![]() ![]() ![]() Augmented reality (AR) viewing features enable you to experience your 3D models by merging them with the world around you.SketchUp Viewer supports Apple’s Files app, making it easy to open models from Dropbox, Google Drive, iCloud and other file storage apps.You can also open models using the iOS ‘Open In’ feature, for example when opening. Open or download models directly from 3D Warehouse or Trimble Connect.Navigate and present your own SketchUp projects, or explore the millions of free models in 3D Warehouse for FREE!Įxplore, present, and communicate in 3D. Please always create a frame around the skylight to ensure that the edge of the glazed area is inside the floor area below, and that the two edges are not directly in line or overlapping.BIG NEWS! SketchUp for iPad BETA is available for testers who want to help shape the future! Learn more & register for the SketchUp for iPad BETA at /ipad.īring 3D models to life on iPad or iPhone using SketchUp Viewer. If a skylight (or a window) finishes flush with the edge of a wall, this causes issues with the model interpretation algorithm. Any context geometry (walls, surrounding buildings, etc) should be set to Shading only if they provide substantial shading to the building you are analyzing - but take care to stay well below 500 shading planes in total!ĥ) Skylights (as well as windows) must be framed.Any external glazing should be set to Internal Glazing if they provide some shading to the building (e.g.Any external floor areas should be set to Ignore, unless they provide shading to the building (e.g.Sefaira will always assume that there is heat transfer between the outside and inside (with the exception of internal floors) across these elements.Īny elements that do not separate the inside from the outside and are outside of the building, should be tagged with either Shading, Internal Glazing (for external transparent surfaces) or simply Ignore. To stick with single-plane floors and avoid internal walls below cutting into the floor area above, simply Group your building floors or storiesĪny wall, roof, floor or window area should be part of the building envelope, and never outside it.Internal walls are required for correct daylight analysis, however if you are only interested in energy analysis you can simply divide the floor planes and internal walls will be assumed along those boundaries.Some notes regarding internal zone separation: Note that 'internal wall' is interpreted as an opaque face for daylight analysis, but ignored for energy analysis You could tag all internal faces as 'internal wall' or 'ignore' (in the case of double floors or ceilings).You could redraw a simple outline of the complex building.If you have a complex model with double-faced elements, here are some ways to manage these: This is not relevant for walls, ceilings and floors in daylight analysis only, as for daylight we are only interpreting opaque and transparent faces, which either block (and reflect) or transmit light. a wall, roof, ceiling or glazing modeled with thickness, then energy transfer will be calculated across both surfaces, leading to incorrect results. If you tag two surfaces that are parallel to each other, e.g. ![]() To orientate your building correctly, Sefaira will assume that the default green model axis always points North.īoth energy and daylight analysis rely on a realistic floor area, and also a realistic internal ceiling height to calculate results correctly.Įnergy analysis assumes that any surface tagged as 'wall' (for example) will have all the physical properties of an actual wall with corresponding thickness. If the model is placed far away from the origin, this might interfere with both the daylight and energy simulation. If you are running into error messages related to Sefaira being unable to process your model correctly, this is likely down to an issue with the model setup.Īside from the checklist below, please also follow this guide to ensure that your entities are tagged correctly.ġ) Always place your model at the origin and orientate correctly Below is a checklist to help with setting up your model for Sefaira analysis, both to avoid errors and to ensure that your results are correct.
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![]() ![]() Anyway, if anyone has a suggestion on how to proceed from here, I'd appreciate hearing it. ![]() In the course of trying various crazy fixes, I may have disconnected the battery pack while the camera was connected to the ac adapter and firewire.any chance this might have shorted the firewire connection in the camera? The computer diagnostics say the internal card is fine, and all on-board camera functions are OK. Unfortunately, now my computer will not recognize that the camera is connected. After poking around the Internet and trying various fixes that didn't work, I found a post that recommended an IEEE 1394 "patch" to fix a recognition proble inherent in Windows SP2. ![]() The first couple of times I tried to capture video using the JVC-supplied Imagemixer 7.0 software and Windows Moviemaker, my computer recognized the camera as a "generic" camcorder, and I could control the camera from the computer screen, but could not complete the capture.no video appeared on the software monitor, and after ending the capture session, I got an error message saying "Video failed to capture properly" or something like that. I tried connecting it up to my "new-ish" Gateway (eMachines) 816GM CPU running Windows XP with a built-in VIA OHCI Compliant IEEE 1394 Host Controller. Posted on Friday, Ma02:50 GMTWell, Folks.I just bought a JVC GR-D33U and got a firewire cable for it. If anyone has any suggestions they would be much appreciated because this is beginning to annoy me slightly. I have also checked my manual multiple times and have checked the JVC website but none of the downloads are of any help. I have visited a number of message boards on the same topic and have tried many things to sort this including installing XP service pack 2, turning the camcorder into different modes before and during me being logged into XP and renaming files in windows. This leads me to the conclusion that the firewire cable, card and the camcorder are all working fine, so there must be a problem with XP. JVC: GC-PX100 / GC-PX100B / GC-PX100U / GH-HM150U / GR-AX890US / GR-AXM17U / GR-AXM18U / GR-AXM18US / GR-D32US / GR-D33U / GR-D33US / GR-D34 / GR-D34E / GR-D34U / GR. Also, the camcorder is still recognised, using the aforementioned cable and card, on my ME desktop. I have all the software that came with the camcorder installed, along with MGI Videowave 5, the same software I used to successfully capture and edit videos with on ME. However, I cannot get XP to recognise my camcorder. Also, I use the firewire port with my external hard drive, using the same cable as mentioned before, with no problems. Im using the same firewire cable as I used with ME when the device worked fine. The camcorder uses firewire and has woked fine on my old ME desktop using a firewire card i purchased and installed separately, but is not recognised by my newer XP laptop with a preinstalled firewire card. Im having trouble with a JVC GR-DVL167EK camcorder and windows XP. Updated version 5.Posted on Tuesday, Febru18:32 GMTHey everyone, It supports all JVC "VN-Vxxx" and "VN-Xxxx" IP camera models, including Megapixel cameras. It is designed specifically to work with older JVC network (IP) cameras and encoders. Arrives by Wed, Dec 8 Buy AC Adapter for JVC GR-D33U ac, JVC GR-D33US ac, JVC GR-D71U ac, JVC GZHD10US ac, JVC GZHD10EX ac, JVC GZHD30US ac, JVC GZHD7EX at. 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![]() That dreaded “I” word is a designation that Smith himself would bristle at for decades thereafter, as his film’s riotousness was fashioned more for knowing laughs than lofty significance. One could say that it obscures the object at the center of the controversy, although the historical knowledge of Smith’s extraordinary work becoming political grist has at least done the service of elevating one of the most beautiful and radical of all experimental films, a devil-may-care spectacle of intense queer desire, into the realm of importance. The case remains one of the most notorious public battles over artistic freedom of expression in American movies. ![]() On March 3, 1964, New York police interrupted a screening organized by Mekas of Jack Smith’s Flaming Creatures at the New Bowery Theater, seizing the 16mm print and projection equipment, and arresting Mekas, along with Ken Jacobs (the theater manager that night) and Florence Karpf (the future Flo Jacobs, taking tickets), on charges of obscenity. The second sentence conveys something that most people would agree with as a truism in spirit, if not necessarily practice: after all, what does it mean to call something “art” and what do we do with it once we’ve designated it as such, and how often do we seek it? The third sentence is more concrete and situates this short essay-titled, simply, “ Statement”-in the precise moment it was written. ![]() The sentiment in the first of these sentences would only become more glaringly obvious as the years wore on. These words, written by Jonas Mekas, were published in the pages of Film Comment magazine in its Winter 1964 issue. And the meanings and values of art are not decided in courts or prisons.” What we are saying is that cinema is also art. “Hollywood has created an image in the minds of the people that cinema is only entertainment and business. In this biweekly column, Michael Koresky looks back through a century of cinema for traces of queerness, whether in plain sight or under the surface. He seems to have the brute force of the Hulk and the conjuring skill of Benedict Cumberbatch's Doctor Strange, one of the only characters who routinely manages to counter his destructive power. The movie treats Thanos as an agent of pure chaos, like an Old Testament curse come to life, picking people up by their skulls, deconstructing them into three-dimensional puzzles with a wave of his hand, even rupturing the structural integrity of the universe. (Thanos' second-in-command, the snide and hateful space wizard Ebony Maw-played by Tom Vaughan-Lawlor-makes an equally strong impression, though he doesn't have many scenes.) Some of the movie's most affecting and/or frightening moments see Thanos tormenting captive heroes (including Zoe Saldana's Gamora and her sister Nebula, played by Karen Gillan) until they disclose the location of the stones, or forcing them to consider killing themselves (or having others kill them) to stop Thanos from achieving his dream. I like how the movie builds everything around Brolin's CGI-assisted but still fully inhabited performance as Thanos-an oddly wistful and lonely figure who is, essentially, a religious fanatic, yet carries himself with the calm certainty of a military man who's read the ancient Greeks and speaks tenderly to cadets while stepping on their necks. ![]() ![]() But what are superhero movies without panache really good for? If there was ever a moment to swing for the fences, it was this one. On some level, it feels ungrateful to ask a movie that already does the impossible to do it with more panache. "Infinity War" faced so many challenges, many of them unique to this particular project, that it's a small miracle that it works at all. Until pretty recently, MCU films have suffered from collective curve-grading-each film seemed content to settle for "better than expected," as opposed to being really, truly good-and that feeling returns here, unfortunately. This is, as many have pointed out, one half of a story broken in two, but it feels like less than half somehow. well, it's hard to say exactly what's wrong here. If only the film were better modulated, or perhaps longer, or more elegantly shaped, or. In light of all this, it's inevitable (and in no way a spoiler to reveal here) that not every character makes it out alive, and that if you come away from the movie feeling bummed out and anxious rather than elated, that means "Infinity War" has done its job, just as " The Empire Strikes Back" and "Harry Potter and the Deathly Hallows: Part One" did their jobs. The gambit works, mostly, because the story is an operatic tragedy that necessarily has to end with the heroes in a deep, dark place. The Russos swagger headfirst into melodrama here, more blatantly than in any previous Marvel film they've directed, though there are problems with their approach that I'll outline in a moment. The film's running time doesn't fly by, exactly, but it rarely seems to stall out, which is impressive when you consider how many of the movie's big scenes consist of people talking, sometimes emoting, in close-up. Plus all the characters from " Black Panther." And the ones from " Guardians of the Galaxy." And a few more Marvel characters who are new to this film.Ĭo-directors Joe and Anthony Russo, co-writers Stephen McFeely and Christopher Markus, their small army of actors, and their hundreds of filmmaking collaborators have managed to get on the same page and stay on it. ![]() Once he's collected all six, Thanos will be able to achieve his dream of wiping out half the population of the universe in order to preserve its precious resources and restore "balance." The only thing standing in his way are the Avengers, led by Thor ( Chris Hemsworth), Hulk/Bruce Banner ( Mark Ruffalo), Natasha Romanoff/Black Widow ( Scarlett Johansson), Steve Rogers/Captain America ( Chris Evans) and the rest. The plot finds the intergalactic bad guy Thanos ( Josh Brolin) and his army of Green Goblin-looking warriors bouncing from star system to star system, torturing and killing various adversaries in order to gather six super-powerful Infinity Stones and embed them in Thanos' oversized glove. For a 160-minute epic that unifies a far-flung superhero universe that took a decade to build, packs 76 characters into one story, and has four to six plotlines cooking at any given time, "Avengers: Infinity War" hangs together pretty well. |
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