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There s a lot of misinformation about credit card fraud, with statistics quoted selectively to make points. In one beautiful example, VISA was reported to have claimed that card fraud was up and that card fraud was down, on the same day [380] However, a consistent pattern of figures can be dug out of the trade publications. The actual cost of credit card fraud, before the recent rise, was about 0.15% of all international transactions processed by VISA and MasterCard [652], while national rates varied from 1% in America to 0.2% in the U.K. to under 0.1% in France and Spain. The prevailing business culture has a large effect on the rate. U.S. banks, for example, are much more willing to send out huge junk mailings of pre-approved cards to increase their customer base, and write off the inevitable pre-issue fraud as a cost of doing business. In other countries, banks are more risk-averse. France is interesting, as it seems, at first sight, to be an exceptional case, in which a particular technology has brought real benefits. French banks introduced chip cards for all domestic transactions in the late 1980s, and this reduced losses from 0.269% of turnover in 1987 to 0.04% in 1993 and 0.028% in 1995. However, there is now an increasing amount of cross-border fraud. French villains use foreign magnetic stripe cards particularly from Britain [315, 652] while French chip cards are used at merchants in non-chip countries [166]. But the biggest reduction in Europe was not in France but in Spain, where the policy was to reduce all merchant floor limits to zero and make all transactions online. This cut their losses from 0.21% of turnover in 1988 to 0.008% in 1991 [73]. The lessons appear to be that, first, card fraud is cyclical, as new defenses are introduced and the villains learn to defeat them; and second, that the most complicated and expensive technological solution doesn t necessarily work best in the field.
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fter you ve completed your scene and rendered it, you re done right Well, not exactly. You still have post-production to complete that s where you work with the final rendered images to add some additional effects. This phase of production typically takes place in another package, such as Photoshop, Discreet s Combustion, or Adobe s After Effects, and understanding how to interact with these packages can be a lifesaver when your client wants some lastminute changes (and they always do). If you don t have access to a compositing package or even if you do, Max includes a simple interface that can be used to add some postproduction effects. This interface is the Video Post interface. You can use the Video Post window to composite the final rendered image with several other images and filters. These filters let you add lens effects like glows and flares, and other effects like blur and fade, to the final output. The Video Post window provides a post-processing environment within the Max interface.
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The Performance and Information Tools page shown in Figure 50.2 provides links to more information about the meanings of the numbers, ways to improve your computer s performance. The Update my score link performs all the tests needed to calculate those numbers. If you changed some hardware in your system, but still got the same performance rating, you could use that link to re-run the tests against your new hardware.
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Figure 34-7: This person has received a file transferred by someone in a conversation. The big chunk of underlined text is the path to the transferred file. The C:\Documents and Settings\Alan\My Documents\My Received Files is the path to the My Received Files folder in Alan s My Documents folder. Vacation 2003 001.jpg is the name of the file. The whole path is a hyperlink. So, if you just click that, the file will open in whatever program is appropriate for that file type.
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Recognizability: The mark should be recognizable in every language. Timelessness: It should be timeless in style and not get caught in current trends. Crispness: Graphic representation should be crisp across multiple mediums, that is, the Internet, packaging, print, television, and so forth.38
Sample Open With options for a JPEG picture.
These omelets are made by beating the egg whites separately and folding them into the beaten yolks, which may have some milk added.The mixture is poured into a hot, buttered omelet pan, and the omelet is nished in the oven. It is folded in half for service. Fluffy omelets are not often made in food service because of the time they take to make.
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