. A good example of this strategy is what Google did with Google Wave, which is by the way already dead product. There was a lot of buzz and viral messages spread all over the world about new cool Google product and what Google basically was doing was unveiling some details about the product to sustain interest. Of course this can be made easier with completely new products than with a stream of update messages. | I like the way LiquidPlanner does it. They use the space on the right side column of the dashboard once a user logs in.
This way whenever I log in I'll see their update and can click to find out more. If you're already using a web based system than why not take advantage of letting announcements and other news reside where users can easily find them. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | I like the way LiquidPlanner does it. They use the space on the right side column of the dashboard once a user logs in.
This way whenever I log in I'll see their update and can click to find out more. If you're already using a web based system than why not take advantage of letting announcements and other news reside where users can easily find them. | If, as I understand from your question, you are only targeting your **existing** userbase, I would advise to use only a single way to communicate your updates. In my experience, **e-mail** with a sober and consistent format works best. Keep it brief, with only the highlights of the update, with an additional link if they wish to read more. Clearly explain the consequences (eg down-time from - until).
Three messages seems to be adequate:
* One week in advance, to inform them about the coming update (including a link with more info but also a ontact link if they still have questions)
* The day itself, as a reminder (especially if down-time or a user action will be required)
* When the system is online again (including a link for support)
In my view, attracting new users with new functionality is something completely different from informing your existing users about an update. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | If the updates to the product affects the customer's ability to use the web application, I will encourage you to use your time of less traffic and to give ample notice.
If you are only thinking of the actual strategy of communicating the updates, I will suggest the following:
1. Create a YouTube campaign with videos explaining the benefit of each update. This will help educate your users as you tell them the good news.
2. Create a webminar type seminar were you will show users that subscribe the new updates. This might seem like an overkill, but you will get questions from the users that you did not think.
3. Send twitter messages that encourage people to take action, update your profile before the update, etc. you get the idea. This will let you know how effective is that medium.
You need to send similar messages from different sources. | If your updates are small and can be made public, I would include Twitter in your list. Take [the Twitter stream for OmniFocus](http://twitter.com/#!/OmniFocus), [or for FreshBooks](http://twitter.com/#!/FreshBooks) as examples. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | I would suggest **to avoid** any promotional one-way communications in this particular case (and in almost every other case). Try to make the product speak for itself without a product manager behind every message. One of the methods is "[promotion through education](http://gettingreal.37signals.com/ch13_Promote_Through_Education.php)". Turn your customers into evangelists. They will promote your product. | If your updates are small and can be made public, I would include Twitter in your list. Take [the Twitter stream for OmniFocus](http://twitter.com/#!/OmniFocus), [or for FreshBooks](http://twitter.com/#!/FreshBooks) as examples. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | I like the way LiquidPlanner does it. They use the space on the right side column of the dashboard once a user logs in.
This way whenever I log in I'll see their update and can click to find out more. If you're already using a web based system than why not take advantage of letting announcements and other news reside where users can easily find them. | If your updates are small and can be made public, I would include Twitter in your list. Take [the Twitter stream for OmniFocus](http://twitter.com/#!/OmniFocus), [or for FreshBooks](http://twitter.com/#!/FreshBooks) as examples. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | If the updates to the product affects the customer's ability to use the web application, I will encourage you to use your time of less traffic and to give ample notice.
If you are only thinking of the actual strategy of communicating the updates, I will suggest the following:
1. Create a YouTube campaign with videos explaining the benefit of each update. This will help educate your users as you tell them the good news.
2. Create a webminar type seminar were you will show users that subscribe the new updates. This might seem like an overkill, but you will get questions from the users that you did not think.
3. Send twitter messages that encourage people to take action, update your profile before the update, etc. you get the idea. This will let you know how effective is that medium.
You need to send similar messages from different sources. | If, as I understand from your question, you are only targeting your **existing** userbase, I would advise to use only a single way to communicate your updates. In my experience, **e-mail** with a sober and consistent format works best. Keep it brief, with only the highlights of the update, with an additional link if they wish to read more. Clearly explain the consequences (eg down-time from - until).
Three messages seems to be adequate:
* One week in advance, to inform them about the coming update (including a link with more info but also a ontact link if they still have questions)
* The day itself, as a reminder (especially if down-time or a user action will be required)
* When the system is online again (including a link for support)
In my view, attracting new users with new functionality is something completely different from informing your existing users about an update. |
691 | I am a product/project manager for a product we've created. We have customers using the product, which we are continually updating as it is Web based.
What are some tools and techniques for managing communications with clients regarding product updates? | 2011/02/27 | [
"https://pm.stackexchange.com/questions/691",
"https://pm.stackexchange.com",
"https://pm.stackexchange.com/users/34/"
] | Communication channels will depend vastly on the type of product you have and your target clients. You can consider a few of following strategies.
**\* Social Media**
Most important ones (Twitter, Facebook) already mentioned here. If your product is some web application which is targeted directly to end users this channel may prove to be the most valuable. Just remember that once-in-a-quarter updates don't work. These streams have to be alive no matter if you have a software update to announce or not. Note: for big products or those addressed to big clients this channel won't work that well.
**\* Product/company blog**
When we are on social media another popular strategy is a blog: either product-related or company-related. As an example of the former you can take [Google Reader Blog](http://googlereader.blogspot.com/) as an example of the latter you can take [TargetProcess blog](http://www.targetprocess.com/blog/). Also you can approach this one creatively - for example [Eric Sink on his personal blog](http://www.ericsink.com/index.html) writes mostly on the stuff of his company. In this case, again, it will work better if your relationships with clients/potential clients are rather informal. I'm yet to see a good corporate blog out there.
**\* Auto-updates messages**
This one assumes you have a good auto-update mechanism, but for web based solution somewhere in the cloud I take it for granted. After successful update you can display messages with description what has changed. Many people will dismiss it anyway, but some will read.
**\* Messages within application**
You can put information about new features within the application. This is something Facebook sometimes does - you can see a box on the top of your stuff which for example says that privacy settings have been changed or that a new localized version of the site is available. If I remember correctly it hangs there unless users closes the box, so direct action i required to dismiss the message which raises the chance that the message will actually be read.
**\* Mailing list**
Since the discussed application is web-based I assume you have users' credentials, including emails. You can use them to send the message about new features. Note: it is important not to break privacy policy (if you have one). Also I'd be very careful with frequency of such emails. On the other hand that's probably the best method to inform about important changes.
**\* Trade shows/Conferences**
As crazy as it might sound [people actually do that](http://www.joelonsoftware.com/items/2010/10/21.html). If you know places where you can meet your users go there, talk with them, tell them what has changed. Direct communication always is more convincing than communication through electronic tools.
**\* Viral marketing/Buzz/Advertising**
You can consider a campaign to share news about your new features. It won't work with every update you do, but for major changes it can be a good idea. A good example of this strategy is what Google did with Google Wave, which is by the way already dead product. There was a lot of buzz and viral messages spread all over the world about new cool Google product and what Google basically was doing was unveiling some details about the product to sustain interest. Of course this can be made easier with completely new products than with a stream of update messages. | If, as I understand from your question, you are only targeting your **existing** userbase, I would advise to use only a single way to communicate your updates. In my experience, **e-mail** with a sober and consistent format works best. Keep it brief, with only the highlights of the update, with an additional link if they wish to read more. Clearly explain the consequences (eg down-time from - until).
Three messages seems to be adequate:
* One week in advance, to inform them about the coming update (including a link with more info but also a ontact link if they still have questions)
* The day itself, as a reminder (especially if down-time or a user action will be required)
* When the system is online again (including a link for support)
In my view, attracting new users with new functionality is something completely different from informing your existing users about an update. |
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