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Calendering is the common compaction process for lithium-ion battery electrodes and has a substantial impact on the pore structure and therefore the electrochemical performance of Lithium-ion battery cells. For a targeted determination of the performance-optimized pore structure, it is of decisive importance to be able to comprehensively control the compaction process. Thus, during continuous calendering of graphite anodes and lithium nickel cobalt manganese oxide (NCM) cathodes the applied line load is tracked and varied at different speeds to compact the electrode to several coating densities. The generated pore structures are measured via mercury intrusion, resulting in quite similar porosities, while the densities of graphite and NCM diverge greatly. The porosities, measured via mercury intrusion, are compared to geometrical determined data, identifying compaction resistant closed pores in the NCM. On the basis of the measured porosity reduction the compaction behavior of the line load was found to be describable by an exponential model equation. The model parameters quantify the different compaction resistances of the cathodes and anodes in converging to a maximal density, respectively minimal porosity. This substantial difference could be traced to the closer packing of the spherical and harder NCM particles. The calendering speed showed only an insignificant impact up to speeds of 5 m/min.

CVN 78 was launched on November 17, 2013. CVN 78 weighed 77,000 tons at launch and was 70% complete the highest levels attained in aircraft carrier new construction. In addition, all tanks and voids were final coated, all Dual Band Radar (DBR) arrays were installed and 6.1 million of 9.5 million feet of electrical cable were pulled by launch. This unprecedented level of completeness has best prepared the ship for the post-launch test program. Material variance factors such as a shrinking supplier base, cost increases for developmental components, and CVN 78 unique items have been contained. As of December 2013, material availability on the waterfront improved and 95% of all material was procured. Further changes to material variance are not anticipated. Previously reported labor factors associated with use of thinner steels, blast and coat, and unit erection are no longer having a negative effect on labor variance Shipbuilder ability to maintain work package completion rates and to attain aggressive yet achievable goals for compartment outfitting, system turn-over and compartment turn-over will be a significant contributor to remaining cost and schedule performance. However, the principal risk remaining on the CVN 78 is the Shipboard test program and risks associated with first time shipboard operation of new systems and components. To mitigate this risk, the program is executing multiple land based test programs to reduce technical risk prior to shipboard testing. Government Furnished Equipment (GFE) systems such as EMALS, Advanced Arresting Gear (AAG), and DBR are all executing robust, multi-year land based tests. New contractor developed systems such as Machinery Control and Monitoring System (MCMS), JP-5, and Aqueous Film-Forming Foam (AFFF) are also subjects of early land based testing.

After Effects CS3 Professional comes with literally hundreds of effects plug-ins - and just for good measure, it also installs third party plug-ins from Cycore (Cycore “CC” FX), The Foundry (Keylight), and Synthetic Aperture (Color Finesse). So - where do you learn how to use them?

Our goal in this chapter is to show you how to create a composition, add source footage as layers, and navigate in both space and time. Mastering these basic concepts, techniques, and shortcuts will prepare you for animating layers in the next few chapters. We'll also cover safe area, grid, guide, and ruler overlays in the Composition panel, as well as the all-important matter of previewing your work. Even if you're a more experienced user, you should skim this chapter to see if there are any shortcuts or tips you've been missing.

We've been reinforcing the idea throughout this book that managing transparencies is the cornerstone of creating motion graphic composite images. But not all images come with their own transparencies - or ones we necessarily want to use. Sometimes, we'd prefer to borrow another image to create those transparencies. This second image is called a matte .

A family of 700-W Ka-band Coupled-Cavity Traveling-Wave Tubes (CCTWTs) has been successfully developed, built, and tested at Communications and Power Industries (CPI). These CCTWTs are capable of up to 700-W Continuous Wave (CW) output power with 2.0 GHz of instantaneous bandwidth. They were built with the intended use for the commercial satellite and military communication market. We discuss the design and successful demonstration of the family of CCTWTs, including the VTA-6428S2B prototype which achieved over 700-W (783-W maximum output power) with an overall efficiency reaching as high as 52%.

The Vector Paint effect has been largely made obsolete by the new Paint tools in After Effects, but it still has its fans for a couple of reasons: Vector Paint offers an onion skin mode plus the ability to wiggle the paint stroke paths, with no loss in quality.

After Effects can be thought of as a blank canvas - a canvas that comes with hundreds of brushes and tools to create images with. The problem with blank canvases and too many tools is that it can be hard to know where to start. Therefore, in this first chapter we want to give you an overview of the After Effects user interface, including ideas of how to rearrange it to better suit your needs from task to task. Just as important, we want to give you an idea of how After Effects “thinks” - how projects are structured, how to import sources, and how everything comes together. You won't learn to paint quite yet, but at least you'll know which end of the brush to hold before you move forward.

You may have heard the expression “painting with light”; it's an appropriate description of what After Effects lets you do. You can illuminate layers, add colored casts to them, overlight them to add intensity or blow them out, vignette them, have them cast shadows… even cause layers to project their own images onto other layers. All of this comes with a price, of course: Lights are one of the deepest subjects in After Effects. We'll start with some basic concepts, progress through adjusting illumination and shadows, and end with advanced techniques such as creating virtual gels and gobos.

Real 3D programs have several advantages over After Effects: For example, their objects have real depth, and the texturing and lighting options are far more advanced. However, this power often comes with a significant speed penalty, which can be a problem when accommodating client changes. After Effects is also the better tool in which to refine the final look of your 3D worlds. Offloading portions of the work from your 3D program to After Effects will save time while giving you more power and flexibility - but it requires some effort to set up.

The previous chapter was devoted to Track Mattes: having one layer create transparency for one other layer. Stencils, however, create transparency for all layers underneath. You can use a layer's luminance or alpha channel as a stencil, and invert it as well. This chapter also covers the Preserve Transparency switch, and an obscure but useful mode called Alpha Add.

Not all footage items look best full screen. And not all come with their own alpha channels to block out the parts you don't want to see. Therefore, we often use masks to “cut out” the alpha channels we require. You can create masks in a variety of ways: You can draw a path using the mask tools in either the Layer or Comp panel, specify the dimensions numerically, or paste a path created in Illustrator or Photoshop.

I n the first two lessons, we focused on animating the properties of layers. However, your sources may have built-in animation of their own – namely, the frame-to-frame movement inside a video clip. Therefore, we're going to spend a good portion of this lesson showing how to move a clip in time, edit its in and out points, and work with its frame rate and ability to loop. From there, we'll move onto combining clips using Blending Modes – the “secret sauce” that creates rich, deeply layered looks. We'll end by showing alternate ways to work with effects, including using Adjustment Layers and taking advantage of Animation Presets.

After Effects offers a set of paint tools for painting directly on layers. You can use vector-based paint tools accessed from a pair of dedicated panels to retouch footage and create animated graphical elements, plus use cloning to remove unwanted elements and replicate areas of a layer. The brush strokes are non-destructive. Individual brush, clone and eraser strokes can be edited and animated in the Timeline.

T hroughout this book, you've been learning features in After Effects through a series of short exercises. In this final lesson, you will create a complex single project containing multiple elements and compositions: You will animate a character, and then set him in a 3D world.