View allAll Photos Tagged technical
Camera dolly to act as a third hand.
The camera table can rotate and adjusted in pitch. Steering wheels for panning around an obstacle. Used in the Monster Truck video www.youtube.com/watch?v=3zIYAjq2oS8
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
The Silcantar Valthalion is a all-wheel drive 4-wheel steering mid-engined supercar. It is powered by a transverse-mounted V8 engine located directly behind the driver's seat, which is placed in the center of the car, like in the McLaren F1. The passenger seat is located to the left of the driver's seat, with the position of the McLaren's second passenger seat occupied by the 4-speed manual transmission.
Valthalion's styling cues are primarily drawn from Formula 1 racecars, Ford GT, and Audi R8. Like a Formula 1 racer, Valthalion lacks fenders over the wheels. While this is probably not an aerodynamic advantage, it increases playability by increasing suspension travel and it looks freakin' awesome. If you were to remove the roof and front headlights, Valthalion would likely closely resemble a Formula 1 car due to its chassis and body design. The large front grill was largely inspired by Audi R8, and blends influences from American muscle cars and modern supercars. Because it combines features from muscle cars and supercars, Valthalion coincidentally resembles Ford GT, with its long hood and fastback and low profile.
Valthalion began as an attempt to create a supercar with low ground clearance from the parts of the 8880 Super Car. My primary, if not only, gripe with 8880 is that it looks like a Lamborghini Gallardo body welded to the chassis of a Dodge Ram. While this makes for great playability, it looks pretty ugly. Valthalion's wishbones are horizontal in their normal position, unlike 8880's, which are angle down at about 30 degrees. The result is a car with a total height less than twice the diameter of the wheels. The omission of fenders was an unintentional consequence of the low profile. It is pretty much impossible to create fenders for this car that give the suspension remotely reasonable travel and are not half the height of the windshield.
Valthalion, like Silcantar, is derived from Sindarin (one of Tolkein's elvish languages), and means "dauntless strength". (Silcantar, coincidentally, means "light bearer", roughly).
Trying to learn a new technic. Doesnt go very well. Need to use it as silhouettes in a sunset, I am about to do. Now I lost confidence. Stupid. Getting old :-/
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
Gateway Technical College recognized 947 prospective associate degree and technical diploma graduates at its 2018 commencement ceremony on May 15, 2018. A total of 395 students attended the event, keynoted by Micheal Reader.
NTSB Technical panel members question witnesses during the NTSB investigative hearing into crash of UPS A300 on approach to airport in Birmingham, Ala. in August 2013.
Go North East's 4898 (V988 ETN) and 4855 (R855 PRG), Volvo B10BLE/Wright Renowns, carrying their "Lime" branding, pictured at The Galleries, Washington. While Stanley-based 4898 sits on the layover until due to depart from The Galleries before working "Lime" service 8 to Stanley, Chester-le-Street-based 4855 sits on the layover out of service, having technical problems while working "Lime" service 8 to Sunderland. 31/12/12
Technical info
Location: "Grande Albergo Ausonia & Hungaria" - Lido, Venice, Italy
Lens: Nikkor 50mm (ƒ/1.4D) — ƒ/--
Shoot: ISO -- | 1/--s — full manual
Filters: none
Strobist: none
The Movie Project meets: Tango: the project and cooperation between Bazzmann labs and Tangoblivion is continuing.
More photos in the next days.
The Urei 1620LE manufactured by Soundcraft in 2005. More or less the best sounding DJ mixer in the world, other than a few super exotics like the A&H V6 & S6, and some custom hand built units. Mixing on the Urei is quite an experience. Having used a rotary mixer for the last 8 years, I had almost no trouble adapting.
My first-ever Technic MOC! It's an alternate build from 8259 Mini Bulldozer, I guess it's a bulldozer . . . tank . . . thing? It started as an attempt to make treads that would rotate/go when you turned the knob in the back. I'm happy to report that I was successful at making my first technic function. However, it's a pretty dumb function - you have to turn that knob like 20 times to move the thing an inch. Not to mention that because it uses a worm gear, the treads don't turn if you try to push it around manually.
It turns out that building with liftarms and connectors and pins and such is really, really different from building with system elements! You have to build everything from the inside out, which is hard to get used to. Anyways, my appetite is officially whetted; now I've got my eye on the new Front Loader.
Here's one that I built in Bricksmith some time back, but just recently got all the right parts to build it for real. It uses a simple leg mechanism that was mostly just an excuse to use those cool bent liftarms in old brown. And, of course, some cheese slopes.
Video: www.youtube.com/watch?v=qmEnDZqLJT4
Ldraw File: www.brickshelf.com/cgi-bin/gallery.cgi?m=telecasterman
TECHNICS SPARE PARTS
DISTRIBUTORS DIVISION
ADDRESS -
Hin Huat Enterprises Pte Ltd
1 Rochor Canal Road
Unit 01-13/14, Sim Lim Square
Singapore 188504
Tel: (65) 62969288, (65) 62969168
Fax: (65) 62972833
Enquiry - sales@hinhuat.com.sg
Website: www.hinhuatdj.com/
What: The transit of Venus set against a solar disc of exquisite surface detail featuring a few small sunspots, thread-like filaments, granulation (small cellular features), and prominences along the limb.
How: Lunt LS60THa/B1200FT telescope equipped with Basler Ace acA1300-30gm/g camera and Sky View Pro mount, manually tracked
Image processing using AutoStakkert2 for stacking SER files, Microsoft Image Composite Editor for stitching images (two for the surface and two for the protuberances), and Fitswork4.
When: 6 June 2012
Where: Goraśw Anny, Poland
Who: Pawel Warchal
What our judges said: “The Sun observed with proper filters (and protection) shows complex magnetic structures and dynamics. The technical expertise displayed to bring out the fantastic details of the solar disc as well as the transit of Venus itself impressed us a lot! ”
Credits: P. Warchal
So, we have managed to lose some grey wheel hubs over the years and I didn't want to take the space sets apart again yet, hence the red "cog" wheels here on 8845.
Michelangelo Merisi, called Caravaggio (1571-1610), active, among others, in Rome, Naples, Malta, Sicily
Crowning with thorns, around 1603
Christ is after the interrogation at Pilate a crown of thorns set up by the soldiers. He is thus mocked as king of the Jews. Formerly regarded as a Roman or Neapolitan variation of a lost image of Caravaggio, documentary finds now have confirmed the authenticity. The technical features of the painter, such as the contour lines engraved with a brush handle on the head of Christ and on the shoulder, chest, and hands of the two myrmidons, also until now have been a clear indication.
Michelangelo Merisi, genannt Caravaggio (1571-1610), tätig, unter anderen, in Rom, Neapel, Malta, Sizilien
Dornenkrönung, um 1603
Christus wird nach dem Verhör bei Pilatus von den Soldaten eine Dornenkrone aufgesetzt. Er wird somit als König der Juden verspottet. Früher als römische oder neapolitanische Variation eines verlorenen Bildes von Caravaggio angesehen, haben Dokumentenfunde nunmehr die Eigenhändigkeit bestätigt. Dafür sprachen auch schon bisher technische Eigenheiten des Malers, wie die mit dem Pinselstiel eingravierten Konturlinien am Kopf Christi und an Schulter, Brust und Händen der beiden Schergen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Lego Technic Backhoes.
8455 was released in 2003.
8069 was released in 2011.
8862 was released in 1989.
Photographing Crested Tit is a real technical challenge. Like many of their genus, they dash in to a feeder grab a seed and zip away again, making photography a matter of pot luck. However they often perch for a few seconds away from the feeder to check the coast is clear before they come in. I set up perches for them to do just that and, ignoring everything else that was going on, focused on those with these acceptable results
Recently got these stunning liftarms! Lacquered and chrome parts are always weird because determining authenticity is very difficult, here is where they came from according to the seller:
"[the supplier] said that they were involved with LEGO [Mindstorms] in Denmark for a few years. They did special beams officially for a contest and/or media stunt. These are the extras."
"LEGO was invited to be a founding partner of the Google Science Fair (GSF), an international competition for students to present innovative ideas and win big awards.
Marketing manager Steven Canvin, in charge of the LEGO MINDSTORMS robotics platform, was the point of contact for the GSF, and was tasked with putting a prize package together for the future winners.
All winners would receive a LEGO MINDSTORMS robotics kit, and to make the prizes more exclusive, a limited amount of gold TECHNIC beams were produced, to go with each kit."
This story is pretty detailed, even naming the marketing manager. After some digging, the only thing online I was able to find was some vague details about the prizes:
"The finalist winners (Kohn and Iván Hervías Rodríguez, Marcos Ochoa and Sergio Pascual in the 15 to 16 age group) all receive a $25,000 scholarship, a Google Chromebook kit donated to their classroom, an assortment of Lego-related gifts, a Google goodie bag, a “prize experience,” and one year of digital access to Scientific American archives for their schools. Wenger, the grand-prize winner, gets a 10-day trip to the Galápagos Archipelago, a $50,000 scholarship, a set of Lego Mindstorms signed by the design team and Lego’s CEO and owner, first pick of prize experiences, and everything else that the finalists receive."
[from Fast Company]
The excerpt above is referring to GSF 2012, but similar lines can be found for GSF 2011 and 2013.
Considering the scope of the fair and the other awards being scholarships and opportunities, these parts are the probably the least interesting thing to the finalists, so if they were actually given out, verifying that would be very difficult. I have tried to contact Mr. Canvin, but have been unsuccessful.
Ultimately, I think the authenticity of these parts is likely, the story lines up pretty well, if anyone wants to continue investigating this topic, that would be awesome! And these parts are still available on bricklink if anyone wants to pick some up, the price is a little high, I was able to work out a discount from the seller and maybe you can too :^) The seller did have some other non-production parts, like a Magenta 44728 and some trans-clear slopes, which I think adds some credibility imo.
I do find lacquered liftarms to be a strange idea, they would probably get worn out really fast if you were to actually use them in a build!
[I am not sure if a 1x9 liftarm was also made]
Green Planet ~ MjYj
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