To: Panorama 6 Users Date: September 30, 2018 Subject: Retiring Panorama 6
The first lines of Panorama source code were written on October 31st, 1986. If you had told me that that line of code would still be in daily use all across the world in 2018, I would have been pretty incredulous. Amazingly, the code I wrote that first day is still in the core of the program, and that specific code I wrote 32 years ago actually still runs every time you click the mouse or press a key in Panorama 6 today.
Of course Panorama has grown by leaps and bounds over the ensuing years and decades:
Panorama 1.0 was first released for 68k Macs in November 1988. Panorama 2 and 3 greatly expanded the functionality, user interface and programmability.
In 2000, Panorama 4 added native PowerPC support, and also was the first version of Panorama for Windows PC's.
Panorama 5.0 added support for OS X (using the Carbon API's), as well as full menu customization and the ability to extend the programming language.
In 2007, Panorama 5.5 introduced Panorama Server for multi-user and web based applications.
Finally, in 2010 Panorama 6 introduced native Intel support on the Mac.
Along the way Panorama was highly reviewed in major publications, won awards, and gained thousands of very loyal users. It's been a great run, but ultimately there is only so far you can go with a technology foundation that is over thirty years old. It's time to turn the page, so we are now retiring the "classic" version of Panorama so that we can concentrate on moving forward with Panorama X.
If you are still using Panorama 6, you may wonder what "retiring" means for you. Don't worry, your copy of Panorama 6 isn't going to suddently stop working on your current computer. However, Panorama 6 is no longer for sale, and we will no longer provide any support for Panorama 6, including email support. However, you should be able to find any answers you need in the detailed questions and answers below.
The best part of creating Panorama has been seeing all of the amazing uses that all of you have come up with for it over the years. I'm thrilled that now a whole new generation of users are discovering the joy of RAM based database software thru Panorama X. If you haven't made the transition to Panorama X yet, I hope that you'll be able to soon!
Sincerely,
Jim Rea Founder, ProVUE Development
Casting 2 Con Francis Ford Coppula- Patched -
was #1, #2, and #3. But Brando was the ultimate con artist of acting. In 1976, he was morbidly obese, isolated on his private island in Tahiti, and demanded $1 million for three weeks of work. And he refused to read the script.
Coppola used casting to create cross-generational echoes:
The story of conning Francis Ford Coppola endures because it speaks to a deeper artistic truth:
From the gangster palaces of The Godfather Part II to the hallucinatory future-scape of Megalopolis , Francis Ford Coppola has remained one of cinema's most daring casting directors. His methods are unorthodox: open group auditions, resistance to "woke" labeling, and a willingness to hire the controversial alongside the respected. But the results speak for themselves. Casting 2 Con Francis Ford Coppula-
Released in 2024, Megalopolis represents the culmination of Coppola's life's work: a $120 million, self-financed epic written, directed, and produced by the man himself. After decades of development—he had been nurturing the idea for nearly 40 years— Megalopolis finally reached screens as a sprawling science fiction drama set in an imagined future America known as New Rome.
Coppola’s first act of genius was a 40-page memo arguing that the book was a metaphor for American capitalism. His second was threatening to quit unless he got his way on three key roles: Vito, Michael, and Sonny.
Arriving unannounced in Matera, Coppola personally presided over the search for extras and secondary roles, drawing hundreds of hopefuls. The specificity of the casting call reads like a time capsule; for Distant Vision , set in the 1930s, the criteria specifically banned modern intrusions like tattoos, visible piercings, colored hair, or cosmetic fillers, seeking natural European features to ensure historical authenticity. These calls were open to everyone from minors to seniors, showing that for Coppola, authenticity is not just about the lead actor—it is about the texture of the entire frame. was #1, #2, and #3
. While one is a "regular" film he hopes to shoot in England, the most buzzed-about project is Distant Vision , a multi-generational "live cinema" experiment. Distant Vision
: Recent reports suggest production could involve regions in Italy, specifically Reggio Calabria , with casting calls previously noted for late 2025. The "English Project": Glimpses of the Moon
When Francis Ford Coppola began developing the sequel, he faced a unique challenge: the film would function as both a and a prequel . This meant he had to find actors to play younger versions of established characters while convincing the original stars to return for the 1950s-era storyline. The Search for the Young Vito Corleone And he refused to read the script
Tony was eventually let into the waiting area, where 30 actual professional actors had been sitting for hours. He didn’t sit. He paced. He mumbled. He picked a fight with a guy in a tracksuit. He was, in effect, method-acting his own life.
Individuals with , as the film heavily integrates these elements.
was #1, #2, and #3. But Brando was the ultimate con artist of acting. In 1976, he was morbidly obese, isolated on his private island in Tahiti, and demanded $1 million for three weeks of work. And he refused to read the script.
Coppola used casting to create cross-generational echoes:
The story of conning Francis Ford Coppola endures because it speaks to a deeper artistic truth:
From the gangster palaces of The Godfather Part II to the hallucinatory future-scape of Megalopolis , Francis Ford Coppola has remained one of cinema's most daring casting directors. His methods are unorthodox: open group auditions, resistance to "woke" labeling, and a willingness to hire the controversial alongside the respected. But the results speak for themselves.
Released in 2024, Megalopolis represents the culmination of Coppola's life's work: a $120 million, self-financed epic written, directed, and produced by the man himself. After decades of development—he had been nurturing the idea for nearly 40 years— Megalopolis finally reached screens as a sprawling science fiction drama set in an imagined future America known as New Rome.
Coppola’s first act of genius was a 40-page memo arguing that the book was a metaphor for American capitalism. His second was threatening to quit unless he got his way on three key roles: Vito, Michael, and Sonny.
Arriving unannounced in Matera, Coppola personally presided over the search for extras and secondary roles, drawing hundreds of hopefuls. The specificity of the casting call reads like a time capsule; for Distant Vision , set in the 1930s, the criteria specifically banned modern intrusions like tattoos, visible piercings, colored hair, or cosmetic fillers, seeking natural European features to ensure historical authenticity. These calls were open to everyone from minors to seniors, showing that for Coppola, authenticity is not just about the lead actor—it is about the texture of the entire frame.
. While one is a "regular" film he hopes to shoot in England, the most buzzed-about project is Distant Vision , a multi-generational "live cinema" experiment. Distant Vision
: Recent reports suggest production could involve regions in Italy, specifically Reggio Calabria , with casting calls previously noted for late 2025. The "English Project": Glimpses of the Moon
When Francis Ford Coppola began developing the sequel, he faced a unique challenge: the film would function as both a and a prequel . This meant he had to find actors to play younger versions of established characters while convincing the original stars to return for the 1950s-era storyline. The Search for the Young Vito Corleone
Tony was eventually let into the waiting area, where 30 actual professional actors had been sitting for hours. He didn’t sit. He paced. He mumbled. He picked a fight with a guy in a tracksuit. He was, in effect, method-acting his own life.
Individuals with , as the film heavily integrates these elements.
