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A scale is often indicated in the format plotted size=actual size or plotted size:actual size. Because you draw at actual size, the actual size is also the drawing size. For example, a scale of 1/4"=1 means that 1/4 inch on the drawing, when plotted out on a sheet of paper, represents 1 foot in actual life and in the drawing. This is a typical architectural scale. A windowpane 1 foot wide would appear 1/4-inch wide on paper. From the scale, you can calculate the scale factor. You use the factor when you set the size for text (see 13) or for dimensions (see 15). To do this, the left side of the scale equation must equal 1, and the two numbers must be in the same measurement (for example, both in inches). This requires some simple math. For 1/4"=1 , you would calculate as follows: /4"=1 1"=4 1"=48"

has rank M . (a) Show that the linear least-mean-squares estimator of x given both observations {yi, y2}, denoted by 5, satisfies P-'B = PY'Bi.1 P;'&, where P denotes the resulting error 2 covariance matrix and is given by P-' = PC1 P;' - R-' . Remark. This useful result tells us that the estimators {&I, &} and their error covariances { P I ,P2} can be fused together without the need to access the original measurements {v,, g2}.

When selecting a template, you can choose from these categories:

(13.2)

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ou probably noticed right away that adding the Timeline to Photoshop added not only animation capability, but also the ability to edit video. Although working with video in Photoshop is all about frame-by-frame editing, cleaning it up, or adding Rotoscoping, there are concepts related to video file formats that do not apply to image files. Additionally, there are advanced tools in Photoshop that are available for any kind of file editing image, 3D, and video but while they are helpful with other files, they are vital in video editing. This chapter introduces you to video file formats and helps you understand pixel ratios. After that, you learn how to use and create your own actions, something you may have never done before, but should never be without. I finish by showing you all the new features available to you in setting up your palette views in Photoshop CS3.

If using the Transform tools in the Edit menu is beyond you right now, don t worry; you can get a full run-down in 20. n

If you are using Outlook at work, your employer may provide a digital ID to you that you ll import as described in the next section. Otherwise, you can get your own. Digital IDs are provided by independent companies for a small fee. A digital ID is linked to a speci c e-mail address and cannot be used with other addresses. To get your own digital ID:

A*(z)CB(Z)&% = -

Development-time interfaces (exported software artifacts)

There is only so much that can be done to improve the look of the car. In Photoshop, textures can t be added to an object. All of the black imagery of the car is the original look of the 3D model, without any texture added to it. To map texture to the wheels or the windshield, a 3D modeling program must be used. After that, Photoshop can be used to improve the texture.

T h e arguments so far do not only provide an interpretation for the columns of L.i but they also motivate other efficient RLS implementations. These alternative implementations are not in the form of array algorithms, as was the case in 37, but in terms of explicit sets of recursions. We start with the Fast Transversal Filter (FTF) form.

is only slightly larger than OLJ and, as we work at an (8.161)

(0.5 x 10- 3 )/( 50 x 10- 6 )

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