It’s as if his establishment panjandrum George Smiley was suddenly infused with the spirit of Sid Vicious.What was he thinking going into the office? But Gary Oldman carries off a tremendous performance here, and it’s impossible not to enjoy it. Or just something that acknowledges that he hated Adolf Hitler for the same reason he hated Mahatma Gandhi: they were both enemies of the British Empire. There is room for a more sceptical movie about Churchill: something revisiting his performance during the Tonypandy Riots or the Siege Of Sidney Street. So he meets a quaint cross-section of forelock-tugging British and empire subjects in the underground carriage, from whom he learns something very important - that he is absolutely right! This film imagines Churchill needing to take a journey on the tube because his official car is held up in traffic. This is not to say that there isn’t a fair bit of hokum and romantic invention. He allows Halifax to send word via the Italians that Britain would be theoretically interested in the Danegeld-price: what might induce Hitler to hold back from Britain and its colonies? Oldman shows Churchill going into a kind of stricken shock. And it is here that Winston reaches his nadir, before the miracle of the little boats has manifested itself. He spends a fair bit of time down in the bunker-ish Cabinet War Rooms yelling at people: these are the “Upfall” scenes, which might get YouTube-subtitled in German in all sorts of irreverent ways. There is a scene (a bit fancifully imagined) with Churchill slumped in a bleakly lit almost unfurnished room, where he looks like something by Lucian Freud. And yet there’s no doubt about it, Gary Oldman is terrific as Churchill, conveying the babyishness of his oddly unlined face in repose, the slyness and manipulative good humour, and a weird deadness when he is overtaken with depression. But this movie packs a much bigger and more effective punch, and that’s down to a more ambitious scale, pacier narrative drive - and the lead performance.Įvery time I sit down to another Churchill drama, I promise myself I won’t just roll over for another actor in the latex/Homburg/bowtie/cigar/padding combo and doing the jowl-quivering while speaking in the voish and the weird cadencesh. Miranda Richardson played the exasperated wife Clemmie in the Brian Cox movie and here it’s Kristin Scott Thomas being exasperated and affectionate, helping the impossible old devil dress etc, in more or less the same way - although there’s more here for Scott Thomas to get her teeth into. (This film incidentally doesn’t make the mistake in The King’s Speech of implying that Churchill sided with Bertie during the Abdication.)ĭarkest Hour has obvious similarities to the recent film Churchill, with Brian Cox like that drama it imagines a pretty young WAAF figure as his secretary, for him to be at first grumpy and then soppy with - Lily James plays this part here. Ben Mendelsohn plays George VI, who is also an appeasement fan at first, though the film gallantly makes him a Churchill convert, conjuring a scene between the two of them in which his job is to stiffen Winston’s sinews. They are played respectively by Ronald Pickup and Stephen Dillane, the latter having a malign mandarin impassivity. Here, his immediate enemies do not seem to be Hitler and Mussolini as much as Chamberlain and Halifax, agitating for a deal with the Nazis and scheming to undermine Churchill’s cabinet and parliamentary position. It’s interesting for a film to remind us that appeasement as an issue did not vanish the moment that Winston Churchill took over as Prime Minister despite the famous David Low cartoon, not everyone was right behind him, rolling up their sleeves. This is not so much a period war movie as a high-octane political thriller: May 1940 as House Of Cards, with the wartime Prime Minister up against a cabal of politicians who want to do him down.
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We were really surprised to see stranded travelers watching our Hong Kong protests explainer projected on a screen at an airport in Hong Kong. Through protests and the pandemic, we’ve seen evidence of our work informing large and diverse audiences. Lalwani: We’ve seen our videos reach far corners of the world, and it’s been very rewarding to receive feedback about our videos providing clarity during chaos. What kind of an impact have Vox videos had? Are there any examples you’re most proud of? We’re always looking for new ways to deliver explanations, and I think that’s the force that pushes us forward. While our core mission hasn’t changed, our execution continues to evolve. We’re fully driven by our curiosity, and I’m glad that our ability to ask the right, and sometimes completely bizarre, questions hasn’t diminished over time. That could be a news event, an overlooked chapter in history, the most feared song in jazz, or a mystery behind a photograph. Lalwani: Our mission is to provide a better understanding of the world around us. I think our commitment to covering things like international affairs has deepened over time, but our major goal of empowering people with understanding remains consistent. Valerie Lapinski, Managing Producer: Our official mission has always been “Explain the News,” but I feel that the unspoken agreement we’ve always had with our video audience is “We answer the questions you never knew you had.” We try to home in on questions that are floating around about big issues, but we also take a lot of joy in covering the little mysteries about the world around us, and that extends to our coverage on culture, history, science, design, and everything in between. What do you see as the driving mission of Vox Video? Has it changed over time? We care deeply about global affairs, and I hope that we can continue to push ourselves to do more on that front. Vox established a unique voice and visual format around US politics and policy in the first couple of years, and since then we’ve intentionally pushed our scope and abilities to cover international stories. It’s been energizing for me to see our coverage, and our global viewership, expand over the years. Mona Lalwani, Editorial Director: Our team has grown consistently, in both size and ability, and our channel reflects that growth. We hired people who seemed flexible and eager to learn, and from the very start, everyone who joined the team has shaped what a “Vox video” is, whether through their unique interests or their unique skills. We were just trying to figure out what a good internet video looked like. Joss Fong, Senior Producer: In those early days, I truly never imagined that we’d have such a big, impressive team. I’m almost constantly in awe of what my teammates make, and it’s their opinions I’m most nervous to hear when I’ve made something new - as the team grew, our standards grew higher, too. There was, and still is, just a really special culture of collaboration and good-spirited competition on the team. We, instead, were most inspired by and aiming for the kinds of things we loved most on YouTube, but making the most of the motion design and animation skills we all had and the journalistic institution we were a part of. When we started, most newsrooms were making work that was like cable news some others were making short, character-driven documentaries that might be the kind of thing you’d see at a film festival. Joe Posner, VP, Creative Development: It’s been such a great adventure. What has it been like to see Vox video grow over time? To celebrate, we asked VP of Creative Development Joe Posner, Senior Producer Joss Fong, Editorial Director Mona Lalwani, and Managing Producer Valerie Lapinski to explain how we built it, the impact of the Vox video program, and where we’re going. This week, the YouTube channel reached a massive milestone: We officially hit 10 million subscribers on the channel. Vox videos are now watched in over 240 countries by students, educators, and policymakers and have helped bring clarity to everyday questions and the big challenges of the day. It’s now grown to 31 talented producers, animators, and story editors, who have produced over 1,335 videos, racked up 2.6 billion views, and helped launch shows like Glad You Asked on YouTube Originals, Explained on Netflix, and Level Playing Field on HBO. When Vox launched a dedicated YouTube program seven years ago, it was a team of two, aiming to create a new type of explainer video for the internet. 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The first use of the term "cryptograph" (as opposed to " cryptogram") dates back to the 19th century-originating from " The Gold-Bug," a story by Edgar Allan Poe. In other words, the letters in the alphabet are shifted three in one direction to encrypt and three in the other direction to decrypt. Terminology Alphabet shift ciphers are believed to have been used by Julius Caesar over 2,000 years ago. Cryptography also plays a major role in digital rights management and copyright infringement disputes with regard to digital media. In some jurisdictions where the use of cryptography is legal, laws permit investigators to compel the disclosure of encryption keys for documents relevant to an investigation. Cryptography's potential for use as a tool for espionage and sedition has led many governments to classify it as a weapon and to limit or even prohibit its use and export. The growth of cryptographic technology has raised a number of legal issues in the Information Age. Information-theoretically secure schemes that provably cannot be broken even with unlimited computing power, such as the one-time pad, are much more difficult to use in practice than the best theoretically breakable but computationally secure schemes. Theoretical advances (e.g., improvements in integer factorization algorithms) and faster computing technology require these designs to be continually reevaluated and, if necessary, adapted. Such schemes, if well designed, are therefore termed "computationally secure". While it is theoretically possible to break into a well-designed system, it is infeasible in actual practice to do so. Modern cryptography is heavily based on mathematical theory and computer science practice cryptographic algorithms are designed around computational hardness assumptions, making such algorithms hard to break in actual practice by any adversary. Since the development of rotor cipher machines in World War I and the advent of computers in World War II, cryptography methods have become increasingly complex and their applications more varied. The cryptography literature often uses the names "Alice" (or "A") for the sender, "Bob" (or "B") for the intended recipient, and "Eve" (or "E") for the eavesdropping adversary. The sender of an encrypted (coded) message shares the decryption (decoding) technique only with the intended recipients to preclude access from adversaries. Practical applications of cryptography include electronic commerce, chip-based payment cards, digital currencies, computer passwords, and military communications.Ĭryptography prior to the modern age was effectively synonymous with encryption, converting readable information ( plaintext) to unintelligible nonsense text ( ciphertext), which can only be read by reversing the process ( decryption). Core concepts related to information security ( data confidentiality, data integrity, authentication, and non-repudiation) are also central to cryptography. Modern cryptography exists at the intersection of the disciplines of mathematics, computer science, information security, electrical engineering, digital signal processing, physics, and others. More generally, cryptography is about constructing and analyzing protocols that prevent third parties or the public from reading private messages. Lorenz cipher machine, used in World War II to encrypt communications of the German High CommandĬryptography, or cryptology (from Ancient Greek: κρυπτός, romanized: kryptós "hidden, secret" and γράφειν graphein, "to write", or -λογία -logia, "study", respectively ), is the practice and study of techniques for secure communication in the presence of adversarial behavior. JSTOR ( March 2021) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This article needs additional citations for verification. You might even like a little lens vignetting. For example, DxO’s vignette correction sometimes takes it a step too far and overcorrects. More correction controls: You may not want to use all of PureRAW’s correction options.You can also move images up and down the queue even while it’s processing. Batch process queuing: It’s now possible to queue images for processing in batches, each one with its own processing options.DeepPRIME XD produces stunning noise reduction and detail recovery in noisy or high ISO images. DeepPRIME XD: With the inclusion of DeepPRIME XD (eXtra Detail) processing, PureRAW 3 is now in line with DxO PhotoLab.The improvements in this version do add up, and if you already own PureRAW 2 or the original version, and use it all the time, it’s probably worth the upgrade. What’s new in DxO PureRAW 3 DxO PureRAW 3 now offers DeepPRIME XD processing, more control over lens corrections and the ability to export TIFF files. The increased file size is unavoidable, sadly.Īlso, while the vast majority of camera and lens correction profiles are covered, there are a few which won’t have corresponding correction profiles – but the software will check and download extra profiles as required. It can take a couple of minutes to process each image with DxO’s latest DeepPRIME XD enabled, and DxO’s DNG files are 2-3 times larger than the original RAW files because they’ve been part-processed and include full RGB color for each pixel. DxO’s processing is so far ahead of Adobe’s that it can make average cameras look great, and high-ISO shots not just usable but actually quite excellent.īest of all, PureRAW 3 integrates with Lightroom as a plug-in, so that you can send a regular RAW file to PureRAW from within Lightroom and have it returned to your catalog as a processed DNG. You can open PureRAW’s DNG files in Lightroom, and the comparison is eye-opening. There are probably lots of photographers who have formed poor opinions of their cameras’ noise at high ISOs because of Lightroom’s rendering, when actually the camera itself might be quite good. Its fine detail is somewhat hazy and noisy, and the noise rapidly gets worse at higher ISOs. Lightroom’s RAW processing is definitely not the best. This is a big bonus if you use Lightroom, for example. The difference is that the Lightroom rendering is noisy, soft and at its limits, while the DxO rendering is clean as a whistle and ready for more. Both of these are RAW files in Lightroom with all the flexibility that RAW offers. Lightroom integration The Lightroom RAW rendering is on the left, the DxO rendering is on the right. With PureRAW’s DNG files, though, you’re getting DxO’s corrections and processing ‘baked in’. Normally, you are at the mercy of your software’s own RAW demosaicing and processing, and the quality can vary considerably from one program to another. They behave just like regular RAW files in Lightroom, Capture One or other RAW processing tools, with all the extended tonal range and color information you’d expect, but they’ve already been corrected and processed by DxO. PureRAW 3 produces ‘Linear DNG’ RAW files. The clever part is, as well as outputting JPEG images and, in this version, TIFF files, it can also produce DNG RAW files – and this is where it’s likely to be of most interest to photographers. Instead, it’s like a kind of pre-processing tool for your RAW files. You feed it RAW images and it outputs fully-corrected image files ready for sharing or further editing. PureRAW 3 takes your original RAW files and applies DxO’s own lens correction profiles and DeepPRIME noise reduction processing to produce images which are sharper, clearer and so noise free that you will probably re-think what you imagine your camera gear to be capable of. – Exported DNGs 2-3x the size of RAW files + Excellent lens corrections, including edge softness This software, and all accompanying files, data and materials, are distributed "as is" and with no warranties of any kind, whether express or implied except as required by law. If you do not agree to any of these terms, you may not use, copy, transmit, distribute, nor install this software - return it to the place of purchase within 14 days to receive a full refund. By installing, using or distributing this software you, on your own behalf and on behalf of your employer or principal, agree to be bound by these terms. Installation of this software and any software bundled with or installed-on-demand from this software is licensed only in accordance with these terms. The copyrights in this software and any visual or audio work distributed with the software belong to NCH Software and others listed in the about box. See the latest discounts for purchase See the latest discounts we are offering for purchasing our products. Subscribe to our newsletter You can subscribe to our newsletter for announcements of new releases and discounts. See more of our software Browse our website for more software. Search Search our website for products matching any keywords you type. Click on a feature, such as "Edit a Video File", to install a product with that ability. There is also a list of features for products in the category. If you already have the product installed then you can click "Run It Now" and the program will be launched for you. From there you can try out the product and it will download and install it for you to trial. 9 Send Popup Message User Information Options ~ Telephone Options ~ Server Options ~ GeneralĤ NCH Software Suite This is a useful way to browse all the software available from NCH Software You can see a set of products by type like Audio, Video and so on and view the product. You get a free upgrade if we follow your suggestion.ģ FlexiStation Employee Client Contents NCH Software Suite. Software Suggestions If you have any suggestions for improvements to FlexiStation Employee Client, or suggestions for other related software that you might need, please post it on our Suggestions page at Many of our software projects have been undertaken after suggestions from users like you. If your problem is not covered in this user guide please view the up-to-date FlexiStation Employee Client Online Technical Support at If that does not solve your problem, you can contact us using the technical support contacts listed on that page. 1 NCH Software FlexiStation Employee Client This user guide has been created for use with FlexiStation Employee Client Version 2.xx NCH SoftwareĢ Technical Support If you have difficulties using FlexiStation Employee Client please read the applicable topic before requesting support. Performance tests are conducted using specific computer systems and reflect the approximate performance of Mac Pro. Mac Pro systems tested with an attached 5K display. Topaz Video AI 3.2.0 tested by performing a 2x upscale on a 45-second 1920x800 H.264 video file. Testing conducted by Apple in April and May 2023 using preproduction Mac Pro systems with Apple M2 Ultra, 24-core CPU, 76-core GPU, 192GB of RAM, and 8TB SSD, and preproduction Mac Pro systems with Apple M2 Ultra, 24-core CPU, 60-core GPU, 64GB of RAM, and 1TB SSD, as well as production 2.5GHz 28-core Intel Xeon W-based Mac Pro systems with Radeon Pro W6900X graphics with 32GB of GDDR6, configured with Afterburner, 384GB of RAM, and 4TB SSD, and production 3.5GHz 8-core Intel Xeon W-based Mac Pro systems with Radeon Pro W5500X graphics with 8GB of GDDR6, 32GB of RAM, and 512GB SSD.OTOY Octane X Prime 2022.1.1 tested using a scene with complex materials and 35 million triangles. Prerelease Final Cut Pro 10.6.6 tested using a 1-minute picture-in-picture project with 22 streams of Apple ProRes 422 video at 8192x4320 resolution and 30 frames per second. Testing conducted by Apple in April and May 2023 using preproduction Mac Pro systems with Apple M2 Ultra, 24-core CPU, 76-core GPU, 192GB of RAM, and 8TB SSD.Tested with Houdini FX 19.5.534 by Voronoi fracturing a large geometry and simulating the destruction effect using rigid body dynamics. Tested using NACA 0012 project with 2000 iterations. See /kb/HT211204 for information about upcoming changes to ACMI financing. ACMI financing is subject to change at any time for any reason, including but not limited to, installment term lengths and eligible products. The last month’s payment for each product will be the product's purchase price, less all other payments at the monthly payment amount. ACMI is not available for purchases made online at special storefronts. See the Apple Card Customer Agreement for more information. Taxes and shipping are not included in ACMI and are subject to your card’s variable APR. Monthly pricing is available when you select Apple Card Monthly Installments (ACMI) as payment type at checkout at Apple, and is subject to credit approval and credit limit. |
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