![]() ![]() Sophos also has built-in ransomware protection, which is a costly problem these days. In addition to filtering for content, you can also restrict access to the Internet for all connected clients as well. It's extremely easy to control, and goes into effect as soon make your selections. There's also an option to whitelist certain sites, which is helpful if you come across a website that's giving false-positives. You can also block and warn against social media sites, and for things like photo sharing, personal ads, and a slew of other types of content. ![]() Setting "Alcohol & Tobacco" to "warning" served up a pop-up when I went to visit a famous whiskey maker's website, but it didn't do anything when I visited some vaping supply sites. ![]() It's an easy-to-use web filtering feature that isn't as robust like something you'd find in a router but as an add-on it's appreciated. You can toggle each category of content to Allow, Warn, or Block via radio buttons for whole categories of sites, or by general content like violence and even tobacco use. Sophos also has some fairly simple parental controls, with a no-frills menu to block access to types of content. A follow-up scan took about the same amount of time, which is excellent. To its credit, Sophos didn't inflate the danger, letting me know the threat level was extremely low, but offered to remove the cookies anyway. The initial scan was very quick, and took less than two minutes, and though it didn't find anything serious, it found and identified a ton of tracking cookies used for advertising I didn't know were sitting on my drive. Title=More%20Expert%20Tech%20Roundups&type=articles%2Cvideos&tags=tech-roundup&count=6&columnCount=6&theme=article ![]() This is the type of feature that is for people who want to know absolutely everything that is connected to their PC at all times, and would be really helpful if someone had installed a USB keylogger in the back of your PC without you knowing about it. Once I assured Sophos those were my peripherals and I did, in fact, want them attached to my PC, it started its initial scan. Naturally, Sophos asked I was going to allow it or block it, and it did the same for my other peripherals, too. Sophos protects against pretty much every threat a home user could face, and if you think I'm exaggerating it gave me a warning screen after installation to let me know a USB mouse was detected that's how paranoid it is. Clicking 'Clean My Computer' starts a deep scan. There's a button to clean your computer of any threats, and there's a button to manage the software itself. The main interface for Sophos is stripped down to the bare essentials. Sophos Home Premium – Design and Features Sophos Home Premium doesn't offer mobile device protection as part of its paid security suite. The only catch is those devices need to be either a PC or a Mac. That's better than average pricing, especially considering the breadth of protection Sophos offers. Whew.įor $50, you get one year of protection for up to 10 devices ( See it at the Sophos website / See it at the Sophos UK website). In addition to antivirus protection you get ransomware protection, parental controls, malicious website blocking, phishing protection, remote management, real-time protection, and safeguards for privacy, malware, and banking. Where other security suites are a metaphorical armed guard at the gates, Sophos is more like a standing army on the opposite side of a moat filled with rabies-infected alligators. ![]()
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![]() ![]() It has a wry, tongue-in-cheek tone and goes for dry humor over uproarious laughter. Looks That Kill is a strange combination of dark comedy and teen weepy romance. Max finds himself falling in love with her, but Alex has a secret that she’s not prepared to share… Alex matter-of-factly gets him off the bridge, introduces him to elderly friends at the senior’s home, and sits with him (fully clothed) in a bathtub full of candy while they share their life stories. ![]() And then he meets Alex (Julia Goldani Telles). Dan maneuvers Max into a dinner date, which goes so badly that Max winds up on the edge of a bridge, hoping to end it all. The only social interaction the reclusive teen enjoys is hanging out and playing video games with his best friend, Dan (Ki Hong Lee), who is convinced that Max needs to meet girls. Any encounter with people necessitates wrapping his face in gauze bandages to shield everyone from his killer countenance, Desperate to protect him and everyone else, they have moved to small town Massachusetts, where he home schools and does cross stitch in his spare time. Everyone, that is, except for his parents, who are somehow immune to his lethal appearance. The teenager, who is played by Brandon Flynn, has such incredible good looks that everyone who sees his face dies. Piantedosi negotiated the deal with UTA Independent Film Group.“Do you know what it’s like to watch someone die? To have that image burned in your head over and over?” This anguish is the critical denominator of Max Richards’ life. We look forward to presenting this original film to audiences worldwide.” Tony Piantedosi, Vice President of Acquisitions at Gravitas Ventures, said: “Kellen builds upon a unique premise to craft a story that is by turns moving and hilarious. I am beyond grateful to the American High family for making this dream a reality and excited for Looks That Kill to find it’s audience.” I can honestly say that in Gravitas we found a partner that cherishes our film and is passionate about sharing it with the world. Kellen Moore said: “Through every step of the filmmaking process it is vital to find partners that believe in your movie as much as you do. The film is produced by American High’s Jeremy Garelick, Will Phelps, Mickey Liddell, Pete Shilaimon, Glen Trotiner, and Austin Sepulveda and is executive produced by Ryan Bennett and Michael Glassman. ![]() Looks That Kill is a dark comedy about Max Richards (Brandon Flynn), a teenage boy born with a medical condition of being lethally attractive, who is changed forever when he meets Alex, a girl with her own bizarre ailment, who aids him on his quest of self-discovery… without accidentally killing someone. Gravitas Ventures has acquired worldwide rights to Looks That Kill from American High, the US production company that specializes in heartfelt teen comedies.ĭirected by Kellen Moore, the movie will be released on demand on June 19, and stars Brandon Flynn ( 13 Reasons Why, True Detective and John Kander’s Kid Victory), Julia Goldani Telles ( The Affair, Bunheads), Ki Hong Lee ( Maze Runner, Unbreakable Kimmy Schmidt), and Annie Mumolo ( Barb & Star Go to Vista Del Mar, Bad Moms, This is 40, Bridesmaids). ![]() ![]() myNHDOE - Credentialing ApplicationĬreate an account or log in to access your DOE systems, including the Educator Information System (EIS). Please use the most recent update of a supported browser such as Chrome, Firefox, Edge or Safari.Īpplicants: Visit to learn how to become credentialed, apply for a credential, submit required documentation, and/or contact a Credentialing specialist for assistance through our online help desk.Įmployers: Visit to obtain information on hiring options, endorsement requirements, Professional Development Master Plans and/or contact a Credentialing specialist for assistance with the Educator Information System (EIS), hiring guidance, and technical questions regarding Credentialing Procedures/Rules/Laws. The Knowledge Base does not support any versions of Internet Explorer. Obtaining a CredentialĬredentialing is responsible for the initial licensure and renewal of all licensed credential holders from Superintendents through paraeducators. This tool can be used to view all active New Hampshire educator licenses. Transportation Monitors are no longer required to complete a NHED Criminal History Record Check Clearance. Division of Educator Support and Higher EducationĪs of, all first-time applicants must complete and pass a criminal history records and DCYF Central Registry check prior to issuance of a credential.Ĭlearances are also required for School Bus Drivers and Professional Educator Preparation Program (PEPP) candidates.Division of Education Analytics and Resources. ![]() Recovering Bright Futures Learning Pods.Military Interstate Children's Compact Commission. ![]() ![]() ![]() PS Button – Image Credits Hard Reset The PS5 Controller Connect the controller to the PC via the USB cable while the lights are still blinking. Charge the controller before connecting it to the PC.Īlso Read: Aura Sync Not Detecting Motherboard Hold The PS ButtonĪnother method that worked for several Reddit users is to hold the PS Button on your controller and wait for the blue lights to start flashing. Restart – Image Credits Ī low battery on your PS5 controller will prevent it from working on any device, including the PS5 console. Choose Restart from the mini-menu to initiate the process.Click on the Windows icon at the extreme left of the bottom panel to access the Start Menu.Here is how you can restart a Windows 10 PC. A restart will clear the computer of these hindrances, thereby allowing a hassle-free operation of the PS5 controller. Often, there may be a glitch or temporary bug present within your PC, which could prevent the controller from working. The third troubleshooting method will be to restart your PC. USB Cable – Image Credits Restart Your PC ![]() Switch to a USB Type-C Cable compatible with your wireless PS5 controller, then connect it to the PC. Plus, some cables cannot transfer data between the devices. Use A Different USB CableĪ faulty USB cable can be another reason you may face a problem with your controller’s working. Therefore, the first step is to remove the controller’s cable from the connected port and reattach it to a different one. The issue may reside within the PC’s USB port, such as it may have lost its functioning. Connect The Controller To A Different USB Port When our team encountered the same issue, we used the following methods to resume the PS5 controller’s functioning on our PC. How To Fix PS5 Controller Not Working On PC? However, we have ample solutions to solve these issues. In addition, you will be unable to connect the two devices through Bluetooth if there is an issue with your PC’s Bluetooth connection.Īdditionally, technical faults within the PS5 controller may also temper its connectivity. One of the main reasons why the controller may not work on your PC is an inactive USB port or a faulty USB cable. We will discuss them briefly so you can understand why you are facing the controller issue in the first place.Īlso Read: How To Uninstall Microsoft Edge The problem can occur due to various reasons. Why Is Your PS5 Controller Not Working On PC? ![]()
![]() Please see the attached image of my OBS recording settings in case there is potential conflict with Shotcut, as well as a sample frame of the source footage compared to the viewfinder in Shotcut. Master track and clips in timeline do not have a blur-style filter applied.I have checked for the following potential issues: The source quality from OBS studio is much clearer than when it is imported into Shotcut. This happens exclusively when importing software tutorial footage where there is minimal color shift or motion in the video, never with footage from my phone or from my mirrorless camera. Initially I thought it was an exporting issue, but after trying several settings including lossless compression, I noticed the quality dip when I zoomed in on footage in my actual timeline. I can get away with 1080p with my camera because of Partner and transcoding options so I can so detail when going full screen, that camera turns off and a different setting one at 480p runs when I am just using game to maintain higher frame rates and not require OBS to resizes all those pixels.I’ve been having an issue (specifically with video files recorded with OBS Studio that have little to no motion in the video), where these video files seem to become blurry or of less quality when they are imported into Shotcut. Unless you are doing scenes where you go full screen and need the utmost detail, that is just a waste of camera bandwidth. txt file, you are also running your camera at 1080p, yet you resized it to fit in a tiny bit at the bottom of the screen, you are maxing out the bandwidth of the camera, which it should by like 480p maybe. You can not stream at that high of settings, as you do not get transcoding ( the bit that takes source signal and transcodes into all the different viewable resolutions), and Twitch will not allow you to run it that high.ħ20p 30 fps is standard until you get affiliate and gain transcoding at least.ĭoes not matter what your machine at home is capable of, until you are allowed to stream at higher res and frame rates, it is going to lower it for you without your input. Taking a look at your twitch channel, two things stand out to me immediately.ġ) You are trying to stream at 1920x1080 60 fpsĢ) You are not a partner, you are not an affiliate They are going to need full sized images, not thumbnails. ![]() Increase your webcam size (depends - this is more to cover the compression artifacting, as well as have less to compress from the more complex area) Lower your framerate (very high impact - fewer frames, gives more bitrate per frame, but at the cost of video smoothness) Reduce your output resolution (higher impact - gives more data per pixel, at the cost of overall image sharpness) Increase your compression quality (lower impact, very diminishing returns past the "fast" preset on x264) There's several things you can do, to varying degrees of impact It's a normal thing, and Tom Scott does a great job of explaining it. ![]() But as soon as your scene starts including more information it needs to store in the limited bitrate, your webcam quality is going to suffer. ![]() If you don't have much movement on screen, you will probably have a cleaner webcam image. As TryHD said, if you're not seeing pixelization in the preview or recordings, then the only thing that will be affecting the quality of the streamed output is the bitrate. ![]() ![]()
![]() ![]() Save videos to local or portable devices or directly share to YouTube.Retouch videos and photos with rich filters, titles, transitions and motions.Trim, crop, and rotate videos freely & add voiceover and background music.Support importing all popular videos, audios and photos for editing.Wondershare Filmora X v11.4.0 Pre-Cracked (macOS) | Magnet Wondershare Filmora X v11.4.0 Pre-Cracked (macOS) Download (470 MB) : You can donate by using Paypal ☑️ or Debit or Credit card users □ : □ Support us guys and help to grow this community : □ Open the link by using Chrome ( it works for mac and windows ) : or ![]() □ block unwanted ads and pop up ads by using this adblock will help you download my content
![]() ![]() Paik continued along these lines in New York, where he further pursued the participatory potential of his altered sets. That is, in his Wuppertal exhibition he took the inherent ability of television to transmit identical broadcasts to an extensive number of receivers and turned it on its head his televisions, in effect, transformed these identical pictures into individualised distortions, viewable only within the space of the exhibition. As the art historian Christine Mehring has noted, Paik was attracted to television at this early moment ‘not as a means of broadcasting and reaching out, but rather … as a way of creating electronic pictures’. He achieved this goal in three ways: by physically altering internal circuitry to distort broadcasts by introducing external input – for example, by allowing audience members to speak into a microphone whose audio signals would alter the picture and by relying on the sheer variability of broadcast television, allowing whatever happened to be playing to become part of his art. In an essay, Paik explained that he intended these works to introduce ‘indeterminism and variability’ into visual art. There, he exhibited a dozen television sets whose inner workings he had modified to produce a range of effects – from twisting distortions of the picture signal, to abstract kinetic shapes and simple lines. ![]() They found an ideal partner in WGBH, which had a growing reputation as a hub for experimental television.īy the time he reached Boston, Paik had been working with television for several years, having debuted television-based artworks in his first solo show, Exposition of Music – Electronic Television in Wuppertal, Germany, in 1963. The group selected six artists, including Paik, to take part in a pilot programme. In 1968, as Wise was organising another show, TV as a Creative Medium, he met a group of producers from the Ford Foundation’s recently established Public Broadcasting Laboratory who were embarking on an initiative to enlist artists to collaborate with public television. There, he had been exhibiting his work at the upstart Galeria Bonino when the gallerist Howard Wise – a promoter of kinetic, light and electronic art – included his work in a 1967 group show, Lights in Orbit. Paik came to WGBH four years after his move from Germany to New York City. While recovering understudied work by a major video artist, this paper also sheds light on post-war artists’ shifting ideas about the value of viewer participation and the potential of technology’s global reach. The work Paik produced for the station reveals how he moved from efforts to achieve direct participation to programmes that present a more expansive understanding of audience engagement, with the crux of this shift occurring in 1970. Paik came to realise that, while television could not easily accommodate the physical participation he had invited in his sculptures, what it could do is disseminate ideas to a broad audience and unsettle habitual ways of thinking. His productions for WGBH show how his thinking about this unknown audience evolved over time. TV: You give away through airwave… you don’t even know, to whom it went.’ 2 In a 1972 letter to John Cage, Paik explained, ‘TV is … a form of giving away… even more so than music. In contrast with the audiences at the performance festivals and gallery exhibitions to which he had previously been accustomed, television audiences were anonymous, geographically dispersed, and, as they were likely watching from home, susceptible to a range of distractions. Addressing the whole of Paik’s work there, with particular focus on his most ambitious project – the four-hour Video Commune 1970 – it shows how Paik sought to reconcile the artistic aims he had been articulating in other media with the distinct nature of broadcast television.īroadcasting forced Paik to confront the question of audience in a completely new way. This paper draws from unpublished archival documents and conversations with the station’s producers to provide a fuller picture of Paik’s engagement with WGBH. Considering that WGBH was the site of many ‘firsts’ for Paik – including his first production for broadcast and the invention of his video synthesiser – it is surprising that little scholarship has been produced on this strand of his work. Eschewing traditional formats, his programmes were hallucinatory collages of abstract, electronic images interwoven with footage of avant-garde performances and references to pop culture, often framed by dry voiceover narration. During the years that followed, he developed a body of work at the station that subverted all conventions of public television. In 1968 the artist Nam June Paik arrived at the studios of WGBH-TV in Boston. ![]() ![]() ![]() Any copying, republication or redistribution of Lipper content, including by caching, framing or similar means, is expressly prohibited without the prior written consent of Lipper. Mutual Funds & ETFs: All of the mutual fund and ETF information contained in this display, with the exception of the current price and price history, was supplied by Lipper, A Refinitiv Company, subject to the following: Copyright 2019© Refinitiv. Data may be intentionally delayed pursuant to supplier requirements. FactSet (a) does not make any express or implied warranties of any kind regarding the data, including, without limitation, any warranty of merchantability or fitness for a particular purpose or use and (b) shall not be liable for any errors, incompleteness, interruption or delay, action taken in reliance on any data, or for any damages resulting therefrom. 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P/E Ratio (TTM) The Price to Earnings (P/E) ratio, a key valuation measure, is calculated by dividing the stock's most recent closing price by the sum of the diluted earnings per share from continuing operations for the trailing 12 month period. ![]() ![]() ![]() The GM building at 59 th and Fifth has undergone a lot of changes recently. “Artists and creative people” generally do not shop at Bergdorf Goodman, although Bergdorf Goodman, I’m sure, will not turn away their money. Not exactly the type of stores that attract the young and hip, which is the image that most people have when it comes to Apple’s core customers. Tiffany’s, Bergdorf Goodman, Coach, Van Clef and Arpels, Burberry, and Bulgari (Bvlgari) are just a few of the stores in the area. In short, SoHo is a shoppers paradise for the young and hip.ĥ9 th and Fifth is almost in stark contrast to that. SoHo is a very trendy part of town and is home to many, many trendy stores like Kate Spade, Steve Madden, D&G, Marc Jacobs, and Prada, as well as countless designers that I wouldn’t know about. This location is interesting to me because it is not necessarily the type of location that I would associate with the image that Apple has. The Cubeįor a long time now, everyone in the Mac community in NYC has known about Apple’s plan to open a “flagship” store at the GM building on 59 th Street and Fifth Avenue, right across the street from the old Plaza Hotel and a block away from the entrance to Central Park. You can be out the door in less than five minutes without waiting on a line. Employees have little hand held scanners that will scan the item you want, and scan your credit card to complete the transaction. external hard drives, mouses, iPods & accessories, books, etc.). Another cool thing about the store is that they have instant check-out for products that are available on the floor (i.e. They are friendly if you let them, and quiet if you want them to be. They will ask you if you need help, but if you say, “No thanks, just looking,” they will leave you completely alone. One thing that I really like about the Apple store is the employees and the attitude they have. It really is different than most retail stores, but in line with the style that most large SoHo stores in the area have. It’s a very nice store, with wide open areas, a large array of products, and you can tell that it was designed with nice balance of both form and functionality. I have been to the Apple store in the SoHo section of NYC several times for shopping, browsing, presentations, and once for support. I wouldn’t call myself a Mac geek, fanatic, or cult member, since I have only owned a Mac for less than a year, but in the interest of full disclosure, I will say that I have been a fan of Apple for many years, have wanted to own a Mac for most of that time, and am typing this on a Mac right now. ![]() |
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