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A cross-compiler is a tool that transforms source code into object code that will run on a machine other than the one where the compilation was executed. When you re working with languages that execute on virtual machines (like Java), all compilation is cross-compilation: the machine where the compilation runs is always different than the machine running the code. The concept is simple in that when the compiler generates the machine code what will eventually be executed, that code won t run on the machine that s doing the generating. Architecturally, from a compiler designer s perspective, the target machine is a few steps removed from the code-generation process, because the intermediary steps in compilation produce output that s designed to be easy to optimize rather than run on hardware. After the optimization steps, the compiler then produces code intended to run on an actual processor. Thinking about the compiler s operation in this way makes it easy to understand that the final step of turning the optimized pseudocode into the machine code for the target can produce arbitrary machine code and not just code that executes on the host machine. In this section, the focus is on creating a GNU GCC cross-compiler as the first step to creating an embedded Linux platform. First you build the supporting binutils, then a cross-compiler suitable for compiling glibc, and then the final compiler. For the purpose of illustration, the steps are broken out into several sections. In a real project, all the steps are combined into a script that can be run without intervention. Some basic terminology is used to describe the players in the process of building the compiler:

The Dodge/Burn tool starts in Dodge mode by default. It uses a brush, like the drawing tools you used in 4 try a fairly large one to begin with. The Dodge tool lets you choose between three modes: Shadows, Midtones, and Highlights. By default, it s set to Midtones, and that will work for many dodge or burn problems. However, if you re trying to brighten a very dark shadow area, you may be better off choosing Shadows. Then the Dodge tool will selectively brighten the dark zones much more than other areas. That lets you be slightly sloppier with your brush technique: if you slide a little outside of the shadow, it won t be very noticeable. Try that with Midtones and you ll see some of the area that s not in shadow also get brightened. However, Midtones may sometimes bring out a little more detail than Shadows. Take a look at the Dodge tool s options, as shown in Figure 6-2.

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Build machine: The computer used to compile the code Host machine: The computer where the compiler runs Target machine: The computer for which GCC produces code

Opacity makes the tool s effect more subtle as if the brush were more transparent (the default setting is 100%) The Pressure sensitivity options control how the tool can respond to pressure if you re using a drawing tablet Mouse users can ignore them Fade out makes the stroke end after a certain distance That s one way to ensure that you use short strokes! Apply jitter is a new option in GIMP 24 that makes the effect less regular On some images it may give a more natural effect The Dodge tool normally makes the edges of the brush slightly fuzzy, even if you re using a hard brush Hard edge turns this off Finally, an Exposure slider controls the strength of the effect Time to get started! Choose Shadows or Midtones depending on how dark the area is, and then start scribbling.

The concept of target throws many people for a loop. Table 6-1 shows two examples that should make clear the distinction between build, host, and target machines. This table also contains the Canadian cross-compiler case, which is explained in the following paragraph.

20 21 22 23 24 30

The trick to dodging Hold the mouse button down and try to cover a contiguous area all in one sweep The Dodge tool is smart: it won t brighten the same area twice, so if you cross back over an area you ve already covered, it won t get too bright However, if you use separate strokes, you can brighten the same area more with each stroke Dodging can turn a failed portrait into a better one It still won t look as good as if you d used fill flash or the correct lighting, but it can make the difference between seeing someone s face and not seeing it.

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