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The Logitech Webcam C930e features the widest-ever field-of-view in a business webcam - 90-degrees - and is the first with HD 1080p H.264/SVC UVC 1.5 encoding, the excellent technology that frees up PC bandwidth with on-camera video-processing. With pan, tilt and zoom functions and RightLight 2 technology, this webcam delivers the most professional desktop video collaboration experience yet.

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Camera is great for small conference room
I was pleasantly surprised by the performance of this little camera. Although it is small it picks up a very good range. We use this in a huddle room meeting with remote attendees. They have no problems seeing everyone in the conference room (10-12) persons and the picture is clear. Installation was as easy as plugging it in. Really a great product for the price. Way to go Logitech! I was pleasantly surprised by the performance of this little camera. Although it is small it picks up a very good range. We use this in a huddle room meeting with remote attendees. They have no problems seeing everyone in the conference room (10-12) persons and the picture is clear. Installation was as easy as... show more. show less.
Yes, I recommend this product.
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The Logitech C930e webcam is a great webcam with 1080p. The software for it is not so great, but that doesn't matter if you use Skype or something else like that.
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Logitech HD Webcam C930e is rated 3.7 out of 5 by 3 .
Date published: 2017-09-20
Date published: 2014-10-17
Date published: 2014-10-15

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'The Meyerowitz Stories' Is A Squirm-Inducing Comedy About Family Dysfunction

Review

Movie Reviews

Heard on Fresh Air

Justin Chang

Writer-director Noah Baumbach's new film is a collection of loosely connected episodes that offer a revealing glimpse into the heart of a lively and fractious New York Jewish family.

DAVID BIANCULLI, HOST:

This is FRESH AIR. With films like "The Squid And The Whale" and "Margot At The Wedding" among his credits, the writer-director Noah Baumbach is no stranger to squirm-inducing comedies about dysfunctional families. His latest picture in this vein is "The Meyerowitz Stories (New And Selected)," a Netflix original film starring Adam Sandler, Ben Stiller and Dustin Hoffman. Film critic Justin Chang has this review.

JUSTIN CHANG, BYLINE: Every once in a while, Adam Sandler shakes off all that puerile idiocy and reminds you what a terrific actor he can be. He went memorably deep and dark years ago in films like "Punch-Drunk Love" and "Funny People," exploring caustic new depths of neurosis and insecurity. By contrast, he's in a wonderfully mellow mood in Noah Baumbach's enjoyable new ensemble comedy "The Meyerowitz Stories (New And Selected)." Sandler plays Danny Meyerowitz, a middle-aged New Yorker who's newly separated from his wife and about to send his daughter Eliza, played by Grace Van Patten, off to college.

Eliza is an aspiring filmmaker, to the delight of Danny's father, Harold, played by Dustin Hoffman, a sculptor who both bemoans and relishes his status as the only working artist in the family. Harold, whose career has never gotten the respect and attention he thinks it deserves, concedes that his three children once showed flickers of artistic promise. Danny was a talented musician. There's a lovely scene in which he and Eliza play a self-composed piano duet. But he gave it up years ago and became a house husband. His quietly dependable sister Jean, played by Elizabeth Marvel, was once interested in photography but now works an unglamorous job at Xerox. And then there's the youngest Meyerowitz sibling, Matthew, played by Ben Stiller, Harold's son from his second marriage.

While Danny and Jean have stayed close to home, faithfully taking care of their aging, irascible father, their half-brother Matthew lives with his wife and son in Los Angeles, where he works in personal wealth management. His success and independence are a source of pride for Harold but of resentment for Danny, who feels neglected and overshadowed by his little brother. As its title suggests, "The Meyerowitz Stories" is a collection of shaggy, loosely connected episodes that unfold in linear order, each one offering a revealing glimpse into the heart of a lively and fractious New York Jewish family. In the first story, Danny briefly moves in with Harold and his latest wife, Maureen, played by a pleasantly loopy Emma Thompson. In the second story, Matthew briefly comes to New York to meet with a client and takes Harold out to lunch so they can discuss arrangements for getting his affairs in order, which means selling off his house and artwork. The lunch does not go well.

The third story brings all the characters together when Harold is hospitalized with a long-neglected head injury mere days before the opening of a career retrospective that's being mounted at Bard College in his honor. It's an opportunity for Matthew and Danny to catch up on each other's lives. But the competitive tensions and awkward misunderstandings that have long defined their brotherly relationship keep rising to the surface.

(SOUNDBITE OF FILM, "THE MEYEROWITZ STORIES (NEW AND SELECTED)")

ADAM SANDLER: (As Danny) Dad says you started your own company.

BEN STILLER: (As Matthew) Yeah. A couple other guys and me decided to...

SANDLER: (As Danny) How does that work? Do you just tell your boss like, I'm going to start...

STILLER: (As Matthew) Well, I was one of the partners, so I didn't technically have a boss.

SANDLER: (As Danny) Right. No, I understand. So you got a better offer.

STILLER: (As Matthew) No, there were no offers. That's what was so scary. We were creating our own opportunity.

SANDLER: (As Danny) Because you wanted something smaller.

STILLER: (As Matthew) Bigger. Many of the firm's clients came with us.

SANDLER: (As Danny) Which was surprising.

STILLER: (As Matthew) No, we expect it. We can't legally ask clients to come with us, but we trust them...

SANDLER: (As Danny) But they don't have much choice.

STILLER: (As Matthew) It's totally their choice.

SANDLER: (As Danny) No, I know, because you have their money.

STILLER: (As Matthew) Well, their money is with the firm, but their money is in investments.

SANDLER: (As Danny) I understand. My buddy Ptolemy, who lives across the street - or lived across the street...

STILLER: (As Matthew) Dad told me about your (unintelligible).

SANDLER: (As Danny) Ptolemy is like you.

STILLER: (As Matthew) I'm sorry. But also...

SANDLER: (As Danny) He works in arbitrage.

STILLER: (As Matthew) Yeah. That's not what I do.

CHANG: That distant possibility that Harold might not make it provides a natural occasion for years' worth of buried resentments to come to the surface, followed by some tentative stabs at reconciliation. It's all familiar dysfunctional family territory. And Baumbach clearly isn't trying to reinvent the wheel here. He doesn't have to. He has mastered the art of overlapping dialogue - of having his characters talk not so much to each other as at each other, so we can pick up on every note of defensiveness and passive aggression.

His method here is to simply cram his characters into the same room and let his marvelous actors do the rest. As played by Hoffman, the demanding, self-absorbed Harold belongs in the canon of terrifically insufferable movie dads along with Gene Hackman in "The Royal Tenenbaums" and Jeff Daniels in Baumbach's semi-autobiographical drama "The Squid And The Whale." Stiller cuts through Matthew's outer slickness to reveal this prodigal son's deep-seeded daddy issues. And Sandler is simply wonderful as the lovable but long-suffering Danny, his voice rising higher and higher as "The Meyerowitz Stories" escalates toward a cathartic screwball climax.

A final word on Elizabeth Marvel, an excellent character actress who spends much of the movie on the sidelines - Jean is the least developed of the three siblings, which is partly by design. She's the quiet, unassuming stalwart in the family, the one who has arguably suffered the most under Harold's neglect and also the one who complains about it the least. Baumbach has made terrific movies about women in the past. "Frances Ha" and "Mistress America" both come to mind. And while it's hard to begrudge him giving us three characters as richly drawn as the Meyerowitz men are, I can't help but wish he'd given his female characters a bit more attention.

BIANCULLI: Justin Chang is a film critic at the Los Angeles Times. On Monday's show, new research about sleep that might keep you up at night. Matthew Walker, author of "Why We Sleep," tells us why we need eight hours, the alarming consequences of the lack of it and what's going on in the brain when we sleep.

MATTHEW WALKER: During some stages of sleep, the brain is up to 30 percent more active than when we're awake.

BIANCULLI: He'll give us some tips on how to get a good night's rest, too. Hope you can join us.

(SOUNDBITE OF MUSIC)

BIANCULLI: FRESH AIR's executive producer is Danny Miller. Our technical director and engineer is Audrey Bentham, with additional engineering support from Joyce Lieberman and Julian Herzfeld. Our associate producer for digital media is Molly Seavy-Nesper. Roberta Shorrock directs the show. For Terry Gross, I'm David Bianculli.

(SOUNDBITE OF MUSIC)

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The discussion immediately changed from us removing it to surfacing the action as a usability improvement. If we didn’t have concrete data to inform us of this decision, it would have been like building a product in the dark.

Tareq: For higher level problems, we discuss our major focuses as a team with the PMs. This is when we set up our pods. Like I said, the best part of pods is knowing what the team is focusing on.

At this stage we discuss the biggest opportunities, what we think of competitors, and where we want to be. It’s exciting because it’s a really transparent way of discussing our roadmap and building our product strategy together.

Tareq: Absolutely. Startups often use the term “Total Addressable Market,” and we do something similar—it’s around the impact within our app that we called “Total Addressable Userbase.”

For example, if a designer were to suggest that we put a helpful tool tip in an area to educate users about a feature, my first question would be, “Okay, but how many users actually get themselves in that state to begin with? What’s our total addressable userbase with this feature?”

The designer would then look up the numbers and, more importantly than just numbers, they’d see what types of users go there. Are they new users? Power users? How can we best serve people in that situation?

All of this starts with data and then leads us to questions using qualitative means.

Ran: Start with one single question for your next feature. It’s easy to try to do too much and get discouraged and overwhelmed.

Just start with one thing you’re curious about today. It can be as simple as: How many people are using this feature every day/week/month? Then choose which metric will give you the closest answer to your question.

Once you get your first question answered, it’ll likely trigger many more questions you want to ask. Now you have momentum.

It’s also very helpful to read up on product analytics so you get ideas on what types of analysis other people are doing. The Amplitude Retention Playbook is a great place to start!

Tareq: Think of data as another source of information. Qualitative information like user studies and interviews is one type, and data is another. They both need to be synthesized to be helpful.

So I recommend someone start by really asking what they think they don’t know. Then talk to users. And then see if what users have said is also reflected in the data.

Start a data trail by asking related questions such as, “Is this true for new users? What about for power users?”

Once designers start doing that, they realize that there’s no one time for using data—rather, it’s something that should be used all the time, just like any sort of feedback, based on what questions the designer needs to ask and answer.

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Edited by Jane Vincent , Leslie Haddon

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Smartphone Cultures explores emerging questions about the ways in which this mobile technology and its apps have been produced, represented, regulated and incorporated into everyday social practices. The various authors in this volume each locate their contributions within the circuit of culture model.

More specifically, this book engages with issues of production and regulation in the case of the electrical infrastructure supporting smartphones and the development of mobile social gambling apps. It examines issues of consumption through looking at parental practices relating to children’s smartphone use, children’s experience of the regulation of this technology, both in the home and in school, how they cope with the mass of communications via the smartphone and the nature of their attachment to the device. Other chapters cover the engagement of older people with smartphones, as well as how different cultural norms of sociability have a bearing on how the technology is consumed. The smartphone’s implications for other theoretical frameworks is illustrated through examining ramifications for domestication, and the sometimes-limited place of smartphones in certain aspects of life is examined through its role in the practices of reading and writing. presents the latest international research from scholars located in the UK, Europe, the US and Australia and will appeal to scholars and students of media and cultural studies, communication studies and sociologists with interests in technology and social practices.

List of Figures and Tables

Introduction

1. Introducing Smartphone Cultures ( Jane Vincent and Leslie Haddon )

Part I Infrastructure and Applications

2. Circuit(s) of affective infrastructuring: Smartphones and Electricity ( Maren Hartmann )

3. Mobile Betting Apps: Odds on the Social ( César Albarrán-Torres and Gerard Goggin )

Part II Understanding Family Consumption

4. Parental practices in the era of smartphones ( Cristina Ponte, José Alberto Simões, Claudia Lampert, and Anka Velicu )

5. Older People, Smartphones and WhatsApp ( Mireia Fernández-Ardèvol and Andrea Rosales )

Part III Developing domestication through empirical studies

6. Domestication and social constraints on ICT use: Children’s engagement with smartphones ( Leslie Haddon )

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