Steven F. Udvar-Hazy Center: De Havilland Canada DHC-1A Chipmunk Pennzoil Special

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Steven F. Udvar-Hazy Center: De Havilland Canada DHC-1A Chipmunk Pennzoil Special
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Details, quoting from Smithsonian National Air and Space Museum | De Havilland-Canada DHC-1A Chipmunk, Pennzoil Special

De Havilland originally designed the Chipmunk after World War II as a primary trainer to replace the venerable Tiger Moth. Among the tens of thousands of pilots who trained in or flew the Chipmunk for pleasure was veteran aerobatic and motion picture pilot Art Scholl. He flew his Pennzoil Special at air shows throughout the 1970s and primeval ’80s, thrilling audiences with his skill and showmanship and proving that the design was a top-notch aerobatic aircraft.

Art Scholl purchased the DHC-1A in 1968. He altered it to a single-seat airplane with a shorter wingspan and larger vertical fin and rudder, and prefabricated other changes to improve its performance. Scholl was a three-time member of the U.S. Aerobatic Team, an air racer, and a motion picture and TV stunt pilot. At air shows, he often flew with his dog Aileron on his shoulder or taxied with him standing on the wing.

Gift of the Estate of Arthur E. Scholl

Manufacturer:
De Havilland Canada Ltd.

Pilot:
Art Scholl

Date:
1946

Country of Origin:
United Says of America

Dimensions:
Wingspan: 9.4 m (31 ft)
Length: 7.9 m (26 ft)
Height: 2.1 m (7 ft 1 in)
Weight, empty: 717 kg (1,583 lb)
Weight, gross: 906 kg (2,000 lb)
Top speed: 265 km/h (165 mph)
Engine: Lycoming GO-435, 260 hp

Materials:
Overall: Aluminum Monocoque

Physical Description:
Single-engine monoplane. Lycoming GO-435, 260 hp engine.

Long Description:
The de Havilland Chipmunk was originally designed as a post World War II primary trainer, a replacement for the venerable de Havilland Tiger Moth training biplane used by the air forces of the British Commonwealth throughout World War II. Among the tens of thousands of pilots who trained in or flew the Chipmunk for pleasure was veteran aerobatic and motion picture pilot Art Scholl. He flew his Pennzoil Special at airshows around the country throughout the 1970s and primeval 1980s, thrilling audiences with skill and showmanship, and proving that the design itself was a top-notch aerobatic aircraft.

The Chipmunk was designed, initially built and flown by de Havilland Canada subsidiary, hence the very Canadian "woods country" sounding study of Chipmunk that complemented their other aircraft the Beaver, Otter, and Caribou. The image first flew on Might 22, 1946 in Toronto. DeHavilland of Canada produced 158 Chipmunks and de Havilland in England produced 740 airplanes for training at various Royal Air Force and University Air Squadrons during the late 1940s and into the 1950s. In 1952, His Royal Highness the Duke of Edinburgh took his initial flight training in a Chipmunk. It was also used in other roles, such as light communications flights in Germany and for internal security duties on the island of Cyprus.

The Chipmunk was an all-metal, low wing, tandem two-place, single engine airplane with a conventional cut wheel landing gear. It had fabric-covered control surfaces and a clear plastic canopy covering the pilot and passenger/student positions. The production versions of the airplane were powered by a 145 hp in-line de Havilland Gipsy Major "8" engine.

Art Scholl purchased two Canadian-built Chipmunks from the surplus market after they became acquirable in the late 1950s and primeval 1960s. He purchased the two-place DHC-1A, N114V, first and it now resides in the Experimental Aircraft Association’s museum in Oshkosh, Wisconsin. In 1968, Scholl purchased another DHC-1A and began extensive modifications that resulted in nearly a absolutely new aircraft. He covered over one cockpit to reconfigure the aircraft into a single-place aircraft and installed a (fuel injected) 260 hp Lycoming GO-435 flat-opposed 6-cylinder engine. He removed 20 inches from apiece wingtip and changed the airfoil section of the tip area. The reduction in span led to the need to lengthen the ailerons inboard to retain control effectiveness. This in turn reduced the flaps to where they became somewhat ineffective, and, since the flaps really were not required for the normal show and aerobatic routines, he removed them as a weight saving measure. These modifications improved the low speed tip stall characteristics and improved roll performance during aerobatic maneuvers.

The vertical fin and rudder acquired a 25% increase in area and an increased rudder throw to manage the effects of increased engine torque and for superior directional control during slow-speed aerobatic routines. The standard fixed landing gear was replaced with a retractable gear from a Bellanca airplane. The landing gear was subsequently dilapidated during a belly landing and resulted in a permanent wheel toe-in that was never repaired. This caused a tire drag during takeoffs and landings that led to the need for tire replacement after about 10 takeoffs and landings. Other idiosyncrasies were the pitot static tube being fashioned from a golf club shaft and a 3-inch extension added to the cockpit control stick to assist the control loads during the more severe aerobatic routines. Scholl also installed rear-view mirrors on both sides of the cowling just forward of the windscreen. He put an FTO placard on the instrument panel as a memorial to some Vulcan bomber crew members who were his individualized friends. He installed three smoke generators with red, white, and blue smoke for his show routines that included the Lomcevak tumbling/tailslide maneuver.

Scholl designed most of these modifications himself, drawing upon his Ph.D. and his 18 years as a university professor in aeronautics. He held all pilot ratings, and was a licensed aircraft and powerplant (A&P) mechanic and an authorized FAA Inspector. He was also a three-time member of the U.S. Aerobatic Team, an air racer (placing several times at the National Air Races at Reno), an airshow pilot, and a fixed base operator with a school of international aerobatics. In 1959, Scholl began working for legendary Hollywood pilots Frank Tallman and Paul Mantz at Tallmantz Aviation and then later formed his own motion picture production company, producing and performing aerial photography and stunts for many movies and TV shows. At airshows, Scholl often flew with his dog Aileron, who rode the wing as Scholl taxied on the runway or sat on his shoulder in the aircraft.

Art Scholl was killed in 1985 while filming in a Pitts Special for the motion picture Top Gun. Art Scholl’s estate donated the Pennzoil Special, N13Y, serial number 23, and his staff delivered it to the Garber Facility in Suitland, Maryland on August 18, 1987. It is currently on display at the Museum’s Stephen F. Udvar-Hazy Center at Washington Dulles International Airport in Chantilly, Virginia.

NewBlueFX Debuts Video Special Effects and Transitions for Adobe Premiere Pro and Premiere Elements: Much-anticipated Plugin Collection Delights Desktop Video Users


La Jolla, Calif. (PRWEB) Jan 28, 2008

Adobe Premiere Pro just became more powerful thanks to a host of new video and audio plug-ins from innovative technology developer NewBlue, Inc. The company released its NewBlueFX product line for the powerful desktop video-editing software making its full line of effects, transitions and filter plugin collections acquirable through the favourite desktop video-editing software.

Adobe Premiere Pro and Premiere Elements users can now enjoy 978 presets and 114 effects plugins encompassed in 12 distinct and competitively-priced NewBlueFX collections designed to enhance the video editing experience. Among the NewBlueFX plugin collections released for Adobe Premiere Pro and Premiere Elements are 7 VideoFX collections and 5 AudioFX collections, including NewBlue 3D Effects, NewBlue 3D Transformations, NewBlue Art Blends, NewBlue Art Effects, NewBlue Equalizers, NewBlue Essentials, NewBlue Film Effects, NewBlue Motion Blends, NewBlue Motion Effects, NewBlue Production Tools, NewBlue Scrubbers and NewBlue Sound Benders.

“This has been a much anticipated release among our users and we’re thrilled to deliver for them and for Adobe Premiere Pro,” explains Melissa Jordan Grey, chief strategic officer, NewBlue, Inc. “Our company’s roots are in film and music production, and this innate understanding of the creative process shows in our work. NewBlueFX plugins combine innovation and simplicity in a reasonably-priced package.”

“NewBlue’s innovative range of video and audio effects, transitions and filters plugins is a great complement to the already powerful feature set in Adobe Premiere Pro,” stated Giles Baker, Premiere Pro Group Product Manager, Editing Workflows at Adobe. “The addition of NewBlueFX will enhance the video editing experience in Premiere Pro and grant users to add new, creative components to their projects.”

The NewBlueFX plugins product line for Adobe Premiere Pro consists of two main categories, VideoFX and AudioFX. In the VideoFX plugins collections, users will find plug-ins that wage artistic techniques, such as air brushing, pastel sketching and line drawing, as well as motion effects, such as earthquake, spin blur, wiggle and zoom. Features of the AudioFX collections run the gamut from audio filtering, such as equalization, noise reduction and compression to creative sound manipulation tools, such as “Insectoid,” “Buzz” and “Robot Fog.”

Included in the VideoFX category are 7 collections:


NewBlue 3D Explosions, 180 presets in 13 different plugins that introduce creative new ways to blast a scene into pieces. Plugins include: Blow Apart, Bouncing Cubes, Bouncing Frames, Box Explode, Confetti, Grid Fall Away, Grid Explosion, Intensity Grid, Plane Explode, Spiral, Spiral Rotation, Vortex, and Wiggle. ($ 119.95 USD)

NewBlue 3D Transformations, 165 presets in 13 high energy transitions breaks creative ground with new ways to slice, fly and reassemble a scene with each technique. Plugins include: Box Fold, Checker Board, Comb, Flip, Fly Away, Louver Grid, Louvers, Magic Carpet, Page Turn, Pizza Boxes, Rotating Frames, Spiral Bounce, and Twist. ($ 119.95 USD)

NewBlue Art Blends, 101 transitions in 10 specialized video effects that shift images through unique, stunning graphics filters. Plugins include: Color Melt, Color Wash, Contrast, Duochrome, Glow, Halo, Metallic, Shiny Fog, Sketch, and Vivid. ($ 119.95 USD)

NewBlue Art Effects, 99 effects in 10 specialized video filters that shift video into a visually stunning alternate reality. Plugins include: Air Brush, Colorize, Color Melt, Dream Glow, Duochrome, Ghost, Hand Drawn, Line Drawing, Metallic, and Pastel Sketch. ($ 139.95 USD)

NewBlue Film Effects, 81 presets in 5 dynamic filters that recreate the inexact mechanics of hand cranked cameras, dirty projectors, and decades sitting in film vaults. Plugins include: Film Camera, Film Damage, Film Express, Film Look, and Film Pro. ($ 159.95 USD)

NewBlue Motion Blends, 112 transitions in 10 specialized video effects that twist, turn and transmogrify video from one scene to the next. Plugins include: Liquify, Roll, Shake, Shear, Shredder, Smear, Spin, Twirl, Wave, and Zoom. ($ 119.95 USD)

NewBlue Motion Effects, 99 effects in 10 specialized video filters that add movement to images in a number of ways. Plugins include: Active Camera, Earthquake, Motion Blur, Ripple, Rolling Waves, Shear Energy, Spin Blur, Warp, Wiggle, and Zoom Blur. ($ 139.95 USD)

Included in the AudioFX plugins category are 5 distinct VST-compatible collections:

NewBlue Equalizers, 9 specialized audio filters that boost or cut ranges of tone in a specialized manner. Plugins include: Adjust Highs, Adjust Lows, Graphic EQ, Parametric EQ, Remove Highs, Remove Lows, Tone Eliminator, Filter Sweep, and Swirl. ($ 59.95 USD)

NewBlue Essentials, 8 standard audio processing tools that make any soundtrack complete. Plugins include: Chorus, Delay, Distortion, Echo, Flange, Phaser, Reverb, and Slap Back. ($ 59.95 USD)

NewBlue Production Tools, 11 must-have effects to boost the clarity and performance of video soundtracks. Plugins include: Sharpener, Stereoizer, Monofier, Bass Boost, Crisper, Compactor, Sound Expander, Dual Compressor, Tone Compressor, Dual Expander, and Tone Expander. ($ 59.95 USD)

NewBlue Scrubbers, 6 powerful, easy-to-use audio repair techniques. Plugins include: Audio Polish, Cleaner, Auto Mute, Background Fader, Hum Remover, and Noise Reduction. ($ 59.95 USD)

NewBlue SoundBenders, 9 environmental, vocal and atmospheric effects. Plugins include: Buzzurgle, Insectoid, Phone, Radio, Resonator, Robot Fog, Under Water, Wah and Wind. ($ 59.95 USD)

Users can buy NewBlueFX for Adobe Premiere Pro directly from the company’s website at http://www.newbluefx.com. Fully-functional trial versions are acquirable for download, as well.

About NewBlue, Inc.:

NewBlue, Inc. develops innovative audio, video and multimedia technologies for leading companies throughout the world. Founded in primeval 2002, NewBlue develops and licenses a range of proprietary technologies– including a series of NewBlueFX video technologies, the NewBlue Audio Engine and Audiomatrix technology platform– that meet the varied multimedia needs of mid-and large-sized companies. Experienced developers, musicians, artists, and software professionals with a one-of-a-kind and commanding set of skills, experience and talent comprise the NewBlue team.

The company unveiled its NewBlueFX product line in 2006 to meet the needs of digital video editing enthusiasts. The NewBlueFX collection of software plugins includes special audio and video effects, such as audio filters, noise reduction, equalization, compression and dozens of sophisticated graphic filters and transitions. To date, the NewBlueFX line includes 5 audio-oriented plugin collections and 7 video-oriented effects and transitions collections for the Sony Vegas, Adobe Premiere Pro and Adobe Premiere Elements desktop video product lines.

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