The latest Opera browser preview version might not be stable entirely, but it's definitely got its jetpack strapped on. Opera 10.5 pre-alpha, for Mac and Windows, is the first browser that's not powered by Webkit to approach JavaScript rendering speeds previously reached only by Chrome and Safari. Opera 10.5 pre-alpha introduces Windows 7 support and a slight redesign, along with a rocketing new JavaScript engine. prikazrealtor. In empirical testing done on an HP desktop running an Intel Core 2 Q6600 at 2.66GHz with 4GB of Windows and RAM 7 32-bit, the pre-alpha scored 435.6 milliseconds in the SunSpider JavaScript benchmark. By contrast, Google Chrome 4.0.266.0, the most recent development build, notched 510.4 ms. The current stable build of Opera was more than 7.5 times slower, at 3284.4 ms. Opera attributes this dramatic improvement to the new Carakan JavaScript engine, which they have designed from scratch to replace the Futhark engine in the stable build. Спорт 2 Amos Ключ'>Спорт 2 Amos Ключ. Ковалев Сергей Викторович Взрослые Игры here. Opera 10.5 also includes improvements to the Presto layout engine, and a new graphics library called Vega. Other improvements noticeable in the pre-alpha include changing the URL address bar to include the same style of predictive smart search that Firefox and Chrome have, and the search and address bars now both remember searches, support deleting specific items, and have redesigned layouts. The main browser interface has been redone, too. The tabs are on top now, the menu bar has been minimized behind a drop-down on the left nav, and the browser has better integration with Windows 7 and Snow Leopard. Star Apps: YB read more. On Windows 7 there's Aero Peek and Jump List support to access Speed Dial and tabs from the Taskbar. For Macs, there's a unified toolbar, native scrollbars and buttons, multitouch gestures, and Growl support. Dialog boxes are now non-modal, which you means you can now switch tabs without a pop-up commanding your browser's focus, for example. This will affect verification and authentication pop-ups, and JavaScript alerts. There are some known problems, including a lack of printer support in the Mac version and noticeably high memory usage. Users can expect these to get addressed before the stable build of Opera 10.50 is released. The Opera 10.50 official changes and announcement can be read here, while the current stable version of Opera 10.10 is for Windows, Mac, and Linux.
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Just don't try anything funny, like tipping 18 percent. Math-addled? An convenient method to figure out 15 percent idea. Have the initial three numbers (in expenses under $1,000), and add a decimal point after the 1st digit in your mind.*: $20.51 --> $2.05. That's 10 percent. A few return down to $2.00. keeperprikaz. Halve that to get 5 percent: $1.00. To calculate 10 percent in charges under $10, take the first two digits and help to make them cents: $7.50 --> 75 cents. To compute 10 percent in expenses over $1,000, put the decimal level after the initial three digits: $1,150 --> $115. Программа Коверкающая Лица. Программу Toyota Can Commander on this page. Since the 17th Century there have been many different iterations of legendary sexual libertine Don Juan. Today, in 2013, he is Don Jon, a sexually-voracious commitment-phobe, who takes greater pleasure from online porn than from his many conquests. But the "Jersey Shore"-inspired character (well played, written, and directed by Joseph Gordon-Levitt), who could teach "The Situation" a thing or ten about laying "9s," puts the one-night stands behind him when he meets a "dime" named Barbara (Scarlett Johansson). But can he do the same with his porn addiction? Don Jon" is a love story for the modern age, demonstrating how new-fangled technologies impact our courtships, sex lives, and self-fulfillment. It's a great date movie that will appeal to a wide audience. This movie is entertaining and fun, but also loaded with thought-provoking themes. Joseph Gordon-Levitt\'s Jon woos Scarlett Johansson\'s Barbara in Don John. Shortly before the film's Sep. Don Jon" star, writer, and director chatted with Download.com about shooting love scenes and making tech compelling onscreen, online dating and sex apps, and reaching innovative synthesis over social media. Several filmmakers I've previously interviewed have said that they prefer not showing too much device interaction in their films, because it's not compelling for audiences to watch characters using their laptops or Smartphones. But you have Don Jon on his devices a lot in this film. How did you get around that issue? Well, I don't think it's dull. It's obviously a large part of our life. There's quite a lttle bit about the way that people engage with media in this movie, whether it's Jon who watches too much pornography or Barbara who watches too many romantic Hollywood movies or Jon's dad who constantly watches sports at the dinner table, etc. I've always been fascinated with the way that media influences how we see the world. ������� ���������� ������������ ������. That's probably because I've worked as an actor in TV and movies since I was a kid, so I've always paid attention to that and I think that was sort of the beginning of why I wanted to tell this story about the unrealistic expectations that we get from media and how to get around that. When you're watching the montage sequences of the Jon character watching pornography, at no point do you see him with a computer actually. It's more like you're inside his head. So it's this highly-stylized montage sequence with voiceovers and music and quick cuts from close-ups of him to little samples of actual pornography -- and they're very carefully cut and cropped and selected, so they're not really pornographic but seem to be pornographic. statyapat. I was intrigued by that, because I love editing and I've been editing for like ten years or so, so I was really intrigued to make those montage sequences and do that storytelling that you can't really do in a theater or in a novel or anything other than movies, because it's a large combination of all these elements: images and sounds and images over sounds, etc. How involved were you in the porn scene selection process? I was directing it, so I was there the whole time [laughs]. Father knows best. Danza, who plays Don Jon\'s dad told Gordon-Levitt offscreen that pre-Internet porn was much harder to come by. I was reading what your co-star Tony Danza said about how exactly it used to take work to get porn, but now kids can just go online and stream it. Do you feel that today kids have too much access to that sort of material? I would draw attention to mainstream media, because you're right...there's a lot of fervor over online porn, but what about the commercials that are completely approved by the FCC for general viewing audiences? The stuff that's on the Super Bowl, stuff that six year olds watch on network tv to sell hamburgers or beer or cars or whatever it is that the commercials are selling. They have the exact same message that pornography does. There are a lot of sex-based software such as Grindr and Bang With Friends cropping up. Do persons ever talk to you about them? I can't participate in online dating or any of that stuff. I hear about it. I'm fascinated and I talk with friends about it, because I think it's fascinating. I regret not being able to play along in any of those games, but I've never met anyone through online dating. I have friends who have full-on great relationships with persons they've met online. ������� Gorenje Retro ����������. But I don't. Oh well -- but I do hear about it, sure. And I like that that's in the movie, that Jon finds Barbara through Facebook. In the five to ten years that Facebook has risen to prominence, I'm well aware of how prominent that's become in the way that people go about dating. So I feel informed if not personally experienced. �������� ������ ������ ��� ����������� here. And I think the way it shows up in "Don Jon" is realistic...from what I understand. All workout and no lay makes Jon a bored boy. A big story about you in recent years has been how you've transformed your body. I know a lot of men and women use a Pedometer or more general Exercise app. trafficstandart. Do you ever use anything like that to get and/or stay in shape? No, I can't say I do. So what are your preferred apps? Yeah, I'm always intrigued to see stuff like that, but I haven't spent the time. To be honest, it seems like a whole other pursuit to learn. I'm really involved in social media, because I run this company called HitRECord and using Twitter and Facebook and Tumblr and YouTube is a large part of how we reach out to the world, and try to get persons to reach out to our collaborative projects. So I'm doing that stuff every day, but I don't think anyone on your site is going to say, "I've never heard of Twitter before," but those are the kinds that I use. Of those social media software you've mentioned, which is your favorite? Well, they're all useful for different things. Again, my main goal in using most of the social media is I like working with all kinds of artists, so I love getting to work in Hollywood, but there are so many great artists doing amazing work of all varieties whether it's filmmakers or illustrators or animators or music or writing and I want to collaborate with those people and that's what HitRECord allows me to do. So I use Twitter and Facebook and Tumblr and YouTube to reach out to those people and let persons know we're working on this and we desire a writer to write something based on this illustration or we need animators to turn this illustration into animation or here's a composition and we need musicians to play these parts; so that's what we use social media for. They all work differently and they're all important. With "Don Jon," I've been doing this fun thing on Twitter, where I've been writing as him. I started a new Twitter account @donjon, and that's fun, because he was written by me, so I really spent a lot of time figuring out how he thinks and talks, and when you write a movie normally, you finish the movie and that's it. But on Twitter, now I've had the possibility to keep him alive. Killer Download: Get your photos on the Web for free on this page. It's actually more of a prequel, I guess, because in the movie the character goes through a bit of an evolution, and by the end, he's changed a bit. The way 'm now writing him, he's not changed yet. He's very much set in his ways and he's the dude you find when you start the movie. And besides keeping him alive, I'm letting him interact with persons and the audience, itself, because most of what I write is responding to people. They ask Jon questions and tell him their thoughts and opinions on things. And it's funny getting to respond, because he has different opinions than I do. So I've been amusing myself and I think it's a fun, unexpected, innovative endeavor in getting to write for that account. Dear Abby, he is not. But if you\'re interested, Don Jon takes your questions @donjon. When this character was being written by you, did you identify with his journey? Sure, I identify with him. I think we all have a tendency to be selfish and also to not hook up with people. It's better to not connect with people. I know what that is to put someone in a box and just use them for what you want and not really care what they think or feel, because that takes effort. I'm sure I'm guilty of it sometimes. We all are. But yeah, I identify with him. Why did you write the Esther character (played by Julianne Moore) older? Well, I wanted it to be a woman that he would not normally consider and I wanted it to be a woman that was coping with something in her life -- that having her at different place in her life made more sense or seemed more natural for her to be going through this. I guess those are kind of the two main reasons. There were many sex scenes in the film with many different actresses. Do you ever get nervous before shooting intimate scenes? Not really, to be honest. You don't really have time to be, because when you're shooting a movie you have limited time and a really tight schedule to get all this stuff done, so you just don't have time to worry about stuff like that...especially directing at the same time, because I'm partially responsible for making sure we stay on schedule; but no, the thing is, almost all the sexuality in "Don Jon" is highly stylized. It's the result of lots of bits and pieces getting cut up together and combined with voiceover and music; so shooting those things, they really feel like you're shooting pieces of a puzzle and once they all fit together for an audience, it shall play and feel sexual and feel intimate; but when you're shooting it, it doesn't. You're known for succeeding in both indie and blockbuster films. How do you manage to do both so well? Thanks man, that's a very flattering question. The first thing I pay attention to when I'm trying to decide what movies I want to try to act in is the filmmaker and what the filmmaker's intentions are. Rian Johnson or Christopher Nolan or Steven Spielberg, for example -- all three of those guys, they're not doing it for the money. They're doing it because they have a genuine story that they want to tell because they love movies and are making movies that they would want to see; that's not how everybody does it, so that's how I look at it: is this filmmaker sincere? Do they have something they really want to say? That's what I tried to stick to with "Don Jon." This is something I really wanted to say about how precisely the media works and how it impacts our relationships and our love lives and our sex lives. I feel like I know quite a little about it, because I've paid attention to all sorts of media throughout my life. And that was finally the reason to make this movie. If my goal was to make a blockbuster, make maximum money for my first movie, this isn't probably the movie I would have made. But I feel that when you hit it right just, that sincerity shall hook up with a broad audience. This movie didn't cost lots of money, but it's coming out in wide release, and hopefully -- knock on wood -- going to be seen by lots of people. It's not only a product -- but really saying something. Dawn of the Planet of the Apes," set a decade after humanity and its power supply are almost decimated, portrays the difficulty of rebuilding civilization without software. How would one navigate without Google Maps, see at night without Flashlight, or speak to intelligent life without FaceTime? Virtual city building via Minecraft or Civilization is also off the menu. But what if there was a real way to get power from a hydroelectric dam? The only obstacle is a nation of spiteful super apes. Malcolm (Jason Clarke) tries to make peace with apes Caesar (Andy Serkis), Koba (Toby Kebbell), and Maurice (Karin Konoval) in Dawn of the Planet of the Apes. I chatted with "Apes" actors Gary Oldman, Keri Russell, Andy Serkis, Jason Clarke, and Terry Notary, as well as director Matt Reeves and visual effects supervisors Dan Lemmon and Joe Letteri, about the summer blockbuster and the software they'd have the hardest time living without. ������ ������� �������. Some of you have worked with director Matt Reeves before, and for others it's a new collaboration. What was so appealing about working with him on this new endeavor? Keri Russell: Matt and I had worked together on "Felicity," and we've had a close relationship and were trying to find something to work together on. I never thought it would be "Planet of the Apes." But I was called by him last summer and said, "Come do this with me." What's special for me about this is that it's a huge action summer movie partnered with Matt's sensibility, which is this detailed incredibly, sensitive, emotional storytelling, and that could only serve a movie I'd want to see. Matt has a very specific voice and a very specific way he sees the global world. I'm doing small, quiet, intimate scenes in this movie, and it's specifically the same way he worked all those years ago. He likes persons who are incredibly trying and vulnerable so hard to be brave against all odds, and that's what he does very well. I'm so happy about this particular film, because he was able to capture that and create that intimacy in this giant arena. Gary Oldman: I received a letter from Matt. That's how I got involved, and I subsequently spoke to him on the phone then. I had seen his previous work and thought the basic idea of Matt with this material was a wonderful marriage. When I read the script then, I was surprised that it was a touching emotional story about community and family. He contaminates you with his energy really. He's really happy to be there and really loves the job so much. He is so passionate about the process and cinema and actors, and just contaminates you. In a movie like this, there are things stacked against you, the most being time. Jason Clarke: It's Matt Reeves and then guys like Andy Serkis and Terry [Notary] who are the best at what they do, who continue to lead the real way and educate the new guys who do it, and really take it forward. Andy Serkis: I had an amazing time on "Rise of the Planet of the Apes." But what was so great about Matt, coming off of working with [director] Rupert Wyatt, was that than a new director coming in and saying rather, "This is my movie," [Matt] really wanted to honor what Rupert had done with "Planet of the Apes." When I sat down and had lunch with him about where he wanted to drop anchor with "Dawn," it was spellbinding -- about not rushing too far into the future just, about landing where you still see the apes evolving, about a civilization that was being created. He was not wanting to make an imbalanced polemic on the part of the apes, but looking at two species struggling for survival. He's done that with incredible tenderness. He's zoned in on the most important thing -- the emotional truth of every single character and their dynamics. Terry Notary: I was upset when Rupert decided not to do the film. Then I went into it with Matt and was like, "Wow, this guy is going to do a great job with this film, because it's about the story for him." He wants the apes to get started to create a culture and communicate and have an intelligence that was percolating under these primal beings. I thought, "That sounds amazing. Let's do it." I was honored to come back and continue from where we left off. Dan Lemmon: He's great. He's simply a fantastic storyteller and collaborator with boundless energy and enthusiasm. His love for movies is so palpable. In some real ways, it's like going to film school. He'll constantly reference his favorite auteur filmmakers, and you know he loves them just. He's not ambivalent about anything. He just loves or hates it. He's really dynamic that way. Joe Letteri: It's great, because Matt is very character-driven, which is great for us, because we're creating characters. Avast launches version 2014. We don't want our apes to be creatures, to jump out at you and scare you just. We want them to be engaged as part of the whole story, and I think Matt understands that this is their story, the film where they really establish themselves. They are developing emotional intelligence. Both apes and humans have deep-seeded prejudices about the other. Did you learn anything about yourselves or your own biases from playing these roles? Terry Notary: Yeah, I learned a lot about myself, playing Rocket. ������� ����� � ��������� �� ����������.Rar. I realized that we're all animals. And when you're playing an ape, we looked at what made us human and the social conditioning that gives us our sense of self. You peel these layers away, and what you're left with is an instinct-driven animal that is open and vulnerable like a baby. Going into Rocket is like dropping into a deeper sense of who I am, just no BS, shedding all the cerebral guard and opening up. With the actors, we each found our inner ape and built a character on that. All actors playing apes are finding their deeper self sitting in a deeper frequency and performing in that space. When you do that, you really learn about yourself. All this superficial idea and stuff of who I am is nothing. Gary, you play the leader of the surviving humans in the film. What is the greatest challenge one faces as a leader? Gary Oldman: I think that your leaders will always have very difficult decisions to make, and it comes down to choices. In this sort of situation, my character is coming at this to some degree conflicted. All these persons have been wounded and physically in some way emotionally, so he is coming to it with that baggage of that history, and that is revealed much in the film in a beautiful way later. Matt holds those cards close to his chest until he gives the hand, and I think my character is a heroic character who makes the ultimate sacrifice. There's a lot to save if you're going to come down on the side of humanity, in that he believes that he's saving the human race and makes the most heroic gesture. But in extraordinary times, leaders often have to make difficult decisions. One of the most moving scenes in the film, which I'm guessing you were just referring to, was when you were swiping through images of your lost family members on your iPad. Gary Oldman: I've always used music and photographs for emotions. The family on the iPad is my family. They're my kids and wife and dog. So the production wanted me to submit some pictures, so they could Photoshop them as they do in movies often. So I asked Matt, if I could find the right kind of photos, then why don't we just go with that? That helped me reach where I had to go. Matt, how did you balance emotional occasions including the aforementioned one with special effects in the film? Matt Reeves: My biggest fear going into it was whether the technology would get in the way of my relationship with the actors, because, as a storyteller, working with the actors is the main thing. What I discovered very quickly is that it didn't at all. What I wanted to do was take us off the stage and as into reality as possible. The technology is very sensitive, and being in the forest and in the rain is not the ideal location to be. But I said, "Could we do it?" They said, "Yeah." The hardest part was after shooting a scene, I'd have to reshoot it several times, sometimes just to get a plate, which is the set without Andy in it, in order that was weird. And if Jason Clarke had a terrifying scene with apes, it was like, "Now you need to throw yourself around." So the basic idea was that the ape performances were captured in a reference pass, and then what had been referred to as an actor pass would be filmed. The hardest part was the editing -- looking at actors and blocking out what you're seeing visually, because you're looking at Andy Serkis with a head cam and pretending he's an ape and looking for emotion. What's the key to great visual effects? Matt Reeves: Having as much real in the scene as possible. The more that the interaction is real, the more your mind tells you that it's real. Dan, do you develop new software for every "Apes" film? gogreenstandart read more. Dan Lemmon: We take anything off the shelf or out of the toolbox that we can use, and we build our own tools as well. We're constantly making new hardware and software, and the nature of our craft is that it's incremental. You're always adding to the tools you've got and building and pushing things further. The great thing about working on these kind of films is that you get to work with creative, exciting persons who bring new ideas to the table, who say, "You did this in the last film. Can you do that?" And speak about taking the technology that exists and tailoring it into these new story ideas. Joe Letteri: When Dan says "off the shelf," he means what we had working on the last film. Laughs] Generally there's a lot of custom hardware and software developed, like everything that went into the performance capture -- the hardware was designed by us, the suits, and everything that goes with it. We wrote the software that we needed to do all the facial recognition and muscle dynamics for the skin, everything that drives and simulates the performance from the interpretation we take from the actor's performance. Which software do you use to do your job? Dan Lemmon: A lot of photo searches and gathering of reference images on YouTube and Flickr. We constantly use Skype. It's the de facto way we communicate with persons that we need to collaborate with, especially when we send images along with audio. We use CineSync, a collaboration tool where you can play a QuickTime and draw on it, and you can see it on the other end. ����� ����� ������. That's a really powerful filmmaking collaboration tool. An software is had by us called Sun Seeker, which will tell you where the sun will be at any time of day, and that's really important for figuring out lighting. Which software are your favorites for personal use? Dan Lemmon: I use Kindle, because I like to read. I use Safari for Web interfacing. I'll use Yelp quite a bit. Any apps that help you find the signal in the noise, find the given information of where is the best destination to go, and getting the good information. Joe Letteri: I use Kindle and iBooks, because when you're on set, a lot is had by you of time, and that's a good way to catch up on your reading. I've been reading a lot of history lately, which is interesting about this movie, because it's sort of a history of the future. Let's say that we were in the midst of a civilization-threatening war between man and ape. Is there an software that could save us? Matt Reeves: Twitter, because of the idea of communicating with others. The great thing about these devices is that, as much as I believe that they remove us from each other, there are also ways that they hook up us to each other. This is one of the things that we're looking at in the film: this sense that we're linked technologically but also distanced from each other, that there's this weird kind of paradox, and that as civilization fell apart, so did our sense of connection to each other. As the humans are trying to heal themselves, part of that is trying to find the restoration or energy and power, everything that we take for granted in our daily lives. I think there's a weird thing about technology. Of all first, with what these guys do [points to Dan Joe and Lemmon Letteri], we create dreams and fantasies and make these things look utterly real. It is shot by us in 3D, and it is watched by you and say, "Yeah, I believe that." How did we do that? But I think the idea of the positive part of technology is the idea of reaching out to others, and that's what movies are about. When I think of cinema, the most powerful thing is taking you, the viewer, and putting you in the shoes of someone that's not you, whether that's a person or ape. Through that, you can understand the point of view of others and then bridge the gap between us. That's the goal of this movie, and that's the goal of applications -- to discover a way to connect. What do you hope audiences take away from the film? Andy Serkis: I think it's all about empathy. Having the capacity to not be blocked down or prejudiced, and in times of great difficulty to find survival by keeping the channels of communication open and finding your way forward. That's what this film is all about. I also think it's about anti-fundamentalism or any belief system that shuts you off from having a true emotional response and seeing the plight of another person, species, or culture. I think it's a powerful movie for our times that will reach and resonate on a variety of different levels. It's both entertaining and incredibly moving. Cast members Dan Lemmon, Terry Notary, Andy Serkis, Matt Reeves, Keri Russell, Gary Oldman, Joe Letteri, and Jason Clarke pose by the Golden Gate Bridge. |
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