Software Articles Free Reprint Articles Submit Articles Add Content

Get the right people ” right now ” …at minimum cost and resources

The flexible customizable total solution… WHire Bulk

Total solution for a Principal Recruiter providing bulk recruitment services to customers in multiple countries.

Many companies have the required skilled / unskilled Labour force in considerable number. This is a predominant feature in recruitments to GCC countries. Webyfy Infotech has brought out WHire BULK enabling end to end processes in this domain. The system is designed for a Principal Recruiter engaged in the bulk recruitment of Labour force for multiple companies in multiple countries. The Principal may have branches or Labour supply Agencies in various countries.

Complete solution :
WHire Bulk is a total solution for a Principal Recruiter to run the recruitment business involving customers & labour, supplying agencies in multiple countries. The system enables the demand letter management, job creation; resume approvals, candidate selection process, offer process, clearances and checks like medical test etc., work permit and Visa management, ticketing and travel.

Integration of Customer, Principal and Labor supplying agencies:
The system integrates the work flows amongst the above mentioned players as well as external selection agencies, medical institutions, travel agencies etc. However, there is water tight compartmentalization between users. For example; a customer will not be able to get any information about the labour supplying agencies from the system and vice versa.

Total control with Principal:
WHire Bulk provides complete control over the operation to the Principal. The designated players of the Principal can perform all jobs that are to be carried out by the customer or the agents.

Low Manpower to operate and low recruitment cycle time:
The system has extensive functionalities and does not require repeated data entry. The system forces decision making resulting in low cycle time.

Demand letter
Split into Jobs
Approval by customer
Resume from Agencies
Candidate Selection process

Medical and other clearances

Work permit and Visa

Offer and acceptance

Settlement - Principal & Agencies

Ticketing, Travel and arrival

WHire Bulk -
Total Solution for Bulk Recruitment

* Easy conversion of Demand letter to country specific jobs
* Water tight separation between Customers and Labour supplying agents
* Extensive selection process involving external experts as needed
* Manage multiple types of clearances and verifications.
* Work permit, ECNR and visa management

Demand letter to Arrival at site -WHire- Total Bulk Recruitment solution … it makes the difference

Significant Benefits
For the Principal who implements the system

* High visibility of the recruitment process to the employer /customer and hence enhanced customer satisfaction and retention.

* Completely automates the recruitment process and manages activities of the players with information/status report access to authorised users.

* Manages relationship with the Agents

* Low implementation, roll out and learning time - quick realisation of investment

* Significant reduction in recruitment cycle by more than 70 to 80% hence higher customers satisfaction

* Quick response to customer enquiry from candidate data base without referring to Agents every time.

* Management can be effected from any where and hence the manual operation can be shifted to low cost countries enabling higher profitability.

* Very low manpower consumption in managing the end to end process. Manpower reduction of more than 60% in comparison to a manual process.

* Low cost of maintenance and low service time as the system can be securely accessed over the internet by authorised service persons.
* Single installation for a trans-geographical operation

Customers of the Principal

* High visibility of the recruitment process by the Principal and hence superior control of the process
* Low effort and man power in managing the system
* Low recruitment cycle time and hence greater flexibility to cater to urgent manpower requests
* Quick response as easy information access for decision making
* Higher quality manpower as system enables the search and short listing of suitable candidates
* Facility to out-source the selection process to external agencies who are exponents in conducting the process. This enhances the quality of manpower recruited.
* Can impress the policies of the enterprise through process configuration and approval system
* Short learning time
* Can be customised to exchange data with enterprise systems

Highly Secure and easy to Implement

* Authorization based access to services activities with provision for secure access
* All activities are logged and hence detailed activity maps can be obtained concerning individual users
* Follows all standard processes seen in the job portal and hence low learning time to operate for the players

At the least, spyware will cause unwanted programs to be installed and problems to occur. At worst, somebody could retrieve any information from the computer that they wanted or even crash your whole operating system.

If you’re going to surf the Internet and install programs, you must have an application to detect and remove spyware before it affects your computer. Not only do you need something that works, you need something that is up-to-date because new spyware is always being created. Perhaps the best option of protection is to use XoftSpy.

XoftSpy does many different things. Not only does it get rid of spyware and adware, but it also kills pop-ups and other viruses that can infiltrate your computer. Equally as important is its ability to clean up your registry. Oftentimes slow computer performance and increased crashes and freeze ups are the result of your registry being unkept. XoftSpy will do this for you automatically.

The results are obvious when using this program — not only will your computer perform at its best, but you will be protected from hackers and viruses, and your identity and sensitive personal information will be harder to gain access to. You simply will experience less hassles with your computer.

One of the main benefits of XoftSpy is that it allows you to perform a scan on your computer for free. You will now be able to see firsthand exactly what problems the computer is encountering when it comes to spyware, adware, viruses and other security issues.

It is always being updated to detect the latest spyware on the Internet. Currently the program has the ability to detect and eliminate over 43,000 dangerous applications that can harm your computer. Additionally, they utilize their own users to keep them informed with the latest harmful applications. Once they are notified of these applications, they then add it to their database. Updates are made twice a week to the software to keep your computer practically bulletproof from spyware and other unwanted applications.

You owe it to yourself and to your computer to a least try out the free scan that XoftSpy offers on their website. Check it out. Chances are you’re going to find problems on your computer that you didn’t even know existed. Then you can easily eliminate these problems with a click of a button.

In the initial days when adware was first developed, they were thought to deliver targeted ads to the customers depending on their surfing behaviors. Though, its conception was done for a more ethical purpose but later with more and more advertisers trying to cash in this hot technology started to deliver unwanted ads through adwares which in turn crashed the whole concept of adwares. Today, adware is categorized more as a malware or a script which has potential to dent you system. Many antivirus and adware removal software are popping up on the scene only to scan and remove these adwares from user’s system.

Moreover with changing in the paradigm of advertising industry, marketing agency are heavily investing in adware wiling to get an view of their product across user screen. Not only these advertises are using unethical manners to prompt their products even hackers too are modifying the core value of the program to breach the user’s system security and gain vital information about their surfing behaviors. Though these kinds of softwares are considers as malware but in fact they are only malicious adwares that do not only display pop up ads but even steal vital information from your system.

Why adware went wrong?

In the initial days, adwares was tough to be a great evolution in advertising industry when only few companies invested in adwares but later as the technology grew older more and more company started investing in it which turned the whole adwares market upside down. Sponsoring free software in return of an adware inserted into the software became the easiest way for companies to get instant promotion for their product. Seeing its potential adwares became much more popular and more and more companies started to use it to display ads across user’s system. But these companies never knew that how much annoying these pop up ads can be to end user.

By the time when adware become highly popular, hacker and other malicious software developers started to involve in the whole adware industry by unethically modifying the script to gain access to users system. They added backdoor and other hacks in the adwares that were available free on internet to gain access to information like passwords, credit card info and other vital details.

The idea to sponsor a free software and add an adware into become instant hit and as it grew up between hackers and cracker the adwares turned up to become an malicious software rather than a promotional tool.

How to remain safe form Adwares?

Now, if you think that your system has been compromised by an adware and you receiving those nasty pop up ads on your screen, then first thing you should do is:

Disable all internet connection

Get a adware removal tool,

Scan the system

Remove any malicious or doubtful software found through the adware removal tool

You can be much safer online by not visiting or downloading from sites that you consider can harm your system. Never open any file that you receive as an attachment from the person you do not know.

Hackers can play many tricks to gain access to your system and it’s your responsibility to protect your system from compromising by these adwares.

It is really fair that all internet users who wish to install or view internet TV have an option to watch television online free trials. This will verify whether the service they are testing conforms or suits their taste. In simpler terms, this implies that the users can at least have a rough idea on what to download and what is the latest show to watch that has the best quality before even starting the download process.

Today, the global network has brought this much improvement to the human populace and no one will have an excuse on not getting access to what he/she loves the most. Moreover, you can choose to watch only the content that you judge as the best of the best. All you need is an internet connection to your personal computers in order for you to watch and experience these first hand free trials. The free trials do not ask a single penny to be deducted from your account because all you need is to make sure that every single one of your internet cables are in good condition for all of the trial shows to be viewed online.

It has been said that every thing that was made possible by man offers a wide array of benefits. These trial services too, have their own advantages that save an individual from all the hassles that may be encountered along the way. One benefit is that online trial versions are human friendly because it gives the person an idea on what is provided by the internet universe. Another thing is that, these services act as advertising tools because the trials help feature some of the shows being offered. Thus, the free trials give the internet user the power of choice and flexibility. In the end, one will not dare miss the chance provided by the sites that permit watching television online free trials.

One of the basic statements for financial modeling is the IF-THEN function in Excel. While this may not be considered as robust as other approaches when doing actual computer programming (C++, Java, VB), in Excel it is rather straightforward and ubiquitous.

There are a couple of things to remember when using the IF-THEN approach:

* For basic results like “if this cell equals dog put a bone in the cell next to it” or “if the cell on my right equals rain display an umbrella sign in the cell below” or something like that. IF-THEN works well for binary situations, and is a method that the basic financial modeler can use and understand readily easily. The beauty of the function at its most basic level is the simplicity.

* IF-THEN can also be used for non-binary situations, meaning that one can “nest” several sub IF-THEN statements within the cell. For example, let’s assume that you had four triggering events: apple, orange, grape and banana. Depending upon the word that was in a cell, there would be one of four results. This would look like:

=IF(A1=”Apple”,”Watch for worm”,IF(A1=”Orange”,”Citrus”,IF(A1=”Grape”,”Soon to be a raisin”,IF(A1=”Banana”,”Don’t slip on the peel”,”Do nothing”)))).

You will notice that the last bit of this text includes “do nothing”, which captures any text that is not one of the specified amounts you are seeking. If there were only four options (that somehow the input cell was blocked to prevent anything other than those four choices), the code would look like this:

=IF(A1=”Apple”,”Watch for worm”,IF(A1=”Orange”,”Citrus”,IF(A1=”Grape”,”Soon to be a raisin”,”Don’t slip on the peel”))).

By definition, only four choices will yield three IFs - think about the fourth IF as silent to help you see why this is the case.

* The financial modeler can also link IF-THEN statements to apply a mathematical operator to two or more statements in the cell. Thus, you could create a formula like =IF(A1=”Pie”,1,0)+IF(B1=”Soup”,2,0)+IF(C1=”Water”,3,0). You can do this with any operator and is useful if there are discrete components to the model you are developing. As you ultimately get further into advanced modeling, this can be used for triggers, or cells that create an influx of additional information when turned to a true state. Further discussion on that will occur as we move to intermediate level issues, but just remember that there is flexibility in the IF-THEN statement from this particular perspective.

* One shortcoming of the IF-THEN statement usage is that you can only have up to seven nested statements EVER in any function in Excel. For examples, the following is a maxed out version of the IF-THEN statement:

=IF(C5=1,1,IF(C5=2,2,IF(C5=3,3,IF(C5=4,4,IF(C5=5,5,IF(C5=6,6,IF(C5=7,7,IF(C5=8,8,”No”)))))))) - if you try to add another nested IF statement, you will get an error message. Part of the rationale behind that is because evaluating the IF-THEN in the standard Excel environment (as well as computer language in general) takes some time to evaluate. Granted, it is not a lot of time when thinking about a machine calculating something faster than us, but each of the evaluation steps requires computing speed and memory. If you can imagine a nested 20-step IF-THEN statement in your mind and pretend that you must evaluate that statement in order until the last part of it, you will begin to see why there needs to be extra time for the computer to do analyze it. Thus, seven is the cutoff point, but in reality, you should never need that many nested IF-THEN statements anyway.

In summary, the IF-THEN statement can be a very useful, simple approach to binary and certain non-binary situations. It is not perfect for larger database inquiries or very large spreadsheets wherein the answer to the IF-THEN drives the model, but it can suffice for everyday simple financial modeling applications, and it easy to implement and interpret.

Third in the troika of essential color correction tools is Hue/Saturation. This one has many individualized uses:

• Colorizing images that were created as grayscale or monochrome
• Shifting the overall hue of an image
• De-emphasizing, or knocking out completely, an individual color channel
• Desaturating an image or adding saturation (the tool’s most common use)

The Hue/Saturation control allows you to do something you can’t do with Levels or Curves, which is to directly control the hue, saturation, and brightness of an image. The HSB color model is merely a different way of looking at the same color data as exists in the RGB model used by Levels and Curves. All good color pickers, including the Apple and Adobe pickers, handle RGB and HSB as two different modes that use three values to describe any given color, which is the correct way to conceptualize it.

In other words, you could arrive at the same color adjustments using Levels and Curves, but Hue/Saturation gives you direct access to a couple of key color attributes that are otherwise difficult to get at. For example, de-saturating an image is essentially bringing the red, green, and blue values closer together, reducing the relative intensity of the strongest of them. With a complex image, this approach would be difficult and unnecessary when a single slider will do it.

De saturating an image slightly lowering the Saturation value somewhere between 5 and 20can be an effective way to make an image adjustment come together quickly. This is a case where understanding your delivery medium is essential, as film is more tolerant and friendly to saturated images than television.

For footage that is already saturated with color, even a subtle boost to the gamma can cause saturation to go over the top. There’s no easy way to control this with RGB controls, such as Levels and Curves, but moving over to the HSB model allows you to single out Saturation and dial it back.

The other quick fix that Hue/Saturation affords you is a shift to the hue of the overall image or of one or more of its individual channels. The Channel Control menu for Hue/Saturation includes not only the red, green, and blue channels but also their chromatic opposites of cyan, magenta, and yellow. When you’re working in RGB color, these secondary colors are in direct opposition, so that, for example, lowering blue gamma effectively raises the yellow gamma, and vice versa.

But in the HSB model all six are singled out individually, which means that if a given channel is too bright or over-saturated, you can dial back its Brightness & Saturation levels, or you can shift its Hue toward the part of the spectrum where you want it, without unduly affecting the other primary and secondary colors.

You’ve examined the color correction tools in depth; now it’s time to move on to the bread and butter of compositing: matching foreground and background elements so that the scene appears to have been taken with the same basic light conditions.

Melding images together and eliminating all clues that they came from separate sources is as much science as art. Up to this point we’ve focused on optimizing source footage, which is a more subjective and artistic practice. Once the background has been properly graded, however, matching the foreground using the same tools is typically more objective (except in cases where essential clues are missing more on that in a bit). The process obeys such strict rules that you can do it without an experienced eye for color. Assuming the background (or whatever source element you’re matching) has already been color-graded, you even can satisfactorily complete a shot on a monitor that is nowhere near correctly calibrated.

How is that possible?
As with so many things in visual effects work, the answer is really a question of correctly breaking down the problem. In this case, the job of matching one image to another obeys rules that can be observed channel by channel, independent of the final, full-color result.

Of course, effective compositing is not simply a question of making colors match; in many cases that is only the first step. You must also obey rules you will understand from having done the kind of careful observing of nature described in the previous chapter. And even if your colors are correctly matched, if you haven’t interpreted your edges properly or pulled a good matte, or if such essential elements as lighting, the camera view, or motion are mismatched, your composite will not succeed.

These same basic techniques will work for other situations in which your job is to match footage precisely for example, color correcting a sequence to match a hero shot, a process also sometimes known as color timing.

This section has laid the foundation for color correction in After Effects using its most fundamental tools. The truth is that there are lots of ways to adjust the color levels of an image. Some alternatives for achieving a specific look layering in a color solid, creating selections from an image using the image itself along with blending modes, and more are discussed later.

Even with these basic tools, there are more usage alternatives. For example, you can apply these basic color correctors using an adjustment layer rather than directly to your footage. This gives you the added advantage of being able to dial back the correction by varying the opacity of the adjustment layer.

Will After Effects ever have a more sophisticated color correction system, and does the lack of one mean your output will be inferior? The answers are, it already sort of does, and in most cases, no, although more sophisticated tools might offer particular shortcuts to a given look. Color Finesse is a sophisticated color correction system included with After Effects Professional; unfortunately, it runs as a separate application, and does not allow you to see your corrections in the context of a composite, making it more suitable for overall color adjustments. Furthermore, it is made up mostly of tools that resemble the ones described in the preceding section, so you’ll still want to master them. And although I love the way it allows easy isolation and adjustment of specific secondary color ranges, I rarely use it for compositing (other ways of isolating color for adjustment are revealed throughout).

Do the controls in Color Finesse seem familiar? Although snazzier looking, they combine the fundamental tools covered in depth thus far in the chapter: Levels, Curves, and Hue/Saturation.

Meanwhile, owners of the Adobe Production Suite (Windows only) may have noticed that Adobe Premiere Pro includes a Three-Way Color Corrector, and for the sake of support across the suite, this is a hidden effect inside of After Effects (again, Windows only) that appears only when it has been applied in a Premiere Pro project that is then imported into After Effects. Unfortunately, the effect is less useful in After Effects because its graphical user interface (consisting of color wheels) is missing; hopefully, this tool will make its way fully into a future version of After Effects, but for now, trying to use it is probably not worth the trouble for those few users who even have it.

Integrating a foreground element into the color space of a background scene breaks down into three steps:

1. Match contrast without regard to color, using Levels. When matching the black and white points, pay attention to atmospheric conditions.

2. Study individual color channels and use Levels to match the contrast of each channel (as needed not all images contain so fundamental a color imbalance).

3. Match the color of the midtones (gamma), channel by channel, using Levels or, preferably, Curves. This is sometimes known as “matching grays” and is easily done if there is an object in the background scene that you know is colorless gray (or something close).

4. Evaluate the result for other problems that may be interfering with the illusion that the elements belong in the same world lighting direction, the role of atmospheric conditions, perspective, grain or other ambient movement, and so on (all of which are dealt with in subsequent chapters of this book).

The overall approach, although not complicated or even particularly sexy, can take you to places your naked eye doesn’t readily understand when looking at color. Yet, when you see the results, you realize that nature beats logic every time.

The sad truth is that even an experienced artist can be completely fooled by the context of the image. Figures show an example in which seeing is most definitely not believing. Therefore you should not feel that the techniques described here are a crutch instead, they are a necessary scientific advantage. The results of your color adjustments will be challenged by other members of your production team it’s pretty cool to be able to show them that you got it right.

Ordinary Lighting

We begin with a simple example: inserting a 3D element lit with ordinary white lights into a daylight scene. As you can see in, the two elements are close enough in color range that a lazy or hurried compositor might be tempted to leave it as is.

With only a few minutes of effort, you can make the plane look as though it belongs there. Make sure the Info palette is somewhere that you can see it, and for now, choose Percent (0100) in that palette’s wing menu to have your values line up with the ones discussed here. You are free to choose any of the color modes in this menu; I advocate this one only for the purpose of standardizing the discussion.

This particular scene is a good beginner-level example of the technique because it is full of elements that would be monochromatic under white light; next we’ll move on to scenes that aren’t so straightforward. The background is dominated by concrete, which is generally flat, colorless gray, and the foreground element is an aircraft with a silver body that is lit from the top with white light with dark shadows underneath.

Begin by looking for suitable black and white points to use as references in the background and foreground. In this case, the shadow areas under the archways in the background, and underneath the wing of the foreground plane, are just what’s needed for black points they are not the very darkest elements in the scene, but they contain a similar mixture of reflected light and shadow cast onto similar surfaces, and you can expect them to fairly nearly match. For highlights, you happily have the top of the bus shelter to use for a background white point, and the top silver areas of the plane’s tail in the foreground are lit brightly enough to contain pure white pixels at this point.

Figures show the targeted shadow and highlight regions and their corresponding readings in the Info palette. The shadow levels in the foreground are lower (darker) than those in the background, while the background shadows have slightly more red in them, giving the background a warmth that the unadjusted foreground lacks. The top of the plane and the top of the bus shelter both contain levels at 100%, or pure white; the blue readings on the bus shelter, which are a few percentage points lower, give it a more yellow appearance.

The target highlight and shadow areas for the foreground and background are outlined in yellow; levels corresponding to each highlight (in Percent values, as set in the panel menu) are displayed in the adjacent Info palette.

To correct for these mismatches, apply Levels to the foreground and move the Output Black slider up to about 7.5%. This raises the level of the blackest black in the image, lowering the contrast, something we didn’t expect to do when optimizing images earlier in the chapter.

Having aligned the contrast levels, it’s time to correct for the differences in color. Remember the red levels in the background shadows are higher than blue or green, which is a clue that you should now switch the Composition panel to the red channel (click on the red marker at the bottom of the panel or use the Alt+1/Option+1 shortcut). A thin red line around the outside of the display reminds you that you are looking only at red levels, and you can zoom in to an area that shows both of the regions you’re comparing.

Evaluate and match black and white levels; start with RGB and then work on each color channel individually. In this case the image is “green matched:” The RGB adjustment is all that is needed for the green channel (often the best channel to match using RGB instead of its individual channel).

Now you can see clearly that the black levels in the red channel are still too low in the foreground, so raise them to match. Switch the Channel pop-up in Levels to Red, and raise Red Output Black slightly to about 3.5%. You can move your cursor from foreground to background and look at the Info palette to check whether you have it right, but the great thing about this method is that your eye usually gets variations in luminance correct when looking at a grayscale image.

Now for the whites. Because the background highlights have slightly less blue in them, switch to the blue channel (clicking the blue marker at the bottom of the Composition panel or use Alt+3/Option+3). Pull back slightly to where you can see the top of the bus shelter and the back of the plane. Switching Levels to the blue channel, lower the Blue Output White setting a few percentage points to match the lower blue reading in the background. Back in RGB mode (Alt+3/Option+3 toggles back from blue to RGB), the highlights on the plane take on a more sunlit, yellow quality. It’s subtle, but it seems right.

What about the midtones? In this case, they’re taking care of themselves because both the foreground and background are reasonably well balanced and your corrections are mild.

Tip
The human eye is more sensitive to green than red and blue. Often, when you look at a shot channel by channel, you will see the strongest brightness and contrast in the green channel. For that reason, a sensible approach to matching color may be to get the overall match in the ballpark so that the green channels match perfectly, and then adjust the other two channels to make green work. That way, you run less risk of misadjusting the overall brightness and contrast of your footage.

Figure displays the result, with the same regions targeted previously, but with the levels corrected. To add an extra bit of realism, I also turned on motion blur, without yet bothering to precisely match it. You see that the plane is now more acceptably part of the scene. Work on this composite isn’t done either; besides matching the blur, you could add some sun glints on the plane as it passes, similar to those on the taxi. On the other hand, you can tell that you don’t need to bother adding a pilot to the cockpit; the blur on the plane is too much to even notice that the pilot is missing.