SKU: 65087946392

MS4 Regiment (Ref.101019)

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Description

MS4 Regiment (Ref.101019)The Kingsbury MS4 Regiment is the latest model in our ultra popular, MS Field Watch line. The design draws heavily on classic mid century style field watches made popular during WWII. Its simple, sleek and features some modern touches. The perfect field watch: durable, minimalist, and reliable. Powered by a Seiko NH38 movement, a 3 handed, no date mechanical movement, with automatic winding and a stop second (hacking) feature. The scratch resistant

The Kingsbury MS4 Regiment is the latest model in our ultra-popular, MS Field Watch line. The design draws heavily on classic mid-century-style field watches made popular during WWII. It’s simple, sleek and features some modern touches. The perfect field watch: durable, minimalist, and reliable. Powered by a Seiko NH38 movement, a 3 handed, no-date mechanical movement, with automatic winding and a stop second (hacking) feature. The scratch-resistant sapphire crystal, powerful lume and 200M water resistance will have you ready for any situation. 

 

To ensure a sturdy build, the MS4 Regiment was forged using stainless steel. The casing, which has an overall brushed finish, also features a high polished bezel with polished lug edges. This contrasting, multi-dimensional design gives the MS4 a luxurious feel. The case measures 39 mm in diameter, 46mm lug to lug and a total height of 12MM. The screw-down crown on the MS4 sits at typical 3 o'clock position and is signed with the Kingsbury 'K'. The rugged crown completes the utilitarian look of the watch and features a practical, easy to grip texture.

Protecting the face of the watch, you'll find a scratch resistant sapphire crystal. Coupled with the stainless steel case and backing, the MS4 Regiment boasts a very impressive water resistance of 20ATM (200M).

 

The dial on the MS4 Regiment has a vintage feel and is inspired by classic field watches from the WWII era. The matte dials have bold, numeral hour markings, printed in luminous material. The minute and hour hands, which are also luminous, use a baton style design. To count down the seconds, you will find a simple pointed second hand, painted in a contrasting yellow, that makes it extremely easy to read.

 

No field watch would be complete without a way of reading your dials in the dark and the MS4 Regiment is no exception. For our design, we chose the supreme high quality of Swiss made SuperLuminova (BGW9), which appears white under normal conditions and glows blue during low light conditions (when charged).

Both the numbered hour markings and the hour and minute hands have been treated with the luminescent paint, which is not only functional, but gives the watch a desirable glowing design.

 

In keeping in-line with the design, the MS4 Regiment Ref.101019 comes equipped with a black, vintage leather strap, with matching stitching and stainless steel hardware. These 20mm wide straps, are soft and are made from artificially aged French calfskin leather, which will develop a beautiful patina over time. 

 


The caseback on the MS4 Regiment is constructed from 316L stainless steel and has a screw-down design allowing for the tightest fit and best protection against water. The outer edge of each caseback has been engraved with the make and model plus water resistance and movement details. Featured prominently in the center of the caseback is a skull and dagger badge design.

 

  • Model Number: MS4.101019
  • Movement (origin): Seiko NH38 (Japan)
  • Movement (type): Automatic
  • Dial Color: Black
  • Case Size/Diameter (mm): 39.0
  • Case Height (mm): 12.0
  • Lug To Lug Length (mm): 46.0
  • Case Material: Stainless Steel
  • Case Finish: Brushed With Polished Elements
  • Case Back: Screw Back
  • Crown: Screw Down
  • Crystal/Glass material: Sapphire Crystal
  • Water Resistance (m/ft/atm): 200/660/20
  • Strap/Bracelet Material: Vintage Leather (Black)
  • Strap Hardware Finishing: Brushed
  • Strap Width at Lugs (mm): 20.00
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SKU: 65087946392

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4.0 ★★★★★
Based on 11 reviews
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Product Reviews
J
Verified Purchase
jk Smiles
Pawtucket, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Draper, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
New York, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Port Orchard, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Whiting, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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