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rollfox124 · 3 years ago

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giannisbct-blog · 7 years ago

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I “LIKE” programming

Well just like this blog, when it came to the like system, I wasn’t entirely sure where to start. I had started working on this before we had decided to go with AR built in Unity so I figured I would get the mechanics working and then be able to transfer them into Unity. Initially when we were thinking of building a physical model or projection mapping, I was going to have the like button on a webpage so that anyone could access it, an inherently thats where I started. I had the thought of using a python script to build the whole back end mechanic of the system and that data would be passed from the user via the webpage, and after quickly running this by Liam (who has done something similar before) he agreed that it would be the easiest way and we could have multiple users at once which is what we wanted. I built the most basic version of the “front end” part so that someone could input their name and then like it so the likes would be attributed to them, just like it is on social media.

Liam recommended using the flask module for Python to host the server (and webpage for testing). Once I had installed that I managed to get a connection between the two and even by complete fluke was getting it to receive data from multiple devices and be able to register that it was from different devices. I personally was stoked about this because it was 90% of the like system working but then Liam pointed out, as we don’t know why it worked, if it stopped working we also wouldn’t be able to pick out why. I figured it was in my best interests to learn the best practice for this rather than get the minimum working version as it would be great reference material for the future. In these early stages, Liam helped me a lot by explaining why one way was better than another and generally guiding me through which was super helpful as I was almost coming from no coding background. The main think I am super grateful for is him introducing me to JSON, which I’ll be honest was an absolute pain at first but I now realise it was definitely the best way to go as it was far more reliable and actually made sense. So essentially what was happening is that the HTML page was passing the name that was submitted by the user, to the python script every time the like button was clicked. The script would then add a new value to its own defined variable “like” and count them like that. The bonus of doing it like this is that if someone played once and then after a while came back too have another go, their “score” would compound and keep increasing. On that note though the downside is that if two users input the same name they will have a super score rather than two separate scores. While this would be a downside for an actual game where the score would need to be counted from just one game at a time and not an overall total, for our project it sort of just adds to it. The idea is that the more people “like” the disaster that happens, the more it proves our point that social media is building a screen which separates people from reality and that they can simply click a button to show their support, and the more they do that, the more they are helping? Or at least thats the theory.

In the past when it has come to doing small code projects I have looked up how to do something, found code that suited my need, copied it and then tweaked it to properly fit my programme. However, this doesn’t mean I necessarily understood it which is something I wanted to do differently this time. As this was basically my main role in the team, I wanted to make sure I would be able to explain to other people how it worked rather than have a piece that worked but just because it did. Which I guess relates to this whole degree itself, nothing is really taught to us (especially in studio) and its all self directed so we need to learn the skills ourselves and in this day in age when you don’t need a computer science degree to become a developer but simply be able to copy code from different places to suit your programme, I believe it is quite important to know what you are doing because I the future it will make me far more efficient. And its the learning by doing thing that works really well for me that I like. For example when it came to having to deal with GET requests from both the server and user side, I had done something similar before with the instagram location finder programme that I had had a play with earlier in the semester, and because I had used it before I sort of knew how it worked but then I had the code itself I could look through again and figure out why it worked and what parts I could omit for this different programme. I have to say, I think this semester I have learned more about programming from simply trial and error, Liam and online tutorials than I did in all of last year where I did both programming papers. It was also great to learn this in a group setting where the other team members also are not super coding savvy as trying to explain what I was doing or why I couldn’t do something that we wanted to do due to the nature of the system that I was writing in non technical terms helped clarify what I was doing for myself. I would certainly like to keep doing more programming projects in the future to further develop my skills and learn new things.

Transferring the user side to Unity was a whole different box of frogs though. First of all Unity is all scripted in C# which I have never used before (but luckily is similar to java which I had dabbled in with processing last year) but the whole mechanic of connecting to a server is made a lot more difficult as all requests need to be sent through a Coroutine. Which I’ll be honest, I had never heard of until I stumbled across a million Stack Overflow forums that explained that that is what you have to use. I think I have got my head around them mostly but there are still some things about them that elude me, for example everywhere (including the Unity manual) it says that they end when they hit a “return”, but I have coroutines that have functions or call new functions still enclosed in the coroutine but after the return type and it still calls them (see below).

They also supposedly run for their specified length (of time) regardless where they are called, i.e will run for 6 seconds if told to after being called from the Update( ) function. However, I have found that in some of my code this works, in other parts it just sort of ignores that rule and sometimes it waits for a wee while longer than the instructed time. So its not totally something that I fully understand but I know it enough to be able to use it in the right places and the majority of the function of the Unity scene is run by coroutines so I am clearly doing something right. I like to think of it as a poorly trained animal, I know the commands and the animal knows what they mean but sometimes chooses to do its own thing.

Another major challenge I had was dealing with JSON, for starters sending the exact same data as I was from the webpage but through unity, it was as if it was parson the data into JSON and then parsing the JSON into more JSON even though the commands where almost the same, so on the python side I had to update it so that it decoded the incoming JSON properly so it was then actually processed logically. This brought in a whole world of problems in itself as then the data that was being sent back to the user was all jumbled and messed up which was less than ideal as it felt I had actually gone backwards rather than made progress. But as I have learned from this project, every new error you get means that you are making progress as you have made it past the previous error. After all of that though, I did get it working.

vimeo

Once I had done all of that, I realised that it was a perfectly functioning Like system that recorded multiple user’s scores and could compound them and it was perfect, but only once. There was no way to restart it without stopping the whole application and going again. So there was the next challenge which proved a lot more difficult that initially suspected mainly due to how referencing different Game Objects is from a script and even harder, referencing the scripts of those Game Objects which is what caused me many hours of strife. To make matters more difficult as well, Unity doesn’t appreciate all the things you could normally do in a C# script so you have to find ways around its very stubborn walls which in my case lead to many, many scripts. Doesn’t sound like such a terrible thing but to make sure each was working correctly I was logging things to the debug console from almost every script so then when I wanted to look for a specific message I was sending to try and get something working, it became a whole lot harder because there were 20+ scripts that were all printing to the console. But once again, I am a champion and figured it out.

vimeo

As I write this I realise that it doesn’t sound that difficult and didn’t take that long but the code for the like system has been haunting me at night and has been an ongoing saga for weeks . I certainly have learned heaps and am happy with my process that I undertook. However, if I was to do it again knowing what I know now, I would skip out the HTML part and just go straight for the C# scrips because I think that transition was the hardest part of this whole process. In HTML (with javascript) it is easy to do everything all in on document but with C#, you can’t send data and also receive it in the same script, you need to separate them into multiple scripts which is where confusion starts manifesting as you try and think across multiple scripts and have to remember what each one is referencing and how it will then affect the other one. The issue with backend systems as well is you don’t overtly see your mistake as you would with front end because either something happens or it doesn’t and if it doesn’t you then have to comb through your code to find the broken section and find out what is messing you up. Overall I think this is what I found the most frustrating as I have only really done mainly front end development rather than back end, but this project was certainly a great insight into it. Now as for this whole project once we got on a roll, I obviously stopped blogging as I got so engrossed in the work which I do understand is not the best practice but as we were pushed for time (having left it so late to start doing something) I focused solely on getting the work done and from an outsider’s perspective the final product doesn’t really show how much work went into the programming of it, so I have uploaded all my scripts to GitHub so you can have a look at them, and also see how things work if you are interested: https://github.com/JabronusMaximus/ARcde-Scripts

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oscopelabs · 7 years ago

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The Two Werner Herzogs by John Redding & B. A. Hunt

Raffi Asdourian/Flickr (CC BY 2.0) | Pepe courtesy Matt Furie/mattfurie.com | Remix by Jason Reed

Werner Herzog, that hypnotic German filmmaker who once tried to murder his leading man, who taunted death atop a soon-to-erupt volcano, and who looking upon the screeching Amazon mused that he saw only pain and misery in the jungle, was on a press tour. He sat beside his producer Jim McNiel, both bundled up in the Park City cold, and listened politely as the Los Angeles Times’ Steve Zeitchik asked about his new film.

It was 2016 at the Sundance Film Festival, and Herzog’s latest documentary, Lo and Behold, Reveries of the Connected World made its debut in the festival’s Doc Premieres section. The film saw Herzog turning his inimitable lens to the ramifications of modern technology, and initial reviews (at least those counted by Rotten Tomatoes) were uniformly positive. One critic for The Young Folks said Herzog took “the same adventurous spirit that made him drag a cruise ship across a Peruvian jungle in Fitzcarraldo” and put it toward exploring “the labyrinth of the internet’s history.” Many more remarked on the film’s wondrous, sobering, and truly Herzogian revelations about man’s place in the midst of an unprecedented technological revolution.

Zeitchik asked Herzog directly, why make a film about the internet?

“We should know in which world we are living,” he responded. “As thinking people, we should try to scrutinize our environment and know in which world we live.”

Well, this is the world in which we live:

Lo and Behold is a commercial.

It was produced by Massachusetts-based network management company NetScout, in conjunction with New York ad agency Pereira & O’Dell; borne not from Herzog’s own passions, but from those of a marketing team seeking to promote a corporation in the midst of a massive rebranding effort. Marketers might bristle at the exact term, “commercial,” preferring instead the term “branded content,” one tool in an industry-wise trend towards nearly-invisible advertising meant to implant a positive perception of a company’s identity.

After Lo and Behold played Sundance, several reviewers mentioned NetScout had provided the funding, but not one writer took that detail further. Critics focused on the film’s structure and Herzog’s larger-than-life persona, and no one stopped to ask just who NetScout was, and why they had made this film. Perhaps it was the promise of Herzog’s integrity and character he had fought and earned for himself throughout his career as cinema’s wild man that kept anyone from asking questions. In what world could the man, who has braved deserts, the antarctic, and war zones in the tireless pursuit of filmmaking, sell out?

Branding Cinema

Historically when one spoke of the cross section of advertising and filmmaking, they spoke of product placement -- James Bond drinking Heineken in Skyfall, Tom Cruise wearing Aviators in Top Gun, or E.T.’s beloved Reese’s Pieces. But something different happens when advertising agencies realize that they don’t just have to tag-along on a film, but can influence its very structure.

In the late 1990s, while scripting Cast Away, Tom Hanks and William Broyles Jr. approached FedEx with an unusual offer. They said let us use your company’s likeness, and in exchange you can help produce the film. Hanks and Broyles’ problem was that the inciting event of Cast Away was the gruesomely detailed crash of a plane branded with FedEx’s markings.

Company representatives recalled to The Chicago Tribune:

“[FedEx spokeswoman Sandra] Munoz said FedEx decided that the script highlighting the company's humble origins, its global reach and can-do spirit outweighed the aircraft disaster. FedEx provided filming locations at its package sorting hubs in Memphis, Los Angeles and Moscow, as well as airplanes, trucks, uniforms and logistical support. A team of FedEx marketers oversaw production through more than two years of filming.”

This new relationship in which a third party’s marketing team oversaw the production of a high-budget film, foretold a major change in the way companies and cinema interact.

A managing director for FedEx said, "As we stepped back and looked at it, we thought, ‘It's not product placement, we're a character in this movie.’ [...] It's not just a product on the screen. It transcends product placement."

In 2001, a year after Cast Away, BMW pioneered their cinematic ad series “The Hire.” The premise was simple: Clive Owen posed through a series of stylish, high-production value action shorts. “The Hire” played at Cannes and was so successful that -- in what must be some kind of a first -- the Jason Statham hit The Transporter was based on the ads. The genius of “The Hire” is that they are not films about BMW, but films in which the style and power of the automobile act as the architectural underlay for a compelling narrative.

This is branded content. It is not an attempt to insert a brand into a work of art, but to insert a work of art into the brand. As Naomi Klein once described it: ”the goal [of a corporation] is no longer association, but merger with the culture.”

Branded content is a graffiti artist covertly painting original work for a video game company, or a vodka brand working with a music festival to promote gender equality. At its best, it is The Lego Movie, in which the sensory experience of playing with LEGO blocks is lovingly evoked to tell a story. That film’s careful digital animation stands as not just some of the most impeccably textural filmmaking ever attempted, but as a cruise missile of nostalgia aimed at the viewer. The Lego Movie nearly doubled the worth of its parent corporation.

Such a thing has never really existed in film before, but it is very similar to the early years of television, when companies like US Steel, Alcoa, or Kraft would pick up the tab for a show in exchange for the prestige of having their name on it. A great deal of powerful programs were produced in this era of television, but none free from compromises. Rod Serling was just one of many talented writers who found themselves increasingly stymied by his sponsors’ patter of seemly changes. In the introduction to the paperback edition of his great teleplay “Patterns,” Serling cautioned us about mixing corporations and art: “I think it is a basic truth that no dramatic art form should be dictated and controlled by men whose training, interest and instincts are cut of entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.”

Censorship eventually drove Serling from writing about contemporary society to The Twilight Zone, where he could explore his stories of intolerance and bigotry in a politically-neutral fantasia.

A NetScout Production

Founded in 1984, NetScout specializes in network systems, producing both hardware and software. It was an early developer of packet sniffers, the technology that logs data being transferred over networks. Today, according to its own online bio, NetScout has a heavy focus on cybersecurity, anti-DDoS and Advanced Threat Solutions tech. It also provides web service performance platforms, cloud management, and packet brokers, among many other interconnected divisions.

All this to say, the company operates behind the scenes. It is not purchasing Super Bowl ad time to become a household name, rather its financial investments lie in the sustained prominence and upkeep of the internet’s infrastructure.

The seed of Lo and Behold formed in 2015, when NetScout was in the midst of a massive company-wide rebrand led by its then-CMO Jim McNiel, who would later participate next to Herzog in the film’s publicity tour. The company had spent the previous year making major corporate acquisitions, including the communications sector of Danaher Corporation, Arbor Networks, Fluke Networks, Tektronix Communications, and VSS Monitoring. The shopping spree consolidated their share of the communications market and helped the company more than double its revenue to the $1.3 billion it generates today. But NetScout remained a largely unheard of entity outside of the inner circle of the network management industry it had helped pioneer in the 1980’s. The company needed a way to boost its status and reach new clients.

And so, Lo and Behold was born in the walls of Pereira & O’Dell’s New York office, where the agency has serviced clients such as Intel, Fifth Third Bank, and Procter & Gamble.

It was Pereira & O’Dell’s executive creative director Dave Arnold who approached McNiel with a fresh, but risky idea. They would make a feature length documentary celebrating the creation of the internet and the boundless potential of its future. It would engage consumers with a focus on the importance of the technological innovations being made today, and toast the creators and engineers who contract with NetScout for their cybersecurity and hardware needs. The kicker: It would be directed by Werner Herzog.

In a 2016 AdWeek reflection on the film, McNiel wrote that Herzog initially balked at the idea, telling NetScout: “No! I do not do commercials.”

But McNiel managed to convince Herzog the film was not a commercial, but a serious documentary that would explore the world-changing and potentially apocalyptic ramifications of the internet.

Speaking to McNiel this month, he told us there was no second choice for a director. If Herzog couldn’t be won over, the entire project would be scrapped. Why?

“He’s an icon,” McNiel said. “And he’s a meme!”

Herzog the Meme

Popular arthouse directors have long been a favorite target for ad firms. This past year, Herzog’s friend and collaborator Errol Morris directed a series of 56 commercials for Wealthsimple, in which celebrities from all walks, including himself, tell anecdotes about handling their own finances. Wes Anderson has made ads for American Express, Darren Aronofsky has been recruited by Yves Saint Laurent, and Ridley Scott has made advertising history time again with his Hovis, Chanel, and Apple ads.

Many renowned directors from Scott to David Fincher to George Romero got their start making commercials. In Japan, Nobuhiko Obayashi was so good at TV spots he was given free reign by Toho to make his psychedelic freakout cult classic House. Even David Lynch, one of the staunchest opponents of product placement in cinema, has made commercials for Playstation, Gucci, and Clearblue Pregnancy Test. When asked during a Q&A if he finds this hypocritical, he answered bluntly: “I do sometimes [direct] commercials to make money.”

For Lynch, if the ads don’t bleed into the art then there is no reason for purists to hold directors’ advertising works against them; after all Inland Empire probably didn’t pay very many bills. Spike Lee has even opened up his own ad agency, and often blurs the line between his core filmography and his ad work, licensing to Nike and performing as his Mars Blackmon character from She’s Gotta Have It, retroactively making his feature debut something akin to after-the-fact branded content.

But Herzog was different. He came from the roiling, unfettered New German Cinema of Syberberg and Fassbinder, where they ranted and bled and snorted endless coke for their art. And even among that crowd, he was different. He came from the fringes, growing up in the mountains of Bavaria and making his first films with a camera he stole from a local university. In the 1970s and ‘80s, while his contemporaries in the movement like Volker Schlöndorff and Wim Wenders went mainstream, he kept his distance. His adventures in storytelling have taken him to every continent on the planet, and he has further cemented his legend with tales of being arrested, threatened at gunpoint, forging documents, and picking locks to forbidden zones all in the pursuit of cinema. Alone, the troubled making of Fitzcarraldo has probably done more than anything else to create the idea of Werner Herzog in the mind of western audiences, that of a madman mystic lost in the jungle chasing truth and art while eschewing formulaic Hollywood methods of filmmaking. His explicit anti-commercialism has made him appear incorruptible to his fans, who still at every chance possible put on impersonations of his signature Black Forest accent.

McNiel is right. In the era of the internet, Herzog has become a meme. Many new fans are coming to his works for the first time through YouTube clips from Les Blank’s documentary Burden of Dreams, about the making of Fitzcarraldo. Herzog’s off-the-cuff speech from the documentary about the Amazon jungle representing “the harmony of overwhelming and collective murder” has been uploaded a half a dozen times with tens to hundreds of thousands of hits on each clip, including one by its DVD distributor The Criterion Collection. Comedian Paul F. Tompkins has made Herzog one of his most memorable celebrity impersonations. His more misanthropic quotes have been turned into “Demotivational Posters” by internet users, and Know Your Meme has a full entry dedicated to exploring his presence as a joke online.

Herzog is aware of the online perception of his public persona, and although he has not exactly embraced it he has said it does not bother him and he is content to let parody Twitter accounts exist. As a result, fans who participate in this meme-ification continue to build his mythology. It is through these parodies that the idea of Herzog as a savant, able to pierce through the veil of civilization to reveal humanity’s dark nature, is allowed to flourish. It flourishes because Herzog is authentic, because he is a lawbreaker, an explorer, a true independent.

There is a phrase for the unquestioning devotion to Herzog’s work: Brand loyalty. It is this brand that NetScout sought to tap into it. The hiring of Herzog was as clear-eyed and purposeful as any good corporate acquisition. His prestige (or “brand equity,” as a corporate board of directors might put it) opened doors that NetScout’s opaque public image kept shut. McNiel confirmed this: “We did not really get any flat-out rejections [from interview subjects]. After all, this was Werner calling.”

Designing “The Connected World”

Since Lo and Behold’s primary purpose was to serve as an innovative business-to-business marketing initiative, it would need to speak to corporate clients by highlighting the world-changing technologies they were pioneering and celebrating the radical social impact their developments have had on the world.

It was McNiel who came up with the film’s 10 chapter structure and the list of interviewees. Prize gets like Bill Gates and Jeff Bezos couldn’t fit Herzog into their schedule, but others like Elon Musk and hacker icon Kevin Mitnick did. According to McNiel, Herzog did conduct his own research and suggested names, and the film came together as a collaboration.

By the end of post-production, McNiel and Herzog had delivered an unique feature that was simultaneously, fascinating, existential, and most importantly a subtle monument of advertising.

But why then did it premiere at the Sundance Film Festival, which still insists it is an independent showcase run by a non-profit?

On social media, branded content is typically flagged with phrases like “Sponsored Content” or “Paid.” But there are no guidelines in place for branded films (indeed no authorities to even issue them). Minor steps are being taken to separate the branded from regular films; Sundance took one such step in 2016 with the debut of their Digital Storytelling showcase specifically for branded content. But that very same year, Lo and Behold played as a traditional documentary instead. Was this another door that the Herzog brand flung open for NetScout?

Each year, thousands of prospective filmmakers, many truly independent, many self-financed and motivated by love of the art and by a desire to have their unique voice amplified, spend $85 for the privilege of having their feature film considered at Sundance -- that number goes down to $65 if they’re early and up to a whopping $110 if they’re late. They do the same at Toronto, SXSW, Cannes, Tribeca, Berlin, and the hundreds to thousands of festivals launched nominally in support of independent cinema. Sundance took around 2,000 such submissions last year -- likely around $180,000, not including short films. Many filmmakers spend thousands of their own dollars on submissions. There has been remarkably little discussion about the fact that their films will be judged not just against the latest low-budget Hollywood productions indie-laundered through smaller production houses, but now, it seems, also against branded content: the agenda-driven works of telecom giants, car manufacturers, toy empires, and fast food chains.

Advertisers have found a new integrity in iconoclasticism. It is not a long leap from NetScout’s employment of Herzog as a modern-day Rasputin to, say, Wendy’s restaurants’ pugnacious Twitter feed. Each seeks to legitimize their company as an honest and self-aware organism, as idiosyncratic and hip as any of us. They are corporations seeking to become that thing they were asserted to be in the 2012 presidential campaign: People.

For the advertisers, it is simply work. They are upfront about their goals and tactics and trade publications frequently profile the individuals developing these campaigns. Often, there is an earnestness, talent, and true passion in their efforts.

“There does need to be some connection between what it is you’re trying to communicate, because you need to be passionate about it,” McNiel said. “The only way this stuff gets any kind of lift is if it’s regarded as real cinema.”

So branded content seeks to slide itself into our lives undetected, emulating the form and scope of “real” cinema.

However, the unusual thing about branded content is not that companies outside the film industry are attempting to make money off of films. Rather, it is that they are unconcerned with making money. Even mega-franchise films like The Avengers tend to proceed from the inside out — a college of production and distribution companies attempts to live off a product. The work of art drives the revenue, and success or failure as a company is based off the success or failure of the film.

But branded content is more opaque. Its success is judged not so much by how well the film itself does financially (a modest documentary like Lo and Behold fits snugly within NetScout’s significant marketing budget), but by softer concepts like reach and influence. Jim McNiel was candid on this point, telling us that “the primary benefit to NetScout behind the film is the number of impressions and perceptions about NetScout” (In the year following Lo and Behold’s premiere, NetScout’s annual media impressions jumped from an average 1.5 - 2.5 billion to more than 25 billion). Advertising is a medium designed to make you feel a certain way about a company. Couple this knowledge with cinema’s proven track record at affecting the audiences’ biases and assumptions and one need not be zealously anti-corporate to worry about the potential for future branded content to misrepresent and mislead the audience.

The Two Werner Herzogs

In early 1954, at the height of the housing segregation issue, while Brown vs. Board of Education was still being heard in the Supreme Court, the most infamous example of early television censorship occurred. Reginald Rose, the celebrated writer behind 12 Angry Men, debuted his new standalone episode for the television series Westinghouse Studio One. Called “Thunder on Sycamore Street,” the episode was based on the true story of a black family moving into a white neighborhood, and their neighbors’ slow plummet into racial violence. The Westinghouse people loved the script for its passion and realism, but had one small, insignificant change: the black family must be changed to, well, anything else. There was no way they would air a program about white Americans attacking black Americans. It was simply too hot a topic for mid-fifties audiences. So Rose re-wrote the script, and the episode that aired was about mob violence against a white family with an ex-convict father. The moral meat of the teleplay was pulled out entirely, but Westinghouse simply could not risk people thinking of that when they shopped for appliances.

It is difficult to know the extent to which such decorous censorship happened with Lo and Behold. A large chunk of the film is devoted to the negative impact of the internet -- most hauntingly in an interview with the family of a teenager, Nikki Catsouras, whose gory death in a car crash became a shock image meme. When Catsouras’ mother confesses that she thinks the internet is the modern-day face of the Antichrist, it seems for a moment that the film has at last found its bite. Such melanges of trauma and focused mania are hallmarks of Herzog’s best work. Those qualities are explored in the lion’s share of his films, from the surreal Bad Lieutenant: Port of Call New Orleans to the tragic The Enigma of Kaspar Hauser to the fire-breathing Klaus Kinski performances of his most famous work, and, most pointedly, to his 1981 documentary God’s Angry Man, in which he studies a particularly fiery televangelist.

But the section with the Catsouras family is all too brief. They tell the bullet-points of their story and are gone, as we rush to the next location. Whether that was Herzog’s choice or not, it is difficult to know, but the thumbnail structure of Lo and Behold is a new and unique problem for the veteran filmmaker.

Jim McNiel told us that “the challenge with working with Werner is kind of keeping him from going too far down into the shadow of darkness.” However, he believed the dark elements were important to show, as too much praise of the future without conflict would make for a flat story. Focusing on the darker elements, he reasoned, would equally highlight the film’s more positive moments, allowing for the intended good vs. evil narrative to take hold.

Still, McNiel reported having to rein Herzog in when he went too dark, and it is perhaps his inability to submerge the film in those depths that leaves Herzog appearing at times more unsure of his subject than any other documentary he’s made, except perhaps for his ten minute short on the middling rock band The Killers, promoting American Express’ 2012 Unstaged concert series. While we have alternate terminology available for Lo and Behold, and for his road safety PSA From One Second to the Next (made for AT&T), we have no earthly idea what to call The Killers: Unstaged except a commercial.

After Lo and Behold premiered, it seems only New Republic’s Will Leitch worried about this new side of Herzog. He wrote: “It’s probably a fair question to ask at this point: Do Werner Herzog’s movies need quite so much Werner Herzog in them? There has been a growing fear among longtime admirers of Herzog’s films, of which I am certainly one, that Herzog the Public Personality has been starting to sneak in around the edges of Herzog the Director, and to ill effect.”

But Leitch’s distinctions between Herzog the Public Personality and Herzog the Director are miscalibrated, in the wake of his more recent, prosaic films like Queen of the Desert and Salt and Fire, which reviewers seemed to grit their teeth and swallow like medicine. The division between the Herzogs is more acute.

Until 2005, every Herzog documentary was self-produced by Werner Herzog Filmproduktion and distributed by various high-end channels like Canal+. This changed with Grizzly Man, his 2005 film about the life and death of Timothy Treadwell. That film was co-produced by Discovery Docs, the documentary arm of the Discovery Channel. Grizzly Man is a true masterpiece, one of his best films, and the presence of the Discovery Channel is a natural fit for the material (not least because their 1999 teledoc made Treadwell famous), but for the first time, Herzog made a documentary on someone else’s dime and under the control of a massive corporation. Further, it elevated Herzog to a new level of fame. No longer was he being interviewed by dry cineaste magazines, but on late night talk shows. And his personality was built for internet celerity. Look at the 2007 interview in which someone shoots him in the leg with an air rifle mid-conversation. His unruffled reaction was a minor Internet sensation, and Herzog still tells the anecdote on talk shows, though he often forgets to mention it was an air rifle, not a real rifle, that shot him.

The marriage of Herzog with US media giants was so successful that his next film, Rescue Dawn, was an MGM star-vehicle remake of one of his own, earlier documentaries. By 2012, Herzog was recutting others’ footage, adding narration, and packaging it as his own creation with Happy People: A Year in Taiga. Critics accepted the packaging at face value. There was no secret about Happy People, which Herzog condensed from a Russian television program, but critics were content to discuss “Herzog’s motives,” with hardly a thought for the man who actually went to Siberia and shot it, Dmitry Vasyuko.

In a very real way, Grizzly Man is a line in Werner Herzog’s filmography, marking the moment he became a Hollywood filmmaker. No Herzog documentary before Grizzly Man was produced by a third party; and no Herzog film (fiction or non-) since Grizzly Man has been an independent project. Yet our mode of discussion for the man has not updated since Fitzcarraldo, thirty six years and certainly several million dollars ago.

By and large, Werner Herzog is still spoken of as the young man shooting Aguirre on a mountaintop with a stolen camera and a gun in his waistband. Still remembered as the sad-eyed mystic observing that nature is “overwhelming and collective murder.” But the late Les Blank, who filmed the infamous speech about the jungle for Burden of Dreams, was perplexed by the public’s response to the man. He told Vice: “And the first time I heard it, I thought it was purely tragic. But I soon showed the film to an audience in San Diego where I screened some works in progress, and people started laughing when they heard Herzog’s speech. It never occurred to me that what he said was funny. To me, it was very painful, and I felt sorry for the guy because he was driven to that point of view.”

Herzog seems to have drifted from the pain Blank saw in him, towards the comic irony the San Diego audience imagined. Married, stable, in LA, he has changed from an uncompromising European artist to a wealthy California-based celebrity who stops in for guest appearances in everything from Jack Reacher to Rick and Morty. He is now a talk-show circuit veteran, host of an online film school, and a regular director of branded content for multinationals.

He has become a brand. And he is content to build that brand. Perhaps he never intended this to happen, but it's impossible to deny this is where he has arrived.

We are left with the paradox of two Werner Herzogs. Cinephiles simultaneously believe in Herzog the Philosopher who probes at hidden truths and is pathologically immune to the artifice of Hollywood, and in Herzog the Celebrity who is comfortable hamming it up in cartoons and talk shows.

Branding in the end is simply commodification; and the buying and selling of Werner Herzog extends beyond the bounds of his movies. He now runs a “Rogue Film School,” where lucky participants can attend a four day seminar including a one day meet and greet, all for a $25 non-refundable application fee and a $1500 seminar fee (with a $200 cancellation fee, god forbid), not including room or board. There, Herzog will presumably speak on how film is “not for the weak-hearted,” how it is a rarified domain only for those sturdy enough to break rules, pick locks, flaunt police, and, apparently, plunk down $1525 for a meet and greet. Those of us unable to make the cut can watch six hours of his film lessons at masterclass.com for the relatively cut rate price of $90. At MasterClass he teaches virtually alongside that other great outsider artist, Ron Howard.

By all means, there is no rule against artists, even great artists, selling out. Picasso and Orson Welles made a career out of it and their legacies remain intact. But as marketing schools teach that a brand is a promise, so we should ask what is the promise of the Herzog brand?

In 2007, Roger Ebert, to whom Encounters at the End of the World was dedicated, wrote in an open letter:

“Without ever making a movie for solely commercial reasons, without ever having a dependable source of financing, without the attention of the studios and the oligarchies that decide what may be filmed and shown, you have directed at least 55 films or television productions, and we will not count the operas. You have worked all the time, because you have depended on your imagination instead of budgets, stars or publicity campaigns. You have had the visions and made the films and trusted people to find them, and they have. It is safe to say you are as admired and venerated as any filmmaker alive--among those who have heard of you, of course. Those who do not know your work, and the work of your comrades in the independent film world, are missing experiences that might shake and inspire them.”

That is the Werner Herzog that was. An intense, comprehensive honesty, and a legacy of films driven from within, committed to truth.

That is the man the film community has never let go, even as we have another Werner Herzog: a television personality hawking self-improvement courses alongside Gordon Ramsey and Steph Curry.

To Whom Are We Beholden?

Lo and Behold represents the success of a brand carefully cultivated, marketed, and exploited. But that brand is not NetScout. Herzog’s wandering spirit, his philosophical integrity and aversion to banal civilization were repackaged and sold back to his audience. Just as LL Bean trades on its legacy as workwear for outdoorsmen to sell khakis to yuppies, Werner Herzog trades on his legacy as an Amazonian explorer to sell American Express and AT&T to an adoring film community.

Upton Sinclair once said that all art is propaganda. Likely he was correct. And so we should always be on guard, asking ourselves just what each piece of art we experience is propagandizing, and why.

Werner Herzog has spent his entire career insisting on the difference between fact and truth. “There are deeper strata of truth in cinema,” he wrote in his 1999 Minnesota Declaration, “and there is such a thing as poetic, ecstatic truth.” There also must be an ecstatic lie, in which we are led beautifully and elegantly to a dead end. Herzog also observed in that declaration: “Tourism is a sin.” And here we have Werner Herzog: Tour Guide, helping an internet security company tell us of the importance of internet security.

It is all, in the end, innocuous. NetScout has simply made an impactful film that effectively serves and works beyond its marketing origins. But will the general practice remain innocuous if another great filmmaker makes an invisible propaganda piece for say, a charter school think tank (as graced many festivals in 2009), or a toxin-spewing corporation like Monsanto (whose use of weed killer glysophate is defended by Neil DeGrasse Tyson in another industry-funded documentary), or a weapons manufacturer? What are the ethical limits of a festival like Sundance -- both for creating a space for true independent cinema, and for ensuring audiences and critics know just who made their film and why?

Sundance above all has been cursed by its success. The always-elusive balance between industry access and big-money irrelevance has been especially difficult to find in Park City. A 2010 Time profile has festival founder Robert Redford worrying that “Sundance has been ‘sliding’ of late, blaming ‘ambush marketers’ for taking over storefronts to promote their swag and celebrities who just show up for the paparazzi attention.”

Was Lo and Behold essentially another example of Redford’s dreaded ambush marketing? Certainly yes. Was Werner Herzog just another celebrity showing up for paparazzi attention? Certainly not.

But it is, perhaps, because of the latter, that the film community failed to see the former. If the people who are paid to scrutinize and agonize over films missed this, what hope does any viewer have in the future to know who made the movies they’re seeing and for what purpose?

#werner herzog #lo and behold #internet #internet documentary #oscilloscope laboratories #o-scope labs #musings #film writing #film journalism #celebrity culture #fitzcarraldo #grizzly man #memes

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buzrushwelldeveloped-blog · 5 years ago

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robertbryantblog · 6 years ago

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ashiprogoez · 7 hours ago

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True RMS Power Analyzers: Accurate Measurement for Real-World Electrical Signals

Modern electrical systems are rarely perfect. They’re filled with variable loads, nonlinear devices, and distorted waveforms that make accurate power measurement a challenge. Whether you’re troubleshooting a motor, analyzing energy efficiency, or testing power supplies, precise readings are essential for effective decision-making. Enter the True RMS (Root Mean Square) power analyzer—a specialized instrument designed to provide accurate power measurements even when the electrical waveform is far from a perfect sine wave. In this blog, we’ll explore what True RMS means, how these analyzers work, and why they’re indispensable for real-world electrical analysis.

What Does “True RMS” Mean?

Root Mean Square (RMS) is a mathematical way to express the effective value of an alternating current or voltage. It represents the equivalent DC value that would deliver the same energy to a load.

True RMS analyzers calculate this value by sampling the entire waveform, including all of its distortions and variations. In contrast, average-responding meters assume the waveform is a pure sine wave—which leads to inaccurate readings when harmonics, noise, or non-sinusoidal loads are involved.

Why True RMS Power Analyzers Matter

1. Accurate Measurements in Nonlinear Environments

Today’s electrical environments include devices like variable frequency drives (VFDs), LED lighting, computers, and inverters—all of which draw current in irregular patterns. True RMS analyzers account for these distortions, delivering reliable measurements.

2. Correct Power and Energy Analysis

When power quality matters, especially in systems with distorted waveforms, only a True RMS analyzer can provide accurate real power (kW), apparent power (kVA), reactive power (kVAR), and energy consumption (kWh).

3. Reliable Diagnostics and Troubleshooting

In facilities where unexpected shutdowns or component failures occur, True RMS measurements help pinpoint voltage sags, surges, or current anomalies—issues that might go unnoticed with simpler tools.

4. Supports Regulatory Compliance

Power quality standards (like IEEE 519 or EN 50160) require precise harmonic and waveform analysis. True RMS analyzers are built to meet these standards, making them essential for audits and certification processes.

Key Features of True RMS Power Analyzers

When selecting a True RMS power analyzer, look for the following features:

Multi-phase measurement capability (single-phase, split-phase, three-phase)

High sampling rate for capturing complex waveforms

Harmonic analysis up to the 50th order or higher

Real-time monitoring with data logging

Graphical display for waveform visualization

Connectivity options (USB, Ethernet, Bluetooth, or Wi-Fi)

Compliance with international power quality standards

Common Applications

True RMS power analyzers are used across industries to improve performance, troubleshoot issues, and ensure electrical safety:

Industrial Facilities: Analyze motor drives, lighting systems, and HVAC power consumption

R&D Labs: Test power electronics, inverters, and prototypes under dynamic conditions

Data Centers: Maintain stable power for sensitive IT infrastructure

Utilities: Monitor distribution systems and detect waveform distortion

Renewable Energy: Evaluate solar inverters and battery systems under variable loads

Leading True RMS Power Analyzer Models

Some of the most trusted options on the market include:

Fluke 435-II – Rugged, portable, and ideal for power quality analysis and energy studies

Yokogawa WT5000 – Laboratory-grade accuracy for high-end R&D

Hioki PW3198 – Excellent for troubleshooting and harmonic detection in field settings

Chauvin Arnoux PEL Series – Compact True RMS loggers for panel or equipment mounting

Keysight IntegraVision PA2200 – Combines oscilloscope-like visibility with True RMS accuracy

Final Thoughts

In the real world, electrical signals are messy. True RMS power analyzers cut through the noise—literally and figuratively—by offering precise, dependable measurements that account for every waveform irregularity. Whether you're conducting routine system checks, detailed energy audits, or in-depth R&D testing, a True RMS analyzer is the tool you can trust to get the data right.

#True RMS (Root Mean Square) power analyzer

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inovn · 6 years ago

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Fluke – Three Phase Power Analyzer (Model: 434)

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Captures events like dips and swells, interruptions and rapid voltage changes, based upon ½ cycle rms values

Unique AutoTrend gives you fast insight into changes over time

With a single push of a button, the unique System Monitor gives you an overview of power system performance. It also checks that incoming power complies to EN50160 limits or to your own custom specifications

Logger: detailed, user-configurable long-term recording gives you the MIN, MAX and AVG readings of up to 100 parameters on all four phases. Averaging time can be selected down to 0.5 seconds (or 1 minute for 1 day’s recording, 10 minutes for 1 week, 30 minutes for 1 month or more

Two groups of four channels: simultaneously measure voltage and current on all three phases and neutral

Auto Scaling: easier trend analysis with automatic scaling of the vertical axis – so you will always view the waveforms on a full display

Meets the stringent 600 V CAT IV, 1000 V CAT III safety standard required for measurements at service entrance

Extensive data analysis: cursors and zoom can be used ‘live’ while taking the measurements, or ‘offline’ on stored measurement data. The stored measurements can also be transferred to Power Log software

Analyze every parameter on display

Measure and record power (W), VA and VARs. The Fluke 434/PWR adds the ability to record energy consumption

Logging function allows you to customize measurement selections and provides analysis of user-selectable parameters to find intermittent problems or relate PQ issues to other phenomena/events.

The System-Monitor overview screen gives instant insight into whether the voltage, harmonics, frequency, and the number of dips and swells fall outside the set limits.

Phasor diagram shows voltage and current unbalance, and helps verify connections

The full color display allows the use of industry-standard color-coding (user selectable) to correlate measurements with actual wiring

Fluke Power Log Software

Designed to quickly view recorded data, the built-in Power Log software displays all recorded parameters on interactive trends. Generate a profes¬sional looking report with the ‘PRINT’ function or copy and paste images into a report document manually. Customize the report generator to easily create your own formats.

Print reports and view graphs with Fuke Power Log sofware

Technical Data Inputs

Number: 4 voltage and current (3 phases + neutral) Maximum voltage: 1000 Vrms (6 kV peak) Maximum sampling speed: 200 kS/s on each channel simultaneously

Volt/Amps/Hertz

Vrms (AC + DC) Measurement range: 1 … 1000 V Accuracy: 0.1% of Vnom Vpeak Measurement range: 1 … 1400 V Accuracy: 5% of Vnom Crest factor, voltage Measurement range: 1.0 … > 2.8 Accuracy: ±5% Arms (AC + DC) Measurement range: 0 … 20 kA Accuracy: ±0.5% ± 5 counts Apeak Measurement range: 1.4x rms value Accuracy: 5% Crest factor, A Measurement range: 1 … 10 Accuracy: ±5% Hz 50 Hz nominal Measurement range: 40 … 70 Hz Accuracy: ±0.01 Hz

Dips and swells

Vrms (AC+DC) ² Measurement range: 0.0% … 100% of Vnom Accuracy: ±0.2% of nominal voltage Arms (AC+DC) ² Measurement range: 0 … 20 kA' Accuracy: ±1% ± 5 counts

Harmonics

Harmonic (interharmonic) (n) Measurement range: DC, 1..50; (Off, 1..49) measured according to IEC 61000-4-7 Vrms Measurement range: 0.0 … 1000 V Accuracy: ±0.05% of nominal voltage Arms Measurement range: 0.0 … 4000 mV x clamp scaling Accuracy: ±5% ± 5 counts Watts Measurement range: Depends on clamp scaling and voltage Accuracy: ±5% ± n x 2% or reading, ± 10 counts DC voltage Measurement range: 0.0 … 1000 V Accuracy: ±0.2% of nominal voltage THD Measurement range: 0.0 … 100.0% Accuracy: ±2.5% V and A (± 5% Watt) Hz Measurement range: 0 … 3500 Hz Accuracy: ± 1 Hz Phase angle Measurement range: -360º … +360º Accuracy: ± n × 1.5º

Power and energy

Resource & Download

Datasheet

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Calibrator http://www.calibrator.vn/fluke/fluke-three-phase-power-analyzer-model-434/

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zhangwaixiang-blog · 7 years ago

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Fluke 434 Series II Energy Analyzer

Welcome to a Biomedical Battery specialist of the Fluke Battery

As energy saving equipment becomes more and more prevalent in facilities the need to discover where energy is being wasted is becoming more and more important. At the same time these pieces of energy saving equipment like motor drives and electronic lighting have the potential to disrupt the electrical system due to power quality problems. With the Fluke 434 Series II Energy Analyzer with battery like Fluke BP123 Battery, Fluke BP123S Battery, Fluke BP124 Battery, Fluke BP124S Battery, Fluke BP124X Battery, Fluke Ti27 Battery, Fluke 199 Battery, Goldway G50 Battery, Goldway G60 Battery, Goldway ME202C Battery, JDSU MTS-8000 Battery, JDSU MTS-4000 Battery you can find out the cost of energy waste due to poor power quality in terms of real dollars lost. You’ll also have the built-in capabilities for characterizing power quality, conducting load studies and capturing hard-to-find voltage events.

With its energy logging capabilities and the Energy Loss Calculator function, the 434 II measures the cost of energy wasted due to poor power quality issues in real dollars. Add basic power quality measurements to the package and you’ve got yourself one powerful troubleshooting tool. •Quickly see how much money you’re losing due to energy waste in terms of real dollars •Get at-a-glance power quality health data in real-time so you can make better maintenance decisions •Measure all three phases and neutral with the included flexible current probes •Highest safety rating in the industry: 600 V CAT IV/1000 V CAT III rated for use at the service entrance. •Fluke Connect® compatible – view data locally on the instrument, via Fluke Connect mobile app and PowerLog 430-II desktop software

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jodyedgarus · 7 years ago

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What Has Surprised Us Most So Far This NBA Season — And What Hasn’t Surprised Us At All

As we cross the one-quarter mark of the NBA season — with the Clippers in first place out West, the Kings playing .500 ball, and the Jazz and Rockets near the bottom looking up — things are starting to come into clearer focus. That clarity is more than welcome, given how topsy-turvy the league has been for the first month and a half of play.

We know a lot will change between now and April, but for the time being, here are the five things we’ve been most and least surprised by so far this year.

Surprising: The Celtics haven’t been good, and the Jazz have been even worse.

Boston, finally healthy after losing two of its best players last year, has been one of the bigger mysteries of the season. The Celtics have been elite defensively again this year,1 but the offense — which almost never gets to the line — can’t get out of its own way much of the time.

Before the season began, Jaylen Brown expressed a belief that the starting wings (him, Gordon Hayward and Jayson Tatum) have nearly identical skill sets, which was affecting chemistry. And after watching them for a month and a half, we can’t say that he was wrong. With that in mind, Brad Stevens’s recent lineup shift to bring the struggling Hayward off the bench could help matters.

Hayward and Brown, in particular, have both shot far better from the floor when playing apart from each other. Hayward sports a solid 53.9 percent effective field-goal rate without Brown but just 39.7 percent with him. And Brown’s 50.5 percent effective field-goal rate without Hayward is well above the 38.5 percent mark he posts while sharing the court with Hayward.

Their net ratings also improve when playing apart. The Celtics outscore opponents by 9 points per 100 possessions with Hayward but without Brown, and Boston wins by a margin of 1.5 points per 100 when Brown is on the court but Hayward is on the sideline. But the Celtics hemorrhage 2.2 points per 100 possessions with the two playing together.

Using floor-spacing forward Marcus Morris as a starter may work better because of his rugged screen-setting ability. His off-ball screens, useful for a lineup with so many scoring options on the wing, produce the best scoring efficiency of any player on the team2 at 1.12 points per possession when both Tatum and Hayward are on the floor and a whopping 1.53 points per possession when Tatum and Brown are playing together, according to Second Spectrum.

It’s also worth keeping an eye on Terry Rozier, who, to this point, has regressed badly on the offensive end after a highly encouraging postseason run, in which he filled in admirably for the injured Kyrie Irving.

As for the Jazz, this — 10-12, and third-to-last in the West — is what happens when your league-best defense from last season is merely a middle-of-the-road one, and your offense not only fails to improve but actually morphs into one of the NBA’s five worst in that same window.

What’s behind Utah’s slide? A handful of theories have been discussed. But two things stand out to me: 1) The team’s schedule — the toughest in the league3 — has been front-loaded, and 2) a number of players aren’t playing to their capabilities.

Outside of a one-week stretch at the end of October, Donovan Mitchell has been terribly inconsistent, struggling badly from outside. Dante Exum’s offense still isn’t catching up to his defense. And perhaps the biggest issue: Ricky Rubio has been awful on both sides of the ball thus far — even more than he was to start last season, when he had just joined the club and was learning the ropes.

Rubio has generally been able to hang his hat on his defense and his passing whenever he’s struggling to shoot. But this season, he has sometimes looked a half-step slower laterally on D, allowing nearly a 10th of a point more per drive he defends, at 0.98 points per play, than he did last season, according to Second Spectrum. And while opponents have long sagged off Rubio, daring him to shoot, that experiment has paid far greater dividends this season, as he’s logged just a 46.6 percent effective field goal rate on jumpers when given 6 or more feet of open space4 — down from 53.5 percent just last year, and the worst percentage he’s connected on since the 2013-14 campaign, according to NBA Advanced Stats.

It’s still a little early to consider changing the lineup — especially after Rubio played so well at times last postseason. But if he doesn’t turn it around in the next month or so, it might be worth trying a new starting five and letting Mitchell handle the ball more. (Utah, realizing it needs more punch on offense, traded guard Alec Burks and two future second-rounders Wednesday for sharpshooter Kyle Korver.)

We wrote this summer that we believed the Jazz could be true contenders this season — which looks incredibly wrong at the moment. But we said then that much of Utah’s hopes would hinge on Rubio’s play. For better or — to this point — perhaps for worse, that seems to be the case.

Not surprising: The Grizzlies got back to Grit ’N’ Grind.

A lot of people either wrote off or simply forgot about the Grizzlies after a dismal 2017-18 campaign in which they finished with 22 wins and the second-worst record in the league. But the case for believing in Memphis this season was relatively straightforward: This group, finally healthy with the return of Mike Conley and a more motivated Marc Gasol, had its best players back and added considerable two-way talent over the summer through a handful of deals.

Rookie Jaren Jackson Jr. looks like a potential star at times and is already the real deal defensively. The Memphis defense can be overly aggressive at times in helping from the weak side, which leaves corner shooters open more often than most teams. But the Grizzlies’ D is a top-5 unit, and it gets downright nasty when Jackson and Gasol play together, surrendering just 96.8 points per 100 possessions in 287 minutes. (Oklahoma City, which leads the NBA in defensive efficiency, allows 102.6 points per 100 possessions.)

In case you need a sign of how smart the Grizzlies’ offseason pickups were, consider this: The team’s three most-efficient rotation players5 to this point — Omri Casspi, Shelvin Mack and Jackson — were all acquisitions from this summer. Gasol is fourth on that list, but right behind him is Garrett Temple, for whom the Grizzlies traded.

So don’t be too surprised if Memphis continues to hang around in the playoff race. There were indications all along that the Grizzlies would find themselves in the midst of this conversation.

Surprising: Derrick Rose’s offense came back to life.

Rose’s first career 50-point game earlier this year got considerable attention, but that game was no fluke: This whole season in Minnesota has been a consistent one for the former MVP. From an efficiency standpoint, he’s actually never played this well before.

He’s shooting a career-best 49.8 percent from the field, and his 60 percent mark from a true shooting standpoint is 5 points better than he’s had in any other season. Rose used to be among the NBA’s worst 3-point shooters — enough of a liability that he essentially stopped taking triples altogether in New York — but he’s been good from that range, too. The 30-year-old, who’s long been a surprisingly good midrange shooter despite having the flattest shot in the game, is better than 48 percent from 3-point distance on almost four attempts per game to this point. His hot start even has him ranking as one of the NBA’s 15 most efficient offensive players, according to ESPN’s Real Plus-Minus metric.

It’s still early, but this shooting display — even if his numbers fall off some — figures to lengthen his career, a meaningful development based on how things were going 10 months ago. We knew his otherworldly athleticism wouldn’t be the same after all his injuries, but a steady jumper has changed his outlook.

Not surprising: The Rockets-Melo marriage failed.

We, like many others, fully recognized the potential pitfalls with Houston’s Carmelo Anthony acquisition this summer. He seemed a less-than-ideal fit, particularly as a sort of replacement for the switchy wing defenders the Rockets lost in Trevor Ariza and Luc Mbah a Moute. So it’s not necessarily shocking that the experiment didn’t work.

But never did we imagine that the team would pull the plug as quickly as it did. Houston cut bait on the fallen star just 10 games in — even though other clear problems seemed to exist (like the lack of depth behind Clint Capela, or Eric Gordon shooting far worse than he ever has). Still, it’s somewhat difficult to knock the haste with which the Rockets made the decision: They couldn’t afford to fall too far behind in the loaded Western Conference, where the playoff race figures to be a bloodbath, and they began playing far better after making the pragmatic choice to hold Melo out of the rotation. But even after winning five straight at one point earlier in the month, Houston now finds itself mired in a four-game skid, meaning that there’s more for this club to figure out.

Surprising: California’s other NBA teams have been legitimately good.

It was totally fair to wonder whether Los Angeles might be a factor in the Western Conference playoffs this season, but who would’ve thought that the Clippers would be the team making that kind of noise at this point in the year? (In fairness, LeBron James and the Lakers have played well lately, too, and may very well find themselves in the same conversation as we move forward.)

A number of things illustrate how and why Doc Rivers’s team finds itself atop the West for the time being. The guard rotation of Patrick Beverley, Avery Bradley and Shai Gilgeous-Alexander has done a fantastic job of defending; the Clippers have held opposing starting guards to 40.9 percent shooting, the NBA’s fourth-lowest figure through Tuesday’s games, per the ESPN Stats & Information Group. Danilo Gallinari, who hasn’t played more than 65 games in a campaign in six seasons, has missed only one game thus far and is shooting better than he ever has from outside.

But above all else, the Clips have thrived because Tobias Harris — tied with Giannis Antetokounmpo for the league’s best effective field-goal percentage among wing players with at least 300 shot attempts — has quietly pieced together the offensive profile of a superstar this season. Between the huge leap he’s made and the gains of Victor Oladipo, the Orlando Magic front office has to be beside itself after trading away both players.

And while Golden State has been Golden State so far, another Northern California team has been making a move. The Kings own a 10-10 mark and have been one of the more entertaining clubs so far. Just about everything begins and ends with their blistering pace. It seems possible that their ability to maintain that 106-possessions-per-48-minutes tempo for entire games may work to their advantage in the clutch, when Sacramento’s opponents simply don’t have anything left.

Sacramento ranks 22nd in defensive efficiency in the first quarter, 25th in the second period and tied for 16th in the third, yet it sits sixth in fourth-quarter defense, right behind the defending champ Warriors. And get this: Despite the pace at which they play, the De’Aaron Fox-led Kings have yet to commit a clutch-time turnover this season — they’re the only team that can still make such a claim this late in the season. It’s part of the reason they are 8-3 — best in the Western Conference — in contests separated by 5 points or fewer with five minutes or less remaining, per NBA.com.

Not bad for the NBA’s third-youngest team, one whose young players all seem to have taken a step forward this season.

Check out our latest NBA predictions.

from News About Sports https://fivethirtyeight.com/features/what-has-surprised-us-most-so-far-this-nba-season-and-what-hasnt-surprised-us-at-all/

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sowiseup-blog · 7 years ago

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Best Digital Multimeter (Tester Voltmeter Ammeter)

New Post has been published on https://sowiseup.com/best-digital-multimeter/

Best Digital Multimeter (Tester Voltmeter Ammeter)

As an experienced electrician or mechanic, you need to be on the lookout for the best digital multimeter on the market. This gadget that combines several functions in one body is indeed the Grail of electronics. This comparison offers just the multimeter at the best value for money.

How to choose a multimeter?

Digital, needle, digital screen? The choice is quite wide with regard to the multimeter. In addition, an individual and a professional will certainly not use the same type of device. In the following, you will find 4 important selection criteria for the multimeter.

Contents & Navigation

How to choose a multimeter?

Attention to the measuring range of the multimeter!

16 Best Digital Multimeter Picks For The Money

16 Best Fluke Digital Multimeter

Fluke 376 FC 1000A Ac/Dc

Fluke 117/323 KIT Multimeter and Clamp Meter

Fluke 87-V Digital Multimeter

Fluke 115 Compact True-RMS Digital Multimeter

Fluke TL809 Electronic Test Lead Kit

Fluke 115 Digital Multimeter

Fluke 117 Electricians True RMS Multimeter

Klein Tools MM700 Auto-Ranging 1000V

Fluke 115 Compact True-RMS Digital Multimeter

Fluke 115 Compact True-RMS – NIST-Traceable Calibration

Fluke 117 Electricians True RMS Multimeter

FLUKE 1587 FC 2-In-1 Insulation Multimeter

Fluke 279FC Wireless TRMS Thermal Multimeter

FLUKE-1587/I400 FC 2-In-1 Insulation Multimeter

Fluke 1507 Digital Megohmmeter Insulation Resistance Tester

Fluke 289 True-RMS Stand Alone Logging Multimeter

Choose the multimeter according to the accuracy

The measuring range of the multimeter

What is the function of a multimeter?

Choose the multimeter according to the protection

Functionalities

Choose the digital multimeter

Attention to the measuring range of the multimeter!

You must choose a device that has a large measurement range. So you can measure the voltage of a wide variety of electrical devices. Never go below Category III, as you will only be able to use your meter with small devices.

Read also >> Is Green Energy Worth [$] To You?

A category III appliance is used to measure the voltage of the electrical installation of the house. The measuring range is defined with templates. If you choose 450 V, the device will not be able to measure beyond 450 V.

16 Best Digital Multimeter Picks For The Money

Preview Product Rating Price Mastech MS8268 Digital AC/DC Auto/Manual Range Digital Multimeter Meter 728 Reviews $29.95 from $21.99 Buy on Amazon Klein Tools MM400 Auto Ranging Digital Multimeter 64 Reviews $54.99 $42.27 Buy on Amazon AstroAI Digital Multimeter, TRMS 6000 Counts Volt Meter Manual and Auto Ranging; Measures Voltage... 119 Reviews $49.99 $35.99 Buy on Amazon Fluke 101 Basic Digital Multimeter Pocket Portable Meter Equipment Industrial 211 Reviews $58.00 Buy on Amazon Fluke 113 True-RMS Utility Multimeter 44 Reviews $129.99 $94.10 Buy on Amazon Multimeter Voltage Tester Digital Battery Circuit Automotive Temperature Frequency Continuity... 75 Reviews $50.00 $29.99 Buy on Amazon Anbes Soldering Iron Kit 60W Adjustable Temperature Welding Tool,Digital Multimeter,2pcs Soldering... 173 Reviews $49.99 $29.99 Buy on Amazon Etekcity MSR-C600 Digital Clamp Meter Multimeters , Auto-Ranging Multimeter AC/DC voltmeter with... 780 Reviews $58.65 $26.99 Buy on Amazon INNOVA 3320 Auto-Ranging Digital Multimeter 2308 Reviews $23.18 Buy on Amazon Tacklife DM01M Advanced Digital Multimeter Trms 6000 Counts Tester Non Contact Voltage Detection Amp... 203 Reviews $32.97 $19.97 Buy on Amazon Neoteck Pocket Digital Multimeter 8233D PRO 2000 Counts Auto Ranging Digital Multimeters Digital... 415 Reviews $35.99 $19.95 Buy on Amazon Digital Multimeter, Crenova MS8233D Auto-Ranging Digital Multimeters Electronic Measuring Instrument... 689 Reviews $29.00 $17.99 Buy on Amazon INNOVA 3340 Automotive Digital Multimeter (10 MegOhm/UL) 220 Reviews $74.85 Buy on Amazon Fluke 101 Basic Digital Multimeter Pocket Portable Meter Equipment Industrial 211 Reviews $58.00 Buy on Amazon Etekcity MSR-R500 Digital Multimeters , Electronic Amp Volt Ohm Voltage Meter Multimeter with Diode... 1326 Reviews $32.98 $14.99 Buy on Amazon Proster Auto-Ranging Digital Multimeter 6000 Counts and 2000uF Digital Multimeters Meter Amp Ohm... 172 Reviews $50.99 $36.99 Buy on Amazon

16 Best Fluke Digital Multimeter

Fluke 376 FC 1000A Ac/Dc

Sale

90 Reviews

Fluke 376 FC 1000A Ac/Dc Trms Wireless Clamp W/ Iflex

Connect your meter to your smartphone with Fluke Connect Measurements

Read measurements on your phone at a safe distance, wearing less PPE while your meter takes all the risks

Record results directly to your phone and the Cloud

Capture intermittent faults while performing other tasks using the logging capabilities of the Fluke 376 FC

Create and share reports from the field via email, or converse in real-time with ShareLive video calls

$449.99 - $45.00 $404.99

Buy on Amazon

Fluke 117/323 KIT Multimeter and Clamp Meter

Sale

97 Reviews

Fluke 117/323 KIT Multimeter and Clamp Meter Combo Kit

The 117 multimeter measures AC and DC voltage as well as AC and DC amps. The 323 clamp meter measures AC and DC voltage as well as AC amps.

The 117 multimeter features true-rms for accurate measurements on non-linear loads.

The 117 multimeter features Low input impedance which helps prevent false readings due to ghost voltage

The 323 clamp meter provides a true RMS AC voltage and current for accurate measurements on non-linear signals

The 323 clamp meter measures 400 A AC current and 600 VAC and DC voltage

$329.99 - $96.91 $233.08

Buy on Amazon

Fluke 87-V Digital Multimeter

Sale

294 Reviews

Fluke 87-V Digital Multimeter

Accurate frequency measurements on adjustable speed drives (ASD) due to Fluke-designed low-pass filter

Built-in thermometer allows temperature measurements without a separate thermometer

Peak Min/Max allows capture of intermittents as fast 250 µS

Dual display resolution - 6000 or 20,000 counts - lets you see small changes in displayed readings.CAT III 1000V, CAT IV 600V safety rated

Measure up to 1000 VAC and DC

$386.99 - $0.02 $386.97

Buy on Amazon

Fluke 115 Compact True-RMS Digital Multimeter

Sale

556 Reviews

Fluke 115

Fluke

Tools & Home Improvement

$180.98 - $31.99 from $148.99

Buy on Amazon

Fluke TL809 Electronic Test Lead Kit

437 Reviews

Extech TL809 Electronic Test Lead Kit with Fluke 117 Electricians True RMS Multimeter

Two alligator clips with removable insulators

Two plunger mini-hooks

Does not include Holster

Features true-rms for accurate measurements on non-linear loads

$175.59

Buy on Amazon

Fluke 115 Digital Multimeter

Sale

Fluke 115 Digital Multimeter with True-RMS

Product Type: Multimeter

AC Voltage accuracy: 2.0 percent + 3 (500 Hz to 1 kHz)

AC max (Voltage): 600

AC min (Voltage): 0.0001

DC Voltage accuracy: 0.5 percent + 2

$201.53 - $10.17 $191.36

Buy on Amazon

Fluke 117 Electricians True RMS Multimeter

437 Reviews

Fluke 117 Electricians True RMS Multimeter with Polyester Soft Carrying Case

Does not include Holster

Features true-rms for accurate measurements on non-linear loads

Highly visible LED screen with white back light

Designed for carrying a wide range of Fluke handheld test tools and accessories

Top opens laterally to allow use of test tools without removing it from the case

Velcro strap secures the test tools

$196.99

Buy on Amazon

Klein Tools MM700 Auto-Ranging 1000V

34 Reviews

Klein Tools MM700 Auto-Ranging 1000V Digital Multimeter

Automatic ranging true root mean square (TRMS) technology for increased accuracy

Measures up to 1000V AC/DC voltage, 10A AC/DC current and 40MΩ resistance plus temperature, capacitance, frequency, duty-cycle, diodes and continuity

CAT IV 600V Safety Rating

Built to withstand a 6.6' (2m) drop and withstand daily wear and tear on the job site

Low Impedance (LoZ) mode for identifying and eliminating ghost or stray voltages

$99.97

Buy on Amazon

Fluke 115 Compact True-RMS Digital Multimeter

Sale

556 Reviews

Fluke 115 Compact True-RMS Digital Multimeter

True-rms for accurate measurements on non-linear loads

safety rated

Large white LED Backlight to work in poorly lit areas

Check continuity, frequency, capacitance and diode test

Measures 20 A (30 seconds momentary; 10 A continuous)

True-RMS for accurate measurements on non-linear loads

CAT III 600 V safety rated

Large white LED backlight to work in poorly lit areas

$179.99 - $25.00 $154.99

Buy on Amazon

Fluke 115 Compact True-RMS – NIST-Traceable Calibration

Sale

556 Reviews

Fluke 115 Compact True-RMS Digital Multimeter with a NIST-Traceable Calibration Certificate with Data

Your unit is calibrated prior to shipment with a new nist-traceable calibration Certificate with data

The NIST calibration provides you assurance your instrument Meets manufacturer's specifications. Your instrument is ready to Use day one meeting most quality system standards

True-rms for accurate measurements on non-linear loads

Cat III 600 V safety rated

Large white LED Backlight to work in poorly lit areas

$246.00 - $1.73 $244.27

Buy on Amazon

Fluke 117 Electricians True RMS Multimeter

Sale

437 Reviews

Fluke 117 Electricians True RMS Multimeter

VoltAlertTM technology for non-contact voltage detection

AutoVolt automatic AC/DC voltage selection

Low input impedance: helps prevent false readings due to ghost voltage

Large white LED backlight to work in poorly lit areas

True RMS for accurate measurements on non-linear loads

$199.99 - $37.99 $162.00

Buy on Amazon

FLUKE 1587 FC 2-In-1 Insulation Multimeter

Sale

34 Reviews

FLUKE 1587 FC 2-In-1 Insulation Multimeter

PI (polarity index) /DAR (dielectric absorption ratio) with Trend It graphs identifies problems faster

Memory storage through mobile Fluke Connect Measurements App eliminates writing down results, reduces errors and saves data for historical tracking over time

Temperature Compensation through App helps establish accurate baselines and relevant historical comparisons

VFD low-pass filter for accurate motor drive measurements

Insulation test voltages 50 V, 100 V, 250 V, 500 V, 1000 V

$799.99 - $80.00 $719.99

Buy on Amazon

Fluke 279FC Wireless TRMS Thermal Multimeter

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Fluke 279FC Wireless TRMS Thermal Multimeter, Full-Featured Digital with Built-In Thermal Imager and Iflex Compatibility

Full-featured multimeter with built-in thermal imager

15 measurement functions including: AC voltage with low-pass filter, DC voltage, Resistance, Continuity, Capacitance, Diode test, Min/Max/Average, AC current (with iFlex), Frequency

Thermal imaging reveals many electrical issues quickly and safely, eliminating the need for time-consuming testing and validation

IFlex expands your measurement capabilities-get into tight, hard to reach spaces for current measurement (up to 2500 A AC)

Fluke Connect compatible - Save measurements and images while communicating wirelessly with a smart phone up to 20 feet/6.1 m away (no obstructions)

$999.99 - $76.72 $923.27

Buy on Amazon

FLUKE-1587/I400 FC 2-In-1 Insulation Multimeter

Sale

2 Reviews

FLUKE-1587/I400 FC 2-In-1 Insulation Multimeter W/Clamp

Pl/DAR measurements with TrendItTM graphs

Memory storage through Fluke Connect Measurements app

Temperature Compensation through Fluke Connect Measurements app

Fluke i400 AC Current Clamp Use with your Fluke 1587 FC to measure 1A AC to 400 A AC

1 mA/Amp output guarantees easy reading

$899.99 - $66.72 $833.27

Buy on Amazon

Fluke 1507 Digital Megohmmeter Insulation Resistance Tester

Sale

31 Reviews

Fluke 1507 Digital Megohmmeter Insulation Resistance Tester

Repetitive or hard-to-reach testing is easy with the remote test probe

Live circuit detection prevents insulation test if voltage greater than 30-Volts is detected for added user protection

Read measurements easily with large, backlit display

Save both time and money with automatic calculation of polarization index and dielectric absorption ratio

Make repetitive tests simple and easy with the 1507's Compare (Pass/Fail) function

$599.99 - $60.00 $539.99

Buy on Amazon

Fluke 289 True-RMS Stand Alone Logging Multimeter

Sale

28 Reviews

Fluke 289 True-RMS Stand Alone Logging Multimeter with a NIST-Traceable Calibration Certificate with Data

Your unit is calibrated prior to shipment with a new nist-traceable calibration Certificate with data

The NIST calibration provides you assurance your instrument Meets manufacturer's specifications. Your instrument is ready to Use day one meeting most quality system standards

Stores up to 15,000 recorded events

Real time clock for automatic time stamping of saved readings

Large 50,000 count, 1/4 vga display with a white Backlight

$713.00 - $52.18 $660.82

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Choose the multimeter according to the accuracy

All multimeters are accurate, but some are more accurate than others. The level of precision is usually indicated at the box level. For home use, an accuracy of at least 0.5% is required.

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Professionals use more powerful multimeters, but this level of precision is sufficient for an individual. Of course, you can buy a device with extreme precision if you can afford it.

Be aware that there are two types of multimeter value, including RMS and TRMS. The RMS or RMS value is suitable for DC currents while the TRMS or true mean value is for AC currents.

The measuring range of the multimeter

The measuring range of a multimeter corresponds to the limitation of possible measurements on the device. If you take a multimeter with a small measurement range, you may not be able to do much with the device.

So, as much as possible, always choose a Class III multimeter. This type of device is suitable for larger jobs. Indeed, category three will allow you to do DIY work on the electrical installations of the house as on cars.

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However, the choice of the measuring range can be made according to the use of the device.Indeed, it is not mandatory to have a large extent of measurement for occasional small work.

What is the function of a multimeter?

The multimeter is a device for measuring electrical properties. You can use it to check the electrical circuit of a car. It is used as a voltmetre, amperemeter or ohmmeter.

The device is also used as an AC tester. If you need to detect malfunctions in the engine or the battery of your car, you must use a multimeter.

Be aware that there are two types of multimeters: the analog multimeter and the digital multimeter. The so-called analog has a thick bar that allows the user to interpret the results after a test.

The digital multimeter has an LCD screen that directly reveals the results of an audit.

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Choose the multimeter according to the protection

Since the meter is designed to measure electrical current, it must be safe for the user. In principle, a good multimeter has a safety fuse to prevent the device from getting burned.

Do not forget that there are standards for multimeters. These must all meet the IEC 601010 standard. Never buy a device that does not comply with this standard.

To check this conformity, read the instruction manual that comes with the device or the information provided on the box or packaging.

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Functionalities

It is not necessary to have a giant multimeter if you want to do only small jobs. So, if you are looking for a good multimeter first define your need.

If you need a multimeter to do occasional crafts (ie for simple fault diagnosis, battery verification, electrical connection work), take a device with basic functions. So you only need a voltmeter and an ohmmeter.

The voltage measurement range required for this will range from 200 mV to 200 V for direct current and 0 to 600 V for AC. In addition, a choice of limited size is preferable in this case to minimize calculation errors.

Those working in wider fields including miscellaneous electrical installation, wiring, and equipment will need a more competent multimeter.

In this case, it is better to take a multimeter with a voltmeter, an ohmmeter, and an ammeter. Also, opt for a digital camera. In addition, take a multimeter with a fork or pliers to facilitate your checks before removing the faulty devices. In terms of calibers, you will need 10 A continuous and 200 A alternating.

The professional electronics technician will need a multimeter that can calculate the capacitance (F), the impedance (Ω), the power (W), the voltage (V) and the intensity (A). Of course, this type of device is always equipped with an ohmmeter that will allow you to calculate the resistance.

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To work with more ergonomics, it is better to take a digital multimeter and clamp. In addition, it will require a device that can measure up to 200 V continuous and 1000 V AC. So, you will need a multifunction multimeter and very powerful. However, make sure that the protective measures are included in the device during your purchase.

Choose the digital multimeter

The analog multimeter is not bad. The reading of data is easily done through a needle dial. It has been proven for years, but the digital multimeter has the advantage of being stronger.

In addition, the data is read through a digital screen. The digital multimeter is very suitable for first-time use and home use. You only use one command to access the different features of the device.

On this point, choose a multimeter that has the following features: resistance measurement, temperature measurement, automatic polarity support, diode and continuity tests. Logically, the more sophisticated the meter, the more expensive it will be. But, the price should never be a decisive criterion of choice.

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usatrendingsports · 7 years ago

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Alabama vs. Missouri odds: College basketball picks from model on 37-16 run

College hoops fans get a Wednesday night treat when the Missouri Tigers travel to face the Alabama Crimson Tide in a 9 p.m. ET tip at Coleman Coliseum. Alabama is favored by 5.5 points, up half-a-point from the open.

The Over-Under, or total number Vegas thinks will be scored, is 137, down half-a-point from the open.

In this huge SEC basketball showdown that features two teams looking for a conference victory, you need to see what SportsLine’s Projection Model has to say.

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Now it has simulated Missouri vs. Alabama 10,000 times and came up with some surprising results.

We can tell you that the model thinks the total is spot on, saying the Under hits in 51 percent of simulations. The model has an even stronger pick against the spread, saying you can back one side well over 50 percent of the time. You can only see that over at SportsLine.

The model has taken into account Alabama’s strong recent performances. The Crimson Tide have won five of their last six games, including an impressive home victory over 12th-ranked Oklahoma on Saturday.

Alabama star guard Collin Sexton is rounding back into form after missing a couple of games earlier this month. Sexton, who is averaging 18.5 points, had a solid performance on both ends of the floor against Oklahoma’s Trae Young.

But just because Alabama’s offense is starting to hit its stride doesn’t mean the Tide can cover as 5.5-point favorites.

Alabama is just 2-6 against the spread in its last eight games against Missouri.

Will Alabama protect home court with a huge win and cover or will Missouri keep it competitive or possibly even pull off the big upset? The SportsLine Projection Model’s picks are in.

So what side of Missouri-Alabama do you need to be all over? Visit SportsLine now to see the strong point-spread pick for Missouri-Alabama, all from the model that has absolutely crushed college hoops, and find out.

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