Here is how he works:

http://www.youtube.com/watch?v=DbHygyExIIk

I'd rather have twice (or more) the battery life per charge than a removable battery which is one reason I have an iPhone 4S instead of an android handset.

Where are you going to keep those extra batteries that you have to swap throughout the day when you are not on a plane? What happens when you have then in your pocket with some keys and one of the keys short the terminals on a battery in your pocket?

Who said anything about carrying extra batteries? Let me count the number of times I have carried an extra battery for my phone (android or other) since phones changed from analog to digital carrier: never.

Having a removable battery allows for several things, such as removing the battery when something goes wrong (or to prevent it from going wrong), or replacing entirely when the original battery has worn out.

DEFLATE (which is used in gz files) also has a blocking mechanism. the problem is there is no magic value to search for like there is with bzip2. However, it is possible to recover data after a corrupt section of a tar.gz file. I know because I have done it just this month. "stored" blocks happen to be laid out in such a way that you can actually scan for them. once you find a stored block, you can then attempt to decode the deflate stream from that point. As long as no compressed blocks refer to data before that stored block, you've recovered data that you previously chalked up as lost.

3.5" and 5.25" floppy drives are generally quite dumb. they have no idea what a sector is. These are called "soft sectored" disks. The drive just streams flux reversal pulses out over the /READ_DATA line to the controller card. The controller is where the sector is decoded.

BTW, I have also checked and adjusted the calibration on a few different 3.5" drives. I don't have test media to check the alignment of a 5.25" drive, currently.

What method are you using to read them? If just a USB drive or an internal drive on a normal floppy controller, you might get better luck with a device such as the KryoFlux (if you are really determined to get that data back). It is a specialized floppy controller that records the timing of the flux reversals on the media, with the ability to sample a single track about 35 times in one pass, and retry many many times in an attempt to get everything. then software converts that to a usable disk image file.

If you are not interested on spending money on such a device, perhaps you could send the media to someone that has one. (Such as myself.)

No, I'm referring to Server Name Indication.

Sure, you can encrypt the data, but you still have layer 3 information showing what servers you're communicating with. And with the extensions to allow vhosts on https (with different certificates for each vhost), you might be able to tell what site is being visited by logging the handshake.

I've not purchased new games from GameStop in quite some time, however I have heard from a couple other people that they open every new copy and keep the CD or DVD behind the counter as an "anti-theft" measure. (There is no incentive to shoplift, as there is no media and/or key in the box.) At least one of the people I have heard this from complained to someone at id Software, with the concern over unscrupulous employees making copies of the keys to use themselves or sell.

I forgot to mention: I am not a lawyer, let alone YOUR lawyer. This is not legal advice.

False. Copyright infringement is ANY copying or distribution for which you do not have permission. And before someone else mentions fair use: Fair use is a legal defense after the owner goes after you.

You may not agree with the current state of copyright law, but you should at least know it before making false claims about it.

I can't stand the crappy interpolation. One, you're potentially destroying (potentially misguided) artistic choices. Two, every time I have seen this, there has been a speed jitter after cuts, where the interpolation filter is trying to catch up. After it catches back up, it slows back down to match the incoming data rate. Three, it just looks wrong.

Also, this may be news to you, but almost every fully-scripted (non "reality" bs) show, at least in the US, is shot at 24fps, edited at 24fps, effects done at 24fps, and then pulled down to 59.94 fields or frames per second (depending on interlaced/progressive transmission medium).

You mean the millions of installed projectors worldwide is not a hardware issue? So what if you can manage to shoot film/video at 500 frames per second if the display everyone is using to project it can only do 24? Now you have to do crazy temporal blurring to get the correct motion blur for that output rate, or your movie looks all jerky.

Most scripted TV shows are still shot at 24fps and go through the same slowdown to 23.967 and repeated frame/field pulldown as films on TV.

Industry (2D film) projectors generally run at a refresh rate of 48Hz (I suppose some might run at 72Hz), flashing each image twice (or sometimes thrice) before advancing to the next frame. I have no idea how RealD 3D works.

Of course, if you're using digital projection, you're also dealing with DLP. I think I have been in theaters with 1-chip DLP, but most should have 3-chip. (with 1-chip, the three colors are projected in succession with a color wheel changing the color or the light. if you move your head or eyes fast enough, you should be able to see the colors separate).

Then there is IMAX, which can have a few possibilities. I don't know how digital projection of 3D works with IMAX, but I do know the good ol 70mm. There are two possibilities for 70mm IMAX 3D. Both involve two projectors, though one is two physically separate projectors, where the other is two projectors fused together (top/bottom) sharing a light source. Both methods use polarizing filters to differentiate the eye images. (Here is a segment from How It's Made where they build the latter. I can't find the English version I saw before.)

I have only seen 3D movies in 70mm IMAX, and then only 2 films. I got a headache each time. It has to do with the fixed scene focus. If I am looking somewhere other than the focal point of the scene, my eyes fight a losing battle trying to bring the image into focus.