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frames per second at 720 576 pixels. What this means is that you could have discs that would not play because you did not have the right player or the right display. With Blu-ray, one might have hoped that this condition would have been remedied. Well, to a degree it has. With DVD, a player did not have to support both 25 (24.97) fps and 30 fps (29.97). In practice, though, almost all players in PAL standard countries supported NTSC discs. For Blu-ray, all players must support 23.976/24 hz, 29.97/30 hz and 59.94/60 hz. Optionally, players in 50 hz countries may also support 24.97/25 hz. This means that a disc can be created for all regions unless the video is specifically targeted for the 24.97/25 hz markets. It remains to be seen if new HD material will be created in a format that is compatible for all regions (of the world and the universe). The bottomline is that endusers should not have to sort out these arcane technical nuances of video.
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The idea almost sounds like the digital equivalent to one of the classic toys, the Erector Set. Yes, the computer not only gives you the ability to make your own Droids, like an Erector Set, it also allows you to take them out and see them animate which is something you can t do with a real-life erector set. We were able to do something on the computer that you couldn t do with the toys you ve played with in the past, which was one of the goals of the project. We didn t want to just create something on the computer that you could go out and buy and do with your hands. We wanted the computer to be an extension of play. Not a replacement for what you can do. So, that was the basic idea. I submitted two other ideas to George. But, this one was by far the favorite of everybody. George included. He had tinkered with the idea of doing something like a spaceship builder or a Droid builder. So, he approved it right away. It sounds like George is directly involved in the approval process, rather than having a design committee. He is. We usually present a high concept to him maybe just a page of description. If he approves it, then it goes to the next step, the step that we call Concept. That is where we brainstorm and esh the idea out to ten or fteen pages. We get together with the core team, which is a programmer and a lead artist. Now Lucas Learning has grown to the point that we have a director of development and a director of content. They get involved in that brainstorming process, as well. So, where did it go from this rough idea that you wanted to do some animated computer droids From there, after George approved it, I moved into the Concept stage. At the time, we were trying to start Lucas Learning at the same time as were trying to get a new game going. We didn t have any artists on staff. We barely had any programmers. There were literally only about 10 of us on staff at the time. I immediately started looking to hire artists at the same time we were eshing out the game design. Around February or March, I worked with an outside concept artist, Peter Chan, to come up with some Droid parts, beyond what we saw in the Star Wars movie. He drew a lot of different concepts around that idea. Simultaneously, I m trying to nd 3D artists and 2D artists, not only for this team, but also for another team that was starting up another project.
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SCTP is specified in RFC 2960. The primary motivation behind the development of SCTP was that neither UDP nor TCP offered both the speed and reliability required of a transport protocol used to carry signaling. SCTP
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As alluded to previously, the choice of test pattern is usually made between a PRBS (to simulate traffic) and specific word patterns (to examine pattern-dependent tendencies or critical timing effects). With a PRBS, the choice of binary sequence and the resulting spectral and run properties are important. These properties may be summarized:
Figure 3.13 Digital switching involves the reordering of timeslots in the digital bit stream. This requires incoming data to be stored for a short time in a buffer store, ready to be inserted in the right position in the outgoing stream. This is called time-switching.
16. The limit of a function f at a point c, if it exists, is (a) asymptotic (b) mellifluous (c) ambiguous (d) unique (e) well-defined 17. Let f (x) = (a) (b) (c) (d) (e) limx 3 limx 3+ limx 3 limx 3 limx 3+ 2 if x < 3 . Then x 2 if x 3 f (x) = 1 f (x) = 12 f (x) = 1 f (x) = 2 f (x) = 2
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or devices connected to the system. When we talk about whole-home audio and video systems, zone is really meant to describe a room or area in your home served by a portion of your whole-home A/V system. For example, if you want to wire your family room and three bedrooms, your family room might be referred to as zone one, while the bedrooms will be referred to as zones two through four. In this section, we ll talk about the different ways in which you can distribute A/V signals to your various zones.
Photoshop Elements ships with a treasure trove of filters more than you ll probably ever use. The following sections will show you how to use filters to add style to your images and create special effects. You can access filters from the Filter menu or from the Artwork And Effects palette, shown in Figure 8-2.
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