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Just as the name implies, the Animation (Frames) palette is composed of thumbnails of each individual frame in your animation. This gives it an entirely different look than the Timeline (see Figure 10.1). The look of the animation is not the only thing that s changed; the palette itself has completely different options. Let s take a look at what the differences are and why they are different.

Blending modes create amazing special effects by changing the way layers affect each other. At the beginning of this chapter, I asked you to imagine that layers were like transparencies stacked on top of one another. Using Blending modes is an example of how using digital technology has taken this idea one step further. Imagine that your transparencies are made of gel rather than plastic, and that rather than sitting on top of one another, they can blend with each other. Then imagine that you can determine which areas of the images on your transparencies would blend and how. Last but not least, imagine that you finish blending them, and you hate the result, but you find that you can pull them apart and start all over with your original images. But blending modes do more than blend two images together. They can be used on any layer that is added to your Layers panel. You can use them to change the way a layer style is applied, to blend a pattern into an image, or even to change an adjustment layer into a special effect. The drop-down menu at the top of the Layers panel shown in Figure 10.10 shows the different blending modes you can use to choose how the selected layer affects the layers under it. The blending modes are divided into six general categories, explained in the following sections.

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Caution We very intentionally used the modern $_POST superglobal to catch the value of the string posted by the form. This means, however, that the code in Listing 8-2 will not run in any version of PHP earlier than PHP 4.1. To adapt it to an earlier version, replace $_POST with $HTTP_POST_VARS with the understanding that the long variable names are now officially deprecated and will probably result in broken code at some point.

We summarise here the principles of adaptive modulation in a narrow-band Rayleigh fading channel environment In a narrow-band channel, as a result of channel fading, the short-term SNR can be severely degraded This typically degrades the short-term BER at the receiver Again, the concept of adaptive modulation is to employ a higher modulation mode, when the channel quality is favourable, in order to increase the throughput and conversely, a more robust modulation mode is employed, order to provide an acceptable BER, when the chanin nel exhibits a deep fade Thus, adaptive modulation is not only used to combat the fading effects of a narrow-band channel, but it also attempt to maximise the throughput This idea is somewhat reminiscent of invoking a coarse power control scheme although without the detrimental effects of inflicting increased interferences upon other system users due to powering up during the intervals of low channel quality.

In our work we used a variable number of modulation levels and again, we refer to this scheme as AQAM, while maintaining a constant transmitted power Adaptive modulation can only be invoked in the context of duplex transmissions, since some method of informing the transmitter of the quality of the link as perceived by the receiver is required unless an explicit feedback control channel is provided by the system More explicitly, in adapting the modulation mode, a signalling regime has to be implemented in order to harmonise the operation of the transmitter and receiver with regards to the adaptive modem mode parameters The range of signalling options is summarized in Figure 91 for both so-called open-loop and closed-loop signalling.

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