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minis and feature mainframe-based or other nonrelational database systems . Feeling the heat of the competition, or simply looking for ways to improve its software development, the organization may then move into object-oriented approaches . This usually means at least adopting an object-oriented methodology and object-oriented languages . For the purpose of this discussion, we characterize the object-oriented approach as follows : The object-oriented approach uses classes and objects as the main constructs from analysis to implementation. It normally involves using an object-oriented language such as C++ or Java that provides (build-time) encapsulation, inheritance and polymorphism, and the ability for objects to invoke each other within the same address space . This last point is an important constraint when it comes to distributed systems . As Orfali nicely expresses it, "objects only live within a single program . The outside world doesn't know about these objects." [Orfali 1996] . This approach is further explored in the sidebar, "The Object-Oriented Approach ." Over time, the organization will often start to deal with heterogeneous operating systems and try to resolve the challenges of merging an object-oriented Distributed components Distributed systems Distributed objects Object-oriented Traditional development / A

By default, Photomerge tries its best to make sense of the pixels in your images and match certain areas of one photo with similar areas of another. But it s something of a gamble; most of the time you ll see at least a few portions of your image that could use some fixing. You adjust the individual

FIGURE 10-33

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If you ve been following along and practicing your cloning techniques, you ve probably been frustrated by the fact that once you lock the overlay, you can t move it without resampling the clone source. The Aligned option in the Clone Source options bar changes all that. The Aligned option is selected by default, locking the clone source once you start painting in the target. If you deselect the Aligned option, the clone source floats perpetually behind your cursor. It stays locked as long as you make your stroke, but when you release the mouse button at the end of your stroke, it floats again (see Figure 16.22). When you move to the next frame of your video, you can reset the source, changing the position, size, and angle as needed. All it takes is a steady hand to clone the needed area with one stroke.

Open the Hot_Air.tif practice le from the downloadable practice les on the Web site (www.wiley.com/go/ photoshopcs4ats). Choose Image Adjustments Hue/ Saturation ( +U/Ctrl+U). The Hue/ Saturation dialog box opens. Move the Hue slider to right and stop when you get to a value of +120. Notice that as you drag the slider, the color bar on the bottom of the dialog box shifts to the left. This color bar, shown at the bottom of the dialog in Figure 7.17, gives you a preview of how the relationships in the color spectrum are changing as you adjust. For example, nd the blue color on the upper color bar and look directly below it. Notice that the color below it is red, which is the same color as the sky. The color below yellow is cyan, which is the color of the yellow panels in the hot air balloon.

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2. After you have a Premiere project onscreen, locate the frame you want to export. Start by opening the Monitor window. To display the Monitor window, choose Window Show Monitor.

Two other options are available for modifying your copy/paste preferences. The Retain Line Breaks option maintains line breaks in pasted text; if you choose Text Only, this option is disabled. The Clean Up Word Paragraph Spacing option works with the Text With Structure and Text With Structure Plus Basic Formatting choices to remove additional space between paragraphs.

eb sites tend to be divided into two categories: those totally without sound, and those that use a lot of it there s not much middle ground. Many music and entertainment sites rely heavily on both streaming audio and downloadable audio files, such as MP3. In this chapter, you learn how to use audio in the Web pages you design with Dreamweaver. You look at traditional digital audio formats such as AIFF and WAV, and how you can turn these into files suitable for publishing on the Web, in formats such as MP3 and RealAudio. You also examine music formats, such as standard MIDI files and QuickTime Music. Finally, you learn how to link to an individual podcast as well as a podcast feed. Lest you forget that you re dreamweaving here, you also look at some Dreamweaver extensions you can use to get audio-enabled sites up and running in no time. But before you leap into those deep waters, it s a good idea to get an overview of digital audio and its place on the Web.

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