document_title: List of superhuman features and abilities in fiction

question_text: what is the power to control weather called

text: Origins

text: Examples of ways in which a character has gained the ability to generate an effect.

text:
Type
Examples
See also

Inhuman nature
Homo mermanus; Kryptonians,[1] Saiyans, Homo superior

The character belongs to a class of wholly or partially non-human beings for whom superhuman capabilities are typical or natural. This includes, but is not limited to, characters who are aliens, demons, gods, vampires, werewolves, or hybrids.

Object-based powers
Iron Man's armor;[2] Green Lantern's power ring;[3] Sauron's One Ring
List of objects in the DC Universe

Powers derived from objects (also known as artifacts), such as armor, jewelry, weapons, and wands

Mutation
X-Men;[4] Captain Comet;[5] Teenage Mutant Ninja Turtles
Mutant (fictional)

These powers are a direct result of some form of either induced evolution or natural selection, usually manifested during adolescent puberty when other mental and bodily adaptations take place.

Induced (Accidental)
Fantastic Four; The Flash

These powers are the result of an accident or bizarre event which altered the physiology of the individual giving him or her superhuman abilities.

Induced (Intentional)
Captain America; Reverse-Flash

These powers are the intentional and deliberate result of an event intended to give the receiver powers, usually through experimental science or through purposefully recreating an accident that gave another character the same powers.

text: Methods

text: Examples of methods by which a character generates an effect.

text:
Type
Examples
See also

Energy sourcing
Carol Danvers[6] Ray;[7] Apollo;[8] Nexus[9]

Ability to draw power from large or small but abundant sources of energy, such as turning kinetic energy into physical blasts or converting solar energy into other forms. Sometimes based on proximity to source, sometimes stored for future use.

Chi
Iron Fist;[10] Krillin;[11] Dragon Ball characters
Qi

Many characters who train in martial arts gain superhuman capabilities by learning to harness chi or some form of life energy. This type of method generally provides extraordinary strength, speed, durability and reflexes. Also often used for superhuman awareness, energy blasts, elemental powers and sometimes invulnerability.

Magical powers
Supernatural: Doctor Strange;[12] Doctor Fate;[13] Ganon; Willow Rosenberg[14]
Pseudo-supernatural: Impossible Man;[15] Mister Mxyzptlk[16]
Magic in fiction

This is the ability to use magical forces to varying degrees. Often used to simulate other powers, such as mind control and elemental attacks. Not all "magical" superpowers are actually supernatural, but are based on alternative or futuristic "science".[17] For instance, Moon Knight's strength, endurance and reflexes are enhanced depending upon the phases of the moon.[18] Uncle Sam has his powers in proportion to the people's belief in the ideals of America.[19]

Telekinesis
Jean Grey;[20] Maxima;[21] Battalion;[22] Prue Halliwell; Tatsumaki
Psychokinesis

Ability to manipulate and control objects with the mind, often in ways not visible to the naked eye

text: Powers

text: Superpower interaction

text: This section refers to the ability to manipulate or otherwise interact with superpowers themselves, not "power" such as electrical power or gravitational power.

text:
Type
Examples

Power augmentation
Sage;[23] Neron;[24] Ando Masahashi

Ability to enhance or weaken the powers of others.

Power bestowal
Galactus;[25] Synergy;[26] Willow Rosenberg;[27]

Ability to bestow powers or jump-start latent powers.

Power mimicry or absorption
Rogue;[28] Black Alice;[29] Kakashi Hatake;[30] Peter Petrelli;[31]

Ability to copy or absorb another's powers or skills.

Power negation
Leech;[32] Scrambler;[33] The Haitian;[34]

Ability to cancel the superpowers of others.

Power sensing
Caliban;[35] Nemesis Kid[36]

Ability to sense or recognize superhuman powers.

text: Personal physical powers

text: Powers which affect an individual's body.

text:
Type
Examples
See also

Acid generation
Anarchist;[37] Man-Thing;[38] Reptile

Ability to generate acid, can be manifested through touch or as a spray (e.g. acid spit, acid blood, etc.).

Animal mimicry
Animal Man;[39] Vixen[40]

Ability to take on the abilities of certain animals.

Biological manipulation
Elixir;[41] Shawn Farrell

Ability to control all aspects of a living creature's biological make-up. This includes, but is not limited to, genetic alterations, physical distortion/augmentations, healing, disease, and biological functions.

Body part substitution
Terror;[42] Frankenstein[43]

Ability to replace one's limbs or other body parts with those of another.

Bone manipulation
Marrow;[44] Spike;[45]

Ability to manipulate the bones in one's own body. This includes, but is not limited to, the generation of new bone mass, projecting bones out from the skin or rearranging one's own bones.

Duplication (physical)
Jamie Madrox;[46] Duplicate Damsel;[47] Naruto Uzumaki;[48]
Self-replication
Molecular cloning

Ability to create physical duplicates of oneself.

Duplication (temporal)
Flashback;[49] Damian Tryp[50] The Shrike[51]

Ability to bring past and future versions of oneself back to the present.

Echolocation
Daredevil[52] Man-Bat;[53]
Human echolocation

Ability to determine location of objects in the environment by use of reflected sound waves, whether generated by the character or ambient sound. Also known as sonar or radar sense.

Firebreathing
Ghost Rider;[54] Etrigan the Demon;[55]

Ability to generate gases from the body and exhale fire from the mouth.

Healing factor
Wolverine;[56] Lobo;[57] Claire Bennet;
Healing factor
Regeneration (biology)

Ability to heal rapidly and with greater finality from any injury; the rate of recovery varies from character to character. Can sometimes result in the slowing of aging, regenerating entire human limbs and organs without hindrance from the Hayflick limit by completely removing it and immunity to illnesses and other defects.

Invisibility
Invisible Woman;[58] Invisible Kid;[59] Claude Rains[60]
Invisibility

Ability to render the user unseen to the naked eye or other forms of perception.

Invulnerability
Emery Schaub;[61] Shaggy Man;[62] Brit[63]

Ability to be immune to one or more forms of physical, mental, and spiritual damage and influence.

Kinetic absorption
Strong Guy;[64] Sebastian Shaw[65]

Ability to absorb forms of kinetic energy into oneself and utilize it in some way, such as by converting it into physical strength or using it to power energy blasts.

Superhuman longevity
Romulus;[66] Eclipso;[67]

Ability to live longer than a normal human.

Matter ingestion
Matter-Eater Lad[68]

Ability to consume any sort of matter without any ill effects on the user.

Merging
Kleinstocks;[69] B'wana Beast;[70] Trunks;[71]

Ability to temporarily merge two or more beings into a single being, which results in a completely new and stronger being.

Pheromone manipulation
Wallflower;[72] Crimson Fox[73]

Ability to generate and control pheromones which may have various effects.

Poison generation
Cobra;[74] Poison Ivy;[75] Maya Herrera

Ability to assault others with one or more varieties of toxins, with widely disparate effects.

Prehensile/animated hair
Medusa;[76] Spider Girl;[77] Jiraiya

Ability to animate and lengthen one's hair.

Reactive adaptation/evolution
Lifeguard;[78] Doomsday;[79]

Ability to develop a resistance or immunity to whatever they were injured by or exposed to. This effect can be permanent or temporary.

Self-detonation or explosion and reformation
Nitro;[80] Shrapnel;[81] Ted Sprague[82]

Ability to explode one's body mass and reform.

Sonic scream
Banshee;[83] Black Canary[84]

Ability to generate vocal sounds of a higher amplitude than a normal human.

Vortex breath
Awesome Android;[85] Kirby

Ability to inhale/exhale with superhumanly powerful strength. This can range from exhalation on par with gale-force winds to inhalation on par with the power of a gravitational vortex. In some cases, freezing temperatures can also be achieved.

Superhuman durability / endurance
Luke Cage;[86] Solomon Grundy;[87] Tick;[88]

Ability to have a higher resistance to one or more forms of damage before being injured as well as the ability to exert oneself in an activity indefinitely without becoming tired or survive for long periods of time without consumption or water.

Superhuman agility / reflexes
Beast;[89] Midnighter;[90] Son Gohan;[91]

Ability to react faster than a normal human and to possess greater flexibility and with higher/farther jumping capacity.

Superhuman senses
Sabretooth;[92] Supergirl;[93]; Jim Ellison[94]

Ability to see, smell, taste, feel or hear more than a normal human.

Superhuman strength
Hulk;[95] Blok;[96] Fuji;[97] Niki Sanders
Superhuman strength
Strength level

Ability to have a level of strength much higher than normally possible given their proportions.

Vision-based powers
Doctor Nemesis;[98] Superman[99]

Abilities that are based on one's eyes or ability to see.

1. Night vision
Owl;[100] Doctor Mid-Nite[101]
Night vision

The ability to see clearly in total darkness

2. X-ray vision
Hyperion[102]

Ability to see through solid matter

3. Heat vision
Gladiator;[103] Superboy-Prime;[104] Mister Majestic;[105]
Heat vision

Ability to burn objects and other individuals with one's gaze

4. Telescopic vision
Peepers;[106] Lar Gand;[107]

Ability to magnify and extend one's vision to various levels

5. Freeze vision
Bizarro[108]

Ability to freeze objects and other individuals with one's gaze

Wallcrawling
Spider-Man;[109] Knuckles the Echidna[110]

Ability to adhere to solid surfaces, including walls and ceilings

Waterbreathing
Namor;[111] Aquaman[112]
Water breathing
Liquid breathing

Ability to respirate through water in lieu of a gaseous medium. Not to be confused with an ability to go without breathing or to be able to breathe an alternative air supply.

text: Mentality-based abilities

text:
Type
Examples
See also

Ecological empathy
Storm; Swamp Thing[113]

Ability to sense the overall well-being and conditions of one's immediate environment and natural setting stemming from a psychic sensitivity to nature

Innate capability
Forge;[114] Sylar

Ability to know or understand something without the need of studying or previous experience.

Omni-linguism
Cypher;[115] Wonder Woman; Glorificus

Ability to understand any form of language, a natural polyglot. This can be accomplished in various ways.

Omniscience
Infinity; Phantom Stranger
Omniscience

Ability to know anything and everything

Superhuman mentality
Leader;[116] Brainiac;[117]

Ability to have intelligence quotient far above that of a genius level. This ability can be so evolved that its user can gain psychic abilities (psychokinesis, telepathy, etc.) and resist both mind control and other psionic attacks.

Superhuman tracking
Cyber;[118] Dawnstar;[119] Molly Walker[120]

Ability to track an individual or object through supernatural means; sometimes referred to as "pathfinding"

text: ESP

text: The abilities of extra-sensory perception (ESP) and communication.

text:
Type
Examples
See also

Astral projection
Blindfold;[121] Doctor Psycho;[122] Prue Halliwell
Astral projection

Also known as astral travel, this is the ability to separate and control one's astral body.

Cross-dimensional awareness
Deadpool;[123] Ambush Bug[124]

Ability to detect actions and events in other dimensions. This is occasionally used in comics as an awareness of the fourth wall between the characters and the artist or audience.

Empathy
Empath;[125] Raven;[126] Belldandy[127]
Empathy

Ability to read or sense the emotions or control the emotions or feelings of others

Spiritual mediumship
Brother Voodoo;[128] Melinda Gordon
Mediumship

Ability to see and communicate with the dead (i.e., ghosts)

Precognition
Destiny;[129] Nura Nal;[130] Phoebe Halliwell;[131]
Precognition
Premonition
Clairvoyance

Ability to perceive the future. It may be expressed in vague dreams while asleep, other times it can be clear and can occur at will. It may also be used as a form of "danger sense" to show the user that they are being threatened and from what direction it is coming from.

Psychometry
Adrienne Frost;[132] Jack Hawksmoor;[133] Tuxedo Mask[134]
Psychometry (paranormal)

Ability to relate details about the past or future condition of an object or location, usually by being in close contact with it

Telepathy
Charles Xavier;[135] Saturn Girl;[136] Piccolo;[137]
Telepathy

Ability to read the thoughts of, or to mentally communicate with others

Technopathy
Black Box;[138] Cyborg Superman;[139] Drummer;[140] Micah Sanders[141]

Ability to manipulate technology. Manifested as a special form of electrical/telekinetic manipulation, a special form of "morphing" which allows physical interaction with machines, or even a psychic ability that allows for mental interface with computer data

text: Physical or mental domination

text:
Type
Examples
See also

Astral trapping
Shadow King

Ability to cause an astral projection to stay on the astral plane, usually in one specific place

Memory manipulation
Professor X;[142] Zatanna;[143] Haitian

Ability to erase or enhance the memories of another

Mind control
Karma;[144] Universo;[145] Lelouch Lamperouge;[146] Matt Parkman

The ability to alter the perceptions of others, and general ability to control the actions of others with the mind

Possession
Nocturne;[147] Jericho;[148] Orochimaru;[149]

Ability to take control and inhabit the body of an individual

Psionic blast
Emma Frost;[150] Martian Manhunter[151]

Ability to overload another's mind causing pain, memory loss, lack of consciousness, vegetative state or death after having created a psionic link into that individual's mind

Psychic weapons
Quentin Quire;[152] Wild Thing[153]

Ability to create a weapon of psychic energy that can harm mentally and not physically

text: Physics or reality manipulation

text: These powers may be manifested by various methods, including: by some method of molecular control; by access to, or partially or fully shifting to another dimension; by manipulating the geometric dimensions of time or space; or by some other unnamed method.

text:
Type
Examples
See also

Animation
Selene[154]

Ability to bring inanimate objects to life or to free an individual from petrification

Darkness or shadow manipulation
Shroud;[155] Shade;[156] Shikamaru Nara[157]

Ability to create or manipulate darkness, often by mentally accessing a dimension of dark energy (the Darkforce dimension in Marvel Comics, and the Shadowlands in DC Comics) and manipulating it

Density control
Vision;[158] Thunder[159]

Ability to increase or decrease the natural density of an object or one's self

Disintegration
Wither;[160] Plasmus;[161] Castiel[162]

Ability to disintegrate matter through touch, telepathy or through beams

Elemental transmutation
Alchemy;[163] Metamorpho;[164] Edward Elric[165]
Transmutation

The ability to alter chemical elements, changing them from one substance to another by rearranging the atomic structure. May be limited to self-transmutation

Gravity manipulation
Alex Power;[166] Geo-Force[167]

Ability to manipulate or generate gravitons, or other types of gravitational interactions

Immortality
Belasco;[168] Vandal Savage[169] Adam Monroe;[170] Alucard[171]
Immortality

Ability to live forever. This may be complete immortality encompassing invulnerability, partial invulnerability to all but specific events (i.e., decapitation or exposure to a specific chemical such as kryptonite), or simply an inability to age normally.

Intangibility or phasing
Kitty Pryde;[172] Phantom Girl;[173]

Ability to quantum tunnel through solid matter without harm[172]

Light manipulation
Monica Rambeau;[174] Doctor Light;[175] Angelus[176]

Ability to control, generate or absorb light particles

Magnetism manipulation
Magneto;[177] Doctor Polaris[178]

Ability to control or generate magnetic fields

Mass manipulation
Harry Leland;[179] Thom Kallor[180]

Ability to increase or decrease mass in an object

Microwave manipulation
Firestar[181]
Microwave

The ability to convert ambient electromagnetic energy into microwaves and manipulate it into various effects such as heat, light, and radiation

Molecular manipulation
Apocalypse;[182] Firestorm;[183] Piper Halliwell

Ability to mentally manipulate the molecules of objects or one's self on a molecular level

Probability manipulation
Longshot;[184] Hazard[185]
Probability

Ability to alter probability, causing unlikely things to happen, or likely things not to happen

Radiation manipulation
Radioactive Man;[186] Captain Atom;[187]

Ability to generate, manipulate or have immunity to toxic radiation

Reality warping
Franklin Richards;[188] Lucifer[189]

Ability to change or manipulate reality itself

Resurrection
Mister Immortal;[190] Resurrection Man;[191] Jack Harkness

Ability to come back to life after being killed as well, or to bring others back to life

Sound manipulation
Klaw;[192] Fiddler[193] Emma Coolidge

Ability to manipulate sound

Time manipulation
Tempo;[194] Zoom;[195] Hiro Nakamura

Ability to affect the flow of time by slowing, accelerating, reversing, or stopping it

text: Elemental and environmental powers

text: Ability to control or manipulate the elements of nature.

text:
Type
Examples
See also

Air and wind manipulation
Wind Dancer;[196] Red Tornado;[197] Aang

Ability to control, generate, or absorb air or wind

Animal control
Tarzan; Super Commando Dhruva; Doctor Dolittle

Ability to communicate with animals, birds and even aquatic creatures and get them to perform tasks on command

Cold and ice manipulation
Iceman;[198] Ice;[199] Tracy Strauss;[200] Elsa;[201] Sub-Zero

Ability to reduce the kinetic energy of atoms and thus reduce temperature, can be used to control, generate, or absorb ice

Earth and stone manipulation
Petra;[202] Terra;[203] Gaara;[204] Samuel Sullivan

Ability to control earth; sand, stone, rock, lava, dirt, or other minerals

Electric manipulation
Electro;[205] Black Lightning;[206] Sailor Jupiter;[207] Elle Bishop

Ability to control, generate or absorb electricity and electric phenomena

Fire and heat manipulation
Pyro;[208] Fire;[209] Sailor Mars;[210] Azula; Scorpion
Pyrokinesis

Ability to control the kinetic energy of atoms to generate, control or absorb fire

Plant manipulation
Klara Prast;[211] Floronic Man;[212] Briar Moss

Ability to create, control, manipulate or animate plant life

Water and moisture manipulation
Washout;[213] Mera;[214] Sailor Mercury; Percy Jackson

Ability to control, generate or absorb water

Weather manipulation
Thor;[215] Weather Wizard;[216] Sarah Rainmaker;[217] Trisana Chandler
Weather control

Ability to control or mentally affect the weather. This includes the ability to generate various natural phenomena (rain, tornadoes, lightning, ocean currents, etc.) or control the intensity of the weather.

text: Energy manipulation

text: These powers deal with energy generation, conversion and manipulation. In addition to generic energy, versions of these powers exist that deal with such things as light, sound, electricity, nuclear energy, and the Darkforce dimension.

text:
Type
Examples
See also

Concussion beams
Cyclops;[218] Darkseid[219]

Ability to generate or transform various forms of energy into a "solid" or concussive beam of energy

Energy blasts
Havok[220] Starfire[221]

Ability to expel various forms of energy from the body

Energy constructs
Cerise;[222] Jade;[223] Uryū Ishida

Ability to create complex shapes (such as giant boxing gloves or cages) or even functional machinery (such as fire extinguishers or laser rifles) out of solid energy

Energy conversion
Bishop[224] Bunker[225]

Ability to absorb one form of energy and convert it into another form of energy

Force field generation
Unus the Untouchable;[226] Argent;[227] Orihime Inoue;[228] Wyatt Halliwell
Force field

Ability to project powerful fields of manipulated energy

text: Transportation and travel

text:
Type
Examples
See also

Electrical transportation
Atom;[229] Livewire;[230]

Ability to travel through electrical conduits (such as power lines or telephone lines). Can enter through devices such as televisions, electrical poles or computers

Omnipresence
Eternity;[231] Living Tribunal

Ability to be present anywhere and everywhere simultaneously

Dimensional travel
Roma;[232] Vox;[233] Access[234]

Ability to travel between two or more dimensions, realities, realms, etc.

Portal creation
Spot;[235] Gates[236]
Interdimensional portal

Ability to create wormholes, portation "discs" or other spatial portals for transport between two non-adjacent locations

Summoning
Master Pandemonium;[237] Kid Eternity;[238] Jackie Estacado;[239] Jiraiya[240]
Conjuration
Evocation
Magic satchel

Ability to summon beings or objects for assistance. This may range from invoking simple implements to mighty familiar spirits.

Superhuman speed
Quicksilver;[241] Flash;[242] Seta Sōjirō;[243] Sonic the Hedgehog;[244]
Speedster (fiction)
Supersonic

The ability to move, run, fly, react, think, and sense at speeds much faster than a normal human. Those with this ability also have accelerated brain activity which allows them to process sensory information so fast that everything seems to be moving in slow motion while the user moves at normal speed.

Teleportation
Nightcrawler;[245] Misfit;[246] Goku;[247]
Teleportation

Ability to move from one place to another without occupying the space in between

Time travel
Trevor Fitzroy;[248] Time Trapper;[249] Hiro Nakamura
Time travel

Ability to travel back or forth through time

text: Flight

text: Ability to lift off the ground, to ride air currents or to fly self-propelled through the air.

text: Energy propulsion

text:
Type
Examples

Cosmic energy control
Ikaris

Energy aura projection
Sunfire;[250] Halo[251]

Gravitational manipulation
Gravity[252]

Magical levitation
Nico Minoru;[253] Raven;[254] Willow Rosenberg; Peter Pan

Magnetic levitation
Polaris;[255] Static[256]

Molecular manipulation
Kitty Pryde;[257] Doctor Manhattan[258]

Sonic repulsion field
Siryn;[259] Tyroc[260]

Telekinetic power
Vance Astrovik;[261] Sapphire[262]

Thermo-chemical energy
Cannonball;[263] Jetstream[264]

text: Physical propulsion

text:
Wind current control
Cyclone;[265] Red Tornado[266]

Wings
Warren Worthington III;[267] Northwind;[268] Rouge the Bat

text: Miscellaneous

text: The following powers could be manifested in any number of ways.

text: Illusion

text: Ability to alter or deceive the perceptions of another. Can be sensory, a light or sound-based effect, or an alteration of mental perceptions. May overlap with reality warping when it is possible to interact with the illusions.

text: Examples: Mastermind;[269] King Chimera;[270] Sasuke Uchiha[271]

text: Shapeshifting

text: Ability to change appearance or body structure.

text:
Type
Examples

Animal morphing
Snowbird;[272] Beast Boy;[273] Jake Berenson

Ability to take on animal forms. May be able to take on the abilities of the altered form

Elasticity
Mister Fantastic;[58] Plastic Man;[274] Monkey D. Luffy;[275] Jake the dog

Ability to stretch, deform, expand or contract one's body into any form imaginable

Inorganic
Colossus;[276] Ferro Lad[277]

Ability to transform completely into an inorganic substance while retaining organic properties

Liquification
Hydro-Man;[278] Aspen Matthews[279]

Ability to turn partially or completely into a liquid

Metamorphosis
Mystique;[280] Clayface;[281] Voodoo[282]

Ability to change one's physical, biological form to mimic the appearance, characteristics or power set of other individuals

Density/size shifting
Henry Pym;[283] Giganta;[284] Garganta;[285] Doctor Manhattan

Ability to increase or decrease one's density or size

Sublimation
Amelia Voght;[286] Count Dracula

Ability to transform into a gaseous, mist, or fog-like form

Substance mimicry
Absorbing Man;[287] Amazing-Man[288]

Ability to transform into any substance touched


document_title: Color motion picture film

question_text: when did the first colored movie come out

root

text: Color motion picture film

text: Overview[edit]

text: The first motion pictures were photographed using a simple homogeneous photographic emulsion that yielded a black-and-white image—that is, an image in shades of gray, ranging from black to white, corresponding to the luminous intensity of each point on the photographed subject. Light, shade, form and movement were captured, but not color.

tag: p

text: With color motion picture film, information about the color of the light at each image point is also captured. This is done by analyzing the visible spectrum of color into several regions (normally three, commonly referred to by their dominant colors: red, green and blue) and recording each region separately.

text: Current color films do this with three layers of differently color-sensitive photographic emulsion coated on one strip of film base. Early processes used color filters to photograph the color components as completely separate images (e.g., three-strip Technicolor) or adjacent microscopic image fragments (e.g., Dufaycolor) in a one-layer black-and-white emulsion.

text: Each photographed color component, initially just a colorless record of the luminous intensities in the part of the spectrum that it captured, is processed to produce a transparent dye image in the color complementary to the color of the light that it recorded. The superimposed dye images combine to synthesize the original colors by the subtractive color method. In some early color processes (e.g., Kinemacolor), the component images remained in black-and-white form and were projected through color filters to synthesize the original colors by the additive color method.

text: Tinting and hand coloring[edit]

text: The earliest motion picture stocks were orthochromatic, and recorded blue and green light, but not red. Recording all three spectral regions required making film stock panchromatic to some degree. Since orthochromatic film stock hindered color photography in its beginnings, the first films with color in them used aniline dyes to create artificial color. Hand-colored films appeared in 1895 with Thomas Edison's hand-painted Annabelle's Dance for his Kinetoscope viewers.

text: Many early filmmakers from the first ten years of film also used this method to some degree. George Méliès offered hand-painted prints of his own films at an additional cost over the black-and-white versions, including the visual-effects pioneering A Trip to the Moon (1902). The film had various parts of the film painted frame-by-frame by twenty-one women in Montreuil[3] in a production-line method.[4]

text: The first commercially successful stencil color process was introduced in 1905 by Pathé Frères. Pathé Color, renamed Pathéchrome in 1929, became one of the most accurate and reliable stencil coloring systems. It incorporated an original print of a film with sections cut by pantograph in the appropriate areas for up to six colors[3] by a coloring machine with dye-soaked, velvet rollers.[5] After a stencil had been made for the whole film, it was placed into contact with the print to be colored and run at high speed (60 feet per minute) through the coloring (staining) machine. The process was repeated for each set of stencils corresponding to a different color. By 1910, Pathé had over 400 women employed as stencilers in their Vincennes factory. Pathéchrome continued production through the 1930s.[3]

text: A more common technique emerged in the early 1910s known as film tinting, a process in which either the emulsion or the film base is dyed, giving the image a uniform monochromatic color. This process was popular during the silent era, with specific colors employed for certain narrative effects (red for scenes with fire or firelight, blue for night, etc.).[4]

text: A complementary process, called toning, replaces the silver particles in the film with metallic salts or mordanted dyes. This creates a color effect in which the dark parts of the image are replaced with a color (e.g., blue and white rather than black and white). Tinting and toning were sometimes applied together.[4]

text: In the United States, St. Louis engraver Max Handschiegl and cinematographer Alvin Wyckoff created the Handschiegl Color Process, a dye-transfer equivalent of the stencil process, first used in Joan the Woman (1917) directed by Cecil B. DeMille, and used in special effects sequences for films such as The Phantom of the Opera (1925).[3]

text: Eastman Kodak introduced its own system of pre-tinted black-and-white film stocks called Sonochrome in 1929. The Sonochrome line featured films tinted in seventeen different colors including Peachblow, Inferno, Candle Flame, Sunshine, Purple Haze, Firelight, Azure, Nocturne, Verdante, Aquagreen,[6] Caprice, Fleur de Lis, Rose Doree, and the neutral-density Argent, which kept the screen from becoming excessively bright when switching to a black-and-white scene.[3]

text: Tinting and toning continued to be used well into the sound era. In the 1930s and 1940s, some western films were processed in a sepia-toning solution to evoke the feeling of old photographs of the day. Tinting was used as late as 1951 for Sam Newfield's sci-fi film Lost Continent for the green lost-world sequences. Alfred Hitchcock used a form of hand-coloring for the orange-red gun-blast at the audience in Spellbound (1945).[3] Kodak's Sonochrome and similar pre-tinted stocks were still in production until the 1970s and were used commonly for custom theatrical trailers and snipes.

text: In the last half of the 20th century, Norman McLaren, who was one of the pioneers in animated movies, made several animated films in which he directly hand-painted the images, and in some cases, also the soundtrack, on each frame of the film. This approach was previously employed in the early years of movies, late 19th and early 20th century. One of the precursors in color hand painting frame by frame was the Aragonese Segundo de Chomon, that worked with Melies.

text: Tinting was gradually replaced by natural color techniques.

text: Physics of light and color[edit]

text: The principles on which color photography is based were first proposed by Scottish physicist James Clerk Maxwell in 1855 and presented at the Royal Society in London in 1861.[3] By that time, it was known that light comprises a spectrum of different wavelengths that are perceived as different colors as they are absorbed and reflected by natural objects. Maxwell discovered that all natural colors in this spectrum as perceived by the human eye may be reproduced with additive combinations of three primary colors—red, green, and blue—which, when mixed equally, produce white light.[3]

text: Between 1900 and 1935, dozens of natural color systems were introduced, although only a few were successful.[6]

text: Additive color[edit]

text: The first color systems that appeared in motion pictures were additive color systems. Additive color was practical because no special color stock was necessary. Black-and-white film could be processed and used in both filming and projection. The various additive systems entailed the use of color filters on both the movie camera and projector. Additive color adds lights of the primary colors in various proportions to the projected image. Because of the limited amount of space to record images on film, and later because the lack of a camera that could record more than two strips of film at once, most early motion-picture color systems consisted of two colors, often red and green or red and blue.[4]

text: A pioneering three-color additive system was patented in England by Edward Raymond Turner in 1899.[7] It used a rotating set of red, green and blue filters to photograph the three color components one after the other on three successive frames of panchromatic black-and-white film. The finished film was projected through similar filters to reconstitute the color. In 1902, Turner shot test footage to demonstrate his system, but projecting it proved problematic because of the accurate registration (alignment) of the three separate color elements required for acceptable results. Turner died a year later without having satisfactorily projected the footage. In 2012, curators at the National Media Museum in Bradford, UK, had the original custom-format nitrate film copied to black-and-white 35 mm film, which was then scanned into a digital video format by telecine. Finally, digital image processing was used to align and combine each group of three frames into one color image.[8] The result is that the whole world can now view brief motion pictures from 1902 in full color.[9]

text: Practical color in the motion picture business began with Kinemacolor, first demonstrated in 1906.[5] This was a two-color system created in England by George Albert Smith, and promoted by film pioneer Charles Urban's The Charles Urban Trading Company in 1908. It was used for a series of films including the documentary With Our King and Queen Through India, depicting the Delhi Durbar (also known as The Durbar at Delhi, 1912), which was filmed in December 1911. The Kinemacolor process consisted of alternating frames of specially sensitized black-and-white film exposed at 32 frames per second through a rotating filter with alternating red and green areas. The printed film was projected through similar alternating red and green filters at the same speed. A perceived range of colors resulted from the blending of the separate red and green alternating images by the viewer's persistence of vision.[4][10]

text: William Friese-Greene invented another additive color system called Biocolour, which was developed by his son Claude Friese-Greene after William's death in 1921. William sued George Albert Smith, alleging that the Kinemacolor process infringed on the patents for his Bioschemes, Ltd.; as a result, Smith's patent was revoked in 1914.[3] Both Kinemacolor and Biocolour had problems with "fringing" or "haloing" of the image, due to the separate red and green images not fully matching up.[3]

text: By their nature, these additive systems were very wasteful of light. Absorption by the color filters involved meant that only a minor fraction of the projection light actually reached the screen, resulting in an image that was dimmer than a typical black-and-white image. The larger the screen, the dimmer the picture. For this and other case-by-case reasons, the use of additive processes for theatrical motion pictures had been almost completely abandoned by the early 1940s, though additive color methods are employed by all the color video and computer display systems in common use today.[4]

text: Subtractive color[edit]

text: The first practical subtractive color process was introduced by Kodak as "Kodachrome", a name recycled twenty years later for a very different and far better-known product. Filter-photographed red and blue-green records were printed onto the front and back of one strip of black-and-white duplitized film. After development, the resulting silver images were bleached away and replaced with color dyes, red on one side and cyan on the other. The pairs of superimposed dye images reproduced a useful but limited range of color. Kodak's first narrative film with the process was a short subject entitled Concerning $1000 (1916). Though their duplitized film provided the basis for several commercialized two-color printing processes, the image origination and color-toning methods constituting Kodak's own process were little-used.

text: The first truly successful subtractive color process was William van Doren Kelley's Prizma,[11] an early color process that was first introduced at the American Museum of Natural History in New York City on 8 February 1917.[12][13] Prizma began in 1916 as an additive system similar to Kinemacolor.

text: However, after 1917, Kelley reinvented the process as a subtractive one with several years of short films and travelogues, such as Everywhere With Prizma (1919) and A Prizma Color Visit to Catalina (1919) before releasing features such as the documentary Bali the Unknown (1921), The Glorious Adventure (1922), and Venus of the South Seas (1924). A Prizma promotional short filmed for Del Monte Foods titled Sunshine Gatherers (1921) is available on DVD in Treasures 5 The West 1898–1938 by the National Film Preservation Foundation.

text: The invention of Prizma led to a series of similarly printed color processes. This bipack color system used two strips of film running through the camera, one recording red, and one recording blue-green light. With the black-and-white negatives being printed onto duplitized film, the color images were then toned red and blue, effectively creating a subtractive color print.

text: Leon Forrest Douglass (1869–1940), a founder of Victor Records, developed a system he called Naturalcolor, and first showed a short test film made in the process on 15 May 1917 at his home in San Rafael, California. The only feature film known to have been made in this process, Cupid Angling (1918) — starring Ruth Roland and with cameo appearances by Mary Pickford and Douglas Fairbanks — was filmed in the Lake Lagunitas area of Marin County, California.[14]

text: After experimenting with additive systems (including a camera with two apertures, one with a red filter, one with a green filter) from 1915 to 1921, Dr. Herbert Kalmus, Dr. Daniel Comstock, and mechanic W. Burton Wescott developed a subtractive color system for Technicolor. The system used a beam splitter in a specially modified camera to send red and green light to adjacent frames of one strip of black-and-white film. From this negative, skip-printing was used to print each color's frames contiguously onto film stock with half the normal base thickness. The two prints were chemically toned to roughly complementary hues of red and green,[5] then cemented together, back to back, into a single strip of film. The first film to use this process was The Toll of the Sea (1922) starring Anna May Wong. Perhaps the most ambitious film to use it was The Black Pirate (1926), starring and produced by Douglas Fairbanks.

text: The process was later refined through the incorporation of dye imbibition, which allowed for the transferring of dyes from both color matrices into a single print, avoiding several problems that had become evident with the cemented prints and allowing multiple prints to be created from a single pair of matrices.[4]

text: Technicolor's system was very popular for a number of years, but it was a very expensive process: shooting cost three times that of black-and-white photography and printing costs were no cheaper. By 1932, color photography in general had nearly been abandoned by major studios, until Technicolor developed a new advancement to record all three primary colors. Utilizing a special dichroic beam splitter equipped with two 45-degree prisms in the form of a cube, light from the lens was deflected by the prisms and split into two paths to expose each one of three black-and-white negatives (one each to record the densities for red, green, and blue).[15]

text: The three negatives were then printed to gelatin matrices, which also completely bleached the image, washing out the silver and leaving only the gelatin record of the image. A receiver print, consisting of a 50% density print of the black-and-white negative for the green record strip, and including the soundtrack, was struck and treated with dye mordants to aid in the imbibition process (this "black" layer was discontinued in the early 1940s). The matrices for each strip were coated with their complementary dye (yellow, cyan, or magenta), and then each successively brought into high-pressure contact with the receiver, which imbibed and held the dyes, which collectively rendered a wider spectrum of color than previous technologies.[16] The first animation film with the three-color (also called three-strip) system was Walt Disney's Flowers and Trees (1932), the first short live-action film was La Cucaracha (1934), and the first feature was Becky Sharp (1935).[5]

text: Gasparcolor, a single-strip 3-color system, was developed in 1933 by the Hungarian chemist Dr. Bela Gaspar.[17]

text: The real push for color films and the nearly immediate changeover from black-and-white production to nearly all color film were pushed forward by the prevalence of television in the early 1950s. In 1947, only 12 percent of American films were made in color. By 1954, that number rose to over 50 percent.[3] The rise in color films was also aided by the breakup of Technicolor's near monopoly on the medium.

text: In 1947, the United States Justice Department filed an antitrust suit against Technicolor for monopolization of color cinematography (even though rival processes such as Cinecolor and Trucolor were in general use). In 1950, a federal court ordered Technicolor to allot a number of its three-strip cameras for use by independent studios and filmmakers. Although this certainly affected Technicolor, its real undoing was the invention of Eastmancolor that same year.[3]

text: Monopack color film[edit]

text: In the field of motion pictures, the many-layered type of color film normally called an integral tripack in broader contexts has long been known by the less tongue-twisting term monopack. For many years, Monopack (capitalized) was a proprietary product of Technicolor Corp, whereas monopack (not capitalized) generically referred to any of several single-strip color film products, certainly including various Eastman Kodak products. It appears that Technicolor made no attempt to register Monopack as a trademark with the US Patent and Trademark Office, although it certainly asserted that term as if it were a registered trademark, and it had the force of a legal agreement between it and Eastman Kodak to back up that assertion. It was a solely-sourced product, too, as Eastman Kodak was legally prevented from marketing any color motion picture film products wider than 16mm, 35mm specifically, until the expiration of the so-called "Monopack Agreement" in 1950. This, notwithstanding the facts that Technicolor never had the capability to manufacture sensitized motion picture films of any kind, nor single-strip color films based upon its so-called "Troland Patent" (which patent Technicolor maintained covered all monopack-type films in general, but monopack-type motion picture films in particular, and which Eastman Kodak elected not to contest as Technicolor was then one of its largest customers, if not its largest customer). After 1950, Eastman Kodak was free to make and market color films of any kind, particularly including monopack color motion picture films in 65/70mm, 35mm, 16mm and 8mm. The "Monopack Agreement" had no effect on color still films.

text: Monopack color films are based on the subtractive color system, which filters colors from white light by using superimposed cyan, magenta and yellow dye images. Those images are created from records of the amounts of red, green and blue light present at each point of the image formed by the camera lens. A subtractive primary color (cyan, magenta, yellow) is what remains when one of the additive primary colors (red, green, blue) has been removed from the spectrum. Eastman Kodak's monopack color films incorporated three separate layers of differently color sensitive emulsion into one strip of film. Each layer recorded one of the additive primaries and was processed to produce a dye image in the complementary subtractive primary.

text: Kodachrome was the first commercially successful application of monopack multilayer film, introduced in 1935.[18] For professional motion picture photography, Kodachrome Commercial, on a 35mm BH-perforated base, was available exclusively from Technicolor, as its so-called "Technicolor Monopack" product. Similarly, for sub-professional motion picture photography, Kodachrome Commercial, on a 16mm base, was available exclusively from Eastman Kodak. In both cases, Eastman Kodak was the sole manufacturer and the sole processor. In the 35mm case, Technicolor dye-transfer printing was a "tie-in" product.[19] In the 16mm case, there were Eastman Kodak duplicating and printing stocks and associated chemistry, not the same as a "tie-in" product. In exceptional cases, Technicolor offered 16mm dye-transfer printing, but this necessitated the exceptionally wasteful process of printing on a 35mm base, only thereafter to be re-perforated and re-slit to 16mm, thereby discarding slightly more than one-half of the end product.

text: A late modification to the "Monopack Agreement", the "Imbibition Agreement", finally allowed Technicolor to economically manufacture 16mm dye-transfer prints as so-called "double-rank" 35/32mm prints (two 16mm prints on a 35mm base that was originally perforated at the 16mm specification for both halves, and was later re-slit into two 16mm wide prints without the need for re-perforation). This modification also facilitated the early experiments by Eastman Kodak with its negative-positive monopack film, which eventually became Eastmancolor. Essentially, the "Imbibition Agreement" lifted a portion of the "Monopack Agreement's" restrictions on Technicolor (which prevented it from making motion picture products less than 35mm wide) and somewhat related restrictions on Eastman Kodak (which prevented it from experimenting and developing monopack products greater than 16mm wide).

text: Eastmancolor, introduced in 1950,[20] was Kodak's first economical, single-strip 35 mm negative-positive process incorporated into one strip of film. This rendered Three-Strip color photography relatively obsolete, even though, for the first few years of Eastmancolor, Technicolor continued to offer Three-Strip origination combined with dye-transfer printing (150 titles produced in 1953, 100 titles produced in 1954 and 50 titles produced in 1955, the very last year for Three-Strip). The first commercial feature film to use Eastmancolor was the documentary Royal Journey, released in December 1951.[20] Hollywood studios waited until an improved version of Eastmancolor negative came out in 1952 before using it; This is Cinerama was an early film which employed three separate and interlocked strips of Eastmancolor negative. This is Cinerama was initially printed on Eastmancolor positive, but its significant success eventually resulted in it being reprinted by Technicolor, using dye-transfer.

text: By 1953, and especially with the introduction of anamorphic wide screen CinemaScope, Eastmancolor became a marketing imperative as CinemaScope was incompatible with Technicolor's Three-Strip camera and lenses. Indeed, Technicolor Corp became one of the best, if not the best, processor of Eastmancolor negative, especially for so-called "wide gauge" negatives (65mm, 8-perf 35mm, 6-perf 35mm), yet it far preferred its own 35mm dye-transfer printing process for Eastmancolor-originated films with a print run that exceeded 500 prints,[21] not withstanding the significant "loss of register" that occurred in such prints that were expanded by CinemaScope's 2X horizontal factor, and, to a lesser extent, with so-called "flat wide screen" (variously 1.66:1 or 1.85:1, but spherical and not anamorphic). This nearly fatal flaw was not corrected until 1955 and caused numerous features initially printed by Technicolor to be scrapped and reprinted by DeLuxe Labs. (These features are often billed as "Color by Technicolor-DeLuxe".) Indeed, some Eastmancolor-originated films billed as "Color by Technicolor" were never actually printed using the dye-transfer process, due in part to the throughput limitations of Technicolor's dye-transfer printing process, and competitor DeLuxe's superior throughput. Incredibly, DeLuxe once had a license to install a Technicolor-type dye-transfer printing line, but as the "loss of register" problems became apparent in Fox's CinemaScope features that were printed by Technicolor, after Fox had become an all-CinemaScope producer, Fox-owned DeLuxe Labs abandoned its plans for dye-transfer printing and became, and remained, an all-Eastmancolor shop, as Technicolor itself later became.

text: Technicolor continued to offer its proprietary imbibition dye-transfer printing process for projection prints until 1975, and even briefly revived it in 1998. As an archival format, Technicolor prints are one of the most stable color print processes yet created, and prints properly cared for are estimated to retain their color for centuries.[22] With the introduction of Eastmancolor low-fade positive print (LPP) films, properly stored (at 45 °F or 7 °C and 25 percent relative humidity) monopack color film is expected to last, with no fading, a comparative amount of time. Improperly stored monopack color film from before 1983 can incur a 30 percent image loss in as little as 25 years.[23]

text: How a color film works[edit]

text: A color film is made up of many different layers that work together to create the color image. Color negative films provide three main color layers: the blue record, green record, and red record; each made up of two separate layers containing silver halide crystals and dye-couplers. A cross-sectional representation of a piece of developed color negative film is shown in the figure at the right. Each layer of the film is so thin that the composite of all layers, in addition to the triacetate base and antihalation backing, is less than 0.0003" (8 µm) thick.[24]

text: The three color records are stacked as shown at right, with a UV filter on top to keep the non-visible ultraviolet radiation from exposing the silver-halide crystals, which are naturally sensitive to UV light. Next are the fast and slow blue-sensitive layers, which, when developed, form the latent image. When the exposed silver-halide crystal is developed, it is coupled with a dye grain of its complementary color. This forms a dye "cloud" (like a drop of water on a paper towel) and is limited in its growth by development-inhibitor-releasing (DIR) couplers, which also serve to refine the sharpness of the processed image by limiting the size of the dye clouds. The dye clouds formed in the blue layer are actually yellow (the opposite or complementary color to blue).[25] There are two layers to each color; a "fast" and a "slow." The fast layer features larger grains that are more sensitive to light than the slow layer, which has finer grain and is less sensitive to light. Silver-halide crystals are naturally sensitive to blue light, so the blue layers are on the top of the film and they are followed immediately by a yellow filter, which stops any more blue light from passing through to the green and red layers and biasing those crystals with extra blue exposure. Next are the red-sensitive record (which forms cyan dyes when developed); and, at the bottom, the green-sensitive record, which forms magenta dyes when developed. Each color is separated by a gelatin layer that prevents silver development in one record from causing unwanted dye formation in another. On the back of the film base is an anti-halation layer that absorbs light which would otherwise be weakly reflected back through the film by that surface and create halos of light around bright features in the image. In color film, this backing is "rem-jet", a black-pigmented, non-gelatin layer which is removed in the developing process.[24]

text: Eastman Kodak manufactures film in 54-inch (1,372 mm) wide rolls. These rolls are then slit into various sizes (70 mm, 65 mm, 35 mm, 16 mm) as needed.

text: Manufacturers of color film for motion picture use[edit]

text: Motion picture film, primarily because of the rem-jet backing, requires different processing than standard C-41 process color film. The process necessary is ECN-2, which has an initial step using an alkaline bath to remove the backing layer. There are also minor differences in the remainder of the process. If motion picture negative is run through a standard C-41 color film developer bath, the rem-jet backing partially dissolves and destroys the integrity of the developer and, potentially, ruins the film.

text: Kodak color motion picture films[edit]

text: In the late 1980s, Kodak introduced the T-Grain emulsion, a technological advancement in the shape and make-up of silver halide grains in their films. T-Grain is a tabular silver halide grain that allows for greater overall surface area, resulting in greater light sensitivity with a relatively small grain and a more uniform shape that results in a less overall graininess to the film. This made for sharper and more sensitive films. The T-Grain technology was first employed in Kodak's EXR line of motion picture color negative stocks.[26] This was further refined in 1996 with the Vision line of emulsions, followed by Vision2 in the early 2000s and Vision3 in 2007.

text: Fuji color motion picture films[edit]

text: Fuji films also integrate tabular grains in their SUFG (Super Unified Fine Grain) films. In their case, the SUFG grain is not only tabular, it is hexagonal and consistent in shape throughout the emulsion layers. Like the T-grain, it has a larger surface area in a smaller grain (about one-third the size of traditional grain) for the same light sensitivity. In 2005, Fuji unveiled their Eterna 500T stock, the first in a new line of advanced emulsions, with Super Nano-structure Σ Grain Technology.


document_title: Flat iron steak

question_text: where does the flat iron cut of meat come from

text: Flat iron steak

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tag: table

text:
Flat iron steak
Beef CutsAlternative names
top blade roast, shoulder top blade roast, top boneless chuck, petite steak,butler steak, lifter steak, book steak, chuck clod, lifter roast, and triangle roastType
Chuck cut of beef

text: Flat iron steak (US), butlers' steak (UK), or oyster blade steak (Australia and New Zealand) is a cut of steak cut with the grain from the shoulder of the animal. This  produces a flavorful cut that is a bit tough because it contains a gristly fascia membrane unless removed.[1] Some restaurants offer it on their menu, often at lower price than the more popular rib-eye and strip steaks of the same grade. This is used, in some places, as a means of selling a less expensive cut from the same animal, for example Kobe beef.

text: The cut[edit]

text: This cut of steak is from the shoulder of a beef animal.[2]  It is located adjacent to the heart of the shoulder clod, under the seven or paddle bone (shoulder blade or scapula). The steak encompasses the infraspinatus muscles of beef, and one may see this displayed in some butcher shops and meat markets as a "top blade" roast. Anatomically, the muscle forms the dorsal part of the rotator cuff of the steer. This cut is anatomically distinct from the shoulder tender, which lies directly below it and is the teres major.

text: Flat iron steaks usually have a significant amount of marbling. To make it more marketable, the steak, which has the fascia dividing the infraspinatus within it, has increasingly been cut as two flatter steaks, each corresponding to one muscle, with the tough fascia removed. Steaks that are cross cut from this muscle are called top blade steaks or patio steaks.  As a whole cut of meat, it usually weighs around two to three pounds; the entire top blade usually yields four steaks between eight and 12 ounces each.

text: In the North American Meat Processor (NAMP) meat buyers guide, it is item #1114D Beef Shoulder, Top Blade Steak.[2]  This variation on the original flat iron cut was identified in 2002 as part of a National Cattlemen's Beef Association initiative, in conjunction with the University of Nebraska and the University of Florida to find lower-priced cuts which could be trimmed into steaks and roasts.[3]


document_title: List of countries by oil production

question_text: who is the number 1 oil producing country

text: List of countries by oil production

text: This is a list of countries by oil production, as compiled from the U.S. Energy Information Administration database for calendar year 2016, tabulating all countries on a comparable best-estimate basis. Compared with shorter-term data, the full-year figures are less prone to distortion from periodic maintenance shutdowns and other seasonal cycles. The volumes in the table represent crude oil and lease condensate, the hydrocarbon liquids collected at or near the wellhead. The volumes in the table do not include biofuel. They also do not include the increase in liquid volumes during oil refining ("refinery gain"), or liquids separated from natural gas in gas processing plants (natural gas liquids).[1]

text: Under this definition, total world oil production in 2016 averaged 80,622,000 barrels per day. Approximately 68% came from the top ten countries, and an overlapping 44% came from the fourteen current OPEC members, highlighted with blue shading in the table below.

text: For many years, the top three producers have been (alphabetically) Russia, Saudi Arabia, and the United States. Each of these countries experienced major production declines at different times in the past, but since 2014 all three have been producing near their peak rates of 9 to 11 million barrels per day.[2]

text:
Country
Oil Production
(bbl/day, 2016)[1]

1
 Russia
10,551,497

2
 Saudi Arabia (OPEC)
10,460,710

3
 United States
8,875,817

4
 Iraq (OPEC)
4,451,516

5
 Iran (OPEC)
3,990,956

6
 China
3,980,650

7
 Canada
3,662,694

8
 United Arab Emirates (OPEC)
3,106,077

9
 Kuwait (OPEC)
2,923,825

10
 Brazil
2,515,459

11
 Venezuela (OPEC)
2,276,967

12
 Mexico
2,186,877

13
 Nigeria (OPEC)
1,999,885

14
 Angola (OPEC)
1,769,615

15
 Norway
1,647,975

16
 Kazakhstan
1,595,199

17
 Qatar (OPEC)
1,522,902

18
 Algeria (OPEC)
1,348,361

19
 Oman
1,006,841

20
 United Kingdom
939,760

21
 Colombia
897,784

22
 Indonesia
833,667

23
 Azerbaijan
833,538

24
 India
734,180

25
 Malaysia
661,240

26
 Ecuador (OPEC)
548,421

27
 Argentina
510,560

28
 Egypt
494,325

29
 Libya (OPEC)
384,686

30
 Congo, Republic of the
308,363

31
 Vietnam
301,850

32
 Australia
289,749

33
 Thailand
257,525

34
 Sudan and  South Sudan
255,000

35
 Turkmenistan
230,779

36
 Equatorial Guinea (OPEC)
227,000

37
 Gabon (OPEC)
210,820

38
 Denmark
140,637

39
 Chad
110,156

40
 Brunei
109,117

41
 Ghana
100,549

42
 Cameroon
93,205

43
 Pakistan
84,746

44
 Romania
77,910

45
 Italy
70,675

46
 Timor-Leste
60,661

47
 Trinidad and Tobago
60,090

48
 Bolivia
58,077

49
 Papua New Guinea
56,667

50
 Uzbekistan
52,913

51.5
 Bahrain
50,000

51.5
 Cuba
50,000

53
 Turkey
49,497

54
 Tunisia
48,757

55
 Germany
46,839

56
 Peru
40,266

57
 New Zealand
35,574

58
 Ukraine
31,989

59.5
 Ivory Coast
30,000

59.5
 Syria
30,000

61
 Belarus
25,000

62
 Mongolia
23,426

63
 Albania
22,915

64
 Yemen
22,000

65
 Poland
20,104

67
 Congo, Democratic Republic of the
20,000

67
 Philippines
20,000

67
 Serbia
20,000

69
 Netherlands
18,087

70
 Suriname
17,000

71
 France
16,418

72
 Austria
15,161

73
 Myanmar
15,000

74
 Hungary
13,833

75
 Croatia
13,582

76
 Niger
13,000

77
 Guatemala
8,977

78
 Mauritania
5,000

79
 Chile
4,423

80
 Bangladesh
4,189

81
 Japan
3,918

82
 Greece
3,172

83
 Spain
2,667

84
 Czech Republic
2,333

86
 Belize
2,000

86
 Lithuania
2,000

86
 South Africa
2,000

89
 Barbados
1,000

89
 Bulgaria
1,000

89
 Kyrgyzstan
1,000

91
 Georgia
400

92
 Israel
390

93
 Slovakia
200

94
 Taiwan
196

95
 Tajikistan
180

96
 Morocco
160

97
 Jordan
22

98
 Slovenia
5


document_title: Red Dead Redemption 2

question_text: when does red dead redemption 2 take place

text: Red Dead Redemption 2

text: Gameplay[edit]

text: Red Dead Redemption 2 is a Western-themed action-adventure game set in an open world environment. The game centers on Arthur Morgan, an outlaw and a member of the Van der Linde gang in 1899, in the waning years of the American Old West and extinction of the age of outlaws and gunslingers. Among returning characters are John Marston and Dutch Van der Linde, the protagonist and an antagonist from the previous game respectively.[3][4]

text: The player controls Morgan from a third-person perspective.[5][6] The game features both single-player and online multiplayer components.[7][6]

text: The game will continue to use the Honor system from Red Dead Redemption, which based on how the player interacts with non-playable characters (NPCs) will affect how settlements, towns, and other groups will react towards Morgan.[8][9]

text: Development[edit]

text: Red Dead Redemption 2 is being developed by Rockstar Studios,[10] a collaborative effort between all Rockstar Games studios functioning as a single team,[1] using the Rockstar Advanced Game Engine (RAGE).[11]

text: Release[edit]

text: Red Dead Redemption 2 was announced by publisher Rockstar Games in October 2016.[12][13] In the two days prior, the company had used various social media platforms as well as their own website to release two teaser images in the color and theme of Red Dead Redemption.[14][15] The teaser images led to considerable attention and raised the stock price of its parent company Take-Two Interactive by nearly six percent.[16][17] On the day of its announcement for PlayStation 4 and Xbox One, some fans started petitioning Rockstar Games for the game to be made available on Microsoft Windows as well.[18] Per an exclusivity agreement with Sony Interactive Entertainment, certain online game content will be timed exclusives for the PlayStation 4.[19] Originally due for release in the second half of 2017, the game has been delayed twice: first to Q1/Q2 2018,[20] and later to October 26, 2018.[21]

text: The game's debut trailer was released on October 20, 2016, depicting the open world environment,[13] and the second and third trailers—released on September 28, 2017, and May 2, 2018, respectively—introduced the game's characters and story.[6][22] A trailer released on 9 August features the first gameplay footage. It demonstrates the shooting and horse mechanics, and the ability to maintain the player's gang and camps.[2] To spur pre-order sales, Rockstar collaborated with several retail outlets to provide special edition versions of the game. The "Special Edition" includes exclusive single-player content, while the "Ultimate Edition" features additional online content. The "Collector's Box" is a collection of physical merchandise relating to the game.[23]

text:
Editions of Red Dead Redemption 2[23]
show

Features

Standard

Special Edition

Ultimate Edition

Collector's Box

Red Dead Redemption 2 game

Yes

Yes

Yes

No

Digital content

War Horse

Pre-order only

Pre-order only

Pre-order only

No

Outlaw Survival Kit

Pre-order only

Pre-order only

Pre-order only

No

Cash bonus

Digital pre-order only

Digital pre-order only

Digital pre-order only

No

Treasure map

Digital pre-order only

Digital pre-order only

Digital pre-order only

No

Bank Robbery Mission

No

Yes

Yes

No

Gang Hideout

No

Yes

Yes

No

Dappled Black Thoroughbred horse

No

Yes

Yes

No

Gameplay bonuses

No

Yes

Yes

No

Nuevo Paraíso Gunslinger outfit

No

Yes

Yes

No

Additional weapons

No

Yes

Yes

No

Bonus outfits

No

No

Yes

No

Black Chestnut Thoroughbred horse

No

No

Yes

No

Survivor Camp Theme

No

No

Yes

No

Rank bonuses

No

No

Yes

No

Bonus money for Grand Theft Auto Online

GTA$500,000 (digital pre-order only)

GTA$1,000,000 (digital pre-order only)

GTA$2,000,000 (digital pre-order only)

No

Physical content

World map

No

Yes

Yes

Yes

Steelbook

No

No

Yes

No

Metal box with lock and key

No

No

No

Yes

Collectible coin

No

No

No

Yes

Double-sided puzzle

No

No

No

Yes

Bandana

No

No

No

Yes

Treasure map

No

No

No

Yes

Pin set

No

No

No

Yes

Playing cards

No

No

No

Yes

Cigarette cards

No

No

No

Yes

Wheeler, Rawson and Co. Catalogue

No

No

No

Yes

text: Reception[edit]

text: Sales[edit]

text: Since the previous installment in the series was among the bestselling games of the seventh generation of video game consoles, many analysts believe Red Dead Redemption 2 will be one of the highest selling games of 2018 and have a great impact on other game sales during the fourth quarter. When discussing the delay until October 2018, a writer from Forbes said "A huge arrival for [Red Dead Redemption 2] could be a crater that dampens sales of all competitors in that window, so I have to imagine this shockwave is being felt pretty hard right now around the industry."[24]

text: Awards[edit]

text:
Year
Award
Category
Result
Ref.

2016

The Game Awards 2016

Most Anticipated Game

Nominated

[25]

2017

Golden Joystick Awards

Most Wanted Game

Nominated

[26][27]

2017

The Game Awards 2017

Most Anticipated Game

Nominated

[28]


document_title: 2017 NCAA Division I Baseball Tournament

question_text: who won the college world series 2017 baseball

text: Bids[edit]

text: Automatic bids[edit]

text:
School
Conference
Record (Conf)
Berth
Last NCAA Appearance

UMBC
America East
23–23 (11–9)
Tournament
2001 (Wilson Regional)

Houston
American
40–19 (15–9)
Tournament
2015 (Houston Regional)

Florida State
ACC
39–20 (14–14)
Tournament
2016 (Tallahassee Regional)

Florida Gulf Coast
Atlantic Sun
42–18 (13–8)
Tournament
First Appearance

Davidson
Atlantic 10
32–24 (13–11)
Tournament
First Appearance

Oklahoma State
Big 12
30–25 (8–14)
Tournament
2016 (Clemson Regional)

Xavier
Big East
32–25 (10–6)
Tournament
2016 (Nashville Regional)

Radford
Big South
27–30 (11–13)
Tournament
2015 (Nashville Regional)

Iowa
Big Ten
38–20 (15–9)
Tournament
2015 (Springfield Regional)

Long Beach State
Big West
37–17–1 (20–4)
Regular Season
2016 (Coral Gables Regional)

Delaware
Colonial
34–21 (15–9)
Tournament
2001 (Columbus Regional)

Rice
Conference USA
31–29 (17–14)
Tournament
2016 (Baton Rouge Regional)

UIC
Horizon
39–15 (22–8)
Tournament
2008 (College Station Regional)

Yale
Ivy League
30–16 (16–4)
Championship Series
1993 (Central I Regional)

Marist
Metro Atlantic
32–21 (16–8)
Tournament
2009 (Tallahassee Regional)

Ohio
Mid-American
31–26 (13–11)
Tournament
2015 (Champaign Regional)

Bethune–Cookman
Mid–Eastern
33–23 (15–8)
Tournament
2016 (Gainesville Regional)

Dallas Baptist
Missouri Valley
40–19 (15–6)
Tournament
2016 (Lubbock Regional)

San Diego State
Mountain West
41–19 (20–10)
Tournament
2015 (Lake Elsinore Regional)

Central Connecticut
Northeast
36–20 (21–7)
Tournament
2010 (Tallahassee Regional)

Tennessee Tech
Ohio Valley
40–19 (23–7)
Tournament
2009 (Clemson Regional)

Oregon State
Pac–12
49–4 (27–3)
Regular Season
2015 (Dallas Regional)

Holy Cross
Patriot
23–25 (12–8)
Tournament
1978 (Northeast Regional)

LSU
Southeastern
43–17 (21–9)
Tournament
2016 (Baton Rouge Regional)

UNC Greensboro
Southern
35–22 (14–10)
Tournament
1997 (South I Regional)

Sam Houston
Southland
40–20 (19–11)
Tournament
2016 (Lafayette Regional)

Texas Southern
Southwestern Athletic
20–32 (14–10)
Tournament
2015 (College Station Regional)

Oral Roberts
Summit
42–14 (25–4)
Tournament
2016 (Fort Worth Regional)

South Alabama
Sun Belt
39–19 (22–8)
Tournament
2016 (Tallahassee Regional)

BYU
West Coast
37–19 (20–7)
Tournament
2002 (Los Angeles Regional)

Sacramento State
Western Athletic
32–27 (12–12)
Tournament
2014 (San Luis Obispo Regional)

text: By conference[edit]

text:
Conference
Total
Schools

SEC
8
Arkansas, Auburn, Florida, Kentucky, LSU, Mississippi State, Texas A&M, Vanderbilt

ACC
7
Clemson, Florida State, Louisville, North Carolina, NC State, Virginia, Wake Forest

Big 12
7
Baylor, Oklahoma, Oklahoma State, TCU, Texas, Texas Tech, West Virginia

Big Ten
5
Indiana, Iowa, Maryland, Michigan, Nebraska

Pac-12
4
Arizona, Oregon State, Stanford, UCLA

American
3
Houston, South Florida, UCF

Big East
2
St. John's, Xavier

Big West
2
Cal State Fullerton, Long Beach State

Conference USA
2
Rice, Southern Miss

Missouri Valley
2
Dallas Baptist, Missouri State

Southland
2
Sam Houston State, Southeastern Louisiana

America East
1
UMBC

Atlantic 10
1
Davidson

Atlantic Sun
1
Florida Gulf Coast

Big South
1
Radford

Colonial
1
Delaware

Horizon
1
UIC

Ivy
1
Yale

MAAC
1
Marist

Mid-American
1
Ohio

MEAC
1
Bethune-Cookman

Mountain West
1
San Diego State

NEC
1
Central Connecticut

Ohio Valley
1
Tennessee Tech

Patriot
1
Holy Cross

Southern
1
UNC Greensboro

Summit
1
Oral Roberts

Sun Belt
1
South Alabama

SWAC
1
Texas Southern

West Coast
1
BYU

WAC
1
Sacramento State

text: National seeds[edit]

text: The following eight teams automatically host a Super Regional if they advance to that round:

text:
Oregon State
North Carolina †
Florida
LSU
Texas Tech †
TCU
Louisville
Stanford †

tag: ol

text:
Bold indicates College World Series participant
† indicates teams that were eliminated in the Regional Tournament
‡ indicates teams that were eliminated in the Super Regional Tournament

text: Regionals and Super Regionals[edit]

text: Bold indicates winner. Seeds for regional tournaments indicate seeds within regional. Seeds for super regional tournaments indicate national seeds only.

text: Corvallis Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
Oregon State
8

4
Holy Cross
2

1
Oregon State
11

3
Yale
0

3
Yale
5

2
Nebraska
1

1
Oregon State
8
–

Corvallis Regional – Goss Stadium at Coleman Field

3
Yale
1
–

4
Holy Cross
7

2
Nebraska
4

4
Holy Cross
5

3
Yale
9

1
Oregon State
8
9
–

Vanderbilt
4
2
–

1
Clemson
5

4
UNC Greensboro
4

1
Clemson
4

2
Vanderbilt
9

3
St. John's
4

2
Vanderbilt
13

2
Vanderbilt
0
8

Clemson Regional – Doug Kingsmore Stadium

1
Clemson
6
0

4
UNC Greensboro
3

3
St. John's
1

4
UNC Greensboro
3

1
Clemson
6

text: Long Beach Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
Stanford
10

4
Sacramento State
0

1
Stanford
1

2
Cal State Fullerton
4

3
BYU
2

2
Cal State Fullerton
13

2
Cal State Fullerton
4
–

Stanford Regional – Klein Field at Sunken Diamond

1
Stanford
2
–

4
Sacramento State
1

3
BYU
6

3
BYU
1

1
Stanford
9

Cal State Fullerton
0
12
2

Long Beach State
3
0
1

1
Long Beach State
6

4
San Diego State
0

1
Long Beach State
3

2
Texas
512

3
UCLA
2

2
Texas
3

2
Texas
3
1

Long Beach Regional – Blair Field

1
Long Beach State
4
2

4
San Diego State
3

3
UCLA
213

4
San Diego State
4

1
Long Beach State
7

text: Tallahassee Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
Texas Tech
5

4
Delaware
2

1
Texas Tech
6

3
Sam Houston State
0

3
Sam Houston State
5

2
Arizona
4

1
Texas Tech
8
3

Lubbock Regional – Dan Law Field at Rip Griffin Park

3
Sam Houston State
9
4

4
Delaware
5

2
Arizona
612

2
Arizona
3

3
Sam Houston State
9

Sam Houston State
6
0
–

Florida State
7
19
–

1
Florida State
1

4
Tennessee Tech
3

4
Tennessee Tech
3

3
Auburn
5

3
Auburn
7

2
UCF
4

3
Auburn
7
0

Tallahassee Regional – Mike Martin Field at Dick Howser Stadium

1
Florida State
810
6

1
Florida State
6

2
UCF
1

1
Florida State
5

4
Tennessee Tech
3

text: Baton Rouge Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
LSU
15

4
Texas Southern
7

1
LSU
11

2
Southeastern Louisiana
6

3
Rice
6

2
Southeastern Louisiana
12

1
LSU
5
–

Baton Rouge Regional – Alex Box Stadium

3
Rice
0
–

4
Texas Southern
6

3
Rice
13

3
Rice
9

2
Southeastern Louisiana
5

4
LSU
4
14
–

Mississippi State
3
4
–

1
Southern Miss
8

4
UIC
7

1
Southern Miss
8

3
South Alabama
3

3
South Alabama
6

2
Mississippi State
3

1
Southern Miss
1
6

Hattiesburg Regional – Pete Taylor Park

2
Mississippi State
8
8

4
UIC
4

2
Mississippi State
5

2
Mississippi State
7

3
South Alabama
3

text: Gainesville Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
Florida
10

4
Marist
6

1
Florida
5

2
South Florida
112

3
Bethune-Cookman
1

2
South Florida
9

1
Florida
2
6

Gainesville Regional – Alfred A. McKethan Stadium

3
Bethune-Cookman
6
1

4
Marist
2

3
Bethune-Cookman
4

3
Bethune-Cookman
6

2
South Florida
4

3
Florida
2
6
3

Wake Forest
111
811
0

1
Wake Forest
11

4
UMBC
3

1
Wake Forest
4

2
West Virginia
3

3
Maryland
1

2
West Virginia
9

1
Wake Forest
12
–

Winston-Salem Regional – Gene Hooks Field at Wake Forest Baseball Park

2
West Virginia
8
–

4
UMBC
2

3
Maryland
16

3
Maryland
5

2
West Virginia
8

text: Fort Worth Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
TCU
9

4
Central Connecticut State
6

1
TCU
5

2
Virginia
1

3
Dallas Baptist
3

2
Virginia
6

1
TCU
15
–

Fort Worth Regional – Lupton Stadium

3
Dallas Baptist
3
–

4
Central Connecticut State
5

3
Dallas Baptist
6

3
Dallas Baptist
11

2
Virginia
8

6
TCU
3
8
–

Missouri State
2
1
–

1
Arkansas
3

4
Oral Roberts
0

1
Arkansas
4

2
Missouri State
5

3
Oklahoma State
5

2
Missouri State
6

2
Missouri State
10
3

Fayetteville Regional – Baum Stadium

1
Arkansas
11
2

4
Oral Roberts
14

3
Oklahoma State
6

4
Oral Roberts
3

1
Arkansas
4

text: Louisville Super Regional[edit]

text:
Regional

Regional

Regional Final

Super Regional

1
Louisville
11

4
Radford
6

1
Louisville
11

2
Oklahoma
1

3
Xavier
2

2
Oklahoma
7

1
Louisville
8
–

Louisville Regional – Jim Patterson Stadium

3
Xavier
7
–

4
Radford
1

3
Xavier
3

3
Xavier
11

2
Oklahoma
0

7
Louisville
5
6
–

Kentucky
2
2
–

1
Kentucky
6

4
Ohio
4

1
Kentucky
4

3
NC State
5

3
NC State
7

2
Indiana
612

3
NC State
6
5

Lexington Regional – Cliff Hagan Stadium

1
Kentucky
8
10

4
Ohio
2

2
Indiana
11

2
Indiana
9

1
Kentucky
14

text: College Station Super Regional[edit]

text: Hosted by Texas A&M at Olsen Field at Blue Bell Park

text:
Regional

Regional

Regional Final

Super Regional

1
North Carolina
4

4
Davidson
8

4
Davidson
2

2
Florida Gulf Coast
1

3
Michigan
6

2
Florida Gulf Coast
10

4
Davidson
2
–

Chapel Hill Regional – Boshamer Stadium

1
North Carolina
1
–

1
North Carolina
8

3
Michigan
1

1
North Carolina
10

2
Florida Gulf Coast
1

Davidson
6
6
–

Texas A&M
715
12
–

1
Houston
3

4
Iowa
6

4
Iowa
2

3
Texas A&M
3

3
Texas A&M
8

2
Baylor
5

3
Texas A&M
4
–

Houston Regional – Schroeder Park

1
Houston
3
–

1
Houston
17

2
Baylor
3

1
Houston
7

4
Iowa
5

text: College World Series[edit]

text: The College World Series is held at TD Ameritrade Park in Omaha, Nebraska.

text: Participants[edit]

text:
School
Conference
Record (Conference)
Head coach
Previous CWS appearances
CWS best finish
CWS W–L record

Cal State Fullerton
Big West
39–22 (15–9)
Vanderhook, RickRick Vanderhook
17
(last: 2015)
1st
(1979, 1984, 1995, 2004)
34–29

Florida
SEC
47–18 (21–9)
O'Sullivan, KevinKevin O'Sullivan
10
(last: 2016)
2nd
(2005, 2011)
14–21

Florida State
ACC
45–21 (14–14)
Martin, MikeMike Martin
21
(last: 2012)
2nd
(1970, 1986, 1999)
28–42

Louisville
ACC
52–10 (23–6)
McDonnell, DanDan McDonnell
03 !3
(last: 2014)
5th
(2007)
1–6

LSU
SEC
48–17 (21–9)
Mainieri, PaulPaul Mainieri
17 !17
(last: 2015)
1st
(1991, 1993, 1996, 1997, 2000, 2009)
36–24

Oregon State
Pac-12
54–4 (27–3)
Casey, PatPat Casey
05 !5
(last: 2013)
1st
(2006, 2007)
13–8

TCU
Big 12
47–16 (16–8)
Schlossnagle, JimJim Schlossnagle
04 !4
(last: 2016)
3rd
(2010, 2015, 2016)
8–8

Texas A&M
SEC
41–21 (16–14)
Childress, RobRob Childress
05 !5
(last: 2011)
5th
(1951, 1993)
2–10

text: Bracket[edit]

text: Seeds listed below (in the column before each team's name) indicate national seeds only

text:
First round

Second round

Semifinals

Championship series

1
Oregon State
6

Cal State Fullerton
5

1
Oregon State
13

4
LSU
1

Florida State
4

4
LSU
5

1
Oregon State
1
1

4
LSU
3
6

Cal State Fullerton
4

Florida State
6

Florida State
4

4
LSU
7

4
LSU
3
1
–

3
Florida
4
6
–

3
Florida
3

6
TCU
0

3
Florida
5

7
Louisville
1

7
Louisville
8

Texas A&M
4

3
Florida
2
3

6
TCU
9
0

6
TCU
4

Texas A&M
1

6
TCU
4

7
Louisville
3

text: Game results[edit]

text:
Date
Game
Winning team
Score
Losing team
Winning pitcher
Losing pitcher
Save
Notes

June 17
Game 1
Oregon State
6–5
Cal State Fullerton
Jake Mulholland (7–1)
Blake Workman (6–3)
Drew Rasmussen (2)

Game 2
LSU
5–4
Florida State
Jared Poché (11–3)
Tyler Holton (10–3)
Zack Hess (2)

June 18
Game 3
Louisville
8–4
Texas A&M
Brendan McKay (11–3)
Corbin Martin (7–4)
–

Game 4
Florida
3–0
TCU
Alex Faedo (8–2)
Jared Janczak (9–1)
Michael Byrne (17)

June 19
Game 5
Florida State
6–4
Cal State Fullerton
Chase Haney (3–2)
Jack Pabich (1–3)
Drew Carlton (7)
Cal State Fullerton eliminated

Game 6
Oregon State
13–1
LSU
Bryce Fehmel (6–2)
Eric Walker (8–2)
–

June 20
Game 7
TCU
4–1
Texas A&M
Brian Howard (12–3)
Stephen Kolek (4–5)
Sean Wymer (2)
Texas A&M eliminated

Game 8
Florida
5–1
Louisville
Brady Singer (8–5)
Kade McClure (8–4)
–

June 21
Game 9
LSU
7–4
Florida State
Jared Poché (12–3)
Cole Sands (6–4)
Zack Hess (3)
Florida State eliminated

June 22
Game 10
TCU
4–3
Louisville
Sean Wymer (6–4)
Nick Bennett (5–1)
–
Louisville eliminated

June 23
Game 11
LSU
3–1
Oregon State
Alex Lange (10–5)
Jake Thompson (14–1)
Zack Hess (4)

Game 12
TCU
9–2
Florida
Charles King (1–3)
Jackson Kowar (12–1)
–

June 24
Game 13
LSU
6–1
Oregon State
Caleb Gilbert (7–1)
Bryce Fehmel (6–3)
–
Oregon State eliminated

Game 14
Florida
3–0
TCU
Alex Faedo (9–2)
Jared Janczak (9–2)
Michael Byrne (18)
TCU eliminated

Finals

June 26
Game 1
Florida
4–3
LSU
Brady Singer (9–5)
Russell Reynolds (1–2)
Michael Byrne (19)

June 27
Game 2
Florida
6–1
LSU
Tyler Dyson (4–0)
Jared Poché (12–4)
Jackson Kowar (1)
Florida wins CWS

text: All-Tournament Team[edit]

text: The following players were members of the College World Series All-Tournament Team.[3]

text:
Position
Player
School

P
Alex Faedo
Florida

Brady Singer
Florida

1B
Drew Mendoza
Florida State

2B
Nick Madrigal
Oregon State

3B
Dylan Busby
Florida State

SS
Timmy Richards
Cal State Fullerton

C
Michael Papierski
LSU

OF
Antoine Duplantis
LSU

Austin Langworthy
Florida

Zach Watson
LSU

DH
Brendan McKay
Louisville

MOP
Alex Faedo
Florida

text: Final standings[edit]

text: Seeds listed below indicate national seeds only

text:
Place
School
Record

1st
No. 3 Florida
10–3

2nd
No. 4 LSU
9–3

3rd
No. 1 Oregon St
7–2

No. 6 TCU
8–2

5th
Florida State
7–3

No. 7 Louisville
6–2

7th
Cal State Fullerton
5–3

Texas A&M
5–2

9th
Davidson
3–2

Kentucky
4–3

Long Beach St.
5–3

Mississippi State
4–3

Missouri State
3–3

Sam Houston St.
4–3

Vanderbilt
3–3

Wake Forest
4–2

17th
Arkansas
3–2

Auburn
2–2

Bethune–Cookman
2–2

Clemson
3–2

Dallas Baptist
2–2

Houston
2–2

NC State
2–2

No. 2 North Carolina
2–2

Rice
2–2

Southern Miss
2–2

No. 8 Stanford
2–2

Texas
2–2

No. 5 Texas Tech
2–2

West Virginia
2–2

Xavier
2–2

Yale
2–2

33rd
Arizona
1–2

BYU
1–2

Florida Gulf Coast
1–2

Holy Cross
1–2

Indiana
1–2

Iowa
1–2

Maryland
1–2

Oklahoma
1–2

Oral Roberts
1–2

San Diego State
1–2

South Alabama
1–2

South Florida
1–2

Southeastern Louisiana
1–2

Tennessee Tech
1–2

UNC Greensboro
1–2

Virginia
1–2

49th
Baylor
0–2

Central Connecticut State
0–2

Delaware
0–2

Marist
0–2

Michigan
0–2

Nebraska
0–2

Ohio
0–2

Oklahoma State
0–2

Radford
0–2

Sacramento State
0–2

St. John's
0–2

Texas Southern
0–2

UCF
0–2

UCLA
0–2

UIC
0–2

UMBC
0–2

text: Record by conference[edit]

text:
Conference
# of Bids
Record
Win %
RF
SR
WS
NS
CS
NC

SEC
8
40–21
.656
8
6
3
2
2
1

Big 12
7
15–14
.517
4
1
1
1
0 !–
0 !–

Pac-12
4
10–8
.556
2
1
1
1
0 !–
0 !–

ACC
7
25–15
.625
6
3
2
0 !–
0 !–
0 !–

Big West
2
10–6
.625
2
2
1
0 !–
0 !–
0 !–

Missouri Valley
2
5–5
.500
2
1
0 !–
0 !–
0 !–
0 !–

Southland
2
5–5
.500
1
1
0 !–
0 !–
0 !–
0 !–

Atlantic 10
1
3–2
.600
1
1
0 !–
0 !–
0 !–
0 !–

Conference USA
2
4–4
.500
2
0 !–
0 !–
0 !–
0 !–
0 !–

American
3
3–6
.333
1
0 !–
0 !–
0 !–
0 !–
0 !–

Big East
2
2–4
.333
1
0 !–
0 !–
0 !–
0 !–
0 !–

Big Ten
5
3–10
.231
0 !–
0 !–
0 !–
0 !–
0 !–
0 !–

z !Other
0 !19
13–38
.255
0 !2
0 !–
0 !–
0 !–
0 !–
0 !–

text: The columns RF, SR, WS, NS, CS, and NC respectively stand for the Regional Finals, Super Regionals, College World Series Teams, National Semi-Finals, Championship Series, and National Champion.

text: Media coverage[edit]

text: Radio[edit]

text: NRG Media has once again contracted to provide nationwide radio coverage of the College World Series through its Omaha station KOZN, in association with Westwood One. It will once again be streamed at westwoodonesports.com, on TuneIn, and on SiriusXM. Kevin Kugler and John Bishop are contracted to call all games leading up to the Championship Series with Gary Sharp acting as the field reporter. The Championship Series will be called by Kugler and Scott Graham with Ted Emrich acting as field reporter.

text: Television[edit]

text: ESPN will carry every game from the Regionals, Super Regionals, and College World Series across its networks. During the Regionals and Super Regionals ESPN will once again offer a dedicated channel, ESPN Bases Loaded (carried in the same channel allotments as its "Goal Line" and "Buzzer Beater" services for football and basketball), which will carry live look-ins and analysis across all games in progress.

text: Broadcast assignments[edit]

text:
Regionals[4]

Steve Lenox and JT Snow: Stanford, California
Jason Benetti and Todd Walker: Tallahassee, Florida
Anish Shroff and Jay Walker: Lexington, Kentucky
Roy Philpott and Rusty Ensor: Clemson, South Carolina
Jim Barbar and JP Arencibia: Chapel Hill, North Carolina
Mike Morgan and Nick Belmonte: Gainesville, Florida
Richard Cross and David Dellucci: Hattiesburg, Mississippi
Tom Hart and Chris Burke: Louisville, Kentucky

Super Regionals[5]

Tom Hart, Kyle Peterson, Chris Burke, and Laura Rutledge: Louisville, Kentucky
Mike Morgan and Jay Walker: College Station, Texas
Anish Shroff and Gabe Gross: Long Beach, California
Jason Benetti and Mike Rooney: Corvallis, Oregon

College World Series[6]

Tom Hart, Chris Burke, Ben McDonald, and Mike Rooney: Afternoons, Wed night
Karl Ravech, Eduardo Pérez, Kyle Peterson, and Laura Rutledge: Evenings minus Wed

Regionals[4]

Doug Sherman and John Gregory: Winston-Salem, North Carolina
Trey Bender and Jerry Kindall: Lubbock, Texas
Lowell Galindo and Keith Moreland: Houston, Texas
Alex Perlman and Lance Cormier: Fayetteville, Arkansas
Dave Neal and Ben McDonald: Baton Rouge, Louisiana
Mike Couzens and Greg Swindell: Fort Worth, Texas
Roxy Bernstein and Wes Clements: Corvallis, Oregon
Clay Matvick and Kyle Peterson: Long Beach, California

Super Regionals[5]

Clay Matvick and Eduardo Pérez: Tallahassee, Florida
Dari Nowkhah and Carlos Peña: Gainesville, Florida
Lowell Galindo and Keith Moreland: Fort Worth, Texas
Dave Neal and Ben McDonald: Baton Rouge, Louisiana

College World Series Championship Series[6]

Karl Ravech, Eduardo Pérez, Kyle Peterson, and Laura Rutledge


document_title: Dil Sambhal Jaa Zara

question_text: rehan real name in dil sambhal ja zara serial

text: Dil Sambhal Jaa Zara

text: Synopsis[edit]

text: It’s a story about a married couple with an age gap of 20 years. Ahana was always loved by her father. Her mother Laila Raichand is a sly, ambitious, greedy woman who cheated on her husband. Ahana’s father dies of shock taking his wife's betrayal too hard. Ahana witnesses their argument hereby developing an intense hatred for her mother. Ahana, frustrated at her life at home after her father's death, finds solace in Anant Mathur, a friend of her dad. Saloni, Ahana's elder sister is about to be married to her sweetheart Tarun. Tarun's father, Mr Gupta is not keen on letting them get married since he is aware of Laila's gold-digging tendencies. He wants Saloni to sign a prenup. When Laila finds out she is infuriated and wants to cancel the wedding. The plot twist comes in the form of Saloni's pregnancy. Laila agrees to the wedding on the condition that Tarun provides 3 crore rupees to her. Tarun and Saloni get married. Meanwhile, Laila sets her eyes on marrying Anant Mathur as he is a rich businessman in order to pay off her debts and increase her social status. But Anant proposes to Ahana and they decide to get married. Rehaan convinces Roshni, Anant's daughter to give her blessings. Anant goes to Laila to ask for Ahana's hand in marriage to him. Laila is furious. She agrees to the marriage and puts forward a condition to Anant. As the story continues Ahana and Anant face many obstacles in their marriage due to the age difference, society, rivalry and family. Rehaan begins to fall for Ahana, while simultaneously learning that she married Anant just to defy and insult her mother for revenge. As he loves Anant who is like a father-figure to him, he doesn't want to see him cheated and tells Anant that Ahana didn't actually love him, not realizing that Ahana truly loves Anant and revenge against her mother was a bonus. On revealing her supposed intentions, it is not taken up well by Anant at first, which leads Rehaan to leave the house. Later being asked for answers, Ahana reveals the initial reason behind the marriage before Anant that shatters him. Misunderstandings brew up. Soon after, Ahana gets pregnant. Elated, she tries to reveal this to Anant. In a series of misunderstandings and the growing distance between them, she is forced to take up the decision of aborting her unborn child. Laila is left broke by Gupta, she has an accident. Rehaan realizes his mistakes. After knowing the abortion bit, Anand again hates Ahana. Rehaan asks for ahana's forgiveness. She forgives him soon after and is taken care of by him. He supports her through the hard times and they go for a Goa trip. Rehaan and Ahana grow closer during the trip. Meanwhile, Anant realizes his mistake and wants to give a second chance to their marriage. Laila gets discharged and is brought home by Anant. She notices Ahana behave weirdly and asks her about her closeness with Rehaan. Ahana struggles to get Rehaan off her mind. She realizes that she actually loves Rehaan and not Anant after getting taunted by Laila that she's turning up to be just like her mother. A frustrated Ahana tries to keep a distance from Rehaan but ends up having more troubles. Rehaan breaks up with Vyoma, his girlfriend. A scorned Vyoma writes a letter to let Anant know about the supposed brewing closeness of Rehaan and Ahana. But Laila rewrites the letter describing Rehaan's relationship with Vyoma. But Roshni misplaces the original letter in order to create trouble between the two. The show ends abruptly with Anant reading the letter and screaming at Rehaan and Ahana asking if what's written is true.

text: Cast[edit]

text:
Actor
Role
Description

Sanjay Kapoor[5]
Anant Mathur [6]
Ahana's husband and her father's friend. He loves Ahana but misunderstandings ruin their relationship.

Smriti Kalra
Ahana Mathur
Laila Raichand's daughter and Anant Mathur’s wife.

Aashim Gulati
Rehan Khanna
Anant's friend’s son and Saloni's ex-boyfriend. He loves Ahaana.

Niki Aneja Walia
Laila Raichand
Saloni and Ahana's mother. A greedy woman who cheats her husband and earlier wanted to marry Anant for money.

Cheshtha Bhagat
Saloni Gupta (Raichand)
Laila Raichand's daughter and Tarun's wife. She loved Rehaan earlier.

Puneet Sharma
Tarun Gupta
Saloni’s husband.

Indraneel Bhattacharya
Mahendra Gupta
Tarun's father and Laila Raichand's business rival.

Beena Banerjee
Reema
Anant's elder sister

Anandita Pagnis
Roshni Mathur
Anant’s daughter. She hates Ahana and creates trouble between Anant and Ahana.

Kriish Wawa
Aarav Mathur
Anant's son

Bidisha Ghosh Sharma
Yamini
Roshni and Aarav's nanny and Massi. She loves Anant secretly.

Naveen Pandita
Karan
Driver at Anant’s house. He was orphaned at the age of six so when Anant found him, he brought him home and raised him along with Roshni. He is in love with Roshni and would go to any length to keep her happy.

Geet Sharma
Kavita
Servant at Anant's house Hiralal and Uma's daughter. Loves Karan. A greedy girl who hates Roshni

Nakuul Mehta
Shivaay Singh Oberoi
Ahana's Friend. (Cameo)

Surbhi Chandna
Anika Shivaay Singh Oberoi
Ahana's Friend. (Cameo)

text: Soundtrack[edit]

text: Harish Sagane had composed the original songs and background score for the show. The tracks become an instant hit among viewers.

text:
Track list

No.
Title
Vocalist
Length

1.
"Jeene Bhi De"
Yasser Desai
6:31

2.
"Ae Dil Na Kar Tu Chahate"
Soham Naik
3:33