Speake-Marin Pioneer Spirit

At SalonQP , the London exhibition of watches that today will close its doors Saturday, November 12, Peter Speake-Marin is presenting his latest Pioneer Spirit who, true to the name chosen, is engraved on the case back to the motto "Fight, Love & persevere "(Fight, Love, and Persevere).

It 'just the iconic case " Piccadilly "to bond with her ??undeniable classic signature forms an independent English watchmaker who resides in Switzerland: it highlights the traits that Peter has chosen to remember that he, although an open mind and working now long in the land Confederation, remained tied to the ancient traditions of his country's watchmaking. This case of 38 mm. I was not new: at the launch of the Marin 1 ( click here ) at Baselworld 2010, I held in my hands a lot.

Speaking of the new Pioneer Spirit Peter says: " His spirit inspired by a clock that I bought fifteen years ago while I was restoring the antique clocks in Piccadilly, London. It was a real military watch the first half of the 20 th century that put it back on track in his spare time and I wore a regular basis as my personal timepiece. Since I started my brand Speake-Marin, I always wanted to make it work one day to resume the semblance of my favorite and I enjoyed trying to imagine how in the end I would have built . "

A good story, but for a watch is not an independent part of a commercial design: it may feel good, but nothing that can happen to people who do this job. When you pass your hands timepieces of all styles and eras, someone - sometimes just one and unknowingly - enter into you and they will always happen if the chance of a lifetime to build its own clock, of course, from A to Z .

Pioneer Spirit observing its simplicity is evident. Following the rules which at one time, a military watch was to follow the choice of colors white on black - both lacquered - returns the maximum readability. The same intensity are oversized Roman numerals at 12, 3, 6 and 9. The hour is in the typical style Speake-Marin ' Foundation 'and, together with that of the latter in the center, covered with Superluminova.

The self-winding Calibre FW2012 is visible from the transparent sapphire caseback. The skeleton oscillating weight with deep cuts is another hallmark of Peter's vision. Along with the name, numbers, and the motto of which I have already mentioned above, is labeled 'Limited Edition': it will be built only 68 pieces .

Trivia: When Speake-Marin speaks and writes by hand finishing that brings to the plate, the bridges, the rotor and lower case in any other particular, he speaks and writes always referring to the Foundation pocket watch - his watch with tourbillon, who created early in his career.

"an example? The wheel that displays the seconds, the German silver bridges, finishing the round grains and wide curves, I'm not Swiss, French or American, and my style is a lot myself because there was no compromise to be respected due to existing components or mechanisms to adapt. I had the opportunity to draw this movement exactly the way I wanted. This is the great advantage of starting from scratch . 




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Film Images Moving Images

Usually the term is synonymous with " film images used. " To human perception enough already about 16 to 18 frames per seconds to give the illusion of fluid motion, continuity, create, unless the individual images differ only slightly from each other.

The invention of moving pictures (motion pictures) is based on series of pictures or photographs moment in the natural sequence (1, 2, 3, 4, 5, etc.), providing. The first "moving pictures" were technical advancements of the flip , as the phenacistiscope , the zoetrope or praxinoscope. With the Elektrotachyscop , the possibility of increased wall projection , it eventually led to the film.

The photographs themselves or an image carrier to be seen standing still. One speaks of interrupted or intermittent transport in conjunction with a lock on the record or a screen during playback. Between the moment or phase images , there is a dark pause. In the usual film camera a so-called breaks cycle into two parts by the complementary angle of the circular current closure are expressed, for example, 190 degrees transport dark phase and 170 degrees exposure or light phase.

The "inertia of the eye , "the so-called after-or Phi-effect has however nothing to do with the actual perception of motion in the film, which is widely believed, however erroneously. This Zglinicki "phenomena on the image persistence are based have to do with the cinematography basically nothing. Only stroboscopic phenomena - but in conjunction with the image persistence - may be addressed as an immediate precursor of the film "
The afterimage merely provides that the individual actually different images are seen as interrelated, and the dark phases are perceived as flickering. The actual motion perception is caused by the differences in the contents of successive frames, which are interpreted by the brain as changes in position and derived velocity. This is stroboscopic called.
Flicker-free display is possible from about 45 light-dark changes per second, perceive where most people only subconsciously fibrillation.However, very bright and crisp images, even here yet lead to fibrillation. This can make for an extended period of observation of moving images noticeable by eye fatigue or headaches. From about 60 light-dark changes per second, the risk of such effects is largely eliminated.A method with 60 frames per second is Showscan .

To actually do not take 50 or 100 frames per second have been used in the film early on the trick play any of the images several times. 16 (phases -) images per second are using a three-blade aperture or a translated triple rotating bezel with 48 light-dark changes to the presentation. Recorded from 24 film frames per second, the frame rate of sound films, with the help of a two-blade aperture 48 projected images, which is a compromise between stutter-representation, minimal material consumption and perceived as a flicker-free performance.

In video and television in the European process PAL and SECAM 25 frames or 50 fields per second shown, as this is customary in European electricity networks ac frequency of 50 hertz corresponds.

In addition to the simplex method described up to now there is the duplex method .
For playback of moving images, there are various techniques. The most important are:
? Film projectors ,
? Film viewer ,
? Cathode ray tube screens ,
? Plasma screens ,
? Liquid crystal displays ,
? OLEDs ,
? Beamer .
Plasma, liquid crystal displays and OLEDs due to their not functioning affected by the flicker.
If simultaneously with the moving images and sounds are still playing, then it is an audiovisual sequence .



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Moving images

To human perception enough already about 16 to 18 frames per seconds to give the illusion of fluid motion, continuity, create, unless the individual images differ only slightly from each other.

The invention of moving pictures (motion pictures) is based on series of pictures or photographs moment in the natural sequence (1, 2, 3, 4, 5, etc.), providing. The first "moving pictures" were technical advancements of the flip , as the phenacistiscope , the zoetrope or praxinoscope. With the Elektrotachyscop , the possibility of increased wall projection , it eventually led to the film .

The photographs themselves or an image carrier to be seen standing still. One speaks of interrupted or intermittent transport in conjunction with a lock on the record or a screen during playback. Between the moment or phase images , there is a dark pause. In the usual film camera a so-called breaks cycle into two parts by the complementary angle of the circular current closure are expressed, for example, 190 degrees transport dark phase and 170 degrees exposure or light phase.

The "inertia of the eye , "the so-called after-or Phi-effect has however nothing to do with the actual perception of motion in the film, which is widely believed, however erroneously. This Zglinicki "phenomena on the image persistence are based have to do with the cinematography basically nothing. Only stroboscopic phenomena - but in conjunction with the image persistence - may be addressed as an immediate precursor of the film " 

The afterimage merely provides that the individual actually different images are seen as interrelated, and the dark phases are perceived as flickering. The actual motion perception is caused by the differences in the contents of successive frames, which are interpreted by the brain as changes in position and derived velocity. This is stroboscopic called.

Flicker-free display is possible from about 45 light-dark changes per second, perceive where most people only subconsciously fibrillation.However, very bright and crisp images, even here yet lead to fibrillation. This can make for an extended period of observation of moving images noticeable by eye fatigue or headaches. From about 60 light-dark changes per second, the risk of such effects is largely eliminated.A method with 60 frames per second is Showscan .

To actually do not take 50 or 100 frames per second have been used in the film early on the trick play any of the images several times. 16 (phases -) images per second are using a three-blade aperture or a translated triple rotating bezel with 48 light-dark changes to the presentation. Recorded from 24 film frames per second, the frame rate of sound films, with the help of a two-blade aperture 48 projected images, which is a compromise between stutter-representation, minimal material consumption and perceived as a flicker-free performance.

In video and television in the European process PAL and SECAM 25 frames or 50 fields per second shown, as this is customary in European electricity networks ac frequency of 50 hertz corresponds.

In addition to the simplex method described up to now there is the duplex method .
For playback of moving images, there are various techniques. The most important are:
? Film projectors ,
? Film viewer ,
? Cathode ray tube screens ,
? Plasma screens ,
? Liquid crystal displays ,
? OLEDs ,
? Beamer .
Plasma, liquid crystal displays and OLEDs due to their not functioning affected by the flicker.
If simultaneously with the moving images and sounds are still playing, then it is an audiovisual sequence .




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Audiovisual sequence

This includes a certain image of synchronous sound sequence: With proper reproduction of the image sequence is a certain sound always played simultaneously with a certain image.

The seeing and hearing viewers can perceive a total of a moving picture and to hear the same sound sequence (eg, music or voice).

This allows information to be passed.

Through cameras and microphones at the site of an event, for example, information can be recorded as an audiovisual sequence that are similar to those as they would perceive a person's eyes and ears, which is located at the location of the cameras and microphones. When playing such an audiovisual sequence arise in the eyes and ears of the recipients in turn similar sensations like a man who had stood in the place of the camera and microphone.
It is also possible to create by drafting or editing audio-visual sequences derived not from the location of an event, but were artificially created or recombined. The viewer of such a sequence can sometimes have a similar impression as the witness of an event that has it but that never actually existed.

Audiovisual sequences can be transported or stored on different media, for example,

chemical paths on films or on
magnetic paths on magnetic tapes ( video ), more recently, increasingly, on
digital media such as DVDs or

Streaming video , so as a stream of data (both wired and radio via cable-free).
An audiovisual sequence can include anything, such as a

News program, a specific
time section of it, not a recorded
It has picture and sound of a surveillance camera with microphone, or even a
unintentionally by a technical malfunction caused a sequence of images and sounds.
The term film is used only for named and recorded audio-visual sequences, such as for feature films , documentaries or animated films .

To low beam (English fade in , fade-out ) are cinematic design elements that are often used to scenes clearly delineate. While a Fade in the beginning of a sequence indicates the end of which is marked by a fade-out. Fading in and comply with the curtain in theater .
Both techniques are often used together and serve to build a narrative structure. They enable both temporal and local jumps are illustrated.As artificial effects , but they interrupt the narrative flow and thereby a film one can episodic nature lend. This can reduce the distance between audience and story increase.

In addition to speaking at the brightening of the "black" image at the beginning of film and the darkening of the image at its end by Fade inand fade out . Variations of up-and fade-out, for example, the white visor, is performed at the same with a different color / contrast.

When the movie camera for this purpose is usually the variable shutter used, which allows the adjustment of the light sector, and thus the exposure time during the recording. Rare is the lens aperture in use, because they can not usually very close and because the change indepth may be disruptive. However, there are special lenses, the iris can be closed completely with the help of an additional lamella.

In professional fields, the fading in and out are usually the lab left.

By combining both techniques in conjunction with film rewind results in a transition .


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Anamorphic processes

Functioning

By the action of the anamorphic lens system is the CinemaScope process with optical sound oneaspect ratio of 2.35:1 achieved. In the former four-channel magnetic sound CinemaScope (Commager) the aspect ratio is 2,55:1.
The basic principle of an anamorphic lens design ensures that, when recording the image reduces the image in the horizontal plane by a certain anamorphic factor against the vertical. This creates the effect that the image is "compressed" in width by the anamorphic factor. In the projection of the film projector receives a similar lens system, called an anamorphic lens , which magnifies the image so much again in width and thus the image again "pulls apart". This is the image in the projection - over the image on the film - twice as wide.

Basically, would result from a normal image in the aspect ratio of 1.33:1 CinemaScope process by a factor of 2, an aspect ratio of 2,66:1. But this is not the case, because the inclusion of a film in CinemaScope process in the camera and later used when playing in the projector image window will be slightly higher, so the resulting image on the film has an aspect ratio of 1:1,175. This in turn results in a factor of 2 above, the aspect ratio. The process with the higher frame window uses it to increase the sharpness of the projected image. Through this technique, the scene of the film strip maximally utilized and there is not - such as in wide-screen process with lamination - unused part of the footage. However, this is also the framing narrower, which again lead to negative improper splices are visible.

The advantage of the CinemaScope process is that with low-cost standard material ( 35-mm film can be projected) one wide image. Alternative to CinemaScope, for example, 70-mm film (aspect ratio 2.2:1) and the original Cinerama, on other hand, have significantly higher material costs and also require special projectors.
Another advantage is that the light from the projector lamp is better utilized. Cinema projectors are equipped with rotationally symmetric ellipsoidal mirrors, which illuminate a circular area hence the movie. Optimum utilization of light would be obtained for a square image that is on the film strip. Square image window, the process demanded Superscope today and IMAX .

The advantage of the process but is also a disadvantage. Since the image is compressed, it becomes distorted and must be rectified at the back projection. In case of faulty adjustment of the recording or playback lenses can thus display errors occur. Also, a significant new movie screens for the CS projection are situated.

History 

The CinemaScope process is based on the Anamorphoskop of Professor Henri Chrétien , which has already been developed 1927th In 1952 the process was from the 20th Century Fox Film Corporation purchased. The turn is an evolution of the Anamorphoskop Hypergonars by Henri 

Chrétien.
The monumental Bible film The Robe (The Robe) was established on 16 September 1953 in New York City premiere. It was advertised as a movie, "the one-dimensional without glasses" can see.Since the second half of the forties, the 3D movies in the cinema were a great encouragement, the process by wearing glasses, but also very inconvenient and very costly, was tried it first with a three-dimensional projection is not true, but a curved screen and a wider aspect ratio ( Cinerama ), where the false slogan, if it were a new 3D process, first appeared, and when it was still expensive, thought you look at Centfox on invented by Chrétien anamorphic process, it resulted in the brand CinemaScope, and suggested to the audience with this slogan as with Cinerama and again that he would see in CinemaScope a 3D movie, which of course was not the case. Since a CinemaScope film consists only of a picture (even though it is pretty wide), he is completely "flat".The first true 3D film in CinemaScope was the treasure of the Balearic Islands by director Byron Haskin .

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Amphibians film

The advantage of such productions, therefore, is that the funding in addition to the film support and funding from television stations across the theatrical and DVD market place and in this way compared to conventionally produced motion pictures or television films and series, a larger budget can be provided. The concept is practiced mainly in Germany and to establish the connection to the American competition. Examples of amphibians are films Das Boot (1981),Sophie's World (1999), The Baader Meinhof Complex (2008), Buddenbrooks , Pope Joan (2009) and Henri 4 (2010)

Differentiation from Extended Versions

The TV series version of an amphibian film has similarities with the so-called Extended Versions , so an advanced version of motion pictures, most of which are equipped with the first or second DVD release, with additional scenes to boost the DVD sales, but rarely also like War of the Stars represent renewed theatrical versions. Unlike movies, where an extended version exists, the production of an amphibious film is already laid out during the shoot out that two film versions will be produced and should be used in the film market. For extended versions , this is how the example of Star Wars can see, probably not the case. Only if a movie is very successful and thus the more marketing-DVD really worth already, an appropriate version will be produced in retrospect. Expect there to be among some of the movies the success is, in modern times even more frequently during the filming of appropriate material for extended versions produced that then at the second window on the DVD market, in addition to deleted scenes in the form of an extended version is used . This leads to a slight blurring of the two terms.

Criticism of the concept

The Double Think of cinema and television can hurt a film, partly because it can happen that TV quality comes to the movies and on the other hand, because a movie partly another dramatic need and therefore a different script and a different production than a TV series version.

A well-known critic of the concept was Volker Schlondorff . He was the first director of the film Pope Joan . He criticized, however, in July 2007 in the Süddeutsche Zeitung, the "unholy alliance" of film and television producers, the purpose of cost reduction, the different dramaturgy of a movie and television film and more often to a "amphibian film" [2] mixed. [3] was then by him Constantin Film's production company, said the film, terminated on the grounds that he had violated the trust relationship. His (general) have also criticism of the planned production of Pope Joan harmed.

External links and comments

1. ? Klaus Raab: "Debate on film quality. Television may be the cinema? " the daily newspaper , 22 December 2008, a dispute over "Amphibenfilme"
2. ? to "curtain, curtain down: Volker Schlondorff . The diversity is great, but it threatens an ever greater mixing. For the separation of film and TV " SZ , 12 July 2007
3. ? "It's about money, money" , Süddeutsche Zeitung, 23 July 2007 interview with Schlondorff



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Lightworks Open Source

The internal database is designed, that even at extremely large projects, a fast and safe working. For use in the working groups, such as in TV stations are network solutions that make it possible to simultaneously image and sounds, styles and effects by several editing suites from access - these collaborative capabilities but are not open source.

To Cutter, not the Lightworks used to enable fast efficient work, the keyboard layout as with the widely used software of "Avid" and "FCP", as required.
Very successful cutter, as Thelma Schoonmaker, who won with Lightworks the Oscar for Best Editing and many cut of Martin Scorsese's films, or Chris Gill, whose average work includes "28 Weeks Later" faces ever publicly challenged the benefits to which it relates have moved using Lightworks.

Following the announcement in April 2010, the basic program as Lightworks Open Source to publish, it was about the implications of this in the TV and film industry, many discussions. In particular it was unclear how the owner EditShare access modules for foreign producers formats (such as from RED or Sony could offer) as open source. In September 2010 it was made clear: Lightworks itself will be free of formats including but open source, but bought by the manufacturer for assistance in the form of proprietary formats should be offered on an electronic marketplace.

Furthermore, the manufacturer announced at EditShare, the stereoscopic 3D function, and the networking of research groups working simultaneously on the same project to offer a fee-only proprietary extensions.

About one of EditShare offered, although not exclusive, but the central market place, not only the proprietary access modules for third-party file formats, 3D and networking skills to be sold, but also future proprietary third-party extensions. [4] EditShare here retains an interest, a commission , but also in exchange for the complete accounting and distribution, which will enable smaller, financially weaker and not internationally established vendors and developers the ability to distribute larger quantities of international clientele.

In addition to selling proprietary extensions is how the managing owner of the company EditShare, Andy Liebman, also a further opportunity to earn money is to sell hardware controller. In a web video interview with film-tv-video.de he spoke for more detail.

Licensing model, as 9 / 2011
There are three options available:

Lightworks Free Membership: Free
with "codec" licenses (1) and more "features" (2):

Lightworks Educational Membership: € 25 per year
Lightworks Professional Membership: € 50 per year

(1) "codec" licenses ProRes codecs, Red R3D, DPX, AVC-Intra, XDCAM HD, XDCAM EX, AVCHD/H.264, IMX, Avid DNxHD (Avid is extra, if needed additional € 45th The amount is but only payable once.)

(2) "features" more formats: (Educational and Professional Membership) - AAF (preferences for Avid / Pro Tools), OMF, EDL
more features: (Educational and Professional Membership)
multiple users can simultaneously cut on the same project
Title Generator (GPU-based, real-time preview)

Stereoscopic Support
DVD / Blueray export presets
Hardware I / O support: Blackmagic Design, Matrox XMIO2, DSXLE2 MXO2 and (in future: AJA, DVS)

The first Mac OSX and Linux versions are announced in December 2011. Also pending for the open source version, due to licensing reasons ("Source Code Cleanup") are not yet freigegebn.



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