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5: Monitoring in PerformancePoint Server
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To set up a router-on-a-stick, you need to break up your router s physical interface into multiple logical interfaces, called subinterfaces. Cisco supports up to 1000 interfaces on a router, which includes both physical and logical interfaces. Once you create a subinterface, a router will treat this logical interface just like a physical interface: you can assign layer 3 addressing to it, enable, it, disable it, and do many other things.
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2. From the Select Users and Groups dialog, you can scroll to the individual user or, if you have many users, search for them. To search for the user, enter the name in the Search For Text box and click the binoculars icon.
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Fish tape is a flexible, steel wire that can be threaded through a wall or floor. When the tape comes through the other end of the wall or floor, the cable to be run is attached to the tape, then retracted back through the wall. This sounds simple enough, but lining up the fish tape so it comes out in the desired location is part skill, part art form, and part luck.
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class C1 { int status; // IDLE if off, INUSE if on screen // ... public: void set_status(int state); int idle(C2 b); // now a member of C1 }; class C2 { int status; // IDLE if off, INUSE if on screen // ... public: void set_status(int state); friend int C1::idle(C2 b); // a friend, here }; void C1::set_status(int state) { status = state; } void C2::set_status(int state) { status = state; } // idle() is member of C1, but friend of C2. int C1::idle(C2 b) { if(status || b.status) return 0; else return 1; }
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Functions, Part One: The Fundamentals
Of course, that extra space around your subject can be cropped out in your digital darkroom, but that means that you re using only about a third of those umpteen megapixels you paid for. Your portrait will lack detail where it s most important in the person s face. Do everything you can to improve a picture before you get to the darkroom. Instead of using your computer to do cropping, use your feet: Move in as close as you can to your subject. Try to get close enough to eliminate any surroundings that don t contribute to whatever you want to communicate with your photo.
3. Set this domain name as default. As new users are created, their accounts and email address will use this domain. 4. Modify the on-site Active Directory User object s MAIL attribute with an email address that was previously created and verified (for instance, user@compuglobalmegaware.com) 5. Run the Microsoft Online Services Directory Synchronization Tool. This replicates all mail and mailbox-enabled users and groups into the Microsoft Online Company. In this chapter we took a look at Software plus Services, and noted the ways you can develop your own software to work with cloud offerings. However, we barely scratched the surface. In the next chapter we ll take a closer look at how you can develop your own applications and some of the different options for doing so.
It would seem that setting up your MAPI client to check for e-mail would be sufficient to get the job done. Not so. HomeSeer only asks the MAPI interface for any new mail and does not check the mail server at your Internet service provider. That is, your e-mail client checks for new e-mail with your ISP and HomeSeer checks with your e-mail client. It is necessary to set up your e-mail client to actually check with your ISP for new e-mail. Because you have to instruct HomeSeer to check for new messages with your e-mail client at predetermined periods of time (60 minutes, 30 minutes, 15 minutes, 10 minutes, or whatever you choose), when you send an e-mail command, the system might not pick up the e-mail for several more minutes. As such, e-mail control is not ideal for issuing emergency commands.
All obstacles require attention and need to be addressed properly. The first step toward resolution of a problem is to understand its nature. Help may come from various sources, and creativity and problem solving become critical in achieving a satisfactory learning progress. It will ultimately be motivation that will lead to the resolution of the obstacles. Understanding the nature of the problem will help to develop an approach to it. Conceptual problems are generally addressed with knowledge about the BIM process and relate to Chap. 2 of this text. Technical problems are best addressed directly with the software developers through their technical support program. It is helpful to arrange for training sessions with qualified persons from the respective companies so that technical issues are kept to a minimum. Many software tools come with tutorials and practice projects that are helpful in learning the required techniques. No matter how thorough these training tools may be, however, it is advisable to arrange for hands-on sessions in which the use of the software is demonstrated and practiced to make the learning more efficient. The circumstances of learning may also present obstacles; the space in which the learning takes place, the persons who are part of the process, the experience of the faculty, the budget of the program, etc., may all be factors affecting the success of the experience. Circumstantial factors may also effect motivation directly and therefore need to be taken seriously. These issues can generally be resolved with common sense.
You will inevitably hear about digital artifacts that plague Blu-ray video. While it is true that digital video can appear blocky or fuzzy, a well-encoded Blu-ray disc will exhibit few or no discernible artifacts on a properly calibrated display. The term artifact refers to anything that was not in the original picture. Artifacts can come from film damage, film-to-video conversion, analog-to-digital conversion, noise reduction, digital enhancement, digital encoding, digital decoding, digital-to-analog conversion, signal crosstalk, connector problems, impedance mismatch, electrical interference, waveform aliasing, signal filters, television picture controls, video scaling in flat-screen displays, and much more. Many people blame all kinds of image deficiencies on the digital video encoding process. Occasionally, this blame is placed accurately, but usually it is not. Only those with training or experience can tell for certain the origin of a particular artifact. If an artifact cannot be duplicated in repeated playings of the same sequence from more than one copy of a disc, then it is clearly not a result of video encoding. Here are a few of the most common artifacts j Blocks are small squares in the video. These may be especially noticeable in fast moving, highly detailed sequences or video with high contrast between light and dark. This artifact appears when not enough bits are allocated for storing block detail. j Halos or ringing are small areas of distortion or dots around moving objects or high-contrast edges. This is called the Gibbs effect and is also known as mosquitoes, or mosquito wings. This is an artifact of video encoding but is easy to confuse with edge enhancement. j Edge enhancement is a digital picture-sharpening process that is frequently overdone, causing a chiseled look or a ringing effect like halos around streetlights at night. Edge enhancement happens before encoding. j Posterization or banding manifests as bands of colors or shading in what should be a smooth gradation. This can come from video pre-processing (as when converting from 10-bit to 8-bit video), the video encoding process, or the digital-toanalog conversion process in the player. It also can happen on a computer when the number of video colors set for the display is too low. j Aliasing refers to angled lines that have stair steps in them. This artifact is usually caused by detail that is too sharp or too contrasty to be properly represented in video, or by poor scaling in the display. j Noise and snow refer to the gray or white spots scattered randomly throughout the picture, or graininess. This may come from film grain or low-quality source video.
The Community Source program provides industry partners with an opportunity to access VMware ESX Server source code under a royalty-free license. Partners can contribute shared code or create binary modules to spur and extend interoperable and integrated virtualization solutions. The idea is to combine the best of both the traditional commercial and open-source development models. Community members can participate and influence the governance of VMware ESX Server through an architecture board. This approach will help drive open collaboration while still preserving the ability of partners to build differentiated, intellectual property protected solutions. For customers, the VMware Community Source program is expected to yield a richer and broader set of partner solutions that are well integrated with VMware virtual infrastructure products. For partners, the source access and development model allows them to efficiently deliver complementary solutions or differentiated product capabilities around the VMware ESX Server code base. More than ever standards are critical to innovation in enterprise infrastructures. Red Hat applauds the efforts of technology partners like VMware who are working to establish open, standards-based solutions, said Paul Cormier, executive vice president of engineering at Red Hat. We are pleased to work with VMware, partners and the community to offer customers virtualization as a key component of their open source architectures.
or a billionth, of meters (10 9 m). Thus, red light is normally referred to as having a wavelength of 680 nm. In examining the frequency spectrum shown in Figure 2.3, note that the rainbow of colors we re able to see represents only a very small portion of the electromagnetic spectrum. At the low end of the spectrum are radio waves that have wavelengths billions of times longer than those of visible light. In fact, visible-light wavelengths are considerably smaller than the thickness of a human hair whose diameters might be equiva, lent to 100 visible-light wavelengths. While visible light has a relatively small wavelength, X rays and gamma rays are even shorter in length and, similar to longer wavelengths, are invisible to the naked eye. In fact, radiation with wavelengths shorter than 400 nm or longer than 700 nm are invisible to the naked eye. If we look very closely at the right side of Figure 2.3, we will note that the wavelength from approximately 10 3 to 10 8 m is referred to as the electrooptical frequency (EOF) band. Within this band are infrared and visible light. We will also note a tiny horizontal line below the visiblelight band labeled fiber-optic communications. When we discuss the use of light-emitting diodes (LEDs) and laser diodes later in this book, we will note that the wavelengths commonly used by those light generators are slightly above the wavelength of visible light. In Figure 2.3 we will also note that visible light represents only a small portion of the electromagnetic spectrum. That spectrum consists of seven types of waves: radio waves, microwave, infrared, visible light, ultraviolet, X rays, and gamma rays. By briefly studying each type of wave and its potential utilization, we can begin to understand the potential use of light transmission within a fiber. RADIO W VES Radio waves have the longest wavelength and lowest A frequencies of all waves within the frequency spectrum. Such waves can have wavelengths ranging from hundreds of meters at low frequencies to less than a centimeter at higher frequencies. In fact, if you stayed up late one night and watched a military-type movie where a submarine had to communicate with a base station while submerged, you probably heard the captain order the antenna to be deployed. Because a submerged submarine uses very-low-frequency (VLF) communications, the resulting radio waves are quite long, requiring the submarine to deploy a spool of wire that can extend a distance of a mile or more to function as an antenna.
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DVD managed to squeeze a remarkable degree of picture quality out of broadcast TV standards that were introduced more than fifty years ago. But, by early 2009, the United States venerable old 480i NTSC broadcast system will be shut off and replaced with high-definition signals containing up to six times more picture information. The long dream of upgrading from an old, noise-prone analog TV system to a new, crystal clear digital one is finally happening, and the electronics industry is embracing the change with all its might. Walk into a typical electronics retail store, and you ll notice that every single TV is displaying beautiful high definition images on newly affordable flat-panel TVs that you can hang on your wall. Recent advances in video projection technology are bringing the theater to home theaters like never before, since HDTV enables stunning picture quality on much larger screens than standard definition could ever support. In short, high-definition technology is bringing the full visual and sonic impact of filmed entertainment into your home with a mesmerizing clarity that was only a distant promise ten years ago. In the home video world, this is a Very Big Deal a tectonic change of a magnitude we have not experienced since the introduction of color TV decades ago. Given this momentous high-definition revolution, should we all just keep watching programs on the same old standard- definition DVD format forever Or, should we also have a new high-definition disc format that shows just what that marvelous 1080p display you recently bought can really do Such a new format is already here, and it s called Blu-ray Disc. Blu-ray s designers realized that the opportunity to create a new worldwide disc format doesn t come along every day. They knew that, historically, optical disc formats have always provided the very best picture and sound that the technology of the day could deliver, from analog LaserDisc in the 80 s to digital DVD in the 90 s. So the new Blu-ray Disc format first needed enough high-def horsepower to exceed what anyone had ever seen or heard before, including even the best 1080i broadcasts. This is why so much effort was made to provide a lavish amount of storage capacity and data throughput: the ultimate, archive quality version of a program deserves no less. But Blu-ray Disc also needed to offer more than the absolute best picture and sound. It needed to provide new ways to go far deeper into a film-viewing experience than DVD could ever deliver. Don t get me wrong in 1996, DVD was an exciting new technology that greatly improved the home video experience compared to tape. But just look at some of the features the Blu-ray format offers using today s technology: a full-fledged programming language for in-movie games, education and interactive exploration; two simultaneous video channels that allow film-schoolquality director commentaries; far superior graphics with less disruptive popup menus; and, with BD-Live, even a connection to the Internet that can extend the
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