Sentences with phrase «shadow effects at»

Not exact matches

«At the moment this a concept of neither meaning nor effect for the millions of people languishing in terror in Darfur,» said Andrew Mitchell, shadow secretary of state for international development.

At 10 a.m. the Committee on Parks and Recreation will meet to hear CM Mark Levine's bill that would create a taskforce to study the effects of building shadows on parks.

The author discusses the production of Salk vaccine at Cutter Laboratories, the tragic effects of the inadvertent injection of 200,000 people with live virulent polio virus, the subsequent legal proceedings, and the shadow those have cast on the development of new vaccines.

The Berkeley Lab researchers looked at images from Landsat 8, a satellite that takes detailed images of the entire Earth every 16 days, comparing images from before and after the hurricanes and eliminating effects due to clouds and shadows.

At Dior, McGrath layered gold shadow and glitter over the lids and brows to create a brocade effect.

To get a similar effect at home — without endangering your retinas — sweep clear mascara over your lashes, then close your eyes and dust silver glitter shadow from the crease all the way to the tips of your lashes.

Besides white powder eye shadow from lash lines to brows and fake lashes at the center of the lashes, four half - inch slashes were drawn with black liner so they winged out from the lower lashes to «simulate a doll - like effect,» Farolfi said.

A tonal red sandal like the Edie Parker clutch would have provided a more streamlined effect but I would have stopped the red at the makeup — red eye shadow is always a tough look to pull off.

It doesn't look any better than previous Call of Duty games — at least on Xbox 360, some shoddy shadows effects aside — and at around 5 hours or so the single player campaign isn't any longer than what we've seen before either.

With Forza 7, for instance, HDR support often seems to mean starker contrast between brilliant light and dark shadow, which seems to more realistically reproduce the murky effect of driving at twilight, but doesn't exactly make models or textures look amazing.

Graphically, Gravel is Milestone Italy's best looking game up to the date of its release with amazing vehicle models that crumple when colliding with other cars or trackside objects complimented by realistic track surfaces such as sand, mud, foliage and rocks in numerous environments, alongside superb weather conditions as well as lighting and shadow effects that adapt to the time of day or night the race is taking place at, while there are outstanding subtle details such as water effects from water splashes and rain, mud splashing onto the car throughout the race, sparks flying as vehicles trade paint and pyrotechnics throughout each lap particularly during stadium races.

Texture quality, effects and shadow draw are much improved on PC too, even on medium settings, where the pop - in on shadows for the console versions suggests that they're running at an equivalent to the low preset.

Graphically, Destiny 2 is stunning throughout its diverse environments which are fully realised by excellent particle effects on everything from dust and weather to explosions, complimented by amazing lighting, shadows, enemy character models and weaponry as well as a day - night cycle running at a rock solid 30 frames - per - second on PS4 with no drop in frame rate regardless of how many enemies are nearby at once.

It utilizes some pretty incredible lighting and shadow effects along with some neat tricks that were likely not possible on last - gen consoles — the whole city is drawn at all times, and some pretty clever thought was given to when to draw certain things like enemies and environmental objects.

Somehow, we've pushed developers into a pixel war, when they should be running both consoles at 720P with these sort of specs, and putting as much of that power into actual graphical effects, such tessellation effects, SSAO / SSDAO / HBAO, filtering, lighting, shadow counts and dynamic effects as possible (such as, grass bending to your touch)... that is, if you wanted to have an actual PC-esque experience.

Reviewed on GeForce GTX 970, Intel i5 - 3570K @ 3.40 GHz, 16 GB RAM Graphics options Borderless fullscreen, vertical sync, frame rate lock, model detail, texture filtering, shadows, lighting, SSAO, effects Remappable controls Keyboard and mouse only, but gamepad users can choose between four different control schemes Gamepad support Yes Other Native 4K support On my GTX 970 (4 GB) review PC, the game maintains a solid 60 fps on «extra high» settings at 1080p.

While the lighting and shadow effects are executed quite well, the frame rate does slow down at certain occasions.

Graphics are crisp with nice shadow details, bloom and particle effects, and — though there are still a few visual glitches within the game — I have yet to come across a game where everything is perfect particularly at the outset.

It features large open worlds with large amount of enemies rendered on - screen at once, along with realistic shadows and lighting effects.

Geoff's instructions for adding the near distance foliage with the light streaming in from the left of the painting, and casting the long purple shadows across the road and bank in the foreground were easy to follow, and I was surprised at how simple it was to paint in this particular way, and just how effective this effect can be.

This enchanting effect heightens the longer you look at each painting; new details and figures emerge from the shadows.

An area dedicated to «art in action,» on our visit we wandered into interdisciplinary artist Sung Hwan Kim's two - room video installation that befuddles you with a two - way mirror, before being even further entranced by Lis Rhodes «Light Music» installation — a work originally conceived in 1975 in which two projectors at either end of the room create a fanning strobe effect as the horizontal shadows fluctuate in size.

As evidenced by the paintings in her current retrospective at the Whitney, she keeps a toolshed of effects and objects — drop shadows, large modernist grids, drips, bicycle wheels, squiggles, text, impasto that rivals cake frosting, and even wallpaper — that appear predetermined to keep every possible idea of «mark - making» alive.

I was thinking instead perhaps more easily controlled polar - orbit satellites might be used, which would rotate with some fixed ratio to their orbital period, casting greater shadows at higher latitudes... or some other arrangment... for a targetted offset polar amplification of AGW especially and in particular perhaps avoiding the reduction in precipitation that can be caused by SW - radiation - based «GE» (although aerosols that actually absorb some SW in the troposphere while shielding the surface would have the worst effect in that way, I'd think)... strategic distribution of solar shading has been suggested with precipitation effects in mind, such as here... sorry, I don't have the link (I'm sure I saved it, just as Steve Fish would suggest — but where?).

The Berkeley Lab researchers looked at images from Landsat 8, a satellite that takes detailed images of the entire Earth every 16 days, comparing images from before and after the hurricanes and eliminating effects due to clouds and shadows.

You're not looking at some transparent display; the TV just creates shadows and other effects to make it seem that way.