Lightworks History

Lightworks is a pioneer in computer-based film editing and is being developed since 1989. Numerous internationally renowned and Oscar award-winning feature films, including Martin Scorsese's The Departed , Mission Impossible , Pulp Fiction ,Braveheart and Batman were cut on Lightworks and also the system itself has won numerous awards including the Oscar and the Emmy . The program is designed according to the announcement published in mid-2011 as Open Source will be released.

The development of Lightworks began around 1988/1989 in England. The design of the software was of cutters designed and implemented by programmers. This approach distinguished the editing system of the other pioneers of the non-linear video section as Adobe or Avid , which was then largely designed by programmers and technicians, and resulted, among other things, that the operational concept of Lightworks is still stronger in the classic film editing methods like the Steenbeck editing table modeled as typical methods such as in computer file dialogs. From the outset, supported the system also specially designed hardware controllers and control panels, control panels from which traditional cutting tables and television mixers are modeled and thus accelerate compared to the sole use of mouse and keyboard to work with the system. These additions are still optional.

In the 1990s the system was quickly spread, especially in the production of English and American feature films with high budgets. By many aspects, including the very high purchase price, had Lightworks outside of Hollywood and the movie production, however, considerably less spread than the most successful competitor and that their products are very much focused on the more technically much less demanding and also larger TV market.
In 1994, Light Works of Tektronix acquired, a provider of high-priced video very well and film products. 1999, after the NLE market grew, bought the management of Lightworks the rights to the software Tektonix again, and Lightworks changed its name again independently as Light Works It inc followed collaboration, distribution and sale of, inter alia, Fairlight , however, remained the most Users of Lightworks always remains largely in the "high end" niche of the feature film production, largely for cinema - although was constantly expanded the functionality of TV production.

EditShare 2009 bought the American company, whose products align very strongly on networking for all editing systems for TV manufacturers such as cinema, Lightworks.

In April 2010 it was announced that the release of Lightworks as open source it was intended - as the only professional editing and effects system. For TV and cinema post-production industry, this would be a novelty, because unlike, say, for office software ( OpenOffice ), operating systems ( Linux ) or media player ( VLC media player ) until then, there were no powerful editing systems with access to the source code.

Since April 2010, Light Works is in semi-open beta testing phase, the end of the 29 November 2010 is attached. During this period, around 1700 registered developers (firms and individuals) and about 25,000 users.



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Stefan Johansson Vaxjo: Chronographs Racing

Nineteen races a year starting in March and end in November, when not sitting in the cockpit, then spend the day to keep fit, finish a race and have to run to catch the plane to the next destination, hoping to can adapt the first six / nine different time zones at once.
More than nine months a year, a Formula 1 driver who live like this. Of time for hobbies and passions, there is not much except recently some little game of poker in the Grand Prix weekend - before going to bed early.

Times are far away from Clay Regazzoni and James Hunt, the most famous viveur and later pulls the circus, but also those of Elio de Angelis - our valuable home rider who unfortunately died in 1986 at the Paul Ricard circuit during testing of mundane.Helium, in addition to winning two Grand Prix was a talented pianist and even if they coped very well to draw portraits.

Stefan Johansson memorable ex-Ferrari driver was another of the 80 sample to relax in his spare time he loved to paint. "Little Leaf" - "Little Leaf" , so called from a small Stefan's father, moved to the U.S. to continue his career professional driver, gradually began to learn some mechanical watches, their complexity and forms so as to begin to draw and produce under the brand name Stefan Johansson Vaxjo .

These are watches that reflect the world of racing that Stefan continues to live with passion and with great results. And 'his work the chronograph AND MARK VIII 033shows that the edge of the dial for each index, excluding 12 o'clock and 6 o'clock, ten classic colorful flags FIA official, used in any international competition run by the commissioners.
The steel case is of enormous size: it measures 47 mm in diameter, but the satin finish to protect it from minor scratches that can occur in the narrow cockpit of a race car, are extremely elegant.

Mount a reliable Valjoux 7750 automatic mechanical movement with 30-minute and hour. There are the small continuous seconds, a measure that can only be done with the chronograph. The time is 3 hours long with a window that also shows the previous and following days.
For the straps, there are several possibilities: one in Silicon, good to stay engaged in environments with high temperatures, or python or crocodile with a core of PVC. 
The Mark VIII also built - limited edition - with high cash- tech entirely of carbon.
Stefan Johansson Vaxjo MARK VIII F658 is instead a chronograph that features a Valjoux 7751 and has a form with the complete annual calendar with moon phases.

Curiosity

At one time, and unlike today's riders, usually very superstitious, for any reason would never have changed the graphics of your helmet. Of the three characteristics of Swedish green leaves until the company did not Stefan went to race in Formula CART (USA), where it seems that some colleagues - indicating that color as unfortunate - persuaded him to paint the blue.




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Dry for Wet- technology

Procedure

In the dry-wet-for -water through clever lighting techniques, use of colored filters, and suspended particles is simulated by being filmed with a light fog or smoke-filled room in the dry. The use of fans or the use of slow motion effects, can be used to create the impression of flowing movement of the hair and clothes. Rising air bubbles under water or live animals in the post-production computer effects are added as to increase the realism of the film material.

Reasons for the use of technology

For use of this technology, there are many reasons. If a performer does not swim, such as in The Spirit , or he can not for health reasons, turning under water, such as in James Bond 007 - For Your Eyes Only , then the dry-for-wet technique in the production use of a film . 
find

Furthermore, the underwater photographs are usually associated with more expensive equipment, as special underwater housing is required for the cameras from a few hundred euros to be received and prices of up to 30,000 €, also are safety aspects of diving to be considered. The lighting design is at the underwater shots also more difficult because undesired light reflections are avoided.  Due to the refraction index of water of 1.33 is a narrowing of the field angle of 20 degrees instead, which absorbed objects appear larger by 25% when it in fact. are Depending on the chromaticity and the water type paints are different degrees of water absorbed .  In addition, decreases the brightness of light in water with increasing water depth is not linear, but depends on the color in different forms, which the shooting will be more difficult under water and the use of high resolution and light-sensitive cameras will be necessary. The best rotation times for underwater shots are limited to the midday hours when the sun is vertically above the water, thus ensuring the best possible illumination.  In heavy seas, the brightness is decreased significantly, so that work can continue during diving from six meters usually with underwater lights must.

The Dry-for-wet technique came in the 1960s in various television series and feature films for the application.

1964: In the television series Stingray underwater scenes were realized by models of submarines, as well as puppets of divers were filmed through glass water tank, the fish and equipment to produce contained air bubbles.

1981: Carole Bouquet was in the production of James Bond 007 - For Your Eyes Only for health reasons, no stunts under water rotate, so the scenes were filmed in the dry.  

1989: Many of the underwater scenes in abyss - the abyss of death were determined by dry-wet-for -shot technique.
1989: In Leviathan , many of the underwater sequences were with the Dry-for-wet technique implemented.  
1990: The exterior shots of the submerged submarine in The Hunt for Red October were dry-for-wet recording technique, with a suspended at twelve ropes model of the submarine was used, which could be tilted in three dimensions.  
2001: AI - Artificial Intelligence of the sunken ocean amusement park was Coney Iceland with scale models and the dry-wet-for -shot technique.
2001: In the last scene of the movie The Lord of the Rings: The Fellowship was the dry-wet-for -used technique in which Sam falls into a river.  
2003: The scene from Lara Croft: Tomb Raider - The Cradle of Life , in which the underwater scooter was used in dry-for-wet technique. 
2008: All the underwater scenes in The Spirit came in the dry, because Eva Mendes is not at the time of the shooting could not swim.




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The 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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Tissot winner of the competition Timekeeping 2011

The accuracy & obviously mechanical - is a subject that affects a lot the fans watch . As a timepiece with quartz  or electronic quartz - can under the principles that govern provide values that can not be even compared with his predecessors, 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.

The design-inspired underwater triumphs above and below sea level

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 Tissot confirms the proven ability to skillfully in combining advanced technology and attractive design.



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Axis jump (film)

An axis jump is an average film , with which the action axis (an imaginary line between two or more actors, scenes interview with the visual axis) is skipped. An axis step may cause disorientation in the viewer, as the arrangement and orientation of the actors in the frame appear to change relative to the viewer.

With films from moving cars, the movies means of a window on the opposite car side one axis jump (if you're shooting from the driver's side, the landscape is moving apparently from right to left, there are filmed from the passenger side, they will seem to move from left to right. This change in the direction of movement is irritating). Analogously, there are two cars that in a parallel montage traveling in the same direction (usually from left to right, because that is consistent with our reading direction) is perceived as mutually pursuing if one but from left to right and the other from the right moves to the left, expecting the audience a collision.

In the continuity editing of classical Hollywood cinema of the axis jump is considered an error and avoided accordingly.

The principle is to avoid axis jumps, 180-degree rule called.

In some cases, a conscious leap axis be a stylistic device, for example, to symbolize confusion or breakdown torque ( Stanley Kubrick , in this context is often called). In commercials axis jumps are often used to effect a rapid effect. Also known is a scene in Lord of the Rings , in which Smeagol talks to himself. As he alternately with the cuts from one to the other side says (jump axis), the impression of two identical-looking people, so the split character of the figure is underlined.

In contrast to the jump axis, these are a movement of the camera ( Steadicam or dolly ride ) on the axis, or a change to the motion axis and the line of sight of the characters, creating a new axis is defined. The axis change is not perceived by the viewer as a nuisance, because the fluid motion takes place. This movement is sometimes called Crab. In addition, an intermediate section in a long shot to make possible an axle out because then the spatial arrangement of the protagonists for the audience is clear, or cut to a closeup , because the viewer is then reoriented in space again.

The action axis indicates the main direction of the plot. Mostly it is the combination of actors, at a football match, the connection of the gates.
The visual axis indicates the viewing direction. In conversations, make sure that the characters look, which means that when a figure in an image to the left, looks the interlocutor in the other image (reverse shot) looks to the right. This direction should not be changed as long as the actual viewing direction or the position of the figures does not change.
The camera axis is the "sight" of the camera. In a subjective perspective (Point Of View), it is identical with the visual axis.


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Greubel Forsey GMT: At the World From Tourbillon

The new watch marks a "first" for Greubel Forsey and in the history of GMT watches. After exploring, invented and developed new mechanisms of tourbillon in the world in the last decade, Robert Greubel and Stephen Forsey have combined to present a new complication: the GMT, that have played in their own way.

With this extraordinary timepiece, Robert Greubel and Stephen Forsey have focused their energy on the second time zone, traditionally a complication known as GMT (Greenwich Mean Time), the historical reference meridian for boaters.

One complication practical and much appreciated by the fans, the second timezone is particularly useful for business people, often on the move, who moves for pleasure, to those who have friends and relatives around the world.

True to his philosophy and the continuous search for perfection and innovation, Greubel Forsey, and went beyond the conventional way of interpreting the second time zone. The GMT and features a beautiful three-dimensional setting: a spherical globe, offering an original display time all over the world. This set of technical and poetry shows us a whole new way of perceiving the different time zones.

Located at 8 o'clock in the prominence of the globe "flying" and ingeniously fastened to the end of its swing axis - the South Pole - allowing an optimal view of its surface, made of titanium, a material resistant and lightweight.

As the globe rotates once every 24 hours in a counterclockwise direction - the natural direction of rotation of the earth - the position of the continents can interbreed with the 24-hour ring with day and night of the equator.

The night hemisphere, from 18 am to 6 hours, and marked in black ring around the globe, while the hemisphere during the day, from 6 to 18 hours and visible in the clear. And put it in evidence through the side window, deftly inserted into the case middle that lets the light as the day to symbolize the earth, and is opposed to the southern hemisphere.

So if and noon in England, the observer can immediately see which begins in Geneva or Rome in the afternoon, the sun is rising on the east coast of the United States, and that the darkness of the night is falling on the Middle East. A single quick glance is enough to know what time it is anywhere in the world - if you extend the look, and only for the sheer pleasure of admiring all the intricate details of the beauty world.

The interpretation of the second time zone, which takes place on the globe in an intuitive, accurate reads - about 12 hours - at 10 o'clock on the dial the secondary. The function of GMT is easily adjusted via the dual-function button set to 10 hours. Continuing clockwise around the dial, are the main dial at 1 hour and minute on which the indicator is part 2 of 3 and small seconds, the indicator of sectoral reserve.

The movement, specially developed for the model GMT , and with 24 seconds tourbillon, inclined at 25 °, one of the greatest inventions patented Greubel Forsey. In addition to its great reliability clockwork, its compact size allows more space to include other complications.

The combination of the elements on the dial and perfectly balanced and proportionate. It also reveals a sense of depth and dimensionality, thanks to the globe and the Tourbillon 24 Secondes positioned at 5, which contributes to a triple asymmetric, giving rise to a voltage controlled subtly plays with the circularity of the box without breaking it completely.

The bottom of the GMT reveals the mechanism linked to the world in the form of a beautiful hard hours in the world which contains the names of 24 cities, each of which represents one of several areas of the global and indicates summer time and time d 'winter. By aligning the city with the correct local time on the outer ring, the exact time will be visible on the dial side of the world.

A bright sun at midday, illuminating the bottom of the bottom of this unique timepiece.

Even in the latter setting, the GMT, is immediately recognizable signature Greubel Forsey : the careful finish since in the most minute details where we find the traditional decorations such as hand grenage, rounded corners and polished, the bead, the parties satin or bright polishing effect black. Once again a beautiful demonstration of savoir-faire in the continuous pursuit of excellence.

Greubel Forsey GMT - Specifications
The movement is composed of 436 elements, 87 of which are of the tourbillon cage that weighs just 0.36 ounces. Coaxial two barrels in series provide a power reserve of 72 hours. The movement has 21,600 vibrations per hour / 3 Hz and Phillips terminal curve spiral.

Plates and bridges are finished by hand, decorated grenage, bead, polished and beveled mirror polishing effect with black. The dial and 18K gold and the size and stayed in a white gold case of 43.50 mm in diameter and 16.14 mm in height. The dial protected by sapphire crystal, curved on the dial, with anti-reflective coating, as well as on the bottom and side window visible on the case middle.

The clock and completed with a black alligator strap hand-sewn with white gold folding clasp with logo Greubel Forsey. We will see at SIHH 2012.

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