M3U3 project Creating an illustrated time chart

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tribon m3型线绘制

tribon m3型线绘制

Tribon M3软件简介----Lines型线绘制和光顺Tribon 软件简介TRIBON系统是瑞典KCS公司研制的用于造船设计和生产的专业软件,是集计算机辅助设计与建造和信息集成于一体,并覆盖了船体、管系、电缆、舱室、涂装等各个专业的船舶专业软件。

可用多种方法建立三维船舶数字模型。

其特点在于用计算机建立船舶的生产信息数据库,即在计算机里建立一个实船模型。

它所完成的不仅仅是绘制生产用的图纸,更重要的是能进行各种信息数据的计算、管理和统计,而这些生产信息能直接被提取出来用于生产制造,完成了设计与生产准备的统一。

Tribon M3 主要模块⏹装配规划(Assembly Planning)⏹基本设计(Basic Design)⏹设计管理(Design Manger)⏹草图(Drafting)⏹装备设计(Equipment)⏹船体设计(Hull)⏹初始设计(Initial Design)⏹舾装设计(Outfiting)⏹产品数据管理(Production Manager)⏹焊接规划(Weld Planning)Tribon lines 型线绘制介绍⏹Tribon M3 LINES是模块Initial Design中的一个子模块,它是Tribon M3系统为设计和制造目的的船体线型定义的主要组件。

它的使用者可以快速地设计光顺的大部分船型——包括不对称船型和多体船等复杂船型——直接达到生产的要求。

使用者也可以应用已存在的船体型线作为母型进行新的生产设计。

⏹初步设计(Initial Design)⏹Lines 型线绘制和光顺⏹Surface & Compartment 船体曲面生成和分舱⏹Calc & Hydro 静水力计算Tribon M3 Lines⏹ 1. 参数设置⏹ 2. 创建boundary曲线⏹ 3. 创建控制线⏹ 4. 初步横剖线及其光顺⏹ 5. 3D光顺创建3D曲线⏹ 6. 插入水线和纵剖线⏹7. 水线末端控制⏹8. patch 生成船体曲面⏹9. 封闭船体及分舱⏹10. 静水力计算一. 参数设置File ---User Parameters ---Particulara二. 创建boundary曲线⏹创建Stern Profile(艉中纵剖线)⏹创建StemProfile(艏中纵剖线)⏹创建平底线F.O.B 和平边线F.O.S⏹完成边界线的光顺常用工具栏⏹ 1. 标准工具栏Standard⏹ 2. 视图工具栏View⏹ 3. 显示工具栏Display⏹ 4. 编辑工具栏Edit⏹ 5. 识别工具栏Identify三. 创建控制线⏹作为边界线Boundary的补充,有必要创建一些初始的3D控制曲线,如折角线Knuckle和转圆线Tangent,不像边界线Boundary,系统会赋予一个标准化的名字,使用者必须指定一个名字来用于区分每条3D控制线。

汉王科技创艺新星三代绘画板使用手册说明书

汉王科技创艺新星三代绘画板使用手册说明书

创艺新星三代使用手册汉王科技股份有限公司Copyright © 1999 - 2013 汉王科技股份有限公司版权所有汉王科技股份有限公司保留所有权利。

除非出于纯粹的个人使用目的,否则不得拷贝本手册的任何部分。

汉王公司保留修改本出版物而不必就此类更改进行通知的权力。

汉王公司尽力在本手册中提供最新且准确的信息。

但汉王公司保留自行更改任何规格说明和产品配置的权力,既无义务事先通知,也无义务在本手册中体现出所做的更改。

创艺新星、创艺新星+、创艺新星三代和汉王是汉王公司的注册商标。

Adobe和Photoshop是Adobe System Incorporated 在美国和/或其他国家的注册商标/商标。

Microsoft、Windows是Microsoft Corporation 在美国和/或其他国家的注册商标/商标。

Apple、Apple标志和Macintosh 是Apple Computer,Inc.在美国和/或其他国家的注册商标/商标。

本文档中提及的其他公司名称和产品名称都可能会作为注册商标/商标。

对其他公司厂商的产品的提及仅是为了引用信息,并不能作为认可和推荐的表示。

对于这些产品的性能和使用情况,汉王公司不承担关联的责任。

目录第一章简介 (1)第二章产品信息 (2)第一节绘画板入门 (2)第二节绘画板使用方法 (4)第三章 WINDOWS系统驱动安装 (7)第一节绘画板系统要求 (7)第二节绘画板驱动安装 (7)第三节绘画板驱动卸载 (11)第四章绘画板设置 (13)第一节功能介绍 (13)第二节 Windows绘画板设置 (16)第五章 MAC-OS系统驱动安装 (32)第一节绘画板系统要求 (32)第二节绘画板驱动安装 (32)第三节 MAC OS绘画板设置 (35)第四节绘画板驱动卸载 (42)第六章附赠软件 (44)第一节汉王启动工具 (44)第二节 PenWrite (48)第三节 PenSign (51)第四节 PenMail (52)第五节 PenMark (53)第六节 WhiteBoard (55)第七章创艺少年绘画软件 (59)第一节软件安装与卸载 (59)第二节软件界面 (63)第三节功能介绍 (65)第四节注意事项 (75)第八章 COOLPAINT绘画软件 (77)第一节软件安装 (77)第二节功能简介 (84)第三节菜单栏 (85)第四节工具属性栏 (109)第五节图层面板 (120)第六节颜色面板 (123)第九章疑难解答 (124)附录一包装清单 (126)附录二绘画板维护 (126)附录三软件许可协议 (127)附录四保修协议 (128)附录五技术支持信息 (130)附录六有害物质含量表 (131)使用手册前应注意的重要事项●本手册仅包括汉王科技股份有限公司的部分软件说明。

Native Instruments MASCHINE MK3 用户手册说明书

Native Instruments MASCHINE MK3 用户手册说明书

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。

空天3d数字编程动画创作专项教学

空天3d数字编程动画创作专项教学

空天3d数字编程动画创作专项教学英文回答:Immersive 3D Digital Programming Animation Creation Education Specialization.1. Introduction.The immersive 3D digital programming animation creation education specialization is a comprehensive program that provides students with the knowledge and skills necessary to create 3D animated content. The program covers a wide range of topics, including 3D modeling, animation, programming, and storytelling.2. Curriculum.The curriculum for the immersive 3D digital programming animation creation education specialization is designed to provide students with a strong foundation in thefundamentals of 3D animation. The program includes courses in:3D modeling.Animation.Programming.Storytelling.3. Learning Outcomes.Upon completion of the immersive 3D digital programming animation creation education specialization, students will be able to:Create 3D models of objects and characters.Animate 3D models.Program 3D animations.Develop stories for 3D animations.4. Career Opportunities.Graduates of the immersive 3D digital programming animation creation education specialization will have a wide range of career opportunities in the animation industry. They can work as:3D modelers.Animators.Programmers.Storyboard artists.Directors.中文回答:空天3D数字编程动画创作专项教学。

STM32固件库使用手册的中文翻译版

STM32固件库使用手册的中文翻译版
该固态函数库通过校验所有库函数的输入值来实现实时错误检测。该动态校验提高了软件的鲁棒性。实时 检测适合于用户应用程序的开发和调试。但这会增加了成本,可以在最终应用程序代码中移去,以。
因为该固件库是通用的,并且包括了所有外设的功能,所以应用程序代码的大小和执行速度可能不是最优 的。对大多数应用程序来说,用户可以直接使用之,对于那些在代码大小和执行速度方面有严格要求的应 用程序,该固件库驱动程序可以作为如何设置外设的一份参考资料,根据实际需求对其进行调整。
1.3.1 变量 ................................................................................................................................................ 28 1.3.2 布尔型 ............................................................................................................................................ 28 1.3.3 标志位状态类型 ........................................................................................................................... 29 1.3.4 功能状态类型 .............................................................................................................

计算机三维动画的制作流程

计算机三维动画的制作流程

计算机三维动画的制作流程Creating a 3D animation on a computer is a complex process that involves multiple steps and requires a combination of technical skills and creativity.制作计算机三维动画是一个复杂的过程,涉及多个步骤,需要技术和创造力的结合。

The first step in the 3D animation production process is pre-production. This stage involves planning the storyline, creating storyboards, designing characters and environments, and developing a visual style for the animation.3D动画制作过程中的第一步是前期制作。

这个阶段涉及到规划故事情节,制作分镜头,设计人物和环境,并为动画制定视觉风格。

Once the pre-production stage is complete, the next step is production. This is where the actual 3D modeling, texturing, rigging, and animation of the characters and environments take place.完成前期制作阶段后,下一步是制作。

这是实际进行角色和环境的3D建模、贴图、绑定和动画的阶段。

During the production stage, artists use specialized software such as Maya, 3ds Max, or Blender to create the 3D models and assets needed for the animation. They carefully craft each element of the scene, including characters, props, and backgrounds, to bring the story to life.在制作阶段,艺术家们使用专业软件如Maya、3ds Max或Blender来创建动画所需的3D模型和资产。

unity3D学习之视锥体

unity3D学习之视锥体

了解视锥体视锥体(frustum) 指看起来类似于金字塔的立方体形状,切去顶部,顶部与底部平行。

这是一个透视相机可以看到和渲染的区域形状。

下列思维实验对此进行了解释。

想象自己拿着一根直杆(比如扫帚手柄或铅笔),一端对着相机,照一张相。

如果直杆出现在照片中心,与摄像头垂直,那么只有对着相机的这一端可见,在照片中显示为一个圆,其他部分都被遮住。

如果向上移动直杆,其下方开始显现出来,但向上调整直杆的角度后又隐藏起来了。

如果继续向上移动直杆并将角度调到更大,圆形端最终会到达照片的顶部边缘。

此时,世界空间中直杆描绘的这条线以上的任何物体都不会出现在照片中。

可轻松移动,左右或随意水平及垂直旋转直杆。

“隐藏”直杆的角度只取决于其到屏幕中心两个轴的距离。

文章来自【狗刨学习网】该思维实验所表达的意思是相机影像中的任意点真正对应世界坐标空间中的一条线,而影像中只有这条线上的一个点可见。

这条线上除该点以外的所有物体都被遮盖。

图像外缘由对应图像各个角的偏离线定义。

如果朝着相机向后描绘这些线,最终会集中于一点。

在Unity 中,该点正位于相机的转换位置,被称为视图中心。

在视图中心,屏幕顶部中心和底部中心汇聚的直线夹角被称为视野(通常简写为FOV)。

如上所述,任何超出图像边缘偏离线外的事物在相机中都不可见,但对于其渲染的对象也有两个其他限制条件。

近裁剪面和远裁剪面与相机的XY 平面平行,都与中心线有一定距离。

比近裁剪面更靠近相机的任何物体和比远裁剪面更远的物体都不会被渲染。

图像偏离线夹角与两个裁剪面定义一个截棱锥,即视锥体。

计算机三维动画章节习题答案

计算机三维动画章节习题答案

第1章计算机三维动画概述习题一、填空题1.现行的彩色电视制式有______、_____、_____和_____3种制式,我国彩色电视为______制式。

(NTSC制(简称N制)、PAL制(简称P制)和SECAM制,PAL)2.动画制作中常用的色彩模式有_______、_________和________3种。

(RGB色彩模式、HSB色彩模式和YUV色彩模式)3.Alpha通道是在__________真彩色之上,加入的一个________的灰度通道。

通常把具有Alpha通道的标准颜色称为________。

(24位,8位。

32位颜色深度)4.分辨率分为_______、和_______两种,前者用_______表示,数值越大图形(图像)质量越好;后者衡量输出设备的精度,以_______表示。

(屏幕分辨率和输出分辨率,英寸行数,每英寸的像素点数)二、简答题1.什么是Alpha通道?其特点是什么?Alpha通道是在标准24位真彩色之上,加入的一个8位的灰度通道。

通常把具有Alpha 通道的标准颜色称为32位颜色深度。

Alpha通道一般分为Straught Alpha通道和Premultiplied Alpha通道两种类型。

Straught Alpha通道将素材的透明度信息存于独立的Alpha通道中,也被称为不带遮罩的Alpha通道;Premultiplied Alpha通道的特点是保存Alpha通道中的透明信息,同时也保存可见的RGB通道中相同的信息,也被称为带有背景遮罩的Alpha通道。

2.简述在动画制作中常用的图像和视频格式。

一般来说,图像格式大致可以分为两大类:一类为位图图像;另一类称为描绘类、矢量类或面向对象的图形。

前者是以点阵形式描述图像的,后者是以数学方法描述的一种由几何元素组成的图形。

一般说来,后者对图形的表达细致、真实,缩放后图形的分辨率不变,在专业级的图形处理中运用较多。

在动画制作中常用的图像的格式分为BMP格式、GIF格式、TIF(TIFF)文件、PCX文件、TGA格式、JPEG格式。

计算机三维动画制作流程

计算机三维动画制作流程

计算机三维动画制作流程英文回答:Creating a 3D animation involves a series of steps that require creativity, technical skills, and attention to detail. The process typically starts with concept development, where ideas are brainstormed and a storyboard is created to outline the sequence of events in the animation. This stage is crucial as it sets the foundation for the entire project.Once the concept is finalized, the next step is modeling. This involves creating 3D models of characters, props, and environments using specialized software like Maya or Blender. The models are then textured and rigged to give them life-like movements and expressions.After modeling comes animation, where keyframes are set to define the motion of the characters and objects in the scene. This is a painstaking process that requires a keeneye for detail and a good understanding of timing and movement principles.Once the animation is complete, the next step is lighting and rendering. Lighting plays a crucial role in setting the mood and atmosphere of the scene, while rendering involves processing the final frames to create the finished animation.Finally, the last step is compositing and editing. This involves combining all the elements of the animation, adding special effects, and fine-tuning the overall look and feel of the project. It's like putting the final pieces of a puzzle together to create a cohesive and visually stunning animation.Overall, creating a 3D animation is a complex and time-consuming process that requires a combination of technical skills and artistic vision. It's a labor of love that requires patience, dedication, and a passion forstorytelling through the medium of animation.中文回答:制作三维动画涉及一系列步骤,需要创造力、技术技能和对细节的关注。

scratch三级编程题实操

scratch三级编程题实操

一、背景介绍Scratch是一种图形化编程语言,最初由麻省理工学院媒体实验室开发。

它专为儿童和初学者设计,旨在帮助他们学习计算机编程的基础概念。

Scratch的用户可以通过拖拽积木模块来创建程序,而无需编写代码。

它通过视觉化的方式展示了编程的逻辑和结构,使得初学者可以更容易地理解并使用编程语言。

二、Scratch的三级编程题介绍1. Scratch三级编程题是Scratch编程学习中的重要部分,也是学习者进阶的一个关键环节。

通过完成三级编程题,学习者将能够巩固已学的基础知识,并学会运用这些知识来解决更为复杂的问题。

2. 三级编程题内容包括但不限于:多个角色的协同运动、使用自定义积木模块、创建复杂的动画效果等。

这些题目旨在考验学习者的逻辑思维能力、创新能力以及对Scratch编程语言的掌握程度。

3. 通过完成三级编程题,学习者不仅可以提高自己的编程技能,还可以培养自己的动手实践能力和创新精神。

这对于学习者今后在编程领域的发展都将大有裨益。

三、Scratch三级编程题实操1. 完成三级编程题的关键在于深入理解题目要求,善用Scratch的各种功能和积木模块,灵活运用所学知识,创造性地解决问题。

2. 在实操过程中,学习者应该注意以下几个方面:2.1 仔细阅读题目要求,确保对题目有充分的理解;2.2 确定解题思路,可以先在草稿纸上进行简单的草图设计;2.3 合理地组织积木模块,选择合适的控制结构,确保程序的逻辑性和效率;2.4 测试和调试程序,及时发现和解决程序中的问题。

3. 在实操过程中,学习者可以结合自己的兴趣和创造力,注重程序的可读性和可维护性,尽量展现出个人的编程风格和特色。

四、实操过程中的困难与解决方法1. 在完成三级编程题的实操过程中,学习者可能会面临一些困难,例如:1.1 对题目要求理解不透彻,导致方案设计不合理;1.2 在程序编写过程中出现逻辑错误,难以找到问题所在;1.3 对于某些功能的使用不熟练,不知道如何实现所需效果。

计算机三维动画制作流程

计算机三维动画制作流程

计算机三维动画制作流程英文回答:Creating a 3D animation involves several stages and processes that require a combination of creativity, technical skills, and attention to detail. The process typically begins with conceptualizing the idea and creating a storyboard to plan out the sequence of events. This is where the story comes to life and the characters and environments are developed.Once the storyboard is finalized, the next step is to create the 3D models for the characters, props, and backgrounds. This is done using specialized software such as Maya, Blender, or 3ds Max. The models are then textured and rigged to give them movement and expression.After the models are ready, the animation process begins. This involves setting keyframes to define the motion of the characters and objects in each scene. Theanimator then refines the movement by adjusting timing, spacing, and poses to create a fluid and realistic animation.Once the animation is complete, the next step is lighting and rendering. Lighting is crucial in creating the right mood and atmosphere for the scene, while rendering involves processing the images to create the final output.Finally, the last stage is compositing and editing. This is where all the elements of the animation are combined together, special effects are added, and the final touches are made to polish the animation.Overall, the process of creating a 3D animation requires a lot of time, effort, and attention to detail.It's a collaborative effort that involves animators, modelers, riggers, lighters, and compositors working together to bring a story to life.中文回答:制作三维动画涉及到几个阶段和过程,需要结合创造力、技术技能和细致的注意力。

图形编程,编程猫,冰壶大作战预制文件

图形编程,编程猫,冰壶大作战预制文件

图形编程,编程猫,冰壶大作战预制文

随着科技的进步,让学校的孩子们在课余时间获得编程技能的机会也一次又一次地增多了。

今天,图形编程、编程猫和冰壶大作战都是极受欢迎的编程学习方式的预制文件。

首先,图形编程。

它是一种基于图形语言的编程,比如Scratch和Snap。

它将把语法比传统文本编程更容易理解,可以激发孩子们对编程有不一样的兴趣,从而让他们对新编程语言不再有抵触心理。

它也可以引导孩子们去探索逻辑,如定义变量、把代码组织成函数、创建程序流程图等,从而让学习不再枯燥乏味。

接下来,编程猫。

它是一个以人物形象呈现的编程学习平台。

它可以让小学生们通过了解编程的最基础的语法,比如if条件、for循环等来完成编程任务。

除此之外,还通过一步步完成关卡任务的方式培养孩子们的解决问题的思维能力。

它的可视化的语言更容易让孩子们理解编程思维,简化编程过程。

再者,冰壶大作战预制文件。

它是一款让孩子们学习编码思想和程序功能的可视化课程设置,让孩子们可以通过一些真实的交互方式去编写代码,完成任务,而不必拘泥于文本框
框的程序参数设置,可以让孩子们更容易理解编程的基本概念。

总而言之,图形编程、编程猫和冰壶大作战预制文件都能让孩子们更有趣地接触编程这门课,学习编程思想,激发他们对编程的兴趣,让编程不再成为一件陌生而令人生畏的事情,而能成为一种自发性学习。

回顾这些编程方式,让孩子们有趣又轻松地投入到编程的世界中,是一位孩子编程学习的最佳开始。

scratch三级编程题实操

scratch三级编程题实操

Scratch三级编程题实操1. 介绍本文将介绍Scratch三级编程题的实操内容。

Scratch是一款非常受欢迎的图形化编程语言,旨在帮助孩子们学习基本的计算机编程概念和逻辑思维。

通过完成这些编程题,您将能够巩固和应用您在Scratch中学到的知识,提高您的编程能力。

2. 编程题目2.1 题目描述为了完成这个编程题,我们将创建一个简单的动画场景。

场景中有一个小猫和一只老鼠。

当点击老鼠时,它会消失并发出声音。

小猫会追逐老鼠,并在接触到老鼠时停止移动。

2.2 题目要求•点击老鼠时,老鼠应该消失并发出声音。

•小猫应该能够追逐老鼠,并在接触到老鼠时停止移动。

•老鼠被点击后不会再次出现。

2.3 解决方案下面是解决这个问题的步骤和代码示例:步骤1:创建角色和背景首先,在Scratch中创建一个新的项目。

然后,我们需要添加两个角色:小猫和老鼠。

您可以从Scratch库中选择现有的角色,或者自己绘制一个。

接下来,我们需要选择一个背景。

您可以选择任何背景图像,或者使用Scratch提供的默认背景。

步骤2:设置初始位置和动作给小猫和老鼠设置初始位置。

您可以将它们放在屏幕上的任何位置。

然后,我们需要为角色设置一些初始动作。

例如,您可以让小猫一直向右移动,并设置适当的动画效果。

步骤3:点击老鼠事件我们需要为老鼠添加一个“当被点击时”事件。

这样,当用户点击老鼠时,我们可以执行一些操作。

在“事件”类别下找到“当被点击时”积木块,并将其拖放到老鼠积木块中。

然后,在这个事件下添加两个积木块:一个用于播放声音,另一个用于隐藏老鼠。

步骤4:小猫追逐老鼠最后,我们需要让小猫追逐老鼠,并在接触到老鼠时停止移动。

首先,在小猫角色中创建一个循环来不断检测与老鼠的距离。

然后,使用“向着目标移动”积木块将小猫移动到老鼠的位置。

您可以设置一个适当的速度来模拟小猫追逐老鼠的效果。

最后,使用“当碰到角色时”积木块停止小猫的移动。

将这个积木块放在循环中,以便在接触到老鼠时立即停止。

【U3D特效】校招题目

【U3D特效】校招题目

U3D特效测试题以下题目,2选1,只需制作一个效果!一,特效题目:根据skill4动作设计1,制作要求:命名规范,目录工整材质球数:不限制贴图大小:单张不超过256*256贴图张数:不限制,格式为PNG输出视频格式:A VI或GIF2,效果要求:(1)风格:写实类(2)节奏:节奏的把控要准确,不拖沓(3)色彩:用色符合特效属性,色彩有层次关系(4)造型:特效元素主体明晰,整体搭配和谐3,时间要求:2-3个工作日完成4,提交文件:以“U3D特效测试_XXX”命名文件夹,内容包含unity工程文件及预览视频例如:U3D特效测试_张三三(1)A VI或GIF预览图大小800*600(2)制作文件(例如:u3d文件需整合打包unitypackge)5,技能描述:伤害技能:根据动作skill4设计,节奏紧凑流畅,特效角色特性。

需要体现打击感,节奏感。

6,特效制作:贴图和材质尽量节省不可使用bloom等镜头泛光类脚本shader要求:只能使用unity自带的材质(add/blend)背景要求(不可使用黑底)7,参考图示(仅供参考,自行设计)8,人物动作提供(查阅打包文件)附prefab命名范例:工程目录命名范例:二,特效题目:直线伤害技能1,制作要求:命名规范,目录工整材质球数:不限制贴图大小:单张不超过256*256贴图张数:不限制,格式为PNG输出视频格式:A VI或GIF2,效果要求:(1)风格:写实类(2)节奏:节奏的把控要准确,不拖沓(3)色彩:用色符合特效属性,色彩有层次关系(4)造型:特效元素主体明晰,整体搭配和谐3,时间要求:3-5个工作日完成4,提交文件:以“U3D特效测试_XXX”命名文件夹,内容包含unity工程文件及预览视频例如:U3D特效测试_张三三(1)A VI或GIF预览图大小800*600(2)制作文件(例如:u3d文件需整合打包unitypackge)5,技能描述:技能类型:直线型伤害技能伤害范围:长8米,宽3米技能需求:对技能范围内敌人造成多段伤害,属性和表现形式没有规定。

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classes in England
Homework:
Make a time chart to compare the art and literature produced during the Renaissance period in Europe to the art and literature in China during the Yuan and Ming Dynasties. (1206-1644)
☆ Read the article and try to get the
main idea of each paragraph
☆ Each group should design at least
two questions
Main idea of each paragraph
Paragraph 1 Main events in Rome and China between 753 BC and 479 BC. Similarities between China and Paragraph 2 Rome during the Han Dynasty. Both Rome and China Paragraph 3 influenced other areas between 212 BC and 100 BC. Rome and China had a difficult Paragraph 4 time in the following hundred years.
Listen and answer the following questions:
1. When did Rome become a republic and what happened in China then? In 509 BC. China suffered from fighting and many groups ruled China. 2. When was China united and by whom? China was united in 221BC by Emperor Qinshihuang. 3. Which city did Han Dynasty have as its capital? Where is it now? The city of Chang’an, which is now known as Xi’an in Shanxi Province.
Celtic.; Anglo-Saxon;
Events:
Old English Old English was the official language of England; The Norman Conquest; English was adopted by all classes in England; Henry Ⅳ became King of England and used English for all official occasions; Modern English began
4. What did China and Rome have in common during the Han Dynasty? Xi’an and Rome were both the two largest cities in the world at that time. In both China and Rome, poetry, literature and philosophy were being developed. 5.When was Silk Road in use? And what was it used for? As early as 200 BC. It was a route for trade between the East and the West. 6.When did the trade between China and Rome begin? What goods were traded? In AD 1. Silk, wine, spices, wool and other goods.
Listen and answer:
1. When did Rome become a republic and what happened in China then? 2. When was China united and by whom? 3. Which city did Han Dynasty have as its capital? Where is it now? 4. What did China and Rome have in common during the Han Dynasty? 5.When was Silk Road in use? And what was it used for? 6.When did the trade between China and Rome begin? What goods were traded? 7.When did Han Dynasty fall and what did it result in? 8.When was Roman Empire ended? Was it the same story for China?
Anglo-Saxon
Old English
Henry Ⅳ become King of England and used English for all official occasions
Old English was the official English was adopted by all language of England
Complete the form according to the article: Time Event Rome was founded 753BC 551BC Confucius born 509BC Rome became a republic 221BC Emperor Qinshihuang united China 206BC Qin Dynasty was overthrown First silk appeared in Rome AD1 AD220 The Han Dynasty fell AD476 Roman Empire ended AD589 China was reunited by Sui Dynasty
Summary: What is a time chart?
A time chart should be a chart marked with time periods and important events that take place in certain time periods. It can help us understand a listening or reading passage which has many time expressions better.
listing relevant information such as time, places, events, etc.
Ancient Rome
Ancient China
The Confucius
(551 BC-479BC)
He influenced the development of China’s culture and education.
Read the time chart carefully and answer
What happened in both China and Rome in the year 509 BC? China suffered from fighting and many groups ruled China. Rome became a republic. What about the year 27 BC? Rome became an empire and controlled many parts of Europe. China also influenced other countries. When was Confucius born? In 551 BC. How long did the Han Dynasty last? 426 years.
753 F 1.The city of Rome was founded in 509 BC.
T/F questions:
T 2.Chang’an and Rome were once the two
largest cities in the world.
T 3. The influence of Romans spread outside
Check-out:
Work with your partner to make an illustrated time chart after reading “English and its history” on P22-23
Time:
before the middle of the 5th century; after the middle of the 5th century; at the end of the 9th century; by the 10th century in 1066; by the latter half of the 14th century in 1399; during the Renaissance in the 16th century
7.When did Han Dynasty fall and what did it result in? In AD 220. China was once again ruled by many different groups and this caused many wars. 8.When was Roman Empire ended? Was it the same story for China? In AD 476. No. With the formation of the Sui Dynasty in AD 581, China was reunited in AD 589.
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