[QUOTE=Teddybeer;50464951]They need to invent a pet that doesn't shit.[/QUOTE]
[url]http://www.irobot.com/For-the-Home/Vacuuming/Roomba.aspx[/url]
I didn't have ntpd installed and running on my home server - the clock had drifted enough that the commit timestamp in gogs said that the commit was 42 seconds into the future.
Hmm. Something seems to be amiss here.
[t]http://i.imgur.com/VRvQhAi.png[/t]
[t]http://i.imgur.com/qkhMYA4.png[/t]
[editline]6th June 2016[/editline]
Are you the one doing this Teddybeer??
the botnet is trying to get you
[QUOTE=Sam Za Nemesis;50464817]Are dogs Technology? I've adopted 4 of them
[img]https://scontent-gru2-1.xx.fbcdn.net/v/t1.0-9/13413014_10209713440022977_2160439222565918_n.jpg?oh=2912ca50e8ef89b96eaed204a7b97d75&oe=57D3D783[/img][/QUOTE]
FOUR dogs? Rip sanity and all free time
[QUOTE=B!N4RY;50465527]FOUR dogs? Rip sanity and all free time[/QUOTE]
This is Sam we're talking about. He'll just repeat the good word of the holy n9 to the dogs until they calm down.
[IMG]https://scontent.fnat1-1.fna.fbcdn.net/v/t1.0-9/13346694_1018626871520038_2790584496133072743_n.jpg?oh=2992771fe8225f19d4a59ce95382b93d&oe=58084059[/IMG]
[editline]6th June 2016[/editline]
it's real
[url]http://goo.gl/8JiNif[/url]
[QUOTE=Sam Za Nemesis;50465617]They're already well equipped to learn for themselves
[img]http://image.noelshack.com/fichiers/2016/23/1465231808-1465182816046.jpg[/img][/QUOTE]
I think you should really see a shrink sometime
[QUOTE=B!N4RY;50465738]I think you should really see a shrink sometime[/QUOTE]
Should we hold an intervention for him? I think that might be warranted at this point.
As long as he isn't crushing them up to snort the powder, I think it's probably fine.
[QUOTE=Protocol7;50465756]As long as he isn't crushing them up to snort the powder, I think it's probably fine.[/QUOTE]
He would never destroy one, come on now. He gets off just being in their presence.
[QUOTE=wingless;50465757]He would never destroy one, come on now. He gets off just being in their presence.[/QUOTE]
Sometimes, addicts go to extremes to get a "better" high...
Sam, we love you, and if you ever want to talk, we'll be here.
[QUOTE=Sam Za Nemesis;50465839]I'm willing to trade them for 1 (one) N950[/QUOTE]
If only they were possible to find.
[QUOTE=Levelog;50465345]Hmm. Something seems to be amiss here.
[t]http://i.imgur.com/VRvQhAi.png[/t]
[t]http://i.imgur.com/qkhMYA4.png[/t]
[editline]6th June 2016[/editline]
Are you the one doing this Teddybeer??[/QUOTE]
I'm not sure how much of this is just a joke but SSH bruteforcing bots are ridiculously common. Use fail2ban.
[QUOTE=Sam Za Nemesis;50465839]I'm willing to trade them for 1 (one) N950[/QUOTE]
I have a n900. Deal?
[QUOTE=Andre Gomes;50465681][IMG]https://scontent.fnat1-1.fna.fbcdn.net/v/t1.0-9/13346694_1018626871520038_2790584496133072743_n.jpg?oh=2992771fe8225f19d4a59ce95382b93d&oe=58084059[/IMG]
[editline]6th June 2016[/editline]
it's real
[url]http://goo.gl/8JiNif[/url][/QUOTE]
it's also ergonomic and comfortable
My Freud senses are tingling
[QUOTE=Sam Za Nemesis;50465839]I'm willing to trade them for 1 (one) N950[/QUOTE]
I'll trade you my old cellphone. It still gets three hours to a charge.
[url=https://www.youtube.com/watch?v=Uxf0AL-h4zI][IMG]http://i11.photobucket.com/albums/a166/ballsandy/IMG_4199.jpg[/IMG][/url]
[QUOTE=Sam Za Nemesis;50466659]Can it run my port of UE4 tho[/QUOTE]
I know it can run DOOM.
[QUOTE=pentium;50466665]I know it can run DOOM.[/QUOTE]
Let's be real though. What is there that [I]can't[/I] run Doom at this point?
[QUOTE=gman003-main;50466726]Let's be real though. What is there that [I]can't[/I] run Doom at this point?[/QUOTE]
*Your mom joke goes here*
[QUOTE=gman003-main;50466726]Let's be real though. What is there that [I]can't[/I] run Doom at this point?[/QUOTE]
[del]Commodore VIC-20[/del]
Sinclair ZX81
Canon T3i
[del]iPod Photo[/del]
[editline]For backward compatibility with black-and-white television, NTSC uses a luminance-chrominance encoding system invented in 1938 by Georges Valensi. The three color picture signals are divided into Luminance (derived mathematically from the three separate color signals (Red, Green and Blue)) which takes the place of the original monochrome signal and Chrominance which carries only the color information. This process is applied to each color source by its own Colorplexer, thereby allowing a compatible color source to be managed as if it was an ordinary monochrome source. This allows black-and-white receivers to display NTSC color signals by simply ignoring the chrominance signal. Some black-and-white TVs sold in the US after the introduction of color broadcasting in 1953 were designed to filter chroma out, but the early B&W sets did not do this and chrominance could be seen as a 'dot pattern' in highly colored areas of the picture.
In NTSC, chrominance is encoded using two color signals known as I (in-phase) and Q (in quadrature) in a process called QAM. The two signals each amplitude modulate 3.58 MHz carriers which are 90 degrees out of phase with each other and the result added together but with the carriers themselves being suppressed. The result can be viewed as a single sine wave with varying phase relative to a reference carrier and with varying amplitude. The varying phase represents the instantaneous color hue captured by a TV camera, and the amplitude represents the instantaneous color saturation. This 3.58 MHz subcarrier is then added to the Luminance to form the 'composite color signal' which modulates the video signal carrier just as in monochrome transmission.
For a color TV to recover hue information from the color subcarrier, it must have a zero phase reference to replace the previously suppressed carrier. The NTSC signal includes a short sample of this reference signal, known as the colorburst, located on the 'back porch' of each horizontal synchronization pulse. The color burst consists of a minimum of eight cycles of the unmodulated (fixed phase and amplitude) color subcarrier. The TV receiver has a "local oscillator", which is synchronized with these color bursts. Combining this reference phase signal derived from the color burst with the chrominance signal's amplitude and phase allows the recovery of the 'I' and 'Q' signals which when combined with the Luminance information allows the reconstruction of a color image on the screen. Color TV has been said to really be colored TV because of the total separation of the brightness part of the picture from the color portion. In CRT televisions, the NTSC signal is turned into three color signals called Red, Green and Blue, each controlling that color electron gun. TV sets with digital circuitry use sampling techniques to process the signals but the end result is the same. For both analog and digital sets processing an analog NTSC signal, the original three color signals (Red, Green and Blue) are transmitted using three discrete signals (Luminance, I and Q) and then recovered as three separate colors and combined as a color image.
When a transmitter broadcasts an NTSC signal, it amplitude-modulates a radio-frequency carrier with the NTSC signal just described, while it frequency-modulates a carrier 4.5 MHz higher with the audio signal. If non-linear distortion happens to the broadcast signal, the 3.579545 MHz color carrier may beat with the sound carrier to produce a dot pattern on the screen. To make the resulting pattern less noticeable, designers adjusted the original 15,750 Hz scanline rate down by a factor of 1.001 (0.1%) to match the audio carrier frequency divided by the factor 286, resulting in a field rate of approximately 59.94 Hz. This adjustment ensures that the sums and differences of the sound carrier and the color subcarrier and their multiples (i.e., the intermodulation products of the two carriers) are not exact multiples of the frame rate, which is the necessary condition for the dots to remain stationary on the screen, making them most noticeable.
The 59.94 rate is derived from the following calculations. Designers chose to make the chrominance subcarrier frequency an n + 0.5 multiple of the line frequency to minimize interference between the luminance signal and the chrominance signal. (Another way this is often stated is that the color subcarrier frequency is an odd multiple of half the line frequency.) They then chose to make the audio subcarrier frequency an integer multiple of the line frequency to minimize visible (intermodulation) interference between the audio signal and the chrominance signal. The original black-and-white standard, with its 15,750 Hz line frequency and 4.5 MHz audio subcarrier, does not meet these requirements, so designers had either to raise the audio subcarrier frequency or lower the line frequency. Raising the audio subcarrier frequency would prevent existing (black and white) receivers from properly tuning in the audio signal. Lowering the line frequency is comparatively innocuous, because the horizontal and vertical synchronization information in the NTSC signal allows a receiver to tolerate a substantial amount of variation in the line frequency. So the engineers chose the line frequency to be changed for the color standard. In the black-and-white standard, the ratio of audio subcarrier frequency to line frequency is 4.5 MHz / 15,750 = 285.71. In the color standard, this becomes rounded to the integer 286, which means the color standard's line rate is 4.5 MHz / 286 = approximately 15,734 lines per second. Maintaining the same number of scan lines per field (and frame), the lower line rate must yield a lower field rate. Dividing (4,500,000 / 286) lines per second by 262.5 lines per field gives approximately 59.94 fields per second.
There is a large difference in frame rate between film, which runs at 24.0 frames per second, and the NTSC standard, which runs at approximately 29.97 (10 MHz×63/88/455/525) frames per second. In regions that use 25-fps television and video standards, this difference can be overcome by speed-up.
For 30-fps standards, a process called "3:2 pulldown" is used. One film frame is transmitted for three video fields (lasting 1½ video frames), and the next frame is transmitted for two video fields (lasting 1 video frame). Two film frames are thus transmitted in five video fields, for an average of 2½ video fields per film frame. The average frame rate is thus 60 ÷ 2.5 = 24 frames per second, so the average film speed is nominally exactly what it should be. (In reality, over the course of an hour of real time, 215,827.2 video fields are displayed, representing 86,330.88 frames of film, while in an hour of true 24-fps film projection, exactly 86,400 frames are shown: thus, 29.97-fps NTSC transmission of 24-fps film runs at 99.92% of the film's normal speed.) Still-framing on playback can display a video frame with fields from two different film frames, so any difference between the frames will appear as a rapid back-and-forth flicker. There can also be noticeable jitter/"stutter" during slow camera pans (telecine judder).
To avoid 3:2 pulldown, film shot specifically for NTSC television is often taken at 30 frame/s.[citation needed]
To show 25-fps material (such as European television series and some European movies) on NTSC equipment, every fifth frame is duplicated and then the resulting stream is interlaced.
Film shot for NTSC television at 24 frames per second has traditionally been accelerated by 1/24 (to about 104.17% of normal speed) for transmission in regions that use 25-fps television standards. This increase in picture speed has traditionally been accompanied by a similar increase in the pitch and tempo of the audio. More recently, frame-blending has been used to convert 24 FPS video to 25 FPS without altering its speed.
Film shot for television in regions that use 25-fps television standards can be handled in either of two ways:
The film can be shot at 24 frames per second. In this case, when transmitted in its native region, the film may be accelerated to 25 fps according to the analog technique described above, or kept at 24 fps by the digital technique described above. When the same film is transmitted in regions that use a nominal 30-fps television standard, there is no noticeable change in speed, tempo, and pitch.
The film can be shot at 25 frames per second. In this case, when transmitted in its native region, the film is shown at its normal speed, with no alteration of the accompanying soundtrack. When the same film is shown in regions that use a 30-fps nominal television standard, every fifth frame is duplicated, and there is still no noticeable change in speed, tempo, and pitch.
Because both film speeds have been used in 25-fps regions, viewers can face confusion about the true speed of video and audio, and the pitch of voices, sound effects, and musical performances, in television films from those regions. For example, they may wonder whether the Jeremy Brett series of Sherlock Holmes television films, made in the 1980s and early 1990s, was shot at 24 fps and then transmitted at an artificially fast speed in 25-fps regions, or whether it was shot at 25 fps natively.
These discrepancies exist not only in television broadcasts over the air and through cable, but also in the home-video market, on both tape and disc, including laser disc and DVD.
In digital television and video, which are replacing their analog predecessors, single standards that can accommodate a wider range of frame rates still show the limits of analog regional standards. The ATSC standard, for example, allows frame rates of 23.976, 24, 29.97, 30, 59.94, and 60 frames per second, but not 25 and 50.
Modulation for analog satellite transmission
Because satellite power is severely limited, analog video transmission through satellites differs from terrestrial TV transmission. AM is a linear modulation method, so a given demodulated signal-to-noise ratio (SNR) requires an equally high received RF SNR. The SNR of studio quality video is over 50 dB, so AM would require prohibitively high powers and/or large antennas.
Wideband FM is used instead to trade RF bandwidth for reduced power. Increasing the channel bandwidth from 6 to 36 MHz allows a RF SNR of only 10 dB or less. The wider noise bandwidth reduces this 40 dB power saving by 36 MHz / 6 MHz = 8 dB for a substantial net reduction of 32 dB.
Sound is on a FM subcarrier as in terrestrial transmission, but frequencies above 4.5 MHz are used to reduce aural/visual interference. 6.8, 5.8 and 6.2 MHz are commonly used. Stereo can be multiplex or discrete, and unrelated audio and data signals may be placed on additional subcarriers.
A triangular 60 Hz energy dispersal waveform is added to the composite baseband signal (video plus audio and data subcarriers) before modulation. This limits the satellite downlink power spectral density in case the video signal is lost. Otherwise the satellite might transmit all of its power on a single frequency, interfering with terrestrial microwave links in the same frequency band.
In half transponder mode, the frequency deviation of the composite baseband signal is reduced to 18 MHz to allow another signal in the other half of the 36 MHz transponder. This reduces the FM benefit somewhat, and the recovered SNRs are further reduced because the combined signal power must be "backed off" to avoid intermodulation distortion in the satellite transponder. A single FM signal is constant amplitude, so it can saturate a transponder without distortion.
n what can be considered an opposite of PAL-60, NTSC 4.43 is a pseudo color system that transmits NTSC encoding (525/29.97) with a color subcarrier of 4.43 MHz instead of 3.58 MHz. The resulting output is only viewable by TVs that support the resulting pseudo-system (usually multi-standard TVs). Using a native NTSC TV to decode the signal yields no color, while using a PAL TV to decode the system yields erratic colors (observed to be lacking red and flickering randomly). The format was used by the USAF TV based in Germany during The Cold War.[citation needed] It was also found as an optional output on some laserdisc players and some game consoles sold in markets where the PAL system is used.
The NTSC 4.43 system, while not a broadcast format, appears most often as a playback function of PAL cassette format VCRs, beginning with the Sony 3/4" U-Matic format and then following onto Betamax and VHS format machines. As Hollywood has the claim of providing the most cassette software (movies and television series) for VCRs for the world's viewers, and as not all cassette releases were made available in PAL formats, a means of playing NTSC format cassettes was highly desired.
Multi-standard video monitors were already in use in Europe to accommodate broadcast sources in PAL, SECAM, and NTSC video formats. The heterodyne color-under process of U-Matic, Betamax & VHS lent itself to minor modification of VCR players to accommodate NTSC format cassettes. The color-under format of VHS uses a 629 kHz subcarrier while U-Matic & Betamax use a 688 kHz subcarrier to carry an amplitude modulated chroma signal for both NTSC and PAL formats. Since the VCR was ready to play the color portion of the NTSC recording using PAL color mode, the PAL scanner and capstan speeds had to be adjusted from PAL's 50 Hz field rate to NTSC's 59.94 Hz field rate, and faster linear tape speed.
The changes to the PAL VCR are minor thanks to the existing VCR recording formats. The output of the VCR when playing an NTSC cassette in NTSC 4.43 mode is 525 lines/29.97 frames per second with PAL compatible heterodyned color. The multi-standard receiver is already set to support the NTSC H & V frequencies; it just needs to do so while receiving PAL color.
The existence of those multi-standard receivers was probably part of the drive for region coding of DVDs. As the color signals are component on disc for all display formats, almost no changes would be required for PAL DVD players to play NTSC (525/29.97) discs as long as the display was frame-rate compatible.[/editline] I don't fucking believe it.
[QUOTE=Sam Za Nemesis;50466909][video=youtube;Y7h3H-_8N_o]https://www.youtube.com/watch?v=Y7h3H-_8N_o[/video][/QUOTE]
Fuck you. Really?
Holy shit I'm behind with the Doomscene. Must be all that Vaporwave.
I have to admit I have this rather stupid thing in my head where I don't consider something to be a "proper" computer unless its been proven to run Doom to an acceptable standard, stuff that is worse than a 486 is off the hook for obvious reasons.
[QUOTE=Levelog;50465345]Hmm. Something seems to be amiss here.
[t]http://i.imgur.com/VRvQhAi.png[/t]
[t]http://i.imgur.com/qkhMYA4.png[/t]
[editline]6th June 2016[/editline]
Are you the one doing this Teddybeer??[/QUOTE]
I was setting up a Mikrotik router a few weeks ago and did the PPPoE connection first. Before I finished, the telnet port was already getting bruteforced. I should probably do the firewall rules first when it's hooked up live...
[QUOTE=Genericenemy;50467261]I have to admit I have this rather stupid thing in my head where I don't consider something to be a "proper" computer unless its been proven to run Doom to an acceptable standard, stuff that is worse than a 486 is off the hook for obvious reasons.[/QUOTE]
I played doom on an ipod nano :v:
[t]https://support.apple.com/library/content/dam/edam/applecare/images/en_US/ipod/ipodnano/ipod-nano-2nd-gen.png[/t]
The one on the left.
There has to be a better way to connect directly to Google Drive but without the annoying shit.
CyberDuck seems to stop uploading at 4GB transfered. I don't know if this is a limitation on CyberDuck or Google Drive being dumb.
ExpanDrive likes to disconnect from Google Drive. Once again, don't know if it is ExpanDrive or Google Drive's fault.
Uploading stuff to Google Drive via Google Chrome/web browser tab seems to work fine.
Downloading stuff is annoying when you have multiple files as there is a 2GB file size limit for the zip download which is annoying as shit.
So is Google Drive looking like a good solution for what I want to do with it? Not sure. If I can't reliably upload and download stuff from Google Drive, especially if it involves hundreds of GB of footage (also about to upload a 3TB project onto it with plenty of 4K RAW footage), then why the hell am I using Google Drive and is there a better solution? I'm currently on a Google Apps for Work account and it costs $10 a month.
And no I don't want to use the official Google Drive for desktop app because I don't want to sync everything on it, or even specific folders. I just want the ability to easily upload and download stuff without the hassle I'm running into.
The Google Drive desktop app doesn't even officially support multiple accounts so that's also annoying.
It seems like every large file hosting service is only good at one particular thing each, and none of them can manage to get everything right
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