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If you are prompted to save the object in a le and you choose Yes, the application creates a copy of the object that exists outside of PowerPoint. The copy is not linked to PowerPoint.

It is important to understand the SVD approach, however, as a baseline for challenges and opportunities in multiaperture systems A central problem is that highly accurate forward models are critically enabling but are relatively dif cult to obtain Analyses of the sensitivity of multiaperture systems to model error are presented by Prasad [207] and Wood et al [254] As an example of the system characterization challenge, we consider data from the Phase II longwave infrared (LWIR) cameras developed at Duke University through the Compressive Optical MONTAGE Photography Initiative (COMP-I) The COMP-I imagers used a 3 3 array of compound germanium and silicon lenses with a 5-mm center-to-center pitch The effective focal length was 58 mm corresponding to f/116 The lenslet array was positioned over a 640 480 vanadium oxide focal plane array with square 25-mm pixels.

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The eld of view of the image was limited to 208 such that each lenslet actively utilized an 80 80 pixel grid The ifov of the subapertures was 20/80 0258 44 mrad Reconstructed images up sample by a factor of 3 to create a 240 240 image with 83 mm effective pixel size and an ifov of 15 mrad Image estimation requires a forward model and an inversion strategy Experimental characterization of the forward model is an attractive rst step, but completely empirical forward models are rarely satisfactory Accurate collection of an empirical forward model requires precise knowledge and control of test targets, compensation for background sources, and extremely stable image collection systems As an example, Fig 1034(a) shows the forward model for COMP-I imagers over a subset of the image eld.

pointer always appears in the last row of the datasheet. Figure 34-25 shows adding a new record to tblProducts.

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A point object, consisting of a pinhole in a copper plate, illuminated the imager through a collimation system A 50 50 grid of object positions evenly distributed over a 404-mrad eld was sampled by rotating the imager using precision stages A 15 15 grid of pixels from each subaperture was used as the output data for each of the 50 50 input images The resulting mapping can be presented as g Hf with g a 9 15 15 2025-element measurement vector and f a 50 50 2500-element.

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4. Write the local element interpolants and the global interpolant. 5. Does the jinite element mesh T h > pconform to the space H 2 ( R ) Show in detail. Hint: The H2-conformity requirement in I D is once-continuous differentiability.

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The final essential distortion function isn t located under the Filter Distort submenu. In fact, in many respects, it s not a filter at all. The Liquify command is more of a separate distortion utility that just happens to run in Photoshop. It enables you to perform any number of distortions: You can warp, shift, twirl, expand, contract, and even copy pixels. It grants you multiple undos and redos before you apply the final effect. And unlike other distortion filters, which apply a uniform effect across a layer or selection, Liquify lets you modify pixels by pushing them around with a brush. Liquify is not applicable to Smart Objects; in fact, after you ve converted a layer to a Smart Object, the Liquify command is dimmed. Actually, it d be a little bit much to ask of Photoshop to make the effects of the Liquify dialog box something you could quickly turn off and on or re-order amongst other filters applied to the same layer. Liquify is a distortion filter that also doubles as a powerful retouching tool. Consider the images in Figure 11.36. Thanks to the Liquify command, a calm and serene face was contorted into a mix of angered agitation yet you could use it in subtler ways to widen eyes, soften lips, reduce a double chin, or raise cheekbones. Liquify could turn us all into supermodels.

Changing the color of your model might be something you would do in conjunction with creating a composite using the same or contrasting colors found in a background placed behind your model. Color correction consists of changing the color levels and balances of the texture image.

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