{"version":"1.0","provider_name":"ICG Magazine","provider_url":"https:\/\/www.icgmagazine.com\/web","author_name":"EDITOR","author_url":"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/","title":"Stephen Nakamura \u2013 Company 3 - ICG Magazine","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"zsE64fefnD\"><a href=\"https:\/\/www.icgmagazine.com\/web\/exposure-stephen-nakamura\/\">Stephen Nakamura \u2013 Company 3<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.icgmagazine.com\/web\/exposure-stephen-nakamura\/embed\/#?secret=zsE64fefnD\" width=\"600\" height=\"338\" title=\"&#8220;Stephen Nakamura \u2013 Company 3&#8221; &#8212; ICG Magazine\" data-secret=\"zsE64fefnD\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.icgmagazine.com\/web\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2012\/10\/2012_101.jpg","thumbnail_width":1200,"thumbnail_height":800,"description":"Viewers of The Hurt Locker probably had no idea of the contributions made in post to the final look of the six-time Oscar-winning film. Subtle touches in digital grading, like the saturation of the red wires in the bombs and the warmth of the sand on the Iraqi battlefield, helped to underscore the excitement and tension of Sgt. William James\u2019s (Jeremy Renner) world. Images from his home life, skewed colder with a flattened contrast, emphasized the soldier\u2019s ennui at being [&hellip;]"}