Rather than being about best practices alone, Ortelius synthesized maps in an image based on the techniques and critical practices of a tradition of close critical reading. By uniting the content of marine maps of nautical expanse, which embraced maps of islands and coastlines, with the maps of terrestrial regions, Ortelius’ maps united multiple frameworks to process terrestrial inter-relations. Ortelius’ totalizing ambition to map the inhabited world’s surface in its entirety led him to create a variety of frameworks to interpret the relations of space: whereas the genre of nautical maps and island books were used in sea travel, terrestrial maps provided a basis to describe cities’ relations. Both Ortelius’ innovative collection of maps in his Theatrum and his elegantly bounded oval “ Typus Orbis Terrarum,” shown below, created legible records that imitated reader’s cognitive understanding of place in landscapes: engraved maps were printed, but the carefully hand-colored image trumped existing maps by artifice and content alike. Ortelius effectively united a set of multiple frameworks to process space in a uniform register of image and text, giving its surface comprehensive claims expanded in the first printed atlas of 1572. The trick of shaping a visually recognizable synthesis of spatial metadata goes back to how Abraham Ortelius fused nautical charts and terrestrial cartography into pictorial renderings of space. For rather than describing the ways things are, the synthesis that the mapper performs culls the products of changes over time and then transform multiple readings into a continuous record whose comprehensive surface is readily scanned. But the way that maps record a cumulative record of events for their viewer is a neat intellectual trick. Although maps usually frame questions about the inhabited world or the world’s inhabitation, the below map of the distribution of earthquake epicenters offers a framework to understand relations among events by presenting their meaning in a geographic framework, flattening temporal change to create new meaning about their relations through a framework of spatial expanse.Īctualities are considerably removed from most maps, which present records of space as opposed to spatial experiences. A powerful tradition of critical cartography unites a variety of selectively sourced metadata in a single frame of reference that transforms our own knowledge of space: their continuity and coherence orient viewers not only to their content, but to the world’s inter-relationships, and to make concrete knowledge claims about their content.
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Seventeen of his singles also hold RIAA certification: "Indian Outlaw", "Don't Take the Girl", "I Like It, I Love It", "It's Your Love", " Something Like That", "Live Like You Were Dying", "When the Stars Go Blue", "My Little Girl", " Last Dollar (Fly Away)", " I Need You", " If You're Reading This", " Southern Voice", " Felt Good on My Lips", " Better Than I Used to Be", " Truck Yeah", " One of Those Nights", and " Highway Don't Care". "Live Like You Were Dying", " When the Stars Go Blue", and " My Little Girl", the latter two both having been released in 2006, also entered the AC chart, with "Live Like You Were Dying" at number 4 being his highest peak there. McGraw's version, released solely to that format, was a number 13 hit. Four of his singles have also entered the Hot Adult Contemporary Tracks chart, including a cover of Elton John's " Tiny Dancer". His highest solo peak on Hot 100 is 1999's " Please Remember Me" at number 10, although "It's Your Love" hit number 7 on that chart. Since 1998's "One of These Days", all of McGraw's country radio releases except for 2008's " Kristofferson" have also entered the Billboard Hot 100, as did "Indian Outlaw", "Don't Take the Girl", 1995's " I Like It, I Love It", and "It's Your Love". Thirty-eight have also reached the Top 40 on the US Billboard Hot 100. "Live Like You Were Dying" is also his longest-lasting number one, at seven non-consecutive weeks. Three of his singles-1997's " It's Your Love" (a duet with his wife, Faith Hill), 1998's " Just to See You Smile", and 2004's " Live Like You Were Dying"-are the number one country hit of that year according to Billboard Year-End. Thirty gone to number one on the US country chart, starting with 1994's " Don't Take the Girl". Since then, all of his singles have reached top 40 on the country chart, with only nine missing top 10. Twelve of his 15 studio albums have also reached number one on the Billboard Top Country Albums chart.Īlthough McGraw's first three chart singles all missed top 40 on Billboard Hot Country Songs, he broke through in 1994 with " Indian Outlaw", a number 8 country hit, which also reached number 15 on the Billboard Hot 100. His highest-certified albums are 1994's Not a Moment Too Soon and 2000's Greatest Hits, at 6× Platinum certification each. American singer and songwriter Tim McGraw has had 16 studio albums, 13 compilation albums, and 74 singles. I myself am a DTP designer, is a former Windows user until we found Macs to be more productive. Many non-gamers (like designers, Audio and Video Editors, etc) who are top in the field of their profession have been utilising Gaming Equipment for their quality and build. Kindly take note of this case xxxxxx-xxxxxx for future reference.ĪutoDandelionvoice905 Dear Razer, I'd like to propose it in a logical way. I am looking forward to your reply and have a pleasant day ahead! Please do let me know if you require further assistance. I deeply apologize for the inconvenience caused. Moving forward, all new products will be supported exclusively on Synapse 3 for Windows. Synapse 2.0 for MAC will be available up to MAC OS 10.14 only due to licensing issue. However, the latest version of Razer Synapse 3 is only supported on the Windows platform. My name is Aaron and I will be assisting you today.īefore we proceed, please provide us the following information for security purposes: Thank you for reaching Razer Technical Support. come on, we've supported you by buying your products for years. third party drivers are not going to help us in the long run. even if you don't update use to synapse 3, update synapse 2 to support the current OS so we can keep using your products. There's a thread in your support community that has 198 unanswered posts to you, all from Mac users. Original: "i just got a Mac OS alert that the driver is now legacy and won't be supported in the next os update. I’ll miss the glowing snakes and the inherent coolness of their products.īut I guess this is the end of the road for us. I’ll be looking elsewhere for other great products, that are high resolution and prescribe for artists and designers, not just gamers. And they’ve lost what I had hoped to be a lifelong, loyal customer that was a cheerleader for them on all platforms. I hope they continue to make great products for someone. And I’m sure it’s all Apple’s fault that’s the typical response. I’m sure, if they decide to reply, they’ll direct us to USB Overdrive, which is a great product but doesn’t give us the true full Razer experience. I’m a designer and artist, and sued their products to create. I have over 10 years of Razer products, starting with a high resolution mouse because they were one of the only companies to offer ambidextrous products of high quality. We’ve been abandoned by another hardware company who says we’re too expensive to develop for. Mac and other users have been cut off, due to what they described as “licensing issues.” 10.14 is the last officially supported version. I will post my emails in their entirety but they will no doubt be deleted and I will be banned. There are no plans to support Mac OS drivers for Razer products beyond current ones, no updated of drivers and that synapse 3 will only be available now and in the future for the Windows platform. For example if the location is a train station during rush hour, but there is no mention of background performers, you can safely assume you’ll need a lot.Īfter your second pass, you’ll have a very comprehensive breakdown of your script. Here you’ll add elements that are implicitly in the script. Once you open up your breakdown sheets in Movie Magic Scheduling, this becomes your second, more comprehensive pass. I consider the work in Final Draft Tagger to be the first pass, where you tag all of the elements that are explicitly in the script. For a more comprehensive tutorial on this workflow you can check out this video. sex file, you can open a new file in Movie Magic Scheduling, and import your work. sex file (don’t ask me why they couldn’t think of a better file extension). Finally, you want to “Export to Schedule”. Once you’re done, you’re going to want to save the fdx file again, so that the next time you open it with Final Draft Tagger, all your work will still be there. Now all you do is go scene by scene and “tag” the elements in the script like “Cast”, “Vehicle”, “Props”, etc. This will upload the script in a slightly different format, AND it will already start “tagging” CAST names. Open Final Draft Tagger, then go to File / Open File… and select the numbered fdx that you just saved. Still, double checking the work will be far less time-consuming than manually inputting everything from zero. Final Draft Tagger is not perfect, however, so you definitely want to go in and double check all the work. That’s a WHOLE LOT LESS information that you now need to add in manually. You can, of course, build the breakdown sheets from scratch, but Final Draft Tagger imports all of the information already available (such as sluglines, INT/EXT, Day/Night, Page Counts, etc) directly into scheduling. Final Draft Tagger basically lets you prepare an fdx file to import into Movie Magic Scheduling. If you own Final Draft, it also comes with a free software called Final Draft Tagger. However, there is an infinitely easier and faster way (and in my opinion, more efficient way as well). It’s important to note that in the old days, people broke down scripts using pens, highlighters and a lot of paper, so you can really use whatever technology you have available. Keep in mind that after this, your schedule and all of your breakdowns will be based on this script numbering, so make sure it’s properly done! Now just save a new fdx file! Next Stop: Final Draft Tagger This is one of the most important first steps. Once all the sluglines look good, I make sure to number the script. The more you catch these details in the script, the better prepared you’ll be when scheduling, and ultimately when budgeting. In that case, I’ll make sure the script details at least one slugline for each location. Sometimes you’ll find things in the script like “20 MINUTES LATER…”, or in some cases the writer will cut back and forth between two people in different locations on a phone conversation without adding all of the necessary sluglines. It’s an expensive investment, but one very much worth making, and I highly recommend it if you can afford it.įirst thing I do is review the sluglines. While I’m not writer, I use Final Draft constantly. The first thing I always do when I’m hired to budget a film, is ask for the script in fdx (Final Draft) format. Step 1: Beginning with the ScriptĮverything begins with the script. Your budget needs to be based on something. For example, how many extras should you budget for? The only way to figure that out is by breaking down the script scene by scene, adding the appropriate amount of background performers in each scene, then scheduling all of your scenes, and summing up how many “background mandays” that totals up to. But you can’t have a real budget, unless it’s based on a schedule, which is based on a breakdown. You can have a generic budget to get a general idea. You can’t have a budget without a scheduleĪt least not one you can trust. The Rhino developers started the openNURBS Initiative to provide computer graphics software developers the tools to accurately transfer 3-D geometry between applications. 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She couldn't believe people actually steamed and ate blue crabs! She began reading about those interesting critters and she learned that in winter, crabs burrow into the mud at the bottom of the Bay to sleep until spring. It was in Maryland that Cummings saw her first blue crab. In 1981, Cummings moved to Maryland where she became a magazine writer and editor for three years. Over the next ten years she worked for four different newspapers in four different states. After graduating from the University of New Hampshire with a degree in English literature, Cummings became a newspaper reporter. Priscilla had always thought she would follow in her father's footsteps and become a teacher, too, but in college she changed her mind because she enjoyed writing. Because of financial hardships facing many small farmers, her father gave up his dream of being a farmer and became a chemistry and physics teacher instead. When she was ten, Priscilla spent the summer writing her first chapter book (about a horse, of course) and in high school she tried her hand at reporting for the school newspaper. She kept a diary, too, wrote to her grandmothers and, in third grade, joined a pen pal club through the Archie comic books. Cummings still remember taking one of these books in to her first grade teacher who put stickers on the cover. Often, she illustrated the tales and made them into little books. Priscilla began her writing career with stories about farm animals. Mattero Did, Blindsided, The Journey Back and Cheating For The Chicken Man. Since then, she has written seven others: a Face First, Saving Grace, Red Kayak, What Mr. In 1997, her first novel for older children, Autumn Journey, was published. Over the years, Cummings wrote several more picture books about animals in the Chesapeake Bay. Her first book, Chadwick The Crab, was published in 1986. Then, she began to wonder: what if there was a crab who didn't want to sleep all winter? What if there was a crab who had Big Dreams? Who wanted to be a star at the aquarium in Baltimore, so he wouldn't have to sleep all winter? It was just a silly idea, but that's how it all started. When she was ten, Priscilla spent the summer writing her first chapter book (about a horse, of course) and in high school she tried her hand at reporting for the school newspaper.īecause of financial hardships facing many small farmers, her father gave up his dream of being a farmer and became a chemistry and physics teacher instead. |
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