★MV设计ツール_20130225-中文版

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MV的设计与制作

件，在第20帧插入关键帧，在第1帧将元件颜色设为“Alpha,0 %”,为文字制作谈入效果。在第1帧创建补间动画。
2
4、在文字图层的第105帧和第125帧插入关键帧，在第125帧将文
字元件颜色设为“Alpha,0%”在第105创建补间动画。制作文字谈出效果。
■制作MV中间情节
1、新建“图层3”，将其重命名为“天空”，在第125帧插入关
4
蓝蓝的天上白云朵朵”；在第575帧插入空白关键帧，输入“美
丽河水泛清波”；在第630帧插入关键帧，输入“雄鹰在这里展
翅飞过”；在第690帧插入空白关键帧，输入“留下那动人的歌”；在第770插入关键帧，输入“哦玛哩玛哩呗呗哄”。 6、新建影片剪辑元件，命名为“river”，在元件编辑内部，绘制一条河流，新建图层2,绘制几条波纹，在第10帧插入关键帧，将河水与波纹形将进行微调，并创建补间动画。 7、返回场景，在草地1与草地2图层之间插入“河流”图层，在第250帧插入关键帧，将“河流”影片剪辑元件拖入到舞台，在第265帧插入关键帧，在第250帧将元件颜色设为“Alpha，0%”，
MV的设计与制作
制作“家乡”MV
■制作MV片头
1、启动Flash，设“大小”为800×600像素，“背景颜色”为
黑色，将素材全部导入到库中。
2、将“图层1”重命名为“音乐”，将“hometown.wav”拖入
到舞台，在第996插入关键帧。
3、新建“图层2”将其重命名为“文字”，用“文本工具”在舞台输入文字“家乡演唱：韩红”将其转换为“图形”元
创建补间动画。
8
18、分别在“云”、“草地1”、“草地2”、“羊群”、“河流”
五个图层的第560帧和第590帧插入关键帧，将它们向上移，使

H O T 高清明细

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现场表演H.O.T.-.[1997dream.Concert].aviH.O.T.-.[1998Dream.Concert].aviH.O.T.-.[1999Dream.Concert].aviH.O.T_Candy.Live（特别版本MTV）.tpH.O.T-Candy[1996 KM SHOW MUSIC TANK).aviH.O.T-98.01.23第一场演唱会(上).rmvbH.O.T-98.01.23第一场演唱会(下).rmvbH.O.T_227告別演唱會_010227_上.rmvb (有中字)H.O.T_227告別演唱會_010227_下.rmvb (有中字)Tony.爱情不能持有的时候更美丽.MBC.Music.Camp.E249.041030.avi JaeWon in SBS Im so hot (070520).avi11[MV]JTL.Enter.the.dragon.tp[MV]JTL.Without Your Love.MV.tpH.O.T.-.[199904(世宗演唱会）-live1].DA TH.O.T.-.[199904(世宗演唱会）-live2].DA TJTL.-.[1st歌迷见面会].视频.MPGJTL.-.[JTL蹦极].视频.wmvJTL.-.[JTL万人召集演唱会.下].现场.wmvJTL.-.[KBS2-the.musician].现场.wmvJTL_03823.MBC)one.night.lover.without.your.love].现场.aviJTL_030824.Without.your.love.SBS.aviJTL_030928_SBS_ Without.your.love +得奖感言.aviJTL_031102Sbs.One.Night.Lover.现场.aviJTL_040724MTVBuzzAsia-A.Better.Day].现场.aviJTL_040724MTVBuzzAsia-Enter.The.Dragon].现场.aviJTL_040724MTVBuzzAsia-One.Night.Lover].现场.aviJTL_040724MTVBuzzAsia-Without.Your.Love].现场.aviJTL_041031.Concert-just say good bye.KBS2.vob文熙俊.Obsession.SBS.希望Tv24.080510.tp文熙俊_Obsession(Goodbye+Stage)_080530_KBS2_Music+Bank.tp 12 (娱乐节目)女杰5 歌手特辑.Special.050213.tony女杰5 歌手特辑.Special.050206.tony女杰6_第16期上_061217.张佑赫.SS501.吴志浩.李范秀女杰6_第16期下_061224.张佑赫.SS501.吴志浩.李范秀Girl6-051016-佑赫.熙俊.HOT复活.1Girl6-051023-佑赫.熙俊.HOT复活.2Girl6-051030-M.佑赫.熙俊等.1Girl6-051106-M.佑赫.熙俊等.2Girl6-051127-佑赫.SS501.brian.Tim等.1Girl6-051204-佑赫.SS501.brian.Tim等.2]]Girl6-051211-佑赫.SS501等.1Girl6-051218-佑赫.SS501等.2准备好了第五期上2007.6.3+下2007.6.10Tony13X-MAN第1期(安胜浩)03.11.08~03.12.13X-MAN第2期(安胜浩)031220~031227~040103~040110X-MAN第23期(安胜浩)04.11.21~04.11.28X-MAN第26期(安胜浩)05.01.02~05.01.0914X-man 35期李在元X-MAN第36期李在元X-MAN第44期(050918 050925)张佑赫X-MAN第46期(051016 051023)文熙俊X-MAN第48期(051113 051120) 张佑赫[5th]Mnet Showking M 2000.10.13 comeback 《Outside Castle》.avi 070525 M'net_李在元_[I'm so hot][143MB].tsHOT.光.Golden.Hit.Song.081124.tpkangta 麻痹_050710 i concert.avi15X-MAN第51期(051225 060101) 张佑赫X-MAN第58期TonyX-MAN第59期TonyX-MAN第60期TonyX-MAN第61期TonyX-MAN第63期Tony16X-MAN第65期安七弦（Kang Ta）X-MAN第66期安七弦（Kang Ta）---------1.442005mkmf颁奖典礼（中字）1-3 全，张佑赫安七炫----------1.17Ｇ[Star.Dance.Battle].MBC.中秋特辑2005-09-17 张佑赫.李珉宇等1.36G（无中文字幕）18水晶男孩Sechs.Kies.骑士道.Golden.Hit.Song.081124.tp情书第三季第1代06060527+060603 Tony[031104]Nonstop4.EP31.花美男F4(申彗星.安七炫.李志勋.Andy.JunJin).rmvb[JIC原创中字]Star.佑赫RealStory1.avi[JIC原创中字]Star.佑赫RealStory2.avi[知己知彼][MBC070614]李在元.rmvb020317HeejunvsKangta世纪对决1.rmvb020330HeejunvsKangta世纪对决3.rmvb020323HeejunvsKangta世纪对决2.rmvb070418阿里郎电视台张佑赫特辑[成人礼中字].wmv080329明星金钟(文熙俊,BIGBANG等).rmvbKangta_071008_日本演唱会_官方版本.rmvbNonstop4-花样男子F4-Andy,Junjin,安七炫,李志勋花絮.rmvb挑战状文熙俊篇_韩语中字_全_.rm夜心万万东方神起上(Kang Ta.允浩昌珉有天).rmvb夜心万万-东方神起下(Kang Ta.允浩昌珉有天).rmvb19Kangta_Eternity_KBS.音乐银行.080314.tpKangta_Eternity_080316_SBS_Inki.tp安七炫.Eternity.SBS.人气歌谣.080323.tp文熙俊_080313_COMEBACK_三首联唱.MCD.tp文熙俊_080316_ComeBack Special_SBS_Inki.tp文熙俊.Obsession.KBS.音乐银行.080328.tp文熙俊.Obsession.KM M!countdown 20080327.tp文熙俊_Obession_080321_KBS 音乐银行.tp20Blind.Meeting.MBC080208.KO_CN.rmvb春节特辑- 介绍明星的朋友MBC080208.文熙俊.rmvb爆裂!精神统一第5期上+下tony爆裂!精神统一第6期上+下李在元爆裂!精神统一第10期户外特辑[FTTS 南圭丽Tony]New.X-man 7 张佑赫New.X-man 20 最终回.070401Tony选择男女第5期元旦特辑张佑赫21[MV]Kangta.那天的谈心..tp[MV]柳英真.…之爱(KangTa&Eugene主演).tpKangta&Vanness.The cup of life+Scandal.SBS.060523.aviKangta.那天的谈心.Endless.Love.KBS.公开音乐会.080330.tp Kangta.那天的谈心.KM.M!countdown.080327.tpKangta_那天的谈心+ Candy + 幸福+ 光.KBS.尹LOVE.080329.tp 泰妍.M!countdown.tp22[MV]Just Say Goodbye.avi 512*288[MV]记忆中的小村庄-文熙俊MTV.avi 624*352[MV]李在元-No.pian.No.gain.rmvb 640*480[MV]文熙俊.Obsession.tp[MV]文熙俊_I.avi 512*256 (很普通的效果)李在元.I'm+so+Hot_070520_KBS.mpg李在元_no.pain,no.gain(SBS.050703).vob李在元_050423.no.pain,no.gain.mpg李在元_no.pain,no.gain(SBS.050703).vob李在元_No.pain.no.gain(MBC.050430).vob李在元_SayMyName,NoPain.NoGain(SBS.050515).vob李在元_SayMyName.NoPain,NoGain(KBS2.050422).mpg李在元_SayMyName.NoPain,NoGain(MBC.050416).vob文熙俊- Obsession ( M!countdown 2008.04.24).tp文熙俊- obsession (KBS 音乐银行2008.04.18).tp文熙俊- Obsession ( M!countdown 2008.04.10).tp文熙俊- Obsession (MBC 音乐中心2008.04.12).tp文熙俊- Obsession (SBS 人气歌谣2008.04.06).tp文熙俊- Obsession .SBS.人气歌谣.080330.tp23star king第20期.李在元star king第24期.李在元HeeJun_040719_99.8_01----------041108_99.8_16张佑赫-050916.MNET.THE+SHOW.avi张佑赫-051024.KM.舞蹈大会报道.avi张佑赫-061216_KBS_逃脱危机_Cut版.avi张佑赫-071214 mydaily佑赫公益服役第一天记.avi080513.想象Puls.2季.第6期-文熙俊.玄英.金盛恩.rmvb张佑赫-REAL DRAMA 1.2.324090426.MTV.Heroes.H.O.T.tp张佑赫&酷龙&M.Escape.2005MKMF.tp张佑赫.Flip Reverse.SBS 人气歌谣.051120.tp张佑赫_Intro+Mr.Jackson+暴风雨(One Way)[CB stage] SBS 人气歌谣061203.tp25文熙俊_TOY_090628_SBS_人气歌谣.tp文熙俊_Toy_090702_Mnet_M!Countdown.tp文熙俊_TOY_090705_SBS_人气歌谣.tp文熙俊_Toy_090710_KBS2_Music Bank.tp文熙俊_Toy_090711_MBC_MusicCore.tp文熙俊_我是两个人..你是一个人+ M_countdown.090625.tp文熙俊_我是两个人..你是一个人+ TOY_090703_KBS_Music.Bank.tp张佑赫.One way.KBS.061224.tp张佑赫.不落的太阳.Golden.Hit.Song.081202.tp张佑赫_061224_暴风中_SBS人气歌谣第一.tp26HOT연가(A Song For Lady) LIVE .DA THOT빛(Hope) LIVE(SBS蓝色服装).DATHOT빛(Hope) LIVE(SBS黑色服装).DATHOT아이야(I yah) LIVE.DA THOT꿈의기도(SBS 20001118)LIVE .DATHOTOutside Castle (The Castle Out （SBS PBS）LIVE.DA THOT연가（回归舞台）.DA T[HDTV]张佑赫.-.[不落的太阳(SBS.05.11.13)].live.vob[HDTV]张佑赫.-.[不落的太阳(希望Korea音乐会.SBS.05.10.06)].live.vob [MV]HOT_Line Up[TP][ Logo].tp[MV]HOT_我们的誓言[TP][KM Logo].tp1997年水晶男孩VS H.O.T LIVE .DAT[MV]H.O.T.-你快我慢-2009-05-17-MTV.tsH.O.T - 4집（NCD）.DA TH.O.T - 5집（NCD ）.DA TH.O.T - 5집come back5人采访.DATHOT VS FIN K L （SBS）LIVE .DATJTL -Without.your.love[SBS.03.08.24][HD].aviJTL.-.[040724MTVBuzzAsia-A.Better.Day].现场.aviJTL.-.[040724MTVBuzzAsia-Enter.The.Dragon].现场.aviJTL.-.[040724MTVBuzzAsia-One.Night.Lover].现场.aviJTL.-.[040724MTVBuzzAsia-Without.Your.Love].现场.aviJTL.-.[(.Sbs.03.11.02)One.Night.Lover].现场.aviJTL.-.[(mbc)without.your.love].现场.WMVJTL.-.[From.fan].MV.mpgJTL.-.[青岛海洋节enter.the.dragon.without.Your.Love].现场.wmv JTL.-.[上海F1开幕式Enter.The.Dragon.Without.Your.love].现场.mpg 행복LIVE.DAT늑대와양LIVE .DA TOutside Castle (The Castle Out （M-NET）MTV.DATOutside Castle (The Castle Out （SBS PBS）LIVE.DA TS.-.[031116_sbs].视频.aviS.-.[I.sware.kbs].视频.aviS.-.[I.sware.mbc].视频.aviS.-.[i.swear030914SBS人气歌谣].视频.mpgS.-.[i.swear.kbs].视频.aviS.-.[I.swear].现场.aviS.-.[Love.is.SBS031114].视频.aviS.-.[NonStop4-F4中文字幕].视频.rmvb张佑赫.-.[XMAN48期表演的舞蹈].rmvb27情书第二季第13期：张佑赫情书第二季第16期：张佑赫情书第二季第17期：张佑赫情书第二季第18期:张佑赫情书第二季第20期：张佑赫奇迹的胜负师_第20期_080330.文熙俊.BigBang等.28。

G510硬件手册

3.7
串口 ................................................................................................................................... 18 3.7.1 UART1 ...................................................................................................................... 18 3.7.2 UART2 ...................................................................................................................... 19 3.7.3 HOST UART ............................................................................................................. 20 3.7.4 Ring指示 ................................................................................................................... 20 3.7.5 DCD指示 ................................................................................................................... 21

《制作MV》教学设计

《制作MV》教学设计执教：两江新区人民小学张晓凤【教学内容】《MV制作》是小学信息技术三年级下册（重大版）第九课。

通过讲解交流让同学们初步认识MV,知道制作MV的步骤，会整理素材，借助iDo软件尝试制作MV,初步学会简单的制作方法。

【教学目标】一、知识与能力1.初步认识MV,知道制作MV的步骤。

2..掌握图片的多种浏览方法，学会删除图片，改变图片的方向。

3.借助iDo软件尝试制作MV,初步学会简单的制作方法。

二、过程与方法1.通过学习，让学生认识到素材整理的重要性与必要性，感受整理思想的意义和作用。

2.通过师生交流、生生交流、典范鼓励、演示讲解等方式，培养学生大胆猜测、自主探究、合作学习的能力。

三、情感态度与价值观培养学生热爱生活，能发现生活中的美，能通过工具软件来展示，并从中获得成就感，提高审美、观察、提炼的能力。

【教学重难点】教学重点：1.对图片的整理。

软件的使用方法。

教学难点：让生认识到收集素材、整理素材、应用素材这一流程的重要性。

【教学准备】校园景色照片、校园景色MV、班级照片、耳机【教学过程】一、播放MV激发学生兴趣（5分钟）1.展示提前制作好的校园景色介绍MV。

请同学们先来欣赏一部短片。

短片中展示的是哪个地方（生：人民小学）对，我们美丽的校园。

你知道这个短片用到了哪些素材吗？（生：图片、音乐）（这些校园的一景一物被摄影师拍成了一张张照片，这一张张照片就是一个个素材。

除了照片这一类素材外，还用到了另一种素材，你发现了吗？）师归纳：像这种短片中用到的照片和声音就都是素材，以后还能再填上文字、视频等其他素材。

（简单的说，就是原材料。

）2.MV的意思。

像这样把张张照片串联在一起，并配有音乐的短片可以称为MV。

（板书：MV） MV是Music Vide。

两个单词的缩写，翻译过来就是音乐短片的意思。

你以前见过MV么？分别在哪些地方？（生：宣传片、餐厅的菜品宣传图、楼宇广告、广场上的LED屏等）真是会观察的孩子，在我们的生活中，MV越来越受人们喜欢，被广泛地运用。

Flash CS3 入门制作MTV

Flash CS3 入门制作MTVMTV是用最好的歌曲配以最精美的画面，使原本只是听觉艺术的歌曲，变为视觉和听觉结合的一种崭新的艺术样式。

而Flash形式的MTV是目前网络较为流行的歌曲动画，即动画与音频结合，并且配以简单的播放按钮，形成可以控制播放的MTV，如图85-1所示。

在MTV动画中，除了要制作按钮元件并且为其添加播放动作外，主要还是加载音频，并且使歌词与音频同步，这才是MTV的核心。

而为了空出歌词的显示位置，还绘制了黑色矩形，将其制作成宽屏效果。

在制作MTV动画前，需要根据歌曲内容绘制或者准备与之意境相符的图像。

而在制作过程中，可以根据音频的播放时间确定动画帧数制作动画。

当载入音频后，根据音频制作歌词。

图85-1 MTV动画效果练习要点●播放动画脚本●空白关键帧●音频加载练习过程（1）在新建的580×400像素的空白文档中，将图片与音频文件同时导入【库】面板中，在导入素材后，不要马上将音频载入到动画帧中，这样在制作动画时计算机运行速图85-2 导入素材（2）在舞台中绘制580×200像素的无边框黑色矩形，并且将其转换为图形元件“黑色矩形”，舞台位置如图85-3所示。

设置图85-3 绘制矩形（3）新建“图层2”，将“图层1”中的实例“黑色矩形”原地复制到空白图层中，并且更改坐标轴，如图85-4所示。

新建并且粘贴设置图85-4 复制并移动实例（4）分别在第20帧处插入关键帧，并且设置关键帧中的实例属性如图85-5所示，创建补间动画，形成黑幕缓缓拉开的效果。

创建动画设置图85-5 创建补间动画（5）同时选中第20帧中的实例复制后，在“图层2”的第21帧处按F7插入空白关键帧，原位置粘贴并且在第30帧处插入普通帧，设置如图85-6所示。

插入普通帧粘贴图85-6 复制实例（6）按快捷键Ctrl ＋F8创建图形元件tu01后，将图片TRY01.jpg 拖入舞台中，并且使用【文本工具】输入歌曲名称，如图85-7所示。

犀牛中文教程：Rhinoceros 3D 参考手册 Rhinoceros NURBS modeling forWindows

RHINO参考手册
Rhinoceros
第
4 页，共 733 页
使下一個觀視視窗成為最上層觀視視窗 (NextViewportToTop) ................................ ......41 關閉觀視視窗 (CloseViewport) ................................ ................................ ..................... 42 放大觀視視窗 (MaxViewport) ................................ ................................ ........................ 42 複製窗至所有的觀視視窗 (CopyViewToAll) ................................ ................................ ...42 設定最大觀視視窗 (SetMaximizedViewport) ................................ ................................ .42 複製顯示視窗至剪貼簿 (CopyDisplayWindowToClipboard)................................ .........43 選取色彩對話窗 (Select Color dialog box) ................................ ................................ ...43 顯示指令歷史 (Command history display) ................................ ................................ ...44 指令歷史 (CommandHistory)................................ ................................ ........................ 44 貼上指令 (CommandPaste) ................................ ................................ .......................... 44 讀入指令檔 (ReadCommandFile) ................................ ................................ ................. 45 第 3章檔案功能表 ................................ ................................ ................................ ............. 47

Esri+CityEngine中文教程V1.0

2.8.1 拖拽导入 ....................................................................................................................14 2.8.2 通过菜单导入 ............................................................................................................15
1 基础内容 ..............................................................................................................1
1.1 基本操作.....................................................................................................1 1.2 教程与示例数据下载.................................................................................2 1.3 基本概念.....................................................................................................3
2.10 导出模型...................................................................................................17

新世界 New.World.2013.BluRay.720p.x264.AC3-WOFEI 韩语中字

新世界New.World.2013.BluRay.720p.x264.AC3-WOFEI 韩语中字◎译名新世界◎片名New World◎年代2013◎国家韩国◎类别剧情/犯罪/惊悚◎语言韩语◎字幕中文◎IMDB评分7.4/10 from 333 users◎IMDB链接/forum-30-1.html◎文件格式X264 + AC3◎视频尺寸1280 x 720◎文件大小1CD 2.73G◎片长02:15:15 (h:m:s)◎导演朴勋政Hung-jeong Park◎主演崔岷植Min-sik Choi黄政民Jeong-min Hwang李政宰Jung-jae Lee朴圣雄Sung-woong Park宋智孝Ji-hyo Song柳承范Seung-beom Ryu ....客串马东锡Tong-Seok Ma ....客串Lee Jeong-jae ....Ja-seongSeong-Woong Park◎简介这是一部韩国版的《无间道》。

“金门”是韩国境内最强大的黑帮组织，并以企业集团军的模式不断发展壮大。

警局搜查科姜科长安排新人警察李子成潜入“金门”卧底。

八年后，子成已摇身一变坐上了组织内的第二把交椅，成为掌权者正清的左膀右臂。

“金门”的会长突然暴毙，组织内部即将上演继任争夺战，而姜科长也适时拟定了“新世界”计划，希望借此决定新的掌门人，从而执行既定计划。

争夺首把交椅的无刃之战如火如荼的展开了，正清对八年前在故乡丽水认识并且兄弟般相处到现在子成更加信赖。

然而，姜科长一再催促子成协助完成任务，令后者随时有可能暴露身份。

子成一方面要完成自己的潜伏任务，另一方面又纠结于和正清的兄弟之情，陷入两难……幕后制作[华丽金三角《新世界》之所以被媒体和影迷寄予极大厚望，一方面源于韩国电影2012年以来的全面复兴，更由于崔岷植&李政宰&黄政民这个超豪华的黄金三角组合。

随着《与犯罪的战争》红满去年整年，男性黑帮题材成为忠武路最看好的人气类型。

巨星浪漫《MTV2002》个人影像创意平台使用说明书

巨星浪漫《MTV2002》个人影像创意平台/一、《MTV2002》简介《MTV2002》是一款划时代的软件，因为在2002版以前的1.0版到3.0版一直到《MTVpro》，都是专业的电子相册制作工具软件，而《MTV2002》确实称得上是一个“个人影象创意平台”。

它在视频和字幕方面的功能已经有了飞跃性的完善和提高，您不仅可以方便地进行视频文件的剪辑和编辑，更可以方便地实现视频影象的3D专场，还可以随心所欲地利用“飞行图片”定义视频影象或静态图片在三维空间任意移动和旋转，可以实现您的任意想象效果。

当然，在其他方面，《MTV2002》软件也有非常出色的展现和发展，具体有以下几个明显优点：强大的视频功能：《MTV2002》增强了视频编辑和创意处理功能，您不仅可以方便地进行视频文件的剪辑和编辑，更可以方便地实现视频影象的3D 专场，还可以随心所欲地利用“飞行图片”定义视频影象或静态图片在三维空间任意移动和旋转，可以实现您的任意想象效果。

与视频同步编辑声音：《MTV2002》在设置视频的同时可以定义是否保留声音和调整左右声道的音量大小，也可以设置声音淡入淡出。

强大的字幕功能：《MTV2002》增强了字幕的功能，效果和清晰度大为提高，利用“轻松字幕”，您不仅可以设置字幕的字体颜色，还可以设置半透明的边缘颜色，边缘离文字越近越明显，远处慢慢地消失，使文字和背景完全融合在一起。

《MTV2002》有三种字体颜色模式，您可以定义一种单一的颜色，也可以定义两种颜色过度，在文字的边缘是一种颜色，到文字的中线是另外一种颜色，使文字有立体感，您还可以定义文字的颜色以一张图片填充，实现丰富的质感字体。

《MTV2002》的排版功能相当强，您不仅可以定义字幕左右对齐或居中，还可以定义行间距和字间距，更可以按照中国古代的风格定义竖行排版，竖行从左排或从右排。

《MTV2002》有丰富的动态字幕效果，您不仅可以定义上下左右等八个方向的移动，还可以定义各个方向的柱面或波浪式滚动，更有3D翻卷和3D专场，现在您几乎可以实现您想象到的各种字幕。

mv说明书

《Flash动画设计》设计说明书姓名：阎卫卫学号： 20091130131班级： 09软件指导教师：刘晶完成日期： 2011-6-23目录第一章概述 (1)1.1Flash软件简介 (1)1.1.1 Flash现状 (2)1.1.2 Flash发展趋势 (3)第二章剧本的设定 (4)2.1 剧本内容 (4)第三章前期准备 (5)3.1背景音乐的制作 (5)3.1.1GoldWave简介 (5)3.1.2 编辑音乐的思路 (6)3.1.3音乐的剪辑过程 (6)3.2剧本素材的收集 (7)第四章 MTV的制作 (9)4.1新建FLASH文档 (9)4.2创建开始图层 (9)4.3循环播放按钮的的制作 (16)图4.16循环播放按钮制作图 (16)第五章动画测试 (17)5.1测试的目的 (17)5.2动画通过的测试发现的问题 (17)5.3解决测试发现的问题 (17)5.4测试结论 (17)第六章设计总结 (18)参考文献 (19)《做你的爱人》Flash MTV设计说明书第一章概述1.1Flash软件简介FLASH简介Flash是一种交互式矢量多媒体技术，他的前身是Futureplash，早期网上流行的矢量动画插件。

后来由于Macromedia公司收购了Future Splash以后便将其改名为 Flash2，到现在最新的flash4。

现在网上已经有成千上万个Flash站点，著名的如Macromedia专门ShockRave站点，全部采用了Shockwave Flash 和Director。

可以说Flash已经渐渐成为交互式知量的标准，未来网页的一大主流。

下面介绍Flash3及4版本的特点：Flash3的功能特点，总结起来有如下特点：灵巧的绘图工具 Flash本身具有极其灵巧的图形绘制功能，更重要的是他能导入专业级绘图工具，如Macromedia FreeHand、Adobe Illustrator等绘制的图形，并产生翻转、拉伸、擦除、歪斜等效果，还可以将图形打碎分成许多单一的元素进行编辑，并改变其颜色亮度。

[2013大陆最新爱情剧情微电影][晴涩][HD高清]

电影简介：
导演: 雷小雨
主演: 佴文/ 杨奇
类型: 剧情/ 爱情
制片国家/地区: 中国大陆
语言: 汉语普通话
上映日期: 2013-12-20
又名: 晴·涩
评分: 豆瓣？
剧情简介：
杨海和晨曦过着奋斗却甜蜜的生活，虽然不是那么有钱，但是杨海一直相信通过努力，总有一天会给晨曦一个幸福的家。

可是突然晨曦却因为不想再过没房没车的生活提出了了分手。

《晴涩》讲述的是杨海和晨曦是一对小情侣，一起在都市过着努力奋斗的生活。

某天晨曦突然提出分手，不愿再过这种生活，杨海怒斥其贪图富贵找富二代，两人自此分开。

杨海受到极大的打击，化悲愤为力量，成功创出一片天地，变成了夜夜笙歌的有钱人。

晨曦的闺蜜找上门来，道出了当年晨曦要求分手的原因……。

Native Instruments MASCHINE MIKRO MK3用户手册说明书

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MIKRO MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (23)1.1MASCHINE Documentation (24)1.2Document Conventions (25)1.3New Features in MASCHINE 2.8 (26)1.4New Features in MASCHINE 2.7.10 (28)1.5New Features in MASCHINE 2.7.8 (29)1.6New Features in MASCHINE 2.7.7 (29)1.7New Features in MASCHINE 2.7.4 (31)1.8New Features in MASCHINE 2.7.3 (33)2Quick Reference (35)2.1MASCHINE Project Overview (35)2.1.1Sound Content (35)2.1.2Arrangement (37)2.2MASCHINE Hardware Overview (40)2.2.1MASCHINE MIKRO Hardware Overview (40)2.2.1.1Browser Section (41)2.2.1.2Edit Section (42)2.2.1.3Performance Section (43)2.2.1.4Transport Section (45)2.2.1.5Pad Section (46)2.2.1.6Rear Panel (50)2.3MASCHINE Software Overview (51)2.3.1Header (52)2.3.2Browser (54)2.3.3Arranger (56)2.3.4Control Area (59)2.3.5Pattern Editor (60)3Basic Concepts (62)3.1Important Names and Concepts (62)3.2Adjusting the MASCHINE User Interface (65)3.2.1Adjusting the Size of the Interface (65)3.2.2Switching between Ideas View and Song View (66)3.2.3Showing/Hiding the Browser (67)3.2.4Showing/Hiding the Control Lane (67)3.3Common Operations (68)3.3.1Adjusting Volume, Swing, and Tempo (68)3.3.2Undo/Redo (71)3.3.3Focusing on a Group or a Sound (73)3.3.4Switching Between the Master, Group, and Sound Level (77)3.3.5Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.773.3.6Navigating the Software Using the Controller (82)3.3.7Using Two or More Hardware Controllers (82)3.3.8Loading a Recent Project from the Controller (84)3.4Native Kontrol Standard (85)3.5Stand-Alone and Plug-in Mode (86)3.5.1Differences between Stand-Alone and Plug-in Mode (86)3.5.2Switching Instances (88)3.6Preferences (88)3.6.1Preferences – General Page (89)3.6.2Preferences – Audio Page (93)3.6.3Preferences – MIDI Page (95)3.6.4Preferences – Default Page (97)3.6.5Preferences – Library Page (101)3.6.6Preferences – Plug-ins Page (109)3.6.7Preferences – Hardware Page (114)3.6.8Preferences – Colors Page (114)3.7Integrating MASCHINE into a MIDI Setup (117)3.7.1Connecting External MIDI Equipment (117)3.7.2Sync to External MIDI Clock (117)3.7.3Send MIDI Clock (118)3.7.4Using MIDI Mode (119)3.8Syncing MASCHINE using Ableton Link (120)3.8.1Connecting to a Network (121)3.8.2Joining and Leaving a Link Session (121)4Browser (123)4.1Browser Basics (123)4.1.1The MASCHINE Library (123)4.1.2Browsing the Library vs. Browsing Your Hard Disks (124)4.2Searching and Loading Files from the Library (125)4.2.1Overview of the Library Pane (125)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (128)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (133)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (137)4.2.4Selecting a File Type (137)4.2.5Choosing Between Factory and User Content (138)4.2.6Selecting Type and Character Tags (138)4.2.7Performing a Text Search (142)4.2.8Loading a File from the Result List (143)4.3Additional Browsing Tools (148)4.3.1Loading the Selected Files Automatically (148)4.3.2Auditioning Instrument Presets (149)4.3.3Auditioning Samples (150)4.3.4Loading Groups with Patterns (150)4.3.5Loading Groups with Routing (151)4.3.6Displaying File Information (151)4.4Using Favorites in the Browser (152)4.5Editing the Files’ Tags and Properties (155)4.5.1Attribute Editor Basics (155)4.5.2The Bank Page (157)4.5.3The Types and Characters Pages (157)4.5.4The Properties Page (160)4.6Loading and Importing Files from Your File System (161)4.6.1Overview of the FILES Pane (161)4.6.2Using Favorites (163)4.6.3Using the Location Bar (164)4.6.4Navigating to Recent Locations (165)4.6.5Using the Result List (166)4.6.6Importing Files to the MASCHINE Library (169)4.7Locating Missing Samples (171)4.8Using Quick Browse (173)5Managing Sounds, Groups, and Your Project (175)5.1Overview of the Sounds, Groups, and Master (175)5.1.1The Sound, Group, and Master Channels (176)5.1.2Similarities and Differences in Handling Sounds and Groups (177)5.1.3Selecting Multiple Sounds or Groups (178)5.2Managing Sounds (181)5.2.1Loading Sounds (183)5.2.2Pre-listening to Sounds (184)5.2.3Renaming Sound Slots (185)5.2.4Changing the Sound’s Color (186)5.2.5Saving Sounds (187)5.2.6Copying and Pasting Sounds (189)5.2.7Moving Sounds (192)5.2.8Resetting Sound Slots (193)5.3Managing Groups (194)5.3.1Creating Groups (196)5.3.2Loading Groups (197)5.3.3Renaming Groups (198)5.3.4Changing the Group’s Color (199)5.3.5Saving Groups (200)5.3.6Copying and Pasting Groups (202)5.3.7Reordering Groups (206)5.3.8Deleting Groups (207)5.4Exporting MASCHINE Objects and Audio (208)5.4.1Saving a Group with its Samples (208)5.4.2Saving a Project with its Samples (210)5.4.3Exporting Audio (212)5.5Importing Third-Party File Formats (218)5.5.1Loading REX Files into Sound Slots (218)5.5.2Importing MPC Programs to Groups (219)6Playing on the Controller (223)6.1Adjusting the Pads (223)6.1.1The Pad View in the Software (223)6.1.2Choosing a Pad Input Mode (225)6.1.3Adjusting the Base Key (226)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (227)6.3Playing Tools (229)6.3.1Mute and Solo (229)6.3.2Choke All Notes (233)6.3.3Groove (233)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (235)6.3.5Tap Tempo (235)6.4Performance Features (236)6.4.1Overview of the Perform Features (236)6.4.2Selecting a Scale and Creating Chords (239)6.4.3Scale and Chord Parameters (240)6.4.4Creating Arpeggios and Repeated Notes (253)6.4.5Swing on Note Repeat / Arp Output (257)6.5Using Lock Snapshots (257)6.5.1Creating a Lock Snapshot (257)7Working with Plug-ins (259)7.1Plug-in Overview (259)7.1.1Plug-in Basics (259)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (263)7.1.3Loading, Removing, and Replacing a Plug-in (264)7.1.4Adjusting the Plug-in Parameters (270)7.1.5Bypassing Plug-in Slots (270)7.1.6Using Side-Chain (272)7.1.7Moving Plug-ins (272)7.1.8Alternative: the Plug-in Strip (273)7.1.9Saving and Recalling Plug-in Presets (273)7.1.9.1Saving Plug-in Presets (274)7.1.9.2Recalling Plug-in Presets (275)7.1.9.3Removing a Default Plug-in Preset (276)7.2The Sampler Plug-in (277)7.2.1Page 1: Voice Settings / Engine (279)7.2.2Page 2: Pitch / Envelope (281)7.2.3Page 3: FX / Filter (283)7.2.4Page 4: Modulation (285)7.2.5Page 5: LFO (286)7.2.6Page 6: Velocity / Modwheel (288)7.3Using Native Instruments and External Plug-ins (289)7.3.1Opening/Closing Plug-in Windows (289)7.3.2Using the VST/AU Plug-in Parameters (292)7.3.3Setting Up Your Own Parameter Pages (293)7.3.4Using VST/AU Plug-in Presets (298)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (300)8Using the Audio Plug-in (302)8.1Loading a Loop into the Audio Plug-in (306)8.2Editing Audio in the Audio Plug-in (307)8.3Using Loop Mode (308)8.4Using Gate Mode (310)9Using the Drumsynths (312)9.1Drumsynths – General Handling (313)9.1.1Engines: Many Different Drums per Drumsynth (313)9.1.2Common Parameter Organization (313)9.1.3Shared Parameters (316)9.1.4Various Velocity Responses (316)9.1.5Pitch Range, Tuning, and MIDI Notes (316)9.2The Kicks (317)9.2.1Kick – Sub (319)9.2.2Kick – Tronic (321)9.2.3Kick – Dusty (324)9.2.4Kick – Grit (325)9.2.5Kick – Rasper (328)9.2.6Kick – Snappy (329)9.2.7Kick – Bold (331)9.2.8Kick – Maple (333)9.2.9Kick – Push (334)9.3The Snares (336)9.3.1Snare – Volt (338)9.3.2Snare – Bit (340)9.3.3Snare – Pow (342)9.3.4Snare – Sharp (343)9.3.5Snare – Airy (345)9.3.6Snare – Vintage (347)9.3.7Snare – Chrome (349)9.3.8Snare – Iron (351)9.3.9Snare – Clap (353)9.3.10Snare – Breaker (355)9.4The Hi-hats (357)9.4.1Hi-hat – Silver (358)9.4.2Hi-hat – Circuit (360)9.4.3Hi-hat – Memory (362)9.4.4Hi-hat – Hybrid (364)9.4.5Creating a Pattern with Closed and Open Hi-hats (366)9.5The Toms (367)9.5.1Tom – Tronic (369)9.5.2Tom – Fractal (371)9.5.3Tom – Floor (375)9.5.4Tom – High (377)9.6The Percussions (378)9.6.1Percussion – Fractal (380)9.6.2Percussion – Kettle (383)9.6.3Percussion – Shaker (385)9.7The Cymbals (389)9.7.1Cymbal – Crash (391)9.7.2Cymbal – Ride (393)10Using the Bass Synth (396)10.1Bass Synth – General Handling (397)10.1.1Parameter Organization (397)10.1.2Bass Synth Parameters (399)11Working with Patterns (401)11.1Pattern Basics (401)11.1.1Pattern Editor Overview (402)11.1.2Navigating the Event Area (404)11.1.3Following the Playback Position in the Pattern (406)11.1.4Jumping to Another Playback Position in the Pattern (407)11.1.5Group View and Keyboard View (408)11.1.6Adjusting the Arrange Grid and the Pattern Length (410)11.1.7Adjusting the Step Grid and the Nudge Grid (413)11.2Recording Patterns in Real Time (416)11.2.1Recording Your Patterns Live (417)11.2.2Using the Metronome (419)11.2.3Recording with Count-in (420)11.3Recording Patterns with the Step Sequencer (422)11.3.1Step Mode Basics (422)11.3.2Editing Events in Step Mode (424)11.4Editing Events (425)11.4.1Editing Events with the Mouse: an Overview (425)11.4.2Creating Events/Notes (428)11.4.3Selecting Events/Notes (429)11.4.4Editing Selected Events/Notes (431)11.4.5Deleting Events/Notes (434)11.4.6Cut, Copy, and Paste Events/Notes (436)11.4.7Quantizing Events/Notes (439)11.4.8Quantization While Playing (441)11.4.9Doubling a Pattern (442)11.4.10Adding Variation to Patterns (442)11.5Recording and Editing Modulation (443)11.5.1Which Parameters Are Modulatable? (444)11.5.2Recording Modulation (446)11.5.3Creating and Editing Modulation in the Control Lane (447)11.6Creating MIDI Tracks from Scratch in MASCHINE (452)11.7Managing Patterns (454)11.7.1The Pattern Manager and Pattern Mode (455)11.7.2Selecting Patterns and Pattern Banks (456)11.7.3Creating Patterns (459)11.7.4Deleting Patterns (460)11.7.5Creating and Deleting Pattern Banks (461)11.7.6Naming Patterns (463)11.7.7Changing the Pattern’s Color (465)11.7.8Duplicating, Copying, and Pasting Patterns (466)11.7.9Moving Patterns (469)11.8Importing/Exporting Audio and MIDI to/from Patterns (470)11.8.1Exporting Audio from Patterns (470)11.8.2Exporting MIDI from Patterns (472)11.8.3Importing MIDI to Patterns (474)12Audio Routing, Remote Control, and Macro Controls (483)12.1Audio Routing in MASCHINE (484)12.1.1Sending External Audio to Sounds (485)12.1.2Configuring the Main Output of Sounds and Groups (489)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (494)12.1.4Configuring the Master and Cue Outputs of MASCHINE (497)12.1.5Mono Audio Inputs (502)12.1.5.1Configuring External Inputs for Sounds in Mix View (503)12.2Using MIDI Control and Host Automation (506)12.2.1Triggering Sounds via MIDI Notes (507)12.2.2Triggering Scenes via MIDI (513)12.2.3Controlling Parameters via MIDI and Host Automation (514)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (522)12.2.5Sending MIDI from Sounds (523)12.3Creating Custom Sets of Parameters with the Macro Controls (527)12.3.1Macro Control Overview (527)12.3.2Assigning Macro Controls Using the Software (528)13Controlling Your Mix (535)13.1Mix View Basics (535)13.1.1Switching between Arrange View and Mix View (535)13.1.2Mix View Elements (536)13.2The Mixer (537)13.2.1Displaying Groups vs. Displaying Sounds (539)13.2.2Adjusting the Mixer Layout (541)13.2.3Selecting Channel Strips (542)13.2.4Managing Your Channels in the Mixer (543)13.2.5Adjusting Settings in the Channel Strips (545)13.2.6Using the Cue Bus (549)13.3The Plug-in Chain (551)13.4The Plug-in Strip (552)13.4.1The Plug-in Header (554)13.4.2Panels for Drumsynths and Internal Effects (556)13.4.3Panel for the Sampler (557)13.4.4Custom Panels for Native Instruments Plug-ins (560)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (564)14Using Effects (567)14.1Applying Effects to a Sound, a Group or the Master (567)14.1.1Adding an Effect (567)14.1.2Other Operations on Effects (574)14.1.3Using the Side-Chain Input (575)14.2Applying Effects to External Audio (578)14.2.1Step 1: Configure MASCHINE Audio Inputs (578)14.2.2Step 2: Set up a Sound to Receive the External Input (579)14.2.3Step 3: Load an Effect to Process an Input (579)14.3Creating a Send Effect (580)14.3.1Step 1: Set Up a Sound or Group as Send Effect (581)14.3.2Step 2: Route Audio to the Send Effect (583)14.3.3 A Few Notes on Send Effects (583)14.4Creating Multi-Effects (584)15Effect Reference (587)15.1Dynamics (588)15.1.1Compressor (588)15.1.2Gate (591)15.1.3Transient Master (594)15.1.4Limiter (596)15.1.5Maximizer (600)15.2Filtering Effects (603)15.2.1EQ (603)15.2.2Filter (605)15.2.3Cabinet (609)15.3Modulation Effects (611)15.3.1Chorus (611)15.3.2Flanger (612)15.3.3FM (613)15.3.4Freq Shifter (615)15.3.5Phaser (616)15.4Spatial and Reverb Effects (617)15.4.1Ice (617)15.4.2Metaverb (619)15.4.3Reflex (620)15.4.4Reverb (Legacy) (621)15.4.5Reverb (623)15.4.5.1Reverb Room (623)15.4.5.2Reverb Hall (626)15.4.5.3Plate Reverb (629)15.5Delays (630)15.5.1Beat Delay (630)15.5.2Grain Delay (632)15.5.3Grain Stretch (634)15.5.4Resochord (636)15.6Distortion Effects (638)15.6.1Distortion (638)15.6.2Lofi (640)15.6.3Saturator (641)15.7Perform FX (645)15.7.1Filter (646)15.7.2Flanger (648)15.7.3Burst Echo (650)15.7.4Reso Echo (653)15.7.5Ring (656)15.7.6Stutter (658)15.7.7Tremolo (661)15.7.8Scratcher (664)16Working with the Arranger (667)16.1Arranger Basics (667)16.1.1Navigating Song View (670)16.1.2Following the Playback Position in Your Project (672)16.1.3Performing with Scenes and Sections using the Pads (673)16.2Using Ideas View (677)16.2.1Scene Overview (677)16.2.2Creating Scenes (679)16.2.3Assigning and Removing Patterns (679)16.2.4Selecting Scenes (682)16.2.5Deleting Scenes (684)16.2.6Creating and Deleting Scene Banks (685)16.2.7Clearing Scenes (685)16.2.8Duplicating Scenes (685)16.2.9Reordering Scenes (687)16.2.10Making Scenes Unique (688)16.2.11Appending Scenes to Arrangement (689)16.2.12Naming Scenes (689)16.2.13Changing the Color of a Scene (690)16.3Using Song View (692)16.3.1Section Management Overview (692)16.3.2Creating Sections (694)16.3.3Assigning a Scene to a Section (695)16.3.4Selecting Sections and Section Banks (696)16.3.5Reorganizing Sections (700)16.3.6Adjusting the Length of a Section (702)16.3.6.1Adjusting the Length of a Section Using the Software (703)16.3.6.2Adjusting the Length of a Section Using the Controller (705)16.3.7Clearing a Pattern in Song View (705)16.3.8Duplicating Sections (705)16.3.8.1Making Sections Unique (707)16.3.9Removing Sections (707)16.3.10Renaming Scenes (708)16.3.11Clearing Sections (710)16.3.12Creating and Deleting Section Banks (710)16.3.13Working with Patterns in Song view (710)16.3.13.1Creating a Pattern in Song View (711)16.3.13.2Selecting a Pattern in Song View (711)16.3.13.3Clearing a Pattern in Song View (711)16.3.13.4Renaming a Pattern in Song View (711)16.3.13.5Coloring a Pattern in Song View (712)16.3.13.6Removing a Pattern in Song View (712)16.3.13.7Duplicating a Pattern in Song View (712)16.3.14Enabling Auto Length (713)16.3.15Looping (714)16.3.15.1Setting the Loop Range in the Software (714)16.3.15.2Activating or Deactivating a Loop Using the Controller (715)16.4Playing with Sections (715)16.4.1Jumping to another Playback Position in Your Project (716)16.5Triggering Sections or Scenes via MIDI (717)16.6The Arrange Grid (719)16.7Quick Grid (720)17Sampling and Sample Mapping (722)17.1Opening the Sample Editor (722)17.2Recording Audio (724)17.2.1Opening the Record Page (724)17.2.2Selecting the Source and the Recording Mode (725)17.2.3Arming, Starting, and Stopping the Recording (729)17.2.5Checking Your Recordings (731)17.2.6Location and Name of Your Recorded Samples (734)17.3Editing a Sample (735)17.3.1Using the Edit Page (735)17.3.2Audio Editing Functions (739)17.4Slicing a Sample (743)17.4.1Opening the Slice Page (743)17.4.2Adjusting the Slicing Settings (744)17.4.3Manually Adjusting Your Slices (746)17.4.4Applying the Slicing (750)17.5Mapping Samples to Zones (754)17.5.1Opening the Zone Page (754)17.5.2Zone Page Overview (755)17.5.3Selecting and Managing Zones in the Zone List (756)17.5.4Selecting and Editing Zones in the Map View (761)17.5.5Editing Zones in the Sample View (765)17.5.6Adjusting the Zone Settings (767)17.5.7Adding Samples to the Sample Map (770)18Appendix: Tips for Playing Live (772)18.1Preparations (772)18.1.1Focus on the Hardware (772)18.1.2Customize the Pads of the Hardware (772)18.1.3Check Your CPU Power Before Playing (772)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (773)18.1.5Consider Using a Limiter on Your Master (773)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (773)18.1.7Improvise (773)18.2Basic Techniques (773)18.2.1Use Mute and Solo (773)18.2.2Create Variations of Your Drum Patterns in the Step Sequencer (774)18.2.3Use Note Repeat (774)18.2.4Set Up Your Own Multi-effect Groups and Automate Them (774)18.3Special Tricks (774)18.3.1Changing Pattern Length for Variation (774)18.3.2Using Loops to Cycle Through Samples (775)18.3.3Load Long Audio Files and Play with the Start Point (775)19Troubleshooting (776)19.1Knowledge Base (776)19.2Technical Support (776)19.3Registration Support (777)19.4User Forum (777)20Glossary (778)Index (786)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE MIKRO Quick Start Guide: This animated online guide provides a practical ap-proach to help you learn the basic of MASCHINE MIKRO. The guide is available from theNative Instruments website: https:///maschine-mikro-quick-start/2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:►Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.Document Conventions1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues.The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information canbe expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software andpaths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in thesoftware is printed in blue. Whenever you see this formatting applied, you will find thesame text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you seethis formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you seethis formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.1.3New Features in MASCHINE2.8The following new features have been added to MASCHINE: Integration▪Browse on , create your own collections of loops and one-shots and send them directly to the MASCHINE browser.Improvements to the Browser▪Samples are now cataloged in separate Loops and One-shots tabs in the Browser.▪Previews of loops selected in the Browser will be played in sync with the current project.When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running. If a loop preview starts part-way through the loop, the loop will play once more for its full length to ensure you get to hear the entire loop once in context with your project.▪Filters and product selections will be remembered when switching between content types and Factory/User Libraries in the Browser.▪Browser content synchronization between multiple running instances. When running multi-ple instances of MASCHINE, either as Standalone and/or as a plug-in, updates to the Li-brary will be synced across the instances. For example, if you delete a sample from your User Library in one instance, the sample will no longer be present in the other instances.Similarly, if you save a preset in one instance, that preset will then be available in the oth-er instances, too.▪Edits made to samples in the Factory Libraries will be saved to the Standard User Directo-ry.For more information on these new features, refer to the following chapter ↑4, Browser. Improvements to the MASCHINE MIKRO MK3 Controller▪You can now set sample Start and End points using the controller. For more information refer to ↑17.3.1, Using the Edit Page.Improved Support for A-Series Keyboards▪When Browsing with A-Series keyboards, you can now jump quickly to the results list by holding SHIFT and pushing right on the 4D Encoder.▪When Browsing with A-Series keyboards, you can fast scroll through the Browser results list by holding SHIFT and twisting the 4D Encoder.▪Mute and Solo Sounds and Groups from A-Series keyboards. Sounds are muted in TRACK mode while Groups are muted in IDEAS.。

mv制作方案

MV制作方案1. 引言MV（Music Video）是一种通过影像手段展现音乐作品的形式，它通过视觉效果，创意动作和剧情故事来增强音乐的表现力和传达音乐的情感。

本文档旨在提供一份MV制作方案，包含前期准备、拍摄过程、后期制作和发布等环节。

2. 前期准备在开始制作MV之前，需要进行一些前期准备工作，以确保制作过程的顺利进行。

2.1 确定音乐首先，需要确定要制作MV的音乐。

音乐的风格和氛围会直接影响MV的整体风格与表达效果。

选择一首能够与音乐相匹配的主题和故事，从而增强MV的表现力。

2.2 策划故事和场景制作MV需要有一个合适的故事和场景来传达音乐的情感和主题。

可以根据音乐的节奏、歌词和情感来进行策划。

通过故事情节和场景的安排，来呈现出MV所要传达的核心信息。

2.3 制定拍摄计划在进行实际拍摄前，需要制定一个详细的拍摄计划。

包括场景的选择与搭建、角色的安排与化妆、拍摄器材的准备等。

合理制定拍摄计划可以提高工作效率，降低制作成本。

2.4 确定制作团队制作MV需要一个团队协作完成，包括导演、摄像师、化妆师、场务等。

根据拍摄计划确定所需的人员，确保每个环节都有专业人士负责。

3. 拍摄过程拍摄是MV制作过程的核心环节，需要充分利用摄影技术和艺术手法，通过画面的构图与光影的运用来表达音乐的情感。

3.1 准备拍摄器材根据拍摄计划，准备好所需的摄影器材。

包括相机、镜头、三脚架、灯光等。

确保所有器材的性能良好，并进行必要的测试和调试。

3.2 布置场景和道具根据拍摄计划，布置好拍摄场景和道具。

合理摆放道具可以增强画面的表现力和故事的连贯性。

注意调整光线以达到所需的效果。

3.3 拍摄角色和动作根据剧情和故事板，指导演员进行角色的表演和动作的执行。

通过指导和辅导，确保演员能够准确表达音乐的情感和传达MV的主题。

3.4 优化拍摄效果通过摄影技术的运用，提高画面的质量和表现力。

合理运用焦距、快门速度和光圈等参数，调整画面的明暗、对焦和背景虚化等效果，使画面更加生动和吸引人。

Enfocus_PitStop_pro_11_中文版用户指南

74在错误警告修正和故障之间导航
2 | OpenTopic | 目录
内容
1. Copyrights..........................................................................................13 2. 简介.....................................................................................................14
3.2 指定 PitStop Pro 界面的语言...............................................................................30 指定 PitStop Pro 用户界面的语言..................................................................30
3.5 工作区..................................................................................................................37 Enfocus 工作区面板.......................................................................................37 使用工作区......................................................................................................38 工作区设置......................................................................................................40

基于FLASH的《发财发福中国年》MV设计

基于FLASH的《发财发福中国年》MV设计摘要：Flash MV动画片是音乐的实体。

音乐是看不见的，动画的出现给无形的东西视觉化，综合运用图像、声音、语言、文字等多种元素，生动展示音乐要表达的意义。

因为动态而更具煽动性，比平面媒体要丰富和翔实得多。

设计了基于Flash的《发财发福中国年》MV，MV以Flash动画形式展现了音乐的感情，涉及素材选取、动画制作、测试发布等环节的操作实现，充满了欢乐气氛。

关键词：FLASH；音乐；动画在信息化教育日益普及的今天，随着多媒体技术的迅速发展与学校多媒体计算机使用的普及，教师运用多媒体教学越来越普遍。

Flash作为一种使用广泛的动画制作工具，因其占用空间小、省时省力、操作灵活、兼容性好的优点而受到广大用户，特别是广大网站制作人员的普遍欢迎。

在很多教学课堂中，PowerPoint 是作为教学辅助工具而出现的，在必要的时候，在其中嵌入一些音乐或者Flash动画有利于帮助学生理解教学内容。

FLASH音乐动画的制作比其他的影片制作效率要高得多，而且它的空间占用量很小，特别适合在网络上传播，它的兼容性好，在其它很多软件中都可以应用，它的功能很强大，可以不断地升图2Sobel算子边缘检测图3Prewitt算子边缘检测图4Roberts算子边缘检测图5Canny算子边缘检测级，可以制作游戏，包括一些网络游戏。

在这里笔者将为歌曲《发财发福中国年》制作一个音乐动画，为音乐增加动画场面，通过动画与音乐的结合，直观地表现歌词的大意，形象地表现音乐的感情色彩，达到娱乐大家的目的。

1MV设计与制作1.1MV分析《发财发福中国年》是一个喜庆欢快的音乐动画，它由三个部分组成，分别是：音乐部分、歌词部分、动画部分，前两部分的制作较容易些，而动画部分又大体上分为无音乐部分和有音乐部分，无音乐部分就是MV开始和结尾处的部分，无音乐动画就是在整个MV的开始和结尾根据歌曲的意向来制作的，还有的就是开始的播放按钮和结束里再一次的按钮。

Model Code of safe practice Part 19 contents

EI MODEL CODE OF SAFE PRACTICE PART 19:FIRE PRECAUTIONS AT PETROLEUM REFINERIESAND BULK STORAGE INSTALLATIONS3RD EDITIONNOVEMBER 2012Published byENERGY INSTITUTE, LONDONThe Energy Institute is a professional membership body incorporated by Royal Charter 2003Registered charity number 1097899The Energy Institute (EI) is the leading chartered professional membership body supporting individuals and organisations across the energy industry. With a combined membership of over 14 000 individuals and 300 companies in 100 countries, it provides an independent focal point for the energy community and a powerful voice to engage business and industry, government, academia and the public internationally.As a Royal Charter organisation, the EI offers professional recognition and sustains personal career development through the accreditation and delivery of training courses, conferences and publications and networking opportunities. It also runs a highly valued technical work programme, comprising original independent research and investigations, and the provision of EI technical publications to provide the international industry with information and guidance on key current and future issues.The EI promotes the safe, environmentally responsible and efficient supply and use of energy in all its forms and applications. In fulfilling this purpose the EI addresses the depth and breadth of energy and the energy system, from upstream and downstream hydrocarbons and other primary fuels and renewables, to power generation, transmission and distribution to sustainable development, demand side management and energy efficiency. Offering learning and networking opportunities to support career development, the EI provides a home to all those working in energy, and a scientific and technical reservoir of knowledge for industry.This publication has been produced as a result of work carried out within the Technical Team of the EI, funded by the EI’s Technical Partners. The EI’s Technical Work Programme provides industry with cost-effective, value-adding knowledge on key current and future issues affecting those operating in the energy sector, both in the UK and internationally.For further information, please visit The EI gratefully acknowledges the financial contributions towards the scientific and technical programmefrom the following companiesBG Group NexenBP Exploration Operating Co Ltd Phillips 66BP Oil UK Ltd Premier OilCentrica RWE npowerChevron Saudi AramcoConocoPhillips Ltd Shell UK Oil Products LimitedEDF Energy Shell U.K. Exploration and Production LtdENI SSEE. ON UK StatoilExxonMobil International Ltd Talisman Energy (UK) LtdInternational Power Total E&P UK plcKuwait Petroleum International Ltd Total UK LimitedMaersk Oil North Sea UK Limited ValeroMurco Petroleum Ltd World Fuel ServicesHowever, it should be noted that the above organisations have not all been directly involved in the development of this publication, nor do they necessarily endorse its content.Copyright © 2012 by the Energy Institute, London.The Energy Institute is a professional membership body incorporated by Royal Charter 2003.Registered charity number 1097899, EnglandAll rights reservedNo part of this book may be reproduced by any means, or transmitted or translated intoa machine language without the written permission of the publisher.ISBN 978 0 85293 634 4Published by the Energy InstituteThe information contained in this publication is provided for general information purposes only. Whilst the Energy Institute and the contributors have applied reasonable care in developing this publication, no representations or warranties, express or implied, are made by the Energy Institute or any of the contributors concerning the applicability, suitability, accuracy or completeness of the information contained herein and the Energy Institute and the contributors accept no responsibility whatsoever for the use of this information. Neither the Energy Institute nor any of the contributors shall be liable in any way for any liability, loss, cost or damage incurred as a result of the receipt or use of the information contained herein.Hard copies can be obtained from: Portland Customer Services, Commerce Way, Whitehall Industrial Estate, Colchester CO2 8HP, UK.t: +44 (0)1206 796 351 e: sales@Electronic access to EI and IP publications is available via our website, Documents can be purchased online as downloadable pdfs or on an annual subscription for single users and companies.For more information, contact the EI Publications Team.e: pubs@CONTENTSPage Foreword (8)Key technical changes (10)Acknowledgements (12)Key principles (13)Overview (14)1 Introduction (16)1.1 Introduction (16)1.2 Scope (16)1.3 A pplication (16)1.4 Risk-based fire and explosion hazard management (FEHM) (17)1.5 Legislative trends in FEHM assessment and provision of fire risk reduction measures 181.6 International application (19)1.7 Risk drivers (20)1.7.1 Legislation (20)1.7.2 Life safety (20)1.7.3 Environmental impacts (20)1.7.4 Asset loss (22)1.7.5 Business interruption (22)1.7.6 Reputation (22)1.7.7 Insurance (22)2 Hazards (23)2.1 Introduction (23)2.2 Fire-related properties of petroleum and its products (23)2.3 Combustion of petroleum and its products (24)2.3.1 General (24)2.3.2 Fires (25)2.3.3 Explosions/boiling liquid expanding vapour explosion (25)2.4 Smoke and gases from fire (27)2.4.1 General (27)2.5 Fire and explosion scenarios (27)2.5.1 General (27)2.5.2 Scenarios (27)2.5.3 Unignited product releases (29)2.5.4 Pool fires (29)2.5.5 Atmospheric storage tank fires (30)2.5.6 Jet fires (32)2.5.7 Boiling liquid expanding vapour explosions (32)2.5.8 Vapour cloud explosions (32)2.5.9 Flash fires (34)2.6 Consequences (34)2.6.1 General (34)2.6.2 Thermal flux - consequence assessment (34)2.6.3 Overpressures (35)2.6.4 Flammable/toxic vapour clouds (36)2.6.5 Blast effects/missiles (37)2.7 Fire and explosion modelling (37)2.7.1 General (37)2.7.2 Types of model (38)3 FEHM process (40)3.1 Introduction (40)3.2 Fire scenario analysis (40)3.2.1 Identification of major fire scenarios, hazards and hazard characteristics (41)3.2.2 Typical scenarios for various installations/areas (42)3.2.3 Design/credible scenario selection (45)3.2.4 Fire and explosion modelling (48)3.3 Risk reduction options (48)3.4 FEHM policy (51)3.5 Implementation (52)3.5.1 Practices and procedures (52)3.5.2 Fire systems integrity assurance (52)3.5.3 Inspection and testing of fire systems (52)3.5.4 Fire response pre-planning (53)3.5.5 Competency development (53)3.5.6 Monitoring (53)4 Fire prevention (54)4.1 Introduction (54)4.2 Control of flammable substances (54)4.2.1 General principles (54)4.2.2 Liquid releases (55)4.2.3 Flammable atmospheres (55)4.2.4 Isolation/depressurisation (56)4.2.5 Flammable gas/vapour dispersion (56)4.3 Atmospheric monitoring (56)4.4 Control of sources of ignition (57)4.4.1 General (57)4.4.2 Static electricity (58)4.4.3 Lightning (59)4.5 Permit-to-work systems (59)4.6 Maintenance practices (60)4.6.1 General (60)4.6.2 Hot work (61)4.6.3 Electrical equipment used for maintenance (61)4.6.4 Hand tools (61)4.6.5 Chemical cleaning (62)4.6.6 High pressure water (62)4.7 Housekeeping (62)4.8 Installation layout (63)4.8.1 General (63)4.8.2 Boundaries (64)4.8.3 Storage tank layout/secondary containment (64)4.8.4 Process plant layout (66)4.8.5 Fire-fighting access (66)4.8.6 Drainage systems and tertiary containment (67)4.8.7 Fire protection and other safety critical equipment (69)4.8.8 Pipework/flanges (69)4.9 Buildings fire precautions (69)5 Fire, liquid and flammable gas detection (71)5.1 Introduction (71)5.2 Principles of fire and flammable gas detection - Options, applications and designissues (71)5.2.1 Flammable gas detection (71)5.2.2 Toxic gas detection (76)5.2.3 Liquid leak detection (76)5.2.4 Fire detection (77)5.2.5 General design guidance (84)5.3 Control system executive actions (84)5.4 Fire/Gas alarm and warning systems (85)6 Fire protection (86)6.1 Introduction (86)6.1.1 Passive and active fire protection (86)6.2 Passive fire protection - Options, applications and design issues (87)6.2.1 General (87)6.2.2 Applications and design issues (88)6.2.3 Maintenance of PFP (89)6.3 Active fire protection (90)6.3.1 General (90)6.4 Extinguishing media (90)6.4.1 General (90)6.4.2 Water (90)6.4.3 Foam (91)6.4.4 Dry powder (dry chemical) (98)6.4.5 Gaseous agents (99)6.5 Fixed system - options, applications and design issues (101)6.5.1 General (101)6.5.2 Fire water systems (101)6.5.3 Water spray systems (102)6.5.4 Fixed monitors (103)6.5.5 Sprinkler systems (103)6.5.6 Water mist systems (103)6.5.7 Foam systems (104)6.5.8 Dry powder (dry chemical) systems (112)6.5.9 Gaseous systems (112)7 Response strategies and options (115)7.1 Introduction (115)7.2 Incident response strategies (115)7.2.1 Unignited gas release (115)7.2.2 Flammable liquid pool fire (118)7.2.3 Gas/liquid release, flash fire and jet fire (120)7.2.4 Unconfined/semi-confined vapour cloud explosions (121)7.2.5 Fireball/boiling liquid expanding vapour explosion (122)7.2.6 Controlled burn (CB) (122)7.3 Occupational fire brigades (123)7.3.1 Overview (123)7.3.2 Options for installation fire response (123)7.4 Organisation of occupational fire brigades (128)7.5 Competency standards for installation emergency responders (ERs) (128)7.6 Fire response equipment (128)7.6.1 Fire-fighting equipment (128)7.6.2 Emergency responder (ER) personal protective equipment (133)7.6.3 Inspection and maintenance (135)7.6.4 Critical equipment and resources, vulnerability and siting (135)8 Maintaining FEHM policy (137)8.1 Introduction (137)8.2 Organisation of emergency procedures (137)8.3 Incident pre-planning (137)8.4 Recognition of hazards (138)8.5 Control of incidents (138)8.6 Training of personnel (139)8.7 Pre-fire plans (140)8.8 Scenario-specific emergency response plans (ERPs) (141)8.9 Maintaining incident response (142)8.9.1 Training and emergency response plans (ERPs) (142)8.9.2 Dynamic risk assessment (143)8.9.3 Fire systems integrity assurance (143)Annexes:Annex A Relevant UK and European legislation (145)A.1 Nature of legislation (145)A.2 Seveso II Directive and COMAH Regulations (145)A.3 Complementary regulations (147)A.4 Licensing and enforcement (151)Annex B Fire-related hazards of petroleum and its products (152)B.1 Introduction (152)B.2 Boiling points (or ranges), flash points and ignition temperatures ofpetroleum and its products (152)B.3 IP classification of petroleum and its products (153)B.4 Flammable limits of petroleum and its products (154)B.5 Typical substances with potential to form a large vapour cloud in event ofan atmospheric storage tank overfill (154)Annex C Typical installations/areas - Fire and explosion hazard management (detection and protection) (156)C.1 Introduction (156)C.2 Storage tanks (156)C.3 Process areas (159)C.4 LPG storage installations (160)C.5 LNG installations (160)C.6 Marine facilities (161)C.7 Buildings (162)C.8 Road tanker loading racks/gantries (165)C.9 Rail tanker loading racks/gantries (165)Annex D Typical application rates (166)D.1 Introduction (166)D.2 Cooling using water (166)D.3 Control of burning using water (167)D.4 Extinguishment using water (168)D.5 Storage tanks (168)D.6 Water supply (171)D.7 Foam application rates (171)D.8 Pool fire foam application (172)D.9 Tank fire foam application (173)D.10 Gaseous systems (177)D.11 Incident experience (178)Annex E Emergency response team competence (182)E.1 Introduction (182)E.2 Example ER competency mapping profile (186)Annex F Classification of fires (195)F.1 Introduction (195)F.2 Class A – Fires involving solid materials (195)F.3 Class B – Fires involving liquids or liquefiable solids (195)F.4 Class C – Fires involving gases (195)F.5 Class D – Fires involving metals (195)F.6 Class E – Fires involving electrical equipment (196)F.7 Class F – Fires involving cooking oils (196)F.8 Other classification schemes (196)Annex G Example installation-specific emergency response plan (ERP) (197)G.1 Introduction (197)G.2 Explanatory notes to text aspect of installation-specific ERP (197)G.3 Effects maps (201)G.4 Radiant heat examples (201)Annex H Glossaries of terms and abbreviations (202)H.1 Introduction (202)H.2 Terms (202)H.3 Abbreviations (214)Annex I References, Bibliography and further information (217)I.1 Introduction (217)I.2 Key publishers of FEHM publications (217)I.3 Codes of practice, design standards, specifications, guidance, etc (218)I.4 Industry organisations (231)I.5 Other safety organisations (234)I.6 Standards and approvals organisations (235)FOREWORDEI Fire precautions at petroleum refineries and bulk storage installations (EI 19) provides guidance on selecting, implementing and monitoring the continuing performance of installation-specific justified risk reduction measures – from prevention through detection, protection systems to mitigation measures – to reduce the risk from design event fires at installations that process and store crude oil, petroleum, intermediates and refined products.In line with recent legislation in the UK, Europe and elsewhere in the world, EI 19 does not set out prescriptive practices for adoption. Instead, it provides good practice guidance on options that may be appropriate to implement in order to satisfy pertinent risk drivers such as legislation, safety, environmental protection, asset protection, reputation and business continuity. The publication is based upon a framework of risk-based fire and explosion hazard management (FEHM) to achieve this, although it recognises that other approaches can be used. NB: Although the term ‘explosion’ is used within this definition it should also be realised that not every substance or hazardous circumstance will give rise to potential explosion conditions or create an explosion but for the purposes of this publication the term will be used throughout for consistency.The guidance in this publication should assist process safety engineers, safety advisors, designers, emergency planners or others with responsibility for fire and explosion hazard management to meet the pertinent requirements of the European Seveso II Directive, whether installations are classified lower or upper tier.This publication is based primarily on the UK and European legislative framework, publications and good practice. However, its guidance is internationally applicable provided it is read, interpreted and applied in conjunction with relevant national and local requirements.It can be used as a basis for establishing a consistent fire and explosion hazard management policy for companies with multi-installation operations within a country or across several countries.The third edition of EI 19 was commissioned by the Energy Institute’s Process Safety Committee, contracted to Resource Protection International and directed by a Steering Group. It supersedes the second edition, published in 2007. Whilst amendments have been made throughout, major changes have been made to:−Define key principles.−Enhance guidance on consideration of environmental impacts of fire-fighting and the need for environmental risk assessment; in particular, containment system capacityand firewater management.−Provide guidance on fire response for ethanol and related polar substance handling/ storage; in particular, pertinent foam types.−Enhance guidance on fire and explosion scenarios, consequences and modelling.−Provide guidance on control measures for vent fires.−Include guidance on potential scenarios, the role of congestion, incident consequences and examples of substances with a propensity to form large flammable vapour clouds.−Clarify basis for determining whether scenarios are credible by referencing their likelihood to risk tolerability criteria.−Enhance guidance on storage tank layout, secondary and tertiary containment systems requirements.−E nhance guidance on detection systems.−Define need for a policy on passive fire protection (PFP).−Provide guidance on PFP maintenance.−Update guidance on halon substitute gaseous extinguishing media.−Provide guidance on fire water systems.−Enhance guidance on foam systems for storage tanks.−Enhance guidance on option of controlled burn (CB).−Provide guidance on rapid intervention vehicles (RIVs) and mobile incident response units (MIRUs), and typical fire equipment on board.−Provide guidance on vulnerability and siting of critical equipment and resources.−Enhance guidance on control of incidents by defining command structure.−Enhance guidance on scenario-specific ERPs.−Enhance guidance on dynamic risk assessment (DRA).−Enhance guidance on typical FEHM (detection and protection) measures at various other installation areas.−Provide guidance on typical FEHM (detection and protection) measures for road and rail tanker loading racks/gantries.−Enhance guidance on water supply requirements.−Revise minimum foam solution application rates and consider foam application to prevent boilover.−Define requirements for emergency responder (ER) competence.The 2nd edition of this publication was being finalised at the time of the Buncefield bulk storage installation major accident in December 2005 and since then there have been changes in the regulatory approach to fire precautions at such installations, encompassing fire prevention measures, incident detection techniques, fire protection, fire-fighting and response and emergency planning requirements. Some of these relate to process considerations, which are not specifically covered in detail in this 3rd edition of this publication but may be relevant for overall FEHM – wherever possible these are addressed. In addition to changes in the regulatory approach there have been new developments in hardware, understanding of potential to cause vapour cloud explosions (VCEs), changes in thinking in issues such as human and organisational factors, and new approaches to fire response. It is not within the scope of this publication to describe all of these and as such, users may wish to consult the relevant Buncefield investigation reports for more detail. However, where appropriate, and where they enhance the overall guidance in this publication, such measures are given credit. It should also be noted that whilst a great deal of focus has been placed on this particular incident in recent years, the circumstances that led up to it, and the recommended prevention and mitigation measures, this publication is also relevant to other types of fire incident types and scenarios. Consequently, some of the guidance contained herein may not always be relevant to the particular type of incident mentioned.The information contained in this publication is provided for general information purposes only. Whilst the Energy Institute and the contributors have applied reasonable care in developing this publication, no representations or warranties, express or implied, are made by the Energy Institute or any of the contributors concerning the applicability, suitability, accuracy or completeness of the information contained herein and the Energy Institute and the contributors accept no responsibility whatsoever for the use of this information. Neither the Energy Institute nor any of the contributors shall be liable in any way for any liability, loss, cost or damage incurred as a result of the receipt or use of the information contained herein. This publication may be further reviewed from time to time. It would be of considerable assistance in any future revision if users would send comments or suggestions for improvement to:The Technical Department, Energy Institute61 New Cavendish StreetLONDON, W1G 7ARe: technical@KEY TECHNICAL CHANGESThis section sets out in a generalised form, the key technical changes between the 2nd and 3rd editions of EI 19 (EI Fire precautions at petroleum refineries and bulk storage installations).The key technical changes are to:−Define key principles.−Enhance guidance on consideration of environmental impacts of fire-fighting and the need for environmental risk assessment. Section 1.7.3.−Provide guidance on the required capacity (e.g. via secondary and tertiary containment) to hold safely the anticipated or foreseeable volume of hazardous liquids, includingfirewater. Section 1.7.3.−Enhance guidance on firewater management, including the option of recirculation.Sections 1.7.3, 2.5.5, 4.8.3, 4.8.6, 6.5.2, 7.2.6, 8.7, and Annexes D.6 and D.11.−Provide guidance on fire response for ethanol and related polar substance handling/ storage; in particular, pertinent foam types. Sections 2.2 and 6.4.3.−Refer to special hazards in storage and handling of petroleum additives, such as diesel cetane improvers. Section 2.2.−Enhance guidance on fire and explosion scenarios, consequences and modelling with reference to incident experience (e.g. from large atmospheric storage tank fires(LASTFIRE) project); e.g. VCEs, bund fires, boilover. Sections 2.5.4, 2.5.5 and 2.5.8.−Provide guidance on control measures for vent fires. Section 2.5.5.1.−Include guidance on potential scenarios, their likelihood in areas with a lack of congestion, incident consequences and examples of substances with a propensity toform large flammable vapour clouds. Section 2.5.8 and annex B.5.−Clarify conditions under which flash fires might occur. Section 2.5.9.−Revise guidance on overpressure consequences. Section 2.6.3.−Enhance guidance on fire and explosion modelling. Section 2.7.1.−Clarify basis for determining whether scenarios are credible by referencing their likelihood to risk tolerability criteria. Section 3.2.3.−Consider merits of using cost benefit analysis (CBA) in design/credible scenario selection. Section 3.2.3.−Clarify general principles in controlling flammable substances. Section 4.2.1.−Provide guidance on isolation of sources of ignition. Section 4.4.1.−Clarify circumstances when it might be appropriate to use a smaller than usual separation distance between tanks and other items of plant when designing a facility.Section 4.8.1.−Enhance guidance on storage tank layout/secondary containment. Section 4.8.3.−Clarify intent of bund volume compared to storage tank operating capacity.Section 4.8.3.−Provide guidance on benefits/disbenefits of using double or full containment-type tanks in reducing the consequences of a loss of containment. Section 4.8.3.−Provide guidance on tertiary containment systems, and their capacity rating.Section 4.8.6.−Refer to need to consider facility topography and the potential path of vapour and liquid releases when locating fire protection and other safety critical equipment.Section 4.8.7.−Provide guidance on location of flanges/pipework, and the vulnerability of long bolt flanges. Section 4.8.8.−Enhance guidance on detection systems (e.g. flammable gas, toxic gas, liquid and fire detection, gas imaging and their application) to assist implementation by capturing the experience gained and equipment developments. Section 5.−Refer to safety integrity of detection control systems. Section 5.3.−Define need for a policy on PFP. Section 6.2.2.−Provide guidance on maintenance of PFP. Section 6.2.3.−Provide guidance on water quality and type for use as firewater. Section 6.4.2.−Update guidance on gaseous extinguishing media that have reduced impacts to air compared to halons. Section 6.4.5.−Provide guidance on fire water systems and winterisation. Section 6.5.2.−Enhance guidance on foam systems for storage tanks. Section 6.5.7.−Provide guidance on the need for assurance of ongoing integrity of enclosures where gaseous extinguishing systems are used. Section 6.5.9.−Provide guidance on the appropriateness of using foam to blanket vapours from LNG etc. Section 7.2.1.4.−Clarify guidance on when to evacuate areas during emergency response to potential BLEVE situations. Section 7.2.5.−Provide guidance on availability of operations/maintenance personnel to serve as auxiliary ERs when installation-wide events occur. Section 7.3.3.2.−Enhance guidance on option of CB, including its development as a design philosophy and operational strategy. Section 7.2.6.−Provide guidance on RIVs and MIRUs, and typical fire equipment on board.Section 7.6.1.−Provide guidance on vulnerability and siting of critical equipment and resources.Section 7.6.4.−Enhance guidance on control of incidents by defining command structure.Section 8.5.−Enhance guidance on scenario-specific ERPs. Section 8.7.−Enhance guidance on DRA. Section 8.9.2.−Provide listing of environmental protection regulations. Annex A.3 (viii).−Enhance guidance on typical FEHM (detection and protection) measures for storage tanks, process areas, LNG installations, marine beths and jetties, etc. Annex C.−Provide guidance on typical FEHM (detection and protection) measures for road and rail tanker loading racks/gantries. Annex C.8 and annex C.9.−Clarify applicability of insulation in providing fire protection. Annex D.2(ii).−Provide guidance on cooling atmospheric tanks impinged by flame. Annex D.5(iii). −Enhance guidance on water supply requirements. Annex D.6.−Clarify context of scenario for foam/cooling water example. Annex D.6, Box D.1−Revise minimum foam solution application rates and consider foam application to prevent boilover. Annexes D.8 and D.9.−Define requirements for ER competence. Annex E.1.−Update listing of references and bibliography (e.g. codes of practice, design standards, specifications, guidance, etc.). Annex I.ACKNOWLEDGEMENTSThe 3rd edition of EI Fire precautions at petroleum refineries and bulk storage installations (EI 19) was commissioned by the Energy Institute’s Process Safety Committee. The project was contracted to Resource Protection International, whose contributors were Paul Watkins, Dr Niall Ramsden and Mark Plastow. The project was directed by a Steering Group that comprised:David Athersmith Consultant (member, Distribution and Marketing Safety Committee)James Coull Total UK Limited (member, Process Safety Committee)Ian Herbert ABB Global ConsultancyGerry Johnson Fulcrum Consultants (member, Joint Oil and Industry Fire Forum)Evert Jonker Shell Global Solutions International DownstreamMarc McBride (Chairperson) Centrica (Chair, Process Safety Committee)Dr Mike Nicholas Environment AgencyKen Palmer Consultant (member, Distribution and Marketing Safety Committee)Mark Samuels Essex Fire & Rescue (pp Chief Fire Officers Association)Dr Mark Scanlon (Secretary) Energy Institute (Secretary, Process Safety Committee)Stuart Warburton Essar Oil UK Ltd. Stanlow RefineryKevin Westwood BP (Secretary, Joint Oil and Industry Fire Forum) The Institute wishes to record its appreciation of the work carried out by them in providing technical direction to the project.Significant comments on the draft of this publication were received during its technical reviews from:David Athersmith ConsultantJames Coull Total UK LimitedMartin Hassett WorleyParsonsJohn Henderson and others British Chemical Engineering Contractors Association (BCECA)Ian Herbert ABB Global ConsultancyDavid Hughes ValeroGerry Johnson Fulcrum ConsultantsEvert Jonker Shell Global Solutions International DownstreamMarc McBride CentricaBruce McGlashan Environment AgencyDr Mike Nicholas Environment AgencyKen Palmer ConsultantRoger Roue The Society of International Gas T anker and T erminal Operators (SIGTTO)Stuart Warburton Essar Oil UK Ltd. Stanlow RefineryKevin Westwood BPSuch comments have been considered and, where appropriate, incorporated. The Institute wishes to record its appreciation of the work carried out by them and others who participated during the technical review.Project co-ordination and technical editing was carried out by Dr Mark Scanlon (Energy Institute).。

original resonance

丽しく咲いた未来色のメロディuruwashiku saita mirai iro no melody泡沫（うたかた）に舞う神秘の调べutakata ni mau shinpi no shirabeどんな言の叶で爱を彩ろうか？donna kotonoha de ai wo irodorou ka?せめて煌めく星空のようにsemete kirameku hoshizora no you ni遥か広がった遥か鸣り渡るharuka hirogatta haruka nariwataru优しき音色に心を乗せてyasashiki neiro ni kokoro wo nosete场所は违っても通じ合ってるこの绊basho wa chigatte mo tsuujiatteru kono kizuna 纺ぎ响いた梦のカンパネラtsumugihibiita yume no campanella歌に変わり天に辉くuta ni kawari ten ni kagayaku言叶じゃ足りない溢れる热情kotoba ja tarinai afureru netsujou声を重ね风になってFly highkoe wo kasane kaze ni natte Fly high世界でたった…たった一つのsekai de tatta... tatta hitotsu noハーモニーで包み守るよharmony de tsutsumi mamoru yo谁にも负けやしない二人だけの奇迹捧げたいdare ni mo make yashinai futari dake no kiseki sasagetai Original ResonanceOriginal Resonance锐利なRhythmに呼吸が混ざり合うeiri na Rhythm ni kokyuu ga mazariau同调（シンクロ）してく未知の领域shinkuro shiteku michi no ryouiki音楽のドアをノックしたこの手がongaku no doa wo nokku shita kono te ga静かに热く时代を変えるshizuka ni atsuku jidai wo kaeru儚く消えゆく黄昏れ消えゆくhakanaku kieyuku tasogare kieyuku足掻いた答えは「まだ」と嘲笑うagaita kotae wa 'mada' to azawarauでもその先にある光の息吹き确かめたいdemo sono saki ni aru hikari no ibuki tashikametai二人をさらう梦のノスタルジーfutari wo sarau yume no nosutarujii违う时に生まれ降りてもchigau toki ni umareorite moたぶん出逢ってた気持ちは一つtabun deatteta kimochi wa hitotsu同じことを胸に想うデジャヴonaji koto wo mune ni omou dejavu歩み筑いたこの物语ayumi kizuita kono monogatari伪りは何一つもないitsuwari wa nani hitotsu mo nai共に奏で繋ぐ永远（とわ）のカンタービレ感じ合おうtomoni kanadetsunagu towa no cantabile kanjiaou Original ResonanceOriginal Resonance纺ぎ响いた梦のカンパネラtsumugihibiita yume no campanella歌に変わり天に辉くuta ni kawari ten ni kagayaku言叶じゃ足りない溢れる热情kotoba ja tarinai afureru netsujou声を重ね风になってFly highkoe wo kasane kaze ni natte Fly high世界でたった…たった一つのsekai de tatta... tatta hitotsu noハーモニーで包み守るよharmony de tsutsumi mamoru yo谁にも负けやしない二人だけの奇迹捧げたいdare ni mo make yashinai futari dake no kiseki sasagetaiOriginal ResonanceOriginal Resonance。

suno ai 创作中文歌曲

suno ai 创作中文歌曲
当谈到Suno AI创作中文歌曲时，我们可以从多个角度来探讨。

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人
工智能可以通过分析大量的中文歌词数据和语言模式，生成符合中
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曲作品，从而丰富和多样化中文音乐市场。

希望这些信息能够全面回答你的问题。

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１. 電源設計
【輸入輸出規格】
填入各項設定条件
為計算結果為参考値
【MOS選択】
填入各項設定条件
・・・Gate電圧=10V時的Qg値[nC]
【電感設計】
填入各項設定条件
＜電感値的選択＞
●利用骨架繞制的情況
【周辺元件的設計】
A
4
Turn
補助繞組
400V
実装値
0.35
1300 uH
Turn ＜ C10的選択＞
計算値open
＜繞組選択＞
377 nH/Np^2AL_Value
実装値実装例(並連)
R1-1実装(並連)R1-1計算値輸入電圧範囲輸出電圧輸出電流最小振蕩頻率300V
5RE-******-1
DCmax：
160.0 kHz DCmin：f(min)Vo：0.35 A Io(typ)：200 V
680mΩR1-212.0 Ω1000mΩR1-2 2.4 Ω
匝数590.62 cm^2
磁束密度250 mT
有効截面面積＜ MOSFET ＞
産品型号45 pF
P5B52HP2＜磁芯的選択＞＜匝数＞
実装値
計算値895 uH 10.5 nC
11 pF
Ron 1.4 Ω
Qg(10V)耐圧525 V Coss Cj
二極管(D2)接合容量
820 uH
E12- 3 -。