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DataBiNS: a BioMoby-based data-mining workflow for biological pathways and non-synonymous SNPs
Young C. Song, Edward Kawas, Ben M. Good , Mark D. Wilkinson and Scott J. Tebbutt
Bioinformatics 2007 23(6):780-782
DOI:10.1093/bioinformatics/btl648
Workflow available at www.cs.man.ac.uk/~hulld/workflows/DataBiNS.xml and www.mrl.ubc.ca/who/s-tebbutt/DataBiNS Supplementary Information.zip
Screenshot illustrating my HDR workflow. Lightroom has a user defined preset that applies a linear tone curve to the TIFF conversion; and it's set to export all the bracketed shots as a 16 bit TIFF with ProPhoto RGB colorspace (chosen b/c it's the biggets color space out there). I then go into the filmstrip in LR and select the bracketed sequence and do an export. Each shot's bracketed exposures go into a separate subdirectory on my C drive.
I then set PhotoMatix to go into that subdirectory and do a batch operation to combine the shots. I've found that with a linear tone curve - and specifying to Photomatix that the tone curve applied to the TIFF is linear - there is almost no color shift.
While the batch job is running, I have PhotoMatix save the results as a 32-bit OpenEXR.. OpenEXR is developed by Industrial Light and Magic, and essentially it preserves an original "HDR Raw" for me to go back and apply my own secret sauce if I need to at a latter date. (Normal DSLRs have 12-14bit bit depth per color channel - so this gives you an idea just how wide the gamut is...). It also runs a few pre-canned tone mapping (my secret sauce). For normal use, the canned stuff works pretty well. For art prints, I then go through a second procedure for artifact correction, etc.
Big thanks to StuckInCustoms for his excellent HDR tutorial. I am able to get so far so quick from standing on shoulders of giants who came before me and openly share what they've learned.
More goodies here:
www.flickr.com/groups/hdr/discuss/72157610456319940/
The COVID-19 outbreak has demanded members of the U.S. military to alter their daily routine. However, certain personnel are unable to telework entirely, or are vital to the safety and well being of service members and their families. U.S. Navy Petty Officer 3rd Class Samantha Pittman, attached to U.S. Naval hospital Okinawa, assists patients over the phone in order to comply with new COVID-19 prevention measures. Corpsmen such as Pittman work continuously during the pandemic. To practice good social distancing measures, Pittman and her fellow corpsmen operate a drive-thru pharmacy. Patients are notified when their prescriptions are ready, then they drive to the front of the hospital to receive their order from an outdoor tent. “Everything’s the same, processing medications, dispensing, and taking patients, it’s just not physical anymore” said Pittman. “I actually like this workflow a lot, it’s not as busy, and the patients are happier because they get notified when their prescription is ready and they just pick it up.” Pittman is a native of American Canyon, California. (U.S. Marine Corps photo by Cpl. Kameron Herndon)
Filigree Robotics at Leth & Gori Gallery Copenhagen - November 2016
photos by Anders Ingvartsen
The project is a research collaboration between architects from CITA and ceramicists from KADK Superformlab its results are large-scale 3D printed ceramics accompanied by prints, videos and ceramic probes, which introduce the material and design processes of the project.'Filigree Robotics' experiments with a combination of the traditional Danish ceramic technique of ‘Overforming’ with 3d Laserscan and Robotic extrusion technique. The ceramic material in ‘overforming’ is formed over a three-dimensional mould made of specially threated clay. The technology is well known in the ceramic craft and has a lineage of use for the making of fine porcelain. It is however not applied in architectural or industrial processes of today.
‘Overforming’ is intuitive as process, allows for an immediate and artistic approach to the creation of the form and invites for experimentation. In Filigree Robotics we combine the crafting of the mold with a parallel running generative algorithm, which is fed by a constant laserscan of the 3d surface. This algorithm, analyses the topology of the mold, identifies high and low points and uses these as starting point for the ornamentation of a toolpath, which follows the movements of the surface.
A new developed robotic clay printing process enables the drawing of fine lines of porcelain and to stop and start these at any point with high precision. Starting with lines the project developed a series of further new topological expressions in clay printing and combines these with the further processing of the raw clay to triple fired glazed porcelain. The project points here at the reality and richness of material processes, the need and ability to refine and highlight the form through color and selective application of reflectivity after an initial 3d print.
PlayFiligree Robotics Closeup-Print
The consideration and integration of this material practice into a digital workflow took place in an interdisciplinary collaboration of Ceramicist Flemming Tvede Hansen from KADK Superformlab and architectural researchers from CITA (Martin Tamke, Henrik Leander Evers, Esben Clausen Clausen Nørgaard & Scott Leinweber). The team created an understanding of technology and material processes, which led to a set of innovation on material, robotic and process level. Finally, a series of up to of up to 60x60cm sized ceramic objects was created - challenging the traditional size of porcelain.
The objects emancipate themselves from their origin in the digital craft. Their presence and expression is finally grounded in the interplay of the filigree of the ornamented ceramic object with light and shadow.The project recived funding from Dreyers Fond and Statens Kunstfond.
Framework presented by Scott McDonald and Ellyssa Stern at the PSU TLT Symposium session on "Digital Scholarship: How Digital Tools are Reshaping Academic Work"
I quickly go through the photos, deleting test shots, those obviously out of focus, and those that just aren't that interesting. I usually won't do any developing yet, but if there's a shot that has potential but isn't quite there yet, I might do a little editing to see if there really is potential there or I'm imagining things. Those that make the grade are given 1 star in Lightroom. Sometimes I look at a shot and I'm like "woah, that's definitely a fave!" so I'll give it two stars. Sometimes I look at a shot that's really nice but I've messed it up somehow–poor focus, poor exposure that I can't fix, timing just off, subject's eyes closed, etc... and I'm like "Damn damn damn. Gotta remember to do this different next time!" I'm left with 97 photos worth looking at again, with many of them multiple shots of the same subject.
A minigraph demonstrating the workflow of digital dentistry with 3D printing technology. The flow chart shows how scalable and manageable the implementation of 3D printing is to dental practices and labs.
Free for use under Creative Commons license. If you use this image, please link to "formlabs.com/blog/moving-from-analog-to-digital-workflows-in-dentistry" in your attribution.
#workflow #womeninuniform #woman #girly #gorgeous #georgiapeach #law #newlook #boss #bossy #chick #cool #classy #captain #crystal #swarovski #sexy #security #elcaptain #securityofficer #sophisticated #topnotchy #butterfly #jewelry #brown #caramelskin #soft #glamorous #GApeach #ATL
Approval and rejection in enterprise cms workflow. Sense/Net 6.0 is an enterprise grade open source cms software for the .Net framework.
Workshop on Responsive Web Design workflow, use Adobe Creative Cloud as a tool.
Hosted at Charoen Pokphan (ซีพี, เจริญโภคภัณฑ์) CP, Thailand
My iPad Photography workflow - RAW Processing
Check out the blog on which RAW processing apps I use on my iPad and why...
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
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About Me - about.me/edwardconde
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DRUM SCANNERS vs CCD SCANNERS _ESSAY (2)
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
mask based point reclassification workflow with samples of actual data. This project was done with Lasmpi
Perfecting my print workflow...
Storbist Metred for the computer monitor ensuring a small enough aperture so that the strobe in front of me would not be too bright.
430EX sat on desk for rim and hand / arm light
Gridded SB28 for key, camera right
SB24 with blue gel aimed at ceiling for "ambient"
#workflow #womeninuniform #woman #girly #gorgeous #georgiapeach #law #newlook #boss #bossy #chick #cool #classy #captain #crystal #swarovski #sexy #security #elcaptain #securityofficer #sophisticated #topnotchy #butterfly #jewelry #brown #caramelskin #soft #glamorous #GApeach #ATL
Could not resist all the color here, Shoot when walking across the street with my old AF 300 f/4 with Teleconverter x2 (so 600mm and manual focus)
Here’s another example of how you can use tarpipe to automate our publishing to multiple destinations. This time Felipe Manhães shared one of the workflows he’s using (... keep reading)
Uploaded via tarpipe.
This workflow model portrays how museum patrons perform sequences of actions while engaging with the Burke Museum kiosk system. The model enabled a high-level view of the workflow, which put a spotlight on areas in the process ("breakdowns") that design decisions could improve.
When there's time and funding available, contextual inquiry is always an excellent way to expose previously unseen issues.