Initially, the first several episodes of the series did not include any music. In May 2003, Nico Audy-Rowland, the bandleader of Trocadero, was introduced to Red vs. Blue and enjoyed the series enough to submit a song about it to Burns, who liked the piece and promptly requested more music for Red vs. Blue. Episode 8, "Don't Ph34r The Reaper", was the first to include music. However, for the release of the season 1 DVD, music was retrofitted into earlier episodes, often during transitions.Trocadero's "Blood Gulch Blues", whose last few measures are now heard during each episode's title sequence, is used as background music for the character introductions on the Red vs. Blue season DVDs. According to Trocadero's website, the song's lyrics are intended to highlight episode 2's joke about the Warthog and the notion that there is as much bickering and fighting within each team as there is conflict between the two sides. In fact, "Blood Gulch Blues" never mentions Red vs. Blue. The song is from the band's debut full-length album Roses Are Red, Violets Are Blue which was released in 2004. The band's style is alternative rock, taking influence from elements of blues, alternative rock, and western types of music. Trocadero continued to provide music for the show from their second and third albums, Ghosts That Linger and Flying by Wire.
For scenes which include the flag (CTF), only two colors could be used (Sarge's and early Donut's red, and Caboose's blue) as CTF is a team game and only red and blue colors could be used. When the flag used among different colored characters, it is only shown with a standard red or blue character, mixed with scenes with other characters behaving as if it is present.
If you know what a green screen background is and how it works, then you actually already know what a blue screen background is. There are differences when it comes to blue screen vs green screen. The two are used in slightly different scenarios and are, of course, two different colors, but are otherwise the same for all intents and purposes.
A blue screen background is an evenly-lit, monochromatic background that actors perform in front of. The blue (or green) is then replaced with the desired background through chroma-keying. Many films made today heavily utilize blue or green screens.
This chroma-key technique is not confined to backgrounds either; props, production design elements, and even whole costumes can be created as chroma key blue or green and then keyed out in during the Post-Production process. This is perhaps the most common VFX technique used in the modern film industry.
It is possible to mask out people, objects, or backgrounds and achieve a blue screen effect without using an actual green or blue screen, and this non-chroma-key technique does happen regularly. Monochromatic screens make this process much faster and easier as the removal process must otherwise be done by hand, frame-by-frame.
Chroma-green and chroma-blue are the ideal colors for monochromatic screens in production. The primary reason for this is because chroma-green and chroma-blue are not naturally occurring colors within skin tones and thus make for a clean chroma key featuring performers.
Now we know what the blue screen effect is and how it works, and the differences in blue screen vs green screen. The next piece of information we need to glean is when should a blue screen be used and, more specifically, when should you use blue screen instead of green screen.
As we already covered, green and blue screen colors are interchangeable in many contexts. There are, however, certain factors to take into account when deciding whether to use chroma-key green or chroma-key blue as your monochromatic background.
The most crucial reason to switch from blue screen vs green screen or vice versa would be when a color matching the particular screen is present within the shot. If green is present in the area you plan to mask out, such as a green costume, green foliage, or a simple green prop, then you will be much better off using blue screen special effects when capturing the footage you plan to key out later on in post. The same is true of the inverse if the blue screen color is present within your shot.
To see an example of blue screen movie making in action, check out the video below for a direct instance where proper keying was not possible with a green screen, and thus a chroma-key blue was used instead.
As we covered, green and blue are the two best colors for keying but, technically speaking, any solid, monochromatic screen could be used for keying. The trick is to use a solid color that is not present within any person or object in the frame that you do not want keyed out. If what you need keyed out is a lone green and blue prop, then you could use a red screen for instance; matters get far more complicated when introducing a human subject as skin tones contain a wide range of colors.
One additional reason why a blue screen is sometimes preferable to a green screen is due to luminosity. Green has the highest level of luminosity of any color on the spectrum. Because of this, green is the most easily readable and trackable color by digital camera and editing programs. But there is also a potential downside to this high level of luminosity: increased light spill.
When it comes to blue screen vs green screen, one is not definitively better than the other; there are instances where each is preferable. A good filmmaker knows how to adapt to different situations and solve problems through a variety of means.
A blue screen error (also called a stop error) can occur if a problem causes your device to shut down or restart unexpectedly. You might see a blue screen with a message that your device ran into a problem and needs to restart.
This article doesn't contain a list of all error codes, but since many error codes have the same potential resolutions, your best bet is to follow the steps below to troubleshoot your blue screen error.
Hydrocephalus has many causes and a myraid of manifestations. Moreover, every person is unique. On average, our day is divided into 8 hours of sleep and 16 hours of active daily activities. While the resting phases hardly differ from person to person, there are wide differences in activity from person to person and from patient to patient in everyday life. This is why it is so crucial for optimal, individual treatment to focus on the flexible adjustability for the active time of the day, i.e. the upright body position, when developing a hydrocephalus valve. The M.blue is a valve that meets the most diverse forms of hydrocephalus with a particularly high degree of flexibility in therapy.
Particularly challenging and difficult forms of hydrocephalus require a much greater flexibility in treatment. This is what the M.blue plus stands for: a combination of an adjustable gravitational unit and an adjustable differential pressure unit (proGAV 2.0).
The differential pressure unit in the M.blue is available in the units 0, 5, 10 and 15 cmH2O. The selected opening pressure of the differential pressure unit is equally effective in all body positions. When lying down, the differential pressure unit acts alone and usually has a low selected opening pressure, so that the valve drains brain water as needed when the brain pressure increases during sleep and rest phases. A microspiral spring that presses a sapphire ball into a ball seat is responsible for maintaining the correct pressure. If the brain pressure rises above the selected opening pressure, the spring gives way, the differential pressure valve opens and allows brain fluid to pass through until the brain pressure has dropped again accordingly.
The gravitational unit in the M.blue is adjustable from 0-40 cmH2O and is only active in the upright body position. Now the sum of both units - gravitational and differential pressure unit - determines the total opening pressure of the M.blue. The more upright the patient is, the higher the opening pressure of the M.blue. The considerably higher opening pressure in the active phases of the day is particularly important because hydrostatic and hydrodynamic phenomena in the shunt system take effect in the upright body position and there is otherwise a risk of overdrainage.
The opening pressure of the gravitational unit is determined by a combination of rotor, rod spring, tantalum weight and sapphire ball. The tantalum weight holds a sapphire ball in the ball seat via a lever, which closes or opens the valve. Depending on the body position of the patient, the influence of a tantalum weight on a sapphire ball changes and thus the valve opening pressure. The preload of the rod spring connected to the lever can be adjusted via a rotor using the M.blue plus Instruments and can influence the desired opening pressure.
Then place the open M.blue plus compass on the valve so that the direction of flow is correctly aligned with the arrow markings on the compass. Now the compass is closed and can be fine-tuned by very light movements of the instrument. If the float in the center of the compass is centrally aligned within the mark, the instrument is in the correct position for all further steps.
Simply follow the line mark up to one of the two scales: For the opening pressure of the adjustable differential pressure unit (proGAV 2.0), the setting range of 0-20 cmH2O on the outer scale applies, which is highlighted in light grey. For the opening pressure of the gravitational unit of the M.blue the blue marked setting range of 0-40 cmH2O of the inner scale applies.
The M.blue plusadjustment ring can now be inserted into the resulting opening in the middle. The marking on the adjustment ring should point to the desired opening pressure of the corresponding M.blue or proGAV 2.0 scale. By applying light pressure with the index finger on the valve diaphragm which is located under the skin in the middle of the adjustment ring, the rotor brake is released and the opening pressure of the valve is changed to the desired value. 2b1af7f3a8