text: Parks inside the campus include the PUP lagoon that is sealed by walls that imitate Fort Santiago and its walls in Intramuros, and the PUP Linear Park that was constructed in 2006 at the banks of Pasig River. The Freedom Plaza in front of the Main Academic Building was built for PUP's Centennial Year that was celebrated in 2004. Its construction was finished in 2007. Sports facilities in the campus include the PUP Gymnasium and Sports Center, an Olympic-size swimming pool, two basketball courts, tennis courts, and the university oval (sports ground) and grandstand.


title: Polytechnic University of the Philippines

text: Some of the newest buildings in PUP are the Tahan ng Atleta ("Home of the Athletes") which was designed in modern Georgian style, and the Engineering and Sciences Research Center designed by prominent Filipino Architect and PUP alumnus Royal Pineda. In 2022, the university started a new nine-storey building project that will replace the Main Academic Building to accommodate the increasing student population and disaster risks. The first phase of the project, the North Wing, costs ₱ 187.3 million pesos and is targeted to be complete in 12 months. The other wings will also be demolished and reconstructed in two more phases, aimed to be finished by 2025.


text: The PUP-NDC Compound Campus contains the Senior High School, College of Architecture and Fine Arts, College of Communication, College of Engineering, and the Institute of Technology. Among its notable landmark is the Carriedo Mansion, which is popularly known as the Antique House. It was transferred by the National Development Corporation to the National Government in 1989 which in turn transferred it to PUP. It also contains the PUP BPO Center which was launched through a partnership between PUP and the Civil Service Commission.


text: The campus of PUP was given by the National Development Corporation when it moved out in 1989, transferring all its assets to the national government which in turn will be given to PUP. The campus of the National Development Corporation is leased to several warehouses, factories and other government institutions and private offices. The lessees have the option to purchase the land according to their agreement with the company. When the National Development Corporation decided to move out, however, it decided that all its assets be transferred to the National Government and be given to PUP. This was ratified by President Corazon Aquino when she signed Memorandum Order No. 214, s. 1989 on January 6, 1989.


text: Firestone Ceramics, Incorporated is one of the lessees of the National Development Company. It occupies 1.8 hectares adjacent to the A. Mabini Campus. The company filed a case against PUP when the university tried to takeover the land they occupy. Because the land was protected by a contract between the NDC and Firestone Ceramics that enables the latter to purchase the land, the Supreme Court ruled in favor of Firestone Ceramics and grant its right of first refusal. However, the Court acknowledges the need of PUP to expand, but says it can do so in other ways. PUP unsuccessfully tries to takeover lot measuring 2,407 meters owned by Golden Horizon Realty Corporation inside the NDC Compound whose case is very similar to that of the Firestone Ceramics years earlier.


text: In 2007, PUP purchased two five-storey condotel-hostel buildings near its NDC Campus from the Government Service Insurance System to accommodate its growing student population. The buildings, known as PUP Condotel, was worth ₱575.7 million upon its purchase. The Commission on Audit labeled it as a "waste of government funds" because the buildings are in unusable condition at the time of its purchase. Only PUP Condotel Building A was rehabilitated and is currently in use while Building B is still unusable. The rehabilitation cost already amounted to ₱101.3 million as of 2013. The overall cost for the buildings, including its rehabilitation, already amounts to ₱677.1 million and balloons higher as rehabilitation continues.


text: The PUP M. H. Del Pilar Campus contains the Graduate School and the College of Tourism, Hospitality, and Transportation Management (CTHTM). It also contains the Hasmin Hostel, formerly a budget hostel which was purchased by PUP in the late 1980s. Currently, it provides the sleeping and residential quarters for the students and faculty of PUP. The hostel also serves as the training grounds for CTHTM students. The current Director of the campus is Joseph M. Lardizabal.


text: The PUP Rizal Campus inside the university belt was the main campus of the university from 1947 until 1968. On July 31, 1947, two buildings at Lepanto Street (now S. H. Loyola Street) in Sampaloc, Manila were leased to the government for the exclusive use of then PSC. Shortly before the award, one of the schoolhouse buildings was temporarily used by the first Congress of the Philippines until 1945. One year later, the school acquired its P.E. Grounds, adjacent to its campus. The PUP Technopreneurial School, now the Institute of Technology, occupied the campus until 2007.


text: In 2020, the university started constructing new buildings in the vacant lots of the campus, starting with a new five-story academic building beside the University of the East campus. In 2021, the Department of Public Works and Highways started the construction of a new seven-storey building for the College of Law in the north area of the campus. The building will have 13 classrooms, 9 offices and other facilities such as Moot court, student centers and assembly hall. It was also announced that the Institute of Technology (ITech) will return to the Rizal campus.


text: PUP currently operates 22 branches and satellite campuses around the country. 10 of these are campuses funded by the local government unit where it is located. These branches and campuses are headed by directors, reporting to the Vice President for Branches and Satellite Campuses in the Mabini Campus.


text: On February 3, 2022 the senate has passed House Bill No. 5739 which allows the establishment of the Polytechnic University of the Philippines (PUP) Caloocan City- North Campus. It will be the first leading state university to be established in the CAMANAVA area (Caloocan, Malabon, Navotas, Valenzuela). This aims to improve the numbers of state university and the choices of courses of students who wants to avail free tertiary education.


text: Senator Imee Marcos proposed the construction of new PUP campus in the province of Leyte known as the PUP-Leyte Campus Act or Senate Bill 1702. According to senator Imee Marcos the act will open the proposed campus for course offering under the undergraduate programs, short-term technical-vocational programs offered by the university, post graduate programs under the open university. Under the proposed law the referred campus "shall be headed by a Campus Administrator who  shall render full-time service and who shall be appointed or designated by the Board of Regents (BOR) upon the recommendation of the search committee and the President, subject to the guidelines, qualifications and standards set by the BOR”


text: Governance of PUP is vested upon the Board of Regents, which exercises policy-making functions to carry out the mission and programs of the university by virtue of Republic Act No. 8292, the Higher Education Modernization Act of 1997. PUP is administered by Dr. Manuel M. Muhi, President and he is assisted by an Executive Vice President and six Vice President.


text: As of December 31, 2016, PUP had a total of 3,078 personnel complement, composed of 2,236 faculty, 51 officials, 297 regular employees, 468 casual employees, 18 consultants and eight job orders inclusive of the branches and campuses.


text: PUP is broadly organized into 14 colleges, two high school departments (the Laboratory High School and the Senior High School), the Open University System and a Graduate School. It offers an extensive selection of more than 90 undergraduate and graduate programs. The Graduate School and the College of Education confers doctoral and master's degrees. The PUP Open University System, which offers its distance learning education programs, is the first institution of distance learning education in the Philippines and is located inside the Ninoy Aquino Library and Learning Resources Center. The Institute of Technology does not require passing the entrance test for admission and offers six diploma programs.


text: PUP formerly has the lowest tuition among all the universities and colleges in the country. With the passage of Republic Act 10931, students of all State Universities and Colleges will have a subsidized tuition. Students will now only pay the miscellaneous fee.


text: The oldest college in PUP is the College of Education, tracing its roots back as a course in business education in 1904. From the entrepreneurship courses offered in 1904 began the College of Business Administration, while the College of Accountancy and Finance started in 1960 as a bachelor program in Commerce with major in accounting. The College of Computer and Information Sciences started in 1969 as an Electronic Data Process course offered by the College of Accountancy. To develop the culture of sports and athleticism, the present-day College of Human Kinetics was established in 1978 as the College of Physical Education and Sports. The College of Engineering was established in 1986 as the College of Engineering and Architecture. In 2001, several collegiate departments were elevated into its own college which resulted in the establishment of the College of Architecture and Fine Arts, College of Communication, College of Law, and the College of Tourism, Hospitality, and Transportation Management. Its newest academic units are the College of Arts and Letters, College of Political Science and Public Administration and the College of Social Sciences and Development, all of which are founded through an organizational restructuring in 2012.


text: The PUP Laboratory High School, which is one of few high schools in the country offering a commercial curriculum, is regarded as one of the best high schools in the country and serves as the laboratory school of the College of Education where students practice-teach. In 2015, the PUP Senior High School was created as a separate department from the Laboratory High School and currently offers all the tracks in the K-12 curriculum.


text: PUP's bachelor's program in Filipinology and Journalism were recognized by the Commission on Higher Education as Centers of Development. Its Bachelor of Science in Information Technology program was recognized as a Center of Development for Excellence by the Commission on Higher Education from 2000 up to 2006.


text: Admission to PUP is selective. To be admitted, aspiring students must pass the PUP College Entrance Test. Admission to selected program is based on the test score and the availability of slots. A different admission test is given to the entrance scholars, the PUP Scholastic Aptitude and Interest Test and they can enroll in any program they like upon passing regardless of slot availability. Of an estimated 50,000 annual PUPCET takers, only 8,000 will be accepted due to the university's limited budget. In 2018, it is estimated that roughly 66,000 took the college entrance exam according to the Philippine Senate President Koko Pimentel. With a population of 71,963 students in 2016, it is the largest state university in the Philippines.


text: PUP claims to maintain an average size of 40-50 students per class, but the lack of facilities and growing student population causes overcrowding in classes. A total of 36,527 students in the Manila campus alone are enrolled in the Baccalaureate Program, while 1,658 undergrads are taking up Diploma Courses. About 897 students are also enrolled in the undergraduate programs of the PUP Open University and ETEEAP/Non-Traditional Programs. PUP operates year-round with two semesters and a summer. Following the shift to international school calendar, the classes for Academic Year 2017-2018 was supposed to start in August, but was reverted to June due to the issues regarding the proposed transitional semester by the administration. Summer sessions depend on the program and on the campus. More than a hundred of the student population are foreigners from China, Singapore, Indonesia, Cambodia, Myanmar, Tanzania, Nigeria, and Ghana. Also, students from South Korea visits PUP every summer to take up intensive English courses.


text: Research is a major function of the university. As a result, research undertakings in PUP is extensive. The Office of the Vice President for Research, Extension, Planning and Development is the official research and planning agency of PUP. It is composed of six research offices and five institutes. PUP is a member of the De La Salle University–Commission on Higher Education Zonal Research Center, and the Higher Education Research Consortium Philippines. Three of its research publications are accredited by the Commission on Higher Education, these are the Mabini Review, PUP Journal Science and Technology and the Social Sciences and Development Review.


text: The 4-storey Engineering and Science Research Center, designed by Filipino Architect Royal Pineda, is the central research building of PUP. It is occupied by the research institutes of the university and laboratories of the College of Computer and Information Sciences, the College of Engineering, and the Institute of Technology. It will enhance future research undertakings of the university.


text: PUP has a variety of longstanding traditions and celebrations such as its month-long Founding Anniversary held every October, with post-foundation anniversary events being held afterwards. The Pylon Run, held annually at during founding anniversary by the PUP chapter of Alpha Phi Omega is PUP's own version of the Oblation Run.


text: PUP's more than a hundred student organizations and clubs cover a wide range of interests. Cultural organizations are under the University Center for Culture and the Arts. The Central Student Council is the undergraduate student government of PUP. Under the Central Student Council is the PUP Commission on Student Organizations and Accreditation which have the mandate to accredit, re-accredit, or re-validate student organizations.


text: Notable political student organizations are Students' Party for Equality and Advancement of Knowledge (SPEAK), Sandigan ng Mag-aaral para sa Sambayanan (SAMASA), Laban COC, and Legend CE. Popular music organizations include the PUP Bagong Himig Serenata, PUPLHS Chorale, Polysound, and formerly the internationally acclaimed bamboo orchestra group PUP Banda Kawayan (now known as Banda Kawayan Pilipinas).


text: The Federation of Alumni Associations in PUP, Inc. (FEDAAPI) is the official alumni association of PUP. It oversees various activities for alumni such as class reunions, local gatherings, alumni travel, and career services. The PUP Tahanan ng Alumni Building was established through FEDAAPI.


text: PUP is known for its student activism. PUP has many student groups focused on political reform. The militant national democratic partisan groups are the cause of frequent protest and rallies in the campus. PUP's variety of partisan groups include liberal, socialist, social democratic, and several political organizations.


text: In March 2013, some activist students burned chairs in a protest regarding an alleged tuition hike. The incident came in the wake of the suicide of a University of the Philippines Manila freshman who allegedly could not afford to pay her tuition. The students involved in the violent protest faced sanctions from the university. Student activists, however, have already destroyed school properties way back in 2010, where hundreds of agitated students walked out of the room and began throwing dilapidated chairs, tables, and examination papers from the Main Building to denounce an allegedly 2,000% tuition hike.


text: PUP is also known for holding one of the first pride marches in Asia, with the first one organized in the 1990s. Since 2016, its LGBT organization Kasarianlan annually holds the PUP Pride March. Pride events are held on March in the university to spread awareness on LGBT rights and push for passage of policies including the Anti-discrimination bill.


text: The Polytechnic University of the Philippines (PUP) is now the top school most companies prefer to hire fresh graduates from, according to JobStreet Philippines.


text: Specifically, results from the report showed that for jobs in business process outsourcing (BPO), Polytechnic University of the Philippines was top choice.


text: To further prepare PUP students for work, the Office of Rep. Ron Salo of Kabalikat ng Mamamayan, together with the Chevening Alumni Foundation of the Philippines, Inc. (CAFPI) and the Commission on Higher Education (Philippines) (CHED), launched “C2C: College to Career,” a 14-part webinar series for graduating college students of PUP along with 4 other partner educational institutions.


text: PUP via its Office of the Vice President for Student Affairs and Services (SAS) and Alumni Relations and Career Development Office (ARCDO) signed a partnership with a Philippine-based startup MetroCity AI to better serve its students and alumni. The university will be utilizing the platform of MetroCity AI for its virtual job fairs and career portals.


text: The Catalyst, formerly The New Businessman, is the official student publication of PUP. It was founded on February 25, 1986 and is written in both English and Filipino.


text: In 2017, Anakbayan claimed that the university administration ordered “the takeover of campus student publications through an administration office called Student Publication Section.” PUP President Emanuel de Guzman debunked the claim, stating that he "decided to restore the office that will oversee that selection of writers and editors" and it will be composed of advisers and former editors-in-chief of "The Catalyst", which has been historically militant.


text: Notable editors of "The Catalyst" include Emanuel de Guzman (12th President of the Polytechnic University of the Philippines and editor-in-chief of the publication from 1989 to 1990)


text: PUP CreaTV is regarded as the first university-based online channel in the Philippines. It was launched in February 2013 and its pioneer programs are "The Observer Flash Online" (newscast), "PUP TV: Pinaka Usap-usapan sa Pamantasan" (feature magazine program), and "State U" (web series).


text: DZMC is the campus radio station operated by the College of Communication. Its programming tentatively include news, sports, educational/children's programs, talk shows, commentaries, to music programs and request shows, mostly geared towards the interests of students, faculty and the administration. All operations have been put on hold, due to reasons of pending license application. DZ1PUP, an amateur radio club, is known for its involvement in a wide range of amateur radio activities, including contesting, research, and community involvement. PUPHAM-RCG, a non-profit university based radio station, is known to assist those who need fast and rapid response communications within the university and nearby areas.


text: PUP's varsity teams compete in the National Capital Region Conference of the State Colleges and Universities Athletic Association. The university's basketball team also played at the National Athletic Association of Schools, Colleges and Universities in 2013. The athletic teams of PUP are called the Mighty Maroons.


text: Its volleyball and basketball teams plays at the PUP Gymnasium and Sports Center. Softball is played at the PUP Oval field, which was recently rehabilitated in 2013. Non-varsity student sports clubs that compete with other area universities include the PUP Ultimate, which played at the 2011 University FriXbee Championship held at the University of the Philippines Diliman.


text: The university's official volleyball team also played at the 2nd Conference of the 12th Season of Shakey's V-League and was known as the PUP Lady Radicals; avoiding the usage of the name Mighty Maroons because of its resemblance to the name of rival team UP Fighting Maroons. The team was the replacement for the De La Salle Lady Spikers who pulled out of the league due to its commitment in other tournaments.


text: The PUP Stars Cheerleading Team, the official cheerleading team representative of PUP, was formed in 1998 and was the champion in the 2011 SCUAA-NCR Cheerdance Competition. They were also the champion in the 2006 and 2010 season of the Philippine Inter Schools, Colleges and Universities Athletic Association cheerdance competition.


text: Persons affiliated to the university, either as students, faculty members, or administrators, are called as ""PUPians"". Like in all Philippine state universities, students and graduates are also called ""Iskolar ng Bayan"" (Scholars of the Nation).


text: The Polytechnic University of the Philippines has numerous notable alumni locally and internationally. In politics, PUP produced former Bayan Muna representative Satur Ocampo, Jesus Is Lord Church Worldwide founder and CIBAC representative Eddie Villanueva, and election lawyer Romulo Macalintal. They are also accompanied by PUP graduates in the national government, including Celia Capadocia-Yango, former Secretary of Social Welfare and Development; Antonieta Fortuna-Ibe, former Securities and Exchange Commission commissioner and former Professional Regulation Commission chair, and Diosdado N. Silva, Assistant General Manager of the Philippine National Railways.


text: In the field of business administration, PUP alumni include Fernando L. Martinez, the founder and CEO of Eastern Petroleum, Joey Bermudez, the former President of the Philippine Veterans Bank, Olive Ramos, the CEO of South East Asian Airlines (SEAir) (now called Tigerair Philippines), and Henry M. Tan, former president and CEO of Chowking.


text: PUP alumni also held positions in other prominent universities. These include Francisco Dalupan Sr., founder of the University of the East and Rev. Fr. Herminio Dagohoy, former Rector Magnificus of the University of Santo Tomas. PUP alumni in the field of education are also recognized by the Metrobank Foundation: Galcoso C. Alburo for Filipino literature, Ed Teovisio for psychology, and Nelson Galvez Agoyaoy for history.


text: PUP is also widely represented in the media industry. Filipino TV hosts that are graduates of PUP include Love Añover, and broadcaster and former politician Mario Teodoro Failon Etong. Notable reporters that are graduates of PUP include Steve Dailisan, Maricel Halili, Marc Logan, and Maan Macapagal, as well as radio disc jockey John Gemperle, better known as Papa Jack. Other alumni in entertainment include 2006 Binibining Pilipinas-International titleholder Denille Lou Valmonte; actors Bayani Agbayani, and Tado Jimenez; singer Liezel Garcia; comedians such as Micheal "Pekto" Nacua, Albert Sumaya Jr., popularly known as Betong, and James Ronald and Rodfil Obeso, the duo brothers who are better known as Moymoy Palaboy. Notable anime dub voice actors Jefferson Utanes, known for being the local voice actor for Goku ("Dragon Ball Z"), Kousei Arima ("Your Lie in April"), Doraemon, and Kogoro Mouri and Mitsuhiko Tsuburaya ("Detective Conan"); and Nica Rojo also graduated from university.


text: Internationally known alumni include drag artist Marina Summers, who placed runner-up in the inaugural season of Drag Race Philippines, and photographer Jophel Botero Ybiosa, who received various international awards and nine Ani ng Dangal national awards from the Philippine National Commission for Culture and the Arts. Playwright-actress Dr. Rustica Carpio also studied and taught at the university and was given Ulirang Artista Lifetime Achievement Awardee and multiple best actress awards, including the Crystal Simorgh for Best International Actress at the Fajr International Film Festival in Iran and the Las Palmas International Film Festival Best Actress award in Spain.


title: May–Thurner syndrome

text: May–Thurner syndrome (MTS), also known as the iliac vein compression syndrome, is a condition in which compression of the common venous outflow tract of the left lower extremity may cause discomfort, swelling, pain or clots (deep venous thrombosis) in the iliofemoral veins.


title: May–Thurner syndrome

text: Specifically, the problem is due to left common iliac vein compression by the overlying right common iliac artery. This leads to stasis of blood, which predisposes to the formation of blood clots. Uncommon variations of MTS have been described, such as the right common iliac vein getting compressed by the right common iliac artery.


title: May–Thurner syndrome

text: In the 21st century, the May–Thurner syndrome definition has been expanded to a broader disease profile known as nonthrombotic iliac vein lesions (NIVL) which can involve both the right and left iliac veins as well as multiple other named venous segments. This syndrome frequently manifests as pain when the limb is dependent (hanging down the edge of a bed/chair) and/or significant swelling of the whole limb.


title: May–Thurner syndrome

text: Because of its similarities to deep vein thrombosis (DVT), May-Thurner's syndrome is rarely diagnosed amongst the general population. In this condition, the right iliac artery sequesters and compresses the left common iliac vein against the lumbar section of the spine, resulting in swelling of the legs and ankles, pain, tingling, and/or numbness in the legs and feet. The pain is often presented as dull, and may progress up and down the leg depending on the patient. Lower extremities may feel warm to the touch, and swelling may maintain or dissipate throughout the day.


title: May–Thurner syndrome

text: In contrast to the right common iliac vein, which ascends almost vertically to the inferior vena cava, the left common iliac vein traverses diagonally from left to right to enter the inferior vena cava. Along this course, it goes under the right common iliac artery, which may compress it against the lumbar spine and limit the flow of blood out of the left leg. There are case reports of the inferior vena cava being compressed by the iliac arteries or right-sided compression syndromes, but the vast majority are on the left side. While this is the suspected cause of the syndrome, the left iliac vein is frequently seen to be compressed in asymptomatic patients, and considered an anatomic variant. A 50% luminal compression of the left iliac vein occurs in a quarter of healthy individuals. Compression becomes clinically significant only if it causes appreciable hemodynamic changes in venous flow or venous pressure, or if it leads to acute or chronic DVT.


title: May–Thurner syndrome

text: In addition to compression, the vein develops intraluminal fibrous "spurs" from the effects of the chronic pulsatile compressive force from the artery. The narrowed turbulent channel predisposes the patient to thrombosis. The compromised blood flow often causes collateral blood vessels to form. These are most often horizontal transpelvis collaterals, connecting both internal iliac veins, thus creating outflow through the right common iliac vein. Sometimes vertical collaterals are formed, most often paralumbar, which can cause neurological symptoms, like tingling and numbness.


title: May–Thurner syndrome

text: This compressed, narrowed outflow channel causes stasis of the blood, which is one element of Virchow's triad that precipitates deep vein thrombosis.


title: May–Thurner syndrome

text: It is important to consider May–Thurner syndrome in patients who have no other obvious reason for hypercoagulability and who present with left lower extremity thrombosis. To rule out other causes for hypercoagulation, it may be appropriate to check the antithrombin, protein C, protein S, factor V Leiden, prothrombin G20210A, and antiphospholipid antibodies.


title: May–Thurner syndrome

text: May–Thurner syndrome in the broader disease profile, known as nonthrombotic iliac vein lesions (NIVLs), exists in the symptomatic ambulatory patient and these lesions are usually not seen by venography. Morphologically, intravascular ultrasound has emerged as the best current tool in the broader sense. Functional testing such as duplex ultrasound, venous and interstitial pressure measurement and plethysmography may sometimes be beneficial. Compression of the left common iliac vein may be seen on pelvic CT.


title: May–Thurner syndrome

text: Management of the underlying defect is proportional to the severity of the clinical presentation. Leg swelling and pain is best evaluated by vascular specialists (vascular surgeons, interventional cardiologists, and interventional radiologists) who both diagnose and treat arterial and venous diseases to ensure that the cause of the extremity pain is evaluated. The diagnosis needs to be confirmed with some sort of imaging that may include magnetic resonance venography, venogram and usually confirmed with intravascular ultrasound because the flattened vein may not be noticed on conventional venography. In order to prevent prolonged swelling or pain from the consequences of the backed up blood from the compressed iliac vein, flow needs to be improved out of the leg. Uncomplicated cases may be managed with compression stockings.


title: May–Thurner syndrome

text: Severe May–Thurner syndrome may require thrombolysis if there is a recent onset of thrombosis, followed by angioplasty and stenting of the iliac vein after confirming the diagnosis with a venogram or an intravascular ultrasound. A stent may be used to support the area from further compression following angioplasty. As the name implies, there classically is not a thrombotic component in these cases, but thrombosis may occur at any time.


title: May–Thurner syndrome

text: If the patient has extensive thrombosis, it may be appropriate to consider pharmacologic and/or mechanical (also known as pharmacomechanical) thrombectomy. This is currently being studied to determine whether this will decrease the incidence of post-thrombotic syndrome.


title: May–Thurner syndrome

text: May–Thurner syndrome is thought to represent between two and five percent of lower-extremity venous disorders. May–Thurner syndrome is often unrecognized; however, current estimates are that this condition is three times more common in women than in men. The classic syndrome typically presents in the second to fourth decades of life. In the 21st century in a broader disease profile, the syndrome acts as a permissive lesion and becomes symptomatic when something else happens such as, following trauma, a change in functional status such as swelling following orthopaedic joint replacement.


title: Game Jolt

text: Game Jolt is a social community platform for video games, gamers and content creators. It is available on iOS, Android, on the web and as a desktop app for Windows and Linux. Primarily for Gen Z, users share interactive content through a variety of formats including images, videos, live streams, chat rooms, and virtual events.


title: Game Jolt

text: In 2021 Game Jolt revealed their own live streaming feature called Firesides. Firesides allow multiple users to simultaneously live stream together with near 0-second delay. The feature launched with a virtual concert showcasing its ability to accommodate multiple streamers.


title: Game Jolt

text: Game Jolt Social by Game Jolt Inc. launched on both the Apple App Store and Google Play Store in March 2022. “It’s clear to us that Gen Z is tired of generic social media and they want a place specifically for gaming that supports all types of content they’re creating–art, videos, thoughts, and livestreams all in one place.” said Game Jolt founder and CEO Yaprak DeCarmine, in a statement to VentureBeat.


title: Game Jolt

text: The Game Jolt Application Programming Interface (usually known as the Game Jolt Game API) allows any developer using a game development platform that supports HTTP operations and MD5 or SHA-1. Game Jolt advertises that the API can:


title: Game Jolt

text: Game Jolt regularly hosts Game Jams where participants are encouraged to develop games for a chance to win prizes.


title: Game Jolt

text: In November 2014 Game Jolt announced the "Indies vs PewDiePie" game jam, partnering with the popular Youtuber Felix "PewDiePie" Kjellberg.


title: Game Jolt

text: Developers were given a weekend (21–24 November) to create a game with the theme of "fun to play, fun to watch" to suit the Let's Plays entertainment style. Users could rate entries afterwards until December 1 when the scores were counted up. The prize to the top 10 rated games was Felix playing the games on his channel as a means of promotion for the developers, although later he played other entries.


title: Game Jolt

text: One of the participants of the jam, now known as Outerminds Inc. was discovered and hired by PewDiePie to develop his mobile game, Legend of the Brofist.


title: Game Jolt

text: Game Jolt partnered with Felix, Sean "Jacksepticeye" McLoughlin and Mark "Markiplier" Fischbach to host "Indies vs Gamers" in July 2015. The requirements for entries were arcade games using the Game Jolt Game API highscore tables, to be made between the July 17–20 and the top 5 games were played on the partner's YouTube channels.


title: Game Jolt

text: Following the "Indies vs PewDiePie" game jam in 2014, Game Jolt released their internal jam hosting tools public for all users to use as a service, to create their own game jams that integrated with the main site.


title: Game Jolt

text: Today Game Jolt focuses on hosting and co-hosting game competitions with established brands in order to bring monetary and educational opportunities to their users.


title: Game Jolt

text: Since 2015 Game Jolt has made announcements on April Fools' Day, often implementing site features that remain accessible beyond 1 April.


title: Game Jolt

text: Game Jolt has supported independent creators with a central platform to manage their content and communities since its start in 2002. David DeCarmine began development of Game Jolt at the age of 14 for a group of hobbyists, making games and sharing on forums in an early iteration known as Holo World. The original intention was to create a platform for gamers where new games could be discoverable and quickly playable, and where feedback could be provided directly to the creators, allowing them to continue improving their games.


title: Game Jolt

text: A new site launched in 2015 featuring a responsive design, automated curation for both games and game news articles which weighs how recent a game was uploaded and how popular it is ("hot") and filtering options on game listings for platform, maturity rating and development status.


title: Game Jolt

text: In March 2022, Game Jolt launched a mobile application simultaneously on the Google Play Store and Apple App Store for Gen Z gamers and creators. While in beta, the mobile app had 100,000 installs pre-launch.


title: Game Jolt

text: Game Jolt continues to host a large library of independent games. Game developers can upload their games directly to the site to share or sell.


title: Game Jolt

text: Game Jolt supported distribution for downloadable games then added support for Flash, Unity and Java games which allowed support for browser based games. In February 2013, Game Jolt built support for browser-based HTML5 games as well.


title: Game Jolt

text: Game Jolt Jams released in early 2014 as a service to allow users to create their own game jams that integrated with the main site.


title: Game Jolt

text: An online marketplace was announced in April 2016 and released the following month with an exclusive set of game titles, including Bendy and the Ink Machine, allowing developers to sell their games on the site.


title: Game Jolt

text: In January 2016, Game Jolt released source code of the client and site's frontend on GitHub under MIT license.


title: Game Jolt

text: In January 2022 Game Jolt suddenly banned Adult games from appearing on the site, stating in an e-mail to developers that the site had become "social media platform" and they "had to make decisions around the direction and future of the brand which has now included the removal of hosted games with explicitly adult content." And also stated in a tweet "Game Jolt is a platform with a large audience of 13-16 year olds. Our users asked us to clean up, so here we are.” Which was in response to a Tweet by Itch.io saying that site is not for prudes.


title: Game Jolt

text: After bootstrapping Game Jolt with revenue earned from ads on the website for years, the DeCarmines secured venture capital in 2020 from SoftBank then again in 2021 from founders of Twitch, Rec Room, Modio and more.


title: Vauxhall Victor

text: The Vauxhall Victor is a large family car produced by Vauxhall from 1957 until 1976. The Victor was introduced to replace the outgoing Wyvern model. It was renamed Vauxhall VX Series in 1976 and continued in production until 1978, by which time it had grown significantly and was viewed, at least in its home market, as a larger-than-average family car.


title: Vauxhall Victor

text: The last Victor, the Victor FE, was also manufactured under licence by Hindustan Motors in India as the Hindustan Contessa, during the 1980s and early 2000s, with an Isuzu engine.


title: Vauxhall Victor

text: The FD Series was replaced by the Vauxhall Cavalier, while the larger FE Series was replaced by the Vauxhall Carlton.


title: Vauxhall Victor

text: The Victor briefly became Britain's most exported car, with sales in markets as far flung as the United States (sold by Pontiac dealers, since Vauxhall had been part of GM from 1925), Canada, Australia, New Zealand, South Africa, and Asian right-hand drive markets such as Ceylon (now Sri Lanka), India, Pakistan, Malaysia, Thailand, and Singapore.


title: Vauxhall Victor

text: In Canada, it was marketed as both the Vauxhall Victor (sold through Pontiac/Buick dealerships) and the Envoy (through Chevrolet/Oldsmobile dealers). The Victor was also instrumental in giving Vauxhall its first in-house-designed estate car, which complemented the four-door saloon.


title: Vauxhall Victor

text: The original Victor, launched on 28 February 1957, was coded the F series and saw a production run of more than 390,000 units. The car was of unitary construction and featured a large glass area with heavily curved windscreen and rear window. Following American styling trends then current, the windscreen pillars (A-pillars) sloped forwards. In fact, the body style was derived directly from the classic ′55 Chevrolet Bel Air, though this is not apparent unless the two cars are viewed side by side. Bench seats were fitted front and rear trimmed in Rayon and "Elastofab", and two-colour interior trim was standard. The Super model had extra chrome trim, notably around the windows; remnants of the signature Vauxhall bonnet flutes ran along the front flanks and the exhaust pipe exited through the rear bumper. The car was equipped with arm rests on the doors, door-operated courtesy lights, a two-spoke steering wheel, and twin sun visors.


title: Vauxhall Victor

text: An estate variant was launched in 1958. When restyled, as the Series 2, the car lost all its '55 Chevy styling detail and the teardrop shaped Vauxhall flutes were replaced by a single chrome side-stripe running nose to tail. The sculpted "porthole" rear bumper tips, which rusted badly due to exhaust residue, were replaced by plain, straight ones. The old bumper ends continued to be used for many years on a variety of motor coaches and ice-cream vans.


title: Vauxhall Victor

text: Although the engine was of similar size to that of the outgoing Wyvern it was in critical respects new. Fitted with a single Zenith carburettor it had an output of at 4200 rpm and gained a reputation of giving a long trouble free life. This was also the year when Vauxhall standardized on "premium" grade petrol/gasoline, permitting an increase in the compression ratio from the Wyvern's 6.8:1 to 7.8:1. Premium grade petrol had become available in the UK at the end of 1953, following an end to post-war fuel rationing, and at that time offered average octane level of 93, but in the ensuing four years this had crept up to 95 (RON).


title: Vauxhall Victor

text: The Victor's three-speed gearbox had synchromesh on all forward ratios and was operated by a column-mounted lever. In early 1958 Newtondrive two-pedal control was available as an option.


title: Vauxhall Victor

text: Suspension was independent at the front by coil springs and an anti-roll bar was fitted on a rubber-mounted cross member. The rear suspension used a live axle and semi elliptic leaf springs. Steering was of the recirculating ball type. Lockheed hydraulic drum brakes were used.


title: Vauxhall Victor

text: A "Super" version tested by The Motor magazine in 1957 had a top speed of and could accelerate from 0- in 28.1 seconds. A fuel consumption of was recorded. The test car cost £758 including taxes. The estate car cost £931.


title: Vauxhall Victor

text: A Series II model was announced in 1959 with simplified styling. The new car was available in three versions with a Deluxe as the top model featuring leather trim and separate front seats.


title: Vauxhall Victor

text: F Series Victor sedans were assembled at General Motors New Zealand plant in Petone. Most were Supers with column shift and three-speed manual transmission, though some base models were made for government fleet contracts. Wagons were imported.


title: Vauxhall Victor

text: F type Victors were available in the United States and Canada through the Pontiac dealer network. They are the only Vauxhall-brand car ever offered in the US, however Vauxhalls continued to be available from Buick-Pontiac-GMC dealers in Canada (along with their unique Envoy-branded variants sold at Chevrolet-Oldsmobile dealers) until 1971.


title: Vauxhall Victor

text: The more cleanly styled FB announced 14 September 1960 ran until 1964 with a substantial improvement regarding rust protection. It was widely exported, although sales in the US ended after 1961 when Pontiac, Oldsmobile and Buick came up with home-grown compact models of their own, with the all-new GM "Y" platform (North America). Consequently, the FB only achieved sales of 328,000 vehicles by the time it was replaced in 1964. The body styling owed nothing to any US GM influence, the flat front and turtle-deck rear resembling some older US Fords. Mechanically, the main change was the option of a 4-speed all-synchromesh transmission with floor change but the previously used 3-speed all-synchro column change unit was still fitted as standard. The base (FBY) engine was also revised with higher compression ratio and revised manifolding increasing the power output to . In September 1963 the engine was enlarged from 1508 to 1594 cc, identified as the FB30. The increased capacity coincided with a further increase in the compression ratio of the standard engine from 8.1:1 to 8.5:1, reflecting the continuing increase the average octane level of "premium grade" fuel (on which the Victor unit had by now standardised) offered in the UK, now to 97 (RON). 1963 was also the year when front disc brakes with larger wheels became an option. Models with the larger engine had a revised frontal treatment with a block style grille element and revised parking lights at either lower extreme of the grille.


title: Vauxhall Victor

text: A Vynide-covered bench front seat was standard on the base model and Super Victor but individual seats were standard on the De Luxe and optional on the lower-priced cars. Other options included a heater, fog lamps, radio, screen washers, reversing light and seat belts.


title: Vauxhall Victor

text: A 1508 cc "Super" version was tested by the British magazine "The Motor" in 1961 and was found to have a top speed of and could accelerate from 0– in 22.6 seconds. A fuel consumption of was recorded. The test car cost £798 including taxes of £251.


title: Vauxhall Victor

text: A sporty derivative, the VX4/90, announced separately in mid-October 1961 was also available. It was fitted with a twin-carburettor, a taller alloy head, high-compression expansion controlled pistons, and a nitrided EN19B steel crankshaft engine giving and servo-assisted disc brakes (same as Cresta brakes) on the front wheels. Externally the car was distinguished from the standard car by a coloured stripe down the side, revised grille and larger tail-light clusters. These cosmetic features were essentially similar to the Canadian-market-only Envoy models.


title: Vauxhall Victor

text: The VX4/90 was available only in saloon form with 4-speed (GM Opel) all-synchro gearbox, Lockheed front disc brakes, 14 inch wheels, front individual / bucket seats, full instrumentation including mechanically driven (from the distributor) tachometer and heater. The VX4/90 FBX engine also was upgraded to the 31FB, the larger bore size giving 1595 cc (97 cubic inches). With a change in rear axle ratio from 4.125 to 3.9, the VX 4/90 could now easily exceed 90 mph.


title: Vauxhall Victor

text: General Motors New Zealand assembled the Victor FB sedan line in New Zealand, in Super form with column shift manual. Wagons, Deluxe sedans and the VX4/90 were rare imports, many under the no-remittance, no overseas exchange, deposit scheme available to consumers at the time. The Kiwi models were facelifted for 1964 but did not get the revised rear licence plate surround introduced in the UK market.


title: Vauxhall Victor

text: The FC (1963–67) was the first Vauxhall to use curved side-window glass, allowing greater internal width: the Estate derivative was noted as being especially capacious for its class. Nevertheless, the public at the time regarded it as a qualitative downgrade after the pleasantly styled, conservative FB. As a countermeasure the FC Victor was marketed as the Victor 101, the name arising from the claim that there were '101 improvements' over the FB. Bench or separate front seating was offered, with three-speed column-change gearbox or the optional four-speed floor change. A 'Powerglide' two-speed automatic transmission was also available. Another US feature was that the optional radio was incorporated into the bright-metal dashboard trim. An innovative styling cue, which was adopted four years later by the Audi 100, was the incorporation of the side and indicator lamps in the front bumper, as had been common practice in the US for many years. The sculpted bumpers were, for the first time in the UK, contiguous with the body styling. The overall look of the car was unique in GM, with its slab sides outlined with brightwork seam covers incorporating the door handles. This, with the full width grille incorporating the headlights, was more reminiscent of the Lincoln Continental.


title: Vauxhall Victor

text: The FC (101) was the last Victor to have an engine with push rods and rockers operating the overhead valves. Victor FC models had racked up 238,000 sales by late 1967 when the 'Coke bottle'-shaped FD replaced it.


title: Vauxhall Victor

text: As with the rest of the running gear, the sporting VX 4/90 was developed from the FB series and offered an alloy head, higher compression ratio, twin-Zenith 34IV carburettors, stiffer suspension and additional instruments. Vauxhall took the VX4/90 seriously enough to offer an optional limited-slip differential, but few cars were ordered with it: the VX4/90 was, by this time, largely overshadowed by the less expensive Ford Cortina GT, which also had a higher profile in race and rally competitions.


title: Vauxhall Victor

text: Overall, FC survival numbers appear to be less than the F, FB and even FD series, due to bad rust problems, so examples are rare, unfairly forgotten, and undervalued.


title: Vauxhall Victor

text: Towards the end of the model run, in May 1967, a Victor 101 de luxe was road tested by Britain's "Autocar" magazine. The vehicle tested came with a four-speed floor-change gearbox and the 1595 cc engine delivering a claimed 66 bhp. A maximum speed of 81 mph (130 km/h) was achieved, which matched that achieved by a recently tested Austin A60 Cambridge and a Ford Cortina 1600 de luxe. The Victor accelerated to 60 mph (97 km/h) in 20.4 seconds, which was slightly quicker than the Austin but slightly slower than the lighter Cortina. The Vauxhall's overall fuel consumption for the test, at 23.1 mpg (10.9 L/100 km) placed it at the bottom of this class by more than 10%, while its manufacturer's recommended retail price of £822 was higher than that asked for the Austin at £804 or for the Ford at £761. (A lower price of £806 would have been available on the Victor if the test car had come with the three-speed column-change gearbox and all-round drum brakes.) The overall tone of the test was cautiously positive, with plaudits for the comfort, the lightness of the controls, the (optional) servo-assisted disc/drum brakes and the road holding, but adverse comments concerning the extent of the Victor's propensity to roll and the rather low gearing which accentuated the variability of fuel consumption according to driving style.


title: Vauxhall Victor

text: All Victors sported a different grille treatment for 1967, a final-year facelift that was standard Vauxhall practice at the time. This had a more finished and upmarket look with sturdier bars rather than the cheaper looking criss-cross element on earlier cars. The waistline chrome strip was also thinner.


title: Vauxhall Victor

text: New Zealand assembly continued again with the Super with three-speed manual column-shift transmission though some base models - minus the distinctive waistline chrome strips - were also built for government fleet business. Powerglide two-speed automatic became an option in 1966. The model was facelifted for 1967 and, near the end of the run, a four-speed manual gearbox with floor shift and twin front seats replaced the three-speeder with bench seat. Some Deluxe models, wagons and VX4/90s were imported fully assembled from the UK but were quite rare.


title: Vauxhall Victor

text: The FD (1967–72) was released at a time when the UK was undergoing a currency crisis as well as increasingly militant labour relations, resulting in rising prices and reduced quality. The FD Victor was inspired by the contemporary "coke bottle" styling which had emanated from Detroit USA, five years before Ford's Cortina MK III. Fitted with all-new 1599 cc and 1975 cc engines that were the first mass produced belt-driven overhead camshaft engines, the Slant Four was advanced for its time and application. The car also featured a bonded-in windscreen, the first for a mass produced car. The suspension design of the car was more sophisticated than most other British mass-produced efforts of the time, with a live axle located by trailing arms and a Panhard rod and sprung on coil springs instead of the traditional leaf springs, and a double wishbone front suspension assembly. The FD Victor was first shown at the October 1967 British Motor Show. where it was dubbed "Car of The Show" and also received the Don Safety Award.


title: Vauxhall Victor

text: The FD, however, departed from the traditional Victor family car bench front seat norm (there were still models with bench seats however) and could be ordered with comfortable contoured bucket seating front and rear. This was standard on the Victor 2000 (later 2000 SL with the facelift for 1970) and optional on the Victor 1600 (renamed Super with the 1970 facelift). Bucket seats were standard on the more sporty VX4/90 and six-cylinder Ventora versions, with the latter having reclining backrests as standard from 1969. All bucket seat models dispensed with the column shift and adopted a four-speed floor shift, with overdrive standard on manual VX4/90s and optional on the Ventora.


title: Vauxhall Victor

text: In February 1968 Vauxhall launched the Vauxhall Ventora, which was in effect a marriage of the Victor FD body with the 3.3-litre six-cylinder engine hitherto offered only in the larger Cresta and Viscount models. The Ventora offered a claimed of output compared with from the 2-litre 4-cylinder Victor, also featuring correspondingly larger front disc-brake calipers. The Ventora therefore differed most spectacularly from its siblings through its effortless performance: in that respect it had no obvious direct competitor at or near its price (£1,102 including taxes in February 1968) on the UK market. The interior was also enhanced, with extra instrumentation including a rev counter. From the outside Ventoras can be identified by their wider tyres, a front grille of toothy-harmonica like gaps in place of the Victor's closely packed horizontal bars, fluted inserts in the hubcaps, and a black vinyl roof.


title: Vauxhall Victor

text: May 1968 saw the return to the Vauxhall range of a Victor estate, now based on the Victor FD. The estate, like the saloon, offered a choice of 1599 cc or 1975 cc four-cylinder engines and was also offered with the 3294 cc engine normally found in the Vauxhall Cresta. (The Victor estate 3294 was the only six-cylinder Victor offered on the domestic market, although the Ventora was effectively a six-cylinder Victor saloon by another name.) Rear suspension was beefed up on the estate models and all apart from the base 1599 cc version came with front wheel disc brakes. As on the FD saloon, however, the standard transmission was a three-speed manual gearbox controlled from a column-mounted lever. A four-speed box with a floor-mounted gear lever was available at extra cost on the four-cylinder models, although it was included in the overall package for buyers of the Victor 3294 cc estate. The floor-mounted lever was set well forward to enable it to remain clear of the bench front seat which was standard in the 1599 cc versions.


title: Vauxhall Victor

text: Sales of the FD came in below those of the FC, at 198,000 or so units produced over a slightly longer production run that ended in December 1971, though new cars were offered for sale until the arrival of the Victor FE in March 1972. The lower numbers reflected the effects of a long strike Vauxhall underwent in 1970, as well as the closing off of some export markets — the FD was the last Victor to be sold in Canada as either a Vauxhall or Envoy, and the last to be officially imported (and assembled) into New Zealand.


title: Vauxhall Victor

text: As well as the 1.6 and 2.0 I4s, the FD series was also available in New Zealand (sedans only; wagons were rare imports) with the larger Cresta PC's 3294 cc engine, badged as the Victor 3300, later 3300SL. These were manufactured with a choice of 4-speed manual gearbox or a 2-stage GM Powerglide automatic and most, apart from early cars, had the Ventora's grille. The Holden Trimatic gearbox was available for the last models. Bench (earlier 1.6 models with three-speed manual column shift only) or bucket front seats were available.


title: Vauxhall Victor

text: A one-off Ventora was the Black Prince. This high-profile modified car used components leftover after Gordon-Keeble went bust in the 1960s and was built in 1971, based on a modified Victor FD. The car featured a 5.4-litre V8 Chevrolet engine, ZF 5-speed gearbox and a limited-slip differential. Special features included a Sony 4-band radio that could be removed from the dashboard and used as a portable radio, auxiliary dials, Lucas Square 8 fog lights, matt black bonnet stripe, dash-mounted ice detector and map lights. The car was offered for sale in 1972 for approximately £3000, and was broken up in the late 1980s, with the owner using the running gear in a kit car. However, it is now known that one of the two cars built still exists in reasonable condition, but without the original engine/transmission, as it has been offered for sale in recent years. In reality, this car was merely a project to utilize the parts received from the administrators of the bankrupt Gordon-Keeble Car Co.


title: Vauxhall Victor

text: A 1972 Victor purchased at £60 and called Red Victor 2, has been heavily modified with around 2,000 hp to go 0-60mph in 1 second while still being street legal.


title: Vauxhall Victor

text: The earliest known surviving original FD series Victor 2000 is LRU 802F. A January '68 registered car in Oyster Grey with a Casino Red interior. Known affectionately by The FD Register as 'Tom' after its first owner.


title: Vauxhall Victor

text: The last of the Victors, launched in March 1972, was the FE (1972–76). Magazine and newspaper advertisements used the marketing slogan, "NEW VICTOR - The transcontinentals". The car appeared substantially larger than its predecessor, but was actually no wider and only 2 inches (5 cm) longer with much of the extra length accounted for by larger bumpers. Nevertheless, a higher cabin and improved packaging enabled the manufacturer to boast of more leg room in the front and no less than of extra leg room in the back, with virtually no loss of boot/trunk capacity. Useful increases in headroom and shoulder-level cabin width were also achieved through the use of differently shaped side panels and windows. The Victor Deluxes originally had a bench seat in front; this was replaced with bucket seats for 1973 and the parking brake was moved to its conventional position on the floor between them.


title: Vauxhall Victor

text: Most UK cars in this class featured manual transmission and with the FE Vauxhall belatedly fell into line with their principal UK competitor by including a four-speed gearbox – available only at extra cost on the old Victor FD – as standard equipment. The FE's extra weight presumably made this development irresistible. The four-speed transmission used the same box and ratios across the range, from the 1759 cc Victor to the torquey 3294 cc Ventora-badged version: contemporary road tests of the four-cylinder cars comment adversely on the wide gap – highlighted on the mountain roads included in the Portuguese route chosen for the car's press launch – between second and third gears.


title: Vauxhall Victor

text: Although the architecture of the suspension remained as before, numerous detailed modifications were made to counter criticism of the old model. Changes included an anti-roll bar as standard equipment on all but the entry-level models, and stiffer springs at the back, intended to compensate for the Victor's tendency to understeer. At the front the springing remained soft by the standards of the time: the track was widened (by 1.7 inches / 4 cm) and wheel geometry modified to incorporate "anti-dive action", improvements intended to address the Victor's tendency to wallow, which by then was attracting criticism from performance-oriented commentators.


title: Vauxhall Victor

text: The new Victor shared its floorpan and its basic bodyshell architecture with the Opel Rekord D (therefore the two cars look superficially similar) but all of the exterior panels were unique to the Victor and thus not interchangeable with the Rekord. The car used Vauxhall powertrains, along its own suspension and rack-and-pinion steering as opposed to the Rekord's recirculating ball unit. The front end incorporated the then advanced detail of having the slim bumper bisect the grille, with a third of the grille and the side-lights (on quad headlamp models) below the bumper line.


title: Vauxhall Victor

text: Comparisons between the Victor and the Opel Rekord D were inevitable. An important difference from the back seat involved the rear doors. The Opel's door incorporated rear quarter lights and windows that wound fully down into the door whereas Vauxhall's designers preferred the "cleaner uncluttered look" arising from their elimination of rear quarter lights. The fact that back seat passengers could only open their windows down to approximately a third of their depth before further opening was blocked by the presence of the wheel arches was held out as a safety feature to complement the fitting of child-proof locks, given that back-seat passengers would no doubt include small children. Despite the absence of shared body panels anywhere that they could be seen, detailed investigation disclosed that minor assemblies such as the door locks and the wiper mechanisms were shared with the Opel Rekord D.


title: Vauxhall Victor

text: The FE Victor was the last Vauxhall to be designed independently of Opel. The engines were carried over from the FD range although enlarged to 1759 cc and 2279 cc. For a short period, the straight-six engine was used in the Ventora and 3300 SL models, the latter effectively a Victor Estate with lesser trim than the luxury Ventora. In spite of the heavy engine the 3300 SL Estate did not originally have power steering, this only arrived for the 1973 model year. The estates had a more sloping rear, similar to a hatchback, than the Rekord equivalent. The four-cylinder FE estate in fact had perfect 50/50 weight distribution. For the 1974 model year, the Victor underwent a light facelift with some interior modifications as well.


title: Vauxhall Victor

text: 1974 finally saw the introduction of a proper Ventora Estate, along with running changes for the rest of the range. For some markets there was also a smaller 2.8-litre version of the big six available in the Ventora and Victor 3300 SL Estate; with more weight and less power than the four-cylinder, as well as higher fuel consumption, the extra cost was hard to justify and it soon disappeared from price lists along with the Ventora 3.3-litre.


title: Vauxhall Victor

text: World energy crises, falling exports and an increasingly muddled image led to Vauxhall's decline during the early 1970s, such that sales of the FE slumped to 55,000 units before it was transformed to the VX series in January 1976.


title: Vauxhall Victor

text: At the start of 1976 the relatively large 1800 cc Vauxhall Victor came with a recommended sticker price lower than that of the more modern but smaller and relatively well equipped Vauxhall Cavalier GL, which will have encouraged fleet managers to negotiate for higher discounts on the Cavalier and left the basic Victor looking embarrassingly underpriced. To try to move the Victor upmarket, Vauxhall upgraded the trim level of the basic Victor 1800 cc to match that of the 2300 cc version, with improvements that included fabric seat trim, a new clarified instrument display embellished with mock timber surround as well as a new central console. and a seat belt warning light across the range. Under the bonnet / hood various upgrades were made to the 1800 cc engine which now offered of output in place of the previously claimed. The changes carried a weight penalty, but performance was nevertheless usefully improved with top speed up from 89 mph (143 km/h) to 100 mph (161 km/h). To draw attention to the changes Vauxhall also dropped the Victor and VX 4/90 model names and the range was renamed the Vauxhall VX in January 1976.<ref name="TAM77/78"></ref> The VX Series is distinguished from the outside by a simplified grille and revised headlights.


title: Vauxhall Victor

text: Since the demise of the Vauxhall Cresta more than three years earlier, only the Ventora had used the old Vauxhall six-cylinder engine: but now the four-cylinder VX 2300 GLS replaced the six-cylinder FE Ventora as Vauxhall's flagship. The VX2300 GLS was fitted with four square halogen headlamps, velour upholstery, tinted glass and power steering.


title: Vauxhall Victor

text: The more sporting VX 4/90 was reintroduced, now based on the VX (formerly Victor FE), in March 1977 with a 5-speed close-ratio Getrag gearbox with dog-leg first gear (also featured in the VX 2300 GLS model), initially for mainland European export markets only. The car featured a modified, twin-carburettor version of the existing 2279 cc four-cylinder engine for which an output of was claimed, up from in the VX 2300, and a prototype fuel-injected variant was tested but not put into production. The car was fitted with twin halogen headlights and supplementary front fog-lights fitted beneath the front bumper, and also benefitted from extra sound-deadening materials to reduce road noise. The side window frames were fashionably blackened, and only four exterior colours could be specified, of which three were metallic. The manufacturer stated that the UK market would receive right-hand-drive versions of this latest incarnation of the VX 4/90 only in 1978. In 1978 the Vauxhall Carlton was released as a direct replacement for the VX1800/2300, production of which ended in the same year. The Carlton was based on the corresponding Opel Rekord E, and unlike the Victor FE/VX, was much closer in its engineering and body structure to its Opel sister - continuing the process of "Opelisation" of the Vauxhall range that had begun some years earlier.


title: Vauxhall Victor

text: The VX four-ninety was announced as a performance oriented version of the FB Victor in October 1961. During the FB series, the name changed slightly to VX 4/90 which continued to be used until the end of the FE range although the final VX 1978 incarnation carried badges which read VX490. The VX Four Ninety designation originally came from its engineering designation - Vauxhall eXperimental four-cylinder engine of 90 in³ capacity. As well as performance increasing modifications, VX 4/90s also had a number of exterior and interior modifications to distinguish them from Victors.


title: Vauxhall Victor

text: The Ventora, was introduced to the FD series sold between 1968 until it was dropped from the FE series in 1976. This used the Victor bodyshell, but had the Bedford derived 3294 cc straight six engine from the larger Cresta models. Again, the Ventora was distinguished from the Victor by improved trim levels and a more regal grille.


title: Vauxhall Victor

text: A special version of the FE was the one-off 1974 Repco Holden-engined Ventora, nicknamed "Big Bertha", built to compete in the "Super Saloon" category of British motor sport. Driven by Gerry Marshall, this car was fitted with a race-tuned 5.0 L V8 Repco Holden engine and bore little resemblance to the production car, except in its overall appearance. However the design was ill-fated, and suffered an accident in its sixth race. It was considered too big and too heavy, and had handling problems. Eventually it was decided to build a new, much smaller car around the same engine and chassis (much shortened) and this car was given the silhouette of the "droopsnoot" Firenza. Nicknamed "Baby Bertha", this car was more successful and went on to dominate the category until Vauxhall moved from racing into rallying in 1977.


title: Enzo Pérez

text: Enzo Nicolás Pérez (; born 22 February 1986) is an Argentine professional footballer who plays as a central midfielder for River Plate and the Argentina national team.


title: Enzo Pérez

text: He played four years for S.L. Benfica in Portugal, where he won five trophies, most notably the domestic treble in the 2013–14 season, and reached two consecutive UEFA Europa League finals.


title: Enzo Pérez

text: Born in Maipú, Mendoza, Pérez began his career in Deportivo Maipú, like his father, and started his professional playing career with Godoy Cruz, where he wrote his name into club history by scoring a fifth-minute goal in the 1–1 draw with Belgrano on 9 September 2006. This was the first goal ever scored by Godoy Cruz in the Argentine first division. In total, he scored 12 goals in his career at Godoy Cruz, most coming from penalties. In 2007, Pérez joined Estudiantes de La Plata, where he finished as runner-up with the team in the 2008 Copa Sudamericana. He was then a first team regular in the team that won the 2009 Copa Libertadores.


title: Enzo Pérez

text: On 8 June 2011, Pérez signed a five-year contract with Portuguese club Benfica for a fee rumored to be around €5.5 million for his full rights from Estudiantes. After a serious knee injury sustained in the Champions League qualifiers, Pérez was loaned back to Estudiantes for six months on 9 February 2012.


title: Enzo Pérez

text: On 27 July 2012, at the Eusébio Cup, Pérez scored a long-range goal against Real Madrid from a tight angle to complete a 5–2 win.


title: Enzo Pérez

text: In the 2012–13 season, Pérez was successfully converted into a central midfielder, partnering with Nemanja Matić, assuming a central role in the team.


title: Enzo Pérez

text: In the 2013–14 season, his influence was further increased after the departure of Matić to Chelsea on 15 January 2014, becoming a vital piece in Benfica's domestic treble (Primeira Liga, Taça de Portugal and Taça da Liga) and their second consecutive Europa League Final. Pérez, however, was not present in the eventual loss on penalties (4–2) to Sevilla in the final, having picked up a suspension in the semi-final against Juventus on 1 May 2014. His performances attracted attention from other clubs, while Benfica manager Jorge Jesus named Pérez his side's most difficult player to replace and the "brain" of the team. On 6 July 2014, Pérez won the Player of the Year award.


title: Enzo Pérez

text: At the beginning of the 2014–15 season, Pérez won the Supertaça Cândido de Oliveira, thus winning all four Portuguese titles with Benfica in the 2014 calendar year.


title: Enzo Pérez

text: On 2 January 2015, Spanish La Liga club Valencia CF signed Pérez for a transfer fee of €25 million, the tenth-highest ever fee for an Argentine player. On 4 January, he debuted for Valencia in a home win over Real Madrid (2–1) in La Liga.


title: Enzo Pérez

text: Ahead of a Copa Libertadores match on 19 May 2021, River Plate announced that over twenty players, including all four rostered goalkeepers, would miss the match due to a COVID-19 outbreak within the squad. With no substitutes, Pérez appeared in goal, playing the entirety of the match against Colombian side Independiente Santa Fe in which River Plate won 2–1. Pérez made a number of key saves and was awarded with the man of the match for his performance.


title: Enzo Pérez

text: Pérez made his Argentina senior squad debut on 30 September 2009 under then-manager Diego Maradona in a friendly match against Ghana, an eventual 2–0 victory for the "Albicelestes".


title: Enzo Pérez

text: On 2 June 2014, Pérez was called up for the 2014 FIFA World Cup by manager Alejandro Sabella. After midfielder Ángel Di María sustained an injury in the quarter-finals, Pérez started in his placed in both the semi-final and final against Germany, which Argentina lost 1–0 after extra time.


title: Enzo Pérez

text: In May 2018, Pérez was named in Argentina's preliminary squad for the 2018 FIFA World Cup, but did not make the final list. However, on 9 June 2018, he was called up as a replacement for the injured Manuel Lanzini.


title: Kavanagh QC

text: Kavanagh QC is a British television series made by Central Television for ITV between 1995 and 2001. All five series are available on DVD in both Region 1 and Region 2.


title: Kavanagh QC

text: The series starred John Thaw as barrister James Kavanagh QC, who comes from a working-class upbringing in Bolton, Greater Manchester. Although having been alluded to in Series 1 Episode 1, this is only revealed in later episodes as his parents' health deteriorates and through an exchange with a colleague who presumed that Kavanagh was actually a Yorkshireman. Plus, on one occasion Kavanagh dashes off to catch Bolton Wanderers play in a televised football match. The series deals with his battles in the courtroom as well as his domestic dramas which include the death of his devoted and affectionate wife. Later he begins dating a fellow barrister.


title: Kavanagh QC

text: In court, Kavanagh is usually seen to be defending a client who seems likely to be convicted until a twist in the case occurs, but occasionally Kavanagh is seen in a prosecuting role. The main plot often features Kavanagh confronting cases with a subtext of racism, sexism or other prejudice. In sub-plots comedy came from the pomposity and self-absorption of Jeremy, a posh barrister in chambers. Kavanagh will not stand for injustice and is never bullied by threats or bribes from those whom he is up against in the courtroom.


title: Kavanagh QC

text: Several online sources list two additional episodes in series four: 7. "Ceremony of Innocence" (28 April 1998) and 8. "Seasons of Mist" (5 May 1998), the plot descriptions of which are identical to two episodes broadcast in series five: 3. "Time of Need" (22 March 1999) and 4. "End Games" (29 March 1999). This was due to a scheduling change which prevented these two episodes from airing at their scheduled time. Later broadcast as part of series five, they were re-titled to avoid confusion.


title: Giovanni Bellini

text: Giovanni Bellini (; c. 1430 – 26 November 1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. He was raised in the household of Jacopo Bellini, formerly thought to have been his father, but now that familial generational relationship is questioned. An older brother, Gentile Bellini was more highly regarded than Giovanni during his lifetime, but the reverse is true today. His brother-in-law was Andrea Mantegna.


title: Giovanni Bellini

text: Giovanni Bellini was considered to have revolutionized Venetian painting, moving it toward a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.


title: Giovanni Bellini

text: Giovanni Bellini was born in Venice. The painter Jacopo Bellini had long been considered Giovanni's father, but the art historian Daniel Wallace Maze has advanced the theory that in fact, Jacopo was his much elder brother. Nonetheless, Giovanni was brought up in Jacopo's house, and always lived and worked in the closest fraternal relation with his elder brother, Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and human pathos which is his own. His paintings from the early period are all executed in the old tempera method: the scene is softened by a new and beautiful effect of romantic sunrise color (as, for example, in the "St. Jerome in the Desert").


title: Giovanni Bellini

text: In a changed and more personal manner, he drew "Dead Christ" paintings (In these days one of the master's most frequent themes e.g. "Dead Christ Supported by the Madonna and St. John", or "Pietà"). with less harshness of contour, a broader treatment of forms and draperies and less force of religious feeling. Giovanni's early works have often been linked both compositionally and stylistically to those of Andrea Mantegna, his brother-in-law.


title: Giovanni Bellini

text: In 1470 Giovanni received his first appointment to work along with his elder brother, Gentile, and other artists in the Scuola di San Marco, where among other subjects he was commissioned to paint a "Deluge with Noah's Ark". None of the master's works of this kind, whether painted for the various schools or confraternities or for the ducal palace, has survived.


title: Giovanni Bellini

text: To the decade following 1470 must probably be assigned the "Transfiguration" now in the Capodimonte Museum of Naples, repeating with greatly ripened powers and in a much serener spirit the subject of his early effort at Venice.


title: Giovanni Bellini

text: Also likely from this period is the great altar-piece of the "Coronation of the Virgin" at Pesaro, which would seem to be his earliest effort in a form of art previously almost monopolized in Venice by the rival school of the Vivarini.


title: Giovanni Bellini

text: As is the case with a number of his brother, Gentile's public works of the period, many of Giovanni's great public works are now lost. The still more famous altar-piece painted in tempera for a chapel in the church of S. Giovanni e Paolo, where it perished along with Titian's "Peter Martyr" and Tintoretto's "Crucifixion" in the disastrous fire of 1867.


title: Giovanni Bellini

text: After 1479–1480 much of Giovanni's time and energy must also have been taken up by his duties as conservator of the paintings in the great hall of the Doge's Palace. The importance of this commission can be measured by the payment Giovanni received: he was awarded, first the reversion of a broker's place in the Fondaco dei Tedeschi, and afterward, as a substitute, a fixed annual pension of eighty ducats. Beside repairing and renewing the works of his predecessors, he was commissioned to paint a number of new subjects, six or seven in all, in further illustration of the part played by Venice in the wars of Frederick Barbarossa and the pope. These works, executed with much interruption and delay, were the object of universal admiration while they lasted, but not a trace of them survived the fire of 1577; neither have any other examples of his historical and processional compositions come down, enabling us to compare his manner in such subjects with that of his brother Gentile.


title: Giovanni Bellini

text: Of the other, the religious class of his work, including both altar-pieces with many figures and simple Madonnas, a considerable number have been preserved. They show him gradually throwing off the last restraints of the Quattrocento manner; gradually acquiring a complete mastery of the new oil medium introduced in Venice by Antonello da Messina about 1473, and mastering with its help all, or nearly all, the secrets of the perfect fusion of colors and atmospheric gradation of tones. The old intensity of pathetic and devout feeling gradually fades away and gives place to a noble, if more worldly, serenity and charm. The enthroned "Virgin and Child" (such as the one at left) become tranquil and commanding in their sweetness; the personages of the attendant saints gain in power, presence and individuality; enchanting groups of singing and viol-playing angels symbolize and complete the harmony of the scene. The full splendour of Venetian color invests alike the figures, their architectural framework, the landscape and the sky.


title: Giovanni Bellini

text: An interval of some years, no doubt chiefly occupied with work in the Hall of the Great Council, seems to separate the San Giobbe Altarpiece, and that of the church of San Zaccaria at Venice. Formally, the works are very similar, so a comparison between serves to illustrate the shift in Bellini's work over the last decade of the fifteenth century. Both paintings are of the Holy Conversation (sacred conversation between the Madonna and Saints) type. Both show the Madonna seated on a throne (thought to allude to the throne of Solomon), between classicizing columns. Both place the holy figures beneath a golden mosaicked half dome that recalls the Byzantine architecture in the basilica of St. Mark.


title: Giovanni Bellini

text: In the later work Bellini depicts the Virgin surrounded by (from left): St. Peter holding his keys and the Book of Wisdom; the virginal St. Catherine and St. Lucy closest to the Virgin, each holding a martyr's palm and her implement of torture (Catherine a breaking wheel, and Lucy a dish with her eyes); St. Jerome, with a book symbolizing his work on the Vulgate.


title: Giovanni Bellini

text: Stylistically, the lighting in the "San Zaccaria" piece has become so soft and diffuse that it makes that in the "San Giobbe" appear almost raking in contrast. Giovanni's use of the oil medium had matured, and the holy figures seem to be swathed in a still, rarefied air. The "San Zaccaria" is considered perhaps the most beautiful and imposing of all Giovanni's altarpieces, and is dated 1505, the year following that of Giorgione's "Madonna of Castelfranco".


title: Giovanni Bellini

text: Other late altarpiece with saints include that of the church of San Francesco della Vigna at Venice, 1507; that of La Corona at Vicenza, a "Baptism of Christ" in a landscape, 1510; and that of San Giovanni Crisostomo at Venice of 1513.


title: Giovanni Bellini

text: Of Giovanni's activity in the interval between the altar-pieces of San Giobbe and San Zaccaria, there are a few minor works left, although the great mass of his output perished with the fire of the Doge's Palace in 1577. The last ten or twelve years of the master's life saw him besieged with more commissions than he could well complete. Already in the years 1501–1504 the marchioness Isabella Gonzaga of Mantua had experienced great difficulty in obtaining delivery from him of a painting of the Madonna and Saints (now lost) for which part payment had been made in advance.


title: Giovanni Bellini

text: In 1505 she endeavoured through Cardinal Bembo to obtain from him another painting, this time of a secular or mythological character. What the subject of this piece was, or whether it was delivered, we do not know.


title: Giovanni Bellini

text: Albrecht Dürer, visiting Venice for a second time in 1506, describes Giovanni Bellini as still the best painter in the city, and as full of all courtesy and generosity toward foreign brethren of the brush.


title: Giovanni Bellini

text: In 1507 Bellini's brother Gentile died, and Giovanni completed the painting of the "Preaching of St. Mark" which his brother had left unfinished; a task on the fulfillment of which the bequest by the elder brother to the younger of Jacopo's sketch-book had been made conditional.


title: Giovanni Bellini

text: In 1513 Giovanni's position as sole master (since the death of Gentile and of Alvise Vivarini) in charge of the paintings in the Hall of the Great Council was threatened by one of his former pupils. Young Titian desired a share of the same undertaking, to be paid for on the same terms. Titian's application was granted, then after a year rescinded, and then after another year or two granted again; and the aged master must no doubt have undergone some annoyance from his sometime pupil's proceedings. In 1514 Giovanni undertook to paint "The Feast of the Gods" for the duke Alfonso I of Ferrara, but died in 1516.


title: Giovanni Bellini

text: Bellini died on 26 November 1516. He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.


title: Giovanni Bellini

text: Both in the artistic and in the worldly sense, the career of Bellini was, on the whole, very prosperous. His long career began with Quattrocento styles, but matured into the progressive post-Giorgione Renaissance styles. He lived to see his own school far outshine that of his rivals, the Vivarini of Murano; he embodied, with growing and maturing power, all the devotional gravity and much also of the worldly splendour of the Venice of his time; and he saw his influence propagated by a host of pupils, two of whom at least, Giorgione and Titian, equaled or even surpassed their master. Bellini outlived Giorgione by five years; Titian, as we have seen, challenged him, claiming an equal place beside his teacher. Other pupils of the Bellini studio included Girolamo Galizzi da Santacroce, Vittore Belliniano, Rocco Marconi, Andrea Previtali and possibly Bernardino Licinio.


title: Giovanni Bellini

text: Bellini was essential to the development of the Italian Renaissance for his incorporation of aesthetics from Northern Europe. Significantly influenced by Antonello da Messina and contemporary trends such as oil painting, Bellini introduced the pala, or single-panel altarpieces, to Venetian society with his work "Coronation of the Virgin". Certain details in this piece, such as breaks in the modeling of figures and shadows, imply that Bellini was still working to master the use of oil. This painting also differs from previous coronation scenes as it appears as a "window" to a natural scene, and excludes the typical accompanying paradise hosts. The simple scenery allows viewers to relate with more ease to the scene itself than before, reflecting Alberti's humanist and inventio concepts. He also used the disguised symbolism integral to the Northern Renaissance. Bellini was able to master the Antonello style of oil painting and surface texture, and to use this skill to create a refined and distinctly Venetian approach to painting. He blends this new technique with Venetian and the Byzantine traditions (previously influencing art in the city) of iconography and color to create a spiritual theme not found in Antonello's pieces. The realism of oil painting coupled with the religious traditions of Venice were unique elements to Bellini's style, which set him apart as one of the most innovative painters in the Venetian Renaissance. As demonstrated in such works as "St. Francis in Ecstasy " (c. 1480) and the "San Giobbe Altarpiece" (c. 1478), Bellini makes use of religious symbolism through natural elements, such as grapevines and rocks. Yet his most important contribution to art lies in his experimentation with the use of color and atmosphere in oil painting.


title: Giovanni Bellini

text: Spanish Museums own a scarce, but high-quality, presence of his works. The Prado Museum owns a "Virgin and child between two Saints", with the collaboration of the workshop. The Thyssen-Bornemisza Museum preserves a "Nunc Dimittis", and The Real Academia de Bellas Artes de San Fernando holds a "Saviour".


title: Caesar Wu

text: Wu Xize (, born 19 October 1996), also known as Caesar Wu, is a Chinese actor, singer and model. He is best known for his role as Ximen Yan in the television series "Meteor Garden" (2018), which propelled him to international fame.


title: Caesar Wu

text: Caesar rose to fame with his debut role as Ximen Yan in the 2018 television series "Meteor Garden", the remake of popular Taiwanese drama series "Meteor Garden" and based on the Japanese shōjo manga series written by Yoko Kamio.


title: Caesar Wu

text: Caesar appeared in Harper's Bazaar China with his "Meteor Garden" costars Dylan Wang, Darren Chen and Connor Leong in the November issue.


title: Caesar Wu

text: In 2018, he participated in Hunan Satellite TV's variety show "Happy Camp" and CCTV Sports Channel's football-themed talk show "Qi Tan Eleven".


title: Caesar Wu

text: In 2019, Caesar was cast in the youth historical drama "The Chang'an Youth", and historical romance drama "General's Lady".


title: Steak au poivre

text: Steak au poivre (, Quebec French pronunciation : ) or pepper steak is a French dish that consists of a steak, traditionally a filet mignon, coated with coarsely cracked peppercorns. The peppercorns form a crust on the steak when cooked and provide a pungent counterpoint to the beef. "Steak au poivre" may be found in traditional French restaurants in most urban areas.


title: Steak au poivre

text: The peppercorn crust is made by placing the steak in a bed of cracked black (or mixed) peppercorns. Typically, the steak is seared in a hot skillet with a small amount of butter and oil. The steak is seared at a high temperature to cook the outside quickly and form the crust while leaving the interior rare to medium-rare. The steak is left to rest for several minutes before serving.


title: Steak au poivre

text: "Steak au poivre" is often served with pan peppercorn sauce consisting of reduced cognac, heavy cream, and the fond from the bottom of the pan, often including other ingredients such as butter, shallots, and/or Dijon mustard. Common side dishes to "steak au poivre" are various forms of mashed potatoes and "pommes frites" (small fried shoestring potatoes).


title: 3D television

text: 3D television (3DTV) is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multi-view display, 2D-plus-depth, or any other form of 3D display. Most modern 3D television sets use an active shutter 3D system or a polarized 3D system, and some are autostereoscopic without the need of glasses. As of 2017, most 3D TV sets and services are no longer available from manufacturers.


title: 3D television

text: The stereoscope was first invented by Sir Charles Wheatstone in 1838. It showed that when two pictures are viewed stereoscopically, they are combined by the brain to produce 3D depth perception. The stereoscope was improved by Louis Jules Duboscq, and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1851. In 1855 the Kinematoscope was invented. In the late 1890s, the British film pioneer William Friese-Greene filed a patent for a 3D movie process. On 10 June 1915, former Edison Studios chief director Edwin S. Porter and William E. Waddell presented tests in red-green anaglyph to an audience at the Astor Theater in New York City and in 1922 the first public 3D movie "The Power of Love" was displayed.


title: 3D television

text: Stereoscopic 3D television was demonstrated for the first time on 10 August 1928, by John Logie Baird in his company's premises at 133 Long Acre, London. Baird pioneered a variety of 3D television systems using electro-mechanical and cathode-ray tube techniques. The first 3D TV was produced in 1935, and stereoscopic 3D still cameras for personal use had already become fairly common by the Second World War. Many 3D movies were produced for theatrical release in the US during the 1950s just when television started to become popular. The first such movie was "Bwana Devil" from United Artists that could be seen all across the US in 1952. One year later, in 1953, came the 3D movie "House of Wax" which also featured stereophonic sound. Alfred Hitchcock produced his film "Dial M for Murder" in 3D, but for the purpose of maximizing profits the movie was released in 2D because not all cinemas were able to display 3D films. In 1946 the Soviet Union also developed 3D films, with "Robinzon Kruzo" being its first full-length 3D movie. People were excited to view the 3D movies, but were put off by their poor quality. Because of this, their popularity declined quickly. There was another attempt in the 1970s and 1980s to make 3D movies more mainstream with the releases of "Friday the 13th Part III" (1982) and "Jaws 3-D" (1983).


title: 3D television

text: Matsushita Electric (now Panasonic) developed a 3D television that employed an active shutter 3D system in the late 1970s. They unveiled the television in 1981, while at the same time adapting the technology for use with the first stereoscopic video game, Sega's arcade game "SubRoc-3D" (1982). 3D film showings became more popular throughout the 2000s, culminating in the success of 3D presentations of "Avatar" in December 2009 and January 2010.


title: 3D television

text: Though 3D movies were generally well received by the public, 3D television did not become popular until after the CES 2010 trade show, when major manufacturers began selling a full lineup of 3D televisions, following the success of "Avatar". Shortly thereafter, consumer and professional 3D camcorders were released to the public by Sony and Panasonic. These used two lenses, one for each eye. According to DisplaySearch, 3D television shipments totaled 41.45 million units in 2012, compared with 24.14 in 2011 and 2.26 in 2010. In late 2013, the number of 3D TV viewers started to decline, and in 2016, development of 3D TV is limited to a few premium models. Production of 3D TVs ended in 2016.


title: 3D television

text: There are several techniques to produce and display 3D moving pictures. The following are some of the technical details and methodologies employed in some of the more notable 3D movie systems that have been developed.


title: 3D television

text: The future of 3D television is also emerging as time progresses. New technology like WindowWalls (wall-size displays) and Visible light communication are being implemented into 3D television as the demand for 3D TV increases. Scott Birnbaum, vice president of Samsung's LCD business, said that the demand for 3D TV would skyrocket in the next couple of years, fueled by televised sports (but this did not happen). One might be able to obtain information directly onto their television due to new technologies like the Visible Light Communication that allows for this to happen because the LED lights transmit information by flickering at high frequencies.


title: 3D television

text: The basic requirement is to display offset images that are filtered separately to the left and right eye. Two strategies have been used to accomplish this: have the viewer wear eyeglasses to filter the separately offset images to each eye, or have the light source split the images directionally into the viewer's eyes (no glasses required). Common 3D display technology for projecting stereoscopic image pairs to the viewer include:


title: 3D television

text: In a CEATEC 2011 exhibition, Hitachi released glasses-free 3D projection systems that use a set of 24 projectors, lenses, and translucent half mirrors to superimpose 3D images with a horizontal viewing angle of 60 degrees and a vertical viewing angle of 30 degrees. Besides Hitachi, Sony is also working on similar technologies.


title: 3D television

text: Single-view displays project only one stereo pair at a time. Multi-view displays either use head tracking to change the view depending on the viewing angle, or simultaneous projection of multiple independent views of a scene for multiple viewers (automultiscopic). Such multiple views can be created on the fly using the 2D-plus-depth format.


title: 3D television

text: Various other display techniques have been described, such as holography, volumetric display, and the Pulfrich effect, which was used in "Doctor Who" Dimensions in Time, in 1993, by "3rd Rock From The Sun" in 1997, and by the Discovery Channel's "Shark Week" in 2000.


title: 3D television

text: Stereoscopy is the most widely accepted method for capturing and delivering 3D video. It involves capturing stereo pairs in a two-view setup, with cameras mounted side by side and separated by the same distance as is between a person's pupils. If we imagine projecting an object point in a scene along the line-of-sight for each eye, in turn; to a flat background screen, we may describe the location of this point mathematically using simple algebra. In rectangular coordinates with the screen lying in the Y–Z plane, with the Z axis upward and the Y axis to the right, with the viewer centered along the X axis; we find that the screen coordinates are simply the sum of two terms. One accounting for perspective and the other for binocular shift. Perspective modifies the Z and Y coordinates of the object point, by a factor of D/(D–x), while binocular shift contributes an additional term (to the Y coordinate only) of s·x/(2·(D–x)), where D is the distance from the selected system origin to the viewer (right between the eyes), s is the eye separation (about 7 centimeters), and x is the true x coordinate of the object point. The binocular shift is positive for the left-eye-view and negative for the right-eye-view. For very distant object points, the eyes will be looking along essentially the same line of sight. For very near objects, the eyes may become excessively "cross-eyed". However, for scenes in the greater portion of the field of view, a realistic image is readily achieved by superposition of the left and right images (using the polarization method or synchronized shutter-lens method) provided the viewer is not too near the screen and the left and right images are correctly positioned on the screen. Digital technology has largely eliminated inaccurate superposition that was a common problem during the era of traditional stereoscopic films.


title: 3D television

text: Multi-view capture uses arrays of many cameras to capture a 3D scene through multiple independent video streams. Plenoptic cameras, which capture the light field of a scene, can also be used to capture multiple views with a single main lens. Depending on the camera setup, the resulting views can either be displayed on multi-view displays, or passed along for further image processing.


title: 3D television

text: After capture, stereo or multi-view image data can be processed to extract 2D plus depth information for each view, effectively creating a device-independent representation of the original 3D scene. These data can be used to aid inter-view image compression or to generate stereoscopic pairs for multiple different view angles and screen sizes.


title: 3D television

text: 2D plus depth processing can be used to recreate 3D scenes even from a single view and convert legacy film and video material to a 3D look, though a convincing effect is harder to achieve and the resulting image will likely look like a cardboard miniature.


title: 3D television

text: Production of events such as live sports broadcasts in 3D differs from the methods used for 2D broadcasting. A high technical standard must be maintained because any mismatch in color, alignment, or focus between two cameras may destroy the 3D effect or produce discomfort in the viewer. Zoom lenses for each camera of a stereo pair must track over their full range of focal lengths.


title: 3D television

text: Addition of graphical elements (such as a scoreboard, timers, or logos) to a 3D picture must place the synthesized elements at a suitable depth within the frame, so that viewers can comfortably view the added elements as well as the main picture. This requires more powerful computers to calculate the correct appearance of the graphical elements. For example, the line of scrimmage that appears as a projected yellow line on the field during an American football broadcast requires about one thousand times more processing power to produce in 3D compared to a 2D image.


title: 3D television

text: Since 3D images are effectively more immersive than 2D broadcasts, fewer fast cuts between camera angles are needed. 3D National Football League broadcasts cut between cameras about one-fifth as often as in 2D broadcasting. Rapid cuts between two different viewpoints can be uncomfortable for the viewer, so directors may lengthen the transition or provide images with intermediate depth between two extremes to "rest" the viewer's eyes. 3D images are most effective if the cameras are at a low angle of view, simulating presence of the viewer at the event; this can present problems with people or structures blocking the view of the event. While fewer camera locations are required, the overall number of cameras is similar to a 2D broadcast because each position needs two cameras. Other live sport events have additional factors that affect production; for example, an ice rink presents few cues for depth due to its uniform appearance.


title: 3D television

text: These TV sets were high-end and generally included Ethernet, USB player and recorder, Bluetooth and USB Wi-Fi.