Upcoming “Beautiful Horror Movie” to demonstrate the capabilities of the Nikon D800

Nikon Attracts Hollywood Talent for its "Beautiful Horror Movie" Program

Director Guillermo Arriaga and Cinematographer Janusz Kaminski Create Short Horror Film with the D800 and NIKKOR Lenses

MELVILLE, N.Y. – Today, Nikon Inc. announced the launch of its “Beautiful Horror Movie,” a challenge posed to two of the world’s top filmmakers to define the moment when striking  cinematography  and terror converge. Designed as a project to demonstrate capabilities of the Nikon D800 HD-SLR camera, world-class writer/director Guillermo Arriaga and award-winning cinematographer Janusz Kaminski will direct and capture a short film, combining the darkness and suspense of a horror film with the elegance and beauty of high-caliber cinematography.The film, entitled “Broken Night,” will be officially released in early December, 2012, however fans can access exclusive behind the scenes content leading up to the release on “The Beautiful Horror Movie” Tumblr page at www.brokennightmovie.com.

“To tell a story visually is one kind of challenge,” said Guillermo Arriaga, director. “Making it look stunning is another… For beauty and horror to come together is the thrill of Broken Night.”

About the Filmmakers

Guillermo Arriaga is a Mexican born author, screenwriter, director and producer. Self-defined as “a hunter who works as a writer,” Arriaga, known for his use of non-linear storytelling, authored critically acclaimed films such as Amores PerrosBabel and The Burning Plain, while receiving a BAFTA Best Screenplay nomination for 21 Grams and a 2005 Cannes Best Screenplay Award for The Three Burials of Melquiades Estrada.

Janusz Kaminski is one of the most recognizable names in modern cinematography today. Kaminski has been nominated for the Academy Award five times to date, winning the award twice. Highlights include the powerful historic drama Schindler’s List, and Amistad, for which he received an Academy Award nomination. He next lensed Saving Private Ryan, for which he won his second Academy Award. After a pair of serious sci-fi offerings, Artificial Intelligence: AI and Minority Report, Kaminski moved to more light-hearted fare, Catch Me If You Can andThe Terminal. Kaminski returned to epic science fiction with War of the Worlds. The Academy Award-nominated Munich followed.

Kaminski also lensed the critically acclaimed film The Diving Bell and the Butterfly for which he received his fourth Academy Award nomination. In addition to the Oscar, Kaminski received a Grand Prize at Cannes Film Festival, and the film was nominated for the Golden Palm.  Next, Janusz shot War Horse. The film was nominated for several Oscars, including Best Picture, and also garnered Kaminski with his fifth Academy Award nomination. Kaminski’s latest film, Lincoln, a biographical portrait of the United States’ 16th president starring Daniel Day Lewis, has just released.

Working at high elevation to recreate a horrific yet perfectly captured car accident requires a different kind of technical know-how. Discover the technical considerations that went into creating a truly terrifying moment. See more about "Broken Night" here: http://brokennightmovie.com/

How do you create a moment as terrifying as it is beautiful? It all starts with the right location. Join Janusz Kaminski and Guillermo Arriaga as they find the perfect setting for Broken Night. See more great content for Broken Night here: http://brokennightmovie.com/

Janusz Kaminski talks about the Broken Night project and the horror genre and answers some burning questions. For more great content, visit: brokennightmovie.com

From car wrecks to the coexistence of beauty and horror, renowned writer/director Guillermo Arriaga answers some burning questions. See more great content here: brokennightmovie.com

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  • Paul

    Not a lot to go on here. Looking forward to seeing an actual trailer.

  • Maji

    I am glad that the great film makers are getting more comfortable with using dSLRs for film making. Nikon surely hit a home run here.

    • fjfjjj

      Why are you glad that film makers are switching to DSLRs? Do you own a lot of Canon or Nikon shares or something? Why do you think that Nikon hit a home run? I see no evidence of this, yet.

      • I don’t know about Maji’s on about but since now every soccerdad/MWAC/dpreview-type has a DSLR capable of Hollywood-quality video, movie studios will need to come up with something better to give their movies enough of an edge. Not saying people’s home videos of kids running around is an alternative to watching a movie (bet it is for some God forbid) but things like shallow DOF and available light scenes done at night are pretty common now. Few years back camcorders couldn’t do these and even a non-expert could easily spot the image quality differences between a big budget production and a homemade movie.

  • LastManStanding

    This could become a nice thing. Nikon Theaters and or Nikon Movie Studio. Imagine Nikon opening up Theater stores in essence of an Apple store, but in dark ambient tones. A 4k projection in the back for showing off features or promos. High End Displays, Camera Gear, Lighting gear, Apple gear, Guest speakers, coffee bar, rooms to do shoots in.

    Shit never mind, I just described some of the good Studio spaces! Hell it would probably work for the average consumer. You’re welcome to whomever take this idea and makes it our future Best Buy. The rest of the ideas for it stay on my iPad until further notice.

    • fjfjjj

      Sounds like a great company losing its focus. Please, no.

      • zoetmb

        There’s nothing wrong with his idea other than it shouldn’t just be for Nikon videos – it should be for all types of Nikon photography. Years, ago, Nikon had a showroom in Manhattan in several different locations. They didn’t sell anything at the store – they just provided demos and had exhibition space for photographers. It was a very classy operation and did much to promote the Nikon brand in the United States.

        I think a Nikon store modeled on an Apple store – with a wide variety of equipment that can be tried out and demonstrated, free courses and demos and exhibition areas for photographers and videographers would be great. The only problem is that like Apple, everything would sell for list price. Nikon would never discount their own products. Also, they’d be competing with their dealers (so maybe it should be like it was last time – no sales at the “store”).

  • Looks to me like Nikon is really trying to push the D800 for cinema use.

    • LastManStanding

      I don’t know why they just don’t manufacture one specifically for cinema use. I’d bet there would plenty of love for something like this in the Nikon community and beyond. I for sure would stretch a smile and find a way to get one. And since this is what is starting to be craved, I’m sure a product like this may already be in the works. Shall we say sometime by 2020 they will have a consumer friendly Video Camera that takes stills. As opposed to a Camera that takes Videos.

      • Fifi

        I’ve heard they’re developing a dedicated broadcast camera. A real one, not just a consumer little thingy. Can’t wait!

      • I’d be surprised if Nikon doesn’t take a look around what else is out there on the market. When it comes to cinema usage, the Black Magic camera is serious competition for DSLRs. Qualitywise, neither Nikon, Canon nor Sony is anywhere near it in the same price range. Since Nikon seems serious about making DSLRs for video/cinema use, I bet they’ll take notice of the BMC for upcoming cameras…

        • Fifi

          You’re mixing apples and potatoes! Black Magic is supposed to be cinema camera and DSLRs are supposed to be primarily still cameras with some video capabilities. Or did I get something wrong? Besides, they’re not on the market yet…

          • Kyle Farris

            I’d say the higher-end DSLRs (5DMIII, D800, etc..) are equally as good at videography as they are at photography for what it’s worth. D800 takes better stills than video but that’s not my point. To shoot a 120fps raw video at 36MP is pretty much beyond our current technology… Do the math: ~75MB per photo * 120fps = 9GB/second… No practical storage medium we have is that fast and it would take 32.4TB for a 2hr movie.

            There are features on DSLRs that are specific to video… not just a sidecar bit of software… For instance, uncompressed HDMI out has no real use in photography… nor does Mic and Headphone jacks. Sony has transparent mirrors. Canon has made their scrolly-thing on the back touch sensitive as to not create unwanted noise while recording. Video is actively thought about on these cameras, not just added on as a “ohhh look at that toy” feature. I make a living using them for video–I guess that makes them pro in one sense of the word. 🙂

            DSLRs are still not as good as an Arri Alexa, but, we’re talking about $3,500 vs $100,000. It’d be like comparing a disposable film camera with a D800E–ridiculous…. But, you know what? A good photographer can still make a great photograph with a POS camera (in a well-lit studio environment). Gear isn’t everything but if you have the money, it definitely helps give you more flexibility. If you have controls in place, flexibility becomes less important, though.

            • Fifi

              Good math! Now cameras use 12 bit raw, next generation will have 16! That even adds to the math. Imagine editing a documentary with 50 hours of footage, haha! Ridiculous numbers!
              You’re totally right! Some features are there specifically for video.
              I think DSLRs will never be as good in video as dedicated cameras in some areas. I’m not talking about picture quality but more about ergonomics and user-friendliness. On today’s DSLRs you can shoot almost everything you can on cinema camera. But it’s easier and faster (hence cheaper) to shoot with cinema camera. Again, depends what you’re shooting. For some things I don’t mind shooting on DSLR but for things where time is of the essence and when I have to react quickly or it involves quality sound I choose cinema (or video) camera without thinking once.
              I completely agree with you, equipment doesn’t make you a pro, there would be millions of pros, based on numbers of cameras sold. You reminded me of something: I’ve shot some of my best photos on Zenit! Gear is just a tool, knowledge comes first.
              Difference in price seems to be huge at first glance, but when you analyze it, Alexa can be much cheaper in a long run. Again, depends what you’re shooting! Drama series, for instance. Total costs are easily $3,000-5,000 per hour and you save half an hour a day with cinema camera for sure. And multiply that with 100 days. When you do the math, cameras are not so expensive any more.

            • neversink

              Great debate.

              1. Agree that DSLRs are primarily still cameras. However, that is evolving rapidly. And we have seen a number of creative and well-produced videos from DSLRs. I don’t think we will ever see a DSLR produced without video capabilities in the future.

              2. Agree that given the cost of a film shoot, the cost of the camera is minor

              3. I still think a small Sony video can produce better results than a DSLR. More depth of field, better slo-mo capabilities. At the same time, there is a certain quality to DSLR videos that are more luxurious (a very subjective statement.)

              4. With a DSLR one needs to add many features in order to get a “pro-video” broadcast quality look and feel. Whatever the hell “broadcast quality” is.

              5. The great thing about DSLR video is the large sensor at a reasonably cheap price. Personally, I think the D800 does a superb job, as long as you have enough light and keep the ISO reasonable. I am sure this is probably true with the D4, but I haven’t yet tested video on that. The large sensor combined with the longer focal length lenses of DSLR gives that creamy film-like appearance that video cameras tend to lack.

              I am primarily a still photographer. In the 1980s I worked for three major motion picture companies in various capacities from film photographer to still photographer to back room editing with a razor and tape and then became a bureaucrat which I hated, and left the industry to pursue a full-time career in still photography. I get requests (on ocassion) to back up my shoots with video. I use my D800 for that, although I also have a D4 which I haven’t yet tried the video out, although I have read differing opinions. The only advantage HD video has over film is the cost of post production, printing of film reels and distribution. Otherwise, I still believe film is superior to video, but it certainly is much more expensive and going the way of the dinosaur.

            • Vin

              I believe films in 35mm are going the way of archival, or super big budget, or purists. Canon has been attaching there 35mm af lenses to there video cameras and digital cameras for quite some time not even accounting for the shift to using 35mm and Nikon and Canon SLR’s and DSLR’s for film TV, and specialized special effects. I believe the Matrix was shoot using many F4, or F5’s then the film was digitized. I do not remember the exact details.

              I sure we will see another high end Nikon digital HD camera sooner then later. I am also wondering if the one of the DX cameras that is priced above the D5200 will be styled much more at motion picture recording in the $1500-$2000 price.

            • Vin

              The D800 is deffinatly a superior still image recording tool, It is also a advance digital videographers camera too, but I do not think that its main focus was for broadcast or theater recording. It can deffinatly do the job, but even though we see these dual propose DSLR’s I think at the highest of processing abillity, their sensors and processing needs to still be aimed at one or the other to achieve the best results out of your equipment.

          • Remember that rumoured aps-c mirrorless mount? Such a mount would make a lot of sense if Nikon wants to create a camera to get a piece of the video market…

    • enter into the dslr video world, the entire support industry is built around canon’s 5d. nikon is late, and maybe too late.

      • stormwatch

        Sorry but you talking bullshit, D800 is better video machine even than the MKIII but the ultimate one which is comparable in size and the price is Black Magic Cinema camera. Of course you did not use all of those 3 in the real world and don’t know what talking about.

        • The D800 is dog shit for video! Anything above ISO1600 and its worse than my 4 year old Panasonic HMC150! Wish Nikon had a clue and put decent features in to make it as good as or better than the 5d3. Zebra, peaking, auto gain in M mode instead of only A, selectable fstop in A mode instead of locking etc etc. Love my D800 for the images it makes but video is a joke unless in good light.

          • stormwatch

            Tell me please mr “Moviemaker” which serious feature film is done without a proper EXPENSIVE professional lightning? We’re speaking about the CINEMA production and not some experimental student movie shorts. For a good film you need a much better DP, without a pro DP you can use whatever you want and will still get shitty results, let’s finally distinguish the difference between the PRO movie making and a “wannabe without lights and stuff only with my powerful low light DSLR filmmaker”.

            • Fifi

              Agree with you totally! Lightning seems to be expensive but it is necessary. It’s a common misconception nowadays that video and film production would be 5-10 cheaper, well, DSLRs are 5-10 times cheaper than decent cameras, right?
              But here they are wrong. Well, camera is cheaper, but that’s about it. You still need lightning, grip department, set, actors…. But if you shoot a serious project it’s much cheaper to shoot it on a 100 000$ Alexa. About ISO: I prefere to stay below 800. The lower, the better.

          • Kyle Farris

            Most movies are professionally lit by a DOP. Believe it or not, most movies’ cameras never get past ISO 800 since a lot of the old-school DOPs learned on Film. It’s easy to add another light in a studio setting and usually desirable to d so.

            • stormwatch

              Right, and everything above ISO 1250 on any DSLR is completely useless for a PRO movie production.

            • Fifi

              It’s not because they learned to do their job on film. If you want do deliver a decent product you have to add some light anyway, not so much because of lightning but because of modeling the light.

          • Fifi

            Well, last time I checked, HMC150 was a video camera and as such it should be better in video department. Why is everybody forgetting what DSLRs are for? They are primarily still cameras with pretty decent video capabilities or did I get something wrong? You can’t get the best of two worlds in such a small package. It would be little difficult to go to Indy 500 in a delivery van. Let’s get real!

        • Fifi

          Black Magic is still not tested enough. It has some potential, but let’s wait and see. I hope there too many problems like with RedOne which took 3-4 years to resolve. And there are still some problems. I like the size so it could be nice for some specialist things but at the same time lacks ergonomics and dedicated buttons and switches due to it’s small size. And you need a rig to be able to work with it, but a decent rig kosts much more than camera itself. Let’s wait and see. I wish them well

          • stormwatch

            Why do you hope there are too many problems like with the RedOne? Anyway, there is no PRO video production with only a DSLR in your hands. Those nice little toys are really handy and cheap but having gripped one of them doesn’t automatically mean that you are a a pro. For any kind of a PRO production picturewise you would need a talented Scriptwriter, Director, DoP, CO and 1st AC, and on top of everything a proper RIG, rig for a PRO production, you cannot go PRO with DSLR and a box with 30 LED lights attached on flash shoe.

            • Fifi

              Totally agree with you! I just hope they will be able to resolve the problems before they hit the market. Being new player on this field I really hope they took the time so sort things out. What surprises me a little is lack of SMPTE time code, it would make post production much easier. In near future I can see this camera as a nice ‘B’ camera and also for some assignments where size and weight is at premium.

            • Kyle Farris

              Depends on the effect you’re going for. 😉

    • zoetmb

      No, not for pro-cinema. Not even close. Neither is Canon. I think Nikon and Canon realize that. This is for enthusiasts, amateurs and independent filmmakers who don’t have the money to rent decent video equipment.

    • Stanley

      yes nikon is trying too get the video crowd interested in their d800 because the still shooters don’t want to waste their money on a POS that doesn’t … no make that can’t shoot images in focus.

  • Up $#!t’s creek!

    is it going to be a documentary on the brown d3200 and the v2?

  • btdown

    do not care..call me back when we can tape over 20-30 minutes consecutively..Until then, it’s still novelty video.

    • If you’re “taping” over 30 minutes at a time, your movies must be real snoozers.

      • Nikon Shooter

        Lol, I agree. Just watch any film and see how long each shot is. You’ll be hard-pressed to find one that’s longer than five minutes. Unless you are trying to do surveillance in a convenience store with your DSLR I don’t see the problem.

        • Fifi

          My thoughts, exactly! And reading discussions I’ve come to a conclusion that video has become primary function of DSLRs. What happened to good old stills?

      • umeshrw

        It is not only movies. People also shoot interviews, seminars etc.

    • Fifi

      How often do you need to shoot more than 30 min????? If you want to do some serious filming buy external recorder and then shoot 2 days in one take, or, better, buy yourself a video camera-it’s easier and faster!

    • Plug in an external HDMI recorder to the D800. Then your only limit is your batteries. The Atomos Ninja doesn’t add that much to a serious filming rig, since it doubles as a monitor: http://www.atomos.com/ninja/

      • gsum

        A very interesting gizmo but what a shame that they’ve tied into Apple.

        • neversink

          Why is that such a shame??? Would it not be a shame if they tied it into Windows??? More nonesense…

          • gsum

            Because Windoze has about 95% of the market. I thought the point was so obvious that I didn’t need to spell it out.

        • It’s not only tied to Apple. Apple ProRes is a format developed by Apple yes, but that can be edited in Adobe Premiere on Windows as well.

  • bart

    You forgot to write that mr. Kaminski is from Poland 🙂 and we are very proud of that.

  • n11

    I was hoping to see at least a clip or two from the actual movie.
    I’ll be sure to check it out, as I love my D800 very much and the photos is produces.
    I’ll be honest and frank when I say the MKIII is better in terms of video though. Better ISO at higher levels, and nearly no moire are pretty much the deciding factors : (

    • Anonymous

      It is kind of bare, isn’t it?

  • what’s the best software to transcode the d800 output to an editable state for FCP and/or Adobe Premier on Mac?

    • umeshrw

      D800 output is .mov. You do not need to convert it. I work on raw video in premiere.

      • thanks umeshrw .. and for fcp, anyone?

        • Kyle Farris

          You don’t need to convert the native format from the D800 to edit it smoothly in FCPX. Hell, you can stream 16 at a time at full speed for multicam editing (FCPX is VERY fast).

          You CAN convert it to ProRes 422 if you really want to take up 4-6x more space on your storage devices–no real benefit, though. If you’re recording to a Ninja or something and you will be editing in FCPX, it’s best to record right to ProRes as it is less compressed than the D800’s native H.264.

          • ah, thanks … thought i had to get it into prores 422 .. onwards

  • d800e_is_finally_here

    I think while D800/E got decent 30p or 24p movie capability Nikon really missed the boat by not implementing 1080/60p. The D800/E would be close to perfect if they do so.

    Nowadays even a $450 camcorder from Sony can do 1080/60p. But I do hear a Sony exec saying that this 36mp sensor from Sony cannot do 60p – that’s why A99 is 24MP instead.

  • Lockon

    Perhaps they should concentrate on making a DSLR that can take faster *pictures* instead of movies… get a movie camera for that. My D800 is relegated to static photos and slide duplication… it is useless for the type of photography I do. I knew that when I got it, but what choice did i have to replace my D200? turns out it was a used D300… far far faster, great image quality and far fewer blurry shots. D400, where are you?

    • neversink

      That is ridiculous. What is the type of photography you do??? I use the D800, along with the D4, for all sorts of action shots. I have not had any problems shooting sports, or street photography, or journalistic events with the D800. I know people who use it for wildlife photography also. If you don’t know how in the world to use this wonderful camera, why did you purchase it???? I can’t believe their are people who still think the D800 is only for taking static pics on a tripod!! What nonsense!!!!

    • F100 action

      And the fun thing is that an F100 is far far faster than D300

      • Fifi

        Not to mention F5 or F6!

  • Spy Black

    I think it’s only a matter of time before Nikon puts out a movie camera, but I wonder if they’ll proceed to “cripple” DSLR video capability the way Canon is now doing since they put out their new video cameras. We’ll see.

  • Fiatlux

    Hopefully they will come up with something interesting but they set our expectations very, very high. I’m ready to be disappointed 😉

    And is it me or those video clips and trailer look very amateurish?

  • Rob

    Nice aliasing on the middle yellow line, Im sorry but thats not cinematic and Nikon needs to know they didnt hit the bar…not even close. Ive tried everything to get usable footage…well up to my standards in the industry and its not possible.

    I have the D4, Ive shot at 2.7 crop using a Hyperdeck shuttle 2 recording uncompressed 10bit quicktimes and you get banding from heavy CC. Try pulling a key on some hair detail..not going to happen.

    I really wanted an all in one camera that I could take with me to set and shoot still, elements and plates with but no. Truth is I should have waited and bought the D800 for stills and the BMCC for video but now Im stuck with the expensive d4 that no one wants to buy off me.

    • neversink

      There are plenty of people who will buy the D4 off you. They are being sold everyday used on ebay.

  • equus

    so does the film have a green shift problem?
    if not, how did they fix it?
    about ISO noise, 5D Mark III’s ISO 51200 is equal to D800’s ISO6400. I wonder why they took D800 for film use except for promotion purpose.

    • Fifi

      LCD has green shift problem, not the chip or processor, it has nothing to do with footage

    • umeshrw

      I don’t believe that any good filmmaker would use such high iso for serious filmmaking. Btw according to comparisons , 5d3 video exposures are 1 stop under compared to D800.

      • For you the world must be so simple… “if a filmmaker uses a high sensitivity it must be because they’re lazy and bad”.

    • JR

      Newsflash you douche, no professional uses such stupid ISOs for filming. The set’s are professionally lit. Idiot!

      • If anything’s equus is not the idiot because he(/she/it) is thinking in ways to maximise the strengths of new equipment… so it’s the professional videographers who are the morons who still follow old ways to do things when there’s room for more possibilities. And you’re an even bigger idiot not to see that.

  • ssrdd

    why did anybody waste their time on this 24mbps + moire + aliasing shit video to make something. its already proven…

  • Thomas

    D800 is wonderful camera in my opinion. I have it. So far I see D800 samples onine mostly videos of cats and dogs with those budding DSLR video shooters and many of their comments they make without knowing how to use this wonderful camera properly. I saw on Vimeo few pro film makers doing good videos and commercials from D800. If you use Nikon recommended glasses for D800 you will find your D800 another fantastic camera. I never use 50mm with D800 as Nikon says, but try using primes or 24-70 or 85, And Dont approach D800 with the setting of D700, I had D700. On D700 things were easy. On D800 you should explore in detail how to get the best out of this camera. You will see the result. Once those film makers start using D800s you will see these comments will turn positives:)

  • lox

    According to the trailer it is a ripoff of David Lynch’s “Lost Highway”. But I am looking forward to see it.

  • Greg

    For all the people that argue that the D800 and 5D3 are the same at ISO performance, please stop dreaming. I know there’s an exposure difference between the two, but the noise that the D800 puts out is horrendous. Also, people keep on talking about film makers not using such ISO’s. True, but I film weddings and the 5D3 is a WORKHORSE and can be trusted in almost any lighting situation. Nothing wrong with the D800 at all. I think it’s a great camera, just bothered when people act like there’s no difference. http://www.youtube.com/watch?v=lIKcfKhE-ew

    • In video yes the 5D3 is clearly better. For high ISOs in stills, the difference is not that clear.

  • Stanley

    What A Joke….this should be a documentary not a hokey-pokey PR hokes trying to sell the d800 as a video camera, and the real title of this should be; “What A Horror It Is To Own A d800”, since they can’t shoot anything in focus!! And yes, I had 3 of these that couldn’t shoot anything in focus! Sent them all back to point of purchase for a full refund. But then again if nikon wanted to PAY ME to present their POS d800 as a grand evaluational wounder, the next best thing since pre-sliced bread and beer in a can, then hell, I can be bought off too…sign the check nikon and I’m on board!! But then come to think about it. Since the d800 can’t shoot stills in-focus and it has video capability, then nikon might as well try to suck that crowd into buying up their POS product. I got to ask, has anyone been able to get an in-focus video out of one of these? Because there’s a long line behind me and an even longer line in-front of me, of still shooters, that can’t get the damn thing to shoot any stills in-focus!

    • mine has great auto focus…besides it might be your technique or lenses that need a.f calibrating.. (And I’m mainly a canon user..)

      • Stanley

        AAAAAAAAAAAAAAAAAAAAAAAAA wrong !!! Giggle Bing nikon auto focus issues and you will see that many of the d800’s and other nikon products are defective as they can’t focus properly. Also go back in the archives of nikon rumors and you will read the same. If yours works then good for you unless you don’t notice that YOURs is also defective? Could be you can’t tell. My lenses all work great with my d1’s d2’s and d3’s. So ta’nt me or any of mine!!!

        • Lcky

          “Giggle bing” added to the “archives”

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