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Holy shit that is a big game:FeelsGoodMan. Anyways Gates V0.5 and Academy Part 3 on the same day:SourPls. Cant decide what to play first aaaaaargh. The easiest way to backup and share your files with everyone. THE ACADEMY: PART FOUR WALKTHROUGH: The Academy Part 4 By Santa June 27, 2017 The Academy Part 4 is a rather difficult walkthrough as there are a number of successful and failure endings. A successfulending is defined as an ending where you leave the Academy and are invited to return the next day. Want to discover art related to artificialacademy? Check out amazing artificialacademy artwork on DeviantArt. Get inspired by our community of talented artists. We are proud to bring you Strictmoor Academy Year Three starring Clare Fonda, Miss Elizabeth, and Madame SamanthaB as the teaching staff and Cassidy Lau, Christy Cutie, Rachel Adams, Luci Lovett.
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J.S. Bach: 'Mer hahn en neue Oberkeet' Cantata, BWV 212 - 'Peasant Cantata' - 22-23. 'Und dass ihr's alle wisst...Mein Schatz, erraten!' — Emma Kirkby, David Thomas, The Academy of Ancient Music, Christopher Hogwood
1:12J.S. Bach: Mer hahn en neue Oberkeet Cantata, BWV 212 'Peasant Cantata' - 23. Rezitativ: Mein Schatz, erraten! — Dietrich Fischer-Dieskau, Julia Varady, Academy of St. Martin in the Fields, Sir Neville Marriner
0:36Mozart: Symphony No. 23 in D Major K181 [k162b] - 3. Presto assai — The Academy of Ancient Music, Jaap Schröder, Christopher Hogwood
1:57J.S. Bach: Mer hahn en neue Oberkeet Cantata, BWV 212 'Peasant Cantata' - 23. Rezitativ: Mein Schatz, erraten! — Dietrich Fischer-Dieskau, Julia Varady, Academy of St. Martin in the Fields, Sir Neville Marriner
0:35Haydn: Die Schöpfung Hob. XXI:2 - Zweiter Teil - 23. Rezitativ: 'Und Gott schuf den Menschen' (Uriel) — Aldo Baldin, Academy of St. Martin in the Fields, Sir Neville Marriner
0:47Violin Sonata No. 23 in D Major, K. 306: I. Allegro con spirito — Classical Piano Academy
2:37Haydn: Die Jahreszeiten - Hob. XXI:3 - Der Herbst - No.23 Rez.: 'Nun zeiget das entblösste Feld' — Dietrich Fischer-Dieskau, Academy of St. Martin in the Fields, Sir Neville Marriner
1:00Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: III. Allegro ma non troppo – Presto — Tiefenentspannung Academy
2:47String Quartet No. 23 in F Major, K. 590: I. Allegro moderato — Beautiful Morning Guru
3:05Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: III. Allegro ma non troppo – Presto — Tiefenentspannung Academy
2:27Haydn: Symphony in G, H.I No.23 - 4. Presto assai — The Academy of Ancient Music, Christopher Hogwood
2:37String Quartet No. 23 in F Major, K. 590: IV. Allegro assai (Flute Harp Version) — Winter Night Music Society
2:32Bach's Variatio 23 a 2 Clav — Easy Listening Music, Classical Piano Academy, Relaxing Classical Piano Music
2:18Handel: Messiah - Part 2 - 23. 'And With His Stripes We Are Healed' Live In Dublin / 1992 — Academy of St. Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner
1:35String Quartet No. 23 in F Major, K. 590: I. Allegro moderato — Little Angels School Academy
3:05String Quartet No. 23 in F Major, K. 590: II. Andante — Homage Classic Academy
3:27String Quartet No. 23 in F Major, K. 590: IV. Allegro assai (Flute Harp Version) — Baby Smart Music Collection
2:32Grieg: Peer Gynt, Op. 23, Act 2: Prelude. The Abduction of the Bride & Ingrid's Lament — Lucia Popp, Academy of St Martin-in-the-Fields, Sir Neville Marriner
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Haydn: Symphony in G, H.I No.23 - 3. Minuet & Trio — The Academy of Ancient Music, Christopher Hogwood
3:28String Quartet No. 23 in F Major, K. 590: IV. Allegro assai (Flute Harp Version) — Baby Happy Team Center
2:32String Quartet No. 23 in F Major, K. 590: IV. Allegro assai — Little Angels School Academy
3:37Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: III. Allegro ma non troppo – Presto (Harp Version) — Brainstorm Music Academy
3:18Grieg: Peer Gynt, Op. 23, Act 5: Prelude. Peer Gynt's Homecoming — Lucia Popp, Academy of St Martin-in-the-Fields, Sir Neville Marriner
2:25Piano Concerto No. 23 in A Major, K. 488 II. Andante (Harp Version) — Music Dreamers Consort
3:20String Quartet No. 23 in F Major, K. 590: IV. Allegro assai (Flute Harp Version) — Memories Dreams Reflections Guru
2:32String Quartet No. 23 in F Major, K. 590: IV. Allegro assai (Flute Harp Version) — Sleep Therapy Baby Club
2:32String Quartet No. 23 in F Major, K. 590: I. Allegro moderato (Piano Version) — Better Tommorow Society
2:50Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: III. Allegro ma non troppo – Presto — Tiefenentspannung Academy
3:22Grieg: Peer Gynt, Op. 23, Act 4: Anitra's Dance — Lucia Popp, Academy of St Martin-in-the-Fields, Sir Neville Marriner
3:26String Quartet No. 23 in F Major, K. 590: II. Andante (Piano Version) — Relieve Stress Universe
2:50Pyotr Ilyich Tchaikovsky Piano Concerto No. 1 in B-Flat Minor, Op. 23 — Musica Para Estudiar Academy & Study Piano Music
1:22Giselle Act II No. 23: Pas de Deux — Royal Academy of Dance Enterprises Ltd
2:05Symphony No. 23 in D major, K. 181: II. Andantino grazioso — Academy for Ancient Music Berlin
2:1223 August 2019 (feat. Winston Mascarenhas) — Field Kitchen Academy feat. Winston Mascarenhas
1:53Sonata No. 23 in D Major, K. 306: I. Allegro con spirito — Emotional Journey Ensemble
3:00Grieg: Peer Gynt, Op. 23, Act 4: Prelude. Morning Mood — Academy of St Martin-in-the-Fields
4:17Suite in C Minor, Book 3, No. 23-32: X. Jigg - Prestissimo — Nicholas McGegan, The Arcadian Academy
0:54Suite in C Minor, Book 3, No. 23-32: V. Allegro; Adagio (Allegro) — Nicholas McGegan, The Arcadian Academy
2:02Suite in C Minor, Book 3, No. 23-32: III. Adagio — Nicholas McGegan, The Arcadian Academy
1:12Symphony No. 23 in D Major, K. 181: III. Presto assai — Academy for Ancient Music Berlin
2:11Группой крупнейших российских правообладателей авторских и смежных прав, а именно: ООО «НЦА», ООО «ЛенГрад», ООО «Креатив Медиа», ООО «Новый мир», ООО «Медиалайн», ООО «Диджитал Прожект» и другими, в рамках заключенных с ООО «АдвМьюзик» лицензионных соглашений, вэб-сайту https://page.ligaudio.ru предоставлены разрешения на использование музыкального контента, принадлежащего данным Правообладателям, способом доведения до всеобщего сведения в цифровой форме через Интернет.
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Правовая информация
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Ray Feeney on What's Next in Color Management
Ray Feeney, founder of RFX in Hollywood, has been watching the struggle for color standards from the position of chair of the Academy’s Science & Technology Council, which is made up of 25 of the Academy’s senior technologists, and chair of the Advanced Technologies program. He recently returned from a conference of the Society for Imaging Science & Technology, a group primarily concerned with aspects of color management for the graphic arts and still photography.
DI STUDIO: Why go to a conference aimed at graphic arts?
RAY FEENEY: There’s more overlap now that we as an industry are looking at digital color management for digital cinema. We’re going to these organizations with particular levels of expertise and seeing what aspects of what they do can be incorporated into our set of needs. We don’t need to reinvent everything. We can adapt proven technologies to the motion picture industry, something we’ve done for years.
What are the main activities of the Advanced Technologies group now?
Probably the most significant is looking at next-generation mastering and trying to come up with standards for the way DIs are done. There are two aspects to it. One is next generation mastering, which involves a format and a standard.
The Academy is interested in the digital equivalent of the negative. DCI (the Digital Cinema Initiative) stipulated that there is a “Digital Source Master.” All their work starts there. But they don’t define what that is. The Academy is looking to define the specifics of the Digital Source Master.
The problem of digital archive is totally up in the air. We don’t have a magic wand to wave in front of that. Once the Digital Source Master is defined, we can next have the industry think about this. It’s hard to set up procedures to archive until you have standards.
How does the digital intermediate impact the issue of archiving?
It produces a set of files for which there isn’t a good unified standard for archive. Now they record the output of the DI to both a film negative and also typically make a digital 3-color separation to put away. All this is fine, because we know that film stored correctly has an archival life of 100 years or more. But it’s unclear whether the infrastructure of film will continue to exist when there is very little consumer market for film. We’re not predicting the end of film, but we have to look at the “what if.”
In a digital archival world, do you store the negative and DI decisions as separate elements?
I don’t know. The ideal archival mechanism is the “born archival.” Film is that. As soon as it’s processed, it’s in an archival form. You don’t have to dupe it or make decisions about what to keep or what not to keep.
Today, you have to make a conscious decision of what to put away and it requires a copy step to be archival. The ideal situation would be if digital capture on the set were recorded in some manner that was archive-able without having to go through additional steps. But there’s nothing like that on the horizon at the moment.
Standardizing the output is very different from standardizing the mechanism by which you get to the output. There is plenty of room for proprietary advantage, and skill and science to differentiate one facility from another.
But when you’re all done making the image the way it’s supposed to look, anybody ought to be able to play it back. The digital bits that make up the image should be unambiguous wherever they are.
It took DCI four years to get it on the output side. I’m hoping we don’t take any longer than that. We’re 18 months into the process, and if all goes well, we have less than 24 months to go. If you look at DCI as a success story, if we can do it as straightforwardly as they did, I’ll be happy.__________________________________________________
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