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How to burn an image on Etcher? - Duration: 2:29.
Welcome to another video from Yenkna PCs. This time we're going to use at Etcher
and burn an image for the Raspberry Pi on an SD card. We're gonna switch to it,
now. Okay, this is what Etcher looks like. We're going to select the image.
Okay, highlight the .img file and press open. Okay, select the drive, which is the
SD card. And we're gonna click flash and it will take just a few moments. Please,
be patient. Okay, few minutes later, the car is flash and now we're gonna load
the operating system on the Raspberry Pi. Please, be patient I'll take just a few
seconds for it to load.
okay for this I have used Kano to load up on the card. As you can see it's
working fine, after I use extra to burn it. I'm just going to do a short test on
it to see how it works. Okay, I think it's pretty good and it works okay and it
should be the end of the test. This was just a tutorial on how to use at your to burn
an image to a micro SD card for the Raspberry Pi. As you can see it was a
successful burn. It worked great. I hope you found this video educational. Please, hit that
like button. If you haven't subscribed, please subscribe and see you later.
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om namah shivay - Duration: 10:16.
like , share and subscribe our channal
https://youtu.be/pzYzTa7atzg
om namah shivay..
like , share and subscribe our channel shivam linga
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【LoV4】アカズキンとアマゾネス姉妹② - Duration: 11:50.
For more infomation >> 【LoV4】アカズキンとアマゾネス姉妹② - Duration: 11:50. -------------------------------------------
Redshift ligth types. Physical light and IES. Volume light in Redshift. - Duration: 11:36.
Hello everyone! With you - Andrew Krivulya Charly and this is
a continuation of the course about Redshift - Chapter 2.
In it we will talk about the light sources,
about how to decrease the noise in interiors,
about volumetric illumination from a window, and also how to
do a quick render of awesome caustics.
Let's Go!
So, let's open the 3ds max.
Choose a Redshift render.
Create a plane of arbitrary size and the other objects,
to create in the scene an interesting shadows.
Next - create a physical camera.
Adjust the angle and press CTRL + C to apply it to this camera.
Go into the light sources and drag the first physical into the scene.
Set it direction in relation to objects.
Put a smaller resolution ...
For our tests it will be enough 1280*720px.
Assign a standard Redshift material.
In the render settings, in GI - put BruteForce / Irradience Point Cloud method.
The remaining settings are left by default.
Then press 8 and remove the preset for
the exposure, so that Redshift doesn't make warning about the tone mapping
and proceed to the lighting settings.
I'll give the camera a bit to see the light source.
Select it and go to the settings.
So, the first parameter you will see in
the settings - a light type.
Type of light source.
There are four of them.
Area, Point, Spot light and Directional.
Let's start with Area light and its settings.
By the way, if you pay attention - then the all parameters for all types
of the physical light - are identical.
In each source - you can adjust the size
In the intensity tab - you can choose the lighting mode using the color or
a temperature settings.
Let's turn on the IPR so that we can immediately see the change and continue.
With a color parameter - you can change the color of the light source.
Switching the mode to temperature, you can set the temperature.
For example 3600 for a warmer shade and 8000 for a colder one.
In the color map - you can load any map to get the effect of Gobo
or an interesting lighting with a gradient.
To load a gradient - open the editor of materials by pressing M.
Then go to the maps and select
standard gradient, which drag into the color map slot.
In the settings set the colors in such a sequence - green, red and blue.
In the end, we get an interesting lighting.
With changing a colors - you can achieve an interesting result.
About the effect of Gobo - I talk a little later.
Go ahead.
Next is the setting of the unit type, which allows you to specify the physical units
which are used to adjust the intensity of light.
Here, nothing complicated - just choose the units you need
and adjust the intensity parameter.
After it you will see the tab which named - Ray Contribution,
in which you can turn on and off the effect of lighting on diffuse or specular.
as well as - matte shadow
for compositing and of course, separately adjust the degree of influence
on diffuse and reflection
by using diffuse scale and glossy scale parameters.
Next is the Decay tab, in which you can adjust the attenuation of light.
I don't recommend changing this parameter, because inverse square - is physically correct.
Is that, you can change the settings - for some specific tasks.
Then comes the Area tab, in which you can exclude the light source from the renderer
with the visible option.
Also you can turn on the lighting in both directions - by the option bi-directional.
Normalize the intensity with
Normalize intensity parameter, thereby turning off the dependence of size on intensity.
If you turn off this option and increase
the scale of the source light, then the intensity will increase.
If you turn it back on - the light area will be excluded from calculations of illumination.
Also you can change the shape of the source - using the Shape parameter.
There is a rectangle,
a circle,
sphere, cylinder and mesh.
Once you select a mesh, the pick mesh button becomes active,
with which you can specify any object.
thereby using it in as a source of lighting.
I think you noticed that when using gradient lighting and changing
the shape of the light source - we have the different effects.
For example, if you will select a sphere and rotate it -
then you can get a different lighting.
Next in the settings are samples,
about which we have already spoken in the first chapter.
Increasing of this parameter removes the noise in the shadows.
And if you have some complicated mathematical objects - sometimes
you have to put 1024 samples, and sometimes even more.
But there is good news.
Soon there is a denoiser from Nvidia and then it will be possible to lower sampling without losing quality.
Next are the settings for spotlight, which become active when you select
of the given light source.
Once you chose a spot - immediately increase the intensity.
Cone Angle is responsible for the width of the beam of light,
and Falloff Angle - responsible for the attenuation of light at the edges.
That is, you can manage them clarity, when volumetric light is turned on.
Next is the setting of the shadows.
You can turn on or off them.
Make transparent using a transparency parameter.
With Softness - adjust their softness and with sampling to influence on the quality.
Softness Affect Gobo provides a soft textures projection for this effect.
Just now we talk about it.
If in Google - write Gobo Texture -
then you will find a bunch of textures that you can use to create this effect.
In real life - also a special filter is used
to get the interesting shadows or highlights.
To get started - let's download the textures
with a shadow from the trees and some kind of effect.
Next, open the material editor and load any of the saved textures
in the ColorMap slot.
In the end, you get the projection of this mask.
For the Gobo effect, you can use any picture.
There are not any boundaries for your creativity.
Be it a shadow, some pattern or color image.
You can also increase the intensity of the image itself in the output image settings
and by this -
get a more pronounced projection.
Also with the help of this effect - it is possible to simulate a caustic.
Let's write in Google - Gobo Caustic and download
of any of the pictures.
Then load it into color map and setup the tiling.
In the end, we get a fake caustic.
Next is the Viewport ROE parameter - so called Viewport Radius of effect, which
controls the power of spreading the shadow in the viewport.
The smaller value - will lead to more accurate shadows,
but they will be limited by a smaller radius around the axis of the direction of light.
Note that this applies only to the shadows in the viewport, not to the final render.
Personally, I never used it, but since it's here there is - it means someone can come in handy.
And by the way, it works only with a directional light.
Next is the Volume tab, in which there are two parameters.
The first is responsible for the visibility of volumetric light, and the second for its quality.
I personally use this effect only with a spot and point light.
To make the effect work -
you need to press 8 and in the atmosphere - add the redshift volume scattering,
Now, if you change the value of contribution scale - volume effect will be more or less pronounced.
I recommend to increase the volume sampling, like as = 512 or even 1024.
With spotlight - you can get volumetric light from a flashlight or headlights.
The last Photons tab is used for a physically-correct caustic and about it
we'll talk later, and now - I'll show the next light source type settings in Redshift.
This is IES.
Choose this light source and put it in the scene.
Then make a copy of it and move it in this way.
Now that the IES is working, I will download a special
file - which I will create in the IES generator app.
Now it doesn't matter - what form they will be, so I'll do it
arbitrary for each of the sources.
And upload by using a Profile button.
Now If you will press the Render and you will have this result.
IES has the same settings - like at the previous light source.
An only unique parameter is Viewport Scale, which allows
adjust the size of the source in the viewport.
So then don't get confused in a lot of them.
Each IES source changes its form relative to the loaded profile and it is very convenient.
If you will turn on the volume effect with using contribution scale -
then you get a pretty steep result.
As you already know, an exception of the light source from the volume light
is performed by turning off the same parameter.
Volumetrics in Redshift work very quickly.
Let's increase the number of IES and objects.
In the settings immediately put 1024 samples on volume in the sample override.
And in the System let's increase the size of the buckets.
And select the Hilbert method.
I will say Immediately that I'm doing a render on my GeForce GT 1030,
but also show this render on
one 980 TI and four 1080 TI.
but anyway, even on my video card - all of this will be rendered pretty quickly.
and assume, if in the same - Vray. Corona or Arnold
try to render this scene - then the time will increase 3-4 times.
There is certainly a minor disadvantage in Redshift.
When you have a lot of volumetricists - sometimes it is difficult to remove the noise.
But it's promised to fix it with Nvidia Denoiser.
But again - it all depends on your attitude to noise.
For example, in the cinematic shots - on the contrary, they add the small noise that will be
in Redshift - I think you won't be embarrassed.
So, click on Render and look at the time.
So, the picture was rendered for 6min9sec on one GT 1030.
If you increase it by 100% - then you notice that there is practically no noise.
He is barely noticeable.
Therefore, 1024 samples are sufficient for such a picture,
but when you have some kind of complicated explosion, smoke or something from the simulated
volumetrics - I recommend increasing value of BruteForce Num.Rays up to 512
for better quality.
So, 6 minutes for such a picture on one GT 1030 is an excellent result.
Since compared with other renderers, as I said - this time will increase by 3 times.
Now let's see how many time this picture will be rendered on 3 * 1080Ti
So, with the same settings - a picture rendered for 33 seconds.
As you can see, if you have enough powerful videocard -
then scenes with volumetric will be rendered very fast.
Let increase the number of light sources and change the color of some.
Then click Renter ...
and the result was 45 seconds.
Now I'll check the rendering on one 980Ti
So - the picture was rendered for 2min20sec,
that is 3 times faster - than on one 1030
and slower by four times than on three 1080Ti.
Go ahead...
-------------------------------------------
TUĞLALI ÜÇGEN ŞAL (TIĞ İŞİ) - Duration: 27:49.
*** 3D BRICKS / TRIANGULAR SHAWL ***
***Triangular version of the 3D BRICKS BEANIE***
Stunning 3D Stitch for shawls & bactus shawls
NOT REVERSIBLE
This is the Front Side
This is the Back Side
Materials:
For a Bridal Shawl:
Worsted white baby yarn & Glittered Yarn
The seen swatch USED HALF of a Ball of each
Hook No 4,5 mm
THUS: THICKER yarns & 4,5 mm hook
For lacy (&/or softer) results:
THINNER yarns can be USED
with appropriate hook no
ATT: The Stitch USES more yarn than expected
FIRST ROW:
Make a Magic Circle
Insert hook thru the circle & Pull up a loop
Chain 3 (counts as a Double Crochet)
Make a Double Crochet (DC) into the same space
Chain 2
Make TWO DCs into the same space
*That s a Mini Shell*
Pull the end of yarn & tighten the circle
Chain 1 & Turn
SECOND ROW:
Make a Slip Stitch (SlSt) into the NEXT chain
Make a SlSt into the 'chain 2' space of the Mini Shell
Making the Borders of the Shawl:
Chain 3;
Make a DC into the same space;
Chain 2;
Make 2 more DCs into the same space
*That s again A Mini Shell*
This will be the RIGHT SIDE BORDER
CHAIN 1
Make 2 DCs into the same space;
Chain 2;
Make 2 more DCs into the same space
*A Mini Shell*
This will be the LEFT SIDE BORDER
Chain 1 & Turn
THIRD ROW:
Make a SlSt into the next chain
Make a SlSt into the next space
Make a Mini Shell for the Right Side Border
THUS: Chain 3;
Make a DC into the same space;
Chain 2;
Make 2 more DCs into the same space
Working INTO the 'CHAIN 1' space:
Make TEN DCs into the 'chain 1' space
Make a Mini Shell for the Left Side Border
THUS: Make 2 DCs into the next space;
Chain 2;
Make 2 more DCs into the same space
*RIGHT & LEFT Side Borders are now visible*
Chain 1 & Turn
FOURTH ROW:
Make a SlSt into the next chain
Make a SlSt into the next space
Make a Mini Shell for the Right Side Border
CHAIN 3
Make a Single Crochet (SC) into the next space
Making a 3D Brick:
Chain 3
BEGIN as if to make a Front Post DC onto the next DC
***PULL THRU the loops ONCE***
*That s an unifinished Front Post DC (FPDC)*
Make an unfinished FPDC onto each of the next 9 DCs
*10 + 1 loops on the hook*
Pull thru all the loops
Chain 3;
Make a SC into the last chain of the 10th DC
*You ve made a 3D BRICK*
CHAIN 3
Make a Mini Shell into the next space (Left Side Border)
Chain 1 & Turn
FIFTH ROW:
Make a SlSt into the next chain
Make a SlSt into the next space
Make a Mini Shell for the Right Side Border
***WORKING into the 'chain 3' spaces***
Make FIVE DCs into the next space
Make FIVE DCs into the NEXT 'chain 3' space
Make FIVE DCs into the NEXT 'chain 3' space
Make FIVE DCs into the LAST 'chain 3' space
THUS: 4 groups of 5 DCs
Make a Mini Shell into the NEXT space (Left Border)
*This is the progress at the end of 4th Row*
*COUNT the ROWS*
*You will now REPEAT the FOURTH ROW principles*
Chain 1 & Turn
SIXTH ROW: (Repeat of the 4th Row)
Make a SlSt into the next chain
Make a SlSt into the next space
Make a Mini Shell for the Right Border
CHAIN 3
Make a SC into the next space
Sequence of BRICKs:
*WORKING onto the next 10 DCs*
CHAIN 3;
Make an unfinished FPDC onto each of the next 10 DCs
* 10 + 1 loops on the hook *
Pull thru all the loops
CHAIN 3
Make a SC into the last chain of the 10th DC
*That s a 3D BRICK*
*You will now REPEAT the Sequence of BRICK*
THUS:
CHAIN 3
*Working onto the next 10 DCs*
Make an unfinished FPDC onto each of the next 10 DCs
* 10 + 1 loops on the hook *
Pull thru all the loops
CHAIN 3
Make a SC into the last chain of the 10th DC
*That s again a 3D BRICK*
CHAIN 3
Make a Mini Shell into the next space (Left Border)
*This is how your project should look like now*
MIND that you REPEAted the principles of the 4th row
AND you made TWO BRICKS
*This is the progress on the Front Side*
*You will now REPEAT the principles of the 5th Row*
In order to make 3 BRICKS on the next row
To finish the 6th Row: Chain 1 & Turn
SEVENTH ROW: (Repeat of the 5th Row)
Make a SlSt into the next chain
Make a SlSt into the next space
Make a Mini Shell (Right Border)
***Working into the 'chain 3' spaces***
1) Make FIVE DCs into the NEXT 'chain 3' space
MIND that the number of spaces is INCREASED by TWO
2) Make FIVE DCs into the NEXT 'chain 3' space
*These 10 DCs will BECOME a BRICK on the next row*
3) Make FIVE DCs into the NEXT 'chain 3' space
4) Make FIVE DCs into the NEXT 'chain 3' space
5) Make FIVE DCs into the NEXT 'chain 3' space
6) Make FIVE DCs into the NEXT 'chain 3' space
QUICK STUDY:
On the 3rd Row: ONLY 10 DCs, 1 BRICK
On the 5th Row: 20 DCs, 2 BRICKS
On the 7th Row: 30 DCS
*These will BECOME THREE BRICKS on the next row*
Make a Mini Shell into the next space (Left Border)
Chain 1 & Turn
*This is how your project should look like now*
EIGHT ROW:
Make a SlSt into the next chain
Make a SlSt into the next space
Make a Mini Shell into the same space (Right Border)
CHAIN 3
Make a SC into the next space
*Working onto the next 10 DCs*
Chain 3;
Make an unfinished FPDC onto each of the next 10 DCs
* 10 + 1 loops on the hook *
Pull thru all the loops
Chain 3
Make a SC into the last chain of the 10th DC
*That s again a 3D BRICK*
BRICK Sequence for every 10 DCs:
Chain 3
Make an unfinished FPDC onto each of the next 10 DCs
* 10 + 1 loops on the hook *
Pull thru all the loops
Chain 3
Make a SC into the last chain of the 10th DC
REPEAT the sequence for the next 10 DCs
Last Repeat of the BRICK Sequence:
Chain 3
Make an unfinished FPDC onto each of the next 10 DCs
* 10 + 1 loops on the hook *
Pull thru all the loops
Chain 3
Make a SC into the last chain of the 10th DC
CHAIN 3
Make a Mini Shell into the next space (Left Border)
*This completes REPEATING CYCLE of the Shawl*
*This is the progress on the Front Side*
*REPEAT the principles of the 4 & 5th Rows*
***UNTIL you reach the DESIRED LENGHT***
*This is the progress after a few repeats*
QUICK REVIEW:
After each REPEAT, you will have ONE MORE BRICK
The no of 'chain 3' spaces is ALWAYS an EVEN number
& It is INCREASED by TWO after every repeat
MIND that:
The stitch looks ENLARGED at every other row
But STRAIGHTENs on the following row
You might finish the project after completing any REPEAT CYCLE
You might ADD tassels or Solomon's Knots at the ends
Pls look out for my other tutorials
Most of them have english subtitles
PLS SUBSCRIBE & LIKE & SHARE
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Affaire Nicolas Hulot : pourquoi les révélations du magazine "Ebdo" sont critiquées - Duration: 11:37.
For more infomation >> Affaire Nicolas Hulot : pourquoi les révélations du magazine "Ebdo" sont critiquées - Duration: 11:37. -------------------------------------------
LEGO® Ninjago® High Spee...
For more infomation >> LEGO® Ninjago® High Spee...-------------------------------------------
Comment se débarrasser d'un orgelet Voici 5 remèdes maison efficaces - Duration: 3:16.
For more infomation >> Comment se débarrasser d'un orgelet Voici 5 remèdes maison efficaces - Duration: 3:16. -------------------------------------------
Street Bike Car Wash | Street Vehicle Videos For Toddlers | Cartoon For Babies by Kids Channel - Duration: 1:05:59.
Street Bike Car Wash Street Vehicle
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Ringa Ringa Roses | Kindergarten Videos For Children | Nursery Rhymes For Kids By Farmees - Duration: 16:38.
Shout and play 'Ringa Ringa Roses'
Ringa Ringa Roses
A pocket full of poses
A - tishoo
A - tishoo
We all fall down
Ringa Ringa Roses
A pocket full of poses
A - tishoo
A - tishoo
We all fall down
Ringa Ringa Roses
A pocket full of poses
A - tishoo
A - tishoo
We all fall down
Ringa Ringa Roses
A pocket full of poses
A - tishoo
A - tishoo
We all fall down
Wasn't that fun?
Lets do it again sometime!
Good Bye!
-------------------------------------------
Comment apprendre en permanence ? - Duration: 5:09.
For more infomation >> Comment apprendre en permanence ? - Duration: 5:09. -------------------------------------------
{Top Santé} 8 Choses que vous ne savez pas sur les fraises - Duration: 4:13.
For more infomation >> {Top Santé} 8 Choses que vous ne savez pas sur les fraises - Duration: 4:13. -------------------------------------------
Responsabilità Rspp: quando va 3 volte l'anno dal cliente - Avv Zaniolo Ing Delaini - Duration: 2:04.
For more infomation >> Responsabilità Rspp: quando va 3 volte l'anno dal cliente - Avv Zaniolo Ing Delaini - Duration: 2:04. -------------------------------------------
LATIHAN SENJATA BARU DI SPLAT ZONES... (#16) [SPLATOON 2 INDONESIA] - Duration: 23:42.
I have a license to use Nintendo's content in this video through the Nintendo Creators Program. This video is not sponsored or endorsed by Nintendo, but any advertising revenue from this video will be shared with Nintendo.
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