title: Samsung Galaxy Note 20

text: The base amount of RAM is 8 GB, paired with 128 or 256 GB of internal storage standard. The Note 20 Ultra has 12 GB RAM and 512 GB UFS options, and has up to 1 TB of expandable storage via the microSD card slot.


title: Samsung Galaxy Note 20

text: The Note 20 and Note 20 Ultra use non-removable Li-Ion batteries, rated at 4300 mAh and 4500 mAh respectively.


title: Samsung Galaxy Note 20

text: Qi inductive charging is supported as well as the ability to charge other Qi-compatible device from the Note 20's own battery power, which is branded as ""Samsung PowerShare""; wired charging is supported over USB-C at up to 25 W.


title: Samsung Galaxy Note 20

text: The two come with 5G standard connectivity, though some regions may have special LTE or sub-6 GHz only variants, and both omit the audio jack.


title: Samsung Galaxy Note 20

text: On April 14, 2021, the Galaxy Note20 Ultra 5G T-Mobile updated software to support eSIM and dual SIM (DSDS). Other carriers still do not enable the two features even though the Galaxy Note20 Ultra already supports eSIM out of the box.


title: Samsung Galaxy Note 20

text: The Note 20 features similar camera specifications to that of the Samsung Galaxy S20, which include a 12 MP wide sensor with 1.8 aperture, a 64 MP telephoto sensor with 2.0 aperture, and a 12 MP "ultrawide" sensor with 12 mm equivalent focal length. The telephoto camera supports 3× hybrid optical zoom and 10× digital zoom, which combined enables 30× hybrid zoom.


title: Samsung Galaxy Note 20

text: The Note 20 Ultra has a more advanced camera setup than its counterpart, including a 108 MP wide sensor, a 12 MP "periscope" telephoto sensor, and a 12 MP ultrawide sensor. The telephoto camera has a focal length of 120 mm (35mm equivalent), which equals 5× optical zoom, and allows for 50× hybrid zoom (assisted by digital zoom). Laser autofocus is used in favor of the S20 Ultra's time-of-flight camera.


title: Samsung Galaxy Note 20

text: The Note 20's telephoto sensor and the Note 20 Ultra's wide sensor use pixel binning to output higher quality images at a standard resolution, with the wide-angle sensor using Nonacell technology which groups 3x3 pixels to capture more light.


title: Samsung Galaxy Note 20

text: Single Take, introduced on the S20 series, allows users to capture photos or videos simultaneously with different sensors automatically. Both models can record 8K video at 24fps. On the Note 20, this is enabled by the 64 MP telephoto sensor, whereas the Note 20 Ultra's 108 MP wide sensor natively supports 8K video.


title: Samsung Galaxy Note 20

text: The S-Pen has better latency at 26ms on the Note 20 and 9ms on the Note 20 Ultra, reduced from 42ms on the Note 10 and Note 10+. Additionally, it gains five new Air gestures that work across the UI by utilizing the accelerometers and gyroscope, as well as 'AI-based point prediction'. Battery life has also been improved from 10 hours to 24 hours.


title: Samsung Galaxy Note 20

text: The devices was shipped with Android 10 and One UI 2.5. A beta test for Android 11 was released later on in the year. Android 11 with One UI 3.0 has been sent OTA (over-the-air) to the majority of Note 20 and Note 20 Ultra devices as of January 2021. Both the Note 20 and Note 20 Ultra are expected to get the Android 12 update with One UI 4.0. Beta versions were released also for the two phones.


title: Samsung Galaxy Note 20

text: On August 18, 2020, the Note 20 series along with a selection of other Samsung Galaxy devices, were announced to receive three generations of Android software update support.


title: Samsung Galaxy Note 20

text: Samsung has partnered with Xbox to offer Xbox games on the Note 20. In certain markets, the Galaxy Note 20 will be offered with three months of free Xbox game pass along with an Xbox game pad; Xbox games will be playable from the phone to the TV. More than 90 Xbox games are playable on the Note 20.


title: Samsung Galaxy Note 20

text: The Note 20 received mixed reviews. Reviews from various technology websites, such as TechRadar and The Verge, praised the Note 20 series for its redesigned S-Pen and camera performance. However, the baseline Note 20 was criticized for its lower quality display and plastic back panel despite the high starting price point. Writing for TechRadar, James Peckham said in his verdict, "the Galaxy Note 20 is Samsung's new entry-level stylus-included smartphone for 2020, but it's one that doesn't seem particularly exciting for the usual Note-loving crowd. It highlights some more affordable features compared to its more exciting Ultra sibling but it may well be just as good for those who don’t want to spend top dollar." There was a pronounced difference in the performance of the two processors available, which caused concern that Exynos models were an inferior product, as the differentials were not as large in previous models. The cooling system introduced in the Galaxy Note 10 was also removed in the Snapdragon Variants of the Note 20 series.


title: Fantastic Voyage

text: Fantastic Voyage is a 1966 American science fiction adventure film directed by Richard Fleischer and written by Harry Kleiner, based on a story by Otto Klement and Jerome Bixby. The film is about a submarine crew who are shrunk to microscopic size and venture into the body of an injured scientist to repair damage to his brain. Kleiner abandoned all but the concept of miniaturization and added a Cold War element. The film starred Stephen Boyd, Raquel Welch, Edmond O'Brien, Donald Pleasence, and Arthur Kennedy.


title: Fantastic Voyage

text: Bantam Books obtained the rights for a paperback novelization based on the screenplay and approached Isaac Asimov to write it.


title: Fantastic Voyage

text: Because the novelization was released six months before the movie, many people mistakenly believed that the film was based on Asimov's book. Its modern and imaginative production design received five nominations at the 39th Academy Awards mostly in technical departments, winning for Best Visual Effects and Best Art Direction in Color.


title: Fantastic Voyage

text: The movie used the concept of miniaturization in science fiction along with "The Incredible Shrinking Man" and inspired an animated television series of the same name.


title: Fantastic Voyage

text: The United States and the Soviet Union have both developed technology that can miniaturize matter by shrinking individual atoms, but only for one hour.


title: Fantastic Voyage

text: Scientist Dr. Jan Benes, working behind the Iron Curtain, has figured out how to make the process work indefinitely. With the help of American intelligence agents, including agent Charles Grant, he escapes to the West and arrives in New York City, but an attempted assassination leaves him comatose with a blood clot in his brain that no surgery can remove from the outside.


title: Fantastic Voyage

text: To save his life, Grant, Navy pilot Captain Bill Owens, medical chief and circulatory specialist Dr. Michaels, surgeon Dr. Peter Duval, and his assistant Cora Peterson are placed aboard a Navy ichthyology submarine at the Combined Miniature Deterrent Forces facilities. The submarine, named "Proteus", is then miniaturized to "about the size of a microbe", and injected into Benes' body. The team has 60 minutes to get to and remove the clot; after this, "Proteus" and its crew will begin reverting to their normal size, become vulnerable to Benes's immune system, and kill Benes.


title: Fantastic Voyage

text: The crew faces many obstacles during the mission. An undetected arteriovenous fistula forces them to detour through the heart, where cardiac arrest must be induced to, at best, reduce turbulence that would be strong enough to destroy "Proteus". As the crew faces an unexplained loss of oxygen and must replenish their supply in the lungs, Grant finds the surgical laser needed to destroy the clot was damaged from the turbulence in the heart, as it was not fastened down as it had been before: this and his safety line snapping loose while the crew was refilling their air supply has Grant begin to suspect a saboteur is on the mission. The crew must cannibalize their wireless radio to repair the laser, cutting off all communication and guidance from the outside, although because the sub is nuclear powered, surgeons and technicians outside Benes's body are still able to track their movements via a radioactive tracer, allowing General Alan Carter and Colonel Donald Reid, the officers in charge of CMDF, to figure out the crew's strategies as they make their way through the body. The crew is then forced to pass through the inner ear, requiring all outside personnel to make no noise to prevent destructive shocks, but while the crew is removing reticular fibers clogging the sub's vents and making the engines overheat, a fallen surgical tool causes the crew to be thrown about and Cora is nearly killed by antibodies, but they are able to reboard the sub in time. By the time they finally reach the clot, the crew has only six minutes remaining to operate and then exit the body.


title: Fantastic Voyage

text: Before the mission, Grant had been briefed that Duval was the prime suspect as a potential surgical assassin, but as the mission progresses, he instead begins to suspect Michaels. During the surgery, Dr. Michaels knocks out Owens and takes control of "Proteus" while the rest of the crew is outside for the operation. As Duval finishes removing the clot with the laser, Michaels tries to crash the submarine into the same area of Benes' brain to kill him. Grant fires the laser at the ship, causing it to veer away and crash, and Michaels to get trapped in the wreckage with the controls pinning him to the seat, which attracts the attention of white blood cells. While Grant saves Owens from the "Proteus", Michaels is killed when a white blood cell consumes the ship. The remaining crew quickly swim to one of Benes' eyes and escape through a tear duct seconds before returning to normal size.


title: Fantastic Voyage

text: The film was the original idea of Otto Klement and Jerome Bixby. They sold it to Fox, which announced the film would be "the most expensive science-fiction film ever made." Richard Fleischer was assigned to direct and Saul David to produce; both men had worked at the studio before. Fleischer had originally studied medicine and human anatomy in college before choosing to be a movie director. Harry Kleiner was brought in to work on the script.


title: Fantastic Voyage

text: The budget was set at $5 million. The budget went up to $6 million, $3 million of which went on the sets and $1 million on test footage.


title: Fantastic Voyage

text: The Proteus submarine was constructed as a full-size set piece 42 feet long, first seen in the "miniaturizer" room and later in scenes set outside the lung and inside the inner ear, when the cast was to be seen "swimming" (actually suspended by wires) outside the sub. The full-size Proteus mockup contained all the interior sets that the actors are seen in to represent the interior of the sub, with sections that could be pulled out to allow for cameras and crew to film the interior. The sub was also constructed in miniature, including a large miniature around five feet in length that could be flown on wires in the abstract sets representing the inside of the human body. The heart and brain sets built to accommodate the five-foot miniature filled a soundstage on the Fox lot—these were filmed "dry for wet," with floating, blob-shaped elements meant to be blood cells filmed separately and composited over the footage. A smaller, 18-inch miniature of the Proteus was constructed to operate in liquid for a shot of the submarine bursting through an arterial wall early in the movie. A tiny Proteus miniature just a few inches in length was made for the miniaturization sequence to show the ship being picked up by a "precision handling device" and dropped into a large glass cylinder which was then miniaturized to become part of a syringe that would inject the Proteus into the brain-injured scientist.


title: Fantastic Voyage

text: The film starred Stephen Boyd, making his first Hollywood movie in five years. It was the first role at Fox for Raquel Welch, who was put under contract to the studio after being spotted in a beauty contest by David's wife.


title: Fantastic Voyage

text: For the technical and artistic elaboration of the subject, Fleischer asked for the collaboration of two people of the crew that he had worked with on the production of "20,000 Leagues Under the Sea", the film he directed for Walt Disney in 1954. The designer of the "Nautilus" from the Jules Verne adaptation, Harper Goff, also designed the "Proteus;" the same technical advisor, Fred Zendar, collaborated on both productions.


title: Fantastic Voyage

text: At one point in the movie's preproduction it was positioned as one of the Derek Flint spy spoof movies starring James Coburn, which were produced by 20th Century Fox and Saul David. Several script pages sampled in the bonus features of the 2012 DVD release of Fantastic Voyage show Stephen Boyd's Grant character (who, like Flint, is a secret agent) being identified as Flint, and some of Flint's wisecracks about not wanting to be miniaturized survive to be uttered by Boyd's Grant in Fantastic Voyage. Years later comic actor Mike Myers proposed making an installment of his own Austin Powers spy spoof movies called Shagtastic Voyage, in which Powers would be injected into the body of Dr. Evil.


title: Fantastic Voyage

text: The military headquarters is and the "Proteus" . The artery, in resin and fiberglass, is long and wide; the heart is and the brain is . The plasma effect was produced by chief operator Ernest Laszlo via the use of multicolored turning lights, placed on the outside of translucent decors.


title: Fantastic Voyage

text: Frederick Schodt's book "The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution" claims that Fox had wanted to use ideas from an episode of Japanese animator Osamu Tezuka's "Astro Boy" in the film, but it never credited him.


title: Fantastic Voyage

text: Isaac Asimov, asked to write the novelization from the script, declared that the script was full of plot holes, and received permission to write the book the way he wanted. The novel came out first because he wrote quickly and because of delays in filming.


title: Fantastic Voyage

text: In the film, the crew (apart from the saboteur) manage to leave Benes's body safely before reverting to normal size, but the "Proteus" remains inside, as do the remains of the saboteur's body (albeit digested by a white blood cell), and several gallons (full scale) of a carrier solution (presumably saline) used in the injection syringe. Isaac Asimov pointed out that this was a serious logical flaw in the plot, since the submarine (even if reduced to bits of debris) would also revert to normal size, killing Benes in the process. Therefore, in his novelization Asimov had the crew provoke the white cell into following them, so that it drags the submarine to the tear duct, and its wreckage expands outside Benes's body. Asimov solved the problem of the syringe fluid by having the staff inject only a very small amount of miniaturized fluid into Benes, minimizing its effect on him when it expands.


title: Fantastic Voyage

text: The score was composed and conducted by Leonard Rosenman. The composer deliberately wrote no music for the first four reels of the film, before the protagonists enter the human body. Rosenman wrote that "the harmony for the entire score is almost completely atonal except for the very end when our heroes grow to normality".


title: Fantastic Voyage

text: The film received mostly positive reviews and a few criticisms. The weekly entertainment-trade magazine "Variety" gave the film a positive pre-release review, stating, "The lavish production, boasting some brilliant special effects and superior creative efforts, is an entertaining, enlightening excursion through inner space—the body of a man." Bosley Crowther of "The New York Times" wrote, "Yessir, for straight science-fiction, this is quite a film—the most colorful and imaginative since "Destination Moon"" (1950). Richard Schickel of "Life" magazine wrote that the rewards would be "plentiful" to audiences who get over the "real whopper" of suspended disbelief required. He found that though the excellent special effects and sets could distract from the scenery's scientific purpose in the story, the "old familiar music of science fiction" in lush new arrangements was a "true delight", and the seriousness with which screenwriter Kleiner and director Fleischer treated the story made it more believable and fun. Schickel made note of, but dismissed, other critics' allegations of "camp."


title: Fantastic Voyage

text: , the film holds a 91% approval rating at review aggregator Rotten Tomatoes from 33 reviews, with an average rating of 7/10. The website's critics consensus reads: "The special effects may be a bit dated today, but "Fantastic Voyage" still holds up well as an imaginative journey into the human body."


title: Fantastic Voyage

text: According to Fox records, the film needed to earn $9,400,000 in rentals to break even and made $8,880,000, meaning it initially showed a slight loss, but television sales moved it into the black, and subsequent home video sales were almost entirely profit.


title: Fantastic Voyage

text: After acquiring the film's paperback novelization rights, Bantam Books approached Isaac Asimov to write the novelization, offering him a flat sum of $5,000 with no royalties involved. In his autobiography "In Joy Still Felt", Asimov writes, "I turned down the proposal out of hand. Hackwork, I said. Beneath my dignity." However, Bantam Books persisted, and at a meeting with Marc Jaffe and Marcia Nassiter on April 21, 1965, Asimov agreed to read the screenplay.


title: Fantastic Voyage

text: In the novelization's introduction, Asimov states that he was reluctant to write the book because he believed that the miniaturization of matter was physically impossible, but he decided that it was still good fodder for story-telling and that it could still make for some intelligent reading. In addition, 20th Century Fox was known to want someone with some science-fiction clout to help promote the film. Aside from the initial "impossibility" of the shrinking machine, Asimov went to great lengths to portray with great accuracy what it would actually be like to be reduced to infinitesimal scale. He discussed the ability of the lights on the sub to penetrate normal matter, issues of time distortion, and other side effects that the movie does not address. Asimov was also bothered by the way the wreck of "Proteus" was left in Benes. In a subsequent meeting with Jaffe, he insisted that he would have to change the ending so that the submarine was brought out. Asimov also felt the need to gain permission from his usual science-fiction publisher, Doubleday, to write the novel. Doubleday did not object, and had suggested his name to Bantam in the first place. Asimov began work on the novel on May 31, and completed it on July 23.


title: Fantastic Voyage

text: Asimov did not want any of his books, even a film novelization, to appear only in paperback, so in August, he persuaded Austin Olney of Houghton Mifflin to publish a hardcover edition, assuring him that the book would sell at least 8000 copies, which it did. However, since the rights to the story were held by Otto Klement, who had co-written the original story treatment, Asimov would not be entitled to any royalties. By the time the hardcover edition was published in March 1966, Houghton Mifflin had persuaded Klement to allow Asimov to have a quarter of the royalties. Klement also negotiated for "The Saturday Evening Post" to serialize an abridged version of the novel, and he agreed to give Asimov half the payment for it. "Fantastic Voyage" (abridged to half its length) appeared in the February 26 and March 12, 1966 issues of the "Post." Bantam Books released the paperback edition of the novel in September 1966 to coincide with the release of the film. Harry Harrison, reviewing the Asimov novelization, called it a "Jerry-built monstrosity", praising the descriptions of science-fiction events as "Asimov at his best", while condemning the narrative framework as "inane drivel".


title: Fantastic Voyage

text: "" (1987) was written by Isaac Asimov as an attempt to develop and present his own story apart from the 1966 screenplay. This novel is not a sequel to the original, but instead is a separate story taking place in the Soviet Union with an entirely different set of characters.


title: Fantastic Voyage

text: "Fantastic Voyage: Microcosm" is a third interpretation, written by Kevin J. Anderson, published in 2001. This version has the crew of the "Proteus" explore the body of a dead alien that crash-lands on earth, and updates the story with such modern concepts as nanotechnology (replacing killer white cells).


title: Fantastic Voyage

text: A comic book adaptation of the film was released by Gold Key Comics in 1967. Drawn by Wally Wood, the book followed the plot of the movie with general accuracy, but many scenes were depicted differently and/or outright dropped, and the ending was given an epilogue similar as that seen in some of the early draft scripts for the film.


title: Fantastic Voyage

text: A parody of the film titled "Fantastecch Voyage" was published in "Mad Magazine". It was illustrated by Mort Drucker and written by Larry Siegel, two members of "The Usual Gang Of Idiots", in regular issue #110, April 1967. The advertising-business-themed spoof has the crew—from L.S.M.F.T. (Laboratory Sector for Making Folks Tiny)—sent to inject decongestant into a badly plugged-up nose.


title: Fantastic Voyage

text: The concept of entering the human body popularized by "Fantastic Voyage" has been greatly influential especially in animated TV shows, of which there are several examples:


title: Fantastic Voyage

text: Plans for a sequel or remake have been in discussion since at least 1984, but as of the beginning of July 2015, the project remained stuck in development hell. In 1984, Isaac Asimov was approached to write "Fantastic Voyage II", out of which a movie would be made. Asimov "was sent a suggested outline" that mirrored the movie "Innerspace" and "involved two vessels in the bloodstream, one American and one Soviet, and what followed was a kind of submicroscopic version of World War III." Asimov was against such an approach. Following a dispute between publishers, the original commissioners of the novel approached Philip José Farmer, who "wrote a novel and sent [in] the manuscript" that was rejected despite "stick[ing] tightly to the outline [that was sent to Asimov]." "It dealt with World War III in the bloodstream, and it was full of action and excitement." Although Asimov urged the publisher to accept Farmer's manuscript, it was insisted that Asimov write the novel. So, Asimov eventually wrote the book in his own way (completely different in plot from what [Farmer] had written), which was eventually published by Doubleday in 1987 as "Fantastic Voyage II" and "dealt not with competing submarines in the bloodstream, but with one submarine, with [an] American hero cooperating (not entirely voluntarily) with four Soviet crew members." The novel was not made into a movie, however.


title: Fantastic Voyage

text: James Cameron was also interested in directing a remake (since at least 1997), but decided to devote his efforts to his "Avatar" project. He still remained open to the idea of producing a feature based on his own screenplay, and in 2007, 20th Century Fox announced that pre-production on the project was finally underway. Roland Emmerich agreed to direct, but rejected the script written by Cameron. Marianne and Cormac Wibberley were hired to write a new script, but the 2007–2008 Writers Guild of America strike delayed filming, and Emmerich began working on "2012" instead.


title: Fantastic Voyage

text: In spring 2010, Paul Greengrass was considering directing the remake from a script written by Shane Salerno and produced by James Cameron, but later dropped out to be replaced by Shawn Levy. It was intended that the film be shot in native stereoscopic 3D.


title: Fantastic Voyage

text: In January 2016, "The Hollywood Reporter" reported that Guillermo del Toro was in talks to direct the reboot by reteaming with David S. Goyer, who was writing the film's script with Justin Rhodes with Cameron still on the film by his production company Lightstorm Entertainment. In August 2017, it was reported that del Toro had postponed working on the film to completely focus on his film "The Shape of Water", due to release the same year, and he would start pre-production in spring 2018 and would begin filming in the fall of the same year for a 2020 release.


title: Gregg Alexander

text: Gregg Alexander (born Gregory Aiuto; May 4, 1970) is an American musician, singer-songwriter and producer. He is best known as the frontman of the New Radicals, who had an international hit with "You Get What You Give" in late 1998. He dissolved the New Radicals in 1999 to focus on production and songwriting work, winning a Grammy Award for the song "The Game of Love" in 2003. He later co-wrote songs for the film "Begin Again", including "Lost Stars", which was nominated for an Academy Award for Best Original Song.


title: Gregg Alexander

text: Gregg Alexander was born in Grosse Pointe, Michigan, United States, and raised in a conservative Jehovah's Witness household. He received his first guitar at the age of 12 and taught himself to play several instruments. Along with his sister, Caroline, they'd play the piano and Gregg would compose songs. At age 14, Gregg joined the band The Circus, with classmates George Snow and John Mabarak, along with Gregg's older brother, Stephen Aiuto. They played the 1984 high school "battle of the bands," competing against John Lowery (John 5). By the age of 16, he had signed his first recording contract with A&M after playing his demo tapes to producer Rick Nowels. He released his debut album "Michigan Rain" in 1989 at the age of 19 to little notice. In 1992, he signed to Epic and released "Intoxifornication", which consisted largely of re-released songs from "Michigan Rain", and was again ignored.


title: Gregg Alexander

text: In 1997, Alexander formed the New Radicals, a revolving-door band with no permanent members other than Alexander and long-term collaborator Danielle Brisebois. They released the album "Maybe You've Been Brainwashed Too" in October 1998, which went on to sell more than one million copies. The single "You Get What You Give" was released that autumn and was an international hit.


title: Gregg Alexander

text: It was not long after the New Radicals' success that Alexander became tired of the constant media attention and exhausting touring schedule. In July 1999, "Someday We'll Know" was announced as the band's second single, Several days later, Alexander announced he was disbanding the New Radicals to focus on production work. He said that "the fatigue of traveling and getting three hours sleep in a different hotel every night to do boring 'hanging and schmoozing' with radio and retail people is definitely not for me." Despite disagreements with MCA, Alexander finally agreed to shoot a video for "Someday We'll Know." But with the band then defunct, the song got little attention and the New Radicals became known as a one-hit wonder.


title: Gregg Alexander

text: On January 20, 2021, New Radicals reunited for the first time in 22 years on inauguration day for President Joe Biden to perform "You Get What You Give". The song was used as a rally song during Biden's campaign events and a favorite of Joe's son Beau Biden, who died in 2015. The song's lyrics were recited by his sister Ashley during his eulogy at his funeral. The band had rejected offers to reform over the past 22 years but wanted to honor this day and honor Beau, who was a military veteran. "We pledged if Joe [Biden] won, we’d get together and play our little song both in memory and in honor of our new president’s patriot son Beau and also with the prayer of Joe being able to bring our country together again with compassion, honesty and justice for a change." Alexander said prior to their performance.


title: Gregg Alexander

text: Since disbanding the group in the summer of 1999, Alexander has written and produced songs for many artists, including Ronan Keating (e.g. co-producing and co-writing the album "Destination"), Sophie Ellis-Bextor, Enrique Iglesias, Texas, Geri Halliwell, S Club 7, Melanie C, Mónica Naranjo, Rod Stewart, Hanson and fellow ex-New Radical Danielle Brisebois. Most noteworthy was the song "The Game of Love" by Santana and Michelle Branch, which earned Alexander a Grammy Award for Best Pop Collaboration with Vocals at the 45th Annual Grammy Awards.


title: Gregg Alexander

text: AllMusic's Stephen Thomas Erlewine described Alexander as "the catchiest, smartest professional mainstream pop songwriter of the early 2000s."


title: Gregg Alexander

text: In 2004, a new Alexander track, "A Love Like That," was released uncredited on the Internet. It was suspected to be a New Radicals outtake, as parts of the lyrics were found in the booklet for "Maybe You've Been Brainwashed Too".


title: Gregg Alexander

text: Alexander collaborated with Hanson, co-writing the song "Lost Without Each Other," which was included on Hanson's 2004 album, "Underneath."


title: Gregg Alexander

text: A new song entitled "Why Can't We Make Things Work" written by Alexander (and Rick Nowels) was released by "Any Dream Will Do" winner Lee Mead in November 2007, on his self-titled album.


title: Gregg Alexander

text: In 2010, Boyzone released the single "Love Is a Hurricane," written by Gregg Alexander and Danielle Brisebois.


title: Gregg Alexander

text: Alexander co-wrote and co-produced the music for the musical romance-drama film "Begin Again", along with long-time collaborators Danielle Brisebois and Rick Nowels, as well as Nick Lashley. Their song "Lost Stars," written for the film, was nominated for Best Original Song at the 2015 Academy Awards. On the soundtrack album, Alexander, Brisebois, Nowels and Lashley are credited under the name Cessyl Orchestra.


title: Gregg Alexander

text: On November 4, 2014, Alexander appeared and performed publicly for the first time in 15 years at the Hollywood Music in Media Awards, singing "Lost Stars."


title: Gregg Alexander

text: Alexander assisted with production of The Struts' reissued album, "Everybody Wants". He co-wrote two songs on the album: "The Ol' Switcheroo" and "Put Your Money on Me."


title: Gregg Alexander

text: Alexander co-wrote and provided backup vocals for Spencer Ludwig's 2016 single, "Right Into U." He has also co-written the Kaiser Chiefs' 2019 song "The Only Ones," alongside Nick Lashley and Rick Nowels.


title: Gregg Alexander

text: On January 20, 2021, Alexander performed "You Get What You Give" in honor of United States President Joe Biden's Inauguration.


title: Sully Erna

text: Salvatore Paul Erna Jr. (born February 7, 1968) is an American singer, musician, and songwriter, best known as the vocalist and rhythm guitarist for rock band Godsmack. He is also a harmonica player, drummer, and percussionist, performing these on albums and at live shows. He was ranked 47th in the Top 100 Heavy Metal Vocalists by "Hit Parader".


title: Sully Erna

text: Sully Erna was born in Lawrence, Massachusetts. He began playing drums at the age of three. His father, Salvatore Erna Sr., was a trumpet player from Sicily and would rehearse in the basement where Sully would watch. His great-uncle was a famous composer in Sicily. At the age of 11, Erna discovered that it was easier for him to listen to something and play it than read sheet music. He stopped taking lessons and practiced at home, rehearsing to records by Aerosmith, Led Zeppelin, Motörhead, and Rush.


title: Sully Erna

text: At 14, Dave Vose became Erna's new instructor. He signed his first record deal in 1993 with a band called Strip Mind. Their debut album "What's in Your Mouth" sold fewer than 50,000 units. Some of the band members (mainly the singer) and Erna didn't get along, and Erna was booted out. They split-up shortly after.


title: Sully Erna

text: In Godsmack concerts, Erna plays the bongos and a large drum set, staging a drumming duel known as "Batalla de los Tambores" with drummer Shannon Larkin. This battle has become a staple of the band's live show. He is also a harmonica player as present on the Godsmack song "Shine Down".


title: Sully Erna

text: In 2010, Erna released his first solo album "Avalon". The album took seven years to complete and differed stylistically from Godsmack. Erna wrapped up his acoustic tour with one final show at The House of Blues in Las Vegas, Nevada on June 28.


title: Sully Erna

text: Erna has also worked with his local music scene. In April 2005, he participated in New Hampshire's Battle of the Bands Competition. The winner (a band called Zion who hails from Salem) had the opportunity to record a demo at Erna's California studio.


title: Sully Erna

text: Erna told "Glam-Metal.com" that doing his first solo shows were "extremely nerve-wracking", adding, "My first show, I was really, really nervous. Honestly, I haven't been that nervous since I was, I don't know, maybe 10 years old at a talent show or something." Erna kicked off his first solo acoustic trek on May 1 in Niagara Falls, New York and closed it out on May 31 in Las Vegas. The shows have combined Godsmack songs with a few new originals and covers ranging from the Beatles to Alice in Chains to the theme from "Love Story".


title: Sully Erna

text: Regarding how he went about selecting the material used for his solo show, Erna said, "I wanted to stick a couple of originals in and try them out because there was a couple of songs that were done on the piano or the guitar that I wrote that I don't think I would use on a GODSMACK record", he said. "For example, 'Eyes of a Child' and 'Until Then'. It was a great opportunity to showcase that and see if I can hit home with the people on those two pieces. Those songs are the most emotional pieces of the evening. One song is about children born with or dying from AIDS and the other is about a tribute to the troops of the United States Armed Forces."


title: Sully Erna

text: Erna told The Pulse of Radio that playing some new material live is a good way for him to test out songs that might not work for Godsmack. "We're all musicians and we like to write music and not necessarily rock all the time", he said. "So, you know, if I sit home and I'm writing on the piano and sometimes just cool songs are written that don't necessarily fit maybe what you do with Godsmack, but you don't wanna not record them."


title: Sully Erna

text: On March 4, 2009, Blabbermouth.net reported that Erna had completed work on his first solo album, "Avalon", released September 14, 2010. Although, the single Sinner's Prayer will be on radio stations and on sale everywhere August 3, 2010. Erna described the album as being "a very different kind of sounding record", and "a huge departure from anything I've ever done."


title: Sully Erna

text: The album includes Lisa Guyer on vocals, Tim Theriault on guitars and vocals, Chris Decato on keyboards, midi and vocals, Chris Lester on acoustic guitars and bass, classically trained Irina Chirkova of Bulgaria on Cello, Niall Gregory of Ireland Dead Can Dance on drums and percussion and David Stephanelli on drums and percussion.


title: Sully Erna

text: Three days later, "Rockerrazzi.com" posted an interview with Erna in which he said that the record "should be out in the next two months". In further describing the album's sound, Erna said that "it's very eclectic" and "tribal" with "a lot of hand drumming" and "beautiful piano compositions". He also stated that he "worked with a percussion session for Dead Can Dance" and that the album will feature Lisa Guyer, who had performed backing vocals for the song "Hollow" on Godsmack's previous album.


title: Sully Erna

text: Erna's debut solo album is titled "Avalon", and was released on September 14, 2010. He released a live DVD, "Avalon Live", in fall of 2012.


title: Sully Erna

text: Erna released a very special limited-edition "Avalon" box set in November as well as a DVD of the Erna performing songs from his debut solo album, "Avalon", on December 16, 2011 at The Wilbur Theatre in Boston, Massachusetts. The collection includes the double-disc "Avalon Live", "The Making of Avalon Live" 40 minute documentary, "The Journey to Avalon" documentary, and a DVD of bloopers and outtakes. The box set also contains a pair of CDs – the original "Avalon" album and the "Avalon Live" show recording. Other items that are part of the collection include two CDs, a book, T-shirt, guitar pick, poster, incense, etc., and a custom metal Sully Erna engraved metal box with a suede lining. Only 5,000 copies were available. A single disc standard and Blu-ray version of the show was released on December 18, 2012.


title: Sully Erna

text: In an interview with HardDrive, Erna mentioned that he will do another solo album; although, details have not been revealed yet. In July 2016, it was announced that Erna will release his second solo album "Hometown Life" on September 30, 2016. The album has since been released. "Hometown Life" includes a song "Turn It Up", for which Erna invited his father into the recording studio to play trumpet on the track. His father performed the song live with Erna at a Sully Erna solo show.


title: Sully Erna

text: Erna is good friends with Criss Angel and has participated in several episodes of the "Criss Angel Mindfreak" TV show. Erna's contributions to the discography of Criss Angel include co-writing and performing "Mindfreak"s new theme song "MF2". Erna appears in the music video along with Criss Angel and Godsmack drummer Shannon Larkin.


title: Sully Erna

text: Erna appeared in episode 7 of the 2007 TV series "Dirt". Erna has been named to the cast of Woodhaven Pictures "Army of the Damned". In 2016, he appeared as a Caesar's blackjack dealer in the Martin Scorsese-produced film "Bleed for This". Erna has reportedly signed on to appear in the movie "Street Level". He also stars in a new independent action-thriller called "Black Files".


title: Sully Erna

text: Erna released a memoir entitled "The Paths We Choose" on his birthday, February 7, 2007. The book details his struggles during the first 30 years of his life, up until the time Godsmack landed a record deal.


title: Sully Erna

text: "The book is basically just my life from the time I was born until Godsmack started", Erna said. "I wanted to write about the whole experience of trying to get there, and hopefully that will inspire some people that maybe are still in the ghettos or trying to dig their way out of a hole. I mean, we're all human and we weren't born rock stars. So I think there's an interesting story to tell of the pain and struggling. You know, being middle classed and being raised in crazy neighborhoods. If kids can see that they'll be able to relate to anything they have a dream for."


title: Sully Erna

text: The book sold 100,000 copies in its first month of release, and to date has shipped 1,000,000 copies worldwide.


title: Sully Erna

text: Erna participated in the 2006 World Series of Poker main event in which he made a brief appearance on the ESPN broadcast of the event; it was mentioned that he was the last of the celebrity entries. He finished in 713th out of 8,773 earning him $17,730.


title: Sully Erna

text: Erna also played in the 2007 World Series of Poker main event. After the elimination of Tobey Maguire, Erna was the final celebrity remaining. He placed in 237th out of a field of 6,358, earning $45,422. To complement his placing at the World Series of Poker, he placed 2nd in a preliminary event at Bellagio's 5 Diamond World Poker Classic, where he lost to J.C Tran but earned $307,325 as a consolation.


title: Sully Erna

text: Erna also competed in the 2007 VH1 Celebrity Rock and Roll Tournament with Ace Frehley, Vinnie Paul, Scott Ian, and Dusty Hill. Erna took second, losing to Scott Ian of Anthrax.


title: Sully Erna

text: Erna returned to play in the 2013 World Series of Poker. "I'm making my comeback! I've studied the game. I'm getting the itch to play poker again", Erna said during an interview with Playbook.


title: Sully Erna

text: Godsmack, Creed, and Rage Against the Machine guitarist Tom Morello are some of the musicians who partnered with multimedia company DC3 Music Group to fundraise and pack an MD-80 airplane with supplies and medical personnel to help in the 2010 Haiti earthquake. According to a press release, the plane was scheduled to leave from Long Beach, California, on January 27, 2010, and bring 10,000 pounds of medical supplies, along with doctors and medical staff, to Port-au-Prince.


title: Sully Erna

text: Erna said in a statement, "Since I can't be there to help in person, I want to make my contribution as a fellow human being to give what I can while I'm in the fortunate situation that I am to help those that are so unfortunate in this time of tragedy."


title: Sully Erna

text: Erna launched a bi-weekly web series on YouTube called "Hometown Sessions". The talk show has Erna hosting celebrity guests. He explained about the contents of the show:


title: Sully Erna

text: Erna was a practicing Wiccan early in his career. His spirituality influences some of his songwriting to include the song "Spiral" from Godsmack's second album "Awake" and "Releasing the Demons" from their third album "Faceless". He has stated publicly, however, that he "didn't want to be the poster boy for witchcraft." He has also said that he does not follow any specific religion; "I'm just a spiritual person; I believe in karma and things like that. But religion is an ugly word to me."


title: Sully Erna

text: Erna was involved in a three-car chain-reaction accident in Methuen, Massachusetts, when his vehicle and two others collided at an intersection. "He's deeply concerned for the girl who was hurt in this unfortunate accident", said Erna's manager Paul Geary, in reference to 25-year-old Chelmsford resident Lindsay Taylor. "Sully's thankful he got out with a split lip and some aches and pains, but he's traumatized about the girl", according to April 17, 2007, "Boston Herald".


title: Sully Erna

text: Taylor was sitting in the back seat of a dark blue Toyota Camry that collided with the H3 driven by Erna. The crash occurred on a dark night, around 7 p.m. on the ramp leading from I-93 south to Route 213.


title: Sully Erna

text: Taylor suffered a severe, traumatic brain injury and was in a coma after the crash. She suffered lasting effects, and would later sue. A settlement was reached in 2010.


title: Lynda Day George

text: Lynda Louise Day George (born December 11, 1944) is an American television and film actress whose career spanned three decades from the 1960s to the 1980s. She was a cast member on "" (1971–1973). She was also the wife of actor Christopher George.


title: Lynda Day George

text: George was born in San Marcos, Texas. Originally known as Lynda Day, she began her career in the 1960s with the Eileen Ford modeling agency working as a top model in print and TV commercials, and then on Broadway starring in "The Devils" opposite Jason Robards and Anne Bancroft. She then moved to Los Angeles and began a long television career with guest roles on many series of the 1960s, including "Route 66", "Flipper", "Here Come the Brides", "The Green Hornet", "Mannix", "The Fugitive", "The Invaders", "It Takes a Thief", "The Virginian", "Good Morning World", "Lancer" and "Bonanza". She starred in the first of the two Universal/NBC TV-pilot films based around psychiatrist/supernatural investigator Dr. David Sorrell (played by Louis Jourdan), "Fear No Evil" in 1969. George also had appearances playing in Barnaby Jones in the 1973 episode “Stand in for Death” and in a 1975 episode “Double Vengeance”. She had her first major role as Amelia Cole in a short-lived 1970–1971 television series, "The Silent Force", and later starred in the television pilot for "Cannon" in 1971. That same year, she was cast as Lisa Casey in the critically acclaimed series "", garnering a Golden Globe nomination in 1972 and an Emmy Award nomination in 1973. During the show's last season, she missed seven episodes because of her maternity leave and was temporarily replaced by Barbara Anderson.


title: Lynda Day George

text: She first met actor Christopher George while they were both models at Eileen Ford and she was married to her first husband. They starred together in the 1966 independent film "The Gentle Rain". While working together again in the 1970 John Wayne film "Chisum", they fell in love and were married on May 15, 1970.


title: Lynda Day George

text: Thereafter, she became Lynda Day George and co-starred in multiple television films with her husband over the next 10 years, including "The House on Greenapple Road" (1970), "Mayday at 40,000 Feet!" (1976), and "Cruise Into Terror" (1978). They also worked together in episodes of "The F.B.I." (1970), "Mission: Impossible" (1971), "McCloud" (1975), "Love Boat" (1977), and "Vega$" (1978). They guest-starred in television's "Wonder Woman" in 1976, with Lynda playing villain Fausta Grables, the Nazi Wonder Woman.


title: Lynda Day George

text: She continued her television work throughout the 1970s with guest roles on "Police Story"; "Kung Fu"; "Marcus Welby, M.D."; and "Barnaby Jones". She played supporting roles in "Rich Man, Poor Man"; "Roots"; and "Once an Eagle". In 1977, she appeared on the game shows "Match Game '77" and "Tattletales", the latter with her husband Christopher.


title: Lynda Day George

text: Her movie career is noted for several horror cult films in which she co-starred with her husband Christopher, including "Day of the Animals" (1977), "Pieces" (1982), and "Mortuary" (1983). She also co-starred with John Saxon in the 1980 horror film "Beyond Evil".


title: Lynda Day George

text: Christopher George died of a heart attack on November 28, 1983, at the age of 52. She only worked sporadically after that, in guest roles on "Fantasy Island" (1984), "Murder She Wrote" (1985), "Hardcastle and McCormick" (1985), and "Blacke's Magic" (1986). She was also a regular guest on various religious television programs. In one of her final performances, Lynda reprised the role of Lisa Casey on an episode of the revived "" television series in 1989.


title: Lynda Day George

text: She was first married to Joseph Pantano from 1963 to 1970, with one son, Nicky. She left Pantano to marry George. She was married to George from May 15, 1970, until his death on November 28, 1983, and had one daughter, Casey. They filed suit to have Nicky Pantano legally declared as Christopher's natural son. In 1990, Lynda George's third marriage was with actor and producer Doug Cronin, who died of cancer on December 4, 2010; they resided in Los Angeles and Gardiner, Washington.


title: Lynda Day George

text: On January 17, 2020, during an interview with entertainment correspondent Ed Robertson of "TV Confidential", Lynda Day George announced that she was collaborating with a biographer on a memoir centered on her acting career. The working title is "Lynda Day George: A Hollywood Memoir".


title: GMMTV

text: GMMTV ( ), acronym for Grammy Television (which was its former name), is a television production and talent agent subsidiary to the Thai entertainment conglomerate GMM Grammy, under The One Enterprise, which produces television shows, songs, and music videos. It was founded on August 3, 1995. Sataporn Panichraksapong is the company's managing director.


title: GMMTV

text: GMMTV Company Limited () (also known as Grammy Television Company Limited ()) was founded on August 3, 1995 by the GMM Grammy executives who saw the potential in developing, growing and strengthening the Thai television industry. The marketing department of the company was created into a separate entity to manage the television production industry. GMMTV started to produce TV game shows and music shows for analogue TV stations in Thailand at that time, namely, Channel 3, Channel 5, Channel 7, and iTV, with Duangjai Lorlertwit and Saithip Montrikul na Ayudhaya as the managing directors, respectively.


title: GMMTV

text: In 2007, Saithip Montrikul na Ayudhaya left the company to manage GMM Media Public Co., Ltd. As a result, Sataporn Panichraksapong, who was then the deputy managing director, became the new managing director and renamed the company into GMMTV Company Limited.


title: GMMTV

text: On February 2, 2009, the company started running a cable and satellite television channel named Bang Channel by moving some of the TV shows which were aired on Channel 5 to its own channel, and began to produce different television programs in other genres aside from game shows and music shows. On June 29, 2011, GMMTV had set up a joint venture with Rungtham Pumseenil to establish Memiti Co., Ltd. to expand and innovate the Thai television industry with 70% of shares held by GMMTV, and 30% held by Rungtham. Consequently, Memiti became a subsidiary of GMMTV.


title: GMMTV

text: Due to the business restructuring of GMM Grammy, on June 24, 2015, GMM Grammy's board of directors has passed the resolution to dispose of the total 70% shares held by GMMTV in Memiti to The One Enterprise or One 31 channel business group as a new shareholder affecting Memiti to become a subsidiary of The One Enterprise accordingly. On December 5 the same year, GMMTV's board of directors resolved to close its cable and satellite television channel and instead focus on television production for One31 and GMM 25 which are digital channels. As a result, Bang Channel stopped broadcasting from December 31, 2015, onwards.


title: GMMTV

text: On August 24, 2017, after Adelfos Co., Ltd, a subsidiary of TCC Group (Thailand) has subscribed for the newly issued ordinary shares in GMM Channel Trading Co., Ltd., GMM Grammy has restructured its business to be in line with the share subscription agreement by passing a resolution to transfer all of its shares held in GMMTV to GMMCH (GMM Channel Holding Co., Ltd., formerly GMM Channel Trading Co., Ltd.) or the business group of GMM 25 as the new shareholder.


title: GMMTV

text: However, on November 27, 2020, the board of directors’ meeting of GMM Grammy, in company with Siridamrongdham Co., Ltd. of TCC Group, had the resolution to dispose of and transfer all of their shares in GMMCH to ONEE (The One Enterprise Public Company Limited or One31 business group) in accordance with the conditions and plans in relation to an initial public offering and list ONEE in the Stock Exchange of Thailand. As a result, the company has been a subsidiary of The One Enterprise group with Takonkiet Viravan as the indirect director since December 1.


title: GMMTV

text: On November 22, 2022, during the "GMMTV 2023 Diversely Yours," press conference, Sataporn Panichraksapong announced plans to invest a 51% stake in Parbdee Tawesuk Co., Ltd., the creative production house which co-produced "", "The Gifted", "", etc. in an effort to grow GMMTV's business model and enhance potential and elevate Thai content to reach new heights in the global market.


title: GMMTV

text: Currently, GMMTV is producing entertainment programs, dramas, and television series under the supervision and management of The One Enterprise which has the right to organize both One31 and GMM 25 channels, and because of its successful production teen/drama series as well as Boys' Love series on GMM 25, The One Enterprise granted the primetime timeslot from 8:30 pm – 9:30 pm of GMM 25 for GMMTV to provide and broadcast their series every week.


title: GMMTV

text: These are the current artists under the talent arm of GMMTV including TV presenters/hosts, actors and singers:


title: GMMTV

text: Aside from its dramas and boys' love series airing on primetime every 20:30 ICT slot on GMM25, GMMTV also produced variety shows that air on GMM25. Every show's full episode catch-up is available via GMMTV's YouTube channels as well as other social media platforms and partner streaming services.


title: GMMTV

text: GMMTV is also releasing exclusive online shows through their YouTube channels as well as other social media platforms and partner streaming services.


title: GMMTV

text: Special show is a documentary program presenting GMMTV's drama and television series, including cast and crew interviews, behind-the-scenes, and footage from the production. It normally airs a week before the first episode or after the last episode on GMM 25 and GMMTV's official YouTube channel.


title: GMMTV

text: GMMTV manages a record label under the name GMMTV Records. The vocalist(s) of a song may be either an artist under GMMTV or any subsidiary of GMM Grammy conglomerate.


title: GMMTV

text: Most of GMMTV's drama and television series plot and screenplay are based on or adapted from fictions and novels.


title: GMMTV

text: Currently, GMMTV-produced series and dramas air from Mondays to Sundays at 8:30-9:30 pm (ICT) through Channel GMM25, while the full uncut version of series' episodes are made available right after airing or delayed telecast through their respective partner streaming services, (Such as AIS Play, Viu, WeTV, Disney+ Hotstar and oneD).


title: GMMTV

text: The divided portions of series' episodes will be airing simulcast for international viewers through GMMTV's official YouTube channel. These may be supplemented by English subtitles or captions.


title: GMMTV

text: On 23 September 2020, GMMTV issued an official statement on the cancellation of the following series due to the COVID-19 pandemic:


title: GMMTV

text: On 22 November 2022, In GMMTV 2023 DIVERSELY YOURS, it has been announced that due to the COVID-19 pandemic, resulting schedule conflict. A series wasn't going to be moved forward.


title: GMMTV

text: Events held in Thailand are directly organized by GMMTV and/or sponsors, including press conferences, concerts, exhibitions and fan meeting events.


title: GMMTV

text: Events held abroad are not directly organized by GMMTV but in cooperation with foreign corporations and organizers, including exhibitions and fan meeting events.


title: GMMTV

text: Events held in Thailand are directly organized by GMMTV and are made available to a global audience through the partner service.


title: Final Cut Pro

text: Final Cut Pro is a series of non-linear video editing software programs first developed by Macromedia Inc. and later Apple Inc. The most recent version, Final Cut Pro 10.6.4, runs on Mac computers powered by macOS Big Sur 11.5.1 or later. The software allows users to log and transfer video onto a hard drive (internal or external), where it can be edited, processed, and output to a wide variety of formats. The fully rewritten Final Cut Pro X was introduced by Apple in 2011, with the last version of the legacy Final Cut Pro being version 7.0.3.


title: Final Cut Pro

text: Since the early 2000s, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It has also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut Pro made up 49% of the United States professional editing market, with Avid at 22%. A published survey in 2008 by the American Cinema Editors Guild placed their users at 21% Final Cut Pro (and growing from previous surveys of this group), while all others were on an Avid system of some kind.


title: Final Cut Pro

text: Final Cut Pro provides non-linear, non-destructive editing of any QuickTime-compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM (via plug-in), 2K, 4K, 5K, and 8K film formats and can import projects directly from iMovie for iOS and iPadOS. It supports a number of simultaneously composited video tracks (limited mainly by video form capability); unlimited audio tracks; multi-camera editing for combining video from multiple camera sources; 360º video editing support; as well as the standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has multiple color correction tools including color wheels, sliders and curves, video scopes and a selection of generators, such as slugs, test cards, and noise.


title: Final Cut Pro

text: The legacy (v. 7.0.3 and earlier) Final Cut (Pro and Express) interface was designed around non-computerized editing workflows, with four main windows that replicate tried-and-trusted methods of organising, viewing and editing physical tape or film media. The browser, where source media files (or clips) are listed, replicates the editor's traditional film "bins" or stacks of videotapes. The Viewer, where individual media files can be previewed and trimmed, replicates the source monitor of older tape-based systems. The Canvas replicates the "program" monitor in such systems, where the edited material is viewed. The Timeline, where media are assembled into a sequence, replicates the physically edited film or master tape of earlier systems. There is also a small Toolbox window and two audio-level indicators for the left and right audio channels.


title: Final Cut Pro

text: Both the Viewer and Canvas have a shuttle interface (for variable-speed scanning, forwards or backwards through a clip) and a jogging interface for frame-by-frame advancing.


title: Final Cut Pro

text: As in most digital non-linear editing applications, the Browser is not an interface to the computer's file-system. It is an entirely virtual space in which references to clips (aliases) are placed for easy access, and arranged in folders called 'bins'. Since they are only references to clips that "are" on the media drive of the computer, moving or deleting a source file on the media hard drive destroys the link between the entry in the Browser and the actual media. This results in a 'media offline' situation, and the media must be 'reconnected'. Final Cut Pro can search for the media itself, or the user can do this manually. If multiple clips are offline at the same time, Final Cut can reconnect all the offline media clips that are in the relative directory path as the first offline media clips that is reconnected.


title: Final Cut Pro

text: The browser has an 'effects' tab in which video transitions and filters can be browsed and dragged onto or between clips.


title: Final Cut Pro

text: The canvas outputs the contents of the Timeline. To add clips to the Timeline, besides dragging them there, it is possible to drag clips from the Browser or Viewer onto the Canvas, whereupon the so-called 'edit overlay' appears. The edit overlay has seven drop zones, into which clips can be dragged in order to perform different edits. The default is the 'overwrite' edit, which overwrites at an in point or the space occupied after the playhead with the incoming clip. The 'insert' edit slots a clip into the sequence at the in point or playhead's position, keeping the rest of the video intact, but moving it all aside so that the new clip fits. There are also drop zones to have the application automatically insert transitions. The 'replace' edit replaces a clip in the Timeline with an incoming clip, and the 'fit to fill' edit does the same thing, but at the same time, it adjusts the playback speed of the incoming clip so that all of it will fit into the required space [in the Timeline]. Finally there is the 'superimpose' edit, which automatically places the dropped clip on the track above the clip in the Timeline, with a duration equal to the clip below it. Unless an in or out point are set, all edits occur from the position of the playhead in the Timeline.


title: Final Cut Pro

text: Using the wireframe view on the canvas, the clip can be manipulated directly - dragging it around in the canvas to change its position, for example, or resizing it. Precise adjustment controls for these things are in the viewer.


title: Final Cut Pro

text: The viewer has tabs for each channel of the selected clip's audio, in which the waveform for the audio can be viewed and scrubbed, and where its volume can be keyframed. The filters tab is where effects for the clip appear and where their parameters can be adjusted and keyframed. If the clip selected is a generator (such as an oval shape), a control tab appears for changing its geometrical properties. Finally, the viewer's motion tab contains tools to adjust the scale, opacity, cropping, rotation, distortion, drop shadow, motion blur and time remapping properties of a clip. Mini-timelines to the right of each parameter allow the property to be keyframed. The Viewer is not present in Final Cut Pro X.


title: Final Cut Pro

text: Clips can be edited together in timelines called sequences. Sequences can be nested inside other sequences, so that a filter or transition can be applied to the grouped clips.


title: Final Cut Pro

text: The Timeline in Final Cut Pro allows 99 video tracks to be layered on top of each other. If a clip is higher [in the timeline] than another, then it obscures whatever is below it. The size of a video clip can be altered, and the clips can be cropped, among many other settings that can be changed. Opacity levels can also be altered, as well as animated over the course of the clip using keyframes, defined either on a graphical overlay, or in the Viewer's 'motion' tab, where precise percentage opacity values can be entered. Final Cut also has more than a dozen common compositing modes that can be applied to clips, such as Add, Subtract, Difference, Screen, Multiply, Overlay, and Travel Matte Luma/Alpha.


title: Final Cut Pro

text: The compositing mode for a clip is changed by control-clicking or right-clicking on the clip and selecting it from the cascading contextual menu, or by selecting the mode from the application's 'modify' menu. For either matte modes, the clip that will perform the key is placed overneath the fill clip on the Timeline.


title: Final Cut Pro

text: For more advanced compositing Final Cut Pro is compatible with Apple's Shake (discontinued) and Apple Motion software.


title: Final Cut Pro

text: Final Cut Pro uses a set of hot-keys to select the tools. There are almost 400 keyboard commands that allow the user to increase the speed of edits. This combined with the nonlinear approach that digital editing, provides Final Cut Pro users with several editing options.


title: Final Cut Pro

text: Randy Ubillos created the first three versions of Adobe Premiere, the first popular digital video editing application. Before version 5 was released, Ubillos' group was hired by Macromedia to create KeyGrip, built from the ground up as a more professional video-editing program based on Apple QuickTime. Macromedia could not release the product without causing its partner Truevision some issues with Microsoft, as KeyGrip was, in part, based on technology from Microsoft licensed to Truevision and then in turn to Macromedia. The terms of the IP licensing deal stated that it was not to be used in conjunction with QuickTime. Thus, Macromedia was forced to keep the product off the market until a solution could be found. At the same time, the company decided to focus more on applications that would support the web, so they sought to find a buyer for their non-web applications, including KeyGrip, which by 1998 was renamed Final Cut.


title: Final Cut Pro

text: Final Cut was shown in private room demonstrations as a 0.9 alpha at the National Association of Broadcasters (NAB) exposition in 1998 after Macromedia pulled out of the main show floor. At the demonstration, both Mac and Windows versions were shown. The Mac version was working with a Truevision RTX dual-stream real-time card with limited real-time effects. When no purchaser could be found, Apple purchased the team as a defensive move. When Apple could not find a buyer in turn, it continued development work, focusing on adding FireWire/DV support and introduced Final Cut Pro at NAB 1999.


title: Final Cut Pro

text: In order that Final Cut Pro would be supported from the beginning with third-party self-paced and instructor-led training, Apple worked with DVcreators.net, who released a training disc called "Final Cut Pro PowerStart" at NAB on the day Final Cut Pro was released. Apple worked with DVcreators.net to host hundreds of free and paid Final Cut Pro seminars and workshops in 60 cities in the U.S., Canada and other countries over the following years, a strategy that some feel fundamentally contributed to Final Cut Pro's early awareness in the marketplace and rise in market share.


title: Final Cut Pro

text: After the introduction of Final Cut Pro, Adobe Premiere's market share remained strong on Windows but began to decline on the Mac as its older codebase was more difficult to maintain. In 2003, Apple announced a program for Premiere users to trade in their discs for a free copy of Final Cut Express or a $500 discount on Final Cut Pro.


title: Final Cut Pro

text: Final Cut Pro benefited from the relative maturity of QuickTime and its native support for then-new DV cameras connected with FireWire (IEEE1394).


title: Final Cut Pro

text: The first fully Broadcast quality, Worldwide Distributed TV show produced on Final Cut Pro was 2000's WOW! Women of Wrestling, using the Pinnacle CinéWave uncompressed video card. The Oxygen Network was a beta site for Final Cut Pro in late 1999 through network launch in early 2000. Shows like ShE-Commerce were cut using FCP.


title: Final Cut Pro

text: In late 2001, Independent Producer, Michael A. Bloom announced in an interview with Larry King while defending his controversial film "PlayCouples, A New Era Of Swinging (2003)" was made possible only after his transition from Avid Media Composer to Final Cut Pro. He cited the relatively new platform hadn't failed once while rendering his film, which was not what he experienced with Avid. After completing much of the leg work under a separate agreement between The Oxygen Network and his production company during beta testing of Final Cut he became an outspoken advocate. The studio motion picture "The Rules of Attraction" was edited on beta versions of Final Cut Pro 3, proving to the film industry that successful matchback to 24fps could be achieved with a "consumer" off-the-shelf product. Roger Avary, the film's director became the spokesperson for Final Cut Pro, appearing in print advertisements worldwide. His advocacy of the product gave confidence to mainstream editors such as Walter Murch, that the product was ready for "prime time."


title: Final Cut Pro

text: In August 2002, the application won a Primetime Emmy Engineering Award for its impact on the television industry.


title: Final Cut Pro

text: Final Cut Pro 4 was announced in April 2003. It included three new applications: Compressor, used for the transcoding between video formats; LiveType for advanced titling (such as the creation of animated lower thirds); and Soundtrack, for royalty-free music soundtrack creation. It also bundled Cinema Tools, which was previously sold separately for filmmakers working with telecine.


title: Final Cut Pro

text: Also in 2003, Apple launched Final Cut Express, a less expensive version of Final Cut Pro. It uses the same interface as Final Cut Pro, but it lacks some of the film-specific tools and other advanced options, limiting the feature set for non-professional editors. In January 2005, Soundtrack and LiveType, previously only available with Final Cut Pro, were added to Express, and features were added to edit HDV. Soundtrack was subsequently removed with Final Cut Express 4. In June 2011, Final Cut Express was officially discontinued, in favor of Final Cut Pro X.


title: Final Cut Pro

text: In April 2004, version 4.5 of Final Cut Pro was introduced and branded by Apple as "Final Cut Pro HD" due to its native support for Panasonic's tape-based DVCPRO HD format for compressed 720p and 1080i HD over FireWire. (The software had been capable of uncompressed HD editing since version 3.0, but at the time had required expensive video cards and high speed storage.)


title: Final Cut Pro

text: Final Cut Pro 5 was announced at a pre-NAB event in April, and shipped in May 2005. Final Cut Pro 5 added support for the burgeoning HDV format for compressed HD, which had previously been supported in Final Cut Pro's "scaled-down" cousin, Final Cut Express. Final Cut Pro 5 also added support for Panasonic's P2 format for the recording of DVCPRO HD video to memory cards rather than tape.


title: Final Cut Pro

text: In January 2006, Apple stopped selling Final Cut Pro as a stand-alone product. In March 2006 the Universal Binary 5.1 version was released as part of Final Cut Studio. Upgrades were achieved by sending the original installation discs back to Apple with a fee. One noticeable difference is that the Intel versions of Final Cut and Motion no longer recognize After Effects plug-ins. Instead, Apple released its own universal plug-in architecture FxPlug.


title: Final Cut Pro

text: On April 15, 2007, Apple revealed Final Cut Pro 6.0, as the cornerstone of the Final Cut Studio 2 bundle. Once again, Apple did not have a booth at NAB 2009, though the product was well represented on the show floor in various booths. The RED Camera team relied heavily on FCP during development.


title: Final Cut Pro

text: On July 23, 2009, Final Cut Pro 7/Final Cut Studio 3 (not officially designated as such by Apple but adopted by most users to describe the 2009 changes) was released, but it was not yet a 64-bit application.


title: Final Cut Pro

text: Final Cut Pro X was announced on April 12, 2011 and released on June 21. It is a 64-bit application completely rebuilt with a new interface, workflow enhancements and automation, and new features such as ColorSync integration, resolution-independent playback system, system scaling with Core Animation, and more. The three Final Cut Studio apps, Color, Soundtrack Pro, and DVD Studio Pro were dropped, while Motion 5 and Compressor 4 were released onto the Mac App Store.


title: Final Cut Pro

text: In its initial release, Final Cut Pro X was met with mixed reviews as many video editors eschewed its dramatic departure from the traditional editing interface and the dropping of many legacy (and some non-legacy) features. At the time of the initial release, a significant number of long-time Final Cut Pro users considered the new product to be an unsatisfactory product undeserving to be part of Final Cut Pro product line. An online petition was started demanding either the continued development of the legacy Final Cut Pro product or its sale to a third party by January 1, 2012. The initiator of the petition was banned from the Apple discussion forums. By January 2014, the petition had received well over 9,000 signatures.


title: Final Cut Pro

text: On October 27, 2016, Apple unveiled Final Cut Pro X 10.3, which included a redesigned interface, enhanced window resizing, extended multiple display support, support for the Touch Bar on the new MacBook Pro, and an updated version of the Magnetic Timeline.


title: Final Cut Pro

text: In December 2017, Apple updated Final Cut Pro X to version 10.4, which included enhanced color editing tools, 360-degree video editing support and support for HDR. The new version also supports the HEVC video format and HEIF photo format. Final Cut Pro X 10.4 has also gained the ability to import projects from iMovie for iOS, and now supports enhanced performance on the iMac Pro.


title: Final Cut Pro

text: In November 2020, in tandem with the release of macOS 11.0 Big Sur, the X was dropped from the name to be "Final Cut Pro".


title: Final Cut Pro

text: The location of the Media and the Render/Cache Files is not standardised. Final Cut Pro can be configured where to store them. Some users have a central directory where they store all their Source/Render/Cache files, some set those file paths to their specific project directory, so that they have all project files at one place.


title: Final Cut Pro

text: After having finished a project, one can erase everything but the project file, to save disk space, and at a later time Final Cut Pro can re-capture/re-link all source data and recalculate all render and cache data, provided it can access all linked sources.


title: Final Cut Pro

text: The first versions of Final Cut Pro and Final Cut Express used a binary file which contained all montage information such as timecode information, clip's in/out-points, size/crop/position, composition nesting, filter settings, automation data, etc.


title: Final Cut Pro

text: More recent editions of Final Cut Pro and Final Cut Express, before Final Cut Pro X, used the file extension codice_1.


title: Final Cut Pro

text: The latest version of Final Cut Pro, Final Cut Pro X, uses a new file extension; codice_2. Apple has come under some criticism for not supporting the older codice_1 project files, while it does support importing iMovie projects (codice_4 files). This concern has been addressed through the use of third-party software, allowing for the migration of legacy FCP file formats into working FCPX libraries and projects. The software is called 7toX and was developed by Philip Hodgetts.


title: Parity (mathematics)

text: In mathematics, parity is the property of an integer of whether it is even or odd. An integer is even if it is a multiple of two, and odd if it is not. For example, −4, 0, 82 are even because


title: Parity (mathematics)

text: By contrast, −3, 5, 7, 21 are odd numbers. The above definition of parity applies only to integer numbers, hence it cannot be applied to numbers like 1/2 or 4.201. See the section "Higher mathematics" below for some extensions of the notion of parity to a larger class of "numbers" or in other more general settings.


title: Parity (mathematics)

text: Even and odd numbers have opposite parities, e.g., 22 (even number) and 13 (odd number) have opposite parities. In particular, the parity of zero is even. Any two consecutive integers have opposite parity. A number (i.e., integer) expressed in the decimal numeral system is even or odd according to whether its last digit is even or odd. That is, if the last digit is 1, 3, 5, 7, or 9, then it is odd; otherwise it is even—as the last digit of any even number is 0, 2, 4, 6, or 8. The same idea will work using any even base. In particular, a number expressed in the binary numeral system is odd if its last digit is 1; and it is even if its last digit is 0. In an odd base, the number is even according to the sum of its digits—it is even if and only if the sum of its digits is even.


title: Parity (mathematics)

text: The set of "even" numbers is a normal subgroup of formula_8 and create the factor group formula_9. Parity can then be defined as a homomorphism from formula_8 to formula_9 where odd numbers are 1 and even numbers are 0. The consequences of this homomorphism are covered below.


title: Parity (mathematics)

text: The following laws can be verified using the properties of divisibility. They are a special case of rules in modular arithmetic, and are commonly used to check if an equality is likely to be correct by testing the parity of each side. As with ordinary arithmetic, multiplication and addition are commutative and associative in modulo 2 arithmetic, and multiplication is distributive over addition. However, subtraction in modulo 2 is identical to addition, so subtraction also possesses these properties, which is not true for normal integer arithmetic.


title: Parity (mathematics)

text: The division of two whole numbers does not necessarily result in a whole number. For example, 1 divided by 4 equals 1/4, which is neither even "nor" odd, since the concepts of even and odd apply only to integers. But when the quotient is an integer, it will be even if and only if the dividend has more factors of two than the divisor.


title: Parity (mathematics)

text: The ancient Greeks considered 1, the monad, to be neither fully odd nor fully even. Some of this sentiment survived into the 19th century: Friedrich Wilhelm August Fröbel's 1826 "The Education of Man" instructs the teacher to drill students with the claim that 1 is neither even nor odd, to which Fröbel attaches the philosophical afterthought,


title: Parity (mathematics)

text: Integer coordinates of points in Euclidean spaces of two or more dimensions also have a parity, usually defined as the parity of the sum of the coordinates. For instance, the face-centered cubic lattice and its higher-dimensional that is generalizations, the "D" lattices, consist of all of the integer points whose sum of coordinates is even. This feature manifests itself in chess, where the parity of a square is indicated by its color: bishops are constrained to moving between squares of the same parity, whereas knights alternate parity between moves. This form of parity was famously used to solve the mutilated chessboard problem: if two opposite corner squares are removed from a chessboard, then the remaining board cannot be covered by dominoes, because each domino covers one square of each parity and there are two more squares of one parity than of the other.


title: Parity (mathematics)

text: The parity of an ordinal number may be defined to be even if the number is a limit ordinal, or a limit ordinal plus a finite even number, and odd otherwise.


title: Parity (mathematics)

text: Let "R" be a commutative ring and let "I" be an ideal of "R" whose index is 2. Elements of the coset formula_12 may be called even, while elements of the coset formula_13 may be called odd.


title: Parity (mathematics)

text: As an example, let be the localization of Z at the prime ideal (2). Then an element of "R" is even or odd if and only if its numerator is so in Z.


title: Parity (mathematics)

text: The even numbers form an ideal in the ring of integers, but the odd numbers do not—this is clear from the fact that the identity element for addition, zero, is an element of the even numbers only. An integer is even if it is congruent to 0 modulo this ideal, in other words if it is congruent to 0 modulo 2, and odd if it is congruent to 1 modulo 2.


title: Parity (mathematics)

text: All prime numbers are odd, with one exception: the prime number 2. All known perfect numbers are even; it is unknown whether any odd perfect numbers exist.


title: Parity (mathematics)

text: Goldbach's conjecture states that every even integer greater than 2 can be represented as a sum of two prime numbers. Modern computer calculations have shown this conjecture to be true for integers up to at least 4 × 10, but still no general proof has been found.


title: Parity (mathematics)

text: The parity of a permutation (as defined in abstract algebra) is the parity of the number of transpositions into which the permutation can be decomposed. For example (ABC) to (BCA) is even because it can be done by swapping A and B then C and A (two transpositions). It can be shown that no permutation can be decomposed both in an even and in an odd number of transpositions. Hence the above is a suitable definition. In Rubik's Cube, Megaminx, and other twisting puzzles, the moves of the puzzle allow only even permutations of the puzzle pieces, so parity is important in understanding the configuration space of these puzzles.


title: Parity (mathematics)

text: The Feit–Thompson theorem states that a finite group is always solvable if its order is an odd number. This is an example of odd numbers playing a role in an advanced mathematical theorem where the method of application of the simple hypothesis of "odd order" is far from obvious.


title: Parity (mathematics)

text: The parity of a function describes how its values change when its arguments are exchanged with their negations. An even function, such as an even power of a variable, gives the same result for any argument as for its negation. An odd function, such as an odd power of a variable, gives for any argument the negation of its result when given the negation of that argument. It is possible for a function to be neither odd nor even, and for the case "f"("x") = 0, to be both odd and even. The Taylor series of an even function contains only terms whose exponent is an even number, and the Taylor series of an odd function contains only terms whose exponent is an odd number.


title: Parity (mathematics)

text: In combinatorial game theory, an "evil number" is a number that has an even number of 1's in its binary representation, and an "odious number" is a number that has an odd number of 1's in its binary representation; these numbers play an important role in the strategy for the game Kayles. The parity function maps a number to the number of 1's in its binary representation, modulo 2, so its value is zero for evil numbers and one for odious numbers. The Thue–Morse sequence, an infinite sequence of 0's and 1's, has a 0 in position "i" when "i" is evil, and a 1 in that position when "i" is odious.


title: Parity (mathematics)

text: In information theory, a parity bit appended to a binary number provides the simplest form of error detecting code. If a single bit in the resulting value is changed, then it will no longer have the correct parity: changing a bit in the original number gives it a different parity than the recorded one, and changing the parity bit while not changing the number it was derived from again produces an incorrect result. In this way, all single-bit transmission errors may be reliably detected. Some more sophisticated error detecting codes are also based on the use of multiple parity bits for subsets of the bits of the original encoded value.


title: Parity (mathematics)

text: In wind instruments with a cylindrical bore and in effect closed at one end, such as the clarinet at the mouthpiece, the harmonics produced are odd multiples of the fundamental frequency. (With cylindrical pipes open at both ends, used for example in some organ stops such as the open diapason, the harmonics are even multiples of the same frequency for the given bore length, but this has the effect of the fundamental frequency being doubled and all multiples of this fundamental frequency being produced.) See harmonic series (music).


title: Parity (mathematics)

text: In some countries, house numberings are chosen so that the houses on one side of a street have even numbers and the houses on the other side have odd numbers. Similarly, among United States numbered highways, even numbers primarily indicate east–west highways while odd numbers primarily indicate north–south highways. Among airline flight numbers, even numbers typically identify eastbound or northbound flights, and odd numbers typically identify westbound or southbound flights.


title: Qin (state)

text: Qin () was an ancient Chinese state during the Zhou dynasty. Traditionally dated to 897 BC, it took its origin in a reconquest of western lands previously lost to the Rong; its position at the western edge of Chinese civilization permitted expansion and development that was unavailable to its rivals in the North China Plain. Following extensive "Legalist" reform in the fourth century BC, Qin emerged as one of the dominant powers of the Seven Warring States and unified the seven states of China in 221 BC under Qin Shi Huang. It established the Qin dynasty, which was short-lived but greatly influenced later Chinese history.


title: Qin (state)

text: According to the 2nd century BC historical text "Records of the Grand Historian" by Sima Qian, the Qin state traced its origin to Zhuanxu, one of the legendary Five Emperors in ancient times. One of his descendants, Boyi, was granted the family name of Yíng by Emperor Shun. During the Xia and Shang dynasties, the Yíng clan split in two: a western branch in that migrated across the Ordos Plateau to Quanqiu (犬丘 or "Hill of the Quanrongs" in present-day Lixian in Gansu), and an eastern branch that settled east of the Yellow River in modern Shanxi. The latter became the ancestors of the rulers of the later Zhao state.


title: Qin (state)

text: The western Yíng clan at Quanqiu were lords over the Xichui ("Western March") region west of Mount Long and served as a barrier for the Shang dynasty against invasions by the Western Rong barbarians. One of them, Elai, was killed defending King Zhou of Shang during the rebellion led by Ji Fa that established the Zhou dynasty. The Yíng clan was however allied with the politically influential marquesses of Shen, whom the Zhou monarch relied upon heavily to manage the Rong people, and was thus allowed to retain their lands and continued serving as an attached vassal under the Zhou dynasty. Feizi, a younger son of Elai's fourth-generation descendant Daluo, impressed King Xiao of Zhou so much with his horse breeding skills, that he was awarded a separate fief in the valley of Qin (present-day Qingshui and Zhangjiachuan County in Gansu) northeast of Quanqiu, and his seat was named Qinyi (in present-day Qintingzhen, Qingshui County). Both branches of the western Yíng clan lived in the midst of the Rong tribes, sometimes fighting their armies and sometimes intermarrying with their kings.


title: Qin (state)

text: It has been suggested by scholars such as Annette Juliano and Arthur Cotterel that having a horse-breeder as their ancestor may imply that the Yíng family had a partial connection to nomadic tribes. As late as 266 BC, it was remarked by a noble of Wei that they shared customs with the Rong and Di tribes; the Central Plains states seemed to hold Qin culture and other peripheral states like Yan and Chu in low regard, due to the marginal location of their states. Qin was the second state after Zhao to adopt cavalry tactics from the nomads. Following the collapse of Zhou Dynasty, the Qin state absorbed cultures from two of the Four Barbarians from the west and north, which made the other warring states see their culture in low esteem. However, the Qin state was sensitive to the cultural discrimination by the Central Plains states and attempted to assert their Huaxia identity. This could be seen in an unusual statute of Qin Law, where mixed-ethnicity offsprings were all categorised as Huaxia, as well as in their preference for importing recruits from the neighbouring state of Jin.


title: Qin (state)

text: In 842 BC, the nobles revolted against the corrupt King Li of Zhou in a coup known as the "Countrymen's Riot" (國人暴動), overthrowing him the following year, and the country subsequently fell into political turmoil. The Xirong tribes used the opportunity to rebel against the Zhou dynasty, attacking and exterminating the senior branch of Yíng clan at Quanqiu, leaving the cadet branch at Qinyi the only surviving Yíng clan in the west. After King Xuan of Zhou ascended the throne in 827 BC, he made Qin Zhong, Feizi's great-grandson, the commander of his forces in the campaign against Xirong. Two years later in 822 BC, Qin Zhong was killed in battle and was succeeded by his eldest son Duke Zhuang. To commemorating Qin Zhong's loyalty, King Xuan summoned Duke Zhuang and his four younger brothers and gave them 7,000 soldiers. The Qin brothers successfully defeated the Rong and recovered their lost patrimony formerly held by the deceased branch of Yíng clan, and King Xuan formally awarded them the territory of Quanqiu. Duke Zhuang then moved his seat from Qinyi to Quanqiu, and had three sons. When he died in 778 BC, his eldest son Shifu wanted to stay fighting the Xirong and avenge their grandfather, turning down the succession, so his second son Duke Xiang ascended as the clan leader. Soon afterwards in 777 BC, Duke Xiang married his younger sister Mu Ying to a Rong leader called King Feng (豐王), in an apparent attempt to make peace. The following year he moved the Qin capital eastward from Quanqiu to Qian (汧, in present-day Long County, Shaanxi), but Quanqiu soon fell to the Rong again after he left. His older brother Shifu, who led the defence of Quanqiu, was captured by the Rong but was released a year later.


title: Qin (state)

text: In 771 BC, the Marquess of Shen collaborated with the Zeng state and the Quanrong nomads, attacked and sacked the Zhou capital Haojing, killing King You of Zhou and ending the Western Zhou dynasty. Duke Xiang led his troops to escort King You's son King Ping to Luoyi, where the new capital city of the Eastern Zhou dynasty was established. In gratitude of Duke Xiang's service, King Ping formally enfeoffed Duke Xiang as a feudal lord and elevated Qin from an "attached state" (附庸 "fùyōng", a minor state with limited self-rule under the authority of another liege lord) to a major vassal state with full autonomy, and further promised to permanently grant Qin the lands west of Qishan, the former heartland of Zhou, if Qin could expel the Rong tribes that were occupying it. The following generations of Qin rulers were encouraged by this promise, and they launched several military campaigns against the Rong, eventually expanding their territories far beyond the original lands lost by the Western Zhou dynasty. The Qin state therefore viewed the Zhou rulers King Wen and Wu as their predecessors, and themselves as the legitimate inheritors of their legacy.


title: Qin (state)

text: Because their main concern was the Rongs to the west, Qin's interaction with other states in central China remained minimal throughout the Spring and Autumn period (722–481BC), except with its immediate eastern neighbour Jin, a large vassal of the Zhou. Qin maintained good diplomatic relations with Jin through intermarriages between the royal clans, but relations between both sides had also deteriorated to the point of armed conflict on occasions.


title: Qin (state)

text: During the early reign of Duke Mu of Qin, the Jin state was a formidable power under the leadership of Duke Xian of Jin. However, after the death of Duke Xian, Jin plunged into a state of internal conflict as Duke Xian's sons fought over the succession. One of them won the contention and became Duke Hui of Jin, but Jin was struck by a famine not long later in 647 BC and Duke Hui requested aid from Qin. Out of goodwill due to his marriage to Duke Hui's half-sister, Duke Mu sent relief food supplies and agricultural equipment to Jin. However, when Qin was struck by famine the next year, Duke Hui refused to reciprocate with help, leading to the diplomatic deterioration between Qin and Jin and a war breaking out in 645 BC, which ended with Duke Hui being defeated and captured. Duke Mu later released him back to Jin after the latter agreed to cede land and sign an alliance.


title: Qin (state)

text: During the battles with Jin, Duke Mu overheard that one of Duke Xian's exiled sons, Chong'er, was taking refuge in the Chu state. After consulting his subjects, Duke Mu sent an emissary to Chu to invite Chong'er over, and supported him in his challenge and eventual defeat of his brother Duke Hui. After Chong'er become the new ruler of Jin as Duke Wen, he was more grateful to Duke Mu and relations between the two states improved. With his eastern front stable, Duke Mu used the opportunity to launch military campaigns against the Rong tribes in the west.


title: Qin (state)

text: In 630 BC, Qin and Jin agreed to wage war on the state of Zheng, but Duke Mu was lobbied by the Zhen emissary to abandon the alliance. In 627 BC, Duke Mu planned a secret attack on Zheng, but the Qin army retreated after being tricked into believing that Zheng was already prepared for Qin's invasion. By that point Duke Wen had died and his personal alliance with Duke Mu no longer stood, and his successor Duke Xiang ordered an ambush for the retreating Qin army. The Qin forces were defeated at the Battle of Xiao (near present-day Luoning County, Henan) and suffered heavy casualties, and all three of its generals were captured. Three years later, Qin attacked Jin for revenge and scored a major victory. Duke Mu refused to advance further east after holding a posthumous funeral service for those killed in action at the Battle of Xiao, and went back to focus on the traditional policy of expanding Qin's dominance in the west. Duke Mu's achievements in Qin's western campaigns and his handling of foreign relations with Jin earned him a position among the Five Hegemons of the Spring and Autumn period.


title: Qin (state)

text: In 506 BC, King Helü of Wu defeated Chu in the Battle of Boju and captured the Chu capital Ying (present day Jingzhou). Helü's advisor Wu Zixu, who was previously forced into exile by the already deceased King Ping of Chu and craved vengeance for the brutal execution of his father and brother, exhumed the King Ping's corpse and lashed it posthumously. This was a great humiliation for the Chu state, so Shen Baoxu, a Chu official and a former friend of Wu Zixu, travelled to the Qin court and pleaded for assistance from Duke Ai of Qin to recover the capital. After Duke Ai initially refused to help, Shen spent seven days crying in the palace courtyard, and Duke Ai was eventually moved by his devotion and agreed to send troops to assist Chu. The famous poem named "No Clothes" (), recorded in the "Classic of Poetry", was a battle hymn personally composed by Duke Ai to boost the morale of the Qin troops. In 505 BC, the Qin and Chu armies jointly defeated Wu in several battles, allowing King Zhao of Chu to be restored and return to the recaptured capital.


title: Qin (state)

text: During the early Warring States period, as its neighbours in the Central Plains began rapidly developing, Qin was still in a state of underdevelopment and decline. The Wei state, formed from the Partition of Jin, became the most powerful state on Qin's eastern border. Qin mostly relied on natural defenses such as the Hangu Pass (函谷關; northeast of present-day Lingbao, Henan) and Wu Pass (武關, in present-day Danfeng County) in the east, to protect its Guanzhong heartland. Between 413 and 409 BC during the reign of Duke Jian of Qin, the Wei army led by Wu Qi, with support from Zhao and Han, attacked Qin and conquered some Qin territories west of the Yellow River.


title: Qin (state)

text: After suffering losses in the battles with rival states such as Wei, the Qin rulers actively pursued legal, economic social reforms. When Duke Xiao came to the throne of Qin, he issued an announcement calling forth men of talent (including scholars, administrators, theorists and militarists) from other states to enter Qin and help him with his reforms, promising rewards of high offices and lands in return.


title: Qin (state)

text: Among these foreign talents, Shang Yang successfully conducted a series of Legalist reforms in Qin with the support of Duke Xiao, despite facing strong opposition from conservative Qin politicians. Direct primogeniture was abolished, with all commoners granted citizenship rights. Many were resettled in new clusters focusing on increasing agricultural output. Meritocracy was practised throughout, especially in the military, with soldiers and officers receiving due rewards according to their contributions, regardless of their backgrounds. However, tough and strict laws were imposed as well, with draconian punishments being meted out for the slightest of offences, and even the nobility and royalty were not spared. After decades, the reforms strengthened Qin economically and militarily, and transformed it into a highly centralized state with an efficient administrative system.


title: Qin (state)

text: After Duke Xiao's death, King Huiwen became the new ruler of Qin and he put Shang Yang to death by chariot-tearing on charges of treason, but some believed that the king harboured a personal grudge against Shang because he was harshly punished for a minor infraction in his adolescence under Shang's reformed system. However, King Huiwen and his successors retained the reformed systems and they helped to lay the foundation for Qin's eventual unification of China under the Qin Dynasty in 221 BC. Shang Yang's theories were further elaborated later by Han Fei, another Legalist scholar who combined Shang's ideas with those of Shen Buhai and Shen Dao, that would form the core of the philosophies of Legalism. Qin rose to prominence in the late third century BC after the reforms and emerged as one of the dominant superpowers of the Seven Warring States.


title: Qin (state)

text: Qin's power continued growing in the following century after Shang Yang's reform, owing the success to the industriousness of its people. The Qin kings authorized many state development projects, including large public works such as irrigation canals and defensive structures.


title: Qin (state)

text: One of the most obvious results of the reforms was the change in Qin's military. Previously, the army was under the control of Qin's nobles and comprised feudal levies. After Shang Yang's reforms, the aristocracy system was abolished and replaced by one based on meritocracy, in which ordinary citizens had equal opportunities as the nobles to be promoted to high ranks. In addition, military discipline was strongly enforced and the troops were trained to adapt better to different battle situations. Qin's military strength increased largely with the full support of the state. In 318 BC, the states of Wei, Zhao, Han, Yan and Chu formed an alliance and attacked Qin, but did not manage to advance beyond Hangu Pass, and were defeated by counter-attacking Qin forces. The alliance crumbled due to mistrust and suspicion and lack of coordination among the five states.


title: Qin (state)

text: Apart from the effects on Qin's military, Shang Yang's reforms also increased labour for numerous public works projects aimed at boosting agriculture, and made it possible for Qin to maintain and supply an active military force of more than a million troops. This feat could not be accomplished by any other state, except Chu, during that time. Qin's conquests of the southern states of Ba and Shu in present-day Sichuan province also provided Qin with major strategic advantages. The lands in the new territories were very fertile, and helped serve as a "backyard" for supplies and additional manpower. It was hard for Qin's rivals to attack Ba and Shu, since the territories were located deep in the mountains upstream of the Yangtze River. At the same time, Qin's strategic position in Ba and Shu provided it with a platform for launching attacks on the Chu state, which lies downstream of the Yangtze.