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Rewind to 2007. We all remember the epic six sixes hit by Yuvraj Singh off Stuart Broad in the World T20. But there was a precursor to that event.
Just before that over, Yuvraj and Andrew Flintoff had a confrontation on the field, and now the southpaw has come out with what was said. In a recent interview he revealed the details.
YouTube
The conversation went like this -
Flintoff: Those were fucking ridiculous shots Yuvraj: Fuck you Flintoff: Excuse me? Yuvraj: You heard what I said Flintoff: I will cut your throat off Yuvraj: You see this bat in my hand. You know where I am gonna hit you with this bat?
The 34-year-old said that it fired him and if Flintoff thought it would work to England's favour, he was sadly mistaken.
The man to suffer was Stuart Broad as his next over was carted for 36 runs. Six massive hits by Yuvraj demolished the morale of the Englishmen.
He eventually made 58 off 16 balls as India amassed 218/4. They won the game by 18 runs.
So we know why we got to see history on that special day!
The moral of the story for Flintoff? Don't play with fire or you will get burned.
Tuesday 26 April 2016
How to compress large video files without losing quality using Handbrake
Large video files are slow to upload and download. One of the most popular tools that can significantly shrink the file size without losing quality is Handbrake. It is popular due to three reasons:
It can convert video from nearly any format, e.g. .wmv – Windows Media Video File, .avi – Audio Video Interleave File, .m4v, .mov, etc.
It is free and Open Source
It works on Windows, Mac and Linux
This tutorial illustrates how to compress a video file for the web on a Windows machine. The sample file I used to compress was called WL-Video.wmv and its original size was 39.0 MB. After compression the file size was down to 4.40 MB. The compressed video format is MP4 as it is the most supported video format on the web. Depending on your original video file, following the instructions in the tutorial, the file size may still be reduced if your video file is already MP4 format.
Download and install Handbrake if you do not have it
Double click the downloaded file to install Handbrake by following the instructions on screen.
Compress videos
3. Launch Handbrake. Do not be put off by all the buttons and options available – you usually only need to use a few of them.
4. Click Source > Open File to select the video you want to compress. In this tutorial, I select WL_Video.wmv and then click Open. You can see the original size was 39MB.
5. In Handbrake, under Destination you can decide where the compressed file is saved by clicking Browse. By default, it is saved in the same folder where the original file is. You can change to other location if necessary. You are required to provide a name for the compressed file.
6. For Output Settings, choose Mp4 if it is not selected and select Web Optimized.
7. Click on Video and make sure that H.264(X264) is selected.
8. Click Start to compress the video. The green Startbutton will become red Stopbutton until the compression is complete. When it is back to green. You are ready to view the compressed video. The original video file was reduced from 39.0MB to 4.40MB. The compressing process for this small file took around 20 seconds. If it is a very large file, it can take much longer to compress.
Note:
This tutorial aims to introduce the basic features in Handbrake.
Handbrake has many more features which allow you to change the level of compression (e.g. setting average bit rate (kbps). In addition, you can easily optimise a video for different devices including ipod, TV or Android tablet. If you would like to learn more about videos and advanced features in Handbrake, here is a complete Handbrake guide: https://trac.handbrake.fr/wiki/HandBrakeGuide.
If you’ve always dreamed of being the next Hemingway or Vonnegut (or even Grisham), or perhaps if you just want to write better essays for school or posts for your blog … you need to sharpen those writing skills.
Becoming the best writer you can be isn’t easy, I won’t lie to you.
It takes hard work. But it’s worth the effort. And if it seems like an insurmountable task, there are some concrete things you can do today that will get you on the road to improvement.
Personally, I’ve been a fiction, newspaper, magazine and blog writer for 17 years now, writing for a variety of publications … and I’m still trying to improve. Every writer can get better, and no writer is perfect. I think I’ve grown tremendously as a writer over the last couple of decades, but it has been a painful journey. Let me share some of what I’ve learned.
No matter what level of writer you are, there should be a suggestion or twelve here that will help.
1. Read great writers. This may sound obvious, but it has to be said. This is the place to start. If you don’t read great writing, you won’t know how to do it. Everyone starts by learning from the masters, by emulating them, and then through them, you find your own voice. Read a lot. As much as possible. Pay close attention to style and mechanics in addition to content.
2. Write a lot. Try to write every day, or multiple times a day if possible. The more you write, the better you’ll get. Writing is a skill, and like any other skill, you have to practice it to get better. Write stuff for yourself, write for a blog, write for other publications. Write just to write, and have a blast doing it. It gets easier after awhile if you practice a lot.
3. Write down ideas, all the time. Keep a little notebook handy (Nabokov carried around index cards) and write down ideas for stories or articles or novels or characters. Write down snippets of conversation that you hear. Write down plot twists and visual details and fragments of song lyrics or poems that move you. Having these ideas written down helps, because they can inspire you or actually go directly into your writing. I like to keep a list of post ideas for my blog, and I continually add to it.
4. Create a writing ritual. Find a certain time of day when you can write without interruptions, and make it a routine. For me, mornings work best, but others might find lunch or evenings or midnight hours the best. Whatever works for you, make it a must-do thing every single day. Write for at least 30 minutes, but an hour is even better. If you’re a full-time writer, you’ll need to write for several hours a day, as I do. But don’t worry! It helps you get better.
5. Just write. If you’ve got blank paper or a blank screen staring at you, it can be intimidating. You might be tempted to go check your email or get a snack. Well, don’t even think about it, mister. Just start writing. Start typing away — it doesn’t matter what you write — and get the fingers moving. Once you get going, you get in the flow of things, and it gets easier. I like to start out by typing things like my name or a headline or something easy like that, and then the juices start flowing and stuff just pours out of me. But the key is to just get going.
6. Eliminate distractions. Writing does not work well with multi-tasking or background noise. It’s best done in quiet, or with some mellow music playing. Do your writing with a minimal writer likeWriteRoom or DarkRoom or Writer, and do it in full-screen. Turn off email or IM notifications, turn off the phone and your cell phone, turn off the TV, and clear off your desk … you can stuff everything in a drawer for now until you have time to sort everything out later … but don’t get into sorting mode now, because it’s writing time! Clear away distractions so you can work without interruption.
7. Plan, then write. This may sound contradictory to the above “just write” tip, but it’s not really. I find it useful to do my planning or pre-writing thinking before I sit down to write. I’ll think about it during my daily run, or walk around for a bit to brainstorm, then write things down and do an outline if necessary. Then, when I’m ready, I can sit down and just crank out the text. The thinking’s already been done. For a great method for planning out a novel, see the Snowflake Method.
8. Experiment. Just because you want to emulate the great writers doesn’t mean you have to be exactly like them. Try out new things. Steal bits from other people. Experiment with your style, your voice, your mechanics, your themes. Try out new words. Invent new words. Experimentalize everything. And see what works, and toss out what doesn’t.
9. Revise. If you really crank out the text, and experiment, and just let things flow, you’ll need to go back over it. Yes, that means you. Many writers hate revising, because it seems like so much work when they’ve already done the writing. But if you want to be a good writer, you need to learn to revise. Because revision is where good writing really is. It separates the mediocre from the great. Go back over everything, looking not only for grammar and spelling mistakes, but for unnecessary words and awkward structures and confusing sentences. Aim for clarity, for strength, for freshness.
10. Be concise. This is best done during the revision process, but you need to edit every sentence and paragraph and remove everything but the essential. A short sentence is preferred over a longer one, and a clear word is preferred over two in jargonese. Compact is powerful.
11. Use powerful sentences. Aim for shorter sentences with strong verbs. Of course, not every sentence should be the same — you need variation — but try to create sentences with oomph. You might find this easier to do in the revision stage, as it might not be something you’re thinking about when you’re pumping out that first draft.
12. Get feedback. You can’t get better in a vacuum. Get someone to read over your stuff — preferably a good writer or editor. Someone who reads a lot, and can give you honest and intelligent feedback. And then listen. Really try to understand the criticism and accept it and use it to improve. Instead of being hurt, thank your editor for helping you get better.
13. Put yourself out there. At some point, you’ll need to let others read your writing. Not just the person who you’re allowing to read it, but the general public. You’ll need to publish your book or short story or poem, or write for a publication. If you’re already doing a blog, that’s good, but if no one reads it, then you need to find a bigger blog and try to submit a guest post. Putting your writing out in the public can be nerve-wracking, but it is a crucial (if painful) part of every writer’s growth. Just do it.
14. Learn to be conversational. Many people write too stiffly. I find that it’s so much better to write like you talk (without all the umms and uhhs). People relate to it better. It’s not an easy task at first, but it’s something to strive for. And that brings up another point — it’s better to break the rules of grammar in order to sound conversational (as I did in the last sentence) than to sound stilted just so you can follow the proper rules. But don’t break the rules of grammar without good reason — know that you’re doing it, and why.
15. Start and end strong. The most important parts of your writing are the beginning and end. Especially the beginning. If you don’t hook your reader in the beginning, they won’t read the rest of your writing. So when you’ve written your first draft, spend some extra time crafting a good beginning. Get them interested and wanting to know more. And when you’re done with that, write a good ending … that will leave them wanting more of your writing.
Got some tips of your own? Let us know in the comments.
Prince died earlier today (April 21) at age 57 at his Paisley Park home and studio in Minneapolis, his publicist confirmed to theAssociated Press. TMZ first reported the news.
According to a press release sent from the Carver County Sheriff's Department this afternoon, deputies arrived at Paisley Park at 9:43 a.m. and found Prince unresponsive in the elevator. After CPR attempts were unsuccessful, he was pronounced dead at 10:07 a.m. The cause of death has not yet been determined, and Carver County with assistance from Hennepin County Sheriffs and the Midwest Medical Examiner's Office are investigating.
Prince was hospitalized last week after his plane for was forced to make an emergency landing in Moline, Ill. Released a few hours later, a rep told TMZ that he had been battling a bad case of the flu.
One of the most iconic musicians in music history, Prince's extensive career grew out of the music scene of his native Minneapolis, where he lived his entire life. His 1978 debut album For You and self-titled second LP, released in October 1979, kicked off an incredibly prolific run of albums that included 1999, Purple Rain, Around The World In A Day,Sign O The Times and Batman, among others, throughout the 1980s at a clip of nearly one per year, evolving with each release.
It was 1984's Purple Rain -- his first No. 1 album on the Billboard 200 -- released in conjunction with the film of the same name, that cemented him as one of the greatest artists of his generation, earning him two Grammys, and Oscar and a victory over Michael Jackson'sThriller for Favorite Pop/Rock Album at the 1985 American Music Awards. In total he would receive seven Grammy Awards from 32 nominations between 1984 and 2010. Along the way, he worked with several bands under a series of pseudonyms, including The Time, the New Power Generation and The Revolution, as both frontman and producer.
Prince was also known for his eponymous Love Symbol, created in protest against his longtime record label Warner Bros., under which he released an album in 1992. His 18th and final album for the label, 1996's Chaos and Disorder, finally released him from his contract.
As a recording artist, Prince was legendary for his prolific and perfectionist nature which allowed him to release a steady slew of material as he experimented in the studio; as a result, unreleased b-sides and bootlegs have become highly sought-after collectibles for die-hard fans, and his infamous "vault" of recordings has become the stuff of legend. Yet he was also truly transcendent as a performer, regularly stretching his shows beyond the three-hour mark and showcasing his stunning guitar work, which became an underrated part of his legacy, often overshadowed by his iconic singing voice and abilities as a songwriter and bandleader.
Over his 35-plus-year career, he released 39 solo studio albums and never stopped releasing new material; since September 2014, he put out four new full-length records with his latest band, 3rd Eye Girl, continuously experimenting with psychedelic rock and intergalactic funk.
Prince's legacy as a musician, a singer, a style icon and an endlessly creative mind is nearly unparalleled, and his influence stretches from pop to R&B to funk to hip-hop and everywhere in between. Purple Rain was the first of four No. 1 albums on the Billboard 200; an additional 12 LPs peaked in the top 10 in four different decades. The first single from his self-titled LP, "I Wanna Be Your Lover," topped the Billboard R&B chart and he would go on to land 19 top 10 hits on the Hot 100, including No. 1s "When Doves Cry," "Let's Go Crazy," "Kiss," "Batdance" and "Cream."
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Here's how you could become invisible in the middle ages: grind up an owl's eye with a ball of beetle dung and some olive oil, and rub it all over your body. There's no record that this method was ever tried, so I guess we don't actually know if it works. But it's a relief that modern science and technology now supply some choices, even if none are perfect. Here are five of them.
Is this a case of science achieving what magic couldn't? We should be cautious about that sort of claim. Invisibility has been a coveted power since antiquity, but the stories we tell about it are fables of power and corruption, irresponsibility and voyeurism. If we ever seem likely to make Harry Potter's cloak of invisibility or Frodo Baggins's ring for real, we might want to ask who wants it, and why. Remember that when Christopher Marlowe's Dr Faustus says "charm me, that I may be invisible, to do what I please, unseen of any", he's asking Mephistopheles.
1 | THE REFLECTION CLOAK
The robotics and computer engineer Susumu Tachi of Keio University has beenmaking people vanish into the urban landscapes of Japan. These ghostly figures stand shrouded in a cloak through which you can see buses and pedestrians passing behind. The scene isn't quite crisp, it's a bit off-colour, and the hooded face and folds of the garment slightly give the game away – but the effect is still uncanny.
Tachi is using much the same illusion that can make a person look transparent if they stand in front of an image projected on to a screen. The difference is that Tachi's cloak is not reflecting some random image, but the real scene behind it. A camera placed just behind the cloaked figure records the view and relays it to a projector in front. The cloak itself is made from a material Tachi calls "retro-reflectum": it is covered with tiny light-reflecting beads, so the projected image bouncing back to our eyes is as bright as daylight.
The catch is that the "invisible" person has to stay put, since the camera and projector are fixed in place. And the cloak only works well if you're looking at it face on – from the side or behind, it's not invisible at all.
That's not such a drawback if you're making static surfaces "invisible" – or rather, apparently transparent. A wall painted with retro-reflectum could be turned into a window without having to knock a hole in it – handy for protected buildings, say. And a car interior you can "see through" could help prevent accidents caused by blind spots. Quite how drivers would feel driving what seems like a glass car is another matter.
2 | THE PROJECTION CLOAK
The immobilising demands of Tachi's cloak might be avoided by placing the cameras and the projector on the cloak itself. In other words, rather than casting an image on to a screen-like cloak, the cloak itself would project the image directly to our eyes – like a wrap-around LED television screen. This trick could work from any viewing direction, provided there are cameras pointing that way to record the scene. The idea, then, is a cloak covered with LED display units that, via fisheye lenses, can send light rays in every direction tailored to create exactly the image that a viewer would see from that direction if the cloak and wearer weren't there at all.
In practice this presents a phenomenal engineering challenge. It's not so hard to make the full-colour light emitters and cameras that would cover the cloak like tiny sequins; the real difficulty comes from all the computing needed to turn the information from the array of micro-cameras into instructions for what to project at every angle, especially since this would constantly change as the wearer moves. Italian computer scientists Franco Zambonelli and Marco Mamei have worked out all the technological and computational requirements and estimate that such a cloak, giving a reasonable semblance of invisibility, could be made for €500,000. Other computer experts are sceptical – for one thing, because of parallax effects (the distance sense we get from binocular vision), no camera could record exactly what we would see unless it were situated right where we were standing.
All the same, this vanishing trick is already being planned. The American architectural company GDS Architects has designed a 1,500ft skyscraper called Tower Infinity for the Seoul suburb of Incheon in South Korea that would be covered with banks of cameras and LEDs on the glass facade so that it could project itself into invisibility – albeit only "perfectly" from a few select viewing locations. The artists' impressions show the tower perhaps rather optimistically fading from view in the dusk sky. Construction has been granted approval, so maybe we'll get to see if it works.
An artist’s impression of Tower Infinity in Seoul, South Korea. The skyscraper would be covered with banks of cameras and LEDs on the glass facade so that it could project itself into invisibility – albeit only ‘perfectly’ from a few select viewing locations.
3 | PERFECT TRANSPARENCY
In The Invisible Man (1897), HG Wells wanted his anti-hero Griffin to be made invisible by a scientifically plausible method rather than mere "jiggery-pokery magic". A more naive writer would have suggested (and some did) that all you needed was to make a person totally transparent, like glass. True, that doesn't sound easy, but Wells pointed out – with only a little bit of artistic licence – that apart from our blood and the pigment in hair, our body tissues are transparent. (Bone scatters light rather as milk does, but never mind.) Griffin gets rid of this pigmentation with a chemical drug he devises – as he's an albino, he doesn't have far to go anyway. Wells realised that this would make a person blind, because the retina has to absorb light to work at all – but he felt he could ignore that.
The bigger problem is that – as we can see with a glass beaker – transparency alone doesn't guarantee invisibility. One problem is that the smooth glass surface reflects light, although our rougher skin might not. But glass also refracts light: it bends the rays that pass through, distorting the image behind it. This is because light travels more slowly in glass than in air, and so to take the quickest possible route from an object to our eye, the light takes a crooked path to reduce the time it spends in the "slow" substance. The amount by which a material slows light is called its refractive index: air has a refractive index of one, and the index of all ordinary transparent materials, like glass and water, is greater than one.
To eliminate refraction, Wells realised that he had to somehow reduce the refractive index of Griffin's tissues to one. There was no known way to do that, and there still isn't, so Wells had to resort to a bit of magic after all: Griffin uses electrical gadgets to produce a kind of invisible ray, similar to the X-rays discovered only two years earlier, that induces this transformation.
All the same, the principle of matching the refractive index of an object and its surrounding medium is sound, and transparent things really can be hidden that way. Place a glass rod (refractive index of around 1.5) into clear baby oil or benzene, which has essentially the same refractive index, and it seems to disappear entirely.
4 | METAMATERIALS
Some researchers believe the real future of invisibility lies with a new science, transformation optics. This is all about controlling the paths of light rays, and it is analogous to the way that light curves when space itself is curved: something caused by strong gravitational fields, as predicted by Einstein's theory of general relativity.
Transformation optics is so called because it is rather like transforming the co-ordinate grid of space. But it doesn't literally do that. Instead, light rays are passed step by step between tiny receivers and transmitters – the "meta-atoms" of the material – in a way that traces out paths rays could never follow in an ordinary transparent material. Thetheory was developed in the late 1990s by John Pendry at Imperial College London, and later he and Ulf Leonhardt at the University of St Andrews independently figured out how to use it to make metamaterial "invisibility shields". The idea is that light rays are bent smoothly around an object placed in the centre of a metamaterial shell, and recombined on the other side like water flowing around a rock in a stream. To a viewer on the far side, it's as if nothing has happened to the light during its passage: both shield and internal object are invisible.
Electrical engineer David Smith and his team at Duke University in North Carolina worked out how to make a real metamaterial in the late 1990s, using slotted arrays of printed circuit boards on which the metal loops and rings are etched. Because the "meta-atoms" have to be about the same size as the wavelength of the light they are manipulating, this design works for microwaves, not for visible light (which has wavelengths of just a few tenths of a micrometre). In 2006 Smith's group, working with Pendry, unveiled the first microwave invisibility shield: a set of 10 concentric, cylindrical rings of meta-atoms, which could more or less hide an object inside from microwaves.
Shrinking the metamaterial to the size needed for visible light is hard. But Pendry and his student Jensen Li proposed a simpler design in 2008: a "carpet cloak" that sits on a surface and hides an object under a bump. Here the light can be bent simply by arrays of tiny holes, and researchers at the University of California at Berkeley carved such a microscopic structure out of a silicon chip in 2009.
5 | ILLUSION OPTICS AND WAVE CLOAKS
The control of light rays offered by transformation optics can be used to alter appearances beyond making objects invisible. In principle, one can design a metamaterial shield that will twist and bend light so any object inside can be made to look like any other object. It's a fearsome task to figure out what kind of meta-atoms you need, let alone to make them, but the idea is clear enough in theory. Che Ting Chan of the Hong Kong University of Science and Technology and his co-workers have proposed a new field called illusion optics, which enables this more or less infinitely protean shape-shifting.
One simple variant of the idea is to make an object look bigger than it really is. Pendry compares this to the way the scattering of light rays passing through a milk bottle make it seem as though the milk goes all the way to the edge: you can't see the thickness of the glass walls at all. With a metamaterial, you could make the light seem to extend beyond the physical edge of the structure, into empty space. Then you could make a hidden portal, concealed because the metamaterial walls on each side appear to extend across the open space.
The principles behind transformation optics apply to all kinds of wave, not just to light. Researchers have proposed and constructed acoustic versions of invisibility shields and other structures: devices that seem invisible to sound waves as they pass through, so that for example a submarine might be made invisible to sonar. Using large arrays of holes in the ground, perhaps filled with softer material, it might even be possible to create seismic shields that make buildings or even cities invisible to earthquakes. And researchers at the Karlsruhe Institute of Technology in Germany have used the same ideas developed for acoustic cloaking – where the aim is to shield an object from the mechanical vibrations of sound waves – to create an "unfeelability cloak", a delicately structured polymer foam that, when squeezed, deforms in a way that smoothes away any bumps created by objects hidden beneath them.
Perhaps the most remarkable cloak demonstrated so far hides objects from light not just in space but in time: it's a"spacetime cloak". The researchers who devised it, physicists Martin McCall and Paul Kinsler of Imperial College London, illustrate the idea by imagining a thief breaking into a safe that is watched by a security video camera. The act could be hidden by editing out that part of the video, but you'd notice the jump and the missing time. But with spacetime cloaking, it's as if the time before and after the edit is stretched so that the two segments are joined seamlessly with no obvious jump at all. That's not just some trick of editing software: the spacetime itself is deformed this way.
The trick depends on manipulating the speed of light, which is a kind of universal gauge of the rate of time passing. Metamaterials could do it, but a simpler (slightly imperfect) way is to vary the refractive index of the material the light passes through. This can be done in optical fibres: an intense laser "control beam" can manipulate the refractive index of the glass fibre so the light from a signal beam seems to slow down and speed up. In 2011 a team at Cornell University demonstrated the idea, in effect hiding a light beam in a spacetime hole for 15 trillionths of a second.
