Any tab that represents the primary action of the app – for instance, adding a new photo in a photo-based app – is centered.They represent the main destinations or “nouns” of the applicationįor what it’s worth, many popular third-party iOS apps also conform to a few additional guidelines:.On iOS apps, primary destinations in the app are listed as tabs across the bottom. The main parts or “destinations” in the app are laid out in different ways. Resources: iOS navigation bars Material Design top app bar Primary Navigation Destinations There doesn’t need to be anything to the left of the page title, but (a) if the page is a top-level page and there’s a hamburger button in the app, it appears there, or (b) if this page follows another sequentially, you can optionally add a back button. On Android, the page title is left-aligned. The optional right page action(s) can be displayed as a single text action or multiple icon actions. The page title is virtually always present, and starts large, but shrinks with the header as the user scrolls. Alternatively, a non-related destination can be linked here. On iOS, the (optional) left action is almost always some sort of “ back” – whether to the previous screen sequentially (“Step 2” goes back to “Step “1), or the parent screen hierarchically (“Inbox” goes up to “Mailboxes”). Each platform has different standards for what appears at the top of most screens. Android Navigation Top-of-screen navigation This article is written in the spirit of learning to “think in iOS” or “think in Android” – and if your goal is to make an app for both platforms, but have each feel native to the system it’s on, then this guide will be a huge help. If your users are able to confidently navigate and use the app you’re creating, then no one can tell you not to use tabs on iOS or modal views on Android. So while I present two ways of doing everything below (the iOS way and the Android way), neither is wrong. They will make UX mistakes like anyone else, but in general, when they define a design language for the default way in which their system should work, they’re not going to be making incredibly glaring mistakes. Oh, and before we really dive in, let’s answer one important question that will frame everything else here… Do I have to make my Android and iOS apps different?Īpple and Google are both very smart companies with a zillion users each. List with switches OR list with checkmarks for selected itemsĬonfirm or allow undo of destructive actionsĪllow Undo via temporary on-screen notifications Here are the most important differences that UX/UI designers need to take into account when “translating” an app from iOS to Android or vice versa: Design elementīottom nav OR "hamburger button" side menu Skip ahead, or read it straight through – like a freak. This is about translating “iOS thinking” to “Android thinking” and vice versa. But! – these are guidelines, and basically everything I’ll say is contradicted somewhere, even by Apple/Google themselves. If you’ve created an app on one platform, this is most of what you need to know to “translate” it for the other platform. We’re going to cover the most relevant differences between iOS and Android for UX/UI designers. If you’re designing both an iOS and an Android (Material Design) version of an app, this guide is your new best friend □.
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You can use this display as a quick indicator of a transition’s length.ĭouble-click the title bar of the Video FX window to resize it for the current plug-in. Select Event Fade Lengths from the View menu to display fade lengths between selected and nonselected events in the timeline. To move transition controls in fine increments, hold Ctrl while dragging the control. To apply a preset without displaying the Video Event FX dialog, hold the Shift key while dragging a preset from the Transitions window to the timeline. Use this window to choose and preview transition effects that you can use to control how a video event begins or ends, or to change the way one event flows into another. To change length of the transition for cuts that are converted to transitions, use the Cut-to-overlap conversion settings on the Editing tab of the Preferences dialog.įrom the View menu, choose Transitions to display or hide the Transitions window. If you drop the preset on an event edge with no fade, all other event edges, event fade-ins/outs, and single-event transitions that occur on the same end of the event within the selection will be changed. If you drop the preset on an event fade-in or -out, event fade-ins/outs and single-event transitions that occur on the same end of the event within the selection will be changed. If you drop the preset on a transition that is at the beginning or end of an event (but does not span two events), only single-event transitions that occur on the same end of the event within the selection will be changed. If you drop the preset on an existing cut, all cuts, crossfades, and transitions within the selection will be changed. If you drop the preset on an existing crossfade, only crossfades and transitions within the selection will be changed. If you drop the preset on an existing transition, only transitions within the selection will be changed. You can also click this icon to edit the transition’s settings.ĭropping on existing cuts, crossfades, or transitions: The Video Event FX dialog is displayed to allow you to edit the transition’s settings, and a is displayed in the timeline to show you where the transition takes place. The new transition will replace all existing transitions in the selected events. Hover your cursor over a preset to see an animated example.Īfter you’ve found the setting that you want to use, drag it to the a transition on one of the selected events. The thumbnail images on the right side of the window represent each of the existing presets for the selected transition. Select a transition from the list on the left side of the window. About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features Press Copyright Contact us Creators. Select the events where you want to add the transition.įrom the View menu, choose Transitions to display the Transitions window. If you tend to use the same transitions often, you can save yourself some time by adding a transition to all selected events in one fell swoop. Sync links provide an additional method of keeping events synchronized: a linked event retains synchronization when the event it is linked to is moved but can be moved independently.Īn updated Render As dialog streamlines the rendering process and makes it easy to manage your favorite render templates.Īdded MP4 templates for Internet distribution.Īdded an Enable progressive download check box to the Video tab of the Custom Settings dialog to allow your videos to begin playing during download.Īdded support for GPU-accelerated rendering.Life has enough tedium. Improved usability for the Mixing Console.Ī simplified Master Bus window provides you with a streamlined view of your project's master output. Support for NVIDIA 3D Vision on single-display systems using the Windows Graphics Card device (available in Preferences > Preview Device).Įvent Pan/Crop is now integrated into the Video Event FX dialog. The Stereoscopic 3D Adjust plug-in now includes Floating Windows controls to allow you to mask the edge of the video frame to compensate for screen-edge violations.Īdded a Stereoscopic 3D depth control to the Cookie Cutter effect, as well as Cross Effect and Iris transitions. The Stabilize plug-in has been simplified and improved. The Transitions, Video FX, Media Generators, and (new) Compositors windows all include folders to group plug-ins and a search box to help you find plug-ins easily. going back to relink to that can be a total utter nightmare if you did not first clipwrap all the media to individual files, and at the very least then bulk rename a cards set of files with at least something like Cam1_Card1_ClipXXXX ( adobe bridge has a great rename utility BTW )… and then maybe still use QTchange to insert matching reel names directly into the files. Since MXF just names clips Clip_001 ect its very easy to have a dozen clips of the same name. This can also happen when you clipwrap MXF media into individual new MOV's. thats a HUGE help when you have multiple dslr clips from _different_ cameras and they have the same names because some on thought it would be a good idea to match all the cameras together on a shoot… or you are a busy post place and simply wind up with dupe names because of all the material coming thru. QTchange will write into the mov file a reel name and set the clip TC = to creation time (ToD). One of the huge pitfalls is if you don't pre-process your canon DSLR footage thru QTchange. there are just too many things that go wrong that can cost days of work to correct. if you have never had to manually relink hundreds of clips, you won't understand that proxy workflow is pretty much to be avoided at all costs. Proxy workflow on most systems is just a total minefield of problems. having enough ram, fast drives and a good GPU are all part of the equation and if they all aren't up to speed, then you won't have a good experience on older gear. my 4.1 mac tower with 2X4 2.8ghz zenons does ok with canon h.264 in prem pro. I really disagree unless you have a pretty low end processor for that era. What are your thoughts on transcoding, and what role does it play in your post production workflows? If that's the case with any particular codec that you regularly use, transcoding to an intermediate might just be the best option in the long run. These and a few other codecs can be notoriously difficult to work with regardless of resolution, and they'll slow down your editing machines considerably. Ultimately, transcoding your original media to intermediate codecs like ProRes or DNxHD can still save you loads of time in the long run if you're shooting to codecs like high-bitrate h.264 or the new h.265, which is currently only available as a capture format on the new Samsung NX1. Otherwise, creating proxies and relinking to the original media when you're ready to color correct and master is the best solution. Although it is possible to edit natively with certain types of RAW files, you lose much of the flexibility that comes from shooting RAW when you use that workflow. There is one major exception to that rule, however, and it's when your capture format is RAW. In other words, lowering playback resolution eliminates the need for proxies on most systems. Why? Most modern NLEs ( and Avid too, finally) have a feature which lets you playback your sequences at lower resolutions, which is essentially a built-in way to boost perceived performance while still working with native high-resolution media. First and foremost, I would not recommend using the Premiere Pro proxy workflow outlined towards the end of this video unless your editing system is really old and decrepit. Luckily, our friends over at Videomaker just put out a helpful excerpt from their post-production course that should shed light on the process. The answer to that question is actually more complicated than you might think, and there quite a few things that need to be taken into consideration before making the choice of whether to transcode or not. However, in the past couple of years, each of the major editing platforms has taken on the ability to natively edit footage from a whole range of cameras and capture formats, which begs the question, is transcoding still a necessary step for most of us to take in our post production workflows? In the past, transcoding was almost always used as an intermediary step before the edit because NLEs like FCP7 and Avid didn't perform particularly well without their specifically-tailored mezzanine codecs (ProRes and DNxHD). One subject that seems to confuse people more than most is that of transcoding. With all of the codecs, software options, and workflows available to us, it's hard to know if we're being as efficient as we can be. Support for basic HTTP authentication for Internet pages with a simple and straight interface and fast voice search with default voice popularity. 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Download Crack File IDM Crack 6.33 Serial Number Latest Patch White spoke about the increased level of public attention that comes with the medal, along with the work he's now doing to help struggling veterans.Īlong with the fame of being placed on the Medal of Honor Roll and having American troops in uniform saluting them regardless of rank, there are certain other benefits bestowed upon recipients of the medal. On 's podcast Left of Boom, Managing Editor Hope Hodge Seck talked to Kyle White for a personal view of what it's like to be one of only 69 living recipients of the United States' highest military honor. Those who do receive it are rightly honored by military members and civilians alike. Many of them have been awarded posthumously, and even troops who do something worthy of the medal can find their recommendation lost in an overly political process. They returned to Boston in the same helicopters, landing on Boston Common’s baseball fields before a fleet of MBTA buses arrived to ferry the group around the city.Īt their stop in Faneuil Hall’s historic Great Hall, Governor Charlie Baker lauded their service.Everyone knows the benefits of joining the military are pretty good, but for those who go above and beyond the call of duty, they are even better.Įarning the Medal of Honor is not an easy thing to do. They may never thank you, but it’ll make you feel better, and you’ve just improved the community in which you live.” “You have the ability to help somebody else. “I told them, you don’t have to be recognized or given an award to be somebody making a difference,” said Petry, who spoke to a crowd of students at Plymouth North High School. “He made the sacrifice, and it was particularly special to be the first Black man to do it,” said retired Staff Sergeant Drew Dix, a medal recipient who served with the Army in Vietnam.Įarlier in the day, recipients, aboard Massachusetts National Guard Blackhawk helicopters, were flown to schools in West Roxbury, Beverly, Duxbury, Lawrence, and Plymouth, where they arrived to packed stadiums and auditoriums. He later became a messenger at the State House. It was the unit’s first and most consequential battle.Ĭarney, who moved to New Bedford after escaping from slavery in Virginia, served in the 54th Regiment until he was honorably discharged because of his injuries. At the Second Battle of Fort Wagner, more than 280 of the 54th regiment’s 600 soldiers were killed, wounded, captured, or never found and presumed dead. Kelley, one of two living Massachusetts residents to currently hold the honor, said in a statement.Īt the ceremony for Carney, the group watched as four Civil War reenactors placed a flowered wreath at the base of the Robert Gould Shaw and the 54th Regiment Memorial, which honors the efforts of one of the country’s first Black regiments. “The Medal of Honor Recipients are thrilled to be coming back to Boston next week,’’ retired Capt. The society has visited Boston four times, more than any other city. 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A content creator armed with a pair of Donkey Kong bongo controllers got as far as the Tower Knight boss in Bluepoint Games’ remake of the notoriously challenging Demon’s Souls - and won. The bongos and keyboard fall in line with a recent report that claimed Nintendo would concentrate its efforts on tinkering with the Switch’s current hardware through peripherals in the console’s second year rather than releasing an updated “Switch 2.0.” The Switch doesn’t have a web browser at this point, although both the Wii U and Wii had browsers that would have been improved with a proprietary keyboard. DONKEY KONG JUNGLE BEAT Nintendo GameCube 2005. What could Nintendo possibly be planning that could make use of a keyboard? Your guess is as good as ours. See a recent post on Tumblr from videogameads about DK Bongos. The patent also included an image of a keyboard. If Nintendo does plan on re-releasing the bongo peripheral, a brand new game, perhaps a second Donkey Konga or Jungle Beat, would make more sense. Tap the bongos, do a drum roll or clap to control Donkey Kong on the screen This jungles gone wild Battle enormous beasts, collect bananas, get in boxing matches with rivals and even ride. It seems unlikely that the bongos would be marketed with a traditional entry in the series like Tropical Freeze. Nintendo does have a Donkey Kong game in the pipeline for the Switch, but it’s a port of the Wii U title Donkey Kong Country: Tropical Freeze. Donkey Konga was a rhythm game, while Donkey Kong Jungle Beat tweaked the series’ traditional platforming gameplay to incorporate the rhythmic controller. Clear as day, one of the mock-up images shows the bongos that were only used for two games in the waning years of the GameCube’s lifecycle - 2004’s Donkey Konga and 2005’s Donkey Kong Jungle Beat. Oh yes, we’re talking about the Donkey Kong bongos.įiled last August, the patent outlines potential input devices for Switch. The Nintendo Switch could be getting an under-appreciated GameCube peripheral, based on a patent filed by Nintendo that recently became public.
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You need to select identify from the two options and connect the other screen to your system. You need to select the detect option given with screen number 1, and if you have connected your second screen, it will start showing to identify or perform an action. Under that header, you can find written 1 in a big box, indicating your screen number 1. You will see a header with the title customize your display. A tab will open where you will find all the display settings. From the list of settings that you can change, you need to select the display settings. You will see different settings to adjust, such as display, applications, notifications, power, storage, and many more. After finding the locations, click on them to open the settings. If you cannot find the locations, you can also search for them in the search bar, or you can right-click on your desktop and select the settings or personalization option from the drop-down menu. The first thing you need to do on this procedure is to find the settings of your computer system or monitor. In this informational guide, we will discuss the methods described briefly to split your screen between two monitors so you can save your time and energy while setting up everything quickly for use. So, if you are one of the newbies in these fields and do not know much about splitting monitors, we are here to help you explain all these details step by step to understand how to do it properly. It is also easier to work when you can see essential documents or files side by side, so you can easily compare them. They can also have a better-quality result and can increase their productivity with this arrangement. Pro-gamers, professional video editors, heavy-duty online workers, and now office employees with heavy screen work are very impressed with the split screen and multiple monitors technology nowadays. Tranquill in Pokémon Adventures Pokémon AdventuresĪ Trainer's Tranquill appeared in Wheeling and Dealing and Into the Quarterfinals!.Ī Tranquill appeared in Special Delivery as one of the Pokémon competing in Nimbasa's Pokémon Musical. In The Plan, three Tranquill briefly appeared in a flashback, in the forest where the young N was living. In Training, three Tranquill were in the Wild Area. Tranquill is always able to return to its Trainer no matter how far the distance between them. Tranquill, the Wild Pigeon Pokémon, and the evolved form of Pidove. It is believed that a peaceful place without conflict exists deep in the forest where Tranquill live. In Mission: Defeat Your Rival!, Ramone's Tranquill was in front of a Pokémon Center. The Sword of Justice, the Swords of Justice legend featured multiple Tranquill.Ī Trainer's Tranquill appeared in Curtain Up, Unova League!. Two Tranquill appeared in Climbing the Tower of Success!, both under the ownership of a Trainer. Multiple Tranquill appeared in Stopping the Rage of Legends! Part 1. Multiple Tranquill appeared in Purrloin: Sweet or Sneaky?. Multiple Tranquill appeared in White-Victini and Zekrom and Black-Victini and Reshiram. Dino used his to Antonio's Cottonee and advance to the third round. Antonio used his to advance to the second round in the Club Battle, by defeating Emmanuel and his Scolipede. In Reunion Battles In Nimbasa!, Antonio and Dino own a Pidove each. He pleaded for forgiveness so that they would save Ash, Iris, Meowth, the other Pokémon, and his Trainer, Misha, from a sandpit. In Purrloin: Sweet or Sneaky?, multiple Tranquill were angry at a Purrloin for stealing their Berries. In A Venipede Stampede!, it assisted the effort to clear the swarm of Venipede. It was used in Trip's 5-on-5 battle against Ash it battled Tepig and Oshawott, defeating the both of them before losing to Pikachu. Tranquill debuted in A Rival Battle for Club Champ!, under the ownership of Trip. She later evolved into Unfezant in An Amazing Aerial Battle!. Tranquill in the anime Major appearances Ash's Tranquillĭuring the events of A Venipede Stampede!, Ash's Pidove evolved into a Tranquill after she helped clear a swarm of Venipede out of Castelia City. It is often used as partners for delivery workers. Tranquill is said to have an acute memory. It is said to live in deep forests, where there is a peaceful place without war. No matter how far a Tranquill travels, it is always able to return to its Trainer and nest. It possesses a long tail feather that is tipped in black. There is a black stripe on each of its light gray, black-tipped wings. It has a black tuft of two feathers on its head and a petal-like arrangement of feathers on the nape of its neck. Its beak and eyes are yellow, and there is a dark pink marking above its beak that curves back over the eyes. Tranquill is an avian Pokémon that is gray with lighter gray and black markings. 5.6.6 By transfer from another generation. |
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