December 24, 2021 / Rating: 4.8 / Views: 887 Gallery of Images "Vegas Image For Windows" (50 pics):
Las Vegas HD Wallpapers Background Images
A lovingly curated selection of 54 free hd Las Vegas wallpapers and background images. Perfect for your desktop pc, phone, laptop, or tablet - Wallpaper Abyss
Color grading and color correction require accurate information and you can't always trust your eyes or monitoring hardware. Highly accurate video scopes including Waveforms, Vectorscope, and Histogram are essential to the process because they can confirm the truth and help assure you that you're making the correct adjustments. VEGAS Pro gives you a world-class set of color correction tools in the new unified Color Grading panel, with powerful color wheels, exposure controls, color curves, and LUT integration all in one centralized location. But VEGAS Pro also provides another powerful and indispensable set of tools to guide your color correction work – the video scopes. Read on to find out how video scopes help you perfect your color grading work! Editors often initially approach color grading entirely visually, correcting or grading color until it “looks good” to their eyes. Unfortunately, a few factors could mean that what looks good to you on your monitor may not translate to looking good to everyone on their own screens. Video scopes provide a tool you can use to make sure you've got the colors right. You can’t help how other people view your work, but you can be sure you’ve done it correctly. If you do it right and it doesn’t look good on someone else’s screen, then it’s a matter of proper screen calibration on their end, not yours. If you give them colors that you know are right because they're verified by highly accurate video scopes, then at least the chance exists for viewers to see the colors properly as long as they calibrate their viewing monitors. Without scopes, you have to rely on two things which may lead you astray – your monitor and your eyes. In short, everyone’s perception is a little different, so what you think looks good may not technically be accurate. That’s also true of the monitor you’re using for the work. While it’s best to work on a professional, well-calibrated monitor, those are very expensive, and the monitor you’re using may not show you true colors or exposure, even if you run calibration checks. It won't matter how excellent your eyes are if your monitor doesn't show you what you need to see. The scopes show you the true picture – the exposure, the color, the levels, everything. You don’t have to rely on the subjectivity of your eyes or worry about your monitor being slightly off. If your work is correct according to the scopes, it’s correct. That doesn't mean there isn't room for creative interpretation and expression, but strictly speaking, the scopes will not steer you wrong. If you go wrong, it's because you choose to go wrong. As long as you make that decision consciously, that's creativity in action! While scopes give you reliability within the shot you’re working on, you can also rely on them to match your work between different shots. In theory, if everything did match from shot to shot, you could do your color work on one clip, export your look as a LUT or save the effects chain as a preset, and then apply it to the other shots, and everything would match. Sometimes different shots in the same scene need different color treatment in order to match. They may have been shot on different cameras, or from different angles, or on different days when the lighting didn’t exactly match. The color and exposure may be slightly different between them, and there could be a number of other reasons they don't match. So simply applying a LUT or color preset will not always give you matching results. You may need to do extra work on the different shots to get them to match. When you apply color grading so that the scopes match between shots, you can have high confidence that the shots match visually too – the same exposure levels, the same color balance, the same saturation. Your eyes may not get it exactly right, but the scopes will. Normally, that's the goal, and video scopes ensure that you don’t have to guess or hope. The histogram shows the distribution of luminance – lightness and darkness – within an image. It shows you how much of the image occupies each shade of brightness, with darkest shades registered to the left and brightest shades to the right. As a rule of thumb, if the histogram bunches up to the left, the exposure in the shot may be too low and the image too dark. If it bunches up to the right, the exposure may be too high and the image too bright. A well-distributed histogram may indicate a well-exposed shot. But while the histogram shows you the image's distribution across the brightness scale, it doesn’t show you the brightness' distribution within the image. In other words, it doesn't show you where the bright areas appear within the image, so its usefulness for video is limited to a quick glance just to see if you're generally in line. Unlike the historgram, the waveform shows you the luminance distribution throughout the image and lets you easily identify the bright elements and dark elements. The waveform plots luminance values from left to right corresponding directly to the image. For instance, if the image contains bright spots like car headlights or candles, you will see their brightness plotted on the waveform in the same place from left to right that you see it in the image. This way you see exactly how bright those individual elements are, and that makes the waveform your most powerful tool for setting exposure. A waveform’s scale depends on whether you set it for standard video or for HDR. Set for standard video, the waveform scale generally shows luminance values between 0 and 100, in units called “IRE.” Set for HDR, the scale becomes logarithmic, with values from 0 to 10,000. It’s much easier to understand the 0-100 scale, so we’ll discuss it in those terms. Still, remember that the VEGAS Pro scopes also work for accurate HDR color evaluation, so they work beautifully in conjunction with the HDR-aware Color Grading panel. On the standard scale, 100 represents pure white, the brightest luminance possible, and 0 represents the darkest dark, pure black. Areas of the image flattened down to 0 or flattened up to 100 represent “clipped” areas where no detail can exist, just total black or white. A robust, well-exposed image should have very little clipping and instead have brightness distributed nicely between the limits. You may have significant areas of dark, such as in a night scene, or of bright, such as a bright daytime sky or white backdrop, which will show on the waveform as bands in the lower or higher areas of the scale. Details, such as people, will break up those bands, corresponding to their left/right position in the image. Different editors do it different ways, but often, setting proper skin tones puts you on your way to correct exposure. Human skin tones range from about 55 IRE for the darkest tones to about 75 IRE for the brightest tones. A Caucasian face ranges from about 60-70 IRE, with bright highlights at about 75. As skin tones get generally darker, the readings lower. The darkest skin tones generally fall at about 55 to 60 IRE. In a properly lit shot, setting the skin tone often sets the entire image, but you still may have some detail work to do. For instance, windows that let bright light in can “blow out” which means the light causes your video to clips up at 100 IRE. If the clipping was caused by some other color grading you added, you might be able to use color curves to bring down the light from the windows, and restore the detail, without affecting the rest of the image. However, if the clipping was captured in the camera, there may be little you can do to bring back that detail, so be careful in setting your exposure properly on set. Similarly, the dark areas may have clipped down to 0 IRE, which means you've lost detail in the shadows. If this happens because of your own work in post, you can use color curves to bring up the shadows and restore that detail. The waveform shows you exactly where these trouble spots appear. Video noise shows up mostly in the lower IRE levels. If you have a lot of noise, you might be able to lower the darks into total black or near-total black and help eliminate it. The more you push those blacks, the more detail you lose in the shadows, but it may be preferable to the noise. Once you have exposure set, your waveform should be well-distributed. You can compare it to the waveform on other shots to confirm that their exposures match. The points on the scope show which colors appear in the image and their saturation level. White, gray, or black with no color all appear as a dot in the center, because no color exists -- in other words, saturation equals zero. An image with predominant reds might show a fuzzy line extending from the center out along the “R” vector. As you lower the saturation, the end of that line moves more toward the center of the scope. Increase the saturation and you drive it more toward the outer edge. You can thus use the scope to determine your color balance and for clues on how to correct imbalance. If everything leans towards the blue in an image which shouldn’t have that much blue, you’ll know that to correct it, you should shift colors more toward yellow (the opposite color on the scope, known as the complementary color). When you do, you’ll see the plots on the scope shift toward the center of the scope. Or, if you use secondary color correction to change a single color into a different one, you’ll see the plots change on the scope accordingly. The vectorscope enables you to see if your colors are true. If you have a red fire truck which hits properly red on the vectorscope, you can be sure it’s red even if your screen shows it more orange or more magenta. And when matching shots, if the same colors read the same on the vectorscope, then you can be sure your colors match between shots, and that's more reliable than your eyes. part may be reproduced in any form without explicit written permission. Different types of Scaffolding used for various types of construction. The 8 types of scaffoldings are trestle, steel, patented, suspended, cantilever, single, double, kwikstage scaffolding etc. To understand these Scaffoldings completely lets first learn its definition and then the uses of various Type of Scaffoldings, and their uses. In this blog you’ll find the most important scaffolding types with their images and explanation. By understanding the meaning, usage, purpose and results of each type of Scaffolding. You can easily select the various types of Scaffolding required for your construction work. This is also helpful in creating a safer environment for construction workers. Keep yourself updated from latest article about most trending products and share your thoughts. Here you are with a blog or a product or a charity you believe will change the world, and yet no matter how excited you are about the possibilities, no matter how much faith you have in yourself, you can’t help being worried: influence them. He outlined different principles scientifically proven to influence people, as well as suggestions for how to do it. Robert Cialdini wrote a book called Influence: The Psychology of Persuasion. Since then, it’s become maybe the most important book in the field of marketing. If you haven’t read it, you should, as well as the sequel. Here’s the bad news: Mind control isn’t about magic powers, arcane arts, or even shaving your head and gallivanting around in a wheelchair (although, I’ve been tempted). You might think that’s unethical, but if everything is going well, Will some of them bow out, saying they are too busy right now, and they’ll catch you next time? The truth is it’s about something that makes a lot of people squeamish: . Not because of magical powers of persuasion, but because you’ve thought through everything, and it’s a no-brainer. Sure, but it’s better than never getting started it all. The core of marketing isn’t customer profiling or market segmentation or any of the other complicated nonsense taught in most business schools. If you do it right, it won’t feel like asking at all. Creating a successful marketing campaign is a lot like starting an avalanche. And if you let other people dictate timelines, that’s exactly what will happen. It’s infinitely simpler than that, and it can be encapsulated in one word: Yes. Between their jobs, their family, and their own hobbies and friends, their mind is already stuffed, like a suitcase bulging at the sides. First, you climb up the mountain, and then you find the biggest boulder at the top, and then you sweat and grunt and strain to push the boulder over, and then you sit down and watch happily as the boulder goes crashing into other boulders, eventually bringing the whole side of the mountain down. The first big yes is a pain in the butt to get, but if you get it from the right person, then getting all of the subsequent yeses is easy. You know you’re supposed to give before you get, right? A lot of marketers mistakenly assume it’s a 1:1 ratio. Before you ask for promotion, you should give a promotion. You ask a blogger for a link, and they say, “Yes.” You ask a partner to promote your product, and they say, “Yes.” You ask a customer for a testimonial, and they say, “Yes.” If you get enough yeses, your blog/business/charity succeeds. It’s so simple, and yet so few of us really understand how to do it. Add one more sock, and the whole thing will explode. For example: Of course, a lot of marketers recommend taking the opposite approach. Before you ask for a testimonial, you should do one thing that deserves a testimonial. Smart marketers use a 10:1 ratio, and not just in action, but in say no. To avoid it, they “forget” about things that aren’t very important to them, or if they do think about you, they don’t think very hard. They’re just busy, and you’re probably not very high up the priority list. They tell you to start from the bottom and work your way up because it’s easier. Yes, pushing over a small rock is easier than pushing over a boulder, but the boulder is a lot more likely to cause an avalanche. Yes, it’s a lot of work, but that’s the price of influence. So while it’s more work in the beginning to get top people to help you, it’s actually less work in the long run, and the results are far, far greater. It’s supposed to protect you against getting taken advantage of. Whenever you’re asking for anything, never start by asking for everything upfront. Imagine there are two homeless guys standing on a street corner. You’ve probably heard the expression, “Give them an inch, and they’ll take a mile,” right? The first guy has a normal, run-of-the-mill sign saying, “Spare a few dollars? God bless you.” The second guy, on the other hand, has a much more unusual sign: “Can’t afford to feed my family, and it’s tearing me apart. With a sign like that, you’d take him to the grocery store and buy him $200 worth of groceries. That’s the power of standing for something bigger than yourself. Please help, so I can stop feeling like such an awful Dad.” Which one would you be more likely to help? It makes people Those are the types of things people want to talk about. They feel grateful just for having the chance to help you spread the word. It’s about seeing a vision so beautiful you can’t help but fight to make it real. You want to know what separates a great marketer from a mediocre one? I’m not referring to a lack of conscience, having a gregarious, extroverted personality, or any of the other ways we traditionally look at marketers. No, by shamelessness, I mean this: An unshakable belief that what you are doing is good for the world and the willingness to do to bring it into being. When you believe in your content, you don’t publish it and forget it. You promote it day after day, week after week, month after month, year after year, working tirelessly to spread the message to everyone who needs to hear it, and refusing to rest until they do. When you believe in your product, you don’t balk at sales. Not because you’re greedy or desperate or egotistical, but because you know your product will help them, and so it’s your to get them to buy. When you believe in your charity, you don’t beg for donations. You grab people by the shoulders and look them in the eyes and tell them what you’re doing is changing the world, and it’s time for them to step up and do their part. Pasta e Fagioli is a hearty, one-pot soup inspired by Olive Garden. Chock-full of beans, veggies, noodles and lean beef, this classic Italian soup is sure to win you over. Pair it with Soft Dinner Rolls and you have a very satisfying meal. In Italian, “Pasta e Fagioli” translates to “pasta and beans”. We love making restaurant favorites at home like Zuppa Toscana soup, Chicken Madeira (a Cheesecake Factory favorite) and of course Philly Cheesesteak. This makes a whole lot of sense considering this soup is chock-full of pasta and beans! It is also loaded with aromatic veggies and lean ground beef, making it a whole meal in a bowl. Think of Pasta e Fagioli as an Italian spin on chili! Don’t let it go to waste and throw it into the soup pot alongside the broth. All the oils and salty-parmesan in the rind will meld with your broth and enhance the flavor. Just make sure you take the rind out before serving. This soup tastes better and better as it marinates in the fridge. Store soup in an airtight container in the refrigerator. Yes, that means your leftovers will get tastier as the days go by! To reheat your soup, simply microwave it or bring it to a simmer in a pot over medium-high heat. Natalya is a food blogger who founded to make cooking easier. Growing up on a farm in Ukraine, Natalya was inspired by the amazing dishes that were prepared using simple ingredients. Natalya is most notably known for making cooking approachable for any person.Hätten Sie gedacht, dass Slots reguläre Spielautomaten sind?!