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At the top of the list of these events is the non-deal road show. This is a series of one-on-one meetings with the buy-side over a one-day period or over multiple days in several cities. As the non-deal aspect of the name implies, management is not raising money at the time (unlike an IPO or secondary offering). It s simply a forum to update money managers on the company s progress. The non-deal road show is the most effective forum to develop interest in a stock because the portfolio manager can ask questions, look management in the eye, and share concerns in a private setting. This is very different from a well-attended conference call where a portfolio manager might not even be able to ask a question, let alone five or six like she wants. The oneon-one meeting usually lasts 45 minutes to an hour, and there can be anywhere from five to eight meetings in a given day. Management and its IR department should plan the year in advance and specify which dates work best for the non-deal road show. Four times per year, directly after each quarterly conference call, is a good start, although management may want to layer in one or two other opportunities. The reason post conference call road shows are best is basically for Reg FD purposes. Because all new company information and financials will have been

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Using the Animation Constraints menu, you can apply constraints to objects. This menu also lets you select a target object. You can use the various constraints to limit the motion of objects, which is helpful as you begin to animate. If you re an animator, you should thank your lucky stars for controllers. Controllers offer power flexibility for animating objects and just think of all those keys that you don t have to set by hand. This chapter covered the basics of using the Expression controller. Using mathematical formulas to control the animation of an object s transformation and parameters offers lots of power. You can also use the values of one object to control another object. In this chapter, you accomplished the following: Constrained an object to the surface of another object using the Attachment and Surface constraints Forced an object to travel along a path with the Path constraint Controlled the position and orientation of objects with weighted Position and Orientation constraints Shifted between two different controlling objects using the Link constraint Followed objects with the LookAt constraint Learned about the various controller types Discovered how to assign controllers using the Motion panel and the Track View Set default controllers in the Preference Settings dialog box Examined the various controllers in several different categories

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Photoshop works with still images, but if you work with animations, then Adobe has Premiere to help with your video editing needs. The editing that Premiere makes possible includes patching several animation clips together, adding sound, color-correcting the frames, and adding transitions between animation clips. Within Premiere, various animation clips can be imported (or dragged directly from Windows Explorer) into the Project panel. From here, the clips can be dropped onto the Timeline in the desired order. The Monitor panel shows the current animation or individual animation clips. Sound clips can be dropped in the Timeline in the Audio track. The Title menu can also be used to add text to the animation. Another common activity in Premiere is to add transition effects between clips. This is done by clicking the Effects tab in the Project panel, selecting a transition effect, dragging the effect to the Timeline, and dropping it between two animation clips. When the entire sequence is completed, you can render it using the Sequence Render Work Area menu command. The completed animation file can then be saved using the File Export command.

they appeared to the participants. . . . I hope that it has the feeling of history unfolding, not of history considered in retrospect. Quoted from Nicholas Lemann, Redemption: The Last Battle of the Civil War (New York: Farrar Straus Giroux, 2006; rpt. 2007), xi. 23 W. B. Carnochan, Gibbon s Feelings, in David Womersley (ed.), Edward Gibbon: Bicentenary Essays (Oxford: Voltaire Foundation, 1997), 333 346; quotations at 342 343 and 341. Cf. G. W. Bowersock, Gibbon s Historical Imagination (Stanford: Stanford Humanities Center, 1988), 10 11, with quotation from Gibbon s introductory comments to X (HDF 1, 263 264). Bowersock s lecture rst appeared in a shorter version under the same title in The American Scholar, 57 (Winter, 1988), 33 47. On the importance of imagination for historical research cf. G. R. Elton, The Practice of History (1967; rpt. Oxford: Blackwell, 2002), 108 113. 24 Wicking and Pattison, Interviews with Anthony Mann, 42 43.

This is a vital part of the management of these wounds. Many factors within the patient can affect the progress of the wound. Naylor (2001) discussed the issue of wound pain for patients with fungating wounds and the need to address the psychological, social and spiritual aspects of pain. 2 discusses patient care in greater detail.