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The capture attribute takes as its value a string that specifies which camera to use for capture of image or video data, if the accept attribute indicates that the input should be of one of those types.

Note: Capture was previously a Boolean attribute which, if present, requested that the device's media capture device(s) such as camera or microphone be used instead of requesting a file input.

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If I right-click the .dsn file in explorer, and click properties, the read-only checkbox is not checked. I can rename, copy and delete the file no problem (I have a backup). If I delete the opj file, and open the .dsn, at first, things are fine - I can edit and save. I then close the application, and the .opj file appears. When I open the .opj file, OrCAD capture complains that the file is read only. What the heck is going on?

And your solution works!

NEVER uncheck the box that says "Save design name as UPPERCASE" in OrCAD Capture or you will be befuddled.

By default, the box is checked.

Only when you start playing with TCL scripts will you happen to discover how to make OrCAD capture behave irrationally.

Azure Event Hubs enables you to automatically capture the streaming data in Event Hubs in an Azure Blob storage or Azure Data Lake Storage Gen 1 or Gen 2 account of your choice, with the added flexibility of specifying a time or size interval. Setting up Capture is fast, there are no administrative costs to run it, and it scales automatically with Event Hubs throughput units in the standard tier or processing units in the premium tier. Event Hubs Capture is the easiest way to load streaming data into Azure, and enables you to focus on data processing rather than on data capture.

Event Hubs Capture enables you to specify your own Azure Blob storage account and container, or Azure Data Lake Storage account, which are used to store the captured data. These accounts can be in the same region as your event hub or in another region, adding to the flexibility of the Event Hubs Capture feature.

When you use no code editor in the Azure portal, you can capture streaming data in Event Hubs in an Azure Data Lake Storage Gen2 account in the Parquet format. For more information, see How to: capture data from Event Hubs in Parquet format and Tutorial: capture Event Hubs data in Parquet format and analyze with Azure Synapse Analytics.

Event Hubs Capture enables you to set up a window to control capturing. This window is a minimum size and time configuration with a "first wins policy," meaning that the first trigger encountered causes a capture operation. If you have a fifteen-minute, 100 MB capture window and send 1 MB per second, the size window triggers before the time window. Each partition captures independently and writes a completed block blob at the time of capture, named for the time at which the capture interval was encountered. The storage naming convention is as follows:

If you enable the Capture feature for an existing event hub, the feature captures events that arrive at the event hub after the feature is turned on. It doesn't capture events that existed in the event hub before the feature was turned on.

The capture feature is included in the premium tier so there is no additional charge for that tier. For the Standard tier, the feature is charged monthly, and the charge is directly proportional to the number of throughput units or processing units purchased for the namespace. As throughput units or processing units are increased and decreased, Event Hubs Capture meters increase and decrease to provide matching performance. The meters occur in tandem. For pricing details, see Event Hubs pricing.

You can create an Azure Event Grid subscription with an Event Hubs namespace as its source. The following tutorial shows you how to create an Event Grid subscription with an event hub as a source and an Azure Functions app as a sink: Process and migrate captured Event Hubs data to a Azure Synapse Analytics using Event Grid and Azure Functions.

To enable capture on an event hub with Azure Storage as the capture destination, or update properties on an event hub with Azure Storage as the capture destination, the user or service principal must have an RBAC role with the following permissions assigned at the storage account scope.

Motion capture (sometimes referred as mo-cap or mocap, for short) is the process of recording the movement of objects or people. It is used in military, entertainment, sports, medical applications, and for validation of computer vision[3] and robots.[4] In filmmaking and video game development, it refers to recording actions of human actors and using that information to animate digital character models in 2D or 3D computer animation.[5][6][7] When it includes face and fingers or captures subtle expressions, it is often referred to as performance capture.[8] In many fields, motion capture is sometimes called motion tracking, but in filmmaking and games, motion tracking usually refers more to match moving.

In motion capture sessions, movements of one or more actors are sampled many times per second. Whereas early techniques used images from multiple cameras to calculate 3D positions,[9] often the purpose of motion capture is to record only the movements of the actor, not their visual appearance. This animation data is mapped to a 3D model so that the model performs the same actions as the actor. This process may be contrasted with the older technique of rotoscoping.

Camera movements can also be motion captured so that a virtual camera in the scene will pan, tilt or dolly around the stage driven by a camera operator while the actor is performing. At the same time, the motion capture system can capture the camera and props as well as the actor's performance. This allows the computer-generated characters, images and sets to have the same perspective as the video images from the camera. A computer processes the data and displays the movements of the actor, providing the desired camera positions in terms of objects in the set. Retroactively obtaining camera movement data from the captured footage is known as match moving or camera tracking.

The first virtual actor animated by motion-capture was produced in 1993 by Didier Pourcel and his team at Gribouille. It involved "cloning" the body and face of French comedian Richard Bohringer, and then animating it with still-nascent motion-capture tools.

There are many applications of Motion Capture. The most common are for video games, movies, and movement capture, however there is a research application for this technology being used at Purdue University in robotics development.

Video games often use motion capture to animate athletes, martial artists, and other in-game characters.[13][14] As early as 1988, an early form of motion capture was used to animate the 2D player characters of Martech's video game Vixen (performed by model Corinne Russell)[15] and Magical Company's 2D arcade fighting game Last Apostle Puppet Show (to animate digitized sprites).[16] Motion capture was later notably used to animate the 3D character models in the Sega Model arcade games Virtua Fighter (1993)[17][18] and Virtua Fighter 2 (1994).[19] In mid-1995, developer/publisher Acclaim Entertainment had its own in-house motion capture studio built into its headquarters.[14] Namco's 1995 arcade game Soul Edge used passive optical system markers for motion capture.[20] Motion capture also uses athletes in based-off animated games, such as Naughty Dog's Crash Bandicoot, Insomniac Games' Spyro the Dragon, and Rare's Dinosaur Planet.

In the field of aerial robotics research, motion capture systems are widely used for positioning as well. Regulations on airspace usage limit how feasible outdoor experiments can be conducted with Unmanned Aerial Systems (UAS). Indoor tests can circumvent such restrictions. Many labs and institutions around the world have built indoor motion capture volumes for this purpose.

Movies use motion capture for CGI effects, in some cases replacing traditional cel animation, and for completely CGI creatures, such as Gollum, The Mummy, King Kong, Davy Jones from Pirates of the Caribbean, the Na'vi from the film Avatar, and Clu from Tron: Legacy. The Great Goblin, the three Stone-trolls, many of the orcs and goblins in the 2012 film The Hobbit: An Unexpected Journey, and Smaug were created using motion capture.

The film Batman Forever (1995) used some motion capture for certain visual effects. Warner Bros. had acquired motion capture technology from arcade video game company Acclaim Entertainment for use in the film's production.[22] Acclaim's 1995 video game of the same name also used the same motion capture technology to animate the digitized sprite graphics.[23]

The Lord of the Rings: The Two Towers was the first feature film to utilize a real-time motion capture system. This method streamed the actions of actor Andy Serkis into the computer-generated imagery skin of Gollum / Smeagol as it was being performed.[24]

Storymind Entertainment, which is an independent Ukrainian studio, created a neo-noir third-person / shooter video game called My Eyes On You, using motion capture in order to animate its main character, Jordan Adalien, and along with non-playable characters.[25]

Since 2001, motion capture has been used extensively to simulate or approximate the look of live-action theater, with nearly photorealistic digital character models. The Polar Express used motion capture to allow Tom Hanks to perform as several distinct digital characters (in which he also provided the voices). The 2007 adaptation of the saga Beowulf animated digital characters whose appearances were based in part on the actors who provided their motions and voices. James Cameron's highly popular Avatar used this technique to create the Na'vi that inhabit Pandora. The Walt Disney Company has produced Robert Zemeckis's A Christmas Carol using this technique. In 2007, Disney acquired Zemeckis' ImageMovers Digital (that produces motion capture films), but then closed it in 2011, after a box office failure of Mars Needs Moms. ff782bc1db