If you are like me and bored with the default itunes skin, then it's time to change it to your favorite style. This article will tell you how to modify iTunes skins in Windows and in Mac. But keep in mind that changing iTunes skin may decrease the stability of iTunes.
Thanks to Davi's great work, so many iTunes skins are created by this designer on DeviantART website. And the last iTunes skin is designed by Masaliukas. Click the link to view more information about the itunes skin and click the button in the top right corner to download. All skins support iTunes 10.1 to iTunes 10.5.
Before iTunes 7, there is a popular iTunes plugin called Multi-Plugin which empower the ease of changing itunes skins. However, this plugin develop team has stopped to work. If you are still using iTunes 7 or previous, Multi-Plugin is definitely what you want to change itunes skins. Good news is that now many itunes skins are provided in EXE package so that you could install a new itunes skin by simply clicking two on your mouse, and there you go.
Mac users are not so lucky as Windows users. But there are still many designers who create their itunes skins for Mac and share on internet. You could download to change your itunes skin for a fresh feeling while listening to music. Among the itunes skins for Mac provided here, the iTunes 10.7 ones are already included.
Generally, double click on the EXE (Windows itunes skins) or DMG (Mac itunes skins) file to install. For some iTunes skins, you only need to replace the original iTunes.rsrc with the newly downloaded one. But you MUST backup the original file before replacement. Revert to the original iTunes.rsrc file before you update iTunes application. Here is the default path to iTunes.rsrc:
Unsure Words: When you are unsure of a word or have low confidence in the lyrics transcription for a word, you can mark that word or phrase by enclosing it within a tag and adding the attribute itunes:unsure=\"true\":
Explicit Words: When a word or phrase in a song is considered explicit, you can mark that word or phrase by enclosing it within a tag and adding the attribute itunes:explicit=\"true\":
You must supply the XML Namespace to allow the use of iTunes extensions: -ttml-extensions. Note that this example uses the prefix \"itunes\" (in the prefix xmlns:itunes), however using \"itunes\" is not required; you can use any prefix.
This course explores the physical processes that control Earth's atmosphere, ocean, and climate. Quantitative methods for constructing mass and energy budgets. Topics include clouds, rain, severe storms, regional climate, the ozone layer, air pollution, ocean currents and productivity, the seasons, El Niño, the history of Earth's climate, global warming, energy, and water resources.
Dolby Atmos is a surround sound format that goes beyond the 5.1-channels of Dolby Digital to add \"height\" channels for improved realism. Atmos is a competitor to atmospheric format DTS:X, which has much less disc-based content than Atmos, and no streaming support (yet).
Do you need it Like most high-end formats, the answer is an emphatic \"no.\" Standard Dolby Digital and DTS surround sound delivers an awesome experience, and even a good pair of stereo speakers or a basic sound bar is enough for many people. But Atmos-capable hardware is getting more affordable, and in some cases the extra height effects and atmospherics can be really cool.
The Sky Atmosphere component in Unreal Engine 4 (UE4) is a physically-based sky and atmosphere-rendering technique. It's flexible enough to create an Earth-like atmosphere with time-of-day featuring sunrise and sunset, or to create extraterrestrial atmospheres of an exotic nature. It also provides an aerial perspective to which you can simulate transitions from ground to sky to outer space with proper planetary curvature.
Simulating the sky and atmosphere in UE4 requires several properties that mimic the look and feel of a real-world atmosphere. These properties can be used to define the look of the sky and atmosphere by scattering light in an appropriate and accurate manner. By default, the Sky Atmosphere component in UE4 represents the Earth.
For an Earth-like planet, the atmosphere is made up of multiple layers of gasses. They themselves are made up of particles and molecules that have their own shape, size and density. When photons (or light energy) enter the atmosphere and collide with the particles and molecules there, they are either scattered (reflected) or absorbed (see below).
The Sky Atmosphere system simulates absorption with Mie scattering and Rayleigh scattering. These scattering effects enable the sky to appropriately change colors during time-of-day transitions by simulating how the incident light interacts with particles and molecules in the atmosphere.
The interaction of light with smaller particles (such as air molecules) results in Rayleigh scattering. This type of scattering is highly dependent on the light wavelength. For instance, in the Earth's sky, blue scatters more than other colors, giving the sky its blue color during the daytime. However, at sunset, it appears red because light rays need to travel further in the atmosphere. After long distances, all blue light is scattered away before other colors, resulting in colorful sunsets full of yellow, orange, and red colors.
In an Earth-like atmosphere, when sunlight interacts with small particles (1) in the atmosphere (2), Rayleigh scattering happens throughout the atmosphere. The upper atmosphere is less dense compared to the lower atmosphere near the Earth's surface (3).
The Mie Phase controls how uniformly light scatters when interacting with larger aerosol particles in the atmosphere. With Mie scattering, light usually scatters more forward, resulting in bright halos around the light's source, such as around the sun disk in the sky.
The amount and colors absorbed are controlled using the Absorption Scale and Absorption color picker properties. The examples below demonstrate removal of a single RGB color through an atmosphere with increased absorption.
The Sky Atmosphere component enables you to control the atmosphere from not only a ground perspective but also from an aerial and space one. This means that you can effectively define the curvature of your world so that transitioning from ground to sky to space feels and looks like a real-world atmosphere.
Mie scattering is a component of the atmosphere and is a height fog simulation in itself, meaning you can already use it to create height fog in your scene without using the Exponential Height Fog component (see below).
Should your project require Exponential Height Fog, it can be enabled in the Project Settings under the Rendering category by setting Support Sky Atmosphere Affecting Height Fog. Contribution from height fog is additive; it applies sky atmosphere height fog on top of the existing faked colors provided by the Exponential Height Fog component. To have Sky Atmosphere component affect and influence Exponential Height Fog, you'll need to set Fog Inscattering Color and Directional Inscattering Color to Black using their respective color pickers.
With these set, you can use the Sky Atmosphere's Height Fog Contribution setting under the Art Direction category to apply artistic control over how much light coming through the atmosphere affects the height fog.Below is an example of height fog contribution being adjusted.
When creating your own sky material, which has customized clouds, planets, sun, or other object, you should enable the Is Sky flag in the Material advanced properties. However, keep in mind that it disables contribution from aerial perspective (atmospheric fog) of the Sky Atmosphere component, but does apply height and volumetric fog to the scene from the Exponential Height Fog component.
The shape of the skydome mesh is important when using some of these expressions since they will drive evaluation of those values. For example, if you use the functions to evaluate lighting on clouds, you can assume the skydome pixel world position represents the cloud world position in the atmosphere.
In addition to creating beautiful atmospheres from a planet's surface, the Sky Atmosphere system is capable of creating a planetary atmosphere viewed from space. Without any special setup, you can even move seamlessly from the planet's surface through the atmosphere to outer space.
Planet Top at Absolute World Position places the top ground level of the atmosphere at the world origin coordinates (0,0,0) in the scene. The Sky Atmosphere is not movable when this option is selected.
Planet Top at Component Transform places the top ground level of the atmosphere relative to the component's transform origin. Moving the transform of the Sky Atmosphere component, or one that it is a child of, moves the atmosphere within the level.
Planet Center at Component Transform places the atmosphere centered to the component's transform origin. Moving the transform of the Sky Atmosphere component, or one that it is a child of, moves the atmosphere within the level.
Light transmittance through the atmosphere is optimized for ground-level views; a single transmittance is evaluated for the top of the planet, but for a planetary view, the transmittance should be evaluated per pixel for the atmosphere terminator to look correct. This also enables the atmosphere to cast shadows on nearby moons, or other celestial objects.
Due to the way samples count is based on distance, samples become visibly large (as circles) in the atmosphere. Visibility of the samples is a side-effect of the density of medium in the atmosphere being higher, and very concentrated, close to the ground, which is a typical ray marching issue. You can solve this in a couple of ways: 1e1e36bf2d