SKU: 49339699797
prodiamine 65 wdg herbicide

prodiamine 65 wdg herbicide Prodiamine 65 WDG Pre-Emergent | 5 oz

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Description

prodiamine 65 wdg herbicide Prodiamine 65 WDG Pre-Emergent | 5 ozThis product has been discontinued. Please see our 5lb option here OR our granular option here. Prodiamine 65 WDG Pre Emergent Herbicide (generic Barricade) is a pre emergent weed control designed to stop weeds in the lawn, such as crabgrass, annual bluegrass (poa annua), bittercress, chickweed, and henbit. This is a dry product you mix in water to make a liquid to apply via backpack battery sprayer. One 5 oz bottle covers 6,000 sq ft at max rate for

This product has been discontinued. 


Prodiamine 65 WDG - Pre-Emergent Herbicide (generic Barricade) is a pre-emergent weed control designed to stop weeds in the lawn, such as crabgrass, annual bluegrass (poa annua), bittercress, chickweed, and henbit. This is a dry product you mix in water to make a liquid to apply via backpack/battery sprayer.

  • One 5 oz bottle covers 6,000 sq ft at max rate for a full year
  • 65% Prodiamine is the active ingredient
  • Great for preventing crabgrass, poa annua (annual bluegrass), and more

Product Description:
Prodiamine 65 WDG is a professionally formulated pre-emergent to be mixed in water and sprayed out as a liquid. Yard Mastery is proud to bring this to market, specifically in a smaller bottle for DIYers.

Most DIYers use this product in spring to stop crabgrass. Crabgrass is an annual grassy weed that germinates in spring, grows lime green and large during summer, then, towards the later fall, drops seeds. The following spring, the process starts all over again. This is why crabgrass is called an “annual” grassy weed. The good news is that it can be stopped very effectively using this product.

The best time to apply Prodiamine is in the spring or fall, as soil temperatures are between 55F to 70F. This will give you approximately 3 months of pre-emergence protection.

FOR LARGER LAWNS, you can purchase a five-pound bottle here.

Application Information:

  • For cool and warm-season lawns, our recommendation is 2 applications in the spring if your target is crabgrass. Check out our FREE Pre-Emergent Guide for specific details.
  • The best time to apply Prodiamine is in the spring or fall, as soil temperatures are between 55F to 70F. This will give you approximately 3 months of pre-emergence protection. Download our FREE app it will tell you exactly when your soil temps cross these milestones.

DO NOT use Prodiamine if you are seeding or reseeding, as it will keep your seed from germinating.

Prodiamine 65 WDG should be applied via battery-powered sprayer. We do NOT recommend applying via a hose-end sprayer.

We recommend weighing this product on a scale to be accurate, and grams will be the easiest. See the following table for the application rates we recommend. The product must be watered in within 48 hours; the sooner the better. ½” of water from irrigation or rainfall.

  • 1 oz = 28.35 grams
  • 5oz bottle = 141.75 grams
Grass Type Application Rate
Kentucky Bluegrass, Perennial Ryegrass
  • 5.2g/1000 sq ft, Early Spring
  • 5.2g/1000 sq ft, Mid Spring
  • 5.2g/1000 sq ft, Early Fall (if not seeding)
  • Total 15.6g yearly
Fine Fescue
  • 11.9 g per calendar year
Bermudagrass, Bahiagrass, Centipedegrass, St Augustinegrass, Tall Fescue, Zoysia
  • 5.2g/1000 sq ft, Early Spring
  • 5.2g/1000 sq ft, Mid Spring
  • 13g/1000 sq ft, Early Fall

Prodiamine WDG can be used on established turfgrasses, golf courses (excluding putting greens), sod farms, and lawns.

 Coverage

SEE TABLE ABOVE 
Application  Details See the table above for specific application details and instructions
Water-In  Instructions

Water into the soil within 24 hours with 1/2" of rainfall or irrigation
Manufactured by

EPA Reg # 53883‐429, 66222‐89
  • Label: Prodiamine WDG 5 oz Info
  • Package Includes: (1) 5 oz bottle
  • Storage: Can be stored for up to 2 years in dry conditions away from moisture.

Shipping Information:

Shipping Costs

Included for most states within the U.S.
NO P.O. Boxes
State Restrictions
 Alaska (AK), Hawaii (HI), New York (NY), Maine (ME)
Stickers

Yes, free stickers with this item
Typical Delivery Time

4 - 7 business days
Product Type Water Dispersable Granular
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SKU: 49339699797

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4.8 ★★★★★
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Product Reviews
J
Verified Purchase
jk Smiles
Louisville, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Grantham, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Lexington, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Lexington, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Fort Morgan, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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