Question about  32 Bit Oracle11g Client

hi
so many downloads....... i get lost ..........
from where i can download 32 Bit Oracle11g Client for windows-7 64bit that work with Oracle 11.2.0 64bit using PL/SQL developer ver 7.1 ?
i really dont know what to download.......
thanks in advance

If PL/SQL developer is a 32 bit application, you will need the 32 bit Oracle client (even if the server is running the 64 bit version of Oracle Database). You can download the 11.2.0.1 client from the following link:
http://www.oracle.com/technetwork/database/enterprise-edition/downloads/112010-win32soft-098987.html
The 10.2.0.5 client will also work, but that is more challenging to install.
Charles Hooper
Co-author of "Expert Oracle Practices: Oracle Database Administration from the Oak Table"
http://hoopercharles.wordpress.com/
IT Manager/Oracle DBA
K&M Machine-Fabricating, Inc.

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    Dear Ingo,
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  • Question about "Native ISO" and Color Grading in PP

    I have a question about "Native ISO" in the real world and how it relates to color grading.  I was shooting 35mm film before all these digital cameras became flat-out amazing practically overnight.  Then the goal was always to shoot with the lowest ISO possible to achieve the least amount of grain (unless you were making an artistic decision to get that look).  If I was shooting outside plus had a nice lighting package I'd shoot 5201/50 ASA (Daylight) and 5212/100 ASA (Tungsten) 99 times out of 100.
    I've recently been shooting a lot with the Blackmagic 4K and have read that its "Native ISO" is 400.  Because of my film background this seems counter-intuitive.  Yesterday I was shooting for a client and had the camera at an f16 with a 200 ISO.  Because of what I'd read, I was tempted stop down to an f22 and change my ISO to 400... but the "little film voice in my head" just wouldn't let me do it.  It kept telling me "Higher ISO means more noise... stay at 200 and you will get a cleaner image".
    So how does it work with "Native ISO"?  Should I really shoot at a 400 ISO every chance I get in order to capture the best image for how the camera is calibrated?  Will it really give me more latitude when color grading?  Or would I still get a cleaner image staying at ISO 200?   I've Googled around quite, but haven't found any articles that answer specifically this question.  Would love to hear from someone who knows a bit more on the subject or has a link that could point me in the right direction.
    Thanks much.

    Hey, shooter ... yea, interesting discussion and always nice to learn. Great pic, too!
    jamesp2 ...
    Great answer. I've followed quite a bit of the discussion about the BM cams as well, one does feel a need to check out the possibilities for that next beastie one will need to acquire. But ... which one?
    I've always been a bit of a hard-case about testing testing testing. For instance, what happens with dome down or use of a flat diffuser vs. dome in the up position in metering? Back in the film days, we had our own lab and did our own printing as well as the um ... difficult images ... from other studios. I needed to know how to get exactly the same diffuse highlight no matter whether it was a "standard" light 3:1 studio shot, or a near-profile with no fill that needs dark shadows. I tested & burned through boxes of medium-format polaroid & 120 film and a lot of color paper. Finding? To get the same print time no matter the contrast or lighting style, needed to be metered either with the flat disc (Minolta) or dome-down (Sekonic) and held at the highlight-location pointed at the main light source. I could meter and nail the exposure every time. Ahh no, insist so many ... one must have the dome on/up and pointed at the camera! Right. Do that, change the contrast, and see what happens to your diffuse forehead highlight on a densitometer ... and see how your printing exposure times change. Oh, and you've just moved your center-of-exposure up or down on the film's H&D curve, which will also change the way the shadows & highlights print. In truth, though it was subtle, we had realistically no matter latitude for a best-case image with pro neg film as one had with chromes. You could probably get away with being "off" easier, but it still wasn't dead-on.
    So wading into video ... oi vey, you may have noticed the things claimed here there & everywhere ... this setting is God's Gift to Humanity but no, it's total crap ... this sensor is totally flawed but someone else is certain it's the finest piece out there. Yes, opinions will be all over ... but ... in film, it was the densitometer. In video, it's the scopes. Truth. And getting to that can be a right pain. I've seen quite a few contradictory comments about using the BM cams in film mode and also at ISO 200. Yours above gives the most ... comforting? ... explanation (for me) because of your reference to your scopes & the waveform patterns. Thank you.
    Love to learn ...
    Neil

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    Hi there,
    I've got multiples questions about JMF and AvTransmit, hope you will help
    For a small student project, i'm developing a streaming server using JMF, i have used the AvTransmit example.
    Streaming, etc... everything work fine, i stream music over web
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    I have think about building my own object Playlist... gasp...
    I've look at the javadoc... but i'm a bit lost... does my class have to implement TrackControl ? what are the object inside etc...
    If someone knows information about this...
    That's all ;)
    Thanks !
    Tommy, french student (sorry for the english)

    First Question :
    The Processor use a MediaLocator to get one track, is there a way to indicate multiples tracks, such as a directory containing multiples audio file ?
    At this time, i can only set 1 file in the MediaLocator.No. The processor uses a MediaLocator to get one file. Files (can) contain multiple tracks.
    You can, in fact, combine the tracks of multiple files together, but, there's no need to do that with your application. AVTransmit2 sends each track as a separate RTP stream, so you'd just be sticking them together just to pull them apart again.
    In general, you want to keep your architecture as one processor per file, one RTP stream per track.
    Second Question
    Is there a more "elegant" way to change tracks ?Yes. It's what I refer to as a jukebox DataSource. I discuss it / explain the concept on this previous thread.
    [http://forums.sun.com/thread.jspa?forumID=28&threadID=5400318]
    What you're essentially doing when you change the MediaLocator is starting over from scratch. You end up with a whole new DataSource, whole new Processor, whole new RTP session. On the LAN, this isn't an issue because it looks like you paused the RTP session (because the IP/PORTs don't change).
    Over the internet, though, when you stop sending and restart, you're very likely going to get a new public NAT port. And so when your stream gets to the client, it's going to look like it's from a different person than the original.
    The solution is to use the jukebox datasource to change the media without restarting the Processor or the RTP streams. That'll ensure that your stream won't move between files from the perspective of the client...
    Last Question
    I have think about building my own object Playlist... gasp...
    I've look at the javadoc... but i'm a bit lost... does my class have to implement TrackControl ? what are the object inside etc...
    If someone knows information about this...Ummmm, your "Playlist" object should just be a Jukebox datasource, so follow the link and figure out how that's supposed to work. If you have questions about it, just ask 'em here (rather than on the older thread)...

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