clients, but we also work with a number of e-tailers just getting into physical, like Brika. Sub-Zero Wolf has also been in the midst of testing. American Signature Furniture has contracted services to their 125 locations with a full-store rollout. After that first phase, our clients decide based on the data, what kind of expansions they want to do. Timberland is about 75% of the way through their phase 1 store testing. What stores and brands are you working with?Ĭrate & Barrel will be testing many different types of in-store experiences over the next couple of months. It can be tough finding the right backers. There is not a lot of dedicated money specialized for early stage retail technologies. We have also doubled our number of clients in the last 8 months, adding to 12 retail brands in the U.S. Cloudtag inc series#Now, we are at the beginning of Series A meetings and projecting to close in October with a $8-12 million target raise. We just closed on a $1.2 million bridge round, capping off a $4 million seed round, which will fund us into next year. Tell us about your recent growth and funding. CEO and Co-Founder James Yancey gives Hypepotamus the scoop on how the CloudTags team is redressing the in-store shopping experience. With clients in North America and Europe, they are paving the way toward the “retail of the future” with a recent $1.2 million bridge round (and an expected $8-12 million Series A). Merging physical shopping experiences with the digital sphere, CloudTags is collaborating with the beloved Timberland shoe brand, and, as of this month, Crate & Barrel. CloudTags has put their best boot forward to develop the Connected Store, a new way to shop and sell in retail stores.
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Fiji.sc/downsample Also see teaching material at Understanding this will help you not to make errors when resizing images, see here. See the famous article by Alvy Ray… A pixel is not a little square. In the opposite case: if the optical resolution is about the same or larger than the digital image resolution then you need more magnification, closer spaced pixels in the digital image, so resolve all the image detail the objective lens can pass through itself. Also remember that if the optical resolution is more than about 3x larger in nanometers than the digital image resolution then you have “empty magnification” where you don’t see any more fine details, just closer together image pixels. The second number, coming after the slash after the magnification x number, written on the lens. Where NA is the numerical aperture of the objective lens. Pin the table above) with the optical spatial resolution (the limit of the resolution in the image info coming from the object throughg the lens and into the sensor) Abbe told us optical resolution is roughly: light wavelength / 2.NA. Remember not to confuse the digital image spatial resolution (calculated a #Microscope resolution calculator how to#However, I am told that microscope-intended cameras today have only square pixels, not rectangular.įor an explanation how to add a scale bar in ImageJ, click here.įor an explanation how to add a scale bar in photoshop, click here. In such cases, the length and width of the pixel sizes should be calculated separately. Some cameras have rectangular pixel sizes (e.g. Note that all cameras listed here have a square pixel size (e.g. Here is a helpful table of pixel sizes (in nanometers) for some common cameras: Obviously, the smaller the pixel size of the camera, the better the resolution (i.e. mag x lens mag x C mount)įor Cascade 512 camera (16µm/pixel on CCD), at 60x mag and 1×1 binning: Image pixel size = camera pixel size x binning / (obj. Binning is usually used to reduce noise, but at the expense of resolution. combining a cluster of pixels to a single pixel. Pixel size – is the actual pixel size of the camera that is attached to the microscope.Lens magnification (in some microscopes, it is possible to get extra mag of 1.25x, 1.6x or 2x.How to convert from pixels to nanometers (or microns) requires a simple formula and some prior data as follows: That is what I encountered when I wanted to measure certain objects in my images. The problem is that these measurements are in pixels. Although a scale bar is helpful for assessing by eye, many image processing programs allows you to measure distances in the image. The scale bar is like a ruler that allows you to compare sizes and distances in images from different sources. In most microscopy images that are published in research papers, there appears a scale bar. We put 100% of our budget into the game, and had fuckall left over for the box art - deal with it. This game will blow your socks off, and tear you a new one. Unlike so many other video game companies that dressed up their low-quality on-screen graphics with a fanciful, professionally done painting, here was Capcom saying, in essence: “Look, we don’t care what you think about the cover. Like Princess Leia said to Han Solo: “You came in that thing? You’re even braver than I thought!” To me, it signified Capcom’s confidence in what was inside the box, that they were willing to use such a bad drawing for the cover art. But over time, I grew to love the terrible box art. I didn’t find out the true story until many years later. And daddy was so proud of what his little boy had done, he couldn’t not put it on the cover. Maybe it was just one of the guys who worked on the game had a young kid who drew it as a picture of what daddy does at work all day. But how could there be fan art for something brand new that hadn’t been seen by any fans yet? Could it have been a reissue done as some sort of contest for the fans? And that’s what I actually thought it was, for a long time. It looked like a crude piece of fan art drawn by a small child. It didn’t make good business sense - I’m sure the poor cover art must have hurt sales. I didn’t understand why Capcom would have chose this art, this art style. I didn’t expect it to be quite as good, but if it was only half as good as Mega Man 2, it would still be worth the money. I looked at the box art, and thought it looked awful, but I didn’t let that dissuade me from paying for it, because I knew how awesome MM2 was. I found a copy at my local Toys R Us a few weeks later, and bought it. It was incredible: great music, huge graphics, challenging and fun.īeing a sequel, I also sought out the original. It was definitely my favorite game after I played through it. I read the full-length review in Nintendo Power magazine, and immediately knew that this was a game to buy. Mega Man 2 is one of the best games ever released on the NES, and was an absolute blockbuster when it came out. The original didn’t sell very well in the States (I wonder why?) and the sequel only got produced because the developers believed in it so much that they snuck it into their spare time, working on it when they could, without formal approval from their bosses. I didn’t hear about Mega Man until after Mega Man 2 came out, in 1988. Today, it’s remembered and talked about far more than the cover art for any other game. And that’s exactly the right attitude to have about it. The people at Capcom must have a good sense of humor about the whole thing, because over the years they’ve embraced “bad box art Mega Man” and paid homage to it numerous times. But none of that excuses the apparent lack of artistic skill displayed by the guy who whipped out the colored pencils and drew this proportionless, perspective-free monstrosity. The story goes, Capcom US rushed a replacement, giving the artist assigned to do the work like a day to turn it around, and the artist had never seen the actual game, and only had a vague idea of what it was about. But, looking to appeal to 12-16 year old American boys, Capcom USA probably wanted something with more muscle and scowl. Even if the art style looks like it would appeal more to very young children, I’m not sure that it would have turned off older children. Now, there’s really nothing at all wrong with the Japanese artwork, and as it turns out, American kids love Japanese cartoons. How can we sell it to American children?!”
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