2008年11月12日星期三

HTML editor

An HTML editor is a software application for creating web pages. Although the HTML markup of a web page can be written with any text editor, specialized HTML editors can offer convenience and added functionality. For example, many HTML editors work not only with HTML, but also with related technologies such as CSS, XML and JavaScript or ECMAScript. In some cases they also manage communication with remote web servers via FTP and WebDAV, and version management systems such as CVS or Subversion.

Types
There are various forms of HTML editors: text, object and WYSIWYG (What You See Is What You Get) editors.

Object editors
Some editors allow alternate editing of the source text of objects in more visually organized modes than simple color highlighting, but in modes not considered WYSIWYG. Some WYSIWYG editors include the option of using palette windows that enable editing the text-based parameters of selected objects. These palettes allow either editing parameters in fields for each individual parameter, or text windows to edit the full group of source text for the selected object. They may include widgets to present and select options when editing parameters. Adobe GoLive provides an outline editor to expand and collapse HTML objects and properties, edit parameters, and view graphics attached to the expanded objects.

Amaya 10 HTML editor
WYSIWYG HTML editors provide an editing interface which resembles how the page will be displayed in a web browser. Some editors, such as ones in the form of browser extensions allow editing within a web browser. Because using a WYSIWYG editor does not require any HTML knowledge, they are easier for an average computer user to get started with.

The WYSIWYG view is achieved by embedding a layout engine based upon that used in a web browser. The layout engine will have been considerably enhanced by the editor's developers to allow for typing, pasting, deleting and moving the content. The goal is that, at all times during editing, the rendered result should represent what will be seen later in a typical web browser.

While WYSIWYG editors make web design faster and easier; many professionals still use text editors, despite the fact that most WYSIWYG editors have a mode to edit HTML code by hand. The web was not originally designed to be a visual medium, and attempts to give authors more layout control, such as CSS, have been poorly supported by major web browsers. Because of this, code automatically generated by WYSIWYG editors frequently sacrifice file size and compatibility with fringe browsers, to create a design that looks the same for widely used desktop web browsers. This automatically generated code may be edited and corrected by hand. For more on subject, see Difficulties in achieving WYSIWYG below.[1][2][3]


WYSIWYM editors
What You See Is What You Mean (WYSIWYM) is an alternative paradigm to the WYSIWYG editors above. Instead of focusing on the format or presentation of the document, it preserves the intended meaning of each element. For example, page headers, sections, paragraphs, etc. are labeled as such in the editing program, and displayed appropriately in the browser.

WYMeditor is an example of a WYSIWYM XHTML editor.


Valid HTML code
HTML is a structured markup language. There are certain rules on how HTML must be written if it is to conform to W3C standards for the World Wide Web. Following these rules means that web sites are accessible on all types and makes of computer, to able-bodied and people with disabilities, and also on wireless devices like mobile phones and PDAs, with their limited bandwidths and screen sizes.

Unfortunately most HTML documents on the web are not valid according to W3C standards. According to one study only about 1 out of 141 is valid. Even those syntactically correct documents may be inefficient due to an unnecessary use of repetition, or based upon rules that have been deprecated for some years. Current W3C recommendations on the use of CSS with HTML were first formalised by W3C in 1996[4] and have been revised and refined since then. See CSS, XHTML, W3C's current CSS recommendation and W3C's current HTML recommendation.

These guidelines emphasise the separation of content (HTML or XHTML) from style (CSS). This has the benefit of delivering the style information once for a whole site, not repeated in each page, let alone in each HTML element. WYSIWYG editor designers have been struggling ever since with how best to present these concepts to their users without confusing them by exposing the underlying reality. Modern WYSIWYG editors all succeed in this to some extent, but none of them has succeeded entirely.

People who use text editors can generally fix such problems immediately, once they become aware of them. People find it frustrating when such errors come from WYSIWYG editors.

However a web page was created or edited, WYSIWYG or by hand, in order to be successful among the greatest possible number of readers and viewers, as well as to maintain the 'worldwide' value of the Web itself it can be argued that, first and foremost, it should consist of valid markup and code. Some would argue that it should not be delivered by a designer to his or her customer, and not be considered ready for the World Wide Web, until its HTML and CSS syntax has been successfully validated using either the free W3C validator services (W3C HTML Validator and W3C CSS Validator) or some other trustworthy alternatives.

Others would argue[5] that publishing useful information or profitable content as soon as possible should be first and foremost.

Whatever software tools are used to design, create and maintain web pages, there is little doubt that the quality of the underlying HTML is dependent on the skill of the person who works on the page. Some knowledge of HTML, CSS and other scripting languages as well as a familiarity with the current W3C recommendations in these areas will help any designer produce better web pages, with a WYSIWYG HTML editor and without[6].


Difficulties in achieving WYSIWYG
A given HTML document will have an inconsistent appearance on various platforms and computers for several reasons:

Different browsers and applications will render the same markup differently.
The same page may display slightly differently in Internet Explorer and Firefox on a high-resolution screen, but it will look very different in the perfectly valid text-only Lynx browser. It needs to be rendered differently again on a PDA, an internet-enabled television and on a mobile phone. Usability in a speech or braille browser, or via a screen-reader working with a conventional browser, will place demands on entirely different aspects of the underlying HTML. Printing the page, via different browsers and different printers onto various paper sizes, around the world, places other demands. With the correct use of modern HTML and CSS there is no longer any need to provide 'Printable page' links and then have to maintain two versions of the whole site. Nor is there any excuse for pages not fitting the user's preferred paper size and orientation, or wasting ink printing solid background colours unnecessarily, or wasting paper reproducing navigation panels that will be entirely useless once printed out.

Browsers and computer graphics systems have a range of user settings.
Resolution, font size, colour, contrast etc can all be adjusted at the user's discretion, and many modern browsers allow even more user control over page appearance[8]. All an author can do is suggest an appearance.

Web browsers, like all computer software, have bugs
They may not conform to current standards. It is hopeless to try to design Web pages around all of the common browsers' current bugs: each time a new version of each browser comes out, a significant proportion of the World Wide Web would need re-coding to suit the new bugs and the new fixes. It is generally considered much wiser to design to standards, staying away from 'bleeding edge' features until they settle down, and then wait for the browser developers to catch up to your pages, rather than the other way round. In this regard, no one can argue that CSS is still 'cutting edge' as there is now widespread support available in common browsers for all the major features, even if many WYSIWYG and other editors have not yet entirely caught up.

What you see may be what most visitors get, but it is not guaranteed to be what everyone gets.

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Mobile phone

A mobile phone (also known as a wireless phone, cell phone, or cellular telephone[1]) is a short-range, electronic device used for mobile voice or data communication over a network of specialised base stations known as cell sites. In addition to the standard voice function of a mobile phone, telephone, current mobile phones may support many additional services, and accessories, such as SMS for text messaging, email, packet switching for access to the Internet, gaming, Bluetooth, infrared, camera with video recorder and MMS for sending and receiving photos and video. Most current mobile phones connect to a cellular network of base stations (cell sites), which is in turn interconnected to the public switched telephone network (PSTN) (the exception is satellite phones).


Overview
According to internal memos, American Telephone & Telegraph discussed developing a wireless phone in 1915, but were afraid deployment of the technology could undermine its monopoly on wired service in the U.S.[2]

The first commercial mobile phone service was launched in Japan by NTT in 1978. By November 2007, the total number of mobile phone subscriptions in the world had reached 3.3 billion, or half of the human population (although some users have multiple subscriptions, or inactive subscriptions), which also makes the mobile phone the most widely spread technology and the most common electronic device in the world.[3]

The first mobile phone to enable internet connectivity and wireless email, the Nokia Communicator, was released in 1996, creating a new category of multi-use devices called smartphones. In 1999 the first mobile internet service was launched by NTT DoCoMo in Japan under the i-Mode service. By 2007 over 798 million people around the world accessed the internet or equivalent mobile internet services such as WAP and i-Mode at least occasionally using a mobile phone rather than a personal computer.


Cellular systems

Mobile phone tower
Mobile phones send and receive radio signals with any number of cell site base stations fitted with microwave antennas. These sites are usually mounted on a tower, pole or building, located throughout populated areas, then connected to a cabled communication network and switching system. The phones have a low-power transceiver that transmits voice and data to the nearest cell sites, normally not more than 8 to 13 km (approximately 5 to 8 miles) away.

When the mobile phone or data device is turned on, it registers with the mobile telephone exchange, or switch, with its unique identifiers, and can then be alerted by the mobile switch when there is an incoming telephone call. The handset constantly listens for the strongest signal being received from the surrounding base stations, and is able to switch seamlessly between sites. As the user moves around the network, the "handoffs" are performed to allow the device to switch sites without interrupting the call.

Cell sites have relatively low-power (often only one or two watts) radio transmitters which broadcast their presence and relay communications between the mobile handsets and the switch. The switch in turn connects the call to another subscriber of the same wireless service provider or to the public telephone network, which includes the networks of other wireless carriers. Many of these sites are camouflaged to blend with existing environments, particularly in scenic areas.

The dialogue between the handset and the cell site is a stream of digital data that includes digitised audio (except for the first generation analog networks). The technology that achieves this depends on the system which the mobile phone operator has adopted. The technologies are grouped by generation. The first-generation systems started in 1979 with Japan, are all analog and include AMPS and NMT. Second-generation systems, started in 1991 in Finland, are all digital and include GSM, CDMA and TDMA.

The nature of cellular technology renders many phones vulnerable to 'cloning': anytime a cell phone moves out of coverage (for example, in a road tunnel), when the signal is re-established, the phone sends out a 're-connect' signal to the nearest cell-tower, identifying itself and signalling that it is again ready to transmit. With the proper equipment, it's possible to intercept the re-connect signal and encode the data it contains into a 'blank' phone -- in all respects, the 'blank' is then an exact duplicate of the real phone and any calls made on the 'clone' will be charged to the original account.

Third-generation (3G) networks, which are still being deployed, began in Japan in 2001. They are all digital, and offer high-speed data access in addition to voice services and include W-CDMA (known also as UMTS), and CDMA2000 EV-DO. China will launch a third generation technology on the TD-SCDMA standard. Operators use a mix of predesignated frequency bands determined by the network requirements and local regulations.

In an effort to limit the potential harm from having a transmitter close to the user's body, the first fixed/mobile cellular phones that had a separate transmitter, vehicle-mounted antenna, and handset (known as car phones and bag phones) were limited to a maximum 3 watts Effective Radiated Power. Modern handheld cellphones which must have the transmission antenna held inches from the user's skull are limited to a maximum transmission power of 0.6 watts ERP. Regardless of the potential biological effects, the reduced transmission range of modern handheld phones limits their usefulness in rural locations as compared to car/bag phones, and handhelds require that cell towers be spaced much closer together to compensate for their lack of transmission power.

Some handhelds include an optional auxiliary antenna port on the back of the phone, which allows it to be connected to a large external antenna and a 3 watt cellular booster. Alternately in fringe-reception areas, a cellular repeater may be used, which uses a long distance high-gain dish antenna or yagi antenna to communicate with a cell tower far outside of normal range, and a repeater to rebroadcast on a small short-range local antenna that allows any cellphone within a few meters to function properly.


Handsets
Nokia is currently the world's largest manufacturer of mobile phones, with a global device market share of approximately 40% in 2008. Other major mobile phone manufacturers (in order of market share) include Samsung (14%), Motorola (14%), Sony Ericsson (9%) and LG (7%).[4] These manufacturers account for over 80% of all mobile phones sold and produce phones for sale in most countries.

Other manufacturers include Apple Inc., Audiovox (now UTStarcom), Benefon, BenQ-Siemens, CECT, High Tech Computer Corporation (HTC), Fujitsu, Kyocera, Mitsubishi Electric, NEC, Neonode, Panasonic (Matsushita Electric), Pantech Curitel, Philips, Research In Motion, Sagem, Sanyo, Sharp, Siemens, Sendo, Sierra Wireless, SK Teletech, Sonim Technologies, T&A Alcatel, Huawei, Trium and Toshiba. There are also specialist communication systems related to (but distinct from) mobile phones.

There are several categories of mobile phones, from basic phones to feature phones such as musicphones and cameraphones, to smartphones. The first smartphone was the Nokia 9000 Communicator in 1996 which incorporated PDA functionality to the basic mobile phone at the time. As miniaturisation and increased processing power of microchips has enabled ever more features to be added to phones, the concept of the smartphone has evolved, and what was a high-end smartphone five years ago, is a standard phone today. Several phone series have been introduced to address a given market segment, such as the RIM Blackberry focusing on enterprise/corporate customer email needs; the SonyEricsson Walkman series of musicphones and Cybershot series of cameraphones; the Nokia N-Series of multimedia phones; and the Apple iPhone which provides full-featured web access and multimedia capabilities.


Features
Mobile phones often have features beyond sending text messages and making voice calls, including Internet browsing, music (MP3) playback, memo recording, personal organiser functions, e-mail, instant messaging, built-in cameras and camcorders, ringtones, games, radio, Push-to-Talk (PTT), infrared and Bluetooth connectivity, call registers, ability to watch streaming video or download video for later viewing, video calling and serve as a wireless modem for a PC, and soon will also serve as a console of sorts to online games and other high quality games. The total value of mobile data services exceeds the value of paid services on the Internet, and was worth 31 billion dollars in 2006 (source Informa).[citation needed] The largest categories of mobile services are music, picture downloads, videogaming, adult entertainment, gambling, video/TV.

Nokia and the University of Cambridge are showing off a bendable cell phone called Morph .


Applications
The most commonly used data application on mobile phones is SMS text messaging, with 74% of all mobile phone users as active users (over 2.4 billion out of 3.3 billion total subscribers at the end of 2007). SMS text messaging was worth over 100 billion dollars in annual revenues in 2007 and the worldwide average of messaging use is 2.6 SMS sent per day per person across the whole mobile phone subscriber base. (source Informa 2007). The first SMS text message was sent from a computer to a mobile phone in 1992 in the UK, while the first person-to-person SMS from phone to phone was sent in Finland in 1993.

The other non-SMS data services used by mobile phones were worth 31 Billion dollars in 2007, and were led by mobile music, downloadable logos and pictures, gaming, gambling, adult entertainment and advertising (source: Informa 2007). The first downloadable mobile content was sold to a mobile phone in Finland in 1998, when Radiolinja (now Elisa) introduced the downloadable ringing tone service. In 1999 Japanese mobile operator NTT DoCoMo introduced its mobile internet service, i-Mode, which today is the world's largest mobile internet service and roughly the same size as Google in annual revenues.

The first mobile news service, delivered via SMS, was launched in Finland in 2000. Mobile news services are expanding with many organisations providing "on-demand" news services by SMS. Some also provide "instant" news pushed out by SMS. Mobile telephony also facilitates activism and public journalism being explored by Reuters and Yahoo![6] and small independent news companies such as Jasmine News in Sri Lanka.

Companies like Monster are starting to offer mobile services such as job search and career advice. Consumer applications are on the rise and include everything from information guides on local activities and events to mobile coupons and discount offers one can use to save money on purchases. Even tools for creating websites for mobile phones are increasingly becoming available.

Mobile payments were first trialled in Finland in 1998 when two Coca-Cola vending machines in Espoo were enabled to work with SMS payments. Eventually the idea spread and in 1999 the Philippines launched the first commercial mobile payments systems, on the mobile operators Globe and Smart. Today mobile payments ranging from mobile banking to mobile credit cards to mobile commerce are very widely used in Asia and Africa, and in selected European markets. For example in the Philippines it is not unusual to have one's entire paycheck paid to the mobile account. In Kenya the limit of money transfers from one mobile banking account to another is one million US dollars. In India paying utility bills with mobile gains a 5% discount. In Estonia the government found criminals collecting cash parking fees, so the government declared that only mobile payments via SMS were valid for parking and today all parking fees in Estonia are handled via mobile and the crime involved in the activity has vanished.

Mobile Applications are developed using the Six M's (previously Five M's) service-development theory created by the author Tomi Ahonen with Joe Barrett of Nokia and Paul Golding of Motorola. The Six M's are Movement (location), Moment (time), Me (personalization), Multi-user (community), Money (payments) and Machines (automation). The Six M's / Five M's theory is widely referenced in the telecoms applications literature and used by most major industry players. The first book to discuss the theory was Services for UMTS by Ahonen & Barrett in 2002.

The iPhone has revolutionized applications for mobile phones, allowing a vast array of applications that perform hundreds of different tasks to be easily downloaded an installed through the App Store, a native application on the iPhone, iPhone 3G and iPod touch. Using a WiFi, EDGE or 3G connection, users can purchase applications (some are free) from the App Store and download them directly to the phone. Apps can also be downloaded through iTunes and synced with the iPhone/iPod once the device is synced with iTunes. The App Store was developed by Apple to interface with the AT&T cellular network. T-Mobile is also developing their own version of the App Store, most likely to interface with their newest smart phone, the T-Mobile G1, the first phone built running the new Google Android cellular firmware, which was likely built as a competitor for the iPhone.


Media
The mobile phone became a mass media channel in 1998 when the first ringing tones were sold to mobile phones by Radiolinja in Finland. Soon other media content appeared such as news, videogames, jokes, horoscopes, TV content and advertising. In 2006 the total value of mobile phone paid media content exceeded internet paid media content and was worth 31 Billion dollars (source Informa 2007). The value of music on phones was worth 9.3 Billion dollars in 2007 and gaming was worth over 5 billion dollars in 2007 (source Netsize Guide 2008 [1]).

The mobile phone is often called the Fourth Screen (if counting cinema, TV and PC screens as the first three) or Third Screen (counting only TV and PC screens). It is also called the Seventh of the Mass Media (with Print, Recordings, Cinema, Radio, TV and Internet the first six). Most early content for mobile tended to be copies of legacy media, such as the banner advertisement or the TV news highlight video clip. Recently unique content for mobile has been emerging, from the ringing tones and ringback tones in music to "mobisodes," video content that has been produced exclusively for mobile phones.

The advent of media on the mobile phone has also produced the opportunity to identify and track Alpha Users or Hubs, the most influential members of any social community. AMF Ventures measured in 2007 the relative accuracy of three mass media, and found that audience measures on mobile were nine times more accurate than on the internet and 90 times more accurate than on TV.


Power supply
Mobile phones generally obtain power from batteries, which can be recharged from a USB port, from portable batteries, from mains power or a cigarette lighter socket in a car using an adapter (often called battery charger or wall wart) or from a solar panel or a dynamo (that can also use a USB port to plug the phone).

Formerly, the most common form of mobile phone batteries were nickel metal-hydride, as they have a low size and weight. Lithium-Ion batteries are sometimes used, as they are lighter and do not have the voltage depression that nickel metal-hydride batteries do. Many mobile phone manufacturers have now switched to using lithium-Polymer batteries as opposed to the older Lithium-Ion, the main advantages of this being even lower weight and the possibility to make the battery a shape other than strict cuboid. Mobile phone manufacturers have been experimenting with alternative power sources, including solar cells.


SIM card
In addition to the battery, GSM cellphones require a small microchip, called a Subscriber Identity Module or SIM Card, to function. Approximately the size of a small postage stamp, the SIM Card is usually placed underneath the battery in the rear of the unit, and (when properly activated) stores the phone's configuration data, and information about the phone itself, such as which calling plan the subscriber is using. When the subscriber removes the SIM Card, it can be re-inserted into another phone and used as normal.

Each SIM Card is activated by use of a unique numerical identifier; once activated, the identifier is locked down and the card is permanently locked in to the activating network. For this reason, most retailers refuse to accept the return of an activated SIM Card.

Those cell phones that do not use a SIM Card have the data programmed in to their memory. This data is accessed by using a special digit sequence to access the "NAM" as in "Name" or number programming menu. From here, one can add information such as a new number for your phone, new Service Provider numbers, new emergency numbers, change their Authentication Key or A-Key code, and update their Preferred Roaming List or PRL. However, to prevent the average Joe from totally disabling their phone or removing it from the network, the Service Provider puts a lock on this data called a Master Subsidiary Lock or MSL.

The MSL also ensures that the Service Provider gets payment for the phone that was purchased or "leased". For example, the Motorola Razr V9C costs upwards of CAD $500. You can get one from Bell Mobility for approximately $200. The difference is paid by the customer in the form of a monthly bill. If, in this case, Bell Mobility did not use a MSL, then they may lose the $300–$400 difference that is paid in the monthly bill, since some customers would cancel their service and take the phone to another carrier such as Telus, or Verizon. This would eventually put the carrier or in this case, Bell Mobility out of business.

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Computer-aided design

Computer-aided design (CAD) is the use of computer technology to aid in the design and especially the drafting (technical drawing and engineering drawing) of a part or product, including entire buildings. It is both a visual (or drawing) and symbol-based method of communication whose conventions are particular to a specific technical field.

Drafting can be done in two dimensions ("2D") and three dimensions ("3D"). Drafting is the integral communication of technical or engineering drawings and is the industrial arts sub-discipline that underlies all involved technical endeavors. In representing complex, three-dimensional objects in two-dimensional drawings, these objects have traditionally been represented by three projected views at right angles.

Current CAD software packages range from 2D vector-based drafting systems to 3D solid and surface modellers. Modern CAD packages can also frequently allow rotations in three dimensions, allowing viewing of a designed object from any desired angle, even from the inside looking out. Some CAD software is capable of dynamic mathematic modeling, in which case it may be marketed as CADD — computer-aided design and drafting.

CAD is used in the design of tools and machinery used in the manufacture of components, and in the drafting and design of all types of buildings, from small residential types (houses) to the largest commercial and industrial structures (hospitals and factories).

CAD is mainly used for detailed engineering of 3D models and/or 2D drawings of physical components, but it is also used throughout the engineering process from conceptual design and layout of products, through strength and dynamic analysis of assemblies to definition of manufacturing methods of components.

CAD has become an especially important technology within the scope of computer-aided technologies, with benefits such as lower product development costs and a greatly shortened design cycle. CAD enables designers to lay out and develop work on screen, print it out and save it for future editing, saving time on their drawings.


Software technologies
A CAD model of a mouse.
Originally software for CAD systems was developed with computer language such as Fortran, but with the advancement of object-oriented programming methods this has radically changed. Typical modern parametric feature based modeler and freeform surface systems are built around a number of key C programming language modules with their own APIs. A CAD system can be seen as built up from the interaction of a graphical user interface (GUI) with NURBS geometry and/or boundary representation (B-rep) data via a geometric modeling kernel. A geometry constraint engine may also be employed to manage the associative relationships between geometry, such as wireframe geometry in a sketch or components in an assembly.

Unexpected capabilities of these associative relationships have led to a new form of prototyping called digital prototyping. In contrast to physical prototypes, which entail manufacturing time and material costs, digital prototypes allow for design verification and testing on screen, speeding time-to-market and decreasing costs. As technology evolves in this way, CAD has moved beyond a documentation tool (representing designs in graphical format) into a more robust designing tool that assists in the design process.


Hardware and OS technologies
Today most CAD computers are Windows based PCs. Some CAD systems also run on one of the Unix operating systems and with Linux. Some CAD systems such as QCad or NX provide multiplatform support including Windows, Linux, UNIX and Mac OS X.

Generally no special basic memory is required with the exception of a high-end OpenGL based Graphics card. However for complex product design, machines with high speed (and possibly multiple) CPUs and large amounts of RAM are recommended. CAD was an application that benefited from the installation of a numeric coprocessor especially in early personal computers. The human-machine interface is generally via a computer mouse but can also be via a pen and digitizing graphics tablet. Manipulation of the view of the model on the screen is also sometimes done with the use of a spacemouse/SpaceBall. Some systems also support stereoscopic glasses for viewing the 3D model.


Using CAD
CAD is one of the many tools used by engineers and designers and is used in many ways depending on the profession of the user and the type of software in question. There are several different types of CAD. Each of these different types of CAD systems require the operator to think differently about how he or she will use them and he or she must design their virtual components in a different manner for each.

There are many producers of the lower-end 2D systems, including a number of free and open source programs. These provide an approach to the drawing process without all the fuss over scale and placement on the drawing sheet that accompanied hand drafting, since these can be adjusted as required during the creation of the final draft.

3D wireframe is basically an extension of 2D drafting. Each line has to be manually inserted into the drawing. The final product has no mass properties associated with it and cannot have features directly added to it, such as holes. The operator approaches these in a similar fashion to the 2D systems, although many 3D systems allow using the wireframe model to make the final engineering drawing views.

3D "dumb" solids (programs incorporating this technology include AutoCAD and Cadkey 19) are created in a way analogous to manipulations of real word objects. Basic three-dimensional geometric forms (prisms, cylinders, spheres, and so on) have solid volumes added or subtracted from them, as if assembling or cutting real-world objects. Two-dimensional projected views can easily be generated from the models. Basic 3D solids don't usually include tools to easily allow motion of components, set limits to their motion, or identify interference between components.

3D parametric solid modeling (programs incorporating this technology include NX, the combination of UniGraphics and IDeas, Autodesk Inventor, Alibre Design, TopSolid, T-FLEX CAD, SolidWorks, and Solid Edge) require the operator to use what is referred to as "design intent". The objects and features created are adjustable. Any future modifications will be simple, difficult, or nearly impossible, depending on how the original part was created. One must think of this as being a "perfect world" representation of the component. If a feature was intended to be located from the center of the part, the operator needs to locate it from the center of the model, not, perhaps, from a more convenient edge or an arbitrary point, as he could when using "dumb" solids. Parametric solids require the operator to consider the consequences of his actions carefully. What may be simplest today could be worst case tomorrow.

Some software packages provide the ability to edit parametric and non-parametric geometry without the need to understand or undo the design intent history of the geometry by use of direct modeling functionality. This ability may also include the additional ability to infer the correct relationships between selected geometry (e.g., tangency, concentricity) which makes the editing process less time and labor intensive while still freeing the engineer from the burden of understanding the model’s design intent history. These kind of non history based systems are called Explicit Modellers. The first Explicit Modeling system is introduced to the world at the end of 80's from Hewlett-Packard and was having the name SolidDesigner. This CAD solution, which have been having many versions afterwards, is sold nowadays from PTC as "CoCreate Modeling"

Draft views are able to be generated easily from the models. Assemblies usually incorporate tools to represent the motions of components, set their limits, and identify interference. The tool kits available for these systems are ever increasing; including 3D piping and injection mold designing packages.

Mid range software was integrating parametric solids more easily to the end user: integrating more intuitive functions (SketchUp), going to the best of both worlds with 3D dumb solids with parametric characteristics (VectorWorks) or making very real-view scenes in relative few steps (Cinema4D).

Top end systems offer the capabilities to incorporate more organic, aesthetics and ergonomic features into designs (Catia, GenerativeComponents). Freeform surface modelling is often combined with solids to allow the designer to create products that fit the human form and visual requirements as well as they interface with the machine.


The Effects of CAD
Starting in the late 1980s, the development of readily affordable CAD programs that could be run on personal computers began a trend of massive downsizing in drafting departments in many small to mid-size companies. As a general rule, one CAD operator could readily replace at least three to five drafters using traditional methods. Additionally, many engineers began to do their own drafting work, further eliminating the need for traditional drafting departments. This trend mirrored that of the elimination of many office jobs traditionally performed by a secretary as word processors, spreadsheets, databases, etc. became standard software packages that "everyone" was expected to learn.

Another consequence had been that since the latest advances were often quite expensive, small and even mid-size firms often could not compete against large firms who could use their computational edge for competitive purposes. Today, however, hardware and software costs have come down. Even high-end packages work on less expensive platforms and some even support multiple platforms. The costs associated with CAD implementation now are more heavily weighted to the costs of training in the use of these high level tools, the cost of integrating a CAD/CAM/CAE PLM using enterprise across multi-CAD and multi-platform environments and the costs of modifying design workflows to exploit the full advantage of CAD tools.

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Web browser

A web browser is a software application which enables a user to display and interact with text, images, videos, music, games and other information typically located on a Web page at a website on the World Wide Web or a local area network. Text and images on a Web page can contain hyperlinks to other Web pages at the same or different website. Web browsers allow a user to quickly and easily access information provided on many Web pages at many websites by traversing these links. Web browsers format HTML information for display, so the appearance of a Web page may differ between browsers.

Some of the Web browsers currently available for personal computers include Internet Explorer, Mozilla Firefox, Safari, Netscape, Opera[2], Avant Browser, Konqueror, Google Chrome, Flock, Arachne, Epiphany, K-Meleon and AOL Explorer. Web browsers are the most commonly used type of HTTP user agent. Although browsers are typically used to access the World Wide Web, they can also be used to access information provided by Web servers in private networks or content in file systems.


History
The history of the web browser dates back to late 1980s when a variety technologies laid the foundation for the first web browser, the WorldWideWeb, by Tim Berners-Lee in 1991, which brought together a variety of existing and new software and hardware technologies.

Later on, various web browsers from companies like Microsoft, Mozilla, Netscape, and recently Google emerged into the browsing world.


Protocols and standards
Web browsers communicate with Web servers primarily using HTTP (hypertext transfer protocol) to fetch webpages. HTTP allows Web browsers to submit information to Web servers as well as fetch Web pages from them. The most commonly used HTTP is HTTP/1.1, which is fully defined in RFC 2616. HTTP/1.1 has its own required standards that Internet Explorer does not fully support, but most other current-generation Web browsers do.

Pages are located by means of a URL (uniform resource locator, RFC 1738 ), which is treated as an address, beginning with http: for HTTP access. Many browsers also support a variety of other URL types and their corresponding protocols, such as gopher: for Gopher (a hierarchical hyperlinking protocol), ftp: for FTP (file transfer protocol), rtsp: for RTSP (real-time streaming protocol), and https: for HTTPS (an SSL encrypted version of HTTP).

The file format for a Web page is usually HTML (hyper-text markup language) and is identified in the HTTP protocol using a MIME content type. Most browsers natively support a variety of formats in addition to HTML, such as the JPEG, PNG and GIF image formats, and can be extended to support more through the use of plugins. The combination of HTTP content type and URL protocol specification allows Web page designers to embed images, animations, video, sound, and streaming media into a Web page, or to make them accessible through the Web page.

Early Web browsers supported only a very simple version of HTML. The rapid development of proprietary Web browsers led to the development of non-standard dialects of HTML, leading to problems with Web interoperability. Modern Web browsers support a combination of standards- and defacto-based HTML and XHTML, which should display in the same way across all browsers. No browser fully supports HTML 4.01, XHTML 1.x or CSS 2.1 yet. Currently many sites are designed using WYSIWYG HTML generation programs such as Adobe Dreamweaver or Microsoft FrontPage. Microsoft FrontPage often generates non-standard HTML by default, hindering the work of the W3C in developing standards, specifically with XHTML and CSS (cascading style sheets, used for page layout). Dreamweaver and other more modern Microsoft HTML development tools such as Microsoft Expression Web and Microsoft Visual Studio conform to the W3C standards.

Some of the more popular browsers include additional components to support Usenet news, IRC (Internet relay chat), and e-mail. Protocols supported may include NNTP (network news transfer protocol), SMTP (simple mail transfer protocol), IMAP (Internet message access protocol), and POP (post office protocol). These browsers are often referred to as Internet suites or application suites rather than merely Web browsers.

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Desktop publishing

Desktop publishing (also known as DTP) combines a personal computer and WYSIWYG page layout software to create publication documents on a computer for either large scale publishing or small scale local multifunction peripheral output and distribution.

The term "desktop publishing" is commonly used to describe page layout skills. However, the skills and software are not limited to paper and book publishing. The same skills and software are often used to create graphics for point of sale displays, promotional items, trade show exhibits, retail package designs, and outdoor signs.


History
Desktop publishing began in 1984 with the introduction of MacPublisher, the first WYSIWYG layout program, which ran on the original 128K Macintosh computer. The DTP market exploded in 1985 with the introduction in January of the Apple LaserWriter printer, and later in July with the introduction of PageMaker software from Aldus which rapidly became the DTP industry standard software.

The ability to create WYSIWYG page layouts on screen and then print pages at crisp 300 dpi resolution was revolutionary for both the typesetting industry as well as the personal computer industry. Newspapers and other print publications made the move to DTP-based programs from older layout systems like Atex and other such programs in the early 1980s.

The term "desktop publishing" is attributed to Aldus Corporation founder Paul Brainerd, who sought a marketing catch-phrase to describe the small size and relative affordability of this suite of products in contrast to the expensive commercial phototypesetting equipment of the day.

Often considered a primary skill, increased accessibility to more user-friendly DTP software has made DTP a secondary skill to art direction, graphic design, multimedia development, marketing communications, administrative careers and advanced high school literacy in thriving economies. DTP skill levels range from what may be learned in a few hours (e.g. learning how to put clip art in a word processor) to what requires a college education and years of experience (e.g. advertising agency positions). The discipline of DTP skills range from technical skills such as prepress production and programming to creative skills such as communication design and graphic image development.

By the standards of today, early desktop publishing was a primitive affair. Users of the PageMaker-LaserWriter-Macintosh 512K system endured frequent software crashes, the Mac's tiny 512 x 342 1-bit black and white screen, the inability to control letter spacing, kerning (the addition or removal of space between individual characters in a piece of typeset text to improve its appearance or alter its fit) and other typographic features, and discrepancies between the screen display and printed output. However, it was a revolutionary combination at the time, and was received with considerable acclaim.

Behind-the-scenes technologies developed by Adobe Systems set the foundation for professional desktop publishing applications. The LaserWriter and LaserWriter Plus printers included high quality, scalable Adobe PostScript-fonts built into their ROM memory. The LaserWriter's PostScript capability allowed publication designers to proof files on a local printer then print the same file at DTP service bureaus using optical resolution 600+ ppi PostScript-printers such as those from Linotronic. Later, the Macintosh II was released which was much more suitable for desktop publishing because of its larger, color screen, support for multiple displays, greater RAM capacity and its SCSI storage interface which allowed fast, high-capacity hard drives to be attached to the system.

Although Macintosh-based systems would continue to dominate the market, in 1986, the GEM-based Ventura Publisher was introduced for MS-DOS computers. While PageMaker's has a pasteboard metaphor closely simulated the process of creating layouts manually. Ventura Publisher automated the layout process through its use of tags/style sheets and automatically generated indices and other body matter. This made it suitable for manuals and other long-format documents. Desktop publishing moved into the home market in 1986 with Professional Page for the Amiga, Publishing Partner for the Atari ST, GST's Timeworks Publisher on the PC and Atari ST, Calamus for the Atari TT030, and even Home Publisher, Newsroom, and GEOPublish for 8-bit computers like the Apple II and Commodore 64.

During these early years, desktop publishing acquired a bad reputation from untrained users who created poorly-organized ransom note effect layouts — criticisms that would be levied again against early web publishers a decade later. However, some were able to realize truly professional results. For example, .info magazine became the very first desktop-published, full-color, newsstand magazine in the last quarter of 1986, using a combination of Commodore Amiga computers, Professional Page desktop publishing software, and an Agfa Graphics typesetter[1].


Page layout concepts
A page is a prefixed size of virtual printing material which can be viewed on the monitor in WYSIWYG format. Each page has full size and printable area. They are separated with margin guides. In most cases, the full size of page are set to international standard paper sizes such as A4, letter, etc.

There are three main types of components to be laid out on a page. They are text, natural or scanned images, artificial or creative images.

Layout is the process by which the printing components are laid on the page aesthetically and precisely.


Comparisons with word processing
While desktop publishing software still provides extensive features necessary for print publishing, modern word processors now have publishing capabilities beyond those of many older DTP applications, blurring the line between word processing and desktop publishing.

In the early days of graphical user interfaces, DTP software was in a class of its own when compared to the fairly spartan word processing applications of the time. Programs such as WordPerfect and WordStar were still mainly text-based and offered little in the way of page layout, other than perhaps margins and line spacing. On the other hand, word processing software was necessary for features like indexing and spell checking, features that are today taken for granted.

As computers and operating systems have become more powerful, vendors have sought to provide users with a single application platform that can meet all needs. Software such as Open Office.org Writer and Microsoft Word offers advanced layouts and linking between documents, and DTP applications have added in common word processor features.


Comparisons with other electronic layout
In modern usage, DTP is not generally said to include tools such as TeX or troff, though both can easily be used on a modern desktop system and are standard with many Unix-like operating systems and readily available for other systems. The key difference between electronic typesetting software and DTP software is that DTP software is generally interactive and WYSIWYG in design, while older electronic typesetting software tends to operate in batch mode, requiring the user to enter the processing program's markup language manually without a direct visualization of the finished product. The older style of typesetting software occupies a substantial but shrinking niche in technical writing and textbook publication; however, since much software in this genre is freely available, it can be more cost-effective than the professionally-oriented DTP systems. It is also particularly suitable for corporate newsletters or other applications where consistent, automated layout is important.

There is some overlap between desktop publishing and what is known as Hypermedia publishing (i.e. Web design, Kiosk, CD-ROM). Many graphical HTML editors such as Microsoft FrontPage and Adobe Dreamweaver use a layout engine similar to a DTP program. However, some Web designers still prefer to write HTML without the assistance of a WYSIWYG editor and resort to such software, if at all, solely for complex layout that cannot easily be rendered in hand-written HTML code.

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Computer animation

Computer animation is the art of creating moving images with the use of computers. It is a subfield of computer graphics and animation. Increasingly it is created by means of 3D computer graphics, though 2D computer graphics are still widely used for stylistic, low bandwidth, and faster real-time rendering needs. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film. It is also referred to as CGI (Computer-generated imagery or computer-generated imaging), especially when used in films.

To create the illusion of movement, an image is displayed on the computer screen then quickly replaced by a new image that is similar to the previous image, but shifted slightly. This technique is identical to how the illusion of movement is achieved with television and motion pictures.

Computer animation is essentially a digital successor to the art of stop motion animation of 3D models and frame-by-frame animation of 2D illustrations. For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used, with or without a virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.

For 3D animations, all frames must be rendered after modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium such as film or digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.


A simple example
The screen is blanked to a background color, such as black. Then a goat is drawn on the right of the screen. Next the screen is blanked, but the goat is re-drawn or duplicated slightly to the left of its original position. This process is repeated, each time moving the goat a bit to the left. If this process is repeated fast enough the goat will appear to move smoothly to the left. This basic procedure is used for all moving pictures in films and television.

The moving goat is an example of shifting the location of an object. More complex transformations of object properties such as size, shape, lighting effects and color often require calculations and computer rendering instead of simple re-drawing or duplication.


Explanation
To trick the eye and brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second (fps) or faster (a frame is one complete image). With rates above 70 frames/s no improvement in realism or smoothness is perceivable due to the way the eye and brain process images. At rates below 12 fps most people can detect jerkiness associated with the drawing of new images which detracts from the illusion of realistic movement. Conventional hand-drawn cartoon animation often uses 15 frames/s in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. Because it produces more realistic imagery computer animation demands higher frame rates to reinforce this realism.

The reason no jerkiness is seen at higher speeds is due to “persistence of vision.” From moment to moment, the eye and brain working together actually store whatever one looks at for a fraction of a second, and automatically "smooth out" minor jumps. Movie film seen in theaters in the United States runs at 24 frames per second, which is sufficient to create this illusion of continuous movement.


Methods of animating virtual characters
In most 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, analogous to a skeleton or stick figure. The position of each segment of the skeletal model is defined by animation variables, or Avars. In human and animal characters, many parts of the skeletal model correspond to actual bones, but skeletal animation is also used to animate other things, such as facial features (though other methods for facial animation exist). The character "Woody" in Toy Story, for example, uses 700 Avars, including 100 Avars in the face. The computer does not usually render the skeletal model directly (it is invisible), but uses the skeletal model to compute the exact position and orientation of the character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by making the character move from frame to frame.

There are several methods for generating the Avar values to obtain realistic motion. Traditionally, animators manipulate the Avars directly. Rather than set Avars for every frame, they usually set Avars at strategic points (frames) in time and let the computer interpolate or 'tween' between them, a process called keyframing. Keyframing puts control in the hands of the animator, and has roots in hand-drawn traditional animation.

In contrast, a newer method called motion capture makes use of live action. When computer animation is driven by motion capture, a real performer acts out the scene as if they were the character to be animated. His or her motion is recorded to a computer using video cameras and markers, and that performance is then applied to the animated character.

Each method has their advantages, and as of 2007, games and films are using either or both of these methods in productions. Keyframe animation can produce motions that would be difficult or impossible to act out, while motion capture can reproduce the subtleties of a particular actor. For example, in the 2006 film Pirates of the Caribbean: Dead Man's Chest, actor Bill Nighy provided the performance for the character Davy Jones. Even though Nighy himself doesn't appear in the film, the movie benefited from his performance by recording the nuances of his body language, posture, facial expressions, etc. Thus motion capture is appropriate in situations where believable, realistic behavior and action is required, but the types of characters required exceed what can be done through conventional costuming.


Computer animation development equipment
Computer animation can be created with a computer and animation software. Some examples of animation software are: Amorphium, Art of Illusion, Poser, Ray Dream Studio, Bryce, Maya, Anim8or, Blender 3D, TrueSpace, Lightwave, 3D Studio Max, SoftImage XSI, Alice, and Adobe Flash (2D). There are many more software options available. Prices will vary greatly depending on target market. Some impressive animation can be achieved even with basic programs; however, the rendering can take a lot of time on an ordinary home computer. Because of this, video game animators tend to use low resolution, low polygon count renders, such that the graphics can be rendered in real time on a home computer. Photorealistic animation would be impractical in this context.

Professional animators of movies, television, and video sequences on computer games make photorealistic animation with high detail. This level of quality for movie animation would take tens to hundreds of years to create on a home computer. Many powerful workstation computers are used instead. Graphics workstation computers use two to four processors, and thus are a lot more powerful than a home computer, and are specialized for rendering. A large number of workstations (known as a render farm) are networked together to effectively act as a giant computer. The result is a computer-animated movie that can be completed in about one to five years (this process is not comprised solely of rendering, however). A workstation typically costs $2,000 to $16,000, with the more expensive stations being able to render much faster, due to the more technologically advanced hardware that they contain. Pixar's Renderman is rendering software which is widely used as the movie animation industry standard, in competition with Mental Ray. It can be bought at the official Pixar website for about $5,000 to $8,000. It will work on Linux, Mac OS X, and Microsoft Windows based graphics workstations along with an animation program such as Maya and Softimage XSI. Professionals also use digital movie cameras, motion capture or performance capture, bluescreens, film editing software, props, and other tools for movie animation.


The future
One open challenge in computer animation is a photorealistic animation of humans. Currently, most computer-animated movies show animal characters (Finding Nemo, Ice Age, Over the Hedge), fantasy characters (Shrek, Monsters Inc.), anthropomorphic machines (Cars, Robots, WALL-E) or cartoon-like humans (The Incredibles, Meet the Robinsons). The movie Final Fantasy: The Spirits Within is often cited as the first computer-generated movie to attempt to show realistic-looking humans. However, due to the enormous complexity of the human body, human motion, and human biomechanics, realistic simulation of humans remains largely an open problem. It is one of the "holy grails" of computer animation. Eventually, the goal is to create software where the animator can generate a movie sequence showing a photorealistic human character, undergoing physically-plausible motion, together with clothes, photorealistic hair, a complicated natural background, and possibly interacting with other simulated human characters. This could be done in a way that the viewer is no longer able to tell if a particular movie sequence is computer-generated, or created using real actors in front of movie cameras. Complete human realism is not likely to happen very soon, however such concepts obviously bear certain philosophical implications for the future of the film industry.

For the moment it looks like three dimensional computer animation can be divided into two main directions; photorealistic and non-photorealistic rendering. Photorealistic computer animation can itself be divided into two subcategories; real photorealism (where performance capture is used in the creation of the virtual human characters) and stylized photorealism. Real photorealism is what Final Fantasy tried to achieve and will in the future most likely have the ability to give us live action fantasy features as The Dark Crystal without having to use advanced puppetry and animatronics, while Antz is an example on stylistic photorealism (in the future stylized photorealism will be able to replace traditional stop motion animation as in Corpse Bride). None of them are as mentioned perfected yet, but the progress continues.

The non-photorealistic/cartoonish direction is more like an extension of traditional animation, an attempt to make the animation look like a three dimensional version of a cartoon, still using and perfecting the main principles of animation articulated by the Nine Old Men, such as squash and stretch.

While a single frame from a photorealistic computer-animated feature will look like a photo if done right, a single frame vector from a cartoonish computer-animated feature will look like a painting (not to be confused with cel shading, which produces an ever simpler look).

The 2010 movie Alice in Wonderland (2010 film) will be in 3D animation and motion capture.

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Digital asset management

Digital Asset Management consists of tasks and decisions surrounding ingesting, annotating, cataloguing, storage and retrieval of digital assets, such as digital photographs, animations, videos and music. Digital asset management systems are computer software and/or hardware systems that aid in the process of digital asset management.

The term "Digital Asset Management" (DAM) also refers to the protocol for downloading, renaming, backing up, rating, grouping, archiving, optimizing, maintaining, thinning, and exporting files.

The term "Media Asset Management" (MAM) is sometimes used as a sub-category of "Digital Asset Management", mainly for audio or video content. The more recent concept of Enterprise Content Management (ECM) often describes solutions which address similar features but in a wider range of industries or applications.


Uses
Many businesses and organizations are adopting Digital Asset Management as a business strategy because managing image, video and other media assets presents unique challenges and requires solutions designed specifically to streamline the acquisition, storage and retrieval of digital media. Effective implementation of a DAM system should reduce the time and cost of content production, maximize the return on investment (ROI) from media assets, bring new products and services to market faster and streamline compliance. This system should be designed in such a way that enables cost-effective optimization of media asset management across an organization.


Technical Context
Generally the "asset" being managed is collected and stored in a digital format. There is usually a target version of that referred to as "essence" and is generally the highest resolution and fidelity representation. The asset is detailed by its "metadata". Metadata is the description of the asset and the description depth can vary depending on the needs of the system, designer, or user. Metadata can describe, but is not limited to, the description of: asset content (what is in the package?); the means of encoding/decoding (e.g. JPEG, tar, MPEG 2); provenance (history to point of capture); ownership; rights of access; as well as many others. There exist some predefined standards and template for metadata such as Dublin Core and PBCore. In cases of systems that contain large size asset essences, such as MPEG 2 and JPEG2000 for the cases of images and video, there are usually related "proxy" copies of the essence. A proxy copy is a lower resolution representation of the essence that can be used as a reference in order to reduce the overall bandwidth requirements of the DAM system infrastructure. It can be generated and retained at the time of ingestion of the asset simultaneous or subsequent to the essence, or it can be generated on the fly using transcoders.

Smaller DAM systems are easier to categorize as to content and usage since they would normally operate in a particular operational context. This would hold true for systems attached to audio or video production systems. The key differentiators here are the type of decoders and I/O (input/output) used for the asset ingest, use and outgest. Since the essence (and proxy copies) are described by metadata, the metadata can be used as a guide to the playout decoders, transcoders, and channels as well as a input to access control rules. This means that essentially the essence can be treated as a non-described storage object except when being accessed for viewing or editing. There is relevance to this when considering the overall design and use of larger implementations. The closer the asset is to the ingest/edit/playout tool, the greater the technical architecture needs to accommodate delivery requirements such as bandwidth, latency, capacity, access control, availability of resources,etc. The further the asset moves into a general storage architecture (e.g. Hierarchical Storage Management [HSM]) the more it can be treated as a general blob (binary large object) that is typically held in the filesystem, not the database. The impact of this set of needs means that it is possible and reasonable to design larger systems using smaller, more expensive performance systems at the edge of the network where the essence is being used in its intended form and less expensive systems further back for storage and archival. This type of design is an example of Infrastructure Convergence Architecture where the line of business operations technology and IT technologies are dependent on one another for functional and performance (non-functional requirements) requirements.


Types of Digital Asset Management systems
The following broad categories of digital asset management systems may be distinguished:

Brand asset management systems, with a focus on facilitation of content re-use within large organizations. Here the content is largely marketing- or sales-related, for example, product imagery, logos, marketing collateral or fonts, to give a few examples.

Library asset management systems, with a focus on storage and retrieval of large amounts of infrequently changing media assets, for example in video or photo archiving.

Production asset management systems, with a focus on storage, organization and revision control of frequently changing digital assets, for example in digital media production.

Digital supply chain services, pushing digital content out to digital retailers (e.g. music, videos and games).


Providers
Enterprise-level solutions often involve scalable, reliable, configurable products that can handle vast numbers of assets (files) as well as large numbers of simultaneous users, workflows, or use cases (multiple applications simultaneously operating against the system). Enterprise systems may, but do not necessarily, include customized products or features added on to the base system or custom developed to match an organization's workflow. Enterprise class systems are also applicable to small to medium businesses (SMBs), or departments or work groups within an organization. In many cases these systems enter a company in one department and eventually expand to others or the entire enterprise as its utility becomes proven, understood and valued. Enterprise systems are offered as installed software or as Software as a Service (SaaS) -- hosted, web-based offers that are managed and maintained externally.

For individuals either proprietary or open source applications can be adequate for digital asset management. Some image viewers provide management functionality, including backing up, organizing, and reading/writing metadata and keywords.

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