Motion 5 4 1
| Developer(s) | Apple Inc. |
|---|---|
| Stable release | 5.4.6 / August 25, 2020; 49 days ago[1] |
| Operating system | macOS 10.14.6 or later |
| Size | 2.3 GB |
| Type | Compositing/Visual Effects/Animation |
| License | Proprietary |
| Website | Apple: Motion |
Motion Factory is a set of After Effects FREE plugins for motion graphics. Make Cartoon FX, Particles, HiTech HUD, animated Kinetic Typographies & Titles, transition, Glitch effects, Glitch text & titles, motion graphics presets, 2D animation video in After Effects and Premiere Pro. Apple Motion 5.4.6 add to watchlist send us an update. Buy now $ 49.99. 5 screenshots: runs on: macOS 10.14.6 or later (Intel only) file size: 2.3 GB main category: Multimedia developer: Apple visit homepage. Top alternatives FREE Apple QuickTime CINEMA 4D Adobe Premiere Pro.
Motion is a software application produced by Apple Inc. for their macOSoperating system. It is used to create and edit motion graphics, titling for video production and film production, and 2D and 3D compositing for visual effects.
History[edit]
The original product, codenamed 'Molokini,' was previewed at a NAB event on April 19, 2004.
Version 1.0 was made available on August 11, 2004.[2]
At a pre-NAB event in April 2005, Apple released Motion 2 along with new revisions of the other Pro applications, optimised for the Power Mac G5 and Mac OS X 10.4.Features introduced in Motion 2:[3]
- 32-bit Rendering
- Replicators
- New filters
- MIDI behavior
- After Effects integration
In January 2006 Apple stopped selling Motion as a stand-alone product. Introduced at NAB in Las Vegas on April 15, 2007, Motion 3 was included as part of the Final Cut Studio 2 suite.Features introduced in Motion 3:[4]
- 3D multiplane environment - 2.5D compositing
- 3D text behaviors
- Vector-based paint strokes
- Point tracking and match moving
- Image stabilization and SmoothCam
- Synchronized Audio behavior
- Dynamic retiming behaviors
- Advanced Keyframe Editor - keyframe pen tool, transform box
- Final Cut Pro integration - Motion 3 master templates
Motion 4 was introduced on July 23, 2009.[5]New features included:[6]
- 3D Shadows
- 3D Reflections
- Depth of Field
- Credit Rolls
- Adjust Glyph tool
- Parameter Link behavior
- Camera framing
- Improved Sequence Text behavior, plus new presets
- New text generators
- New graphics generators
- New filters
- Multi-touch gesture support
- ProRes 4444 support
- Background export
Motion 5 was introduced on June 21, 2011.[7] It is available through the Mac App Store at a reduced price of $49.99. Motion 5 is now sold as a stand-alone product.New features:
- Final Cut Pro X plugin generation
- Parameter rigs
- New keyer
- 64-bit architecture
Motion 5.2 was released on April 13, 2015.New features:[8]
- 3D text
- New generators
- Improved shapes
- Improved keyframing
Motion 5.3 was released on October 27, 2016.[9]
- Wide colour
- Improved Link parameter behavior
- New Align To behavior
- Improved 3D text
Motion 5.4 was released on December 14, 2017 with new features:[10]
- 360 VR motion graphics support
- The ability to switch a current Motion document to be a Motion project, Final Cut Pro generator, Final Cut Pro title, Final Cut Pro effect, or Final Cut Pro transition
- New Overshoot animation behavior
- New filters for different photographic looks
- Import, playback, and editing of HEVC video clips and HEIF photos.
- Faster optical flow analysis
Motion 5.4.1 was released on April 9, 2018.[11]New feature:
- ProRes RAW
- Bug fixes
Motion 5.4.2 was released on November 15, 2018.New features:[12]
- Advanced color grading
- Comic filter
- Tiny Planet filter - for displaying 360° spherical video in non-360° projects
- Bug fixes - including use of Core Text engine for improved display of non-roman text
Motion 5.4.3 was released on March 21, 2019.New feature:[13]
- Post-macOS Mojave media compatibility checker
See also a release history in context with the rest of Final Cut Studio.
Market position[edit]
Motion is a motion graphics and compositing application similar in some ways to After Effects and Nuke. With version 3, Apple added 3D compositing, vector paint, and motion tracking to Motion's toolbox. This added power, plus the GPU accelerated nature of Motion, allows it to be seen as an alternative to those packages for titling and simple animation projects.
Features[edit]
Features of Motion include the ability to create custom particle effects (as well as using pre-built ones) and to add filters, effects and animations in real time. Motion has the ability to address up to 32 GB of RAM and GPU acceleration at 8-bit, 16-bit and 32-bit float color depths. Motion 2 can also integrate with a MIDI keyboard, so that parameters can be controlled by keys or faders; this opens up the possibility of real time parameter input into Motion. In addition Motion 3 now allows for complete 2D and 3D compositing in a multiplane environment.
Behaviors[edit]
As well as supporting traditional keyframe animation, Motion introduced a system of pre-set 'behaviors' which can be combined to create realistic animations. For instance, the 'throw' behaviour will move an object across the screen. Combined with the 'gravity' behavior, it will simulate a realistic arc of motion. The effects can be tweaked utilizing various parameters, varying the strength of the bounces, the amount of gravity to apply and so on.
This is very different from traditional animation software, which requires the use of keyframes to determine the position of an object at any given time. Such software then automatically creates motion to fill the spaces between the keyframes. This makes it easy to know exactly where objects are on the screen at any given time, but it is considerably more difficult to create realistic animations that build up on different, conflicting forces.
The Replicator and Particle Emitters[edit]
In Version 2 a new 'replicator' function was introduced, which allows an object to be replicated to create a repeating pattern of a specified size and shape. With this tool, it is possible to create animations in which the elements of a replicated pattern move in sequence.
'Particle emitters' allow the user to set a pre-drawn shape to rapidly generate copies of itself and emit them across the screen. The direction and intensity can be adjusted, and combined with behaviors to create very complex animations quickly and easily. For example, a particle emitter used in conjunction with a star shape and the 'vortex' behaviour would animate a circle of swirling stars.
The H.U.D.[edit]
Motion features a floating semi-transparent window ('heads-up display', or HUD) which displays the most commonly altered parameters of the object or effect currently selected. This allows the user to make quick adjustments without having to search through palettes and menus. However, exact numerical values cannot be entered in this window. For more precise editing, consult the Inspector window.
Tools[edit]
Motion has the following tools available for the creation or manipulation of graphics on the canvas:
- Anchor point - each object has an 'anchor point' that acts as the centre of rotation or enlargement.
- Four Corner, which changes the perspective of objects.
- Bézier curve adjustment
- Rectangle, ellipse, Bézier curve and B-spline creation tools.
- The text tool.
- Rectangle, ellipse, Bézier and B-spline masking tools (which define the part of an object that is visible).
These tools can be accessed from the toolbar at the top of the screen or with keyboard commands.
Recording[edit]
Recording is used for adjusting an object over a specific amount of time by placing and manipulating keyframes. The recording button is a red dot button adjacent to the play/pause features. When the button is selected, it lights up red and the dot turns white. Any adjustments made when the button is selected are saved as keyframes. Keyframes act as placeholders that solidify an object's characteristics at a single frame (anything from position and rotation to cropping and size). Using multiple recordings, an object shall reorient itself between the two keyframes to match each set characteristics. Recording can act as an alternative to movement behaviors that allow more in-depth adjustments.
How Motion works[edit]
Motion uses pixel shaders which move the processing of video effects to the Graphics Processing Unit (GPU) of a modern graphics card. Motion is also compatible with Apple's Core Image technology, allowing one to use the Image Units that come standard with Mac OS X Tiger. Like pixel shaders, Core Image 'stacks' various effects, allowing a number of effects to be combined together without slow-down. A faster graphics card improves performance. Motion is also the first Pro App to introduce FxPlug Apple's plug-in architecture that allows for GPU acceleration.
In Motion, users import their own graphics files and use pre-prepared graphics such as text and shapes. Objects can be grouped into layers, but they always retain their own distinct identity. These various parts are then grouped into a single layer. Selecting that layer permits moving all of the objects as a single body...
Similar products[edit]
- Nuke – The Foundry
- Combustion, Toxik and Smoke – Autodesk
- Fusion – Blackmagic Design
- Boris RED – Boris FX
While not dedicated to compositing, the open source software Blender contains a limited node-based compositing feature which, among other things is capable of basic keying and blurring effects.[14]
References[edit]
- Wiggins, P. (August 2004). Motion 1. First review of Motion'.[1]
- Lindsay, A. (November 2004). Motion. DV, 12, 54 – 58.[2]
- ^https://support.apple.com/HT202203
- ^'Apple - Motion'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on August 11, 2004. Retrieved May 15, 2019.
- ^'Final Cut Studio - Motion'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on May 11, 2005. Retrieved July 12, 2017.CS1 maint: BOT: original-url status unknown (link)
- ^'Motion 3. What's New'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on March 3, 2008. Retrieved July 12, 2017.CS1 maint: BOT: original-url status unknown (link)
- ^'Apple press release: 'Apple Updates Final Cut Studio with More Than 100 New Features''. www.apple.com. Apple. Retrieved July 12, 2017.
- ^'What's new in Final Cut Studio'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on May 19, 2010. Retrieved July 12, 2017.CS1 maint: BOT: original-url status unknown (link)
- ^'Apple press release: 'Apple Revolutionizes Video Editing With Final Cut Pro X''. www.apple.com. Apple. Retrieved July 12, 2017.
- ^'Apple support page: 'Motion 5 release notes''. www.apple.com. Apple. Retrieved July 12, 2017.
- ^'Apple press release: 'Apple releases significant update to Final Cut Pro X''. www.apple.com. Apple. Retrieved July 12, 2017.
- ^'Apple Releases Motion 5.4 With Support for 360 VR Motion Graphics, HEVC, More'. www.iclarified.com. iClarified. Retrieved April 30, 2018.
- ^'Apple press release: 'Final Cut Pro X update introduces ProRes RAW and advanced closed captioning''. www.apple.com. Apple. Retrieved May 15, 2019.
- ^'Apple support page: 'Motion 5 release notes''. www.apple.com. Apple. Retrieved May 15, 2019.
- ^'Apple support page: 'Motion 5 release notes''. www.apple.com. Apple. Retrieved May 15, 2019.
- ^'Blender features page'. Retrieved March 19, 2011.
External links[edit]
Motion graphics and animation software | ||||
|---|---|---|---|---|
| 2D | 3D | Mix | ||
| Free and open-source | ||||
| Closed-source | Freeware |
| ||
| Commercial | ||||
| Discontinued / Legacy | ||||
Motion is the powerful motion graphics tool that makes it easy to create cinematic 2D, 3D, and 360° titles, fluid transitions, and realistic effects in real time. And with its all-new Metal engine, Motion lets you build and play back effects at incredible speeds.
Your graphics in Motion.
Designed with editors in mind, Motion features a streamlined interface that lets you easily create titles, transitions, and effects for Final Cut Pro.
Design in a modern interface that matches the look of Final Cut Pro and puts the focus on your work. Easily locate assets using visual content browsers, then build motion graphics with a logical layers list, full-length timeline, and keyframe editor. It’s simple to customize the interface to match the way you work.
Motion is the best way to build effects for Final Cut Pro projects, including titles, transitions, generators, filters, and more. Save any effect to make it immediately available in Final Cut Pro, where you can apply adjustments right in the video editor. And at any time, instantly jump back to Motion for more advanced changes.
Create Smart Motion Templates that let you adjust your motion graphics within Final Cut Pro. Publish any parameter to a template, or create rigs that let you control a group of parameters with a simple slider, pop-up menu, or checkbox. If you set up templates with multiple aspect ratios, Final Cut Pro automatically uses the correct layout based on your footage.
Motion boasts an enormous ecosystem of third-party plug-ins and templates that complement the power of the app. Download tools for enhanced tracking and 3D object creation, or choose from thousands of templates with gorgeous titles, transitions, and effects to use as is or customize to fit your project.
With its modern Metal architecture, Motion uses the power of today’s high-performance GPUs to speed up tasks throughout the app and play back motion graphics in real time as you create them. And since Motion shares a render engine with Final Cut Pro, you’ll get consistent speed and quality across applications.
HDR
Design motion graphics in stunning High Dynamic Range with Motion. View HDR images on any recent Mac that displays an extended range of brightness. Or heighten your experience with the new Pro Display XDR, which connects with a single Thunderbolt cable to reveal the stunning beauty of your HDR effects.
Advanced color grading
Adjust hue, saturation, and brightness with the same advanced color wheels available in Final Cut Pro. Use color curves and hue/saturation curves in combination with the eye dropper to target and alter specific color ranges. And precise keyframe controls let you adjust color corrections over time.
Optimized for the all-new Mac Pro
Design and create faster than ever before with Motion on the new Mac Pro. Motion takes advantage of all the GPUs in your Mac and uses up to 28 CPU cores in processor-intensive ProRes workflows. Motion is also optimized for the Afterburner card to accelerate ProRes projects, so you can design motion graphics and watch your results instantly in groundbreaking 8K resolution.
360° video.
A new spin on your projects.
Motion features a robust 360 VR motion graphics workflow with real-time output to a VR headset, so you can design 360° titles, generators, and filters that perfectly map to your VR scene. Instantly apply those effects to your Final Cut Pro timeline or share to YouTube, Facebook, and Vimeo.
Create 360° titles in 2D and 3D. View them in real time with a VR headset or use the Look Around view to pan across your project in the viewer. 360° titles resize automatically when you move them within your VR scene and can be keyframed to change their look and position over time. Save your work as a 360° Motion template to access it easily in Final Cut Pro.
Design custom 360° graphics or apply bundled effects like 360° blurs, glows, and particle systems to add realism to your VR scene. You can even create 360° generators and place any graphic, still, or video into a 360° project — then reposition and resize to fit.
Create mind-bending effects with 360° video in non-360° projects. Adjust tilt, pan, roll, and field of view for spherical looks and animations. Then apply keyframes for perspective-inverting effects that change over time.
Powerful design tools.
Motion features a real-time design engine that lets you see your work immediately, along with a deep set of tools and content for creating and animating complex motion graphics.
Build brilliant 2D, 3D, and 360° compositions by choosing from more than 1900 Apple-designed, royalty-free graphics — including vector artwork, high-resolution images, and animated design elements.
Control the timing and position of elements in your animation using intuitive keyframe tools. Use flexible curve interpolation for smooth parameter changes. Draw curves using a freehand tool, or move, stretch, and condense groups of keyframes using the Transform box.
Create natural-looking motion without the need for complex calculations using preset behaviors like Gravity, Throw, and Vortex. Use Text behaviors that animate letters, words, or lines across the screen. Or apply the new Overshoot behavior to easily create spring-loaded animations. You can even combine behaviors for more advanced motion animations.
Create high-quality animated backgrounds with built-in generators, each with parameters to customize the look and style of the animation. Choose from a collection of standard shapes and unique designs. All generators can be used as bump maps or textures on other objects — including 3D text.
A 2D and 3D view of your titles.
Easily create beautiful 2D and 3D titles that you can animate with drag-and-drop behaviors and intuitive text animation tools.
Create text using your favorite fonts and adjust its position, opacity, and rotation. Manipulate vector-based characters with pristine sharpness, and apply Text behaviors to add complex word and character animations easily. Motion is built on the CoreText engine, which ensures that glyphs, characters, and emoji render correctly every time.
Build 3D titles from scratch, design them with easy-to-use templates, or instantly convert any existing 2D title to 3D. Customize your 3D text with over 90 Apple-designed organic and artificial materials — or create your own. You can even choose from a variety of lighting effects to give your 3D titles an ultrarealistic look that perfectly matches the environment.
Quickly animate text on or off the screen by choosing from more than 100 behaviors including Type On, Blur Out, and Text-on-a-Path, which sets your text in motion on a trajectory that angles, bends, or twists. You can also create unique animations by moving letters just where you want them.
With text generators you can automate tasks that would take hours to complete by hand. Count up and down in sequence, change text randomly, add a timecode sequence, and more.
Use Credit Rolls to set up a scroll in just a few steps — even for long lists of production credits. Import a text file or type the credits directly into a Motion project, then use the Scroll behavior to automatically animate the speed of the credits based on your project length.
Stunning effects.
Just drag and drop to assemble impressive animations, with a choice of more than 200 filters and effects built into Motion. Then fine-tune your work with precise controls.
Use realistic particle systems to create effects including smoke and sparkles — or add dazzling details to any animation. Choose from over 200 particle presets or design your own. Replicators let you set up mesmerizing, repeating patterns in 2D or 3D space and in 360° scenes, following a geometric shape.
Choose from over 140 paintbrush presets or design your own using color gradients or QuickTime files. Create pressure-sensitive brushstrokes that paint gradient colors or particle dabs. And easily make vector‑based strokes weave through 3D space.
Motion suggests the best tracking points so you can quickly create paths to track moving objects in any clip. You can attach images, particles, filters, paint strokes, or the control points of a mask to any tracking path.
Image stabilization lets you smooth a bumpy camera move or lock down a shaky shot, without time‑consuming setup. And SmoothCam eliminates jitters and bumps — so it looks like your footage was shot on a tripod while still retaining camera moves like pans, tilts, and zooms.
Create an accurate chroma key in a single step with the easy drag-and-drop Keying filter. If the green- or blue-screen background in your footage is unevenly lit, you can use advanced controls, including an intuitive color wheel, to fine-tune the results.
Comic filter
Give any photo or video a comic book aesthetic. Choose from three styles to instantly create color, grayscale, or monochrome artwork. Then refine the effect by adjusting ink edges, fill, and smoothness.
3D
Instantly transition from 2D to 3D space by adding a camera or cameras to any 2D project while preserving your 2D groups. Animate and adjust the cameras to create smooth, realistic 3D movement.
Shadows
Set up point lights and spot lights to cast shadows across objects. Fine-tune shadow appearance by specifying colors and edge types. When you set your elements in motion, shadows animate dynamically with the movement of objects and lights.
Reflections
Turn any shape, video plane, or paint stroke into a reflective surface. Add blur to soften reflections and use the Falloff feature to fade reflections as the object moves away from the light.
FxPlug
FxPlug is a powerful Apple‑designed plug‑in architecture for filters and effects. Choose from more than 130 built-in FxPlug filters and generators. And explore the thriving ecosystem of third‑party FxPlug effects that work in Motion and Final Cut Pro with custom interfaces and incredible real‑time performance.
Third-party tools to make your workflow flow.
Choose from thousands of custom transitions, titles, and motion graphics. Work directly with powerful applications through workflow extensions in Final Cut Pro. And take advantage of other third-party tools for advanced tracking, EDL and AAF interchange, and more.
Five amazing apps.
One powerful collection.
Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions. Get all five professional applications for video and music creation at a special price — including Final Cut Pro X, Motion, and Compressor, along with Logic Pro X and MainStage.
The 5-out motion offense is a fantastic primary offense for basketball teams at any level, but especially youth basketball teams.
It’s a positionless offense that relies on spacing the floor and a set of rules that assists players to determine their movements and actions.
Due to players making decisions and reading the play of their teammates and defenders, the 5-out motion offense is great for teaching players how to play basketball.
Who Should Run the 5-Out Motion Offense?
As a positionless offense, I highly recommend the 5-out motion offense for all youth basketball teams since it allows all players on the team to develop into well-rounded basketball players.
This is important because it’s impossible to know which players will grow in height and which players won’t.
Countless times I’ve seen players who have matured and grown early in life get assigned to the post position only to have their teammates who developed at a later time quickly catch up to them.
When this happens the player who developed early has had barely any practice at dribbling, shooting from the outside, etc.
So it’s imperative that all youth coaches use a positionless offense like the 5-out motion offense.
But with that said (sorry for the rant), it’s especially a great offense for teams that lack height and want to run a fast offense with a lot of movement.
Strengths:
• Creates positionless players – All 5 players on the court are required to pass, cut, dribble, shoot, screen, etc. This is imperative for a great youth basketball offense.
• Can be used as a delay offense – If your league doesn’t have a shot clock and you want to hold up the basketball, the 5-out motion offense will provide movement and keep the defense honest while not looking at scoring options.
• Players learn how to play basketball – Don’t overlook this benefit. Players learn to read their teammates and defenders and make decisions accordingly. This is an important process that players won’t learn from running set plays all game.
• Every player contributes – When running this offense, one or two players can’t dominate the basketball. All players will be involved and must contribute to the team’s offense.
• Requires great spacing – If players are all in the correct positions, your team will always have great spacing at all times. This opens up driving lanes and makes it difficult for defenders to help each other.
• Difficult for opposition teams to scout – Since there are no ‘set’ passes or actions, teams won’t be able to work out a specific action they can stop to disrupt the offense.
• The opposition can’t crowd the key area – All defenders on the opposition team will be required to guard all areas of the floor. This prevents them from keeping their biggest players on the inside.
• Easy to teach due to progressions – One of the best things about the 5 out motion offense is that it can be taught in progressions. Players aren’t forced to learn the complete offense all at once which will overwhelm them.
Weaknesses:
• Not great for teams with one dominant player – If you have one or two dominant players that contribute the bulk of your team’s scoring, this might not be the offense for you if you want your team to continue to play that way. All players must contribute in the 5 out offense. Even the weaker players.
• Players can get stuck in the motions of the offense – When you first implement this offense with your team, you’ll find that they’re so focused on running the offense properly, that they forget to look for scoring opportunities.
• Sometimes difficult with a shot clock – Similarly to the above point, if your players aren’t constantly searching for scoring opportunities, the shot clock can play a factor and force your team to rush a shot with a few seconds left.
• Can take some time for players to master – While your players can quickly pick up the actions and movements of the 5 out, it does take time for players to learn how to quickly read the game and make smart decisions on the court.
5 Out Motion Rules
The 5 out motion offense is governed by 5 rules that players must follow at all times for the offense to run smoothly.
1. If your being denied and the player with the ball looks at you, back cut immediately – Never hesitate. This assumes you’re only being denied one pass away from the basketball.
2. If you believe you can attack the basket and score on your defender, do it – Players must understand their own abilities and the abilities of their defender. If a player thinks they can attack, they should do it immediately on the catch.
3. Players must square up to the rim when they have the basketball – A player can’t telegraph what they’re going to do by facing a certain direction. By squaring up, players can shoot, pass, or dribble.
4. Every action must be performed with purpose – If you cut, cut hard. If you’re screening, focus on setting a great screen. Never pass and stand still.
5. Spacing is always on the NBA three-point line – The NBA three-point line is about 2 feet behind the normal three-point line.
Setting Up the 5 Out Motion Offense
‘5 out’ simply means that all offensive players on the floor are starting outside the three-point line.
There are 5 spots that must always be filled unless players are performing an action like screening or cutting.
The five spots are:
1. Left corner
2. Left wing
3. Top
4. Right wing
5. Right corner
These spots should be on the NBA three-point line which is about 2 feet behind the regular three-point line used by all other levels.
When teaching the 5-out motion offense to your team for the first time, I highly recommend you use cones to mark these 5 spots on the floor to allow players to get used to where each position is.
How to Run the 5-Out Motion Offense
There are 4 progressions that you gradually introduce one by one into the continuity of your 5-out motion offense.
All coaches must make sure they start with progression one and move up without skipping steps.
This allows the players to gradually learn the concepts of the 5-out motion offense without being overwhelmed with the entire offense all at once.
These are the 4 progressions:
Progression 1: Basic cutting
Progression 2: Screening away
Progression 3: On-ball screen
Progression 4: Dribble at
Let’s go through each of the progressions in more detail…
Progression #1 – Basic Cutting
The easiest way to begin teaching your team the 5-out offense is to start with the basic movements of passing and cutting in a 5-0 situation.
Start by setting out 5 cones at the 5 fill spots on the court. Let your team know that when they’re not cutting, they must be in one of these 5 positions.
Now it’s time to teach the cuts…
There are 4 passes and cuts that can be made during progression 1.
1. Top to Wing Pass
On a top to wing pass, the passer basket cuts all the way through the key and fills the opposite corner.
Once 1 has cut, 3 and 5 must fill up the positions closer to the basketball.
2. Wing to Corner Pass
On a wing to corner pass, the passer also basket cuts all the way through the key and fills the opposite corner.
Once 2 has cut through, 3, 5, and 1 must all fill up the positions closer to the basketball.
3. Corner to Wing Pass
On a corner to wing pass, the passer basket cuts and replaces themselves.
The other 4 players wait in the same spot for the next action.
4. Wing to Top Pass
On a wing to top pass, the passer basket cuts and then fills the corner of the same side they cut from.
On 3’s cut, 4 fills up closer to the basketball and then 3 replaces them in the corner. The other 3 players wait for the next action.
Progression Practice:
Have your players practice this progression until they’re comfortable with the passes and cuts.
This simple progression can be a great offense for a youth basketball team by itself. It will provide great spacing and get your players reading the play and making decisions.
Coaching points when teaching progression #1:
• Remind your players that if they’re being overplayed, they must back cut immediately when the player with the basketball is looking at them.
• To set up the defender and get open on a front cut, after passing the player should take one step away from the ball and then explode to the ball-side of their defender on the cut to the rim looking for the basketball.
• If the defender ‘jumps to the basketball’ taking away the front cut, the passer should back cut and try to step in front of their defender to open up the passing angle.
• Always watch the basketball on cuts. If a shot is put up, they need to know immediately to establish rebounding position.
• Cut hard on all cuts to the rim. Doing so will make the cutter a threat to score which will force weak side defense to help.
Progression #2 – Screen Away
Once your team is comfortable with the cutting phase (making the correct cut 80% – 90% of the time), it’s time to introduce the action of screening away after a pass instead of cutting.
This action can be performed on any top to wing, wing to corner, or wing to top pass. The only pass it can’t be performed on is the corner to wing pass.
Before implementing this action, you must decide whether you want the player being screened to always curl, or whether you’ll give them the option of cutting to the top or curling.
I recommend all youth basketball teams (below high school) get this player to curl off the screen every time so that there’s no confusion.
For high school teams and higher, you can allow them to read the defense and perform the most appropriate option.
Option 1 – Screened player always curls off the screen
Here’s how it works on a top to wing pass…
1. 1 makes the pass to 2 on the wing. Instead of cutting, 1 decides to set an away screen.
Note – It’s important that 2 waits while this screen is being set so that the curling option is not missed due to passing to 4 too quickly.
2. 1 screens for 3 making sure that they set the screen at an angle that allows the 3 to cut to the rim.
3. 3 can either front cut or back cut towards the rim depending on how quickly the defense reacts to the screen. But they must cut to the rim since they were screened.
4. After 3 has used the screen, 1 pops back out to the same spot that they set a screen from. If 1’s defender attempts to help on the cut from 3, you’ll find that 1 will often get an open shot from the top of the key.
5. After the cut, 3 fills the weakside corner position since 5 has filled 3’s previous position on the wing.
Then all players are back in position for the next action to be made.
Option 2 – Screened player has the choice of curling or popping out
If you’re coaching an experienced basketball team, you can give the player being screened the option to curl or to pop out to the perimeter and receive the pass.
The difference when using this option is that the screener must go the opposite direction to the cutter.
If the cutter decides to pop out to the perimeter, the screener will cut to the rim and then fill the corner.
If the cutter decides to curl, the screener will pop out to their original position.
Here’s an example of a top to wing pass using option 2…
1.1 makes the pass to 2 on the wing. Instead of cutting, 1 decides to set an away screen.
Note – It’s important that 2 waits while this screen is being set so that the curling option is not missed due to passing to 4 too quickly.
2. 1 screens for 3 making sure that they set the screen at an angle that allows the 3 to cut to the rim.
3. 3’s defender cheats and goes under the screen so 3 pops out to the top perimeter position to catch and look for the open shot.
4. Reading this, 1 cuts to the rim because they must go the opposite direction of the cutter.
5. 1 then fills the corner position as 5 has filled 3’s previous spot on the wing.
I’ve found that inexperienced teams can struggle with option 2 so I recommend starting with option 1 and then progressing to option 2 if you think your players are capable.
Coaching points when teaching progression #2:
• Players must be setting screens on the correct angle. This means the screener’s bum should be facing somewhere between the player with the basketball or the basket. Too often youth players will set screens too high that allow the defender to quickly slip under it.
• The player setting the screen must make the player being screened aware with a verbal cue and a visual sign. I recommend you teach the screener to hold their arm up in a fist and call out the player’s name before setting the screen.
Progression #3 – On-Ball Screen
Once your players are comfortable with cutting and screening away, next up is the action of setting on-ball screens.
This action of the pick and roll is often very effective because the offensive players are spaced out well.
The on-ball screen can be used after any pass in the offense.
Here are two examples of setting an on-ball screen in the 5-out motion offense:
Example #1 – Top to Wing Pass On-Ball Screen
1. 1 passes from the top to 2 on the wing and then sets an on-ball screen on their defender.
2. 2 uses the on-ball screen and drives hard to the rim surveying the options that are presented.
3. Depending on how the defense reacts, 2 can pass to any of the perimeter players or make the shot in the key.
If the basketball is kicked out and the shot isn’t immediately taken, all players must find one of the 5 fill spots and the 5-out motion offense starts again.
Example #2 – Wing to Corner Pass On-Ball Screen
1. 4 passes to 2 in the corner and then sets an on-ball screen on their defender.
2. 2 uses the on-ball screen and drives hard to the rim surveying the options that are presented.
3. Depending on how the defense reacts, 2 can pass to any of the perimeter players or make the shot in the key.
A lot of coaches who run the 5-out motion offense make it a rule that on each pass to the corner the passer sets an on-ball screen. So if it works for you, consider incorporating it as a rule into your offense!
Coaching points when teaching progression #3:
• As with the previous progression, it’s super important that players are setting the on-ball screen at the correct angle that allows the player with the basketball to attack the rim.
• The three players not involved in the pick and roll should do their best to move into open positions where they can catch and shoot or catch and drive.
• Start to introduce to the players that they must take into account each player’s skill set before making an action. For example. Your team should not set an on-ball screen for player that can’t dribble the basketball well.
• Just like in the screening away progression, players must be giving a visual and verbal cue to the player they’re about to set an on-ball screen for by saying their name and holding up a fist.
Progression #4 – Dribble At
Another action to add to this continuity offense is the ‘dribble at’ action.
This can be used when a player with the basketball is being heavily pressured and the only options to pass are being denied well by the off-ball defenders.
In this scenario, the player with the basketball may decide to dribble towards another player at a different spot.
When this happens, the two offensive players involved (the dribbler and the player they’re dribbling towards) have two options.
1. Backcut
If the player without the basketball is being denied, they can make a hard back cut looking to receive the basketball for a layup.
If they don’t receive the pass, they fill the weakside corner, the other players rotate towards the basketball, and the next action begins.
2. Hand-off
The other option is to perform a hand-off between the two players.
This is similar to the pick and roll where the other 3 players on the court should hold their positions and wait.
The player that receives the hand-off should attack the rim and kick out to shooters if the defense slides over to help.
Coaching points when teaching progression #4:
• When performing hand-offs, the player with the basketball should rotate their hands so that they’re on the top and bottom of the basketball. This allows the player receiving the hand-off to grab the basketball on the sides.
• In my opinion, I don’t like hand-offs for youth basketball. For my youth teams, I have them automatically back cut on a dribble at.
Piecing the 5-Out Motion Offense Together
Once your players have learned the basic 4 progressions of 5-out motion offense, you’ve established a fantastic primary offense that will teach them how to read and play the game of basketball.
Now that they can confidently perform all the actions, the next important step is for players to work out what actions work the best for them and their teammates.
For example:
• Players will work out that the best players to set on-ball screens for are the quick guards who make great decisions.
• The best players to away screen for are those that cut hard to the rim and can finish the layup or close shot.
• The bet shooters on the team should primarily set away screens so that they’re cutting back out to the basketball for the open shot.
While a lot of this knowledge will develop with experience, I believe it’s important for the coach to talk to the team and each player individually about what they’re good at and what they need to improve on.
Doing so will help their decisions when running the 5-out motion offense during the game.
Motion 5.4.1 Torrent
Advanced
Flex Action Progression
Once your team has mastered the basic progressions of the 5-out motion offense, you can choose to add a more advanced flex cut progression.
This is best used on a pass from the wing to the top of the key and can potentially give you an open layup off the flex cut or an open jump shot off a down screen.
Here’s how it works:
1. 2 makes the pass to 1 at the top of the key.
2. After making the pass, 2 will basket cut as usual. But instead of filling to the same side, 2 sets a flex screen for 5.
3. 5 uses the flex screen and cuts through looking to receive the pass for the layup. If 5 isn’t open, they simply cut all the way through to the corner as 4 has moved up the wing to replace 2’s spot.
4. 3 then sets a down screen for 2.
5. 2 uses the down screen and pops out to the perimeter looking to receive the basketball for the jump shot.
6. 3 can reverse pivot and seal 2’s defender if they have a mismatch inside. If not, 3 fills the closest corner.
Even if the offense doesn’t get a great look from the flex option, you will notice now that all five spots are now filled and the team can move on to the next action of the offense.
Variation – Cutting Through the Nail
Another variation of this offense I wanted to share with you is the option to ‘cut through the nail’ every time a player cuts to the top of the key.
This is most commonly seen in Bob Huggins’ Open Post Motion offense.
Instead of filling to the top spot just like any of the other 4 spots, players are required to L-cut through the nail.
Note – The ‘nail’ is the spot at the very middle of the free-throw line.
When players cut through the nail, they’re required to decided whether to back cut or to pop out to the top spot depending on how their defender is playing them.
If the defender is denying them from receiving the basketball, the player must immediately back cut and then fill the weak side corner.
If the defender is playing off them, the player cuts out to the top spot to receive the pass.
By implementing this variation to the 5-out motion offense you will achieve two things…
1. It will take away the defenders ability to get a deflection which leads to the opponent’s fast break.
2. It can lead to some easy scores off the back cuts.
Getting the Basketball to the Post
The best way to get the basketball inside to players who have a mismatch is to allow those players to establish quick post up position after every through the key.
The player posting up is only allowed to hold this position for 1 – 2 seconds before clearing out if they don’t receive the pass.
Martinlogan - Motion Lx16 5-1/4
This ensures that the 5-out motion offense continues to run smoothly.
To take advantage of this mismatch, it’s important that players with the basketball are looking at cutters to take advantage of the 1 – 2 seconds that they secure inside position.
Posting up isn’t restricted to your biggest players. Any match up on the floor with an advantage in the post can use this technique.
Transition Defense and Rebounding
One thing a lot of coaches will find confusing is that since all our players are standing outside the three-point line, who’s going to rebound!?
The answer to this question will depend more on the personnel on your team and how aggressive you want to be rebounding the basketball.
I’ll give you three options. Pick the one you like the most depending on your coaching style and players on your team.
1. The point guard always plays safety. The other four players crash the boards.
2. The point guard and shooting guard always play safety. The other three players crash the boards.
3. Everyone below the free throw line rebounds. Everyone above the free throw line plays safety.
What you’ll quickly realize is that the 5-out motion offense can lead to a lot of offensive rebounds as long as your designated players are willing to work hard for them.
By starting on the perimeter when a shot is put up, it’s incredibly difficult for the defense to box out an offensive player with a running start.
Martinlogan - Motion 5-1/4
If you have any tough and athletic players on your team, expect them to grab a lot of offensive rebounds!
Conclusion
The 5-out motion offense is a great offense for any basketball coach to learn and implement with their team.
Being a very common offense, even if you don’t use it with your own team, it’s important for all coaches to learn about so that they know how to defend when playing against it.
It allows players to practice all skills, gets the whole team involved, and can be easy to teach as long as you’re using the right progressions and not trying to implement the whole offense at once.
Any basketball coach who uses this offense will know they’re improving their players!
Photomill X 1 6 1 55v
PhotoMill X 1.6.4. Multi-functional batch photo converter. Follow this app Developer website. PhotoMill X helps you convert a bulk. PhotoMill allows you to search photos using the built-in search tool with up to 30 criteria and group your photos by capture date, image format etc. PhotoMill allows you to share converted photos to Facebook, upload them to Flickr or transfer to other Mac via AirDrop. You can see the actual look before conversion.
Category: Software
Posted on 2020-06-05, by BaDshaH786.
PhotoMill X 1.6.3 macOS | File size: 57 MB
PhotoMill helps you convert a bulk of images into the most popular image formats, give your files meaningful names, watermark with text and image, adjust photos (brightness/saturation/exposure/grayscale/etc.), fit geometry (scale/crop/trim/etc.), remove private metadata, add your own copyrights etc.
CONVERT
Conversion to: HEIC, BMP, GIF, JPEG, JPEG 2000, PDF, PNG, TIFF
Color models: RGB, Gray, CMYK
Color depth: 8/16/32 bits; with or without alpha channel
METADATA EDITOR
Correct EXIF/IPTC metadata tags in your photos: place GPS coordinates, remove private information from your photos, correct or set capture dates, add your own copyright, keywords or rating.
Photomill X 1 6 1 55v
PHOTO BROWSERThe app has a bunch of features for comfortable browsing and multi-criteria search of photos in the Browser.
The Browser has 3 panels: Image Info - displays detailed information about a selected photo; Groups - splits photos into groups/subgroups based on a chosen criteria, for instance, by capture dates; Search - gives you an opportunity to search photos by different criteria.
RENAME
You can give meaningful names to converted photos constructing file names in the 'pro' way - using text and tags: index, capture date, original name, image width, 'find & replace' etc. Also, you can rename photos without any conversion.
RESIZE
Fit image size with a bunch of geometry actions: scale, crop, add border, trim, trim color, rotate & flip, auto rotate (by EXIF orientation), change resolution.
WATERMARK
Text - you can use photo metadata information - tags: capture date, keywords, camera maker etc., as well as entered text. Font size can be either fixed or relative to an image width, height, long or short edge. Multiline text, stroke, shadow, rotation, tiling and other features.
Image - image size can be either fixed or relative to main image size. Image tiling is also available.
Rectangle - background for text; square or rounded. Fill and stroke color can be half-transparent.
ADJUST COLORS
Available filters: auto contrast, auto white balance, gamma, contrast, exposure, sharpness, grayscale, sepia, colorize, temperature, HSL channels (Hue/Saturation/Lightness), HSV channels (Hue/Saturation/Value,Brightness), RGB channels, curves.
Working with transparency: alpha mask, color to alpha, alpha to color.
Color matching: assign profile, convert to profile, proof with profile.
RELEASE NOTES
Release notes were unavailable when this listing was updated.
Supported Operation Systems:
macOS 10.12.2 or later 64-bit
HOMEPAGE
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Last Updated on October 26, 2020 by
Developer: Ivan Prymak
PhotoMill helps you convert a bulk of images into the most popular image formats, give your files meaningful names, watermark with text and image, adjust photos (brightness/saturation/exposure/grayscale/etc.), fit geometry (scale/crop/trim/etc.), remove private metadata, add your own copyrights etc.
Also, PhotoMill is a great batch metadata editor, renamer and photo browser.
CONVERT
Conversion to: HEIC, BMP, GIF, JPEG, JPEG 2000, PDF, PNG, TIFF
Color models: RGB, Gray, CMYK
Color depth: 8/16/32 bits; with or without alpha channel
METADATA EDITOR
Correct EXIF/IPTC metadata tags in your photos: place GPS coordinates, remove private information from your photos, correct or set capture dates, add your own copyright, keywords or rating.
PHOTO BROWSER
The app has a bunch of features for comfortable browsing and multi-criteria search of photos in the Browser.
The Browser has 3 panels: Image Info – displays detailed information about a selected photo; Groups – splits photos into groups/subgroups based on a chosen criteria, for instance, by capture dates; Search – gives you an opportunity to search photos by different criteria.
RENAME
You can give meaningful names to converted photos constructing file names in the “pro” way – using text and tags: index, capture date, original name, image width, “find & replace” etc. Also, you can rename photos without any conversion.
RESIZE
Fit image size with a bunch of geometry actions: scale, crop, add border, trim, trim color, rotate & flip, auto rotate (by EXIF orientation), change resolution.
WATERMARK
• Text – you can use photo metadata information – tags: capture date, keywords, camera maker etc., as well as entered text. Font size can be either fixed or relative to an image width, height, long or short edge. Multiline text, stroke, shadow, rotation, tiling and other features.
• Image – image size can be either fixed or relative to main image size. Image tiling is also available.
• Rectangle – background for text; square or rounded. Fill and stroke color can be half-transparent.
ADJUST COLORS
Available filters: auto contrast, auto white balance, gamma, contrast, exposure, sharpness, grayscale, sepia, colorize, temperature, HSL channels (Hue/Saturation/Lightness), HSV channels (Hue/Saturation/Value,Brightness), RGB channels, curves.
Working with transparency: alpha mask, color to alpha, alpha to color.
Color matching: assign profile, convert to profile, proof with profile.
A comprehensive user manual is available on our site: https://overmacs.com/
If you have questions about PhotoMill or issues about the app, drop us a line: [email protected]
We are always happy to get your feedback and suggestions.
What’s new in PhotoMill X
Version 1.7.0:- Refined new design. We hope you will love it as much as we do.
- Edit Metadata: new action “Remove All Metadata” to completely clear all metadata.
- Fixed issues reported by our customers.
Information
Size 26.2 MB
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Age Rating Rated 4+
Price $14.99
楼主 发表于 2020-6-10 19:35:40|只看该作者|只看大图|倒序浏览|阅读模式
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Disk Diag 1 6 Cylinder
Disk Diag
Our website provides a free download of Disk Diag 1.6 for Mac. Disk Diag is suitable for Mac OS X 10.8 or later. Our antivirus scan shows that this Mac download is virus free. The application lies within System Tools, more precisely System Optimization. The following version: 1.2 is the most frequently downloaded one by the program users. SeaTools is a quick and free hard disk diagnostic tool by Seagate that is specifically designed to find any faults within your hard disk. When installed and used, the software tool can do a variety of tests like short and long self-tests, advanced tests, read and write tests, gather S.M.A.R.T data, etc. SeaTools also comes in a bootable version.
The '1 MB' phares led me to think about the 'last cylinder' reserve of the disk to support dynamic disks or dynamic conversion etc, but i tried to do the exact same operation in a VM, creating a disk, shutting down the VM, extending the VHD and extending the partition and works fine. The '1 MB' phares led me to think about the 'last cylinder' reserve of the disk to support dynamic disks or dynamic conversion etc, but i tried to do the exact same operation in a VM, creating a disk, shutting down the VM, extending the VHD and extending the partition and works fine. Disk diag free download - Disk Diag, Disk Drill, Disk Drill, and many more programs.
Disk Diag
A lightweight application for the macOS platform capable of detecting useless files on your Mac and removing them with just a few clicks. Disk Diag is a simple but efficient macOS software solution to quickly detect and remove unwanted files that occupy precious space on your Mac’s disk.
Features:
- Application Caches and Logs
- Downloads and Mail Downloads folder
- Items in your Trash
- Browser Data for selected browsers
- Large files
- Application Leftovers
- iOS Software Updates
- Xcode generated files (for developers)
Also recommended to you War Robots
Requirements: OS X 10.7 or later, 64-bit processor
(4.4 Mb)
Cylinder-head-sector (CHS) is an early method for giving addresses to each physical block of data on a hard disk drive.
It is a 3D-coordinate system made out of a vertical coordinate head, a horizontal (or radial) coordinate cylinder, and an angular coordinate sector. Head selects a circular surface: a platter in the disk (and one of its two sides). Cylinder is a cylindrical intersection through the stack of platters in a disk, centered around the disk's spindle. Combined together, cylinder and head intersect to a circular line, or more precisely: a circular strip of physical data blocks called track. Sector finally selects which data block in this track is to be addressed, and can be viewed as a sort of angular component – a slice of the tracks, or in this coordinate system, the part of a particular track.within a particular slice.
CHS addresses were exposed, instead of simple linear addresses (going from 0 to the total block count on disk - 1), because early hard drives didn't come with an embedded disk controller, that would hide the physical layout. A separate generic controller card was used, so that the operating system had to know the exact physical 'geometry' of the specific drive attached to the controller, to correctly address data blocks.
As the geometry became more complicated (for example, with the introduction of zone bit recording) and drive sizes grew over time, the CHS addressing method became restrictive. Since the late 1980s, hard drives begun shipping with an embedded disk controller[1] that had good knowledge of the physical geometry; they would however report a false geometry to the computer, e.g., a larger number of heads than actually present, to gain more addressable space. These logical CHS values would be translated by the controller, thus CHS addressing no longer corresponded to any physical attributes of the drive.[2]
By the mid 1990s, hard drive interfaces replaced the CHS scheme with logical block addressing, but many tools for manipulating the master boot record (MBR) partition table still aligned partitions to cylinder boundaries; thus, artifacts of CHS addressing were still seen in partitioning software by the late 2000s.[2]
In the early 2010s, the disk size limitations imposed by MBR became problematic and the GUID Partition Table (GPT) was designed as a replacement; modern computers using UEFI firmware without MBR support no longer use any notions from CHS addressing.
Definitions[edit]
schematic of the hard drive geometry
CHS addressing is the process of identifying individual sectors (aka. physical block of data) on a disk by their position in a track, where the track is determined by the head and cylinder numbers. The terms are explained bottom up, for disk addressing the sector is the smallest unit. Disk controllers can introduce address translations to map logical to physical positions, e.g., zone bit recording stores fewer sectors in shorter (inner) tracks, physical disk formats are not necessarily cylindrical, and sector numbers in a track can be skewed.
Sectors[edit]
Floppy disks and controllers use physical sector sizes of 128, 256, 512 and 1024 bytes (e.g., PC/AX), whereby formats with 512 bytes per physical sector became dominant in the 1980s.[3][4]
The most common physical sector size for hard disks today is 512 bytes, but there have been hard disks with 520 bytes per sector as well for non-IBM compatible machines. In 2005 some Seagate custom hard disks used sector sizes of 1024 bytes per sector. Advanced Format hard disks use 4096 bytes per physical sector (4Kn)[5] since 2010, but will also be able to emulate 512 byte sectors (512e) for a transitional period.[6]
Magneto-optical drives use sector sizes of 512 and 1024 bytes on 5.25-inch drives and 512 and 2048 bytes on 3.5-inch drives.
In CHS addressing the sector numbers always start at 1, there is no sector 0,[1] which can lead to confusion since logical sector addressing schemes typically start counting with 0, e.g., logical block addressing (LBA), or 'relative sector addressing' used in DOS.
For physical disk geometries the maximal sector number is determined by the low level format of the disk. However, for disk access with the BIOS of IBM-PC compatible machines, the sector number was encoded in six bits, resulting in a maximal number of 111111 (63) sectors per track. This maximum is still in use for virtual CHS geometries.
Tracks[edit]
The tracks are the thin concentric circular strips of sectors. At least one head is required to read a single track. With respect to disk geometries the terms track and cylinder are closely related. For a single or double sided floppy disktrack is the common term; and for more than two heads cylinder is the common term. Strictly speaking a track is a given CH combination consisting ofSPT sectors, while a cylinder consists ofSPT×H sectors.
Cylinders[edit]
A cylinder is a division of data in a disk drive, as used in the CHS addressing mode of a Fixed Block Architecture disk or the cylinder–head–record (CCHHR) addressing mode of a CKD disk.
The concept is concentric, hollow, cylindrical slices through the physical disks (platters), collecting the respective circular tracks aligned through the stack of platters. The number of cylinders of a disk drive exactly equals the number of tracks on a single surface in the drive. It comprises the same track number on each platter, spanning all such tracks across each platter surface that is able to store data (without regard to whether or not the track is 'bad'). Cylinders are vertically formed by tracks. In other words, track 12 on platter 0 plus track 12 on platter 1 etc. is cylinder 12.
Other forms of Direct Access Storage Device (DASD), such as drum memory devices or the IBM 2321 Data Cell, might give blocks addresses that include a cylinder address, although the cylinder address doesn't select a (geometric) cylindrical slice of the device.
Heads[edit]
A device called a head reads and writes data in a hard drive by manipulating the magnetic medium that composes the surface of an associated disk platter. Naturally, a platter has 2 sides and thus 2 surfaces on which data can be manipulated; usually there are 2 heads per platter, one per side. (Sometimes the term side is substituted for head, since platters might be separated from their head assemblies, as with the removable media of a floppy drive.)
The CHS addressing supported in IBM-PC compatible BIOSes code used eight bits for - theoretically up to 256 heads counted as head 0 up to 255 (FFh). However, a bug in all versions of Microsoft DOS/IBM PC DOS up to and including 7.10 will cause these operating systems to crash on boot when encountering volumes with 256 heads[2]. Therefore, all compatible BIOSes will use mappings with up to 255 heads (00h..FEh) only, including in virtual 255×63 geometries.
This historical oddity can affect the maximum disk size in old BIOS INT 13h code as well as old PC DOS or similar operating systems:
(512 bytes/sector)×(63 sectors/track)×(255 heads (tracks/cylinder))×(1024 cylinders)=8032.5MB, but actually 512×63×256×1024=8064MB yields what is known as 8 GB limit.[7] In this context relevant definition of 8 GB = 8192 MB is another incorrect limit, because it would require CHS 512×64×256 with 64 sectors per track.
Tracks and cylinders are counted from 0, i.e., track 0 is the first (outer-most) track on floppy or other cylindrical disks. Old BIOS code supported ten bits in CHS addressing with up to 1024 cylinders (1024=210). Adding six bits for sectors and eight bits for heads results in the 24 bits supported by BIOS interrupt 13h. Subtracting the disallowed sector number 0 in 1024×256 tracks corresponds to 128 MB for a sector size of 512 bytes (128 MB=1024×256×(512 byte/sector)); and 8192-128=8064 confirms the (roughly) 8 GB limit.[8]
CHS addressing starts at 0/0/1 with a maximal value 1023/255/63 for 24=10+8+6 bits, or 1023/254/63 for 24 bits limited to 255 heads. CHS values used to specify the geometry of a disk have to count cylinder 0 and head 0 resulting ina maximum (1024/256/63 or) 1024/255/63 for 24 bits with (256 or) 255 heads. In CHS tuples specifying a geometry S actually means sectors per track, and where the (virtual) geometry still matches the capacity the disk contains C×H×S sectors. As larger hard disks have come into use, a cylinder has become also a logical disk structure, standardised[citation needed] at 16 065 sectors (16065=255×63).
CHS addressing with 28 bits (EIDE and ATA-2) permits eight bits for sectors still starting at 1, i.e., sectors 1...255, four bits for heads 0...15, and sixteen bits for cylinders 0...65535.[9] This results in a roughly 128 GB limit; actually 65536×16×255=267386880 sectors corresponding to 130560 MB for a sector size of 512 bytes.[7] The 28=16+4+8 bits in the ATA-2 specification are also covered by Ralf Brown's Interrupt List, and an old working draft of this now expired standard was published.[10]
With an old BIOS limit of 1024 cylinders and the ATA limit of 16 heads[11] the combined effect was 1024×16×63=1032192 sectors, i.e., a 504 MB limit for sector size 512. BIOS translation schemes known as ECHS and revised ECHS mitigated this limitation by using 128 or 240 instead of 16 heads, simultaneously reducing the numbers of cylinders and sectors to fit into 1024/128/63 (ECHS limit: 4032 MB) or 1024/240/63 (revised ECHS limit: 7560 MB) for the given total number of sectors on a disk.[7]
Blocks and clusters[edit]
The Unix communities employ the term block to refer to a sector or group of sectors. For example, the Linux fdisk utility, before version 2.25,[12] displayed partition sizes using 1024-byte blocks.
Clusters are allocation units for data on various file systems (FAT, NTFS, etc.), where data mainly consists of files. Clusters are not directly affected by the physical or virtual geometry of the disk, i.e., a cluster can begin at a sector near the end of a given CH track, and end in a sector on the physically or logically next CHtrack.
CHS to LBA mapping[edit]
In 2002 the ATA-6 specification introduced an optional 48 bits Logical Block Addressing and declared CHS addressing as obsolete, but still allowed to implement the ATA-5 translations.[13] Unsurprisingly the CHS to LBA translation formula given below also matches the last ATA-5 CHS translation. In the ATA-5 specification CHS support was mandatory for up to 16 514 064 sectors and optional for larger disks. The ATA-5 limit corresponds to CHS 16383 16 63 or equivalent disk capacities (16514064 = 16383×16×63 = 1032×254×63), and requires 24 = 14+4+6 bits (16383 + 1 = 214).[14]
CHS tuples can be mapped onto LBA addresses using the following formula:
- A = (c ⋅ Nheads + h) ⋅ Nsectors + (s − 1),
where A is the LBA address, Nheads is the number of heads on the disk, Nsectors is the maximum number of sectors per track, and (c, h, s) is the CHS address.
A Logical Sector Number formula in the ECMA-107[3] and ISO/IEC 9293:1994[15] (superseding ISO 9293:1987[16]) standards for FAT file systems matches exactly the LBA formula given above: Logical Block Address and Logical Sector Number (LSN) are synonyms.[3][15][16] The formula does not use the number of cylinders, but requires the number of heads and the number of sectors per track in the disk geometry, because the same CHS tuple addresses different logical sector numbers depending on the geometry. Examples:
- For geometry
1020 16 63of a disk with 1028160 sectors, CHS3 2 1is LBA3150=((3× 16)+2)× 63 + (1-1) - For geometry
1008 4 255of a disk with 1028160 sectors, CHS3 2 1is LBA3570=((3× 4)+2)×255 + (1-1) - For geometry
64 255 63of a disk with 1028160 sectors, CHS3 2 1is LBA48321=((3×255)+2)× 63 + (1-1) - For geometry
2142 15 32of a disk with 1028160 sectors, CHS3 2 1is LBA1504=((3× 15)+2)× 32 + (1-1)
To help visualize the sequencing of sectors into a linear LBA model, note that:
- The first LBA sector is sector # zero, the same sector in a CHS model is called sector # one.
- All the sectors of each head/track get counted before incrementing to the next head/track.
- All the heads/tracks of the same cylinder get counted before incrementing to the next cylinder.
- The outside half of a whole Hard Drive would be the first half of the drive.
History[edit]
Disk Diag 1 6 Cylinder Deadbolt
Cylinder Head Record format has been used by Count Key Data (CKD) hard disks on IBM mainframes since at least the 1960s. This is largely comparable to the Cylinder Head Sector format used by PCs, save that the sector size was not fixed but could vary from track to track based on the needs of each application. In contemporary use, the disk geometry presented to the mainframe is emulated by the storage firmware, and no longer has any relation to physical disk geometry.
Earlier hard drives used in the PC, such as MFM and RLL drives, divided each cylinder into an equal number of sectors, so the CHS values matched the physical properties of the drive. A drive with a CHS tuple of 500 4 32 would have 500 tracks per side on each platter, two platters (4 heads), and 32 sectors per track, with a total of 32 768 000 bytes (31.25 MB).
ATA/IDE drives were much more efficient at storing data and have replaced the now archaic MFM and RLL drives. They use zone bit recording (ZBR), where the number of sectors dividing each track varies with the location of groups of tracks on the surface of the platter. Tracks nearer to the edge of the platter contain more blocks of data than tracks close to the spindle, because there is more physical space within a given track near the edge of the platter. Thus, the CHS addressing scheme cannot correspond directly with the physical geometry of such drives, due to the varying number of sectors per track for different regions on a platter. Because of this, many drives still have a surplus of sectors (less than 1 cylinder in size) at the end of the drive, since the total number of sectors rarely, if ever, ends on a cylinder boundary.
An ATA/IDE drive can be set in the system BIOS with any configuration of cylinders, heads and sectors that do not exceed the capacity of the drive (or the BIOS), since the drive will convert any given CHS value into an actual address for its specific hardware configuration. This however can cause compatibility problems.
For operating systems such as MicrosoftDOS or older version of Windows, each partition must start and end at a cylinder boundary.[citation needed] Only some of the most modern operating systems (Windows XP included) may disregard this rule, but doing so can still cause some compatibility issues, especially if the user wants to perform dual booting on the same drive. Microsoft does not follow this rule with internal disk partition tools since Windows Vista.[17]
See also[edit]
References[edit]
- ^'Overview and History of the IDE/ATA Interface'. The PC Guide. 17 April 2001. Archived from the original on 4 February 2019.
- ^ abde Boyne Pollard, Jonathan (2011). 'The gen on disc partition alignment'.
- ^ abc'Volume and File Structure of Disk Cartridges for Information Interchange'. Standard ECMA-107 (2nd ed., June 1995). ECMA. 1995. Retrieved 30 July 2011.
- ^'Standard Floppy Disk Formats Supported by MS-DOS'. KB75131. Microsoft Knowledge Base. 12 May 2003. Retrieved 31 July 2011.
- ^'Western Digital's Advanced Format: The 4K Sector Transition Begins'. AnandTech. 18 December 2009. Retrieved 29 July 2011.
- ^'Advanced Format Technology Brief'(PDF). Hitachi. 2010. p. 1. Archived from the original(PDF) on 27 September 2011. Retrieved 1 August 2011.
512 byte emulation is sometimes referred to as 512e
- ^ abcAndries Brouwer (1 November 2004). 'History of BIOS and IDE limits'. Large Disk HOWTO v2.5. Retrieved 30 July 2011.
- ^'Windows NT 4.0 supports maximum of 7.8-GB system partition'. Microsoft. 23 February 2007. Retrieved 30 July 2011.
- ^'5K500.B SATA OEM Specification Revision 1.2'(PDF). Hitachi. 17 March 2009. p. 51. Archived from the original(PDF) on 27 September 2011.
- ^'ATA-2'(PDF). X3T10/0948D. INCITS Technical Committee T13 AT Attachment. 18 March 1996. Archived from the original(PDF) on 28 July 2011.
- ^'ATA-1'(PDF). X3T10/791D. INCITS Technical Committee T10 SCSI Storage Interfaces. 1994. Archived from the original(PDF) on 21 March 2012.
- ^'Util-linux 2.25 Release Notes'. The Linux Kernel Archives. Retrieved 24 March 2016.
- ^'ATA-6'(PDF). T13/1410D. INCITS Technical Committee T13 ATA Storage Interface. 2002. p. 22. Archived from the original(PDF) on 28 July 2011. Retrieved 30 July 2011.
In standards ATA/ATAPI-5 and earlier, a CHS translation was defined. This translation is obsolete but may be implemented as defined in ATA/ATAPI-5.
- ^'ATA-5'(PDF). T13/1321D. INCITS Technical Committee T13 ATA Storage Interface. 2000. p. 19. Archived from the original(PDF) on 28 July 2011. Retrieved 30 July 2011.
If the device’s capacity is greater than or equal to one sector and less than or equal to 16,514,064 sectors, then the device shall support CHS translation.
- ^ ab'Information technology -- Volume and file structure of disk cartridges for information interchange'. ISO/IEC 9293:1994. ISO catalogue. 1994. Retrieved 6 January 2012.
- ^ ab'Information processing -- Volume and file structure of flexible disk cartridges for information interchange'. ISO 9293:1987. ISO catalogue. 1987. Retrieved 6 January 2012.
- ^'KB931760'. Microsoft Windows XP Support. Microsoft Knowledge Base. 23 July 2009. Retrieved 30 July 2011.
Notes[edit]
- 1.^ This rule is true at least for all formats where the physical sectors are named 1 upwards. However, there are a few odd floppy formats (e.g., the 640 KB format used by BBC Master 512 with DOS Plus 2.1), where the first sector in a track is named '0' not '1'.
- 2.^ While computers begin counting at 0, DOS would begin counting at 1. In order to do this, DOS would add a 1 to the head count before displaying it on the screen. However, instead of converting the 8-bit unsigned integer to a larger size (such as a 16-bit integer) first, DOS just added the 1. This would overflow a head count of 255 (
0xFF) into 0 (0x100 & 0xFF = 0x00) instead of the 256 that would be expected. This was fixed with DOS 8, but by then, it had become a de facto standard to not use a head value of 255.
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New cracks and serials every day! (1839) Preview Crack/Serial Moneydance 2019.0 (1847) / 2019.1 (1850) Preview Crack/Serial. Moneydance is powerful personal finance and budgeting software. Download transactions, pay bills online, manage budgets and investments and even sync with our mobile apps for iPhone, iPad and Android. Tuesday, January 8, 2019 Last Updated: 9/23/20 9:06 PM South Carolina Legislative Services Agency. 223 Blatt Building. 1105 Pendleton Street. Columbia, SC 29201. Moneydance is a personal finance software application developed by The Infinite Kind, formerly developed by Reilly Technologies, USA. Written in Java, it can be run on many different computers and operating systems.Under the hood, Moneydance implements a double-entry bookkeeping system, but the user interface is geared towards non-accountants.
1) Make a drawing in ink (you can do a pencil under-drawing if you want).
2) Post it*
3) Hashtag it with #inktober and #inktober2020
4) Repeat
Note: you can do it daily, or go the half-marathon route and post every other day, or just do the 5K and post once a week. What ever you decide, just be consistent with it. Inktober is about growing and improving and forming positive habits, so the more you’re consistent the better.
That's it! Now go make something beautiful.
*Post it on any social media account you want or just post it on your refrigerator. The point is to share your art with someone. :)
Moneydance 2019 User Guide
Are you interested in using the Inktober trademark to sell stuff?
Please read the guidelines here:
Moneydance 2019
Inktober started posting official prompt lists in 2016. Prior to that people just came up with their own ideas for each day.
Kona 1 0
With the turbo-four, the 175-hp Kona Ultimate scampered from zero to 60 mph in 6.6 seconds, just 0.1 second behind the rapid Kia Soul Exclaim. The seven-speed dual-clutch automatic shifts quickly. Trim Engine Fuel CO 2 Emissions g/km Tax Band Road Tax Recommended Retail Price. WLTP CO2; KONA Comfort 2WD: 1.0 T-GDI: Petrol: 121: B1: €270: €21,400: 142: KONA Comfort 2WD: 1.6 CRDI.
Properly discard smoking materials to prevent house fires KENNEWICK, Wash.– A cigarette left in a potted plant is to blame for last week’s fire that. The Kona is a small SUV that competes with the Nissan Juke and Seat Arona, among others, in what’s known as the ‘B-SUV’ segment. 0–62 CO2 MPG BHP Price; The fastest.
It was a year ago almost to the day that I traipsed to the far left side of the country to test out a new small utility vehicle, hotly anticipated and one that was about to become an instant leader in its segment. The Hyundai Kona, in the eyes of many a Canadian motorist, simply has everything, from a varied trim lineup to great fuel economy to a highly appealing shape.
Fast forward a year, and I was back behind the wheel of the most compelling Kona model aside from the one I can plug into my electrical outlet. The buzz around the new Kona Electric is certainly loud and sustained – especially now that the federal government’s new iZEV EV incentive program is in place, but one shouldn’t forget about the other two variants powered by 4-cylinder gas engines. The tester I got to play with was the 2019 Hyundai Kona 1.6T Ultimate, version sitting at the top of the non-EV Kona lineup.
The idea was to see if this version is still as convincing a choice in this segment. It’s worth noting, by the by, that the Kona is still the newest addition in this category, unless you count the fully overhauled 2020 Kia Soul, arriving in dealerships this summer (stay tuned for our road test).
Not a wrinkle!
While it no longer has the element of surprise playing in its favour, personally I find this small SUV as interesting a product as ever. Ultimately consumers will decide if they like it or not, but a quick look at the year-to-date sales figures for Canada shows that many of these consumers are deciding they like it just fine. It’s still the teacher’s pet, evidently… though we’ll see what happens when the brand-new 2020 Hyundai Venue makes its debut this coming fall!
The acid-yellow colour of my tester might not be for everyone, I’ll admit, but rest assured the Kona comes in a range of palatable colours. Other visual elements that have gotten a rave reception after a year on our roads? The grey plastic wheel arches, the three-part rear light cluster and the floating roof at the back, etc.
I should mention also the high quality of the exterior construction, because that’s not always a given in this budget-conscious segment.
The second choice… after the electric?
I mentioned earlier that this version of the Kona is the second most appealing one in the model lineup, after the Kona Electric. Why is this? Well, factor in the federal government’s new iZEV program, combined with the existing provincial programs in place in Quebec and British Columbia, and all of a sudden the Electric is much more accessible to many potential buyers.
In Quebec, for instance, the new $5,000 discount offered by Ottawa comes on top of the $8,000 discount offered by the provincial government, bringing the starting price of the entry-level Kona Electric to $36,000 – only marginally higher than the $34,000 price tag of the Kona Ultimate 1.6T (both prices include the transport/prep charges).
I should add that Hyundai also offers the turbo engine of this variant in the Trend trim, which sells for a shade over $29,000 (with the aforementioned charges).
All this is not the only reason I place the 1.6T version of the Kona behind the Electric. There’s also the matter of what’s produced by each powertrain. The Electric’s motor delivers the equivalent of 201 hp, which is 26 more than the gas-fed Kona. And the difference in torque is even more striking, with the Electric being propelled explosively by 291 lb-ft of it, while the 1.6T makes do with 195 lb-ft of torque.
On the other hand, the 1.6T Kona does have the considerable advantage of being equipped with all-wheel drive, which the Kona electric does not get - at least not this year!
An upgrade in driving pleasure
My initial drive in British Columbia last spring was a first date with a nimble, fun-to-drive little SUV with a turbo engine well-suited to the body it propelled. The base powertrain, centered on a 2.0L naturally aspirated 4-cylinder, was a rather clunky and unrefined affair compared to the 1.6L turbo. Can you tell I prefer the latter unit? Not only does it deliver more horses and torque, but it also comes with a 7-speed dual-clutch transmission that sportifies the Kona’s performance very nicely, thank you very much.
All in all, this second, longer date with the 1.6T – in Quebec this time - was somewhat less exhilarating than the first one in B.C. Still, I found the small Korean utility model as likeable this time as I did then. While not as surgical in its handling at the Mazda CX-3, the Kona comes pretty darn close. The stiff chassis, the firm-but-no-overly-so suspension and the fairly tight steering all help it get there. And the AWD is definitely a noteworthy additional asset. That dual-clutch transmission I mentioned is clearly a step up from what’s on offer in the base model, but it’s not quite as sporty in its execution as what you’ll find in most German models, for example.
A word about the interior
I really like the simplicity of the Kona’s dashboard, the appropriate placement of the climate control vents and the steering wheel, pleasant to grip. I even appreciated the acid yellow elements that manage to add light to the cabin, otherwise fairly dark due to the black and grey panels.
Kona 108
Driving position is excellent as well, as is the ergonomically sound shape of the steering wheel. The seating is a little hard, if only to remind you of the vehicle’s humble origins. Another element worth weighing is space, specifically in the second row. If you plan on ferrying people around, it is a little on the tight side in back. That said, you can find a lot worse in the segment. The trunk is not massive either, certainly not in the same league as what you get in the Honda HR-V, for example.
The verdict, redux
The Kona has sold like hotcakes in Canada in the year between my first and second encounters with it. Am I surprised? Absolutely not. Hyundai has managed to implant itself in a hugely popular segment because it delivers a quality product, and a trim line that appeals to many different customers. What’s more, the higher ground clearance and all-wheel drive increase the Kona’s versatility, a big plus in comparison with many cars.
The 2019 Hyundai Kona 1.6T is lots of fun to drive in the city and perfectly capable on the highway. Despite its small size, this SUV manages to mask the fact that it’s really a car on high legs.
Experts
Consumers
2019 Hyundai Kona 1.6T pictures
Driver Convenience
| 7' touch screen | Bluetooth system |
| Cruise control + speed limiter | Digital clock |
| Drive mode selector | Driver attention alert system |
| Driver's supervision instrument cluster with 3.5' LCD display | Lane keep assist |
| Parking system with rear camera and guidance system | PAS |
| Rear parking sensor | Smartphone integration with Apple CarPlay and Android auto |
| Windscreen washer fluid sensor and warning indicator |
Entertainment
| 6 speakers (2 front, 2 tweeters, 2 rear) | DAB Digital radio |
| RDS Radio | Steering wheel mounted audio/phone controls |
| USB/aux input socket |
Exterior Features
| Automatic headlights with dusk sensor | Black radiator grille |
| Body colour bumpers | Body colour door mirrors and handles |
| Door mirror integrated indicators | Electric front/rear windows with one touch |
| Electrically adjustable and heated door mirrors | Halogen headlights |
| Halogen rear lights | LED brake lights |
| LED daytime running lights | Metallic paint |
| Positioning Lights - LED | Privacy glass - Rear windows and tailgate |
| Rear spoiler with integrated LED brake light | Roof rails |
| Tinted glass with front door glass and windscreen with shade band | Towbar preparation |
Interior Features
| 12V socket in centre console | 60/40 split folding rear seat |
| Adjustable head restraints | Air conditioning |
| Cloth upholstery | Door scuff plate |
| Driver's seat height adjustment | Driver/passenger sunvisors and vanity mirrors |
| Front interior light | Height/reach adjustable steering column |
| Isofix rear child seat fastenings | Leather steering wheel and gear knob |
| Luggage compartment lighting | Luggage hooks |
| Parcel shelf | Rear centre console with air vents |
| Vertical adjustment rear head restraints |
Packs
| Trailer wiring package - Kona |
Safety
| 3x3 point rear seatbelts | Airbags - front, front side and curtain airbags |
| Anti-lock brake system | Childproof rear door locks |
| Downhill brake control | EBD + Brake Assist |
| Electronic stability control | Fasten seatbelt reminder |
| Front seatbelt pretensioners | Height adjustable front seatbelts |
| Hill start assist control (HAC) | Manual parking brake |
| Passenger airbag deactivate switch | Traction control |
| Tyre pressure monitoring system |
Security
| Alarm/immobiliser | Deadlocks |
| Folding key | Locking wheel nuts |
| Remote central locking |
Hyundai Kona 1 0 Gdi
Technical
| Vehicle Stability Control (VSC) |
Wheels
| 18' alloy wheels | Steel space saver spare wheel |
Driver Convenience
| 7' touch screen | Bluetooth system |
| Cruise control + speed limiter | Digital clock |
| Drive mode selector | Driver attention alert system |
| Driver's supervision instrument cluster with 3.5' LCD display | Lane keep assist |
| Parking system with rear camera and guidance system | PAS |
| Rear parking sensor | Smartphone integration with Apple CarPlay and Android auto |
| Windscreen washer fluid sensor and warning indicator |
Entertainment
| 6 speakers (2 front, 2 tweeters, 2 rear) | DAB Digital radio |
| RDS Radio | Steering wheel mounted audio/phone controls |
| USB/aux input socket |
Exterior Features
Hyundai Kona 1 0 Trend
| Automatic headlights with dusk sensor | Black radiator grille |
| Body colour bumpers | Body colour door mirrors and handles |
| Door mirror integrated indicators | Electric front/rear windows with one touch |
| Electrically adjustable and heated door mirrors | Halogen headlights |
| Halogen rear lights | LED brake lights |
| LED daytime running lights | Metallic paint |
| Positioning Lights - LED | Privacy glass - Rear windows and tailgate |
| Rear spoiler with integrated LED brake light | Roof rails |
| Tinted glass with front door glass and windscreen with shade band | Towbar preparation |
Interior Features
| 12V socket in centre console | 60/40 split folding rear seat |
| Adjustable head restraints | Air conditioning |
| Cloth upholstery | Door scuff plate |
| Driver's seat height adjustment | Driver/passenger sunvisors and vanity mirrors |
| Front interior light | Height/reach adjustable steering column |
| Isofix rear child seat fastenings | Leather steering wheel and gear knob |
| Luggage compartment lighting | Luggage hooks |
| Parcel shelf | Rear centre console with air vents |
| Vertical adjustment rear head restraints |
Packs
| Trailer wiring package - Kona |
Safety
| 3x3 point rear seatbelts | Airbags - front, front side and curtain airbags |
| Anti-lock brake system | Childproof rear door locks |
| Downhill brake control | EBD + Brake Assist |
| Electronic stability control | Fasten seatbelt reminder |
| Front seatbelt pretensioners | Height adjustable front seatbelts |
| Hill start assist control (HAC) | Manual parking brake |
| Passenger airbag deactivate switch | Traction control |
| Tyre pressure monitoring system |
Security
| Alarm/immobiliser | Deadlocks |
| Folding key | Locking wheel nuts |
| Remote central locking |
Technical
| Vehicle Stability Control (VSC) |
Wheels
| 18' alloy wheels | Steel space saver spare wheel |
Clearview 1 8 6
Sterilite 66qt ClearView Latch Box Clear with Purple Latches. 4.7 out of 5 stars with 715 reviews. 4.6 out of 5 stars with 154 reviews. Of 17.See offer details. Restrictions apply. Pricing, promotions and availability may vary by location and at Target.com. From August 20th,2018 and onward, all ClearView 5.8 Ghz Pro Receivers will be shipped following the FatShark standard. If you use FatSharks or other compatible displays, you can now directly connect with any 3.5 to 3.5 mm male to male cable. To use other goggle pinouts, use your FatShark 3.5 mm to RCA cable, and then the supplied RCA cable your. Shop Clearview®, Cassette, Polycarbonate, Blue, 6.75 in. D by Clearfield (EPZ-012-C1F-SUB) at Graybar, your trusted resource for Fiber Optic Enclosures and Accessories and other Clearfield products. Swageless Fitting - Adjustable, grade 316 SS – 1/8” cable. CLEARVIEW® - Swageless Fit. Swageless Fitting - Release Key. CLEARVIEW® - Swageless Fit. Barrel Nut Assembly, grade 316 SS – 1/8” cable. CLEARVIEW® - Barrel Nut As. The 6 Quart ClearView Latch Box is ideal for storing shoes, toys, crafts and other small items around the home, and conveniently fits on 16' wire shelving, great for closet or pantry organization. The clear base and lid allow contents to be easily identified from any angle. Color accented latches secure the lid to the base, yet are still easy.
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ClearView C 24' Full HD
Are you searching for a High Definition magnifier in a modern and stylish design that makes reading comfortable again?
Item No.: CVCHD24
More information >>- RELIABLE SERVICE
- Secure PaymentsPay with credit card
- Free ShippingRestrictions may apply
- Easy returnReturn resalable products within 30 days of invoice date
OVERVIEW
The ClearView C provides you with more working space and helps you to read your favorite newspaper, enjoy craftwork or write a cheque without being restricted in movement.
More information about ClearView C 24' Full HDClearview 1 8 6 X 8
SPECIFICATIONS
Continuous magnification: 1.5X – 75X (optional: up to 170X)
Superior High Definition 1080p video processing for ultra sharp and vivid images
24-inch full colour TFT widescreen display
DOWNLOAD
On this website several downloads are available. Check the available downloads below.
More information about ClearView C 24' Full HDThe new Optelec ClearView C is a modern desktop video magnifier that is designed to improve your reading experience.
C-ing without limitations
When we started to develop this desktop video magnifier, we wanted to eliminate all of the difficulties users experienced. After extensive research involving our clients, we came up with a completely new design.
Reading from top to bottom
Thanks to the innovative design of the ClearView C you naturally start to read at the top of a page, and then continue all the way down till you reach the bottom of the page. You will no longer pull the reading table toward your body when you navigate to the top of the document. This is unique among desktop video magnifiers.
Choose for comfort and design
The ClearView C is designed to increase your reading comfort and to complement the interior of your home. The high quality materials and sleek design provide a contemporary look that is inviting in any room.
More working space
The ClearView’s C-shaped design provides you with more working space. This helps you to do your hobbies and to read your favorite newspaper without being limited in your movements.
From basic to powerful options
Whether you prefer simple or advanced options, the ClearView C offers both. Would you like to use reading lines, adjust the contrast or enable the writing mode? Just reverse the Control Pad and enjoy powerful advanced functions.
Other products in this range:
- ClearView C Speech 24' High Definition; to listen to, and have texts read aloud to you
- ClearView C HD TwinView; to display both your magnifier and computer image on one screen
- Continuous magnification: 1.5X – 75X (optional: up to 170X)
- Superior High Definition 1080p video processing for ultra sharp and vivid images
- 24-inch full colour TFT widescreen display
- Adjustable document viewing modes:
- Full color photo mode
- 16 selectable high contrast color combinations to improve contrast for better visibility
- From 1 to 4 selectable color combination presets - Optional: large Comfort table top; ideal for reading larger documents or doing craftwork (see ‘Accessories’)
- Adjustable brightness
- Adjustable contrast
- Overview function
- Focus lock
- Position locator
- Reading lines
- Window / blinds
- Adjustable setup:
- Standard (Compact) setup, ideal for daily use
- Comfort setup, ideal for reading large documents, such as newspapers and doing craftwork - Integrated lighting for even illumination, and elimination of reflections when reading glossy documents
- Easy-glide reading table with X and Y direction adjustable friction and X and Y brake
- PC connection to switch between ClearView C and PC image
- Dimensions base unit footprint: 16.5 in x 20.1 in
- Dimensions XY table: 16.6 in x 16.6 in
- Weight: 16.4 kg / 36.2 lb
Find the available downloads for this product here:
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