Monday, 29 December 2014

How to Convert iPhone Movie-Music, Free Download iPhone Videos-Songs

The article describes the solution for hunting / downloading free iPhone videos and music. Rip DVD/CD, convert iPhone video (support AVI, MPEG, WMV, MOV, RM, DivX, DVD, VOB, Youtube, Limewire and more to iPhone conversion), and put video on iPhone.

* iPhone video format: which video/audio formats Apple iPhone playbacks?
* The way to download free iPhone movies, music videos and songs.
* How to rip CD and transfer music to iPhone?
* How to rip DVD, convert video to iPhone and put video onto your iPhone?
* YouTube meets iPhone.
1. iPhone video formats supported
The device supports playing movies, TV shows, music videos, podcasts in MPEG-4, H.264, MP4 formats. It can also playback music, audiobooks in MP3, both unprotected and protected AAC, Audible and Apple Lossless audio formats.
2. Hunt media for iPhone and download it
Would you like to download free iPhone videos, iPhone music videos, songs and straight transfer to your iPhone without converting? OK. Just follow me. The following solution provides several ways to get it.
1) Download free movies/music via P2P network
Limewire is fast and popular file sharing freeware working on Windows, Linux and Mac OS. Through the P2P (peer-to-peer) network, you can free download various files by its category or keyword searching. No spyware, No virus!
Certainly, you can also use other P2P programs like eMule, Morpheus, Shareaza, MLDonkey and get resources from BitTorrent, eDonkey, Napster network.
2) Purchase videos/music from iTunes store
ITunes music store has a lot of TV shows, movies, video clips, games, podcasts and audiobooks. There are two different kinds of iTunes files. One is Digital Rights Management (DRM) protected, the other is DRM-free named iTunes Plus. Using your Windows PC or Mac computer, you are able to get albums or a single title ($0.99 per song).
Officical guide on how to browse and buy music: http://docs.info.apple.com/article.html?artnum=304674
3) Record iPhone video
If you purchased media from MusicMatch, Yahoo music, Zune, AOL MusicNow, Rhapsody, Sony Connect or other online music stores, and would like to put the movies and songs on your iPhone, you can record the content to iPhone compatible formats using 3rd-party software like Tunebite (free trial), SoundTaxi (shareware), etc.
3. Load CD into my iPhone
Both iTunes and Windows Media Player can rip CDs to MP3 or AAC formats. Let's take iTunes for example. Just insert your audio CD into the drive, launch iTunes software, click 'import' button when iTunes detect the CD.
4. Convert video and sync to iPhone
Want to convert DVD collections (movies, concert or music DVDs) and movie files to iPhone video, or extract iPhone audio from music DVDs and videos? With iPhone video Converter (http://www.iphonevideoconverter.com) software, you will put DVD, AVI (Xvid, Divx), MPEG, WMV, ASF, MOV, DVR-MS, VOB, Rm, Rmvb, MPG, DAT on your iPhone, iPod and watch anywhere and anytime. The ripping process is easy. Just add DVD or video files to the program, choose the target formats from "iPhone 480x320', 'iPod H.264', 'MP3 audio', then start converting videos or extracting audio for iPhone.
5. YouTube to iPhone
YouTube includes .flv, .mp4 extensions. iPhone doesn't play FLV format. But YouTube videos will be encoded in H.264 supported by iPhone to improve video quality and battery life on mobile devices. They'll have 10,000 movies available by June 29th, and should complete transcoding the collection three months later or so.
If you want to convert FLV to iPhone, maybe the free online converter (vixy.net) helps.

Forza Franchise - From Audio Vision Through Scrum Process and Bug Triage


In 2002, Greg Shaw joined Microsoft's Turn 10 Studios as Audio Director and Business Production Process Manager for a new IP (intellectual property) code-named "Forza." Greg already had six years of audio design under his belt as Production Assistant for Opcode Systems, Inc., Sound Designer for Adrenaline Interactive, and Audio/Video Manager and Sound Designer for Crystal Dynamics where he created, designed, and implemented sound for interactive video games.
When Greg began developing what was to become the Forza Motorsport franchise, it was pretty hush hush inside Microsoft Game Studios and people outside of Microsoft did not know anything about it. Inspired by Gran Turismo, a game on the Sony Play Station, Microsoft was still looking for its own voice. Greg not only established the "vision" for the audio for Forza Motorsport, but he also played a key role in establishing the "vision" for Turn 10 Studios-the studio that produced the Forza franchise.
As the audio lead and director, Greg built and maintained innovation in the audio space as well as defined the next generation quality bar for the Forza franchise and the racing game genre. From the beginning, he reverse engineered the sound of cars, evaluated the audio quality of the competition, developed an aesthetic bar, and delivered communication through prototypes.
Greg managed a staff of internal and external contractors and secured the audio resources required for product development. Building a video game is a complicated process of software development, artistic application of a story line or theme, and interactive game play. It generally takes two years to build a video game of this size. With any software programming design, it is difficult to define the end results two years in advance much less stay on schedule and aligned to the original "vision." The technical challenges were huge. Greg's job was to push the team to make a commercially successful product.
Greg managed the audio for the Forza Motorsport franchise through two distinctly different software development processes-the waterfall process and the agile development method known as scrum. The most common process used in software design is the waterfall or cascading, process-meaning completion of one item leads naturally to the next, having been build on the previous item. However, with a two-year completion deadline, a waterfall process could lead to dead ends and regressions that would use up too much time and prevent completion on schedule. Forza Motorsport 1 used the waterfall process. When Forza Motorsport 2 was underway, it was obvious Turn 10 was growing big enough that some official change in process was needed, so the management team and Greg began to experiment with a process management known as scrum.
In a scrum process, different disciplines work in parallel rather than sequentially. The process is an agile way to hit the deadline dates. Through scrum, one aims to build a bunch or modules of a game (like features) with smaller teams focused on just that feature. By the time they got to building Forza 3, they were making the scrum process work even better. They established an initial deadline of three months to build the first 30 minutes of game play. They started with different disciplines working together with a general understanding of where the game was going, what the visual style would look like, what was the planned audio style, and how the audio would be supported by art. In the first three months, they identified the questions that needed to be addressed, the man-hours needed to keep it on track, and the criteria by which they would judge the sound quality.
With the initial vision in place, Greg led the Audio Program Design through a series of milestone buy-offs. Basically, he established deliverable chunks and oversaw contractors who were paid on delivery of completed pieces (chunks) rather than by the time they spent working. Starting with the end goal, they worked backwards and broke the time into delivery points. For the audio, Greg was the person who sets and "buys off" on the deliverables-that could be a car recording, a rough skeleton of a song, or audio features and code for those features. For example, Forza Motorsport 3 had over 400 in-game cars, more than 50 ribbons (a subset of an environment such as a racetrack), several hours of custom created music, several hours of licensed global car sounds such as collisions and tire traction sound, and the list goes on.
Through the entire design and production process, Greg provided the oversight and the "audio vision" to ensure the sound matched the visual and the back-story for the game and advanced the game play for the end user. The game is by no means complete with the basic production of the software and programming. While testing the game, inevitably a lot of "bugs" can surface. Code is never perfect, and therefore, all software development involves bug triage to identify problems and "fix" bugs or remove them if they have significant adverse impact on the game. Working with QA (Quality Assurance), the Forza Management Team (including Greg) established a process to identify the bugs and classify them for priority importance, severity, and urgency. The team then got together and individuals made the case for fixing or not fixing specific bugs. This meeting has different names in different companies and divisions, but according to Greg, they were literally triaging the bugs.
After initial production and release of the game, the work continues by designing downloadable content and add-ons. Over the eight years Greg Shaw has worked for Microsoft on the Forza Motorsport franchise, they have released three versions. In October 2009, Forza Motorsport 3 was released and nominated for Best Audio by GameSpot. Forza Motorsport 3 is widely accepted as the best sounding racing game delivered to date. The casual game player might be surprised to learn the enormous work that precedes a computer video game release. For Greg Shaw, working as the audio designer on games offers enormous technical challenges and many rewards. Behind every game, there is much more than meets the eye-and ear.
Laurie Pehar Borsh has provided clients with cutting edge marketing and social media solutions for marketing and business development since 1994. She has used her passion for promoting people, places and things to create a reputation for her unique and intense brand. Laurie began developing a personal promotions business for solo professionals, executives and business owners in the early 1990s. Her agent based representation model included a personal promotional campaign program that later went on to include social media development and management. As Social Media and networking began to make its mark as a viable and cost-effective channel for publicity, promotion, and marketing, it became increasingly important to the reputation and promotion of executives. Laurie looked to capitalize on this emerging opportunity for those trying to navigate the wild west of Social Media and shaped her firm into Laurie Pehar Borsh Personal PR Productions. She now produces and represents professionals and businesses in this new web-based world alongside traditional public relations and promotional campaign programs for the creation of new and ongoing business building opportunities. Laurie believes it is the power of human interaction is what propels this "social" media. It is critical to building a valued following and online presence. Accordingly, she knows how to help the key players come out from the shadows of an organization into appropriate online situations that become social bonds, animating business relationships and brand promises. 

Designing Video Games - Hot Career Or Just a Fad?Young technology enthusiasts often see a career as a video game designer their dream job, and it certainly can be! But is it right for you?


Despite what many people think, designing video and computer games is not all fun and games. Most of it is very hard work with the three main parts of the process consisting of art, story line/plot, and programming. Video game designers must become an expert in one aspect of the process, but rarely in more than one due to the complexity and expertise required.
Video game designers work on games for consoles, computers, and portable devices. They also work on virtual reality games and programs. A video game designer is certainly a highly rewarding career that offers many opportunities. Video games are a multi billion dollar industry and the thirst for new games is becoming greater each year as stay at home entertainment becomes a larger industry than ever before.
You may be asking yourself, what qualities and skills are needed for a career as a video game designer?
The answer to this question will depend on what aspect of the design process you wish to involve yourself in. For example:
- Art concept: These are the people who draw the initial designs of characters and settings. You will need a highly creative artistic streak and drawing and/or computer graphics talent.
- Graphic/3D design: These people take the sketches and create them on the computer in 3D using complex programs. You will need excellent graphic design and computer software skills
- Story creators: These people create the entire plot of the game. You will need to be a good writer and a creative story teller with a great imagination.
- Programmer: Programmers bring the game together by coding the entire back end of the application. This is complex work that is generally done in languages like C, C++ and other object oriented programming languages.
- Project manager: After you have gained experience in one or more fields of game design you may consider managing an entire project which involves making sure deadlines are met and team members are on track.
As you might imagine, video game designers generally play a lot of games. They stay on top of new games and keep track of what consumers are interested in. That is the fun part of game design - you must play a lot of games in order to gain new ideas. The process of making the games is difficult and complex, however it is exciting as you create something from the ground up and watch sales grow as people buy your game.
Average Game Designer Salary
The average game designer salary varies depending on the specific field of work. There are many different departments in game design corporations. Some of the most popular positions are:
- Artists
- Animators
- Lead Artists
- Game Designers
- Lead Designers
- Programmers
- Lead Programmers
- Technical Directors
- Audio Designers
- Music Composers
- Video Game Testers
- Lead Game Testers
The video game industry is one which is particularly vulnerable to industry ups and downs but it is currently going through resurgence, with video game sales on the increase thanks to the popularity of consoles like Xbox 360 and PlayStation 3 as well as portable devices like the PS3.
The average salary is dependent on experience and position. Video game testers, although considered to have the most enjoyable job (often this is not the case though!) may earn the least. In fact, the average video game tester salary starts at just $25,000 although it can reach as high as $40,000. The lead game tester can earn between $40,000 and $60,000.
The highest paid people in video game design, besides CEO's, are the Lead Programmers and Technical Directors. Lead programmers can command anywhere from $75,000 to $100,000. It takes several years experience in a regular game programming environment in order to take on the lead position. Technical directors have a lot of responsibility and earn between $90,000 to $120,000 per year.
The people who do the brunt of the work are the artists and animators (average salary is $40,000 to $70,000), game designers ($40,000 to $70,000), Programmers ($50,000 to $90,000) and audio/musicians ($65,000 to $90,000). Lead positions in these fields command an extra $20,000 or more on the regular salary.
After an employee has more than 5 years experience in the video game designer industry they are likely to be earning close to $100,000 per year, particularly if their skills have been growing and they are working for a leading game development company. Some of the most sought after video game developers to work for include:
- Electronic Arts
- Sony
- Blizzard
- Activision
- Atari
- Funcom
- Hasbro Interactive
- id Software
- Infogrames
- Konami
- Lionhead Studios
- Microsoft Game Studios
- Nintendo
- Rockstar Games
As you can see, it costs quite a sum of money to employ an entire team to make one game. The return on investment in the current market is excellent which means that game makers will continue hiring game designers and paying them very well.

The Game Audio Explosion - A Guide to Great Game Sound Part II: Music, FMVs and Audio Planning

V. MUSIC PRODUCTION

A. THE UNDERSCORE - INTERACTIVE VS. FILM MUSIC
Until recently, you simply could not compare game music to film music. Every
aspect involved in their production, from budgets to performance, made it an
impractical comparison. Today, these two media have a working relationship.
Games are created to support movies and movies are made from successful
game franchises. Film composers are now writing for games, and some game
composers have made the transition to film. Hollywood orchestras and
orchestrators are now commonly used for game music scores. Why make this
comparison? Because even though the considerations involved in their creation
are different, their effect and function are relatively the same.
B. STORY-DRIVEN/ROLEPLAYING GAMES
As the name suggests, the scores to story-driven games must primarily tell a
story. To tell a story musically is a sublime art. A composer must be well
versed in the work of his predecessors in order to understand what constitutes
successful story telling using the language of music. Fortunately, centuries of
music have been written for this purpose, allowing today's composer a
foundation for developing this art. We now associate certain sonorities and
rhythms with specific actions, emotions or locations. Compositions like
Rossini's 'William Tell', Wagner's 'Tristan' and Holst's 'Planets' have laid the
groundwork for these non-verbal associations. Film and television composers
have since expanded on these motifs to help express the elements within a
story.
A portion of story telling is to define the environment, both time and place.
Musically, we draw influence from folk traditions for such a purpose. Through
ethnomusicology we can effectively represent locations and time periods by
incorporating traditional instruments, modes and progressions into the score.
For instance, a tabla, tambour or sitar is appropriate for describing an Indian
location. If such instruments are not available, the music may be orchestrated
in such a way as to mimic these traditional sounds. A modern orchestra is
greatly enhanced by the addition of folk elements for the purpose of describing
a specific time and place.
Characters within a story are supported through the development of melodic
themes and motifs associated with each character. Orchestrating the motifs
throughout various instruments will provide a sense of character development
as the game progresses. In addition, varying the harmonic support of these
themes will reflect the character's physical, mental and emotional states.
Game music for the story and role genre must highlight the dramatic events in
the story as well as drive the game-play. NIS and FMVs are the primary tools
for advancing the storyline and scoring to these videos is generally a
straightforward process. You must consider, however, that game-play is also a
dramatic event that contributes to the overall development of the story. Herein
lies the careful balancing act of supporting the story as well as the action,
without the music sounding repetitious. Cross fading alternate versions and
transitions, or layering individual tracks that are programmatically muted and
un-muted, will secure the musical effectiveness over long periods. The
programming methods of manipulating music within a game are beyond the
intent of this article. Further reading from game development resources such
as 'gamasutra.com' will provide a closer look at some of the programming
methods used in game music playback.
B. ACTION/ARCADE AND SPORTS GAMES
The most basic function of game music is best exhibited in 'arcade' style
games in which the overall gaming experience is enhanced by the addition of
adrenaline-surging music. The music helps to drive the action, thereby
heightening the intensity of the experience. For this reason, it's very common
for these games to license tracks from well-known, marketable artists with a
track record of producing music that translates to the listener. The interactive
potential of this music, has thus far been very low. However, as many artists
are also avid gamers, they are beginning to show interest in lending their talent
toward interactive soundtrack design, if not producing tracks in their entirety.
Generally speaking, the interactivity of the music in arcade-style games rarely
moves beyond loops and stings. In many cases, this is all that is required.
However, as the complexity of arcade-style games grow, so must the level of
musical interactivity. The music for these games should support any changes in
game-play. Power-ups, signature moves and multiple damage are all examples
commonly reserved for the sound design to immerse the player in the action,
but are appropriately expressed through music as well. A deep understanding
of the game-play will reveal to the composer, new areas to interactively
enhance an otherwise monotonous arcade soundtrack.
VI. FULL MOTION VIDEO (FMV)
Since the FMV is a controlled environment, it is tempting for the sound
designer to elaborate on the sound effects. While in some cases, it may be
appropriate to heighten the dramatic impact of the story; great care should be
maintained to be consistent with the in-game sound design. An incredible-
sounding FMV is surely a joy to behold, however, if the in-game sounds do not
hold up to the FMVs, the playing experience will be diminished. The purpose of
the FMV is to dramatically move the storyline, and to provide a break in the
action. Since Most FMVs occur after completing a level, there is an inherent
sense of reward when viewing the FMV. The sound design should pay respect
to this as long as it doesn't stray too far from the in-game sound. The FMV
should act as a seamless transition into and out of the game play. In my
opinion, it is best to use in-game sounds within the FMV wherever in-game
movements or actions are present.
The second consideration for FMV sound is the mix of all the sound elements.
All dialog, sound effects and music should be mixed at comparable levels to
the in-game mix, unless there is a dramatic motivation for stressing one over
the other.
VII. SOUND REVIEWS
The Beta date is just around the corner. Your sound team has worked countless
hours, and is nearing the finish line. You might think it's time to examine the
sound for any necessary revisions. Well by this time it's probably too late. As
mentioned earlier, the sound team is generally the last in line to begin creating
their content. Add to this, the fact that all previously missed deadlines
becomes their burden to make-up. Your sound team will likely be delivering
content right up to the last minute. You will need to have in place a regular
and effective reviewing mechanism to stay on top of the direction of the game
sound.
Using the same group of reviewers used for the demo phase (part 1 of article),
create a questionnaire that rates the general aspects of the sound. Rating each
individual sound would be time-consuming, so use categories of sounds and
include room for comments or explanations. By assembling the various
questionnaires, you will be able to develop a consensus opinion that will reveal
spots that need further attention. If this is performed in a timely and periodic
fashion, your sound team will be best able to manage the revisions, as they are
needed.
VIII. GOT YOUR SOUND BUDGET? ...USE IT!
A. YOUR SIMPLE CHECKLIST
Today's games are competing with each other on every level. Sound is no
exception. You must secure the best resources possible for your sound team.
This will require that you use your budget wisely, and use all of it.
Prior to beginning the sound effects production, ask yourself the following
questions.
1. Is your sound team complete? (i.e. sound designer(s), supervising/Lead
sound designer, composer, audio director and audio programmer)
2. Is each member of the sound team assigned a specific task uncompromised
by additional or overlapping roles?
3. Is your sound team assigned only to your project?
4. Does your sound team have enough time to complete your project?
5. Does your sound team have the adequate resources necessary for your
specific game? These include sonically treated work spaces, equipment,
software and sound effects libraries that are compatible with the needs of your game.
6. Does your sound team have a demonstrated track record of producing
sound within the style and genre of your project?
If you answered "yes" to all of these questions, your sound design team is
properly equipped, prepared and ready for production. Answering "no" to any
of these questions will tell you where you will need to focus portions of your
budget.
B. OUTSOURCING
If the sound team is incomplete or in any way compromised, you should
consider outsourcing an appropriate amount of the workload to game audio
specialists. Look for companies and people that have a strong resume of
interactive sound production, and have successfully produced sound for "high
profile" titles. If your game has special stylistic needs, then consider companies
that have a track record of producing sound for similar titles.
C. FOLEY
The overall 'theme' of your game will help dictate where you may need
additional resources. A historically based game will require authenticity;
therefore consider obtaining fresh recordings of historically accurate weapons
and vehicles. If your game focuses on destruction, a sizeable Foley session may
be appropriate to produce original content unencumbered by overused sound
effects libraries. A small but well organized recording session can give your
game a lot of fresh spark without breaking the budget.
IX. MARKETING YOUR SOUND
Game marketing has typically focused on the creator, developer or the voice
actors within the game. In many cases, sound can be used as a marketing tool
as well. For "The Incredible Hulk - Ultimate destruction" we hired some of
Hollywood's finest sound recordists to coordinate a Foley session that would
produce the raw destruction sounds we needed to create the sound effects
necessary for this game. Our session took place at an auto-dismantling yard in
a southern California desert. A giant forklift and bulldozer were used to drop,
drag and tear apart cars, vans and trailers. Multiple video cameras captured the
session for future use on the "Behind-the-scenes" reel. The added benefit was
the marketability achieved by everyone's dedication to producing the most
destructive sounding game to date. Your ability to market your game's sound
will also help raise any additional finances needed to bring your sound up to
the next level.

Games

Causes Of Software Project Failure

So, what really is the reason for software project failure? The sad fact is that software projects fail because we do not recognize that good engineering principles should be applied to software projects just as they are to building office buildings. We try to defend ourselves by saying that software construction is "different".
One of the most serious complaints against software failure is the inability
to estimate with acceptable accuracy the cost, resources, and schedule necessary
for a software project. Conventional assessment methods have always produced
positive results which contribute to the too well-known cost infested and
schedule slippage.
Over the last 20 years many cost and schedule estimation techniques have been
used with mixed sensation due to restrictions of the assessment models. A major
part of the estimations failure can be due to a lack of understanding of the
software development process and the effect of that method used in the project
plan, schedule and cost estimates.
Failure Case Studies 
Below are few of the case studies considered which will be analysed to fetch
the main reasons of failure of the software system.
Northumbria University developed accounting software to manage its day to day
business. The project could not come up with the desired results and failed to
meet the deadlines. Te investigations showed that the basic project management
procedures were not followed. This case study is referenced in this essay at
different points where necessary. [1]
Thai subsidiary (SMTL) of a Hong Kong-based multinational company (SMHK)
engaged in the manufacturing of electronic equipment. They implemented an
integrated software package; which was a failure at the several factors. These
factors were mostly management related. Such as a poor fit between the business
process assumptions inscribed in the software and the business processes in SMTL,
poor leadership at different levels, cultural differences, organizational
environment, and poor human resource management.
St John's Hospital is a District General Hospital provides medical and
nursing services, which includes both general surgery and medicine.All these
services are supported by diagnostic imaging, laboratory, ambulance, pharmacy
and therapy services, which are all on site. As the major hospital in a tourist
area, it deals with many visitors in the holiday season, generating a large
amount of non-booked admissions work.
Software Management & Leadership 
It has been shown repeatedly, that effective leadership is essential for successful IT implementation (Klenke, 1994). A leader must also have cultural sensitivity, communication skills, creativity, ability to delegate, and the ability to develop and retain human resources (Luthans, 1994). The software manager at (SMHK) was a western, where as the lower managers were Eastern. So there was a cultural clash going on always. Jack (Manager) always try to introduce creative thoughts. And most of the time the lower management could not do them. Hence there was a clash going on all the time.
Employees also felt that management hardly ever "listened" to their concerns
or attempted to address them. Consequently, many employees were eager to leave
the company, and did so as soon as they found alternate opportunities in other
companies.
Project Planning & Scheduling 
Project planning means creating work breakdown, and then allocate responsibilities to the developers over time. Project planning consists of construction of various tasks, timelines and essential pathways including Gantt charts and PERT charts and different written plans for various situations.
It is quite usual in software development process to work backward from the
project end date which results in complete software project failure. It is
impossible that a project can be completed efficiently from the planning stage
to the implementation stage.
Allocation of roles and responsibilities has to be clearly defined, and it
becomes crucial while hiring the stall from outside. University's higher
management failed to apply the basic project management rules which laid to the
project failure.
Proper scheduling is also required before the start of the project. It
includes the time scheduling, teams scheduling. Project managers don't know what
they have to plan and schedule. They just only tell the programmer what to do
and the programmers can come up with a proper solution.
The development was moved to a new office and the office was not fully
equipped with the proper infrastructure. As time is also a big factor in success
or failure of a project. So it delayed the development process and contributed
towards the project failure. Infrastructure was not fully scheduled and
management team didn't know where and how the project development will be
started.
The top secret of a winning software development project is to control the
quality up and lower the risk. Contingency plan is also the part of planning. In
case things went wrong then this plan can be followed to lower the affect of the
failure of project. Same was the case with university's accounting software. The
management team had no such a contingency plan nor did they evaluate the risk
involved in the development of the new system. So it caused more trouble without
the backup system or backup plan.
The management just try to follow the methodologies like SDLC or RAD, but don't know which methodology to use and at which time should apply the right technique.
Cost Estimation 
Cost estimation is mainly involved the cost of effort to produce the software project. But it's not limited to the effort only. It also includes the hardware and software cost, training the employees and customer, travelling to the customer, networking and communication costs. Cost estimation should be done as a part of the software process model.
Cost estimation needs to be done well before the start of the project
development. Failure of the budgeting for the cost of the project results in
complete disaster. As stated above the infrastructure cost, development tools
cost and hardware cost also needs to be estimated first.
Same thing happened to university's accounting system development. They
purchased the new system well with out any serious estimation of the cost and
the income sources.
Below are the reasons why wrong cost estimation is done.
Inappropriate estimation methodology 
Another reason would be the use of an inappropriate cost estimation methodology. Not a single methodology is better than other. Every methodology has its own strong and weak points which should be considered. Dr. Barry Boehm's book Software Engineering Economics lists seven estimation methodologies. One or more of these methodologies can be used to estimate the cost of a project
"Good suggestion is that more than one software cost estimation methodology
should be used for accurate estimation".
Cost estimation tools 
There are many drawbacks in manual cost estimation. This technique is almost obsolete now. These days successful cost estimation includes the use of appropriate commercial software cost estimating tool.
Good software estimating tools do not always guarantee reliable software
estimates. Wrong input of the software size will result in wrong estimate.
Estimation software also needs to be customised for the specific need of
organization. These customisations require the data from the past projects as
input for the tool to estimate.
There are number of reasons these tools can return the wrong estimate.
Choosing the right estimation tool
Choice of a right estimation tool is necessary for the right estimation. The tool is not capable of handling the input and thus it can come up with the wrong estimate and hence cause the software project to fail.
Ease of customisation
As mentioned above the selected tool must be customisable according to the organisation needs, so that the organization can customise it according to the needs and past project data.
Easy to use and learn
The cost estimation tool should be easy to use and learn. It must include help and examples, simple and straight forward user interface. It must require less training to learn the system and inputs should be well defined.
Accurate Estimation
The estimation tool must have the capability to analyse all the parameters and come up with the accurate estimation for the cost.
Risk Management 
Risk management is an important factor towards software project failure if it's not managed timely and effectively. As nothing can be predicted that what will happen in future so we have to take the necessary steps in the present to take any uncertain situation in the future. Risk management means dealing with a concern before it becomes a crisis.
Risk Identification
According to the Universal risk Project there are two types of conditions which can be a symbol of as risk.
  • IF-THEN Statements
    • "IF technology is not available, THEN we will not meet the requirement"
    • "IF we cannot hire sufficient qualified software engineers, THEN we cannot meet the planned development schedule
  • CONDITION-CONSEQUENCE Statements
    • Given the "condition", there is a likelihood that the "consequence" will occur
    • "Given that this specific test fails (the CONDITION), the CONSEQUENCE is that the planned schedule will slip"
Project managers have to identify the areas where the risk can be and how it
can affect the development of the project. Risk can be of technical nature or
non technical. Project managers needs to be aware of both the risks. Most of the
projects managers are not good in either of the side. A good manager with
programming skills can be good in identifying the technical risk but not in non
technical risk.
Risk Analysis 
After the risk is identified there is a need to make the categories of that risk. Risk analysis is the process of examining the project results and deliverables after the risk analysis and applying the technique to lower the risk. After risk analysis is complete, the proper risk analysis plan needs to be made to cope with any uncertain situation. First identified risks are categorized and make the hierarchy of those risks. At this point the risk is classified as the positive or negative risks.
Risk Prioritization 
After the risk is analyzed, the next step is to priorities the risk. At first focus on the most sever risk first; and les sever later. These risk factors can worked from time to time so that the final project out come is free of risk. So most of the time project management team fails to identify the sever risk and work on the less sever risk. This often results in the form of a crisis.
Risk Avoidance 
Dealing with the risk is an art. Some times the management takes the projects with out identifying the proper risk involved in the project. So an experienced manager will take the project after proper risk analysis and avoid any risk involved in the project.
Risk control 
Managing the risk to achieve the desired results and deliverables is done through controlling the risk at its best. This is a pure intuitive process and depends on the experience of the project management team, or risk already managed in past projects which were done by the same organization.
Conclusion 
This essay has presented three basic factors which can cause the software development project to fail. Planning & Scheduling, cost estimation and risk management. All of these factors are to be considered at the management level and then transferred to the lower management.
Planning & Scheduling comes at first, good planning and scheduling makes the
strong foundation for the software project. Project planning consists of
construction of various tasks, timelines and essential pathways including Gantt
charts and PERT charts and different written plans for various situations. If
these factors are not taken into part then the software may encounter problems
during the development and the final product will be a failure.
Cost estimation depends on the budget of the project, customer type and the
size and effort to be put in the project. Cost estimations are done many times
during the life cycle of a project. It affects the project in many ways, wrong
estimation complete failure, affect the good-will of the organisation if the
costs are not covered, stake holders are affected and waste of resources.
Managing the risk is a practical approach for decreasing the ambiguity and
possible loss related with a software development project. Potential measures
can be considered as opportunity-focused (positive risk) if their consequences
are favourable, or as threat-focused (negative risk) if their consequences are
unfavourable.

Open Source Software - Licensing Issues or Not


The Wikipedia Encyclopedia describes open source as "practices in production and development that promote access to the end product's sources." Before the label open source was coined, developers and producers used a variety of phrases to describe the concept. In fact, earlier researchers used a process which is similar to open standards to develop telecommunication network protocols. Characterized by contemporary open source work, this collaborative process led to the birth of the Internet in 1969. Its application to software gained popularity with the emergence of the Internet. It is said that the open source label came out of a strategy session held at Palo Alto, California, in reaction to Netscape's announcement that it planned to release the source code for its browser Navigator.
The politically correct version is that to clarify a potential confusion caused by the ambiguity of the word "free", so that the perception of free software is not anti-commercial, the label open source (contributed by Chris Peterson) stuck. The official version is that it was to shed the confrontational attitude that had been associated with free software in the past and sell the idea on pragmatic, business case grounds to the commercial world. Whatever it may be, Netscape listened and released their code as open source under the name of Mozilla. That was the beginning of the contemporary open source movement, whose main champion today allegedly is the Open Source Initiative ("OSI") which makes and continues to make a case for the open source software to the commercial world. Consequently, we have seen the application of the open source philosophy in other fields including biotechnology. Linus Torvalds, a finnish software engineer who initiated the development of the Linux kernel went as far as saying "the future is open source everything".
According to the OSI, the case for open source software is simple - free access to read, redistribute and modify the source code of a piece of software results in a rapid evolutionary process that produces better software. Advocates of open source argue that when programmers can read, redistribute, and modify the source code for a piece of software, the software evolves. People improve it, people adapt it, people fix bugs. And this can happen at a speed that, if one is used to the slow pace of conventional software development, seems astonishing.
However, evangelists of free software have been at pains to clarify that open source software is not synonymous with free software. The philosophy of the open source movement is based on practicality and not ethical considerations while free software is based on freedom, not price. Borrowing from Richard M. Stallman, "free software" and "open source" describe the same category of software, more or less, but say different things about the software, and about values. While the two are not synonymous, both have a common enemy - proprietary software.
Critics of open source say that open source fosters an ambiguity of a different kind, in that it confuses the mere availability of the source code with the freedom to use, modify, and redistribute it. But open source doesn't just mean access to the source code; the use of open-source software must comply with a number of criteria including as to re-distribution, depending on the license under which it is distributed. Different licenses require different criteria. For instance, under the GNU General Public License (GPL) published by the Free Software Foundation (FSF) for licensing free software, any work based on the program or any other derivative work must be licensed as a whole at no charge at all to all third parties under the terms of the GNU GPL, whereas an Apache License does not require derivative works to be open source. You can add your own copyright statement to modifications of a source code under Apache License and provide additional or different license terms and conditions for use, reproduction, or distribution of your modifications, or for any derivative works as a whole, provided your use, reproduction, and distribution of the work otherwise complies with conditions of the Apache License. Similarly, there is no requirement that any derivative work created under an Academic Free License (AFL) or a Berkeley Software Distribution (BSD) License, should be distributed at all, or for free if distributed. Further, any derivative work need not be free and one can charge for it as you would for proprietary software.
The subtle licensing criteria between open source generally and free software is further highlighted when you consider that some licenses are not compatible. For instance, programs/source code distributed under PHP License is not compatible with GNU GPL since GNU GPL is a copyleft license. Which raises a couple of licensing issues:
(1) Why are there different criteria under different licenses for open source software? Presently, there are about 54 licenses certified by OSI as open source - a tribute to OSI's philosophy - which many now see as an unnecessary proliferation of licenses, an issue that forced OSI to admit that -
"OSI's approach on the development and distribution problems involved building as many different bridges as possible between developers and the corporate world. In doing this, we accepted a proliferation of new licenses. This is a problem in that although physical bridges between communities don't interfere with each other, licenses do. Interference between different open-source licenses is now perceived as a sufficiently serious problem that OSI has become as a victim of its own earlier success."
To address the issue of proliferation, OSI plans to take all existing OSI approved licenses and group them into three tiers: (i) preferred, (ii) recommended but not preferred, and (iii) not recommended. This is likely to create more confusion. One would then ask why an OSI certified license would be OSI "not recommended" license. Would a 'not recommended' tag not be deemed as de-approval (though OSI says its not). It would be 'preferable' not to have certified such license as OSI approved in the first place.
(2) Why are some licenses not compatible with others? We may well appreciate that compatibility goes beyond the issue of license proliferation. For example, the FSF considers all versions of the Apache License incompatible with Version 2 of the GNU GPL. About version 2.0 of the Apache License, they say:
"The Apache Software License is incompatible with the GPL because it has a specific requirement that is not in the GPL: it has certain patent termination cases that the GPL does not require. (We don't think those patent termination cases are inherently a bad idea, but nonetheless they are incompatible with the GNU GPL.)"
Apache Software Foundation (ASF), which publishes the Apache License, has adequately replied to FSF's statement, stating that ASF does not share the same goals as FSF. For the time being, the controversy rages on. Compatibility is really a relationship issue; free software movement and the open source movement can be likened to two political camps within the free software community. While it can be argued that GNU GPL is not compatible with a number of licenses because the philosophy behind GNU GPL is freedom - which proponents of free software have cried themselves hoarse from the rooftops for decades now - GNU GPL itself publishes a list of free/open source software licenses that are GPL incompatible, distinguishing between non-copyleft and 'not strong copyleft'. Even, copyleft licenses like xinetd have also not been spared and was held incompatible because it places extra restrictions on redistribution of modified versions that contradict the redistribution requirements in the GPL. Don't they share the same goals? Yet the free software movement has complained that to be lumped together with open source software is restrictive for free software since open source software allegedly has a much weaker criterion than free software. Then one may ask, what is the criteria for determining compatibility with GNU GPL even for copyleft free software licenses? At least FSF is not intending to classify licenses in the same manner as OSI - for now.
(3) Don't some of these licenses support a 'one way' street attitude described by John Udell in the Open Source Citizenship where developers are encouraged to take and not give back to the community. Or it could be akin to the situation described by Stallman where commercial developers invited to the "Open Source Developers Day" meeting in August 1998 said they intend to make only a part of their work free software (or open source) since the focus of their business is on developing proprietary add-ons (software or manuals) to sell to the users of the free software. According to Stallman, those developers requested that this should be regarded as legitimate, as part of the community, because some of the money is donated to free software development. Whichever way you look at it, it is a dangerous trend for the future of open source software.
The ideals and philosophy of open source is threatened by the 'marriage of convenience' of open source with the commercial world, which makes a strong case for the traditional free software movement. It is, perhaps, taking the adage 'making a case to the commercial world' too far. Eventually, there may such a blend of both the open source movement and the commercial world that we are not able to distinguish between the two. The enemy would have sneaked in unawares and made sport of all ideals and philosophies of the open source movement.
These are all valid concerns that the open source community needs to address. In closing I have a word of advise for the open source movement from my grandmother which I find appropriate - If you don't know where you're going, remember where you're coming from.

What is Software Piracy?

There are several kinds of software piracy. The bottom line is when software is pirated, the developer does not receive compensation for their work.

Effects of Software Piracy
When software is pirated, consumers, software developers, and resellers are harmed. Software piracy increases the risk consumer's computers will be corrupted by defective software and infected with viruses. Those who provide defective and illegal software do not tend to provide sales and technical support. Pirated software usually has inadequate documentation, which prevents consumers from enjoying the full benefits of the software package. In addition, consumers are unable to take advantage of technical support and product upgrades, which are typically available to legitimate registered users of the software. Pirated software can cost consumers lost time and more money.
Developers lose revenue from pirated software, from current products as well as from future programs. When software is sold most developers invest a portion of the revenue into future development and better software packages. When software is pirated, software developers lose revenue from the sale of their products, which hinders development of new software and stifles the growth of the software company.
Kinds of Piracy
End User Piracy -
Using multiple copies of a single software package on several different systems or distributing registered or licensed copies of software to others. Another common form of end user piracy is when a cracked version of the software is used. Hacking into the software and disabling the copy protection, or illegally generating key codes that unlocks the trial version making the software a registered version creates a cracked version.
Reseller Piracy -
Reseller piracy occurs when an unscrupulous reseller distributes multiple copies of a single software package to different customers; this includes preloading systems with software without providing original manuals & diskettes. Reseller piracy also occurs when resellers knowingly sell counterfeit versions of software to unsuspecting customers.
Indications of reseller piracy are multiple users with the same serial number, lack of original documentation or an incomplete set, and non-matching documentation.
Trademark/Trade Name Infringement
Infringement occurs when an individual or dealer claims to be authorized either as a technician, support provider or reseller, or is improperly using a trademark or trade name.
BBS/Internet Piracy -
BBS/ Internet Piracy occurs when there is an electronic transfer of copyrighted software. If system operators and/or users upload or download copyrighted software and materials onto or from bulletin boards or the Internet for others to copy and use without the proper license. Often hackers will distribute or sell the hacked software or cracked keys. The developer does not receive any money for the software the hacker distributed. This is an infringement on the developer's copyright.
Another technique used by software pirates is to illegally obtain a registered copy of software. Pirates purchase the software once and use it on multiple computers. Purchasing software with a stolen credit card is another form of software piracy. Unfortunately there are many kinds of software piracy that has hampered the software industry.
These types of software piracy have hampered the software industry. For the software industry to prosper and further develop useful software for consumers please support and pay for software. This results in better software for all.