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(Using Deep Zoom Composer). Blaise Aguera y Arcas gave a demonstration of Seadragon and Photosynth at the 2007 TED conference. In November 2009, 352 Media Group, a Silverlight developer in the Microsoft Silverlight Partner Program, created an example of Deep Zoom using Microsoft Silverlight version 3. [2] It is online at 352 Media Group's Web site.
Photosynth uses Seadragon for its D3D viewer and Silverlight for its default viewer.; Pivot uses a combination of Seadragon and WPF to render images and collections.; ChronoZoom is a timeline for Big History being developed for the International Big History Association by Microsoft Research and originally by the University of California, Berkeley and Microsoft Live Labs [9]
The stitched panorama can be saved in a wide variety of file formats, from common formats like JPEG and TIFF to multi-resolution tiled formats like HD View and Deep Zoom, as well as allowing multi-resolution upload to the Microsoft Photosynth site. [2] It can also be saved to a web page with a zoomable viewer using a third-party template.
Deep image compositing is a way of compositing and rendering digital images that emerged in the mid-2010s. In addition to the usual color and opacity channels a notion of spatial depth is created. In addition to the usual color and opacity channels a notion of spatial depth is created.
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The Quartz Composer 3.0 interface. Also new in Version 3.0 was the possibility to write custom patch plugins using an Xcode template, and the notion of a "safe mode" where plugins and other unsafe patches fail to load. This prevents malicious compositions from performing dangerous or insecure operations.
When a page was opened, it appeared zoomed-out and shrunk, and formatted as would be in a desktop browser. The user could zoom into the certain areas of the page by using a selection rectangle, and pan the zoomed-in page. Deepfish consisted of a light-weight browser client powered by a server backend which does most of the processing.
Composer Tom Holkenborg looked at his sonic palette for “Mad Max: Fury Road” as a massive rock opera. For the prequel, “Furiosa: A Mad Max Saga,” he thought it needed a sonic shift.