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Lighter areas of the top layer remain visible, while the bottom layer shows through the darker areas.

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which a NAT binding to a specific port already exists. This prevents peer-topeer communication between two endpoints behind the same NAT if they attempt to use their public address. Hairpinning corrects this issue by examining the destination address of a packet. It evaluates the destination address, NAT binding, and makes a determination for hairpinning. NAT hairpinning does payload translation on SIP and UNIStim messages. (UNIStim is a proprietary Nortel protocol.)

This chapter assumes that you re reasonably familiar with your computer and can perform simple tasks like downloading and installing software from the Internet, opening and saving files, and finding files on your hard drive. In fact, the whole book assumes a certain level of computer proficiency. What we don t assume, however, is that you are familiar with podcasting. This chapter therefore starts by showing you how to find, subscribe to, and listen to a podcast. Then, after you ve listened to a podcast, we ll show you how to record, edit, encode, and distribute your podcast. These tasks can be accomplished in many different ways, and may different tools exist that you can use. For the purposes of this chapter, we re going to use the simplest, most common, and best of all, free tools. They may not be the tools you end up using to produce your podcast, but they ll give you a taste of what it s like. This makes you a better consumer if and when you decide to spend some money to buy better tools. To begin with, we re going to find and subscribe to a podcast. Because podcasting was developed by and for iPod owners, we re going to use iTunes to do this, the free music jukebox software from

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The adaptive process in ( a ,b ) stops as soon as the approximate integral over ( a ,b) is sufficiently close to the sum of the approximate integrals over its two subintervals ( a ,( a b ) / 2 ) and ((a b ) / 2 , b). One can formulate various other stopping criteria. Let us stress, however, that the parameter T O L has no direct relation to the true relative error

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1. Open a video file. 2. Click the New Fill or Adjustment Layer button at the bottom of the Layers palette to open the Fill or Adjustment menu. 3. Choose Exposure from the menu to open the Exposure dialog box, as shown in Figure 15.15. 4. Adjust the exposure setting. This will adjust the highlights of your video with minimal effect on the midtones and shadows. Moving the slider up brightens your image; moving it down darkens it. You can preview the changes you make by looking at your video file. 5. Adjust the Offset setting. This adjusts the shadows and midtones of your video with minimal effect on the highlights. 6. Adjust the Gamma setting. The Gamma setting adjusts how the lighting of an image is displayed on a computer monitor. 7. Alternately, you can use the eyedroppers to adjust the exposure. The eyedroppers in the Exposure dialog box change the luminance values of the video, rather than the color brightness values. The eyedropper containing the least amount of ink represents the highlights, the eyedropper in the middle represents midtones, and the eyedropper with the most amount of ink represents the shadows. Simply choose an eyedropper and click an area in your image to change the luminance value of the highlights, midtones, or shadows to match the chosen area. 8. When you are done making changes to your image, click OK to close the Exposure dialog box.

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