![]() ![]() If you are provisioning or masking from a different source eg a data warehouse or a backup, you will only need to calculate the databases size in their production environment. This includes artefacts such as log files and FILESTREAM data. Licensing for Data Masker for Oracle, Data Masker for SQL Server, SQL Clone, and SQL Provision is based on the total volume of data in all production databases that you would like to provision or mask from. We offer discounts when you buy multiple licenses contact us at more information. In the case of the SQL Toolbelt, where there's a mixture of tools, you would need to purchase additional licenses of the server tools if the number of servers is larger than the number of users. You can find more information on how SQL Monitor licenses are allocated here. Experience with database tools and development environments such as Microsoft SQL Server Management Studio, or RedGate SQL Toolbelt. SQL Monitor and SQL Backup are licensed per server. Employee discount (9) Employee stock purchase plan (8) Relocation assistance (8). Entering both will activate the tool and will add them to the user list in the customer portal. Secondly, if a user logs into a tool without being invited, they will be prompted to enter the license key as well as their account credentials. Once invited, the user will simply need to enter their account credentials when prompted by the tool to start using it. There are two ways in which a Redgate ID can become associated with a license as a user.įirstly, an owner or an admin can use the customer portal to invite users. If more than one person needs to use the license you will need to purchase a license for each user. ![]() If, for example, you are planning to use the license at work, on a laptop at home and on a VM you can install on all three by logging in with your Redgate ID each time you activate on a new machine. This means that if you are the owner of a Redgate license you are entitled to install that license on as many machines as you need. sql-in-2-hours-learn-the-structured-query-language-for-databases-including-mysql-postgresql-microsoft-sql-and-oracle 2/6 Downloaded from on Decemby guest returns the first non NULL value from an input list of arguments. Most Redgate tools are licensed per user. This is a guide to Redgate’s licensing models for user based, server based and capacity based licenses.
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![]() It’s one of those cases that leaves you wishing for a longer director’s cut - an unusual feeling on departing a Harry Potter film.Childhood ends, this time forever, with tears and howls, swirls of smoke, the shock of mortality and bittersweet smiles in “Harry Potter and the Deathly Hallows: Part 2,” the grave, deeply satisfying final movie in the series. Admittedly, that’s in keeping with the book’s cavalier attitude to its supporting cast as the plot races to its end, slowing only for Harry’s sake at key moments, but it’s a shortcoming that the film could have corrected. Weasley’s (Julie Walters) big moment is fractionally but fatally rushed, and many more minor characters get only a single line or shot in which to shine. It’s here, if we were nitpicking, that we craved just a tiny bit more room to breathe. This opens with that bank raid and builds around a running battle, hexes sleeting through the air and Hogwarts reduced to so much rubble. That said, subtlety is not the overwhelming impression. It’s subtle, but it’s the best he’s ever been. As he steps into the Great Hall and sees the devastating human cost of his defiance of Voldemort, his eyes register one body blow, and another, and another as he sees dead and wounded friends. And while Radcliffe remains reined in as an actor, that is by this stage a feature of the character, and his performance has moments of quiet brilliance. His encounters with Voldemort are brutal - very much an adult targeting a child rather than a clash of equals. The truth of Alan Rickman’s sneering Professor Snape is finally uncovered in perhaps the most moving scene of the entire series, while Ralph Fiennes at last shows off the full range of Voldemort’s genius and madness and Maggie Smith’s Professor McGonagall reveals herself as the badass we’ve always suspected her to be.īut this is Daniel Radcliffe’s hour, with Hermione and Ron very much in supporting roles as Harry steps forward to meet his destiny. The effects have never been better, the sets more beautifully designed nor the explosions bigger - but it’s still the human moments that grip. The battle scenes are appropriately spectacular, with Hogwarts under attack from an army of Death Eaters, Dementors, giants and beasties and defended by a small and dwindling number of students and teachers. What’s impressive is that, where earlier films revolved around solving a mystery, this one shifts to a war footing without losing its emphasis on character and emotion. Lesser villains must get their comeuppance, heroes must fall, and Ron (Rupert Grint) and Hermione (Emma Watson) must get a room already. Voldemort himself has to be killed and there must, surely, be a giant battle involving every surviving character of the franchise. The mysterious “Deathly Hallows”, three powerful artefacts allowing the user to conquer death, must be uncovered and claimed. ![]() Scraps of bad guy Lord Voldemort’s divided soul, hidden in “Horcruxes”, have to be found and destroyed - a process that will involve a bank heist, a dragon and a large, dead snake. The shortest film of the lot, this may be based on only half a book but it has a mountainous plot to climb. Thank Dumbledore, then, that director David Yates and screenwriter Steve Kloves managed one last herculean push to finish things in style. The final film presented a gargantuan challenge to its makers, who were required to juggle gigantic action scenes with emotional heft and jaunts into the metaphysical to explain its labyrinthine plot. After ten years, eight films, four directors and over $6 billion at the box office, it comes down to this. It’s hard to express how much the last Harry Potter matters to its fans, and how important it is to finish the series on the right note. It was popular enough to spawn a 1986 sequel, Ravenloft II: The House on Gryphon Hill, and an Advanced Dungeons & Dragons Adventure Gamebooks novel, Master of Ravenloft, the same year. In 1984, it won the Strategists' Club Award for Outstanding Play Aid. The first appearance of the setting was in Ravenloft, a stand-alone Advanced Dungeons & Dragons adventure module, published in 1983. They were hired to adapt it into the First Edition of Advanced Dungeons & Dragons and it was released as Module I6: Ravenloft" in 1983 by TSR. The duo eventually caught the attention of D&D's original publishers. However, the Hickmans kept being asked about their "Ravenloft game", and so the Ravenloft "name stuck. They play-tested it with a group of players every Halloween for five years on their own game system with the adventure titled Vampyr. When the Hickmans began work on Ravenloft, they felt the vampire archetype had become overused, trite, and mundane, and decided to create a frightening version of the creature for the module. So he and his wife set out to create a vampire villain with fleshed-out motivations and history". It didn't make sense to why a creature like a vampire was just sitting around in a random dungeon with oozes, goblins, and zombies. Back in First Edition, the game was less of a storytelling game. Strahd von Zarovich was created by the Hickmans "after Tracy returned home from a disappointing session of D&D. In 1978, Tracy and Laura Hickman wrote adventures that would eventually be published as the Dungeon & Dragons modules Pharaoh and Ravenloft.
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