Gantz 0 2016
Gantz: O (styled as GANTZ:O) is a 2016 Japanese CGI anime science fiction action film directed by Yasushi Kawamura and Keiichi Sato (chief), written by Tsutomu Kuroiwa, animated by Digital Frontier, and based on the manga series Gantz, which was written and illustrated by Hiroya Oku. It was released in Japan by Toho on October 14, 2016.
Gantz 0 2016
On November 17, 2015, the film was originally announced in the December issue of Miracle Jump as an untitled, "full 3DCG" Gantz anime film. On April 18, 2016, the title of the movie was revealed to be Gantz: O and would be based on the Osaka arc of the original manga. Several trailers were released for the film throughout the year, featuring music from the Japanese band, The Dresscodes.
On August 3, 2016, Hiroya Oku discussed the creation of the film at an event, "GANTZ: O NIGHT @hiroya_oku SHIBUYA Mission ," alongside director Yasushi Kawamura, motion capture performer Asami Katsura, and a replica of the Gantz orb. While Oku liked previous 3DCG films based on the manga, he was dissatisfied with parts of the film though was surprised it met his ideals.
In 2016 a CGI anime adaptation called Gantz: 0 arrived, which is a standalone project. This movie follows some of the key beats of the manga, with main character Kato dying after a knife attack and waking up with a group of strangers. Gantz orders the team to go to Osaka and wipe out an invasion of monsters within a strict time limit. Against the advice of his group - who've all played the game before - Kato goes out of his way to save civilians who are being attacked.
Julius Avery has been set to direct a live action adaptation of the Gantz manga series for Sony Pictures. Based on the manga series written and illustrated by Hiroya Oku, Gantz debuted in 2000 and ran until 2013, capping out at a total of 37 volumes. There was an anime adaptation of the series that ran for two seasons in 2004 and a CGI film called Gantz: 0 was made in 2016.
just watched this on netflix. i had heard of gantz before, but this is is the first thing from i have watched. i agree on what you say about the monsters. they were very imaginatively done. at times, I WAS reminded of Yoda and old fairy tales;I also appreciate your explanation of who Kato was.
This replica of the XGun from GANTZ:O is nearly 10" long and has LED light-up features. Prototype images shown. Final product may vary.GANTZ:O is a 2016 Japanese CGI anime science fiction action film directed by Yasushi Kawamura, produced by Digital Frontier, written by Tsutomu Kuroiwa and based on the mangaseries Gantz written and illustrated by Hiroya Oku. It was released in Japan by Tohoon October 14, 2016.
Gantz:OOriginal TitleGANTZ: OOriginal Language JapaneseDubbing Studio Spliced Bread Productions, Inc.Voice DirectorBob BuchholzADR ProductionRecorded2017Dub Country United StatesOriginal Country JapanYear2016
Gantz:O is a 2016 CGI anime film directed by Yasushi Kawamura, produced by Digital Frontier, written by Tsutomu Kuroiwa and based on the homonymous manga created by Hiroya Oku. It was released on October 14, 2016 in Japan.
The film had its English-language premiere at the 2016 Tokyo International Film Festival. This screening of the movie featured an English dub, recorded locally with talent in Japan. For its western release, Netflix commissioned a new version produced by SDI Media in Los Angeles. Upon its debut, the audio contained two holdover performances from the original Japanese-produced dub, despite American actors having recorded those roles and being listed in the credits. The issue was later corrected.
Nevertheless, levels of binaural benefit in SSD-CI users are still relatively limited in comparison to individuals with normal hearing bilaterally (Zeitler et al., 2015; Dirks et al., 2019). Adding a CI to the poorer ear only partially restores some of the mechanisms thought to underlie the advantages of binaural hearing (Arndt et al., 2011, 2017; Dirks et al., 2019; Bernstein et al., 2017). Although it is true that binaural unmasking has been demonstrated in SSD-CI listeners (Bernstein et al., 2016, 2017), binaural interference (i.e., a degradation in binaural relative to monaural performance) has also been observed (Bernstein et al., 2020). Where binaural unmasking has been observed, it is limited to specific types of informational maskers, varies considerably across subjects, and is more modest than that experienced by normal hearing listeners.
The hypothesis that interaural tonotopic mismatch limits binaural speech-in-noise benefits in SSD-CI users has been previously examined using acoustic simulations of SSD-CI with varying degrees of interaural frequency mismatch (Zhou et al., 2017; Wess et al., 2017). Vocoder-based acoustic simulations of cochlear implants (Blamey et al., 1984; Shannon et al., 1995) distort acoustic signals in a manner thought to approximate how sound information is processed by a cochlear implant and interpreted by an impaired auditory system. Notwithstanding limitations in accuracy of sound quality representation (Svirsky et al., 2013; Mesnildrey et al., 2016; Dorman et al., 2017; Grange et al., 2017; Svirsky et al., 2021), these models provide a platform through which to test specific hypotheses about factors that limit speech perception in various contexts.
Following the binaural unmasking paradigm of Bernstein et al. (2015, 2016); Wess et al. (2017) also implemented SSD-CI vocoder processing but with varying degrees of spectral and temporal mismatch between ears. Spectral mismatch was implemented using varying degrees of simulated electrode insertion depth while keeping the input frequency range fixed (i.e., varying the mismatch between the vocoder analysis filters and the synthesis noise bands). They found that greatest binaural unmasking was achieved when vocoded maskers were aligned spectrally and temporally with unprocessed maskers presented contralaterally and that binaural unmasking degraded substantially with increasing amounts of spectral and temporal mismatch.
Significance criteria for differences among main effects and interactions were determined using a sequential Bonferroni correction procedure to control for inflation of type I error due to multiple comparisons (Cramer et al., 2016). In particular, the four two-way RMANOVAs comprise a total of 12 comparisons, including main effects and interactions. The p-values for these 12 comparisons were ordered from least to greatest and compared against sequentially increasing α-values. For a family wise error of α = 0.05 and 12 comparisons, the lowest p-value is compared against α/12, the second lowest against α/11, and so on, until the highest p-value is compared against α. RMANOVAs were evaluated for sphericity and, in cases of deviations from sphericity, degrees of freedom were corrected using Greenhouse and Geisser (1959).
An important caveat to the present study is that its results were achieved using informational masking and the release thereof (Brungart 2001b; Freyman et al., 2001; Gallun et al., 2005; Kidd et al., 2005). That is, when trying to understand speech in the presence of competing talkers, two types of masking are at play. Energetic masking refers to portions of the target speech rendered inaudible because of the energy present in the masking speech that occur at the same time and frequencies. In contrast, informational masking arises because the listener has trouble disentangling the audible speech elements (i.e., phonetic, morphemic, semantic content) of a target from a similar sounding masker. Whereas energetic masking is thought to occur at a more peripheral level, informational masking is thought to occur at higher levels of auditory processing. Indeed, Bernstein et al. (2015) has demonstrated little to no binaural unmasking when masker types were stationary or modulated noise, or even when maskers were interfering talkers of different gender than the target. This result is also consistent with the other studies cited in the introduction of the present study that showed lack of squelch in SSD-CI acoustic simulations and in SSD-CI users when using energetic masking (Zhou et al., 2017; Bernstein et al., 2016, 2017; Dirks et al., 2019). The specificity of this effect to informational masking is one indication that this type of unmasking relates more to perceptual grouping, something thought to occur at a relatively higher stage of auditory processing that interacts with attention (Bronkhorst, 2015). Indeed, Gallun et al. (2005) demonstrated that the type of binaural release from informational masking achieved in the present study is relatively non-specific to ITD or ILD cues, occurring over a wide range of values for either cue, such that similar amounts of unmasking occur whenever the perceived location of target and masker differ. Under this account of binaural unmasking, the present study demonstrates the sensitivity of perceptual grouping to interaural frequency mismatch and the ability to restore binaural grouping of maskers by minimizing this mismatch, albeit at the expense of removing low frequency information.
With the discovery of CRISPR/Cas (Clustered Regularly Interspaced Short Palindromic Repeats/CRISPR associated protein), the development of gene drive approaches was simplified and accelerated, as many of the targeting and stability problems observed in other nuclease-based genetic engineering techniques could be overcome (Esvelt et al. 2014; Min et al. 2018). Guide RNAs (gRNA) are attached to the nuclease, directing the nuclease-RNA complex to the genomic DNA target sequence, which is complementary to the sequence of the gRNA. By using synthetic gRNAs, one or several target sequences can be specifically addressed. The gene drive is achieved as with other nuclease-based systems, e.g. by providing a repair template for homologous recombination and subsequent incorporation into both chromosomes. The newly incorporated sequences serve as a constant source for further conversion of heterozygous to homozygous alleles. In recent years, a range of proof of concept studies have shown the feasibility of synthetic CRISPR-based gene drives in different organisms, such as yeast (DiCarlo et al. 2015a, b), the fruit fly Drosophila melanogaster (Gantz and Bier 2015), mosquitoes (Gantz et al. 2015; Hammond et al. 2016) and partly also mammals (Grunwald et al. 2019). 041b061a72