pullingthestringz

Chris Bosh was on the latest episode of the Lowe Post. Bosh is always a great guest and the whole thing is worth listening to, but towards the end Zach asks him about playing Timmy in the finals.

Skip 57:40 to for TD talk

http://www.espn.com/espnradio/play?id=29422541

Excerpt for those who cant listen:

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Zach: Those one on one battles with Tim in 2013 were NO fun. And you held your own. Tim could still get you buckets, and you were making him work for every inch. Was that cool though to defend Tim Duncan? As a guy from Texas being like “Damn I’m going one-on-one with Tim Duncan”?

Bosh: Hell naw that wasn’t cool. (Zach Laughs) Hardest shit I’ve ever done in my life man.

Its funny

Probably a stupid question, but I can't for the life of me see how you open a second viewport of the canvas you are working on. Basically the equivalent of (Window> Arrange> NewWindowfor"Filename") in Photoshop.

Thanks for any help.

Hello there!

I usually open a second window of the image I'm working on (through the "Window > Arrange" menu). Ill use this second view as a quick way to look at the overall image as I work.

I'm wondering is if there is a way to flip the image in the second window only. The usual fare of "Image > Image Rotation > Flip Canvas Horizontally " will effect both windows.

I don't actually want to flip the image, I just want a mirrored view of the image in one of the windows.

Has anyone run into this before? Any suggestions?

I'm using CC 2018

Thanks.

I am wondering if anyone knows how to permanently 'apply' a correction layer to multiple other layers, without merging them all together.

For example; say you are drawing person, with separate layers for skin, hair, clothes ect - and all are appropriately masked. You then make a tonal correction layer above all of it, to make everything warmer.

Then you want to keep working on the clothes and hair ect.

Working 'under' an active tonal correction layer is tough because you aren't dealing with the 'real' colors. Its all being passed through that correction layer filter.

Merging the correction layer with the skin, hair, clothes layers will destroy the separation you have set up. Even dup

There was a Spurs roast on the latest Lowe Post ~45 mins

Some of Zach’s thoughts about the team:

• “They were last in three point shots, second to last at shots at the rim, and first in midrange shots by such a comical margin that it almost seems like a typo.“

• “I’m sorry that the math is what it is. You just cant win a lot of games in the NBA if […] you’re last in both [3pt attempts AND shots at the rim] AND you don’t get to the foul line AND you don’t really offensive rebound a lot; you’re starting off every game down 10 – nothing.

• "And its not just the coaching, it’s the types of players they’ve targeted. Its j

I would say Hitman is ultimately a game about infiltration. But unlike Splinter Cell or MGS its about 'social infiltration' (blending in), rather than pure stealth.

It seems like a massive chunk of the experience of social infiltration (lying, bullshitting your way in, intelligence gathering, manipulation) is missing because there is no dialogue system?

Do you think there should be? Or would such a system be anathema to the replay-ability of the levels (which the game is fundamentally designed around?)

... Kaido.

I think the reason Oda showed us Bazil Hawkins card ability so early was because he will eventaully side with luffy, and give him a power-up (like 'shadow luffy' in thriller bark)

The line in this panel hints towards this specifically : "Sorry... Ill draw a good card next time.... These cards can be a little risky, but... I have some... That give an individual the ability to surpass their limits...!!

Its a weird bit of exposition in the context of the scene. I think Oda is quietly letting us know that Basil can make others more powerful with his ability. And he is doing it so early in the arc, so that most people will have forgotten by the ti

In the same way that certain NPCs can see through your disguises, I think it would add another layer of complexity if certain NPCs could fight you off when you attempted to choke them.

It could add immersion if npc's like bodyguards, combat specialist targets and even just big guys couldn't be taken down so easily.

It seems like you shouldn't approach taking out trained fighters the same way as random tourists. (The all powerful choke-out)

Adding that extra risk would encourage you to go lethal, or get more creative/ strategic taking certain people out.

Doing so could make the fiber wire and syringe sedative much more viable as the only sure way of silently taking out NPCs in close qu

With many of our top scorers out, Patty should be shooting more. He is averaging 7.8 fga per game, which is the exact same as last year when we had a lot less possessions to spare.

He is shooting a bit less efficiently (39.1% from three this year vs 41.4% last year) but if you look at his yearly numbers, he generally tends to shoot better when he gets more shots - which makes sense right? More shots makes it easier to get into rhythm.

Id be really interested to see what would happen if he took 5-6 threes a game, and maybe 10-12 shots overall, taking a few shots away from Forbes or Pau.

I mean what are we paying the man for? To get buckets. He isn't a plus defender (maybe he is in the a

I really love the premise of the show, and overall I thought it was well written, researched, acted and directed.

However I found some of the shows writing very frustrating, and greatly to its detriment.

The primary conflict/ theme that the show seemed interested in exploring was the morality of sympathizing and empathizing with crazy murderers. ("IS THERE METHOD IN THE MADNESS?")

However this theme which dominates much of the plot progression, characterizations and dialogue is undercut by the fact that audience:

a) already has an interest in serial killers, and therefore don't find it morally objectionable to be fascinated by them (and are deeply skeptical of the potential psychol