Classes and OOP

A basic class

Similar to the relationship between symbols and instances, classes are templates, and objects (also known as instances) are individual manifestations of a particular class. You can make a simple class like this:

class MyClass {
public var myProperty:Number = 100;

public function myMethod() {
trace("I am here");
}
}

You’ll see that within the class are only two things: a variable named myProperty and a function named myMethod. These will become properties and methods of any instance of this class you create. The word public means that any code outside the object will be able to access that property or call that method. If you create properties or methods that are meant only for use internal to the class, you can label them private, which prevents them from being messed with by outside code.

This class code must be in an external text file named the same as the class, with the suffix .as, as in MyClass.as. You can create the file by using the ActionScript editor in Flash (creating a new ActionScript file) or by using your favorite code editor or any other text-editing program. This file must be in the same directory as your FLA file or in your class path.

The class path is simply a list of directories. When you specify a class name in your code, Flash will search those directories for a class with that name. You can set an overall class path, which will apply to any and all FLA files, in the ActionScript 2.0 Settings panel, accessed by pressing the “ActionScript 2.0 Settings” button in the Preferences panel, and an additional class path for a specific FLA file in the Publish Settings dialog box. By default, the current directory of the FLA file, and the classes directory in the Flash configuration directory, are what compose your class path. If you wind up with a bunch of other classes that you want to use across several projects, you can put them in their own directory and add that directory to the class path.

Back in Flash, create a new FLA file and save it in the same directory where you just created the class file. On the timeline, you can make a new instance of the class like this:

var myInstance:MyClass = new MyClass();

Flash will search the class path for the specified class. When it finds it in the current directory, it will use that code to create a new instance of the class. This instance will have all the properties and methods defined in the class. You can test it by running the following:

trace(myInstance.myProperty);   // traces 100
myInstance.myMethod();   // traces "I am here"

Constructors

You can set a constructor for the class, which is a method that has the same name as the class and is automatically called when a new instance is created. You can pass arguments to the constructor as follows.

First, create the class:

class MyClass {
public function MyClass(arg) {
trace("constructed");
trace("you passed " + arg);
}
}

Then, back on the timeline in Flash, create the instance:

var myInstance:MyClass = new MyClass("hello");

This should trace "constructed" and then "you passed hello".

Inheritance

A class can inherit from, or extend, another class. This means that it gets all the same things that the other class has. The subclass (the one that is inheriting) can then add additional properties and behaviors, or change some of the ones from the superclass (the one that is being extended). This is done like so:

class MyBaseClass {
public var myProperty1:String = "A";
public var myProperty2:String = "B";
}
class MySubClass extends MyBaseClass {
public var myProperty2:String = "C";
public var myProperty3:String = "D";
}

Remember that each class must be in its own file named after the class name, with the .as extension, so you will have a MyBaseClass.as file and a MySubClass.as file in the same directory as your FLA file. Now, you can make a couple of instances and see what happens:

var myBaseInstance:MyBaseClass = new MyBaseClass();
trace(myBaseInstance.myProperty1); // traces "A"
trace(myBaseInstance.myProperty2); // traces "B"
var mySubInstance:MySubClass = new MySubClass();
trace(mySubInstance.myProperty1); // traces "A"
trace(mySubInstance.myProperty2); // traces "C"
trace(mySubInstance.myProperty3); // traces "D"

The first instance has no surprises. But notice that the second one has a value of "A" for myProperty1, even though MySubClass does not define myProperty1. The class inherited it from MyBaseClass. Next, notice that myProperty2 traces "C", not "B". We say that the subclass has overridden the property. Finally, the subclass adds a new property, myProperty3, which the base class does not have.

A MovieClip subclass

You may or may not write a class, and then write another class that extends that. But chances are that, if you do much with ActionScript 2, you will eventually wind up extending the MovieClip class. The class MovieClip is the template for all the ActionScript properties and methods that are part of a movie clip object. It contains properties such as _x, _y, _xscale, _alpha, _currentframe, and so on, and methods like gotoAndPlay, attachMovie, lineTo, and so on.

If you write a class that extends MovieClip, it will automatically inherit all the properties and methods inherent to a movie clip. Then you can add specific behaviors or properties that apply only to the type of object you are creating. For example, say you wanted to make a spaceship object for a game. You might want it to contain some graphics, have a position on the screen, move around, rotate, change its appearance over time, contain some sounds, listen for enterFrame events for animation, and listen for keyboard and mouse events for interaction. These are all things that movie clips can do, so it makes sense to extend MovieClip. You could then add custom properties such as speed, fuel, and damage and custom behaviors such as takeOff, crash, shoot, and selfDestruct. The class might start out something like the following:

class SpaceShip extends MovieClip {
var speed = 0;
var damage = 0;
var fuel = 1000;

function takeOff() {
// . . .
}
function crash() {
// . . .
}
function shoot() {
// . . .
}
function selfDestruct() {
// . . .
}
}

Let’s make an actual class that extends MovieClip and see it in action.

1. 
   
   Start again with chapter2base.fla. Right-click the ball symbol in the library and choose Linkage from the pop-up menu.
2. 
   
   Select Export for ActionScript and leave Export on first frame checked. In the AS 2.0 Class field, enter Ball. This links the ball symbol to the Ball class, which you are about to create.
3. 
   
   Create an ActionScript file named Ball.as in the same directory as the movie, and type the following in it:

   class Ball extends MovieClip {
   function onEnterFrame():Void
   {
   this._x += 5;
   }
   }

This class adds only one thing to the base MovieClip class: defining the onEnterFrame function to handle that event.

You can see how powerful this could be for animation, especially when you are creating more than one of the same thing with some complex behavior. Rather than creating or assigning the code each time you create a new instance, it becomes a native part of the new object as soon as it’s born.

Author: swastikroi
http://swastikroy.blogspot.com/

Motivatioal Quotes 1

The world has the habit of making room for the man whose words and
actions show that he knows where he is going
Napoleon Hill



Circumstance does not make the man; it reveals him to himself
James Allen



The greater danger for most of us is not that our aim is too high and we miss
it, but that it is too low and we reach it
Michelangelo



Your life is in your hands, to make of it what you choose
John Kehoe



Let others lead small lives, but not you. Let others argue over small things,
but not you. Let others cry over small hurts, but not you. Let others leave
their future in someone else's hands, but not you.
Jim Rohn



I challenge you to make your life a masterpiece. I challenge you to join the
ranks of those people who live what they teach, who walk their talk.
Anthony Robbins



The secret of getting ahead is getting started
Mark Twain



For true success ask yourself these four questions: Why? Why not? Why not
me? Why not now?
James Allen



Issue a blanket pardon. Forgive everyone who has ever hurt you in any way.
Forgiveness is a perfectly selfish act. It sets you free from the past
Brian Tracy



Our greatest glory is not in never failing but in rising up every time we fail
Ralph Waldo Emerson



Learn to enjoy every minute of your life. Be happy now. Don't wait for
something outside of yourself to make you happy in the future. Think how
really precious is the time you have to spend, whether it's at work or with
your family. Every minute should be enjoyed and savoured.
Earl Nightingale



Far better it is to dare mighty things, to win glorious triumphs, even though
chequered by failure, than to take rank with those poor souls who neither
enjoy much nor suffer much, because they live in the grey twilight that
knows neither victory nor defeat.
Theodore Roosevelt




We are what we repeatedly do. Excellence, then, is not an act, but a habit.
Aristotle



Impossible is a word to be found only in the dictionary of fools.
Napoleon Bonaparte



Twenty years from now you will be more disappointed by the things that you
didn't do than by the ones you did do. So throw off the bowlines. Sail away
from the safe harbour. Catch the trade winds in your sails. Explore. Dream.
Discover.
Mark Twain


The only way of finding the limits of the possible is by going beyond them
into the impossible.
Arthur C. Clarke



It is hard to fail, but it is worse never to have tried to succeed.
Theodore Roosevelt



Fortune favours the brave.
Publius Terence



Ah, but a man's reach should exceed his grasp, or what's a heaven for?
Robert Browning



People often say that motivation doesn't last. Well, neither does bathing -
that's why we recommend it daily.
Zig Ziglar



Desire is the starting point of all achievement, not a hope, not a wish, but
keen pulsating desire, which transcends everything.
Napoleon Hill



People become really quite remarkable when they start thinking that they
can do things. When they believe in themselves they have the first secret o
success.
Norman Vincent Peale



Men are born to succeed, not fail.
Henry David Thoreau



What we can or cannot do, what we consider possible or impossible, is
rarely a function of our true capability. It is more likely a function of our
beliefs about who we are.
Anthony Robbins


Every human has four endowments- self-awareness, conscience,
independent will and creative imagination. These give us the ultimate
human freedom... The power to choose, to respond, to change.
Stephen Covey

Burning BIN/CUE Images with Nero Burning Rom

BIN/CUE image format is quite common on the Internet. It might seem that finding an appropriate software for burning these images is quite hard. Luckily, it's not. In addition to Golden Hawk CDRWin, the original software for BIN/CUE format, you can also use Nero Burning Rom to burn the images.

Please make sure that you have the latest version of Nero.


Verify the CUE-sheet and open it with Nero
Before doing anything else you have to verify that the path in the CUE-sheet is correct. A CUE-sheet is a plaintext file describing the structure and the location of the BIN-file. You can open up the .CUE -file using, for example, Notepad.

The file should look something like this:

FILE "IMAGE.BIN" BINARY
TRACK 01 MODE1/2352
INDEX 01 00:00:00


Usually the CUE-filename and the BIN-filename have the same body -- e.g. IMAGE. All you need to do is verify that there is no path information on the
FILE "IMAGE.BIN" BINARY
-line. Ie. it should NOT read e.g.
FILE "C:\TEMP\IMAGE.BIN" BINARY
If there is any path information on the line, just remove it so that you have just the name of the .BIN-file as in the example above. Also make sure that the name of the .BIN in the CUE-sheet is the same as the actual .BIN file you have on hard-disk.

Next load Nero Burning Rom and choose File, Burn Image....

Load the CUE-sheet in Nero
Choose the Files of Type: dropdown menu and select All Files *.*. Next just locate the .CUE file, select it and click Open. Make sure you select the .CUE -file, not the .BIN -file.

Burn the image
All you have to do then is choose the writing speed, select the Disc-At-Once Write Method, and click Write.

That's it! After a couple of minutes you'll have a CD with the BIN/CUE Image written on it.


NOTES:
--> Do not worry if the BIN file seems larger than the capacity of your CD-R or CD-RW. Bin files are raw data and once burned, the file size is smaller.

--> If you have a DVD burner, just burn the cue/bin directly onto the DVD. Then use Daemon Tools to mount the cue/bin image when you use the files. This way you maintain a true exact image. And Daemon Tools (also Alcohol CDR burning software, which has the same feature) mounts the image, and you see the files instead of the bin/cue.

Masters of Body Language

An excerpt from the book with the same name by Dr. Gabriel and Nili Raam.I got the book free so I'm giving it free with all credits given to the original authors and I've only rearranged some parts of it to fit it in this post.


When Negotiating, Look For Nonverbal Cues

Your mother probably taught you that it's rude to stare. But when you negotiate a
business deal, close observation of your opponent makes sense.

By inspecting your opponent's every physical move, you can often determine whether he or she is holding something back or not telling the truth. The key is not to stare so much that you make your opponent uncomfortable, but to be aware of his or her movements through casual glances and friendly eye contact.
It will almost certainly give you an edge. What should you look for? Experts who study body language suggest a two-step process. First, identify a subject's mannerisms during the initial, friendly stages of a discussion. As the negotiation unfolds, see whether your opponent suddenly adopts different behavior. "You have to watch people a long time to establish what their baseline mode is,Once you know how they normally behave, you may be able to tell when they start to put on an act."If you are dealing with a very talkative executive who all of a sudden gets meek during the heat of the negotiation, then something strange is going on.It may be a clue that your opponent is hiding something; other clues are exaggerated movements or excessive enthusiasm.
A range of nonverbal clues may serve as red flags during a negotiation. Experts suggest paying special attention to a person's hands and face.

Body Aspects

Our body says a lot about us in many ways as we communicate. Body movement can
indicate attitudes, and feelings while also acting as illustrators and regulators. Our
body movement includes the heads, eyes, shoulders, lips, eyebrows, neck, legs, arms,
fingers, orientation, hands and gestures. Together these pieces can convey if we’re
comfortable, unhappy, friendly, anxious, nervous and many other messages.

This discussion has broken down body language into several areas: proxemics,
appearance, eye contact, and physical behavior. We will continue by looking at each
area.

Proxemics

Proxemics is the amount of space around or between us and others. How closely
people position themselves to a person during a discussion communicates what type
of relationship exists between the two people. This space and meaning differs from
culture to culture but in American culture the following standards exist.

0-18 inches is intimate space reserved for family and close friends
18 inches to 4 feet is personal space used in most interpersonal interactions
4-12 feet is social-consultative space used in more formal interactions

Appearance

Appearance is a second important factor involved with nonverbal communication .
In today’s society, the purpose of clothing has changed from fulfilling a need to
expressing oneself. Teens use fashion to determine cliques such as prep, jock, punk,
or gangster. Clothing communication is continued later in life by identifying
someone in a suit as a businessperson, someone wearing a black robe as a judge,
doctors wearing lab coats and stethoscopes or various other positions wearing
required uniforms of dress. Adornments are another form of appearance. Wearing
expensive jewelry communicates one message while wearing ceremonial ornaments
communicates a completely different message. Appearance also takes into account
personal grooming such as cleanliness, doing one’s hair, nail trimming or wearing
make-up.
Overall appearance is the nonverbal that people are most aware of and manipulate
the most. Appearance communicates how we feel and how we want to be viewed.

Eye Contact


Many sayings hold that the eye is the window to the mind. This is very true to
illustrating the power of eye contact in nonverbal communication. Eye contact can
maintain, yield, deny and request communication between people. People who use
eye contact are viewed as confident, credible and having nothing to hide.

Some important do’s and do not’s of eye contact are:

· If you have trouble staring someone in the eye, simply focus at something on
their face
· When speaking to a group look at everyone
· Look at people who are key decision makers or hold power
· Look at reactive listeners
· Don’t look at the floor, scripts or anything that causes you to tilt your head
away form the receiver
· Don’t look at bad listeners that may distract you

Body


As mentioned earlier, there are many parts of your body that add to the nonverbal
message. This type of nonverbal communication is called kinesic code. It is made up
of emblems, illustrators, regulators, affect displays and adapters. These behaviors
are each communicated in different behaviors and movements of your body.
The first important aspect of kinesics is posture. Standing or sitting in a relaxed
professional manner is a positive posture nonverbal. Also, being comfortably
upright, squarely facing an audience, and evenly distributing your weight are all
aspects of posture that communicate professionalism, confidence, attention to detail
and organization.
Nonverbals communicated by moving the trunk of your body are called body
gestures. Several different body gesture strategies are to move to change mood or
pace, draw attention, or reinforce and idea. Some examples are stepping aside for a
transition or stepping forward to emphasize a point.
Hand gestures are what are most often identified as nonverbal communication. One
reason is because they are so obvious to a receiver and seen to be partly conscious. It
is important to let your gestures flow naturally as if in conversation with a close
friend. You may also use gestures to specifically describe shape and size, emphasize
a point, enumerate a list, or picking out a specific item.
In conjunction with hand gestures is touching. This is a very powerful
communicator especially for establishing a link to a receiver or conveying emotion.
However, touching is dangerous because it invades a persons intimate space and
may be perceived as unwanted or breaking norms. It is important to pay attention
to the other person’s nonverbal cues before deciding to initiate a touch.

The last area of physical nonverbal communication is facial expression. Facial
expression is partly innate and also partly learned. Because of the number of
muscles and features, such as mouth, nose, lips, cheeks, in your face, it is extremely
expressive. A face can ask questions, show doubt, surprise, sadness, happiness and a
wealth of other messages.
Below is a list of some body behavior and the message they communicate.

1) Slumped posture = low spirits
2) Erect posture = high spirits, energy and confidence
3) Lean forward = open and interested
4) Lean away = defensive or disinterested
5) Crossed arms = defensive
6) Uncrossed arms = willingness to listen

Sending Signals Without Words

Body language is extremly important in an interviewing situation. Some would
argue that it is just as important as what you say and what is on your resume. Why?
Because we can learn quite a bit about people by their non-verbal actions. This is
one of the ways that an interviewer is trying to size you up as a candidate.
When we are in stressful or uncomfortable situations, many of us have habits that
can be distracting to other people. Certainly biting ones nails or constantly fidgeting
with ones hands could be distracting from what you are trying to say. These are
examples of body language that can be harmful in an interviewing situation. Used
correctly, however, body language can reinforce what you are saying and give
greater impact to your statements. The following are tips to help you give the right
non-verbal clues.

The Greeting
Facial / Head Signals
The Eyes
The Head
The Mouth
The Hands
Feet
Seven Signals for Success

The Greeting

Giving a "dead fish" handshake will not advance one's candidacy: neither will
opposite extreme, the iron-man bone crusher grip.

The ideal handshake starts before the meeting actually occurs. Creating the right
impression with the handshake is a three-step process. Be sure that:

1. Your hands are clean and adequately manicured.
2. Your hands are warm and reasonably free of perspiration. (There are a
number of ways to ensure this, including washing hands in warm water at
the interview site, holding one's hand close to the cheek for a few seconds,
and even applying a little talcum powder.)

3. The handshake itself is executed professionally and politely, with a firm grip
and a warm smile.

Remember that if you initiate the handshake, you may send the message that you
have a desire to dominate the interview; this is not a good impression to leave with
one's potential boss. Better to wait a moment and allow the interviewer to initiate
the shake. (If for any reason you find yourself initiating the handshake, do not pull
back; if you do, you will appear indecisive. Instead, make the best of it, smile
confidently, and make good eye contact.)
Use only one hand; always shake vertically. Do not extend your hand parallel to the
floor, with the palm up, as this conveys submissiveness. By the same token, you may
be seen as being too aggressive if you extend your flat hand outward with the palm
facing down.

Facial / Head Signals

Once you take your seat, you can expect the interviewer to do most of the
talking. You can also probably expect your nervousness to be at its height.
Accordingly, you must be particularly careful about the nonverbal messages you
send at this stage.
Now, while all parts of the body are capable of sending positive and negative signals,
the head (including the eyes and mouth) is under the closest scrutiny. Most good
interviewers will make an effort to establish and maintain eye contact, and thus you
should expect that whatever messages you are sending from the facial region will be
picked up, at least on a subliminal level.
Our language is full of expressions testifying to the powerful influence of facial
signals. When we say that someone is shifty-eyed, is tight-lipped, has a furrowed
brow, flashes bedroom eyes, stares into space, or grins like a Cheshire cat, we are
speaking in a kind of shorthand, and using a set of stereotypes that enables us to
make judgments -- consciously or unconsciously -- about a person's abilities and
qualities. Those judgments may not be accurate, but they are usually difficult to
reverse.
Tight smiles and tension in the facial muscles often bespeak an inability to handle
stress; little eye contact can communicate a desire to hide something; pursed lips are
often associated with a secretive nature; and frowning, looking sideways, or peering
over one's glasses can send signals of haughtiness and arrogance. Hardly the stuff of
which winning interviews are made!

The Eyes


Looking at someone means showing interest in that person, and showing interest is a
giant step forward in making the right impression. (Remember, each of us is our
own favorite subject!)

Your aim should be to stay with a calm, steady, and non-threatening gaze. It is easy
to mismanage this, and so you may have to practice a bit to overcome the common
hurdles in this area. Looking away from the interviewer for long periods while he is
talking, closing your eyes while being addressed, repeatedly shifting focus from the
subject to some other point: These are likely to leave the wrong impression.

Of course, there is a big difference between looking and staring at someone! Rather
than looking the speaker straight-on at all times, create a mental triangle
incorporating both eyes and the mouth; your eyes will follow a natural, continuous
path along the three points. Maintain this approach for roughly three-quarters of
the time; you can break your gaze to look at the interviewer's hands as points are
emphasized, or to refer to your note pad. These techniques will allow you to leave
the impression that you are attentive, sincere, and committed. Staring will only send
the message that you are aggressive or belligerent.

Be wary of breaking eye contact too abruptly, and shifting your focus in ways that
will disrupt the atmosphere of professionalism. Examining the interviewer below the
shoulders, is a sign of over familiarity. (This is an especially important point to keep
in mind when being interviewed by someone of the opposite sex.)

The eyebrows send a message as well. Under stress, one's eyebrows may wrinkle; as
we have seen, this sends a negative signal about our ability to handle challenges in
the business world. The best advice on this score is simply to take a deep breath and
collect yourself. Most of the tension that people feel at interviews has to do with
anxiety about how to respond to what the interviewer will ask. Practice responses to
traditional interview questions and relax, you will do a great job.

The Head

Rapidly nodding your head can leave the impression that you are impatient and
eager to add something to the conversation -- if only the interviewer would let you.
Slower nodding, on the other hand, emphasizes interest, shows that you are
validating the comments of your interviewer, and subtly encourages him to
continue. Tilting the head slightly, when combined with eye contact and a natural
smile, demonstrates friendliness and approachability. The tilt should be momentary
and not exaggerated, almost like a bob of the head to one side. (Do not overuse this
technique!)

The Mouth

One guiding principle of good body language is to turn upward rather than
downward. Look at two boxers after a fight: the loser is slumped forward, brows
knit and eyes downcast, while the winner's smiling face is thrust upward and
outward. The victor's arms are raised high, his back is straight, his shoulders are
square. In the first instance the signals we receive are those of anger, frustration,
belligerence, and defeat; in the second, happiness, openness, warmth, and
confidence.

Your smile is one of the most powerful positive body signals in your arsenal; it best
exemplifies the up-is-best principle, as well. Offer an unforced, confident smile as
frequently as opportunity and circumstances dictate. Avoid at all costs the technique
that some applicants use: grinning idiotically for the length of the interview, no
matter what. This will only communicate that you are either insincere or not quite
on the right track.

It's worth that the mouth provides a seemingly limitless supply of opportunities to
convey weakness. This may be done by touching the mouth frequently (and,
typically, unconsciously); "faking" a cough when confused with a difficult question;
and/or gnawing on one's lips absentmindedly. Employing any of these "insincerity
signs" when you are asked about, say, why you lost your last job, will confirm or
instill suspicions about your honesty and effectiveness.

The Hands

As we have seen, a confident and positive handshake breaks the ice and gets the
interview moving in the right direction. Proper use of the hands throughout the rest
of the interview will help to convey an above-board, "nothing-to-hide" message.

Watch out for hands and fingers that take on a life of their own, fidgeting with
themselves or other objects such as pens, paper, or your hair. Pen tapping is
interpreted as the action of an impatient person; this is an example of an otherwise
trivial habit that can take on immense significance in an interview situation. (Rarely
will an interviewer ask you to stop doing something annoying; instead, he'll simply make a mental note that you are an annoying person, and congratulate himself for picking this up before making the mistake of hiring you.)

The Feet

Some foot signals can have negative connotations. Women and men wearing slip-on
shoes should beware of dangling the loose shoe from the toes; this can be quite
distracting and, as it is a gesture often used to signal physical attraction, it has no
place in a job interview. Likewise, avoid compulsive jabbing of the floor, desk, or
chair with your foot; this can be perceived as a hostile and angry motion, and is
likely to annoy the interviewer.

The Seven Signals for Success

So far we have focused primarily on the pitfalls to avoid; but what messages should
be sent, and how? Here are seven general suggestions on good body language for the
interview.

1. Walk slowly, deliberately, and tall upon entering the room.
2. On greeting the interviewer, give (and, hopefully, receive) a friendly
"eyebrow flash": that brief, slight raising of the brows that calls attention to
the face, encourages eye contact, and (when accompanied by a natural smile)
sends the strong positive signal that the interview has gotten off to a good
start.
3. Use mirroring techniques. In other words, make an effort -- subtly! -- to
reproduce the positive signals your interviewer sends. (Of course, you should
never mirror negative body signals.) Say the interviewer leans forward to
make a point; a few moments later, you lean forward slightly in order to hear
better. Say the interviewer leans back and laughs; you "laugh beneath" the
interviewer's laughter, taking care not to overwhelm your partner by using
an inappropriate volume level. This technique may seem contrived at first,
but you will learn that it is far from that, if only you experiment a little.
4. Maintain a naturally alert head position; keep your head up and your eyes
front at all times.
5. Remember to avert your gaze from time to time so as to avoid the impression
that you are staring; when you do so, look confidently and calmly to the right
or left; never look down.
6. Do not hurry any movement.
7. Relax with every breath.

hacking on XP part 1

In this guide you will learn how to telnet , forge email, use
nslookup and netcat with Windows XP.
So you have the newest, glitziest, "Fisher Price" version of Windows: XP. How can you use XP in a way that sets you apart from the boring millions of ordinary users?
****************
The key to doing amazing things with XP is as simple as D O S. Yes, that's right, DOS as in MS-DOS, as in MicroSoft Disk Operating System. Windows XP (as well as NT and 2000) comes with two versions of DOS. Command.com is an old DOS version. Various versions of command.com come with Windows 95, 98, SE, ME, Window 3, and DOS only operating systems.
The other DOS, which comes only with the XP, 2000 and NT operating systems, is cmd.exe. Usually cmd.exe is better than command.com because it is easier to use, has more commands, and in some ways resembles the bash shell in Linux and other Unix-type operating systems. For example, you can repeat a command by using the up arrow until you back up to the desired command. Unlike bash, however, your DOS command history is erased whenever you shut down cmd.exe. The reason XP has both versions of DOS is that sometimes a program that won?t run right in cmd.exe will work in command.com
****************
DOS is your number one Windows gateway to the Internet, and the open sesame to local area networks. From DOS, without needing to download a single hacker program, you can do amazingly sophisticated explorations and even break into poorly defended computers.
****************
You can go to jail warning: Breaking into computers is against the law if you do not have permission to do so from the owner of that computer. For example, if your friend gives you permission to break into her Hotmail account, that won't protect you because Microsoft owns Hotmail and they will never give you permission.
****************
****************
You can get expelled warning: Some kids have been kicked out of school just for bringing up a DOS prompt on a computer. Be sure to get a teacher's WRITTEN permission before demonstrating that you can hack on a school computer.
****************
So how do you turn on DOS?
Click All Programs -> Accessories -> Command Prompt
That runs cmd.exe. You should see a black screen with white text on it, saying something like this:
Microsoft Windows XP [Version 5.1.2600]
(C) Copyright 1985-2001 Microsoft Corp.
C:\>
Your first step is to find out what commands you can run in DOS. If you type "help" at the DOS prompt, it gives you a long list of commands. However, this list leaves out all the commands hackers love to use. Here are some of those left out hacker commands.
TCP/IP commands:
telnet
netstat
nslookup
tracert
ping
ftp
NetBIOS commands (just some examples):
nbtstat
net use
net view
net localgroup
TCP/IP stands for transmission control protocol/Internet protocol. As you can guess by the name, TCP/IP is the protocol under which the Internet runs. along with user datagram protocol (UDP). So when you are connected to the Internet, you can try these commands against other Internet computers. Most local area networks also use TCP/IP.
NetBIOS (Net Basic Input/Output System) protocol is another way to communicate between computers. This is often used by Windows computers, and by Unix/Linux type computers running Samba. You can often use NetBIOS commands over the Internet (being carried inside of, so to speak, TCP/IP). In many cases, however, NetBIOS commands will be blocked by firewalls. Also, not many Internet computers run NetBIOS because it is so easy to break in using them. We will cover NetBIOS commands in the next Guide to XP Hacking.

What You Wanted To Know About Movie Jargon, But Were Afraid To Ask

VCD Quality Terms & Jargon
CODE
All CREDITS go to http://www.vcdhelp.com/

CAM -
A cam is a theater rip usually done with a digital video camera. A mini tripod is sometimes used, but a lot of the time this wont be possible, so the camera make shake. Also seating placement isn't always idle, and it might be filmed from an angle. If cropped properly, this is hard to tell unless there's text on the screen, but a lot of times these are left with triangular borders on the top and bottom of the screen. Sound is taken from the onboard microphone of the camera, and especially in comedies, laughter can often be heard during the film. Due to these factors picture and sound quality are usually quite poor, but sometimes we're lucky, and the theater will be fairly empty and a fairly clear signal will be heard.

TELESYNC (TS) -
A telesync is the same spec as a CAM except it uses an external audio source (most likely an audio jack in the chair for hard of hearing people). A direct audio source does not ensure a good quality audio source, as a lot of background noise can interfere. A lot of the times a telesync is filmed in an empty cinema or from the projection booth with a professional camera, giving a better picture quality. Quality ranges drastically, check the sample before downloading the full release. A high percentage of Telesyncs are CAMs that have been mislabeled.

TELECINE (TC) -
A telecine machine copies the film digitally from the reels. Sound and picture should be very good, but due to the equipment involved and cost telecines are fairly uncommon. Generally the film will be in correct aspect ratio, although 4:3 telecines have existed. A great example is the JURASSIC PARK 3 TC done last year. TC should not be confused with TimeCode , which is a visible counter on screen throughout the film.


SCREENER (SCR) -
A pre VHS tape, sent to rental stores, and various other places for promotional use. A screener is supplied on a VHS tape, and is usually in a 4:3 (full screen) a/r, although letterboxed screeners are sometimes found. The main draw back is a "ticker" (a message that scrolls past at the bottom of the screen, with the copyright and anti-copy telephone number). Also, if the tape contains any serial numbers, or any other markings that could lead to the source of the tape, these will have to be blocked, usually with a black mark over the section. This is sometimes only for a few seconds, but unfortunately on some copies this will last for the entire film, and some can be quite big. Depending on the equipment used, screener quality can range from excellent if done from a MASTER copy, to very poor if done on an old VHS recorder thru poor capture equipment on a copied tape. Most screeners are transferred to VCD, but a few attempts at SVCD have occurred, some looking better than others.

DVD-SCREENER (DVDscr) -
Same premise as a screener, but transferred off a DVD. Usually letterbox , but without the extras that a DVD retail would contain. The ticker is not usually in the black bars, and will disrupt the viewing. If the ripper has any skill, a DVDscr should be very good. Usually transferred to SVCD or DivX/XviD.

DVDRip -
A copy of the final released DVD. If possible this is released PRE retail (for example, Star Wars episode 2) again, should be excellent quality. DVDrips are released in SVCD and DivX/XviD.

VHSRip -
Transferred off a retail VHS, mainly skating/sports videos and XXX releases.

TVRip -
TV episode that is either from Network (capped using digital cable/satellite boxes are preferable) or PRE-AIR from satellite feeds sending the program around to networks a few days earlier (do not contain "dogs" but sometimes have flickers etc) Some programs such as WWF Raw Is War contain extra parts, and the "dark matches" and camera/commentary tests are included on the rips. PDTV is capped from a digital TV PCI card, generally giving the best results, and groups tend to release in SVCD for these. VCD/SVCD/DivX/XviD rips are all supported by the TV scene.

WORKPRINT (WP) -
A workprint is a copy of the film that has not been finished. It can be missing scenes, music, and quality can range from excellent to very poor. Some WPs are very different from the final print (Men In Black is missing all the aliens, and has actors in their places) and others can contain extra scenes (Jay and Silent Bob) . WPs can be nice additions to the collection once a good quality final has been obtained.

DivX Re-Enc -
A DivX re-enc is a film that has been taken from its original VCD source, and re-encoded into a small DivX file. Most commonly found on file sharers, these are usually labeled something like Film.Name.Group(1of2) etc. Common groups are SMR and TND. These aren't really worth downloading, unless you're that unsure about a film u only want a 200mb copy of it. Generally avoid.

Watermarks -
A lot of films come from Asian Silvers/PDVD (see below) and these are tagged by the people responsible. Usually with a letter/initials or a little logo, generally in one of the corners. Most famous are the "Z" "A" and "Globe" watermarks.

Asian Silvers / PDVD -
These are films put out by eastern bootleggers, and these are usually bought by some groups to put out as their own. Silvers are very cheap and easily available in a lot of countries, and its easy to put out a release, which is why there are so many in the scene at the moment, mainly from smaller groups who don't last more than a few releases. PDVDs are the same thing pressed onto a DVD. They have removable subtitles, and the quality is usually better than the silvers. These are ripped like a normal DVD, but usually released as VCD.

Formats

VCD -
VCD is an mpeg1 based format, with a constant bitrate of 1150kbit at a resolution of 352x240 (NTCS). VCDs are generally used for lower quality transfers (CAM/TS/TC/Screener(VHS)/TVrip(analogue) in order to make smaller file sizes, and fit as much on a single disc as possible. Both VCDs and SVCDs are timed in minutes, rather than MB, so when looking at an mpeg, it may appear larger than the disc capacity, and in reality u can fit 74min on a CDR74.

SVCD -
SVCD is an mpeg2 based (same as DVD) which allows variable bit-rates of up to 2500kbits at a resolution of 480x480 (NTSC) which is then decompressed into a 4:3 aspect ratio when played back. Due to the variable bit-rate, the length you can fit on a single CDR is not fixed, but generally between 35-60 Mins are the most common. To get a better SVCD encode using variable bit-rates, it is important to use multiple "passes". this takes a lot longer, but the results are far clearer.

XVCD/XSVCD -
These are basically VCD/SVCD that don't obey the "rules". They are both capable of much higher resolutions and bit-rates, but it all depends on the player to whether the disc can be played. X(S)VCD are total non-standards, and are usually for home-ripping by people who don't intend to release them.

DivX / XviD -
DivX is a format designed for multimedia platforms. It uses two codecs, one low motion, one high motion. most older films were encoded in low motion only, and they have problems with high motion too. A method known as SBC (Smart Bit-rate Control) was developed which switches codecs at the encoding stage, making a much better print. The format is Ana orphic and the bit-rate/resolution are interchangeable. Due to the higher processing power required, and the different codecs for playback, its unlikely we'll see a DVD player capable of play DivX for quite a while, if at all. There have been players in development which are supposedly capable, but nothing has ever arisen. The majority of PROPER DivX rips (not Re-Encs) are taken from DVDs, and generally up to 2hours in good quality is possible per disc. Various codecs exist, most popular being the original Divx3.11a and the new XviD codecs.

CVD -
CVD is a combination of VCD and SVCD formats, and is generally supported by a majority of DVD players. It supports MPEG2 bit-rates of SVCD, but uses a resolution of 352x480(ntsc) as the horizontal resolution is generally less important. Currently no groups release in CVD.

DVD-R -
Is the recordable DVD solution that seems to be the most popular (out of DVD-RAM, DVD-R and DVD+R). it holds 4.7gb of data per side, and double sided discs are available, so discs can hold nearly 10gb in some circumstances. SVCD mpeg2 images must be converted before they can be burnt to DVD-R and played successfully. DVD>DVDR copies are possible, but sometimes extras/languages have to be removed to stick within the available 4.7gb.

MiniDVD -
MiniDVD/cDVD is the same format as DVD but on a standard CDR/CDRW. Because of the high resolution/bit-rates, its only possible to fit about 18-21 mins of footage per disc, and the format is only compatible with a few players.

Misc Info

Regional Coding -
This was designed to stop people buying American DVDs and watching them earlier in other countries, or for older films where world distribution is handled by different companies. A lot of players can either be hacked with a chip, or via a remote to disable this.
1 USA, Canada
2 Europe, Middle East, Japan, South Africa
3 S.Korea, Taiwan, HK, ASEAN
4 Australia, NZ, Latin America
5 Ex-Soviets, Indian sub-continent, Africa
6 China
7 Reserved
8 International territory (airplanes, cruise ships, etc.)

RCE -
RCE (Regional Coding Enhancement) was designed to overcome "Multiregion" players, but it had a lot of faults and was overcome. Very few titles are RCE encoded now, and it was very unpopular.

Macrovision -
Macrovision is the copy protection employed on most commercial DVDs. Its a system that will display lines and darken the images of copies that are made by sending the VHS signals it can't understand. Certain DVD players (for example the Dansai 852 from Tescos) have a secret menu where you can disable the macrovision, or a "video stabaliser" costs about 30UKP from Maplin
CODE
(www.maplin.co.uk)


NTSC/PAL -
NTSC and PAL are the two main standards used across the world. NTSC has a higher frame rate than pal (29fps compared to 25fps) but PAL has an increased resolution, and gives off a generally sharper picture. Playing NTSC discs on PAL systems seems a lot easier than vice-versa, which is good news for the Brits :) An RGB enabled scart lead will play an NTSC picture in full colour on most modern tv sets, but to record this to a VHS tape, you will need to convert it to PAL50 (not PAL60 as the majority of DVD players do.) This is either achieved by an expensive converter box (in the regions of £200+) an onboard converter (such as the Dansai 852 / certain Daewoos / Samsung 709 ) or using a World Standards VCR which can record in any format.



News Sites -
There are generally 2 news sites, and I'm allowed to be biased :) For Games/Apps/Console ::
CODE
www.isonews.com
is generally regarded as the best, but for VCD/SVCD/DivX/TV/XXX
CODE
www.vcdquality.com
displays screen grabs and allows feedback. **NOTICE** neither site offers movie downloads, and requesting movies/trades etc on the forums of either is NOT permitted.
There are generally 3 news sites for film release for p2p and they are:
CODE
nforce - VCD Help
http://www.vcdhelp.com/
http://www.vcdquality.com/
http://www.nforce.nl/



Release Files

RARset -
The movies are all supplied in RAR form, whether its v2 (rar>.rxx) or v3 (part01.rar > partxx.rar) form.

BIN/CUE -
VCD and SVCD films will extract to give a BIN/CUE. Load the .CUE into notepad and make sure the first line contains only a filename, and no path information. Then load the cue into Nero/CDRWin etc and this will burn the VCD/SVCD correctly. TV rips are released as MPEG. DivX files are just the plain DivX - .AVI

NFO -
An NFO file is supplied with each movie to promote the group, and give general iNFOrmation about the release, such as format, source, size, and any notes that may be of use. They are also used to recruit members and acquire hardware for the group.

SFV -
Also supplied for each disc is an SFV file. These are mainly used on site level to check each file has been uploaded correctly, but are also handy for people downloading to check they have all the files, and the CRC is correct. A program such as pdSFV or hkSFV is required to use these files.
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Usenet Information

Access -
To get onto newsgroups, you will need a news server. Most ISPs supply one, but this is usually of poor retention (the amount of time the files are on server for) and poor completition (the amount of files that make it there). For the best service, a premium news server should be paid for, and these will often have bandwidth restrictions in place.

Software -
You will need a newsreader to access the files in the binary newsgroups. There are many different readers, and its usually down to personal opinion which is best. Xnews / Forte Agent / BNR 1 / BNR 2 are amongst the popular choices. Outlook has the ability to read newsgroups, but its recommended to not use that.

Format -
Usenet posts are often the same as those listed on VCDQUALiTY (i.e., untouched group releases) but you have to check the filenames and the description to make sure you get what you think you are getting. Generally releases should come down in .RAR sets. Posts will usually take more than one day to be uploaded, and can be spread out as far as a week.

PAR files -
As well as the .rxx files, you will also see files listed as .pxx/.par . These are PARITY files. Parity files are common in usenet posts, as a lot of times, there will be at least one or two damaged files on some servers. A parity file can be used to replace ANY ONE file that is missing from the rar set. The more PAR files you have, the more files you can replace. You will need a program called SMARTPAR for this.
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Scene Tags

PROPER -
Due to scene rules, whoever releases the first Telesync has won that race (for example). But if the quality of that release is fairly poor, if another group has another telesync (or the same source in higher quality) then the tag PROPER is added to the folder to avoid being duped. PROPER is the most subjective tag in the scene, and a lot of people will generally argue whether the PROPER is better than the original release. A lot of groups release PROPERS just out of desperation due to losing the race. A reason for the PROPER should always be included in the NFO.

SUBBED -
In the case of a VCD, if a release is subbed, it usually means it has hard encoded subtitles burnt throughout the movie. These are generally in malaysian/chinese/thai etc, and sometimes there are two different languages, which can take up quite a large amount of the screen. SVCD supports switch able subtitles, so some DVDRips are released with switch able subs. This will be mentioned in the NFO file if included.

UNSUBBED -
When a film has had a subbed release in the past, an Unsubbed release may be released

LIMITED -
A limited movie means it has had a limited theater run, generally opening in less than 250 theaters, generally smaller films (such as art house films) are released as limited.

INTERNAL -
An internal release is done for several reasons. Classic DVD groups do a lot of .INTERNAL. releases, as they wont be dupe'd on it. Also lower quality theater rips are done INTERNAL so not to lower the reputation of the group, or due to the amount of rips done already. An INTERNAL release is available as normal on the groups affiliate sites, but they can't be traded to other sites without request from the site ops. Some INTERNAL releases still trickle down to IRC/Newsgroups, it usually depends on the title and the popularity. Earlier in the year people referred to Centropy going "internal". This meant the group were only releasing the movies to their members and site ops. This is in a different context to the usual definition.

STV -
Straight To Video. Was never released in theaters, and therefore a lot of sites do not allow these.

ASPECT RATIO TAGS -
These are *WS* for widescreen (letterbox) and *FS* for Fullscreen.

RECODE -
A recode is a previously released version, usually filtered through TMPGenc to remove subtitles, fix color etc. Whilst they can look better, its not looked upon highly as groups are expected to obtain their own sources.

REPACK -
If a group releases a bad rip, they will release a Repack which will fix the problems.

NUKED -
A film can be nuked for various reasons. Individual sites will nuke for breaking their rules (such as "No Telesyncs") but if the film has something extremely wrong with it (no soundtrack for 20mins, CD2 is incorrect film/game etc) then a global nuke will occur, and people trading it across sites will lose their credits. Nuked films can still reach other sources such as p2p/usenet, but its a good idea to check why it was nuked first in case. If a group realise there is something wrong, they can request a nuke.

NUKE REASONS :: this is a list of common reasons a film can be nuked for (generally DVDRip)

** BAD A/R ** :: bad aspect ratio, ie people appear too fat/thin
** BAD IVTC ** :: bad inverse telecine. process of converting framerates was incorrect.
** INTERLACED ** :: black lines on movement as the field order is incorrect.

DUPE -
Dupe is quite simply, if something exists already, then theres no reason for it to exist again without proper reason.

winipcfg

If any body remembers or misses the old "winipcfg", which is missing from Windows XP, then there is a easy way to get this back from Microsoft.

Instead of using the command line to display or configure your ip with "ipconfig", you can download wntipcfg from Microsoft which gives you the same GUI as the old winipcfg.

Download:
CODE
http://microsoft.com/windows2000/techinfo/reskit/tools/existing/wntipcfg-o.asp


Then follow these steps:

Install it (the default is c:\program files\resource kit\ )
Copy wntipcfg.exe to c:\windows
Rename it to winipcfg.exe
Now you can just click on run, then type in "winipcfg".

WINDOWS XP HIDDEN APPS

To run any of these apps go to Start > Run and type the executable name (ie charmap).

WINDOWS XP HIDDEN APPS:
=========================================

1) Character Map = charmap.exe (very useful for finding unusual characters)

2) Disk Cleanup = cleanmgr.exe

3) Clipboard Viewer = clipbrd.exe (views contents of Windows clipboard)

4) Dr Watson = drwtsn32.exe (Troubleshooting tool)

5) DirectX diagnosis = dxdiag.exe (Diagnose & test DirectX, video & sound cards)

6) Private character editor = eudcedit.exe (allows creation or modification of characters)

7) IExpress Wizard = iexpress.exe (Create self-extracting / self-installing package)

8) Microsoft Synchronization Manager = mobsync.exe (appears to allow synchronization of files on the network for when working offline. Apparently undocumented).

9) Windows Media Player 5.1 = mplay32.exe (Retro version of Media Player, very basic).

10) ODBC Data Source Administrator = odbcad32.exe (something to do with databases)

11) Object Packager = packager.exe (to do with packaging objects for insertion in files, appears to have comprehensive help files).

12) System Monitor = perfmon.exe (very useful, highly configurable tool, tells you everything you ever wanted to know about any aspect of PC performance, for uber-geeks only )

13) Program Manager = progman.exe (Legacy Windows 3.x desktop shell).

14) Remote Access phone book = rasphone.exe (documentation is virtually non-existant).

15) Registry Editor = regedt32.exe [also regedit.exe] (for hacking the Windows Registry).

16) Network shared folder wizard = shrpubw.exe (creates shared folders on network).

17) File siganture verification tool = sigverif.exe

18) Volume Contro = sndvol32.exe (I've included this for those people that lose it from the System Notification area).

Virtual Memory Information

Tutorial Objective

This tutorial talks about anything about the virtual memory and how much virtual memory you need for your system.


Tutorial Introduction & Background

Today application is getting bigger and bigger. Therefore, it requires a bigger system memory in order for the system to hold the application data, instruction, and thread and to load it. The system needs to copy the application data from the HDD into the system memory in order for it to process and execute the data. Once the memory gets filled up with data, the system will stop loading the program. In this case, users need to add more memory onto their system to support that intense application. However, adding more system memory costs the money and the normal user only needs to run the the intense application that requires the memory only for one or two days. Therefore, virtual memory is introduced to solve that type of problem.


Terminology & Explanation

There are two types of memory, which are as follows:

* System Memory is a memory that is used to store the application data and instruction in order for the system to process and execute that application data and instruction. When you install the memory sticks to increase the system RAM, you are adding more system memory. System Memory can be known as either the physical memory or the main memory.

* Virtual Memory is a memory that uses a portion of HDD space as the memory to store the application data and instruction that the system deemed it doesn't need to process for now. Virtual Memory can be known as the logical memory, and it controls by the Operating System, which is Microsoft Windows. Adding the Virtual Memory can be done in system configuration.


Tutorial Information & Facts or Implementation

Virtual Memory is a HDD space that uses some portion of it as the memory. It is used to store application data and instruction that is currently not needed to be process by the system.

During the program loading process, the system will copy the application data and its instruction from the HDD into the main memory (system memory). Therefore the system can use its resources such as CPU to process and execute it. Once the system memory gets filled up, the system will start moving some of the data and instruction that don't need to process anymore into the Virtual Memory until those data and instruction need to process again. So the system can call the next application data and instruction and copy it into the main memory in order for the system to process the rest and load the program. When the data and instruction that is in the Virtual Memory needs to process again, the system will first check the main memory for its space. If there is space, it will simply swap those into the main memory. If there are not any space left for the main memory, the system will first check the main memory and move any data and instructions that doesn't need to be process into the Virtual Memory. And then swap the data and instruction that need to be process by the system from the Virtual Memory into the main memory.

Having too low of Virtual Memory size or large Virtual Memory size (meaning the size that is above double of the system memory) is not a good idea. If you set the Virtual Memory too low, then the OS will keep issuing an error message that states either Not enough memory or Virtual too low. This is because some portion of the system memory are used to store the OS Kernel, and it requires to be remain in the main memory all the time. Therefore the system needs to have a space to store the not currently needed process data and instruction when the main memory get filled up. If you set the Virtual Memory size too large to support the intensive application, it is also not a good idea. Because it will create the performance lagging, and even it will take the HDD free space. The system needs to transfer the application data and instruction back and forth between the Virtual Memory and the System Memory. Therefore, that is not a good idea. The ideal size for the Virtual Memory is the default size of Virtual Memory, and it should not be exceed the value of the triple size of system memory.

To determine how much virtual memory you need, since the user's system contains the different amount of RAM, it is based on the system. By default, the OS will set the appropriate size for Virtual Memory. The default and appropriate size of Virtual Memory is:

CODE
* 1.5 =
.

For example, if your system contains 256 MB of RAM, you should set 384 MB for Virtual Memory.

CODE
256 MB of RAM (Main Memory) * 1.5 = 384 MB for Virtual Memory


If you would like to determine how much the Virtual Memory is for your system and/or would like to configure and add more virtual memory, follow the procedure that is shown below. The following procedure is based on windows XP Professional.

1-1) Go to right-click My Computer and choose Properties

1-2) In the System Properties dialog box, go to Advanced tab

1-3) Click Settings button that is from the Performance frame

1-4) Once the Performance Options shows up on the screen, go to Advanced tab

1-5) Under the Advanced tab, click the Change button from the Virtual Memory frame to access to the Virtual Memory setting

Then the Virtual Memory dialog box appears on the screen. In there, you are able to check how much the Virtual Memory you set. If you would like to modify the size of Virtual Memory, follow the procedure that is shown below.

2-1) In there, select the drive letter that is used to install the Operating System

2-2) Choose the option that says, "Custom Size:"

Once you choose that option, the setting for Initial Size and Maximum Size become available for you to set. Initial Size (MB) means the actual size of Virtual Memory, and Maximum Size (MB) means the maximum size of Virtual Memory that is allowed to use.

Let's say if your system contains 512 MB of RAM, then the ideal setting for the Virtual Memory is as follows:

CODE

Initial Size (MB): 768
Maximum Size (MB): 1500


Once you are happy with that Virtual Memory size, click the Set button from Paging file size for selected drive to apply the setting for the Virtual Memory size. Then click the OK button to apply the setting.

That's where you can manage and configure for the size of Virtual Memory.


Additional Information

* To maintain the good overall system performance, you should be using the default size of actual size for Virtual Memory and the triple the value of the size of the main memory for the maximum size of Virtual Memory. If you find that main memory plus virtual memory is not big enough to load the intensive application, then you will need to add more main memory onto your system.

Move an Object between any Two Points

In this tutorial we are going to move an object from one point(x1,y1)to another point(x2,y2) with action script. This is quite easy and involves no trigonometry. You have to analyze the coordinates and find out the ratio by which the x & y is increasing only.
As usual, draw a movieclip and attach the following script.It is made quite easy and will work for any two given points,only you have to change the condition accordingly to make it stop at it's final position,still I haven't found out any general formula that will work on any given coordinates.But I think it will help any beginner to make them think the actionscript way.Happy programming....



onClipEvent (load) {
// set up the speed
var speed:Number = 100;
// set up initial position
var x1:Number = 25;
var y1:Number = 25;
// set up final position
var x2:Number = 500;
var y2:Number = 350;
//calculate the ratio by which x,y going to change
var dx:Number = x2-x1;
var dy:Number = y2-y1;
var xratio:Number = dx/speed;
var yratio:Number = dy/speed;
this._x = x1;
this._y = y1;
}
onClipEvent (enterFrame) {
//make the ball move
this._x = this._x+xratio;
this._y = this._y+yratio;
// make it stop when it reaches the final position
if (this._x>=x2 && this._y>=y2) {
this._x = x2;
this._y = y2;
}
}

Understand the if condition properly and if u change the coordinates u have to change the condition accordingly.

Author: swastikroi
http://swastikroy.blogspot.com/