At the end of the knockout rounds, the strongest members of each coach's roster proceed to the live stage shows. After that, the coach chooses one to advance while the other is sent home. This time, the contestants choose their own song to perform individually while the other watches and waits. The winners of the battle rounds proceed to this round (dubbed Super-battle round/Sing-off in some versions).Īs in the battle rounds, coaches put members (usually 2/3/4, rarely 6 or 10) of their own team members to compete against each other. The knockout round was introduced in 2012, and is implemented in some versions. Each coach has a set number of steals, usually one or two (raised to three in the seventh season of The Voice Brasil). As in the blind auditions, if more than one coach presses their button, the contestant chooses which coach they want. In some versions, there are steals where opposing coaches can steal a contestant who was voted off by their own coach by pressing their button. In rare cases the coach can also choose to advance neither one (As seen in season eight of The Voice of Holland). If no specific winner can be identified, either the competition turns to a game of fate via a coin toss, or the coach may combine them into a duo throughout the rest of the competition. After the vocal face-off, the coach must choose only one to advance. The contestants who successfully pass the blind auditions proceed to the battle rounds, where the coaches put two or sometimes three of their own team members against each other to sing the same song together in front of a studio audience. Coaches will dedicate themselves to developing their singers mentally, musically and in some cases physically, giving them advice, and sharing the secrets of their success. The blind auditions end when each coach has a set number of contestants to work with. If more than one coach presses their button, the contestant chooses the coach he or she wants to work with. If a coach likes what they hear from that contestant, they press a button to rotate their chairs to signify that they are interested in working with that contestant. The first televised stage is the blind auditions, in which the four coaches, all noteworthy recording artists, listen to the contestants in chairs facing away from the stage so as to avoid seeing them. Unlike Idols and The X Factor, the producers pick fewer contestants (usually from 100, up to 200 contestants), which are deemed "the best artists", to perform in the broadcast auditions. The show's format features five stages of competition: producers' auditions, blind auditions, battle rounds, knockouts (since 2012), and live performance shows.Ĭontestants are aspiring singers drawn from public auditions, which are not broadcast and active recruitment. The format was later sold to different countries, in many cases replacing a previous Endemol music contest format, Operation Triumph / Star Academy. The show proved to be an instant success in the Netherlands. On 17 September 2010, The Voice of Holland began to air on RTL 4 with Angela Groothuizen, Roel van Velzen, Nick & Simon, and Jeroen van der Boom as the mentor-judges (dubbed as "coaches") of the show. It would also be the first talent show in which social media was actively involved. The rotating chairs concept was invented by Roel van Velzen. He wanted the show's image to be about the focus on singing quality alone, so the coaches must be top artists in the music industry. De Mol then came up with the idea of Blind Audition. Erland Galjaard, a Dutch program director, asked John de Mol about whether he could come up with a format that went a step further than The X Factor. Talpa's John de Mol Jr., creator of Big Brother, first created The Voice concept with Dutch singer Roel van Velzen. 3.1.4 Wildcard Round / The Comeback Stage.
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There are plenty of different tools and services all over the Internet that are offering resizing capabilities, as well as many additional features. Alternative means of resizing your images for Facebook banners are presented below. Of course, it’s not the only method, and it’s definitely not the easiest one. This is the entirety of the resizing process for any image via Photoshop. This option allows for further customization of the image in general, and it’s highly recommended to use JPEG High preset and to set the Quality parameter at about 60 for the image to be both small enough in size and not too blurred or pixelated. The correct way of saving your image is via the Save for Web option (File menu, Export tab). It is worth noting that you can go back to Transform mode anytime by pressing either Windows+T (Windows) or Command+T (Mac) key combination.Įxporting your image is also important for you to be able to upload your new banner successfully. A check mark icon on Photoshop’s toolbar or the Enter key can be used to save the resizing results.Įxiting the Transform mode via the Enter key or the button on the toolbar is the correct way of saving your changes before exporting the image. It’s important to use a specific key combination (Shift+Alt for Windows, Shift+Option for Mac) to make sure that your image keeps its proportions and stays in the middle of the document after the resizing is done (key combinations should be pressed continuously every time you’re resizing the image in question for everything to work properly). Fitting your preferred image in these boundaries is the resizing process as it is. If you’re creating a file of your own, it’s important to remember the correct parameters from the start – 820 x 213 for cover images, 170 x 170 for profile pictures. As an example of the process, we’ll be using one of the relatively common methods of resizing an image – via Photoshop.įirst of all, the resizing process needs to start off as a document of sorts, be it the one that you’ve created manually, or one of the many templates for Facebook banner resize purposes that could be found all over the Internet. Image resizing is not exactly a difficult feat, but it can also turn problematic in some specific cases. an example of a cover image and a profile picture However, this comes with some limitations, such as the same pixel size – 820 x 312 pixels, as well as the overall limitation on the length of the video in question, which is from 20 to 60 seconds.Īn example of a Facebook banner resized and a Facebook profile image is shown below (taken from the official Microsoft page on Facebook). Additionally, business pages within Facebook can upload videos instead of images as their banners, allowing for even more versatility than before. First of all, the recommended dimensions of the banner in question are 820 x 312 pixels. It’s also recommended to leave a bit of space from the edges of your profile picture so that you won’t lose important details due to the cropping.įacebook cover images, on the other hand, are different. The simpler one of the two is a Facebook profile picture – with the specifications being 170 x 170 pixels, in the form of a square image. There are some standards that Facebook upholds to make sure that the uniformity and the adaptability of any image are at their finest. However, that’s not to say that you can upload any image as your banner or your profile picture. That’s not to say that this place is for logos only, it can also be your product, service, location, or something else that represents the nature of the page in question. #RESIZE YOUR PHOTO FOR FACEBOOK PROFILE PICTURE MAC FREE#Additionally, banners can be used for announcements, holiday wishes, free giveaways, etc.įacebook profile photos, on the other hand, are a bit more limited in use cases, mostly used to show your company’s logo and rarely – anything else. When it comes to Facebook banners (or cover photos) – those are also used as the source of information showing off your products, services that you provide and so on. The most obvious one of them is to draw attention to itself. Banners have a surprisingly high number of use cases when it comes to social media sites. This dynamic approach to battle works with varying degrees of success, although it will strongly appeal to console gamers who, by virtue of indoctrination in the legions of console military titles, FPS and otherwise, expect to do the moving and shooting by themselves. It's nice to play as the whole bunch, rather than playing in a squadron or convoy, so you may virtually hop out of a downed plane into a more serviceable one. Further, you have hands-on control of your varied units, with the ability to switch from the cockpit of a barrel-rolling, dive-bombing Zero to the tense gunner's seat in a nearby destroyer - albeit from a top-down view of the ship. There's great depth here, too, enabling gamers not only to move units about, but also initiate defensive stances, aggressive stances and the like. And if you're both, the game also favors master tacticians, allowing you to deploy and order around both unit types. Whether you're a flier or a sailor, your preferred armaments are here. To a great degree, Battlestations Pacific tries to be all things to all people, insofar as all those things are WWII military activities. But, then again, changing history, or retelling history, is standard fare in narrative video game design. Battlestations does indeed let you change history, win or lose. There's nothing new here in malleable chronology, but Battlestations certainly skirts the stock problem with many WWII-era games because you're either confined to one long historical operation with an ultimate no-fail clause, or you're fighting the same battles over and over again, winning and losing ad infinitum, with no particularly great consequences of those outcomes. There are battles and missions based on both historical and fictional scenarios sometimes your victory - or defeat - in an earlier mission influences the outcome of Pacific operations enough so you're cast as the defending or aggressing force in a completely hypothetical battle. The game is also stuffed with missions in two complete single-player campaigns.Īs the game's subtitle implies, the campaigns are the U.S. You expect a lot of military hardware, and you get it, though you'll have to put in the hours to unlock much of the more interesting material. It usually means that it's a pretty game with little depth, but that's not the case with Battlestations Pacific - and that's both its strongest and weakest point. Unfortunately, these days, lauding a game purely for its graphical prowess is as often as not damning with faint praise. After all, at this stage in console technology, you can only get so real before the illusion degrades, and a fair bit of intentional degradation goes a long way here. Since most of us gaming today grew up understanding WWII in a visual sense via archival film presentations, the style is notably more satisfying than any amount of blinding realism. It's a strong presentation point that's not to be overlooked. Playing the game with this visual effect turned on in all modes lets you feel like you're actually playing inside that aging newsreel. When you've just sunk a destroyer, the cut scenes in Battlestations Pacific are designed to give you the feeling you're relishing the day's accomplishments while viewing an old WWII-era newsreel or snooping in on secret combat film shot from a bomber's belly camera. It's a gimmick befitting consoles, not unlike the way Killzone 2 used depth of field and creative camera focus to produce a far more cinematic experience than would have been otherwise possible. Somewhat telling is that my favorite feature of Battlestations Pacific is the ability, within the game's presentation options, to turn on the graphics engine's antique color newsreel effect not only in the cut scenes but also throughout the in-game action.
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In this paper we show the effect of electron-phonon scattering on the performance of monolayer (1L) MoS2 and WSe2 channel based n-MOSFETs. (Received 8 December 2014 accepted 24 January 2015 published online 5 February 2015) Phonon scattering limited performance of monolayer MoS2 and WSe2 n-MOSFETĪmretashis Sengupta,1,a Anuja Chanana,2 and Santanu Mahapatra2ġ School of VLSI Technology, Indian Institute of Engineering Science and Technology, Shibpur, Howrah-711103, IndiaĢNano-Scale Device Research Laboratory, Department of Electronic Systems Engineering, Indian Institute of Science, Bangalore-560012, India Thermoelectric performance of MX2 (M = Mo,W X=S,Se) monolayers J. 105, 103902 (2014) 10.1063/1.4895344īallistic performance comparison of monolayer transition metal dichalcogenide MX2 (M = Mo, W X = S, Se, Te) metal-oxide-semiconductor field effect transistors J. Phonon thermal conductivity of monolayer MoS2: A comparison with single layer graphene Appl. View Table of Contents: Published by the AIP PublishingĪcoustic phonon assisted free-carrier optical absorption in an n-type monolayer MoS2 and other transition-metal dichalcogenides Phonon scattering limited performance of monolayer MoS2 and WSe2 n-MOSFETĪmretashis Sengupta, Anuja Chanana, and Santanu MahapatraĬitation: AIP Advances 5, 027101 (2015) doi: 10.1063/1.4907697 View online: |
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