(Yes I really need to get this thing integrated better soon.
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Here are some common formal education options for marketing managers: Most marketing managers hold a bachelor's degree, although some may also have a Master's Degree in Marketing, Business Administration, or a related field. Step 3Ī formal education in marketing can be beneficial for individuals aspiring to become marketing managers. Overall, a well-rounded education with a combination of business, communication, and creative skills can prepare you for a career in marketing. Creative arts: Marketing often involves creating visually appealing and engaging content, so courses in graphic design, photography, and creative writing can be helpful.Digital media and technology: Marketing is increasingly focused on digital media, so taking courses in web design, social media, and digital marketing can be advantageous.Psychology and sociology: Understanding human behavior is essential for marketing managers, so courses in psychology and sociology can help you develop insights into consumer behavior and motivation.Mathematics and statistics: Marketing often involves analyzing data and making strategic decisions based on numerical information, so courses in algebra, statistics, and calculus can be beneficial.Communications: Marketing is all about effective communication, so taking courses in public speaking, persuasive writing, and journalism can be helpful.Business and entrepreneurship: This course can introduce you to the basics of running a business, including marketing concepts such as market research, branding, and customer segmentation.Here are some courses that are particularly relevant: If you're interested in pursuing a career in marketing, there are several high school courses that can help you develop the knowledge and skills needed to be a successful marketing manager. If you'd simply like to freely switch between listening to the different examples, solo the one you'd like to start with (original by default), and then use exclusive solo (command-option-click / control-alt-click on solo) to switch between different examples. This will help prevent any confirmation bias during your own listening tests.įollowing is a brief explanation on how the session is intended to be used (this may seem obvious, but if you get careless with your soloing, it's possible for things to get very loud, very quickly!): I strongly suggest you do not view this until you have auditioned all the files on the best monitoring you have available to you. This tells you which models the A, B, C, and D examples correspond to. Along with the REAPER session you'll also find a 'Cheat Sheet' file in the main project directory. If you're not already a REAPER user you can download a fully functional, 30-day trail from If you don't feel like doing that, the raw files are available in the 'Recordings' sub-folder. I've created a REAPER session with all the files named and time aligned. Rather than give you any of our individual opinions, we thought it would be better to simply share the files with you and let you draw your own conclusions. This allows for null tests to hear more easily just what the compressor is doing. For the hardware examples an Antelope Eclipse 384 converter was used.Īfter processing, all files were normalized to -21.7 LUFS, the measured loudness of the uncompressed example, and aligned to sample accurate timing in a REAPER session. In the end we decided that maintaining similar gain reduction characteristics was more important than keeping the front-panel settings the same.Īll processing was done at the original recording and mixdown sample rate of 44.1 kHz and utilizing 32-bit floating point calculations. This meant that to achieve the same amount of gain reduction in all corresponding examples, the front-panel gain and threshold settings had to be varied slightly. One of the main difficulties we encountered was that the internal level calibration and gain structure in all 4 units varied by differing degrees. Opto and discrete engaged utilizing "Flood" and "Dual" modes, transformer set to steel. Opto disengaged, discrete engaged, transformer set to steel. Opto engaged, discrete disengaged, transformer set to steel (the one chosen for the album settings). Opto and discrete stages disengaged, only the steel transformer engaged. Opto and discrete stages disengaged, only the iron transformer engaged. Opto and discrete stages disengaged, only the nickel transformer engaged. The actual settings I used during the album mastering session. I then bounced seven different versions with settings chosen to exemplify the characteristics of the different sections of this unique compressor. Notes on processingįor our different processing examples, I chose an excerpt of "Hell or Highwater", a progressive metal song by Ross Jenssen on which I had used the UAD Shadow Hills Mastering Compressor during the actual mastering session. Six months later, and we've finally got everything processed and compiled to our satisfaction, ready to share with you. In another few weeks we had additional examples from both a hardware unit and Sknote's SDC (Strereo Double Compressor) plugin. We got to work pestering some of our other colleagues to see if any of them had a hardware unit they were willing to run our examples through, as well as searching for other plugin models. We did some listening tests and, intrigued by the differences, thought it would be interesting if we could compare against the real-deal hardware as well as any other software models we could find. So, I bounced out a few files, documented the settings I'd used, and sent a zip over to him.Ī few days later he sent back files he'd created by matching the Murano settings as closely as possible to the ones I'd used on the UAD version. He was curious how it would compare to the version he'd been using, Acustica's Murano compressor. At one point I mentioned that when I wasn't concerned about transparency and wanted some vibe, I'd been using the UAD model of the Shadow Hills Mastering Compressor. Early last summer a colleague and I got to chatting about how different compressors fit into our mastering workflow. Good intercropping partners: Basil, Swiss chard, Lettuce, Spinach, and rosemary.If you are 'stupit' enough to eat this pepper whole you may wish to enter the doors of death willingly Be very, very careful using this pepper. Smokin Eds Carolina Reaper® is a super hot pepper developed by Founder, President, Mad-Scientist & Chef Smokin Ed Currie in his Rock Hill, South Carolina greenhouse. But don't let its good looks fool you This pepper got its name for a reason. Watering: Keep the soil moist, but never wet or soggy. 7.00 20 reviews This pepper-the world's hottest-is beautiful bright red with a rough surface and a long stinger.Fertilizer: Use vermicompost for micro nutrition.William Donaldson at the southeastern corner of the Deer Creek Cemetery. The Carolina Reaper pepper was crossed with Jay’s Peach Ghost Scorpion pepper to create the California Reaper, which was originally developed by Steve Bender at Tyler Farms. From the farmers and coal miners, the housewives and merchants, the teachers. The Carolina Reaper starts off green and ripens to red, reaching about 1.5 to 2 inches in total length. The key to germinating these seeds is to make sure they are kept above at least 78 degrees Fahrenheit throughout the entire germination process. The Carolina Reaper resembles the 7 Pot Primo pepper. Germination time: It may take up to 7-10 days to germinate.de Janvry, Alain Philip LeVeen and David Runstein. Water the seeds immediately after sowing. Seminar on mechanization of small scale farming, June 22-24, 1982. Sowing: Fill a tray with seed-starting soil mix and plant the Carolina reaper seeds 1/4 inch deep in the tray.Scoville Rating: 2,200,000 Scoville Heat Units. Developed by South Carolina breeder Ed Currie, This plant grows to over 3 feet tall in a pot and would grow bigger if you plant it in the ground.Ī nice solid plant and an awesome producer, the fruit is about 4 cm long, wrinkled, and dangerously hot. Carolina Reaper is a cultivar of the Capsicum chinense plant. (r) A motor-driven cycle is defined as every motorcycle, including every motor scooter, with a motor which produces not to exceed five brake horsepower nor to exceed 150 cubic centimeter engine displacement, and weighs less than 200 pounds fully equipped, and every bicycle with motor attached. (q) A vehicle for which the Alabama license plate issuing official has verified that the current owner or operator is recorded as the owner or operator on a currently effective certificate of title issued by another state and the certificate of title is being held by the recorded lienholder. (p) A folding or collapsible camping trailer more than 20 model years old. A utility trailer is a vehicle without motive power designed to be drawn by a passenger car or pickup truck. (n)Mobile homes, travel trailers, and mobile trailers designated 1993 year models and prior year models. (e) A vehicle moved solely by animal power. (d) A vehicle owned by a non-resident of Alabama and not required by law to be registered in Alabama. (c) A vehicle owned by a manufacturer or dealer and held for sale, even though incidentally moved on the highway or used for the purpose of testing or demonstration, or a vehicle used by a manufacturer solely for testing. (b) A vehicle owned by the United States or any agency thereof. (a) A motor vehicle more than 35 model years old, trailer or manufactured home more than 20 model years old. Every trailer coach and travel trailer manufactured upon a chassis or undercarriage as an integral part thereof drawn by a self-propelled vehicle.ĮXCLUSIONS: No Alabama certificate of title shall be obtained for: Vehicle license numbers of different American states. Alabama license plate types include amateur radio, antique, apportioned, apportioned bus, apportioned trailer, apportioned truck, auto, boat, bus, car, carrier. Manufactured homes not more than 20 model years old are also required to be titled.ĭEFINITIONS: The term motor vehicle shall include every automobile, motorcycle, mobile trailer, semitrailer, truck, truck tractor, trailer and other device that is self-propelled or drawn, in, upon, or by which any person or property is or may be transported or drawn upon a public highway except such as is moved by animal power or used exclusively upon stationary rails or tracks. RF 2JTDN3H3 car license plates marking for Alabama in the United States. Travel trailers and folding and collapsible camping trailers not more than 20 model years old are required to have an Alabama certificate of title. Every motor vehicle not more than 35 model years old, which is domiciled in Alabama and is required to be registered in Alabama, is required to have an Alabama certificate of title. My collection includes both current and old series of standard Alabama. Forget having to empty your wallet just to beat out the competition. The Grow Castle hack works online, so you never have to download anything to your phone or device.Īnd with just a few clicks of a button, you can gain all the resources you need – free of charge. Grow Castle Hack Generator How Does the Tool Work? Once the resources are transferred, you can go right back to playing Grow Castle. It’s as simple as that! 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Though the six month relationship between Baginski and Eva Lebeuf that was portrayed in the film actually occurred, Marczak orchestrated the on-camera meeting between Baginski and Lebeuf believing that she could potentially be an interesting presence in the film. The film was marketed as a documentary, but director Michał Marczak resisted labelling the movie as such, admitting that while the participants in the film were not actors and the relationships were real, certain scenes were somewhat staged. Marczak spent several months preparing the film with Baginski and Huszcza, encouraging them to take improv classes. He spent a year scouring the Warsaw night scene eventually finding real life friends Krzysztof Baginski and Michal Huszcza who were both art students at the time of filming. Michał Marczak conceived of the film after witnessing how the generation after him was more liberal in their thinking. Nevertheless, Baginski later refers to the past year as the most important of his life. Their relationship eventually dissolves and Baginski is left with a crushing sense of loneliness which he struggles to overcome. When tensions arise between the two friends Baginski decides to move out and gets an apartment for himself, moving Lebeuf in with him. Baginski quickly falls for Lebeuf and the two begin a relationship. At a party on the beach, Huszcza introduces Baginski to Eva Lebeuf. Told in a non-linear fashion the film follows Krzysztof Baginski and Michal Huszcza, friends and roommates who go to parties and try to meet girls. While the film went on to play various documentary festivals around the world, Marczak was openly indifferent to the idea of categorizing his film as a documentary, giving various interviews in which he talked about how certain scenes in the film were staged. The film premiered at the 2016 Sundance Film Festival where Marczak won the directing prize in the World Cinema - Documentary category. Shot over a year and a half, the film focuses on real life friends Krzysztof Baginski and Michal Huszcza as they party around Warsaw and how their relationship struggles when Baginski begins a relationship with Eva Lebeuf, the French-Polish ex-girlfriend of Huszcza. But even if the immediacy of the director’s approach gives the material an electric charge, 100 minutes of it becomes monotonous.2016 Polish docufictional film by Michał MarczakĪll These Sleepless Nights ( Polish: Wszystkie nieprzespane noce) is a 2016 Polish docufictional film by Michał Marczak. Their supposed big ideas mostly tend toward naively romanticized self-celebration, which may in itself be meaningful in a country whose past was so shaped by oppression. Marczak’s unselfconscious subjects appear nostalgic for their evanescent youth, but despite their headlong immersion into its visceral pleasures, they have little to say about it beyond that it’s cool. What those movies had that’s lacking here is perspective. (Andre Techine’s Wild Reeds was the most widely seen of them.) But hearing Francoise Hardy’s ‘ 60s hit, “Tout les garcons et les filles,” evokes the 1994 multi-director decade-by-decade French telefilm series about youth, which took its umbrella title from that song. The eclectic selection of dance music and vintage French pop provides a lush carpet for all the free-floating revelry, with its rich sense of place and mood. You can expect that current versions of Mac software will be updated for full compatibility with macOS 12 Monterey, but previous versions probably won’t. Current versions will be the most compatible.If you must ensure complete compatibility with everything you use, run your own tests with macOS 12 Monterey on a separate system, such as an external drive with a Monterey test system installed. Published compatibility reports may be on test systems that don’t have the same hardware and software you use. That could include printers, graphics tablets, scanners, cameras, networking equipment, calibration equipment, backup software, diagnostic software, adapters, hubs, docks, and so on. Especially anything that depends on driver software being compatible. Before you upgrade, remember to check compatibility for everything installed on or connected to your computer.
3Delight has been involved in some other groundbreaking projects. The software team at dna research has been developing 3Delight for many years, and it is now used in their production work. The piece was rendered in RenderMan and was exceptional on many levels. The animation was far more advanced than anything else around. In 1995, dna research, created by Pierre Lachapelle in association with TFX Animation, in Montreal Canada, wowed SIGGRAPH 1995 with a trailer to a film called The Boxer. SIGGRAPH is a place to see the latest in computer graphics technology. Figures 6 and 7 are rendered directly within Maya using 3Delight. As with MayaMan, both Maya materials and RenderMan shaders can be assigned to objects within the Maya scene.ģDelight can achieve some very realistic imagery and has tools such as very high-quality displacement mapping, depth of field, motion blur, ray tracing and shadow maps, subsurface scattering on a per object basis, global illumination supporting HDRI and final gathering. It renders within Maya with its own renderer, or scenes can be exported as RIB files and rendered in another RenderMancompliant renderer. 3Delight integrates smoothly into the Maya interface, as shown in Figure 4 and Figure 5. One of those renderers is 3Delight from dna research. Quite a few RenderMan-compliant renderers are out there. RenderMan for Maya cannot do this unless you are using RenderMan for Maya Pro, which is bundled with RenderMan Pro Server or RenderMan Studio. Additionally, MayaMan can read and attach external custom RenderMan shaders to objects within a Maya scene. Unlike RenderMan for Maya, which renders within Maya using the embedded PRMan, MayaMan can write Maya scene files out to the RIB format for use in other renderers. It translates Maya materials, geometry, lighting, cameras, and more. MayaMan is not specifically a renderer, but like RenderMan for Maya, it allows Maya users to take advantage of RenderMan-compliant rendering solutions such as PRMan, 3Delight, Air and others. The graceful, gliding, four-wheel drive vehicle made of ice shown in Figure 2 was needed for Toyota Prado’s latest television commercial, Ice Sculptures, directed by Bruce Hunt through Animal Logic created the 3D computer-generated ice car and carefully choreographed its movement as it glides across various road surfaces, verging on being out of control. The team created the cave, the CG icicles and bottles, as well as the shattering effect when one bottle falls and breaks through the ice. Animal Logic created an entire CG environment for the ad, with only a few small live action elements incorporated in the first few shots. Suddenly, one breaks off, crashing into the ground, creating an instant party. In Figure 1, in an ice-covered cave, hundreds of Smirnoff Ice bottles are frozen to the ceiling as stalactites. Stills from this work are shown in Figures 1-3. Animal Logic also uses MayaMan in their commercial work, as seen in their work for Smirnoff and Toyota, as well as music videos. Their film work includes Happy Feet, 300, 28 Weeks Later, Fool's Gold, The Matrix, Moulin Rouge! and World Trade Center. MayaMan has been used on the bulk of their production work in film and television over the past decade. Animal Logic is another one of those production house–software developers that makes the fruits of their labor available to the rest of us. This Maya plugin translates a Maya scene into Pixar’s RIB format and converts your materials into RenderMan shaders. One of these products is Animal Logic’s MayaMan. There are, however, other Maya-specific products capable of using RenderMan. This is certainly an impetus for upgrading. More expert qualities, such as writing RIB files, are part of the RenderMan for Maya Pro. Output to PRMan through Maya allows the imagery produced to take advantage of the quality and speed of the renderer. It internally converts work done in the Maya interface to be used by the renderer. RenderMan for Maya, while being able to take advantage of PRMan, cannot read or write RIB files. Sorting through these options has a great deal to do with understanding RenderMan compliance. There are several ways to take advantage of RenderMan in Maya. Pixar's RenderMan is the "it" renderer for Hollywood visual fx. This month, VFXWorld continues a series of six excerpts of the Thomson Course Technology book Maya Plugin Power, which will give VFXWorld readers to learn how to take advantage of the myriad of plugins available to Maya users. Rohinton D Contractor is the Executive Vice President & Head, Corporate Procurement, EXIM Services & Finance at Godrej & Boyce as well as Non-Executive Director of Godrej Infotech Limited (a wholly owned G&B subsidiary).Īs a part of his current role in the Procurement function, Rohinton spearheads several initiatives on Strategic Procurement including major inputs like steel, Supply Chain and digitizing the Procure to Pay systems to improve productivity, accuracy and correctness. In his leisure time enjoys reading, chess and is an enthusiastic Yoga practitioner. Pankaj is also a certified Six Sigma Master Black Belt, CSCP (APICS) and a certified TOC practitioner. He also holds a Master's in Financial Management from Mumbai University and completed the Executive Management Program from Great Lakes Institute of Management, Chennai. Pankaj holds a Production Engineering degree from Mumbai University. Significant changes in the network through warehouse and route consolidations leveraged the GST opportunities for bottom line benefits through distribution and inventory cost reductions. Under his leadership, the smooth changeover to the new ERP and the GST regime was achieved in 2017 while supporting business growth in traditional and new age channels. This involved astute demand forecasting and inventory management to ensure optimal replenishment of products and spares at all the Godrej outlets across the country and with overseas trade partners.Īs the head of the Commercial division between 20, he was responsible for supporting Godrej & Boyce’s multiple consumer facing businesses in their retail network through primary and secondary logistics operations across 28-30 locations. Since joining Godrej & Boyce as Senior Production Officer in 1990, Pankaj has had the opportunity to gain exposure across multiple industries and functions including Manufacturing, Quality Assurance, Strategic Sourcing, Product Development, Logistics & Supply Chain Management.ĭuring his tenure at G&B, Pankaj was the Product Supply Head for the Appliance business between 20 and was responsible for the outbound supply chain of appliances to ensure products and spares availability across 28 branch depots to cater to over 1200 distributors and dealer outlets. As the head of one of India’s largest Tooling businesses, he is responsible for the profitable growth of the business that largely caters to key mobility sectors like Automotive, Railways & Metros as well as supporting the other Businesses of Godrej & Boyce for their Automation and productivity needs. Pankaj Abhyankar is Senior Vice President and leads the Tooling business at Godrej & Boyce. |
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