Sony DVD Architect PRO 5.2.135 Portable
Velva Non
Additionally, I take along the Distagon T* FE 35mm f/1.4 ZA, FE 24-70mm f/2.8 GM for architectural shots when a T/S is not necessary. The FE 70-200mm f/2.8 GM OSS is perfect for out the window view images and scene-setting images of the surrounding environment or for photographing people in an architectural environment when I need to add a little bokeh to the mix. And finally, the FE 90mm f/2.8 Macro G OSS [tack sharp wide open at f/2.8,] with very pleasing bokeh, is stellar for architectural and design detail shots.
Single Shot for architectural settings, interior and exteriors. There is no need to over shoot at a higher frame rate. Drive mode can be accessed one of two ways: Camera icon > 2 > Scroll down to Drive Mode, or through the Fn button on the back of the camera.
step 1) drag a bunch of video clips to dvd architect and author the blu-ray dvd from there; dvd architect produces a blu-ray .iso file (it apparently won't let you choose to create the /bdmv etc files separately), in this case 24 gigs
now what? I tried using dvd architect's burn feature to burn to a blu ray, but it wouldn't play, either in my ps3 on the tv, or using powerdvd on the pc... it just loads up the root menu, but won't work from there, just crashes
Hi - thanks. Seems odd, using Sony DVD Architect to author a blu-ray dvd, it will only output to .iso, which means then I need to unpack the iso (or do a virtual mount and extract 24 gigs of stuff, which'll take a long time), then burn to blu ray w/imgburn. Appreciate the tip... let me know if any easier way to use sony dvd architect to author blu-ray, using imgburn... seems like it has to be an easier method, I've been working on this dang blu ray all week
550 Madison Avenue (also 550 Madison; formerly known as the Sony Tower, Sony Plaza, and AT&T Building) is a postmodern skyscraper on Madison Avenue between 55th and 56th Streets in the Midtown Manhattan neighborhood of New York City. Designed by Philip Johnson and John Burgee with associate architect Simmons Architects, the building is a 647-foot-tall (197-meter), 37-story office tower with a facade made of pink granite. It was completed in 1984 as the headquarters of AT&T and later became the American headquarters of Sony. A four-story granite annex to the west was demolished and replaced with a shorter annex in the early 2020s.
550 Madison Avenue was designed by Philip Johnson and John Burgee of Johnson/Burgee Architects.[8] Johnson had been an influential figure in modernist architecture during the late 20th century, having helped design the Seagram Building nearby in the 1950s, but he reverted to more classical motifs for 550 Madison Avenue's design.[9][10][11] The building was among Johnson and Burgee's most influential works and, according to the New York City Landmarks Preservation Commission (LPC), is sometimes described as the world's first postmodern skyscraper.[12] Alan Ritchie of Johnson/Burgee was named as design manager,[13][14] while Simmons Architects was the associate architect.[14][15]
The granite facade helped to reduce energy consumption compared to the glass curtain walls used on many of the city's contemporary skyscrapers.[19][33] In 2020[update], during the building's renovation, it received an "A" grade on a citywide energy-efficiency ranking system.[34][35] About one-third of the facade is clad in glass. When the plans were announced in 1978, Johnson claimed that the glass on the facade would make 550 Madison Avenue the city's "most energy-efficient structure".[19][36] The windows are recessed into granite surrounds that are up to 10 inches (250 mm) deep.[11] The architects had wanted deeper windows, but the high cost of the granite made this infeasible. Additionally, the round mullions of the original design were given a more rectangular shape, and the window arrangement was dictated by the interior use.[37] The building also includes more than 1,000 pieces of brass manufactured by the Chicago Extruded Metals Company.[28]
The main entrance is on Madison Avenue and consists of an archway measuring 116 feet (35 m) high by 50 feet (15 m) wide, with a recess 20 feet (6.1 m) deep. Within the archway is a 70-foot (21 m) arched window,[38] topped by a circular oculus with a 20-foot (6.1 m) radius.[20][39][40] Both windows have glazed glass panels and vertical and horizontal bronze mullions. These windows are surrounded by stonework with rhombus tiles. The side walls of the arch have smaller round arches and rectangular stonework, while the top of the arch contains recessed rectangular lights.[20] According to architectural writer Paul Goldberger, the arch may have been influenced by the Basilica of Sant'Andrea, Mantua.[41][42][43] AT&T said the arch was supposed to make the building appear dominant and give it "a sense of dignity".[38] To the left and right of the main entrance arch are three flat-arched openings, measuring 60 feet (18 m) tall by 20 feet (6.1 m) wide, with voussoirs at their tops.[44]
The building's main lobby is just inside the large arch on Madison Avenue. The lobby measures 50 by 50 feet (15 by 15 m)[45] and originally contained a floor made of black-and-white marble, as well as walls made of granite.[58] The floor pattern was inspired by the designs of British architect Edwin Lutyens.[37][45][59] The lobby's ceiling was a groin vault.[60] One wall of the main lobby contained an arcade with Byzantine-inspired column capitals,[59] behind which was an elevator lobby with bronze elevator doors.[60] After a 2020s renovation, the lobby was redesigned with large windows at its western end, as well as decorative materials like terrazzo, leather, and bronze mesh.[58] The terrazzo floors incorporate some of the original marble flooring. The lowest portions of the lobby wall are decorated with the mesh, while the rest of the walls are covered in white marble.[61] Solid Sky, a 20,000-pound (9,100-kilogram) spherical blue sculpture by Alicja Kwade, hangs in the lobby.[62][63]
Around 1977, a committee of three AT&T officials and three officials from Smith's offices mailed questionnaires to twenty-five architects or design firms which the executives deemed "highly qualified".[15][93][94] Thirteen of the recipients responded.[93] Johnson and Burgee recalled that they set aside the questionnaire until AT&T called them two weeks afterward.[93][94] Smith visited eight candidates and picked three finalists: Johnson/Burgee, Roche-Dinkeloo, and Hellmuth, Obata & Kassabaum.[15][94] The three finalists were to give presentations to the committee and high ranking officials.[95] Johnson recalled that he did not have an elaborate presentation but instead brought photographs of his past work and came with Burgee. According to AT&T officials, "there was no close second" candidate;[96] Smith subsequently recalled that Johnson/Burgee were open to different design ideas.[95]
On June 17, 1977, the day after the presentations, The New York Times reported that AT&T had hired Johnson/Burgee to design a 37-story headquarters on the site.[6][97] Johnson was quoted as saying that he wanted the new headquarters to be a "landmark" representing the company.[15][97] The Wall Street Journal reported shortly afterward that Johnson was conducting a "feasibility study" for the headquarters.[98] AT&T mandated that Johnson/Burgee select an associate architect as per the provisions of the Equal Employment Opportunity Act of 1972. Harry Simmons Jr., head of a small African American firm, was selected out of seven interviewees from a field of 28 candidates. Simmons's firm was tasked with designing twenty percent of the overall architectural detail.[15]
Construction started in December 1978 when workers started excavating foundations;[17] the same month, AT&T received a $20 million tax abatement on the construction cost.[109] The foundation excavation cost $3.1 million and largely consisted of blasting into the underlying bedrock.[4] The detonations used about 50,000 pounds (23,000 kg) of Tovex gel. The underlying rock layer was made of mica schist, the composition of which was unpredictable if detonated, so about 8,000 small blasts were used to excavate the foundation.[27] The resulting hole was 45 to 50 feet (14 to 15 m) deep.[17][27] Excavations were ongoing in February 1979 when deButts was replaced by Charles L. Brown as AT&T CEO. Brown, who was less enthusiastic about a grand headquarters than deButts had been, sought a review of the project, but construction continued nonetheless.[45][110] Faced with rising construction costs, the architects had to substitute cheaper materials; for example, granite in the elevator cabs was replaced with wood.[29][31]
Johnson was not overly concerned about the closure of the arcade, saying, "It isn't that my ideas have changed. The period has changed."[48] The plan did face some opposition: the original associate architect Harry Simmons Jr. said that a "valued and useful space" would be razed, while Joseph B. Rose of the local Manhattan Community Board 5 said it would create "a dangerous precedent" for converting public plazas to commercial space.[48][138] Conversely, David W. Dunlap of The New York Times said the changes were "unquestionably an improvement" both aesthetically and functionally.[48][139] The New York City Planning Commission had to review and approve the proposal.[118][119] While the plans resulted in a net loss in public space, they also increased the overall zoning bonus.[48][82][e] The commission approved slightly modified plans in September 1992, which retained small portions of the arcade.[48] Sony bought out the Quilted Giraffe's lease, and the restaurant closed at the end of 1992.[140]
In late October 2017, the Olayan Group announced plans to renovate the building with designs by Snøhetta. The firm planned to add a glass curtain wall along the base on Madison Avenue, as well as demolish the arcade and annex on the western end of the site, replacing it with a garden.[177][178] The renovation, anticipated to cost $300 million, would allow the building's owner to raise rents to between $115 and $210 per square foot ($1,240 and $2,260/m2), which would be among the city's highest office rent rates.[179] Several architecture critics, architects, and artists voiced their opposition to the plans,[180][181] and a November protest and petition drew media coverage.[182][183] Shortly afterward, the LPC voted to calendar the building for consideration as a landmark.[184][185] Though there were efforts to preserve the significant interiors,[186] demolition of the building's original ground floor lobby began in January 2018.[187][188] The LPC determined that the lobby's design had changed significantly when Spirit of Communication was removed and the arcades were enclosed, making the space ineligible for interior landmark status.[189][190] By February, the original lobby had been demolished.[190]
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