Archive for September, 2008
CINEâ„¢ Product Line Showcased at IBC 2008
AMSTERDAM, THE NETHERLANDS, SEPTEMBER 16, 2008 â€“ Anton/Bauer, a brand of The Vitec Group, and the worldâ€™s premier provider of professional camera batteries, chargers, lighting and other mobile power systems, is showcasing its expanded CINEâ„¢ line of power products at IBC 2008 (Stand 9.C40b). The CINEâ„¢ VCLX and VCLX/2 offer superior runtime and service longevity for the power demands of todayâ€™s digital cinema production and lighting industries. Each model employs the high-draw performance of the Nickel Metal Hydride technology of Anton/Bauerâ€™s HyTRONÂ® 140 video batteries, making up a power package designed for the convergence of 28-volt film and 14-volt video equipment. more
Mobile, AL â€“ September 2008 â€¦ The University of Mobileâ€™s Center for Performing Arts is home to more than 200 music majors and minors who are engaged in a wide variety of programs. Course offerings include vocal and instrumental performance, music education, theatre, church music and worship, as well as music business, audio, and recording. Encompassing greater than twenty performing ensembles, the University of Mobile presents more than 400 concerts and other performances each academic year. With such a varied and ambitious schedule, wireless microphone technology assumes a very important role. When the venerable institution recently decided it was time to expand their wireless arsenal, they chose the latest technology from MIPROâ€”distributed in North America by Avlex Corporation. more
Wireless Communication System Operates In Spectrum Unaffected for FCC February Reallocation Process
LAS VEGAS, NEVADA, SEPTEMBER 15, 2008â€”Clear-ComÂ® Communication Systems, a Vitec Group brand, is taking another step in the evolution of its unique CellComÂ® digital wireless beltpack system with the newly enhanced CellComÂ® (formerly CellCom10) Version 2.0, to be displayed at LDI 2008 (Booth #668). The popular wireless intercommunication system now features enhanced beltpack capacity, Interrupted Foldback (IFB) functionality and improved group operations between beltpacks, party-lines and other external inputs. more
Hollywood, CA, September 15, 2008 â€“ Continuing its run on providing audio services to the feature film industry, SonicPool, one of Hollywoodâ€™s leading post facilities, specializing in audio and video finishing, edit suite rentals, and full post-production services, has completed the mix for a new theatrical trailer promoting the upcoming film â€œSmother,â€? and has also provided the sound design and final mix for the film â€œLonely Street.â€? The announcement was made by John Frost and Patrick Bird, co-founders, SonicPool.
ABOUT â€œSMOTHERâ€? PROJECT:
The theatrical trailer promoting â€œSmotherâ€? is playing in theatres now, with the film opening during late September. SonicPool worked with client Karl Hirsch, the producer of the trailer, and his company Aglet Post.
Said Hirsch, â€œWe wanted the sound mix for the â€˜Smotherâ€™ trailer to match the quality of the feature and its cast as best as possible, and wanted the trailer to have a â€˜studio-pictureâ€™ sound. Unfortunately, we did not have a â€˜studio-pictureâ€™ budget. SonicPool was a perfect fit; the mix was exceptional, they worked with our budget and schedule, and John Frostâ€™s additional creative input helped make the trailer work much better than I thought possible. Both myself and our clients were quite pleased with the final mix, and I have since become a loyal client to SonicPool.â€?
â€œSmother,â€? from Variance Films, stars Diane Keaton and Dax Shepard. The storyline is as follows: â€œWhat would you do if your mother moved in with you and just wouldn’t leave? When Noah Cooper (Shepard,) age 29, is fired from his job as a therapist, he thinks his day can’t possibly get worse. When he arrives home, his already full house gets even crazier when Marilyn (Keaton,) Noah’s overbearing mother, arrives with her five dogs in tow needing a place to stay. Comedy ensues as Noah learns to deal with the pressures of finding a job, a wife who desperately wants a baby, and worst of all a mother who won’t quit smothering him.â€?
The film was directed by Vince Di Meglio, and written by Tim Rasmussen and Vince Di Meglio.
ABOUT â€œLONELY STREET:â€?
For the comedy/mystery/thriller feature film â€œLonely Street,â€? SonicPool provided the sound design and mix. â€œLonely Streetâ€? stars Jay Mohr, Robert Patrick, Joe Mantegna, Nikki Cox and Paul Rodriguez. The film tells the story of a private detective who becomes the prime suspect in the murder of a tabloid reporter, after being hired to snoop on him by a mysterious celebrity. The clients for this project were Patrick Newall, Chris Brinker, and Coni Fry of Lonely Street Productions.
Said â€œLonely Streetâ€? producer Patrick Newall, â€œA big thank you to John Frost and the SonicPool gang. Their team played an integral part in the making of this film, and â€˜Lonely Streetâ€™ is better because of your talents!â€?
Launched in Hollywood in 2001, SonicPool was co-founded by post production specialists John Frost and Patrick Bird. Each of the men currently serves the company as a President and CEO.
SonicPool is comprised of 14 SD & HD Offline and Online Edit Suites, two Theatrical Mix Stages and two additional Mix Suites, as well as a complete Machine Room Services with all the standard SD & HD decks. The companyâ€™s post production services include Audio and Video Finishing, edit suite rentals, and media duplication. SonicPoolâ€™s creative services include radio production. Additionally, the company offers its clients production office space rentals to accompany Offline Edit Suites.
SonicPoolâ€™s clients run the full gamut of the entertainment and broadcasting industries, which clients ranging from major studio releases, independent feature films, TV programs, and radio, to DVD menu sound design, TV commercials, gaming, mobile and Internet projects.
SonicPool is located at 6860 Lexington Ave, Hollywood, CA, 90038. The phone is 323/460-4MIX, and the web address is: www.sonicpool.com
TUCSON, ARIZONA – AUGUST 2008: TRUE Systems, maker of high-end microphone preamplifiers, is pleased to announce that all TRUE Systems products, including the legendary Precision 8 and its celebrated variants, the TRUE P-Solo, TRUE P-Solo Ribbon, and the P-2 analog will be distributed in Germany, Austria, and most of the EU by Synthax Audio AG, one of the continent’s most respected companies. Brad Lunde, president of the TransAudio Group and worldwide rep for TRUE Systems arranged the deal.
A rarity in the pro audio world, Synthax has been meeting the needs of the high-end European recording market for nearly twenty years. The company works with dealers of all sizes, from small boutiques to the biggest of the big. Synthax maintains a small, but uniquely experienced and deeply knowledgeable team of audio professionals who are choosy about which brands they represent. TRUE Systems mic pres complement the current roster, which includes RME interfaces, Mogami cables, PSI monitors, MXL microphones, and Tegeler Audio Manufaktur tube professional electronics.
“TRUE Systems makes products that are not very well known in the European market, but that deserve to be,” said Helmut Oestreich, marketing and communication specialist at Synthax. “We have a proven track record in establishing such brands. In the near term, we will make waves in the recording market by demonstrating the noticeable improvement in fidelity that TRUE Systems mic pres deliver. In the long term, we will establish the brand as the perfect recording solution, and will work closely with their R&D to develop new and exciting products.”
Said Tim Spencer, engineer and president for TRUE Systems, “We are delighted to be working with Synthax in Europe. They offer such a powerful and comprehensive solution for EU distribution! We were impressed by how thoroughly they evaluated our products and how they understood what makes us different.”
“Synthax has a proven ability to establish, grow and support brands in the EU, no question,” said Lunde. “I don’t think there is anyone better at adding value through marketing, trade shows and ongoing product support to dealers in the EU. Their staff makes them an ideal trading partner for TRUE. Tim and I are very impressed with their long-term focus and proven track record.”
TRUE Systems, Tucson, Arizona designs, engineers and manufactures high-value, high-end professional audio products at reasonable prices for the domestic and international marketplace. Tim Spencer is the principal designer and engineering force behind the company. Tim has been with TRUE Systems since it’s inception in 1997. The U.S. built line includes the SOLO series, the P2 Analog and Precision 8 multi-channel mic preamps.
TRUE Systems can be reached via e-mail at firstname.lastname@example.org or via phone at (520) 721-2735.
TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.
(PHOTO CAPTION) The Synthax Audio AG team, handling TRUE Systems distribution in Germany, Austria and most of the EU, includes (left to right) Helmut Oestreich (Marketing), Heribert BlÃ¤tterbauer (Line Production/Quality Assurance), and Christof Mallmann (CEO Synthax GmbH).
BEIJING, CHINA – SEPTEMBER 2008: Sennheiser Electronic Corporation was selected to provide wireless microphones and personal monitor systems to NBC during the network’s coverage of the 2008 Beijing Olympics, August 8-24. From the spectacular Beijing Opening Ceremony to the handover to the 2012 London Olympics during the Closing Ceremony with London mayor Boris Johnson, NBC Olympics utilized Sennheiser Professional 3000, 5000 and evolution series wireless microphone and personal monitor systems to ensure uninterrupted coverage from every venue. In addition, Uwe Sattler, Sennheiser’s technical director, was on site to assist with frequency coordination and reallocation for broadcasters using Sennheiser RF equipment.
“In the RF-environment of today’s special events engineering support is needed for anything wireless,” comments Sattler. “Of these devices the most critical are the wireless microphone and IFB systems. The other audio devices we support range from reporters’ microphones to commentator headsets.”
To take advantage of the superior capabilities of Sennheiser’s Professional 3000 and 5000 series wireless equipment, NBC Olympics utilized the SK 250 body-pack transmitter and EK 3241 camera mount receiver throughout the Games of the XXIX Olympiad. “We don’t get re-dos at this event. There is only one chance to capture something,” states Bob Dixon, Director of Sound Design, NBC Olympics. “When I look for the right tools, the reliability, the sound quality and the technology of the Sennheiser SK 250 is about the best choice I can make.”
The Sennheiser SK 250 is the most powerful, compact body-pack transmitter on the market today, offering 250 mW of RF output power and unrivaled frequency tuning agility. The EK 3241 true diversity camera mount receiver offers options for slot-in use or standalone battery powered operation. Superlative intermodulation rejection and frequency tuning agility make the EK 3241 the perfect receiver for the crowded RF environment of an event of this magnitude.
For the camera crews covering each of the venues, continues Dixon, “We had thirty ENG RF systems where each of 15 feature packages got two RF mics. Our ENG audio crews were also equipped with MS [mid-side] stereo fishpole assemblies consisting of a Sennheiser MKH 60 shotgun and an MKH 30 bi-directional directly underneath. The spread of the stereo could go from very wide to very narrow, depending on what was being shot.”
Sennheiser provided thirty channels of wireless microphones and eight evolution wireless personal monitor transmitters with sixteen receivers for NBC’s Olympic coverage. “In the studios we had Sennheiser wireless foldback systems, which we used for IFB [interruptible foldback],” explains Dixon. “We also used Sennheiser lavalier microphones in the studios and on the RF transmitters. And of course we own a large number of the announcer headsets, which were used at every NBC venue, in our voice-over booths and edit systems.”
In addition, “we were using many other Sennheiser wireless mic systems provided by Total RF [the Bensalem, Pennsylvania-based RF production equipment specialist] at our venues. Those were used for miking family members in the stands, and sometime coaches,” says Dixon.
ABOUT NBC OLYMPICS
NBC, “America’s Olympic Network,” owns the exclusive U.S. media rights to the Olympic Games, television’s most powerful property, through 2012, which includes Beijing in 2008, Vancouver in 2010 and London in 2012. From August 8-24, 2008 NBC Universal will present an unprecedented 3,600 hours of coverage, highlighted by NBC in primetime with live swimming, gymnastics and beach volleyball. In August 2004, 203 million viewers watched as the networks of NBC Universal – NBC, MSNBC, CNBC, USA, Bravo, Telemundo, and NBC’s HD affiliates – offered a then record 1,210 hours of Olympic coverage from Athens. For additional information, go to NBCOlympics.com. Merging news, results and schedules with extensive video coverage and an unmatched depth of unique story telling content, NBCOlympics.com will be the Olympic fan’s hub for every aspect of the 2008 Beijing Games experience-from the most comprehensive TV schedules to learning how to connect to mobile, gaming, VOD and other digital destinations. NBCOlympics.com will provide approximately 2,200 hours of live event competition where users can choose from up to 20 concurrent streams encompassing 25 Olympic sports. In addition, the site will offer more than 3,000 hours of on-demand access to full-event replays and extensive highlights, including daily recaps of key events, best-of montages, commentator analysis and athlete-specific clips.
SENNHEISER Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.
For more information, please visit www.sennheiserusa.com
PHOTO CAPTION Uwe Sattler, Sennheiser’s technical director, was at the 2008 Beijing Olympics the to assist with frequency coordination and reallocation for broadcasters using Sennheiser RF equipment.
Loudspeakers, Sonic Methodology/Mythology, Multiphysics & Binaural Audio
SAN FRANCISCO:125th AES Convention Master Class Co-Chairs Conrad Cooke and Jim McTigue have developed a quartet of outstanding programs designed to provide small groups of industry professionals with high-level insights into significant technical issues, the program was introduced in 2005 and immediately became a Convention staple. â€œMaster Classes are a literal embodiment of the original AES mandate established by the founders 60 years ago,â€? remarked Convention Co-Chair Valerie Tyler. â€œThis organization is a forum for the exchange of ideas and information. This yearâ€™s program is an exceptional example of this edict.â€?
Thursday, October 2, 5:00 pm â€“ 7:00 pm
BASIC ACOUSTICS: UNDERSTANDING THE LOUDSPEAKER – Presenter
John Vanderkooy, University of Waterloo, Ontario. This presentation will address acoustic impedance, compact source operation, and diffraction and related topics. Live demonstrations will illustrate the basic radiation principle of a typical electrodynamic driver mounted in a sealed box.
Friday, October 3, 9:00 am â€“ 11:00 am
BINAURAL AUDIO TECHNOLOGY â€“ HISTORY, CURRENT PRACTICE, EMERGING TRENDS: Presenter Robert B. Schulein, Pasadena. Interest in binaural recording and reproduction has expanded dramatically since early tests by Bell Telephone Laboratories over 75 years ago. Sound field recording and simulation, acoustic research, audio for electronic games, music listening and artificial reality, each application has its own technical concerns involving transducers, environmental simulation, human perception, position sensing and signal processing. This Master Class will cover the underlying principles germane to binaural perception, simulation, recording and reproduction.
Friday, October 3, 2:30 pm â€“ 4:30 pm
SONIC METHODOLOGY AND MYTHOLOGY: Presenter, Keith O. Johnson, Pacifica, CA. Do extravagant designs and superlative specifications satisfy sonic expectations or, can well-planned systems implementation, careful listening and intelligent measurement reveal probable answers? Topics will include: Power amplifiers that might degrade recordings, clocks contaminated by environments, loudspeakers favoring key signatures in compositions and isolation devices that distribute noise.
Sunday, October 5, 9:00 am â€“ 11:00 am
ACOUSTICS AND MULTIPHYSICS MODELING: Presenter, John Dunec, PhD, Comsol, Palo Alto. This Master Class covers Acoustics and Multiphysics modeling using Comsol. The Acoustics Module is specifically designed for those who work in classical acoustics with devices that produce, measure, and utilize acoustic waves. Application areas include the design of loudspeakers, microphones, hearing aids, noise control, sound barriers, mufflers, buildings and performance spaces.
â€œWe are extremely pleased with the range and quality of the 125th AES Convention Master Class program,â€? Valerie Tyler said.. â€œBoth our Master Class Co-Chairs are highly qualified. Conrad Cooke began his career at the BBC in London. He has worked with Oxford/Sony Digital, Euphonix and most recently Apple Computer. Jim McTigue owns Impulsive Audio Consulting a successful SF-based firm specializing in acoustics and broadcast audio. He began his career at NYâ€™s legendary A&R Studios. The Master Class program reflects the value of their knowledge and experience,â€? Tyler concludes.
Photo: 125th AES Convention Master Class Co-Chair Conrad Cooke. Please credit photo by Alex Storm courtesy of Dolby Labs.
The 125th AES Convention will be held in San Franciscoâ€™s Moscone Center October 2-5, 2008. For information please visit www.aes.org
Currently celebrating its 60th anniversary, The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org
Tewksbury, MA â€” Generating a combined revenue of more than $3.68 billion at the U.S. box office, the top 28 highest-grossing movies this summer were created by customers of Avid Technology, Inc. (Nasdaq: AVID) using systems from at least one AvidÂ® brand. From The Dark Knight â€“ the second film in history to top the half-billion dollar mark â€“ to The House Bunny, the majority of these films deployed workflows consisting of multiple Avid systems. Among the systems customers used were AvidÂ® Media ComposerÂ® systems, Avid DNxHDÂ® 36 codec or Avid Unityâ„¢ MediaNetwork for video editing and shared storage; DigidesignÂ® Pro ToolsÂ® for editing and mixing sound; SibeliusÂ® 5 for music composition and scoring; and SOFTIMAGEÂ®|XSIÂ® for 3D animation, 3D design and visual effects.
â€?Our customers continue to thrill and entertain audiences around the world by using our integrated media tools in their creative process,â€? says Gary Greenfield, CEO of Avid. â€œJust as our customers achieve industry-defining success by leveraging the strength of each of our brands, Avid is committed to delivering the open and flexible solutions that will help our customers harness their creative talents and bring their dreams to reality today and in the future.â€?
To create The Dark Knight, the latest film in the Batman franchise, the team led by Lee Smith, A.C.E., used an Avid editing and Avid Unity shared-storage workflow to balance action-packed visual effects sequences with a dark and contemplative tone. Adding to the complexity of the project, the team was charged with creating an IMAX version in addition to the conventional film release. Originally the team ran 16 video tracks for different elements; however, that process soon became unwieldy trying to manage the content for two versions of the film. So, a color-coding scheme was developed on a single Avid timeline that helped create both an IMAX and a conventional theatrical release simultaneously. â€œWhen we could simply select the two vision tracks and go back and forth between the two, it made the entire process incredibly seamless,â€? says Smith.
For composer Hans Zimmer, creating the score for The Dark Knight involved a degree of complexity exceeding any of his previous projects. With literally stacks of proprietary sample playback machines delivering hundreds of outputs, the demands of multi-track recording could only be entrusted to Pro Tools|HDÂ®. â€œUltimately, the final project ended up containing well over 1,000 tracks, which is an organizational challenge in itself,â€? says Zimmerâ€™s Technical Score Engineer, Peter â€œOsoâ€? Snell. â€œWe used five Pro Tools rigs for playback, and a sixth for capture. Pro Tools gives us the ability to stream and mix a tremendous number of tracks, using a range of TDM plug-ins. We depend on Pro Tools [hardware] as a rock-solid platform â€“ Â¬when we hit play, we know it will work.â€?
For the live-action, CG-heavy feature, The Incredible Hulk, four editors worked with six companies employed to handle 667 visual effects shots, 400 of which included CG characters. In addition, the creature design of Hulk and his nemesis, the Abomination, were both created using SOFTIMAGE|XSI software; and the sound for the film was mixed using Pro Tools hardware.
To handle the complex project of editing the film, nine Avid Media Composer Adrenalineâ„¢ systems connected to an Avid Unity MediaNetwork with 17 terabytes of shared storage enabled the four editors and a team of assistants to simultaneously access media and flexibly share projects on the fly. Shot on 35mm, anamorphic film, the filmmakers chose to edit in HD, using the Avid DNxHD 36 compression format to allow the creative team to view the most visually rich images during offline post, while taking advantage of a streamlined and storage-efficient editing environment.
The use of HD material also helped streamline the screening process, whether previewing dailies or the complete film. For example, during production in Toronto, the editing team created a selects reel in the Avid DNxHD 36 format and delivered it on a FireWire drive to a facility that had its own Avid setup connected to a large monitor for viewing dailies. â€œIt made it so easy to get a good sense of all the material and be able to discuss it right away,â€? says Rick Shaine, one of the editors, who had never edited in HD before. â€œWe were able to capture and work with the full extent of the image all along the way. So every monstrous pore, every twitching muscle, every textured lock of hair could be seen just as the filmmakers intended. It was a giant filmmaking task, fit for a super-hero.â€?
For the stereoscopic 3D film, Journey to the Center of the Earth, Quebecâ€™s Hybride, one of the companies at the forefront of stereoscopic 3D, used SOFTIMAGE|XSI to create a range of objects in the film, such as a dinosaur skull, giant carnivorous plants and a flock of magical glowbirds. They also created several virtual environments, including a chamber of diamonds, a volcano and a thermal river. In all, a team of 80 people at Hybride spent more than 15 months creating 234 scenes in stereoscopic 3D for this film.
â€œOne of the things that always helps make our job easier is SOFTIMAGE|XSI software,â€? says Philippe Theroux, Lead 3D Supervisor at Hybride. â€œSOFTIMAGE|XSI is the heart of Hybrideâ€™s pipeline. Everything revolves around it. Every aspect of our process is done around XSI, and we have to ensure that all our software is compatible with it.â€? The team at Hybride uses XSI for everything from modeling to texturing and rendering. And, of course, they use it extensively for animation. â€œAll of the tools we have for animation in SOFTIMAGE|XSI are extremely helpful. In particular for this film, we were able to create rigs that were light and easy to work with for our animators and this was really great for these complex scenes,â€? adds Theroux.
Hancock, starring Will Smith, was edited on Avid systems, scored by legendary film composer John Powell and his orchestral team using Sibelius software, and mixed in Pro Tools. â€œSome of the features of Sibelius 5 that I find most useful and time-saving are the filter functions and the ability to change the appearance of rhythmic groupings in MIDI files,â€? says lead orchestrator John Ashton Thomas. â€œI use Sibelius for all my work as a film score orchestrator, and in all the work I do on my own music.â€? In addition to Hancock, Powell and his team used Sibelius to score a number of successful films, including Kung Fu Panda, Horton Hears a Who, The Bourne Ultimatum, X-Men: The Last Stand, Ice Age: The Meltdown, Happy Feet, Mr. & Mrs. Smith, The Italian Job, Agent Cody Banks, and Shrek.
To read about other blockbusters that were created by Avid customers, please visit Get Smart, Sex and the City: The Movie.
About Avid Technology, Inc.
Avid is a worldwide leader in tools for film, video, audio, 3D animation, gaming and broadcast professionals â€“ as well as for home audio and video enthusiasts. Avid professional and consumer brands include Avid, Digidesign, M-AudioÂ®, Pinnacle SystemsÂ®, Sibelius, Softimage and Sundance DigitalÂ®. The vast majority of primetime television shows, feature films, commercials and chart-topping music hits are made using one or more Avid products. Whether used by seasoned professionals or beginning students, Avidâ€™s products and services enable customers to work more efficiently, productively and creatively. Avid received an OscarÂ® statuette representing the 1998 Scientific and Technical Award for the concept, design, and engineering of the AvidÂ® Film ComposerÂ® system for motion picture editing. For more information about the companyâ€™s Oscar, GrammyÂ® and EmmyÂ® award-winning products and services, visit www.avid.com.
High-Sensitivity In Critical Recording Applications
AMSTERDAM, SEPTEMBER 12, 2008 â€” HolophoneÂ®, the leading manufacturer of surround microphones, is giving IBC 2008 (Stand 8.C10) attendees a sneak peak at its new high-end 5.0 surround microphone by previewing the H5-X at this yearâ€™s show. more
Latest Version Offers Increased Connectivity and Expandability for Broadcasters
AMSTERDAM, THE NETHERLANDS, SEPTEMBER 12, 2008â€”Clear-ComÂ® Communication Systems, a Vitec Group brand, launches Version 5.0 of its highly robust EclipseÂ® Digital Matrix System. Acting as a central switching unit for communications across a broadcast operation, the new Eclipse Digital Matrix Version 5.0 offers more connectivity options between frames and panels, expands the Digital Signal Processing and â€œListen Againâ€? capabilities on V-Series user panels, and simplifies the user interface of its configuration software. Clear-Com demonstrates these capabilities at IBC, Stand 9.C40a. more
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