![]() ![]() The typical digital audio format is PCM audio or modulation of sound pulse codes. ![]() The act of converting analog sound to digital sound is the foundation for digital audio. This reproduces the sound through the use of digital signals, which are much easier to work with since they can be corrected without losing quality and in fact, may sound better.ĭigital audio has been a part of the music recording industry since the 1970s despite experimental recordings from the 1960s. PCM audio is the audio standard for all digital consumer formats such as CDs, DVDs, Blu-Ray Discs, etc. PCM audio (Pulse Code Modulation) is a process that is utilized to convert analog audio signals that are represented by waveforms to digital audio signals which are represented by ones and zeros without neither compression nor loss of information
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![]() ![]() It's had the 810 Yoshi kit with the Yoshi Daytona cam and stiff springs in it for 25,000 miles. How many times were your studs reused/retorqued? What kind of condition are they or will they be once removed? Twisted maybe? I have had my engine apart 3 times and it still has the original studs. The thing about reusing cylinder studs is an unknown. If you stay with the stock size bolts, going with helicoils isn't a bad idea either. For the strip in a 1080, 1060, 1000 Cobra with the extra high lift cam, most definitely for extra insurance.Īnother mod that has been done is to go 1 size larger on the cam tower bolts by tapping the holes and using helicoils. Extra insurance to help hold down the cam towers due to extra high lift cams. For a 1080 or 1000 RC Cobra it's not a bad idea. In my opinion, for the street this is bling. ![]() ![]() I know the stock ones aren't removable/reusable (and why would you want to anyway) but I'd think I can get away with it on the aftermarket ones. I'd like to reuse them on this current build. Last question, can aftermarket cylinder studs be removed and reused? I've got an engine with aftermarket HD studs in it, but the bottom case is trashed. How much meat can be removed from the surface of the jugs before the cam chain tensioner won't take up the slack anymore? Also, would you want to remove the sleeves and take the material off the bottom of the jugs? Maybe take half off the top and half off the bottom? I'd like to take. Anything done to the cam towers?Īnother Q I've got is about cylinder decking. Anyone here done that? I know a few guys (Terry, 754, Sparty, etc) have run cams about this size. I remember that back when the guys that ran cams this big had to machine spacers to use the valve cover as an extra hold-down. I've got a head all set up for it with Ti keepers and the aftermarket springs, ported, etc. I was wondering, however, about how the cam holders will take it. I think I am going to be running that RC327 cam I picked up. Got a few questions pertaining to my winter 836 build. ![]() ![]() ![]()
![]() ![]() The show would feature the real life singers performing their K/DA song Pop/Stars onstage with the animated K/DA characters. ![]() Riot Games tapped Oslo-based The Future Group (TFG) to bring K/DA to life for the opening ceremony of the League Of Legends World Championship Finals at South Korea’s Munhak stadium. It’s a bit like what Gorillaz and Jamie Hewlett have been up to for years, except it’s happening live on a stage in front of thousands of fans. Their vocals are provided by a cross-continental line-up of flesh and blood music stars: US-based Madison Beer and Jaira Burns, who both got their start on YouTube channels, and Miyeon and Soyeon from K-pop girl group (G)I-DLE. K/DA is a virtual girl group consisting of skins of the four popular characters in League of Legends. “K/DA is a virtual girl group consisting of skins of four popular characters in league of legends.” This year, the developer Riot Games wanted to go one better and unveil a virtual pop group singing live with their real world counterparts. Last year a dragon made a virtual appearance as singer Jay Chou performed at the opening ceremony for the League of Legends final at Beijing’s famous Birds Nest Stadium. They needed to be stylised yet believable” Lawrence Jones “We didn’t want to make the characters too photorealistic. Originally designed to quickly render polygons, textures and lighting in video games, these engines can seriously improve the graphics, animation and physics of conventional broadcast character generators and graphics packages. The introduction of games engines, such as Epic’s Unreal Engine or Unity, brought photorealism into the mix. “Having tracked cameras, remote locations and graphics moving with perfect integration, perspective matching and full broadcast continuity are essential to providing the audience with a perfect viewing experience.” “Apart from the quality of the graphics and backgrounds, the most important challenge is the integration and continuity of the whole scene,” says Churruca. Some scenarios might have no physical props at all with the presenter interacting solely with graphics. Virtual studios typically broadcast from a green screen set, but AR comes into play where there is a physically built set in the foreground, and augmented graphics and props placed in front of the camera. Examples of this can be found in election nights and entertainment and sports events, where a huge amount of data must be shown in-context and in a format that is understandable and appealing to the audience.” Miguel Churruca, Marketing and Communications director at 3D graphics systems developer Brainstorm, explains: “AR is a very useful way of providing in-context information and enhancing live images while improving and simplifying the storytelling. Viva Espana Sports shows in Spain, including Tot Esport and Tot Futbol, use AR systems from wTVision, based in Lisbon Tools that enable broadcasters to create virtual objects that appear as if they’re really in the studio have been available for years, but improvements in fidelity, camera tracking and the fusion of game engine renders with live footage has seen augmented reality go mainstream. When games engines meet live broadcast, the real and photorealistic are interchangeable. ![]() ![]() ![]() The series began airing in Japan on TV Aichi beginning on Januand rebroadcast by AT-X, TV Tokyo, TV Osaka, and TV Setouchi systems. Music is composed by Takayuki Negishi with character designs provided by Mari Tominaga. This does not map precisely to real-life blond hair.In July 2010, an anime television series was green-lit by TMS Entertainment under the directorial supervision of Hatsuki Tsuji. yellow hair (1) The character has yellow hair. very long hair (4) Very long hair is hair from (and including) waist-length hair or longer. Short hair includes hair that goes no more than a centimetre or two beyond the chin anything longer is shoulder-length. This hair length is what one would typically, though not always, see on most males. short hair (4) Short hair is hair from (but not including) bald, up to (but not including) shoulder-length hair. red eyes (1) This character has red eyes. purple eyes (2) This character`s eyes are colored somewhere between red and blue. orange eyes (1) The character has orange eyes. long hair (1) Long hair is hair from (but not including) shoulder-length, up to (but not including) waist length hair. green eyes (1) The character has green eyes. Some Elegant Gothic Lolitas also sport this hairstyle. Needless to say, this is pretty much mandatory for the Ojou. If she has them, she either is high class or acts like it. Specifically, look for two long, curled locks of hair, framing the face. drill hair (1) An easy way to tell if a female character in Japanese media is of high social standing is to not look for a crown or an Ermine Cape, but to look at the front of her head. cyan eyes (2) This character has cyan color eyes. brown hair (2) The character has brown hair. blue hair (3) The character has blue hair. black hair (1) The character has black hair. This does not include facial hair a bald person may still have a beard, moustache, or eyebrows. If there`s still hair remaining on the sides or rear of the head, then that person is not yet bald, but balding. The regular broadcast started on 3 April.īald (1) A bald person is someone, most often a male, who does not have any hair on their head. Source: Bushiroad Note: The first episode received a premiere on the official Vanguard YouTube channel on 24 March. This is how Yuuyu encounters Vanguard, a world he has never seen before, and is drawn in by its powerful allure- making new friends along the way. As Yuuyu stares at them, the card fight is soon eroded into a world of images. Blackout's leader, Momoyama Danji, and the mysterious and powerful fighter, Ebata Touya. Tonight, a serious fight for the team's flag will take place. At the amusement park, Yuuyu meets Megumi, Ishigame Zakusa, and Seto Tomari, members of "Team Blackout," a group that meets to play Vanguard every night. Megumi invites Yuuyu to a nighttime amusement park called "Wonder Hill" where her friends hang out. One day, Yuuyu could no longer stand going along with his sister's hobby, so he ran away from home. He has the ability to sense the feelings of others, but he is troubled by the fact that he cannot say no when asked. He is 15 years old and in his third year of junior high school. Yuuyu is a boy living in Kanazawa, Kaga Province. ![]() ![]() ![]()
![]() Selective Colorization Example ¶Ī good example of the application of layer masks is doing selective colorization of an image (selectively allowing color to show through a mostly black and white image). If you examine the layer mask, you’ll see that there are different levels of gray being applied (black to white, from top to bottom), and their value is what determines the opacity of the layer. For example, I will select a few different regions of the mask, and fill it with different levels of gray: If you Rectangle Select a different area of the mask, you can fill it in with a different shade of gray to produce a variable opacity. As soon as you do, you’ll be presented with a new view of your image on the canvas:Īs you can see, filling the selected portion of the layer mask with black resulted in that area having 100% transparency, showing the layer below it. You can now click inside the selection to fill it with the foreground color (black). I am going to use the Rectangle Select tool to select roughly the top third of the image, and I’ll fill this selection with black. To illustrate how masks can affect its layers transparency, let’s paint! Modifying a Layers Transparency with the Mask ¶Īt this point any operations performed on the canvas will apply to the mask and not to any layers themselves. It is also active (there is a white border around the thumbnail in the dialog, but is not visible due to the mask being white as well) and ready for modification. The layer mask has now been added to the “Teal” layer. Layers dialog with mask applied to Teal layer. You should notice a change in your Layers dialog now that shows the layer mask thumbnail to the right of the layer it applies to (in this case the “Teal” layer): The option to initialize to Black shows that the mask will make the entire layer fully transparent.įor the purposes of this tutorial, we will let the mask initialize to White (full opacity). Notice that the first option is to set the entire mask to White, which will result in full opacity on the layer (no transparency from the mask). There are many options for initializing the Layer Mask. This will then bring up the “ Add a Mask to the Layer” dialog with some options: You can also add a layer mask through the menus: Right-Click on the layer you want to add a mask to (the “Teal” layer in my example), and the Context menu will show an option to Add Layer Mask…: The teal layer is the active layer (look for the white border), and the one which we will add a layer mask to. ![]() There is a base image at the bottom of the stack, and a single layer of teal over it. The process for adding them is simple.įor this example I will use a simple image with only two layers, as shown above. Layer masks need to be added to a layer before they can be used. ![]() This flexibility to define the opacity of different areas of a layer is the basis for more interesting image manipulation techniques such as selective coloring and luminosity masking. This modification of a layer’s transparency through a mask is non-destructive to the layer itself. This differs from the use of the layer Opacity slider as a mask has the ability to selectively modify the opacity of different areas across a single layer. They allow you to selectively modify the opacity (transparency) of the layer they belong to. Layer masks are a fundamental tool in image manipulations. ![]() |
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