Packagers are advised to pass ```-DRAWSPEED_ENABLE_LTO=ON``` to CMake Minimal clang version was bumped from 3.4+ to 3.9+ In order to compile darktable you now need at least gcc-5.0+/clang. Fix the color pickers behavior in all modules new script to migrate collection from Capture One Pro make it possible to apply a preset to a new module instance using the better handling of grouped images by allowing setting stars, color (only the actual parent tag, all children or the parent and children) different way to select hierarchical tags in the collection module add support for configuring the modules layout all widgets should be themable via CSS now add frequency based adjustment for the denoise profile module add frequency based adjustment for the RAW denoise module add support for renaming the module instances better copy/paste support for multiple instances add contextual help pointing to the darktable's manual group image number displayed on the collection module collection based on the local copy status new sort filter based on a personalized sorting order (drag&drop on new sort filter based on the image's group new sort filter based on the image's shutter speed new sort filter based on the image's aspect enhance TurboPrint support by displaying the dialogue with all lightroom import module supports the creator, rights, title, allow each masks of the clone module to have the opacity adjusted add optional scrollbars on lighttable, or lighttable and darkroom an option make it possible to display some image information directly visual rework of the lighttable (color label, image kind, local copy) Experimental support for PPC64le architecture (OpenCL support needs color balance module has two new modes based on ProPhotoRGB and HSL the mask blur has been complemented with a guided-filter to fine tune make it possible to change the cropped area in the perspective add mask preview to adjust size, hardness before placing them new mode for the unbreak profile module new logarithm controls for the tone-curve new module to handle duplicates in the darkroom with possibility toĪdd a title, create standard or virgin duplicate, delete duplicate and new module filmic which can replace the base curve and shadows and new module retouch allowing changes based on image frequency layers Over 1600 commits to darktable+rawspeed since 2.4 Here are the recently published release notes from one of the darktable developers for the upcoming 2.6 release which should be out in a couple of weeks unless there are some showstoppers that come to light:
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Pollux lists four variants of hide and seek games : Myinda, Apodidraskinda, Chalké Muia, some of which are still practiced today.In the game, you can also collect weapons that have been left on the battlefield by your opponents. The dictionary (Onomasticon) written by Julius Pollux in the 2nd century CE provides a list of games with descriptions. Images, however, do not provide us with game rules. The picture shares an imaginary, cheerful world where children are no longer mortal, but divine: they are depicted as carefree winged supernatural beings. The scene is a perfect example of the contribution of images to the history of play and games: it preserves the memory of children’s social life they perform a collective activity, hide and seek, which otherwise left no archaeological trace and belongs to an immaterial heritage. The eruption of Mount Vesuvius in 79 CE destroyed the city but the pyroclastic flow preserved the splendour of this wealthy house.Ĭhildren may have actually played hide and seek in the corridor which was decorated with a series of small panels depicting Erotes engaged in various lively activities. The animation is based on a wall painting from the so-called cryptoporticus of the House of the Stags (Casa dei Cervi), one of the largest dwellings in Herculaneum with a beautiful terrace that once overlooked the sea. In the past as today, play and games can provide suspended moments of shared happiness. This delicate animation, evoking the carefree happiness of loved children and hope, is meant as a gesture of solidarity with all our Italian friends, our colleagues and the many people throughout Europe and the world who are currently isolated. “Play Hide and Seek in Herculaneum” is the new animation realised by Steve Simons and Sonya Nevin (Panoply) for Locus Ludi. As a difference to other attempts to reconstruct the rules of ancient board games one may find here and there, our rules are based on scientific archaeological, philological and anthropological evidence. This is what we did for the four ancient board games of which sufficient information is available: the Greek game of “Five Lines”, the Roman games “Latrunculi” and “XII Scripta” and “Three Men’s Morris”, the only ancient board game still played today. But we can in some sort invent a game based on what we know about them and filling the gaps with plausible assumptions. Of course, it is impossible to reconstruct lost rules exactly, also because they certainly changed over time or varied from one region to another. By uniting all this evidence and checking it against what we know about similar games played around the world, we can paint a fairly good picture of how Greek and Roman board games were played. However, what we have got are archaeological finds of gaming material such as boards, dice and counters, representations of people playing games in painting, sculpture and mosaic as well as some allusions to games in ancient Greek and Roman literature. Simply because rules of ancient board games have not come down to us. Wherever we go to explain ancient Greek and Roman games to a wider audience, people ask that question: How are these games played? As obvious this question is, as difficult it is to answer. To my benefit that one year of Chemotherapy and radiation taught me a lot and gave me the time I needed to think things over and come up with a plan.Ĭancer made me a strong person ready to face any challenge and most importantly to never give in. Together my doctor and I fought the disease as a team. I am fortunate to have found like-minded co-founders in Darshan Ramanagoudra (Sales & Marketing Director), Nag Manohar (Commercial Director), and Rahul Sharma (Chief Technical Officer). The first major lesson I learned here was: Choose your people right, keep looking till you find them, and believe in them fully once you do. I traveled across the country meeting recommended doctors. I was 22 at that time and I said “Really doc, I am going to come to see you here after 40 years, not for treatment but to prove that I am alive and kicking.” I then said goodbye to this doctor and found one who believed in hope, in his practice, and most importantly in me. The first doctor I met told me – Kanika you may have very little time. Luckily for me, nobody else in the country had gotten around to something similar until I finished treatment or for that matter until now! I had the idea brewing in my head for close to 3 years or so but just when I started working on it, I was diagnosed with Cancer which set me back by a year. Today we are India’s first online marketplace for private jet and helicopter charters. We launched JetSetGo in mid-March this year (after 18-20 months of back and forth and many a blip!). JetSetGo endeavors to change this and make private jet charter very economical and simple. Given that the private aviation industry in India is still nascent, users are generally recommended aircraft that suit brokers more than the user themselves. Similarly, if the customer contacts an operator directly – he would be pitched an aircraft solely operated by that operator.Ī number of customers were of the opinion that there lacked a professional and comprehensive charter service providing a variety of aircraft with a transparent pricing system. It may well be that I will need to correct the num_dep_sub key in dec3 atom. I changed it a bit so now QuickTime reports the right channel count, can you check if it's still recognised as atmos on the AppleTV? But both values have also been just observed in the dolby-created demo mp4 files downloaded from their site.īsid needs to be 0x10 (16) to denote e-ac-3 bitstream, right?Īfter the Atmos changes this file is recognised as 5.1 in Subler, before it was 7.1: What do you mean by ‘bsdi’ ? I do not have such field in dec3 magic cookie. I see you set bsdi to 16 and num_dep_sub to 0 for Atmos. Currently the Atmos-related additions are purely empirical. Yes, it will make sense to adapt it to official specification. Sorry for late answer, was on business trip for long time, so had no way to concentrate on the issues.ĭoes the dec3 creation code needs to be updated? It will play as a music track, without Atmos, without drop-down HUD. More observations - the Amaze Trailer has different encoding than the rest, meaning e-ac-3 frames are embedded as dependent frames inside classic ac-3 frames.Īlso, the one sample file of mine, without video track, is converted nicely by Subler, but tvOS 12 does not recognise audio-only clips as movies, so it does not consider Atmos at all. So the EMDF must be located in later audioblocks than the first. In all current files I do not see auxdata being used at all. Should check if ffmpeg has complete code for that.Īfter the skipfield anaysis returns (with whatever results), the auxdata field is also parsed, as this is very deterministic and can be done reading backwards from the end of frame. I did not want to do the full analysis of audio blocks, as they are of unknown length and above average complexity. It carries on at the end of AC3 header analysis with the rest of the bitstream until it finds the skipfield in first audio block, then continues to look for 0x5838 signature from there. In a nutshell, what my code does is this: I left beta 5 downloading this morning, so have not gotten the chance to test it yet. Will check the analyzer output later in the evening. Nevermind my beta 4 nagging, just noticed you've commited that change 3 days ago. eac3 file behaves any differently, but there I discovered, that it is handled in CoreAudio and does not recognise the e-ac-3 frames embedded inbetween ac-3 frames, so it constructs the parameters and magicCookie as if it were a regular AC-3 file. I also tried to see, if importing a raw bitstream from. Likewise, I could not understand why, using mkv_ReadFrame() and readMkvPacket(), do I see only frames of 6656 bytes in size, consisting of 2 AC-3 syncframes, 25 bytes in size, respectively? Is this MKV-specific? But because of this, the audio track info is also missing the Atmos info in the FileImportController view. I looked at the MP42MKVImporter.m like you suggested, but I do not understand, why not build up all the relevant MP42AudioTrack parameters already while importing? That magicCookieForTrack is only executed, when I save the new file. I copy the code that I used to parse the OAMD object count from the e-ac-3 files. Unfortunately my vacation is over and so is my spare time to deal with this in detail. Quick look around in the Arlassian Sourcetree app offered only external diff and I’d need to do it manually file-by-file. PS is there an easy way to make a diff of my code changes to your git master? Eg if MI counts 11 objects, cookie has 0x0c, if 13 objects then 0x0e and if 15 objects then 0x10.Īlso tested: having byte 5 !=0, byte 6 =0 or byte 7 =0 makes tvOS think the stream is just E-AC-3 and play it in PCM either 5.1 or 7.1 (depending on dependent substream and channel location definition in dec3). The value here is always 1 larger than MI display. (See ETSI TS 102 366 for details) and determine object count from JOC payload in it (see ETSI TS 103 420).īytes 0-4 - standard meaning (TS 102 366)īyte 5 needs to be 0 - no dependent substreamsīyte 6 needs to be 1 - i have named it Atmos version (current atmos version is defined as 1.0 see the ETSI Revision to RDD 29:2014 Dolby Atmos® Bitstream Specificationīyte 7 seems to indicate object count - deductively observed from mp4 demo/test clips from Dolby Labs and comparing to MediaInfo object count display. I already can see that they indeed read the EMDF section in DD+ stream So the startingpoint is hidden here somewhere (am just studying the code) Luckily enough, they are also open source. It seems that the MediaInfo app does it best at the moment. Connect with Streamvision for the latest updates and offers. The Player should also automatically add this to your playlists. Request a free demo today to see how streamCAST can improve your guest experience. The stream should open and begin to play. For Windows Media Player it's File > Open URL. For iTunes go to Advanced > Open Audio Stream. Open your preferred media player, such as iTunes or Real Player.For example, the stream URL for JPR's Rhythm & News Service MP3 stream is: The direct URLs follow, along with some basic instructions. The instructions vary across media players (iTunes, Windows Media, Real Player) - but are largely the same. If you'd like to use a separate media player on your computer to stream JPR, you can cut and paste one of our direct URLs. You can also now play JPR Live Sessions and The Jefferson Exchange on Apple Podcasts: This could change at any time, so if you're struggling to get it working, check back for updated instructions. News & Information Service: " Alexa, play KSJK" " Alexa, tell NPR to play Jefferson Public Radio" will cause your device to begin streaming JPR's Rhythm & News Service by default from the NPR app.įor JPR's other program services, you'll need to use the following commands: " Alexa, play JPR" will cause your device to begin streaming JPR's Rhythm & News Service by default from the Tune-in app. NPR recently released a new set of "skills" that will stream JPR with a simple spoken command, but it can be a little tricky to find the exact service you want to hear unless you know exactly how's it's named.įor Amazon's Echo devices, a simple command of: The world of "smart speakers" is VERY fluid and confusing right now, with updates and new development happening rapidly. All you need to do is download and install the appropriate app for your mobile device at one of the links below. JPR has free mobile apps for both the iPhone and Android platforms. Formatting on devices may vary, so feel free to reach out if you run into any issues. To change services on your mobile device, select "All Streams" or, if that option does not appear, select the small radio wave icon at the bottom right. If you use a mobile device to access our website you'll get a mobile version of the site that makes listening easy. Simply select the JPR service you'd like to hear from the menu titled "All Streams" and you should connect to one of our live streams right away. The easiest way to listen to JPR online is to press the orange play button. 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The subject matter is dealt with realistically and had the cooperation of the U.S. This includes Marines in the Persian Gulf landing troops and tanks by sea. Transformers: Revenge of The Fallen has a Lock-and-Load Montage after the Pentagon realizes that the NEST team and Autobots are under attack by the Decepticons in Jordan.Unlike the original novel, Starship Troopers features the Mobile Infantry landing on Klendathu in dropships which are very much inspired by World War II landing craft.The humans invade with helicopter dropships, hovercraft, and even landing boats. Edge of Tomorrow features an amphibious assault on the alien-controlled Normandy beaches.Unlike most examples of this trope, this one ends in defeat and withdrawal after the Russian soldiers take horrible losses. Saving Leningrad: The Soviets storm the beach on the south shore of Lake Ladoga in an effort to break the German siege of the city.The Lord of the Rings: The Return of the King had Orcs making an amphibious landing at Osgiliath using barges that looked like medieval versions of the D-Day landing craft.One sequence in Red Tails has the Tuskeegee Airmen assigned to provide air cover to an amphibious landing.The 2010 Robin Hood movie (directed by Ridley Scott, starring Russell Crowe) had a storming-the-beach scene many felt was influenced by Saving Private Ryan.The mission to save the titular soldier begins after the troops have cleared the beach and begun moving inland. Saving Private Ryan begins on D-Day at Omaha Beach, and it does not shy away from just how brutal it was.During the pirates' attack on Port Royal, they send some of the crew on boats to assault and loot the town. Pirates of the Caribbean: The Curse of the Black Pearl.The Korean war film My Way ends with the Normandy assault, where Allied troops land in Omaha Beach enmasse and begin overwhelming the German forces.The Malay Chronicles: Bloodlines: This Malaysian film climaxes with a massive battle where the La Résistance battles their way through the pirate lord's island base, with plenty of fighting in knee-high waters. It's a movie all about D-Day, so naturally it features tons of scenes from the 5 different beaches the Allies landed on. In reality a propaganda piece of the Reverend Moon. Ostensibly a film about the epic amphibious landing by UN forces that turned the tide of the Korean War. 1st Infantry Division through World War II, three different amphibious landings are depicted - in North Africa in 1942 (with French soldiers defending the beach), in Sicily in 1943 (with Italian soldiers opposite) and D-Day in Normandy in 1944 (this time with Germans on the other side). (Nowadays, with the ability in modern warfare to project force inland with armored attack helicopters, the whole concept of storming the beaches is somewhat obsolete.) Ever since humans learned how to build boats, they've been using them to get the drop on their enemies - just ask those Horny Vikings. But this kind of warfare is of course much older than that. The iconic Real Life examples of this trope made famous during a little dust-up known as World War II secured the image of an army invading an enemy-held shore in the public consciousness and inspired the use of amphibious attacks in all kinds of military- and war-related works. So what's the next move? An amphibious assault, of course! Load your boys up on boats, hovercraft, water-tight armored trucks, or whatever sea-worthy transportation you've got lying around and send them to storm the beaches. The bottom line is that you can only get to where you need to be if you deal with the water hazard first. It may be a large river, a lake, or even an entire ocean. The enemy is sitting on the other side of a sizable body of water. The men are pumped, the tanks are fueled, and it's time to win this war. So you've got your troops and you're ready to take the fight to the enemy. Later, we can come back and draw some animated sprites that resemble more than a box.īut to get into making our prototype, we just need something that tells us where our player is and how big they are. Now, let’s draw something simple to represent our character. This will open up the sprite in a new sprite editor tab. Now that it’s the right size, let’s draw on it. Click the small box with four arrows underĪnd set the width and height to 64×64 pixels under To navigate the workspace, use the scroll wheel to scroll or the middle mouse button to move around. objects, or that we just put in our scene to look pretty. Sprites don’t do anything, they are just pictures that are sometimes animated that we attach to things that have code, i.e. Sprites are the game dev word for images. Right now, unfortunately, our player object looks like nothing. It’s also useful if you want to name two different things the same name, like It can become tricky to remember what’s what, so this helps with organization. We do this because we will often have to mention the names of things in our code. That way, they know if what they are using is an object or something else. For example, many people will name their objects It’s a really good idea to name things in a way that will tell you what they are. Name your project as you please and save it somewhere safe. One of the benefits of GMS 2 is that it doesn’t require a bunch of scattered dependencies to make it work. 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