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X-Men -Dark-Phoenix-Fact-Sheet-1
THE X-MEN’S GREATEST BATTLE WILL CHANGE THEIR FUTURE! Complete Your X-Men Collection When X-MEN: DARK PHOENIX Arrives on Digital September 3 and 4K Ultra HD™, Blu-ray™ and DVD September 17 X-MEN: DARK PHOENIX Sophie Turner, James McAvoy, Michael Fassbender and Jennifer Lawrence fire up an all-star cast in this spectacular culmination of the X-Men saga! During a rescue mission in space, Jean Grey (Turner) is transformed into the infinitely powerful and dangerous DARK PHOENIX. As Jean spirals out of control, the X-Men must unite to face their most devastating enemy yet — one of their own. The home entertainment release comes packed with hours of extensive special features and behind- the-scenes insights from Simon Kinberg and Hutch Parker delving into everything it took to bring X-MEN: DARK PHOENIX to the big screen. Beast also offers a hilarious, but important, one-on-one “How to Fly Your Jet to Space” lesson in the Special Features section. Check out a clip of the top-notch class session below! Add X-MEN: DARK PHOENIX to your digital collection on Movies Anywhere September 3 and buy it on 4K Ultra HDTM, Blu-rayTM and DVD September 17. X-MEN: DARK PHOENIX 4K Ultra HD, Blu-ray and Digital HD Special Features: ● Deleted Scenes with Optional Commentary by Simon Kinberg and Hutch Parker*: ○ Edwards Air Force Base ○ Charles Returns Home ○ Mission Prep ○ Beast MIA ○ Charles Says Goodbye ● Rise of the Phoenix: The Making of Dark Phoenix (5-Part Documentary) ● Scene Breakdown: The 5th Avenue Sequence** ● How to Fly Your Jet to Space with Beast ● Audio Commentary by Simon Kinberg and Hutch Parker *Commentary available on Blu-ray, iTunes Extras and Movies Anywhere only **Available on Digital only X-MEN: DARK PHOENIX 4K Ultra HD™ Technical Specifications: Street Date: September 17, 2019 Screen Format: Widescreen 16:9 (2.39:1) Audio: English Dolby Atmos, English Descriptive Audio Dolby Digital 5.1, Spanish Dolby Digital 5.1, French DTS 5.1 Subtitles: English for the Deaf and Hard of Hearing, Spanish, French Total Run Time: 114 minutes U.S. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Weekend Basketball Results Weekend Basketball
Issued Date Page WEEKEND BASKETBALL RESULTS 24/11/2019 08:36 1 / 5 INFORMATION INFORMATION RESULTS RESULTS GAME CODE HOME TEAM AWAY TEAM GAME CODE HOME TEAM AWAY TEAM No CAT TIME 1Q 2Q HT 3Q 4Q FT No CAT TIME 1Q 2Q HT 3Q 4Q FT Saturday, 23 November, 2019 Saturday, 23 November, 2019 8001 NCAA 06:00 : : : : : : USC TROJANS TEMPLE OWLS 8043 GER1 19:00 13:29 17:24 30:53 17:16 16:21 63:90 GOTTINGEN GIESSEN 46ERS 8002 NCAA 06:00 : : : : : : WASHINGTON HUSKIES MONTANA GRIZZLIES 8044 GER1 19:00 22:23 13:24 35:47 21:19 16:21 72:87 SKYLINERS BROSE BASKETS BAMB.. 8003 KOR 08:00 18:15 22:19 40:34 31:19 21:29 92:82 DONGBU PROMY SAMSUNG THUNDERS 8045 ABA 19:00 24:19 23:18 47:37 16:20 23:24 86:81 KK PRIMORSKA FMP 8004 AUS 08:30 19:25 18:30 37:55 28:12 21:23 86:90 SOUTH EAST MELBOUR.. SYDNEY KINGS 8046 ITA2W 19:00 21:17 17:19 38:36 25:20 18:21 81:77 EUROBASKET ROMA FORTITUDO AGRIGENTO 8006 KOR 10:00 15:23 13:28 28:51 15:22 21:17 64:90 KCC EGIS ANYANG KGC 8047 ITBGD 19:00 : : : : : 84:80 LUISS ROMA BAVA VIRTUS POZZUOLI 8005 AUSW 10:05 19:30 10:16 29:46 13:25 17:20 59:91 TOWNSVILLE FIRE SOUTHSIDE FLYERS 8048 ITBGD 19:00 : : : : : 76:66 TALOS RUVO DI PUGLIA FRATA NARDO 8007 AUS 11:00 21:21 19:29 40:50 20:20 31:14 91:84 CAIRNS TAIPANS PERTH WILDCATS 8049 POR 19:00 16:27 29:32 45:59 26:33 17:19 88:111 TERCEIRA BC SC LUSITANIA 8008 TUR 12:00 18:23 18:15 36:38 33:14 19:21 88:73 ROYAL HALI GAZIANTEP IAU BUYUKCEKMECE BA. -
Part 3 EOS HD Video Capture Basics EOS Immersion Seminars 2011: Class Notes Part 3: EOS HD Video Capture Basics
EOS Immersion Seminars 2011: Class Notes Part 3 EOS HD Video Capture Basics EOS Immersion Seminars 2011: Class Notes Part 3: EOS HD Video Capture Basics Table of Contents Table of Contents 2 I. Introduction 5 1. EOS HD Video Capture Basics ........................................................... 5 2. Image Quality .................................................................................... 5 3. Lens Selection .................................................................................... 5 4. Size .................................................................................................... 6 5. Cost ................................................................................................... 7 II. HD-Compatible EOS Digital SLRs 8 1. Feature Comparison ........................................................................... 8 2. Sensor Size Comparison ..................................................................... 9 3. Depth of Field Comparison ............................................................... 10 Large Aperture Lenses .................................................................................................. 11 Tilt-Shift Lenses ............................................................................................................. 12 Macro Lenses ................................................................................................................ 13 Ultra-Wide Angle & Fisheye Lenses ............................................................................. -
Leica V-Lux 4
LEICA V-LUX 4 Instructions About downloading Adobe® Photoshop® Lightroom® see page . Table of Contents Before Use Care of the camera ...................................................................................................... 6 Scope of Delivery / Accessories ................................................................................ 7 Names and Functions of the Components ............................................................... 8 Preparation Attaching the Lens Cap/the Shoulder Strap ........................................................... 13 Attaching the Lens Hood.......................................................................................... 14 Charging the Battery................................................................................................. 15 • Charging ............................................................................................................. 15 • Operating time and number of recordable pictures ............................................ 17 Inserting and Removing Card and Battery ............................................................. 19 About the Internal Memory/the Card ....................................................................... 20 • Number of recordable pictures and available recording time ............................. 22 Setting Date/Time ...................................................................................................... 24 • Changing the clock setting................................................................................. -
Slow Motion Video
Slow Motion Video MediaTek Technology White Paper May 2015 Slow Motion Video Introducing Slow Motion Video MediaTek’s Slow Motion Video technology allows the device user to easily capture, replay, and share a fast moving object any time. Slow Motion Video can record video at a high frame rate such as 120fps, 180fps or higher, playback in slower speed such as 1/2x,1/4x, and 1/16x. And, the user can easily share this slow motion video. High frame rate recording allow users to capture more details and wonderful moments for a fast moving object. Compared with normal camera recording, which only can capture 24fps – 30fps, high frame-rate recording can capture as much as 120,180fps, which allows for more fluent recording. Mediatek provides a whole solution for high frame-rate recording, so that business partners can easily combine their high frame rate camera sensors with Mediatek ICs to provide many new wonderful features. Now VGA@120fps for MT6752, HD@180fps for MT6595 and MT6795 are supported, and higher, such as HD@240fps, will be available on later MediaTek octa-core ICs. Slow Motion Video playback allows user to slow down the playback speed so as to enjoy a fully playback experience. Playing the high frame rate recorded video will bring much more fluent watching experience. But as we all know, the human video processing capability is limited, so humans cannot capture details of a fast moving object if replayed in 1x speed. By using the slow motion playback, the user can not only distinguish each amazing moment but also can enjoy interesting viewing experience. -
Copy of LA Warehouse Sale 031318
AbelCine LA Warehouse Sale: March 17, 2018 Complete List (Ordered by Manufacturer A-Z) Item Description AbelCine Codes Condition 15mm LWS to 19mm Bridgeplate Adapter AB-1519 Used ENG to AF100 Y 8" cable AB-AF100-ENG-YPTAP Monitor Stand Stud AB-BTLH-02 Panasonic LH80W 7.9 LCD Protector AB-LCD-079 Panasonic LH900 8.4 LCD Protector AB-LCD-084 Sony 20" LCD Protector AB-LCD-2050 Sony 24" LCD Protector AB-LCD-2450 Panasonic LH2600 26" LCD Protector AB-LCD-260 Sony PVM2541 LCD Protector AB-LCD-PVM2541 RED Camera Rear Panel Display Protector AB-LCD-REDPANEL Media Blackout Alexa-Mini EXT to R/S + Power Adapter AB-MB-AMINIEXT-RS MB P-Tap 12v to Alexa Mini Power Cable, 28 AB-MBPTP-AMIRA/AMINI-PWR MB XLR4 12v to Alexa Mini Power Cable (2') AB-MBXLR4-AMIRA/AMINI-PWR PCU Control Unit for Phantom AB-PCU-100 Used Abel Varicam Top Handle Standoffs AB-PNV-200 Cine-Style Riser for Varicam AB-PNV-C400 Pro I-Cuff AB-PRO-CUFF 18" P-Tap to 2.1mm DC (Connex), Mogami UltraFlex cable AB-PTAP-CNX-DCMG18 RAM 3/8-16 Ball for Ram Monitor Holder AB-RAM-B236U Custom Monitor mount with 1/4 20 Thread AB-RAMQ Custom Monitor Mount with 1/4-20 & 3/8" Thread AB-RAMT UniBob Flex 24V Right Angle Accy Power Cable AB-UNI-BOB-122 72mm to 62mm Step-Down Ring AC-169-7262M 16X9 Cine Lens Mount Brass Shim Set of 10 (2 each .002, .005, .010, .020, .040) AC-169-CLM-S Front Cap AC-169-HDV7X1-FCAP Chrosziel Scale for DV-Studio Rig and Bowdendrive AC-205-02 Chrosziel 206-10 Focus Gear Drive for Canon, Angenieux- mod 0.5 AC-206-10 Chrosziel 206-11 Focus Gear Drive for Fujinon- mod 0.6 AC-206-11 -
Nikon D5500: from Snapshots to Great Shots
Nikon D5500: From Snapshots to Great Shots Rob Sylvan Nikon D5500: From Snapshots to Great Shots Rob Sylvan Peachpit Press www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2015 Peachpit Press All photographs © Rob Sylvan except where indicated Acquisitions Editor: Susan Rimerman Project Editor: Valerie Witte Senior Production Editor: Lisa Brazieal Copyeditor: Suki Gear Composition: WolfsonDesign Indexer: Karin Arrigoni Cover Image: Rob Sylvan Cover Design: Aren Straiger Interior Design: Mimi Heft Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks From Snapshots to Great Shots” is a trademark, in the U.S. and/or other countries, of Pearson Education, Inc. or its affiliates. All Nikon products are trademarks or registered trademarks of Nikon and/or Nikon Corporation. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. -
I a Fast F / 1.4 Lens with a 10X Zoom. Bright Enough To
A fast f/1.4 lens with a 10x zoom. Bright enough to I guarantee a sharp image and powerful enough to put you right on top of any subject. Aperture control activated by a highly sensitive CdS photo 2 cell automatic exposure system . The aperture is regulated by a shock-resistant servo motor for consistently accurate setting. Split image focusing in a bright, large viewfinder. The 3 viewfinder also displays the exposure reading, warning marks, variable angle shutter setting, film-end caution lamp, and film transport indicator lamp. A Four filming speeds, including 18 fps, 24 fps, single-frame, A. and instant slow motion at 54 fps. Slow motion and regular speed filming can be quickly alternated to follow rapid action with fascinating precision. Variable shutter angle for fade-in, fade-out, lap dissolve, and Ssuperimposition. The shutter angle can be continuously changed from OO .to 1500 for precise control of fading at any aperture setting. And the auto-fader mechanism can control up to 60 frames of lap dissolve for professional quality movies. Built-in macro shooting for close-ups without special ac 6cessories or sophisticated techniques. Subjects as close as 10mm (3/8") from the front of the lens can be brought into astound ingly sharp focus. Timing accessories to permit unmanned single-frame or 7continuous shooting. Unmanned nature photography, includ ing plants, animals or cloud formations, can give an exciting new look at the world. Electronic flash contact for synchronization of si'ngle-frame Sshooting . With the remote control mechanism and magnetic trigger system, electronic flash synchronization is easy. -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
Full HD Camcorder with Wifi, Built-In Multi Scene Twin Camera and 50X Stabilized Optical Zoom HC-W580K HC-W580K
Full HD Camcorder with WiFi, Built-in Multi Scene Twin Camera and 50x Stabilized Optical Zoom HC-W580K HC-W580K SENSOR SECTION SENSOR FOR MAIN CAMERA Image Sensor 1/5.8-inch BSI MOS Sensor Total Pixels 2.51 megapixels Effective Pixels Motion Image 2.20 megapixels [16:9] (O.I.S. Standard Mode, Level Shot Function OFF) Still Image 1.67 megapixels [3:2] 2.20 megapixels [16:9 1.70 megapixels [4:3] SENSOR FOR SUB CAMERA Image Sensor Total Pixels 2 megapixels LENS SECTION LENS FOR MAIN CAMERA F Value F1.8 (WIDE) / F4.2 (TELE) Optical Zoom 50x Focal Length 2.06 – 103 mm 35 mm Film Camera Equivalent Motion Image (16:9) 28.0 - 1740 mm [16:9] (O.I.S. Standard Mode, Level Shot Function OFF) Still Image 33.6 – 1714 mm [3:2] 28.0 – 1740 mm [16:9] 34.0 – 1766 mm [4:3] Filter Diameter – Lens Brand Panasonic Lens LENS FOR SUB CAMERA F Value F2.8 Focal Length 2.48 mm 35 mm Film Camera Equivalent Motion Image 30.6 mm CAMERA SECTION Standard Illumination 1400 lx Minimum Illumination 4 lx (Scene Mode Low Light 1/30), 1 lx (Night Mode (Color)) Focus Auto / Manual Zoom Intelligent Zoom OFF 62x (O.I.S. Standard Mode, Level Shot Function OFF) Intelligent Zoom ON 90 x (O.I.S. Standard Mode, Level Shot Function: OFF) Digital Zoom 150x / 3000x (The maximum value of zoom magnification can be set in two patterns) White Balance Auto / White Set / Sunny / Cloudy / Indoor1 / Indoor2 Shutter Speed Motion Image Auto Slow Shutter ON : 1/30 – 1/8000 Auto Slow Shutter OFF : 1/60 – 1/8000 Still Image 1/2 – 1/2000 Iris Auto / Manual Image Stabilizer HYBRID O.I.S.+ with Active Mode, O.I.S. -
Encoding Time Optimization for Intra-Frame Reconstruction Schemes for H.264
International Journal of Engineering & Technology, 7 (2.33) (2018) 245-251 International Journal of Engineering & Technology Website: www.sciencepubco.com/index.php/IJET Research paper Encoding time optimization for intra-frame reconstruction schemes for H.264 Pradeep Kumar N. S 1.*, H. N. Suresh 2 1 Associate Professor.: Department of Electronics & Communication Engineering, South East Asian College of Engeening & Technology, Bangalore, India 2 Professor Department of Electronics & Instrumentation Engineering Bangalore Institute of Technology, Bangaloe, India *Corresponding author E-mail: [email protected] Abstract The area of transmission compression is gaining a quick momentum by evolving with completely different varieties of compression pro- tocols and coding method. However, majority of the prevailing communication devices still uses H.264 as a customary compression pro- tocol. we tend to reviewed a number of the prevailing system touching on usage of H.264 in video compression to explore it doesn’t sup- ply process effectiveness though it's going to supply higher reconstructed knowledge on the receiver finish. This paper introduces A dis- tinctive optimisation mechanism to optimize the coding time by introducing a value perform formulation. The bestowed design runs over typical H.264 and supply worth additional advantage by creating it additional resource friendly. The rule made uses MPEG file as AN input that endure the method of optimisation of coding time used for coding I and P frame. The study outcome of the projected system is found to supply a much better reduction in coding time as compared to existing mechanism of Lagrangian price perform. As a contribu- tion, our outcome shows a much better equilibrium between the info quality of reconstructed signal and therefore the coding time.