DensityDesign Research Lab took part in the Digital Methods Initiative... more

Workshop by OPENRNDR × Politecnico di Milano This year, we... more

Officers found the body of a woman in her 40s on Friday morning

Hey Divi Nation! Thanks for joining us for the next installment of our weekly Divi Design Initiative where each week, we give away brand new freebies. This Monday, we shared a brand new Winery Layout Pack. To help you get your website up and running as soon as possible, we’re sharing a brand new blog […]

The post Get a FREE Blog Post Template for Divi’s Winery Layout Pack appeared first on Elegant Themes Blog.

The young mum who is pregnant with her second child has hailed a local group who helped her through the tough time

It's the end of an era as after 19 years as PD at HUBBARD Hot AC KSTP (KS95)/MINNEAPOLIS, LEIGHTON PECK has resigned his post. All totaled PECK was at KS95 nearly 29 years, and worked … more

As part of our #InThisTogether campaign, we're highlighting the fantastic work being done by businesses and individuals during lockdown

The nine-year-old was playing for Glentoran 2011s before football was suspended in Northern Ireland

Due to the COVID-19 CORONAVIRUS pandemic, JACK BARTON ENTERTAINMENT (JBE) has decided to postpone the first JBE TRIPLE A SUMMITFEST in BOULDER, CO, scheduled for AUGUST 4-7, until AUGUST … more

Your source for breaking news, news about New York, sports, business, entertainment, opinion, real estate, culture, fashion, and more. The New York Post is an American daily newspaper, primarily distributed in New York City and its surrounding area.

Statement Highlights: Women with cardiovascular disease should receive pre-pregnancy counseling and be monitored during and after pregnancy by either a cardio-obstetrics team or a multidisciplinary team of health care providers with experience in...

Hong Kong has been embroiled in increasingly violent social unrest since June, 2019. We examined the associated population mental health burden, risk factors, and health-care needs.

In this post, I will show you a simple way to add a distraction-free "Reading Mode" to your blog. The purpose of adding a feature like this is to enable a visitor to remove all the clutter of your site, and focus solely on the post itself. In an ideal world; there would never be a need for such a feature. In reality though, sites have numerous other goals to achieve, such as brand building, serving ads, promoting other content etc. In this way, you can compromise between the two. Do what you need when the user first arrives, but get out of the way when they decide what to read.

A small increase in customer retention can mean huge gains for your online store. Automate post-purchase emails to improve customer loyalty (and profits)!

The post 7 Ways to Engage Customers with Post-Purchase Email Automation appeared first on WooCommerce.

Pendant que nous ne pouvons plus voyager à travers le monde et que nous sommes invités à rester à la maison, le « Bureau de Tourisme du Coronavirus » en profite pour dévoiler sa dernière campagne. Ce bureau de tourisme fictif et ironique a été imaginé par Jennifer Baer, une graphiste californienne, pour promouvoir la distanciation sociale. […]

Dazed Media a interrogé les créatifs et leur a demandé d’imaginer des affiches répondant aux changements provoqués par la pandémie et appelant à un avenir meilleur. Dans le cadre de cette campagne #AloneTogether, plusieurs artistes et designers célèbres ont contribué, tels que Vivienne Westwood, Christopher Kane ou encore la créatrice de mode Katharine Hamnett. Ces […]

I talked about Disabling search engine on search pages in a previous post using the meta tag. Today lets go over the web bots Cached copy of your site. If you are working on builder your blog, or have a temporary site up, use the following code: <meta name="robots" content="noarchive"> This will tell any bot […]

The post Disable caching of your site or post appeared first on WPCult.

If you use pages and subpages or posts and parent posts on your WordPress blog, it should be a good idea to display parent page/post title while on a child page. Here’s a code to do that job easily by the recipe man: WpRecipes. photo by: Jean-Baptiste Jung

The post WPRecipes: Get parent page/post title appeared first on WPCult.

Wow, this has been a busy period. I’m just back from the Ampersand web typography conference in Brighton, and having a catch-up day in Mild Bunch HQ. Just before that I’ve been working flat out. First on Mapalong which was a grass-roots sponsor of Ampersand, and is going great guns. Then on an article for The Manual which is being published soon, and on 8 Faces #3 which is in progress right now. Not to mention the new talk for Ampersand which left me scratching my head and wondering if I was making any sense at all. More on that in a subsequent post.

In the meantime two previous events deserve a mention. (This is me starting more of a journalistic blog. :)

First of all, an interview with Simon Pascal Klien, the typographer and designer who’s curating the Design Festival podcast at the moment. We talked about all things web typography. Pascal cheekily left in a bit of noise from me in the prelude, and that rant pretty much sets the tone for the rest of the conversation. Thanks for your time, Pascal! If anyone reading this would care to listen in, the podcast can be downloaded or played from here:

Secondly, Daniel Bogan of The Setup sent me a few questions about my own tools. My answers are pretty clipped because of time, but you may find it interesting to compare this designer’s setup with your own:

I should note that in the meantime I’ve started writing with Writer, and discovered the great joy of keeping a journal and notes with a Midori Traveler’s Notebook. The latter is part of an on-going search I’m having to find Tools for Life. More on that, too at some point. Here’s my current list of topics I want to write about shortly:

• Ampersand, the aftermath
• Marrying a FujiFilm X100
• No-www
• Tools for life
• Paper versus pixels

There, I’ve written it!

If listeners find themselves using the volume up and down buttons a lot, level differences within your podcast or audio file are too big.
In this article, we are discussing why audio dynamic range processing (or leveling) is more important than loudness normalization, why it depends on factors like the listening environment and the individual character of the content, and why the loudness range descriptor (LRA) is only reliable for speech programs.

Photo by Alexey Ruban.

Why loudness normalization is not enough

Everybody who has lived in an apartment building knows the problem: you want to enjoy a movie late at night, but you're constantly on the edge - not only because of the thrilling story, but because your index finger is hovering over the volume down button of your remote. The next loud sound effect is going to come sooner rather than later, and you want to avoid waking up your neighbors with some gunshot sounds blasting from your TV.

In our previous post, we talked about the overall loudness of a production. While that's certainly important to keep in mind, the loudness target is only an average value, ignoring how much the loudness varies within a production. The loudness target of your movie might be in the ideal range, yet the level differences between a gunshot and someone whispering can still be enormous - having you turn the volume down for the former and up for the latter.

While the average loudness might be perfect, level differences can lead to an unpleasant listening experience.

Of course, this doesn't apply to movies alone. The image above shows a podcast or radio production. The loud section is music, the very quiet section just breathing, and the remaining sections are different voices.

To be clear, we're not saying that the above example is problematic per se. There are many situations, where a big difference in levels - a high dynamic range - is justified: for instance, in a movie theater, optimized for listening and without any outside noise, or in classical music.
Also, if the dynamic range is too small, listening can be tiring.

But if you watch the same movie in an outdoor screening in the summer on a beach next to the crashing waves or in the middle of a noisy city, it can be tricky to hear the softer parts.
Spoken word usually has a smaller dynamic range, and if you produce your podcast for a target audience of train or car commuters, the dynamic range should be even smaller, adjusting for the listening situation.

Therefore, hitting the loudness target has less impact on the listening experience than level differences (dynamic range) within one file!
What makes a suitable dynamic range does not only depend on the listening environment, but also on the nature of the content itself. If the dynamic range is too small, the audio can be tiring to listen to, whereas more variability in levels can make a program more interesting, but might not work in all environments, such as a noisy car.

Dynamic range experiment in a car

Wolfgang Rein, audio technician at SWR, a public broadcaster in Germany, did an experiment to test how drivers react to programs with different dynamic ranges. They monitored to what level drivers set the car stereo depending on speed (thus noise level) and audio dynamic range.
While the results are preliminary, it seems like drivers set the volume as low as possible so that they can still understand the content, but don't get distracted by loud sounds.

As drivers adjust the volume to the loudest voice in a program, they won't understand quieter speakers in content with a high dynamic range anymore. To some degree and for short periods of time, they can compensate by focusing more on the radio program, but over time that's tiring. Therefore, if the loudness varies too much, drivers tend to switch to another program rather than adjusting the volume.
Similar results have been found in a study conducted by NPR Labs and Towson University.

On the other hand, the perception was different in pure music programs. When drivers set the volume according to louder parts, they weren't able to hear softer segments or the beginning of a song very well. But that did not matter to them as much and didn't make them want to turn up the volume or switch the program.

Listener's reaction in response to frequent loudness changes. (from John Kean, Eli Johnson, Dr. Ellyn Sheffield: Study of Audio Loudness Range for Consumers in Various Listening Modes and Ambient Noise Levels)

Loudness comfort zone

The reaction of drivers to variable loudness hints at something that BBC sound engineer Mike Thornton calls the loudness comfort zone.

Tests (...) have shown that if the short-term loudness stays within the "comfort zone" then the consumer doesn’t feel the need to reach for the remote control to adjust the volume.

In a blog post, he highlights how the series Blue Planet 2 and Planet Earth 2 might not always have been the easiest to listen to. The graph below shows an excerpt with very loud music, followed by commentary just at the bottom of the green comfort zone. Thornton writes: "with the volume set at a level that was comfortable when the music was playing we couldn’t always hear the excellent commentary from Sir David Attenborough and had to resort to turning on the subtitles to be sure we knew what Sir David was saying!"

Planet Earth 2 Loudness Plot Excerpt. Colored green: comfort zone of +3 to -5LU around the loudness target. (from Mike Thornton: BBC Blue Planet 2 Latest Show In Firing Line For Sound Issues - Are They Right?)

As already mentioned above, a good mix considers the maximum and minimum possible loudness in the target listening environment.
In a movie theater the loudness comfort zone is big (loudness can vary a lot), and loud music is part of the fun, while quiet scenes work just as well. The opposite was true in the aforementioned experiment with drivers, where the loudness comfort zone is much smaller and quiet voices are difficult to understand.

Hence, the loudness comfort zone determines how much dynamic range an audio signal can use in a specific listening environment.

How to measure dynamic range: LRA

When producing audio for various environments, it would be great to have a target value for dynamic range, (the difference between the smallest and largest signal values of an audio signal) as well. Then you could just set a dynamic range target, similarly to a loudness target.

Theoretically, the maximum possible dynamic range of a production is defined by the bit-depth of the audio format. A 16-bit recording can have a dynamic range of 96 dB; for 24-bit, it's 144 dB - which is well above the approx. 120 dB the human ear can handle. However, most of those bits are typically being used to get to a reasonable base volume. Picture a glass of water: you want it to be almost full, with some headroom so that it doesn't spill when there's a sudden movement, i.e. a bigger amplitude wave at the top.

Determining the dynamic range of a production is easier said than done, though. It depends on which signals are included in the measurement: for example, if something like background music or breathing should be considered at all.
The currently preferred method for broadcasting is called Loudness Range, LRA. It is measured in Loudness Units (LU), and takes into account everything between the 10th and the 95th percentile of a loudness distribution, after an additional gating method. In other words, the loudest 5% and quietest 10% of the audio signal are being ignored. This way, quiet breathing or an occasional loud sound effect won't affect the measurement.

Loudness distribution and LRA for the film 'The Matrix'. Figure from EBU Tech Doc 3343 (p.13).

However, the main difficulty is which signals should be included in the loudness range measurement and which ones should be gated. This is unfortunately often very subjective and difficult to define with a purely statistical method like LRA.

Where LRA falls short

Therefore, only pure speech programs give reliable LRA values that are comparable!
For instance, a typical LRA for news programs is 3 LU; for talks and discussions 5 LU is common. LRA values for features, radio dramas, movies or music very much depend on the individual character and might be in the range between 5 and 25 LU.

To further illustrate this, here are some typical LRA values, according to a paper by Thomas Lund (table 2):

Program	Loudness Range
Matrix, full movie	25.0
NBC Interstitials, Jan. 2008, all together (3:30)	9.4
Friends Episode 16	6.6
Speak Ref., Male, German, SQUAM Trk 54	6.2
Speak Ref., Female, French, SQUAM Trk 51	4.8
Speak Ref., Male, English, Sound Check	3.3
Wish You Were Here, Pink Floyd	22.1
Gilgamesh, Battle of Titans, Osaka Symph.	19.7
Don’t Cry For Me Arg., Sinead O’Conner	13.7
Beethoven Son in F, Op17, Kliegel & Tichman	12.0
Rock’n Roll Train, AC/DC	6.0
I.G.Y., Donald Fagen	3.6

LRA values of music are very unpredictable as well.
For instance, Tom Frampton measured the LRA of songs in multiple genres, and the differences within each genre are quite big. The ten pop songs that he analyzed varied in LRA between 3.7 and 12 LU, country songs between 3.6 and 14.9 LU. In the Electronic genre the individual LRAs were between 3.7 and 15.2 LU. Please see the tables at the bottom of his blog post for more details.

We at Auphonic also tried to base our Adaptive Leveler parameters on the LRA descriptor. Although it worked, it turned out that it is very difficult to set a loudness range target for diverse audio content, which does include speech, background sounds, music parts, etc. The results were not predictable and it was hard to find good target values. Therefore we developed our own algorithm to measure the dynamic range of audio signals.

In conclusion, LRA comparisons are only useful for productions with spoken word only and the LRA value is therefore not applicable as a general dynamic range target value. The more complex a production gets, the more difficult it is to make any judgment based on the LRA.
This is, because the definition of LRA is purely statistical. There's no smart measurement using classifiers that distinguish between music, speech, quiet breathing, background noises and other types of audio. One would need a more intelligent algorithm (as we use in our Adaptive Leveler), that knows which audio segments should be included and excluded from the measurement.

From theory to application: tools

Loudness and dynamic range clearly is a complicated topic. Luckily, there are tools that can help. To keep short-term loudness in range, a compressor can help control sudden changes in loudness - such as p-pops or consonants like t or k. To achieve a good mid-term loudness, i.e. a signal that doesn't go outside the comfort zone too much, a leveler is a good option. Or, just use a fader or manually adjust volume curves. And to make sure that separate productions sound consistent, loudness normalization is the way to go. We have covered all of this in-depth before.

Looking at the audio from above again, with an adaptive leveler applied it looks like this:

Leveler example. Output at the top, input with leveler envelope at the bottom.

Now, the voices are evened out and the music is at a comfortable level, while the breathing has not been touched at all.
We recently extended Auphonic's adaptive leveler, so that it is now possible to customize the dynamic range - please see adaptive leveler customization and advanced multitrack audio algorithms.
If you wanted to increase the loudness comfort zone (or dynamic range) of the standard preset by 10 dB (or LU), for example, the envelope would look like this:

Leveler with higher dynamic range, only touching sections with extremely low or extremely high loudness to fit into a specific loudness comfort zone.

When a production is done, our adaptive leveler uses classifiers to also calculate the integrated loudness and loudness range of dialog and music sections separately. This way it is possible to just compare the dialog LRA and loudness of complex productions.

Assessing the LRA and loudness of dialog and music separately.

Conclusion

Getting audio dynamics right is not easy. Yet, it is an important thing to keep in mind, because focusing on loudness normalization alone is not enough. In fact, hitting the loudness target often has less impact on the listening experience than level differences, i.e. audio dynamics.

If the dynamic range is too small, the audio can be tiring to listen to, whereas a bigger dynamic range can make a program more interesting, but might not work in loud environments, such as a noisy train.
Therefore, a good mix adapts the audio dynamic range according to the target listening environment (different loudness comfort zones in cinema, at home, in a car) and according to the nature of the content (radio feature, movie, podcast, music, etc.).

Furthermore, because the definition of the loudness range / LRA is purely statistical, only speech programs give reliable LRA values that are comparable.
More "intelligent" algorithms are in development, which use classifiers to decide which signals should be included and excluded from the dynamic range measurement.

If you understand German, take a look at our presentation about audio dynamic processing in podcasts for further information:

https://css-tricks.com/making-dark-theme-switcher-with-postcss/

Suicide attempts common in post-concussion patients, says Dr. Charles Tator of the Canadian Concussion Centre

Listening without judgement is one of the best things you can do for someone with PTSD.

In today’s Adobe Photoshop video tutorial I’m going to take you through my process of creating a vintage style advertisement poster with letterpress print effects. We’ll start by laying out the design with a selection of fonts inspired by the era of wood type, along with some hand-drawn graphic elements using a limited 3-colour palette. […]

The post Video Tutorial: Vintage Letterpress Poster Design in Photoshop appeared first on Spoon Graphics.

Listening without judgement is one of the best things you can do for someone with PTSD.

So you’re interested in adding an author box to your WordPress blog? Well, you’ve come to the right place. An […]

The post How to Add a WordPress Author Box to Your Blog Posts appeared first on WPHacks.

Transitioning from military to civilian life can take time and can be tricky. Adam talks about how student veteran groups on college campuses can help vets reintegrate socially in their own way and  time.

The time has come and our loyal reader know already our traditional Advents Calendar. For the people who don’t know, […]

Listening without judgement is one of the best things you can do for someone with PTSD.

It’s 2018, and traditional marketing concept has shifted. We often hear that content marketing is taking the top and is the future of marketing. While content marketing doesn’t only mean blogging, blog posts on a product, service or about your business, should be a big part of your content marketing strategy. There are vast amounts …

Five Aspects of a Successful Blog Post Read More »

Have you noticed extra-long and weirdly stretched images on your Instagram feed? It looks like some kind of a glitch has appeared, allowing users to post images like this to their followers. Of course, some Instagrammers have made the use of it to draw attention, and if you want to have some fun (or annoy […]

The post Weird glitch lets you post insanely long photos to Instagram appeared first on DIY Photography.

Was her depression physiological from the hit to her head or because her professional soccer career was over?

Celebrities: They're just like us! Along with everyone else, famous people are self-isolating at home, and some of them have taken to social media to alleviate the stress of the outside world. We don't need to tell you that events everywhere are canceled, so a few big-time musicians are putting on personal concerts for their fans and followers, and a lot of them — save for that cringe-inducing, star-studded cover of "Imagine" that was going around yesterday — are actually pretty good.…

[IMAGE-1] The days of Post Falls being merely an exit you point out to your restless kids to assure them you're almost to Coeur d'Alene are over. In the next 20 years, the little town is projected to explode to 100,000 people.…

A method of asymmetric asynchronous decoupling of capacitors in an integrated circuit design is provided for faster simulation by circuit simulators, e.g. FastSPICE circuit simulators. This method includes removing a coupling capacitor from a list, which includes coupling capacitors that capacitively couple two nets in the design. The two nets have capacitances C1 and C2, and at least one of capacitances C1 and C2 exceeds a threshold. The coupling capacitor has capacitance Cc. When coupling capacitance Cc is low and only one of capacitances C1 and C2 has a low capacitance, then a forward capacitance can be used at whichever of the two nets has the low capacitance and a lump capacitance can be used at the other net for simulation. When coupling capacitance Cc is low and both of capacitances C1 and C2 have high capacitances, then lump capacitances can be used at the two nets for the simulation.

A technique is provided for post selection location of a mouse pointer icon in a display screen of a computing device. A software tool receives input of the post selection location for the mouse pointer icon. The post selection location defines a default location to move the mouse pointer icon in response to a window action taken on a window displayed in the display screen. In response to the window action in which the mouse pointer icon is initially displayed at a selection location corresponding to the window action, the mouse pointer icon is moved to the post selection location such that the mouse pointer icon is displayed at the post selection location in the display screen.

A system includes a system time counter associated with a micro controller and a secure clock module having a real time clock and an elapsed time counter. The system synchronizes operation between the secure clock module and the system time counter. The synchronized time entered into the system time counter is utilized in the operation of the system. The real time clock time can be caused to be entered into the elapsed time counter at certain point in the operation of the system. The relationship of the time provide enhanced systems security.

Disclosed is a process to produce a dry purified carboxylic acid product comprising furan-2,5-dicarboxylic acid (FDCA). The process comprises oxidizing at least one oxidizable compound selected from the following group: 5-(hydroxymethyl)furfural (5-HMF), 5-HMF esters (5-R(CO)OCH2-furfural were R alkyl, cycloalkyl and aryl), 5-HMF ethers (5-R'OCH2-furfural, where R'=alkyl, cycloalkyl and aryl), 5-alkyl furfurals (5-R″-furfural, where R″=alkyl, cycloalkyl and aryl), mixed feed-stocks of 5-HMF and 5-HMF esters and mixed feed-stocks of 5-HMF and 5-HMF ethers and mixed feed-stocks of 5-HMF and 5-alkyl furfurals to generate a crude carboxylic acid slurry comprising FDCA.

The present invention provides a method for post-emergence selective crabgrass control by applying a composition comprising a first herbicide and a second herbicide in which the first herbicide is 2,4-dinitro-N3,N3-dipropyl-6-(trifluoromethyl)-1,3-benzenediamine and the second herbicide is N-[2,4-dichloro-5-[4-(difluoromethyl)-4,5-dihydro-3-methyl-5-oxo-1H-1,2,4-triazol-1-yl]phenyl]methanesulfonamide to a locus where one to two leaf growth stage crabgrass is present.

A sensor information acquisition section acquires angular velocity information (GX, GY, GZ) around three axes acquired by three angular velocity sensors, and acceleration information (AX, AY, AZ) in three axial directions acquired by three acceleration sensors. A posture information calculation section calculates a posture angle and position coordinates in a virtual three-dimensional space based on the angular velocity information (GX, GY, GZ) and the acceleration information (AX, AY, AZ). The posture information calculation section calculates a fixed coordinate system velocity vector based on an inertial coordinate system acceleration vector (A) obtained from the acceleration information (AX, AY, AZ), and calculates position coordinates in a virtual three-dimensional space corresponding to the fixed coordinate system velocity vector.

The claimed invention provides an improved posture correction tool in the form of a table to be used by chiropractic practitioners to treat mechanical disorders of the spine and musculoskeletal system. The improved posture correction tool provides a plurality of pads to support the various major areas of the body and has built in drop capability and adjustment capability for the pelvic pad, the lumbar pad, the thoracic pad and the head and cervical area. The claimed invention also has a novel cervical support.

A device and method for using the device arranged to maintain anatomical alignment between a joint by creating a dynamic load around the joint to restore and maintain the anatomical alignment. The orthotic device uses a hinge to create a directed force on a tibia by maintaining misalignment of an instant center of rotation (ICoR) of the hinge at a position relative to an anatomical knee joint.

A walking robot having joints which move using a torque servo, a posture of the robot being stably controlled, and a method of controlling a posture of the robot. It is possible to maintain a stable angle of the upper body while keeping an erect posture and balance using the COG of the robot and the inclination and the direction of the upper body and the pelvis of the robot, even in an external variation including external force or an inclination angle of the ground. Even in a state in which terrain information is not known in advance, the robot may keep an erect posture in a direction of gravity. Even when a plane where the robot stands is gradually inclined, the postures of the upper body and the legs of the robot may be kept while actively changing the angle of the ankle joint.

A road safety barrier having a plurality of ropes supported by posts rigidly mounted on or in the ground is described. Each rope is held in tension against the posts and supported in a notch or groove in a side of the posts. The ropes are released from a post and the post is not pulled from the ground when a vertical force is exerted on the rope. The ropes when weaved are tensioned against the posts and this gives use to a combined frictional resistance to displacement of the ropes relative to each post along the length of the safety barrier. The structure of at least some of the posts and/or their mounting with respect to the ground defines a minimum bending yield strength in a direction along the length of the barrier. This minimum bending yield strength is greater than the bending moment resulting from the combined frictional resistance forces acting on the post.

Devices, systems and methods for dynamically stabilizing the spine are provided. The devices include an expandable spacer having an undeployed configuration and a deployed configuration, wherein the spacer has axial and radial dimensions for positioning between the spinous processes of adjacent vertebrae. The systems include one or more spacers and a mechanical actuation means for delivering and deploying the spacer. The methods involve the implantation of one or more spacers within the interspinous space.

A synergy-based human-machine interface that uses low-dimensional command signals to control a high dimensional virtual, robotic or paralyzed human hand is provided. Temporal postural synergies are extracted from angular velocities of finger joints of five healthy subjects when they perform hand movements that are similar to activities of daily living. Extracted Synergies are used in real-time brain control, where a virtual, robotic or paralyzed human hand is controlled to manipulate virtual or real world objects.

The post-processing device includes: a binding unit that forms a cut in a sheet stack and cuts a part of the sheet stack into a predetermined shape to form a tongue portion in the sheet stack, the tongue portion having a part where one end part of the tongue portion is not separated from the sheet stack, and binds the sheet stack by bending the tongue portion and inserting the other end part of the tongue portion into the cut; and a sheet stack transport unit that transports the sheet stack in an orientation such that the one end part of the tongue portion in the sheet stack bound by the binding unit is on a downstream side of the other end part of the tongue portion in the sheet stack transport direction.

According to one embodiment, a sheet post-processing apparatus includes a machine body, a first roller pair, a tray, a second roller pair, a driving unit, an inlet sensor, a receiving unit and a control unit. The inlet sensor is configured to detect presence or absence of the sheet in the first roller pair driven by the driving unit. The receiving unit is configured to receive, from an image forming apparatus, sheet length information in the sheet conveying direction of the sheet as a target to which the print job is applied. The control unit is configured to control the driving unit to rotate, if the sheet length information indicates special length and the inlet sensor detects a trailing end of the sheet, at least rollers of the second roller pair a predetermined number of times and stop the rollers, the second roller pair nipping the sheet.

A post-processing apparatus includes a processing tray, a conveyance portion, a staple unit, an operation portion, a mode switching portion, a cover, and an open/close detection portion. The staple unit, which has an automatic mode and a manual mode as processing modes for stapling processing, executes stapling processing for a paper sheet conveyed to the processing tray by the conveyance portion in the automatic mode, and executes stapling processing for a paper sheet stacked on the processing tray by a user in the manual mode. The cover is attached in an openable and closable manner so as to cover the operation portion when closed, and expose the operation portion when opened. While the open/close detection portion is detecting that the cover is opened, when the operation portion has received an operation for switching to the manual mode, the mode switching portion switches the automatic mode to the manual mode.