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In their defense I think they have realized this and I can see some steps in the right direction with more of their products value being based on a rich software portfolio and not just fancy hardware with minimal software to get it to just work barebone style. How it should work and need to work in the future for any camera company to stay relevant is easier to say.Īs hardware differences between the companies levels out, its is with software enabled functions and features they will compete in a near future.Īnd here Sony really needs to step up and become more agile and release software on cadence.īasically they need to implement the thinking of the SAFe development framework or similar as is used by many modern companies which competes with software functions. So again, how Sony has their process and software release guidelines is hard to understand from just observing from the outside, as we are forced to do. No body model had a version beyond version 4 until they threw out both version 5 and 6 for the A9mkI, which got quite large function updates with those releases. I have noted that they normally stop updating anything but critical bugs and updates to enable functionality with newly released accessory hardware once the follow up model has hit the market. It almost seems like they trough a dice what to take into a release. Neither have I managed to understand how they do their backlog planning and what goes into development for a certain body or lens model. 10) and sometimes a rather small update is labeled as a major update (like 4.0). Sometimes it quite a load of things in an incremental versioned update (like 3. I have never understood their versioning for example. I agree that any update is better than none and I am grateful for the ones we get.īut Sony has their own way of doing software updates. It really depends on the product lineups and again i’m not suggestion they are doing a bad job, most of the firmware updates where really great! I think 5 years support should be standard, with this statement i’m not suggesting we should have all the glory for 5 years just a couple simpel once’s. Now give us v4.10 with the red focus selector and i’m a happy shooter with my old old old camera body. Now i am very happy they announced v3.10 or 3.0 i don’t remember which version they added better AF, but i’m still very happy about it. Now thats a big jump in numbers, owh wait it only adds ftp :S Now in my opinion a 3 year old? This suggest it’s a very old old old camera and we should be happy to go from 3.10 to 4.0. I would not label it as complaining, the AF part is kinda obvious but simpel other adjustments would be great to have for better user experience. Some people might enjoy the added functionality. Yeah, I'd like to see some information too because all the materials I have read say that it has the exact same sensor and processor as the a7III.Īre you seriously complaining that there is a new firmware update for that 3 year old camera? Just ignore the update then. Interesting, do you have a source or some more info about that? The a7C doesn't have better hardware, just better software.Ī7C has a dedicated microprocessor for AF function from A9mk1 (like all cameras after A7III series). I think somethings are hardware dependent so you can't expect too much improvement in AF IMO, I would be surprised if the focus point color is hardware dependent and i really think they should have added LEA-5 support if possible. But damn i really would have liked a red focus point instead of the grey transparent one. No AFC improvements, no focus point visibility improvement, no other usability improvements.ĪF-C improvements would be great but i’m not expecting such an improvement. So, there's a new 4.0 firmware for the a7III but, of all the things they could've improved, they only improved FTP transfer. Let's go up here to objects, node editor. Oh, that's the Arnold Shader network, sorry. And one of the things is the Octane-I'm going to hit shift-C really quick and open up the network. Okay, so my Octane piece that I'm going to be talking about right now is just something that I kind of have hodgepodged together from working with a few other artists that use Octane, and some stuff that I figured out on my own. I'm going to do a few different things, a lot of it's going to be X-Particles-based, with a little bit of TurbulenceFD. So yeah, let's go ahead and get into some presentation stuff. ” But this isn't LA guys this is downtown. And I'm so happy every time Cigraph is in this town, because it brings a lot of the creatives from outside of LA to LA, and we get to meet and mingle and stuff and they get to tell us, “oh, LA sucks. I live here in Los Angeles, the city that never sleeps. ♪ ♪ Yay! Thank you so much Adam, I love my new reel. So, let's go ahead and watch my reel so you can see some of the junk that I've worked on. I finally have a reel that's 60 seconds and looks like an editor did it and it doesn't have weird, off musical edits that I normally have and I'm super happy to have it. You guys want to see some of my work? A bud of mine, Adam Elder, just cut this reel for me and we're going to watch it together guys. Like following Cantina's ridiculous.like their work is so impressive. I am always filled with a great sense of pride to be considered worthy of presenting next to all these people that have done, rightly so, more than I could possibly imagine doing. Hey! Thanks again to Maxon for letting me come out to another one of these. Gear cutters are selected based on the following conditions.ġ) Properties of materials for work piece and tools.ģ) Structure of gears such as spur gear, helical gears and so on. #HELICAL GEAR DESIGN CONSIDERATIONS PRO#Gear profile usually starts, from base circle and ends with tip teeth are made in such a way that their contact is along the pro the top surface of teeth is made, flat, the tip of the teeth of one gear dig I into the bottom flank of mating gear. What is interference in gears? How can you overcome it? Vi) Life of gears required, usually 10,000 hours.ĩ. Iv) Causes for gear failures and their preventing methods. Iii) Amount of gear ratio for single step. I) The amount of.power to be transmitted. Hence following factors should be considered for selecting a specific type of gear drive. See also : Basic Of Gears -Gear Terminology/ Gear nomenclatureĨ. What preliminary design considerations should be, adopted, When selecting gear drive?Īll kinds of gears can not be useful for all kinds of work. Usually, the gear ratio should always be greater than one. At is also defined as the ratio of high speed to the low speed in a gear drive. (i) is the ratio of number of teeth of larger gear to that of smaller gear. If we assume the tooth thickness as t, and space width as t2 then backlash = t2 – tl Non-metallic gears are employed ‘where we require silent operation and low power transmission.įor example, in instruments like pressure gauge and so on.Ī) Pressure angle (a) is the angle making by the line of action common- tangent to the pitch circles of mating pars.ī) Module m is the ratio of pitch circle diameter to the number d of gear teeth, and is usually represented in millimetres.Ī) Back lashis the difference between tooth thickness and the space into ‘which it meshes, measured along the pitch circle. At what occasions non-metallic gears are employed. Non-metals like phemolic resins nylon, bakelite etc.Īmong them steel with proper heat treatment is extensively, employed in many of ‘the engineering applications.Ī) Tooth breakage. Non-ferrous metals such as brass, bronze, etc.Ĥ. Ferrous metals such as carbon steels, alloy steels of nickel, chromium and vanadium.ģ. 3.Illustrate the materials for making gears.
What more do you want? Here's a good website that explains the AU Lab window: Lab Documentation/AULabHelp/Document.Streaming games on Twitch, YouTube or another service is good fun - and for many, it's become a full-time job. #Twitch os x microphone fullThis setup gives you full control over the volume, while applying effects and monitoring everything with professional audio meters. You can save your specific settings with File > Save As. To change the "Input Source of a Output" you need to click the small number next to the audio meters (yellow for on, grey for off). The volume is controlled with sliders next to the audio meters. You can see the required connections down below. This way I can monitor what the stream hears (the mixdown of music and game), without hearing my own voice through the microphone. I have given AU Lab 5 Input channels (stereo for music, stereo for ingame sound, mono for mic) and 4 output channels(stereo for mic, stereo for ingame+music). Below are some screenshots of my settings (using qjackctl, see 2.6). The mixed down result is then routed to OBS. Here's how: You route everything to AU Lab, then apply filters / effects to whatever input channel(s) you like and adjust the volume of differerent audio sources. All you need to do is mix everything in AU Lab. To get the right mix, we would need to lower the volume of the game a lot, which leads to us not hearing the game whilst streaming. So we can in theory route both the game audio and microphone via Jack to OBS. However we have one little problem: There are no volume controls in Jack. However, you possibly need to create an aggregate Device in your Audio Midi Setup in order to still use the Built-In Output.Ģ.1 and 2.2 could be combined to add an effect to your microphone (like EQ). If you select your microphone in the preferences of JackPilot, then the system send port should represent your mic. #Twitch os x microphone manualRead the manual if you want to know more. (Note: I had to use this to capture the audio from GTA, as cider only outputs to one channel) You can link individual channels (left or right) by clicking the arrow next to the port and selecting out1/2 and in1/2. If you wish to stop the server, hit Stop in JackPilot. If you quit JackPilot, the server will still run in the background. Otherwise it might not appear in the Connections Manager. Always start Jack before you start your program to capture. Add one source (like in 1.2) and you have a total of 8 connections. The basic audio capture from 1.1 uses 4 connections. The more connections you make, the more CPU it will use. You now have game audio and music in OBS. Set the sample rate to whatever you use in OBS.ģ. As your Input Device you would normally set your microphone, but since we select our microphone directly in OBS, it doesn’t really matter what you select here.
Which part of the development of FLL stood out to you? Were there any challenges? What was your favourite moment of development? Some airport employees were nice enough to send us pictures, local pilots sent us airside images, and we even had a pilot doing fan overfly send us a few images. I used the airport as a passenger many times, before development I went and took some images and had a feel of the airport. Tell us a little about the process you went through to research the airport and start the development? We like challenging projects and if the airport is ‘lame’ or ‘uninteresting’ I am sure some uniqueness would be there for us to exploit, as it is in this case. That made me want to try it, knowing that the developer who did KFLL 11 years ago won’t redo it, we decided to jump in. I lived in South Florida for many years, was amazed by the engineering and innovation doing the sloped runway and how interesting it was. Why did you decide to work on that one next? Your latest airport, Fort Lauderdale-Hollywood International Airport, is due to release soon. Its frustrating but there is not much we can do but continue with the release, as it happened with LEBL and LEMD. We pick airports initially on those that are not done, however, we have encountered situations where in the middle of development other developers announce or release. When we decided to do KMIA there wasn’t a version for FSX but for FS2004, and we decided to jump in. The demand for airports in North America was higher and we decided to look at airports that weren’t done and if they were as in the case of KFLL, they had more than 10 years from the last version. Initially, I chose airports that were ignored by most developers, located in Latin America, as we did most of the importance we elected to do some in North America. How do you pick which airports to tackle next? You have a rich history of airport developments. 40 airports later, here we are still at it and expanding our catalogue, we have now 6 people directly collaborating with us from many continents and make part of LatinVFR. I am from Florida, and after graduating from college 12 years ago, decided to try and become involved in actively developing airports for FS. Tell us a little about yourself and what you do. In preparation for release, Ricardo, founder of LatinVFR, sat down with us to discuss some of the current challenges in the community, why he chose Fort Lauderdale-Hollywood International Airport and also what the future of LatinVFR will look like. LatinVFR’s next airport will be Fort Lauderdale-Hollywood International Airport (KFLL) and will come complete with new features such as sloped runways (with working AI traffic). Known for recent releases such as Miami V5, New Orleans and Madrid, the developer has proven to be able to create a range of products in a variety of locations around the world. LatinVFR has been in the industry developing airports for many years.
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