How To Download Slides From Pluralsight

Mezzio is the fourth iteration of what was originally known as Zend Framework.I say fourth iteration, because Zend Framework had two initial versions, after which it was rebranded as Zend Expressive.So Mezzio, effectively, is the fourth iteration of the framework.

It starts off by getting your development environment ready; on Linux, macOS, and Windows.It then gets in to some of the essential concepts and theory, such as what is PSR-7, PSR-15, and Middleware; some of the key concepts which the framework is built upon.

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After that, you learn how to build an application by hand, without any tooling or automation support.The intent here is so that you learn about all of the moving parts that are required to have a working application.Then, you learn how to use the Skeleton Installer project to rapidly bootstrap the application which was just built by hand.

So, after much discussion, the decision was made to re-home the framework at The Linux Foundation.Because of that, it needed to be rebranded.After some discussion, Zend Expressive was rebranded as Mezzio, and the Zend Framework libraries (which Zend Expressive is built upon) were rebranded as Laminas; e.g., zend-mvc was renamed laminas-mvc, and zend-servicemanager was renamed as laminas-servicemanager, etc.You can read the full story of what happened on the Laminas Blog.

So, for all of these reasons, my ASM and I decided to create a new course, which is effectively a refresh of the existing course.We discussed it in some really funny and silly sessions, often late into the evening here (Berlin time), to flesh out what the course structure would be, what my key aims for course attendees were, etc.

I often have great respect for organisations where I have to sign contracts.This is because contracts clearly spell out what the responsibilities of both sides are, but most importantly for me, what I have to live up to, when I have to have the work completed.Based on that, I can clearly track my progress, through to completion.

You can see that the root folder is named after the course, and under there is another directory, named module-1.Under module-1, there are five directories (audio, exported, images, slides, and videos) and a file, script.adoc.Each of these five directories is named after the content which it will contain.

With that done, I then script an introduction video to be the first video in the module, and a conclusion to be the last video in the module.At a module level, this helps set and manage expectations of what will be taught.

I tried to batch each component in the process, but found that my productivity dropped like a stone as I had to keep remembering where I was up to in each respective video, each time I came back to work on it.The mental context switch took forever and left me really drained and deflated.

I think this was from some form of corruption or misconfiguration in my original Linux Mint installation.After buying a new graphics card, the Geforce GT 1030 and installing Ubuntu 20.04, everything changed!All of a sudden, the quality of the recordings shot up, and the effort dropped right off.

Up until now, all of the work that has gone in to creating the course is reasonably straightforward.Sure, it takes time and effort to plan, write, record audio, live demos, and slide decks, but editing or fixing mistakes is relatively straight-forward.

So it can be a challenging time trying to figure out if you need to add a transition between two points in a demo, cut out some of the demo, add more audio, cut some of the demo, etc, so that the two fit professionally together.

Actually, if there is too much going on, I believe that you can negatively impact information absorption, as the user likely becomes distracted by too much change occurring.Conversely, if the time between something changing on screen takes too long, then I run the risk of the user tuning out.

Pluralsight has a clear set of audio and video requirements that your videos have to comply with.Similar to Audacity, I have a preset in Screenflow setup for that, which saves a stack of time and potential human error.

After a couple of days, someone from pluralsight sent me an email saying that the type of content that I chose had already too many authors and good courses. I replied the email explaining more specifically about what I wanted to say. After that, they were interested on my course.

My video audition have a couple slides, this is not a problem, but they can not be white background with black letters. You can see the right way to create good slides presentation on the materials that pluralsight sent to you in the audition process.

UPDATE:

Upon reading more on glass slide mounts, I elected to pick up a set of relatively-inexpensive-to-purchase GEPE 24x36mm glass slide mounts on eBay. There were a total of 36 in the lot I purchased, and a few were somewhat reverse-engineered so I can experiment with them in the existing slide mount.

As the original slide mount was not suitable for the idea I had (which was basically to use the glass alone and sandwich the slide transparency within the original mount), I elected to use a fourth Gepe slide mount as it was designed.

While it did not totally flatten the slide transparency, it did flatten it to a degree which made it much more suitable for the purpose of projecting the transparency onto a projection surface using both the Sawyer's Crestline 500C and Kodak Medalist AF slide projectors I have.

In the next few days, I may apply heat in a careful manner to the GEPE glass slide mount so as to "iron" the slide transparency a bit more and flatten it out further.

With respect to the original mount with the "...(C)1980 KEITH RONNHOLM" label, I have elected to graft the labeled, white "half" of the slide to the GEPE glass slide mount's counterpart with a couple dabs of epoxy once the slide transparency has been sufficiently flattened out. This is due to the rather unfortunate discovery of some small cracks on the dark gray back half of the original mount.

So he has to use another type of slide mount if he has no spares. Either from his own or buy a glass type or whatever. It's an option. If he doesn't like my option, he can do something else.

And Steve did his own research into glass mounts, cited in his most recent post, and he also wants to modify the mounts to retain the scripted side of the originals, and I don't think any of us came up with that idea, Steve alone did.

LMAO.

I don't think I ever indicated taking a blow torch to them. I wouldn't be that insane. ?

When I mention taking heat to them, I'm more in line with the thought of carefully-controlled blasts of heat from a less-intense source of heat... Say, a hair dryer or something, and at a safe enough distance.

A torch? Oh heavens no. That's insanity. LOL

Before or after the show? I remember when I was a kid, we'd start to pull out the projector and screen to set up and half the guests would feign headaches and go home, even before dessert. Now I have have all my slide shows on a memory card inserted already in the USB jack of the smart TV -ready to go. I just declare, "Watch this." and turn it on before they can move a muscle. Thing is they haven't been back since. ?

I've attached a photo showing one of the affected ones (on the left) compared to one of the Ronnholm slides on the right. All of the glass slide mounts I have seen have mostly been for 24x36mm and off-the-wall kinds but not the size of the Stoffel slide that I'd like to fix. Are there mounts for these?

Let's backup a second. Is the goal to flatten the slide (and old mount) such you can place it into something that expects a 35mm mount? And if so, how do you then wish to digitize that?

Mostly to flatten it for projection. As it stands now, the affected slide I photographed has a slight warp on the left side, causing one side to be in focus while the other side goes progressively out of focus.

If I could find a glass slide mount with the same size slide transparency, that'd be great. Then all I would need is to graft the existing mount face to it.

I've looked into various methods of digitizing these slides and I've come to the conclusion that a lens bayonet-mounted slide duplicator/copier with a 1:1 macro lens is the way I think I am going to accomplish this. This is because my research has indicated that the best and highest quality film/slide scanners are both A.) not budget friendly and B.) at the moment cost prohibitive.

The mid-tier film-slide scanners, while offering a range of both 10 megapixel or 3200 dpi resolution, are slightly more affordable but some come with drawbacks such as turning off (and thus losing progress) after certain periods of inactivity or suffering loss of higher image quality settings after a certain number of slides/images have been scanned and imported.

However, I am still concerned that due to the slight curve of the larger-format slides (larger than the 24x36mm standard), that even with the slide copier-to-camera method may still produce images that are slightly out of focus in some areas of the image. Despite efforts, I cannot seem to find the correct-size glass mounts for those Pakon-mounted larger slide transparencies.

I've previously digitized about half of these slides by way of throwing them up onto a wall via conventional slide projector (and photographing the projected image with a standard zoom lens on a Nikon DSLR), but it does not achieve the desired quality, which then requires the digitized images be upscaled and enhanced via Topaz Photo AI.