Shape from Focus
描写外貌的英语作文
When it comes to describing someones appearance in an English essay,there are several key elements to consider.Heres a detailed guide on how to approach this task:1.Start with General Impressions:Begin your description by giving a general impression of the person.This could include their overall demeanor,the energy they exude,or their presence.Example:She has an air of confidence that is immediately noticeable,with an aura of elegance that draws attention.2.Focus on Facial Features:Describe the persons face,including their eyes,nose,mouth, and any distinctive features like freckles,dimples,or scars.Example:Her eyes are a striking shade of blue,framed by long,dark lashes that accentuate her expressive gaze.Her nose is straight and wellproportioned,and her lips are full,often curved into a warm smile.3.Discuss Hair:Hair can say a lot about a person.Mention the color,texture,length,and style.Example:His hair is a deep chestnut brown,with a slight wave that gives it a casual, tousled look.It falls just above his shoulders,adding to his relaxed and approachable appearance.4.Describe Body Type and Posture:Note the persons height,build,and how they carry themselves.Example:She stands tall and slender,with a posture that speaks of poise and selfassurance.Her movements are graceful,and she commands the room with her presence.5.Attire and Style:Comment on the persons clothing and how it complements their appearance.Example:Dressed in a tailored suit that fits him perfectly,he exudes a sense of professionalism and sophistication.The subtle pinstripe adds a touch of character to his otherwise classic look.6.Accessories:If applicable,mention any accessories that add to the persons overall appearance,such as glasses,jewelry,or hats.Example:A pair of round,blackrimmed glasses perched on her nose add a touch of intellectual charm to her features.The delicate silver necklace she wears complements her outfit and draws attention to her graceful neck.7.Skin Tone and Complexion:Describe the persons skin tone and any notable aspects of their complexion.Example:His skin has a warm,olive hue,with a healthy glow that suggests an active lifestyle.His complexion is smooth,with the occasional hint of stubble that gives him a rugged appeal.8.Personal Grooming:Note how wellgroomed the person is,including aspects like cleanliness and attention to detail.Example:She pays meticulous attention to her personal grooming,with perfectly manicured nails and a hairstyle that is always impeccably maintained.9.Overall Aesthetic:Conclude your description by summarizing the persons overall aesthetic and the impression they make.Example:In essence,her appearance is a harmonious blend of natural beauty and refined elegance,making her stand out in any crowd.Remember,when writing a descriptive essay about someones appearance,its important to be respectful and considerate.Avoid making negative or overly critical comments about someones looks.Instead,focus on the positive aspects and the unique qualities that make the person memorable.。
2017年12月英语六级真题答案及解析(卷一)
2017年12月大学英语六级考试真题答案与详解（第1套）Part I Writing审题思路：这是一篇语句点评类作文，话题respect（尊重）是考生日常生活中非常熟悉的话题，因此写起来并不难。
题目要求针对引言“尊重他人，你也会受到尊重”给出自己的论点和论据。
考生写作时首先需要解释引言，之后将写作重点放在阐述尊重他人的重要性上。
众所周知，每个人都希望被尊重，而尊重他人会给他人以信心，也有益于培养人际关系。
此外，尊重他人也体现了一个人的高素质。
高分范文：On RespectAs human beings,we all crave the respect of others,which is coded into our DNA.If you show your respect for others, you are more likely to gain their respect.Just as the saying goes,“Respect others,and you will be respected”.It indicates the great significance of respecting others in our daily life.First and foremost,respecting others gives them confidence and encouragement,especially those who are not as good as you.Your respect can help them become upbeat and active,and even enhance their self-assurance.In addition,polite words help improve your interpersonal relationships to a large extent.As mentioned above,if your respect proves to be effective,people will show their respect for you,too,and it will benefit your social st but not least,respecting others is a symbol of high quality,which shows one’s good upbringing.Taking what has been discussed into consideration,it’s indisputable that all people are fond of being respected.It is so important for us to show our respect for others.Only in this way,can we earn the respect of others.全文翻译：作为人类，我们每个人都渴望得到他人的尊重,这是由我们的基因决定的。
基于双目视觉的智能驾驶三维场景的重建技术研究
基于双目视觉的智能驾驶三维场景的重建技术研究摘要三维重建作为计算机视觉技术中的一个重要分支，其研究一直处于火热状态，如今已在工业测量、影视娱乐、医疗科技以及文物重建等各方面得到广泛应用。
本文则主要对智能驾驶领域的双目视觉三维场景重建技术进行研究。
首先对针孔相机以及双目相机的成像原理进行讲解，介绍相机畸变产生及图像校正原理。
然后搭建双目相机三维重建系统，选取张正友标定法对相机进行标定，获取所需相机内外参数并对相机采集到的图片进行校正。
校正完成后通过立体匹配算法对图像进一步处理，获取视差图，再通过重投影矩阵由视差图计算出三维点坐标并重建三维点云模型。
最后对实验结果进行分析，总结实验结果及存在的不足。
关键词：双目视觉；相机标定；立体匹配；三维重建Research on 3D Reconstruction of Intelligent DrivingBased on Binocular VisionAbstractAs an important branch of computer vision technology, three-dimensional reconstruction has been in a hot state. Now it has been widely used in industrial measurement, studio entertainment, medical technology and cultural relic reconstruction. This paper mainly studies the 3D reconstruction technology based on binocular vision in the field of intelligent driving.Firstly, the paper explains the image-forming principle of pinhole camera and binocular camera, and introduces the generation of camera distortion and the principle of image correction. Secondly, a binocular camera 3D reconstruction system is built. Zhang Zhengyou calibration method is selected to calibrate the camera, required camera internal and external parameters are obtained and images collected by the camera are corrected. After the correction, stereo matching algorithm is used to further process the image to obtain the parallax map. 3D point coordinates is calculated via parallax map through the reprojection matrix and 3D point cloud model is reconstructed. Finally, the experimental results are analyzed, and the results and shortcomings are summarized.Keywords：Binocular Vision；Camera Calibration；Stereo Matching；3D Reconstruction目录第1章绪论............................................................................................. 错误!未定义书签。
85 mm Planar T f 1.4 全景镜头说明书
Planar® T*f/1.4 - 85 mmThe 85 mm Planar® T* f/1.4 lens ranks amongstthe best high-speed lenses presently available for 35mm reflex cameras. An outstanding feature is theexcellent image quality even at full aperture.This feature results in special applications of the 85mm Planar® T* f/1.4 lens for discerning amateurand professional photographers. Owing to the fullyutilizable speed, this lens is especially suitable forstage photography. Sporting events, outdoors andindoors, in twilight and floodlights are tasks forwhich the press reporter requires or desires a focallength which is slightly longer than that of standardlenses due to the object distance or for reasons ofperspective. As regards portraits, anotheradvantage is that the depth of field is low withphotographs taken with the diaphragm fully open.Thus an unsteady and disturbing background isavoided and the portrait stands out clearly againstthe surroundings.Cat. No. of lens:10 21 45Weight:approx. 595 gNumber of elements:6Focusing range:∞ to 1 mNumber of groups:5Entrance pupil:Max. aperture:f/1.4Position:68.7 mm behind the first lens vertex Focal length:84.8 mm Diameter:58.4 mmNegative size:24 x 36 mm Exit pupil:Angular field 2w:28º 30' diagonal Position:23.1 mm in front of the last lens vertex Mount:focusing mount with bayonet;Diameter:46.1 mmTTL metering either at full aperture Position of principal planes:or in stopped-down position.H:39.1 mm behind the first lens vertexAperture priority/Shutter priority/H':45.0 mm in front of the last lens vertexAutomatic programs Back focal distance:39.3 mm(Multi-Mode Operation)Distance between first andAperture scale: 1.4 - 2 - 2.8 - 4 - 5.6 - 8 - 11 - 16last lens vertex:65.8 mmFilter connection:clip-on-filter, diameter 70 mmscrew-in type, thread M 67 x 0.75Performance data:Planar® T* f/1.4 - 85 mmCat. No. 10 21 451. MTF DiagramsThe image height u - calculated from theimage center - is entered in mm on thehorizontal axis of the graph. Themodulation transfer T (MTF = Modulation Transfer Factor) is entered on the verticalaxis. Parameters of the graph are thespatial frequencies R in cycles (line pairs)per mm given at the top of this page.The lowest spatial frequency correspondsto the upper pair of curves, the highestspatial frequency to the lower pair. Aboveeach graph, the f-number k is given forwhich the measurement was made."White" light means that themeasurement was made with a subject illumination having the approximatespectral distribution of daylight.Unless otherwise indicated, theperformance data refer to large object distances, for which normal photographiclenses are primarily used.2. Relative illuminanceIn this diagram the horizontal axis givesthe image height u in mm and the verticalaxis the relative illuminance E, both for full aperture and a moderately stopped-downlens. The values for E are determinedtaking into account vignetting and naturallight decrease.3. DistortionHere again the image height u is enteredon the horizontal axis in mm. The verticalaxis gives the distortion V in % of therelevant image height. A positive value forV means that the actual image point isfurther from the image center than withperfectly distortion-free imaging(pincushion distortion); a negative Vindicates barrel distortion.Carl ZeissPhotoobjektiveD-73446 OberkochenTelephone (07364) 20-6175Fax (07364) 20-4045eMail:**************http://www.zeiss.de Subject to change.。
全新版大学英语综合教程1答案
Unit OneText A: Language FocusVocabularyI．Blank-filling1.1) respectable 2) agony 3) put..down 4) sequence 5) hold back 6) distribute7) off and on 8) vivid 9) associate 10) finally 11) turn in 12) tackle2.1) has been assigned to the newspaper’s Paris office.2) was so extraordinary that I didn’t know whether to believe him or not3) a clear image of how she would look in twenty years’ time4) gave the command the soldiers opened fire.5) buying bikes we’ll keep turning them out3.1) reputation rigid to inspire 2) and tedious What’s more out of date ideas3) compose career avoid showing hardly hold backII. Synomymsposed2. severe3. agony4. extraordinary5. recall6. command7. was violating 8. anticipateIII. Collocation1.At2. For3. Of4. With5. As6. About7. To8. In in9. From10. On/uponComprehension ExercisesI.Cloze1.Text-related1)Hold back 2) tedious 3) scanned 4) recall 5) vivid 6) off and on7) turn out/in 8) career2.Theme-related1)Last 2) surprise 3) pulled 4) blowing 5) dressed 6) scene7) extraordinary 8) image 9) turn 10) excitementII.Translation1.Sentence1)As it was a formal dinner party, I wore formal dress, as Mother told me to.2)His girlfriend advised him to get out of/get rid of his bad habit of smoking before it tookhold.3)Anticipating that the demand for electricity will be high during the next few months,they have decided to increase its production.4)It is said that Bill has been fired for continually violating the company’s safety rules./Billis said to have been fired for continually violating the company’s safety rules.5)It’s reported that the government has taken proper measures to avoid the possibility ofa severe water shortage. /The local government is reported to have taken propermeasures to avoid the possibility of a severe water shortage.2.PassageSusan lost her legs because of/in a car accident. For a time, she didn’t know how to face up to the fact that she would never (be able to) walk again.One day, while scanning (through) some magazines, a true story caught her eye/she was attracted by a true story. It gave a vivid description of how a disabled girl became a writer.Greatly inspired, Susan began to feel that she, too, would finally be able to lead a useful life.Text B:Comprehension Check1-6: CACDBDTranslation:1.我耳朵里嗡嗡作响，听不见他们后来讲的话，只东一点西一点渗入片言只语。
美妆技巧与艺术：陶冶和渐变技巧在模特脸上的关系说明书
The Applying of Contouring Technique in DoingMake UpAsri Wibawa SaktiSekolah Pasca Sarjana Universitas Pendidikan Indonesia Bandung, IndonesiaRasi Yugafiati Pendidikan Bahasa Inggris IKIP Siliwangi BandungBandung, IndonesiaAbstract—The article aims to discuss about the correlation between conturing technique and gradation technique in a media called the face of a model. Since it is believed that conturing technique as a part of make up, and gradation technique as a part of arts. Fortunatelly, the researcher is an artist and professional make-up artist. Thus the researcher can reveal from both perspectives to gain the thick and deep discussion. Then, this article is made qualitatively to explore about various shapes of faces and the technique to make the face look taper. The data is revealed only in a face of participant a square shape. It shows the progress to do the make up. The implication of the research shows that make up connect to arts in the parts of contouring and gradating.Keywords—make up; gradation technique; contouring technique; professional make up; tapper; square shape faceI.I NTRODUCTIONBasicly, women want to show their beauty in special occasions. Unfortunately, not all of the women accept that they have the perfect beauty as the grace from the God. Some women need to apply make up to maximize their performance. Thus give the important reasons of the using of make up. The internal factor in using make up is unconfident about their physical appearance; while the external factor is because of friends, relatives, beauty blogger, work, and organization [1].Phychologically, make up has seduction and camouflage effect [2]. Decorative cosmetics aim to increase the women’ beauty [3]. Then, the aim of using the cosmetics spread to beautify the appearance, change the performance, atract by fragrance, and cover the lack of the appearance [4]. Corrective make up is believed can fulfil the need of covering the lack of shape of women’ face so it can increase the confidence [5].II.R ELATED W ORKA.Make UpActually, every woman has the beauty side. For some women, the beauty appears naturally, but for the rest should be revealed by using make up. Make up becomes one of the alternative to support the beauty of women. B.Gradation TechniqueUniquely, the activity of doing make up has a similarity with doing painting or any arts works. Both of those activities need the media to apply the arts. In make up activity, the media is face. In arts works activity, the media can be canvas. Different with canvas that has standard charateristic, face has different condition. Face has multiple aspect to be considered, such as the colours of the skin, the shape of the face. Based on those various condition of faces, the professional make up artists have different strategies and techniques apply make up in the faces of women. At least, there are two arguments of applying makeup. First, the reconstruction make up. It is bold – thus, the professional make up artists try to cover the lack of the performance and make an ideal shape by using conturing technique. The second one is flawless. It shows the natural beauty of the face. In the research, the study concerns to the bold make up especially the using of gradation technique or conturing make up.C.Conturing TechniqueBased on arts’ point of view, conturing technique has similarity with gradation technique. Both of them play with shading and coloring. The challenges for professional Make Up Artists are objectify the faces of the women to be perfect canvases. As considered, every face has different characteristic. Let say woman with oily skin has problem with no long lasting make up [6]. It is only one of many difficulties to get the perfect canvas. Thus, the professional make up artists usually make Under make up that create perfect canvas to help them in applying make up, shading, conturing, etc in order to show the natural appearance [7].Conturing help make up artists to correct the shape of the women’s faces. As it is believed that oval shape categorized as the most ideal shape of face, thus it becomes the guideline to make over women’ faces [8]. The conturing technique needs three steps foundation or powder; first shade should have same tone with the womens’ skin, the second shade should be one step brighter, and the last is conturing with darker tone [9]. The article aims to discuss about conturing technique as the professional make up artist’s work and gadation technique as the artist’s work to maximize the beauty of woman.1st International Conference on Arts and Design Education (ICADE 2018)III.D ESIGN O VERVIEWThe design overview made by researcher has several stages. It is called make up reconstruction. The researcher as a professional make up artist and also artist. The research is described qualitatively. To make it special and clear about the applying of conturing, the researcher chooses a participant with square shape face. The data is collected by using observation, documentation. The data collection while the researcher taking notes about the result can be called as observation [10]. The researcher also collects written text, photos as documentation [11]. The analyzing technique using Miles and Huberman interactive model started by collecting the data, reducing the data, presenting the data, dan taking conclusion [11].At the first stage, the researcher conducts the study in arts departemen for several years. One of the subjects is doing gradation. The researcher then gets the insight about what gradation technique is. To do the arts project that using gradation technique, the researcher need canvas and brush. There are so many variation of brushes. However, the use of brush depends on the needs, especially the condition of the object. The canvas itself is standardized. The researcher as anartist applies the gradation in the predicted surface called canvas.At the second stage, the researcher then slowly but sure becomes a professional make up artist. Being professional artist deals with various condition of faces. Before doing the article, the researcher deals with the pilot projects. The researcher learns various characteristics of faces surfaces. Of course, it is different with canvas. There are various kind of faces’ surfaces, while canvas just only has one variation. Since the researcher imagine that both of face and canvas are media of arts, the researcher try to make the similarity for the face surface. The researcher then try to modify the face surface to be the perfect canvas. The researcher uses foundation to create the same tone of the skin, to cover the blemish, pimples, and any problems in the face surface.At the third stage, the researcher chooses a model. She has a unique shape of face. Her face is square shape. Since it is believing the goal of reconstruction make up is to make the model looks taper, the researcher starts to do the duty. The researcher tries to make over the model.From the figure 1, it is considered that the model has square shape of face. The skin has no much troubles. It has no pimples. In the figure 1, the researcher tries to clean up model’s face. The face is cleaned by using wet tissues, milk cleanser and toner. The face is prepared to be ready for applying make up.The figure 1 show about the condition of face surface without any addition of make up. Fig. 1.The skin of square shape face is already cleaned.The researcher then studies the condition of model’s skin. Then, the researcher finds the phenomenon that the model has dry skin. The dry skin should be stabilized first. Thus the researcher takes 1-2 drops of serum to the fingertip. Then the serum is applied by taping to all over suface, especially to around lip area and forehead. Those parts of face are dry.Fig. 2.The skin of square shape face is already applied the serum.From the figure 2, it shows that the skin is ready receives the treament. The serum helps the skin to be balanced. The area of forehead and around the lip are moisture. When the skin is moisture, the make up can be applied perfectly.After the serum is absorbed by the face skin, the next step is applying based foundation or primer. The researcher shakes the tube of base foundation to mix the ingredients. The researcher also uses several base foundations to get the best result. The researcher uses mixing pallete and spatula mixing. The comparison of each base foundation is 1:1. The researcher applies the mix base foundation thinly using fingertip. The researcher waits the base foundation until dries and absorbs.After the researcher looks the result of the base foundation, she adds color corrector in the eye bag of the model to camouflage the imperfection. The researcher daubs color corrector using small brush, although it can be used by other tools like fingertip or sponge.The researcher chooses orange color to be applied in model’s eye bags. It can be seen in figure 3.Fig. 3.The model’s eye bags is colored by orange color corrector.The next is appying foundation. The researcher puts a small amount of foundation to the fingertip, alhough she actually can also uses brush or sponge.The reseacher taps the area should be corrected. The researcher does gently to make sure that the foundation doesn’t change the place. The researcher also uses medium and dry sponge to apply the foundation. Fig. 4.The application of foundation using beauty blender or sponge.From the figure 4 it can be analyzed that the researcher is mixing foundation. The researcher uses two kinds of foundations. The researcher uses pallete mixing and spatula mixing. The researcher pours those foundations to the pallete and mixes by spatula. The researcher uses a wet sponge to prevent the absorption of foundation to the sponge. The researcher also finds that wet sponge helps to even the color of foundation into the surface. Then, figure 5 shows the result of applying the foundation even in the model’s surface.Fig. 5.The result of application of foundation all over the surface.From the figure 5, it can be seen that the orange color corrector is covered by the foundation. The eye bag of model is suddenly camouflaged. The color of skin is even tone. When the face skin has same color, the researcher believes that it can be a perfect canvas. The researcher then continues the next step. The next step is contouring. The conturing is the part discussed in the article. Conturing has same technique compare with gradating. Both of them have a goal to give shadow. For the face itself, giving shadow called conturing helps the researcher to bold the gorgerous look.Fig. 6.The result of conturing technique.IV.R ESULT AND D ISCUSSIONThe result and discussion conect both of the finding and the theories. From figure 7, it shows that the conturing technique handles a great part to make over the taper-look. The model seems to have a small and beauty jaw. Her nose becomes pointy-look. The power of conturing gives the perfection of arts. The lighter and the darker color are gradated. It same as the gradation technique in arts. The artist uses a smooth change from darker to lighter, thus it looks natural. Since make up has seduction and camouflage effect [2], the researcher shows that the result of contouring technique supports both effects. The camouflage to bold the parts of face can be found for example in the nose. In the reality, it may not really pointy, but then conturing technique helps to approve the goal.The study then reveals the model’s reason to be beautiful. She has internal factor to get appreciation from her family and friends. Since social media connects the friendships, she wants to look gorgeous in the frames. She wants to post her photo after make over and really enthusiasts about the netizens’ responses. It is related to the theory of external factor to use make up [1].Since, contouring technique reveals the gorgeous face of the model, it is believed that the techique supports the decorative cosmetics to increase the women’ beauty [3]. The research is supported by the information that make up cover the lack of the appearance [4]. The gradation technique learned by the researcher several years ago is collaborated with the conturing technique. Those collaboration then being the corrector for the taper-look. Since the covering the lack of shape is done, this can increase the confidence [5]. Fig. 7.The final result of make up included conturing technique.Based on the figure 7, the next steps of make up then cover the contouring technique. The application of the next make up then give an awesome appearance to the model. It can be concluded that both of gradation technique and conturing technique have corelation to bold some parts of “canvas” so those can camouflage the image. The research also shows that the arts can cover the study of make up. Since those gradation and conturing technique have similarity in mixing brigh and dark colour.V.C ONCLUSIONThis study reveals the phenomenon that arts gives contribution to support the Make Up Artist’s skill in showing the beauty of model. No matter what kind of shape that a model has, it can show the power of make up. The study also shows the step by step to change the appearance of the model, especially the power of conturing in changing the model’s face to be tapper look. Those stages can be followed as make up tutorial. Thus, there are some opportunities for artists to be make up artists.A CKNOWLEDGMENTSakti and Yugafiati thanks to the God who help the researchers. Sakti and Yugafiati also thanks to family, relatives, and all of the lecturers who guide and support them to finish the paper.R EFERENCES[1]L.D. Elianti and V.I. Pinasti, “Makna Penggunaan Make up sebagaiidentitas diri,” Jurnal Pendidikan Sosiologi UNY, pp. 1-18, 2017. [2]R. Korichi, D. Pelle-De-Querall, G. Gazano, and A. Aubert, “Whywomen use makeup: Implication of phsuchological traits in makeup functions,” J. Cosmet. Sci., vol. 59, pp. 127-137, 2008.[3]R.I. Tranggono and Latifah, Buku Pegangan Ilmu PengetahuanKosmetik. Jakarta: Gramedia Pustaka Utama, 2007.[4]S.M. Wasitaatmadja, Penuntun ilmu kosmetik medik. Jakarta: UI Press,1997.[5] A.F. S.W.R. and D. Lutfiati, “Pengaruh Make up korektif terhadap hasilriasan pada wajah bulat dan mata sipit,” e-journal UNESA, vol. 3, no. 1, 2014. [6] D. Dwikarya and Maria, Merawat Kulit dan Wajah. Depok: PT. KawanPustaka, 2003.[7]H. Kussantati, Tata kecantikan kulit untuk SMK Jilid 3. Jakarta:Departemen Pendidikan Nasional, 2008.[8] D.A. Yustina and A. Puspitorini, “Pengaruh Penggunaan Jenis UnderMake Up (make up base) terhadap hasil tata rias wajah jenis kulit berminyak untuk pesta,” e-journal, vol. 2, no. 3, pp. 33-37, 2013. [9]R. Jones, Makeup makeovers beauty bible: expert secrets for stunningtransformations. Beverly: Fair Winds Press, 2011.[10]W. Gulo, Metodologi Penelitian. Jakarta: Grasindo, 2004.[11]Sugiono, Memahami Penelitian Kualitatif. Bandung: CV. Alfabeta,2010.。
Skytech TM R-AF1-1 单功能无线遥控系统说明书
Model: TM/R-AF1-1INSTALLATION AND OPERATING INSTRUCTIONSSINGLE-FUNCTION WIRELESS REMOTE CONTROL SYSTEM FOR OPERATING VALVES WITH ON/OFF LATCHING SOLENOIDSINTRODUCTIONThis SKYTECH remote Wireless Wall Timer system was developed to provide safe, reliable, and user-friendly remote control system for gas heating appliances. The system can be operated manually from the transmitter. The system operates on one of 65,536 security codes that are programmed into the transmitter at the factory.WALL TIMERThe wall timer operates on a (2) 3V button cell batteries (included) made specifically for remote controls and electronic lighters. Before using the wall transmitter, install the two (2) 3V button cell batteries. Follow instructions below.The wall timer has a 30 min, 60 min, 120 min, and OFF buttons. When any of the buttons on the wall timer is pressed, a signal light on the wall timer illuminates briefly to verify that a signal has been sent. If the signal light does not illuminate, check the batteries. Upon initial use, there may be a delay of 5-seconds before the remote receiver will respond to the wall timer.TO INSTALL BATTERIES1. Remove face from backing plate by insetting a small screwdriver into the small slot at the top or bottom of the faceplate as shown below then snap OFF.2. Locate the (2) holders for the 3V button cell batteries.3. Place the button cell batteries into the battery holders and snap into place. (Make sure that the batteries are installed with the (+) plus side as shown to the right.4. After the batteries are installed replace the faceplate on the base.TO REMOVE THE BATTERIES1. Remove face from backing plate by insetting a small screwdriver into the small slot on the side at the top or bottom of the faceplate as shown to the right then snap OFF.2. Locate the (2) holders for the 3V button cell batteries.3. Insert a small screwdriver into the slot at the button cell battery and pop the battery out (Slots shown in picture above).4. After the batteries are installed replace the faceplate.IF YOU CANNOT READ OR UNDERSTAND THESE INSTALLATION INSTRUCTIONS DO NOT ATTEMPT TO INSTALL OR OPERATEWALL MOUNTING THE TIMER 1. Remove face from backing plate by insetting a small screwdriver into the small slot at the top or bottom of the faceplate as shown to the right then snap OFF. 2. Locate the (2) two mounting holes and mark the holes on the wall. 3. Use the (2) two dry wall anchors and screws (that are supplied) to mount the base plate to the wall as shown. 4. The wall transmitter can also be mounted onto an existing (Plastic) electrical box. 5. Base plate should be mounted level on the wall for best operation.REMOTE RECEIVERIMPORTANTTHE REMOTE RECEIVER SHOULD BE POSITIONED WHERE AMBIENTTEMPERATURES DO NOT EXCEED 130° F.The remote receiver (right) operates on (4) 1.5-volt AA batteries. It isrecommended that ALKALINE batteries be used for longer battery life and maximum microprocessor performance. IMPORTANT: New or fully charged batteries are essential to proper operation of the remote receiver as a latchingsolenoid power consumption is substantially higher than standard remote controlsystems.NOTE : The remote receiver will only respond to the transmitter when the 3-position slide button on the remote receiver is in theREMOTE position. The remote receiver houses the microprocessor that responds to commands from the transmitter to control system operation.FUNCTIONS:1. With the slide switch in the REMOTE position, the system will onlyoperate if the remote receiver receives commands from the transmitter. Upon initial use or after an extended period of no use, the ON button may have to be pressed for up to three seconds before activating solenoid. If the system does not respond to the transmitter on initial use, see LEARNING TRANSMITTER TO RECEIVER section. 2. Slide switch to ON for manual operation.3. With the slide in the OFF position, the system is OFF.4. It is suggested that the slide switch be placed in the OFF position ifyou will be away from your home for an extended period of time.Placing the slide switch in the OFF position also functions as a safety "lock out" by both turning the system OFF and rendering the transmitter inoperative.INSTALLATION INSTRUCTIONSWARNINGDO NOT CONNECT REMOTE RECEIVER DIRECTLY TO 110-120VAC POWER. THIS WILLBURNOUTTHE RECEIVER. FOLLOW INSTRUCTIONS FROM MANUFACTURER OF GAS VALVE FOR CORRECT WIRING PROCEDURES. IMPROPER INSTALLATION OF ELECTRIC COMPONENTS CAN CAUSE DAMAGE TO GAS VALVE AND REMOTE RECEIVER.INSTALLATIONThe remote receiver can be mounted on or near the fireplace hearth. PROTECTION FROM EXTREME HEAT IS VERY IMPORTANT. Like any piece of electronic equipment, the remote receiver should be kept away from temperatures exceeding 130º F inside the receiver case. Battery life is also significantly shortened if batteries are exposed to high temperatures.Make sure the remote receiver switch is in the OFF position. For best results it is recommended that 18 gauge stranded wires should be used to make connections and no longer than 20-feet.WIRING INSTRUCTIONSCONNECTING THE RECEIVER TO A VALVE WITH THE LATCHING SOLENOID1. Connect the BLACK 18 gage stranded wire with the 1/4’ female terminal from the receiver to the BLACK wire with the 1/4” maleterminals from the valve solenoid.2. Connect the RED 18 gage stranded wire with the 1/4’ female terminal from the receiver to the RED wire with the 1/4” male terminalsfrom the valve solenoid.3. After receiver wires are connected to the valve solenoid wire make sure the receiver shield is located over the receiver and thenlocate the receiver in an area that will not exceed the 130° F.IMPORTANT NOTE: Operation of these controls is dependent on which wire is attached to which terminal. If operation of controldoes not correspond to operating buttons on transmitter, reverse wire installation at the receiver or at the control.NOTE: Up to 6.3 VDC of power is provided at the receiver terminal.GENERAL INFORMATIONLEARNING TRANSMITTER TO RECEIVEREach transmitter uses a unique security code. It will be necessary to press the LEARN button on the receiver to accept the transmitter security code upon initial use, if batteries are replaced, or if a replacement transmitter is purchased from your dealer or the factory. In order for the receiver to accept the transmitter security code, be sure the slide button on the receiver is in the REMOTE position; the receiver will not LEARN if the slide switch is in the ON or OFF position. The LEARN button in located on the front face of the receiver; inside the small hole labeled LEARN. Using a small screwdriver or end of a paperclip gently Press and Release the black LEARN button inside the hole. When you release the LEARN button the receiver will emit an audible “beep”. After the receiver emits the beep press ANY transmitter button and release. The receiver will emit several beeps indicating that the transmitter’s code has been accepted into the receiver.The microprocessor that controls the security code matching procedure is controlled by a timing function. If you are unsuccessful in matching the security code on the first attempt, wait 1 - 2 minutes before trying again--this delay allows the microprocessor to reset its timer circuitry--and try up to two or three more times.OPERATION4. This remote control will operate the gas valves latching solenoid to open the gas flow to full ON.5. When the ON button is depressed the transmitter sends a RF signal to the receiver. The receiver then sends apulse of 6-volts of power to the solenoid. The solenoid then opens the gas flow to the burner then to full ON.6. When the OFF button is depressed the transmitter sends a RF signal to the receiver. The receiver then sends apulse of 6-volts of power to the solenoid. The solenoid then closes the gas flow to the burner then to full OFF.7. The remote control will only work with the hand held transmitter. The receiver slide switch is only for positive OFF or REMOTEoperation.NOTE: Extensive use of the Latching Solenoid (ON/OFF) will reduce the receiver's battery life significantly.BATTERY LIFELife expectancy of the alkaline batteries in the TM/R-AF1 can be up to 12 months depending on use of the solenoid function. Replace all batteries annually. When the transmitter no longer operates the remote receiver from a distance it did previously (i.e., the transmitter's range has decreased) or the remote receiver does not function at all, the batteries should be checked. It is important that the remote receiver batteries are fully charged, providing combined output voltage of at least 5.0 volts. The transmitter should operate with as little as 2.4 volts battery power. NOTE: Extensive use of the Solenoid will reduce the receiver's battery life significantly.TROUBLE SHOOTINGIf you encounter problems with your fireplace system, the problem may be with the fireplace itself or it could be with the TM/R-AF1 remote system. Review the fireplace manufacturer's operation manual to make sure all connections are properly made. Then check the operation of the remote in the following manner:1. Make sure the batteries are correctly installed in the RECEIVER. One reversed battery will keep receiver from operating properly.2. Check battery in TRANSMITTER to ensure contacts are touching (+) and (-) ends of battery. Bend metal contacts in for tighter fit.3. Be sure RECEIVER and TRANSMITTER are within 20 to 25-foot operating range.4. Keep RECEIVER from temperatures exceeding 120° F. Battery life shortened when ambient temperatures are above 115° F.5. If RECEIVER is installed in tightly enclosed metal surround, the operating distance will be shortened.NOTE:1. Heat conditions can cause batteries to discharge when temperatures exceed 1150 F. Studies show that alkaline batteries, whenexposed to a constant temperature of 1200 F, can lose up to 50% of their operating power. When the battery cools down, it will partially recharge itself, but constant heating and cooling will reduce the battery’s normal life expectancy. SPECIFICATIONSBATTERIES: Transmitter 12V - (A23)Remote Receiver 6V - 4 ea. AA 1.5 Alkaline FCC ID No.'s: transmitter - K9LTMR2A; receiver - K9L330IRX Operating Frequency: 303.8 MHZ Canadian ISC ID No.'s: transmitter – 2439A-TMR2A; receiver – 2439A 3301RX FCC REQUIREMENTSNOTE: THE MANUFACTURER IS NOT RESPONSIBLE FOR ANY RADIO OR TV INTERFERENCE CAUSED BY UNAUTHORIZED MODIFICATIONS TO THIS EQUIPMENT. SUCH MODIFICATIONS COULD VOID THE USER’S AUTHORITY TO OPERATE THE EQUIPMENT.FOR TECHNICAL SERVICE, CALL: U. S. INQUIRIES CANADIAN INQUIRIES(855) 498-8324 or (260) 459-1703 (877) 472-3923For Sales: (888) 672-8929WEBSITE: MANUFACTURED EXCLUSIVELY FOR SKYTECH II, Inc。
(英语)英语语法填空专项习题及答案解析
（英语）英语语法填空专项习题及答案解析一、语法填空1．Directions: After reading the passage below, fill in the blanks to make the passage coherent and grammatically correct. For the blanks with a given word, fill in each blank with the proper form of the given word; for the other blanks, use one word that best fits each blank.Phone-surfing Results in More PurchasesLeaving your mobile phone at home when you go shopping could prevent mindless overspending, a new study suggests. Research from the University of Bath discovered that when people are distracted by their mobiles during a trip to the supermarket their shopping bills ________ rise by an average of 41 per cent. Attention-weakening devices also encourage shoppers to wander along more shelves, ________they come across more products.In one study, 294 people aged between 18 and 73 at four Swedish supermarkets wore eye-tracking glasses throughout a shopping trip to measure where they went and ________they looked at. Their receipts were then used ________(assess) their spending. Those using a mobile phone spent on average £33.73 compared to an average of £23.91 for those who did not.A second study of 117 shoppers found those with mobile phones spent longer in the store, ________(give) more attention to shelves. They also spent an average of £36. This study found shoppers using a mobile phone spent on average £36.16 on 20.85 items, compared to £25.59 on 13.22 products.Dr Carl-Philip Ahlbom, of the University of Bath's School of Management said: "Business owners have tended to worry that mobiles distract shoppers from spending money, ________we were amazed to find completely the reverse effect." The findings were very clear - the more time you spend on your phone, the more money you'll part ________."So if you're trying to budget, ________(leave) your phone in your pocket. It's not the phone ________that causes more purchases, but its impact on our focus." Researchers believe people spend more because using a phone distracts people from their ________(plan) lists.【答案】can/may/might；where；what；to assess；having given/giving；but；with；leave；itself；planned【解析】【分析】本文是一篇说明文，研究发现手机上网会导致更多的购买行为。
DIN EN 10029-2011
Contents
Page
Foreword ..............................................................................................................................................................3 1 2 3 4 4.1 4.2 4.3 5 6 6.1 6.2 6.3 7 7.1 7.2 8 8.1 8.2 8.3 8.4 8.5 8.6 8.7 Scope ......................................................................................................................................................4 Normative references ............................................................................................................................4 Terms and definitions ...........................................................................................................................4 Information to be supplied by the purchaser .....................................................................................4 Mandatory information ..........................................................................................................................4 Options ...................................................................................................................................................5 Designation ............................................................................................................................................5 Form of supply .......................................................................................................................................6 Tolerances on dimensions ...................................................................................................................6 Thickness ...............................................................................................................................................6 Width .......................................................................................................................................................7 Length .....................................................................................................................................................7 Tolerances on shape .............................................................................................................................7 Edge camber and out-of squareness...................................................................................................7 Flatness ..................................................................................................................................................8 Measurement ..........................................................................................................................................9 General ....................................................................................................................................................9 Thickness ...............................................................................................................................................9 Width .......................................................................................................................................................9 Length .....................................................................................................................................................9 Edge camber ....................................................................................................................................... 10 Out-of squareness .............................................................................................................................. 10 Flatness ............................................................................................................................................... 11
人教英语九年级上Unit2第2课时Section A 3a-4c
Presentation
主语+谓语 + that/if/whether + 宾语从句
Grammar Focus
由that引导的宾语从句
当宾语从句是陈述句时，用that引导，that无词义，在从句中不充当成分，在口语和非 正式文体中常常省略。 ➢ All the students think that Mr. Zhang is humorous. 当主句的主语是第一人称（I，we），而且谓语动词是think，guess， believe，
Language points
1. Mooncakes are in the shape of a full moon on the Mid-Autumn night. （教材P11 3a）
Point in the shape of .....形状
in the shape of为固定搭配，其中shape作名词，意为“形状“。 ➢ He has a garden in the shape of a square. ➢ Clouds of different shapes in the sky attract his attention.
3. Grammar：① Objective clauses with that, if/whether ② Exclamatory statements
4. Sentences：① I know that the Water Festival is fun. ② I wonder if they’ll have the races again next year. ③ What fun the Water Festival is! ④ How fantastic the dragon boat teams were!
【新课标新高考】专题四 《完形填空记叙类专练》__2022届高考英语考点剖析精创专题卷
【新课标新高考】专题四《完形填空记叙类专练》——2022届高考英语考点剖析精创专题卷考点01：冠词 3颗星考点02：代词 3颗星考点03：介词和介词短语 5颗星考点04: 名词 3颗星考点06：形容词和副词 5颗星考点08：非谓语动词 5颗星考点09：动词的时态和语态 5颗星考点10：定语从句 3颗星考点11 名词性从句 3颗星考点12 并列连词 4颗星考点13 状语从句 3颗星考点20：完形填空记叙文5颗星一、Two years ago, about a 1 after Samantha was born, Glenda and Raphael Savitz learned their daughter was 2 . "She was the first deaf person my husband and I had known," Glenda, 33, told The Boston Globe. "So it's a surprise. It is 3 , but I think I'm someone who's like: OK. What do we do? She's a week old. We're going to be learning sign language. There was no 4 that it was going to be very important to her development and her 5 ."But the Savitz family weren't the only ones who learned how to sign. The residents 6 an instructor on their own and 7 gather together in a living room to learn the language. The neighbors' desire to learn to 8 with Samantha is something that the Savitz family find extremely 9 ."One of the most emotional issues for me is that I really learned about how much support and how much love here," Glenda said. "People are 10 so much time and energy to learn a language which isn't that 11 because they're dyingto talk to my little girl. I don't have 12 for that."Baby Samantha already has friends all over the neighborhood. Henry Marshall, a 19-year-old Harvard freshman, told The Globe that Samantha 13 with her child-size basketball hoop as he shoots hoops on his adult-size one. While he plays, she copies his movements and 14 the words for "play" and "friend"."It's a special neighborhood," Raphael Savitz told The Globe. "It's just a really 15 place."1. A. day B. week C. year D. month2. A. deaf B. blind C. hurt D. wise3. A. embarrassed B. awesome C. unbearable D. unexpected4. A. point B. chance C. question D. way5. A. work B. study C. entertainment D. growth6. A. hired B. sent C. trained D. assisted7. A. suddenly B. regularly C. immediately D. randomly8. A. share B. stay C. associate D. communicate9. A. interesting B. surprising C. touching D. demanding10. A. lookingfor B. giving up C. puttingin D. relying on11. A. oral B. useful C. local D. critical12. A. ideas B. words C. choices D. suggestions13. A. plays B. lives C. helps D. deals14. A. writes B. reads C. signs D. says15. A. challenging B. important C. usual D. loving二、Last year I ruined my summer vacation by bringing along a modern convenience: the iPad.Instead of looking at nature, I 1 my e-mail. Instead of reading great novels, I stuck to reading 2 newspapers each morning. And that was the problem: I was acting as if I were still in the office. My body was on vacation but my 3 wasn't.So this year I made up my mind to try something 4 : getting away from the Internet. I knew it wouldn't be easy, 5 I'm not good at self-control. But I was 6 . I started by handing the iPad to my wife. Then, a stroke of luck: The mobile phone 7 at our cabin was worse than in the past. I was trapped, forced to carry out my plan. Largely 8 from e-mail and my favourite newspaper websites, I had little way to 9 the world. I had no 10 but to do what I had planned to do all along: read books.With determination and the strong support of my wife, I succeeded in my vacation struggle against the Internet. I finally 11 that it was me, of course, not the iPad, that was the 12 .I knew I had 13 when we passed a Starbucks and my wife asked if I wanted to stop to use the Wi-Fi. "Don't need it," I said. 14 , as we return to work, a test begins: Can I survive when I'm back at work? I don't plan to 15 my iPad completely. But I hope to resist the temptation (抵抗诱惑) to use it every five minutes.1.A.received B.selected C.checkedD.removed2.A.online rmal C.local D.traditional3.A.opinion B.mind C.identity D.curiosity4.A.attractive B.logical C.magicalD.different5.A.since B.unless C.though D.so6.A.excited B.shocked C.frightened D.determined7.A.quality B.design C.signal D.technology8.A.taken out B.pulled down C.cut offD.carried away9.A.rely on B.connect to C.help withD.look at10.A.method B.goal C.trick D.choice11.A.expected B.realised C.permittedD.suggested12.A.puzzle B.sign C.evidence D.problem13.A.won B.forgotten C.suffered D.recovered14.A.Somehow B.Anyway C.HoweverD.Therefore15.A.take apart B.give up C.turn toD.care about三、One afternoon, I took my daughter to go ice skating. I grew up ice skating, a(n) 1 much like riding a bike. And she was eager to learn. We 2 stepped onto ice that was more slippery than I 3 . No sooner did our blades(冰刀) 4 the frozen area than both my daughter and I felt ourselves hurtling(猛冲)toward the ground. I feared my daughter falling again and asked her to stay aside watching but she 5 . At that moment, her friend pirouetted(单脚尖旋转)toward us. She said, "Falling is part of any new 6 I'll help her to skate!"My daughter looked at me with 7 eyes and I agreed.Seconds later, my daughter 8 . I gasped as she struggled to get up. Then I watched her 9 for her friend's hand, get back on her 10 , and skate off only to fall three paces later. Over time, her falling became 11 . When they finally came back to the benches, my daughter exclaimed in 12 : "Mama! I fell 22 times!" I spent the next hour watching my daughter 13 the rink. After falling, she got up by clinging to the wall and started to glide until she could make it all the way around without a single fall 14 my daughter stepped off the rink, with a15 smile, "Mama! I did it! I did it!"1. 1. A. course B. skill C. experience D. story2. A. stably B. hurriedly C. awkwardly D. skillfully3. A. imagined B. expected C. noticed D. remembered4. A. touch B. press C. cut D. hit5. A. succeeded B. nodded C. refused D. laughed6. A. system B. attempt C. discovery D. road7.A. eager B. worrying C. promising D. surprised8. A. advanced B. backed C. stopped D. fell9. A. look B. send C. care D. reach10. A. legs B. feet C. back D. hands11. A. less frequent B. less likely C. more painful D. more graceful12. A. anger B. shock C. fear D. delight13. A. seek B. circle C. leave D. approach14. A. Finally B. Hardly C. Quickly D. Slowly15. A. kind B. wide C. forced D. relieved四、On 10 Oct. 2020, Special Olympics athlete Chris Nikic crossed the finish line to become the first person with Down syndrome(唐氏综合征) to become an ironman Nikic 1 a 2.4-mile swim, a 112-mile bike ride and a, 262-mile marathon run in 16hours 46 minutes and 9 seconds -14 minutes under the 17-hour cutoff time. Nikic fell off his bike and was 2 by ants at a nutrition stop, but he pushed on to 3 the competitionIronman goal set and achieve, "said Nikic on social media. " Time to set a 4 and bigger goal for 2021.”W e are beyond inspired, and your achievement is a 5 moment in Ironman history that can never be 6 away from you, " the Ironman Triathlon organization said in a postNikic and his father Nik developed the "One percent better challenge"to stay 7 during training. The idea is to promote Down syndrome 8 while achieving 1% 9 each day."To Nikic, this 10 was more than just a finish line and celebration of 11 , Nik said. "ironman has served as his 12 to become one step closer to his goal of living a life of inclusion and leadership.After his record-setting achievement, Nikic will 13 competing in the2022 Special Olympics USA Games and 14 raising money for Special Olympics, and Down syndrome through his platform."I achieved my goal and now I want to. 15 others like me, " he said.1. A completed anized C. lasted D.tolerated2. A. surrounded B. attacked C. approached D delayed3. A. finish B. register C. quit D. organize4. A. final B. clear C. common D.new5. A. magical B. perfect C. temporary D. historical6. A. broken B. kept C. torn D. taken7. A. motivated B. rewarded C. delighted D. concerned8. A. culture B. awareness C independence D.improvement9.A. result B. effect C. independence D.improvenen10.A. experience B. struggle C. race D. effort11. A. reputation B. wealth C.love D. victory12. A. platform B. base C. potential D. desire13. A. deal with B. focus on C. contribute to D. set about14. A carefully B. actively C. gradually D.bravely15. A. thank B. admire C approve D. help五、I missed my four years at university, although I lived a 1 life financially. I was full of 2 and was determined to complete a double major in music and English literature.Apart from a few textbooks a year, I had to 3 at least two books a week for my classes, which really cost a lot. My tight 4 provided a roof over my head,in the form of an off-campus small old room. It was not in shape. I was so thrilled, however, to be living my dream and working on my college education. The tough condition could 5 affect me.I spent almost all of my waking hours after classes 6 the piano and writing papers in the small and cold room. And I also 7 part-time jobs in order to cover the cost of basics. To keep warm in the cold, rainy winter, I bought a pair of leather shoes. But soon I 8 them and they started to leak becauseof my frequent walking and running. I wore heavy socks and wrapped the boots with plastic bags to prevent 9 getting in during the rainy seasons.At the end of my senior year, I was full of 10 because I was graduating. But it was also the time to rent graduation dress, book a sitting with the photographer and pay for my diploma. All of these 11 seemed like mountains before me.I felt 12 .There was no way for me to manage it.As I was walking back to my room one night, I met one of my professors. When he commented on how excited I must be, I blurted out (脱口而出)my 13 He said, "But didn't you hear that news? You got a big award because of your excellent music composing. That's a $5,000 cheque in your mailbox! You're always 14 in your study, which I think is why you won the first place in the competition of music composition." Later, I rushed to my mailbox! My hands shook as I unfolded the envelope which contained the cheque that could help me 15 what were troubling me.1.A. hard B. green C. healthy D. wealthy2.A. imagination B. ambition C. curiosity D. pride3.A. write B. purchase C. evaluate D. recite4.A. program B. schedule C. budget D. deadline5.A. barely B. extremely C. slightly D. nearly6.A. repairing B. appreciating C. cleaning D. practising7.A. made up B. took up C. looked up D.set up8.A. mended B. threw away C. changed D. wore out9.A. water B. air C. dirt D. snow10.A. uncertainty B. pressure C. expectation D. calm11.A. responsibilities B. regulations C. plans D.issues12.A. inspired B. cautious C. helpless D. aggressive13.A. advice B. dilemma C. arrangement D. question14.A. absorbed B. concerned C. interested D. experienced15.A. take in B. leave out C. set aside D. pull through六、It was a peaceful morning. I was 1 with a reporting assignment in Botswana's Okavango Delt with my two colleagues. This was my second leg of the 2 .Our photographer, Byron 3 a message. We were far away from a mobile phone tower, so this 4 was our only means of communication. "You need to call home," Byron told me, and I did. A 5 came , and it was my husband. "Your mother 6 ,” he said. The call ended sharply , I 7 at the phone in my hand and cried.My mother loved travelling. On her journeys , she almost 8 all hut her favorite cat, the leopard (猎豹).Now, it was the unfinisshed 9 .Until we finished the 10 stop’s exploration,, we didn’t find a leopard. Our flight was taking off the next day, but I still 11 for a final early drive before starting off to see the wild animals.The next morning,our guide, Dave Luck,said, “Let’s see what’s out there." Luck drove very fast, must 12 ,” Luck said, pointing to some cat footprints on the road. When we 13 ,we saw a leopard about 20 metres away.Byron set up his camera and was 14 a video. The leopard looked at me as if to tell me, "You are where your mother would have wanted you lo he. " 15 , the cat went into the tall grass and anotherwonderful day began.1.A.satisfied B.impressed C.taskedD.connected2.A.exploration B.journey C.holidayD.experiment3.A.wrote B.left C.designed D.received4.A.radio B.phone puter D.mail5.A.voice B.picture C.photographer D.colleague6.A.hroke down B.passed away C.gave upD.took over7.A.pointed B.knocked C.shouted D.stared8.A.observed B.protected C.heard D.saved9.A.research B.promise C.businessD.beliefte B.perfect C.final D.previous11.A.hoped B.searched C.waited D.accounted12.A.escape B.hide C.drive D.hurry13.A.appeared B.stopped C.finishedD.entered14.A.playing B.sharing C.polishingD.shooting15.A.Gradually B.Suddenly C.EventuallyD.Frequently答案以及解析一、答案：1-5 BADCD 6-10 ABDCC 11-15 BBACD解析：1.根据下文中的"She's a week old"可知，此处指"Samantha出生一周后"，故选B项。
IPC-7351B & PCBL Land Pattern Naming Convention
I P C-7351B N a m i n g C o n v e n t i o n f o r S t a n d a r d S M T L a n d P a t t e r n sSurface Mount Land PatternsComponent, Category Land Pattern Name Ball Grid Array’s...............................BGA + Pin Qty + C or N + Pitch P + Ball Columns X Ball Rows _ Body Length X Body Width X Height BGA w/Dual Pitch.BGA + Pin Qty + C or N + Col Pitch X Row Pitch P + Ball Columns X Ball Rows _ Body Length X Body Width X Height BGA w/Staggered Pins..................BGAS + Pin Qty + C or N + Pitch P + Ball Columns X Ball Rows _ Body Length X Body Width X Height BGA Note: The C or N = Collapsing or Non-collapsing BallsCapacitors, Chip, Array, Concave..........................................................CAPCAV + Pitch P + Body Length X Body Width X Height - Pin Qty Capacitors, Chip, Array, Flat..................................................................CAPCAF + Pitch P + Body Length X Body Width X Height - Pin Qty Capacitors, Chip, Non-polarized.................................................................................................CAPC + Body Length + Body Width X Height Capacitors, Chip, Polarized.....................................................................................................CAPCP + Body Length + Body Width X Height Capacitors, Chip, Wire Rectangle........................................................................................CAPCWR + Body Length + Body Width X Height Capacitors, Molded, Non-polarized...........................................................................................CAPM + Body Length + Body Width X Height Capacitors, Molded, Polarized.................................................................................................CAPMP + Body Length + Body Width X Height Capacitors, Aluminum Electrolytic ............................................................................................................CAPAE + Base Body Size X Height Ceramic Flat Packages.....................................................................................................CFP127P + Lead Span Nominal X Height - Pin Qty Column Grid Array’s.....................................................CGA + Pitch P + Number of Pin Columns X Number of Pin Rows X Height - Pin Qty Crystals (2 leads)........................................................................................................................XTAL + Body Length X Body Width X Height Dual Flat No-lead..........................................................................................................DFN + Body Length X Body Width X Height – Pin Qty Diodes, Chip................................................................................................................................DIOC + Body Length + Body Width X Height Diodes, Molded...........................................................................................................................DIOM + Body Length + Body Width X Height Diodes, MELF................................................................................................................................DIOMELF + Body Length + Body Diameter Fuses, Molded............................................................................................................................FUSM + Body Length + Body Width X Height Inductors, Chip.............................................................................................................................INDC + Body Length + Body Width X Height Inductors, Molded........................................................................................................................INDM + Body Length + Body Width X Height Inductors, Precision Wire Wound................................................................................................INDP + Body Length + Body Width X Height Inductors, Chip, Array, Concave..............................................................INDCAV + Pitch P + Body Length X Body Width X Height - Pin Qty Inductors, Chip, Array, Flat......................................................................INDCAF + Pitch P + Body Length X Body Width X Height - Pin Qty Land Grid Array, Round Lead............................LGA + Pin Qty - Pitch P + Pin Columns X Pin Rows _ Body Length X Body Width X Height Land Grid Array, Square Lead........................LGAS + Pin Qty - Pitch P + Pin Columns X Pin Rows _ Body Length X Body Width X Height LED’s, Molded............................................................................................................................LEDM + Body Length + Body Width X Height Oscillators, Side Concave........................................................................OSCSC + Pitch P + Body Length X Body Width X Height - Pin Qty Oscillators, J-Lead.......................................................................................OSCJ + Pitch P + Body Length X Body Width X Height - Pin Qty Oscillators, L-Bend Lead.............................................................................OSCL + Pitch P + Body Length X Body Width X Height - Pin Qty Oscillators, Corner Concave....................................................................................................OSCCC + Body Length X Body Width X Height Plastic Leaded Chip Carriers..................................................PLCC + Pitch P + Lead Span L1 X Lead Span L2 Nominal X Height - Pin Qty Plastic Leaded Chip Carrier Sockets Square.......................PLCCS + Pitch P + Lead Span L1 X Lead Span L2 Nominal X Height - Pin Qty Quad Flat Packages..................................................................QFP + Pitch P + Lead Span L1 X Lead Span L2 Nominal X Height - Pin Qty Ceramic Quad Flat Packages.................................................CQFP + Pitch P + Lead Span L1 X Lead Span L2 Nominal X Height - Pin Qty Quad Flat No-lead................................................................QFN + Pitch P + Body Width X Body Length X Height - Pin Qty + Thermal Pad Pull-back Quad Flat No-lead..............................................PQFN + Pitch P + Body Width X Body Length X Height - Pin Qty + Thermal Pad Quad Leadless Ceramic Chip Carriers..........................................................LCC + Pitch P + Body Width X Body Length X Height - Pin Qty Quad Leadless Ceramic Chip Carriers (Pin 1 on Side)...............................LCCS + Pitch P + Body Width X Body Length X Height - Pin Qty Resistors, Chip...........................................................................................................................RESC + Body Length + Body Width X Height Resistors, Molded......................................................................................................................RESM + Body Length + Body Width X Height Resistors, MELF...........................................................................................................................RESMELF + Body Length + Body Diameter Resistors, Chip, Array, Concave............................................................RESCAV + Pitch P + Body Length X Body Width X Height - Pin Qty Resistors, Chip, Array, Convex, E-Version (Even Pin Size)...............RESCAXE + Pitch P + Body Length X Body Width X Height - Pin Qty Resistors, Chip, Array, Convex, S-Version (Side Pins Diff)................RESCAXS + Pitch P + Body Length X Body Width X Height - Pin Qty Resistors, Chip, Array, Flat.....................................................................RESCAF + Pitch P + Body Length X Body Width X Height - Pin Qty Small Outline Diodes, Flat Lead...................................................................................SODFL + Lead Span Nominal + Body Width X Height Small Outline IC, J-Leaded........................................................................................SOJ + Pitch P +Lead Span Nominal X Height - Pin Qty Small Outline Integrated Circuit, (50 mil Pitch SOIC)......................................................SOIC127P +Lead Span Nominal X Height - Pin Qty Small Outline Packages............................................................................................SOP + Pitch P +Lead Span Nominal X Height - Pin Qty Small Outline No-lead...........................................................SON + Pitch P + Body Width X Body Length X Height - Pin Qty + Thermal Pad Pull-back Small Outline No-lead.........................................PSON + Pitch P + Body Width X Body Length X Height - Pin Qty + Thermal Pad Small Outline Transistors, Flat Lead....................................................................SOTFL + Pitch P + Lead Span Nominal X Height - Pin Qty SOD (Example: SOD3717X135 = JEDEC SOD123)........................................................SOD + Lead Span Nominal + Body Width X Height SOT89 (JEDEC Standard Package).......................................................................................................................................................SOT89 SOT143 & SOT343 (JEDEC Standard Package)..............................................................................................................SOT143 & SOT343 SOT143 & SOT343 Reverse (JEDEC Standard Package)...........................................................................................SOT143R & SOT343R SOT23 & SOT223 Packages (Example: SOT230P700X180-4)...............................SOT + Pitch P + Lead Span Nominal X Height - Pin Qty TO (Generic DPAK - Example: TO228P970X238-3).................................................................TO + Pitch P + Lead Span X Height - Pin QtyI P C-7351B L a n d P a t t e r n N a m i n g C o n v e n t i o n N o t e s•All dimensions are in Metric Units•All Lead Span and Height numbers go two places past the decimal point and “include” trailing Zeros•All Lead Span and Body Sizes go two place before the decimal point and “remove” leading Zeros•All Chip Component Body Sizes are one place to each side of the decimal point•Pitch Values are two places to the right & left of decimal point with no leading Zeros but include trailing zeros N a m i n g C o n v e n t i o n S p e c i a l C h a r a c t e r U s e f o r L a n d P a t t e r n sThe _ (underscore) is the separator between pin Qty in Hidden & Deleted pin componentsThe – (dash) is used to separate the pin qty.The X (capital letter X) is used instead of the word “by” to separate two numbers such as height X width like “Quad Packages”.P C B L i b r a r i e s S u f f i x N a m i n g C o n v e n t i o n f o r L a n d P a t t e r n sCommon SMT Land Pattern to Describe Environment Use (This is the last character in every name)Note: This excludes the BGA component family as they only come in the Nominal Environment Condition •M.................Most Material Condition (Level A)•N..................Nominal Material Condition (Level B)•L.................Least Material Condition (Level C)Alternate Components that do not follow the JEDEC, EIA or IEC Standard•A..................Alternate Component (used primarily for SOP & QFP when Component Tolerance or Height is different) •B..................Second Alternate ComponentReverse Pin Order•-20RN..........20 pin part, Reverse Pin Order, Nominal EnvironmentHidden Pins•-20_24N......20 pin part in a 24 pin package. The pins are numbered 1 – 24 the hidden pins are skipped. The schematic symbol displays up to 24 pins.Deleted Pins•-24_20N......20 pin part in a 24 pin package. The pins are numbered 1 – 20. The schematic symbol displays 20 pins. JEDEC and EIA Standard parts that have several alternate packages•AA, AB, AC.JEDEC or EIA Component IdentifierGENERAL SUFFIXES_HS.........................HS = Land Pattern with Heat Sink attachment requiring additional holes or padsExample: TO254P1055X160_HS-6N_BEC......................BEC = Base, Emitter and Collector (Pin assignments used for three pin Transistors)Example: SOT95P280X160_BEC-3N_SGD......................SGD = Source, Gate and Drain (Pin assignments used for three pin Transistors)Example: SOT95P280X160_SGD-3N_213........................213 = Alternate pin assignments used for three pin TransistorsExample: SOT95P280X160_213-3NP C B L i b r a r i e s N a m i n g C o n v e n t i o n f o r N o n-S t a n d a r d S M T L a n d P a t t e r n s Surface Mount Land PatternsComponent, Category Land Pattern Name Amplifiers....................................................................................................................................................AMP_ Mfr.’s Part Number Batteries......................................................................................................................................................BAT_ Mfr.’s Part Number Capacitors, Variable..................................................................................................................................CAPV_Mfr.’s Part Number Capacitors, Chip, Array, Concave (Pins on 2 or 4 sides)..............................................................CAPCAV_Mfr Series No. - Pin Qty Capacitors, Chip, Array, Flat (Pins on 2 sides)..............................................................................CAPCAF_Mfr Series No. - Pin Qty Capacitors, Miscellaneous............................................................................................................................CAP_Mfr.’s Part Number Crystals......................................................................................................................................................XTAL_Mfr.’s Part Number Diodes, Miscellaneous...................................................................................................................................DIO_Mfr.’s Part Number Diodes, Bridge Rectifiers............................................................................................................................DIOB_Mfr.’s Part Number Ferrite Beads..................................................................................................................................................FB_Mfr.’s Part Number Fiducials......................................................................................................................................FID + Pad Size X Solder Mask Size Filters..............................................................................................................................................................FIL_Mfr.’s Part Number Fuses..........................................................................................................................................................FUSE_Mfr.’s Part Number Fuse, Resettable.....................................................................................................................................FUSER_Mfr.’s Part Number Inductors, Miscellaneous...............................................................................................................................IND_Mfr.’s Part Number Inductors, Chip, Array, Concave (Pins on 2 or 4 sides)..................................................................INDCAV_Mfr Series No. - Pin Qty Inductors, Chip, Array, Flat (Pins on 2 sides).................................................................................INDCAF_Mfr Series No. - Pin Qty Keypad.................................................................................................................................................KEYPAD_Mfr.’s Part Number LEDS............................................................................................................................................................LED_Mfr.’s Part Number LEDS, Chip...................................................................................................................................................LED_Mfr.’s Part Number Liquid Crystal Display...................................................................................................................................LCD_Mfr.’s Part Number Microphones..................................................................................................................................................MIC_Mfr.’s Part Number Opto Isolators............................................................................................................................................OPTO_Mfr.’s Part Number Oscillators......................................................................................................................................OSC_Mfr.’s Part Number - Pin Qty Quad Flat Packages w/Bumper Corners, Pin 1 Side.............BQFP + Pitch P + Lead Span L1 X Lead Span L2 Nominal X Height - Pin Qty Quad Flat Packages w/Bumper Corners, 1 Center..............BQFPC + Pitch P + Lead Span L1 X Lead Span L2 Nominal X Height - Pin Qty Resistors, Chip, Array, Concave (Pins on 2 or 4 sides).................................................................RESCAV_Mfr Series No. - Pin Qty Resistors, Chip, Array, Convex Type E (Pins on 2 sides)...........................................................RESCAXE_Mfr Series No. - Pin Qty Resistors, Chip, Array, Convex Type S (Pins on 2 sides)...........................................................RESCAXS_Mfr Series No. - Pin Qty Resistors, Chip, Array, Flat (Pins on 2 sides)................................................................................RESCAF_Mfr Series No. - Pin Qty Relays.....................................................................................................................................................RELAY_Mfr.’s Part Number Speakers....................................................................................................................................................SPKR_Mfr’s Part Number Switches........................................................................................................................................................SW_Mfr.’s Part Number Test Points, Round......................TP + Pad Size (1 place left of decimal and 2 places right of decimal, Example TP100 = 1.00mm) Test Points, Square...............................................................TPS + Pad Size (1 place left of decimal and 2 places right of decimal) Test Points, Rectangle....................................TP + Pad Length X Pad Width (1 place left of decimal and 2 places right of decimal) Thermistors.............................................................................................................................................THERM_Mfr.’s Part Number Transceivers.............................................................................................................................................XCVR_ Mfr.’s Part Number Transducers (IRDA’s)................................................................................................................................XDCR_Mfr.’s Part Number Transient Voltage S_Mfr.’s Part Number Transient Voltage Suppressors, SP_Mfr.’s Part Number Transistor Outlines, Custom....................................................................................................................TRANS_Mfr.’s Part Number Transformers.............................................................................................................................................XFMR_Mfr.’s Part Number Trimmers & Potentiometers........................................................................................................................TRIM_Mfr.’s Part Number Tuners.....................................................................................................................................................TUNER_Mfr.’s Part Number Varistors.......................................................................................................................................................VAR_Mfr.’s Part Number Voltage Controlled Oscillators.....................................................................................................................VCO_Mfr.’s Part Number Voltage Regulators, Custom......................................................................................................................VREG_Mfr.’s Part NumberI P C-7251N a m i n g C o n v e n t i o n f o r T h r o u g h-H o l e L a n d P a t t e r n sThe land pattern naming convention uses component dimensions to derive the land pattern name.The first 3 – 6 characters in the land pattern name describe the component family.The first number in the land pattern name refers to the Lead Spacing or hole to hole location to insert the component lead.All numbers that follow the Lead Spacing are component dimensions.These characters are used as component body identifiers that precede the value and this is the priority order of the component body identifiers –P = Pitch for components with more than two leadsW = Maximum Lead Width (or Component Lead Diameter)L = Body Length for horizontal mountingD = Body Diameter for round component bodyT = Body Thickness for rectangular component bodyH = Height for vertically mounted componentsQ = Pin Quantity for components with more than two leadsR = Number of Rows for connectorsA, B & C = the fabrication complexity level as defined in the IPC-2221 and IPC-2222Notes:All component body values are in millimeters and go two places to the right of the decimal point and no leading zeros.All Complexity Levels used in the examples are “B”.Component, Category Land Pattern Name Capacitors, Non Polarized Axial Diameter Horizontal Mounting.........CAPAD + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: CAPAD800W52L600D150BCapacitors, Non Polarized Axial Diameter; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Capacitors, Non Polarized Axial Rectangular.........CAPAR + Lead Spacing + W Lead Width + L Body Length + T Body thickness + H Body Height Example: CAPAR800W52L600T50H70BCapacitors, Non Polarized Axial; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Thickness 0.50; Body Height 0.70Capacitors, Non Polarized Axial Diameter Vertical Mounting .........CAPADV + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: CAPADV300W52L600D150BCapacitors, Non Polarized Axial; Lead Spacing 3.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50mmCapacitors, Non Polarized Axial Rect. Vert. Mtg.CAPARV + Lead Spacing + W Lead Width + L Body Length + T Body Thickness + H Body Height Example: CAPARV300W52L600T50H70BCapacitors, Non Polarized Axial Rect. Vertical; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Thickness 0.50; Body Height 0.70 Capacitors, Non Polarized Radial Diameter.......................................CAPRD + Lead Spacing + W Lead Width + D Body Diameter + H Body Height Example: CAPRD200W52D300H550BCapacitors, Non Polarized Radial Diameter; lead spacing 2.00; lead width 0.52; Body Diameter 3.00; Height 5.50Capacitors, Non Polarized Radial Rectangular.......CAPRR + Lead Spacing + W Lead Width + L Body Length + T Body thickness + H Body Height Example: CAPRR200W52L50T70H550BCapacitors, Non Polarized Radial Rectangular; lead spacing 2.00; lead width 0.52; Body Length 0.50; Body thickness 0.70; Height 5.50 Capacitors, Non Polarized Radial Disk Button........CAPRB + Lead Spacing + W Lead Width + L Body Length + T Body thickness + H Body Height Example: CAPRB200W52L50T70H550BCapacitors, Non Polarized Radial Rectangular; lead spacing 2.00; lead width 0.52; Body Length 0.50; Body thickness 0.70; Height 5.50 Capacitors, Polarized Axial Diameter Horizontal Mounting................CAPPA + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: CAPPAD800W52L600D150BCapacitors, Polarized Axial Diameter; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Capacitor, Polarized Radial Diameter.................................................CAPPR + Lead Spacing + W Lead Width + D Body Diameter + H Body Height Example: CAPPRD200W52D300H550BCapacitors, Polarized Radial Diameter; lead spacing 2.00; lead width 0.52; Body Diameter 3.00; Height 5.50Diodes, Axial Diameter Horizontal Mounting.......................................DIOAD + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: DIOAD800W52L600D150BCapacitors, Non Polarized Axial Diameter; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Diodes, Axial Diameter Vertical Mounting .........................................DIOADV + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: DIOADV300W52L600D150BCapacitors, Non Polarized Axial; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Dual-In-Line Packages...................................DIP + Lead Span + W Lead Width + P Pin Pitch + L Body Length + H Component Height + Q Pin Qty Example: DIP762W52P254L1905H508Q14BDual-In-Line Package: Lead Span 7.62; Lead Width 0.52; Pin Pitch 2.54; Body Length 19.05; Body Height 5.08; Pin Qty 14Component, Category Land Pattern Name Dual-In-Line Sockets....................................DIPS + Lead Span + W Lead Width + P Pin Pitch + L Body Length + H Component Height + Q Pin Qty Example: DIPS762W52P254L1905H508Q14BDual-In-Line Package Socket: Lead Span 7.62; Lead Width 0.52; Pin Pitch 2.54; Body Length 19.05; Body Height 5.08; Pin Qty 14Headers, Vertical....... HDRV + Lead Span + W Lead Width + P Pin Pitch + R Pins per Row + L Body Length + T Body Thickness + H Component HeightExample: HDRV200W52P200R2L4400T400H900BHeader, Vertical: Lead Span 2.00; Lead Width 0.52; Pin Pitch 2.00; 2 Rows; Body Length 44.00; Body Thickness 4.00; Body Height 9.00 Headers, Right Angle...............HDRRA + Lead Span + W Lead Width + P Pin Pitch + R Pins per Row + L Body Length + T Body Thickness + H Component HeightExample: HDRRA200W52P200R2L4400T400H900BHeader, Vertical: Lead Span 2.00; Lead Width 0.52; Pin Pitch 2.00; 2 Rows; Body Length 44.00; Body Thickness 4.00; Body Height 9.00 Inductors, Axial Diameter Horizontal Mounting....................................INDAD + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: INDAD800W52L600D150BInductors, Axial Diameter; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Inductors, Axial Diameter Vertical Mounting .....................................INDADV + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: INDADV300W52L600D150BInductors, Axial Diameter Vertical Mounting; Lead Spacing 3.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Jumpers, Wire...................................................................................................................................................JUMP + Lead Spacing + W Lead Width Example: JUMP500W52BJumper; Lead Spacing 5.00; Lead Width 0.52Mounting Holes Plated With Support Pad..........................................................................MTGP + Pad Size + H Hole Size + Z Inner Layer Pad Size Example: MTGP700H400Z520This is a Mounting hole for a #6-32 screw using a circular 7.00 land on the primary and secondary side of the board, a 4.00 diameter hole with the internal lands are smaller that the external and are also circular 5.20 in diameter.Mounting Holes Non-Plated With Support Pad................................................................MTGNP + Pad Size + H Hole Size + Z Inner Layer Pad Size Example: MTGNP700H400Z520This is a Mounting hole for a #6-32 screw using a circular 7.00 land on the primary and secondary side of the board, a 4.00 diameter hole with the internal lands are smaller that the external and are also circular 5.20 in diameter.Mounting Holes Non-Plated Without Support Pad.....................MTGNP + Pad Size + H Hole Size + Z Inner Layer Pad Size + K Keep-out Diameter Example: MTGNP100H400Z520K700This is a Mounting hole for a #6-32 screw using a circular 1mm land on the primary and secondary side of the board, a 4.00 diameter hole with the internal lands are smaller that the external and are also circular 5.20 in diameter and a 7.00 diameter keep-out.Mounting Holes Plated with 8 Vias .....................................................................MTGP + Pad Size + H Hole Size + Z Inner Layer Pad Size + 8 Vias Example: MTGP700H400Z520V8This is a Mounting hole for a #6-32 screw using a circular 7mm land on the primary and secondary side of the board, a 4mm diameter hole with the internal lands are smaller that the external and are also circular 5.2mm in diameter, with 8 vias.Pin Grid Array’s.............................PGA + Pin Qty + P Pitch + C Pin Columns + R Pin Rows + L Body Length X Body Width + H Component Height Example: PGA84P254C10R10L2500X2500H300BPin Grid Array: Pin Qty 84; Pin Pitch 2.54; Columns 10; Rows 10; Body Length 25.00 X 25.00; Component Height 3.00Resistors, Axial Diameter Horizontal Mounting...................................RESAD + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: RESAD800W52L600D150BResistors, Axial Diameter; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Resistors, Axial Diameter Vertical Mounting ....................................RESADV + Lead Spacing + W Lead Width + L Body Length + D Body Diameter Example: RESADV300W52L600D150BResistors, Axial Diameter Vertical Mounting; Lead Spacing 3.00; Lead Width 0.52; Body Length 6.00; Body Diameter 1.50Resistors, Axial Rectangular Horizontal Mounting...RESAR + Lead Spacing + W Lead Width + L Body Length + T Body thickness + H Body Height Example: RESAR800W52L600T50H70BResistors, Axial Rectangular; Lead Spacing 8.00; Lead Width 0.52; Body Length 6.00; Body Thickness 0.50; Body Height 0.70Test Points, Round Land......................................................................................................................................................................TP + Lead Width Example: TP52Test Points, Square Land..................................................................................................................................................................TPS + Lead Width Example: TPS52Test Points, Top Land Round & Bottom Land Square.....................................................................................................................TPRS + Lead Width Example: TPRS52 Wire....................................................................................................................................................................................................PAD + Wire Width Example: PAD52。
UCD3138中文版
3.6 上电复位 (POR) / 掉电复位 (BOR)
3.7 典型的门控时钟省电
3.8 典型温度特性
4 功能概览
4.1 ARM 处理器
4.2 存储器
4.2.1
CPU 存储器映射和中断
4.2.1.1 存储器映射 (在复位操作之后)
4.2.1.2 存储器映射 (常规操作)
4.2.1.3 存储器映射 (系统和外设模块)
– 脉宽分辨率为 250ps – 频率分辨率为 4ns – 相位分辨率为 4ns – 输出间的可调相移 – 配对间的可调死区 – 逐周期占空比匹配 – 高达 2MHz 开关频率 • 可配置的 PWM 边沿运动 – 后缘调制 – 前缘调制 – 三角调制 • 可配置的反馈控制 – 电压模式 – 平均电流模式 – 峰值电流模式控制 – 恒定电流 – 恒定功率 • 可配置调制方法 – 频率调制 – 相移调制 – 脉宽调制 • 快速、自动和平滑模式开关 – 频率调制和 PWM – 相移调制和 PWM • 高效和轻负载管理 – 突发模式 – 理想的二极管仿真
4.15.1 JTAG 用于 I/O 和 JTAG 安全
4.22 均流控制
4.23 温度参考
5 IC 接地和布局建议
6 工具和文件
7 参考文献
修正历史
UCD3138
ZHCS429B –MARCH 2012 –REVISED JULY 2012
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UCD3138
用于隔离式电源的高度集成数字控制器
数据手册
产品数据信息是当前的出版日期。产品符合规 格是德州仪器标准保修的每个条款。产品加工 不需要包括所有参数的测试。
对焦范围与区域聚焦计算（Focusrangeandregionfocuscalculation）
对焦范围与区域聚焦计算（Focus range and region focuscalculation）How to determine:Aperture, focal length, focus range;1, a panoramic view of the deep practice trainingSubject: General scenery scenery, flowers, city construction and other strong impact.Requirements: picture all coke.Recommendations: first, using a wide-angle lens: 24MM - 35MM - 16: F11 film, aperture, aperture priority mode AE.2, single focus exercise trainingRequirements: focus on the main subject, the shallow depth of field.Suggestion: in the telephoto lens: 85MM above, the aperture of F5.6 or more. Aperture priority mode AE.3, stop training exercisesSubject: sports, walking car, train, flowing water, waterfall etc..Requirements: the violent motion of the object is the instantaction or instantaneous expression record.Suggestion: high speed shutter 1/1000 seconds, shutter speed priority mode AE.4, dynamic exercise trainingSubject: sports, dynamic, flowing water, waterfall etc..Requirements: part of an athlete and dynamic human body virtual or dynamic virtual real background. The flowing water, the waterfall has streamlined.Suggestion: slow shutter 1/15 11 seconds seconds. Start from 1/30 seconds to practice, then 1/15, 1/8, 1/4, 1/2, 1 by practice. The use of three tripod.5, practice shooting trainingRequirements: highlight the theme, concise picture, can convey the photographed scene atmosphere. * this training is the foundation of composition trainingSuggestion: telescopic lens, aperture.6, a practice trainingSubject: flowers, still lifes and insects.Requirements: the subject for screen ratio as large as possible, highlighting the object shape and the interesting part, highdefinition.Suggestion: using a macro lens or macro function and extension ring, the shortest distance of photography, camera and object parallel. The use of three tripod and shutter line.7 kinds of training, the focal length of the lens (lens the focal length) the use of practiceUsing a variety of zoom lens (lens the focal length) shooting practice, to understand the characteristics of each lens focal length, angle and understanding of painting perspective, use the focal segments of different depth of field.Standard lens: focal length about 50MM lens - very natural, no exaggeration.Wide angle lens: lens focal length 35MM - that the sense of distance.In the telephoto lens focal length: 85MM ~ 135MM camera lens and eye - the closest (distance), can correctly reflect the object shape, used for portrait photography.Telephoto lens: 200MM focal length lens - little sense of distance above, have the effect of compression. (easy to shake, try to use three tripod)Exercise 8, transverse and longitudinal position of compositionSubject: the scenery, landscape, architecture, character and so on.Requirements: horizontal composition performance stability and broad sense, with a longitudinal composition display depth and height, the picture cannot have unused space.Recommendations: 1, on the same subject taken respectively by horizontal and vertical position mapping method, different feel works. Using the standard above focus lens 2, transverse composition showed the sense of stability, using a wide-angle lens showed broad sense.3, a longitudinal composition display depth using a wide-angle lens with high sense of vision and close range, note the location allocation in the picture. 4, the composition should pay special attention to the horizontal and vertical, using three tripod.Exercise 9, trianglecompositionSubject: triangle or triangle like scenery, architecture, characters and so on.Requirements: the use of triangular position different configuration in the screen, showing the sense of stability, dynamic, high jump sense and broad sense.Some other triangle easy identification of the 1, in the picture, the complex object focus triangle to be real, to have a sense of balance. Using a wide-angle lens below 2 20MM, and the tallslender edifice road scene. 3, using depth prediction function.Exercise 10, symmetrical compositionSubject: all with symmetrical composition properties of scenes, characters and construction.Requirements: the use of upper and lower symmetrical composition, stable performance and surreal mood.Recommendations: 1, select the symmetrical shape beautiful, symmetrical shape are focus on both sides, each symmetrical shape to clearly. 2, try to use the above standard focus lens, using a wide-angle lens to the attention of the camera and the object is kept parallel. 3, shooting and shore water scene graph structure using polarized symmetry mirror, 4, had to use a small aperture for panoramic depth when using three tripod.Exercise 11, vertical and horizontalSubject: landscape and architecture.Requirements: the screen performance is composed of a plurality of parallel or vertical lines of pure beauty.Suggestion: picture lines to keep horizontal or vertical, horizontal or vertical lines to the United States, the lines covered the whole picture. To use the three tripodExercise 12, S shape, diagonal compositionSubject: has S shaped or a slash Road, rivers, mountains, city roads and bridges.Requirements: S - performance was vertical, with broad sense of performance and dynamic extension of the diagonal.S shape to access the picture in front ends, midway broken then have a space.Suggestions: S shape and configuration to slash the sense of balance, carefully feeling works have depth and broad sense, whether the subject is clear. To highlight the theme.Exercise 13, 0.618 compositionNote: any can be taken.The main performance is: to be in a split point, line or near the composition to be balanced, subject to highlight, pictures are not excess.Recommendations: first, according to their own ideas of composition, and then use the method of golden section.Unit third: light training [1]Exercise 14, daytime flash exposure compensationSubject: figures, flowers, pets, small range of natural landscape, still life and other close small objects.Requirements: when using the above object in the backlight,backlight and ambient light intensity on the subject or object in the daytime shadows.Recommendations: 1, with a flash sync speed metering (average metering) achieved aperture value, and then use the index divided by the aperture to flash shooting distance, can get accurate exposure photos. For example: the camera's flash synchronization is 1/125 seconds, with automatic metering of the camera F-measure 16, flash index (GN) is 40,40/16 (F) = 2.5M, when the shooting distance is 2.5 meters.2, the known flash index (GN) and aperture distance (F) with flash index divided by the distance calculated aperture (F). The distance: GN/ = F.Exercise 15, use of three-dimensional works of flashSubject: figures, flowers, pets, still life etc..Requirements: the use of external flash and the flash out of line camera from obliquely above or behind light producing stereo feeling, can also be cast to the ceiling or the reflecting plate manufacturing light refraction, specific investment and direction of light according to their intent to specific arrangements. But try to avoid the heavy shadow. Suggestion: try all possible light and exposure compensation made by stereoperception.Exercise 16, indoor and night light photographySubject: indoor lighting and city lighting and other gatherings.Requirements: making the naked eye in the indoor and the night lamp to see the unique use of color temperature (red) atmosphere.Suggestion: light screen layout within the lens near the best not as uniform as possible, and not have a strong light source light into the camera, using a three foot shot still life, it is best to use ISO400 to capture the film. If you want to be faithful to the color of the works, the use of 80A color correction filter. Can not have exposure.Reference: Color: a sunny cloudy day = 5500K = 6500K = 4500K, sooner or later, the general lighting = 2800K.Exercise 17, Chaoyang, sunset, nightSubject: Chaoyang, sunset hills, coastline, natural scenery and landscape.Requirements: to fully reflect the atmosphere at night overnight overnight, reproduction of beautiful scenery, can not have redundant objects into the picture, not the best blooming. Recommendations: the use of manual, basically at F8 ~ 11 AE, aperture priority, vision focus to infinity, less than 10M of a point source most likely to see the object of banana, use three tripod, can consider multiple exposure.Exercise 18, white objectsSubject: snow, white beach, white flowers white objects.Requirements: clear white object texture and color reproduction.Suggestion: according to the measured exposure appropriate exposure compensation, the compensation amount accounted for the proportion of white objects according to the picture and you want between the work performance of the intention is 0.5 ~ 1.5EV, the picture in black and white and white objects according to proportion adjustment.Unit fourth: light training [2]Exercise 19, (the use of light transmitted light)Subject: the light irradiation from behind the figures, landscapes, flowers, still life and capture.Requirements: to make full use of the characteristics of manufacturing transparent backlighting and thethree-dimensional sense. The brightness balance and cannot be the subject and the background of creation intention outside halo generation.Recommendations: the use of exposure compensation and a reflecting plate. The exposure compensation amount of + 0.5, + 1, + 1.5, + 2.0EV, the greater the compensation subject is bright, if mishandled exposure compensation amount, can take a picture of the compensation to ensure successful shooting.Using exercise 20, side lightsSubject: relating to light characters, landscapes, flowers, plants, pets and capture.Requirements: full use of shadow effect, make the atmosphere of the picture with his shooting intention, increased sensitivity to light through practice.Suggestion: when shooting from the front light, side light, oblique light, backlight, backlight semi order to observe the subject, and pay attention to the difference ofthree-dimensional objects and side light backlight manufactured. Such as the use of strong side light can shape the man's fortitude and weak side light can create a gentle woman. Use the light shield.Using exercise 21, Lin light and light diarrhea pointSubject: has the characteristics of light in the forest, and a cloudy day scenic hills, lake and river waters of the sea.Requirements: taking advantage of point light to create the atmosphere, and impressed and touched by the people.Suggestions: pay attention to the scope and amount of exposure than light, brightness difference due to exposure, spot metering measured light and dark after the middle value of the final exposure.Practice 22, extreme exposureObject: to performance (shadow light) or low-key performance (contrast large) all the subject material.Requirements: Photography intention and distinct theme, to consider the necessity of using high or low profile, the object of the atmosphere to be coordinated.Recommendations: high-profile exposure compensation from 0 to 2.0, low-key exposure compensation from 0 to 2.0, by segment exposure, exposure compensation control in different conditions and the effect brought by the.Exercise 23, light trackSubject: the night flow of vehicles and ships, the starry sky, fireworks and so on.Requirements: smooth surface is the flow of light, streams of light color, shape and size of the surrounding atmosphere to coordinate, the exposure should be appropriate.Recommendations: the use of the average metering and the central part of the focus metering mode. Can the aperture is set to F4 or F5.6, exposure to 30 seconds to 2 minutes (B gate). The general use of fireworks ISO100 film, at F5.6 ~ F11. The exposure time of stars up to 1 ~ 2 hours. All the above three tripod.Exercise 24, lighting objectsSubject: Urban Night Illuminated buildings and plants.Requirements: viewing angle to reflect the subject's charm, choice can fully show the atmosphere exposure picture body proportion should be appropriate.Recommendation: use three tripod, shutter line, manual mode, T or B, use the exposure compensation + 0.5 - 1.5EV. Pay attention to the composition in the picture with the brightest part of the dark part, avoid the brightness difference, long time exposure to note down the volatile law problem. Using a wide-angle lens.Unit fifth: emphasizing color trainingExercise 25, 26, 27, 28, 29, 30In red, blue, yellow, green, white, black as the main feature of the subject theme do exercises.Subject: with more colors of various objects and dress color characters, flowers etc..Requirements: to show the distinctive characteristics of more colors, the three elements of a good grasp of hue, brightness and saturation of the color.Suggestion: pay attention to warm and cold colors, you can use a filter, use the enclosed photography experience on the performance of color exposure compensation for use.Exercise 31, performance of water transparencyObject: any object associated with water.Requirements: at the same time the performance of the water transparency, pay attention to the overall work performance of the.Note light reflection surface, PL mirror, PL mirror rotation is used to find the best performance.Exercise 32, color contrastSubject: all kinds of color contrast doping fields, parks, buildings etc..Requirements: the use of color contrast enhanced the appeal of the works.Suggestion: don't make too many colors into the picture, brightness contrast color contrast is more strong, bright color and contrast to dark eye-catching, the real focus at the same color and the virtual focus can contrast.Exercise 33, black and white photographySubject: any objects and characters etc..Requirements: the relationship between theme and background, understand the characteristics of black and white photography.Suggestions: it is necessary to understand the specific changes in the color into black and white, black, yellow to red as grey as consideration, and understand the relationship between the gray scale.Exercise 34, monochromatic performanceSubject: the nature of the group of plants, a large area of monochrome flowers, tonal and unified indoor room hall etc..Requirements: the effective use of uniform color, composition balance, fully grasp the depth of color degree.Note the color saturation, the screen color performance more or less, the use of color filters.Unit sixth: the performance of dynamic and emotional trainingExercise 35, dynamic performanceSubject: sports, animal, flowers, rivers, commemorative activities.Requirements: full record and moving objects or people, showing the movement of the sense of power and dynamic beauty, reasonable composition, suited for shot scenes of shutter and press the shutter time.Advice: if possible, try to use the shutter priority mode, fixed speed movement using shutter speed of 1/500-1/1000 seconds,when using the 1/15-1/4 flow performance of seconds, snapping when using 1/15 or 1/30.Exercise 36, telepresence performanceSubject: the fire and the scene of the accident, ritual activities, ceremonies, natural weather conditions etc..Requirements: to telepresence, make the person personally on the scene. Even a trivial subject, to use technology and equipment to produce telepresence.Advice: try to approach the subject or the use of ultra wide angle lens telescope, using F11, F16, F22 aperture and large depth of field. The performance of natural meteorological conditions such as typhoon, heavy rain, fog, using three foot jet, 1/8, 1/4, 1/2 second shutter priority, and can be used by shooting method.Exercise 37, quiet sense of performanceSubject: natural scenery.Requirements: the photographer to choose its tranquil, weather and time shooting the best choice, concise and easy to convey the composition of stable static sense.Recommendations: the best shooting time at dawn, evening, night moon, rain, fog, snow, etc.. A symmetrical triangle, increase the sense of peace, the composition must be vertical and horizontal, not inclined to emphasize centralized sense andsense of stability. The use of three tripod.Exercise 38, emotional performanceSubject: facial features, body and animal (action instant capture).Requirements: master the best time to do to be photographed with the shutter, human or animal heart interlinked,In addition to the face should also pay attention to performance and theme other limbs coincide, attention to detail the composition of the.Advice: the first from the side of the people especially the children and pets to practice, they usually pay more attention to (they) of the passions, and find out interesting features, and then use a telephoto lens to capture when captured by the human or animal does not pay attention. Try to use automatic mode start。
你怎样评价一件艺术作品英语作文
你怎样评价一件艺术作品英语作文全文共3篇示例，供读者参考篇1How to Evaluate an ArtworkAs an art student, one of the core skills we need to develop is the ability to evaluate and analyze artworks critically. Whether we're studying paintings, sculptures, installations, or any other form of visual art, being able to look at a piece thoughtfully and articulate our understanding and interpretation of it is crucial. In this essay, I'll share some key considerations and approaches I've learned for evaluating artworks effectively.The first step is simply to look – really look – at the artwork itself. Don't rush to any judgments or conclusions. Spend time taking in all the visual elements and letting your eyes move across the entire piece. Notice the colors, shapes, lines, textures, and materials used. Observe how the elements are arranged and how they relate to each other. Look for patterns, contrasts, and areas of emphasis.As you're observing the physical aspects of the artwork, also pay attention to the thoughts, feelings, and associations itevokes within you. What emotional responses are you having? What personal experiences, memories, or ideas does it bring to mind? Don't censor or judge these reactions – simply notice them. They can provide valuable insight into how the artwork is affecting you as a viewer.Once you've spent ample time looking, start considering the artistic choices and decisions the artist has made. Why did they select those particular colors, shapes, mediums, etc.? How did their choices contribute to or reinforce the overall message, meaning or emotional impact of the work?It's also important to try to understand the artist's inspiration, intention, and perspective. What was their artistic vision or goal? Were they making a personal statement, telling a story, prompting a dialogue, or challenging conventional thinking in some way? Researching the artist's background, philosophical beliefs, and historical/cultural context can shed light on their motivations.From there, move into analyzing the specific artistic elements and principles at play, such as:• Line - The use of lines to create shape, pattern, texture, movement, etc. How do the different types of lines direct your eye?• Shape/Form - The intersections of lines, edges, surfaces, and volumes that define the piece. How do they create areas of positive and negative space?• Value - The differing levels of light and dark across the artwork. Where is emphasis created through contrast? How does value contribute to the sense of form?• Color - The specific hues used and how they interact. Is the color scheme harmonious or discordant? How does it affect the mood and meaning?• Texture - The qualities of roughness, smoothness, patterns, etc. both physical and visually implied. How does texture add richness, depth and dimensionality?• Space - The artwork's sense of depth, perspective, foreground, background, overlapping, etc. How does the artist control your perception of spatial relationships?• Balance/Movement - The ways the elements are arranged to create visual weight, flow, stillness or action within the composition. How does your eye travel across the piece?Beyond these technical components, also consider the overall emotion, symbolism, cultural/social commentary, and conceptual framework surrounding the artwork. Does it alignwith or deviate from traditional artistic styles and schools of thought? How well does the work communicate its intended message or provoke the desired reaction from viewers?It's perfectly fine if your personal evaluation differs from the artist's stated intent or from scholarly interpretations. The most important thing is to back up your perspective with evidence, reasoning, and supporting details from your analysis. There is seldom one definitive way to interpret an artwork. Each viewer will experience it through the lens of their own backgrounds, knowledge and life experiences.Ultimately, evaluating artworks is an enriching process of careful observation, critical thinking, and constantly striving for greater understanding and appreciation of creative expression. The more we critically examine and discuss works of art, the more we expand our ability to derive meaning from visual and symbolic imagery. It helps us connect more deeply with artists across cultures, identities, and eras.So whenever you encounter an artwork that intrigues you, I encourage you to pause, clear your mind of preconceptions, and slowly immerse yourself in it, both visually and conceptually. Look beyond just deciding whether you "like" it or not, and really try to unpack what the artist has communicated through theircreative choices. Doing so can open whole new levels of insight, perspective, and human connection through art.篇2How to Evaluate an ArtworkAs an art student, I've learned that evaluating artworks is a skill that takes practice and an open, inquisitive mindset. There's no single right way to interpret a piece - different viewers can have vastly different reactions and takeaways. However, there are some useful questions and criteria we can consider to deepen our understanding and appreciation of an artwork.First, it's important to carefully observe the physical qualities and components of the piece. With a painting, we might note the materials used, the color palette, the brushwork or style, the subject matter depicted, and how the elements are arranged and relate to each other within the composition. For a sculpture, we'd examine the form, the materials, the texture, the use of positive and negative space, and how our viewpoint affects our perception of the piece as we move around it. Essentially, we want to deconstruct the foundations and building blocks the artist has used to construct their work.Next, we can move beyond just describing the literal, objective characteristics and start interpreting the more subjective, expressive qualities. What mood, emotions, or ideas is the artist trying to convey? What symbolic or metaphorical meanings might certain elements or motifs carry? If it's an abstract piece, how does it make us feel, what sensations or impressions does it stir up through its use of color, line, shape, and texture? An abstract work may be more about evoking visceral responses than telling a linear story.To dig deeper into an artwork's meaning and significance, it's valuable to consider the context around its creation. When was it made, and what was happening historically, culturally, and in the artist's life during that period? How did it relate to the major art movements, styles, and philosophies of that era? What inspired or influenced the artist? Understanding this backdrop can reveal deeper symbolic layers and intentions behind the work.Comparing the piece to other works by the same artist or their contemporaries can also be insightful. How does it align with or depart from their usual themes, techniques, and creative vision? Where does it fit within their overall artistic evolution and development? Seeing an artwork's connections to anddepartures from the work of other artists in that time and place can further illuminate its significance.On a more personal level, we can reflect on our own subjective experiences and reactions. What emotions, memories, or associations does the piece trigger within us? How does it resonate with or challenge our own views, beliefs, and experiences? A powerful artwork should compel us to feel something, whether intellectual contemplation, emotional resonance, or an instinctive gut reaction.While forming our evaluation, it's important to support our interpretations with specific evidence and examples from the work itself, rather than just making vague generalizations. We should point to particular visual elements, artistic choices, and details that substantiate our analyses. At the same time, we must be open to nuance, complexity, and ambiguity - great artworks rarely have a single, definitive meaning but are layered with multiple possible interpretations.Ultimately, the most enriching way to experience an artwork is to explore it from multiple perspectives - visual, contextual, comparative, personal - and to have the courage to develop and articulate our own responses, impressions, and critiques, while respecting that other thoughtful viewers may perceive itdifferently. The process of careful observation, analysis, questioning, and opening ourselves to new ideas and ways of seeing is at the heart of not just appreciating art, but engaging with the world around us in a deeper way.篇3How to Evaluate a Work of ArtWhen it comes to evaluating art, everyone seems to have an opinion. From professional critics to your annoying aunt, people love to share their thoughts on whether a piece is good, bad, meaningful or just plain weird. As a student, I've had to analyze countless artworks for class, but I've found that there's no single right way to evaluate a piece. However, there are some useful guidelines and questions you can consider to develop a thoughtful critique.First and foremost, you have to look at the piece itself - what materials were used, what style or movement does it belong to, what colors or shapes draw your eye? Don't just glance at it, but study it carefully. The more time you spend visually exploring the artwork, the more you'll start to notice small details and techniques used by the artist. Try to figure out the artistic process - was this a quickly rendered sketch or the result ofhundreds of hours of labor? The materials and method of creation can give you clues about the meaning.Once you've examined the surface, look at the subject matter. Is it a portrait, a landscape, an abstract composition? Identify the key figures, objects or visual elements. Then dig deeper - what symbols or metaphors might be present? A simple still life could represent affluence and materialism or make a commentary on society's obsession with consumerism. An abstract tangle of lines might be the artist's representation of chaos, confusion or the complexity of the human mind. The subject gives you an entry point into analyzing the potential meaning.Of course, you can't fully interpret a work without considering the artist's background and intent. Research the artist - their life story, their artistic philosophy, historical and cultural context, and what inspired or influenced the particular piece you're studying. However, don't let the artist's stated meaning overshadow your own interpretation. A great work of art can have multiple layers and meanings that even the creator may not have anticipated.When developing your evaluation, examine your own personal and visceral reaction to the artwork. How does it makeyou feel - energized, unsettled, nostalgic? What emotions or memories does it provoke? Don't be afraid to tap into your subjective experience. While an academic analysis is important, art is meant to make us feel something. Your individual perspective can be a gateway to deeper understanding.With a solid grasp of the objective details and your subjective impressions, you can start to piece together the themes, messages and significance of the work. What deeper truths is the artist trying to capture or convey? Is it a celebration of beauty, an expression of anguish, a commentary on society? Link the tangible elements to the intangible concepts and core ideas.Additionally, you might consider the artistic merit and lasting impact of the piece. Does it demonstrate exceptional skill, creativity or innovation? Did it influence later artists or mark an important artistic movement? Has it become an iconic or controversial work that provokes ongoing dialogue? While artistic quality is subjective, contemplating the creative achievements and cultural relevance of a work can further your understanding.Ultimately, there is no formula for evaluating art, but rather a continuous process of observing, interpreting, and reassessingbased on new contexts and perspectives. A great work will reveal something new each time you experience it. As a student, don't be afraid to question and disagree with the accepted interpretations. Developing your ability to engage with and critique artworks will deepen your appreciation for their beauty and power.In the end, the greatest artworks are those that stir our emotions, challenge our perceptions, and linger in our minds long after we've turned away. The very fact that we're still discussing and debating the meanings of works created centuries ago is a testament to art's enduring ability to capture universal human experiences. So look closely, feel deeply, and form your own evaluation - that's part of the wonder and magic of experiencing great art.。
英语人教版八年级下册Unit 5 Grammar Focus--4a
3. 暴风雨来的时候她在做什么？ was she doing at the time of What _____________
the rainstorm?
4. 她在做家庭作业。 was doing her homework She _______________________.
5. 暴风雨来的时候他在做什么？ What was he doing ______ when the rainstorm came?
1. —Miss Lin ______ my desk-mate with her lessons when I left school. —She is really a nice teacher. A. helps B. is helping C. was helping (2015 福建福州)
过去进行时中的when和while when和while都可表示“当……的时
候”, 引导时间状语从句。你知道两者
在过去进行时中的用法有什么不同吗？
请仔细观察下面的例句，然后补全空格
中的内容。
① I was walking to school when I saw a cat in a tree. ②When Sally arrived home, her mother was cleaning the house. 主句的动作是持续性的，而从句动作 是短暂性的，此时用______ when 引导时间 过去进行 时态， 状语从句，主句用__________ 从句用一般过去时态。
Fill in the blanks with was, were, 4b when or while.
While I was At 7:00 a.m., I woke up. ______ ____ making my breakfast, my brother ______ was listening to the radio. ________ While I was eating, the radio news talked about a car accident near our home. My brother and I went out right away to have a look. When _____ we got to the place of the was in bad shape from accident, the car _____ hitting a tree. But luckily, the driver ____ was fine. were icy because of the heavy The roads ______ snow from the night before.
AE试题
AE试题库1.对一个带有Z通道信息的三维素材，用什么特效才能做出图中前实后虚的景深效果？3D Channel Extract特效Depth Matte特效Depth of Field特效Fog 3D特效2.在Project窗口中选中用于替换的新素材，并按下键盘的哪个键，并拖动鼠标到Timeline窗口内需要替换的层，可以直接替换素材。
CtrlShiftAlt～3.Edit Original 菜单命令可以在生成素材文件的原程序中打开并且编辑素材，这个命令对应的快捷键组合是什么？Ctrl+ECtrl+Alt+ECtrl+Alt+Shift+EAlt+Shift+E4.After Effects中同时能有几个工程（Project）处于开启状态？有2个只能有1个可以自己设定只要有足够的空间，不限定项目开启的数目5.After Effects把图像或电影片断的尺寸限制在：30000×30000像素40000×40000像素50000×50000像素60000×60000像素6.8bit位深度的含义是？每个通道使用2的4次方量化每个通道使用2的8次方量化每个通道使用8的2次方量化每个通道使用4的2次方量化7.可以带有Alpha通道的色彩深度是？8bit色彩深度16bit色彩深度24bit色彩深度32bit色彩深度8.After Effects 属于下列哪种工作方式的合成软件？使用流程图节点进行工作面向层进行工作使用轨道进行工作综合上面所有的工作方式9.下列那种信息无法在After Effects 中使用？三维通道文件中的深度信息三维通道文件中的摄像机信息文本文件中的对象属性数据信息三维通道中的贴图信息10.After Effects 中，最多可以恢复的步数是？104999无限制11.下面哪种预演方式速度最快？RAM PreviewShift RAM PreviewWireframe PreviewMotion with Trails12.在After Effects 中，给当前图层的Scale属性添加一个关键帧的热键是：Alt+SCtrl+SAlt+Shift+SAlt+Ctrl+S13.当使用克隆工具时，使用快捷键可以选择5 种预设的克隆工具的模式，其快捷键为以下哪组？主键盘区的1、2、3、4、5数字键盘区的1、2、3、4、5主键盘区的3、4、5、6、7数字键盘区的3、4、5、6、714.在使用Puppet Pin Tool工具为节点创建实时动画时，需要使用哪个快捷键？CtrlAltShiftSpace15.在Comp窗口中只显示所选Mask与其他Mask相交部分内容，所有相交部分不透明度相减，如图所示。
英语写作修辞分析
英语写作修辞分析英语写作修辞分析英语写作修辞分析英语中的修辞决非“文学语言”之专利，它已渗透到各种体裁，各类文体。
即使是在Internet上，我们每日也能欣赏到五光十色、美不胜收的英语修辞。
如：1. U.S. stocks decline; global markets churn（平行结构）2. Hurricane Bonnie hammers Carolina coast （比喻）等。
再以科技英语为例，原本一本正经、味同嚼蜡的科技英语中也经常闪现修辞的光彩，如：Electric power becomes the servant of man only after the motor was invented.（只是在电动机发明之后，电力才开始造福人类。
）再如：Alloys belong to a half-way house between mixture and compounds.（合金是介于混合物和化合物的中间物质。
）英语广告对于修辞的运用更是“穷凶极恶”。
如：What is your choice when inflation is slowly eroding the value of your nest eggs? （这是一家投资公司的广告，它把你平日的积蓄比作nest eggs，比喻独到，形象鲜活。
）再如：Wash the big city right out of your hair. （广告里的big city即刻让人意识到the dirt of the big city，生动形象。
）英语的修辞可以分为消极修辞和积极修辞两大类。
一、消极修辞(Passive Rhetoric Techniques)它主要指那些没有相对固定格式的修辞性写作技巧，它与语法、语言结构和词汇的关系密切，只是为了修辞和立意新颖的缘故，对之做了一些调整。
举一种情况进行说明：为了增加文采，强化文章的表现力，常常避免重复使用同一个词汇，而另选他词。