Sunday, 20 October 2013

SMARTPHONES
It seems like Christmas in the Smartphone world, as within a week we’ve seen eight flagship phones launch. Usually it takes a whole year for so many top-of-the-line phones to be introduced but this isn’t the spirit of Santa Claus entering into the mobile brands, Soul-it’s plain business! Just before festival season, almost every company will introduce a serious contender to make sure that the money you plonk down on the counter goes into their treasure chest. But with such an incredible line-up, you also have an incredible line-up of confusion. Thus to make this a little easier, here’s my version of your Festive Smartphone Shopping Guide.
The Big Bomb-Samsung Note 3
A massive 5.7-inch super AMOLED 1080p display yet doesn’t feel big, powered by a snapdragon 800 SoC, 13 megapixel camera capable of recording video in 4k, less plasticky looking as it’s covered with finely stitched leather, the S pen gets more intelligent as Air Command becomes truly usable, the multi-windows feature for opening different apps is now customisable. It comes for about 45,000 at street level. Made for: Great for business users, excellent for power users, fantastic if you need high-quality video and the payoff is awesome if you can spend time learning the capabilities of the S Pen and Air command. Not for you if you make fun of people sticking big phones to their ear, not at all if your jeans are the painted on super tight kind, not for you if you have small hands, not for you if you don’t enjoy learning new features, which have a bit of learning curve on your phone.
The Seductive Firecracker-Sony Xperia Z1
Close to being the best-looking in this line-up, aluminum and glass build, fantastic engineering and build quality, super thin and very sleek, feels fantastic in the hand, a souped-up quad-core processor, 16 GB on-board storage out of the box with expandable memory option of up to 64 GB, a 5-inch full 1080p display with Triluminos technology for better sharpness and contras, an astounding 20.7-megapixel camera, almost waterproof and truly dust-resistant. It doesn’t even have annoying flaps to close and street price of about 39,000.
Made for: Perfect for those whose phones are a statement and an extension of their personality as this is a serious looker, awesome for those who use their camera phone a lot, also good for those who need to wash their phones under a tap to get rid of all the icky stuff accumulated through the day. Buy it if you watch a lot of movies on your phones as it’s about the only one here that can use an extended memory, slot for all your “downloaded” movies. Not for you if you keep your phone unprotected in a bag or your pocket as the glass at the back scratches easily, not for you if you like your phones super clean as this is a prime example of a fingerprints magnet. Rules of “don’t buy it if you can’t handle a big-screen phone”.  
The New Age Rocket-LG G2
This is LG getting its groove back and making sure that it’s taken as a serious contender after a debacle in the Smartphone market. The G2 sheds its sub-branding in the Optimus range, has a 5-2-inch full-HD display, an innovative “back of the phone” power and control button layout, thus leading to an almost non-existent bezel and clean sides. It also has a fantastic camera with optical stabilization that is rock solid, a quadcore processor that files and 16GB version comes for about 40,000. Made for if you like your phone to do a lot more than have a ‘plain Jane’ Android build, if you like a phone with clean sides and no buttons sticking out, if you shoot pictures that are usually fuzzy because of your hand shaking, if you like a phone with a truckload of new features not offered by others-the G2 is for you. If you are averse to learning a new way to control your phone if you want your phone to have a striking design and hate plasticky looks if you hate it when companies add on an overblown Android skin and many new features that seem gimmicky-then the G2 is not for you.
The Innovative Sparkler- Nokia Lumia 1020
The phone that shocked the world with a 41-megapixel camera reinvents the zoom as well as photography, truly stunning image and some great tricks within the camera app, great design and beautiful colors, comes with an add-on accessory that converts it into a real camera body, butter-smooth Windows OS performance, and did I mention that the 41-megapixel  camera is really an outstanding piece of optical engineering that gives you photographs and videos that were in the realm of dreams just two years ago? It’s priced at 47,000. Made for: Everyone who now uses their phone as their phone as their only camera, all of you who are serious about creative photography without wanting to wade through the drudgery of learning DSLR methodology, all those who think Windows on a phone is easily the most over looked OS and all those who love Nokia for what it stands for, can apply here. But if you hardly ever use your phone for more than a random “birthday cake being cut shots, if you’re still a Windows hater and crib about no app on the OS, if you feel Microsoft played a dirty game with Nokia, then you should cleanly walk away.

Monday, 15 July 2013

HeartTouchingWords

{1}"When a girl has no make up on, her hair is
a mess,
she is dressed in rags and a boy look her
into the
eyes and say "you're beautiful" , thats
love.
When you have no words for what you are
feeling, its love.



{2}Samajhna bhi chaha tujhe, lekin samajh na paya main.
Teri nazroon ki gehrayi main, doob na paya main.
Wo kya chupa rakha hai apne dil main, usse jaan na paya main,
Tere dard e dil ko pehchan na paya main….
E kaash ki us hasi ko samajh pata main, tere labon pe ek muskaan de pata main.
Khush rehna is jahan main e dost, bas yahi ek Dua, tujhe de paya main……



{3}Dear guys,

A girl who loves you truly,
will never ask you to buy her expensive gifts or take her to expensive places...
.
She won’t ask for diamonds, rubies or
a promise to bring her a world of luxuries...
.
She just wants your love, care and attention.
.
She just wants you to spend a lot of quality time with her and appreciateher for all that she does for you withlove and affection..
Every girl is unique in her own way...
Value her... [?]




{4}Bahaa ke Aansu usne mujhse ek sawal
kiya..
Incredibe, Q aakhir tumne is Qadar
mujh se
pyaar kiya...
kuchh aise uske sawaal ne mujhe
tadpa diya!...
badi mushkil se mene apne ansooko
apne dil me chupa diya...
usne apni Qasam de k kaha meri
shaadi mein zaroor aana...
mene hanss k uss waqt haan me sir
hila diya
meri hansi ne use kuch aise tadpa
diya
usne phir se rote huye mujh wahi
sawal kiya
Uske ansoo ko saf karte huye usne
aakhir yeh jawab diya
nahi karta main tumse pyaar jao
mene tumhe azaad kiya.


{5}kisi ko bhul jana aasan nhi hota...
Yaado ko dafnane k liye koi shamshan nhi hota...
dekh lena tute huwe dil k tukde ko...
pyar ke zakhm ka koi nishan nhi hota....


{6}sapne hai aankho me par need kahi aur hai.....
dil hai jism me par dhadakan kahi aur hai.....
kaise kare apna haal - e- dil byan.....
jee rahe hai par zindgi kahi aur hai.....



{7}MAINE DIL KE DARWAZE PE LIKHA THA.....
''ANDAR JANA MANA HAI''
USKE ISHQ NE MUSKURATE HUE KAHA.....
''MAAF KARNA MAI ANDHA HU''


{8}wo jab bhi mujhse milta tha 
har baar mujhse pucha karta tha
ki tum meri ho na aur mai har baar uske chahre ko
aapne hatho se chu kar kasam khaya karti thi

par kash!!!
maine ek baar usse puch liya hota
ki tum mere ho na



{9}maine zindgi se pucha
SUBKO ITNA DARD KYU DETI HO
zindgi ne hash ke jawab diya
MAI TO SUBKO KHUSHI DETI HU
par ek ki khushi
DUSRE KA DARD BAN JAATI HAI


{10}Tumko barish pasand hai. mujhe
barish me TUM,
Tumko hasna pasand hai. mujhe
hastey hue TUM,
Tumko bolna pasand hai. mujhe
boltey hue TUM,
Tumko sab kuch pasand hai Or
mujhe bas TUM…!!!


{11}Wo So Jate Hai Aksar Hume Yad Kiye Bager.....
Hume Nind Bhi Nhi Aati Unse Baat Kiye Bager....
Kasur Unka Nhi Kasur To Hamara Hai.....
Unhe Chaha Bhi To Unki Ejazat Ke Bager...?:( :'(



{12}Tumhara dukh hum seh nahi sakte
,
Bhari mehfil mein kuch keh nahi sakte,

Hamare girte hue aansuo ko pad kar dekho
,
Woh bhi kehte hai ke hum aapke bin reh nahi sakte...


{13}Is aarzu se aage Koi rasta nahi hai.....

Tumhain kis kadar hai chaha.....

Tumhain ye pata nahi hai.....

Koi pal bina tumhare.....

Bhala kaise beet jay....

Mere paas tum nahi ho.....

Mere paas kuch nahi hai.....

Meri har dua me tum ho....


{14}Apne gam ki Numaish na kar,
Apne nasib ki Azmaish na kar,
Jo tera hai tere Pas khud ayega,
Har roz usse pane Ki khwaish na kar!
Taqdir badal jayegi apne aap hi ai dost,
Muskrana sikh le wajah ki talash na kar.................??


{15}Before you speak, listen.
Before you write, think.
Before you spend, earn.
Before you retire, save.
Before you invest, investigate.
Before you criticize, wait.
Before you pray, forgive.
Before you quit, try.
Before you die, give.

{16} “ Agar kisi k pass sub kuch ho to duniya jalti hai,
Agar kuch na ho to duniya hansti hai,

Mere paas aap k liye sirf "DUA" hai,
Jis k liye sari duniya tarasti hai, ”


{17}duniya me dhoka Dena ek aam baat ban gayi
hai......,:'(

log sochte hai dil tootna koi badi baat ni hai, kuch waqt ke baad insaan firse pehle jesa ho jaaega or sab bhool jaega....

magr koi unse jaakr puche jinhone dhoka khaya hai...pal pal tadpte hai , din raat rote hai, na khane ka hosh , na zinda rehne ki aarzu...;(

ku nahi log samjhte dil bot naazuk hota hai zara si thokar se toot jata hai , or agr ek baar toot jae to fir markar hi aaram milta hai..

kisi ko b dhoka dena bot bada gunaah hai ...dhoka dekr hum b saari umar chain se ni jee sakte ....dil me hamesha yahi sochte rahege ku kiya esa ....apni galti ka ehsaas 

jab hoga tab jeenna mushkil ho jaega....

isiliye kehti hu , sambhal jao ...kisi ko dhoka na do....khud b tadpoge or vo b jise tum dhoka doge.....;(



{18}1 din mujhse kaha Bhagwan ne: "Mat kar intezar is
janam me uska, Milna mushkil hai :|
.
.
Maine bhi keh diya: "Lenedemaza intezar ka, agle
janam me to mumkin hai...:))
.
.
Phir Bhagwan ne kaha:"Mat kar itna pyar bahut
pachhtaega.. 
.
.
Muskura ke maine kaha:"Dekhte hain tu kitna meri
ruh ko tadpayega... :))
.
.
Phir Bhagwan ne kaha:"Hatausse, Chal tujhe jannat
ki apsra se milata hu 
.
.
Maine kaha: "Aa niche dekh mere pyar ka
muskurata chehra,
tujhe jannat ki apsra bhulwata hu..;-))
.
.
Gusse mein kaha Bhagwan ne: "Mat bhool apni
aukat tu to ek insan hai; 
.
.
Maine kaha: "Toh mila de mujhe mere pyar se aur Saabit kar ki tu hi Bhagwan hai.."

{19}Bina Dard ke aansu bahaye nahi jate,

Bina pyar ke riste nibhaye nahi jate,

Zindagi me is baat ko yaad rakhna,

Kissi ko rula kar kabhi sapne sajaye nahi jate.


{20}Your love surrounds me like the air that I breathe.
Your kiss touches me as gentle as a breeze.
Your touch is as tender as that of a child.
Your hug is warm, meek, and mild.
Each day we grow older and its plain to see,
The love that you give me is all that I need.
?


{21}Zindagi Mein Bar Bar Sahara Nahi Milta...

Bar Bar Koi Pyar Se Pyara Nahi Milta...

Hai Jo Pas Use Sambhal Ke Rakhna...

Kho Kar Wo Fir Kabhi Dubara Nahi Milta

HeartBreaking

"When a girl has no make up on, her hair is
a mess,
she is dressed in rags and a boy look her
into the
eyes and say "you're beautiful" , thats
love.
When you have no words for what you are
feeling, its love.



Samajhna bhi chaha tujhe, lekin samajh na paya main.
Teri nazroon ki gehrayi main, doob na paya main.
Wo kya chupa rakha hai apne dil main, usse jaan na paya main,
Tere dard e dil ko pehchan na paya main….
E kaash ki us hasi ko samajh pata main, tere labon pe ek muskaan de pata main.
Khush rehna is jahan main e dost, bas yahi ek Dua, tujhe de paya main……



Dear guys,

A girl who loves you truly,
will never ask you to buy her expensive gifts or take her to expensive places...
.
She won’t ask for diamonds, rubies or
a promise to bring her a world of luxuries...
.
She just wants your love, care and attention.
.
She just wants you to spend a lot of quality time with her and appreciateher for all that she does for you withlove and affection..
Every girl is unique in her own way...
Value her... [?]




Bahaa ke Aansu usne mujhse ek sawal
kiya..
Incredibe, Q aakhir tumne is Qadar
mujh se
pyaar kiya...
kuchh aise uske sawaal ne mujhe
tadpa diya!...
badi mushkil se mene apne ansooko
apne dil me chupa diya...
usne apni Qasam de k kaha meri
shaadi mein zaroor aana...
mene hanss k uss waqt haan me sir
hila diya
meri hansi ne use kuch aise tadpa
diya
usne phir se rote huye mujh wahi
sawal kiya
Uske ansoo ko saf karte huye usne
aakhir yeh jawab diya
nahi karta main tumse pyaar jao
mene tumhe azaad kiya.


kisi ko bhul jana aasan nhi hota...
Yaado ko dafnane k liye koi shamshan nhi hota...
dekh lena tute huwe dil k tukde ko...
pyar ke zakhm ka koi nishan nhi hota....


sapne hai aankho me par need kahi aur hai.....
dil hai jism me par dhadakan kahi aur hai.....
kaise kare apna haal - e- dil byan.....
jee rahe hai par zindgi kahi aur hai.....



MAINE DIL KE DARWAZE PE LIKHA THA.....
''ANDAR JANA MANA HAI''
USKE ISHQ NE MUSKURATE HUE KAHA.....
''MAAF KARNA MAI ANDHA HU''


wo jab bhi mujhse milta tha 
har baar mujhse pucha karta tha
ki tum meri ho na aur mai har baar uske chahre ko
aapne hatho se chu kar kasam khaya karti thi

par kash!!!
maine ek baar usse puch liya hota
ki tum mere ho na



maine zindgi se pucha
SUBKO ITNA DARD KYU DETI HO
zindgi ne hash ke jawab diya
MAI TO SUBKO KHUSHI DETI HU
par ek ki khushi
DUSRE KA DARD BAN JAATI HAI

Sunday, 2 June 2013

12 Principals Of Animation

1. SQUASH AND STRETCH

This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.

2. ANTICIPATION

This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality

3. STAGING

A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.

4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION

Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation

5. FOLLOW THROUGH AND OVERLAPPING ACTION

When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action

6. SLOW-OUT AND SLOW-IN

As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene

7. ARCS

All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.

8. SECONDARY ACTION

This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.

9. TIMING

Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.

10. EXAGGERATION

Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated.

11. SOLID DRAWING

The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.

12. APPEAL

A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience's interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.