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Decompiled source files of the default maps released with Valve's Counter-Strike: Source. These files should be used for learning purposes only. Archive contains - cs _Assault - cs _Compound - cs _Havana - cs _Italy - cs _Militia - cs _Office - de _Aztec - de _cbble - de _chateau - de _dust - de _dust2 - de _inferno. Hi, i used to have all VMF's saved on my PC's backup drive but it crashed a while back and now i cannot find a copy of de_dust2.vmf anywhere on the net. I've tried to decompile the dust2.bsp but for some reason it wont decompile, the command prompt appears then disappears, i've tried vmex but again same happens with that, i also tried the GUI version of vmex and selected the bsp then clicked decompile but nothing happens. Could someone post me a link to download the file? PS: the thread with all VMF's listed on this site no longer works, the link for dust2 is dead. 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Retrieve one copy of the work, you may not decompile, disassemble, reverse engineer, reproduce, modify, create derivative works based upon, transmit, distribute, disseminate, sell, publish or sublicense the work or any part of it without McGraw-Hill's prior con- sent. You may use the work for your own noncommercial and. The Darkroom Like film, printing paper is coated with an emulsion containing light-sensitive compounds. The negative is a reversal of the tones in the original scene. In order to create a positive within a photographic analog environment, a darkroom is necessary, including an enlarger, easel, safelights and processing trays. Unlike film developing, printing photographic enlargements can be done under dim amber safelights. A darkroom is typically divided into two separate sections – a dry side where the enlarger is located and a wet side with the paper processing chemistry located in a sink. It is important not to contaminate each area to insure the proper handling of materials.. Equipment Necessary to Print Negatives Enlarger and Negative Carrier Contact Print Easel (left), Adjustable Easel (middle) and Grain Focuser (right) Developing| Processing Trays (left), Tongs (middle) and Timer (right) Print Washer and Print Drying Screens.. The Enlarger. Types of Enlargers Condenser Enlarger Utilizes one or more lenses to concentrate light directly on negative, allowing for short exposure times, and higher contrast.. Diffusion Enlarger Scatters unfocused light over the negative, allowing for lower contrast and minimized dust effects, but longer exposure times.. Dichroic-Color Head Enlarger Bounces light from high-intensity tungsten-halogen bulb into a diffusion chamber where color filters (magenta, yellow and cyan) control desired amounts of variable contrast for black and white printing or the color balance for color printing.. Using the Enlarger Prior to the start of each semester, each enlarger is thoroughly cleaned, adjusted and calibrated for proper operation. It is important that the enlargers are used as instructed with care and consideration for problem-free use.. Enlarger Lamp On Only When Used Only have the lamp on when the enlarger is in use. Don’t leave the enlarger with the lamp on. This is can burn out the lamp as well as cause the negative to buckle in the negative carrier causing problems with image sharpness.. Enlarger Height Adjustment Always release (untighten) the enlarger lock when raising and lowering the enlarger. Failing to release the enlarger lock while attempting to adjust the enlarger height will cause the gears to be stripped as well as affect the overall sharpness of the enlargement.. Enlarger Head Position Don’t leave the enlarger head in the up position after inserting or removing negative carrier. If left in the up position, once the enlarger lamp is turned on, light will scatter throughout the darkroom, damaging unfixed prints.. Enlarger Lens and Condenser Don’t remove lens or change the condenser position from the enlarger. If another type of lens is required, ask the instructor or lab technician. Negative Carrier Insure the negative carrier is properly seated in the enlarger. The Adjustable Easel When making image-resizing adjustments to the easel, always open the easel and insure it is in the locked position before moving the easel blades.. Safety Considerations Photographic chemicals should be handled with reasonable care. The goal is to avoid getting chemicals onto and/or into your body. If at any point, you get chemicals on you, into your body or there is a chemical spill, it is important to take action of the incident immediately, including washing the chemical off, and letting the instructor and/or lab instructor know to assist immediately for the safety of yourself and others in the lab.. Avoid Skin Contact If you do get chemicals on your skin, wash immediately. Replace skin oils with a good hand lotion. Avoid Getting Chemicals Into Eyes If you do get chemicals in your eye, wash immediately with cool running water from the nearest source, faucet or eyewash station for 15 minutes. Get immediate medical attention after washing eye. Avoid Getting Chemicals Into Mouth Per the Photography Department Lab rules; there are no food or drinks allowed in the film processing rooms and darkrooms. Wash hands after working with chemicals in both the film processing rooms and darkrooms, especially before eating. Avoid Inhaling Chemicals The Photography Department Lab has ventilation in both the film processing rooms and darkrooms to insure fresh airflow. Particle masks are available for you to use. Clean Up Chemical Spills If a spill occurs it is important to contain the spill and notify the instructor and/or lab technician immediately to determine how the spill should be cleaned up. Clean your clothing and shoes if they come into contact with the chemical.. Darkroom Guidelines Closed-toe shoes are to be worn at all times when working in the darkroom and film processing rooms. No sharing of print developer trays and vigorous agitation of the trays. Always use tongs when moving prints from one solution tray to the next. Do not transport the prints with your hands. Don’t poke at prints with tongs. Always keep prints face-up with the exception of the final wash. Final print washes are done in groups of 25 prints or more. There is no individual washing of prints allowed. When reviewing prints in white light area, always use a tray and insure all water is drained from the tray.. Types of Printing Papers Variable Contrast Printing paper in which varying grades of print contrast can be obtained by the use of variable contrast filters.. Graded Contrast Printing paper, which produces a single contrast of print contrast, requiring a change in paper grades when less or more contrast is desired in the print.. Contrast Grades Contrast grades 0 – 1| lower contrast Contrast grade 2| medium or normal contrast Contrast grades 3 – 5| higher contrast. Print Terms and Characteristics Density| overall brightness or darkness of a print. Contrast| difference between the brightest and darkest areas of a print. Highlight| very bright area in a print. Midtone| area of medium brightness in a print. Shadow| very dark area in a print. Flat Negative or print with minimal differences in brightness between light and dark areas. Necessary to use a higher contrast filter. Contrasty Negative or print with very significant differences in brightness between light and dark areas. Necessary to use a lower contrast filter.. Print Processing Terms Agitation To move a solution over the surface of film or paper during processing to insure fresh chemistry comes into contact with the surface. Agitation should take place during each step of the printing process by gently rocking the tray. Developer Chemical solution that converts the latent image (still invisible) in exposed film to a visible image. Stop Bath Chemical solution that stops the development of the print. Fixer Chemical solution (sodium thiosulfate or ammonium thiosulfate) that makes a photographic image insensitive to light. Fixer, also called Hypo, dissolves unexposed silver halide crystals while leaving the developed silver image. Water Rinse Preliminary rinse to minimize residual fixer from contaminating archival rinse. Archival Rinse Chemical solution the removes residual fixer from print and to increase the effectiveness of the wash. Final Wash Final water wash to remove residual chemicals from print. Dry Either with a print dryer or print drying screens, which are more archival.. Printing Negatives| Grossmont Photography Lab Preparing to Work Secure enlarging station. Place all personal items either below enlarging station or in print finishing room. Open black and white photographic paper in darkroom under safelights only. Do not open box in the light. Set-up work area so it is not cluttered and it is easy to access negatives, printing paper, filters, and burning| dodging tools.. Proceed to follow the steps for making contact sheets and/or enlargements. In addition, follow the steps provided in the that outlines print processing steps.. Grossmont Photography| Print Processing Guide. The Contact Sheet The contact sheet is a visual representation of the film shot and is used to edit which negatives should be enlarged and printed. It is the process of placing the negative(s) in contact with sensitized material, such as photographic paper, and then passing light through the negative(s) onto the material. The resulting image is the same size(s) as the negative(s).. Making the Contact Sheet in the Darkroom Setting Up the Enlarger • Place the empty 35mm negative carrier into the enlarger and gently lower the lamphouse onto the carrier. • Open filter drawer and insert #2 printing filter. • Release the enlarger lock and set the enlarger height to level ‘30’ on the calibrated column. • Set the aperture of the lens to its widest setting. • Turn on lamp with the timer switch, and adjust the focus until the projected rectangle of light is sharply defined across the registration marks on the baseboard.. Preparing Contact Printing Frame • Cut one sheet of enlarging paper into four 2” x 10” test strips. Replace all but one strip back into the paper box, as paper will fog when left out. • Open contact printing frame • Place one strip of negatives with the film emulsion side (dull side of film) in contact with the paper emulsion side (shiny side of paper). The negatives and paper should now have emulsion-to-emulsion contact. • Close contact printing frame and align with the registration marks on the baseboard.. Exposing the Test Strip • Stop the aperture of the lens down to f/4 or f/5.8. • Set the timer to 45 seconds. • Use the cardboard to cover all but the first frame on the test strip. Press the timer button, and move the card each half-frame of the negative strip in turn as the pointer moves past 40, 35, 30, 25, 20, 15, and 10 seconds. Remove card for the final 5 seconds. • Remove test strip and process.. Evaluating the Test Strip • View the test strip in an inspection tray in normal room light. Evaluate the progressive tones of the clear film along the edges of the film where the sprocket holes are located. • After determining which end of the test strip represents the least/most exposure, choose the section of the test strip, which represents the shortest exposure necessary to produce maximum black from the area of the clear film.. Making the Contact Sheet • Set timer to the number of seconds determined from the test strip. • Place all of the negatives from the roll of film in contact with a full sheet (8” x 10”) of paper (film emulsion in contact with paper emulsion). • Note the exposure time, aperture, and filter number on the back of the paper in pencil. • Return contact printing frame within registration marks and press timer button for exposure. • Remove paper and process.. For making Digital Contact Sheets, click on. The Enlargement The photographic enlargement is an image, usually a photographic print that is larger than the negative. It is made by projecting an enlarged image of the negative onto sensitive paper.. Making the Enlargement Setting Up the Enlarger • Select a negative from the contact sheet, which you would like to work with. The negative should suggest not only an engaging image conceptually and visually, but should also reflect a good exposure and tonal range that is neither too dense nor too thin. • Place negative emulsion side down in the empty 35mm negative carrier and insert the negative carrier into the enlarger. Gently lower the lamphouse onto the carrier. • Open filter drawer and insert #2 printing filter. • Set the adjustable easel blades for a 6” x 9” image size for 8″ x 10″ enlargement with 35mm negatives. • Release the locking screw and adjust the enlarger height so that when the image is focused, there is a narrow white line (1/16”) on all sides of the projected image. This is to insure full-frame printing of the entire negative. When sizing the image on the easel, it is helpful to have the aperture set at its widest setting. • Use the grain focuser to insure the sharpest possible focus of the image. • Once the image has been focused, stop the aperture of the lens down to f/8.. Exposing the Enlarged Test Strip • Cut one sheet of enlarging paper into two to three – 2½” x 10” test strips. Replace all but one strip back into the paper box, as paper will fog when left out. • Place the test strip in the adjustable easel with the paper emulsion side up (shiny side of paper). The test strip should include highlight, midtone and shadow areas of the negative. • Set the black pointer on the timer to 40 seconds. • Use the cardboard to cover all but the first frame on the test strip. Press the timer button, and move the card about ¼” in turn as the pointer moves past 35, 30, 25, 20, 15, and 10 seconds. Remove card for the final 5 seconds. Remove test strip and process • Evaluating the Test Strip 1. View the test strip in an inspection tray in normal room light. Evaluate the progressive tones of the entire test strip, including the highlight, midtone and shadow areas. • After determining which end of the test strip represents the least/most exposure, choose the section of the test strip, which represents the sufficient exposure and density in the highlight, midtone and shadow areas so that description is in each of these areas.. Making the Enlargement • Set timer to the number of seconds determined from the test strip. • If the exposure times become too short, approximately 10 – 15 seconds, it may be necessary to stop down the aperture further. If the exposure times become too long, over 60 seconds, it may be necessary to open the aperture an additional stop(s). • So as to insure correct exposure / density and contrast in the highlight, midtone and shadow areas of the negative, it may be necessary to change the filter to either lower or raise the contrast. • Once the exposure time and aperture combination as well as the proper filter have been determined, note the exposure time, aperture, and filter number on the back of the paper in pencil and on the Printing Record. • Place a full sheet (8” x 10”) of paper with the emulsion up in the sizing slot of the adjustable easel and close the easel and press timer button for exposure. • Utilize any secondary printing controls, such as dodging, during the exposure, and/or burning, after the initial print exposure. • Remove paper and process.. Secondary, Local Printing Controls After a print is made with satisfactory high values (indicating a desired printing exposure) and satisfactory low values (indicating a desired level of contrast), there may be some local areas of the image which still do not achieve the desired tonal value and level of description. These secondary, local printing controls are called dodging and burning.. Dodging To decrease the density (lighten) a specific area of a print by giving it less exposure. Dodging is done during the main exposure and is usually used to brighten specific areas of an image, including shadow areas, to reveal more description and detail. Using a dodging tool, the technique is useful over a range of approximately 5% to 15% of the main exposure.. Burning To increase the density (darken) a specific area of a print by giving it additional exposure. Burning is done after the main exposure and is usually used to darken specific areas of an image, including highlight areas. 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'I See Fire' Single by Ed Sheeran; from the album The Hobbit: The Desolation of Smaug and × (Deluxe edition) Released: 5 November 2013 () Format: Digital download. Ed Sheeran – I See Fire (Kygo Remix) [free MP3]. Juli 2014 953 Views 0 Kommentare Chillout, Deep-House, Electronic, free download, free mp3, relaxed, Remix. Ed Sheeran - I See Fire (Kygo Remix). • • ' I See Fire' is a song recorded and produced by English singer-songwriter. The song was commissioned for the soundtrack of the 2013 film, where it played over the. Director,, asked Sheeran to write a song for the movie, after Jackson's daughter, Katie, suggested Sheeran. Sheeran saw the film, wrote the song, and recorded most of the track elements on the same day. The song was released as a on 5 November 2013; its music video was released the same day. It entered the at number 13 and reached number-one in New Zealand on its sixth week, marking Sheeran's first number-one single in the country. 'I See Fire' was nominated for a for. Contents • • • • • • • • • • • • • • • Background [ ] 'I See Fire' plays over the first section of the of, an adventure film directed by New Zealand filmmaker,. Released on 13 December 2013, it is the second installment in the based on the novel,,. The Hobbit follows the quest of a home-loving, a fictional, diminutive humanoid, to win a share of the treasure guarded by the dragon,. Sheeran has a lifelong devotion to the novel of Tolkien. His grandfather owns a first edition copy. It was the first book Sheeran's father read to him as a child, and the first book that he read himself. On 5 November 2013, Sheeran announced his involvement in the soundtrack in a series of online posts, which included his thanking Jackson for the opportunity. He is also a fan of Jackson's films. Jackson was introduced to Sheeran's music through his daughter, Katie, who attended Sheeran's concert in, New Zealand, in March 2013. Jackson, having learned Sheeran's regard toward his films, met him over lunch the following day where they exchanged email addresses. In late 2013, Jackson and, who co-produced and co- the film, were searching for an artist who would write and record the song. Following Katie's advice, they decided to tap Sheeran. Jackson sent a message to Sheeran, who was in the Mediterranean island of attending a wedding ceremony, asking if he would be interested in the project, which Sheeran accepted. Departing from London, Sheeran and his manager, Stuart, arrived in Wellington within 48 hours. Writing and production [ ]. A film post-production facility located in, New Zealand, where Sheeran wrote and produced 'I See Fire' Sheeran watched the film at an early screening in, a film post-production facility located in, New Zealand. Jackson advised Sheeran to focus on the film's ending: 'Focus on the last 10 minutes. That's what the song needs to reflect[.] Write a song that takes the audience by the hand and leads them from back into reality.' Capturing his reaction to watching the film, Sheeran immediately began writing the lyrics 'from the perspective of being a dwarf'. Jackson required a folk song and Sheeran, who is 'known for songs that wouldn't fit in a Hobbit film', attempted to follow in that direction. Sheeran wrote and recorded, in only one day, most of the elements present in the released version. Further revisions were made in a course of three days that Sheeran stayed in the facility. Steam Workshop: Wallpaper Engine. Ed Sheeran - I See Fire (Kygo Remix).i see fire! • Subscribe for Mood Mixtapes: • Subscribe for La Belle Musique: • Submit your. Sheeran revealed he was given complete freedom in the creative process, while receiving ready inputs from Jackson and his co-filmmakers. In particular, Sheeran notes: '[Jackson] knows the colors and templates of what the song should be rather than how the melody should go.' Sheeran also produced the song, playing all the instruments except for the. Despite having never played the, he chose to perform it himself through. ' touring cellist Nigel Collins added cello parts as dictated by Sheeran. Pete Cobbin of 'I See Fire'; Cobbin was at Park Road Post at the same time, responsible for mixing the of The Desolation of Smaug. 'I See Fire' is a ballad, characterized with gently strummed acoustic guitar. Sheeran revealed he took inspiration from the 1970s Irish folk band. According to 's Jodi Walker, the song is 'touch reminiscent' of ', an Irish traditional song that is a bonus track in Sheeran's debut album,. The themes in The Hobbit are present in the song's lyrics, which refer to 'fire, mountains and brotherhood'. Single and video release [ ] 'I See Fire' was released on 5 November 2013 through, initially in the United States and then worldwide within the next 36 hours. It was later released on 10 December 2013 as part of the film's soundtrack,, through and. Sheeran released 'I See Fire' while on tour in support of his; it was the first solo record that he released, two years since his last. Initially, the track was announced as a non-inclusion in his next album, subsequently titled. However, it appeared on the deluxe edition of that album. Sheeran announced the inclusion on 9 April 2014. The official music video for 'I See Fire' premiered on 5 November 2013, along with the release of the song. The video shows Sheeran performing and recording the vocals, the songwriting and recording of live instruments, behind the scenes, all throughout interspersed with shots from the film. The footage which shows Sheeran performing and recording the song is shot in black-and-white, while the rest shown in full color. The video, which is uploaded in the Warner Bros. Pictures channel in, had accumulated over 80 million views as of April 2017. Critical reception [ ] 'I See Fire' attracted critical commentaries. In his review of the single, Nick Catucci of the stated that although looming in the song is a 'flame-broiled disaster', Sheeran 'keeps his strumming cool, and a hopeful flame burning for '. For, Ryan Reed wrote: 'The haunting track is right in line with Sheeran's trademark style, filled with dramatic crooning and quiet acoustic guitars.' Delia Paunescu of Vulture.com found 'I See Fire' 'so calming it may put you to sleep'. Accolades [ ] In December 2013, Sheeran said he would be promoting the song until end of the awards season, in his bid to bagging a nomination at the (although it was not nominated). 'I See Fire' was nominated for at the 2014. It also received nomination for from the 2015. Chart performance [ ] Since its release on 5 November 2013, 'I See Fire' has been listed for 727 weeks in 19 different charts. Its first appearance was on 7 November in the Ireland Singles Top 100, where it debuted at number 22. The song was successful in many European countries, with a peak position of number 1 in Norway and Sweden. In Sheeran's home country, the single peaked at number 13 on the, spending 65 weeks on the chart. The certified the single silver on 26 December 2014, denoting sales of 400,000 units. 'I See Fire' was well received in. In New Zealand, single peaked at number 1 for three weeks. It was certified triple platinum by the, denoting sales of 45,000 copies. 'I See Fire' is the 6th top-selling single in New Zealand in 2014. In Australia, the single peaked at number 10 for 3 non-consecutive weeks. It has been certified two-time platinum by the, denoting sales of 140,000 copies as of 2014. In Australia's 2014 year-end chart, 'I See Fire' was ranked at number 78. According to commercial streaming company, 'I See Fire' was the most streamed song from a soundtrack between 2013 and 2014, outperforming other popular contemporaries. In April 2015, Spotify released a report of the most streamed tracks worldwide under the category sleep. 'I See Fire' was placed at number 4, joining Sheeran's other 6 songs ranked in the top 20. Sleep is one of Spotify's most popular categories 'that people also use for general relaxation and to help themselves unwind'. Columnist suggests that the report is an indication of 'very popular, slightly mellow songs that keep cropping up on sleep playlists' but not a list of a 'carefully curated journey to unconsciousness'. Cover versions [ ] American singer-songwriter recorded a version of the song. Hollens had previously recorded 'Misty Mountain' off the soundtrack for the. His version of 'I See Fire' features '98 different sound tracks' layered onto '8–14 vocal parts' that Hollens recorded. Norwegian DJ and record producer released a remixed version of the song which became viral. Kygo's success is attributed largely in part to the reception of his remixed version of 'I See Fire'. Less than two years later, the remix had been played 26 million plays on. As of August 2015, the version has been played over 34 million times on SoundCloud. New Zealand musical trio released a cover of 'I See Fire' in support of New Zealand's participation at the. Irish musical ensemble performed a cover of the song on their album, sung by debuting member. The German heavy metal guitarist has released a power ballad version of the song on his compilation album The Ballads V in 2017. Credits and personnel [ ] • – and,,,,,,, • Nigel Collins – • Stephen Gallagher – • Graham Kennedy – engineer • Pete Cobbin – mixing • Kirsty Whalley – mixing • Miles Showell – mastered. 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