title: Early human migrations

text: Cro-Magnon are considered the first anatomically modern humans in Europe. They entered Eurasia by the Zagros Mountains (near present-day Iran and eastern Turkey) around 50,000 years ago, with one group rapidly settling coastal areas around the Indian Ocean and another migrating north to the steppes of Central Asia. Modern human remains dating to 43,000–45,000 years ago have been discovered in Italy and Britain, as well as in the European Russian Arctic from 40,000 years ago.


title: Early human migrations

text: Humans colonised the environment west of the Urals, hunting reindeer especially, but were faced with adaptive challenges; winter temperatures averaged from with fuel and shelter scarce. They travelled on foot and relied on hunting highly mobile herds for food. These challenges were overcome through technological innovations: tailored clothing from the pelts of fur-bearing animals; construction of shelters with hearths using bones as fuel; and digging "ice cellars" into the permafrost to store meat and bones.


title: Early human migrations

text: A mitochondrial DNA sequence of two Cro-Magnons from the Paglicci Cave in Italy, dated to 23,000 and 24,000 years old (Paglicci 52 and 12), identified the mtDNA as Haplogroup N, typical of the latter group.


title: Early human migrations

text: The expansion of modern human population is thought to have begun 45,000 years ago, and it may have taken 15,000–20,000 years for Europe to be colonized.


title: Early human migrations

text: During this time, the Neanderthals were slowly being displaced. Because it took so long for Europe to be occupied, it appears that humans and Neanderthals may have been constantly competing for territory. The Neanderthals had larger brains, and were larger overall, with a more robust or heavily built frame, which suggests that they were physically stronger than modern "Homo sapiens". Having lived in Europe for 200,000 years, they would have been better adapted to the cold weather. The anatomically modern humans known as the Cro-Magnons, with widespread trade networks, superior technology and bodies likely better suited to running, would eventually completely displace the Neanderthals, whose last refuge was in the Iberian peninsula. After about 25,000 years ago the fossil record of the Neanderthals ends, indicating extinction. The last known population lived around a cave system on the remote south-facing coast of Gibraltar from 30,000 to 24,000 years ago.


title: Early human migrations

text: From the extent of linkage disequilibrium, it was estimated that the last Neanderthal gene flow into early ancestors of Europeans occurred 47,000–65,000 years BP. In conjunction with archaeological and fossil evidence, interbreeding is thought to have occurred somewhere in Western Eurasia, possibly the Middle East. Studies show a higher Neanderthal admixture in East Asians than in Europeans. North African groups share a similar excess of derived alleles with Neanderthals as non-African populations, whereas Sub-Saharan African groups are the only modern human populations with no substantial Neanderthal admixture. The Neanderthal-linked haplotype B006 of the dystrophin gene has also been found among nomadic pastoralist groups in the Sahel and Horn of Africa, who are associated with northern populations. Consequently, the presence of this B006 haplotype on the northern and northeastern perimeter of Sub-Saharan Africa is attributed to gene flow from a non-African point of origin.


title: Early human migrations

text: "Tianyuan man", an individual who lived in China c. 40,000 years ago, showed substantial Neanderthal admixture. A 2017 study of the ancient DNA of Tianyuan Man found that the individual is related to modern Asian and Native American populations. A 2013 study found Neanderthal introgression of 18 genes within the chromosome 3p21.31 region (HYAL region) of East Asians. The introgressive haplotypes were positively selected in only East Asian populations, rising steadily from 45,000 years ago until a sudden increase of growth rate around 5,000 to 3,500 years ago. They occur at very high frequencies among East Asian populations in contrast to other Eurasian populations (e.g. European and South Asian populations). The findings also suggest that this Neanderthal introgression occurred within the ancestral population shared by East Asians and Native Americans.


title: Early human migrations

text: A 2016 study presented an analysis of the population genetics of the Ainu people of northern Japan as key to the reconstruction of the early peopling of East Asia. The Ainu were found to represent a more basal branch than the modern farming populations of East Asia, suggesting an ancient (pre-Neolithic) connection with northeast Siberians. A 2013 study associated several phenotypical traits associated with Mongoloids with a single mutation of the EDAR gene, dated to c. 35,000 years ago.


title: Early human migrations

text: Mitochondrial haplogroups A, B and G originated about 50,000 years ago, and bearers subsequently colonized Siberia, Korea and Japan, by about 35,000 years ago. Parts of these populations migrated to North America during the Last Glacial Maximum.


title: Early human migrations

text: A review paper by Melinda A. Yang (in 2022) summarized and concluded that a distinctive "Basal-East Asian population" referred to as "'East- and Southeast Asian lineage"' (ESEA); which is ancestral to modern East Asians, Southeast Asians, Polynesians, and Siberians, originated in Mainland Southeast Asia at ~50,000BC, and expanded through multiple migration waves southwards and northwards respectively. This ESEA lineage gave rise to various sublineages, and is also ancestral to the Hoabinhian hunter-gatherers of Southeast Asia and the ~40,000 year old Tianyuan lineage found in Northern China, but already differentiated and distinct from European-related and Australasian-related lineages, found in other regions of prehistoric Eurasia. The ESEA lineage trifurcated from an earlier East-Eurasian or "eastern non-African" (ENA) lineage somewhere in South Asia, which also contributed to the formation of indigenous South Asian hunter-gatherers (AASI) as well as to Australasians.


title: Early human migrations

text: Around 20,000 years ago, approximately 5,000 years after the Neanderthal extinction, the Last Glacial Maximum forced northern hemisphere inhabitants to migrate to several shelters (refugia) until the end of this period. The resulting populations are presumed to have resided in such refuges during the LGM to ultimately reoccupy Europe, where archaic historical populations are considered their descendants. The composition of European populations was later altered by further migrations, notably the Neolithic expansion from the Middle East, and still later the Chalcolithic population movements associated with Indo-European expansion. A Paleolithic site on the Yana River, Siberia, at 71°N, lies well above the Arctic Circle and dates to 27,000 radiocarbon years before present, during glacial times. This site shows that people adapted to this harsh, high-latitude, Late Pleistocene environment much earlier than previously thought.


title: Early human migrations

text: Paleo-Indians originated from Central Asia, crossing the Beringia land bridge between eastern Siberia and present-day Alaska. Humans lived throughout the Americas by the end of the last glacial period, or more specifically what is known as the late glacial maximum. Details of Paleo-Indian migration to and throughout the American continent, including the dates and the routes traveled, are subject to ongoing research and discussion.


title: Early human migrations

text: Conventional estimates have it that humans reached North America at some point between 15,000 and 20,000 years ago. The traditional theory is that these early migrants moved when sea levels were significantly lowered due to the Quaternary glaciation, following herds of now-extinct pleistocene megafauna along "ice-free corridors" that stretched between the Laurentide and Cordilleran ice sheets. Another route proposed is that, either on foot or using primitive boats, they migrated down the Pacific coast to South America as far as Chile. Any archaeological evidence of coastal occupation during the last Ice Age would now have been covered by the sea level rise, up to a hundred metres since then. The recent finding of indigenous Australasian genetic markers in Amazonia supports that a coastal route and subsequent isolation did occur with some migrants.


title: Early human migrations

text: The Holocene is taken to begin 12,000 years ago, after the end of the Last Glacial Maximum. During the Holocene climatic optimum, beginning about 9,000 years ago, human populations which had been geographically confined to refugia began to migrate. By this time, most parts of the globe had been settled by "H. sapiens"; however, large areas that had been covered by glaciers were now re-populated.


title: Early human migrations

text: This period sees the transition from the Mesolithic to the Neolithic stage throughout the temperate zone. The Neolithic subsequently gives way to the Bronze Age in Old World cultures and the gradual emergence of the historical record in the Near East and China beginning around 4,000 years ago.


title: Early human migrations

text: Large-scale migrations of the Mesolithic to Neolithic era are thought to have given rise to the pre-modern distribution of the world's major language families such as the Niger-Congo, Nilo-Saharan, Afro-Asiatic, Uralic, Sino-Tibetan or Indo-European phyla. The speculative Nostratic theory postulates the derivation of the major language families of Eurasia (excluding Sino-Tibetan) from a single proto-language spoken at the beginning of the Holocene period.


title: Early human migrations

text: Evidence published in 2014 from genome analysis of ancient human remains suggests that the modern native populations of Europe largely descend from three distinct lineages: "Western Hunter-Gatherers", derivative of the Cro-Magnon population of Europe, Early European Farmers introduced to Europe from the Near East during the Neolithic Revolution and Ancient North Eurasians which expanded to Europe in the context of the Indo-European expansion. The Ancient North Eurasian component was introduced to Western Europe by people related to the Yamnaya culture. Additional ANE ancestry is found in European populations through Paleolithic interactions with Eastern Hunter-Gatherers.


title: Early human migrations

text: West-Eurasian back-migrations started in the early Holocene or already earlier in the Paleolithic period (30-15kya),followed by pre-Neolithic and Neolithic migration events from the Middle East, mostly affecting Northern Africa, the Horn of Africa, and wider regions of the Sahel zone and East Africa. The Nilotic peoples are thought to be derived from an earlier undifferentiated Eastern Sudanic unity by the 3rd millennium BCE. The development of the Proto-Nilotes as a group may have been connected with their domestication of livestock. The Eastern Sudanic unity must have been considerably earlier still, perhaps around the 5th millennium BCE (while the proposed Nilo-Saharan unity would date to the Upper Paleolithic about 15kya). The original locus of the early Nilotic speakers was presumably east of the Nile in what is now South Sudan. The Proto-Nilotes of the 3rd millennium BCE were pastoralists, while their neighbors, the Proto-Central Sudanic peoples, were mostly agriculturalists.


title: Early human migrations

text: The Niger-Congo phylum is thought to have emerged around 6,000 years ago in West or Central Africa. Its expansion may have been associated with the expansion of Sahel agriculture in the African Neolithic period, following the desiccation of the Sahara in c. 3900 BCE. The Bantu expansion has spread the Bantu languages to Central, Eastern and Southern Africa, partly replacing the indigenous populations of these regions, including the African Pygmies, Hadza people and San people. Beginning about 3,000 years ago, it reached South Africa


title: Early human migrations

text: Some evidence (including a 2016 study by Busby et al.) suggests admixture from ancient and recent migrations from Eurasia into parts of Sub-Saharan Africa. Another study (Ramsay et al. 2018) also shows evidence that ancient Eurasians migrated into Africa and that Eurasian admixture in modern Sub-Saharan Africans ranges from 0% to 50%, varying by region and generally higher in the Horn of Africa and parts of the Sahel zone, and found to a lesser degree in certain parts of Western Africa, and Southern Africa (excluding recent immigrants).


title: Early human migrations

text: The first seaborne human migrations were by the Austronesian peoples originating from Taiwan known as the "Austronesian expansion". Using advanced sailing technologies like catamarans, outrigger boats, and crab claw sails, they built the first sea-going ships and rapidly colonized Island Southeast Asia at around 3000 to 1500 BCE. From the Philippines and Eastern Indonesia they colonized Micronesia by 2200 to 1000 BCE.


title: Early human migrations

text: A branch of the Austronesians reached Island Melanesia between 1600 and 1000 BCE, establishing the Lapita culture (named after the archaeological site in Lapita, New Caledonia, where their characteristic pottery was first discovered). They are the direct ancestors of the modern Polynesians. They ventured into Remote Oceania reaching Vanuatu, New Caledonia, and Fiji by 1200 BCE, and Samoa and Tonga by around 900 to 800 BCE. This was the furthest extent of the Lapita culture expansion. During a period of around 1,500 years, they gradually lost the technology for pottery (likely due to the lack of clay deposits in the islands), replacing it with carved wooden and bamboo containers. Back-migrations from the Lapita culture also merged back Island Southeast Asia in 1500 BCE, and into Micronesia at around 200 BCE. It was not until 700 CE when they started voyaging further into the Pacific Ocean, when they colonized the Cook Islands, the Society Islands, and the Marquesas. From there, they further colonized Hawaii by 900 CE, Rapa Nui by 1000 CE, and New Zealand by 1200 CE.


title: Early human migrations

text: In the Indian Ocean, Austronesians from Borneo also colonized Madagascar and the Comoros Islands by around 500 CE. Austronesians remain the dominant ethnolinguistic group of the islands of the Indo-Pacific, and were the first to establish a maritime trade network reaching as far west as East Africa and the Arabian peninsula. They assimilated earlier Pleistocene to early Holocene human overland migrations through Sundaland like the Papuans and the Negritos in Island Southeast Asia. The Austronesian expansion was the last and the most far-reaching Neolithic human migration event.


title: Early human migrations

text: The Caribbean was one of the last places in the Americas that were settled by humans. The oldest remains are known from the Greater Antilles (Cuba and Hispaniola) dating between 4000 and 3500 BCE, and comparisons between tool-technologies suggest that these peoples moved across the Yucatán Channel from Central America. All evidence suggests that later migrants from 2000 BCE and onwards originated from South America, via the Orinoco region. The descendants of these migrants include the ancestors of the Taíno and Kalinago (Island Carib) peoples.


title: Early human migrations

text: The earliest inhabitants of North America's central and eastern Arctic are referred to as the Arctic small tool tradition (AST) and existed c. 2500 BCE. AST consisted of several Paleo-Eskimo cultures, including the Independence cultures and Pre-Dorset culture.


title: Early human migrations

text: The Inuit are the descendants of the Thule culture, which emerged from western Alaska around CE 1000 and gradually displaced the Dorset culture.


title: A Nightmare on Elm Street (2010 film)

text: A Nightmare on Elm Street is a 2010 American supernatural slasher film directed by Samuel Bayer (in his feature directorial debut), written by Wesley Strick and Eric Heisserer, and starring Jackie Earle Haley, Kyle Gallner, Rooney Mara, Katie Cassidy, Thomas Dekker, and Kellan Lutz. Produced by Michael Bay and Platinum Dunes, it is a remake of Wes Craven's 1984 film of the same name, as well as the ninth overall installment of the "Nightmare on Elm Street" franchise. The film is set in a fictitious town in Ohio and centers around a group of teenagers living on one street who are stalked and murdered in their dreams by a disfigured man named Freddy Krueger. The teenagers discover that they all share a common link from their childhood that makes them targets for Krueger.


title: A Nightmare on Elm Street (2010 film)

text: "A Nightmare on Elm Street" was originally to follow the same design as Platinum Dunes' other remake, "Friday the 13th", where the writers took the best elements from each of the films in the original series and created a single storyline with them. Eventually, they decided to use Craven's original storyline but tried to create a scarier film. To that end, they decided to remove the one-line quipping Freddy, who had become less scary and more comical over the years, and bring back his darker nature. The writers developed the character to be a child molester, something that Craven wanted to do originally in 1984 but changed to a child killer instead. Freddy's physical appearance was changed with the use of computer-generated imagery to be closer to that of a burn victim.


title: A Nightmare on Elm Street (2010 film)

text: Because of the positive experiences Platinum Dunes' producers had in the area, "A Nightmare on Elm Street" was filmed primarily in Illinois. Craven expressed his displeasure when he was not consulted on the project. Robert Englund, who portrayed Freddy in the previous eight films, voiced his support of the remake and the casting of Haley in the role of Freddy.


title: A Nightmare on Elm Street (2010 film)

text: "A Nightmare on Elm Street" had its world premiere at Hollywood on April 27, 2010, and was theatrically released in North America on April 30, 2010, by Warner Bros. Pictures and New Line Cinema. The film received generally negative reviews from critics, who criticized its writing, acting, and the film's lack of depth and empathetic characters, but praised Bayer's direction and faithfulness to the 1984 film. Despite this, it grossed over $63 million at the domestic box office and over $117 million worldwide, making it the highest-grossing film in the franchise.


title: A Nightmare on Elm Street (2010 film)

text: While at the Springwood Diner, Dean Russell falls asleep at the table and meets a severely burned man in seared clothes wearing a bladed gardener's glove on his right hand. In the dream, the burned man cuts Dean’s throat; in reality Dean cuts his own throat as his friends Kris Fowles and Nancy Holbrook look on. At Dean's funeral, Kris sees a photograph of her and Dean as children but cannot recall knowing Dean before high school. Kris begins to have nightmares about the burned man and then refuses to go to sleep for fear that she will die like Dean. Jesse Braun, Kris' ex-boyfriend, shows up to keep her company while she sleeps, but Kris meets the burned man in her dreams and is murdered. Covered in Kris' blood, Jesse runs to Nancy's house and learns that Nancy has been having nightmares about the same man — Freddy Krueger.


title: A Nightmare on Elm Street (2010 film)

text: Jesse is arrested by the police under suspicion of murdering Kris and is killed by Krueger when he falls asleep in his jail cell. As her friends die, Nancy questions everyone's connection to each other, given that none of them can remember each other before their teenage years. Nancy and her friend Quentin Smith discover that they attended the same preschool. Nancy's mother Gwen reluctantly tells Nancy and Quentin about Krueger, the preschool's groundskeeper who was accused of molesting the children, including Nancy. Gwen explains that Nancy was his favorite and that she came home one day and told her mother about the things Krueger did to her in a secret location. Gwen alerted the other parents, including Quentin's father Alan, but she tells the teenagers that Krueger escaped before he was arrested. Refusing to believe her mother's story, Nancy attempts to track down the remaining kids from the school but discovers that all of them have been killed. Following Jesse's death, only she and Quentin are left. Meanwhile, Quentin falls asleep during his swim practice and sees a flashback to the parents, led by Alan, tracking Krueger down and burning him alive.


title: A Nightmare on Elm Street (2010 film)

text: As a result of their insomnia, Nancy and Quentin have sporadic microsleeps and become hypnagogic, causing them to dream and hallucinate randomly. To try to stop Krueger, they decide to go to the preschool to learn what they can. On the way, Nancy is attacked by Krueger when she hallucinates, during which she pulls a piece of Krueger's sweater out of the dream world into reality. Quentin takes Nancy to the hospital, where he steals adrenaline to help them stay awake. Nancy and Quentin eventually make it to the preschool and uncover Krueger's hidden room to find proof of his crimes; they realize that Krueger, now a vengeful ghost, wants revenge on them for disclosing his abuse. Nancy decides to pull Krueger out of the dream world and kill him in the real world. Quentin tries to stay awake long enough to pull Nancy out of her dream when she grabs Krueger, but he falls asleep and is attacked.


title: A Nightmare on Elm Street (2010 film)

text: Krueger goes after Nancy and explains that he deliberately left her for last so that she would be comatose. Quentin awakens and uses the adrenaline to wake Nancy, who then pulls Krueger into reality. They fight and Nancy uses a broken paper cutter blade to kill him before she torches the room with Krueger's body inside. She and Quentin escape and are rescued by the police officers and firefighters, who are unable to find Krueger's remains. After Nancy and her mother return home from the hospital, Krueger suddenly appears in the mirror's reflection. While Nancy screams, Krueger kills Nancy's mother before pulling her body through a mirror and disappearing.


title: A Nightmare on Elm Street (2010 film)

text: In 2008, Michael Bay and his Platinum Dunes production company began the process of rebooting the "Nightmare on Elm Street" franchise with a remake of the original 1984 film. Producer Brad Fuller explained that they would follow the same tactic from their "Friday the 13th" remake and would abandon the things that had made the series less scary—the film's antagonist, Freddy Krueger, and would not be "cracking jokes" as had become a staple of his character. The focus was to "make a horrifying movie". Fuller said that the film is a remake of the 1984 film, but clarified that they would borrow character deaths and dream sequences from the entire series.


title: A Nightmare on Elm Street (2010 film)

text: In February 2009, Samuel Bayer was hired to direct the film. According to New Line production chief Toby Emmerich, Michael Bay advocated heavily for Bayer because he had "the ability to capture the kind of seductive and unsettling imagery that would make "Nightmare" feel like a fresh, visually arresting moviegoing experience." Bayer declined Platinum Dunes' offer twice but finally accepted after Bay emailed him and explained the kind of business opportunity it would be.


title: A Nightmare on Elm Street (2010 film)

text: In June 2009 interview, Craven, who directed the original movie and was not consulted for the remake, expressed displeasure with the new film. In contrast, Robert Englund, who portrayed Freddy throughout the film series, felt it was time for "A Nightmare on Elm Street" to be remade. Englund liked the idea of being able to "exploit the dreamscape" with computer-generated imagery and other technologies that did not exist when Craven made the original in 1984. Bayer believes that his film paid homage to what Craven did in 1984, but did not replicate it entirely. Bayer recognized that Craven attempted to put more meaning into his films and that the character of Freddy Krueger affected the lives of a generation of people. For Bayer, remaking "A Nightmare on Elm Street" was about bringing that feeling to a new generation with a new spin on the character and story.


title: A Nightmare on Elm Street (2010 film)

text: Fuller and Form likened the new film to their 2003 remake of "The Texas Chain Saw Massacre" but instead of a remake, they saw it as more of a reimagining. The pair also explained that "A Nightmare on Elm Street" would have a different tone than their "Friday the 13th" remake. Form states: "I think a "Friday the 13th" movie like we made was really fun. You know, sex, drugs and rock and roll, and I think a Nightmare movie is not that."


title: A Nightmare on Elm Street (2010 film)

text: When asked why New Line was rebooting the "Nightmare on Elm Street" film series, Emmerich explained: "The Nightmare films are profoundly disturbing on a deep, human level because they're about our dreams. It's why we thought that we could reach an especially broad audience with a new film, since the feeling of having your dreams being invaded was something that would translate to any country and any culture." Overall, Bayer wanted to create a film in "a darker world" that made the audience ask, "What makes a monster?"—is it a monster because of its physical appearance, someone with a scarred face and a clawed glove, or is it a monster because of something deeper within the man himself.


title: A Nightmare on Elm Street (2010 film)

text: Wesley Strick was initially hired to pen a script for a new "A Nightmare on Elm Street" because he had impressed Emmerich with a prequel script he wrote for the 1995 film "Seven". Eric Heisserer was subsequently hired to provide a rewrite of Strick's script before the film moved into production. When Bayer came on board he received a script that reflected the combined efforts of Strick and Heisserer and which still "needed to be tinkered with". Bayer explained that the script goes deeper into "[Freddy] as a person [and] how he became the thing he was". Bayer expressed that unlike the "Friday the 13th" remake that picked the best parts from the first four films, the "Nightmare on Elm Street" remake was coming straight from the first film.


title: A Nightmare on Elm Street (2010 film)

text: For the remake, Freddy was brought back to his darker roots and away from the comical character he had become in later "A Nightmare on Elm Street" sequels. Fuller pointed out that this Freddy did have one-liners but they come from a darker sense of humor and were not intended to be as campy as in previous films. Craven's original characterization of Freddy as a child molester was used because if Freddy killed children, as in the original, it would have been easy for the teenage characters to figure out using the Internet what had happened. In an effort to keep the story fresh, Heisserer developed the concept of micro-naps because the dream-reality sequences could become repetitive. The micro-nap allowed them to "blur reality and the dream world, and get some great scares".


title: A Nightmare on Elm Street (2010 film)

text: In March 2019, Heisserer had expressed his dislike for the finished product and spoke of the film's production: "On my first day on set, a crew member told me, 'In this intro scene for the two leads, we decided there wasn't enough dialogue for them at this party so we took some dialogue from page 87 and put it here'". In a follow-up tweet, Heisserer wrote "In case you were wondering, this is NOT how it works".


title: A Nightmare on Elm Street (2010 film)

text: Robert Englund didn't reprise the role of Freddy Krueger for the remake; Englund had performed the role for the eight previous films. Jackie Earle Haley was cast to take over Englund's most well-known role in April 2009. Initially, the studio wanted to cast an unknown for the role of Freddy Krueger, but it was Haley's performance in "Little Children" that impressed Emmerich enough to cast the actor against the original intentions. Emmerich explained: "Freddy is this incredible stew of malevolence and anger, but he also has a hint of vulnerability, and Jackie really has all of that and more. He just seemed completely right for the part." Bayer stated that he and producers Form and Fuller managed to acquire the screen test Haley gave as Rorschach for "Watchmen"; after viewing it, Bayer said it "blew [his] mind", and that he knew Haley would be able to go deep and create a believable character who was a psychopath "with a burned face and a claw."


title: A Nightmare on Elm Street (2010 film)

text: Haley said the first time he heard his name mentioned in conjunction with the character was from people on the Internet who suggested he be cast. Later he learned that his agents were already in talks with Brad Fuller. Haley also said that he was apprehensive about taking on the role of a character with such a dark past—that of a child murderer—for about a "minute and a half". Knowing the Freddy Krueger in the remake would be even darker, Haley came quickly to the realization that he was doing a horror film and this was just a fictional character. Haley said that once he embraced the idea of Freddy as a "mythical boogeyman", it became "very freeing" for him as an actor. Haley's opinion of the original movie however was not a positive one. Jay Bauman, a stand-in for Kyle Gallner during the production recalls Haley saying during the filming "I hadn't seen [the original] since it was first in theatres so I watched it in my hotel the other night- and it was just the worst movie I have ever seen!"


title: A Nightmare on Elm Street (2010 film)

text: Haley was contracted for three films which includes the remake and two sequels. Englund agreed with the casting of Haley and that he felt Haley's physical size worked in this role. Haley stated that he did not intend to have Englund's original performances influence his own and that he used the frustration of having to sit in the make-up chair for three-and-a-half hours as his motivation to get into character.


title: A Nightmare on Elm Street (2010 film)

text: Rooney Mara plays the role of Nancy Holbrook; Mara was also contracted for a sequel. Bayer describes Nancy as "the loneliest girl in the world". Mara stated that her Nancy is different from the role of Nancy Thompson, performed by Heather Langenkamp, and described her character as "socially awkward and timid and really doesn't know how to connect with people". Kyle Gallner was cast as Quentin, who forms a connection with Nancy. Gallner described his character as "a mess, more jittery and more 'out there' than Nancy is". Gallner pointed out that his character is like this because of the amount of pharmaceuticals he ingests to stay awake. Producer Brad Fuller commented that Gallner brought a sense of "humanity and relatability" to the role with his compassion and intellect. Other cast members include Katie Cassidy, Thomas Dekker, and Kellan Lutz. Cassidy performed the role of Kris. According to Cassidy, Kris becomes an emotional wreck throughout the film. Cassidy described her character's ordeal: "She is literally dragged through hell, having to crawl through dark, claustrophobic tunnels. She's always crying and freaking out as her nightmares of Freddy bleed into her everyday life. Kris suspects there's something that connects her with the others; she even confronts her mother about it, but no one's talking."


title: A Nightmare on Elm Street (2010 film)

text: Dekker portrays Jesse, Kris's ex-boyfriend. According to Dekker, "Jesse kind of knows what's going on but refuses to believe it." Dekker explained that Jesse spends so much time trying to convince himself that Freddy is not real, that by the time he does meet Freddy face-to-face, "he's just a mess. ... There's no bravado about it. His terror is very real." Lutz plays Dean, Kris's current boyfriend and "a well-liked, well-off high school jock." Connie Britton, Clancy Brown and Elvis Jasso Marín also star. Gallner and Mara explained that the teenagers in the remake are "a little more aware" of Freddy and their situation, whereas in the original Nancy and her friends were "more mellow" and "nonchalant" until they were finally killed.


title: A Nightmare on Elm Street (2010 film)

text: Form and Fuller explained that Freddy's physical appearance would more accurately resemble a burn victim. Form later clarified that there was a fine line they did not want to cross when it came to making Freddy look like a burn victim. According to the producer, the crew had many reference photos of burn victims which detailed how white the skin would appear after healing. Form did not want the audience to turn away in disgust every time Freddy was on the screen, so they opted to hold back on some of the realism. Fuller noted how horrific the images were and how difficult they were to look at. The special effects crew that worked on "The Dark Knight" and created the computer-generated images (CGI) for Two-Face, were brought in to work on the CGI for Freddy's face. The CGI is used in conjunction with the special effects make-up that Haley wears. The prosthetic appliances used to create Freddy's physical look were designed by Andrew Clement. Haley described the experience of wearing the prosthetic devices and make-up as "pretty encumbering".


title: A Nightmare on Elm Street (2010 film)

text: When production started, Clement and his crew would spend six hours applying Haley's make-up; eventually, the crew was able to streamline the process. According to Haley, the make-up crew would glue individual prosthetic devices from his head all the way down his back. The appliances were then blended together to create a seamless appearance. Haley spent approximately three hours and twenty minutes each day in the make-up chair to apply the appliances; on occasion, it would take almost four-and-a-half hours when the crew also needed to apply the prosthetic skull cap. Haley did not need to worry about the skull cap most days because he was able to wear the fedora on top of his head. Haley also had to wear contact lenses—one bloody, one cloudy. The cloudy contact lens made it difficult for the actor to see. Haley also had to work on developing Freddy's voice for the film. According to Haley, the process of coming up with the perfect voice for Freddy was "this organic process of embodying the character", and not about just "sitting around the table and going, 'Let me try this voice and this voice. Haley and Bayer admitted that some of the voice would be digitally enhanced to give it a "supernatural quality" and differentiate it from the voice Haley used as Rorschach in "Watchmen".


title: A Nightmare on Elm Street (2010 film)

text: With a budget of $35 million, principal photography began on May 5, 2009 and officially wrapped on July 10 the same year. Because of the positive experiences Platinum Dunes' producers had in the area when producing "The Amityville Horror" and "The Unborn", they chose to film in Illinois. Platinum Dunes also received a thirty percent tax break for filming in the state. The producers looked for locations that were "old and decaying" to mirror the look of Krueger. They settled on the Ryerson Steel warehouse on the west side of Chicago to film most of the scenes in which the townspeople burn Krueger alive.


title: A Nightmare on Elm Street (2010 film)

text: New Line contracted with two high schools in Illinois, Elk Grove High School and John Hersey High School, to shoot scenes for the remake. According to Nancy Holman, principal of Elk Grove High, the studio contacted schools across the nation looking for one that had a swimming pool. Although filming took place at both schools, neither was identified by name. The studio cast 200 extras for various school scenes, including one in the pool, but required that all students who auditioned be at least 16 years old. Lenore Gonzales Bragaw, school board president, was initially apprehensive about the deal as she disliked the idea of the studio filming "scenes of violence" at the schools; Bragaw agreed once she was assured that no one would be killed during the pool scenes.


title: A Nightmare on Elm Street (2010 film)

text: On May 22, 2009, the "Nightmare on Elm Street" film crew went on location to the city of Gary, Indiana to film scenes at a Methodist church. The studio had negotiated with the city for months before finally settling on a deal. According to Ben Clement, the executive director of the Gary Office of Film and Television, the studio was looking for "an architectural style that would fit the story line of the film". The film crew returned to the streets of Gary first in June to film a dream sequence that takes place on Elm Street and later in December to shoot some scenes in a diner.


title: A Nightmare on Elm Street (2010 film)

text: According to Fuller and Form, Warner Bros. suggested "A Nightmare on Elm Street" be released in 3D because of the increased box office revenue of recent 3D films. It was the opinion of the Platinum Dunes producers that if a film was not initially conceived as 3D, then it should not be converted to 3D; Fuller and Form fought the studio to keep the remake 2D. Warner Bros. and Platinum Dunes came to agree that a 3D movie would not be "the best version of the movie".


title: A Nightmare on Elm Street (2010 film)

text: The score to "A Nightmare on Elm Street" was composed by Steve Jablonsky and recorded by a 60-piece string ensemble of the Hollywood Studio Symphony. The movie soundtrack was released by WaterTower Music on April 27, 2010. Charles Bernstein's original "A Nightmare on Elm Street" theme and "Jump Rope" rhyme, The Hit Crew's "Un Homme Et Une Femme", and The Everly Brothers' "All I Have to Do Is Dream" are heard in the film but only Bernstein's "Jump Rope" rhyme is included in the soundtrack.


title: A Nightmare on Elm Street (2010 film)

text: In March 2010, the National Entertainment Collectibles Association (NECA) released two new Freddy Krueger action figures; one pre-burned Freddy with Jackie Earle Haley's likeness, and one based on the new burn design from the "Nightmare on Elm Street" remake. NECA also released a replica of Freddy's clawed glove. An online game was released in conjunction with the film—the player attempts to keep a young girl awake using coffee, cold showers, self-mutilation, and other means, to keep her safe from Freddy.


title: A Nightmare on Elm Street (2010 film)

text: "A Nightmare on Elm Street" was released on April 30, 2010, to 3,332 theaters and approximately 4,700 screens, making it the twelfth-widest opening for an R-rated film in the United States. Comparatively, the original "A Nightmare on Elm Street" was only released to 165 theaters at its opening on November 9, 1984 and by the end of its box office run its widest release was 380 theaters. The 2010 remake holds the record for widest "A Nightmare on Elm Street" release, beating out "Freddy vs. Jason" by 318 theaters.


title: A Nightmare on Elm Street (2010 film)

text: "A Nightmare on Elm Street" was released on DVD and Blu-ray on October 5, 2010. The DVD's only feature is a featurette, "Freddy Krueger Reborn". The Blu-ray special features include the DVD's featurette along with a deleted scene, an alternate opening and ending, and the Maniacle Movie Mode.


title: A Nightmare on Elm Street (2010 film)

text: Early estimates put "A Nightmare on Elm Street"s opening-day gross at approximately $15 million with a projected opening weekend of $35 million. Included in the $15 million was the $1.6 million the film made from midnight showings on Thursday night from 1,000 theaters. As a result, "A Nightmare on Elm Street" broke the record for midnight openings for a horror film that was previously held by the "Friday the 13th" remake in 2009 that grossed $1 million. Ultimately, the film finished its opening with $32,902,299, placing first for the weekend ahead of "How to Train Your Dragon" (6th week in release), "Date Night" (4th week in release), "The Back-up Plan" (2nd week in release), and "Furry Vengeance" (1st week in release). "A Nightmare on Elm Street" dropped 72 percent in its second weekend, earning $9,119,389. It dropped to second place behind the newly released "Iron Man 2". The film dropped an additional 54 percent in its third week, bringing in $1.5 million, though it remained in the top 10 rankings for the weekend, placing sixth overall. The film remained in the top ten for the fourth weekend in a row, grossing approximately $2,285,000 and finished eighth for the week. In its fifth weekend, the film fell out of the box office top ten and finished eleventh with an estimated $910,000. After the opening weekend, Platinum Dunes hinted at the possibility of a 3D sequel, but it was never produced.


title: A Nightmare on Elm Street (2010 film)

text: As of July 6, 2010, "A Nightmare on Elm Street" has earned $63,071,122 at the domestic box office. With its $63 million in domestic box office, "A Nightmare On Elm Street" was the second-highest-grossing film among slasher remakes of the time—"When a Stranger Calls" (2006), "Black Christmas" (2006), "Halloween" (2007), "Prom Night" (2008), and "My Bloody Valentine 3D" (2009); "Friday the 13th" (2009) was first with $65 million. The film was officially released overseas on May 8, 2010. In its opening weekend, it took in approximately $6.5 million throughout ten foreign territories. It also secured first place for the weekend at the Russian box office with $3 million. Since its opening, the film has taken in approximately $54,654,610 in the overseas box office giving it a worldwide total gross of $117,729,621.


title: A Nightmare on Elm Street (2010 film)

text: The 2010 remake's opening weekend, $32,902,299, put it ahead of the individual box office grosses for "A Nightmare on Elm Street", "", "", and "Wes Craven's New Nightmare", which made $25,504,513, $29,999,213, $22,168,359, and $19,721,741, respectively. When breaking the inflation-adjusted grosses down by per theater capita, the 1984 film averaged $16,585 per cinema compared to the remake's $9,874. Comparing the film to other Platinum Dunes remakes, "A Nightmare on Elm Street" is second in opening-weekend gross behind "Friday the 13th" with $40,570,365. The film sits ahead of the other Platinum Dunes remakes, which includes "The Texas Chainsaw Massacre" ($28,094,014), "The Amityville Horror" ($23,507,007), and "The Hitcher" ($7,818,239). As of 2018, "A Nightmare on Elm Street" is number nineteen on the list of top opening weekends for the month of April.


title: A Nightmare on Elm Street (2010 film)

text: In 2018, the remake is ninth in slasher films and eighth in horror remakes for all-time-highest-grossing films (unadjusted dollars). When comparing its opening weekends to other slasher films and horror remakes, "A Nightmare on Elm Street" sits in fifth spots for both categories. The 2010 remake was the second-highest-grossing film in the franchise in North America, just behind "Freddy vs. Jason" (unadjusted dollars) but number one worldwide.


title: A Nightmare on Elm Street (2010 film)

text: On Rotten Tomatoes "A Nightmare on Elm Street" has an approval rating of 15% based on 184 reviews, with an average rating of 3.80/10. The site's critics consensus reads, "Visually faithful but lacking the depth and subversive twists that made the original so memorable, "A Nightmare on Elm Street" remake lives up to its title in the worst possible way." On Metacritic the film has a weighted average score of 35 out of 100 based on 25 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale. Their exit polls showed that audiences were evenly divided between males and females with 40% between 18 and 24 years of age and 20% under 18.


title: A Nightmare on Elm Street (2010 film)

text: Owen Gleiberman of "Entertainment Weekly" gave it a B− and concluded that, "I did jump a few times, and I liked Haley's dour malevolence, but overall, the new "Nightmare on Elm Street" is a by-the-numbers bad dream that plays a little too much like a corporately ordered rerun. One, two, Freddy's coming for you. Three, four, we've been there before." Xan Brooks of "The Guardian" gave the film 3/5 stars, writing: "Debut director Samuel Bayer was not hired to dismantle the franchise but to shoot it afresh." Richard Corliss of "Time" wrote: "I liked the new "Nightmare", but I know that any new version of a revered text — a favorite old book, play or movie — invites invidious comparison."


title: A Nightmare on Elm Street (2010 film)

text: Michael Rechtshaffen of "The Hollywood Reporter" criticized the acting as "lethargically lifeless" and criticized Haley's portrayal of Krueger saying, "Even with his electronically deepened voice and a pointless amount of backstory, there's just no replacing Englund." Roger Ebert of the "Chicago Sun-Times" gave the film one star out of four because he "stared at "A Nightmare on Elm Street" with weary resignation. The movie consists of a series of teenagers who are introduced, haunted by nightmares and then slashed to death by Freddy. So what? Are we supposed to be scared? Is the sudden clanging chord supposed to evoke a fearful Pavlovian response?" Peter Travers of "Rolling Stone" gave the film 1.5/4 stars, writing: "it’s the Bay touch you feel in the way actors register as body count, characters go undeveloped, and sensation trumps feeling. A nightmare, indeed."


title: A Nightmare on Elm Street (2010 film)

text: On January 5, 2011, the film won the People's Choice Award for best horror film. Despite initially having high hopes for the film, Robert Englund, the actor who portrayed Freddy Krueger in the original series, also disliked the remake and claimed it suffered from ineffective make-up effects and a lack of empathetic characters.


title: MacGyver (1985 TV series)

text: MacGyver is an American action-adventure television series created by Lee David Zlotoff and starring Richard Dean Anderson as the title character. Henry Winkler and John Rich were the executive producers. The series follows the adventures of Angus MacGyver, a secret agent armed with remarkable scientific resourcefulness to solve any problem out in the field using any materials at hand.


title: MacGyver (1985 TV series)

text: The show ran for seven seasons on ABC in the United States and various other networks abroad from 1985 to 1992. The series was filmed in Los Angeles during seasons one, two and seven, and in Vancouver during seasons three through six. The show's final episode aired on April 25, 1992, on ABC (the network aired a previously unseen episode for the first time on May 21, 1992, but it was originally intended to air before the series finale).


title: MacGyver (1985 TV series)

text: The series was a moderate ratings success and gained a loyal following. It was popular in the United States and around the world. Two television films, "Lost Treasure of Atlantis" and "Trail to Doomsday", aired on ABC in 1994. A spin-off series, "Young MacGyver," was planned in 2003, but only the pilot was made. Merchandise for "MacGyver" includes games, toys, print media and an original audio series. A reboot series was broadcast on CBS from 2016 to 2021, which today owns the rights to the original series through its acquisition of the original Paramount Television.


title: MacGyver (1985 TV series)

text: The show follows secret agent Angus MacGyver, played by Richard Dean Anderson, who works as a troubleshooter for the fictional Phoenix Foundation in Los Angeles and as an agent for a fictional United States government agency, the "Department of External Services" (DXS). Educated as a scientist in Physics at Western Tech ("Hell Week"), MacGyver served in the U.S. Army Special Forces as a Bomb Team Technician/EOD during the Vietnam War ("Countdown"). Resourceful and possessing an encyclopedic knowledge of the physical sciences, he solves complex problems by making things out of ordinary objects, along with his ever-present Swiss Army knife, duct tape, and occasionally matches. He favors non-violent resolutions and prefers not to handle firearms due to the accidental shooting death of one of his friends when he was 12.


title: MacGyver (1985 TV series)

text: His main asset is his practical application of scientific knowledge and inventive use of common items. The clever solutions MacGyver implemented to seemingly unsolvable problemsoften in life-or-death situations requiring him to improvise complex devices in a matter of minuteswere a major attraction of the show, which helped generate interest in the applied sciences, particularly engineering, and for providing entertaining storylines. All of MacGyver's exploits on the show were ostensibly vetted by consulting scientists for the show's writers to ensure a basis on scientific principles (even though, the creators acknowledged, in real life one would have to be extraordinarily lucky for most of MacGyver's ideas to succeed). In the few cases where MacGyver used household chemicals to mix poisons, explosives or other items deemed too dangerous to be accurately described to the public, details were altered or left vague or an essential component or step was omitted.


title: MacGyver (1985 TV series)

text: The show often dealt with social issues, though more so in seasons 4–7 than 1–3, which were mostly about MacGyver's adventures working for the United States government and later for the Phoenix Foundation.


title: MacGyver (1985 TV series)

text: Several episodes, including the pilot, begin with a cold open, finding MacGyver already on a mission. MacGyver often narrates a story from his childhood relating to his current situation. He resolves this situation quickly, and the main story commences after the opening credits. The credits refer to such an opening sequence as the "Opening Gambit"it occurs far more commonly in earlier episodes than in later ones. This segment is often written and directed by a different team than the main story of the episode. After the credits, the main story plays out in standard three-act structure. In many episodes, the opening sequence occurs after the opening credits and often does not involve MacGyver on a mission but rather in a situation used for character development. In the same manner as the "Opening Gambit" sequences, these opening segments often do not directly relate to the main story.


title: MacGyver (1985 TV series)

text: While creating the series "MacGyver", John Rich was working on the sitcom "Mr. Sunshine" for ABC, which was short-lived and cancelled quickly. Henry Winkler had just finished off his eleven-year run on "Happy Days" and was looking for another project. Lee David Zlotoff was working as a producer for "Remington Steele", which was airing on NBC. The three got together to form the basis for "MacGyver" and sold the idea to Paramount, and ABC became interested in the series. Vin DiBona, the producer of America's Funniest Videos, was also in the mix during early production of the show.


title: MacGyver (1985 TV series)

text: The series was filmed in Southern California for its first two seasons and again in its final season. From seasons 3 to 6, it was filmed in various locations around Vancouver in British Columbia, Canada. Los Angeles remained as the setting of the show for the entire duration. The move to Vancouver was due to the threat of the series being cancelled due to the high production cost. In seasons 1 and 2, MacGyver was portrayed living in a waterfront apartment in Venice Beach. In season 3, he moved onto a houseboat at an unspecified location, though implied still to be in Los Angeles (the actual shooting took place at Coal Harbour, near downtown Vancouver). Filming returned to Los Angeles for the final season.


title: MacGyver (1985 TV series)

text: When the series was in pre-production, Winkler and Rich were looking for a suitable actor for the lead. After Richard Dean Anderson's appearance in the American television series "The Love Boat", Winkler got Anderson to audition for the part. According to Rich, every auditioning actor "hulked" his way through his audition. When Anderson eventually auditioned for the role, Winkler and Rich felt that he gave the character a human touch which the other actors could not. Both believed that Anderson would become one of the new "breakout" stars on American television.


title: MacGyver (1985 TV series)

text: Anderson is known for having done many of the stunts in the series, though in later seasons he reduced his participation because of accumulating injuries. He injured his back and required foot surgery because of accidents working as a stuntman.


title: MacGyver (1985 TV series)

text: After a slow start in its first season, "MacGyver" became a sleeper hit for ABC in its second season, during which it began a six-year run as the lead-in to ABC's "Monday Night Football" (the longest such run in history). During the show's fourth season, Richard Dean Anderson complained that ABC was not marketing the series enough. Saying that the series is "just another action show" for ABC, he further stated that ABC didn't give the series enough promotion.


title: MacGyver (1985 TV series)

text: "MacGyver's" seventh season was abbreviated. After the twelfth episode of the season aired on December 30, 1991, "MacGyver" disappeared from the ABC schedule and did not return until April 25, 1992, by which point the series had been canceled. The finale aired that night, with a previously unaired episode following on May 21, 1992. When asked why the series was canceled, Anderson replied: "The only reason it went off the air was that everybody was ready to move on. I was physically exhausted and had no life."


title: MacGyver (1985 TV series)

text: In 1994, the series was released in over 70 different worldwide markets. Because of popular demand, two TV-movies were created, both released in 1994. The first movie "MacGyver: Lost Treasure of Atlantis" premiered in the United States in May. The film was shot in England and Greece. The second movie was entitled "MacGyver: Trail to Doomsday". Anderson served as executive producer for both films, which were filmed in Europe.


title: MacGyver (1985 TV series)

text: Reruns of the series still air in North America, Europe, Australia, Asia, Costa Rica and Ethiopia. Alongside local syndication, reruns aired on the USA Network from 1990 to 1997, on WGN America from 1998 to 2002, on TV Land from January 2003 to 2006, on Spike for a brief time in 2005. It is formerly aired on Cloo (2011–2017) with marathon blocks shown on the weekends and on May 13, 2015, Esquire Network started airing reruns of the series. MeTV Network had acquired the rights to air the series as of December 2, 2015. It aired weekday afternoons & weeknights on MeTV from 12/19/16-5/26/17.


title: MacGyver (1985 TV series)

text: On June 15, 2010, Paramount released the two TV movies on DVD in Region1 in a separate single-disc release entitled "MacGyver – The TV Movies."


title: MacGyver (1985 TV series)

text: On January 13, 2015, CBS Home Entertainment announced they would release a repackaged version of the complete series set on DVD in Region1, at a lower price, on April 7.


title: MacGyver (1985 TV series)

text: In June 2018, CBS announced that the original camera negatives, thought to be lost, had been located and a high definition remaster of the series was underway. The June 21 press release confirmed that the first three seasons had been completed, with the remaining four to be remastered before the end of 2018. The press release also included a teaser showcasing the notable improvement in quality.


title: MacGyver (1985 TV series)

text: The series is referenced in episodes of "The Simpsons", primarily detailing the obsession Marge Simpson's sisters (Patty and Selma) have with the show and their crush on the MacGyver character. The sisters' regular viewing of the show is an unalterable element of their daily schedule to the point of death as demonstrated in the episode "Black Widower". The episode featured a fictional scene of MacGyver where he downplays his role in saving a village. ("Don't thank me. Thank the moon's gravitational pull.")


title: MacGyver (1985 TV series)

text: In the first episode of Anderson's later show, "Stargate SG-1", Amanda Tapping mentions that the Air Force had to "MacGyver" a Dial Home Device for the Stargate, and a split-second shot following this shows Anderson twitching an eyebrow. (However, this line was removed when this episode was re-released in 2009.)


title: MacGyver (1985 TV series)

text: In 2006, Anderson appeared in a MasterCard television commercial for Super Bowl XL. In it, he manages to cut the ropes binding him to a chair using a pine tree air freshener, uses an ordinary tube sock as the pulley for a zip-line, and somehow repairs and hot-wires a nonfunctional truck using a paper clip, ballpoint pen, rubber band, tweezers, nasal spray, and a turkey baster. In contrast to previous MasterCard commercials showing people making extravagant purchases to accomplish some mundane task, MacGyver is portrayed as escaping from some sort of deathtrap using less than $20 worth of common household items. The commercial ends by showing him purposefully buying an assortment of such things at a department store with his credit card (as a tongue-in-cheek explanation for how he seems to always have items he needs on hand no matter where he goes). Although the commercial implies that Anderson is portraying MacGyver, he is not identified.


title: MacGyver (1985 TV series)

text: In an August 2007 survey commissioned by the McCormick Tribune Foundation, Americans polled voted MacGyver as the favorite fictional hero they would want to have if they were ever caught in an emergency.


title: MacGyver (1985 TV series)

text: In 2008, the phrase "What would MacGyver do?" was used in a New Zealand television commercial for Gregg's "freestyle cooking" range of herbs and spices. The commercial featured the word MacGyver unfolding like a puzzle with a potato peeler and chopping knife opening out like the blades of a Swiss Army knife.


title: MacGyver (1985 TV series)

text: MacGyver employs his resourcefulness and his knowledge of chemistry, physics, technology, and sportsmanship to resolve what are often life-or-death crises. He creates inventions from simple items to solve these problems. These inventions became synonymous with the character and were called MacGyverisms by fans. MacGyver was unlike secret agents in other television series and films because, instead of relying on high-tech weapons and tools, he carried only a Swiss Army knife and duct tape but never a gun.


title: MacGyver (1985 TV series)

text: This also led to the verb "to MacGyver". "MacGyverism" was first used by the character Joanne Remmings (played by Pamela Bowen) in the Season 2 episode "Twice Stung". When MacGyver introduces himself to her, she uses the term in a manner that suggests other people had used it before:


title: MacGyver (1985 TV series)

text: In a 1989 interview with Richard Dean Anderson, Arsenio Hall said that he had heard the word "MacGyver" used as a verb meaning "to do the impossible." Anderson then used it as an adjective meaning "impossible." Anderson stated that his show's producers had just missed out on getting the word "MacGyverism" entered into the Webster's Dictionary and that "we" intended to try to get it in the next update. The word "MacGyver" however entered the Oxford Dictionaries in 2015 as a verb meaning "make or repair (an object) in an improvised or inventive way, making use of whatever items are at hand".


title: MacGyver (1985 TV series)

text: The show's writers based MacGyver's inventions on items they found on location, concepts from scientific advisers John Koivula and Jim Green, and real events. The show offered a monetary prize to people who sent good ideas for the show. A young fan suggested that MacGyver could patch up a vehicle's radiator by cracking an egg into it. The episode "Bushmaster" was constructed around this trick, and the fan was rewarded (producer Henry Winkler said in a 2005 NPR interview that this was his favorite "MacGyverism"). Although staff read every letter, few usable ideas were obtained in this way.


title: MacGyver (1985 TV series)

text: In October 2015, the original series' executive producer, Henry Winkler, signed on to produce a reboot series with James Wan and R. Scott Gemmill for CBS.


title: MacGyver (1985 TV series)

text: In May 2016, the network picked up the series, with co-creator/exec producer Peter Lenkov to serve as showrunner. On May 18, 2016, CBS indicated that the new series would air in late 2016. In June 2016, however, the network scrapped the pilot and set Wan to direct the new pilot episode with Till and Eads remaining in the cast. Justin Hires was cast as Wilt Bozer, MacGyver's roommate. In July 2016, "Variety" reported that Sandrine Holt is cast as Patricia Thornton, an ex-field agent who is now director of operations for the Department of External Services. Also that Tristin Mays was cast as Riley Davis, a highly unpredictable computer hacker with a chip on her shoulder.


title: MacGyver (1985 TV series)

text: A 3D puzzle game based on the TV series titled "MacGyver: Deadly Descent" was released on iOS and Android.


title: MacGyver (1985 TV series)

text: Anderson reprised his role as MacGyver in September 2012 in a new series of short films, created by Mercedes-Benz for the launch of their new MPV Citan in Europe.


title: MacGyver (1985 TV series)

text: The comic book was very well received around the world with the first issue selling out within the first two weeks and received mostly favorable reviews through major comic book sites. However, the series' lead author, Tony Lee, confirmed in September 2014 that the series in total did not sell well enough to warrant a second series.


title: Ray tracing (graphics)

text: In 3D computer graphics, ray tracing is a technique for modeling light transport for use in a wide variety of rendering algorithms for generating digital images.


title: Ray tracing (graphics)

text: On a spectrum of computational cost and visual fidelity, ray tracing-based rendering techniques, such as ray casting, recursive ray tracing, distribution ray tracing, photon mapping and path tracing, are generally slower and higher fidelity than scanline rendering methods. Thus, ray tracing was first deployed in applications where taking a relatively long time to render could be tolerated, such as in still computer-generated images, and film and television visual effects (VFX), but was less suited to real-time applications such as video games, where speed is critical in rendering each frame.


title: Ray tracing (graphics)

text: Since 2018, however, hardware acceleration for real-time ray tracing has become standard on new commercial graphics cards, and graphics APIs have followed suit, allowing developers to use hybrid ray tracing and rasterization-based rendering in games and other real-time applications with a lesser hit to frame render times.


title: Ray tracing (graphics)

text: Ray tracing is capable of simulating a variety of optical effects, such as reflection, refraction, soft shadows, scattering, depth of field, motion blur, caustics, ambient occlusion and dispersion phenomena (such as chromatic aberration). It can also be used to trace the path of sound waves in a similar fashion to light waves, making it a viable option for more immersive sound design in video games by rendering realistic reverberation and echoes. In fact, any physical wave or particle phenomenon with approximately linear motion can be simulated with ray tracing.


title: Ray tracing (graphics)

text: Ray tracing-based rendering techniques that involve sampling light over a domain generate image noise artifacts that can be addressed by tracing a very large number of rays or using denoising techniques.


title: Ray tracing (graphics)

text: The idea of ray tracing comes from as early as the 16th century when it was described by Albrecht Dürer, who is credited for its invention. In "Four Books on Measurement", he described an apparatus called a "Dürer's door" using a thread attached to the end of a stylus that an assistant moves along the contours of the object to draw. The thread passes through the door's frame and then through a hook on the wall. The thread forms a ray and the hook acts as the center of projection and corresponds to the camera position in ray tracing.


title: Ray tracing (graphics)

text: Using a computer for ray tracing to generate shaded pictures was first accomplished by Arthur Appel in 1968. Appel used ray tracing for primary visibility (determining the closest surface to the camera at each image point), and traced secondary rays to the light source from each point being shaded to determine whether the point was in shadow or not.


title: Ray tracing (graphics)

text: Later, in 1971, Goldstein and Nagel of MAGI (Mathematical Applications Group, Inc.) published “3-D Visual Simulation”, wherein ray tracing is used to make shaded pictures of solids by simulating the photographic process in reverse. They cast a ray through each picture element (pixel) in the screen into the scene to identify the visible surface. The first surface intersected by the ray was the visible one. This non-recursive ray tracing-based rendering algorithm is today called "ray casting". At the ray-surface intersection point found, they computed the surface normal and, knowing the position of the light source, computed the brightness of the pixel on the screen. Their publication describes a short (30 second) film “made using the University of Maryland’s display hardware outfitted with a 16mm camera. The film showed the helicopter and a simple ground level gun emplacement. The helicopter was programmed to undergo a series of maneuvers including turns, take-offs, and landings, etc., until it eventually is shot down and crashed.” A "CDC 6600" computer was used. MAGI produced an animation video called "MAGI/SynthaVision Sampler" in 1974.


title: Ray tracing (graphics)

text: Another early instance of ray casting came in 1976, when Scott Roth created a flip book animation in Bob Sproull's computer graphics course at Caltech. The scanned pages are shown as a video on the right. Roth's computer program noted an edge point at a pixel location if the ray intersected a bounded plane different from that of its neighbors. Of course, a ray could intersect multiple planes in space, but only the surface point closest to the camera was noted as visible. The edges are jagged because only a coarse resolution was practical with the computing power of the time-sharing DEC PDP-10 used. The “terminal” was a Tektronix storage-tube display for text and graphics. Attached to the display was a printer which would create an image of the display on rolling thermal paper. Roth extended the framework, introduced the term "ray casting" in the context of computer graphics and solid modeling, and later published his work while at GM Research Labs.


title: Ray tracing (graphics)

text: Turner Whitted was the first to show recursive ray tracing for mirror reflection and for refraction through translucent objects, with an angle determined by the solid's index of refraction, and to use ray tracing for anti-aliasing. Whitted also showed ray traced shadows. He produced a recursive ray-traced film called "The Compleat Angler" in 1979 while an engineer at Bell Labs. Whitted's deeply recursive ray tracing algorithm reframed rendering from being primarily a matter of surface visibility determination to being a matter of light transport. His paper inspired a series of subsequent work by others that included distribution ray tracing and finally unbiased path tracing, which provides the "rendering equation" framework that has allowed computer generated imagery to be faithful to reality.


title: Ray tracing (graphics)

text: For decades, global illumination in major films using computer generated imagery was faked with additional lights. Ray tracing-based rendering eventually changed that by enabling physically-based light transport. Early feature films rendered entirely using path tracing include "Monster House" (2006), "Cloudy with a Chance of Meatballs" (2009), and "Monsters University" (2013).


title: Ray tracing (graphics)

text: Optical ray tracing describes a method for producing visual images constructed in 3D computer graphics environments, with more photorealism than either ray casting or scanline rendering techniques. It works by tracing a path from an imaginary eye through each pixel in a virtual screen, and calculating the color of the object visible through it.


title: Ray tracing (graphics)

text: Scenes in ray tracing are described mathematically by a programmer or by a visual artist (normally using intermediary tools). Scenes may also incorporate data from images and models captured by means such as digital photography.


title: Ray tracing (graphics)

text: Typically, each ray must be tested for intersection with some subset of all the objects in the scene. Once the nearest object has been identified, the algorithm will estimate the incoming light at the point of intersection, examine the material properties of the object, and combine this information to calculate the final color of the pixel. Certain illumination algorithms and reflective or translucent materials may require more rays to be re-cast into the scene.


title: Ray tracing (graphics)

text: It may at first seem counterintuitive or "backward" to send rays "away" from the camera, rather than "into" it (as actual light does in reality), but doing so is many orders of magnitude more efficient. Since the overwhelming majority of light rays from a given light source do not make it directly into the viewer's eye, a "forward" simulation could potentially waste a tremendous amount of computation on light paths that are never recorded.


title: Ray tracing (graphics)

text: Therefore, the shortcut taken in ray tracing is to presuppose that a given ray intersects the view frame. After either a maximum number of reflections or a ray traveling a certain distance without intersection, the ray ceases to travel and the pixel's value is updated.


title: Ray tracing (graphics)

text: The idea is to find the position of each viewport pixel center formula_9 which allows us to find the line going from eye formula_10 through that pixel and finally get the ray described by point formula_10 and vector formula_12 (or its normalisation formula_13). First we need to find the coordinates of the bottom left viewport pixel formula_14 and find the next pixel by making a shift along directions parallel to viewport (vectors formula_15 i formula_16) multiplied by the size of the pixel. Below we introduce formulas which include distance formula_17 between the eye and the viewport. However, this value will be reduced during ray normalization formula_13 (so you might as well accept that formula_19 and remove it from calculations).


title: Ray tracing (graphics)

text: Pre-calculations: let's find and normalise vector formula_20 and vectors formula_21 which are parallel to the viewport (all depicted on above picture)


title: Ray tracing (graphics)

text: note that viewport center formula_24, next we calculate viewport sizes formula_25 divided by 2 including inverse aspect ratio formula_26


title: Ray tracing (graphics)

text: and then we calculate next-pixel shifting vectors formula_28 along directions parallel to viewport (formula_29), and left bottom pixel center formula_30


title: Ray tracing (graphics)

text: In nature, a light source emits a ray of light which travels, eventually, to a surface that interrupts its progress. One can think of this "ray" as a stream of photons traveling along the same path. In a perfect vacuum this ray will be a straight line (ignoring relativistic effects). Any combination of four things might happen with this light ray: absorption, reflection, refraction and fluorescence. A surface may absorb part of the light ray, resulting in a loss of intensity of the reflected and/or refracted light. It might also reflect all or part of the light ray, in one or more directions. If the surface has any transparent or translucent properties, it refracts a portion of the light beam into itself in a different direction while absorbing some (or all) of the spectrum (and possibly altering the color). Less commonly, a surface may absorb some portion of the light and fluorescently re-emit the light at a longer wavelength color in a random direction, though this is rare enough that it can be discounted from most rendering applications. Between absorption, reflection, refraction and fluorescence, all of the incoming light must be accounted for, and no more. A surface cannot, for instance, reflect 66% of an incoming light ray, and refract 50%, since the two would add up to be 116%. From here, the reflected and/or refracted rays may strike other surfaces, where their absorptive, refractive, reflective and fluorescent properties again affect the progress of the incoming rays. Some of these rays travel in such a way that they hit our eye, causing us to see the scene and so contribute to the final rendered image.


title: Ray tracing (graphics)

text: The idea behind ray casting, the predecessor to recursive ray tracing, is to trace rays from the eye, one per pixel, and find the closest object blocking the path of that ray. Think of an image as a screen-door, with each square in the screen being a pixel. This is then the object the eye sees through that pixel. Using the material properties and the effect of the lights in the scene, this algorithm can determine the shading of this object. The simplifying assumption is made that if a surface faces a light, the light will reach that surface and not be blocked or in shadow. The shading of the surface is computed using traditional 3D computer graphics shading models. One important advantage ray casting offered over older scanline algorithms was its ability to easily deal with non-planar surfaces and solids, such as cones and spheres. If a mathematical surface can be intersected by a ray, it can be rendered using ray casting. Elaborate objects can be created by using solid modeling techniques and easily rendered.


title: Ray tracing (graphics)

text: In the method of volume ray casting, each ray is traced so that color and/or density can be sampled along the ray and then be combined into a final pixel color.


title: Ray tracing (graphics)

text: This is often used when objects cannot be easily represented by explicit surfaces (such as triangles), for example when rendering clouds or 3D medical scans.


title: Ray tracing (graphics)

text: In SDF ray marching, or sphere tracing, each ray is traced in multiple steps to approximate an intersection point between the ray and a surface defined by a signed distance function (SDF). The SDF is evaluated for each iteration in order to be able take as large steps as possible without missing any part of the surface. A threshold is used to cancel further iteration when a point has reached that is close enough to the surface. This method is often used for 3D fractal rendering.


title: Ray tracing (graphics)

text: Earlier algorithms traced rays from the eye into the scene until they hit an object, but determined the ray color without recursively tracing more rays. Recursive ray tracing continues the process. When a ray hits a surface, additional rays may be cast because of reflection, refraction, and shadow.:


title: Ray tracing (graphics)

text: Ray tracing-based rendering's popularity stems from its basis in a realistic simulation of light transport, as compared to other rendering methods, such as rasterization, which focuses more on the realistic simulation of geometry. Effects such as reflections and shadows, which are difficult to simulate using other algorithms, are a natural result of the ray tracing algorithm. The computational independence of each ray makes ray tracing amenable to a basic level of parallelization, but the divergence of ray paths makes high utilization under parallelism quite difficult to achieve in practice.


title: Ray tracing (graphics)

text: A serious disadvantage of ray tracing is performance (though it can in theory be faster than traditional scanline rendering depending on scene complexity vs. number of pixels on-screen). Until the late 2010s, ray tracing in real time was usually considered impossible on consumer hardware for nontrivial tasks. Scanline algorithms and other algorithms use data coherence to share computations between pixels, while ray tracing normally starts the process anew, treating each eye ray separately. However, this separation offers other advantages, such as the ability to shoot more rays as needed to perform spatial anti-aliasing and improve image quality where needed.


title: Ray tracing (graphics)

text: Although it does handle interreflection and optical effects such as refraction accurately, traditional ray tracing is also not necessarily photorealistic. True photorealism occurs when the rendering equation is closely approximated or fully implemented. Implementing the rendering equation gives true photorealism, as the equation describes every physical effect of light flow. However, this is usually infeasible given the computing resources required.


title: Ray tracing (graphics)

text: The realism of all rendering methods can be evaluated as an approximation to the equation. Ray tracing, if it is limited to Whitted's algorithm, is not necessarily the most realistic. Methods that trace rays, but include additional techniques (photon mapping, path tracing), give a far more accurate simulation of real-world lighting.


title: Ray tracing (graphics)

text: The process of shooting rays from the eye to the light source to render an image is sometimes called "backwards ray tracing", since it is the opposite direction photons actually travel. However, there is confusion with this terminology. Early ray tracing was always done from the eye, and early researchers such as James Arvo used the term "backwards ray tracing" to mean shooting rays from the lights and gathering the results. Therefore, it is clearer to distinguish "eye-based" versus "light-based" ray tracing.


title: Ray tracing (graphics)

text: While the direct illumination is generally best sampled using eye-based ray tracing, certain indirect effects can benefit from rays generated from the lights. Caustics are bright patterns caused by the focusing of light off a wide reflective region onto a narrow area of (near-)diffuse surface. An algorithm that casts rays directly from lights onto reflective objects, tracing their paths to the eye, will better sample this phenomenon. This integration of eye-based and light-based rays is often expressed as bidirectional path tracing, in which paths are traced from both the eye and lights, and the paths subsequently joined by a connecting ray after some length.


title: Ray tracing (graphics)

text: Photon mapping is another method that uses both light-based and eye-based ray tracing; in an initial pass, energetic photons are traced along rays from the light source so as to compute an estimate of radiant flux as a function of 3-dimensional space (the eponymous photon map itself). In a subsequent pass, rays are traced from the eye into the scene to determine the visible surfaces, and the photon map is used to estimate the illumination at the visible surface points. The advantage of photon mapping versus bidirectional path tracing is the ability to achieve significant reuse of photons, reducing computation, at the cost of statistical bias.


title: Ray tracing (graphics)

text: An additional problem occurs when light must pass through a very narrow aperture to illuminate the scene (consider a darkened room, with a door slightly ajar leading to a brightly lit room), or a scene in which most points do not have direct line-of-sight to any light source (such as with ceiling-directed light fixtures or torchieres). In such cases, only a very small subset of paths will transport energy; Metropolis light transport is a method which begins with a random search of the path space, and when energetic paths are found, reuses this information by exploring the nearby space of rays.


title: Ray tracing (graphics)

text: To the right is an image showing a simple example of a path of rays recursively generated from the camera (or eye) to the light source using the above algorithm. A diffuse surface reflects light in all directions.


title: Ray tracing (graphics)

text: First, a ray is created at an eyepoint and traced through a pixel and into the scene, where it hits a diffuse surface. From that surface the algorithm recursively generates a reflection ray, which is traced through the scene, where it hits another diffuse surface. Finally, another reflection ray is generated and traced through the scene, where it hits the light source and is absorbed. The color of the pixel now depends on the colors of the first and second diffuse surface and the color of the light emitted from the light source. For example, if the light source emitted white light and the two diffuse surfaces were blue, then the resulting color of the pixel is blue.


title: Ray tracing (graphics)

text: As a demonstration of the principles involved in ray tracing, consider how one would find the intersection between a ray and a sphere. This is merely the math behind the line–sphere intersection and the subsequent determination of the colour of the pixel being calculated. There is, of course, far more to the general process of ray tracing, but this demonstrates an example of the algorithms used.


title: Ray tracing (graphics)

text: Any point on a ray starting from point formula_39 with direction formula_40 (here formula_40 is a unit vector) can be written as


title: Ray tracing (graphics)

text: where formula_43 is its distance between formula_44 and formula_39. In our problem, we know formula_36, formula_37, formula_39 (e.g. the position of a light source) and formula_40, and we need to find formula_43. Therefore, we substitute for formula_44:


title: Ray tracing (graphics)

text: The two values of formula_59 found by solving this equation are the two ones such that formula_60 are the points where the ray intersects the sphere.


title: Ray tracing (graphics)

text: Any value which is negative does not lie on the ray, but rather in the opposite half-line (i.e. the one starting from formula_39 with opposite direction).


title: Ray tracing (graphics)

text: If the quantity under the square root ( the discriminant ) is negative, then the ray does not intersect the sphere.


title: Ray tracing (graphics)

text: Let us suppose now that there is at least a positive solution, and let formula_59 be the minimal one. In addition, let us suppose that the sphere is the nearest object on our scene intersecting our ray, and that it is made of a reflective material. We need to find in which direction the light ray is reflected. The laws of reflection state that the angle of reflection is equal and opposite to the angle of incidence between the incident ray and the normal to the sphere.


title: Ray tracing (graphics)

text: where formula_64 is the intersection point found before. The reflection direction can be found by a reflection of formula_40 with respect to formula_66, that is


title: Ray tracing (graphics)

text: Now we only need to compute the intersection of the latter ray with our field of view, to get the pixel which our reflected light ray will hit. Lastly, this pixel is set to an appropriate color, taking into account how the color of the original light source and the one of the sphere are combined by the reflection.


title: Ray tracing (graphics)

text: Adaptive depth control means that the renderer stops generating reflected/transmitted rays when the computed intensity becomes less than a certain threshold. There must always be a set maximum depth or else the program would generate an infinite number of rays. But it is not always necessary to go to the maximum depth if the surfaces are not highly reflective. To test for this the ray tracer must compute and keep the product of the global and reflection coefficients as the rays are traced.


title: Ray tracing (graphics)

text: Example: let Kr = 0.5 for a set of surfaces. Then from the first surface the maximum contribution is 0.5, for the reflection from the second: 0.5 × 0.5 = 0.25, the third: 0.25 × 0.5 = 0.125, the fourth: 0.125 × 0.5 = 0.0625, the fifth: 0.0625 × 0.5 = 0.03125, etc. In addition we might implement a distance attenuation factor such as 1/D2, which would also decrease the intensity contribution.


title: Ray tracing (graphics)

text: For a transmitted ray we could do something similar but in that case the distance traveled through the object would cause even faster intensity decrease. As an example of this, Hall & Greenberg found that even for a very reflective scene, using this with a maximum depth of 15 resulted in an average ray tree depth of 1.7.


title: Ray tracing (graphics)

text: Enclosing groups of objects in sets of hierarchical bounding volumes decreases the amount of computations required for ray tracing. A cast ray is first tested for an intersection with the bounding volume, and then if there is an intersection, the volume is recursively divided until the ray hits the object. The best type of bounding volume will be determined by the shape of the underlying object or objects. For example, if the objects are long and thin, then a sphere will enclose mainly empty space compared to a box. Boxes are also easier to generate hierarchical bounding volumes.


title: Ray tracing (graphics)

text: Note that using a hierarchical system like this (assuming it is done carefully) changes the intersection computational time from a linear dependence on the number of objects to something between linear and a logarithmic dependence. This is because, for a perfect case, each intersection test would divide the possibilities by two, and result in a binary tree type structure. Spatial subdivision methods, discussed below, try to achieve this.


title: Ray tracing (graphics)

text: The first implementation of an interactive ray tracer was the LINKS-1 Computer Graphics System built in 1982 at Osaka University's School of Engineering, by professors Ohmura Kouichi, Shirakawa Isao and Kawata Toru with 50 students. It was a massively parallel processing computer system with 514 microprocessors (257 Zilog Z8001s and 257 iAPX 86s), used for rendering realistic 3D computer graphics with high-speed ray tracing. According to the Information Processing Society of Japan: "The core of 3D image rendering is calculating the luminance of each pixel making up a rendered surface from the given viewpoint, light source, and object position. The LINKS-1 system was developed to realize an image rendering methodology in which each pixel could be parallel processed independently using ray tracing. By developing a new software methodology specifically for high-speed image rendering, LINKS-1 was able to rapidly render highly realistic images." It was used to create an early 3D planetarium-like video of the heavens made completely with computer graphics. The video was presented at the Fujitsu pavilion at the 1985 International Exposition in Tsukuba." It was the second system to do so after the Evans & Sutherland Digistar in 1982. The LINKS-1 was reported to be the world's most powerful computer in 1984.


title: Ray tracing (graphics)

text: The earliest public record of "real-time" ray tracing with interactive rendering (i.e., updates greater than a frame per second) was credited at the 2005 SIGGRAPH computer graphics conference as being the REMRT/RT tools developed in 1986 by Mike Muuss for the BRL-CAD solid modeling system. Initially published in 1987 at USENIX, the BRL-CAD ray tracer was an early implementation of a parallel network distributed ray tracing system that achieved several frames per second in rendering performance. This performance was attained by means of the highly optimized yet platform independent LIBRT ray tracing engine in BRL-CAD and by using solid implicit CSG geometry on several shared memory parallel machines over a commodity network. BRL-CAD's ray tracer, including the REMRT/RT tools, continue to be available and developed today as open source software.


title: Ray tracing (graphics)

text: Since then, there have been considerable efforts and research towards implementing ray tracing at real-time speeds for a variety of purposes on stand-alone desktop configurations. These purposes include interactive 3D graphics applications such as demoscene productions, computer and video games, and image rendering. Some real-time software 3D engines based on ray tracing have been developed by hobbyist demo programmers since the late 1990s.


title: Ray tracing (graphics)

text: In 1999 a team from the University of Utah, led by Steven Parker, demonstrated interactive ray tracing live at the 1999 Symposium on Interactive 3D Graphics. They rendered a 35 million sphere model at 512 by 512 pixel resolution, running at approximately 15 frames per second on 60 CPUs.


title: Ray tracing (graphics)

text: The Open RT project included a highly optimized software core for ray tracing along with an OpenGL-like API in order to offer an alternative to the current rasterisation based approach for interactive 3D graphics. Ray tracing hardware, such as the experimental Ray Processing Unit developed by Sven Woop at the Saarland University, has been designed to accelerate some of the computationally intensive operations of ray tracing.


title: Ray tracing (graphics)

text: The idea that video games could ray-trace their graphics in real time received media attention in the late 2000s. During that time, a researcher named Daniel Pohl, under the guidance of graphics professor Philipp Slusallek and in cooperation with the Erlangen University and Saarland University in Germany, equipped "Quake III" and "Quake IV" with an engine he programmed himself, which Saarland University then demonstrated at CeBIT 2007. Intel, a patron of Saarland, became impressed enough that it hired Pohl and embarked on a research program dedicated to ray-traced graphics, which it saw as justifying increasing the number of its processors' cores. On June 12, 2008, Intel demonstrated a special version of "", titled "Quake Wars: Ray Traced", using ray tracing for rendering, running in basic HD (720p) resolution. "ETQW" operated at 14–29 frames per second on a 16-core (4 socket, 4 core) Xeon Tigerton system running at 2.93 GHz.


title: Ray tracing (graphics)

text: At SIGGRAPH 2009, Nvidia announced OptiX, a free API for real-time ray tracing on Nvidia GPUs. The API exposes seven programmable entry points within the ray tracing pipeline, allowing for custom cameras, ray-primitive intersections, shaders, shadowing, etc. This flexibility enables bidirectional path tracing, Metropolis light transport, and many other rendering algorithms that cannot be implemented with tail recursion. OptiX-based renderers are used in Autodesk Arnold, Adobe AfterEffects, Bunkspeed Shot, Autodesk Maya, 3ds max, and many other renderers.


title: Ray tracing (graphics)

text: In 2014, a demo of the PlayStation 4 video game "The Tomorrow Children", developed by Q-Games and Japan Studio, demonstrated new lighting techniques developed by Q-Games, notably cascaded voxel cone ray tracing, which simulates lighting in real-time and uses more realistic reflections rather than screen space reflections.


title: Ray tracing (graphics)

text: Nvidia introduced their GeForce RTX and Quadro RTX GPUs September 2018, based on the Turing architecture that allows for hardware-accelerated ray tracing. The Nvidia hardware uses a separate functional block, publicly called an "RT core". This unit is somewhat comparable to a texture unit in size, latency, and interface to the processor core. The unit features BVH traversal, compressed BVH node decompression, ray-AABB intersection testing, and ray-triangle intersection testing. The GeForce RTX, in the form of models 2080 and 2080 Ti, became the first consumer-oriented brand of graphics card that can process ray tracing in real time, and, in November 2018, Electronic Arts' "Battlefield V" became the first game to take advantage of its ray tracing capabilities, which it achieves via Microsoft's new API, DirectX Raytracing. AMD, which already offered interactive ray tracing on top of OpenCL through its Radeon ProRender, unveiled in October 2020 the Radeon RX 6000 series, its second generation Navi GPUs with support for hardware-accelerated ray tracing at an online event. Subsequent games that render their graphics by such means appeared since, which has been credited to the improvements in hardware and efforts to make more APIs and game engines compatible with the technology. Current home gaming consoles implement dedicated ray tracing hardware components in their GPUs for real-time ray tracing effects, which began with the ninth-generation consoles PlayStation 5, Xbox Series X and Series S.


title: Ray tracing (graphics)

text: Various complexity results have been proven for certain formulations of the ray tracing problem. In particular, if the decision version of the ray tracing problem is defined as follows – given a light ray's initial position and direction and some fixed point, does the ray eventually reach that point, then the referenced paper proves the following results:


title: Ade Edmondson

text: Adrian Charles Edmondson (born 24 January 1957) is an English actor, comedian, musician, writer and television presenter. He was part of the alternative comedy boom in the early 1980s and had roles in the television series "The Young Ones" (1982–1984) and "Bottom" (1991–1995), which he wrote together with his collaborator Rik Mayall. Edmondson also appeared in "The Comic Strip Presents..." series of films throughout the 1980s and 1990s. For one episode of this he created the spoof heavy metal band Bad News, and for another he played his nihilistic alter-ego Eddie Monsoon, an offensive South African television star.


title: Ade Edmondson

text: He played the lead role in the Comic Strip's 1985 feature film, "The Supergrass". In the 2000s, Edmondson appeared in numerous TV programmes in drama roles including "Jonathan Creek", "Holby City", "Miss Austen Regrets", as himself on "Hell's Kitchen" and created the sitcom "Teenage Kicks". Since 2006, Edmondson has concentrated increasingly on music instead of acting. He formed a folk punk band, the Bad Shepherds, singing and playing mandola and mandolin, and performed and wrote for the Bonzo Dog Doo Dah Band. In 2011, he presented a series of shows for ITV: "The Dales", which focused on people working in the Yorkshire Dales, and "Ade in Britain" in which he undertook a tour of numerous places in Britain. In 2013, Edmondson was crowned the winner of "Celebrity Masterchef", and from 2019 to 2020, he appeared in the BBC soap opera "EastEnders" as Daniel Cook. In 2022, he also played Ebenezer Scrooge in the current run of the Royal Shakespeare Company's adaptation of "A Christmas Carol".


title: Ade Edmondson

text: The second of four children, Adrian Charles Edmondson was born on 24 January 1957 in Bradford, West Riding of Yorkshire to Dorothy Eileen Sturgeon (born 1930) and Fred Edmondson (1929–2014). As a child, Edmondson lived with his family in a variety of places including Cyprus, Bahrain, and Uganda, where his father was a teacher in the armed forces. In the mid-1980s, his father became the deputy headmaster at the former Drummond Middle School in Manningham, Bradford. Edmondson attended Pocklington School, East Riding of Yorkshire from 1968 to 1975. In an interview with the "Times Educational Supplement", he stated that he did not enjoy his education at Pocklington.


title: Ade Edmondson

text: Edmondson calculated that during his time at Pocklington, he received a total of 66 strokes of the cane as well as frequent slipperings. By the time he was in sixth form, with his parents working abroad, Edmondson began to enjoy himself, "which involved lots of drinking and smoking and petty acts of vandalism." He made some good friends at the school and had a favourite teacher, Michael Aubrey.


title: Ade Edmondson

text: Aubrey taught English and encouraged Edmondson to pursue drama, casting him in a number of school plays, and allowing him to take time out of other lessons to do drama. After Pocklington, Edmondson went to the University of Manchester to study drama, where he met his future comedy partner Rik Mayall, and graduated with a 2:1 degree. Edmondson and Mayall soon became best friends and before long found work on the burgeoning alternative comedy scene.


title: Ade Edmondson

text: Under the name "20th Century Coyote", Edmondson and Mayall became one of the star attractions at The Comedy Store. As their popularity grew, Edmondson, Mayall and other upcoming comedians, including Nigel Planer, Peter Richardson, Alexei Sayle, and French and Saunders moved from the Comedy Store to The Comic Strip club. The Comic Strip soon gained a reputation as one of the most popular comedy clubs in London and soon came to the attention of Channel 4. Edmondson and the others were commissioned to act in 6 self-contained half-hour films, using the group as comedy actors rather than stand-up performers. The series, titled "The Comic Strip Presents..." debuted on 2 November 1982 (the opening night of Channel 4). The first episode to be broadcast was "Five Go Mad in Dorset", a parody of Enid Blyton's Famous Five, which drew anger from some viewers for the way it mercilessly satirised a children's classic. Edmondson starred as one of the five.