1080p (pronounced "ten eighty ") is the shorthand identification for a set of HDTV high-definition video modes that are characterized by 1080 horizontal lines of vertical resolution and progressive scan, meaning unlike the 1080i display standard, the image is not interlaced.

The term usually assumes a widescreen aspect ratio of 16:9, implying a resolution of 1,920 pixels wide by 1,080 high. This resolution is similar to that of 2K digital cinema technology. The frame rate can be either implied by the context or specified after the letter 'p', such as ''1080p30'', meaning 30 progressive frames per second.

1080p, sometimes referred to in marketing materials as Full HD, typically refers to the capability to accept 1080p signal and display it with native resolution of at least 1080 lines, as well as the capability to upscale lower-resolution material to 1080p.

The HD ready 1080p logo program by DIGITALEUROPE requires that certified TV sets support 1080p24, 1080p50, and 1080p60 formats, and feature a native resolution of at least 1920×1080 pixels, among other requirements.

Production and broadcasting standards

The filmmaking industry has embraced 1080p24 (i.e. 1080p displayed at 24 frames per second) as a digital mastering format in both native 24p form and in 24PsF form. 1080p24 has become an established production standard for digital cinematography and there is plenty of equipment capable of capturing and processing 1080p24 signals. This may be the first universal video standard which transcends continental boundaries, an area previously reserved for 24-frame film.

For live broadcast applications, a high-definition progressive scan format operating at 1080p at 50 or 60 frames per second is currently being evaluated as a future standard for moving picture acquisition. EBU has been endorsing 1080p50 as a future-proof production format because it improves resolution and requires no deinterlacing, allows broadcasting of standard 1080i25 and 720p50 signal alongside 1080p50 even in the current infrastructure, and is compatible with DCI distribution formats.

1080p50/p60 production format will require a whole new range of studio equipment including cameras, storage and editing systems, and contribution links (such as Dual-link HD-SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced 1920 × 1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding. Most current revisions of SMPTE 374M and EBU Tech 3299 require YCbCr color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s) and 1080p60 signal.

Recent studies show that for digital broadcasts compressed with H.264/AVC, transmission bandwidth savings of interlaced video over fully progressive video are minimal even when using twice the frame rate, i.e. 1080p50 signal (50 progressive frames per second) actually produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per second).

ATSC

In the United States, the original ATSC standards for HDTV supported 1080p video, but only at the frame rates of 23.976, 24, 25, 29.97 and 30 frames per second (colloquially known as 1080p24, 1080p25, and 1080p30).

In July 2008, the ATSC standards were amended to incorporate H.264/MPEG-4 AVC compression and 1080p at 50, 59.94, and 60 frames per second (1080p50 and 1080p60). Such frame rates require H.264/AVC ''High Profile Level 4.2'', while standard HDTV frame rates only require Level 4.0.

This update is not expected to result in widespread availability of 1080p60 programming, since most of the existing digital receivers in use would only be capable of decoding the older, less-efficient MPEG-2 codec, and operator bandwidth limitations do not allow for broadcasting two simultaneous streams on the same broadcast channel (e.g. both a 1080i MPEG-2 stream alongside a 1080p MPEG-4 stream).

DVB

In Europe, 1080p25 signals have been supported by the DVB suite of broadcasting standards. The 1080p50 standard has been foreseen as a future-proof production format, and eventually a future broadcasting format. 1080p50 broadcasting should require the same bandwidth as 1080i50 signal and only 15-20% more than that of 720p50 signal due to increased compression efficiency, though 1080p50 production requires more bandwidth and/or more efficient codecs such as JPEG 2000, high-bitrate MPEG-2, or H.264/AVC and HEVC.

Since September 2009, ETSI and EBU, the maintainers of the DVB suite, added support for 1080p50 signal coded with MPEG-4 AVC ''High Profile Level 4.2'' with Scalable Video Coding extensions or VC-1 ''Advanced Profile'' compression; DVB also supports 1080p encoded at ATSC frame rates of 23.976, 24, 29.97, 30, 59.94 and 60.

EBU requires that legacy MPEG-4 AVC decoders should at least not crash in presence of SVC and/or 1080p50 (and higher resolution) packets. SVC enables forward compatibility with 1080p50 and 1080p60 broadcasting for older MPEG-4 AVC receivers, so they will only recognize baseline SVC stream coded at a lower resolution or frame rate (such as 720p60 or 1080i60) and will gracefully ignore additional packets, while newer hardware will be able to decode full-resolution signal (such as 1080p60).

Availability

Broadcasts

In the United States, 1080p over-the-air broadcasts still do not exist as of 2011; all major networks use either 720p60 or 1080i60 encoded with MPEG-2. However, satellite services (e.g. DirecTV, XstreamHD, and Dish Network) utilize the 1080p/24-30 format with MPEG-4 AVC/H.264 encoding for pay-per-view movies that are downloaded in advance via satellite or on demand via broadband internet ''only''. At this time, ''no pay service channel'' such as USA, HDNET, etc. nor premium movie channel such as HBO, etc., stream their services live to their distributors (MVPD) in this format because many MVPDs, especially DBS and cable, do not have sufficient bandwidth to provide the format streaming live to their subscribers without negatively impacting their current services and because of the high "cost" of using more bandwidth for one 1080p/24 channel than what would be used for a 1080i or even a 720p channel and for only those relatively few subscribers who have HDTV devices that can display 1080p/24 as not being an efficient use of their limited bandwidth.

For material that originated from a progressive scanned 24 frame/s source (such as film), MPEG-2 allows the video to be coded as 1080p24, irrespective of the final output format; these progressively-coded frames are tagged with metadata (literally, fields of the PICTURE header) instructing a decoder how to perform a 3:2 pulldown to interlace them. While the formal output of the MPEG-2 decoding process from such stations is 1080i60, the actual content is coded as 1080p24 and can be viewed as such, using a process known as inverse telecine, since no information is lost even when the broadcaster (as opposed to the receiver) performs the 3:2 pulldown.

Blu-ray Disc

Blu-ray Discs are able to hold 1080p HD content, and most movies released on Blu-ray Disc produce a full 1080p HD picture when the player is connected to a 1080p HDTV via an HDMI cable. The Blu-ray Disc video specification allows encoding of 1080p24, 1080i50 and 1080i60. Generally this type of video runs at up to 40 megabits per second, compared to the 3.5 megabits per second for conventional standard definition TV's

Internet content

There has been some content released in the 1080p format on the Internet, the most influential currently being YouTube. A couple of showcases include Apple QuickTime Trailers in QuickTime HD 1080p format and the Microsoft WMV HD Content Showcase. Another example of 1080p content is the MacBreak 1080p podcast created by Leo Laporte and Alex Lindsay. This podcast is distributed via the BitTorrent method of distribution because of the large file sizes resulting from the high bit-rates. BitTorrent is also used to distribute many 1080p movies that have been copied from Blu-ray Disc or broadcast sources. Microsoft Silverlight can offer 1080p smooth streaming via IIS media services.

Consumer televisions and projectors

, most consumer televisions being sold provide 1080p inputs, mainly via HDMI, and supporting full high-def resolutions. Now 1080p resolution is available in all types of television, including plasma, LCD, DLP front and rear projection, and LCD projection.

For displaying film-based 1080i60 signals, a scheme called 3:2 pulldown reversal (reverse telecine) is beginning to appear in some newer 1080p displays, which can produce a true 1080p quality image from film-based 1080i60 programs.

The AV equipment manufacturing industry has adopted the term Full HD as the consumer-friendly marketing term to mean the set is a safe purchase because it can display all available HD resolutions up to 1080p. The term is misleading, however, because it does not guarantee the set is capable of rendering digital video at all frame rates encoded in source files with 1080 pixel vertical resolution. Most notably, a "Full HD" set is not guaranteed to support the 1080p24 format, leading to consumer confusion.

DigitalEurope (formerly ''EICTA'') maintains the HD ready 1080p logo program that requires the certified TV sets to support 1080p24, 1080p50, and 1080p60, without overscan/underscan and picture distortion.

Computer monitors

Some modern widescreen liquid crystal display (LCD), most widescreen cathode ray tube (CRT), and all QXGA monitors can natively display 1080p content. Widescreen WUXGA monitors for example support 1920×1200 resolution, which can display a pixel for pixel reproduction of the 1080p (1920×1080) format. The resolution is rare, but increasing in popularity amongst laptops in 2009; some laptops have a 13", 15", 17" or even a 18.4" display that run a resolution of 1920×1200 or 1920x1080. Additionally, many 23, 24, and widescreen LCD monitors use 1920×1200 as their native resolution, 30 inch displays can display beyond 1080p at up to 2560x1600 (1600p). Many 27" monitors have native resolutions of 2560×1440 and hence operate at 1440p. Other 1080p-compatible LCDs have lower than 1920×1080 native resolution and cannot display 1080p pixel for pixel, relying on the display's internal scaler to produce an image resized to suit the display's actual resolution.

Video game consoles

Current generation video game consoles such as Sony's PlayStation 3 and Microsoft's Xbox 360 are able to display games and video content in 1080p. Nintendo's Wii U, expected to be released in 2012, will support 1080p via HDMI. For all of the consoles this is done through HDMI connections (in the case of the Xbox 360, HDMI is only available on consoles manufactured after June 2007). Additionally, 1080p video is available on the PlayStation 3 and Xbox 360 via an analog component/D-Terminal (YP_BP_R) connection, as well as the VGA connection on the Xbox 360. On the PlayStation 3, developers must provide specific resolution support at the software level as there is no hardware upscaling support, whereas on the Xbox 360 games can be upscaled using a built in hardware scaler chip. Most games on both consoles however do not run at a native 1080p resolution and only a select few allow this option due to other constraints (such as graphical memory) which most developers prefer to invest in different areas.

Both the PlayStation 3 and Xbox 360 provide 1080p video services. Sony provides both the PlayStation Store VOD service and Blu-ray Disc playback. Microsoft provides the Zune Video Marketplace for "instant on" 1080p video content but does not have Blu-ray disc playback capability. It does however support the now-defunct HD DVD disc standard via the Xbox 360 HD DVD Player add-on. Both consoles also offer support for streaming 1080p content in various formats over home network from other computers, and also via USB connection to external storage devices.

Due to potential copyright issues, when an analog component connection is used, only system menus and gameplay are available in 1080p; video content is displayed at a lower resolution or in 1080i. While 1080p analog component output is supported by the consoles, most display hardware will only accept component connections up to 1080i.

Camcorders and cameras

Many consumer camcorders and professional video and DSLR photo cameras can capture 1080p24, 1080p25, or 1080p30 video, often encoding it in progressive segmented frame format.

As of 2011, there are a few consumer AVCHD/NXCAM camcorders that can capture 1080p50 and 1080p60 video, including the Panasonic HDC-TM700, HDC-HS700, HDC-SD700 and HDC-SD600; the Sanyo Xacti VPC-HD2000 and the Sony Handycam NEX-VG20 and NEX-FS100. Professional digital cinema cameras capable of capturing 1080p60 include Sony CineAlta F23 camera and Sony SRW9000 camcorder (with optional 60p processing boards installed), Sony PMW-F3 camcorder, as well as RED One camera (in 2K and 3K capturing modes).

See also

480p, 720p, 1080i

Progressive segmented frame

High-definition television

HD Ready 1080p

Display resolution

Blu-ray Disc

References

External links

1080p and the Acuity of Human Vision Audioholics Home Theater Magazine. April 2, 2007.

High Definition 1080p TV: Why You Should Be Concerned. Secrets of Home Theater and High Fidelity. February 28, 2007.

The Facts and Fiction of 1080p. April 17, 2006.

High Definition (HD) Image Formats for Television Production (EBU technical publication). December 2004.

Category:Video formats Category:Television terminology

ar:1080بي ca:1080p da:1080p es:1080p fr:1080p ko:1080p it:1080p ms:1080p pl:1080p pt:1080p simple:1080p sk:1080p sr:1080п th:1080p tr:1080p zh:1080p

Joseph Walton Losey (January 14, 1909, La Crosse, Wisconsin – June 22, 1984, London) was an American theater and film director. After studying in Germany with Bertolt Brecht, Losey returned to the United States, eventually making his way to Hollywood. In the 1950s Losey was blacklisted in the United States and moved to Europe where he made the remainder of his films, mostly in the United Kingdom.

Biography

Early life and career

During the McCarthy Era, Losey was named during hearings of the HUAC for his supposed ties with the Communist Party. Although he was never officially blacklisted, his career in the US declined, and he moved to England to continue working as a director.

Even in the UK, he experienced problems: his first British film, ''The Sleeping Tiger'', a 1954 film noir crime thriller, bore the pseudonym Victor Hanbury, rather than his own name, in the credits as director, as the stars of the film, Alexis Smith and Alexander Knox, feared being blacklisted in Hollywood due to working on a film he directed. He was also originally slated to direct the 1956 Hammer Films production ''X the Unknown''; however, after a few days work on the project, star Dean Jagger refused to work with a supposed Communist sympathiser and Losey was moved off the project.

Collaboration with Harold Pinter

In the 1960s, Losey began working with playwright Harold Pinter, the collaboration beginning what would be a long friendship and a successful career for Pinter as a screenwriter. Losey realized three films from Pinter's screenplays, ''The Servant'' (1963), ''Accident'' (1967) and ''The Go-Between'' (1971), all of which have made a mark in the traditions of British, European, and American art house cinema. ''The Servant'' won three British Academy Film Awards. ''Accident'' won the Grand Prix Spécial du Jury award at the 1967 Cannes Film Festival. And ''The Go-Between'' won, among others, the Golden Palm Award at the 1971 Cannes Film Festival, four prizes at the 1972 BAFTA awards, and 'Best British Screenplay' at the 1972 Writers' Guild of Great Britain awards. Each of the Pinter-Losey films examines the politics of sexuality, gender, and class in 1960s and 1970s Britain. In ''The Servant'', a manservant named Hugo Barrett (Dirk Bogarde) facilitates the moral and psychological degradation of a member of the ''nouveau riche'' named Tony (James Fox); ''Accident'' explores male lust, hypocrisy, and ennui amongst the educated middle class as two Oxford tutors named Stephen (Bogarde) and Charley (Stanley Baker) competitively objectify a pupil named Anna (Jacqueline Sassard) against the backdrop of their seemingly idyllic lives. In ''The Go-Between'', a young working class boy named Leo Colston (Dominic Guard) is involved in both facilitating and undermining a socially transgressive affair between an upper class woman named Marian Maudsley (Julie Christie) and a working class farmer named Ted Burgess (Alan Bates).

Losey's move from ''The Servant'' to the subsequent two films saw him experimenting increasingly with the mechanisms of cinema, in particular a rendering of time that was not linear but layered and thus exemplary of the subjective experience of memory. Although Losey's films can in the main be described as naturalistic, ''The Servant's'' hybridization of Losey's signature Baroque style, film noir, naturalism, and expressionism and both ''Accident's'' and ''The Go-Between's'' radical cinematography, use of montage, voice over, and musical score amount to a sophisticated construction of cinematic time and narrative perspective which edges this work in the direction of neorealist cinema. All three films are marked by Pinter's sparse, elliptical, and enigmatically subtextual dialogue, something Losey often develops a visual correlate for and occasionally even works against by means of dense and cluttered mise en scene and peripatetic camera work.

Pinter later worked with Losey on ''The Proust Screenplay'' (1972), an adaptation of ''A la recherche du temps perdu'' by Marcel Proust; however, the finances were never found to realize a film before Losey died.

Later career

In 1975, Losey realized a long-planned adaptation of Brecht's ''Galileo (aka Life of Galileo).'' Losey had co-directed the original U.S. production of ''Galileo'' with the author himself as the other co-director (and Charles Laughton, who had worked on the translation/adaptation, had had the lead role, taken in the film by Topol). ''Galileo'' was produced as part of the subscription film series of the American Film Theatre, though it was shot in England. In the context of that production, Losey also made a half hour film based on Galileo's life.

In 1979 Losey filmed Mozart's opera ''Don Giovanni'', shot in Villa La Rotonda and the Veneto region of Italy: this film was nominated for several César Awards in 1980 including Best Director. He demonstrated a facility for working in the French language and ''Monsieur Klein'' (1976) gave Alain Delon as star and producer one of French cinema's earliest chances to highlight the background to the infamous Vel' d'Hiv Roundup of French Jews in July 1942.

Private life

Losey married three times. From 1956 to 1963 he was married to British actress Dorothy Bromiley; they had a son, Joshua Losey, an actor. He had a son, Gavrik Losey, with the fashion designer/author Elizabeth Hawes. Gavrik helped out with the production on some of his father's films. Losey then married the former Patricia Mohan, who adapted Lorenzo Da Ponte's libretto for ''Don Giovanni'', and Nell Dunn's play ''Steaming''. Losey's third marriage lasted for the rest of his life. Joseph Losey is also the grandfather of film directors Marek Losey and Luke Losey.

Filmography as director

''Pete Roleum and His Cousins'' (1939, short)

''Youth Gets a Break'' (1941, short)

''A Child Went Forth'' (1941, short)

''A Gun in His Hand'' (1945, short)

''Leben des Galilei'' (1947, short)

''The Boy with Green Hair'' (1948)

''The Lawless'' (1950)

''The Prowler'' (1951)

''M'' (1951)

''The Big Night'' (1951)

''Imbarco a mezzanotte'' (1951)

''The Sleeping Tiger'' (1954)

''A Man on the Beach'' (1955)

''The Intimate Stranger'' (1956)

''Time Without Pity'' (1957)

''The Gypsy and the Gentleman'' (1958)

''Blind Date'' (1959)

''First on the Road'' (1959, short)

''The Criminal'' (1960)

'' Eva'' (1962)

''The Damned'' (1963)

''The Servant'' (1963)

''King & Country'' (1964)

''Modesty Blaise'' (1966)

''Accident'' (1967)

''Secret Ceremony'' (1968)

''Boom!'' (1968)

''Figures in a Landscape'' (1970)

''The Go-Between'' (1970)

''The Assassination of Trotsky'' (1972)

''A Doll's House'' (1973)

''The Romantic Englishwoman'' (1975)

''Galileo'' (1975)

''Monsieur Klein'' (1976)

''Les Routes du sud'' (1978)

''Don Giovanni'' (1979)

''La Truite'' (1982)

''Steaming'' (1985)

Bibliography

David Caute, ''Joseph Losey: A Revenge on Life'', Faber, 1994, ISBN 978-0571164493

Michel Ciment, ''Le Livre de Losey. Entretiens avec le cinéaste'', Paris, Stock/Cinéma, 1979, 465 p.

Michel Ciment, ''Conversations with Losey'', London & New York: Metheun, 1985, 436 p.

Michel Ciment, ''Joseph Losey: l'oeil du Maître'', Institut Lumière/Actes Sud, 1994, 360 p.

Joaquín Vallet, ''Joseph Losey'', Cátedra, 2010, 330 p.

Edith DeRahm, ''Joseph Losey: An American Director in Exile'', Pharos, 1995.

Colin Gardner ''Joseph Losey'', Manchester University Press, 2004.

Foster Hirsch, ''Joseph Losey'', Twayne, 1980.

Penelope Houston, "Losey's Paper Handkerchief", ''Sight and Sound'', Summer 1966, pp. 142–143.

Gilles Jacob "Joseph Losey, or The Camera Calls", ''Sight and Sound'', Spring 1966, pp. 62–67.

James Leahy, ''The Cinema of Joseph Losey'', A.S Barnes, 1967, 175 p.

Christian Ledieu ''Joseph Losey'', Seghers, 1963, 188 p.

Joseph Losey, ''Losey on Losey'', edited and introduced by Tom Milne, Secker & Warburg, 1967, 192 p.

James Palmer and Michael Riley, ''The Films of Joseph Losey'', Cambridge University Press, 1993,

References

External links

The Complete Joseph Losey (Links to notes for the retrospective series screened by Harvard Film Archive in July and August, 2008)

Filmography at BFI Film & TV Database (contains entries not found at IMDb)

Joseph Losey at filmreference.com includes extensive bibliography

Joseph Losey: Pictures of Provocation (Notes by Steven Seid for the retrospective series screened by Pacific Film Archive in Berkeley, March 5-April 16, 2010)

Joseph Losey's Boom! (1968) by Kimberly Lindbergs; liner notes for the CD release of the film score by John Barry

Senses of Cinema: Great Directors Critical Database

A Child Went Forth at Archive.org

Category:American film directors Category:American theatre directors Category:Hollywood blacklist Category:People from La Crosse, Wisconsin Category:Best Director César Award winners Category:1909 births Category:1984 deaths Category:David di Donatello winners‎

bg:Джоузеф Лоузи ca:Joseph Losey da:Joseph Losey de:Joseph Losey es:Joseph Losey eu:Joseph Losey fr:Joseph Losey gl:Joseph Losey it:Joseph Losey he:ג'וזף לוסי nl:Joseph Losey ja:ジョゼフ・ロージー pms:Joseph Losey pl:Joseph Losey pt:Joseph Losey ru:Лоузи, Джозеф fi:Joseph Losey sv:Joseph Losey tr:Joseph Losey

Coordinates	40°26′30″N80°00′00″N
name	Adriana Lima
birth name	Adriana Francesca Lima
birth date	June 12, 1981
birth place	Salvador, Bahia, Brazil
height
haircolor	Brown
eyecolor	Blue
measurements	86-61-89 (34-24-35)
dress size	4 (US)
shoesize	9 (US)
spouse	Marko Jaric (2009–present)
agency	Marilyn Agency
website	http://www.adrianalima.com }}

Adriana Francesca Lima (born June 12, 1981, Salvador, Bahia, Brazil) is a Brazilian model, best known as a Victoria's Secret Angel since 2000, and as a spokesmodel for Maybelline cosmetics from 2003 to 2009. At the age of 15, Lima finished first in Ford's "Supermodel of Brazil" competition, and took second place the following year in the Ford "Supermodel of the World" competition before signing with Elite Model Management in New York City. Since 2005, Lima has ranked in the top five of ''Forbes''' lists of the 20 highest-earning models in the world, and in 2006 ranked No.99 on the ''Forbes'' Celebrity 100. She is married to Serbian basketball player Marko Jarić ().

Career

Modeling

Lima never thought about being a model, although she had won many beauty pageants in elementary school. However, she had a friend at school who wanted to enter a modeling contest and did not want to enter alone, so Lima entered with her. Both sent in pictures, and the contest sponsor soon asked Lima to come out for the competition. Soon after, at the age of 15, she entered and finished in first place in Ford's "Supermodel of Brazil" model search. She subsequently entered the 1996 Ford "Supermodel of the World" contest and finished in second place. Three years later, Lima moved to New York City and signed with Elite Model Management. After acquiring representation, Lima's modeling portfolio quickly began to expand, and she appeared in numerous international editions of ''Vogue'' and ''Marie Claire''. As a runway model, she has walked the catwalks for designers such as Vera Wang, Giorgio Armani and Valentino, among others. Lima became a GUESS? girl in 2000, appearing in that year's fall ad campaign. She also appeared in the book ''A Second Decade of Guess? Images''.

Lima continued to build upon her portfolio, doing more print work for Maybelline, for whom she worked as a spokesmodel from 2003 until 2009, the same year she appeared in the company's first calendar, a limited edition run also featuring Kemp Muhl, Jessica White, Julia Stegner, and Anna Wang. Lima has also worked for notable fashion brands bebe, Armani, Versace, BCBG and Louis Vuitton. She also appeared on the covers and in the editorials of other fashion magazines such as ''Harper's Bazaar'', ''ELLE'', ''GQ'', ''Arena'', ''Vogue'', V, ''Esquire'' and French Revue des Modes. Her April 2006 ''GQ'' cover was the highest-selling issue that magazine for the year. She also appeared in the 2005 Pirelli Calendar and became the face of Italy's cell phone carrier, Telecom Italia Mobile, a move that earned her the nickname, "the Catherine Zeta-Jones of Italy."

In February 2008, Lima was featured on the cover of ''Esquire'', re-creating the classic 1966 Angie Dickinson cover on Esquire's 75th anniversary along with fellow Victoria's Secret Angels Alessandra Ambrosio, Karolina Kurkova, Izabel Goulart and Selita Ebanks. She appeared only in shoes, diamonds and gloves for the November 2007 issue of ''Vanity Fair'' celebrating 20 years of supermodels with her fellow Angels. In February 2008, she was chosen to be the face of Mexico's Liverpool department store chain and launched the partnership with a press conference, runway show, and summer campaign. Lima returned to the high fashion runway in 2009, walking for Givenchy. That same year, after visiting Turkey, Lima signed a contract with Doritos to appear in print campaigns and commercials which began airing in Turkey that April. She was also one of the faces of Givenchy for the Fall/Winter 2009 season, alongside Mariacarla Boscono and Iris Strubegger. Lima is one of the two faces of Blumarine's Fall/Winter 2011 season.

In 2011, Lima signed a deal as a spokeswoman for Megacity by Votsu, a Brazilian social gaming company, to appear in their commercials. She also became the face of Brazilian luxury brand, Forum for there F/W season. Adriana Lima has worked with the most established photographers in fashion such as Inez van Lamsweerde and Vinoodh Matidin, Vincent Peters, Mario Sorrenti, Mert Alas and Marcus Piggott and David Sims.

In 2006, Lima ranked as the fifth highest paid supermodel. In 2007 and 2008, she ranked as the world's fourth highest paid supermodel by Forbes Magazine.

Victoria's Secret

Lima is probably best known for her work with Victoria's Secret. Her first fashion show for the company came in 1999, and since being contracted as an Angel in 2000, she has appeared on subsequent shows ever since, opening the show in 2003, 2007, 2008, and 2010. Lima has appeared on several television ads for the brand, including the praised and criticized "Angel in Venice" commercial of 2003 with Bob Dylan and her solo Victoria's Secret's Super Bowl XLII ad, the single most-seen ad of the game, watched by 103.7 million viewers. 2008 continued for Lima with hosting the ''What Is Sexy?'' program for the E! Entertainment Network and a July tour for the BioFit Uplift Bra launch. She was also featured in November's Miracle Bra relaunch. Topping the year off, Lima wore the "Fantasy Bra" for the 2008 Victoria's Secret Fashion Show. The bra, created by American jewelry designer Martin Katz, was set with 3,575 black diamonds, 117 certified white round diamonds, 34 rubies, and two black diamond drops totaling . Valued at over $5 million, the bra carried more than .

In 2009, Lima launched the company's new makeup line, "Christian Siriano for VS Makeup." Lima skipped the 2009 show due to her pregnancy but she was back for the 2010 Victoria's Secret Fashion Show, in which she wore the "Fantasy Bra" again, this time created by Damiani called "The Bombshell Fantasy Bra" valued at $2million.

Acting

Lima's first acting role was the wife, alongside Mickey Rourke and Forest Whitaker, in ''The Follow'' (2001), a short film in BMW's series ''The Hire'', starring Clive Owen and directed by Wong Kar-wai. She also appeared with her fellow Angels in a guest spot playing herself in the series ''How I Met Your Mother'' in November 2007.

In 2008, Lima appeared on the American television series ''Ugly Betty'', where she played herself and made friends with the series' title character, Betty.

Reception

Lima was listed in the 2005 Forbes' edition of The World's Best-Paid Celebrities Under 25. Also, she ranked No.99th in the 2006 Forbes' edition of The Celebrity 100 (Forbes' Highest Paid and Powerful Celebrities in the World). Lima was chosen to be a part of ''People'' magazine's 100 most beautiful people in the world list, sharing that space with the Angels, with whom she also received a star on the Hollywood "Walk of Fame" prior to the 2007 Victoria's Secret Fashion Show. That same year, she ranked 7th on ''FHM''s "100 Sexiest Women 2007" list and was awarded as the "Hottest Girl on the Planet" at the first Spike TV Guys' Choice Awards, although the category was not mentioned in the actual broadcast. Lima was also voted on ''Maxim'''s "Hot 100" 2007 at the No.53 spot. She was voted No.1 as the Most Desirable Woman in 2005 by visitors of the men's lifestyle website, Askmen.com (she placed 4th in 2006 and 2007, 10th in 2008, and 19th in 2009). Since November 2008, Models.com has featured her at number one on the list of the "Sexiest Models." As of July 2011, she is also ranked No. 4 in the website's "Money Girls" list. In 2010, she was voted eighth in "FHM's Sexiest Women In The World". Previously to this, FHM ranked her at No. 6 in 2009, No. 21 in 2008 and No. 4 in 2007. In an interview about beauty, celebrity photographer and Victoria's Secret main photographer, Russell James says Adriana is one of the most beautiful women he's ever worked with in the course of his career.

Personal life

Lima is a devout Catholic who attends church every Sunday. In April 2006, she told ''GQ'' that she was a virgin. "Sex is for after marriage," she explained. "They [men] have to respect that this is my choice. If there's no respect, that means they don't want me." Characterizing her religious roots, she is known for taking a Bible backstage to read.

She has been romantically linked to musician/singer Lenny Kravitz and Prince Wenzeslaus of Liechtenstein. In November 2007, it was confirmed that Lima was dating Serbian basketball player Marko Jarić (Марко Јарић). Originally, the couple planned on a large wedding in Salvador, set to place in June 2009. Eventually, they eloped in a private civil ceremony in Jackson Hole, Wyoming on St. Valentine's Day in February 2009, with plans for two separate weddings in their respective hometowns at the end of 2009. In May 2009, it was reported that Lima applied for Serbian citizenship. Shortly thereafter, she announced that she was pregnant and expecting her first child around Thanksgiving. The couple's daughter, Valentina Lima Jarić (Валентина Лима Јарић), was born on November 15, 2009. Valentina was born at 34 weeks gestation, weighing just , due to Lima's suffering from preeclampsia.

Charity

Lima does charitable work helping with an orphanage, "Caminhos da Luz" (Ways of Light), located in her hometown. She helps with construction to expand the orphanage, and buys clothes for poor children in Salvador, Bahia. She appeared on ''Var mısın? Yok musun?'', the Turkish version of ''Deal or No Deal'', where her prize money went to a hospital in Istanbul for children fighting leukemia.

References

External links

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Category:1981 births Category:Living people Category:Brazilian female models Category:Brazilian Roman Catholics Category:Brazilian people of indigenous peoples descent Category:People from Salvador, Bahia

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