title: High Efficiency Video Coding

text: The design of most video coding standards is primarily aimed at having the highest coding efficiency. Coding efficiency is the ability to encode video at the lowest possible bit rate while maintaining a certain level of video quality. There are two standard ways to measure the coding efficiency of a video coding standard, which are to use an objective metric, such as peak signal-to-noise ratio (PSNR), or to use subjective assessment of video quality. Subjective assessment of video quality is considered to be the most important way to measure a video coding standard since humans perceive video quality subjectively.


title: High Efficiency Video Coding

text: HEVC benefits from the use of larger coding tree unit (CTU) sizes. This has been shown in PSNR tests with a HM-8.0 HEVC encoder where it was forced to use progressively smaller CTU sizes. For all test sequences, when compared with a 64×64 CTU size, it was shown that the HEVC bit rate increased by 2.2% when forced to use a 32×32 CTU size, and increased by 11.0% when forced to use a 16×16 CTU size. In the Class A test sequences, where the resolution of the video was 2560×1600, when compared with a 64×64 CTU size, it was shown that the HEVC bit rate increased by 5.7% when forced to use a 32×32 CTU size, and increased by 28.2% when forced to use a 16×16 CTU size. The tests showed that large CTU sizes increase coding efficiency while also reducing decoding time.


title: High Efficiency Video Coding

text: The HEVC Main Profile (MP) has been compared in coding efficiency to H.264/MPEG-4 AVC High Profile (HP), MPEG-4 Advanced Simple Profile (ASP), H.263 High Latency Profile (HLP), and H.262/MPEG-2 Main Profile (MP). The video encoding was done for entertainment applications and twelve different bitrates were made for the nine video test sequences with a HM-8.0 HEVC encoder being used. Of the nine video test sequences, five were at HD resolution, while four were at WVGA (800×480) resolution. The bit rate reductions for HEVC were determined based on PSNR with HEVC having a bit rate reduction of 35.4% compared with H.264/MPEG-4 AVC HP, 63.7% compared with MPEG-4 ASP, 65.1% compared with H.263 HLP, and 70.8% compared with H.262/MPEG-2 MP.


title: High Efficiency Video Coding

text: HEVC MP has also been compared with H.264/MPEG-4 AVC HP for subjective video quality. The video encoding was done for entertainment applications and four different bitrates were made for nine video test sequences with a HM-5.0 HEVC encoder being used. The subjective assessment was done at an earlier date than the PSNR comparison and so it used an earlier version of the HEVC encoder that had slightly lower performance. The bit rate reductions were determined based on subjective assessment using mean opinion score values. The overall subjective bitrate reduction for HEVC MP compared with H.264/MPEG-4 AVC HP was 49.3%.


title: High Efficiency Video Coding

text: École Polytechnique Fédérale de Lausanne (EPFL) did a study to evaluate the subjective video quality of HEVC at resolutions higher than HDTV. The study was done with three videos with resolutions of 3840×1744 at 24 fps, 3840×2048 at 30 fps, and 3840×2160 at 30 fps. The five second video sequences showed people on a street, traffic, and a scene from the open source computer animated movie "Sintel". The video sequences were encoded at five different bitrates using the HM-6.1.1 HEVC encoder and the JM-18.3 H.264/MPEG-4 AVC encoder. The subjective bit rate reductions were determined based on subjective assessment using mean opinion score values. The study compared HEVC MP with H.264/MPEG-4 AVC HP and showed that, for HEVC MP, the average bitrate reduction based on PSNR was 44.4%, while the average bitrate reduction based on subjective video quality was 66.5%.


title: High Efficiency Video Coding

text: In a HEVC performance comparison released in April 2013, the HEVC MP and Main 10 Profile (M10P) were compared with H.264/MPEG-4 AVC HP and High 10 Profile (H10P) using 3840×2160 video sequences. The video sequences were encoded using the HM-10.0 HEVC encoder and the JM-18.4 H.264/MPEG-4 AVC encoder. The average bit rate reduction based on PSNR was 45% for inter frame video.


title: High Efficiency Video Coding

text: In a video encoder comparison released in December 2013, the HM-10.0 HEVC encoder was compared with the x264 encoder (version r2334) and the VP9 encoder (version v1.2.0-3088-ga81bd12). The comparison used the Bjøntegaard-Delta bit-rate (BD-BR) measurement method, in which negative values tell how much lower the bit rate is reduced, and positive values tell how much the bit rate is increased for the same PSNR. In the comparison, the HM-10.0 HEVC encoder had the highest coding efficiency and, on average, to get the same objective quality, the x264 encoder needed to increase the bit rate by 66.4%, while the VP9 encoder needed to increase the bit rate by 79.4%.


title: High Efficiency Video Coding

text: In a subjective video performance comparison released in May 2014, the JCT-VC compared the HEVC Main profile to the H.264/MPEG-4 AVC High profile. The comparison used mean opinion score values and was conducted by the BBC and the University of the West of Scotland. The video sequences were encoded using the HM-12.1 HEVC encoder and the JM-18.5 H.264/MPEG-4 AVC encoder. The comparison used a range of resolutions and the average bit rate reduction for HEVC was 59%. The average bit rate reduction for HEVC was 52% for 480p, 56% for 720p, 62% for 1080p, and 64% for 4K UHD.


title: High Efficiency Video Coding

text: In a subjective video codec comparison released in August 2014 by the EPFL, the HM-15.0 HEVC encoder was compared with the VP9 1.2.0–5183 encoder and the JM-18.8 H.264/MPEG-4 AVC encoder. Four 4K resolutions sequences were encoded at five different bit rates with the encoders set to use an intra period of one second. In the comparison, the HM-15.0 HEVC encoder had the highest coding efficiency and, on average, for the same subjective quality the bit rate could be reduced by 49.4% compared with the VP9 1.2.0–5183 encoder, and it could be reduced by 52.6% compared with the JM-18.8 H.264/MPEG-4 AVC encoder.


title: High Efficiency Video Coding

text: In August, 2016, Netflix published the results of a large-scale study comparing the leading open-source HEVC encoder, x265, with the leading open-source AVC encoder, x264 and the reference VP9 encoder, libvpx. Using their advanced Video Multimethod Assessment Fusion (VMAF) video quality measurement tool, Netflix found that x265 delivered identical quality at bit rates ranging from 35.4% to 53.3% lower than x264, and from 17.8% to 21.8% lower than VP9.


title: High Efficiency Video Coding

text: HEVC was designed to substantially improve coding efficiency compared with H.264/MPEG-4 AVC HP, i.e. to reduce bitrate requirements by half with comparable image quality, at the expense of increased computational complexity. HEVC was designed with the goal of allowing video content to have a data compression ratio of up to 1000:1. Depending on the application requirements, HEVC encoders can trade off computational complexity, compression rate, robustness to errors, and encoding delay time. Two of the key features where HEVC was improved compared with H.264/MPEG-4 AVC was support for higher resolution video and improved parallel processing methods.


title: High Efficiency Video Coding

text: HEVC is targeted at next-generation HDTV displays and content capture systems which feature progressive scanned frame rates and display resolutions from QVGA (320×240) to 4320p (7680×4320), as well as improved picture quality in terms of noise level, color spaces, and dynamic range.


title: High Efficiency Video Coding

text: The HEVC video coding layer uses the same "hybrid" approach used in all modern video standards, starting from H.261, in that it uses inter-/intra-picture prediction and 2D transform coding. A HEVC encoder first proceeds by splitting a picture into block shaped regions for the first picture, or the first picture of a random access point, which uses intra-picture prediction. Intra-picture prediction is when the prediction of the blocks in the picture is based only on the information in that picture. For all other pictures, inter-picture prediction is used, in which prediction information is used from other pictures. After the prediction methods are finished and the picture goes through the loop filters, the final picture representation is stored in the decoded picture buffer. Pictures stored in the decoded picture buffer can be used for the prediction of other pictures.


title: High Efficiency Video Coding

text: HEVC was designed with the idea that progressive scan video would be used and no coding tools were added specifically for interlaced video. Interlace specific coding tools, such as MBAFF and PAFF, are not supported in HEVC. HEVC instead sends metadata that tells how the interlaced video was sent. Interlaced video may be sent either by coding each frame as a separate picture or by coding each field as a separate picture. For interlaced video HEVC can change between frame coding and field coding using Sequence Adaptive Frame Field (SAFF), which allows the coding mode to be changed for each video sequence. This allows interlaced video to be sent with HEVC without needing special interlaced decoding processes to be added to HEVC decoders.


title: High Efficiency Video Coding

text: The HEVC standard supports color spaces such as generic film, NTSC, PAL, Rec. 601, Rec. 709, Rec. 2020, Rec. 2100, SMPTE 170M, SMPTE 240M, sRGB, sYCC, xvYCC, XYZ, and externally specified color spaces. HEVC supports color encoding representations such as RGB, YCbCr, and YCoCg.


title: High Efficiency Video Coding

text: HEVC replaces 16×16 pixel macroblocks, which were used with previous standards, with coding tree units (CTUs) which can use larger block structures of up to 64×64 samples and can better sub-partition the picture into variable sized structures. HEVC initially divides the picture into CTUs which can be 64×64, 32×32, or 16×16 with a larger pixel block size usually increasing the coding efficiency.


title: High Efficiency Video Coding

text: HEVC specifies four transform units (TUs) sizes of 4×4, 8×8, 16×16, and 32×32 to code the prediction residual. A CTB may be recursively partitioned into 4 or more TUs. TUs use integer basis functions based on the discrete cosine transform (DCT). In addition, 4×4 luma transform blocks that belong to an intra coded region are transformed using an integer transform that is derived from discrete sine transform (DST). This provides a 1% bit rate reduction but was restricted to 4×4 luma transform blocks due to marginal benefits for the other transform cases. Chroma uses the same TU sizes as luma so there is no 2×2 transform for chroma.


title: High Efficiency Video Coding

text: HEVC uses a context-adaptive binary arithmetic coding (CABAC) algorithm that is fundamentally similar to CABAC in H.264/MPEG-4 AVC. CABAC is the only entropy encoder method that is allowed in HEVC while there are two entropy encoder methods allowed by H.264/MPEG-4 AVC. CABAC and the entropy coding of transform coefficients in HEVC were designed for a higher throughput than H.264/MPEG-4 AVC, while maintaining higher compression efficiency for larger transform block sizes relative to simple extensions. For instance, the number of context coded bins have been reduced by 8× and the CABAC bypass-mode has been improved in terms of its design to increase throughput. Another improvement with HEVC is that the dependencies between the coded data has been changed to further increase throughput. Context modeling in HEVC has also been improved so that CABAC can better select a context that increases efficiency when compared with H.264/MPEG-4 AVC.


title: High Efficiency Video Coding

text: HEVC specifies 33 directional modes for intra prediction compared with the 8 directional modes for intra prediction specified by H.264/MPEG-4 AVC. HEVC also specifies DC intra prediction and planar prediction modes. The DC intra prediction mode generates a mean value by averaging reference samples and can be used for flat surfaces. The planar prediction mode in HEVC supports all block sizes defined in HEVC while the planar prediction mode in H.264/MPEG-4 AVC is limited to a block size of 16×16 pixels. The intra prediction modes use data from neighboring prediction blocks that have been previously decoded from within the same picture.


title: High Efficiency Video Coding

text: For the interpolation of fractional luma sample positions HEVC uses separable application of one-dimensional half-sample interpolation with an 8-tap filter or quarter-sample interpolation with a 7-tap filter while, in comparison, H.264/MPEG-4 AVC uses a two-stage process that first derives values at half-sample positions using separable one-dimensional 6-tap interpolation followed by integer rounding and then applies linear interpolation between values at nearby half-sample positions to generate values at quarter-sample positions. HEVC has improved precision due to the longer interpolation filter and the elimination of the intermediate rounding error. For 4:2:0 video, the chroma samples are interpolated with separable one-dimensional 4-tap filtering to generate eighth-sample precision, while in comparison H.264/MPEG-4 AVC uses only a 2-tap bilinear filter (also with eighth-sample precision).


title: High Efficiency Video Coding

text: As in H.264/MPEG-4 AVC, weighted prediction in HEVC can be used either with uni-prediction (in which a single prediction value is used) or bi-prediction (in which the prediction values from two prediction blocks are combined).


title: High Efficiency Video Coding

text: HEVC defines a signed 16-bit range for both horizontal and vertical motion vectors (MVs). This was added to HEVC at the July 2012 HEVC meeting with the mvLX variables. HEVC horizontal/vertical MVs have a range of −32768 to 32767 which given the quarter pixel precision used by HEVC allows for a MV range of −8192 to 8191.75 luma samples. This compares to H.264/MPEG-4 AVC which allows for a horizontal MV range of −2048 to 2047.75 luma samples and a vertical MV range of −512 to 511.75 luma samples.


title: High Efficiency Video Coding

text: HEVC allows for two MV modes which are Advanced Motion Vector Prediction (AMVP) and merge mode. AMVP uses data from the reference picture and can also use data from adjacent prediction blocks. The merge mode allows for the MVs to be inherited from neighboring prediction blocks. Merge mode in HEVC is similar to "skipped" and "direct" motion inference modes in H.264/MPEG-4 AVC but with two improvements. The first improvement is that HEVC uses index information to select one of several available candidates. The second improvement is that HEVC uses information from the reference picture list and reference picture index.


title: High Efficiency Video Coding

text: HEVC specifies two loop filters that are applied sequentially, with the deblocking filter (DBF) applied first and the sample adaptive offset (SAO) filter applied afterwards. Both loop filters are applied in the inter-picture prediction loop, i.e. the filtered image is stored in the decoded picture buffer (DPB) as a reference for inter-picture prediction.


title: High Efficiency Video Coding

text: The DBF is similar to the one used by H.264/MPEG-4 AVC but with a simpler design and better support for parallel processing. In HEVC the DBF only applies to a 8×8 sample grid while with H.264/MPEG-4 AVC the DBF applies to a 4×4 sample grid. DBF uses a 8×8 sample grid since it causes no noticeable degradation and significantly improves parallel processing because the DBF no longer causes cascading interactions with other operations. Another change is that HEVC only allows for three DBF strengths of 0 to 2. HEVC also requires that the DBF first apply horizontal filtering for vertical edges to the picture and only after that does it apply vertical filtering for horizontal edges to the picture. This allows for multiple parallel threads to be used for the DBF.


title: High Efficiency Video Coding

text: The SAO filter is applied after the DBF and is designed to allow for better reconstruction of the original signal amplitudes by applying offsets stored in a lookup table in the bitstream. Per CTB the SAO filter can be disabled or applied in one of two modes: edge offset mode or band offset mode. The edge offset mode operates by comparing the value of a sample to two of its eight neighbors using one of four directional gradient patterns. Based on a comparison with these two neighbors, the sample is classified into one of five categories: minimum, maximum, an edge with the sample having the lower value, an edge with the sample having the higher value, or monotonic. For each of the first four categories an offset is applied. The band offset mode applies an offset based on the amplitude of a single sample. A sample is categorized by its amplitude into one of 32 bands (histogram bins). Offsets are specified for four consecutive of the 32 bands, because in flat areas which are prone to banding artifacts, sample amplitudes tend to be clustered in a small range. The SAO filter was designed to increase picture quality, reduce banding artifacts, and reduce ringing artifacts.


title: High Efficiency Video Coding

text: Range extensions in MPEG are additional profiles, levels, and techniques that support needs beyond consumer video playback:


title: High Efficiency Video Coding

text: Within these new profiles came enhanced coding features, many of which support efficient screen encoding or high-speed processing:


title: High Efficiency Video Coding

text: Additional coding tool options have been added in the March 2016 draft of the screen content coding (SCC) extensions:


title: High Efficiency Video Coding

text: The ITU-T version of the standard that added the SCC extensions (approved in December 2016 and published in March 2017) added support for the hybrid log–gamma (HLG) transfer function and the ICtCp color matrix. This allows the fourth version of HEVC to support both of the HDR transfer functions defined in Rec. 2100.


title: High Efficiency Video Coding

text: The fourth version of HEVC adds several supplemental enhancement information (SEI) messages which include:


title: High Efficiency Video Coding

text: Version 1 of the HEVC standard defines three profiles: Main, Main 10, and Main Still Picture. Version 2 of HEVC adds 21 range extensions profiles, two scalable extensions profiles, and one multi-view profile. HEVC also contains provisions for additional profiles. Extensions that were added to HEVC include increased bit depth, 4:2:2/4:4:4 chroma sampling, Multiview Video Coding (MVC), and Scalable Video Coding (SVC). The HEVC range extensions, HEVC scalable extensions, and HEVC multi-view extensions were completed in July 2014. In July 2014 a draft of the second version of HEVC was released. Screen content coding (SCC) extensions were under development for screen content video, which contains text and graphics, with an expected final draft release date of 2015.


title: High Efficiency Video Coding

text: A profile is a defined set of coding tools that can be used to create a bitstream that conforms to that profile. An encoder for a profile may choose which coding tools to use as long as it generates a conforming bitstream while a decoder for a profile must support all coding tools that can be used in that profile.


title: High Efficiency Video Coding

text: The Main profile allows for a bit depth of 8 bits per sample with 4:2:0 chroma sampling, which is the most common type of video used with consumer devices.


title: High Efficiency Video Coding

text: The Main 10 profile was added at the October 2012 HEVC meeting based on proposal JCTVC-K0109 which proposed that a 10-bit profile be added to HEVC for consumer applications. The proposal said this was to allow for improved video quality and to support the Rec. 2020 color space that has become widely used in UHDTV systems and to be able to deliver higher dynamic range and color fidelity avoiding the banding artifacts. A variety of companies supported the proposal which included Ateme, BBC, BSkyB, Cisco, DirecTV, Ericsson, Motorola Mobility, NGCodec, NHK, RAI, ST, SVT, Thomson Video Networks, Technicolor, and ViXS Systems.


title: High Efficiency Video Coding

text: The Main 10 profile allows for a bit depth of 8 to 10 bits per sample with 4:2:0 chroma sampling. HEVC decoders that conform to the Main 10 profile must be capable of decoding bitstreams made with the following profiles: Main and Main 10. A higher bit depth allows for a greater number of colors. 8 bits per sample allows for 256 shades per primary color (a total of 16.78 million colors) while 10 bits per sample allows for 1024 shades per primary color (a total of 1.07 billion colors). A higher bit depth allows for a smoother transition of color which resolves the problem known as color banding.


title: High Efficiency Video Coding

text: The Main 10 profile allows for improved video quality since it can support video with a higher bit depth than what is supported by the Main profile. Additionally, in the Main 10 profile 8-bit video can be coded with a higher bit depth of 10 bits, which allows improved coding efficiency compared to the Main profile.


title: High Efficiency Video Coding

text: Ericsson said the Main 10 profile would bring the benefits of 10 bits per sample video to consumer TV. They also said that for higher resolutions there is no bit rate penalty for encoding video at 10 bits per sample. Imagination Technologies said that 10-bit per sample video would allow for larger color spaces and is required for the Rec. 2020 color space that will be used by UHDTV. They also said the Rec. 2020 color space would drive the widespread adoption of 10-bit-per-sample video.


title: High Efficiency Video Coding

text: In a PSNR based performance comparison released in April 2013 the Main 10 profile was compared to the Main profile using a set of 3840×2160 10-bit video sequences. The 10-bit video sequences were converted to 8 bits for the Main profile and remained at 10 bits for the Main 10 profile. The reference PSNR was based on the original 10-bit video sequences. In the performance comparison the Main 10 profile provided a 5% bit rate reduction for inter frame video coding compared to the Main profile. The performance comparison states that for the tested video sequences the Main 10 profile outperformed the Main profile.


title: High Efficiency Video Coding

text: The Main Still Picture profile allows for a single still picture to be encoded with the same constraints as the Main profile. As a subset of the Main profile the Main Still Picture profile allows for a bit depth of 8 bits per sample with 4:2:0 chroma sampling. An objective performance comparison was done in April 2012 in which HEVC reduced the average bit rate for images by 56% compared to JPEG. A PSNR based performance comparison for still image compression was done in May 2012 using the HEVC HM 6.0 encoder and the reference software encoders for the other standards. For still images HEVC reduced the average bit rate by 15.8% compared to H.264/MPEG-4 AVC, 22.6% compared to JPEG 2000, 30.0% compared to JPEG XR, 31.0% compared to WebP, and 43.0% compared to JPEG.


title: High Efficiency Video Coding

text: A performance comparison for still image compression was done in January 2013 using the HEVC HM 8.0rc2 encoder, Kakadu version 6.0 for JPEG 2000, and IJG version 6b for JPEG. The performance comparison used PSNR for the objective assessment and mean opinion score (MOS) values for the subjective assessment. The subjective assessment used the same test methodology and images as those used by the JPEG committee when it evaluated JPEG XR. For 4:2:0 chroma sampled images the average bit rate reduction for HEVC compared to JPEG 2000 was 20.26% for PSNR and 30.96% for MOS while compared to JPEG it was 61.63% for PSNR and 43.10% for MOS.


title: High Efficiency Video Coding

text: A PSNR based HEVC performance comparison for still image compression was done in April 2013 by Nokia. HEVC has a larger performance improvement for higher resolution images than lower resolution images and a larger performance improvement for lower bit rates than higher bit rates. For lossy compression to get the same PSNR as HEVC took on average 1.4× more bits with JPEG 2000, 1.6× more bits with JPEG-XR, and 2.3× more bits with JPEG.


title: High Efficiency Video Coding

text: A compression efficiency study of HEVC, JPEG, JPEG XR, and WebP was done in October 2013 by Mozilla. The study showed that HEVC was significantly better at compression than the other image formats that were tested. Four different methods for comparing image quality were used in the study which were Y-SSIM, RGB-SSIM, IW-SSIM, and PSNR-HVS-M.


title: High Efficiency Video Coding

text: Version 2 of HEVC adds 21 range extensions profiles, two scalable extensions profiles, and one multi-view profile: Monochrome, Monochrome 12, Monochrome 16, Main 12, Main 4:2:2 10, Main 4:2:2 12, Main 4:4:4, Main 4:4:4 10, Main 4:4:4 12, Monochrome 12 Intra, Monochrome 16 Intra, Main 12 Intra, Main 4:2:2 10 Intra, Main 4:2:2 12 Intra, Main 4:4:4 Intra, Main 4:4:4 10 Intra, Main 4:4:4 12 Intra, Main 4:4:4 16 Intra, Main 4:4:4 Still Picture, Main 4:4:4 16 Still Picture, High Throughput 4:4:4 16 Intra, Scalable Main, Scalable Main 10, and Multiview Main. All of the inter frame range extensions profiles have an Intra profile.


title: High Efficiency Video Coding

text: The Monochrome profile allows for a bit depth of 8 bits per sample with support for 4:0:0 chroma sampling.


title: High Efficiency Video Coding

text: The Monochrome 12 profile allows for a bit depth of 8 bits to 12 bits per sample with support for 4:0:0 chroma sampling.


title: High Efficiency Video Coding

text: The Monochrome 16 profile allows for a bit depth of 8 bits to 16 bits per sample with support for 4:0:0 chroma sampling. HEVC decoders that conform to the Monochrome 16 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Monochrome 12, and Monochrome 16.


title: High Efficiency Video Coding

text: The Main 12 profile allows for a bit depth of 8 bits to 12 bits per sample with support for 4:0:0 and 4:2:0 chroma sampling. HEVC decoders that conform to the Main 12 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Monochrome 12, Main, Main 10, and Main 12.


title: High Efficiency Video Coding

text: The Main 4:2:2 10 profile allows for a bit depth of 8 bits to 10 bits per sample with support for 4:0:0, 4:2:0, and 4:2:2 chroma sampling. HEVC decoders that conform to the Main 4:2:2 10 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, and Main 4:2:2 10.


title: High Efficiency Video Coding

text: The Main 4:2:2 12 profile allows for a bit depth of 8 bits to 12 bits per sample with support for 4:0:0, 4:2:0, and 4:2:2 chroma sampling. HEVC decoders that conform to the Main 4:2:2 12 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Monochrome 12, Main, Main 10, Main 12, Main 4:2:2 10, and Main 4:2:2 12.


title: High Efficiency Video Coding

text: The Main 4:4:4 profile allows for a bit depth of 8 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. HEVC decoders that conform to the Main 4:4:4 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, and Main 4:4:4.


title: High Efficiency Video Coding

text: The Main 4:4:4 10 profile allows for a bit depth of 8 bits to 10 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. HEVC decoders that conform to the Main 4:4:4 10 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, Main 4:2:2 10, Main 4:4:4, and Main 4:4:4 10.


title: High Efficiency Video Coding

text: The Main 4:4:4 12 profile allows for a bit depth of 8 bits to 12 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. HEVC decoders that conform to the Main 4:4:4 12 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, Main 12, Main 4:2:2 10, Main 4:2:2 12, Main 4:4:4, Main 4:4:4 10, Main 4:4:4 12, and Monochrome 12.


title: High Efficiency Video Coding

text: The Main 4:4:4 16 Intra profile allows for a bit depth of 8 bits to 16 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. HEVC decoders that conform to the Main 4:4:4 16 Intra profile must be capable of decoding bitstreams made with the following profiles: Monochrome Intra, Monochrome 12 Intra, Monochrome 16 Intra, Main Intra, Main 10 Intra, Main 12 Intra, Main 4:2:2 10 Intra, Main 4:2:2 12 Intra, Main 4:4:4 Intra, Main 4:4:4 10 Intra, and Main 4:4:4 12 Intra.


title: High Efficiency Video Coding

text: The High Throughput 4:4:4 16 Intra profile allows for a bit depth of 8 bits to 16 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The High Throughput 4:4:4 16 Intra profile has an HbrFactor 12 times higher than other HEVC profiles allowing it to have a maximum bit rate 12 times higher than the Main 4:4:4 16 Intra profile. The High Throughput 4:4:4 16 Intra profile is designed for high end professional content creation and decoders for this profile are not required to support other profiles.


title: High Efficiency Video Coding

text: The Main 4:4:4 Still Picture profile allows for a single still picture to be encoded with the same constraints as the Main 4:4:4 profile. As a subset of the Main 4:4:4 profile the Main 4:4:4 Still Picture profile allows for a bit depth of 8 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling.


title: High Efficiency Video Coding

text: The Main 4:4:4 16 Still Picture profile allows for a single still picture to be encoded with the same constraints as the Main 4:4:4 16 Intra profile. As a subset of the Main 4:4:4 16 Intra profile the Main 4:4:4 16 Still Picture profile allows for a bit depth of 8 bits to 16 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling.


title: High Efficiency Video Coding

text: Version 3 of HEVC added one 3D profile: 3D Main. The February 2016 draft of the screen content coding extensions added seven screen content coding extensions profiles, three high throughput extensions profiles, and four scalable extensions profiles: Screen-Extended Main, Screen-Extended Main 10, Screen-Extended Main 4:4:4, Screen-Extended Main 4:4:4 10, Screen-Extended High Throughput 4:4:4, Screen-Extended High Throughput 4:4:4 10, Screen-Extended High Throughput 4:4:4 14, High Throughput 4:4:4, High Throughput 4:4:4 10, High Throughput 4:4:4 14, Scalable Monochrome, Scalable Monochrome 12, Scalable Monochrome 16, and Scalable Main 4:4:4.


title: High Efficiency Video Coding

text: The Screen-Extended Main profile allows for a bit depth of 8 bits per sample with support for 4:0:0 and 4:2:0 chroma sampling. HEVC decoders that conform to the Screen-Extended Main profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, and Screen-Extended Main.


title: High Efficiency Video Coding

text: The Screen-Extended Main 10 profile allows for a bit depth of 8 bits to 10 bits per sample with support for 4:0:0 and 4:2:0 chroma sampling. HEVC decoders that conform to the Screen-Extended Main 10 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, Screen-Extended Main, and Screen-Extended Main 10.


title: High Efficiency Video Coding

text: The Screen-Extended Main 4:4:4 profile allows for a bit depth of 8 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. HEVC decoders that conform to the Screen-Extended Main 4:4:4 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 4:4:4, Screen-Extended Main, and Screen-Extended Main 4:4:4.


title: High Efficiency Video Coding

text: The Screen-Extended Main 4:4:4 10 profile allows for a bit depth of 8 bits to 10 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. HEVC decoders that conform to the Screen-Extended Main 4:4:4 10 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, Main 4:2:2 10, Main 4:4:4, Main 4:4:4 10, Screen-Extended Main, Screen-Extended Main 10, Screen-Extended Main 4:4:4, and Screen-Extended Main 4:4:4 10.


title: High Efficiency Video Coding

text: The Screen-Extended High Throughput 4:4:4 profile allows for a bit depth of 8 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The Screen-Extended High Throughput 4:4:4 profile has an HbrFactor 6 times higher than most inter frame HEVC profiles allowing it to have a maximum bit rate 6 times higher than the Main 4:4:4 profile. HEVC decoders that conform to the Screen-Extended High Throughput 4:4:4 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 4:4:4, Screen-Extended Main, Screen-Extended Main 4:4:4, Screen-Extended High Throughput 4:4:4, and High Throughput 4:4:4.


title: High Efficiency Video Coding

text: The Screen-Extended High Throughput 4:4:4 10 profile allows for a bit depth of 8 bits to 10 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The Screen-Extended High Throughput 4:4:4 10 profile has an HbrFactor 6 times higher than most inter frame HEVC profiles allowing it to have a maximum bit rate 6 times higher than the Main 4:4:4 10 profile. HEVC decoders that conform to the Screen-Extended High Throughput 4:4:4 10 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, Main 4:2:2 10, Main 4:4:4, Main 4:4:4 10, Screen-Extended Main, Screen-Extended Main 10, Screen-Extended Main 4:4:4, Screen-Extended Main 4:4:4 10, Screen-Extended High Throughput 4:4:4, Screen-Extended High Throughput 4:4:4 10, High Throughput 4:4:4, and High Throughput 4:4:4.


title: High Efficiency Video Coding

text: The Screen-Extended High Throughput 4:4:4 14 profile allows for a bit depth of 8 bits to 14 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The Screen-Extended High Throughput 4:4:4 14 profile has an HbrFactor 6 times higher than most inter frame HEVC profiles. HEVC decoders that conform to the Screen-Extended High Throughput 4:4:4 14 profile must be capable of decoding bitstreams made with the following profiles: Monochrome, Main, Main 10, Main 4:2:2 10, Main 4:4:4, Main 4:4:4 10, Screen-Extended Main, Screen-Extended Main 10, Screen-Extended Main 4:4:4, Screen-Extended Main 4:4:4 10, Screen-Extended High Throughput 4:4:4, Screen-Extended High Throughput 4:4:4 10, Screen-Extended High Throughput 4:4:4 14, High Throughput 4:4:4, High Throughput 4:4:4 10, and High Throughput 4:4:4 14.


title: High Efficiency Video Coding

text: The High Throughput 4:4:4 profile allows for a bit depth of 8 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The High Throughput 4:4:4 profile has an HbrFactor 6 times higher than most inter frame HEVC profiles allowing it to have a maximum bit rate 6 times higher than the Main 4:4:4 profile. HEVC decoders that conform to the High Throughput 4:4:4 profile must be capable of decoding bitstreams made with the following profiles: High Throughput 4:4:4.


title: High Efficiency Video Coding

text: The High Throughput 4:4:4 10 profile allows for a bit depth of 8 bits to 10 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The High Throughput 4:4:4 10 profile has an HbrFactor 6 times higher than most inter frame HEVC profiles allowing it to have a maximum bit rate 6 times higher than the Main 4:4:4 10 profile. HEVC decoders that conform to the High Throughput 4:4:4 10 profile must be capable of decoding bitstreams made with the following profiles: High Throughput 4:4:4 and High Throughput 4:4:4 10.


title: High Efficiency Video Coding

text: The High Throughput 4:4:4 14 profile allows for a bit depth of 8 bits to 14 bits per sample with support for 4:0:0, 4:2:0, 4:2:2, and 4:4:4 chroma sampling. The High Throughput 4:4:4 14 profile has an HbrFactor 6 times higher than most inter frame HEVC profiles. HEVC decoders that conform to the High Throughput 4:4:4 14 profile must be capable of decoding bitstreams made with the following profiles: High Throughput 4:4:4, High Throughput 4:4:4 10, and High Throughput 4:4:4 14.


title: High Efficiency Video Coding

text: The Scalable Monochrome profile allows for a base layer that conforms to the Monochrome profile of HEVC.


title: High Efficiency Video Coding

text: The Scalable Monochrome 12 profile allows for a base layer that conforms to the Monochrome 12 profile of HEVC.


title: High Efficiency Video Coding

text: The Scalable Monochrome 16 profile allows for a base layer that conforms to the Monochrome 16 profile of HEVC.


title: High Efficiency Video Coding

text: The Scalable Main 4:4:4 profile allows for a base layer that conforms to the Main 4:4:4 profile of HEVC.


title: High Efficiency Video Coding

text: The HEVC standard defines two tiers, Main and High, and thirteen levels. A level is a set of constraints for a bitstream. For levels below level 4 only the Main tier is allowed. The Main tier is a lower tier than the High tier. The tiers were made to deal with applications that differ in terms of their maximum bit rate. The Main tier was designed for most applications while the High tier was designed for very demanding applications. A decoder that conforms to a given tier/level is required to be capable of decoding all bitstreams that are encoded for that tier/level and for all lower tiers/levels.


title: High Efficiency Video Coding

text: Previously decoded pictures are stored in a decoded picture buffer (DPB), and are used by HEVC encoders to form predictions for subsequent pictures. The maximum number of pictures that can be stored in the DPB, called the DPB capacity, is 6 (including the current picture) for all HEVC levels when operating at the maximum picture size supported by the level. The DPB capacity (in units of pictures) increases from 6 to 8, 12, or 16 as the picture size decreases from the maximum picture size supported by the level. The encoder selects which specific pictures are retained in the DPB on a picture-by-picture basis, so the encoder has the flexibility to determine for itself the best way to use the DPB capacity when encoding the video content.


title: High Efficiency Video Coding

text: MPEG has published an amendment which added HEVC support to the MPEG transport stream used by ATSC, DVB, and Blu-ray Disc; MPEG decided not to update the MPEG program stream used by DVD-Video. MPEG has also added HEVC support to the ISO base media file format. HEVC is also supported by the MPEG media transport standard. Support for HEVC was added to Matroska starting with the release of MKVToolNix v6.8.0 after a patch from DivX was merged. A draft document has been submitted to the Internet Engineering Task Force which describes a method to add HEVC support to the Real-time Transport Protocol.


title: High Efficiency Video Coding

text: Using HEVC's intra frame encoding, a still-image coded format called Better Portable Graphics (BPG) has been proposed by the programmer Fabrice Bellard. It is essentially a wrapper for images coded using the HEVC Main 4:4:4 16 Still Picture profile with up to 14 bits per sample, although it uses an abbreviated header syntax and adds explicit support for Exif, ICC profiles, and XMP metadata.


title: High Efficiency Video Coding

text: As with its predecessor AVC, software distributors that implement HEVC in products must pay a price per distributed copy. While this licensing model is unproblematic for paid software, it is an obstacle to most free and open-source software, which is meant to be freely distributable. In the opinion of MulticoreWare, the developer of x265, enabling royalty-free software encoders and decoders is in the interest of accelerating HEVC adoption. HEVC Advance made an exception that specifically waives the royalties on software-only implementations (both decoders and encoders) when not bundled with hardware. However, the exempted software is not free from the licensing obligations of other patent holders (e.g. members of the MPEG LA pool).


title: High Efficiency Video Coding

text: While the obstacle to free software is no concern in for example TV broadcast networks, this problem, combined with the prospect of future collective lock-in to the format, makes several organizations like Mozilla (see OpenH264) and the Free Software Foundation Europe wary of royalty-bearing formats for internet use. Competing formats intended for internet use (VP9 and AV1) are intended to steer clear of these concerns by being royalty free (provided there are no third-party claims of patent rights).


title: High Efficiency Video Coding

text: In October 2015, MPEG and VCEG formed Joint Video Exploration Team (JVET) to evaluate available compression technologies and study the requirements for a next-generation video compression standard. The new algorithm should have 30–50% better compression rate for the same perceptual quality, with support for lossless and subjectively lossless compression. It should also support YCbCr 4:4:4, 4:2:2 and 4:2:0 with 10 to 16 bits per component, BT.2100 wide color gamut and high dynamic range (HDR) of more than 16 stops (with peak brightness of 1000, 4000 and 10000 nits), auxiliary channels (for depth, transparency, etc.), variable and fractional frame rates from 0 to 120 Hz, scalable video coding for temporal (frame rate), spatial (resolution), SNR, color gamut and dynamic range differences, stereo/multiview coding, panoramic formats, and still picture coding. Encoding complexity of 10 times that of HEVC is expected. JVET issued a final "Call for Proposals" in October 2017, with the first working draft of the Versatile Video Coding (VVC) standard released in April 2018. The VVC standard was finalized on 6 July 2020.


title: Scott Joplin

text: Scott Joplin ( 1868 – April 1, 1917) was an American composer and pianist. Because of the fame achieved for his ragtime compositions, he was dubbed the "King of Ragtime." During his career, he wrote over 40 original ragtime pieces, one ragtime ballet, and two operas. One of his first and most popular pieces, the "Maple Leaf Rag", became the genre's first and most influential hit, later being recognized as the archetypal rag. Joplin considered ragtime to be a form of classical music and largely disdained the practice of ragtime such as that in honky tonk.


title: Scott Joplin

text: Joplin grew up in a musical family of railway laborers in Texarkana, Arkansas, developing his own musical knowledge with the help of local teachers. While in Texarkana, he formed a vocal quartet and taught mandolin and guitar. During the late 1880s, he left his job as a railroad laborer and traveled the American South as an itinerant musician. He went to Chicago for the World's Fair of 1893, which played a major part in making ragtime a national craze by 1897.


title: Scott Joplin

text: Joplin moved to Sedalia, Missouri, in 1894 and earned a living as a piano teacher. There he taught future ragtime composers Arthur Marshall, Scott Hayden and Brun Campbell. He began publishing music in 1895, and publication of his "Maple Leaf Rag" in 1899 brought him fame. This piece had a profound influence on writers of ragtime. It also brought Joplin a steady income for life. In 1901, Joplin moved to St. Louis, where he continued to compose and publish and regularly performed in the community. The score to his first opera, "A Guest of Honor", was confiscated—along with his belongings—in 1903 for non-payment of bills, (likely as a result of being robbed) and is now considered lost.


title: Scott Joplin

text: In 1907, Joplin moved to New York City to find a producer for a new opera. He attempted to go beyond the limitations of the musical form that had made him famous but without much monetary success. His second opera, "Treemonisha", was never fully staged during his life. In 1916, Joplin descended into dementia as a result of neurosyphilis. In February 1917, he was admitted to a mental asylum and died there three months later at the age of 48. Joplin's death is widely considered to mark the end of ragtime as a mainstream music format; over the next several years, it evolved with other styles into stride, jazz and, eventually, swing.


title: Scott Joplin

text: Joplin's music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album recorded by Joshua Rifkin. This was followed by the Academy Award–winning 1973 film "The Sting", which featured several of Joplin's compositions, most notably "The Entertainer", a piece performed by pianist Marvin Hamlisch that received wide airplay. "Treemonisha" was finally produced in full, to wide acclaim, in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.


title: Scott Joplin

text: Joplin was the second of six children born to Giles Joplin, a former slave from North Carolina, and Florence Givens, a freeborn African-American woman from Kentucky. His birth date was accepted by early biographers Rudi Blesh and James Haskins as November 24, 1868, although later biographer Edward A. Berlin showed this was "almost certainly incorrect". There is disagreement over his exact place of birth in Texas, with Blesh identifying Texarkana, and Berlin showing the earliest record of Joplin being the June 1870 census which locates him in Linden, as a two-year-old.


title: Scott Joplin

text: By 1880, the Joplins moved to Texarkana, Arkansas, where Giles worked as a railroad laborer and Florence as a cleaner. As Joplin's father had played the violin for plantation parties in North Carolina and his mother sang and played the banjo, Joplin was given a rudimentary musical education by his family, and from the age of seven he was allowed to play the piano while his mother cleaned.


title: Scott Joplin

text: At some point in the early 1880s, Giles Joplin left the family for another woman and Florence struggled to support her children through domestic work. Biographer Susan Curtis speculates that Florence's support of her son's musical education was a critical factor behind her separation from Giles, who wanted the boy to pursue practical employment that would supplement the family income.


title: Scott Joplin

text: According to a family friend, the young Joplin was serious and ambitious studying music and playing the piano after school. While a few local teachers aided him, he received most of his musical education from Julius Weiss, a German-born American Jewish music professor who had immigrated to Texas in the late 1860s and was employed as music tutor by a prominent local business family. Weiss, as described by "San Diego Jewish World" writer Eric George Tauber, "was no stranger to [receiving] race hatred...As a Jew in Germany, he was often slapped and called a 'Christ-killer. Weiss had studied music at a German university and was listed in town records as a professor of music. Impressed by Joplin's talent, and realizing the Joplin family's dire straits, Weiss taught him free of charge. While tutoring Joplin from the ages of 11 to 16, Weiss introduced him to folk and classical music, including opera. Weiss helped Joplin appreciate music as an "art as well as an entertainment" and helped Florence acquire a used piano. According to Joplin's widow Lottie, Joplin never forgot Weiss. In his later years, after achieving fame as a composer, Joplin sent his former teacher "gifts of money when he was old and ill" until Weiss died. At the age of 16, Joplin performed in a vocal quartet with three other boys in and around Texarkana, also playing piano. He also taught guitar and mandolin.


title: Scott Joplin

text: In the late 1880s, having performed at various local events as a teenager, Joplin gave up his job as a railroad laborer and left Texarkana to become a traveling musician. Little is known about his movements at this time, although he is recorded in Texarkana in July 1891 as a member of the Texarkana Minstrels, who were raising money for a monument to Jefferson Davis, president of the former Confederate States of America. However, Joplin soon learned that there were few opportunities for Black pianists. Churches and brothels were among the few options for steady work. Joplin played pre-ragtime "jig-piano" in various red-light districts throughout the mid-South, and some claim he was in Sedalia and St. Louis, Missouri, during this time.


title: Scott Joplin

text: In 1893, while in Chicago for the World's Fair, Joplin formed a band in which he played cornet and also arranged the band's music. Although the World's Fair minimized the involvement of African-Americans, Black performers still came to the saloons, cafés and brothels that lined the fair. The exposition was attended by 27 million visitors and had a profound effect on many areas of American cultural life, including ragtime. Although specific information is sparse, numerous sources have credited the Chicago World's Fair with spreading the popularity of ragtime. Joplin found that his music, as well as that of other Black performers, was popular with visitors. By 1897, ragtime had become a national craze in U.S. cities and was described by the "St. Louis Dispatch" as "a veritable call of the wild, which mightily stirred the pulses of city bred people.J"


title: Scott Joplin

text: In 1894, Joplin arrived in Sedalia, Missouri. At first, Joplin stayed with the family of Arthur Marshall. At the time, Marshall was a 13-year-old boy, but he later became one of Joplin's students and a ragtime composer in his own right. There is no record of Joplin having a permanent residence in the town until 1904, as Joplin was making a living as a touring musician.


title: Scott Joplin

text: There is little precise evidence known about Joplin's activities at this time, although he performed as a solo musician at dances and at the major black clubs in Sedalia, the Black 400 Club and the Maple Leaf Club. He performed in the Queen City Cornet Band and his own six-piece dance orchestra. A tour with his own singing group, the Texas Medley Quartet, gave him his first opportunity to publish his own compositions, and it is known that he went to Syracuse, New York, and Texas. Two businessmen from New York published Joplin's first two works, the songs "Please Say You Will" and "A Picture of Her Face", in 1895. Joplin's visit to Temple, Texas, enabled him to have three pieces published there in 1896, including the "Great Crush Collision March", which commemorated a planned train crash on the Missouri–Kansas–Texas Railroad on September 15 that he may have witnessed. The march was described by one of Joplin's biographers as a "special... early essay in ragtime." While in Sedalia, Joplin taught piano to students who included future ragtime composers Arthur Marshall, Brun Campbell and Scott Hayden. Joplin enrolled at the George R. Smith College, where he apparently studied "advanced harmony and composition." The college's records were destroyed in a fire in 1925, and biographer Edward A. Berlin notes that it was unlikely that a small college for African-Americans would be able to provide such a course.


title: Scott Joplin

text: Although there were hundreds of rags in print by the time the "Maple Leaf Rag" was published, Scott was not far behind. His first published rag "Original Rags" had been completed in 1897, the same year that the first ragtime work appeared in print, the "Mississippi Rag" by William Krell. The "Maple Leaf Rag" was likely to have been known in Sedalia before its publication in 1899; Brun Campbell claimed to have seen the manuscript of the work in around 1898. The exact circumstances that led to the publication of the "Maple Leaf Rag" are unknown and a number of versions of the event contradict each other. After several unsuccessful approaches to publishers, Joplin signed a contract on August 10, 1899, with John Stillwell Stark, a retailer of musical instruments who later became his most important publisher. The contract stipulated that Joplin would receive a 1% royalty on all sales of the rag, with a minimum sales price of 25 cents. With the inscription "To the Maple Leaf Club" prominently visible along the top of at least some editions, it is likely that the rag was named after the Maple Leaf Club, although there is no direct evidence to prove the link, and there were many other possible sources for the name in and around Sedalia at the time.


title: Scott Joplin

text: There have been many claims about the sales of the "Maple Leaf Rag", one being that Joplin was the first musician to sell 1 million copies of a piece of instrumental music. Joplin's first biographer, Rudi Blesh, wrote that during its first six months the piece sold 75,000 copies and became "the first great instrumental sheet music hit in America." However, research by Joplin's later biographer Edward A. Berlin demonstrated that this was not the case; the initial print-run of 400 took one year to sell, and, under the terms of Joplin's contract with a 1% royalty, would have given Joplin an income of $4 (or approximately $ at current prices). Later sales were steady and would have given Joplin an income that would have covered his expenses. In 1909, estimated sales would have given him an income of $600 annually (approximately $16,968 in current prices).


title: Scott Joplin

text: The "Maple Leaf Rag" did serve as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime. After the publication of the "Maple Leaf Rag", Joplin was soon being described as "King of rag time writers", not least by himself on the covers of his own work, such as "The Easy Winners" and "Elite Syncopations".


title: Scott Joplin

text: During his time in St. Louis, Joplin collaborated with Scott Hayden in the composition of four rags. It was in St. Louis that Joplin produced some of his best-known works, including "The Entertainer", "March Majestic", and the short theatrical work "The Ragtime Dance". In 1901, Joplin married his first wife Belle Jones (1875–1903) a sister-in-law of Scott Hayden. By 1903, the Joplins had moved to a 13-room house, renting some of the rooms to lodgers, who included pianist-composers Arthur Marshall and Scott Hayden. Joplin did not work as a pianist in the saloons in St Louis, which was usually a major source of income for musicians, as he was "probably outclassed by the competition" and was, according to Stark's son, "a mediocre pianist". Biographer Berlin speculated that by 1903 Joplin was already showing early signs of syphilis, which negatively affected his coordination and "pianistic skills". In 1903, Joplin's only child—a daughter—died. Joplin and his first wife drifted apart.


title: Scott Joplin

text: In June 1904, Joplin married Freddie Alexander of Little Rock, Arkansas, the young woman to whom he had dedicated "The Chrysanthemum". She died on September 10, 1904, of complications resulting from a cold, ten weeks after their wedding. "Bethena", Joplin's first work copyrighted after Freddie's death, was described by one biographer as "an enchantingly beautiful piece that is among the greatest of ragtime waltzes."


title: Scott Joplin

text: During this time, Joplin created an opera company of 30 people and produced his first opera "A Guest of Honor" for a national tour. It is not certain how many productions were staged, or even if this was an all-Black show or a racially mixed production. During the tour, either in Springfield, Illinois, or Pittsburg, Kansas, someone associated with the company stole the box office receipts. Joplin could not meet the company's payroll or pay for its lodgings at a theatrical boarding house. It is believed that the score for "A Guest of Honor" was lost and perhaps destroyed because of non-payment of the company's boarding house bill.


title: Scott Joplin

text: In 1907, Joplin moved to New York City, which he believed was the best place to find a producer for a new opera. After his move to New York, Joplin met Lottie Stokes, whom he married in 1909. In 1911, unable to find a publisher, Joplin undertook the financial burden of publishing "Treemonisha" himself in piano-vocal format. In 1915, as a last-ditch effort to see it performed, he invited a small audience to hear it at a rehearsal hall in Harlem. Poorly staged and with only Joplin on piano accompaniment, it was "a miserable failure" to a public not ready for "crude" Black musical forms—so different from the European grand opera of that time. The audience, including potential backers, was indifferent and walked out. Scott writes that "after a disastrous single performance...Joplin suffered a breakdown. He was bankrupt, discouraged, and worn out." He concludes that few American artists of his generation faced such obstacles: ""Treemonisha" went unnoticed and unreviewed, largely because Joplin had abandoned commercial music in favor of art music, a field closed to African Americans." In fact, it would not be until the 1970s that the opera received a full theatrical staging.


title: Scott Joplin

text: In 1914, Joplin and Lottie self-published his "Magnetic Rag" as the Scott Joplin Music Company, which he had formed the previous December. Biographer Vera Brodsky Lawrence speculates that Joplin was aware of his advancing deterioration due to syphilis and was "consciously racing against time." In her sleeve notes on the 1992 Deutsche Grammophon release of "Treemonisha", she notes that he "plunged feverishly into the task of orchestrating his opera, day and night, with his friend Sam Patterson standing by to copy out the parts, page by page, as each page of the full score was completed."


title: Scott Joplin

text: By 1916, Joplin had developed tertiary syphilis, but more specifically it likely was neurosyphilis. On February 2, 1917, he was admitted to Manhattan State Hospital, a mental institution. He died there on April 1 of syphilitic dementia at the age of 48 and was buried in a pauper's grave that remained unmarked for 57 years. His grave at St. Michael's Cemetery in East Elmhurst was finally given a marker in 1974, the year "The Sting", which showcased his music, won for Best Picture at the Oscars.


title: Scott Joplin

text: The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability have been cited as contributing significantly to the invention of a new style that blended African-American musical styles with European forms and melodies and first became celebrated in the 1890s: ragtime.


title: Scott Joplin

text: When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "cranked out by the tune-smiths of Tin Pan Alley." As a composer, Joplin refined ragtime, elevating it above the low and unrefined form played by the "wandering honky-tonk pianists ... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro-American folk music's syncopation and 19th-century European romanticism, with its harmonic schemes and its march-like tempos. In the words of one critic: "Ragtime was basically...an Afro-American version of the polka, or its analog, the Sousa-style march." With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them—without improvisation. Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work that opera historian Elise Kirk described as "more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."


title: Scott Joplin

text: Some speculate that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old Joplin. As Curtis put it, "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware."


title: Scott Joplin

text: Joplin's first and most significant hit, the "Maple Leaf Rag", was described as the archetype of the classic rag and influenced subsequent rag composers for at least 12 years after its initial publication, thanks to its rhythmic patterns, melody lines, and harmony, though with the exception of Joseph Lamb and James Scott, they generally failed to enlarge upon it. Joplin used the "Maple Leaf Rag" as inspiration for subsequent works, such as "The Cascades" in 1903, "Leola" in 1905, "Gladiolus Rag" in 1907, and "Sugar Cane Rag" in 1908. While he used similar harmonic and melodic patterns, the later compositions were not simple copies but were distinctly new works, which used dissonance, chromatic sections and the blues third.


title: Scott Joplin

text: The opera's setting is a former slave community in an isolated forest near Joplin's childhood town Texarkana in September 1884. The plot centers on an 18-year-old woman Treemonisha who is taught to read by a white woman and then leads her community against the influence of conjurers who prey on ignorance and superstition. Treemonisha is abducted and is about to be thrown into a wasps' nest when her friend Remus rescues her. The community realizes the value of education and the liability of their ignorance before choosing her as their teacher and leader.


title: Scott Joplin

text: Joplin wrote both the score and the libretto for the opera, which largely follows the form of European opera with many conventional arias, ensembles and choruses. In addition, the themes of superstition and mysticism evident in "Treemonisha" are common in the operatic tradition, and certain aspects of the plot echo devices in the work of the German composer Richard Wagner (of which Joplin was aware). A sacred tree Treemonisha sits beneath recalls the tree that Siegmund takes his enchanted sword from in "Die Walküre", and the retelling of the heroine's origins echos aspects of the opera "Siegfried". In addition, African-American folk tales also influence the story—the wasp nest incident is similar to the story of Br'er Rabbit and the briar patch.


title: Scott Joplin

text: "Treemonisha" is not a ragtime opera—because Joplin employed the styles of ragtime and other Black music sparingly, using them to convey "racial character" and to celebrate the music of his childhood at the end of the 19th century. The opera has been seen as a valuable record of rural Black music from late 19th century, re-created by a "skilled and sensitive participant."


title: Scott Joplin

text: Berlin speculates about parallels between the plot and Joplin's own life. He notes that Lottie Joplin (the composer's third wife) saw a connection between the character Treemonisha's wish to lead her people out of ignorance and a similar desire in the composer. In addition, it has been speculated that Treemonisha represents Freddie, Joplin's second wife, because the date of the opera's setting was likely to have been the month of her birth.


title: Scott Joplin

text: At the time of the opera's publication in 1911, the "American Musician and Art Journal" praised it as "an entirely new form of operatic art." Later critics have also praised the opera as occupying a special place in American history, with its heroine "a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement." Curtis's conclusion is similar: "In the end, "Treemonisha" offered a celebration of literacy, learning, hard work, and community solidarity as the best formula for advancing the race." Berlin describes it as a "fine opera, certainly more interesting than most operas then being written in the United States," but later states that Joplin's own libretto showed the composer "was not a competent dramatist," with the book not up to the quality of the music.


title: Scott Joplin

text: As Rick Benjamin, the founder and director of the Paragon Ragtime Orchestra, found out, Joplin succeeded in performing "Treemonisha" for paying audiences in Bayonne, New Jersey, in 1913. On 6 December 2011, the centenary of the Joplin piano score's publication, New World Records released an entirely new recording of "Treemonisha". August 1984 saw the German premiere of "Treemonisha" at the Stadttheater Gießen. In October 2013, directed the premiere of "Treemonisha" in Argentina with a team of 60 young artists at the in Buenos Aires. Another performance in Germany, falsely labelling itself as the German premiere, occurred on 25 April 2015 at the Staatsschauspiel Dresden under direction and choreography of .


title: Scott Joplin

text: Joplin's skills as a pianist were described in glowing terms by a Sedalia newspaper in 1898, and fellow ragtime composers Arthur Marshall and Joe Jordan both said that he played the instrument well. However, the son of publisher John Stark stated that Joplin was a rather mediocre pianist and that he composed on paper, rather than at the piano. Artie Matthews recalled the "delight" the St. Louis players took in outplaying Joplin.


title: Scott Joplin

text: While Joplin never made an audio recording, his playing is preserved on seven piano rolls for use in mechanical player pianos. All seven were made in 1916. Of these, the six released under the Connorized label show evidence of significant editing to correct the performance to strict rhythm and add embellishments, probably by the staff musicians at Connorized. Berlin theorizes that by the time Joplin reached St. Louis, he may have experienced discoordination of the fingers, tremors, and an inability to speak clearly—all symptoms of the syphilis that killed him in 1917. Biographer Blesh described the second roll recording of "Maple Leaf Rag" on the UniRecord label from June 1916 as "shocking...disorganized and completely distressing to hear." While there is disagreement among piano-roll experts as to how much of this is due to the relatively primitive recording and production techniques of the time, Berlin notes that the "Maple Leaf Rag" roll was likely to be the truest record of Joplin's playing at the time. The roll, however, may not reflect his abilities earlier in life.


title: Scott Joplin

text: A stronger performance, by Joplin, is held in the University of California at Santa Barbara's cylinder archive. It was apparently found in a mislabeled box of wax cylinders sold on eBay, long after Blesh examined the June 1916 recording, and is likely to date from earlier in Joplin's life, in April 1916. Although that recording is severely damaged, a cleaned-up MIDI version reveals a considerably stronger performance.


title: Scott Joplin

text: Joplin and his fellow ragtime composers rejuvenated American popular music, fostering an appreciation for African-American music among European-Americans by creating exhilarating and liberating dance tunes. "Its syncopation and rhythmic drive gave it a vitality and freshness attractive to young urban audiences indifferent to Victorian proprieties...Joplin's ragtime expressed the intensity and energy of a modern urban America."


title: Scott Joplin

text: Joshua Rifkin, a leading Joplin recording artist, wrote, "A pervasive sense of lyricism infuses his work, and even at his most high-spirited, he cannot repress a hint of melancholy or adversity...He had little in common with the fast and flashy school of ragtime that grew up after him." Joplin historian Bill Ryerson adds that "In the hands of authentic practitioners like Joplin, ragtime was a disciplined form capable of astonishing variety and subtlety...Joplin did for the rag what Chopin did for the mazurka. His style ranged from tones of torment to stunning serenades that incorporated the bolero and the tango." Biographer Susan Curtis wrote that Joplin's music had helped to "revolutionise American music and culture" by removing Victorian restraint.


title: Scott Joplin

text: Composer and actor Max Morath found it striking that the vast majority of Joplin's work did not enjoy the popularity of the "Maple Leaf Rag", because while the compositions were of increasing lyrical beauty and delicate syncopation, they remained obscure and unheralded during his life. Joplin apparently realized that his music was ahead of its time. Music historian Ian Whitcomb mentions that Joplin "opined that 'Maple Leaf Rag' would make him 'King of Ragtime Composers' but he also knew that he would not be a pop hero in his own lifetime. 'When I'm dead twenty-five years, people are going to recognize me,' he told a friend." Just over thirty years later he was recognized, and later historian Rudi Blesh wrote a large book about ragtime, which he dedicated to the memory of Joplin.


title: Scott Joplin

text: Although he was penniless and disappointed at the end of his life, Joplin set the standard for ragtime compositions and played a key role in the development of ragtime music. And as a pioneer composer and performer, he helped pave the way for young Black artists to reach American audiences of all races. After his death, jazz historian Floyd Levin noted: "Those few who realized his greatness bowed their heads in sorrow. This was the passing of the king of all ragtime writers, the man who gave America a genuine native music."


title: Scott Joplin

text: The home Joplin rented in St. Louis from 1900 to 1903 was recognized as a National Historic Landmark in 1976 and was saved from destruction by the local African American community. In 1983, the Missouri Department of Natural Resources made it the first state historic site in Missouri dedicated to African American heritage. At first it focused entirely on Joplin and ragtime music, ignoring the urban milieu which shaped his musical compositions. A newer heritage project has expanded coverage to include the more complex social history of Black urban migration and the transformation of a multi-ethnic neighborhood to the contemporary community. Part of this diverse narrative now includes coverage of uncomfortable topics of racial oppression, poverty, sanitation, prostitution, and sexually transmitted diseases.


title: Scott Joplin

text: After his death in 1917, Joplin's music and ragtime in general waned in popularity as new forms of musical styles, such as jazz and novelty piano, emerged. Even so, jazz bands and recording artists such as Tommy Dorsey in 1936, Jelly Roll Morton in 1939 and J. Russel Robinson in 1947 released recordings of Joplin compositions. "Maple Leaf Rag" was the Joplin piece found most often on 78 rpm records.


title: Scott Joplin

text: In the 1960s, a small-scale reawakening of interest in classical ragtime was underway among some American music scholars, such as Trebor Tichenor, William Bolcom, William Albright and Rudi Blesh. Audiophile Records released a two-record set, "The Complete Piano Works of Scott Joplin, The Greatest of Ragtime Composers", performed by Knocky Parker, in 1970.


title: Scott Joplin

text: In 1968, Bolcom and Albright interested Joshua Rifkin, a young musicologist, in the body of Joplin's work. Together, they hosted an occasional ragtime-and-early-jazz evening on WBAI radio. In November 1970, Rifkin released a recording called "" on the classical label Nonesuch. It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record. The "Billboard" Best-Selling Classical LPs chart for September 28, 1974, has the record at number 5, with the follow-up "Volume 2" at number 4, and a combined set of both volumes at number 3. Separately, both volumes had been on the chart for 64 weeks. In the top seven spots on that chart, six of the entries were recordings of Joplin's work, three of which were Rifkin's. Record stores found themselves for the first time putting ragtime in the classical music section. The album was nominated in 1971 for two Grammy Award categories: Best Album Notes and Best Instrumental Soloist Performance (without orchestra). Rifkin was also under consideration for a third Grammy for a recording not related to Joplin, but at the ceremony on March 14, 1972, Rifkin did not win in any category. He did a tour in 1974, which included appearances on BBC Television and a sell-out concert at London's Royal Festival Hall. In 1979, Alan Rich wrote in the magazine "New York" that by giving artists like Rifkin the opportunity to put Joplin's music on disc, Nonesuch Records "created, almost alone, the Scott Joplin revival."


title: Scott Joplin

text: In January 1971, Harold C. Schonberg, music critic at "The New York Times", having just heard the Rifkin album, wrote a featured Sunday edition article titled "Scholars, Get Busy on Scott Joplin!" Schonberg's call to action has been described as the catalyst for classical music scholars, the sort of people Joplin had battled all his life, to conclude that Joplin was a genius. Vera Brodsky Lawrence of the New York Public Library published a two-volume set of Joplin works in June 1971, titled "The Collected Works of Scott Joplin", stimulating a wider interest in the performance of Joplin's music.


title: Scott Joplin

text: In mid-February 1973 under the direction of Gunther Schuller, the New England Conservatory Ragtime Ensemble recorded an album of Joplin's rags taken from the period collection "Standard High-Class Rags" titled "Joplin: The Red Back Book". The album won a Grammy Award as Best Chamber Music Performance in that year and became "Billboard" magazine's Top Classical Album of 1974. The group subsequently recorded two more albums for Golden Crest Records: "More Scott Joplin Rags" in 1974 and "The Road From Rags To Jazz" in 1975.


title: Scott Joplin

text: In 1973, film producer George Roy Hill contacted Schuller and Rifkin separately, asking each man to write the score for a film project he was working on: "The Sting". Both men turned down the request because of previous commitments. Instead Hill found Marvin Hamlisch available and brought him into the project as composer. Hamlisch lightly adapted Joplin's music for "The Sting", for which he won an Academy Award for Best Original Song Score and Adaptation on April 2, 1974. His version of "The Entertainer" reached number 3 on the "Billboard" Hot 100 and the American Top 40 music chart on May 18, 1974, prompting "The New York Times" to write, "The whole nation has begun to take notice." Because of the film and its score, Joplin's work became appreciated in both the popular and classical music world, becoming (in the words of music magazine "Record World") the "classical phenomenon of the decade." Rifkin later said of the film soundtrack that Hamlisch lifted his piano adaptations directly from Rifkin's style and his band adaptations from Schuller's style. Schuller said Hamlisch "got the Oscar for music he didn't write (since it is by Joplin) and arrangements he didn't write, and 'editions' he didn't make. A lot of people were upset by that, but that's show biz!"


title: Scott Joplin

text: On October 22, 1971, excerpts from "Treemonisha" were presented in concert form at Lincoln Center, with musical performances by Bolcom, Rifkin and Mary Lou Williams supporting a group of singers. Finally, on January 28, 1972, T.J. Anderson's orchestration of "Treemonisha" was staged for two consecutive nights, sponsored by the Afro-American Music Workshop of Morehouse College in Atlanta, with singers accompanied by the Atlanta Symphony Orchestra under the direction of Robert Shaw, and choreography by Katherine Dunham. Schonberg remarked in February 1972 that the "Scott Joplin Renaissance" was in full swing and still growing. In May 1975, "Treemonisha" was staged in a full opera production by the Houston Grand Opera. The company toured briefly, then settled into an eight-week run in New York on Broadway at the Palace Theatre in October and November. This appearance was directed by Gunther Schuller, and soprano Carmen Balthrop alternated with Kathleen Battle as the title character. An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production.


title: Scott Joplin

text: 1974 saw the Birmingham Royal Ballet under director Kenneth MacMillan create "Elite Syncopations", a ballet based on tunes by Joplin and other composers of the era. That year also brought the premiere by the Los Angeles Ballet of "Red Back Book", choreographed by John Clifford to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra.


title: Scott Joplin

text: Copyright attorney Alvin Deutsch worked with Vera Brodsky Lawrence to make sure the Joplin estate owned the rights to his work. Deutsch negotiated with New York Public Library to get Treemonisha copyright and got the Joplin estate $60,000 in the '70s when someone infringed on that copyright. Their work helped to mount the show "Treemonisha" via Dramatic Publishing.


title: Lee Da-hee

text: Lee Da-hee (born March 15, 1985) is a South Korean model and actress. Her breakout role was in the 2013 SBS courtroom drama "I Can Hear Your Voice." She is also known for her role as Kang Sa-ra in "The Beauty Inside" (2018) and Cha Hyeon in "" (2019).


title: Lee Da-hee

text: At the age of 17, Lee Da-hee competed in the 2002 SBS , where she was a finalist. She began her acting career by playing supporting roles in television dramas, including "The Legend", "Birdie Buddy", and "Secret Love," and in films, including "Harmony".


title: Lee Da-hee

text: Lee's breakout year was 2013, when she appeared in the hit courtroom drama "I Can Hear Your Voice". This was followed by her first leading role in a television drama, the 2014 revenge drama "Big Man". Her popularity increased further when she appeared in the 2015 drama "Mrs. Cop". In 2016, Lee signed with the talent agency Huayi Brothers.


title: Lee Da-hee

text: In 2018, Lee starred in the hit romantic comedy series "The Beauty Inside". In 2019, Lee was cast as one of three female leads in the romance drama "" alongside Lee Jae-wook. On July 3, she was announced as a host for the girl group reality series "Queendom" alongside Jang Sung-kyu, and premiered in late August.


title: Lee Da-hee

text: On March 11, 2020, she was announced as a host, alongside Jang Sung-kyu, for the upcoming Mnet boy group reality series "Road to Kingdom", which is the sequel to Queendom.


title: Yogi Babu

text: Yogi Babu (born 22 July 1985) is an Indian actor and comedian, who appears in Tamil films. A three time Ananda Vikatan Cinema Award winner, he performed in "Aandavan Kattalai" (2016), "Kolamavu Kokila" (2018) and "Pariyerum Perumal" (2018).


title: Yogi Babu

text: Babu's father was a havildar in the Indian Army, so Babu had to travel alongside a lot as a child, as a result of which he studied in Jammu in the early 1990s.


title: Yogi Babu

text: Babu married Manju Bhargavi on 5 February 2020 in an intimate ceremony held at their ancestral temple in Tiruttani.


title: Yogi Babu

text: Babu worked as an assistant director in the "Lollu Sabha", and helping write scenes for two years. He made his feature film debut in the Ameer-starring "Yogi" (2009) as an aspiring actor and subsequently adapted the name of the film as a prefix for his stage name. He appeared as a goon in "Paiyaa". He later appeared in an uncredited role as a pimp in Sundar C.'s "Kalakalappu" (2012). In 2013, he appeared in his first extended comedy role with "Pattathu Yaanai" (2013), while he also featured in the Hindi film, "Chennai Express" alongside Shah Rukh Khan.


title: Yogi Babu

text: He then performed as a comedy rival to Sivakarthikeyan in "Maan Karate" (2014) and as eerie comedian in "Yaamirukka Bayamey" (2014). In 2015, he appeared in over a dozen films and won positive reviews for his work in "Kaaka Muttai" (2015) and "Kirumi" (2015). Yogi Babu had a breakthrough year in 2016, featuring in 20 films, and winning critical acclaim for his role alongside Vijay Sethupathi in "Aandavan Kattalai" (2016). This was followed by his role in "Kolamavu Kokila" (2018) where his one-sided lover portrayal opposite Nayanthara was critically acclaimed while the Kalyana Vayasu song and his antics in it went viral. He appears as supporting character in film "Pariyerum Perumal" (2018), the film released to positive reviews from critics, with critics praising the comedy and performance of Yogi Babu. He acted for the first time as lead role in "Dharmaprabhu" (2019) which he play of role of Yamantaka. He played a key role in "Gurkha" (2019). Babu is a security guard in this hostage drama written and directed by Sam Anton. He has acted with the Superstar Rajinikanth in "Darbar" (2020).


title: Zweihänder

text: The Zweihänder () (German 'two-hander'), also Doppelhänder ('double-hander'), Beidhänder ('both-hander'), Bihänder or Bidenhänder, is a large two-handed sword primarily in use during the 16th century.


title: Zweihänder

text: "Zweihänder" swords developed from the longswords of the Late Middle Ages and became the hallmark weapon of the German "Landsknechte" from the time of Maximilian I (d. 1519) and during the Italian Wars of 1494–1559. The "Goliath Fechtbuch" (1510) shows an intermediate form between longsword and "Zweihänder".


title: Zweihänder

text: These swords represent the final stage in the trend of increasing size that started in the 14th century. In its developed form, the "Zweihänder" acquired the characteristics of a polearm rather than a sword due to their large size and weight and therefore increased range and striking power. Consequently, it was not carried in a sheath but across the shoulder like a halberd.


title: Zweihänder

text: By the second half of the 16th century, these swords had largely ceased to have a practical application, but they continued to see ceremonial or representative use well into the 17th century. Some ceremonial zweihänder, called "bearing-swords" or "parade-swords" ("Paradeschwert"), were much larger and weighed about .


title: Zweihänder

text: Due to their size and weight—typically at least long and with a mass/weight of over —Zweihänders require two hands, as the name implies; as such they require at least for the grip. Zweihänders above were confined to ceremonial use.


title: Zweihänder

text: Early Zweihänders were simply larger versions of longswords. Later examples had "Parierhaken" ("parrying hooks") at the top of the "ricasso" as well as side rings on the hilt. Swords continued to be made without one or both features. Some Zweihänders had wavy blades and were called Flammenschwert.


title: Zweihänder

text: The weapon is mostly associated with either Swiss or German mercenaries known as "Landsknechte", and their wielders were known as "Doppelsöldner". However, the Swiss outlawed their use, while the Landsknechte kept using them until much later. The Black Band of German mercenaries (active during the 1510s and 1520s) included 2,000 two-handed swordsmen in a total strength of 17,000 men. Zweihänder-wielders fought with and against pike formations. Soldiers trained in the use of the sword were granted the title of "Meister des langen Schwertes" (lit. Master of the Long Sword) by the Mark Brotherhood.


title: Zweihänder

text: Frisian hero Pier Gerlofs Donia is reputed to have wielded a Zweihänder with such skill, strength and efficiency that he managed to behead several people with it in a single blow. The Zweihänder ascribed to him is, as of 2008, on display in the Fries Museum. It has a length of and a mass/weight of about .


title: Zweihänder

text: Some modern historical European martial arts groups, specifically ones focusing on the German longsword styles, use some Zweihänders with less pronounced Parierhaken for training and tournament purposes. These less pronounced parrying hooks are sometimes colloquially referred to as "Schilden," or literally "shields" in German, as they are used to catch incoming opposing blades. These Schilden often also act as ricassos by smoothing out, and thickening, after the blade-catchers have been passed. These are specifically the Zweihänders called feders, or federn in German, and are historically training weapons; there is no concrete evidence suggesting wooden longswords were ever actually used, even for training purposes. Even today, most modern training weapons are metal, as wood does not have as much give under blade pressure as real steel, although some synthetic plastic weapons are used for cost-efficiency. Additionally, some modern adjustments to certain weapons extend the crossguards of the blades; this is in part because certain HEMA schools follow manuscripts pertaining to Kreutz attacks – i.e., attacks performed with one's crossguard, specifically, and some persons also choose to use their Zweihänders as rapiers, so a basket hilt may be designed atop this extension.


title: Matt Lanter

text: Matthew MacKendree Lanter (born April 1, 1983) is an American actor and model. He began his modeling career in 2004. The same year, he acted in the film "" and the television series "Point Pleasant". He went on to appear in numerous television series and films, including "Commander in Chief" and "90210". He later voiced Anakin Skywalker in the animated film "", continuing to portray him in the and other media of the "Star Wars" franchise.


title: Matt Lanter

text: Lanter was born on April 1, 1983, in Massillon, Ohio. His father worked in insurance and his mother was a school secretary. He has one older sister. When Lanter was 8, the family moved to Atlanta, Georgia. Lanter played baseball in his youth and was a batboy with the Atlanta Braves for two seasons. He majored in business at the University of Georgia.


title: Matt Lanter

text: In 2004, Lanter was a contestant on Bravo's reality show "Manhunt: The Search for America's Most Gorgeous Male Model". He did not win the competition. In November of that year, Lanter appeared as a caddie in the biographical film "".


title: Matt Lanter

text: In June and July 2005, Lanter played the role of Nick in three episodes the supernatural drama Fox series "Point Pleasant". The show received low ratings and did not last a full season. He has since appeared in television shows such as "Grey's Anatomy" and "Big Love".


title: Matt Lanter

text: In April 2005, he signed on to become a series regular portraying the role of Horace Calloway on ABC's political drama series "Commander in Chief". The series premiered on September 27, 2005, ran for one season and was cancelled on June 14, 2006.


title: Matt Lanter

text: Later that year, Lanter starred in Disaster Movie as the character Will. The film later appeared on "Empire's" 2010 poll, "The 50 Worst Movies Ever", in which it scored number 14.


title: Matt Lanter

text: Lanter appeared in the slasher film "Sorority Row", which was released on September 11, 2009. It received negative reviews from both critics and audiences.


title: Matt Lanter

text: In 2009, he began a major recurring role on The CW's "90210" portraying the role of Liam Court. In March 2010, he signed on for another parody project with Jason Friedberg and Aaron Seltzer, 20th Century Fox's "Vampires Suck". He played Edward Sullen, a spoof of Edward Cullen from the "Twilight" saga. The film was released on August 18, 2010.


title: Matt Lanter

text: In 2011, Lanter appeared in the psychological thriller "The Roommate" as Jason. Although it received unfavorable reviews from critics, it was a moderate success at box office in North America; however, it was overshadowed by that year's Super Bowl.


title: Matt Lanter

text: In 2012, he worked on the films "Liars All" and "A Chance of Rain". He also voices Harry Osborn, Flash Thompson and Venom in the TV series "Ultimate Spider-Man", which premiered on April 1, 2012. He also voiced the role of Sled in "Secret of the Wings," which was released later that year.


title: Matt Lanter

text: On March 5, 2013, Lanter was cast as a co-star in The CW's science fiction drama series "Star-Crossed" (originally titled "Oxygen"). "Star-Crossed" is about a romance between a human girl and an alien boy (Lanter) when he and six others of his kind are integrated into a suburban high school 10 years after they landed on Earth and were consigned to an internment camp.


title: Matt Lanter

text: In 2016, Lanter began playing the role of Wyatt Logan in the NBC series "Timeless". Its second season was broadcast in early 2018, but the series was not renewed by NBC.


title: Matt Lanter

text: On February 11, 2019, it was announced that Lanter was cast as George Hutchence in the Netflix superhero series "Jupiter's Legacy".


title: Matt Lanter

text: Lanter played Jedi Knight Anakin Skywalker in the 2008 animated film "" and later all seven seasons of the . He has stated that his fellow cast members and the other people who worked on the show are "like family" to him. He also portrayed the character in "Star Wars Battlefront II" and "Star Wars Rebels".


title: Matt Lanter

text: He has said that Hayden Christensen, the actor who had previously had the role of Anakin in "" and "Episode III – Revenge of the Sith" had a "very, very difficult job" demonstrating the character's arc from hero to villain, and considers himself fortunate that he had more time than Christensen to show the transformation.


title: Matt Lanter

text: In an interview, Lanter explained how he had no idea who he was auditioning for when trying for the role of Anakin. He was told he would be playing a character called "Deak Starkiller", who Dave Filoni suggested he portray as a mixture of Luke Skywalker and Han Solo.


title: Matt Lanter

text: In December 2015, Lanter had minor roles in "" as various alien scavengers and stormtroopers. On December 13, 2019, he played Lant Davan, a New Republic soldier, in "The Mandalorian" episode "". He returned to his role as the voice of Anakin Skywalker in the miniseries "Tales of the Jedi", which became available on Disney+ on 26 October 2022.


title: Matt Lanter

text: Lanter married his longtime girlfriend Angela Stacy on June 14, 2013. The two had been in a relationship since 2009. They had a daughter together in 2017.


title: Matt Lanter

text: In March 2022, Lanter underwent emergency surgery for a closed-loop intestinal obstruction, which had given him "intense abdominal pain".


title: Tabernacle

text: According to the Hebrew Bible, the tabernacle (), also known as the Tent of the Congregation (, also Tent of Meeting, etc.), was the portable earthly dwelling place of Yahweh (the God of Israel) used by the Israelites from the Exodus until the conquest of Canaan. Moses was instructed at Mount Sinai to construct and transport the tabernacle with the Israelites on their journey through the wilderness and their subsequent conquest of the Promised Land. After 440 years, Solomon's Temple in Jerusalem superseded it as the dwelling-place of God.


title: Tabernacle

text: The main source describing the tabernacle is the biblical Book of Exodus, specifically Exodus 25–31 and 35–40. Those passages describe an inner sanctuary, the Holy of Holies, created by the veil suspended by four pillars. This sanctuary contained the Ark of the Covenant, with its cherubim-covered mercy seat. An outer sanctuary (the "Holy Place") contained a gold lamp-stand or candlestick. On the north side stood a table, on which lay the showbread. On the south side was the Menorah, holding seven oil lamps to give light. On the west side, just before the veil, was the golden altar of incense. It was constructed of 4 woven layers of curtains and 48 15-foot tall standing wood boards overlaid in gold and held in place by its bars and silver sockets and was richly furnished with valuable materials taken from Egypt at God's command.


title: Tabernacle

text: This description is generally identified as part of the Priestly source ("P"), written in the sixth or fifth century BCE. However, while the first Priestly source takes the form of instructions, the second is largely a repetition of the first in the past tense, i.e., it describes the execution of the instructions. Many scholars contend that it is of a far later date than the time of Moses, and that the description reflects the structure of Solomon's Temple, while some hold that the description derives from memories of a real pre-monarchic shrine, perhaps the sanctuary at Shiloh. Traditional scholars contend that it describes an actual tabernacle used in the time of Moses and thereafter. According to historical criticism, an earlier, pre-exilic source, the Elohist ("E"), describes the tabernacle as a simple tent-sanctuary.


title: Tabernacle

text: The English word "tabernacle" is derived from the Latin "tabernāculum" meaning "tent" or "hut", which in ancient Roman religion was a ritual structure. The Hebrew word "mishkan" implies "dwell", "rest", or "to live in". In Greek, including the Septuagint, it is translated σκηνή ("skēnē"), itself a Semitic loanword meaning "tent."


title: Tabernacle

text: Historical criticism has identified two accounts of the tabernacle in Exodus, a briefer Elohist account and a longer Priestly one. Traditional scholars believe the briefer account describes a different structure, perhaps Moses' personal tent. The Hebrew nouns in the two accounts differ, one is most commonly translated as "tent of meeting," while the other is usually translated as "tabernacle."


title: Tabernacle

text: refers to "the tabernacle of the congregation" (in some translations, such as the King James Version) or "the tent of meeting" (in most modern translations), which was set up outside of camp with the "cloudy pillar" visible at its door. The people directed their worship toward this center. Historical criticism attributes this description to the Elohist source (E), which is believed to have been written about 850 BCE or later.


title: Tabernacle

text: The more detailed description of a tabernacle, located in and , refers to an inner shrine (the most holy place) housing the ark and an outer chamber (holy place), with a six-branch seven-lamp menorah (lampstand), table for showbread, and altar of incense. An enclosure containing the sacrificial altar and bronze laver for the priests to wash surrounded these chambers. This description is identified by historical criticism as part of the Priestly source (P), written in the 6th or 5th century BCE.


title: Tabernacle

text: Some scholars believe the description is of a far later date than Moses' time, and that it reflects the structure of the Temple of Solomon; others hold that the passage describes a real pre-monarchic shrine, perhaps the sanctuary at Shiloh, while traditional scholars contend that it describes an actual tabernacle used in the time of Moses and thereafter. This view is based on Exodus 36, 37, 38 and 39 that describe in full detail how the actual construction of the tabernacle took place during the time of Moses.


title: Tabernacle

text: Some interpreters assert the Tent of the Presence was a special meeting place outside the camp, unlike the Tabernacle which was placed in the center of the camp. According to Exodus 33:7-11, this tent was for communion with Yahweh, to receive oracles and to understand the divine will. The


title: Tabernacle

text: people's elders were the subject of a remarkable prophetic event at the site of this tent in Numbers 11:24-30.


title: Tabernacle

text: In Exodus 31, the main builder and maker of the priestly vestments is specified as Bezalel, son of Uri son of Hur of the tribe of Judah, who was assisted by Oholiab and a number of skilled artisans.


title: Tabernacle

text: During the Exodus, the wandering in the desert and the conquest of Canaan the Tabernacle was in part a portable tent, and in part a wooden enclosure draped with ten curtains, of indigo ("tekhelet" תְּכֵלֶת), purple ("’argāmān" אַרְגָּמָן), and scarlet ("šānî" שָׁנִי) fabric. It had a rectangular, perimeter fence of fabric, poles and staked cords. This rectangle was always erected when the Israelite tribes would camp, oriented to the east as the east side had no frames. In the center of this enclosure was a rectangular sanctuary draped with goat-hair curtains, with the roof coverings made from rams' skins.


title: Tabernacle

text: Beyond this curtain was the cube-shaped inner room, the "Qṓḏeš HaQŏḏāšîm" (Holy of Holies). This area housed the Ark of the Covenant, inside which were the two stone tablets brought down from Mount Sinai by Moses on which were written the Ten Commandments, a golden urn holding the "manna", and Aaron's rod which had budded and borne ripe almonds. (, , ; )


title: Tabernacle

text: There is a strict set of rules to be followed for transporting the tabernacle laid out in the Hebrew Bible. For example:


title: Tabernacle

text: Twice a day, a priest would stand in front of the golden prayer altar and burn fragrant incense. Other procedures were also carried out in the tabernacle:


title: Tabernacle

text: An Israelite healed of "tzaraath" would be presented by the priest who had confirmed his healing "at the door of the tabernacle of meeting", and a woman healed of prolonged menstruation would present her offering (two turtledoves or two young pigeons) to the priest "at the door of the tabernacle of meeting".


title: Tabernacle

text: It was at the door of the tabernacle that the community wept in sorrow when all the chiefs of the people were impaled and the men who had joined in worship to the Baal of Peor were killed on God's orders.


title: Tabernacle

text: During the conquest of Canaan, the main Israelite camp was at Gilgal (; ) and the tabernacle was probably erected within the camp: "…and returned into the camp" ("see" "…they shall camp facing the tent of meeting on every side").


title: Tabernacle

text: After the conquest and division of the land among the tribes, the tabernacle was moved to Shiloh in Ephraimite territory (Joshua's tribe) to avoid disputes among the other tribes (; ; ; ). It remained there during the 300-year period of the biblical judges (the rules of the individual judges total about 350 years [; ], but most ruled regionally and some terms overlapped). According to , the Ark, and thus possibly the tabernacle, was at Bethel while Phinehas, grandson of Aaron, was still alive.