Transmission ultra hd The Times of Bill 102

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USA. release year=2018. Rating=21 vote. Director=Mark Bozek. Actor=Bill Cunningham.

Supporting the idea of law enforcement or criticizing religious extremists is not conservative

Cause your love won't wait. The Times of biological. The times of bill cunningham where to watch. You can't shoot skeet with a rifle, you use a shotgun, displaying your lack of real gun savvy. Streaming video is a huge convenience, but on occasion, it can also be a frustrating experience. Anyone whos queued up a movie on Netflix, Amazon, or Hulu only to have it stutter along knows what were talking about. Just the sight of that endless loading wheel or choppy picture quality is enough to make you want to pull your hair out. While the problems are becoming increasingly less common, as  4K Ultra HD video continues to become more prominent, theyre not likely to go away altogether anytime soon. Its easy to point the finger at Netflix, Amazon, or even your internet provider. But often, the real problem is that your internet service and home network arent set up to properly handle the huge amount of data flowing into your home. One of the keys to stress-free streaming is making sure your homes network infrastructure is up to the task. Heres how to make sure your homes network is never the bottleneck in your streaming video pipeline. Pick your plan You can spend a small fortune buying the hottest networking equipment on the market, but it wont make a lick of difference if the internet connection that feeds your home is inadequate. Unfortunately, theres very little you can do to make your broadband internet service providers (ISP) connection reliably fast, but what you can do is make sure youre subscribed to the plan that promises the right speed and data allowance for your needs.  Netflix recommends 5Mbps of bandwidth for an HD stream and 25Mbps for 4K Ultra HD. You can certainly stream at slower speeds, but if you have a lot of traffic on your network, you may even need a faster connection. Internet bandwidth First, lets address a common misconception: Mbps, the metric used to measure bandwidth, stands for megabits per second, not megabytes per second (MBps. When it comes to data rates, 1 byte = 8 bits. With that in mind, you can start doing a bunch of math to try to determine what kind of bandwidth you need. Netflixs estimates of 5Mbps for HD streaming and 25Mbps for 4K UHD are good starting points, but theres more to it. If youre only streaming HD, you might think a 15Mbps plan would be plenty, but that doesnt account for multiple devices (and people) in your home using your bandwidth. Every smartphone, computer, smart TV, cable box, streaming stick, and game console connected to your network may be sending and receiving data at any given moment. Added together, homes with multiple devices can put quite a chokehold on your bandwidth. Keep this in mind, too: Just because youre paying for 50Mbps doesnt mean thats what youll get all the time. First of all, your Wi-Fi router likely doesnt stream as fast as your plan does — those numbers are usually rated for Ethernet connection. Second, your neighbors probably like to stream content around the same times you do, and if youre all sharing the same neighborhood internet pipe, it may clog up from time to time. For example, you may get really close to the promised speed at 1 a. m. when overall traffic is down, but probably not at 8 p. m., when residential usage is likely at its peak. The kicker: The average American household gets around  18. 7Mbps  as of June 2017. That number is a little higher in metropolitan areas, but even Delaware — the state whose residents get the fastest speeds — sits at 25. 2Mbps (Washington D. C. tops everyone at 28. 1 Mbps. While Gigabit internet is becoming increasingly common, most of us still dont have the resources or the infrastructure to stream unlimited 4K Ultra HD content at present. Data caps When we talk about data allowance, were referring to data caps or download limits that some  ISPs impose on their customers. Each ISP has its own plans and policies, but for the sake of illustration lets say your internet plan allows you to use up to 1TB (Terabyte) of data per month with no restrictions on the time of day you use it. Thats a lot of flexible data, and for most folks it is more than sufficient for a months worth of streaming content, cruising Facebook, and so on. But if you like to watch a lot of streaming Ultra HD video, along with various other activities, you may find you need more. Once you hit your monthly cap, your internet wont just shut off — assuming you paid your bill, of course — but your ISP may “throttle” your connection, slowing everything down drastically. A good way to get a read on your data needs is to visit your account page on your ISPs website. Most offer a data meter with historical information that shows how much data youve been gobbling up for the past few months. If youre usually pushing the limit, its time to look at another plan. To put things in perspective, consider what Netflix says about how much data its movies and TV shows can take up. The company claims that one hour of HD programming eats up about 3GB of data — 4K Ultra HD content bumps that up to about 7GB per hour. Use those numbers as a rough estimate for any other video platforms you use. Some ISPs have begun lifting caps, instead offering savings to customers who opt into accepting one. These plans are usually offered to those who pay for slower connections (15Mbps or lower) and dont use a lot of data anyway. Those plans arent ideal for anyone who relies on a lot of streaming HD or UHD content. The gear Bill Roberson/Digital Trends Once youve got the internet service coming into your home locked down, you need to make sure it doesnt take a nosedive the second it comes through the wall. To do this, you need high-quality networking gear. The good news is, you dont have to spend a mountain of cash to get it. The modems that ISPs supply generally arent bad. Just make sure the model theyre offering supports 802. 11ac for viable internet speeds. Pricier modems have DOCSIS 3. 1, but that wont benefit the typical homeowner. If you want to buy your own, potentially saving 20-30 or more each month, ask your ISP for a list of approved modems. Heres Comcasts list, and Time Warner/Spectrums  for reference. Those modem/Wi-Fi router combo units, though? Theyre not so great. They might be limited to two-thirds the speed and range of a similar wireless router from the likes of Linksys, Netgear or D-Link. Those manufacturers have rightly identified that some consumers want the fastest streaming speeds available, and have used language like “Media” or “HD” to market their top router models. If youre planning on doing a lot of HD or Ultra HD streaming, consider the stealth bomber-esque  Netgear Nighthawk X10  or the cheaper Linksys WRT AC3200. Weve got an entire list of  the best routers, too, if you want more guidance. Some of these models dont come cheap, but theyre ideal for heavy video streaming thanks to high performance and intuitive interfaces that let you customize and prioritize how your bandwidth is used. Wire it up! While the best streaming video devices all support Wi-Fi, many of them also have Ethernet ports for a wired connection thats more reliable and uninhibited by Wi-Fis bandwidth limitations. Ideally, you could plug your devices directly into your router or an Ethernet switch, but if your devices arent right next to your router and you dont have Ethernet cable strung throughout the home, you might think going wireless is the only real option. Its not. Powerline adapters, which come in pairs, are excellent networking tools that can route an internet connection through a homes power lines as a way to bridge devices and routers in separate rooms. For example: Plug one adapter into a power outlet near the router upstairs and connect them with an Ethernet cable. Then plug in the other adapter into an outlet near the streaming device in another room and connect them via Ethernet. You now have a wired connection, even though the two are nowhere near each other. The same is possible with Wi-Fi extenders that pull in a wireless signal and connect to nearby devices via Ethernet for the added boost. Powerline adapters have the edge because there is no latency in the connection, whereas extenders could be affected by signal or range limitations (though this is less of a problem since the advent of 802. 11ac. Cost vs. benefit Upgrading your home network to accommodate all the streaming youd like to do is going to incur some upfront costs. An upgrade in service from your ISP, a new dependable router (and modem, if necessary) and possibly a powerline adapter or Wi-Fi range extender adds up to a pretty penny, but the investment should pay off in the long term. These days, we stream virtually everything. The more you know about your data consumption and network capabilities, the better you can manage your monthly costs — and beat the buffer. Editors' Recommendations Modem vs. router: Whats the difference? Why youre not getting Netflix in HD or 4K, and how to fix it The best home internet deals for February 2020: AT&T, Spectrum, Optimum and more Is Wi-Fi too unreliable? Powerline networking may be what you need Amazon slashes the price on Eero Mesh Wi-Fi System routers.

The Times of bill of rights. High-definition television ( HDTV or HD) describes a television system providing an image resolution of substantially higher resolution than the previous generation of technology. The term has been used since 1936, 1] but in modern times refers to the generation following standard-definition television (SDTV) often abbreviated to HDTV. It is the current standard video format used in most broadcasts: terrestrial broadcast television, cable television, satellite television, Blu-ray discs, and streaming video. HDTV may be transmitted in various formats: 720p 1280×720 progressive scan: 921, 600 pixels ( 0. 92 MP) per frame 1080i 1920×1080 interlaced: 1, 036, 800 pixels ( 1. 04 MP) per field or 2, 073, 600 pixels ( 2. 07 MP) per frame 1080p 1920×1080 progressive scan: not a broadcast standard for ATSC 1. 0 Some countries also use a non-standard CEA resolution, such as 1440×1080i: 777, 600 pixels ( 0. 78 MP) per field or 1, 555, 200 pixels ( 1. 56 MP) per frame When transmitted at two megapixels per frame, HDTV provides about five times as many pixels as SD (standard-definition television. The increased resolution provides for a clearer, more detailed picture. In addition, progressive scan and higher frame rates result in a picture with less flicker and better rendering of fast motion. [2] HDTV as is known today first started official broadcasting in 1989 in Japan, under the MUSE /Hi-Vision analog system. [3] HDTV was widely adopted worldwide in the late 2000s. [4] History [ edit] Since 1917, high definition starts as Full Picture Form. The term high definition once described a series of television systems originating from August 1936; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution. The ongoing competition between companies and nations to create true "HDTV" spanned the entire 20th century, as each new system became higher definition than the last. In the 2010s, this race has continued with 4K, 5K and 8K systems. The British high-definition TV service started trials in August 1936 and a regular service on 2 November 1936 using both the (mechanical) Baird 240 line sequential scan (later to be inaccurately rechristened 'progressive' and the (electronic) Marconi-EMI 405 line interlaced systems. The Baird system was discontinued in February 1937. [1] In 1938 France followed with their own 441-line system, variants of which were also used by a number of other countries. The US NTSC 555-line system joined in 1941. In 1949 France introduced an even higher-resolution standard at 819 lines, a system that should have been high definition even by today's standards, but was monochrome only and the technical limitations of the time prevented it from achieving the definition of which it should have been capable. All of these systems used interlacing and a 4:3 aspect ratio except the 240-line system which was progressive (actually described at the time by the technically correct term "sequential" and the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option as the video baseband bandwidth was required to be not more than 3 MHz. Color broadcasts started at similarly higher resolutions, first with the US NTSC color system in 1953, which was compatible with the earlier monochrome systems and therefore had the same 525 lines of resolution. European standards did not follow until the 1960s, when the PAL and SECAM color systems were added to the monochrome 625 line broadcasts. The NHK (Japan Broadcasting Corporation) began conducting research to "unlock the fundamental mechanism of video and sound interactions with the five human senses" in 1964, after the Tokyo Olympics. NHK set out to create an HDTV system that ended up scoring much higher in subjective tests than NTSC's previously dubbed "HDTV. This new system, NHK Color, created in 1972, included 1125 lines, a 5:3 aspect ratio and 60 Hz refresh rate. The Society of Motion Picture and Television Engineers (SMPTE) headed by Charles Ginsburg, became the testing and study authority for HDTV technology in the international theater. SMPTE would test HDTV systems from different companies from every conceivable perspective, but the problem of combining the different formats plagued the technology for many years. There were four major HDTV systems tested by SMPTE in the late 1970s, and in 1979 an SMPTE study group released A Study of High Definition Television Systems: EIA monochrome: 4:3 aspect ratio, 1023 lines, 60 Hz NHK color: 5:3 aspect ratio, 1125 lines, 60 Hz NHK monochrome: 4:3 aspect ratio, 2125 lines, 50 Hz BBC colour: 8:3 aspect ratio, 1501 lines, 60 Hz [5] Since the formal adoption of digital video broadcasting 's (DVB) widescreen HDTV transmission modes in the mid to late 2000s; the 525-line NTSC (and PAL-M) systems, as well as the European 625-line PAL and SECAM systems, are now regarded as standard definition television systems. Analog systems [ edit] Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression. In 1949, France started its transmissions with an 819 lines system (with 737 active lines. The system was monochrome only, and was used only on VHF for the first French TV channel. It was discontinued in 1983. In 1958, the Soviet Union developed ransformator ( Russian: , meaning Transformer) the first high-resolution (definition) television system capable of producing an image composed of 1, 125 lines of resolution aimed at providing teleconferencing for military command. It was a research project and the system was never deployed by either the military or consumer broadcasting. [6] In 1986, the European Community proposed HD-MAC, an analog HDTV system with 1, 152 lines. A public demonstration took place for the 1992 Summer Olympics in Barcelona. However HD-MAC was scrapped in 1993 and the Digital Video Broadcasting (DVB) project was formed, which would foresee development of a digital HDTV standard. [7] Japan [ edit] In 1979, the Japanese public broadcaster NHK first developed consumer high-definition television with a 5:3 display aspect ratio. [8] The system, known as Hi-Vision or MUSE after its multiple sub-Nyquist sampling encoding (MUSE) for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1035i/1125 lines. In 1981, the MUSE system was demonstrated for the first time in the United States, using the same 5:3 aspect ratio as the Japanese system. [9] Upon visiting a demonstration of MUSE in Washington, US President Ronald Reagan was impressed and officially declared it "a matter of national interest" to introduce HDTV to the US. [10] NHK taped the 1984 Summer Olympics with a Hi-Vision camera, weighing 40 kg. [11] Satellite test broadcasts started June 4, 1989, the first daily high-definition programs in the world, 12] with regular testing starting on November 25, 1991 or "Hi-Vision Day" – dated exactly to refer to its 1, 125-lines resolution. [13] Regular broadcasting of BS -9ch commenced on November 25, 1994, which featured commercial and NHK programming. Several systems were proposed as the new standard for the US, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At this time, the number of television channels was growing rapidly and bandwidth was already a problem. A new standard had to be more efficient, needing less bandwidth for HDTV than the existing NTSC. Egypt Demise of analog HD systems [ edit] The limited standardization of analog HDTV in the 1990s did not lead to global HDTV adoption as technical and economic constraints at the time did not permit HDTV to use bandwidths greater than normal television. Early HDTV commercial experiments, such as NHK's MUSE, required over four times the bandwidth of a standard-definition broadcast. Despite efforts made to reduce analog HDTV to about twice the bandwidth of SDTV, these television formats were still distributable only by satellite. In Europe too, the HD-MAC standard was considered not technically viable. In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV ( Sony HDVS. Japan remained the only country with successful public broadcasting of analog HDTV, with seven broadcasters sharing a single channel. However the Hi-Vision/MUSE system also faced commercial issues when it launched on November 25, 1991. Only 2, 000 HDTV sets were sold by that day, rather than the enthusiastic 1. 32 million estimation. Hi-Vision sets were very expensive, up to US30, 000 each, which contributed to its low consumer adaption. [14] A Hi-Vision VCR from NEC released at Christmas time retailed for US115, 000. In addition, the United States saw Hi-Vision/MUSE as an outdated system and had already made it clear that it would develop an all-digital system. [15] Experts thought the commercial Hi-Vision system in 1992 was already eclipsed by digital technology developed in the U. S. since 1990. This was an American victory against the Japanese in terms of technological dominance. [16] By mid-1993 prices of receivers were still as high as 1. 5 million yen (US15, 000. 17] On February 23, 1994, a top broadcasting administrator in Japan admitted failure of its analog-based HDTV system, saying the U. digital format would be more likely a worldwide standard. [18] However this announcement drew angry protests from broadcasters and electronic companies who invested heavily into the analog system. As a result, he took back his statement the next day saying that the government will continue to promote Hi-Vision/MUSE. [19] That year NHK started development of digital television in an attempt to catch back up to America and Europe. This resulted in the ISDB format. [20] Japan started digital satellite and HDTV broadcasting in December 2000. [11] Rise of digital compression [ edit] High-definition digital television was not possible with uncompressed video, which requires a bandwidth exceeding 1   Gbps for studio-quality HD digital video. [21] 22] Digital HDTV was made possible by the development of discrete cosine transform (DCT) video compression. [23] 21] DCT coding is a lossy image compression technique that was first proposed by Nasir Ahmed in 1972, 24] and was later adapted into a motion-compensated DCT algorithm for video coding standards such as the H. 26x formats from 1988 onwards and the MPEG formats from 1993 onwards. [25] 26] Motion-compensated DCT compression significantly reduces the amount of bandwidth required for a digital TV signal. [21] 27] By 1991, it had achieved data compression ratios from 8:1 to 14:1 for near-studio-quality HDTV transmission, down to 70–140 Mbps bit-rate. [21] Between 1988 and 1991, DCT video compression was widely adopted as the video coding standard for HDTV implementations, enabling the development of practical digital HDTV. [21] 23] 28] Dynamic random-access memory ( DRAM) was also adopted as frame-buffer semiconductor memory, with the DRAM semiconductor industry 's increased manufacturing and reducing prices important to the commercialization of HDTV. [28] Since 1972, International Telecommunication Union 's radio telecommunications sector ( ITU-R) had been working on creating a global recommendation for Analog HDTV. These recommendations, however, did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 led to the acceptance of recommendations ITU-R BT. 709. [29] In anticipation of these standards, the Digital Video Broadcasting (DVB) organisation was formed. It was alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees upon specifications which are formally standardised by ETSI. [30] DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard, although DVB systems may also be used to transmit video using the newer and more efficient H. 264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements. In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world already having split into two camps, 25/50 Hz and 30/60 Hz, largely due to the differences in mains frequency. The IWP11/6 working party considered many views and throughout the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved. Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1. 78) eventually emerged as being a reasonable compromise between 5:3 (1. 67) and the common 1. 85 widescreen cinema format. An aspect ratio of 16:9 was duly agreed upon at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT. 709-2. Rec. 709. includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1, 080 actively interlaced lines of resolution) and 1080p (1, 080 progressively scanned lines. The British Freeview HD trials used MBAFF, which contains both progressive and interlaced content in the same encoding. It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format, 31] and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards. ) Inaugural HDTV broadcast in the United States [ edit] HDTV technology was introduced in the United States in the early 1990s and made official in 1993 by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994. [32] The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D. C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV. [33] 34] 35] The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn 's return mission to space on board the Space Shuttle Discovery. [36] The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast. [36] 37] European HDTV broadcasts [ edit] Between 1988 and 1991, several European organizations were working on discrete cosine transform (DCT) based digital video coding standards for both SDTV and HDTV. The EU 256 project by the CMTT and ETSI, along with research by Italian broadcaster RAI, developed a DCT video codec that broadcast near-studio-quality HDTV transmission at about 70–140 Mbps bit-rate. [21] 38] The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when RAI broadcast the 1990 FIFA World Cup using several experimental HDTV technologies, including the digital DCT-based EU 256 codec, 21] the mixed analog-digital HD-MAC technology, and the analog MUSE technology. The matches were shown in 8 cinemas in Italy, where the tournament was played, and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. [39] 40] After some HDTV transmissions in Europe, the standard was abandoned in 1993, to be replaced by a digital format from DVB. The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe. [41] Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts. and kick-start HDTV interest in Europe. [42] The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day. These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES 's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe. Despite delays in some countries, 43] the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (60 million in 2010 alone) and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites. 44] In December 2009, the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television. The Freeview HD service currently contains 13 HD channels (as of April 2016) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe; Italy 's Rai HD channel started broadcasting in 1080i on April 24, 2008 using the DVB-T transmission standard. In October 2008, France deployed five high definition channels using DVB-T transmission standard on digital terrestrial distribution. Notation [ edit] HDTV broadcast systems are identified with three major parameters: Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p. Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning. Frame rate is identified as number of video frames per second. For interlaced systems, the number of frames per second should be specified, but it is not uncommon to see the field rate incorrectly used instead. If all three parameters are used, they are specified in the following form: frame size] scanning system] frame or field rate] or [frame size] frame or field rate] scanning system. 45] Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system. For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1, 920 pixels wide and 1, 080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1, 920 pixels wide and 1, 080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1, 920 pixels wide and 1, 080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1, 280 pixels horizontally are implied. 50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59. 94i, 60i, 23. 976p, 24p, 29. 97p, 30p, 59. 94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e. g. 23. 976p was often called 24p, or 59. 94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29. 97p/59. 94i is almost universally called 60i, likewise 23. 976p is called 24p. For the commercial naming of a product, the frame rate is often dropped and is implied from context (e. g., a 1080i television set. A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second. [46] There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a ( sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting. Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below. Display resolutions [ edit] Video format supported [image resolution] Native resolution [inherent resolution] W×H) Pixels Aspect ratio (W:H) Description Actual Advertised (Megapixels) Image Pixel 720p (HD ready) 1280×720 1024×768 XGA 786, 432 0. 8 4:3 1:1 Typically a PC resolution ( XGA) also a native resolution on many entry-level plasma displays with non-square pixels. 1280×720 921, 600 0. 9 16:9 Standard HDTV resolution and a typical PC resolution ( WXGA) frequently used by high-end video projectors; also used for 750-line video, as defined in SMPTE 296M, ATSC A/53, ITU-R BT. 1543. 1366×768 WXGA 1, 049, 088 1. 0 683:384 (approx. 16:9) A typical PC resolution ( WXGA) also used by many HD ready TV displays based on LCD technology. 1080p/1080i (Full HD) 1920×1080 1920×1080 2, 073, 600 2. 1 Standard HDTV resolution, used by full HD and HD ready 1080p TV displays such as high-end LCD, plasma and rear projection TVs, and a typical PC resolution (lower than WUXGA) also used for 1125-line video, as defined in SMPTE 274M, ATSC A/53, ITU-R BT. 709; Video format supported Screen resolution (W×H) 720p (HD Ready) 1280×720 1248×702 Clean Aperture 876, 096 Used for 750-line video with faster artifact/overscan compensation, as defined in SMPTE 296M. 1080i (Full HD) 1920×1080 1440×1080 HDCAM / HDV 1, 555, 200 1. 6 Used for anamorphic 1125-line video in the HDCAM and HDV formats introduced by Sony and defined (also as a luminance subsampling matrix) in SMPTE D11. 1080p (Full HD) 1920×1080 1888×1062 Clean aperture 2, 005, 056 2. 0 Used for 1124-line video with faster artifact/overscan compensation, as defined in SMPTE 274M. At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV) thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution. A very high-resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source. Standard frame or field rates [ edit] ATSC and DVB define the following frame rates for use with the various broadcast standards: 47] 48] 23. 976 Hz (film-looking frame rate compatible with NTSC clock speed standards) 24 Hz (international film and ATSC high-definition material) 25 Hz (PAL film, DVB standard-definition and high-definition material) 29. 97 Hz (NTSC film and standard-definition material) 30 Hz (NTSC film, ATSC high-definition material) 50 Hz (DVB high-definition material) 59. 94 Hz (ATSC high-definition material) 60 Hz (ATSC high-definition material) The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source. PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the rollout of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz. [49] Types of media [ edit] High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, IPTV, Blu-ray video disc (BD) and internet downloads. In the US, residents in the line of sight of television station broadcast antennas can receive free, over-the-air programming with a television set with an ATSC tuner via a TV aerial. Laws prohibit homeowners' associations and city government from banning the installation of antennas. citation needed] Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s. To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4. 1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second) giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate. Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc. Recording and compression [ edit] HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS) W-VHS (analog only) to an HDTV-capable digital video recorder (for example DirecTV 's high-definition digital video recorder, Sky HD 's set-top box, Dish Network 's VIP 622 or VIP 722 high-definition digital video recorder receivers (these Set Top Boxes (STB) allow for HD on the Primary TV and SD on the secondary TV (TV2) without a secondary box on TV2) or TiVo 's Series 3 or HD recorders) or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service subscription price, some for an additional fee, can be played back with the cable company's on-demand feature. The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available to the consumer. In 2008, the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in MPEG-2 format in a file or in a Blu-ray compatible format. m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2. 0 interface. More recent systems are able to record a broadcast high definition program in its 'as broadcast' format or transcode to a format more compatible with Blu-ray. Analog tape recorders with bandwidth capable of recording analog HD signals, such as W-VHS recorders, are no longer produced for the consumer market and are both expensive and scarce in the secondary market. In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" FireWire (IEEE 1394) on request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C. [50] This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content. See also [ edit] Display motion blur Glossary of video terms High Efficiency Video Coding List of digital television deployments by country Optimum HDTV viewing distance Ultra-high-definition television References [ edit] a b "Teletronic – The Television History Site. Retrieved 2011-08-30. ^ Jones, Graham A. (2005. A Broadcast Engineering Tutorial for Non-Engineers. Taylor & Francis. p. 34. ISBN   9781136035210. Retrieved 2 August 2017. ^ The Evolution of TV -A Brief History of TV Technology in Japan... ^ Smith, Kevin (3 August 2012. 10 Game-Changing Pieces of Tech From The 2000s. ^ Cianci, Philip J. (2012. High Definition Television. NC, USA: McFarland. pp. 1–25. ISBN   978-0-7864-4975-0. ^ . "HDTV in the Russian Federation: problems and prospects of implementation (in Russian. Archived from the original on 2013-07-27. Retrieved 2013-03-11. ^ Reimers, Ulrich (11 August 2018. DVB: The Family of International Standards for Digital Video Broadcasting. Springer Science & Business Media. ISBN   9783540435457 – via Google Books. ^ Researchers Craft HDTV's Successor. ^ Digital TV Tech Notes, Issue #2. ^ James Sudalnik and Victoria Kuhl, High definition television" a b Television, 50 Years of NHK. "50 Years of NHK Television... ^ Times, David E. Sanger and Special To the New York. "Japan Begins Broadcasts of High-Definition TV. ^ Sanger, David E. "Few See Japan Make TV History. ^ Technology. while Japan admits that analogue TV is a dead end. ^ Cianci, Philip J. (10 January 2013. High Definition Television: The Creation, Development and Implementation of HDTV Technology. McFarland. ISBN   9780786487974 – via Google Books. ^ Pollack, Andrew. "Technology Shift Blurs Future of Japan's New TV System. ^ Hart, Jeffrey A. (5 February 2004. Technology, Television, and Competition: The Politics of Digital TV. Cambridge University Press. ISBN   9781139442244 – via Google Books. ^ Jr, JUBE SHIVER (23 February 1994. Japan Gives Up on Analog-Based HDTV System: Technology: Government says U. -backed digital format is likely to become a world standard" – via LA Times. ^ Japanese revive HDTV system. Variety. 24 February 1994. ^ Grimme, Katharina (11 August 2018. Digital Television Standardization and Strategies. Artech House. ISBN   9781580532976 – via Google Books. ^ a b c d e f g Barbero, M. Hofmann, H. Wells, N. D. (14 November 1991. DCT source coding and current implementations for HDTV. EBU Technical Review. European Broadcasting Union (251) 22–33. Retrieved 4 November 2019. ^ Lee, Jack (2005. Scalable Continuous Media Streaming Systems: Architecture, Design, Analysis and Implementation. John Wiley & Sons. p. 25. ISBN   9780470857649. ^ a b Shishikui, Yoshiaki; Nakanishi, Hiroshi; Imaizumi, Hiroyuki (October 26–28, 1993. An HDTV Coding Scheme using Adaptive-Dimension DCT. Signal Processing of HDTV: Proceedings of the International Workshop on HDTV '93, Ottawa, Canada. Elsevier: 611–618. doi: 10. 1016/B978-0-444-81844-7. 50072-3. ISBN   9781483298511. ^ Ahmed, Nasir (January 1991. How I Came Up With the Discrete Cosine Transform. Digital Signal Processing. 1 (1) 4–5. 1016/1051-2004(91)90086-Z. ^ Ghanbari, Mohammed (2003. Standard Codecs: Image Compression to Advanced Video Coding. Institution of Engineering and Technology. pp. 1–2. ISBN   9780852967102. ^ Li, Jian Ping (2006. Proceedings of the International Computer Conference 2006 on Wavelet Active Media Technology and Information Processing: Chongqing, China, 29-31 August 2006. World Scientific. p. 847. ISBN   9789812709998. ^ Lea, William (1994. Video on demand: Research Paper 94/68. 9 May 1994: House of Commons Library. Archived from the original on 20 September 2019. Retrieved 20 September 2019. CS1 maint: location ( link) a b Cianci, Philip J. (2014. p. 63. ISBN   9780786487974. ^ brweb (2010-06-17. High definition television comes of age thanks to ITU. Retrieved 2013-03-11. ^ Webfactory. "History of the DVB Project. Retrieved 2013-03-11. ^ Jim Mendrala (1999-09-27. Digital TV Tech Notes, Issue #41. Retrieved 2013-03-11. ^ HDTV field testing wraps up. Retrieved 2010-10-02. ^ History of WRAL Digital. 2006-11-22. Retrieved 2010-10-02. ^ WRAL-HD begins broadcasting HDTV. Retrieved 2010-10-02. ^ Comark transmitter first in at Model Station. Retrieved 2010-10-02. ^ a b Albiniak, Paige (1998-11-02. HDTV: Launched and Counting. Broadcasting and cable. BNET. Archived from the original on 2014-09-24. Retrieved 2008-10-24. ^ Space Shuttle Discovery: John Glenn Launch. Internet Movie Database. 1998. Retrieved 2008-10-25. ^ Barbero, M. Stroppiana, M. (October 1992. Data compression for HDTV transmission and distribution. IEE Colloquium on Applications of Video Compression in Broadcasting: 10/1–10/5. ^ ItaLia '90 – il primo passo della HDTV digitale – I parte" Le Mini Serie – Italia '90 – The First Step of Digital HDTV – part I] PDF. Archived from the original (PDF) on 2012-06-19. ^ ItaLia '90 – il primo passo della HDTV digitale – II parte" Le Mini Serie – Italia '90 – The First Step of Digital HDTV – part II] PDF. Archived from the original (PDF) on 2012-06-19. ^ SES ASTRA and Euro1080 to pioneer HDTV in Europe" Press release. SES ASTRA. October 23, 2003. Retrieved January 26, 2012. ^ Bains, Geoff. "Take The High Road" What Video & Widescreen TV (April, 2004) 22–24 ^ Weekly Report No. 28/2010, Volume 6" PDF. German Institute for Economic Research. 2010-09-08. Retrieved 2017-05-19. ^ Satellite Monitor research. Archived from the original on 2011-08-09. Retrieved 2011-04-28. ^ How to Buy a TV. Socialbilitty. May 11, 2016. Retrieved June 22, 2017. ^ Scanning Methods (p, i, PsF. ARRI Digital. Retrieved 2011-08-30. ^ Ben Waggoner (2007) Understanding HD Formats, Microsoft, retrieved 2011-12-09 ^ Digital Video Broadcasting (DVB) Specification for the use of Video and Audio Coding in Broadcasting Applications based on the MPEG-2 Transport Stream" PDF. ETSI. 2012. Retrieved 2017-05-19. ^ Robert Silva, Why NTSC and PAL Still Matter With HDTV, retrieved 2011-12-09 ^ 5C Digital Transmission Content Protection White Paper" PDF. 1998-07-14. Archived from the original (PDF) on 2006-06-16. Retrieved 2006-06-20. Further reading [ edit] Joel Brinkley (1997) Defining Vision: The Battle for the Future of Television, New York: Harcourt Brace. High Definition Television: The Creation, Development and Implementation of HDTV Technology by Philip J. Cianci (McFarland & Company, 2012) Technology, Television, and Competition (New York: Cambridge University Press, 2004) External links [ edit] History L'Alta Definizione a Torino 1986–2006  – the Italian HDTV experience from 1980s to 2006 – in Italian – C. R. I. T. /RAI The HDTV Archive Project European adoption Images formats for HDTV, article from the EBU, Technical Review High Definition for Europe – a progressive approach, article from the EBU, Technical Review High Definition (HD) Image Formats for Television Production, technical report from the EBU v t e Digital video resolutions Designation Usage examples Definition (lines) Rate (Hz) Interlaced (fields) Progressive (frames) Low, MP@LL LDTV, VCD, HTV 240, 288 ( SIF) 24, 30; 25 Standard, MP@ML SDTV, SVCD, DVD, DV 480 ( NTSC) 576 ( PAL) 60, 50 Enhanced, HMP@HML EDTV 480 ( NTSC-HQ) 576 High, MP@HL HDTV, BD, HD DVD, HDV 720 24, 30, 60; 25, 50 1080, 1440 25, 30 24, 50, 60 Ultra-high UHDTV, UHD BRD 2160, 4320, 8640 60, 120, 180.

The times of bill documentary. 2017 Harley-Davidson Road Glide Ultra Touring is synonymous with motorcycles; its an integral part of the riding experience. Nothing is as satisfying as simply grabbing a light bag, turning the key, and aiming in a direction. The destination, known or unknown, isnt the most critical aspect – it is about how youre getting there. These thoughts percolated as I sat under the cloud-covered sky of the Pacific Northwest, eyeing down the silver-tinged 2017 Harley-Davidson Road Glide Ultra. Commanding and iconic in lineage, the Road Glide is one of the most venerable touring platforms that the Bar and Shield brand has to offer. Im in Washington for the latest addition to the storied touring lineup—the Milwaukee-Eight engine  series, the first major powerplant redesign since 1999. Its difficult not to be enamored with the Road Glide Ultras air- and liquid-cooled, four-valve heart, with its claimed 114 ft/lbs of torque at 3250 rpm. The Twin-Cooled Milwaukee-Eight 107 powerplant is the centerpiece of a truly capable machine, and the improvements dont only extend to the performance end. Those improvements trickle down into aspects of the bike that many riders might take for granted. Visit the Ultimate MotorCycling Motorcycle Reviews Page Lets start with the most important aspect of an American twin—the power. Spec sheets are deceptive, and the Twin-Cooled Milwaukee-Eight 107 is undeniably lion-hearted in nature. From the depths of the rpm range, torque can be felt, pulling all the way through to a rev-limiter that I, despite my best efforts, found more than once. Appropriately spaced gears allow you to push the Road Glide Ultra through your favorite batch of corners with ease, driving out of the apex without a stumble in any regard. Power delivery is flawless, no matter the rpm. Roaring through all six gears of the assist-and-slip clutch is remarkable. While clutch pull has been reduced this year—and it is lighter—it still takes a good amount of effort. Undoubtedly, Harley-Davidson engineers put an incredible amount of effort into the new engine platform, and they had a tall order to fill—meet modern consumer and EPA standards while still satisfying their core audience, and the core audience for any sub-culture can be vocal. Thats quite a conundrum, one that many manufacturers struggle with when attempting to advance their lines. H-D seems to have satisfied all of the points that the market didnt just ask for, but demanded. The rubber-mounted, counterbalanced twin retains all of the qualities that youd expect from the American twin stalwarts. Big-inch Harley-Davidsons have long been associated with a cacophony of gearhead joy—in fact, it is what turned me on to the idea of motorcycles in the first place. Harley toiled over the balance of satisfying market demands without alienating its base—those who preferred the unrefined qualities that H-D offered. Engine vibration has been dramatically reduced, which many non-Harley riders found to be limiting. Still, the Twin-Cooled Milwaukee-Eight 107 remains decidedly authentic. Engine noise has been reduced, allowing engineers to further aid the more than hearty exhaust note pouring out of the 2-1-2 pipes. I encourage dedicated brand enthusiasts, as well as those who have stood in staunch opposition, to try out the new engine platform. Your perspective will be changed, no matter which side of the fence you cast stones from. Touring is a staple of American riding. We certainly have the landmass for it. Even better, we have the ever-changing scenery. When the idea of gobbling up thousands of miles comes to mind, there arent a whole lot of bikes that fit the bill. Certainly, any bike will do, but if youre going to do something, at least make the effort to do it right. The 2017 Harley-Davidson Road Glide Ultra is, without a doubt, one of the premier touring platforms. A plush 29-inch seat meets any rider who crosses its path, along with comfortable swept bars and an upright riding position that isnt taxing in the least. After spending two days roaming the Washington back country, it became apparent that its touring chops are intrinsic to the platform. One of the main sources of contention regarding the previous Harley platforms was that the wide engine bottom end conflicted with those who have shorter statures. Flat-footing at lights and maneuvering the 929-pound (claimed wet) Road Glide Ultra seemed like more than just a precarious prospect to the uninitiated. However, thanks to a slimmed down primary cover, as well as a redesigned 55mm throttle body that utilizes a lower profile air-cleaner, my 5 8 self was happily propping up the Road Glide with some sure footed confidence that was only upset by slick, rain covered roads. Ive certainly sung the praises of Harleys dedication to its engine. Thats all well and good, but Harley also has solved one of its worst offending design qualities—the suspension. All of the 2017 touring models are making use of the commendable Showa Dual Bending Valve forks featuring 4. 6 inches of travel on the Road Glide Ultra. In the rear, emulsion shocks with adjustable spring-preload is available—no tools necessary. For many, the complaint from cruiser critics was how insufficient the rear shocks were. Those days, I can proudly proclaim, appear to be a thing of the past. Easily adjustable when the bags are removed, the rear shock features plenty of spring-preload adjustment, depending on the model in question. This tweak has solved the problem of lower back punishment. During my scenic routes, I actively sought out rough spots, areas of the road that I previously would have avoided like the bubonic plague. For a rider of my weight, there isnt a fear of running out of suspension and bottoming them out when put to the test. The Road Glide Ultra truly lives up to its name with suspension that is suited for a wide variety of styles and conditions. Under heavy braking, the front end soaked up inputs with ease and kept me true. Additionally, the iconic shark-nose fairing does an impeccable job of deflecting both wind and rain. A rider might be exposed to the elements, especially when that rider is traveling from state to state, but rest assured, youll have a lot more in the way of creature comforts than most other two-wheeled enthusiasts. A competent touring motorcycle needs to be more than powerful and comfortable; it also needs to handle well. Describing a bike as large as the 2017 Harley-Davidson Road Glide Ultra as nimble might seem like a bit of a misnomer, but for its class, it can lean into corners beautifully. The long 64-inch wheelbase aids in true feeling of confidence, even for the uninitiated. While trotting through one of the many national parks in the Pacific Northwest, ingesting the evergreen scenery, I was more than content. Though, a spirited rider will be keen to note that theyll still be whittling away at the comfortable floorboards. Ample storage space allows any rider to carry a number of belongings, making sure that youre well prepared on any trip, though the radiators do take up a bit of what used to be storage area. This year, Harley took the time to update the mounting systems for the side bags. On the 2017 models, youll now discover much more intuitive mounting fixtures. Harley states that the Ultras collective luggage capacity is 4. 7 cubic feet. It is worth noting that all luggage is waterproof, something much appreciated for touring. In the Washington back country, youre privy to some interesting sights. Some come in the form of inebriated individuals that refer to you strictly as “brother” while simultaneously making lurid comments aimed in your general direction. The others come in the form of homemade political signs that have been nailed to trees. On some level, I have to applaud that degree of dedication because Im fairly certain political campaigns hand that stuff out like a van full of candy. While all of that is engaging, I also realized that I needed to break down racial barriers while testing the Boom! Box 6. 5GT audio system. For that task, I blared the ballads of Mexican singer, Vincente Fernández. On the proud multicultural Road Glide Ultra I rolled, with Chente helping me along and, on some level, America. All joking aside, the touchscreen dashboard is incredibly user friendly. This is quite rare in the performance motorcycle world where menu screens are often a place full of mystery, confusion, and rage until youve mastered the non-intuitive process. Both the touchscreen and handlebar buttons make for a pleasant experience all around. The 2017 Harley-Davidson Road Glide Ultra also features an upgraded charging system that can support numerous other devices, should you choose to use them. The standard navigation system, not unlike the rest of the dash functions, is quite easy to use. For a bike of its size, I must give kudos to the engineers that have created a touring machine that can come to a halt in a hurry. The 300mm dual rotors up front, and the 300mm disc out back, do some serious heavy-lifting when bringing the mighty Ultra to a halt. Brake feel is firm, but in no way undesirable. At the lever youll find a more precise feel, and it doesnt require that much input to begin slowing. More importantly, I didnt feel I ever rode the Ultra beyond its braking potential. It took considerable effort to engage the ABS while riding on dry surfaces. The front and rear brakes are linked, meaning that the bike will react to your braking efforts, even if you fixate exclusively on the brake pedal. Touring bikes are in a class of their own—theyre the juggernauts of the moto world. They are the motorcycles built to last, and built to see more in a year than most riders see in a lifetime. With upgrades—both smart and major—that have had the intended consequence, the 2017 Harley-Davidson Road Glide Ultra continues to improve with age. Photography by Riles & Nelson Riding Style Helmet: Shoei RF-1200 Jacket: Held Harvey 76 Gloves: Tour Master Summer Elite 3 Jeans: Pando Moto – Karl Indigo Boots: TCX X-Blend Waterproof 2017 Harley-Davidson Road Glide Ultra Specifications ENGINE Motor: Single cam, pushrod V-twin; 4vpc Bore x stroke: 3. 937″ x 4. 375” Displacement: 107 cubic inches (1746cc) Maximum torque: 114 ft/lbs @ 3250 rpm Compression ratio: 10. 0:1 Cooling: Air and liquid Fuel system: Electronic Sequential Port Fuel Injection Lubrication: Dry sump Transmission: 6-speed Cruise Drive Clutch: Hydraulically actuated assist-and-slip Primary drive: Chain Final drive: Belt CHASSIS Frame: Mild tubular steel w/ two-piece stamped and welded backbone Front suspension: Showa 49mm Dual Bending Valve Rear suspension: Emulsion shock w/ hand-adjustable spring-preload Front tire: 130/80-17; Dunlop Harley-Davidson D408F Rear tire: 180/65-16; Dunlop Harley-Davidson D407T Wheels: Cast aluminum Impeller Front brakes: 320mm floating rotors w/ four-piston calipers Rear brake: 320mm fixed rotor w/ four-piston caliper ABS: Standard DIMENSIONS and CAPACITIES L x H x W: 101. 2 x 56. 5 x 36. 3 inches Wheelbase: 64 inches Seat height (laden) 27. 2 inches Seat height (unladen) 29. 0 inches Rake: 26 degrees Fork angle: 29. 3 degrees Trail: 6. 7 inches Right lean angle: 31. 9 degrees Left lean angle: 31. 8 degrees Fuel capacity: 6 gallons EPA estimated fuel consumption: 43 mpg Curb weight: 929 pounds Colors: Vivid Black; Black Quartz; Billet Silver/Vivid Black; Mysterious Red Sunglo/Velocity Red Sunglow; Black Hills Gold/Black Quartz; Bonneville Blue/Fathom Blue. 2017 Harley-Davidson Road Glide Ultra Prices MSRP: 26, 299 (Vivid Black) 26, 899 (Black Quartz) 27, 399 (two-tone) 27, 599 (Bonneville Blue/Fathom Blue. 2017 Harley-Davidson Road Glide Ultra Review – Photo Gallery 2017 Harley-Davidson Road Glide Ultra.

Sales of the times of bill cunningham. The Times of bill online. Bill Cunningham was an extraordinary man. Simple, humble, talented, kind. This fine movie illustrates all of his fine attributes. Make Bozek showed great vision in his interview with Bill and in his production of this film. This should be nominated for several awards.

The times of bill cunningham movie. September 30, 2018 It takes two — 4K Ultra HD resolution and high dynamic range (HDR) — to create what critics are calling the best home entertainment viewing format yet. The increased resolution of 4K has found the perfect match in HDR, which offers brighter brights and darker darks and wider color gamut to create a more vivid and lifelike picture. Its the closest the home sector has come to matching the theatrical experience, experts say. “Combined with technological advancements in film mastering and high dynamic range color, 4K is now the de-facto media format you didnt know you couldnt live without until you experience it fully, ” says Miguel Casillas, SVP of production, home entertainment and digital distribution, at Lionsgate. “4K HDR has solidified itself, both with consumers and within the creative community, as the best way to watch content at home, ” says Jessica Schell, EVP and GM at Warner Bros. Home Entertainment. Consumers agree that 4K UHD with HDR is a format they can embrace — when the two are combined. “The resolution doesnt do it for me but the HDR, the expanded colors, does, ” says Adam Gregorich, co-owner/editor at Home Theater Forum, a home entertainment enthusiast site. “Im a 4K junkie, ” adds Steve “Uncle Creepy” Barton, editor of, a site for fans of horror and the paranormal, citing the HDR effect. “So much of horror movies take place in the shadows, a lot of details get obscured, but with the remastering, the next richer depth of colors, especially black tones, you can still have that murky, in-the-shadows feeling, but now you can actually see whats there. ” Home entertainment executives are also seeing promising growth in the market boosted by this consumer enthusiasm. “Were very enthusiastic about the continued growth of 4K Ultra HD and the unparalleled cinematic experience it brings into the home, ” says Lexine Wong, senior EVP of worldwide marketing at Sony Pictures Home Entertainment. “The 4K ecosystem continues its steady expansion, marked by a host of meaningful advancements over the past year, ” says Eddie Cunningham, president of Universal Pictures Home Entertainment. “Across the industry, weve seen a surge in 4K content offerings and devices as well as a diversified retail presence spanning both physical and digital customers, powering the formats notable progress. ” “The growing number of digital providers and streaming devices supporting 4K coupled with robust sales of 4K UHD discs indicates that demand continues to grow for the exceptional home viewing experience that only 4K offers, ” says Vincent Marcais, EVP of worldwide marketing at Paramount Home Media Distribution. By the Numbers Consumer uptake of 4K UHD TVs is helping to expand the market for content. In its mid-year report, DEG: The Digital Entertainment Group noted that more than 8 million 4K Ultra HD TVs were sold in the first half of 2018, bringing the total number of U. S. households to 38 million. Growth of 4K Ultra HD content is expanding rapidly, according to the DEG, with 344 4K Ultra HD titles available on disc, representing more than 100 million in consumer spending for the first half of the year. There were also 473 4K titles available digitally through the first half. In the same time frame, approximately 1. 7 million Ultra HD Blu-ray playback devices were sold (including game consoles. The Consumer Technology Association expects 1. 2 million 4K UHD Blu-ray Disc players to ship domestically in 2018 (39% growth over 2017) which will make up 22% of all Blu-ray player shipments. UHD Blu-ray player revenue will reach 180 million (17% growth over 2017) according to the CTA. “Consumers desire for a premium entertainment experience at home is the sales driver for both 4K Ultra HD TVs and Ultra HD Blu-ray players, which, when used together, provide the very best possible in-home viewing experience, ” says Amy Jo Smith, president and CEO of the DEG. “The speedy uptake of 4K Ultra HD displays and devices, combined with the rapid expansion of 4K titles available on 4K Ultra HD Blu-ray and digitally, make it possible for every entertainment lover to find something to enjoy with the richest picture and sound possible. ” “We are very encouraged by the formats demonstrated year-over-year growth, ” says Universals Cunningham. “UHD disc sales have doubled from the first half 2017 to first half of 2018 to 100 million in consumer spend and are now capturing a larger share of sales during a tentpole titles first week of release, accounting for nearly 10% of all new-release sales. Research also shows that 4K UHD TV households are driving a significant share of digital transactions. ” The new line of 4K TVs, which increasingly feature HDR, are a driving force. “The TVs are better and better, ” says Bill Hunt, editor at home entertainment enthusiast site The Digital Bits. “Im kind of shocked at how fast theyve gotten inexpensive. You can get a very credible set for a few hundred bucks. And if you want to spend 1, 000 or more you can get a very, very nice set. Prices are getting better and features are getting better all the time. ” “Your bang for the buck goes further now than it ever did, ” adds Home Theater Forums Gregorich. Worldwide, Futuresource data shows 4K Ultra HD TV shipments increased by nearly 40% in 2017 and are expected to increase another 33% in 2018. Also, according to Futuresource data, standalone Ultra HD Blu-ray player sales (minus Xbox) are on pace to surpass 2017 by 44. Meanwhile, 15% of all Ultra HD Blu-ray players shipped worldwide in 2018 are expected to be 4K UHD, with that percentage anticipated to be almost 25% in 2019. The UHD Blu-ray player installed base worldwide is expected to reach 4. 5 million by the end of 2018. Worldwide there are 29 4K UHD BD player models available and 11 4K UHD recorders/players available, according to Futuresource data. Ultra HD Blu-rays are expected to account for 7% of Blu-rays sold worldwide in 2018, rising to 28% by 2022, according to Futuresource. “The prices have definitely come down to the point where it makes sense to [upgrade your Blu-ray player to UHD] ” notes the Home Theater Forums Gregorich. “It just doesnt make sense to not slowly start to make that change. ” IHS Markit anticipates the number of 4K households worldwide will be 188 million by the end of 2018, more than double that of 2016, with the number of households with a 4K TV predicted to grow from 121 million in 2017 to 501 million by 2022, according to the UHD Alliance. “As consumers continue to transition to 4K, the UHD ecosystem is growing at an accelerated rate, ” says UHD Alliance president Mike Fidler. “ABI Research is anticipating 4K UHD TV sales will surpass 102 million, representing 44% of total global flat-panel shipments and Hollywood studios continue to dramatically expand their 4K UHD offerings. And while content from traditional broadcasters remains limited, it remains a critical component of the content universe. In addition, filmmakers, studios and consumer electronics manufacturers are making a more concerted effort to deliver the full capabilities of 4K UHD with more awareness of HDR, wide color gamut, 10-bit color depth and enhanced immersive audio. ” In addition to fostering 4K UHD TVs, Blu-ray players, Blu-rays and other hardware, the UHD Alliance is looking to promote 4K UHD broadcasting. “From the outset, the Alliance has been focused not only on helping consumers understand the benefits of 4K UHD with HDR, but also on fostering the growth of the UHD ecosystem, ” UHDA chairman Michael Zink told broadcast executives at IBC 2018 in Amsterdam Sept. 18. “Broadcast is a critical component of the content universe, and the recent delivery of marquee events such as the Olympics, the World Cup and Wimbledon in 4K with HDR is a significant step toward ensuring consumers get the most out of todays 4K UHD with HDR displays. ” Content Pipeline Indeed, content, while perhaps not coming as quickly as the most avid 4K enthusiasts would like, is growing to serve the market, especially for the all-important gift-giving season. “If you are a 4K enthusiast, its going to be an expensive second half of the year, ” says The Digital Bits Hunt. “There are some really great titles coming that everybody wants to buy. ” In fact, home entertainment enthusiasts are buying 4K UHD titles even before theyve got the equipment to play them. “You have to have an HDR set to really benefit from the UHD, ” says the Home Theater Forums Gregorich. “[But] Ive seen some people buying in advance. They know theyre going to get the HDR set in the next year, so rather than buy the [regular] Blu-ray Disc theyre buying the 4K UHD Blu-ray so that they can enjoy the Blu-ray now and have the UHD for when they make that display upgrade in the next year or so. So were seeing some people do that, kind of future-proofing if you will. ” “I know a lot of guys who dont even have 4K yet, but will buy the 4K version, ” adds Hunt. “Were seeing 4K HDR content availability continue to broaden, with not only the latest theatrical new releases, but remastered classics like The Matrix and 2001: A Space Odyssey, as well as TV franchises like ‘Westworld and ‘Game of Thrones and direct-to-video releases including our DC Universe animated movies, all available or coming soon in 4K HDR, ” notes Warners Schell. “Im excited about 2001: A Space Odyssey, ” Hunt says. “That title is going to look amazing on 4K. ” Going into the fourth quarter, the industry is rolling out some of its biggest films of the year on 4K UHD, says Universals Cunningham, citing Universals Jurassic World: Fallen Kingdom and Mamma Mia! Here We Go Again. “Consumers can expect Foxs new releases to be available in 4K UHD with HDR, many day and date, with digital and Blu-ray, such as the upcoming title The Predator, ” says Danny Kaye, EVP at 20th Century Fox and managing director of the Fox Innovation Lab. As far as Kaye is concerned, “Its clear 4K UHD with HDR is redefining the premium entertainment experience. ” “For the industry, its important to expand our 4K content footprint alongside our consumer electronics and retail partners within this space; and for the consumer, we are excited to bring favorites such as Hotel Transylvania 3, Sicario: Day of the Soldado and Air Force One to market so that consumers can enjoy them in the highest possible quality, ” says Sonys Wong. “More than 38 million U. households have 4K televisions, and clearly those consumers want to maximize the capabilities of their home entertainment systems, so Paramount is committed to delivering an array of titles to fill that demand, ” says Paramounts Marcais. “From enduring classics like the Jack Ryan films to contemporary blockbusters like Mission: Impossible — Fallout, fans can enjoy a diverse slate of movies from Paramount in 4K. ” Home theater enthusiasts are taking notice of the plethora of releases in 4K UHD. “I like the fact that were seeing almost all big titles as day-and-date UHD releases, ” says the Home Theater Forums Gregorich. “I like the fact that a lot of studios are going back and releasing catalog. I mean youve got Paramount doing all the ‘Mission: Impossible movies. Youve got ‘The Matrix collection coming out. Youve had titles like Die Hard come out, so the fact that were seeing studios go back to catalog and release those films in 4K HDR is a good thing, and Im finding that despite the fact that I swore Blu-ray would be it, Im rebuying and replacing Blu-rays with UHDs. ” Gregorich is looking forward to the fourth-quarter sales. “Im very interested to see whats going to happen with Q4 and Black Friday with the format, ” he says. “I was actually sort of surprised at the number of UHD deals on Black Friday last year, and Im really interested to see what were going to have on Black Friday this year. I was surprised at the number of 10 UHD discs last year at both Best Buy and Amazon. I did a lot of catalog catchup then. Hopefully, well see something similar this year. ” Physical, Digital and Looking to the Future Industry pundits agree that the physical disc is still the best way to watch 4K UHD with HDR. “Home theater enthusiasts, serious film fans, cinephiles, they want stuff on disc, ” notes The Digital Bits Hunt. “The guys who have the really nice home theaters, they dont want to watch a 4K stream on their iPad. They want to be able to have the disc. ” Hunt is a disc aficionado. “I dont purchase movies digitally. Its just not my thing, ” he added. “If Im gonna spend my money, I want the best quality, especially in a new format like 4K. ” Redbox, known for its national fleet of disc-rental kiosks as well as its Redbox On Demand digital store, last May began renting 4K Ultra HD rentals in six test markets. Ultra HD Blu-ray Discs rent for 2. 50 per night, 50 cents higher than the rental rate for regular Blu-ray Discs (DVDs are 1. 75. The test rolled out across more than 2, 500 kiosks in Los Angeles, Seattle, Austin, Detroit, Miami and New York City. “This is a major move for Redbox as we focus on expanding consumer access to home entertainment options across price points and formats, ” Galen Smith, CEO of Redbox, told Media Play News at the time. “As the popularity of 4K content increases and pricing of 4K hardware decreases, were excited to offer the best viewing experience at the best price for 4K Blu-ray discs. ” But like all content, 4K Ultra HD is fast migrating from disc to digital. Nielsen recently reported that domestic DVD/Blu-ray household penetration has fallen to 67% in the first quarter of 2018 from 73% at the end of 2017, indicating consumers shift to other forms of delivery. “We still believe 4K Ultra HD Blu-ray remains the premium format for viewing 4K HDR content, ” says Warners Schell. “However, the digital infrastructure continues to improve, with most digital services now supporting 4K HDR content. And with the 5G infrastructure ready to deploy this year from AT&T and others, the availability and digital distribution of 4K content will continue to improve and proliferate globally. ” Home theater enthusiasts are preparing for the future as well, happy that studios are offering 4K digital copies in the physical combo packs. “The fact that almost all the studios are giving you a 4K digital copy now instead of the 2K digital copy is sweetening that pot a little bit, just to know that Ive got a more future-ready digital version, ” the Home Theater Forums Gregorich says. Digital retailers are catering to the 4K consumer as well. “Its likely that a new TV in the home will be a 4K TV, and theres a dearth of premium content available, ” says Cameron Douglas, VP of home entertainment at Fandango. “Thats where providers like FandangoNow step in, with a vast assortment of big 4K titles, most in high dynamic range, ready to watch on demand — titles like Incredibles 2, Solo: A Star Wars Story and Deadpool 2 are just a click away. ” Streaming goliaths such as Netflix, too, are moving into 4K. Netflix reports subs require a minimum speed of 25Mbps to stream 4K content, and it is tinkering with higher pricing for 4K streamers in Europe, perhaps indicating the value of picture quality in the streaming realm. No matter how the content is delivered, education is the key to expanding the format, observers say. “Driving further awareness about the format and educating both physical and digital consumers on 4K UHDs high-value, high-quality proposition will be critical to successfully driving broad adoption, ” Universals Cunningham says. “Consumers are witnessing an unprecedented and rapid convergence between 4K options in movies, gaming, streaming and affordable high-end 4K displays that have expanded from televisions to a bevy of smart devices and computers, ” says Lionsgates Casillas. “The most exciting part is that the best of 4K is still to come. ” Even More Dynamic Dynamic metadata, as opposed to static, is considered by many to be the height of HDR, allowing colors and brightness to adjust scene by scene. Dolby Vision, which requires a licensing fee, and HDR10+ which does not, are two of the formats promoting this greater HDR capability. HDR10+ is backed by 20th Century Fox, Panasonic and Samsung with support from Amazon. “Fox has eyes toward the future and is committed to bringing consumers the best in picture and sound, often working hand-in-hand with leading technology partners on the development of content for the next generation of entertainment, ” says Foxs Kaye. “This includes the latest HDR10+ technology, which is gaining traction and will further improve the viewing experiences for all audiences. ” Dolby via Dolby Vision, which also offers dynamic metadata, and the sound enhancement, Dolby Atmos, is also vying to improve the home entertainment experience. “Dolby Vision and Dolby Atmos continue to gather exciting momentum across the entertainment ecosystem, ” says Ron Geller, VP of worldwide content relations at Dolby. “Major Hollywood studios and independents are now delivering Dolby Vision on a regular basis, with all studios supporting Dolby Atmos for the home. With a wide range of content available including Dolby technologies, leading service and content distribution providers around the world are enabling the combined Dolby Vision and Dolby Atmos experience. This includes Amazon, iTunes, iQIYI, Netflix, Rakuten TV, Tencent, VUDU, and others. From content creation and distribution to devices, Dolby Vision and Dolby Atmos are creating spectacular experiences for next-gen home entertainment. ” Dolby reports that more than 360 movies are available in Dolby Vision, with more than 400 hours of original content available from Netflix. Also, content partners supporting Dolby Vision include A24, Amazon Studios, BBC, Disney, HBO, iQIYI, Lionsgate, Magnolia Pictures, MGM, Netflix, Paramount, Sony Pictures, Universal Pictures and Warner Bros., among others. Content service providers supporting Dolby Vision include iTunes, iQIYI, Netflix, NTT Plala, Rakuten TV, Vudu and Tencent. Also, Dolby Vision is available on 4K UHD Blu-ray with 80-plus titles in the market. On the hardware side, 12 TV brands have Dolby Vision TVs in the market at prices as low as 350, according to Dolby. Apple announced support for Dolby Vision across iPhone, iPad and Apple TV 4K; Lenovo announced the first PCs supporting Dolby Vision; and Microsoft announced Dolby Vision support on Xbox One S and Xbox One X, according to Dolby. Dolby Atmos is featured on more than 400 movie titles available in the home from all major studios and a wide range of independents, according to Dolby. As for the home entertainment enthusiasts, they are captive to what the studios and hardware manufacturers support. But they are not too concerned about it. “Its whatever the studio opts to use for their authoring pipeline, so its not like I have a choice, ” says HTFs Gregorich. “I did as a conscientious decision make sure I had invested in playback hardware that would do both Dolby Vision and HDR10. Unfortunately, HDR10+ came out after I bought displays. ” Hunt, at The Digital Bits, is more sanguine. “I dont find it to be a big deal, ” he says. “Some consumers swear that it is. Some enthusiasts swear that it is, but I dont find it to be that big a deal. The key is if youve got a really bright display, like a display that can really handle the bright brights and the dark darks, you dont need Dolby Vision. The Dolby Vision is more of a benefit when youve got a display that isnt fully capable of displaying the full range of dynamics. ” 4K Ultra HD Blu-ray All-Time Top 50 Sellers as of 8/25/18 All-Time Top 4K UHD BD Market Share as of 8/25/18.

The life and times of bill monroe. At the heart of Christine, the 1983 cult horror favorite based on the Stephen King novel, we find a love story. It's a rather familiar and well-known tragic tale of two lonely souls finding one another at the right, opportune time. Just when they each feel at their lowest and most vulnerable, forsaken by the cruelty of the world, the cosmos perfectly aligns in order to bring this pair of destined lovers together. And like any typical love story, their love-at-first-sight "meet-cute" is a contrived happenstance that should feel fortuitous, a chance encounter that could have played differently if prior events hadn't placed each other on the proper road for the two to meet. Of course, this story adds one significant twist to the archetypal formula; King's plot, with minor alterations by screenwriter Bill Phillips, is the forbidden love of a boy and his car. The boy is Arnold Cunningham (Keith Gordon) — about as sweet, innocent and All-American as a name could ever possibly be. He's the stereotypical nerd, a clumsy buffoon with black, thick-rimmed glasses who can't seem to carry a garbage bag without spilling the contents all over the driveway or even open his school locker. Mousy, timid and easily frightened, he's the sort of character commonly seen in the background of most high school based movies, the one always being picked on by the popular kids. Not much has changed here, except he's been brought to the forefront as the lead, and Gordon does a splendid job as the nervous, cowardly type who never has any luck with the girls, carrying the entire film with a charismatic presence. That fascination changes as the narrative progresses and Arnie grows darker, yet Gordon remains just as captivating and interesting. The car is a fiery red 1958 Plymouth Fury named "Christine" by its fragile-looking seller (Roberts Blossom. We're told she's only had one owner since the first day she rolled off the assembly line, but the man had suffered a string of fatal tragedies since the vehicle came into his life. A major difference between the original book and John Carpenter's retelling of it is the car's backstory. Whereas King gives a possible reason for it being possessed, Carpenter leaves the origins of Christine's evilness a mystery. She was simply born that way. In fact, the film opens on the day of her manufacturing, slowly moving along the assembly line behind other similar models while George Thorogood's "Bad to the Bone" plays overhead. Only, she stands out as the lone shiny red beauty. She's also the type of vehicle that demands respect, crushing the hand of one man for looking under her hood and chassis without permission and killing another for dropping cigar ashes all over her new leather interior. It's an amusing start for a unique supernatural thriller that establishes the car with a menacing personality and a sense of her own independence, but her distinctive temperament doesn't take away from her need to be loved and appreciated. And the fates are in her favor, uniting her with Arnie twenty years later when the two are feeling the least respected and valued. Arnie is coming off the worst first day ever as a high school senior, bullied by the switchblade-wielding Buddy Repperton (William Ostrander) and his gang of hooligans, leading to their expulsion. Christine has also been having a bad day, looking like a derelict piece of forgotten junk in the middle of an overgrown lawn, but Arnie notices her and sees her potential, purchasing the car on the spot in spite of his best friend's (John Stockwell) objections. It's love at first sight with the two taking an immediate liking to each other. The horror of Christine begins soon after. It's not necessarily the sort that delivers chills down the spine as much as it is able to successfully entertain with an admittedly silly supernatural concept supplemented by psychological horror elements. As Arnie restores Christine back to her former glory, he slowly transforms to the surprise of everyone, especially his parents and Dennis (Stockwell) from the twitchy, cowardly nerd to a cheeky, intimidating hood. Meanwhile, Christine grows possessive and protective of her new owner, jealous of Arnie's girlfriend Leigh (Alexandra Paul) and murdering those intending Arnie harm, which attracts the attention of Detective Junkins (Harry Dean Stanton. Although the editing gives the narrative a sometimes distracting episodic feel, Carpenter keeps Arnie's dark progression well-paced and wickedly titillating while creatively making Christine a mischievous monster, from the throaty rumbling of her engine to the cleverly suitable rock tunes which act as the voice of her intentions. Vital Disc Stats: The Ultra HD Blu-ray Sony Pictures Home Entertainment brings John Carpenter's Christine to Ultra HD Blu-ray as a two-disc combo pack with a flyer for a Digital HD Copy. When redeeming said code via, Movies Anywhere or through VUDU, users only have access to a 1080p HD copy with Dolby Digital 5. 1 audio. The dual-layered UHD66 disc sits comfortably opposite a Region Free, BD50 disc, and both are housed inside a black, eco-vortex case with a glossy slipcover. At startup, the UHD disc goes straight to an interactive menu screen that changes when switching between the usual options while music plays in the background.

The Matrix Reloaded Theatrical release poster Directed by The Wachowskis [a] Produced by Joel Silver Written by The Wachowskis Based on Characters by The Wachowskis Starring Keanu Reeves Laurence Fishburne Carrie-Anne Moss Hugo Weaving Jada Pinkett Smith Gloria Foster Music by Don Davis Cinematography Bill Pope Edited by Zach Staenberg Production companies Village Roadshow Pictures Silver Pictures NPV Entertainment Distributed by Warner Bros. Pictures Release date May 7, 2003 ( Mann Village Theatre) May 15, 2003 Running time 138 minutes [1] Country United States [2] 3] Language English Budget 127 [4] –150 [5] million Box office 739. 4 million [5] The Matrix Reloaded is a 2003 American science fiction action film written and directed by the Wachowskis. [a] It is the first sequel to The Matrix, and the second installment in The Matrix film franchise. Reloaded premiered on May 7, 2003, in Westwood, Los Angeles, California, and went on general release by Warner Bros. in North American theaters on May 15, 2003, and around the world during the latter half of that month. It was also screened out of competition at the 2003 Cannes Film Festival. [6] The video game Enter the Matrix and The Animatrix, a collection of short animations, supported and expanded the storyline of the film. The film received generally positive reviews from critics and grossed 739. 4 million worldwide, breaking Terminator 2: Judgment Day 's record and becoming the highest-grossing R-rated film of all time until Deadpool surpassed it in 2016. The Matrix Revolutions, which continues the story, was released six months after Reloaded, in November 2003. Plot [ edit] Six months after the events of The Matrix, Neo and Trinity are now romantically involved. Morpheus receives a message from Captain Niobe of the Logos calling an emergency meeting of all ships of Zion. Zion has confirmed the last transmission of the Osiris: an army of Sentinels is tunneling towards Zion and will reach it within 72 hours. Commander Lock orders all ships to return to Zion to prepare for the onslaught, but Morpheus asks one ship to remain to contact the Oracle. As the Caduceus receives a message from the Oracle, one of the Caduceus crew, Bane, encounters Smith, who reveals that his previous encounter with Neo severed his connection with the Matrix and is now a rogue program, then absorbs his avatar. Smith then uses the phone line to leave the Matrix and gain control of Bane's real body. In Zion, Morpheus announces the news of the advancing machines to the people. In the Matrix, Neo meets the Oracle's bodyguard Seraph, who leads him to her. After realizing that the Oracle is part of the Matrix, Neo asks how he can trust her; she replies that this is his decision. The Oracle instructs Neo to reach the Source of the Matrix with the help of the Keymaker. As the Oracle departs, Smith appears, telling Neo that after being defeated, he refused to be deleted and is now a rogue program. He demonstrates his ability to clone himself using other inhabitants of the Matrix, including other Agents, as hosts. He then tries to absorb Neo but fails, prompting a battle between Smith's clones and Neo. Neo manages to defend himself, but is forced to retreat from the increasingly overwhelming numbers. Neo, Morpheus, and Trinity visit the Merovingian, who is imprisoning the Keymaker. The Merovingian, a rogue Matrix program with his own agenda, refuses to let him go. His wife Persephone, seeking revenge on her husband for his infidelity, leads the trio to the Keymaker. Morpheus, Trinity, and the Keymaker flee while Neo holds off the Merovingian's henchmen. Morpheus and Trinity try to escape with the Keymaker, pursued by several Agents and the Merovingian's chief henchmen, the Twins. After a long chase, Trinity escapes, Morpheus defeats the Twins, and Neo saves Morpheus and the Keymaker from Agent Johnson. The crews of the Nebuchadnezzar, Vigilant, and Logos help the Keymaker and Neo reach the Source. The Logos crew must destroy a power plant and the Vigilant crew must destroy a back-up power station, to prevent a security system from being triggered, allowing Neo to open the door to the Source. Haunted by a vision of Trinity's death, Neo asks her to remain on the Nebuchadnezzar. The Logos succeeds, while the Vigilant is destroyed by a Sentinel, killing everyone on board. Trinity replaces the Vigilant crew and completes their mission. However, Agent Thompson corners her and they fight. As Neo, Morpheus, and the Keymaker try to reach the Source, the Smiths ambush them. The Keymaker unlocks the door to the Source, but the Smiths shoot him dead as he tries to close the door. Neo meets a program called the Architect, the creator of the Matrix. The Architect explains that Neo is an intentional part of the Matrix, which is now in its sixth iteration. Neo is meant to stop the Matrix's fatal system crash that naturally recurs due to the concept of human choice within it. As with the five previous Ones, Neo has a choice: either return to the Source to reboot the Matrix and pick survivors to repopulate the soon-to-be-destroyed Zion, as his predecessors all did, or cause the Matrix to crash and kill everyone connected to it, which would mean humanity's extinction when Zion is destroyed. Neo learns of Trinity's situation and chooses to save her instead of returning to the Source, to which the Architect responds dismissively. Trinity is shot as she and Agent Thompson fall off a building. Before she hits the ground, Neo catches her. He then removes the bullet from her heart and revives her. They return to the real world, where Sentinels attack them. The Nebuchadnezzar is destroyed, but the crew escape. Neo displays a new ability to disable the machines with his thoughts, but falls into a coma from the effort. The crew are picked up by another ship, the Hammer. Its captain, Roland, reveals the other ships were wiped out by the machines after someone activated an EMP too early, and that they found only one survivor: the Smith-possessed Bane. Cast [ edit] Zee was originally played by Aaliyah, who died in a plane crash on August 25, 2001, before filming was complete, requiring her scenes to be reshot with actress Nona Gaye. [7] 8] Production [ edit] Filming [ edit] The Matrix Reloaded was largely filmed at Fox Studios in Australia, filming began on March 1, 2001 and ended on August 21st, 2002, concurrently with filming of the sequel, Revolutions. The freeway chase and "Burly Brawl" scenes were filmed at the decommissioned Naval Air Station Alameda in Alameda, California. The producers constructed a 1. 5-mile freeway on the old runways specifically for the film. Some portions of the chase were also filmed in Oakland, California, and the tunnel shown briefly is the Webster Tube, which connects Oakland and Alameda. Some post-production editing was also done in old aircraft hangars on the base as well. The city of Akron, Ohio was willing to give full access to Route 59, the stretch of freeway known as the "Innerbelt" for filming of the freeway chase when it was under consideration. However, producers decided against this as "the time to reset all the cars in their start position would take too long. 9] MythBusters would later reuse the Alameda location in order to explore the effects of a head-on collision between two semi trucks, and to perform various other experiments. Around 97% of the materials from the sets of the film were recycled after production was completed; for example, tons of wood were sent to Mexico to build low-income housing. [10] Some scenes from the film Baraka by Ron Fricke were selected to represent the real world shown by the wallmonitors in the Architect's room. citation needed] The scene where The Oracle ( Gloria Foster) appears was filmed before her death on September 29, 2001. Visual effects [ edit] Following the success of the previous film, the Wachowskis came up with extremely difficult action sequences, such as the Burly Brawl, a scene in which Neo had to fight 100 Agent Smiths. To develop technologies for the film, Warner Bros. launched ESC Entertainment. [11] The ESC team tried to figure out how to bring the Wachowskis' vision to the screen, but because bullet time required arrays of carefully aligned cameras and months of planning, even for a brief scene featuring two or three actors, a scene like the Burly Brawl seemed almost impossible as envisioned and could take years to composite. Eventually John Gaeta realized that the technology he and his crew had developed for The Matrix ' s bullet time was no longer sufficient and concluded they needed a virtual camera (in other words, a simulation of a camera. Having before used real photographs of buildings as texture for 3D models in The Matrix, the team started digitizing all data, such as scenes, characters' motions, or even the reflectivity of Neo's cassock. The reflectivity of objects needs to be captured and simulated adequately and Paul Debevec et al. captured the reflectance of the human face and Borshukov's work was strongly based on the findings of Debevec et al. They developed "Universal Capture" a process which samples and stores facial details and expressions at high resolution, then capture expressions from Reeves and Weaving using dense aka. markerless capture and multi-camera setup (similar to the bullet time rig) photogrammetric capture technique called optical flow. [12] The algorithm for Universal Capture was written by George Borshukov, visual effects lead at ESC, who had also created the photo-realistic buildings for the visual effects in The Matrix. With this collected wealth of data and the right algorithms, they finally were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras, years of compositing data, and replacing the use of still camera arrays or, in some scenes, cameras altogether. The ESC team render the final effects using the program mental ray. [11] Music [ edit] Don Davis, who composed for The Matrix, returned to score Reloaded. For many of the pivotal action sequences, such as the "Burly Brawl" he collaborated with Juno Reactor. Some of the collaborative cues by Davis and Juno Reactor are extensions of material by Juno Reactor; for example, a version of "Komit" featuring Davis' strings is used during a flying sequence, and "Burly Brawl" is essentially a combination of Davis' unused "Multiple Replication" and a piece similar to Juno Reactor's "Masters of the Universe. One of the collaborations. Mona Lisa Overdrive. is titled in reference to the cyberpunk novel of the same name by William Gibson, a major influence on the directors. Leitmotifs established in The Matrix return — such as the Matrix main theme, Neo and Trinity's love theme, the Sentinel's theme, Neo's flying theme, and a more frequent use of the four-note Agent Smith theme — and others used in Revolutions are established. As with its predecessor, many tracks by external musicians are featured in the movie, its closing credits, and the soundtrack album, some of which were written for the film. Many of the musicians featured, for example Rob Zombie, Rage Against the Machine and Marilyn Manson, had also appeared on the soundtrack for The Matrix. Rob Dougan also re-contributed, licensing the instrumental version of " Furious Angels. as well as being commissioned to provide an original track, ultimately scoring the battle in the Merovingian's chateau. A remixed version of " Slap It " by electronic artist Fluke — listed on the soundtrack as "Zion" — was used during the rave scene. Linkin Park contributed their instrumental song "Session" to the film as well, although it did not appear during the course of the film. P. O. D. composed a song called " Sleeping Awake. with a music video which focused heavily on Neo, as well as many images that were part of the film. Both songs played during the film's credits. It was originally planned for the electronic band Röyksopp to create the soundtrack, but this offer was turned down. [13] Reception [ edit] Box office [ edit] The film earned an estimated 5 million during Wednesday night previews in North America. Reloaded grossed 37. 5 million on its Thursday opening day in North America from 3, 603 theaters, which was the second highest opening day after Spider-Man ' s 39. 4 million and highest for a Thursday. The film earned 91. 7 million in its first weekend, 14] and ultimately grossed 281. 6 million in the US, and 739. 4 million worldwide. The film sold an estimated 46, 695, 900 tickets in North America. [15] Critical response [ edit] Reloaded received a Rotten Tomatoes approval rating of 73% based on 244 reviews, with a weighted average score of 6. 8/10. The site's critical consensus states: Though its heady themes are a departure from its predecessor, The Matrix Reloaded is a worthy sequel packed with popcorn-friendly thrills. 16] The film's rating on Metacritic is 62% based on reviews from 40 critics, indicating "generally favorable reviews. 17] However, Entertainment Weekly named it as one of "The 25 Worst Sequels Ever Made. 18] Positive comments from critics included commendation for the quality and intensity of its action sequences, 19] and its intelligence. [20] Tony Toscano of Talking Pictures had high praise for the film, saying that "its character development and so crisp it crackles on the screen" and that " Matrix Reloaded re-establishes the genre and even raises the bar a notch or two" above the first film, The Matrix. [21] Negative comments included the sentiment that the plot was alienating, 22] 23] with some critics regarding the focus on the action as a detriment to the film's human elements. [24] 25] Some critics thought that the number of scenes with expository dialog worked against the film, 26] 27] and the many unresolved subplots, as well as the cliffhanger ending, were also criticized. [28] Other criticisms included the film's perceived lack of pacing. [29] Awards [ edit] Censorship [ edit] The film was initially banned in Egypt because of the violent content and because it put into question issues about human creation, which are related to the three divine religions. 30] Home media [ edit] The Matrix Reloaded was released on VHS and DVD on October 14, 2003. A Blu-Ray release followed on September 7, 2010. [31] The Matrix Reloaded was released as a part of The Matrix Trilogy on 4K UHD Blu-ray on October 30, 2018. [32] See also [ edit] Simulated reality List of films featuring powered exoskeletons Notes [ edit] a b Credited as The Wachowski Brothers. References [ edit] "The Matrix Reloaded. British Board of Film Classification. Retrieved September 15, 2013... The Matrix Reloaded (2003. LUMIERE. Retrieved November 22, 2017. ^ "The Matrix Reloaded (2003. Andy Wachowski, Larry Wachowski - Synopsis, Characteristics, Moods, Themes and Related. AllMovie. Retrieved October 8, 2017. ^ a b "The Matrix Reloaded (2003. Box Office Mojo. Retrieved February 5, 2009. ^ The Matrix Reloaded - Festival de Cannes. Retrieved August 22, 2019. ^ Aaliyah. The Independent. London. August 27, 2001. Archived from the original on June 6, 2010. ^ Aaliyah: A 'beautiful person's' life cut short. Retrieved February 8, 2015. ^ Job, Ann. "Chasing the Stars: Carmakers in Movies. Archived from the original on March 6, 2005. Retrieved January 30, 2005. ^ Hollywood smog an inconvenient truth. Associated Press. November 14, 2006. Archived from the original on December 15, 2006. ^ a b Silberman, Steve. "Matrix 2. Wired. Retrieved December 25, 2012. ^ Debevec, Paul; J. Lewis (2005. Realistic human face rendering for "The Matrix Reloaded. ACM SIGGRAPH 2005 Courses on - SIGGRAPH '05. ACM. p. 13. doi: 10. 1145/1198555. 1198593. Retrieved August 10, 2013... Kafka feat. Röyksopp at the Bergen International Festival Archived September 6, 2017, at the Wayback Machine. Bergen International Festival. 2015 ^ Weekend Box Office Results for May 16-18, 2003 - Box Office Mojo. Retrieved October 8, 2017. ^ The Matrix Reloaded (2003. Retrieved July 13, 2016... The Matrix Reloaded (2003. Rotten Tomatoes. Fandango. Retrieved April 24, 2018... The Matrix Reloaded Reviews. Metacritic. CBS Interactive. Retrieved July 9, 2016. ^ Nashawaty, Chris (December 22, 2007. The 25 Worst Sequels Ever Made. Entertainment Weekly. Retrieved July 9, 2016. ^ McCarthy, Todd (May 7, 2003. The Matrix Reloaded. Variety. Retrieved July 12, 2007. ^ Arnold, William (May 14, 2003. Matrix' fans can't afford to miss 'Reloaded. Retrieved July 12, 2007. ^ Toscano, Tony (May 20, 2003. The Matrix Reloaded (2003) movie review. Archived from the original on March 10, 2007. Retrieved July 12, 2007. ^ Schickel, Richard (May 11, 2003. The Matrix Reboots. TIME. Retrieved July 12, 2007. ^ Rodriguez, Rene (May 14, 2003. Sequelitis infects 'Matrix Reloaded' with talk - lots of it. Archived from the original on August 12, 2003. Retrieved July 12, 2007. ^ Sterritt, David (May 16, 2003. Ready for a Neo world order. Retrieved July 12, 2007. ^ Rabin, Nathan (May 13, 2003. The Matrix Reloaded review. The A. V. Club. Retrieved July 12, 2007. ^ Miller, Skyler. Retrieved July 9, 2016. ^ Savlov, Marc (May 16, 2003. The Austin Chronicle. Retrieved July 12, 2007. ^ Caro, Mark (June 11, 2003. Movie review: The Matrix Reloaded. Metromix. Archived from the original on December 30, 2007. Retrieved July 12, 2007. ^ Sailer, Steve (May 15, 2003. Film of the Week: Matrix Reloaded. UPI. Retrieved October 6, 2015. It has only two speeds: you either get leaden philosophizing about free will or super-colossal action set pieces. It's like " My Dinner with Andre on the Hindenburg. " "Egypt bans 'too religious' Matrix. BBC News. June 11, 2003. Retrieved August 21, 2016. ^ The Matrix Reloaded DVD Release Date October 14, 2003. DVDs Release Dates. Retrieved May 21, 2018. ^ The Matrix Trilogy - 4K Ultra HD Blu-ray Ultra HD Review, High Def Digest. Retrieved November 26, 2018. External links [ edit.

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Ira vehementi. 1:51 HAJ OF The Big Bang Theory its a great drummer. The Iowa Democratic Partys caucuses encountered a major foul-up when it came time to report the results, putting more chaos into an already unpredictable presidential campaign. A judge in South Africa has issued an arrest warrant for former President Jacob Zuma for failing to appear in court for a corruption case North Korea says it is mobilizing 30, 000 health workers every day in its “all-out efforts” to guard against the spread of a virus from neighboring China Iran said Tuesday that its top court confirmed a death sentence for an Iranian man convicted of spying for the CIA, with state media alleging that he had shared details of the Islamic Republics nuclear program with the American spy agency. Shakira and Jennifer Lopez showcase Dundas, Versace and a whole lot of Swarovski crystals in Miami performance. There was no anger. She understood what I was going through. She had been divorced for over a decade, and had been in a few relationships since. And I was just coming to realize that I wasnt ready to be in a committed relationship just months after ending a 23-year marriage. Ruggables two-part rug system is driving social media crazy — in a good way. We talk to the Los Angeles-based entrepreneur behind it all, and she explains how it all started with her dog, and an accident. And a rug empire was born. L. A. gardening events in February include sales of orchids (Westminster Mall) camellias and bonsai (both at the Huntington. Although the timing and severity of a recession may be out of your control, your own finances dont have to be, and the decisions you make today can help insulate you should an economic downturn arrive. New allegations of sexual misconduct have surfaced at Victorias Secret as the brand tries to remake its image after years of scandal and slumping sales. Federal antitrust regulators say a proposed merger that would combine old-school shaving company Schick with upstart Harrys would end up costing consumers some skin. Goldman has begun building technology to facilitate the offering of loans to small and medium-sized businesses over Amazons lending platform, sources said. Vegas is a pretty accessible city because its still young and changing. Heres what you need to know to navigate. The three-day event is about football, of course, but also about music, all sorts of events and huge crowds. Lottery starts Saturday for those who want to scale the popular southern Sierra peak. Development in Big Bear may affect bald eagle population. Plus, Paine Field is not easier than SeaTac; getting a better seat requires some help; and an omission about a new ship.

Christine Theatrical release poster Directed by John Carpenter Produced by Richard Kobritz Larry J. Franco Screenplay by Bill Phillips Based on Christine by Stephen King Starring Keith Gordon John Stockwell Alexandra Paul Robert Prosky Harry Dean Stanton Music by John Carpenter Alan Howarth Cinematography Donald M. Morgan Edited by Marion Rothman Production company Columbia Pictures Delphi Premier Productions Polar Film Distributed by Columbia Pictures Release date December 9, 1983 Running time 110 minutes Country United States Language English Budget 10 million [1] Box office 21 million (US) 2] Christine is a 1983 American supernatural horror film directed by John Carpenter and starring Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky and Harry Dean Stanton. The film also features supporting performances from Roberts Blossom and Kelly Preston. Written by Bill Phillips and based on Stephen King s 1983 novel of the same name, the movie follows the changes in the lives of Arnie Cunningham, his friends, his family, and his teenage enemies after Arnie buys a vintage 1958 Plymouth Fury named Christine, a car that seems to have a jealous, possessive personality - and a mind of its own. The film was dedicated to Robert "Bob" Dawn, who was the make-up supervisor for the film. Upon its release, the film grossed 21 million at the US box office. The film received mostly positive reviews from critics and has since become a cult classic. [3] Plot [ edit] In September 1957, at a Chrysler Corporation assembly plant in Detroit, the hood of a newly assembled, red-and-white 1958 Plymouth Fury slams down without warning and crushes the hand of a line worker inspecting its front end. Another worker climbs in to sit behind the wheel, letting the ash from his cigar fall on the front seat. At the end of the shift, the line supervisor notices the worker slumped in the seat and opens the door; the worker falls to the floor dead, a look of terror on his face. 21 years later, in September 1978, Arnold "Arnie" Cunningham is an awkward and unpopular teenager in Rockbridge, California, with only one friend, football player Dennis Guilder. Arnie's life begins to change when he buys the now used and badly battered red-and-white 1958 Plymouth Fury from George LeBay, brother of the original owner, the late Roland LeBay, and is in need of extensive repairs. George tells Arnie several details about the car, including its name: Christine. Since his parents will not let him keep the car at their house, Arnie begins to restore it at a do-it-yourself garage and junkyard owned by Will Darnell. As he spends more of his time working on the car, he discards his glasses, dresses more like a 1950s greaser, and develops an arrogant, paranoid personality. Unbeknownst to Arnie, Dennis learns from Arnie's mom that the previous owner Roland actually committed suicide in the car and confronts George LeBay to find out more: the owner's daughter choked to death in it and his wife also committed suicide in it, the same as Roland. George also tells Dennis that Roland tried to get rid of Christine after Roland's wife died in the car but Christine "came back 3 weeks later. During a football game, Dennis becomes distracted by the sight of Arnie kissing his new girlfriend, Leigh Cabot, in front of a now-perfect Christine and is tackled, suffering a career-ending injury. On a rainy evening at a drive-in movie, Christine's windshield wipers stop working. Arnie goes outside to try to get them working again and while he's outside the car, Leigh begins to choke on a hamburger. Christine locks the doors and Arnie cannot get in to help Leigh but Leigh manages to pull the lock open and is saved when a man in the car next to them administers the Heimlich maneuver. Meanwhile, school bully Buddy Repperton - angry with Arnie over being expelled after a confrontation in shop class - vandalizes Christine with the help of his gang. Arnie is devastated and determined to repair Christine but is surprised to see it quickly restore itself to showroom quality as he watches. Christine drives off by herself to seek out the vandals, crushing one in an alley, triggering a gas station explosion that kills two others and sets the car on fire and finally running down Buddy the badly burned Christine returns to Darnell's garage, Darnell climbs in to sit behind the steering wheel and is crushed to death when Christine pushes the driver's seat forward. The next morning, Christine is back in its slot and fully repaired. State police detective Rudolph Junkins becomes suspicious of Arnie, having discovered paint from Christine at the scenes of two gang members' deaths. However, he has no direct evidence to implicate Arnie, who has an alibi. Junkins either does not know or cannot believe that Christine can drive herself. Following the choking incident and Christine's initial vandalization, Leigh breaks up with Arnie. Dennis and Leigh conclude the only way to save Arnie is to destroy Christine. They set a trap for it at Darnell's garage; Dennis waits at the controls of a bulldozer, while Leigh stands ready to close the garage doors and cut off Christine's retreat once it enters. However, Christine has been lying in wait under a pile of debris in the garage the entire time and when Leigh takes up her position at the door controls, it strikes. Christine crashes through Darnell's office in an attempt to get at Leigh. Arnie – who has been driving the car himself – is thrown through the windshield and impaled on a shard of glass, which kills him. Dennis and Leigh attack Christine with the bulldozer but it continually repairs itself and strikes back. The battle continues until they repeatedly drive back and forth over the car, damaging Christine so much that it is unable to immediately regenerate. The next day, Dennis, Leigh and Junkins watch as Christine's remains are compacted by a car crusher in a junkyard. The solid single cube is then dropped on the ground in front of them. Junkins praises Dennis and Leigh for defeating the demonic vehicle, despite them mourning the loss of Arnie and how they couldn't save him. The three become alarmed when they hear 1950s rock 'n' roll music apparently coming from the cube, but it turns out to be coming from a worker's portable radio; Leigh subsequently comments, God, I hate rock 'n' roll. " The film ends as the camera zooms in to the cube and a small piece of the front grille twitches slightly. Cast [ edit] Production [ edit] Conception [ edit] Producer Richard Kobritz had previously produced the miniseries Salem's Lot, also based on a Stephen King novel. Through producing the miniseries, Kobritz became acquainted with King, who sent him manuscripts of two of his novels, Cujo, and Christine. [4] Kobritz purchased the rights to Christine after finding himself attracted to the novel's "celebration of America's obsession with the motorcar. 4] Kobritz's first choice for director was John Carpenter, who was initially unavailable due to two projects: an adaptation of another King novel, Firestarter, and an adaptation of the 1980 Eric Van Lustbader novel The Ninja. However, production delays on these projects allowed Carpenter to accept the director position for Christine. [5] Kobritz and Carpenter had previously collaborated in the 1978 television film Someone's Watching Me. 5] Bill Phillips was Carpenter's choice for writer and was brought on shortly after Carpenter arrived. Carpenter was also joined by special effects supervisor Roy Arbogast, who had previously worked with Carpenter in The Thing (1982. 5] According to Carpenter, Christine was not a film he had planned on directing, saying that he directed the film as "a job" as opposed to a "personal project. 6] He had previously directed The Thing, which had done poorly at the box office and led to critical backlash. [4] In retrospect, Carpenter stated that upon reading Christine, he felt that "It just wasn't very frightening. But it was something I needed to do at that time for my career. 6] King's novel, the source material for Carpenter's film, made it clear that the car was possessed by the evil spirit of its previous owner, Roland D. LeBay, whereas the film version of the story shows that the evil spirit of the car manifested itself on the day it was built. [7] Other elements from the novel were altered for the film, particularly the execution of the death scenes, which the filmmakers opted for a more "cinematic approach. 8] Casting [ edit] Initially, Columbia Pictures had wanted to cast Brooke Shields in the role of Leigh due to her publicity after the release of The Blue Lagoon (1980) and Scott Baio as Arnie. [4] The filmmakers declined the suggestion, opting to cast young actors who were still fairly unknown. Kevin Bacon auditioned for the role, but opted out when offered a part in Footloose (1984. 4] Carpenter cast Keith Gordon in the role of Arnie after an audition in New York City; Gordon had some experience in film, and was also working in theater at the time; John Stockwell was cast at an audition in Los Angeles. [4] Nineteen-year-old Alexandra Paul was cast in the film after audition in New York City; according to Carpenter, Paul was an "untrained, young actress" at the time, but brought a "great quality" about the character of Leigh. [4] According to Paul, she had not read any of King's books or seen Carpenter's films, and read the novel in preparation. [4] Filming [ edit] Christine was shot largely in Los Angeles, California, while the location for Darnell's garage was located in Santa Clarita. [8] Filming began in April 1983, merely days after the King novel had been published. [9] The film's stunts were primarily completed by stunt coordinator Terry Leonard, who was behind the wheel of the car during the high-speed chase scenes, as well as the scene in which the car drives down a highway engulfed in flames. [8] Alexandra Paul's identical twin sister Caroline Paul wrote that she and her sister pulled a prank during filming, sending Caroline on set in place of Alexandra without telling Carpenter that they had made the switch until after he had shot a scene. She wrote, My highly skilled clutch-pushing actually made it into the movie. 10] The car [ edit] One of the two remaining models of Christine used in the film Although the car in the film is identified as a 1958 Plymouth Fury [11] —and in 1983 radio ads promoting the film, voiceover artists announced, she's a '57 Fury"—two other Plymouth models, the Belvedere and the Savoy, were also used to portray the malevolent automobile onscreen. John Carpenter placed ads throughout Southern California searching for models of the car, and was able to purchase twenty-four of them in various states of disrepair, which were used to build a total of seventeen copies of the film car. [9] All cars were two door hardtops. Total production for the 1958 Plymouth Fury was only 5, 303, and they were difficult to find and expensive to buy at the time. In addition, the real-life Furys only came in one color, Buckskin Beige" seen on the other Furys on the assembly line during the initial scenes of the movie. [12] The Fury also got anodized gold trim on the body and Fury script on the rear fender. In order to bypass the problem of obtaining the rare trim, the cars featured the more common Belvedere "Dartline" trim. Several vehicles were destroyed during filming, but most of the cars were Savoy and Belvedere models dressed to look like the Fury. At least one '57 Savoy was used, its front end modified to look like a '58. Originally, Carpenter had not planned to film the car's regeneration scenes, but decided after the shoot had finished to include them. The shots of the car regenerating itself were shot in post-production and done using internally-mounted hydraulics crumpling the car, with the shot then run backwards in the final film. [8] Of the twenty three cars used in the film, the best known surviving vehicle was rescued from a junkyard and restored by collector Bill Gibson of Pensacola, Florida. citation needed] Release [ edit] Box office [ edit] Christine was released in North America on December 9, 1983, to 1, 045 theaters. [13] In its opening weekend Christine brought in 3, 408, 904 landing at #4. The film dropped 39. 6% in its second weekend, grossing 2, 058, 517 slipping from fourth to eighth place. In its third weekend, it grossed 1, 851, 909 dropping to #9. The film remained at #9 its fourth weekend, grossing 2, 736, 782. In its fifth weekend, it returned to #8, grossing 2, 015, 922. Bringing in 1, 316, 835 in its sixth weekend, the film dropped out of the box office top ten to twelfth place. In its seventh and final weekend, the film brought in 819, 972 landing at #14, bringing the total gross for Christine to 21, 017, 849. [2] Critical response [ edit] On the review aggregator website Rotten Tomatoes, Christine holds a 71% approval rating based on 28 reviews, with an average rating of 5. 94/10. The consensus reads: The cracks are starting to show in John Carpenter's directorial instincts, but Christine is nonetheless silly, zippy fun. ” [14] Roger Ebert gave the movie three out of four stars, saying: by the end of the movie, Christine has developed such a formidable personality that we are actually taking sides during its duel with a bulldozer. This is the kind of movie where you walk out with a silly grin, get in your car, and lay rubber halfway down the Eisenhower. 15] Janet Maslin of The New York Times gave the film a middling review, saying: The early parts of the film are engaging and well acted, creating a believable high-school atmosphere. Unfortunately, the later part of the film is slow in developing, and it unfolds in predictable ways. 16] Variety gave the film a negative review, stating. Christine seems like a retread. This time its a fire-engine red, 1958 Plymouth Fury thats possessed by the Devil, and this deja-vu premise [from the novel by Stephen King] combined with the crazed-vehicle format, makes Christine appear pretty shop worn. 17] Time Out said of the film: Carpenter and novelist Stephen King share not merely a taste for genre horror but a love of '50's teenage culture; and although set in the present, Christine reflects the second taste far more effectively than the first. 18] Home media [ edit] The film was released on VHS by Columbia Pictures, and later in a special edition DVD in 2004. [19] On March 12, 2013, Twilight Time video released the film on Blu-ray for the first time in a limited edition run numbered at 3, 000 copies. [20] On September 29, 2015, Sony Pictures Home Entertainment re-released the film on Blu-ray. [21] The film was released on 4K UHD Blu-Ray on September 11, 2018. [22] Soundtrack [ edit] Two soundtracks were released, one consisting purely of the music written and composed by John Carpenter and Alan Howarth, the other consisting of the contemporary pop songs used in the film. [23] Score [ edit] Christine: Music from the Motion Picture Film score by John Carpenter & Alan Howarth Released June 1, 1990 Genre Electronic film score Length 33: 14 Label Varèse Sarabande Producer John Carpenter, Alan Howarth John Carpenter & Alan Howarth chronology They Live (1988) Christine: Music from the Motion Picture (1990) John Carpenter chronology Christine (1990) Body Bags (1993) Christine: Music from the Motion Picture (by John Carpenter and Alan Howarth) No. Title Length 1. "Arnie's Love Theme" 1:15 2. "Obsessed with the Car" 2:07 3. "Football Run/Kill Your Kids" 2:42 4. "The Rape" 1:10 5. "The Discovery" 1:30 6. "Show Me" 2:36 7. "Moochie's Death" 2:25 8. "Junkins" 3:33 9. "Buddy's Death" 1:27 10. "Nobody's Home/Restored" 1:44 11. "Car Obsession Reprise" 1:53 12. "Christine Attacks (Plymouth Fury) 2:30 13. "Talk on the Couch" 1:23 14. "Regeneration" 1:25 15. "Darnell's Tonight" 0:13 16. "Arnie" 1:01 17. "Undented" 1:54 18. "Moochie Mix Four" 2:26 Songs appearing in film [ edit] The soundtrack album containing songs used in the film was entitled Christine: Original Motion Picture Soundtrack and was released on LP and cassette on Motown Records. [24] It contained 10 (of the 15) songs listed in the film's credits, plus one track from John Carpenter and Alan Howarth's own score. The track listing was as follows: George Thorogood and the Destroyers – " Bad to the Bone " Buddy Holly & the Crickets – " Not Fade Away " Johnny Ace – " Pledging My Love " Robert & Johnny – " We Belong Together " Little Richard – " Keep A-Knockin' Dion and The Belmonts – " I Wonder Why " The Viscounts – " Harlem Nocturne " Thurston Harris – " Little Bitty Pretty One " Danny & The Juniors – "Rock n' Roll is Here to Stay" John Carpenter & Alan Howarth – "Christine Attacks (Plymouth Fury) Larry Williams – " Bony Moronie " The following tracks were not included on this LP release, but were used in the film and listed in the film's credits: ABBA – " The Name of the Game " Bonnie Raitt – " Runaway " Ritchie Valens – "Come on, Let's Go" Tanya Tucker – "Not Fade Away" The Rolling Stones – " Beast of Burden " See also [ edit] The Love Bug (1968. an earlier film about a car with a distinct personality and mind of its own Little Bastard ( James Dean ' s car that is claimed to be cursed) List of films about automobiles References [ edit] Muir, John Kenneth (2005. The Films of John Carpenter. McFarland & Company. p. 30. ISBN   9780786422692. ^ a b "Overall Box Office. Box Office Mojo. Retrieved October 22, 2010. ^ Suckley, Jamie (July 31, 2013. Christine. Static Mass Emporium. Retrieved September 27, 2016. ^ a b c d e f g h Carpenter, John; Kobritz, Richard (2004. Christine: Ignition. Sony Pictures Home Entertainment. ^ a b c Martin, R. H. (January 1984. Richard Kobritz and Christine. Fangoria (32) 14–18 – via Internet Archive. ^ a b "Interview With John Carpenter from SFX magazine. SFX. Retrieved November 28, 2015 – via ^ Carpenter, John. Audio commentary, Christine [Blu-ray. Sony Pictures Home Entertainment. 2015. ^ a b c d Carpenter, John; Gordon, Keith; Paul, Alexandra; Stockwell, John (2004. Christine: Fast and Furious. Sony Pictures Home Entertainment. ^ a b Von Doviak 2014. ^ Paul, Caroline (2015. Almost Her: The Strange Dilemma of Being Nearly Famous. Shebooks. p. 15. ISBN   9781940838816 – via Google Books. ^ Kerr & Wollen 2004, p. 355. ^ Benjaminson 1994, p. 124. ^ Christine (1983. Retrieved November 28, 2015... Christine Movie Reviews. Rotten Tomatoes. IGN Entertainment. Retrieved January 5, 2019. ^ Ebert, Roger (December 13, 1983. Chicago Sun-Times. Retrieved November 27, 2015. ^ Maslin, Janet (December 9, 1983. Film: Christine. A Car. The New York Times. Retrieved March 25, 2019. ^ Variety Staff (December 31, 1982. Variety. Retrieved November 28, 2015. ^ Rothkopf, Joshua (January 23, 2017. Christine, directed by John Carpenter. Time Out London. Retrieved November 27, 2015. ^ Christine (Special Edition. Amazon. Retrieved November 27, 2015. ^ Kauffman, Jeffrey (March 18, 2013. Christine Blu-ray: Screen Archives Entertainment Exclusive / Limited Edition to 3000. Retrieved November 28, 2015. ^ Liebman, Mark (September 28, 2015. Christine Blu-ray. Retrieved November 28, 2015. ^ Duarte, M. Enois (September 5, 2018. Christine – 4K Ultra HD Blu-ray. Retrieved June 12, 2018... Christine – Production Credits. AllMusic. Retrieved October 22, 2010. ^ Christine (Original Motion Picture Soundtrack. Retrieved May 31, 2015. Bibliography [ edit] Benjaminson, James (1994. Plymouth, 1946–1959. Motorbooks International. ISBN   978-0-87938-840-9. Von Doviak, Scott (2014. Stephen King Films FAQ: All That's Left to Know About the King of Horror on Film. Applause Theatre & Cinema. ISBN   978-1-48035-551-4. Kerr, Joe; Wollen, Peter (2004. Autopia: Cars and Culture. University of Chicago Press. ISBN   978-1-86189-132-7. External links [ edit] Christine on IMDb Christine at AllMovie Christine at Box Office Mojo Christine at Rotten Tomatoes.

The Times of xillia. What a lovely story. Amazing how everyone says how nice Elvis was. New England Patriots All-Time Franchise Power Rankings, FOX Sports All Simulation Data Season Info Team Win% PPG PPA Record Playoffs Coach Key Off Players 1 2007 New England Patriots 88. 7 35. 2 18. 1 16-0 Lost SB Bill Belichick Tom Brady, Laurence Maroney, Randy Moss 2 2010 New England Patriots 77. 4 31. 8 21. 1 14-2 Lost Div Tom Brady, BenJarvus Green-Ellis, Wes Welker 3 2012 New England Patriots 75. 8 31. 2 21. 6 12-4 Lost Conf Tom Brady, Stevan Ridley, Wes Welker 4 2011 New England Patriots 74. 7 33. 4 23. 6 13-3 5 2013 New England Patriots 74. 1 30. 4 21. 0 Tom Brady, Stevan Ridley, Julian Edelman 6 1997 New England Patriots 74. 0 28. 9 19. 9 10-6 Pete Carroll Drew Bledsoe, Curtis Martin, Shawn Jefferson 7 2014 New England Patriots 73. 9 30. 1 20. 9 Won SB Tom Brady, Jonas Gray, Rob Gronkowski 8 2004 New England Patriots 71. 5 28. 5 20. 2 Tom Brady, Corey Dillon, David Givens 9 2003 New England Patriots 70. 6 24. 8 17. 3 Tom Brady, Antowain Smith, Deion Branch 10 2005 New England Patriots 67. 9 27. 7 21. 5 Tom Brady, Corey Dillon, Deion Branch 11 2006 New England Patriots 67. 1 25. 7 Tom Brady, Corey Dillon, Reche Caldwell 12 1985 New England Patriots 66. 4 25. 1 19. 1 11-5 Raymond Berry Tony Eason, Craig James, Stanley Morgan 13 1983 New England Patriots 27. 1 8-8 - Ron Meyer Steve Grogan, Tony Collins, Stanley Morgan 14 1996 New England Patriots 64. 8 25. 8 20. 5 Bill Parcells Drew Bledsoe, Curtis Martin, Terry Glenn 15 1998 New England Patriots 64. 0 26. 8 9-7 Lost WC Drew Bledsoe, Robert Edwards, Terry Glenn 16 2008 New England Patriots 63. 6 27. 4 22. 2 Matt Cassel, Sammy Morris, Wes Welker 17 2009 New England Patriots 63. 1 27. 9 22. 9 Tom Brady, Laurence Maroney, Wes Welker 18 1984 New England Patriots 61. 6 20. 8 Ron Meyer, Raymond Berry Tony Eason, Craig James, Derrick Ramsey 19 1986 New England Patriots 60. 7 24. 5 20 1976 New England Patriots 57. 3 23. 8 11-3 Chuck Fairbanks Steve Grogan, Sam Cunningham, Darryl Stingley 21 1982 New England Patriots 57. 1 5-4 22 1999 New England Patriots 56. 2 Drew Bledsoe, Terry Allen, Terry Glenn 23 2002 New England Patriots 54. 4 24. 3 22. 8 Tom Brady, Antowain Smith, Troy Brown 24 1977 New England Patriots 53. 0 20. 7 9-5 25 1979 New England Patriots 51. 9 21. 7 Ron Erhardt Steve Grogan, Sam Cunningham, Harold Jackson.

The times of bill cunningham nyff. The times of bill cunningham t-shirt. Beautiful song. Thank you. Remember we are still YOUNG. You sound Exactly The Same... God Keep Blessings You... The times of bill cunningham watch online. September 22, 2019 Filmmakers have long championed new home viewing technologies, but their support of 4K Ultra HD — particularly in director Duncan Jones case — is “over the moon. ” Jones directed Moon, a 2009 science-fiction cult favorite that won a BAFTA Award for Outstanding Debut by a British Writer, Director or Producer. And he was thrilled that Sony Pictures Home Entertainment decided to celebrate the films 10th anniversary in July with a 4K Ultra HD Blu-ray  release. “ Moon was a tiny little independent sci-fi film from England, ” said Jones, who went on to direct Source Code (2011) Warcraft (2016) and Mute (2018. “The fact that we got a theatrical run in America at all was a thrill, but even with that run, a lot of people never would have had the chance to see the film in the fidelity of those who were able to see the screenings back in 2009. Fortunately the film has lived on and grown in cult status over the decade, but up until now has only been a shadow of its original self! Now we finally get to give our fans what they remember from those early, limited screenings. ” Subscribe HERE to the FREE Media Play News Daily Newsletter! Jones — who also happens to be the son of the late rock legend David Bowie — is by no means alone. 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I love watching movies at home. ” The resolution of 4K is four times sharper than HD, while HDR offers brighter brights and darker darks — as well as wider color gamut — to create a more vivid and lifelike picture. What that means is that home viewers can replicate the theatrical experience more closely than ever — and since directors are all about the “Big Screen, ” they see 4K Ultra HD as the best way to archive their artistic vision for future generations. “I think for anyone who spends time and effort making a film, we desperately want the audience to see all the little details and care we put into our work, ” Jones said. “Especially for those who are lucky enough to make ‘world-building films. From production design, to wardrobe, make-up and, in Moons case, model miniatures, just about everything is created to hold up to scrutiny in a close up. 4K UHD with HDR gives us the pleasure of knowing you are going to see all that hard work! ” Studio executives, too, see 4K Ultra HD Blu-ray as packaged-medias most effective bulwark against total domination by streaming media. It remains the optimum way to watch a movie, despite steady advances in bandwidth capacity. “The collector in the enthusiast market wants to buy discs, ” said Bill Hunt, editor of home entertainment enthusiast site. So, apparently, do a lot of other people. Ultra HD TVs were in about 53. 4 million households at the end of the first quarter, an increase of 55% from the prior year, according to CTA numbers cited by the DEG. Meanwhile, the number of households with at least one 4K Ultra HD Blu-ray playback machine rose 63% to 14 million. According to the CTA, the total TV category will ship 38. 8 million units in 2019 (a 1% increase) with upgrades driven by big-screen models and sets featuring 4K UHD resolution and HDR technology. This year, 4K UHD sets will account for 17 million of those units (a 6% increase. IHS Markit estimates that by 2022, 60% of North American households will own at least one UHD video display. Software continues to expand as well. Nearly 600 titles have been released on 4K UHD Blu-ray Disc, according to Media Play News research. And digital outlets tout the feature, and sometimes charge a premium for it. Indeed, consumer interest in 4K UHD with HDR continues to grow. “I think people are definitely into it. I think interest is growing; demand is growing, ” said The Digital Bits Hunt. “Theres no shortage of people who read my website that are eager for every piece of news on 4K. ” Retailers of both digital and physical content are serving the rabid 4K consumer. Netflix offers 4K UHD content under its premium plan for 15. 99 a month (up to four screens at once. Amazon also offers 4K streaming on certain titles. At transactional VOD site FandangoNow, 4K is a major selling point, noted Fandango VP of home entertainment Cameron Douglas. “We saw there was audience demand, ” he said. “It just kept growing. ” Redbox in March reported it more than doubled the number of cities offering 4K Ultra HD movie rentals — bringing 4K to a total of 15 markets. Rental pricing for 4K UHD titles is 2. 50 per night. “Our customers have spoken — they love the quality of 4K content, ” said Galen Smith, CEO of Redbox. “Were happy to make 4K rentals available to even more movie fans, giving them more format choices than ever before so they can make the most of their movie night. ” New markets included Colorado Springs, Colo. Des Moines, Iowa; Kansas City, Mo. Minneapolis; Portland, Ore. Reno, Nev. San Diego; San Francisco; and Spokane, Wash. They joined preview markets Austin, Detroit, Los Angeles, Miami, New York and Seattle. “4K UHD continues to experience strong and steady growth across physical and digital, buoyed by the significant retail commitment and CE support, and an increasing number of titles being released, ” said Eddie Cunningham, president of Universal Pictures Home Entertainment. “4K UHD is no longer an early adopter format and has widely established itself as the best way to watch our content at home, ” said Jessica Schell, EVP and GM of film at Warner Bros. Home Entertainment. “Were enthusiastic about the rapid consumer and retail adoption and the ability to present our films in the highest possible quality for the home, ” added Lexine Wong, senior EVP of worldwide marketing at Sony Pictures Home Entertainment. “The popularity of 4K continues to grow as evidenced by the wide range of titles now in the market, ” noted Vincent Marcais, EVP of worldwide marketing for Paramount Home Entertainment. Indeed, content available on 4K UHD is varied, from new releases to classic catalog. “Sony Pictures Home Entertainment, a leader in the 4K Ultra HD market, consistently delivers premium product for the growing consumer base, ” said Sonys Wong. “To date, we have over 80 4K UHD titles available — including the global tentpoles Men in Black: International and Spider-Man: Far From Home, along with key library titles such as the commemorative 35th anniversary release of the original Ghostbusters and the fully remastered modern classic Stand By Me. ” “At Paramount, we just released Rocketman, and over 15% of our physical sales are 4K to date, ” noted Marcais. “In addition, we will be releasing the perennial favorite Its A Wonderful Life on 4K Ultra HD Blu-ray for the first time in October. The studio spent over a year restoring the film from the original negative and we wanted to make sure that enthusiasts and long-time fans could truly appreciate the vibrant and detail-rich picture, which 4K makes possible for home viewing like never before. ” “The continued diversification of content available in 4K HDR ranges across not just our new-release films, but also includes more and more evergreen classic catalog titles like 2001: A Space Odyssey, The Wizard of Oz and The Shining, ” said Warners Schell. “Catalog in particular has surged to become a meaningful driver of consumer engagement, with newly available classic franchises fueling a 25% growth in 4K UHD disc sales across the industry, ” added Universals Cunningham. Readers of enthusiast websites have feasted on new-release and a growing list of catalog classics that have greatly expanded this year. “You had your big, splashy, superhero titles, but then you had Alien and Apocalypse Now, ” noted Adam Gregorich, co-owner/editor of enthusiast site Home Theater Forum. “Its not just new releases that people are interested in. ” “The biggest problem that people that are into 4K have is that there are titles that they want that they cant get, ” said The Digital Bits Hunt. “Fans are really starting to jones for those big titles now. ” Hunts readers are particularly looking forward to the 4K catalog releases on tap for the end of the year, including The Wizard of Oz, due Oct. 29. “That film will look tremendous on 4K, ” he noted. “There is a ton of excitement for both The Wizard of Oz and Its a Wonderful Life, ” added Gregorich. How black and white films, such as Wonderful Life, would fare on 4K elicited “some concern, ” Gregorich noted, “but then people pointed out Schindlers List, ” which translated and was enhanced very well. Both Gregorich and Hunt agreed that the best way to experience 4K UHD with HDR is on Blu-ray Disc, which doesnt suffer from the potential delivery dilution of streaming due to bandwidth. Still, streaming is gaining. “Stuff that I want to buy I want to buy on disc, ” Hunt said. “The younger audience doesnt seem to have that problem. ” “I think that discs are still more popular, but streaming has made up a huge amount of ground, ” added Gregorich. Soon, technology may offer a streaming assist, and studios are prepared to deliver 4K UHD wherever the consumer goes. “With the expansion and adoption of 5G wireless service allowing faster access to streaming 4K UHD video, the demand for high-definition content will continue to grow rapidly, ” said Warners Schell. “We are committed to delivering the best possible viewing experience of our wide array of film and television content, and we will continue to adapt, along with other studios and content providers, to the ever-changing technological landscape that dictates our business. ” 4K Ultra HD Blu-ray All-Time Top 50 Sellers as of 8/24/19 All-Time Top 4K UHD BD Market Share as of 8/24/19.

BANGALORE: Smartphones are an integrated part in our daily life, from being just another device it became a vital companion. Nowadays everyone owns a Smartphone and are quite knowledgeable about their choice of purchase. Like the first features you look in a Smartphone may be numerous and depends, but at first glance on-hand one goes to enjoy the visual treat-display. If measurements are taken as to which amount of pixels if fitted in a display to make the picture appear real or play real-then theres no exact answer, reports Androidpit. As Steve Jobs believed 300ppi is the limit, in which a display should be designed as anything above will be overkill, as it will be no use fitting in more pixels if the human eye cant conjure it. So here we discuss the new trends that made the process of rendering display to a fine digital version of reality. The topic display is balanced on these pillars and they are display type, the diagonal measurement of the screen in inches and the definition or resolution. A display designed by a company goes under the process of first deciding the type of display it will be next the dimensions and then will be the important decision as to how many pixels needs to be crammed in it per square inch to concoct the display. The diagonal measurement and resolution are the topics to be discussed, as to what the difference of pixel filling leads to name it as HD, full-HD, QHD or quad HD and 4K display. READ ALSO: Top 10 Upcoming Tech Products Of 2015 HD As we all know HD stands for High Definition, and the pixel measurement will be 1280X720 pixels. HD is also called as 720p, as at the end it gets shortened to 720pixels. No matter what the size of the display and how large the screen with a resolution of 1280X720pixels, it will still be called a HD display, no matter what. Most say the smaller the screen size more the pixels crammed in it and more will be the display. For ex a 4. 3 inch and a 4. 7 inch Smartphone with 342ppi and 312ppi are still said to have HD display. Full-HD The next in line saying Full-HD makes it has better resolution than HD, and so will be as the resolution of Full-HD is 192X1280 pixels. Though 2K technology is in full fervor still some manufacturers favor full-HD as after all the resolution depends on the screen size as to pixels spread diagonally. A 5-inch Full-HD display will have a pixel density of 441ppi. Quad-HD Also known as QHD or 2K, has four times the definition of standard HD and its resolution measurements are 2560X1440 pixels. The name 2K is because from zeroing the resolution it falls near 2000, so 2K. A 5. 5 inch quad-HD display will have a pixel density of 538ppi. Ultra-HD Also known as 4K, the next in line, though it wont be featured for Smartphones it will sure make an appearance for Phablets and Tabs. Though 4K and Ultra HD are said to be same they do have a small difference which needs to be spotted that is in the resolution. It is 3, 860 x 2, 160 pixels for Ultra-HD and 4, 096 x 2, 160 for 4K, and they are zeroed and frequently called as 2160p. S o where does this journey of pixel placing end starting from HD, full-HD, QHD and Ultra HD, more technology which will beat this display resolution will be in future, but the question here is how they can fit the bill considering other factors that a Smartphone runs. Take the factor on which the Smartphone itself runs the battery the one that provide the power, with increasing resolution the processor has to work extra for which it requires extra power and ultimately the battery suffers to provide. The manufacturers may have many ideas on paper and as to its implementation of bringing in a QHD or Full-HD display phone all the factors have to be considered and most importantly the price. Top 10 Upcoming Tech Products Of 2015.
Thank goodness Friedman is running the Dodgers and not Plaschke. He essentially said Betts is a one year rental, which he might be. He also said pay Price his money regardless. So what he is saying is pay 123 million over the next 3 years for the chance of winning. This interview was done before the trade was transacted. Who does that? He is suppose to be an informed journalist. He sounded like the guy out in the bleachers screaming at the right fielder during the game and prognosticating to the people sitting around him.
The Doors of Paradise My first remembrance of fashion was the day my mother caught me parading around our middle-class Catholic home in a lace-curtain Irish suburb of Boston. There I was, four years old, decked out in my sister's prettiest dress. Women's clothes were always much more stimulating to my imagination. That summer day, in 1933, as my back was pinned to the dining room wall, my eyes spattering tears all over the pink organdy full-skirted dress, my mother beat the hell out of me, and threatened every bone in my uninhibited body if I wore girls' clothes again. My dear parents gathered all their Bostonian reserve and decided the best cure was to hide me from any artistic or fashionable life. This wasn't hard in suburban Boston; a drab puritanical life prevailed, brightened only by Christmas, Easter, the Thanksgiving Day parade, Halloween, Valentine's Day, and the maypole costume party in kindergarten. My life was lived for each of these special days when I could express all the fancy thoughts in my head. Of course, Christmas was the blowout of the year, and I started wrapping the packages months before anyone dreamed of another Christmas. The tree ornaments were packed away in the attic, where I usually dusted them off with a trial run in midsummer and prepared a plan of decoration for the coming season. When Christmas came, I must have redecorated the tree a half dozen times in the short week it was left to stand, and when New Year's Day arrived and the tree was to be thrown out on the street, a deep depression usually set upon me, as I tucked all the glamour, the shiny tinsel, away for another eternally long year, and only the thought of Valentine's Day with its lace-trimmed displays of love made life bearable. Easter Sunday was always a high point. I can remember every one of Mother's hats, which were absolute knockouts to my eyes, but when I look back today, they were all very conservative. My two sisters and brother Jack (who was all sports-minded) and I were outfitted in new clothes for Easter Sunday. This was the dandy day of my life. I can't remember a thing the priest said during Mass, but I sure as hell could describe every interesting fashion worn by the two hundred or so ladies, and for the following few Sundays I kept an accurate record of which ladies wore their Easter Sunday flower corsages longest, emerging from the refrigerators for the Sunday airing. The next excitement I can remember was the maypole costume party where I managed, much to my conservative family's embarrassment, to be a crepe paper pansy, violet, or daffodil. I always had a ball playing make-believe, and usually got hell when my mother got her hands on me, as I'd play with the girls, mainly because their costumes were the most beautiful roses. The boys were bees and caterpillars, which didn't interest me a bit. Summers were a fashion desert. Our small beach house on the south shore of Boston allowed nothing but bathing suits and T-shirts, and lots of horrible sunburn on the miles of salty beach. No one ever wore anything colorful or gay. Each Sunday's church was the only adventure as my brother and sisters and I were wrapped in starched white clothes and chalk-white shoes. During the reading of the Gospel, I eyed every woman and decided who was the most elegant. It was a wonderful game, and by the end of each summer I would produce my list of the women at the beach whom I thought most exciting. Going back to school was really the monster for me. I couldn't have cared less about reading, writing, and arithmetic-and they cared much less for me! It was only through the grace of God and the teachers, who didn't want to have me around another year, that I finished each school year. The only class I remember was a weekly one-hour art session where the most delightful, slightly eccentric teacher would read Winnie-the-Pooh and tell us about Mrs. Jack Gardner's Venetian palace, set in Boston's Back Bay. This was my hour of pure dream and fantasy. Of course, I immediately fell passionately in love with Mrs. Jack Gardner and her gilded palace, and to this very day she is my inspiration. Life really began for me on my first visit to Mrs. Jack's. That marvelous art teacher took the class to view what she called a "Renaissance splendor. It was the opening of the doors of paradise for me, and there was no stopping my desire to create a world of exotic beauty. No matter how many times my mother caught me wearing my sister's first long party dress, which was peach satin-and I know I wore it more than she did-I knew my destiny was to create beautiful women and place them in fantastic surroundings. After school was the most fun, as I would hide in my room and build model airplanes and theatrical stage sets. Each month I would concoct a special display for the season, and I was forever talking the girls next door into putting on a dramatic play where I made all the crepe paper costumes and usually ended up wearing the highest crown or the longest train of purple, trimmed with my dad's notepaper ermine tails. Mother's wedding gown, covered with embroidery and pearls and tiny satin roses, was the hidden treasure that I was constantly unpacking for another look. Actually, it was the only beautiful thing in the house. Radio was a huge influence, to which I give credit for my strong imagination. Instead of doing school homework, I would be listening to Stella Dallas, Helen Trent, and my favorite, Helen Hayes, who led the glamorous New York life. In my imagination I dressed each of these soap opera ladies, designing for them all sorts of fancy clothes. As kids we weren't allowed to go to the movies except on Saturday afternoons, when some rough-and-tumble cowboy affair would scramble across the screen. I couldn't have cared less; I was just itching to get back to the movies on a Saturday night instead and see Greta Garbo, Carole Lombard, and Gone with the Wind. Unfortunately, I never made it, and these movies remained totally unknown to me until the late 1950s, when I saw them in revival. In later years, after-school jobs were part of my upbringing, which I enjoyed very much, as they paid me money that I promptly spent on something colorful and pretty at the local Woolworth's five-and-dime. Shoveling long driveways of snow allowed me to indulge in elaborate gifts for my mother and sisters; I would shovel snow all day long just to get my frozen hands on some money to buy beautiful things. One time I bought the supplies to make a hat. It was a real dilly-a great big cabbage rose hung over the right eye, and all sorts of ribbons tied at the back of the neck. My mother nearly collapsed in shame when she saw it. I was a newspaper delivery boy at twelve, and each morning got up at five thirty to pedal my bike around the neighborhood and collect five bucks at the end of a week. After the first month, I saved my money, slipped in to the city of Boston on my first trip, and bought a dress, which I thought was the most chic thing in town. It was black crepe and bias cut, and had three red hearts on the right shoulder. As usual, Mother nearly had a fit. Now I was buying her clothes. Her reply was, Think what the neighbors will say. These were famous last words with my mother and dad. My family had a whispering thought that I'd be a priest. And all this attraction to feminine fashion didn't help their hope. But what Irish Catholic family didn't dream of its eldest son being a priest? I always knew I wasn't priesthood material as I was sewing away from some devilish fire, flaming inside the deepest corners of my soul. The paper route made life worthwhile, giving me the loot to indulge in a little fashion fantasy, and as fast as I'd buy the newest styles, Mother would return them. I would counteract with another dress or fake diamond bracelet. My next job was delivering clothes for Mr. Kaplan, the local tailor. This was the beginning of my understanding what made beautiful clothes. Here I learned all about the construction of coats and suits, the fine technique of pressing and shaping. I also earned more money, and my two sisters soon fell under my assault of buying clothes, always making secret trips to the city and visiting the fashionable stores. My favorite was Jays on Temple Place. The facade of the terra-cotta-colored building was decorated with silhouetted ladies sitting on French chairs, admiring themselves in the style of 1910. Inside, the smell of perfume and champagne and wall-to-wall carpet made me want to buy everything in sight. They had the best-looking shopping bags in Boston, with a silhouetted lady and the name Jays giving the carrier great distinction. Of course, I was proud as a peacock, carrying the package home to my middle-class neighborhood. (I was the worst snob in town. By the time I was twelve, the family was in a state of frenzy over how they could knock this artistic nature out of me. Finally, it was decided that a trade school, where my hands could be the learners, was the only solution for a safe future. I enrolled at Mechanic Arts High School, where I learned carpentry. My spindle-legged tables were a howling success and caused a great deal of hell-raising with the people who wanted plain, sturdy-legged tables. I just couldn't resist putting the wood on a lathe and making all the fanciest turns I knew how. The classes were anything but fashionable. They consisted of sheet-metal work and a blacksmith's shop where we had the best fun. What I couldn't do with the blowtorch and anvil! Everything I made had curlicues and twists. I suppose you might call it Irish baroque. Along with all those shop classes came algebra, which I could never figure out, and history, which I was terrific at, from a costume point of view. I couldn't recite a word of Shakespeare, but I could sure draw a costume for every character in the plays. What made these school years livable was an after-school job at Jordan Marsh Company, the city's largest department store. At two thirty I was out of the school prison, trotting down fashionable Boylston Street with more enthusiasm than I'd shown all day, observing all the windows of the most fashionable shops in Boston. A special delight was sizing up the august Beacon Hill dowagers who would be going to tea at the Ritz Hotel. I often dallied outside its doors just to get a glimpse of some fascinating women. Jordan Marsh was across the Boston Common, in the commercial section of town, surrounded by Filene's and the other big stores that just swallowed me up. At Jordan's I was a stock boy in the ready-to-wear departments, and had the time of my life pushing the big carts through the store. My favorite departments were better dresses, furs, and handbags. The store had an elegant quality that disappeared after my days there in the early 1940s. A grand stairway curved up through the central rotunda; mahogany showcases gave a proper Bostonian attitude to the high-ceilinged main floor. I wasn't there but a few weeks before I knew the best merchandise from the plain, everyday stuff. I was always finagling a deal, until I got to push the racks with the best dresses down to their department, where I carefully scrutinized every one I took off. I would unload the stock truck of the handbag department like I was unveiling the emperor's jewels, making sure I set the bag on the counter so customers felt they had just discovered something they had never seen before. If the salesgirls didn't make a few sales during the performance, I was crushed. The store's glove department didn't interest me, but its buyer wore the most exciting hats. They were tall Lilly Daché turbans, the likes of which few Bostonian women had ever seen. They had a sense of drama. This buyer also wore the first silver foxes without legs, tails, and heads I had seen. It was a knockout when everyone else in Boston was cherishing all those legs, tails, and heads. As a matter of fact, for years they continued to wear it like that in Boston, and didn't think of cutting them off. My first six months' salary went to buying a pair of these silver foxes for my mother. She hardly ever wore them, feeling they were too daring and showy. At this time I started covering myself in outrageous bright shirts and ties. I bought the first fake-fur-lined trench coat with the biggest fur collar I could find, and nearly drove the family crazy with shame, wearing it on the first cool day of September. I just couldn't wait to get it on my back and parade into school-although I almost fainted from the heat in the rush-hour crowd in the trolley car. Clothes were everything to me, and I think I spent seven days a week deciding what I'd wear the next week. Life at Jordan's was fabulous, and had they given diplomas, I would have graduated with honors. That said, I almost got canned at one point. It was during the parade at the end of the Second World War, and I felt the store should do something in the way of a big display. Of course, they had already hung the world's largest American flag over the Washington Street facade of the building, which made Filene's flag look like a postage stamp. But I thought I should add some of my own flair, so I went through all the men's rooms in the store, taking the rolls of toilet tissue and stashing them up on the roof of the store, at the corner of Washington and Summer Streets, the busiest intersection in Boston, where the biggest crowd was sure to assemble. After collecting dozens and dozens of rolls, I began to unroll them over the heads of the marching soldiers. It was an instant success, as the white rolls whipped down in huge white streaks! The crowd below went wild with delight as the unrolled ends bounced off the heads of the cops. Within fifteen minutes the intersection was a blizzard of toilet paper, which became a spectacular tangled mess in all of Filene's flagpoles-it took them months to unwind it. In my enthusiasm in creating a living display, I had completely blocked the window view of the store's president, Mr. Mitton, which was right under where I was standing. I had hardly unrolled the last of the paper, when the hands of store detectives, executives, and Boston cops hauled me before the exasperated president.
The Times of lille.
The Times of illinois.

Photo: Getty Photographer Bill Cunningham, who shot on the streets of New York and Paris for decades — 40 years for the New York Times alone —  died from complications of a stroke. He was 87. And as much as his photography has influenced an entire industry for generations, Cunninghams unwavering focus on his craft and his rather zen-like approach to life (some might have called it eccentric) can influence any of us, whether we call ourselves sartorialists or not. While Cunningham might be gone, its clear from the deservedly adulatory coverage of his life  that he was a legendary artist who will continue to inspire us for years to come. Here are the most impactful   Cunningham-approved ways to inspire and influence you in your passions and pursuits. Dont Let Your Career Path Be Too Straight and Narrow While Cunningham always had a penchant for fashion, he didnt start out wanting to be a world-renowned photographer. He began his career making hats. He was no slouch in that department — among his clients were both the rich and the famous. Which makes the idea of his switching to photography all the more illuminating, yet its where his passion led him and mostly by circumstance. Hed been making hats and writing about fashion for more than 15 years before a camera gifted to him pushed him into taking the pursuit seriously in the mid-1960s. Find Your Perspective, and Stick With It Fashion photography, just like any other creative passion or professional field, is a crowded world. Cunninghams solution to standing out and making a name for himself came not just by thinking up a new approach, but by putting in the hard work on the streets to validate that vision, feed it with new material, and constantly learn. “Youve got to stay out there and see what it is … Youve got to stay on the streets and let the street tell you what it is, ” Cunningham said. This goes for us all: Get out there where the work is, and get dirty to find your path. Seek Opportunities in the Midst of Calamity As he detailed in the 2011 documentary Bill Cunningham New York,  he loved shooting street fashion in the middle of rainy days. “The minute it starts raining, its a whole different scene … When theres a blizzard is the best time, ” he declared in the film. When most would duck and cover or seek shelter, Cunningham knew he could find people at their most natural, unposed, and “without airs. ” Before youre ready to call it quits because of unwelcome conditions, think of the opportunities you might have missed otherwise. Minimize Unnecessary Decisions Cunninghams lifestyle was notoriously sparse. Ironically enough, he wore practically the same clothes day after day. He was easily recognized by his bright blue utility jacket, a pair of nondescript slacks, and plain black sneakers. He also ate the same breakfast every morning at the Stage Star Deli on West 55th Street in midtown Manhattan. Just like Cunningham, some of the most powerful people in the world —  Obamas and Zuckerbergs, for example  — constantly seek ways to eliminate decision fatigue by setting up as many routines as they possibly can. Do the same and you may find your mind opening up to creative opportunities. Live Simply Cunningham was also well known for having a rather minimal home. He spent years in a studio in the Carnegie Hall building, his bed propped up on books and his only other furnishings rows and rows of file cabinets. The place didnt have a bathroom, kitchen, or closet. No one says you need to live a monks life to be successful or focused, but based on the sheer amount of work — and pleasure he derived from the work — Cunninghams spartan lifestyle should be a reminder that its always worth examining exactly what kind of material distractions youre letting into your life. Are you piling too much on? Do You Choose Money or Freedom? Our relationship with money can have a much deeper effect than how deep your pockets feel. Cunninghams own view was that doing things for money alone compromised too much for him. One of his mantras: “If you dont take money, they cant tell you what to do, kid. ” Of course, we all need to earn a living, but its also important to recognize what were doing for love, what were doing for money, and what were giving up for either one. For Cunningham, freedom was the most precious thing, and he was not willing to sacrifice his for a check. What will you never compromise on? Be Kind and Fair There is no industry that bears a greater reputation for backstabbing and tearing people down than the fashion industry. Thats why its so refreshing to hear that such an icon in that world was a kind, honest man. One of his biggest falling-outs, with Womens Wear Daily, was when a fashion spread he created was edited to make fun of the everyday women featured in his images. He wouldnt stand for it, and it haunted him for years. That sense of fairness and openness spilled over into Cunninghams street photography as well. He was as fascinated by street wear as he was by haute couture — by black, brown, and gay people as he was by straight, rich, and white. Dont Try to Be Something Youre Not Most remarkably, Cunningham never claimed to be a great photographer. What he did claim to be was a witness to people, the clothes they wear, and the way they live. He never attempted to bill that pursuit as anything more than it was. “The problem is Im not a good photographer. To be perfectly honest, Im too shy. Not aggressive enough. Well, Im not aggressive at all. I just loved to see wonderfully dressed women, and I still do. Thats all there is to it. ” Above all, it seems, knowing yourself and being true to yourself pay off. Follow us on Facebook, Instagram, and Pinterest for nonstop inspiration delivered fresh to your feed, every day.

The times of bill cunningham streaming. The Times of bill maher. Probably so many politicians who are closet atheists.

 

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