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Next, measurement paths are discussed. The measurement points participating to performance evaluation of paths are required to perform measurements for all paths ending at ingress or egress nodes of the neighbouring domain. Thus, for path measurements, measuring domains is part of the required QBone function (see Figure 7.6). The QBone website provides more discussion on the metrics, related to which only a few notes are made here. It is suggested, but not required, that measurement points be synchronized to a Universal Coordinated Time (UTC) clock. Small EF aggregates should be reserved for active measurement streams, to which active measurements shall conform. Active measurements for delay and packet loss are derived from IPPM working group documents. The time-out of waiting for a packet in a delay or loss measurement is speci ed to be two minutes ore more. For Poisson-type measurements, the parameter value = 2 times/second is speci ed. EF and BE loss measurements should be done simultaneously to obtain data of the interrelation of the two characteristics. DSCP of the packet shall be set in accordance to the measured aggregate. Instantaneous packet delay variation (IPDV) is based on the de nitions of the IPPM working group, and on the ITU-T speci cation [I380]. Measuring IPDV does not require synchronized clocks. It is speci ed that packets should not be fragmented. The time-out for IPDV is speci ed to be two minutes, as for delay and loss measurements.

To move a shape follow these steps: 1. Select the Selection tool. 2. With the Selection tool activated, click and drag the shape to move it. Follow these steps to resize a shape: 1. Select the Selection tool. 2. Resize the shape by clicking and dragging on one of the shape s handles with the selection tool.

Here s how to draw a sphere:

A network comprises two or more computers connected by a communications line for the purpose of sharing resources. Figure 22-1 illustrates a basic network used to connect two PCs so that they can share a printer and a modem. The sharable resources on a network are files, data, hardware (such as printers, modems,

Your wireless network is now complete. Now you can surf the Internet from anywhere in the house. (Just remember what I said back in 4 about surfing by the pool.) To sum up, here are the key things you should take away from this chapter: A wireless network survey can help you get the most out of your wireless network. The best place to put your wireless AP isn t always the most convenient. WEP or WPA security is essential for keeping intruders out of your wireless LAN. At this point, you ve installed all of the hardware necessary to create a LAN. In 8, I ll show you how to configure your computers for operation on a network. Fortunately, Windows XP and Mac OS X practically configure themselves, so your network is almost complete!

If you re hoping to de-interlace your video (assuming that your final video podcast resolution is larger than 320 240), you need to make sure your encoding application has de-interlacing filters. Most, but not all, do. If you re targeting the QuickTime format, use an encoding application such as Sorenson Squeeze, because QuickTime Pro doesn t include a de-interlacing filter. Sorenson Squeeze includes a de-interlacing filter in the filter settings window, shown in Figure 10.2. Double-click any filter to open the filter settings window. The de-interlacing filter is on by default in the preset filters.

The words letter and character are often used interchangeably in this book. Strictly speaking, a letter is a character in the alphabet that you re using, while a character is anything that you can type (numbers, hyphens, the copyright symbol, and so on).

Note that since cos( - O) = cos(6), the argument fo r the cosine funct ion can be either Ov - 6; or 6; - 6v . In addi tion, note that 6v - 6,. is the angle of th e circuit impedance as shown in Fig. 9. 1. Th erefore,jor a purely resistive circllil,

Although the video and audio settings used during the creation of a Premiere project may be perfect while editing, they may not produce the best quality for specific viewing environments. For instance, a digital movie with a large frame size and high frame rate may not play well at slow Web connection speeds. Thus, you may wish to change several export settings before saving your export file to disk, if you expect your project to be viewed on the Web. To change export settings, click the Settings button in the Export Movie dialog box. (If the Export Movie dialog box is not onscreen, choose File Export Timeline Movie.) After you click Settings, the Export Movie Settings dialog box, shown in Figure 16-2, appears. When this dialog box opens, the pop-up menu at the top of the screen is automatically set to the General Setting.