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buzzdixonwriter · 3 years ago

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THE GREAT ALASKAN MYSTERY (1944 serial)

I finally figured out the crucial difference between Universal serials and Republic serials:

Universal serial characters change their clothes.

As noted elsewhere, Republic was notorious for keeping characters in the same outfits unless they changed clothes to match stock footage (not much of a problem when dealing with cowboys / superheroes / military personnel).

While there’s plenty of that in Universal serials, they also dressed characters logically for the scenes they appear in, which for this serial means wearing suits and dresses when meeting business leaders in town, dungarees and plaid shirts when logging or mining, furs in the great frozen north, etc.

The Great Alaskan Mystery isn’t a fan favorite among serial buffs, but for the life of me I can’t fathom why. It packs a good script (by George H. Plympton and Maurice Tombragel off a story by Jack Foley) with well constructed scenes, characters, and dialog; the performances are all good; while the direction by Lewis D. Collins and Ray Taylor is workman like it still delivers the groceries and occasionally offers some interesting staging; Harry Neumann and William A. Sickner’s cinematography is up to the task; and the editing team (Irving Birnbaum, Jack Dolan, Ace Herman, Alvin Todd, and Edgar Zane) tie in a lot of stuff very seamlessly.

It occupies an odd space stylistically, however, both looking towards the past and the future.

On the one hand it’s a throwback to old 1920s / early 30s serials, with a plot centered on spies’ attempts to steal a marvelous / deadly device from an inventor; on the other it looks and feels in many places like a dry run for filmed 1950s TV shows.

And it works, not exceptionally well, but not awful, either. In terms of overall consistency, probably one of the better serials insofar as it stayed more polished and professional throughout than most other chapter plays.

The cast is good: Milburn Stone, long before settling in as Doc on the TV series Gunsmoke, plays a credible action hero in the role of Jim Hudson, a Marine cashiered due to war injuries who now fights Axis spies and American fifth columns in Alaska. He’s not the stoic, unflappable stereotypical hero of most B-movies and serials but is allowed to show irritation, frustration, and excitability in appropriate scenes; this alone gives The Great Alaskan Mystery a more grown up flavor than most serials of the era.

Ralph Morgan (older brother to Frank Morgan of The Wizard Of Oz) is Dr. Miller, the inventor who realizes the device he meant for benign purposes can easily be turned into a weapon. The script really helps here as it gives Morgan a chance to demonstrate a depth of characterization uncommon in most chapter plays as he agonizes in remorse over the full realization of what he has done.

Marjorie Weaver plays his daughter, Ruth Miller, and I found her a delight, a spunky heroine willing to get involved in the action. She’s more appealing than most actresses cast in these sort of roles and it’s a pity nobody thought to build a serial around her.

Martin Kosleck was a German refugee who hated Adolf Hitler and took particular delight in playing Nazi villains who get it in the neck. His Dr Hauss is a spy pretending to help the heroes but working against them with the aid of other baddies. Despite the more far-fetched plot elements he remains a very credible and threatening villain.

Edgar Kennedy, who played in literally hundreds of comedies, often as a foil to fLaurel & Hardy, is the comic relief as Bosun Higgins, an Alan Hale Jr.-type character. He’s not there just for the jokes and pratfalls, however, and takes an active part in the proceedings. Fuzzy Knight, typically cast as a comic relief in countless Westerns, gets a totally straight role as a mine foreman; Samuel S. Hinds is an American businessman / fifth columnist in league with Dr Hass; and Anthony Warde is the chief henchman who frequently needs to deal with his less than competent underling, Ed Gargan. The two come across more believably than the mindlessly murderous minions of too many Republic and Columbia serials and Gargan’s goofs are believably stupid, not cartoonish.

Finally, Jean Trent gets a small role as Hinds’ secretary; it’s never clear if she’s in on his scheme or not. The very last scene of the serial has Kennedy blocking her escape and uttering a double entendre which causes Trent turn to the camera and wink in what was certainly intended as a sly all-in-good-fun joke in 1944 that lands creepy today.

While the script is good, the serial is oddly paced. After introducing Prof Miller and his invention the Peratron and explaining why the Axis wants to get their hands on it, the characters set off by steamer for Alaska where Hudson’s father owns a mine that can produce the energy rich quartz needed to make the thing work.

No sooner do we got aboard ship than we’re introduce to the villainous Captain Greeder (played by Harry Cording) who reveals he’s in cahoots with Dr. Hass. Then we meet two Alaskan prospectors, one of whom promptly get bumped off for no apparent reason other than to show Greeder doing something evil ( the second lasts a bit longer to get attacked by a polar bear two chapters later).

At that point -- still in chapter one – the ship hits an iceberg and sinks, splitting the survivors into two groups who need to make their separate ways across the ice floes. Much of chapters two and three are built around extensive use of stock footage from a 1933 Universal / German co-production, S.O.S. Iceberg (which interestingly enough also supplied Inuit stock footage to Universal’s 1957 sci-fi movie The Deadly Mantis). This is actually some of the most harrowing stuff ever put in a serial with the two group’s facing desperate odds against a harsh environment…

…but it also loses the main plot for about 1/6th of the serial.

There’s a couple of disjointed chapters until they finally reach the mine, much of it set in an Inuit village (referred to as Eskimo in the serial). Jay Novello plays the chief of the Inuits and for once they’re not presented as primitive savages but a culture with their own values and concerns. Greeder tricks them into helping the baddies, then inexplicably vanishes from the rest of the story. There’s an attempted skyjacking / plane crash that has nothing to do with the rest of the plot other than to add a bit of action to an otherwise lackluster chapter (and cheats with its cliffhanger, the plane clearly crashing in flames in the previous chapter, landing safely in the next), then finally we get down to business in the rugged wilds of Alaska, played in this serial by Chatsworth.

Chatsworth.

Take all the time you need to process that.

Incongruous geography aside, here’s where the serial hunkers down and proves satisfying.

Prof Miller’s Peratron* is intended to transport matter along a beam of light, not like the transporters of Star Trek but more like the “light bridge” in Flash Gordon Conquers The Universe. When they finally get the thing working full force, it proves to be an incredibly destructive weapon, reducing Prof Miller to a state of despair over what he wrought.

It also provides a moment of grimdark humor because when Prof Miller tests the Peratron at full strength, he unintentionally blows a hole in the wall of the cabin --

-- and unknowingly disintegrates three baddies creeping up outside to attack him!

Prof Miller frets over what his weapon might do, completely oblivious to the fact he wiped out three lives.

That’s a nice little plot twist and it adds depth and resonance to a story where one normally doesn’t expect to find it.

The other baddies see this happens and it makes them justifiably reluctant to go after the heroes head on, thus explaining a cat-and-mouse game that goes on until Dr Hass gets his hands on the device. One would hope this would build to a satisfying climax, but as with many Universal serials the story starts losing steam and limps through the last few chapters. The ending is okay, but not up to the opening chapters.

The cliffhangers are mostly satisfying, though as mentioned they do cheat on occasion. In one chapter they get some Hitchcockian comedy-suspense out of repeatedly just missing setting off a high explosive booby trap, but when the explosives do go off it’s treated more like a Three Stooges pratfall than a serious attempt to kill anyone.

Chapter recaps are handles with a single title card though in the second half of the serial various bad guys report to their boss on whatever trap they’ve left in place for the heroes, similar to the way the spies reported in Universal’s The Master Key a year later (also starring Milburn Stone).

Production values are high, stock footage scenes are interwoven seamlessly, performances and dialog are enjoyable for adults (as opposed to other serials more clearly aimed solely at the kiddee matinee market), and in the end The Great Alaska Mystery delivers a satisfying story.

But -- as I’ve often said before -- what Universal serials made up for in quality, they lacked in panache. Republic and pre-Sam Katzman Columbia serials might have been shockingly inexpensive and looked it, but they tended to be fast paced and filled with a devil-may-care approach to the material.

Aimed at younger and / or less sophisticated audiences, they aimed at keeping their viewers’ attention by moving things along at a breathtaking rate, never pausing to really examine any elements in their stories.

Universal’s serials might have played primarily to juvenile and unsophisticated audiences, but by and large they weren’t stupid, they gave adults something to enjoy even if adults rarely saw their efforts.

The Great Alaskan Mystery is a fine example of what Universal could do when they set their minds to it.

But…Chatsworth?

Seriously…

Chatsworth?!?!?

* When watching TV late at night I tend to turn the sound down low so as not to disturb Soon-ok as she sleeps and use the automatic close captioning to help follow the story. The system consistently rendered “Peratron” as “Pokemon” and I gotta say heroes vs baddies for possession of the ultimate Pokemon card would make one helluva great serial.

#The Great Alaska Mystery #serial #Universal Studios #Milburn Stone #sci-fi #media

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lemongrass404 · 11 months ago

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aaaaaa oh dear oh god okay

Last Song

Butcher Vanity [YiXi VSynth!] by VaneLily & The Flavor Foley!

Currently Watching

Supernatural, The Falcon and The Winter Soldier

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Call of Duty: Modern Warfare, Need for Speed: Payback Edition

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i don't know very many people on this hellsite and i'm never on here.. and most ppl i know are alr tagged.... lets go w.... @lokislefttoe27 miraaaa

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lovesick-level-up · 1 month ago

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Flavor Foley Songs Web Decor (Part 1, Part 2)

@keqingprophet requested: is there any chance you could do any other flavor foley songs? (as web decor) up to you which ones

feel free to use with credit, but don't claim as your own! like/reblog if you save or enjoy!

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grey-house-videos · 5 years ago

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Week 4- Research into previous promos/Colour Grading/Enhancing & mixing audio

Whilst most film makers decide to just point a camera at the subjects and simply film them, an experienced film maker can then in turn edit the footage they have to look more professional or to have their own unique flavor to them and as a result these techniques can make a simplistic film look like a master class of film making, with the right cuts and talent behind them.

Starting off with colour correcting, this involves taking raw footage and changing the dominant colours of the footage in a way that looks a lot more clean and professional, not too dissimilar to white balance from week 2, in which you took the frame and competently changed it to dominate the frame and as a result this changes the mood, however colour correcting allows for customisation and more options for when it comes to colour, and can make all the difference between a film that looks amateur and one that looks professional.

Now there are too many type of colour correcting to list off, so I've made a small image to demonstrate the power that hue / saturation has over a single image

Saturation: this changes the intensity of colours in an image, so overly saturated has every pixel in an image exaggerated, whilst de-saturation simply makes the image black and white

Hue on the other hand is the actual colour itself, so changing it will change any available colours to a different one.

Audio In a video is the second most important thing, without it most of the images on screen have no meaning and do not have any flow, with an audio track or Foley sounds recorded on set, which can include both music and sound effects, meanwhile audio can be added in post production, which usually means it will ether dominate, or replace Foley sounds, audio that is added later can range from, voice-over, music tracks to sound effects that match whats happening on screen, which leads into a technique called sync cut. Sync cut is taking the audio file and matching the beats in the audio file to cuts in your film, it’s a popular technique to use when making an advertisement and is one that I will hopefully find in my research and later will use this technique to improve my film as a result.

With my overall project for this assignment being to create a final advertisement for a business, its only natural that I’d need to look to previous examples to gauge how the final result is going to look, in this weeks blog i’ll go through as many previous examples and evaluate them.

The business that I decided to go for is a beauty salon that specialists in nails and body treatment, and going through YouTube for examples, there’s a lot of previous examples

youtube

Looking at this example from Ramin Razilov, the clip starts off well, a great establishing shot of the outside of the studio, and a nice slow motion pan, but then it immediately switches to another establishing shot on the other side of the sign for no reason, and then throughout the entire film it just uses close ups and extreme close ups, making the audience feel very claustrophobic, and hiding the salon from the viewer for no reason. The audio mixing is also quite bad, very rarely matching the visuals on screen, and also even being delayed, robbing the audience of the satisfying match on action of the music and the visuals making the video at the end of the day look amateur and not well put together. However there are some positives to it, that being the use in close up shots, when they were done right, they looked very professional and well put together, even the close up on how the nails were done was very well put together.

looking at this one, I know that very good use in close ups can help the project look a lot better however use it sparingly and only for the correct shots.

youtube

This second video, made by Andy Chok features much better camera work than the previous work being that it manages to use panning shots of the salon, giving the audience a detailed look into the building and how clean looking it is, whilst also featuring the close up shots of the customers showing how the salon works with its customers and how they look after their sessions. Whilst the video does use a before and after shot to show a specific customer, I do feel it breaks the flow of the video by having the view need to stop and read the text on screen, and having the before shot be used twice adds a layer of unneeded repetition to the video and again, breaks the flow of the video. Another negative in the video is the music, the kiddy music does not fit the slick clean look the salon is going for.

Whilst this video has a lot of positives, it shows that the right type of music can make the advertisement that much more professional

youtube

This Final video I analysed by Skip Thomas is an advertisement that features a lot of positives in terms of camera work and even in audio, with effective use in sync cut and a decent amount of customers to show off their customer satisfaction, and their work ethic, which is one of the most important things when it comes to a promotional video like this. The video also features nice fading cuts, which in my opinion shows the soft and luscious nature of what a salon should be like, calm and professional, with fitting music that isn’t too in your face and is appropriate for the business.

This video has a lot of positives and is going to be my main source of inspiration when making my own advertisement.

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theatrepuppet · 6 months ago

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rawdog by flavor foley icons. credit and rb if using

#💛:edit #hayden #hayden synthv #synthv #synth v #vocal synth #rawdog #flavor foley

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63824peace · 5 years ago

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Wednesday, 19th of october 2005

We often use the figurative expression, "The corporate world is like a war zone." This isn't entirely accurate. We should say, "The corporate world is like a war zone wherein we have no allies." True, the corporate world and a shelled battlefield both experience high levels of tension and stress, yet trust can be difficult to establish among others in the corporate world.

One type of local skirmish always prevails amid the corporate war zone's larger battles: the Battle of Egos. One’s enemies in the Battle of Egos exist not only outside his company, but inside as well. A friend today can become an enemy tomorrow.

Against whom are we really fighting?

The greatest danger in a real battle is Friendly Fire. It occurs when you are shot by your own comrade. Most wartime casualties result from Friendly Fire, as a matter of fact. Most of KojiPro's first-time participants in yesterday's field training were eliminated like this.

The same is true of a company in a corporate war. The shot that you fire to protect yourself may hit your colleague.

Still, more of your fellow colleagues will preoccupy themselves with competition from within the company, rather than the larger corporate war.

This behavior is truly childish; we can't win the global corporation war this way. Victory becomes impossible, and we can't win if we work alone. We need to rely upon war buddies with whom we share a relationship of mutual trust if we want to win.

Friendly Fire is a problem in the game industry too. I love creating games, so I want to do something about it.

At least I have war buddies within Kojima Productions. Relationships of mutual trust cannot grow within organizations through systems and responsibilities alone. People are connected via tamashii . . . via soul. We only fight with a handful of war buddies. We don't fight to make either our company or the game industry into total battle zones. Our first priority ought to be the establishment of war buddy relationships.

I would like to thank Tokyo Phantom and Tokyo Marui for the equipment that we used during yesterday's hands-on field training.

I had a sore throat this morning. I didn't feel much soreness in my muscles, but I felt sluggish and lethargic nonetheless. I wonder if I’ve caught a cold.

I pulled a Yunker Energy Drink out of the fridge and drank it. Now is not the time to get sick.

I walked through the tunnel from Roppongi Station to the Hills during morning rush hour. The posters for the International Film Festival caught my eyes again. I wasn't watching where I walked because I couldn't take my eyes off the posters along the left wall.

I glanced from the poster that advertised Kamen Rider: THE FIRST to the poster for Sympathy for Lady Vengeance. I turned my attention forward when I remembered yesterday's lesson when I ran into all those people. Then I saw others who looked at the posters on the left wall while walking, just as I had.

"I haven't bumped into anyone this time. I wonder why that is."

I considered what the reason behind this might be. The crowd walking from Roppongi Station to the Hills sort of streamlines itself during morning rush hour. It's a one-way current. Only a few people come from the Hills to the station.

Then I understood: no one bumps into anyone else because of the nature of the crowd. I can walk safely while looking at the posters if I conform my movement with the current.

I'll try this every morning. I'll need to exercise caution during my evening walk though. People will come from the station to the Hills then too. I should watch out so I don't bump into them.

I passed by the last of the posters and mounted the escalator. My list of movies that I want to see has grown once again.

I ate fried rice with red hot pork for lunch at the restaurant Fuuton San Raakyo. The lunch menu was mostly seafood. I'm not really a fan of seafood, so I passed.

I noticed a flashy van parked beside the Hills Arena on my way back to the office. It's a mobile shop that sells meals on the street. A mobile shop came by often last year selling melon-shaped bread. This one sold fried breads.

It looks as though there's an event going on for a short time only. The event is called the Umu Village Boardwalk.

"Oh wow! Fried breads . . . how nostalgic!"

I approached as though I had been summoned. I was greeted with a lively "Welcome!" Lunch had already filled me up, but adults should always show their manners.

"What do you recommend?" I asked.

"Let's see . . . Kinako and cocoa are really good."

I saw many containers with different flavored powders inside. I found the can with Kinako. I had a hard time imagining fried bread with Kinako, so I said, "I'll just have one with cocoa."

I made the sensible choice. One fried bread, 100 yen. The seller took fresh fried bread out of the warmer and dipped it into the can containing cocoa.

"Here is your bread!"

I took the fried bread rolled in paper. It was covered with cocoa powder and was piping hot.

"Yikes, this thing is big! Can I eat it all?"

The two people who watched me eat my fried bread remembered their adult manners too. Matsuhanan ordered a Cafe-au-lait and Kenichiro ordered a Kinako. "Our stomachs are full," we said, "but this is really good!" Then we three oldies filled our mouths. So delicious and sweet!

I received the layout of an article for Hyper magazine. I proofread it and asked Murashu and Ryosaku to do the same.

This month's article is about Jaws and will be published in the December issue of Hyper Playstation 2. Jaws' release date is October 30.

An Internet rumor popped up claiming that my serial has ended since I failed to turn in articles two months in a row. No worries though . . . I'll just continue as normal.

We are going to record the narration for the English version of the Existence disc this afternoon. The narration needs to be recorded for the three and a half hours of footage.

We will handle the recording in Studio E-B which is on the same floor as KojiPro. We recorded the Japanese narration here back in September.

Six sound studios are on this floor. Studios A through D are used exclusively by KojiPro. These studios were originally used by the now disbanded Konami Computer Entertainment Japan (KCEJ) WEST studio. We used each studio for a specific task: music composition, foley, sound editing, and mixing.

Studios E-A and E-B were originally used by KCEJ EAST. We used Studio E-A for general recordings, and we used Studio E-B for recording sound effects and voices. WEST and EAST produced their games separately, so the studios were used in different ways. However, today we use these studios more efficiently as a unified sound room.

Both of the Studios from the former EAST division already had a complement, so our work became even more convenient. "E-B" stands for "EAST's Studio B." I'm a little embarrassed to admit that I only learned this today. At least I can conclude that Studio E-A isn't responsible for creating sports games.

I asked Mr. Hideyuki Tanaka to voice the narration in the Japanese version. He voice-acts for Otacon's role. We recorded a wonderful and passionate narration with his talent. I want everyone to listen to it once Existence is completed. It's a must-have for Hideyuki fans.

I asked Jack-san to narrate the English version. Jack-san's narration gave the film images a tincture different from Hideyuki-san's performance. It is marvelous. I'd even like the Japanese audience to listen to the English version.

We had a debriefing session in the evening for yesterday's hostage rescue operation.

I went with Ryosaku to the restaurant Yokaru for dinner. I ordered Chii-sui-men, and Ryosaku ordered Bai-ko-men (which is what I usually order).

I stopped by the bookstore on my way back to the office. A new T. Jefferson Parker book titled California Girl was on sale. Parker also authored the book Silent Joe. I really want to read it. I had it in my hand but I returned it to the New Releases shelf immediately. I ought to read the books I already own. Otherwise I'll simply add more to my surplus.

I hardly ever give up on a book once I start reading it. I'll read to the end once I've become introduced to it, even if the book is dull. I also read all of the books that I buy. People may recommend books to me but I always buy them for myself. I never throw away a book that I have read because books are experiences in themselves. I want to cherish all that I have read.

A book that a person reads has the same substance as a memory. I want to keep all of my books just as I want to keep my memories. My wife becomes irritated with keeping all those books around though.

An introduction to a book is similar to an introduction to a new person. Think about the probability of encountering one book out of the multitude that exists. There must be as many books in the world as there are stars in the universe. We really must be in the grip of some sort of fate.

I want to believe that my intuition guides me into this fate. I want to cherish all of the books to which I have been granted audience.

I haven't been able to read many books since TGS. I feel somewhat unstable. I rarely live without reading something. I haven't dealt with this since I finished up MGS3 last year. I don't have spare time for reading. My commute between home and work becomes the only time available.

But even then I feel tired. I usually forego reading and settle for simply listening to music. It won't be good if I keep on like this. Life without reading a novel is depressing.

I returned to the office. There was an announcement regarding the earthquake that had apparently occurred while we were out eating ramen. I was walking so I didn't notice. My five senses must be dulling.

I swam in the gym at night. I almost cramped while swimming. I wonder . . . could it be an after-effect from yesterday's training? Whatever the reason, I swam awkwardly because of the cramps. I only used my arms toward the end.

I found a mark on my right thigh while I was in the jacuzzi. I knew that I had been hit by a BB from someone's air gun, but I didn't think that it would leave a welt. Come to think of it, Murashu's arm looked like it had broken out with a rash.

I left the gym before midnight. I see more and more pumpkins in the city every day. Even I (who hate vegetables) feel lighter during this time of the year.

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topbeautifulwomens · 6 years ago

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#Maria #Kanellis #Biography #Photos #Wallpapers #model #acting #fashiongram #ig #illustration #makeupaddict #makeupvideos #modeling #pretty #smile

She competed in the RAW Diva Search 200four. Despite not winning the Diva Search [3], she was hired anyway.

Maria was brought on to RAW as a backstage interviewer[4]. She was given a “dumb blonde” / innocent teenager flavor gimmick (despite being a brunette), playing on mistakes she made in previous weeks. Her 1st scripted “ditziness” was during an interview of Shawn Michaels when she referred to wrestler Edge as “The Edge”. This “dumb” gimmick saw her in a lot of comic skits, most notably during interviews involving WWE Champion John Cena, The Big Show, and Mick Foley. She temporarily earned a reputation as the oblivious RAW backstage reporter – Maria seemed to ask the wrong questions, irritating and amusing WWE Superstars and Divas alike. For example, she asked Chris Masters about his nickname, “the Masterpiece” and erroneously called him “the Masturbate”. Despite being in WWE for such a brief time, Maria had numerous memorable occasions, including interviewing Eugene and William Regal after they won the World Tag Team Championships from La RĂ©sistance, where an overwhelmed Eugene doused Maria in chocolate milk as part of a post-match celebration.

In 2005, Maria began to get very physical – in, and out, of the ring. She competed in her first official match on the January 10, 2005 edition of RAW. She faced off against Christy Hemme in a Lingerie Pillow Fight, but misplaced after being hit with a pillow by Lilian Garcia and then tripped by Christy Hemme, who followed by pinning Maria with a bridge[5]. On the October 31, 2005 edition of RAW, Maria competed in a Halloween Costume Contest, dressing as an angel. She received a good pop for her contributions to the contest, but it ended as a no-contest when Victoria and Mickie James got into a fight, and Maria served the other divas get Vince’s Devils out of the ring[6]. She also competed in a Fulfill Your Fantasy Diva Battle Royal at Taboo Tuesday 2005 for the WWE Women’s Championship but was the first to be eliminated[7].

On November 14, 2005 Maria competed in a non-title Diva Battle Royal at the Eddie Guerrero tribute RAW show. Maria stood by herself for most of the match, only getting involved when she saw the opportunity to eliminate a competitor, a strategy that proved effective as she eliminated both Jillian Hall and Victoria[8]. On the November 28, 2005 edition of RAW, Maria interviewed then-RAW General Manager Eric Bischoff and asked him whether or not he thought he was going to be fired. He then booked her a match with WWE Superstar Kurt Angle out of spite. Maria was laid out with the Angle Slam, but John Cena came down for the save[9]. On the December 5, 2005 edition of RAW, Maria testified in the trial against Eric Bischoff as General Manager. She first asked Mick Foley to question her with Mr. Socko, before answering, unusually intelligently, “Last week Bischoff abused his strength in a way that was both malicious and capricious, and itâ€s this rash discourse that has led to a locker room of disdain and mutiny, and it should be grounds for his immediate dismissal”[10][11].

On the December 2005 Tribute to the Troops, the RAW Superstars visited Afghanistan to perform for American soldiers. Maria and Candice Michelle defeated Ashley Massaro and Trish Stratus in a Santa’s Helper Diva Tag Team Match[12].

Name Maria Kanellis Height 5' 7″ Naionality American Date of Birth 25 February 1982, Place of Birth Ottawa, Illinois, USA Famous for

The post Maria Kanellis Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/maria-kanellis-biography-photos-wallpapers/

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captainblogger100posts · 6 years ago

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Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2

Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2 Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2 http://www.nature-business.com/business-microsoft-will-sell-consumer-and-business-versions-of-surface-pro-6-laptop-2/

Business

When Microsoft introduced last year its new Surface Pro and Surface Laptop last year, they each shipped by default with a single Windows 10 edition. The Pro shipped with Windows 10 Pro. The original Surface Laptop shipped with Windows 10 S (which later was branded “Windows 10 Pro in S Mode”). But when the new Surface Pro 6 and Surface Laptop 2 ship later this month, customers will have some new choices. Credit: Microsoft Surface Pro 6 will come in two flavors: A consumer version running Windows 10 Home or a business version running Windows 10 Pro. Surface Laptop 2 users will have the same choice — a consumer edition with Windows 10 Home or business one running Windows 10 Pro. (Microsoft officials didn’t mention Windows 10 in S Mode at all during the October 2 launch of the new Surface devices.)The base hardware is the same, regardless of whether a customer goes for Home or Pro on the new Surfaces, a Microsoft spokesperson confirmed. Both the new Surface Pro 6 and the Surface Laptop 2 are running 8th-generation Intel quad-core processors.Customers who purchase the business versions of Surface Pro 6 or Surface Laptop 2 will get Microsoft’s “Advanced Exchange” warranty for no additional cost Advanced Exchange offers expedited device replacement, at no additional cost. Microsoft officials announced at last week’s Ignite IT pro conference that Microsoft’s Advanced Exchange warranty would be expanded to include new Surface devices.Pricing will be different for the business and consumer versions of Surface Pro 6 and Surface Laptop 2. Both are available for preorder as of today, October 2, and both are set to begin shipping on October 16. The Surface Laptop 2 starts at $999 (with no keyboard or pen included) and the Pro 6 for $899 (also no keyboard or pen included).

Microsoft charges more for Windows 10 Pro than Home, but so far I don’t have the exact price differentials between the consumer and business configurations of these devices. I’ve asked Microsoft for more information and will update this post once I hear back.

Read More | https://www.zdnet.com/article/microsoft-will-sell-consumer-and-business-versions-of-surface-pro-6-laptop-2/ | Mary Jo Foley

Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2, in 2018-10-03 07:42:46

#Nature of Business in the Current Market

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blogcompetnetall · 6 years ago

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Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2

Business

Read More | https://www.zdnet.com/article/microsoft-will-sell-consumer-and-business-versions-of-surface-pro-6-laptop-2/ | Mary Jo Foley

Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2, in 2018-10-03 07:42:46

#Nature of Business in the Current Market

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algarithmblognumber · 6 years ago

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Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2

Business

Read More | https://www.zdnet.com/article/microsoft-will-sell-consumer-and-business-versions-of-surface-pro-6-laptop-2/ | Mary Jo Foley

Business Microsoft will sell consumer and business versions of Surface Pro 6, Laptop 2, in 2018-10-03 07:42:46

#Nature of Business in the Current Market

0 notes