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Wild rice is now widely cultivated,but the cultivated type is slightly different from that which is harvested in the wild. Grains of cultivated wild rice are generally larger and rmer, but the texture of the cooked rice is coarser and the avor less complex. Cultivation has helped reduce the price of wild rice, however. Farro (far oh) is a wheat-like grain that may be an ancestor of modern wheat. It has been used in the Mediterranean region for thousands of years and is still widely known in Tuscany and other parts of Italy.Farro has a avor similar to that of wheat.It is higher in protein than wheat and can often be eaten by people who have wheat allergies. In North America, farro is known as spelt, although the Italian name is catching on. (Some sources argue that spelt and farro are different grains, but according to the International Plant Genetic Resources Institute, the only registered varieties of farro belong to T.spelta or spelt. Kamut (kah moot),like farro,is an ancient relative of wheat.It is similar to spelt in composition and avor. Buckwheat is technically not a grain because it is the seed not of a grass but of a plant with branched stems and broad, arrow-shaped leaves. Whole buckwheat is often ground into flour.When the grains are crushed into coarse pieces, they are called buckwheat groats and can be cooked like rice.Toasted buckwheat is called kasha.The toasting gives it a nutty avor. Kasha is popular in Eastern European and Jewish cooking.Kasha is also cooked like pilaf (p. 623). Barley is usually purchased as pearled barley,which has been milled to remove the outer bran layers. It is commonly used in Top row: quinoa, triticale, pearl barley. Bottom row: blue cornmeal, pozole, soups, but it can also be cooked by the pilaf method and served bulgur wheat. like rice, although it has a longer cooking time. Oats are most familiar in North America as a breakfast food. Steel-cut oats are whole grains that have been cut into small pieces,somewhat resembling cracked wheat.They are usually cooked as a porridge.Rolled oats are whole grains that have been steamed until soft and then attened between rollers.This processing reduces their cooking time considerably.If they are cooked and not just softened during the steaming process,they become instant oats.These need no additional cooking,only reconstituting with boiling water. Millet is a small, round yellow grain that is an important food source in much of Africa and Asia.It has a high protein content and a mild avor.Millet is often used as bird seed in North America. It can be cooked like rice. Quinoa (keen wah) is a grain native to the South American Andes that has only recently become an occasional feature of North American menus. Quinoa is very high in goodquality protein and lower in carbohydrates than other grains. It is a tiny, round grain with an ivory color and a mild, delicate avor.When cooked, the germ of the grain unwinds, making it look as though each grain has a tail. Before cooking, quinoa must be washed and rinsed well to remove a bitter coating that occurs naturally on the grain. Triticale is a high-protein hybrid of wheat and rye. It is often ground into our, but it can also be cooked whole like rice.Triticale has a nutty, sweet avor. Amaranth is a tiny, yellow-brown seed with a somewhat spicy, nutty flavor when cooked. It contains high-quality protein and thus is useful in vegetarian diets.
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P r o c e d u r e Heat the butter in a small saut pan over moderately high heat. Place the tournedos in the pan and cook until well browned on the bottom and about half cooked. Turn the meat over and continue to cook until rare or medium done, according to customer s request. Place the tournedos on a hot dinner plate and top each with a slice of ma tre d h tel butter. Garnish the plate with a portion of allumette potatoes and a generous bunch of watercress. Serve immediately, while the butter is still melting. A R I T I O N S
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The last major interface element isn t really an interface element but just a collection of several sets of controls located along the bottom edge of the interface window. These controls cannot be pulled away from the interface like the main toolbar, but you can hide them using Expert Mode (Ctrl+X). These controls, shown in Figure 1-9, include the following from left to right: Time Slider: The Time Slider, located under the viewports, enables you to quickly locate a specific frame. It spans the number of frames included in the current animation. Dragging the Time Slider can move you quickly between frames. Track Bar: The Track Bar displays animation keys as color-coded rectangles with red for positional keys, green for rotational keys, and blue for scale keys. Parameter change keys are denoted by gray rectangles. Using the Track Bar, you can select, move, and delete keys. Status Bar: The Status Bar is below the Track Bar. It provides valuable information, such as the number and type of objects selected, transformation values, and grid size. It also includes the Transform Type-In fields. Prompt Line: The Prompt Line is text located at the bottom of the window. If you re stuck as to what to do next, look at the Prompt Line for information on what Max expects. Key Controls: These controls are for creating animation keys and include two different modes Auto Key (keyboard shortcut, N) or Set Key (keyboard shortcut, ). Auto Key mode sets keys for any changes made to the scene objects. Set Key mode gives you more precise control and sets keys for the selected filters only when you click the Set Keys button (keyboard shortcut, K). Time Controls: Resembling the controls on an audio or video device, the Time Controls offer an easy way to move through the various animation frames and keys. Based on the selected mode (keys or frames), the Time Controls can move between the first, previous, next, and last frames or keys. Viewport Navigation Controls: In the lower-right corner of the interface are the controls for manipulating the viewports. They enable you to zoom, pan, and rotate the active viewport s view.
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The Star Lens Effect radiates semitransparent bands of light at regular intervals from the center of the effect. It uses the same controls as the Glow effect, with the addition of Width, Taper, Qty (Quantity), and Sharp values. The Width sets the width of each band. The Taper value determines how quickly the width angles to a point. The Qty value is the number of bands, and the Sharp value determines how blurry the bands are. Figure 46-16 shows several Star effects with (from left to right) 3, 4, 5, 6, and 12 bands.
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Earlier in this chapter we introduced the Four Ps of marketing. They included:
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