title: Subset

text: Other authors prefer to use the symbols formula_31 and formula_32 to indicate (also called strict) subset and superset respectively; that is, with the same meaning as and instead of the symbols formula_38 and formula_39 This usage makes formula_7 and formula_31 analogous to the inequality symbols formula_42 and formula_43 For example, if formula_44 then "x" may or may not equal "y", but if formula_45 then "x" definitely does not equal "y", and "is" less than "y". Similarly, using the convention that formula_31 is proper subset, if formula_15 then "A" may or may not equal "B", but if formula_48 then "A" definitely does not equal "B".


title: Subset

text: Inclusion is the canonical partial order, in the sense that every partially ordered set formula_55 is isomorphic to some collection of sets ordered by inclusion. The ordinal numbers are a simple example: if each ordinal "n" is identified with the set formula_56 of all ordinals less than or equal to "n", then formula_57 if and only if formula_58


title: Subset

text: For the power set formula_59 of a set "S", the inclusion partial order is—up to an order isomorphism—the Cartesian product of formula_60 (the cardinality of "S") copies of the partial order on formula_61 for which formula_62 This can be illustrated by enumerating formula_63, and associating with each subset formula_64 (i.e., each element of formula_65) the "k"-tuple from formula_66 of which the "i"th coordinate is 1 if and only if formula_67 is a member of "T".


title: The Miracle (album)

text: The Miracle is the thirteenth studio album by the British rock band Queen, released on 22 May 1989 by Parlophone Records and Capitol Records in both the United Kingdom and the US, respectively, where it was the band's first and final studio album to be released on those respective labels. The album was recorded as the band recovered from Brian May's marital problems and Freddie Mercury's HIV diagnosis in 1987 (which was known to the band, though not publicised at the time). Recording started in January 1988 and lasted for an entire year. The album was originally going to be called "The Invisible Men", but three weeks before the release, according to Roger Taylor, they changed the name to "The Miracle". It was also the last Queen album with a photo of the band on the front cover.


title: The Miracle (album)

text: The album reached number one in the UK, Austria, Germany, the Netherlands, and Switzerland, and number 24 on the US "Billboard" Top Pop Albums chart. AllMusic would name "The Miracle" as Queen's best album of the 1980s, along with "The Game". It would prove to be the band's penultimate album to be recorded with Freddie Mercury, as he died on 24 November 1991, nine months after their next album, "Innuendo", was released.


title: The Miracle (album)

text: "Party" began as a jam session between Freddie Mercury, Brian May and John Deacon. Mercury was at the piano and he started off the "we had a good night" section. From then on the three of them worked together and completed it. May sings lead on a small portion of the song near the beginning.


title: The Miracle (album)

text: "Khashoggi's Ship" was started by Mercury with all four band members contributing to the lyrics and music. The song is about famous billionaire Adnan Khashoggi and a ship (the "Nabila", now "Kingdom 5KR") that he owned at the time and was one of the largest private yachts in the world. On the album, this track segues from "Party", to which it has a very similar lyrical theme. The song served as the reference to the name of the Khashoggi character in the "We Will Rock You" musical.


title: The Miracle (album)

text: "The Miracle" is one of the most complex songs from the band's latter years. Mercury and Deacon co-wrote the chords together. It is one of May's favourite songs. The entire band contributed lyrical and some musical ideas, and Mercury played piano as well as many synth tracks, using a Korg M1 and a Roland D-50.


title: The Miracle (album)

text: "I Want It All" was composed by May in 1987. On the ""Greatest Video Hits II"" DVD, May commented that the song was inspired by his second wife, Anita Dobson's, favourite motto, "I want it all, and I want it now!" The idea of having intro, verses, choruses and solos over the same chord progression was reused on their next album with another May song, "The Show Must Go On", from 1991. Mercury sang lead vocals for most of the song, but Mercury and May share lead vocals during the bridge. Mercury played keyboards, May played acoustic and electric guitars while Taylor used double-kick bass drums for the first (and only) time.


title: The Miracle (album)

text: "The Invisible Man" is Taylor's first song on the album. The lyrical idea came from a book he was reading. May and Taylor commented ("Queen for an Hour" interview, 1989) that Taylor wrote part of the song in the bath (similarly to what happened with Mercury and "Crazy Little Thing Called Love" ten years before). Each of the four band members are name-checked in the vocals by Freddie throughout the course of the song: "Freddie Mercury" right before the first verse begins (done by Roger Taylor), "John Deacon" after the first verse, "Brian May" (said twice) before his guitar solo, and "Roger Taylor" (with the initial "r" rolled by Mercury to sound like a drum roll) after the final chorus; Taylor "answers" with a drum fill. The demo version contains a completely different middle-eight with Mercury singing alternate lyrics in the style of Elvis Presley. The whispered parts of the chorus are sung by Taylor.


title: The Miracle (album)

text: "Breakthru" is a combination of two songs: "When Love Breaks Up", by Mercury, and "Breakthru", written by Taylor with input by the others in the key change. Taylor's mid-1980s songs tended to be in flat keys, when he started writing at the piano instead of on a guitar. This song was released as a single and made the top ten in the UK over the summer of 1989.


title: The Miracle (album)

text: "Rain Must Fall" is a collaboration between Deacon (music) and Mercury (lyrics). Taylor recorded a lot of Latin percussion but most of that was edited out in order to have more space for vocal harmonies, guitars and keyboards, the latter shared between Mercury and Deacon in this piece.


title: The Miracle (album)

text: "Scandal" was written by May about the British press, in the wake of media-fuelled controversy about his recent divorce, his relationship with Anita Dobson, and Mercury's rare public appearances due to his battle with AIDS. May played keyboards and did the guitar solo as a first take. Mercury's lead vocals were also a first take. Synth-bass is played by David Richards. May has since commented that the song is very close to his heart.


title: The Miracle (album)

text: "My Baby Does Me" is another collaboration of Mercury and Deacon. Both of them had the idea of a simpler track in order to ease off the album. In a Radio 1 interview in 1989, each of them claimed the other had constructed the bassline. The song was originally demoed as "My Baby Loves Me", but was rewritten to replace the word "loves" with "does" throughout. The drum pattern in this song is the same as that featured in the demo of "I Guess We're Falling Out".


title: The Miracle (album)

text: "Was It All Worth It" was composed by Mercury. The song harks back to the band's intricately produced sound in the 1970s. Though the bulk of the song was masterminded by Mercury, all members contributed ideas and lyrics (for example, Taylor contributed the line ""we love you madly!""). Deacon later cited the song as his favourite on the album. Taylor uses a gong and timpani. Despite it not being released as a single, it remains hugely popular among the Queen fanbase.


title: The Miracle (album)

text: This song was initiated by Mercury, with lyrics that relate to his illness. The song's working title was "A Fiddly Jam". May plays both acoustic and electric guitars, as well as keyboards, a job he shared with Mercury, who also plays piano. The song originally appeared as the B-side to the "I Want It All" single. In the song, Mercury hits an E twice. In the middle of the song just when the guitar riff comes and Mercury sings "hang on in there" twice, it is replied each time with a harmonised "hang on in there"; the first response are the multitracked vocals by May only, the second – similar vocals purely by Taylor.


title: The Miracle (album)

text: The only CD track that did not appear on a single release. For the first time this track emerged during the last concerts of Queen's 1986 Magic Tour as part of May's guitar solo. He also included it in his solos when he was back on tour with Queen + Paul Rodgers in 2005 and 2006.


title: The Miracle (album)

text: Principally composed by Mercury (though, as all other songs from these sessions, credited to the band as a whole), this song is a tongue-in-cheek representation of a man who spends his life committing robbery. The song is performed mainly through spoken words, but occasionally has lines sung. This song appeared as the B-side to the "Breakthru" single.


title: The Miracle (album)

text: The song, credited to the band as an entity rather than one composer, was actually written by Taylor, who also provides lead vocals. It tells the story of a man who falls in love with a woman he meets, despite his original annoyance at her rudeness and mannerisms. It was the B-side to "The Invisible Man".


title: The Miracle (album)

text: Written by Deacon (originally as an acoustic track) about the state the world is in, this song was the B-side to "Scandal". A reworked version was later released on the 1995 "Made in Heaven" album.


title: The Miracle (album)

text: This song was recorded in 1988 during the studio sessions of "The Miracle" album, but did not make the final album sequence. It was included in the 2022 box set "The Miracle Collector's Edition" in November 2022.


title: The Miracle (album)

text: "Face It Alone" was recorded during "The Miracle" sessions in 1988. The song was eventually released as a single on 13 October 2022. "Face It Alone" was written by all four members of Queen and was produced by David Richards, Kris Fredriksson and Justin Shirley-Smith. The song peaked at number 90 in the UK. An accompanying music video was released on October 21, 2022. The track was included on "The Miracle Collector's Edition".


title: The Miracle (album)

text: The cover art was created by designer Richard Gray, utilising a chroma key and the Quantel Paintbox workstation, then state of the art image-manipulation technology, to combine photographs of the familiar faces of the four band members into one morphed gestalt image. This visual is in line with their decision to dispense with individual credits and simply present their music as the product of Queen; the back cover went a step further with a seamless regiment of the band's eyes.


title: The Miracle (album)

text: The "Sun-Sentinel" wrote "With Freddie Mercury in vintage light-operatic form, here's an album (like so many of Queen's others) that should be used as a pop music how-to for aspirants. Combining the forces of rock, pop, metal, clever melodies and cunning stylisations, "The Miracle" never lets down. From one track to the next there is, as usual, no telling which way this band will go, affording even the most jaded ear a challenge."


title: The Miracle (album)

text: "Newsday" (Melville, NY) wrote "On "The Miracle", Mercury's voice is steady and solid, May's runs are as flashy and supple as ever. Most of the 10 songs, written collaboratively by the four members, stick pretty much to the band's formula of mini-suites: edgy pop with tempos that change half-way into the number and some delicious hooks."


title: The Miracle (album)

text: "Rolling Stone" stated ""The Miracle" is a showcase for Freddie Mercury and his love of sweeping, quasi-operatic vocals. And indeed, Mercury – especially on the title track – has never sounded better... Only on a few tracks ("Khashoggi's Ship" and "Was It All Worth It") does May really let it rip, and when he does, it's like the old Queen peeping out for just a moment and then turning tail... At least "The Miracle" offers little snippets of Queen's former majesty."


title: The Miracle (album)

text: AllMusic stated ""The Miracle" packs quite a sonic punch, recalling the rich sounds of their past classics (1976's "A Day at the Races", etc.). Split 50/50 between pop and heavy rock, the album was another global smash. Along with "The Game", "The Miracle" is Queen's strongest album of the '80s."


title: The Miracle (album)

text: In October 2022, Queen announced plans for a November 18 reissue of the album, featuring six unreleased tracks, four featuring Mercury as the lead vocalist. Queen said that the eight-disc collection contains alternate takes, demos, and radio interviews.


title: The Miracle (album)

text: As part of the announcement, Queen released the previous unheard song "Face It Alone." "We did find a little gem from Freddie, that we'd kind of forgotten about," Taylor said of the track. "It's wonderful, a real discovery. It's a very passionate piece."


title: The Miracle (album)

text: "It was kind of hiding in plain sight. We looked at it many times and thought, oh no, we can't really rescue that. But in fact, we went in there again and our wonderful engineering team went, 'OK, we can do this and this.' It's like kind of stitching bits together... but it's beautiful, it's touching."


title: The Miracle (album)

text: The other unreleased tracks are "When Love Breaks Up" (Mercury), "You Know You Belong to Me" (May), "Dog with a Bone" (Taylor), "Water" (May) and "I Guess We're Falling Out" (Deacon).


title: Image sensor format

text: The image sensor format of a digital camera determines the angle of view of a particular lens when used with a particular sensor. Because the image sensors in many digital cameras are smaller than the 24 mm × 36 mm image area of full-frame 35 mm cameras, a lens of a given focal length gives a narrower field of view in such cameras.


title: Image sensor format

text: Sensor size is often expressed as optical format in inches. Other measures are also used; see table of sensor formats and sizes below.


title: Image sensor format

text: Lenses produced for 35 mm film cameras may mount well on the digital bodies, but the larger image circle of the 35 mm system lens allows unwanted light into the camera body, and the smaller size of the image sensor compared to 35 mm film format results in cropping of the image. This latter effect is known as field-of-view crop. The format size ratio (relative to the 35 mm film format) is known as the field-of-view crop factor, crop factor, lens factor, focal-length conversion factor, focal-length multiplier, or lens multiplier.


title: Image sensor format

text: Three possible depth-of-field comparisons between formats are discussed, applying the formulae derived in the article on depth of field. The depths of field of the three cameras may be the same, or different in either order, depending on what is held constant in the comparison.


title: Image sensor format

text: Using the same absolute aperture diameter for both formats with the "same picture" criterion (equal angle of view, magnified to same final size) yields the same depth of field. It is equivalent to adjusting the f-number inversely in proportion to crop factor – a smaller f-number for smaller sensors (this also means that, when holding the shutter speed fixed, the exposure is changed by the adjustment of the f-number required to equalise depth of field. But the aperture area is held constant, so sensors of all sizes receive the same total amount of light energy from the subject. The smaller sensor is then operating at a lower ISO setting, by the square of the crop factor). This condition of equal field of view, equal depth of field, equal aperture diameter, and equal exposure time is known as "equivalence".


title: Image sensor format

text: And, we might compare the depth of field of sensors receiving the same photometric exposure – the f-number is fixed instead of the aperture diameter – the sensors are operating at the same ISO setting in that case, but the smaller sensor is receiving less total light, by the area ratio. The ratio of depths of field is then


title: Image sensor format

text: where formula_5 and formula_6 are the characteristic dimensions of the format, and thus formula_7 is the relative crop factor between the sensors. It is this result that gives rise to the common opinion that small sensors yield greater depth of field than large ones.


title: Image sensor format

text: An alternative is to consider the depth of field given by the same lens in conjunction with different sized sensors (changing the angle of view). The change in depth of field is brought about by the requirement for a different degree of enlargement to achieve the same final image size. In this case the ratio of depths of field becomes


title: Image sensor format

text: In practice, if applying a lens with a fixed focal length and a fixed aperture and made for an image circle to meet the requirements for a large sensor is to be adapted, without changing its physical properties, to smaller sensor sizes neither the depth of field nor the light gathering formula_9 will change.


title: Image sensor format

text: Discounting photo response non-uniformity (PRNU) and dark noise variation, which are not intrinsically sensor-size dependent, the noises in an image sensor are shot noise, read noise, and dark noise. The overall signal to noise ratio of a sensor (SNR), expressed as signal electrons relative to rms noise in electrons, observed at the scale of a single pixel, assuming shot noise from Poisson distribution of signal electrons and dark electrons, is


title: Image sensor format

text: where formula_11 is the incident photon flux (photons per second in the area of a pixel), formula_12 is the quantum efficiency, formula_13 is the exposure time, formula_14 is the pixel dark current in electrons per second and formula_15 is the pixel read noise in electrons rms.


title: Image sensor format

text: Image sensor noise can be compared across formats for a given fixed photon flux per pixel area (the "P" in the formulas); this analysis is useful for a fixed number of pixels with pixel area proportional to sensor area, and fixed absolute aperture diameter for a fixed imaging situation in terms of depth of field, diffraction limit at the subject, etc. Or it can be compared for a fixed focal-plane illuminance, corresponding to a fixed f-number, in which case "P" is proportional to pixel area, independent of sensor area. The formulas above and below can be evaluated for either case.


title: Image sensor format

text: Apart from the quantum efficiency it depends on the incident photon flux and the exposure time, which is equivalent to the exposure and the sensor area; since the exposure is the integration time multiplied with the image plane illuminance, and illuminance is the luminous flux per unit area. Thus for equal exposures, the signal to noise ratios of two different size sensors of equal quantum efficiency and pixel count will (for a given final image size) be in proportion to the square root of the sensor area (or the linear scale factor of the sensor). If the exposure is constrained by the need to achieve some required depth of field (with the same shutter speed) then the exposures will be in inverse relation to the sensor area, producing the interesting result that if depth of field is a constraint, image shot noise is not dependent on sensor area. For identical f-number lenses the signal to noise ratio increases as square root of the pixel area, or linearly with pixel pitch. As typical f-numbers for lenses for cell phones and DSLR are in the same range f/1.5-f/2 it is interesting to compare performance of cameras with small and big sensors. A good cell phone camera with typical pixel size 1.1 μm (Samsung A8) would have about 3 times worse SNR due to shot noise than a 3.7 μm pixel interchangeable lens camera (Panasonic G85) and 5 times worse than a 6 μm full frame camera (Sony A7 III). Taking into consideration the dynamic range makes the difference even more prominent. As such the trend of increasing the number of "megapixels" in cell phone cameras during last 10 years was caused rather by marketing strategy to sell "more megapixels" than by attempts to improve image quality.


title: Image sensor format

text: The read noise is the total of all the electronic noises in the conversion chain for the pixels in the sensor array. To compare it with photon noise, it must be referred back to its equivalent in photoelectrons, which requires the division of the noise measured in volts by the conversion gain of the pixel. This is given, for an active pixel sensor, by the voltage at the input (gate) of the read transistor divided by the charge which generates that voltage, formula_17. This is the inverse of the capacitance of the read transistor gate (and the attached floating diffusion) since capacitance formula_18. Thus formula_19.


title: Image sensor format

text: In general for a planar structure such as a pixel, capacitance is proportional to area, therefore the read noise scales down with sensor area, as long as pixel area scales with sensor area, and that scaling is performed by uniformly scaling the pixel.


title: Image sensor format

text: Considering the signal to noise ratio due to read noise at a given exposure, the signal will scale as the sensor area along with the read noise and therefore read noise SNR will be unaffected by sensor area. In a depth of field constrained situation, the exposure of the larger sensor will be reduced in proportion to the sensor area, and therefore the read noise SNR will reduce likewise.


title: Image sensor format

text: Dark current contributes two kinds of noise: dark offset, which is only partly correlated between pixels, and the shot noise associated with dark offset, which is uncorrelated between pixels. Only the shot-noise component "Dt" is included in the formula above, since the uncorrelated part of the dark offset is hard to predict, and the correlated or mean part is relatively easy to subtract off. The mean dark current contains contributions proportional both to the area and the linear dimension of the photodiode, with the relative proportions and scale factors depending on the design of the photodiode. Thus in general the dark noise of a sensor may be expected to rise as the size of the sensor increases. However, in most sensors the mean pixel dark current at normal temperatures is small, lower than 50 e- per second, thus for typical photographic exposure times dark current and its associated noises may be discounted. At very long exposure times, however, it may be a limiting factor. And even at short or medium exposure times, a few outliers in the dark-current distribution may show up as "hot pixels". Typically, for astrophotography applications sensors are cooled to reduce dark current in situations where exposures may be measured in several hundreds of seconds.


title: Image sensor format

text: Dynamic range is the ratio of the largest and smallest recordable signal, the smallest being typically defined by the 'noise floor'. In the image sensor literature, the noise floor is taken as the readout noise, so formula_20 (note, the read noise formula_21 is the same quantity as formula_15 referred to in the SNR calculation).


title: Image sensor format

text: The resolution of all optical systems is limited by diffraction. One way of considering the effect that diffraction has on cameras using different sized sensors is to consider the modulation transfer function (MTF). Diffraction is one of the factors that contribute to the overall system MTF. Other factors are typically the MTFs of the lens, anti-aliasing filter and sensor sampling window. The spatial cut-off frequency due to diffraction through a lens aperture is


title: Image sensor format

text: where λ is the wavelength of the light passing through the system and N is the f-number of the lens. If that aperture is circular, as are (approximately) most photographic apertures, then the MTF is given by


title: Image sensor format

text: The diffraction based factor of the system MTF will therefore scale according to formula_28 and in turn according to formula_29 (for the same light wavelength).


title: Image sensor format

text: In considering the effect of sensor size, and its effect on the final image, the different magnification required to obtain the same size image for viewing must be accounted for, resulting in an additional scale factor of formula_30 where formula_31 is the relative crop factor, making the overall scale factor formula_32. Considering the three cases above:


title: Image sensor format

text: For the 'same picture' conditions, same angle of view, subject distance and depth of field, then the F-numbers are in the ratio formula_33, so the scale factor for the diffraction MTF is 1, leading to the conclusion that the diffraction MTF at a given depth of field is independent of sensor size.


title: Image sensor format

text: In both the 'same photometric exposure' and 'same lens' conditions, the F-number is not changed, and thus the spatial cutoff and resultant MTF on the sensor is unchanged, leaving the MTF in the viewed image to be scaled as the magnification, or inversely as the crop factor.


title: Image sensor format

text: It might be expected that lenses appropriate for a range of sensor sizes could be produced by simply scaling the same designs in proportion to the crop factor. Such an exercise would in theory produce a lens with the same F-number and angle of view, with a size proportional to the sensor crop factor. In practice, simple scaling of lens designs is not always achievable, due to factors such as the non-scalability of manufacturing tolerance, structural integrity of glass lenses of different sizes and available manufacturing techniques and costs. Moreover, to maintain the same absolute amount of information in an image (which can be measured as the space bandwidth product) the lens for a smaller sensor requires a greater resolving power. The development of the 'Tessar' lens is discussed by Nasse, and shows its transformation from an f/6.3 lens for plate cameras using the original three-group configuration through to an f/2.8 5.2 mm four-element optic with eight extremely aspheric surfaces, economically manufacturable because of its small size. Its performance is 'better than the best 35 mm lenses – but only for a very small image'.


title: Image sensor format

text: In summary, as sensor size reduces, the accompanying lens designs will change, often quite radically, to take advantage of manufacturing techniques made available due to the reduced size. The functionality of such lenses can also take advantage of these, with extreme zoom ranges becoming possible. These lenses are often very large in relation to sensor size, but with a small sensor can be fitted into a compact package.


title: Image sensor format

text: Small body means small lens and means small sensor, so to keep smartphones slim and light, the smartphone manufacturers use a tiny sensor usually less than the 1/2.3" used in most bridge cameras. At one time only Nokia 808 PureView used a 1/1.2" sensor, almost three times the size of a 1/2.3" sensor. Bigger sensors have the advantage of better image quality, but with improvements in sensor technology, smaller sensors can achieve the feats of earlier larger sensors. These improvements in sensor technology allow smartphone manufacturers to use image sensors as small as 1/4" without sacrificing too much image quality compared to budget point & shoot cameras.


title: Image sensor format

text: Active area of the sensor implies an area of the sensor on which image is formed in a given mode of the camera. The active area may be smaller than the image sensor, and active area can differ in different modes of operation of the same camera.


title: Image sensor format

text: Active area size depends on the aspect ratio of the sensor and aspect ratio of the output image of the camera. The active area size can depend on number of pixels in given mode of the camera.


title: Image sensor format

text: Semiconductor image sensors can suffer from shading effects at large apertures and at the periphery of the image field, due to the geometry of the light cone projected from the exit pupil of the lens to a point, or pixel, on the sensor surface. The effects are discussed in detail by Catrysse and Wandell


title: Image sensor format

text: In the context of this discussion the most important result from the above is that to ensure a full transfer of light energy between two coupled optical systems such as the lens' exit pupil to a pixel's photoreceptor the geometrical extent (also known as etendue or light throughput) of the objective lens / pixel system must be smaller than or equal to the geometrical extent of the microlens / photoreceptor system. The geometrical extent of the objective lens / pixel system is given by


title: Image sensor format

text: where is the width of the pixel and is the f-number of the objective lens. The geometrical extent of the microlens / photoreceptor system is given by


title: Image sensor format

text: Thus if shading is to be avoided the f-number of the microlens must be smaller than the f-number of the taking lens by at least a factor equal to the linear fill factor of the pixel. The f-number of the microlens is determined ultimately by the width of the pixel and its height above the silicon, which determines its focal length. In turn, this is determined by the height of the metallisation layers, also known as the 'stack height'. For a given stack height, the f-number of the microlenses will increase as pixel size reduces, and thus the objective lens f-number at which shading occurs will tend to increase. This effect has been observed in practice, as recorded in the DxOmark article 'F-stop blues'


title: Image sensor format

text: In order to maintain pixel counts smaller sensors will tend to have smaller pixels, while at the same time smaller objective lens f-numbers are required to maximise the amount of light projected on the sensor. To combat the effect discussed above, smaller format pixels include engineering design features to allow the reduction in f-number of their microlenses. These may include simplified pixel designs which require less metallisation, 'light pipes' built within the pixel to bring its apparent surface closer to the microlens and 'back side illumination' in which the wafer is thinned to expose the rear of the photodetectors and the microlens layer is placed directly on that surface, rather than the front side with its wiring layers. The relative effectiveness of these stratagems is discussed by Aptina in some detail.


title: Image sensor format

text: Some professional DSLRs, SLTs and mirrorless cameras use "full-frame" sensors, equivalent to the size of a frame of 35 mm film.


title: Image sensor format

text: Most consumer-level DSLRs, SLTs and mirrorless cameras use relatively large sensors, either somewhat under the size of a frame of APS-C film, with a crop factor of 1.5–1.6; or 30% smaller than that, with a crop factor of 2.0 (this is the Four Thirds System, adopted by Olympus and Panasonic).


title: Image sensor format

text: Many different terms are used in marketing to describe DSLR/SLT/mirrorless sensor formats, including the following:


title: Image sensor format

text: When full-frame sensors were first introduced, production costs could exceed twenty times the cost of an APS-C sensor. Only twenty full-frame sensors can be produced on an silicon wafer, which would fit 100 or more APS-C sensors, and there is a significant reduction in yield due to the large area for contaminants per component. Additionally, full frame sensor fabrication originally required three separate exposures during the photolithography stage, which requires separate masks and quality control steps. Canon selected the intermediate APS-H size, since it was at the time the largest that could be patterned with a single mask, helping to control production costs and manage yields. Newer photolithography equipment now allows single-pass exposures for full-frame sensors, although other size-related production constraints remain much the same.


title: Image sensor format

text: Due to the ever-changing constraints of semiconductor fabrication and processing, and because camera manufacturers often source sensors from third-party foundries, it is common for sensor dimensions to vary slightly within the same nominal format. For example, the Nikon D3 and D700 cameras' nominally full-frame sensors actually measure 36 × 23.9 mm, slightly smaller than a 36 × 24 mm frame of 35 mm film. As another example, the Pentax K200D's sensor (made by Sony) measures 23.5 × 15.7 mm, while the contemporaneous K20D's sensor (made by Samsung) measures 23.4 × 15.6 mm.


title: Image sensor format

text: Most of these image sensor formats approximate the 3:2 aspect ratio of 35 mm film. Again, the Four Thirds System is a notable exception, with an aspect ratio of 4:3 as seen in most compact digital cameras (see below).


title: Image sensor format

text: Most sensors are made for camera phones, compact digital cameras, and bridge cameras. Most image sensors equipping compact cameras have an aspect ratio of 4:3. This matches the aspect ratio of the popular SVGA, XGA, and SXGA display resolutions at the time of the first digital cameras, allowing images to be displayed on usual monitors without cropping.


title: Image sensor format

text: As of 2018 high-end compact cameras using one inch sensors that have nearly four times the area of those equipping common compacts include Canon PowerShot G-series (G3 X to G9 X), Sony DSC RX100 series, Panasonic Lumix TZ100 and Panasonic DMC-LX15. Canon has APS-C sensor on its top model PowerShot G1 X Mark III.


title: Image sensor format

text: Due to the size constraints of powerful zoom objectives, most current bridge cameras have 1/2.3" sensors, as small as those used in common more compact cameras. As lens sizes are proportional to the image sensor size, smaller sensors enable large zoom amounts with moderate size lenses. In 2011 the high-end Fujifilm X-S1 was equipped with a much larger 2/3" sensor. In 2013–2014, both Sony (Cyber-shot DSC-RX10) and Panasonic (Lumix DMC-FZ1000) produced bridge cameras with 1" sensors.


title: Image sensor format

text: The sensors of camera phones are typically much smaller than those of typical compact cameras, allowing greater miniaturization of the electrical and optical components. Sensor sizes of around 1/6" are common in camera phones, webcams and digital camcorders. The Nokia N8's 1/1.83" sensor was the largest in a phone in late 2011. The Nokia 808 surpasses compact cameras with its 41 million pixels, 1/1.2" sensor.


title: Image sensor format

text: The largest digital sensors in commercially available cameras are described as "medium format", in reference to film formats of similar dimensions. Although the traditional medium format 120 film usually had one side with 6 cm length (the other varying from 4.5 to 24 cm), the most common digital sensor sizes described below are approximately , which is roughly twice the size of a Full-frame digital SLR sensor format.


title: Image sensor format

text: Available CCD sensors include Phase One's P65+ digital back with Dalsa's sensor containing 60.5 megapixels


title: Image sensor format

text: and Leica's "S-System" DSLR with a sensor containing 37-megapixels. In 2010, Pentax released the 40MP 645D medium format DSLR with a CCD sensor; later models of the 645 series kept the same sensor size but replaced the CCD with a CMOS sensor. In 2016, Hasselblad announced the X1D, a 50MP medium-format mirrorless camera, with a CMOS sensor.


title: Image sensor format

text: In late 2016, Fujifilm also announced its new Fujifilm GFX 50S medium format, mirrorless entry into the market, with a CMOS sensor and 51.4MP.


title: Image sensor format

text: Sensor sizes are expressed in inches notation because at the time of the popularization of digital image sensors they were used to replace video camera tubes. The common 1" outside diameter circular video camera tubes have a rectangular photo sensitive area about 16 mm on the diagonal, so a digital sensor with a 16 mm diagonal size is a 1" video tube equivalent. The name of a 1" digital sensor should more accurately be read as "one inch video camera tube equivalent" sensor. Current digital image sensor size descriptors are the video camera tube equivalency size, not the actual size of the sensor. For example, a 1" sensor has a diagonal measurement of 16 mm.


title: Image sensor format

text: Sizes are often expressed as a fraction of an inch, with a one in the numerator, and a decimal number in the denominator. For example, 1/2.5 converts to 2/5 as a simple fraction, or 0.4 as a decimal number. This "inch" system gives a result approximately 1.5 times the length of the diagonal of the sensor. This "optical format" measure goes back to the way image sizes of video cameras used until the late 1980s were expressed, referring to the outside diameter of the glass envelope of the video camera tube. David Pogue of "The New York Times" states that "the actual sensor size is much smaller than what the camera companies publish – about one-third smaller." For example, a camera advertising a 1/2.7" sensor does not have a sensor with a diagonal of 0.37"; instead, the diagonal is closer to 0.26". Instead of "formats", these sensor sizes are often called "types", as in "1/2-inch-type CCD."


title: Image sensor format

text: Due to inch-based sensor formats not being standardized, their exact dimensions may vary, but those listed are typical. The listed sensor areas span more than a factor of 1000 and are proportional to the maximum possible collection of light and image resolution (same lens speed, i.e., minimum F-number), but in practice are not directly proportional to image noise or resolution due to other limitations. See comparisons. Film format sizes are also included, for comparison. The application examples of phone or camera may not show the exact sensor sizes.


title: Spanning Tree Protocol

text: The Spanning Tree Protocol (STP) is a network protocol that builds a loop-free logical topology for Ethernet networks. The basic function of STP is to prevent bridge loops and the broadcast radiation that results from them. Spanning tree also allows a network design to include backup links providing fault tolerance if an active link fails.


title: Spanning Tree Protocol

text: As the name suggests, STP creates a spanning tree that characterizes the relationship of nodes within a network of connected layer-2 bridges, and disables those links that are not part of the spanning tree, leaving a single active path between any two network nodes. STP is based on an algorithm that was invented by Radia Perlman while she was working for Digital Equipment Corporation.


title: Spanning Tree Protocol

text: In 2001, the IEEE introduced Rapid Spanning Tree Protocol (RSTP) as 802.1w. RSTP provides significantly faster recovery in response to network changes or failures, introducing new convergence behaviors and bridge port roles to do this. RSTP was designed to be backwards-compatible with standard STP.


title: Spanning Tree Protocol

text: STP was originally standardized as IEEE 802.1D but the functionality of spanning tree (802.1D), rapid spanning tree (802.1w), and multiple spanning tree (802.1s) has since been incorporated into IEEE 802.1Q-2014.


title: Spanning Tree Protocol

text: The need for the Spanning Tree Protocol (STP) arose because switches in local area networks (LANs) are often interconnected using redundant links to improve resilience should one connection fail. However, this connection configuration creates a switching loop resulting in broadcast radiations and MAC table instability. If redundant links are used to connect switches, then switching loops need to be avoided.


title: Spanning Tree Protocol

text: To avoid the problems associated with redundant links in a switched LAN, STP is implemented on switches to monitor the network topology. Every link between switches, and in particular redundant links, are catalogued. The spanning-tree algorithm then blocks forwarding on redundant links by setting up one preferred link between switches in the LAN. This preferred link is used for all Ethernet frames unless it fails, in which case a non-preferred redundant link is enabled. When implemented in a network, STP designates one layer-2 switch as "root bridge". All switches then select their best connection towards the root bridge for forwarding and block other redundant links. All switches constantly communicate with their neighbors in the LAN using bridge protocol data units (BPDUs).


title: Spanning Tree Protocol

text: Provided there is more than one link between two switches, the STP root bridge calculates the cost of each path based on bandwidth. STP will select the path with the lowest cost, that is the highest bandwidth, as the preferred link. STP will enable this preferred link as the only path to be used for Ethernet frames between the two switches, and disable all other possible links by designating the switch ports that connect the preferred path as "root port".


title: Spanning Tree Protocol

text: After STP enabled switches in a LAN have elected the root bridge, all non-root bridges assign one of their ports as root port. This is either the port that connects the switch to the root bridge, or if there are several paths, the port with the preferred path as calculated by the root bridge. Because not all switches are directly connected to the root bridge they communicate amongst each other using STP BPDUs. Each switch adds the cost of its own path to the cost received from the neighboring switches to determine the total cost of a given path to the root bridge. Once the cost of all possible paths to the root bridge have been added up, each switch assigns a port as root port which connects to the path with the lowest cost, or highest bandwidth, that will eventually lead to the root bridge.


title: Spanning Tree Protocol

text: The STP path cost default was originally calculated by the formula . When faster speeds became available, the default values were adjusted as otherwise speeds above 1 Gbit/s would have been indistinguishable by STP. Its successor RSTP uses a similar formula with a larger numerator: . These formulas lead to the sample values in the table.


title: Spanning Tree Protocol

text: When a device is first attached to a switch port, it will not immediately start to forward data. It will instead go through a number of states while it processes BPDUs and determines the topology of the network. The port attached to a host such as a computer, printer or server always goes into the forwarding state, albeit after a delay of about 30 seconds while it goes through the listening and learning states. The time spent in the listening and learning states is determined by a value known as the forward delay (default 15 seconds and set by the root bridge). If another switch is connected, the port may remain in blocking mode if it is determined that it would cause a loop in the network. Topology change notification (TCN) BPDUs are used to inform other switches of port changes. TCNs are injected into the network by a non-root switch and propagated to the root. Upon receipt of the TCN, the root switch will set the topology change flag in its normal BPDUs. This flag is propagated to all other switches and instructs them to rapidly age out their forwarding table entries.


title: Spanning Tree Protocol

text: Before configuring STP, the network topology should be carefully planned. Basic configuration requires that STP be enabled on all switches in the LAN and the same version of STP chosen on each. The administrator may determine which switch will be the root bridge and configure the switches appropriately. If the root bridge goes down, the protocol will automatically assign a new root bridge based on bridge ID. If all switches have the same bridge ID, such as the default ID, and the root bridge goes down, a tie situation arises and the protocol will assign one switch as root bridge based on the switch MAC addresses. Once the switches have been assigned a bridge ID and the protocol has chosen the root bridge switch, the best path to the root bridge is calculated based on port cost, path cost and port priority. Ultimately STP calculates the path cost on the basis of the bandwidth of a link, however links between switches may have the same bandwidth. Administrators can influence the protocol's choice of the preferred path by configuring the port cost, the lower the port cost the more likely it is that the protocol will choose the connected link as root port for the preferred path. The selection of how other switches in the topology choose their root port, or the least cost path to the root bridge, can be influenced by the port priority. The highest priority will mean the path will ultimately be less preferred. If all ports of a switch have the same priority, the port with the lowest number is chosen to forward frames.


title: Spanning Tree Protocol

text: The "root bridge" of the spanning tree is the bridge with the smallest (lowest) bridge ID. Each bridge has a configurable priority number and a MAC address; the bridge ID is the concatenation of the bridge priority and the MAC address. For example, the ID of a bridge with priority 32768 and MAC is . The bridge priority default is 32768 and can only be configured in multiples of 4096. When comparing two bridge IDs, the priority portions are compared first and the MAC addresses are compared only if the priorities are equal. The switch with the lowest priority of all the switches will be the root; if there is a tie, then the switch with the lowest priority and lowest MAC address will be the root. For example, if switches "A" (MAC = ) and "B" (MAC = ) both have a priority of 32768 then switch "A" will be selected as the root bridge. If the network administrators would like switch "B" to become the root bridge, they must set its priority to be less than 32768.


title: Spanning Tree Protocol

text: The above rules describe one way of determining what spanning tree will be computed by the algorithm, but the rules as written require knowledge of the entire network. The bridges have to determine the root bridge and compute the port roles (root, designated, or blocked) with only the information that they have. To ensure that each bridge has enough information, the bridges use special data frames called bridge protocol data units (BPDU) to exchange information about bridge IDs and root path costs.


title: Spanning Tree Protocol

text: A bridge sends a BPDU frame using the unique MAC address of the port itself as a source address, and a destination address of the STP multicast address .


title: Spanning Tree Protocol

text: There are two types of BPDUs in the original STP specification (the Rapid Spanning Tree (RSTP) extension uses a specific RSTP BPDU):


title: Spanning Tree Protocol

text: BPDUs are exchanged regularly (every 2 seconds by default) and enable switches to keep track of network changes and to start and stop forwarding at ports as required. To prevent the delay when connecting hosts to a switch and during some topology changes, Rapid STP was developed, which allows a switch port to rapidly transition into the forwarding state during these situations.


title: Spanning Tree Protocol

text: The first spanning tree protocol was invented in 1985 at the Digital Equipment Corporation by Radia Perlman. In 1990, the IEEE published the first standard for the protocol as 802.1D, based on the algorithm designed by Perlman. Subsequent versions were published in 1998 and 2004, incorporating various extensions. The original Perlman-inspired Spanning Tree Protocol, called DEC STP, is not a standard and differs from the IEEE version in message format as well as timer settings. Some bridges implement both the IEEE and the DEC versions of the Spanning Tree Protocol, but their interworking can create issues for the network administrator.


title: Spanning Tree Protocol

text: Different implementations of a standard are not guaranteed to interoperate, due for example to differences in default timer settings. The IEEE encourages vendors to provide a Protocol Implementation Conformance Statement, declaring which capabilities and options have been implemented, to help users determine whether different implementations will interoperate correctly.


title: Spanning Tree Protocol

text: In 2001, the IEEE introduced Rapid Spanning Tree Protocol (RSTP) as IEEE 802.1w. RSTP was then incorporated into IEEE 802.1D-2004 making the original STP standard obsolete. RSTP was designed to be backward-compatible with standard STP.


title: Spanning Tree Protocol

text: RSTP provides significantly faster spanning tree convergence after a topology change, introducing new convergence behaviors and bridge port roles to accomplish this. While STP can take 30 to 50 seconds to respond to a topology change, RSTP is typically able to respond to changes within 3 × "hello times" (default: 3 2 seconds) or within a few milliseconds of a physical link failure. The hello time is an important and configurable time interval that is used by RSTP for several purposes; its default value is 2 seconds.


title: Spanning Tree Protocol

text: The number of switch port states a port can be in has been reduced to three instead of STP's original five:


title: Spanning Tree Protocol

text: STP and RSTP do not segregate switch ports by VLAN. However, in Ethernet switched environments where multiple VLANs exist, it is often desirable to create multiple spanning trees so that traffic on different VLANs uses different links.


title: Spanning Tree Protocol

text: Before the IEEE published a Spanning Tree Protocol standard for VLANs, a number of vendors who sold VLAN capable switches developed their own Spanning Tree Protocol versions that were VLAN capable. Cisco developed, implemented and published the Per-VLAN Spanning Tree (PVST) proprietary protocol using its own proprietary Inter-Switch Link (ISL) for VLAN encapsulation, and PVST+ which uses 802.1Q VLAN encapsulation. Both standards implement a separate spanning tree for every VLAN. Cisco switches now commonly implement PVST+ and can only implement Spanning Trees for VLANs if the other switches in the LAN implement the same VLAN STP protocol. HP provides PVST and PVST+ compatibility in some of its network switches. Some devices from Force10 Networks, Alcatel-Lucent, Extreme Networks, Avaya, Brocade Communications Systems and BLADE Network Technologies support PVST+. Extreme Networks does so with two limitations: Lack of support on ports where the VLAN is untagged/native, and also on the VLAN with ID 1. PVST+ can tunnel across an MSTP Region.


title: Spanning Tree Protocol

text: The switch vendor Juniper Networks in turn developed and implemented its VLAN Spanning Tree Protocol (VSTP) to provide compatibility with Cisco's PVST, so that the switches from both vendors can be included in one LAN. The VSTP protocol is only supported by the EX and MX Series from Juniper Networks. There are two restrictions to the compatibility of VSTP:


title: Spanning Tree Protocol

text: By default, VSTP uses the RSTP protocol as its core spanning-tree protocol, but usage of STP can be forced if the network includes old bridges. More information about configuring VSTP on Juniper Networks switches was published in the official documentation.


title: Spanning Tree Protocol

text: Cisco also published a proprietary version of Rapid Spanning Tree Protocol. It creates a spanning tree for each VLAN, just like PVST. Cisco refers to this as Rapid Per-VLAN Spanning Tree (RPVST).


title: Spanning Tree Protocol

text: The Multiple Spanning Tree Protocol (MSTP), originally defined in IEEE 802.1s-2002 and later merged into IEEE 802.1Q-2005, defines an extension to RSTP to further develop the usefulness of VLANs.


title: Spanning Tree Protocol

text: In the standard, a spanning tree that maps one or more VLANs is called a "multiple spanning tree" (MST). Under MSTP, a spanning tree can be defined for individual VLANs or for groups of VLANs. Furthermore, the administrator can define alternate paths within a spanning tree. Switches are first assigned to an MST region, then VLANs are mapped against or assigned to this MST. A "common spanning tree" (CST) is an MST to which several VLANs are mapped, this group of VLANs is called "MST instance" (MSTI). CSTs are backward compatible with the STP and RSTP standard. A MST that has only one VLAN assigned to it is a "internal spanning tree" (IST).


title: Spanning Tree Protocol

text: Unlike some proprietary per-VLAN spanning tree implementations, MSTP includes all of its spanning tree information in a single BPDU format. Not only does this reduce the number of BPDUs required to communicate spanning tree information for each VLAN, but it also ensures backward compatibility with RSTP and, in effect, classic STP too. MSTP does this by encoding an additional region of information after the standard RSTP BPDU as well as a number of MSTI messages (from 0 to 64 instances, although in practice many bridges support fewer). Each of these MSTI configuration messages conveys the spanning tree information for each instance. Each instance can be assigned a number of configured VLANs and frames assigned to these VLANs operate in this spanning tree instance whenever they are inside the MST region. In order to avoid conveying their entire VLAN to spanning tree mapping in each BPDU, bridges encode an MD5 digest of their VLAN to instance table in the MSTP BPDU. This digest is then used by other MSTP bridges, along with other administratively configured values, to determine if the neighboring bridge is in the same MST region as itself.


title: Spanning Tree Protocol

text: MSTP is fully compatible with RSTP bridges in that an MSTP BPDU can be interpreted by an RSTP bridge as an RSTP BPDU. This not only allows compatibility with RSTP bridges without configuration changes but also causes any RSTP bridges outside of an MSTP region to see the region as a single RSTP bridge regardless of the number of MSTP bridges inside the region itself. In order to further facilitate this view of an MSTP region as a single RSTP bridge, the MSTP protocol uses a variable known as remaining hops as a time to live counter instead of the message age timer used by RSTP. The message age time is only incremented once when spanning-tree information enters an MST region, and therefore RSTP bridges will see a region as only one "hop" in the spanning tree. Ports at the edge of an MSTP region connected to either an RSTP or STP bridge or an endpoint are known as boundary ports. As in RSTP, these ports can be configured as edge ports to facilitate rapid changes to the forwarding state when connected to endpoints.


title: Spanning Tree Protocol

text: IEEE 802.1aq, also known as Shortest Path Bridging (SPB), allows redundant links between switches to be active through multiple equal cost paths, and provides much larger layer-2 topologies, faster convergence, and improves the use of the mesh topologies through increased bandwidth between all devices by allowing traffic to load share across all paths on a mesh network. SPB consolidates multiple existing functionalities, including Spanning Tree Protocol (STP), Multiple Spanning Tree Protocol (MSTP), Rapid Spanning Tree Protocol (RSTP), Link aggregation, and Multiple MAC Registration Protocol (MMRP) into a one link state protocol.


title: Spanning Tree Protocol

text: The bridge ID (BID) is a field inside a BPDU packet. It is eight bytes in length. The first two bytes are the bridge priority, an unsigned integer of 0–65,535. The last six bytes are a MAC address supplied by the bridge. Prior to IEEE 802.1D-2004, the first two bytes gave a 16-bit bridge priority. Since IEEE 802.1D-2004, the first four bits are a configurable priority, and the last twelve bits carry the bridge system ID extension. In the case of MST, the bridge system ID extension carries the MSTP instance number. Some vendors set the bridge system ID extension to carry a VLAN ID allowing a different spanning tree per VLAN, such as Cisco's PVST.


title: Spanning Tree Protocol

text: Spanning tree is an older protocol with a longer convergence time. Improper use or implementation can contribute to network disruptions. Blocking links is a crude approach to high availability and preventing loops. Modern networks can make use of all connected links by use of protocols that inhibit, control or suppress the natural behavior of logical or physical topology loops.


title: Spanning Tree Protocol

text: Newer, more robust protocols include the TRILL (Transparent Interconnection of Lots of Links) protocol, also created by Perlman, and Shortest Path Bridging from the IEEE.


title: Spanning Tree Protocol

text: Configuring connections between network equipment as layer-3 IP links and relying on IP routing for resiliency and to prevent loops is a popular alternative.


title: Spanning Tree Protocol

text: Switch virtualization techniques like Cisco Virtual Switching System and Virtual PortChannel and HP Intelligent Resilient Framework combine multiple switches into a single logical entity. Such a multi-chassis link aggregation group works like a normal port trunk, only distributed through multiple switches. Conversely, partitioning technologies compartmentalize a single physical chassis into multiple logical entities.


title: .350 Legend

text: The .350 Legend (9×43 mm), also called 350 LGND, is a SAAMI-standardized straight-walled intermediate rifle cartridge developed by Winchester Repeating Arms. The cartridge was designed for use in American states that have specific regulations for deer hunting with straight-walled centerfire cartridges. Winchester claims that the .350 Legend is the fastest production straight-walled hunting cartridge in the world, although some .444 Marlin and .458 Winchester Magnum loads are faster. It is designed for deer hunting out to a maximum effective range of .


title: .350 Legend

text: Ohio's Deer Hunting Regulations allow the use of a straight-walled rifle cartridge with a minimum caliber of . Consequently, the .350 Legend is a legal hunting rifle cartridge there.


title: .350 Legend

text: The .350 Legend shares many characteristics with the .223 Remington, such as an overall cartridge length of and a rim diameter of . Because of its similarities to the .223 Remington and 5.56 mm NATO, the .350 Legend is suitable for use in AR-15 type semiautomatic rifles, and will fit in most standard AR-15 magazines without modification.


title: .350 Legend

text: At the 2019 SHOT Show in Las Vegas, Nevada, the .350 Legend cartridge was introduced by Winchester Ammunition. The Sporting Arms and Ammunition Manufacturers' Institute (SAAMI), the U.S. firearms and ammunition industry's technical standards-setting organization, announced the acceptance of the new cartridge and chamber standard on January 31, 2019.


title: .350 Legend

text: The cartridge was developed to deliver enough energy to achieve lethal terminal effects on large deer out to . The recoil is said to be less than a .243 Winchester. Winchester is currently offering five different loads for the new cartridge: a Deer Season XP at , a Power-Point at , a Power Max Bonded at , a FMJ in the USA ammo line at , and a Super Suppressed subsonic load at .


title: .350 Legend

text: The cartridge offers a flatter trajectory with less recoil and better terminal performance over current straight-wall cartridges while remaining compliant in most applicable states.


title: .350 Legend

text: The .350 Legend cartridge is designed to cycle in a variety of firearm platforms, and has been shown to operate in bolt-action rifles like the Winchester XPR.


title: .350 Legend

text: .350 Legend has no parent case. However, .350 Legend uses the same nominal rim diameter as .223 Remington. The .350 Legend case is a new design that maximizes terminal performance while optimizing the ability to extract the cartridge from the chambers of a variety of firearms. The .350 Legend did not adapt a .223 Remington parent case in order to incorporate a slight body taper (for extraction), as well as additional shellcase length and case volume.


title: .350 Legend

text: Winchester engineered .350 Legend hunting projectiles (such as the Extreme Point and Power-Point bullets) for use on big game out to . These bullets were designed specifically to maximize .350 Legend cartridge performance.


title: .350 Legend

text: The .350 Legend cartridge is engineered for deer hunters requiring a modern straight-walled cartridge. It is capable of killing hogs, deer, and coyotes. With bullet weights ranging from , the .350 Legend is a highly versatile cartridge with many end uses.


title: .350 Legend

text: The ability to practice cheaply with low recoil, high velocity .35 caliber (9.1 mm) rounds legal for deer hunting opens the door for many new shooters whose recoil sensitivity precludes their use of cartridges such as .450 Bushmaster or 12 gauge slug guns.


title: .350 Legend

text: .350 Legend also addresses a rapidly growing market segment known as "straight-wall-cartridge-compliant" deer-hunting states. A growing number of states that previously restricted deer hunting to limited-range slug guns or muzzle loading firearms are now allowing rifles chambered in straight-walled centerfire cartridges.


title: .350 Legend

text: The .350 Legend was designed for deer hunting in states that have specific regulations requiring straight-walled cartridges for use on deer, such as Ohio, Iowa, Indiana public land, and the Southern Lower Peninsula region of Michigan. Illinois also allows straight-walled cartridges if used with a pistol. The pistol must be a centerfire revolver or centerfire single-shot handgun of .30 caliber or larger with a minimum barrel length of 4 inches. Single-shot rifles in those specified calibers will be allowed after January 1, 2023.


title: .350 Legend

text: The Indiana Department of Natural Resources (Indiana DNR) website lists most cartridges, both bottlenecked and straight-walled, above .243" (6.2 mm) as allowed on private land. But when hunting on public lands in Indiana, the DNR cartridge specifications require cartridges with minimum and maximum case lengths of and , respectively, and a minimum bullet diameter of . It is a common misconception that Indiana is a "straight-wall state" for public land deer hunting. Many straight-wall cartridges are legal in Indiana, but they are not required, as some wildcat rounds (i.e. .358 Hoosier and .358 WSSM) with bottle necked cases still meet the state requirements.


title: Kubrat Pulev

text: Kubrat Venkov Pulev (; born 4 May 1981) is a Bulgarian professional boxer. He has challenged twice for the unified heavyweight title in 2014 and 2020. At regional level, he has held multiple heavyweight championships, including the European title twice between 2012 and 2016. As an amateur, he won multiple medals at international tournaments, including gold at the 2008 European Championships and bronze at the 2005 World Championships, all in the super-heavyweight division. He also represented Bulgaria at the 2008 Olympics.


title: Kubrat Pulev

text: As of December 2020, he is ranked as the world's tenth best active heavyweight by "The Ring" magazine, and ninth by the Transnational Boxing Rankings Board. He was ranked by BoxRec as the world's top 10 heavyweight from 2011 to 2018.


title: Kubrat Pulev

text: In February 2002, Pulev won the Strandzha Cup in his native Bulgaria. Pulev, who is nicknamed "The Cobra", beat Cuban world champion Odlanier Solís in the process. One month later, he lost a rematch to the Cuban at the semifinal of the Chemiepokal Cup. He could not participate at the Euros 2002 in Perm after breaking his arm in sparring.


title: Kubrat Pulev

text: At the European boxing championships 2004 in Pula, he defeated world class Alexander Povernov (World Championships Bronze medalist 2005). Pulev did not qualify for the Olympics despite the fact that he won the last qualifying tournament in Gothenburg. He had to settle for the first reserve place because the heavyweight division consists of only 16 fighters participating in the Olympic Games.


title: Kubrat Pulev

text: Pulev beat Islam Timurziev at super-heavyweight at the Strandja Cup 2005. At the EU Championships he lost the final 18:24 to Italian southpaw Roberto Cammarelle. At the 2005 World Amateur Boxing Championships he won bronze, losing for the third time to Odlanier Solís 11:25.


title: Kubrat Pulev

text: In 2006, at the Chemiepokal he beat Vyacheslav Glazkov and Magomed Abdusalamov. He finished at third place at the European Championships in Plovdiv. After defeating Glazkov again he was easily beaten (RSCO) by former victim and eventual winner, Islam Timurziev of Russia.


title: Kubrat Pulev

text: In 2007. he won the Chemiepokal tournament and was regarded as one of the favorites at the 2007 World Amateur Boxing Championships, but had a bad draw and lost early to southpaw Olympic bronze medalist and eventual winner Roberto Cammarelle.


title: Kubrat Pulev

text: In absence of Roberto Cammarelle, he beat Marko Tomasović, Roman Kapitonenko and Denis Sergeev to claim the European Championship.


title: Kubrat Pulev

text: Pulev turned professional, at the age of 28, in September 2009 at the Jahnsportforum in Neubrandenburg, Mecklenburg-Vorpommern, Germany. He defeated Florian Benche via 2nd-round technical knockout. Pulev fought another three times in the next three months, winning them all. He ended his first professional year with 4 wins and no losses.


title: Kubrat Pulev

text: Pulev got his first title opportunity when it was announced in March 2012 he would fight Alexander Dimitrenko (32–1, 21 KOs) on the Marco Huck vs. Ola Afolabi WBO cruiserweight championship undercard on 5 May in Erfurt, Germany for the vacant EBU European Heavyweight Championship. Many observers were giving both fighters an even chance to win, and expected the winner of this bout to fight for the title in the near future. Pulev and his trainer Otto Ramin expected a tough fight although Dimitrenko had not fought since September 2011. Pulev was outweighed by 12 pounds at the weigh in, coming in at 245 pounds. Dimitrenko started the fight well, using his height and reach to his advantage. He also moved well on his feet to avoid punishment. In round 4, Pulev began to find his range and began countering and landing some power punch combinations of his own, rocking Dimitrenko at times. Pulev's punches were much more effective than his opponents. Dimitrenko looked faded as he entered round 11. Pulev landed a jab which slowly dropped Dimitrenko to a knee. At this point, he had taken much punishment and remained down. Referee Guido Cavalleri counted him out, giving Pulev an 11th-round KO win.


title: Kubrat Pulev

text: On 1 August 2012, it was announced that Pulev would defend his European and IBF International heavyweight titles against unbeaten Belarus boxer Alexander Ustinov (27-0, 21 KOs) on 29 September in Hamburg. At the time, due to being the EBA heavyweight champion, Ustinov was not ranked by the EBU. Ustinov vacated the title and the EBU confirmed he would be included in September's rankings. The fight was also set to be an IBF eliminator. Ustinov weighed in over 300 pounds on the scales. Pulev dominated the fight from the opening bell working well behind his jab and landing the harder shots. Pulev maintained the balance attack and landed more punches in round 11. Ustinov, after a slow reaction, took a knee and eventually counted out.


title: Kubrat Pulev

text: By early-June 2013, the IBF had finally updated its heavyweight division rankings, making Pulev the official #1 contender for its heavyweight title.


title: Kubrat Pulev

text: On 21 June, the EBU confirmed Alexander Dimitrenko as Pulev's mandatory challenger. They set the purse bid deadline for 10 July. On 18 July, Dimitrenko vacated his mandatory position. The EBU announced that Pulev would fight the next highest ranked fighter instead.


title: Kubrat Pulev

text: Having not fought in 11 months, Pulev next fought on 24 August 2013, against former world title challenger Tony Thompson (38-3, 26 KOs) in a final eliminator in Schwerin, Germany. Thompson was coming off back to back wins against British contender David Price. The fight went the 12 round distance with Pulev announced the winner. The three judges scored the fight 116–112, 118–110, and 117–111 in his favour. Thompson started off slow and defensive, but never landed anything of note during the fight. Pulev outlanded Thompson 80–28 in the final four rounds. In total, Pulev landed 145 of 405 punches thrown (36%) and Thompson connected 141 of his 419 thrown (34%).


title: Kubrat Pulev

text: On 8 October, EBU announced Pulev as their mandatory challenger for heavyweight champion Derek Chisora. Prior to Pulev vacating the title, Chisora was his mandatory challenger, before capturing the vacant title. There was no date set for purse bids. On 3 December, it was announced that Pulev would 'stay busy', whilst waiting for the Klitschko fight, and fight on 14 December against veteran Sherman Williams (36-13-2, 19 KO's) at the Jahnsportforum in Neubrandenburg. A few days before the fight, Williams pulled out of the fight with an injury and replaced with American Joey Abell (29-6, 28 KOs). Pulev won the bout when Abell retired in his corner after round 4. Pulev started the fight slow with Abell landing counters, however Pulev found his rhythm in round 2. Abell started well in round 4, dropping Pulev with a counter punch. Pulev got up immediately and dropped Abell three times in the round, all from body shots. During the interval, referee Charlie Fitch stopped the fight.


title: Kubrat Pulev

text: Starting the year 2014, whilst still waiting on the world title fight with Klitschko, who was due to satisfy his WBO mandatory in April against Alex Leapai, Pulev stated he would fight again in Rostock on 5 April. A month later, talks resumed for a fight between Pulev and Chisora. A purse bid date was set for 18 March. The fight would also serve as a WBO eliminator for Klitschko, despite Pulev already being IBF #1 ranked. Pulev later confirmed that he would fight American boxer Elijah McCall (12-3, 11 KOs) on the Braehmer vs. Maccarinelli undercard. Elijah was known for being the son of former WBC heavyweight champion Oliver McCall. A day later, McCall pulled out of the fight. Sauerland Event stated, "after agreeing 2 fight & docs being received. McCall watched tape of Pulev and pulled out of undercard bout." American Joey Dawejko was announced as the replacement. A day later, Ivica Perkovic (20-23, 15 KOs) replaced Dawejko, who also withdrew from the bout. On fight night, Pulev stopped Perkovic in three rounds.


title: Kubrat Pulev

text: The IBF finally ordered Wladimir Klitschko vs. Pulev on 8 May 2014, and given 30 days negotiation period. Klitschko's manager Bernd Boente stated that a potential fight with WBC champion Bermane Stiverne was their main priority, a fight which would see all of the heavyweight belts at stake. Kalle Sauerland stated that he would request to get Klitschko (62-3, 52 KOs) stripped of the IBF title if he didn't fight Pulev. At the same time Deontay Wilder was named Stiverne's mandatory and the WBC stated he must fight Wilder next. With IBF purse bid split being 75–25 in favour of the champion, Klitschko requested the split be 80–20 in his favour. The IBF accepted the request. A purse bid took place on 17 June, which was won by K2 Promotions. The winning bid was $7.25 million. Sauerland Event put in a bid for $5.29 million. As per the bid, K2 had the location set as O2 World Arena in Hamburg, with a possible date being 6 September 2014. In August, Klitschko suffered a bicep injury, thus postponing the fight by at least two months. A new date of 15 November was set. HBO announced that they would air the fight live in the afternoon, making it the 19th Klitschko fight they would show. Two days before the fight, it was revealed only the IBF title would be at stake for Pulev as he and his team, however if Klitschko loses, the remaining titles would be vacated.


title: Kubrat Pulev

text: Despite making a spirited effort, Pulev suffered three knockdowns en route to being knocked out in round five by a devastating left hook. The time of stoppage was recorded as 2:11 of round 5. In the post-fight, Pulev said, "Wladimir is a really good opponent, but he was lucky. I want a rematch". Klitschko praised Pulev, calling him a tough competitor. CompuBox stats showed that Klitschko landed 38 of 89 punches thrown (43%), this included 47% of his power punches. Pulev managed to land only 25 of his 110 thrown (23%). This was made up of 10 jabs and 15 power shots landed. The fight drew 10.5 million viewers in Germany and 1.8 million viewers in Bulgaria (becoming the most watched sports event on the Bulgarian TV since 2007). The fight also averaged 620,000 viewers on HBO and peaked at 700,000 viewers.


title: Kubrat Pulev

text: Pulev signed an contract extension with Team Sauerland on 11 February 2015. it was also revealed that Pulev would now be trained by well known German coach Ulli Wegner.


title: Kubrat Pulev

text: Following his first professional defeat, Pulev took 11 months out, before returning to the ring on 17 October 2015, against 41-year-old journeyman George Arias (56-13, 42 KOs) in an 8-round bout. The fight was scheduled to take place at the DM-Arena in Karlsruhe, Baden-Württemberg. Pulev also announced that he would be working with German legendary coach Ulli Wegner. The fight went the distance as Pulev won a unanimous decision with scores of 80–71, 80–71, and 79–73.


title: Kubrat Pulev

text: His next fight took place in December 2015 against American journeyman and former USBA heavyweight champion Maurice Harris, the fight lasted all of 100 seconds as Pulev knocked Harris down and out.


title: Kubrat Pulev

text: On 15 March 2016, it was announced that Pulev would fight fellow former European champion and world title challenger Derek Chisora (25-5, 17 KOs), in an IBF title eliminator for the vacant European heavyweight title at the Barclaycard Arena in Hamburg on 7 May 2016. Despite what had seemed a fairly comfortable points win for Pulev, which saw him control the fight behind the jab, the fight ended in a split decision, with two judges scoring it 118–110 and 116–112 in Pulev's favour while the third scored it 115–113 for Chisora.


title: Kubrat Pulev

text: On 1 November 2016, it was announced that Pulev would fight returning former heavyweight world champion Samuel Peter (36-5, 29 KOs) on 3 December at the Arena Armeec in Sofia, Bulgaria. It was the first time in his professional career fighting in his home country. On 22 November, Pulev decided to vacate the EBU title instead entering purse bids against mandatory Mariusz Wach. Peter weighed 271 pounds for the fight. In front of 15,000 at the Arena Armeec, Pulev defeated Peter via a 3rd round RTD to win the vacant WBA Inter-Continental heavyweight title. The fight was stopped after round three when Peter was forced to retire after dislocating his right shoulder. Pulev was the more accurate and active boxer and managed to land the clear punches. He was ahead 30–27 on all three judges' scorecards after round 3.


title: Kubrat Pulev

text: On 21 March 2017, Team Sauerland announced that Pulev would once again return to the Arena Armeec in Sofia, Bulgaria against another returning boxer, 37 year old former world title challenger Kevin Johnson (30-7-1, 14 KOs) of the United States. Johnson made a return to boxing, following his first knockout loss to Anthony Joshua in 2015, on 11 March in an eight-round unanimous decision win against Jamal Woods. The fight took place on 28 April 2017. The fight went 12 rounds, but inflicted with foul play. Pulev controlled all the rounds winning 120–108 on two judges cards and 119–109 on the third judges card. Pulev got away with rabbit punching throughout the fight. In round 8, referee Terry O’Connor warned Pulev, however he continued to do so. Johnson fought on the back foot, although he hit Pulev with some clean shots, it wasn't enough to win the rounds. The win kept Pulev in line for a future IBF world title shot, winning his fifth consecutive fight since his sole loss to Wladimir Klitschko and also retaining his WBA Inter-Continental heavyweight title.


title: Kubrat Pulev

text: On 10 December 2016, Anthony Joshua knocked out Eric Molina in the third round and the Joshua vs. Klitschko fight was officially announced. WBA president Gilberto J. Mendoza confirmed that the winner will have to face mandatory challenger Luis Ortiz next, with deadlines due to be set after the unification fight. A day later the IBF announced the winner must fight their mandatory challenger Pulev. Because of this clashing with the WBA enforcing their mandatory, it was believed that either Joshua or Klitschko would have to vacate a title. On 7 June 2017, the IBF granted Joshua an exception for him to rematch Klitschko instead of fighting mandatory challenger Pulev. At this point, it was not said that the rematch would take place. Klitschko said he needed time to review his situation before agreeing to a rematch. It was only weeks after the fight, when Eddie Hearn filed the paperwork to the IBF to request the exception to the mandatory defense. IBF explained that the rematch must take place no later than 2 December 2017, and the winner must fight Pulev next with no exceptions.


title: Kubrat Pulev

text: On 3 August 2017, Klitschko announced on his website and social media channels that he was retiring from boxing. On 4 August, upon learning that Klitschko had retired, the IBF immediately ordered Joshua and Pulev to fight next, with a deal needing to be reached by 3 September 2017. The WBA then ordered Joshua to make his mandatory defence against their top ranked fighter Luis Ortiz, giving them 30 days to reach a deal. According to Hearn, the plan going forward was to fight Pulev next, following by Ortiz and then a potential unification fight against Deontay Wilder. On 22 August, details between the camps of Joshua and Pulev were being discussed and close to being finalised for the date of 28 October 2017, with Las Vegas as the potential host.


title: Kubrat Pulev

text: On 28 August, it was announced that Joshua and Pulev would fight at the Principality Stadium in Cardiff. Promoter Eddie Hearn made the official announcement on 5 September, "I'm delighted that we will be in Cardiff at the magnificent Principality Stadium for the next step of the AJ journey. Nearly 80,000 will gather on 28 October to create another unforgettable night of boxing. Anthony will meet his mandatory challenger, [IBF] No. 1-ranked Kubrat Pulev, and the card will be stacked with world championship action, domestic title fights and the very best young stars in the game. Get ready for the next episode from the biggest star in world boxing." The official press conference took place on 11 September and the following day, a reported 70,000 tickets had been sold, making it the fastest selling event. It also set the record of largest boxing attendance to be expected indoors. The previous record was Muhammad Ali vs. Leon Spinks rematch which gathered 63,000 fans at the New Orleans Superdrome in 1978. On 16 October, rumours circulated that Pulev had suffered an injury, which could see the fight being in jeopardy. The same reports suggested the injury was 10 days old, but Pulev's camp had kept it quiet. The injury was later revealed to be true and 36-year-old Carlos Takam (35-3-1, 27 KOs), who was ranked number 3 by the IBF stepped in to replace Pulev on 12 days notice. Eddie Hearn said in a statement that he received a phone call from Pulev's promoter Kalle Sauerland, advising him of a shoulder injury he sustained during sparring. Hearn revealed when the Joshua vs. Pulev fight was made, he reached out to Takam's camp, knowing they would be next in line and told them to begin a training camp and stay on standby.


title: Kubrat Pulev

text: In March 2018, the IBF ordered Pulev vs. Dominic Breazeale for a final eliminator, however Breazeale refused to take part. In April, the IBF ordered Pulev to fight British boxer Dillian Whyte (23-1, 17 KOs). A purse bid was set for 10 May. The purse bids were delayed as a deal between Eddie Hearn and Team Sauerland, Pulev's promoter was close to being agreed. The IBF gave them until 24 May. Despite Whyte stating that Pulev did not want the fight, Pulev stated he was more than happy to fight Whyte, but "a lot of things need to be agreed" before the fight could be confirmed. According to Nisse Sauerland, the date of 28 July was being discussed with the host venue being either London or Bulgaria. New York based promotional company, Epic Sports & Entertainment made a purse bid of $1,500,111, winning the rights of the fight. Hearn offered $831,111, which was higher than the $801,305 bid from Team Sauerland. IBF ruling states for a final eliminator, the higher ranked boxer, in this case was Pulev, would get 75% ($1,125,083.25) and Whyte would earn $375,027.75 for the fight. On 7 June, Whyte pulled out of the fight and instead Matchroom announced he would be fighting former WBO champion Joseph Parker in London on 28 July. Pulev was unhappy with the pull out and labelled Whyte and Hearn as 'extreme manipulators and plain schizophrenics' as well as accusing them of avoiding him at all costs.


title: Kubrat Pulev

text: On 16 June, the IBF then ordered Pulev against their #3 ranked American boxer Jarrell Miller 21–0, 18 KO). On 25 June, at the purse bid, Epic Sports & Entertainment made the winning bid of $2,111,111, much higher than the $1,000,010, which was placed by Team Sauerland. The bid meant Miller would be earning his highest purse at $527,777.75 US dollars. According to Epic Sports, the contracts were sent within two days of the purse bid. By 2 July, there was no deal made. It was said that Miller's camp were stalling, likely due to the fight taking place in Bulgaria. Miller's promoter Dmitry Salita confirmed negotiations were still ongoing however the biggest hurdle was the venue. According to IBF public relations director Jeanette Salazar, Miller had 15 days from when he received the contract to agree or the IBF would go back to the rankings.


title: Kubrat Pulev

text: At the time, the next highest challenger was Hughie Fury (21-1, 11 KO), who was inserted at #5 by the IBF in June. Negotiations between Pulev and Miller broke down on 10 July. The IBF ordered a purse bid to take place on 9 August. On the morning, the IBF pushed the date of the bid to 16 August. However, on that same date, the fight was agreed from both parties and was announced to take place in Sofia, Bulgaria on 27 October 2018.


title: Kubrat Pulev

text: Pulev defeated Fury via a 12-round unanimous decision to become the mandatory challenger for IBF heavyweight title. The scores were 117–111, 118–110, and 115–113. After a good start by Fury, he could not overcome a cut that opened up in round 2, which altered his mindset and game plan. Fury had suffered the cut over his left eye during training camp and Pulev took advantage by opening it up again. With the cut bleeding bad, it forced Hughie to fight more aggressively but cautiously. After the fight, Peter Fury said, "Hughie came into the fight with a cut above the eye. He was stitched up two weeks ago but they [the doctors] said it would heal in time for the fight and obviously it didn’t." He praised Fury for his efforts after the cut was open. Pulev used his jab often, until round 4, he started unloading on more power shots. Fury spent the majority of the second half of the fight trying to counter Pulev, however was unable to land any meaningful shot. As the fight went on, Pulev's jab became much stronger and accurate, although Pulev was caught with a right hand in round 8. Pulev clinched after being wobbled and took back control in round 9. By round 11, Fury seemed tired and spent most of the final two rounds boxing with his back against the ropes. Fury believed the cut was what ultimately lost him the fight.


title: Kubrat Pulev

text: On 8 December 2018 Top Rank announced they had signed Pulev on a co-promotional multiyear deal. Bob Arum revealed the plan for 2019 was to have Pulev main event a card on ESPN against a known, in preparation for a future Anthony Joshua showdown. Arum had been interested in signing Pulev since they made a deal with Epic Sports to broadcast Pulev's fight against Hughie Fury on ESPN+.


title: Kubrat Pulev

text: On 2 March 2020, both Matchroom's Eddie Hearn and Top Rank's Bob Arum officially announced Pulev will fight Anthony Joshua at the Tottenham Hotspur Stadium in London on 20 June 2020. This then got put back due to COVID-19 and eventually took place on 12 December 2020 On 7 March, before the broadcast of Adam Kownacki vs. Robert Helenius, Joe Goossen announced he will be training Pulev for the fight.


title: Kubrat Pulev

text: Pulev was knocked out in round 9. He was dropped in the third round and was dropped twice again in the ninth.


title: Kubrat Pulev

text: On 27 November 2021, Pulev become Triad Combat Heavyweight World Champion after beat MMA fighter Frank Mir in the main event of a boxing vs. MMA event. Promoted by Triller and held at the Globe Life Field in Arlington, Texas, Pulev defeated Mir via TKO at 1 minute 59 seconds in the first round of a scheduled nine-round bout.


title: Kubrat Pulev

text: On 23 March 2019, after defeating Bogdan Dinu in Costa Mesa, Pulev forcibly kissed a female reporter Jennifer Ravalo on the lips during an interview. The California State Athletic Commission responded by suspending Pulev's licence. In response, Kubrat's younger brother, Tervel Pulev, posted a video taken hours after the incident without the knowledge of Ravalo, showing her suggestively dancing with a member of Kubrat's entourage. On 28 March 2019, Ravalo has announced that she would be taking legal action against Pulev with Gloria Allred as her lawyer. On 24 July 2019, Pulev had his boxing license reinstated by the CSAC after he completed his sexual harassment prevention class, with a caveat that his license will be revoked if similar offenses were to occur.


title: Kubrat Pulev

text: Pulev has a younger brother, Tervel Pulev, who is also a professional boxer. Both brothers have been named after Medieval Bulgarian rulers - Kubrat and Tervel. Pulev has declined lucrative financial offers to represent Germany, viewing it as a matter of principle not to change his national allegiance. In December 2020, Tervel Pulev revealed in an interview that Kubrat had recovered from COVID-19.


title: Yu-Gi-Oh! Sevens

text: , stylized as Yu-Gi-Oh! SEVENƧ, is a Japanese anime series animated by Bridge that aired in Japan on TV Tokyo from April 4, 2020, to March 27, 2022. It is the sixth spin-off anime series in the "Yu-Gi-Oh!" franchise, following "Yu-Gi-Oh! VRAINS" and commemorates the 20th anniversary of the "Yu-Gi-Oh! Duel Monsters" anime series. It is also the first installment in the series to not be animated by Gallop.


title: Yu-Gi-Oh! Sevens

text: The series takes place in the futuristic town of Goha and stars Yuga Ohdo, a fifth-grade, elementary school student, who loves both inventions and dueling. Feeling that the current rules of the "Duel Monsters" card game are too stifling, Yuga successfully manages to install a new set of rules of his own creation known as "Rush Duel", allowing for more fast-paced and frantic dueling. The series follows Yuga and his friends as they show off the delights of Rush Duels while under the watchful eye of the Goha Corporation that oversees the city.


title: Yu-Gi-Oh! Sevens

text: "Yu-Gi-Oh! Sevens" was first announced as a then-untitled new anime series in the "Yu-Gi-Oh!" franchise on July 21, 2019. The series marked the second studio turnover in franchise history with Bridge taking over as head studio in animation production from Gallop, which oversaw every television series and films in the franchise beginning with "Yu-Gi-Oh! Duel Monsters" in 2000. The series is being directed by Nobuhiro Kondo with screenplay by Toshimitsu Takeuchi and character designs by Kazuko Tadano and Hiromi Matsushita. It began airing in Japan on April 4, 2020, on TV Tokyo.


title: Yu-Gi-Oh! Sevens

text: On April 28, 2020, it was announced that after episode 5, the remaining episodes would be delayed for five weeks due to the effects of the COVID-19 pandemic. On July 10, 2020, it was announced it will be delayed again due to the aforementioned pandemic and resumed on August 8, 2020. An English dub began production in early 2021, and premiered on Disney XD on June 6 and Hulu on June 7, 2022, in the United States.


title: Yu-Gi-Oh! Sevens

text: A comedy spin-off manga adaptation, titled "Yu-Gi-Oh! Sevens: Boku no Road Gakuen (My Road Academy)", written and illustrated by Megumi Sasaki launched in the September issue of "Saikyo Jump" on August 4, 2020.


title: Yu-Gi-Oh! Sevens

text: On August 19, 2020, it was announced that "Yu-Gi-Oh! Sevens" will be getting a manga in V Jump, titled , written by Hikokubo Masahiro and illustrated by Sugie Tasuku that launched in the next issue of "V Jump" on September 19, 2020.


title: Yu-Gi-Oh! Sevens

text: In the year that "Yu-Gi-Oh! Sevens" premiered, the "Yu-Gi-Oh! Trading Card Game" announced an update to the Master Rules, unofficially called "Master Rule 5". Effective April 1, 2020, it is now possible again to summon Fusion, Synchro, or Xyz monsters directly to the Main Monster zones without a required Link arrow pointing to it. Pendulum and Link monsters, however, retain their previous rules. Furthermore, several alterations to card rulings were made to the OCG, exclusively.


title: Yu-Gi-Oh! Sevens

text: No new card mechanics were introduced into the main card game. Instead, a new format separate from the main game was introduced exclusively for the Japanese and Korean market named Rush Duels. Normal Summoning is unlimited, though Tribute Summon rules for Level 5 or higher monsters still apply. All card effects are "soft" once per turn, meaning a card's effect can be used once per copy. If a player can summon or use another copy of the same card, they may use its effect again. Card effects are now sectioned into "Requirement" and "Effect" boxes for easier reading. Players can only use cards designed for Rush Duels, which have a special frame and a "RUSH DUEL" tag at the bottom of the card. Rush Duels also uses its own exclusive card pool with many cards not found in the main game. Certain imported cards from the main game are known as "Legend Cards". Each player is allowed one copy of one Legend Card in their deck.


title: Yu-Gi-Oh! Sevens

text: Following a rule update in January 2023, unofficially called "Rush Master Rule 2", players are now allowed to use one Legend card per Card Type in a deck (one Spell, one Trap, and one Monster).


title: Yu-Gi-Oh! Sevens

text: Critic reception for Yu-Gi-Oh! Sevens is mixed. Mellisa Camacho wrote for Common Sense Media that younger kids "may find what's happening a little confusing at times" but the anime is "lively enough to be entertaining." She gave a rating of 3 out of 5 stars.


Chocolate Starfish and the Hot Dog Flavored Water is the third studio album by American nu metal band Limp Bizkit, released on October 17, 2000, by Flip and Interscope Records.


title: Chocolate Starfish and the Hot Dog Flavored Water

text: The first part of the title is a slang term for the human anus. "Hot Dog Flavored Water" is an in joke started by Wes Borland at a truck stop while the band was on tour, where Borland saw bottles of Crystal Geyser flavored water, and made a joke about having meat or hot dog flavors.


text: Durst himself refers to the album name in three songs. First, "Livin' It Up", where he declares that "The chocolate starfish is my man Fred Durst" (Wes Borland has stated in an interview when questioned on the naming of the album that "Fred calls himself Chocolate Starfish, because people call him an asshole all the time"), "Hot Dog", where he tells his detractors to "Kiss my starfish, my chocolate starfish," and "Rollin' (Air Raid Vehicle)" where he mentions "Chocolate Starfish" in the introduction.


text: The longtime working title for the album had been "Limpdependence Day", but this was abandoned after the band failed to meet the deadline for their original intended release date of July 4.


text: The song "Hot Dog" features the word "fuck" 46 times; Durst points out in the lyrics "if I say fuck 2 more times that's 46 fucks in this fucked up rhyme". The chorus references the Nine Inch Nails songs "Closer", "The Perfect Drug" and "Burn". Durst said he was a big fan of Nine Inch Nails, who inspired his music, although Nine Inch Nails frontman Trent Reznor had made negative remarks about Durst during that period. Reviewers have often interpreted Durst's lyrics in "Hot Dog" as an insult to Reznor. The lyrical references to Reznor's music led to him getting a co-writer credit, which Reznor said he approved as the record was going to print as not to hold up the release. "Livin' It Up" samples "Life in the Fast Lane" by the American rock band Eagles. The lyrics of "My Generation" reference "My Generation" by The Who and "Welcome to the Jungle" by Guns N' Roses.


text: The track "Getcha Groove On" used an uncredited sample of music that is played during the Aerial Trapeze Act of Cirque Du Soleil's Cirque Reinvente. In the September 2008 issue of Kerrang, Wes Borland told the magazine: "We actually got sued over this piece of shit. There was some sort of sample used in it that someone didn't get full clearance for, so we ended up getting into some serious trouble for a little while." When the album was later released onto streaming services, the track "Getcha Groove On (Dirt Road Mix)", from their remix album New Old Songs, replaced the original version.


text: "Chocolate Starfish and the Hot Dog Flavored Water" debuted at number one on the "Billboard" 200, selling 1,054,511 copies in its first week of being released, with 400,000 of those copies being sold in the album's first day of release—the largest first-week sales debut for a rock album in the United States ever since Nielsen Soundscan began tracking album sales in 1991. It was also the fourth highest-week debut sales of 2000, behind Eminem's "The Marshall Mathers LP", 'N Sync's "No Strings Attached" and Britney Spears' "Oops!... I Did It Again". In its second week of being released, the album sold 392,000 copies, and remained at number 1 on the "Billboard" 200. The album also went to number 1 on the Canadian Albums Chart, selling 98,707 copies in its first week in the country. Two months after its release date, the album was certified 4× platinum by the Recording Industry Association of America (RIAA), and almost seven months after its release date, it was certified 5× platinum by the RIAA. In April 2002, the album was certified 6× platinum by the RIAA. It also was certified 6× platinum by Music Canada in October 2001.


text: "Chocolate Starfish and the Hot Dog Flavored Water" received mixed reviews from critics, as Metacritic gave it a 49 out of 100. AllMusic writer Stephen Thomas Erlewine wrote, "Durst's self-pitying and the monotonous music give away that the band bashed Chocolate Starfish out very quickly – it's the sound of a band determined to deliver a sequel in a finite amount of time." "The Rolling Stone Album Guide" awarded the album pop three out of five stars, whereas the magazine itself gave the album a 3.5 out of 5. Even so, "Chocolate Starfish and the Hot Dog Flavored Water" was listed in the book for "1001 Albums You Must Hear Before You Die", but later removed in recent editions of the book.


title: Asura's Wrath

text: The game follows the title character, the demigod Asura as he seeks revenge on the pantheon of other demigods who betrayed him. The story is presented in the style and format of an episodic series of cinematic scenes, including opening and closing credits, with the gameplay being integrated into the cinematic where players switch between third-person combat and interactive sequences with player input in the form of quick-time event button prompts. Because of its unique style, the game has been described in the media as an "interactive anime". According to the game's producer Kazuhiro Tsuchiya, "Asura's Wrath" takes elements from Hindu and Buddhist mythologies and blends them with science fiction.


title: Asura's Wrath

text: The gameplay of "Asura's Wrath" is a combination of multiple genres, while overall is presented in the style of an episodic anime series. The gameplay throughout shifts between a third-person action and a rail shooter game. The game also requires the player's direct input during cinematic events in the form of interactive cutscenes with various quick time event and context sensitive button prompts. In all forms of gameplay, however, player progress is determined by two gauges represented at the top of the screen, the life and burst gauge. The life gauge determines the current health and damage taken by the character that if depleted results in a game over/restart screen for that current section. The burst gauge, however, starts empty at the start of every encounter that needs to be charged fully. In order to do this, players must successfully defeat enemies, inflict large amounts of damage and press the current quick-time prompt correctly and in time. Once filled to maximum, players can unleash a powerful burst attack, which in the majority of cases is required in order to finish off strong opponents and advance the plot/gameplay, even commencing another cutscene. In addition to these two gauges, an additional one which is known as the "Unlimited gauge" fills up in a similar way to the burst gauge but instead can be activated to temporally increase the damage that can be inflicted on opponents.