Tuesday, November 29, 2011

Cinematography : Depth of field or soft-style?

However, there have been several filmmakers who were already experimenting with higher depth of field. The highlight of this alternative development may be the work of cinematographer Gregg Toland and director Orson Welles on Citizen Kane call (1941). The combination of various technical developments of the 30s - wide-angle lenses, light-sensitive panchromatic films, advanced arc lamps, specially coated lens systems to better light capture and the new, silent Mitchell Camera - allowing freer use of field depth.

The development is therefore a reciprocal influence of production and technical innovation. Technical developments allowed only certain preferred ways of working and therefore individual stylistic device. On the other hand, the specific production requirements placed on the developer, asked for certain innovations and thus controls the direction of research. There was, however, alternative developments within this area where relations system.
Deep Space cinematography and realism

Andre Bazin celebrates the art of Deep Space cinematography, especially the film Citizen Kane , as a prime example of his definition of realism. For him, the rules of assembly are just patronizing the audience while she / he can choose from more pronounced depth itself the object of his attention. David Bordwell contradicts this approach vigorously, and shows that the quasi-realistic representation of the depth of field already includes significant artistic alienation effects .

A special technique, the so-called "forced perspective" ("forced perspective"), can only succeed with the deep focus cinematography, but it is just not an example of realism. For the Walt Disney - Fantasy film The Darby O'Gill ( Darby O'Gill and the Little People , 1959) method developed makes use of the fact that the human eye due to the dimensionality of the film image cannot determine how far things or people are actually removed from one another so long as the camera or not the filmed objects toward each other. In order to create the impression that a normal-sized person interacts with a character in the brownies format, it was the larger figure draped with a piece of equipment in the foreground of the scene appear smaller is to end the other hand, four times the distance with a frame-accurate "fitting "four times larger equipment in the background. Markers helped the actors here, to play together despite the distance in compliance with the correct line of sight. For these scenes constructed Ub Iwerks , together with engineer Bob Otto, a camera with node-point perspective (English "node-point perspective camera"). This special camera produced from the two different sets seamlessly combined total consumption. The complicated shots requiring a huge film set , the corresponding amount of light needed to allow a deep sharp picture film succeeds.

Literature

Blandford, Steve, Grant, Barry Keith & Hillier, Jim (2001): The Film Studies Dictionary . Arnold: London
Bordwell, David (1985): The Mazda Tests of 1928 . In: Bordwell, David, Staiger, Janet and Thompson, Kristin: The Classical Hollywood Cinema. Film Style & Mode of Production to 1960 . Columbia University Press: New York, pp. 294-297
Bordwell, David (1985): deep focus cinematography . In: Bordwell, David, Staiger, Janet and Thompson, Kristin: The Classical Hollywood Cinema. Film Style & Mode of Production to 1960 . Columbia University Press: New York, pp. 341-352

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Tissot winner of the competition Timekeeping 2011

After a pause of more than twenty-seven years - two years ago the return of competitions Timekeeping we reported magically back in time when the best advertisement for a brand that it followed by the victories came only in those tight against.

'S 2011 edition , like the 2009, also had a large number of participants for the enterprise-class - Classic, which brought together all the timepieces with - as words - "Non-regulatory body made ??up depending on where you could find ". In other words, with a tourbillon .

After a series of tests, testing techniques and scientific procedures, when tested in certified laboratories of the Observatory of Besançon, the COSC - Contrôle Officiel des Us Chronometer (the certifying body for the precision Swiss Official) to Le Locle and Bienne, and after they have seen evidence to submit all timepiece to magnetic fields and shock from the Haute Ecole Arc of Le Locle, the jury declared the victory of Tissot Le Locle with 764 points.

To receive the award was Thiébaud President Francois Tissot who said he was delighted to receive this' award and dedicated it to all those who have worked together to achieve this important goal.

Tissot was founded in 1853, participating in competitions chronometry, in 1885 he had earned first place with a mechanical movement pocket.

The model of the contest victorious Timekeeping 2011, which derives from one of the brand's collections, was called Le Locle in the name of the same mother located in the mountains of Neuchâtel. Mount a Caliber ETA 2824-2 automatic mechanical.

Tissot Seastar 1000 watches combine style and performance without compromising neither the one nor the other. Both the appearance that the functionality of these models are shaped by their inspiration underwater: underwater, they keep their performance up to a pressure of 30 bar, demonstrating passion for sport divers and preference for automatic watches are totally compatible. The new line includes automatic chronographs, with the revolutionary movement C01.211, elegant models and three hands, also equipped with Swiss automatic movements.

The combination of high-tech watchmaking tradition and modern materials Tissot Seastar 1000 is the ideal solution for those set out in search of pleasure and adventure on the water as on land. The theme diver is always on top, thanks to items such as unidirectional bezel, strap with buckle and diving extension and indexes and hands coated with Super-LumiNova ®. All models are also equipped with a helium valve, which operates on the same principle of the submersible.

chronograph versions are characterized by an incisive case extra-large 48 mm, under the banner of daring and aesthetic maximum readability and off the water. The range consists of ten different versions that will satisfy the different preferences of each. Among the options available with a PVD finish that stands out blue, brand new, inspired by the colors of the ocean and combined with dials in shades of black and white, blue or black and orange, as well as a series of rubber or steel straps. The Tissot Seastar TisTechnical:
• Swiss Made Mechanical automatic movement
• Sapphire crystal scratch resistant
• Stainless steel 316L with PVD coating blue or black
crown and back • Screw
• Drain valve for helium
• Water resistant to 30 bar (300 m / 1,000 ft)
• 316L stainless steel bracelet with safety clasp and diving extension
• Standard rubber strap with buckle

For Tissot, "In touch with your time" is much more than an advertising slogan is an expression of the DNA of the brand and its ongoing commitment to keep pace with technology and trends of each era. Since 1853 Tissot is guided by the philosophy of innovation. Since then, the site of Le Locle in the Jura mountains in Switzerland, Tissot has managed to transform the precision craftsmanship and elegant watches that are sold today in over 150 countries worldwide. Special materials, enhanced features and meticulous attention to detail to create affordable luxury. Tissot is a company of The Swatch Group Ltd, the largest producer and distributor of Swiss watches in the world, as well as official timekeeper and sponsor of FIBA, AFL, CBA, MotoGP, World Championships of cycling, fencing and ice hockey. With its latest innovations in communications and products, Tissot be demonstrated through the "Innovators by tradition", Innovators by tradition. www.tissot.ch will be launched at Baselworld 2011 issot be demonstrated through the "Innovators by tradition", Innovators by tradition. www.tissot.ch will be launched at Baselworld 2011

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Monday, November 28, 2011

Deep focus cinematography

The deep focus cinematography is closely associated with the Deep Space mise-en-scčne , but it must not be synonymous. Paradigmatic example is and remains the film Citizen Kane (Orson Welles, USA 1941).

The use of depth of field than cinematographic technique is not only an invention of the 40s. The deep-focus cinematography , as well as its close relative, the deep-space mise-en-scčne , were already known in the early days of cinema as a stylistic device. During the 20s and 30s, however, sat down by at least one classic Hollywood style, the depth is often waived. In this 'soft style' ( soft style ) sharp contrasts were rejected as inartistic, a slight blur over all image planes was rather the goal. Considering the technological innovations in this period, it is obvious how much influence stylistic preferences of the filmmakers and technological innovation are mutually dependent.

Light

Until well into the twenties were carbon arc lamps and orthochromatic film for the standard of the filmmakers. Bulbs, as the product of General Electric Mazda Lamp , could not prevail for a long time, because their temperature was in the red light area, which could not expose the orthochromatic film. Early in 1928, finally isolated innovations were summarized in a larger research and development program.

The year before, founded Academy organized by the ASC and affected companies such as General Electric, Eastman Mole-Richardson or a test program, were elicited in the benefits and use of Mazda lamps and panchromatic film. Bulbs had the great advantage that they were due to their lower power consumption significantly cheaper, easier to handle and transport. In addition, the carbon-arc lamps had the side effect that they have a permanent, high-pitched whistle gave of himself, which was during the introduction of sound film is a clear disadvantage. The bulbs within a short time they gained widespread use in the studios. A far-reaching consequence of Mazda lamps, however, was that they brought a certain fuzziness and contrast with the weakness. This fit indeed to the then popular soft style, but always led back to individual filmmakers try to return to carbon arc lamps. With the development of the Technicolor three-color system, which worked only with hard bulbs, carbon arc lamps were developed and could claim te late 30's again a certain market segment for itself.

Footage

Already over 20 years, put the panchromatic film by by and by. Since he also responded to the red light, skin tones could be presented much better. The first panchromatic film materials were very sensitive to light ('slow'): The aperture must be wide open, the light can be amplified. Result was a low-contrast, bright lighting and a shallow depth that gave the image a soft expression. During the '30s, the film materials were developed. But most cinematographers used a wide open aperture, and bright lighting, as only this time the desired 'soft style' revealed. Few filmmakers have preferred to use higher contrast to sharp contours and a certain depth.

The introduction of sound

If the two developments of lighting and film footage to be considered first as independent, so can not deny that they were exactly in the period in which Hollywood surrounded to the clay. Arise out of the introduction of sound, other factors that influenced the lighting and film: the synchronization of sound with the picture of an increase in film speed made it necessary to 24fps. This resulted in a lower maximum exposure time, which in turn made a stronger illumination of the sets required. Still had to be soundproofed or arc lamps are replaced by the quieter Mazda lamps. The cameras had to be sound-insulated. This camera housing, however, led to that the camera filmed through a glass plate, which reduced the sharpness of the image and the light intensity again. Due to the lower exposure time cameramen were further enticed to open the aperture wide and thus reduce the depth of field.

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AHCI independent watchmakers

Svend Andersen , Marc Jenni , Kazes Jean and Antoine Preziuso present their latest collections and works of art in the exhibition space. "It's a real honor to welcome these prestigious watchmakers. AHCI participating in the Working Group is part of the logic and continuity of our mission: to promote the art of the time in Geneva and beyond its borders ", cites Florence Noël , Director of the Exhibition.

AHCI was awarded the Grand Prix d'Horlogerie de Genève 2010 when its members were awarded the special jury prize for outstanding contribution to the beautiful watch.

Here are some notes on the four members who will participate in AHCI GTE 2012:

Antoine Preziuso - The Art of Fine Timepieces
A pioneer of adventure Geneva Time Exhibition, Antoine Preziuso back to the fair with a very special work of art called the GTS - Grand Tourbillon Sport. While many brands want to conquer space, Antoine Preziuso keep both feet on the ground and feeds his passion for racing, reinterpreting its tourbillon movement in a box designed in house, made ??of a sleek new material, "ChromeCobalt".

Svend Andersen - Contemporary Art
Svend Andersen is sometimes called the "Watchmaker of the Impossible" because it can leave your mouth open the whole world with amazing creations and inventions. To remember the exploits of the "clock bottle" - created in 1969, "1884" a clock "hours of the world" which tells the fascinating story of the inventor of the 24 time zones, or Hebraïka, a wristwatch with the Jewish calendar, which has created with Alain Silberstein Svend ... A true exploits of mechanics. It is an extraordinary artist.

Marc Jenni - A Unique Experience Winding
Marc Jenni has never wanted to become a watchmaker. Well, fortunately for all lovers of watches, he began an apprenticeship at the age of sixteen and has started his career in New York at Tiffany & Co. In 2008, he was ready to open his own company. For its first participation in the GTE, Marc Jenni Prologue will present his creations, with a black ring that rotates around the entire box, and JJJ, reminding the wearer of the planets associated with days of the week.

Jean Kazes - Sculptural Clockmaker
Since 1972, Jean Kazes has made a name with its carved clocks and watches. These pieces illustrate the purity of both movements - simple or complicated (perpetual calendars, astronomical representations, universal hours, ringing in step ...). These works of art are a symbol of the delicate balance struck between in-depth mastery of a watchmaker and contemporary design.

There is a field that technology developed in recent years has now literally "overwhelmed".

On 17 and 18 November 2009 was held in Berlin this forum TECHNO LUXURY 2009 parternship a meeting with the International Herald Tribune , which involved different brands of the world's leading spokesman in the range of "goods" luxury.

In addition to including the list of speakers and the pleasant presence of Claudia Schiffer , as regards our beloved watches is to report the presence of Maximilian Büsser - CEO and founder of MB & F and that of Felix Baumgartner co-founder of URWERK .

The two brands are an example of how we can now extend the knowledge of Haute Horlogerie using new technologies.

I thank the "reporter for the event" Maximilian Büsser who sent me this flash.

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Saturday, November 26, 2011

Piguet Jules Audemars Extra-flat Watches

Jules Audemars series "Bolshoi" available in pink gold or white with anthracite dial, expresses to perfection, with simplicity and elegance, the age-old know-how of the brand. Moved by the famous Calibre 2120, designed and produced in-house in the '60s by Audemars Piguet , this movement of only 2.45 mm flat thick sapphire visible from the bottom, is further embellished by a rotor - or oscillating - finely skeletonized and engraved by hand up to represent the facade of the famous theater.

Not by chance will be produced in only 99 specimens (50 and 49 in pink gold, white gold). The number represents the years between the building of the Bolshoi Theatre - 1776 - and the birth of the manufacture Audemars Piguet - 1875.

Jules Audemard Extra-flat "Bolshoi"
Features
References
15181BC.OO.A005CR.01
18 carat white gold dial, anthracite, anthracite crocodile strap

15181OR.OO.A005CR.01
18-carat pink gold dial, anthracite, anthracite crocodile strap

The chapter HM2 Horological Machine # 2 of MB & F will close for good with 2 limited edition of 18 pieces. Maximilian Büsser Knowing this decision, although in line with the level of his work almost unique, will certainly not taken lightly. Horological Machine # 2 gave a lot of success in three years to MB & F: maybe it's just that with him came the awareness of the direction taken since the beginning.

HM2 was born in 2008 when he left his mouth open all the industry insiders, never before him a work of design presented equally innovative content of Haute Horlogerie. HM2-SV Black and Red HM2-SV - where the last two letters mean Saphir Vision - close this chapter.

Horological Machine No2 - Final Editions
The synthetic sapphire material is rarely taken into account for the production of boxes for obvious reasons: no doubt keeps the hardness obtained at high temperatures, has a porosity equal to zero, and reacts with acid only above 300 ° C. While its features are very attractive well must also bear in mind the difficulty in working it. Its surface, of course, opaque, satin should be to become transparent. The complex three-dimensional shape of HM2-SV, with beveled holes, the openings of the quadrants and the groove for the seal are an example.

The model HM2-SV Black presents a case of sapphire, dials blacks and black PVD titanium plate, a background of great effect for the unique architecture of the engine HM2 kept inside, held in place by a gasket electric green, visible Thanks to the top surface transparent. The underside reveals a distinct personality dell'HM2 color with the rotor 22 carats of brilliant green.

Red HM2-SV model has a sapphire crystal case and the two quadrants blacks mounted on an elegant base in red gold. The dials blacks, the black rubber gasket and the bright red of the bottom plate of the case creates an incredible contrast with the silver engine model HM2. The back of the house offers a splendid visual effect of the rotor-shaped "Space halberds" 22-carat red gold, custom MB & F, which is in contrast to gold red bottom plate.

Below is a complicated world
Its gauge was developed by Jean - Marc Wiederrecht: this is the first mechanical movement to the world that presents snapshots jumping hours, retrograde minutes concentric, retrograde date, moon phase and automatic winding in both hemispheres.
The main challenge that the award-winning watchmaker faced was to ensure that the hours worked instantly and simultaneously jumping when the retrograde minute back from 60 to 0. All this happens not only instantaneously but without excessive expenditure of energy.

Wiederrecht has devised an ingenious device by which a snail positioned on the mechanism actuates the star of the minutes of the hour the instant the minutes back to zero and causes the jump time. The action is instantaneous and since it is powered by the energy of returning to zero minutes this has virtually no effect on the amplitude of the bar.

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Dolly Zoom

When Dolly zoom moves the camera on rails ( Dolly ), while the focused object by an opposite adjustment of the focal length unchanged while driving in the image remains. This is the framing of the background either higher (with the Wegfahrt - dolly out, zoom in ) or smaller (in the driveway - dolly in, zoom out ) which creates an unnatural sogartiger effect, the first time in Alfred Hitchcock's film Vertigo - From the Empire the Dead (1958) was used to fear of heights to express. As the inventor of this effect is Irmin Roberts , who at that time for the filming of Vertigo as a cameraman (cinematographer), the 2nd unit had been committed.

The final effect is also often confused by experts because it appears at first contradictory. The background appears to meet the viewer when the camera moves away from the scene (see accompanying chart). Conversely, if a dolly in the extended perspective. Hitchcock himself was in one of his interviews with Truffaut erroneously to a dolly out remembered because in the appropriate settings in the movie Vertigo seems to remove the floor of the tower.

The dolly zoom is not in the post-production , but only live on set to produce a relatively large effort since then and was therefore rather rare and only used by very experienced directors. The difficulty is that the movement of the camera, changing the focal length and sharpness of the correction should provide a uniform motion, so the effect is perfect.
Steven Spielberg used the dolly-zoom in his ocean thriller Jaws . Here the shock response of the protagonist finds resonance in the camera work, as a lead actor Roy Scheider witness is like a shark kills a little boy. His face seems frightened by the dolly zoom rushing round to the spectators.

In the Spielberg production Poltergeist is from 1982 in a setting both a dolly zoom in and a dolly zoom out used as a result here gives the impression that the film shown corridor would be reduced first and extend it again, with the zoom out eventually transition into a tracking shot to the end of the corridor leads to pursue an actress, as she runs into in the hallway. On the one hand, this gives the conclusion of a special dynamic setting, on the other hand by the dolly zoom but also to some extent, exposed. "

Here in the beginning created the eerie impression that approximates the background to the foreground (if a person or object strongly to the fore), to make Francis Ford Coppola in Bram Stoker's Dracula advantage, but by deliberately in a scene no dolly zoom is used but the walls of a room can actually move through a moving scene image on the figure in the foreground.

The impression is almost the same, however, is achieved through more traditional 'methods, which Coppola devotes much anyway (see also references in the film appear on the silhouette film and wanted to imperfect thumbnail images). Meanwhile, the real Dolly Zoom is widespread, but it can also occur unintentionally, as if shot from a moving car in the same direction and zoom out from a smaller image appears.

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Friday, November 25, 2011

HCI independent watchmakers

AHCI was awarded the Grand Prix d'Horlogerie de Geneve 2010 when its members were awarded the special jury prize for outstanding contribution to the beautiful watch.

Here are some notes on the four members who will participate in AHCI GTE 2012:

Antoine Preziuso - The Art of Fine Timepieces

A pioneer of adventure Geneva Time Exhibition, Antoine Preziuso back to the fair with a very special work of art called the GTS - Grand Tourbillon Sport. While many brands want to conquer space, Antoine Preziuso keep both feet on the ground and feeds his passion for racing, reinterpreting its tourbillon movement in a box designed in house, made ??of a sleek new material, "ChromeCobalt".

Svend Andersen - Contemporary Art
Svend Andersen is sometimes called the "Watchmaker of the Impossible" because it can leave your mouth open the whole world with amazing creations and inventions. To remember the exploits of the "clock bottle" - created in 1969, "1884" a clock "hours of the world" which tells the fascinating story of the inventor of the 24 time zones, or Hebraďka, a wristwatch with the Jewish calendar, which has created with Alain Silberstein Svend ... A true exploits of mechanics. It is an extraordinary artist.

After driving for iPhone arrives in your pocket, but full of useful information, even the Swiss Exhibitors Guide Baselworld , the World Watch. For years it has been an indispensable tool for fans and for professionals: free and full of exclusive news on products, has always been a guarantee not to miss anything.

The iPad application of Baselworld 2011 will be activated on 23 March, but a preview is already available from March 10. Before it is operational, the owners of the Apple tablet will have the opportunity to discover 115 new products. The contents, which allow you to know any information about the Swiss brands, will be available for consultation at any time in French, English, German, Italian and Spanish.

Will be an infinity of information at your fingertips: floor plans, a list of exhibitors with booth and position images, specifications of 175 new objects.

The application of the Swiss Exhibitors Guide contains a staggering 384 pages horizontal scroll, zoom in and see. By directing your iPad vertically you can see the models by category or brand, or search all Swiss brand name, building or area.

What are you waiting? Download - Appstore here - the application of the Swiss Exhibitors Guide Baselworld 2011 , it's free!

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Director's Cut

The term expresses the fact that this version of the first published version sells that does not meet the original intentions of the artistic director. A Director's Cut is usually some time (months to years) after the original version cut and preferably at most successful films on the market.

Often, a film based on tested audience reactions, re-cut with pre-screenings. This is the case, if the desired effect fails the test audience or otherwise fails, because individual scenes or plot lines in the version shown is incomprehensible. This may affect especially the end of the film. Cut this can lead to significant changes in the statement of a film. Thus, for example, the director's cut of Blade Runner , in contrast to the original theatrical version, an open end.

In addition, it lacks the voice-over . Commentary by leading actor Salieri , the narrator and Mozart's antagonist in the movie Amadeus , is the Director's Cut blacker or abysmal shown during the professional killer in the Director's Cut of Leon - The Professional has received somewhat more human traits . Sometimes the sheer length is also a reason for cuts: movies are well over two hours often shortened to allow for two performances in one evening, and this improves the chances for the rental market.

Unlike in Europe, is the director of Hollywood films at the interface does not present itself often. Only a few influential directors is under contract at all the right to the Final Cut granted. This is the final version of the film, as after completion of production on the movie rentals will be delivered. The cutter cuts the film mostly alone and instead holds only after consultation with the director. This blessing then presented to him from the average or suggest further changes.

If a movie for later marketing ( video , DVD is prepared, television), the director shall, however, often even after the average desk and makes a his preferred version, which often contains a few additional scenes not in the original theatrical version available were. That is why a Director's Cut is not uncommon even much longer (for example 48 minutes at Apocalypse Now Redux ). It also occurs that a director's cut gets even shorter than the first version (Examples: Blood Simple , directed by Joel Coen ).

In addition to the Director's Cut, there are sometimes other reworked versions of films. These versions may arise without the intervention of the director and sometimes even against their will. Examples are the long versions of Dune by director David Lynch and The Blue Man by Michael Herbig .

The film editing (English Film Editing ), often interchangeably as mounting means includes the structuring and processing of the recorded audio and video material to the finished film . The interface consists of an intense debate in the course material resistant Materialsichtung, from material selection, assembly and arrangement of material variation by the cutter or cutters .

An interface (English Cut ) refers to the connection or disconnection point from one setting to another. In delineation of transitions is sometimes erroneously also called a "hard cut". This term actually means that between two consecutive film frames , there is no direct connection (local or temporal changes), because sections can not be blinded by example, by motion or connection Tonüberlappungen "soft" and not be consciously perceived.

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Thursday, November 24, 2011

Digital Intermediate

Alternatively, the digital images from a digital movie camera used directly. The resulting material is cut and edited digitally ( color correction , CGI , etc.). This produces the so-called DI-master , which both as a template for later digital analysis ( DVD , HD DVD , Blu-ray Disc ) serves as well for the production of copies / master for the analog or digital cinema projection. To create analog copies of the film is exposed on the DI negative film and the resulting negative interaction in the lab copied. Alternatively, the digital cinema projection, a digital master in accordance with DCI created.

Engineering

The DI is usually stored in uncompressed frames. The memory required for this effort depends on the selected resolution and color depth. Common resolutions for photochemical film prints are 1920 * 1080 p , 2K (depending on the format from 1860 to 2048 horizontal pixels ) and 4K (depending on the format 3612-4096 horizontal pixels). For the digital performance are 1080p and the specification of the Digital Cinema Initiatives market-determining.
The number of vertical pixels depends on the aspect ratio of the selected image format used and the exposed surface from the camera.

2K and 4K

The classic 35-mm projection achieved in an independent testing by the International Telecommunication Union, a maximum image resolution of 875 horizontal lines (light-dark cycles). [1] The lion's share of all cinema productions are edited in 2K. Sometimes it is qualitatively reasonable to work with 4K resolution and perform.
From 1990 to 2007 hundreds of movies have been in 2K mastering, now nearly a dozen in 4K. Even in the digital cinema screens are now thousands of 2K globally, compared with only dozens of 4K cinema.
With the availability of new digital cinema cameras with 4K resolution as the RED camera, the 4K production significantly more widespread than previously experienced.
The market share of 2K editing of feature films since the 90s is consistently above 95%. In some cases, higher resolutions are used primarily for visual effects and for restorations.

Data volume

Charges for DI data sets and data rates were originally only comfortable using specific computer systems workable, since it is in the range of terabytes move.
As image data formats are used:
10-bit gamma-encoded RGB 4:4:4 signal (usual format, but a format with no reserve)
10-bit gamma encoded 4:2:2 YUV signal
12-bit gamma-encoded RGB 4:4:4 signal (to replace 10 bit)
16-bit linear 4:4:4 RGB signal
12-bit Bayer matrix nonlinear signal
16-bit linear signal Bayer matrix (usually without loss of L ³ (?) Compressed)
Instead of an RGB color space is used in current production of the XYZ color space that can represent all the existing colors. The gamma value for gamma-encoded signals is 2.6. Bit uncompressed audio is generally stored as 24.

The data sets and data rates (bit 3 × 10) for the smallest RGB format counts. At higher color depths (which are sought), increases the storage space required. By lossless or nearly lossless compression techniques can reduce the memory requirements by about a factor of 2.
The memory footprint refers to 2 hours and cut film. One must however be aware that as part of a film production many times this amount in circulation is:
The produced video footage on the set is usually in the 10 - to 50-fold term of the final film.
In addition to cutting process produces a final version cut a lot of intermediate results and alternative versions.
They want access to source material and other movies with no effort, that one wants to have the entire footage of the studio productions are all in a huge pool (so-called image library).

History

In 1990 the FDI procedure was first used for an entire movie: Beauty and the Beast Special Edition was the first completely digitally colorized and professionally developed film.
In 1993, the first film was restored with an existing DI: The Walt Disney production of Snow White and the Seven Dwarfs , where the original negative was scanned digitally with a resolution of 1937 by 2K/10 (which at that time remarkable for 725 GB of data has shown).
2000, the Coen Brothers film O Brother, Where Art Thou? the first new Hollywood movie and Chicken Run , the first European film, whose copies of the film insert complete master of a DI were created.

In 2002, Star Wars: Episode II - Attack of the Clones , the first film shot entirely digitally, was produced by DI.

In 2004, Spider-Man 2 copies as the first film of a 4K DI-master, but the digital effects were thereby still traditionally produced in 2K resolution and then extrapolated to 4K.
Meanwhile, the DI process has prevailed. Movies that are still being copied directly from the negative without digital intermediate step, have become a rarity. Of the ten most successful films of 2006, the three were animated films created entirely digitally (this one DI master is created without the step of scanning), while the remaining seven live action movies , three of which are partially and one was shot entirely digitally, all on one DI master copies.

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Graham Swordfish Chronograph Iris

This must have been about the idea that crossed my mind to research and development department of London Graham when he conceived Swordfish Iris the new watch inspired by the Maison dall'orologiaio English George Graham (1673-1751) led, playing at home, at SalonQP 2011 .

Do you know what Iris? Rainbow. Its colors - so-called iridescent and indefinable - are a mix of iridescent hues, just like the Swordfish Chronograph Iris. These effects were created during the machining of steel box: all the details that compose it, are put under vacuum. The unique coating which subsequently form, caused by a reaction to the plasma consists of a multilayer structure characterized by colors that change with the reflections of light.

Graham Silverstone Tourbillograph Full Black

The Silverstone Tourbillograph Full Black is a self-winding chronograph with column wheel and tourbillon. This is an automatic movement with tourbillon perfectly developed to trace the DNA of the last Graham timepiece, the design is very powerful and combined with rich content technology. The domed sapphire crystal is of extraordinary size (42 mm in diameter) and provides a view of some details of the mechanism. The 48 members of his cage skeleton are intertwined with each other and the total weight of the mechanism is reduced to only 0.485 grams. This building, called the tourbillon Cintré integrates into the chronograph complication despite the use of a large diameter wheel.

The Calibre Graham built exclusively for the manufacture La Joux-Perret has come to light after four years of research and two patents. Overall, the engineering know-how has acted by abolishing the intrinsic weaknesses of the tourbillon. First of its fragility. The reduced number of elements, lightness, and the double-deck provides stability and rigidity to the building. In Graham's call it "Tourbillon impact resistant." To reduce the sensitivity of the device controller to the magnetics in the cage was made extensive use of special iron-free. Its exhaust vibrates at 28,800 vibrations / hour.

Graham pointed out that in the end result is to offer a friendly and aesthetics as the tourbillon complication with the resistance of a military watch. The Tourbillograph Full Black has indeed passed the test Chronofiable , reference test established in animals 70 Swiss watch industry for a period of 21 days, equal to six months of actual use.

Aesthetically, the Silverstone Tourbillograph Full Black has an exclusive sports. The thin steel case measuring 48 mm and is well-titanium carbide with black PVD coating, such as its bezel. The dial, also black, has a shiny appearance due to rhodium, the Arabic numerals are visible or blurred, playing a tone on tone effect.

The finishes of the caliber that La Joux-Perret has accustomed us are of Haute Horlogerie: even the smallest mechanical part was rhodium. The rotor is supported on bearings and ceramic column wheel that controls the chronograph displays elements alternating with shiny satin.

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Tuesday, November 22, 2011

Parakram Singh won First Prize in National Debate Competition held in Delhi

माखनलाल विवि के पराक्रम ने जीता प्रथम पुरस्कार

समाचार - मीडिया

रायपुर/भोपाल 14 नवंबर।माखनलाल चतुर्वेदी राष्ट्रीय पत्रकारिता एवं संचार विश्वविद्यालय के विद्यार्थी पराक्रम सिंह शेखावत ने दिल्ली में आयोजित सातवीं सतपाल मित्तल अंतर विश्वविद्यालयीन राष्ट्रीय वाद-विवाद प्रतियोगिता में प्रथम पुरस्कार हासिल किया है।

भारतीय संसदीय संस्थान जनसंख्या एवं विकास (आईएपीपीडी)के तत्त्वावधान में आयोजित इस अखिल भारतीय अंतर विश्वविद्यालयीन प्रतियोगिता में देश भर के 42 विश्वविद्यालयों ने भाग लिया। इस वर्ष प्रतियोगिता का विषय ‘पर्यावरण संरक्षण के प्रति महिलाएं पुरुषों की अपेक्षा अधिक सचेत हैं’,था।

Original Link

http://www.cgnews.in/2010-10-21-06-18-05/2010-10-21-14-40-41/3232-2011-11-14-16-43-42.html

प्रतियोगिता में माखनलाल के छात्र ने जीता प्रथम पुरस्कार

Category: इवेंट, पावर-पुलिस, न्यूज-व्यूज, चर्चा-चिट्ठी...

Published on Monday, 14 November 2011 21:39

Written by B4M

भोपाल : माखनलाल चतुर्वेदी राष्ट्रीय पत्रकारिता एवं संचार विश्वविद्यालय के विद्यार्थी पराक्रम सिंह शेखावत ने दिल्ली में आयोजित सातवीं सतपाल मित्तल अंतर विश्वविद्यालयीन राष्ट्रीय वाद-विवाद प्रतियोगिता में प्रथम पुरस्कार जीतकर विश्वविद्यालय का ही नहीं, बल्कि पूरे मध्यप्रदेश का नाम रौशन किया है। भारतीय संसदीय संस्थान – जनसंख्या एवं विकास (आईएपीपीडी) के तत्त्वावधान में आयोजित इस अखिल भारतीय अंतर विश्वविद्यालयीन प्रतियोगिता में देश भर के 42 विश्वविद्यालयों ने भाग लिया। इस वर्ष प्रतियोगिता का विषय ‘पर्यावरण संरक्षण के प्रति महिलाएं पुरुषों की अपेक्षा अधिक सचेत हैं’, था।

एमबीए (मनोरंजन संचार) पाठ्यक्रम के विद्यार्थी पराक्रम सिहं ने विषय के पक्ष में विचार रखते हुए न केवल बार-बार दर्शकों व प्रतिभागियों की तालियां बटोरीं, बल्कि निर्णायक मंडल ने भी उसकी प्रस्तुति की खुलकर प्रशंसा की। प्रथम पुरस्कार के रूप में पराक्रम सिंह को एक ट्रॉफी और प्रमाणपत्र के अलावा 15000 रुपये की राशि का चैक प्राप्त हुआ है। विश्वविद्यालय की टीम में पराक्रम सिंह के अलावा एमए विज्ञापन एवं जनसंपर्क पाठ्यक्रम के विद्यार्थी शुभ तिवारी शामिल हुए और टीम इन्चार्ज और मार्गदर्शक के रूप में विश्वविद्यालय के शिक्षक श्री सुरेन्द्र पॉल ने टीम का प्रतिनिधित्व किया।

विश्वविद्यालय के कुलपति प्रो. बृजकिशोर कुठियाला ने प्रथम पुरस्कार प्राप्त करने पर पराक्रम सिंह को हार्दिक बधाई और आशीर्वाद दिया है। उन्होंने कहा कि विश्वविद्यालय में सांस्कृतिक और सृजनात्मक गतिविधियों को बढ़ावा देने के लिए विश्वविद्यालय ने विशेष योजना बनाई है। इसके तहत विश्वविद्यालय विद्यार्थियों को विशेष सुविधाएं मुहैया करा रहा है। पराक्रम सिंह की उपलब्धि विश्वविद्यालय के अन्य विद्यार्थियों को भी सांस्कृतिक गतिविधियों में भाग लेने के लिए प्रोत्साहित करेगी।

भारतीय संसदीय संस्थान ने देश भर के विश्वविद्यालयों को वाद-विवाद प्रतियोगिता में शामिल होने के लिए पत्र लिखा था। जिसके तहत प्रत्येक विश्वविद्यालय से एक विद्यार्थी को पक्ष में और एक विद्यार्थी को विपक्ष में नामांकित किया जाना था एवं विश्वविद्यालय स्तर पर संपन्न होने वाली अंतर विभागीय वाद-विवाद प्रतियोगिता में प्रथम, द्वितीय और तृतीय स्थान प्राप्त करने वाले विद्यार्थियों को भी पुरस्कृत करने का प्रावधान था।

विश्वविद्यालय द्वारा 10 अक्टूबर 2011 को आयोजित वाद-विवाद प्रतियोगिता में प्रथम स्थान पर पराक्रम सिंह शेखावत, द्वितीय स्थान पर शुभ तिवारी एवं तृतीय स्थान पर एमजे पाठ्यक्रम की छात्रा अंशु सिन्हा रही। भारतीय संसदीय संस्थान –जनसंख्या एवं विकास ने इन छात्रों को क्रमशः प्रथम स्थान के लिए रूपये 3000 द्वितीय स्थान के लिए रूपये 2000 एवं तृतीय स्थान के लिए 1500 रूपये का पुरस्कार एवं प्रमाणपत्र भी प्रदान किया है। इसी तारतम्य में पराक्रम सिहं शेखावत एवं शुभ तिवारी ने अखिल भारतीय स्तर पर विश्वविद्यालय का प्रतिनिधित्व किया।

प्रेस विज्ञप्ति

Original Content

http://bhadas4media.com/article-comment/484-2011-11-14-12-39-03.html

Written on NOVEMBER 14, 2011 AT 6:38 PM by ADMIN

माखनलाल विवि के पराक्रम ने जीता राष्ट्रीय वाद-विवाद प्रतियोगिता

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भोपाल 14 नवंबर । माखनलाल चतुर्वेदी राष्ट्रीय पत्रकारिता एवं संचार विश्वविद्यालय के विद्यार्थी पराक्रम सिंह शेखावत ने दिल्ली में आयोजित सातवीं सतपाल मित्तल अंतर विश्वविद्यालयीन राष्ट्रीय वाद-विवाद प्रतियोगिता में प्रथम पुरस्कार जीतकर विश्वविद्यालय का ही नहीं, बल्कि पूरे मध्यप्रदेश का नाम रौशन किया है। भारतीय संसदीय संस्थान – जनसंख्या एवं विकास (आईएपीपीडी) के तत्त्वावधान में आयोजित इस अखिल भारतीय अंतर विश्वविद्यालयीन प्रतियोगिता में देश भर के 42 विश्वविद्यालयों ने भाग लिया। इस वर्ष प्रतियोगिता का विषय ‘पर्यावरण संरक्षण के प्रति महिलाएं पुरुषों की अपेक्षा अधिक सचेत हैं’, था।

विश्वविद्यालय के कुलपति प्रो. बृजकिशोर कुठियाला ने प्रथम पुरस्कार प्राप्त करने पर पराक्रम सिंह को हार्दिक बधाई और आशीर्वाद दिया है। उन्होंने कहा कि विश्वविद्यालय में सांस्कृतिक और सृजनात्मक गतिविधियों को बढ़ावा देने के लिए विश्वविद्यालय ने विशेष योजना बनाई है। इसके तहत विश्वविद्यालय विद्यार्थियों को विशेष सुविधाएं मुहैया करा रहा है। पराक्रम सिंह की उपलब्धि विश्वविद्यालय के अन्य विद्यार्थियों को भी सांस्कृतिक गतिविधियों में भाग लेने के लिए प्रोत्साहित करेगी।

Original Link : http://mediamorcha.co.in/?p=3400

माखनलाल विवि के पराक्रम ने दिल्ली में दिखाया पराक्रम

राष्ट्रीय वाद-विवाद प्रतियोगिता में जीता प्रथम पुरस्कार

राष्ट्रीय वाद-विवाद प्रतियोगिता में प्रथम स्थान पाने वाले पराक्रम सिंह शेखावत को पुरस्कृत करते हुए संसद सदस्य एवं भारतीय संसदीय संस्थान के उपाध्यक्ष डॉ. पी.के. पटासानी।

भोपाल 14 नवंबर । माखनलाल चतुर्वेदी राष्ट्रीय पत्रकारिता एवं संचार विश्वविद्यालय के विद्यार्थी पराक्रम सिंह शेखावत ने दिल्ली में आयोजित सातवीं सतपाल मित्तल अंतर विश्वविद्यालयीन राष्ट्रीय वाद-विवाद प्रतियोगिता में प्रथम पुरस्कार जीतकर विश्वविद्यालय का ही नहीं, बल्कि पूरे मध्यप्रदेश का नाम रौशन किया है। भारतीय संसदीय संस्थान – जनसंख्या एवं विकास (आईएपीपीडी) के तत्त्वावधान में आयोजित इस अखिल भारतीय अंतर विश्वविद्यालयीन प्रतियोगिता में देश भर के 42 विश्वविद्यालयों ने भाग लिया। इस वर्ष प्रतियोगिता का विषय ‘पर्यावरण संरक्षण के प्रति महिलाएं पुरुषों की अपेक्षा अधिक सचेत हैं’, था।

भारतीय संसदीय संस्थान ने देश भर के विश्वविद्यालयों को वाद-विवाद प्रतियोगिता में शामिल होने के लिए पत्र लिखा था। जिसके तहत प्रत्येक विश्वविद्यालय से एक विद्यार्थी को पक्ष में और एक विद्यार्थी को विपक्ष में नामांकित किया जाना था एवं विश्वविद्यालय स्तर पर संपन्न होने वाली अंतर विभागीय वाद-विवाद प्रतियोगिता में प्रथम, द्वितीय और तृतीय स्थान प्राप्त करने वाले विद्यार्थियों को भी पुरस्कृत करने का प्रावधान था। विश्वविद्यालय द्वारा 10 अक्टूबर 2011 को आयोजित वाद-विवाद प्रतियोगिता में प्रथम स्थान पर पराक्रम सिंह शेखावत, द्वितीय स्थान पर शुभ तिवारी एवं तृतीय स्थान पर एमजे पाठ्यक्रम की छात्रा अंशु सिन्हा रही। भारतीय संसदीय संस्थान –जनसंख्या एवं विकास ने इन छात्रों को क्रमशः प्रथम स्थान के लिए रूपये 3000 द्वितीय स्थान के लिए रूपये 2000 एवं तृतीय स्थान के लिए 1500 रूपये का पुरस्कार एवं प्रमाणपत्र भी प्रदान किया है। इसी तारतम्य में पराक्रम सिहं शेखावत एवं शुभ तिवारी ने अखिल भारतीय स्तर पर विश्वविद्यालय का प्रतिनिधित्व किया।

(डॉ. पवित्र श्रीवास्तव)

अध्यक्ष विज्ञापन एवं जनसंपर्क विभाग

Original Link : http://yugmanas.blogspot.com/2011/11/blog-post_4247.html

माखनलाल विवि के पराक्रम ने दिल्ली में दिखाया पराक्रम राष्ट्रीय वाद-विवाद प्रतियोगिता में जीता प्रथम पुरस्कार

Original Link : http://www.hindimedia.in/2/index.php/apnibaat/apni-baat/907-ml-shown-in-delhi-universitys-mighty-power-national-debate-won-the-first-prize-in-competition.html

माखनलाल विवि के पराक्रम ने दिल्ली में दिखाया पराक्रम

माखनलाल चतुर्वेदी राष्ट्रीय पत्रकारिता एवं संचार विश्वविद्यालय के विद्यार्थी पराक्रम सिंह शेखावत ने दिल्ली में आयोजित सातवीं सतपाल मित्तल अंतर विश्वविद्यालयीन राष्ट्रीय वाद-विवाद प्रतियोगिता में प्रथम पुरस्कार जीतकर विश्वविद्यालय का ही नहीं, बल्कि पूरे मध्यप्रदेश का नाम रौशन किया है। भारतीय संसदीय संस्थान – जनसंख्या एवं विकास (आईएपीपीडी) के तत्त्वावधान में आयोजित इस अखिल भारतीय अंतर विश्वविद्यालयीन प्रतियोगिता में देश भर के 42 विश्वविद्यालयों ने भाग लिया। इस वर्ष प्रतियोगिता का विषय ‘पर्यावरण संरक्षण के प्रति महिलाएं पुरुषों की अपेक्षा अधिक सचेत हैं’, था।

Original Content : http://www.mediakhabar.com/media-khabar/media-khabar-exclusive/2887-maakhanlal-vishwvidyalay.html