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That is all the code required to build a trace alternative, and using it requires very little code. The call to the custom trace looks a little like this. The send() method requires four arguments, which are the following. The first is the local connection object, the second is the method to call, the third is string to trace, and the fourth is the error level.

6. Click Save. The clone is created but not opened. The original template file remains open. If you want to immediately begin working with the clone, close the original database (choose File Close or press +W/Ctrl+W) and then open the clone (choose File Open or press +O/Ctrl+O). The other two Save a Copy As options presented in the pop-up menu are Copy of Current File: Creates a backup copy of the current database with all records intact Compressed Copy (smaller): Creates a compressed backup copy of the current database with all records intact

In this chapter you learned how to get on the Web with your PSP, how to hack your pre firmware 2.0 PSP to surf, and how to get your bookmarks on your PSP to save you a ton of time when going to your favorite sites on the road. As you can see, the PSP is an excellent Web surfing tool, so go play with your new toy s awesome Web-enabled features!

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This chapter focuses on modifying paragraph-level typographic formats; 16 focuses on modifying character-level formats. 19 covers the creation and use of styles for both characters and paragraphs.

564. Metallocene-Based Polyolefins: Preparation, Properties, and Technology, J. Scheirs and W. Kaminsky, eds., Wiley, Chichester, 2000. 565. Organornetallic Catalysts and Olefin Polyrnerization, R. Blom, A. Follestad, E. Rytter, M. Tilset, and M. Ystenes, eds., Springer, Berlin, 2001. 566. Metallocenes and Single Site Olefin Catalysts, R.-F. Jordan, ed.; J. Mol. Catal. A: Chern. 128, 1-337 (1998). 567. Advances in Polyrnerization Catalysis, Catalysts and Processes, T. J. Marks and J. C. Stevens, eds.; Top. Catal. 7, 1-208 (1999). 568. Frontiers in Metal-Catalyzed Polyrnerization, J. A. Gladysz, ed.; Chern. Rev. 100, 11671681 (2000).

be "broadcast quality" to be successful, and many traditional techniques do not work well in the bandwidth and processor-constrained environment of the Web. However, for reasons just or unjust, Flash got a reputation in the traditional animation world (and in traditional media) as a tool that was capable of producing only sub-standard animation. On the other hand, many folks, including the authors of this book, got into animation via Flash. Flash gives the masses a way to make objects come alive on-screen. And for some, it gives inspiration to learn how to draw, to learn how objects and living things move, and to learn how to tell a story visually. In short, Flash inspires people to become animators, which is a good thing. In fact, some of the features of Flash that make it the perfect Web animation tool (such as libraries, inking and coloring tools, onion skinning, tweening, and scalability) are making Flash attractive to traditional animation studios. Studios using Flash in their production process are experiencing reduced development time, and a huge reduction in the cost of creating animation. You can build libraries of art assets to reuse in Flash, and you don't need a separate drawing for every eel, so a small team of animators can get a lot done quickly. Libraries allow teams to share art and even behaviors; characters, backgrounds, and objects can be reused easily. Because everything is digital, you don't have to keep track of hundreds of thousands of acetate eels. And Flash is significantly less expensive per seat than other traditional 2D animation software, such as USAnimation, by as much as tenfold. To top it off, Flash has a unique look and feel that can be exploited or mixed with other visual styles.

Once you ve chosen basic settings for the Visualizer, set the Visualizer running (press +T or choose View Turn On Visualizer) and try customizing it.