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In most women, various physical changes are brought about by fluctuations in hormone levels during the menstrual cycle. This includes muscle contractions of the uterus (menstrual cramping) that can precede or accompany menstruation. Many women experience painful cramps, also known as dysmenorrhea, during menstruation. Among adult women, that pain is severe enough to affect daily activity in only 2%–28%. | https://en.wikipedia.org/wiki/Menstrual_blood |
Severe symptoms that disrupt daily activities and functioning may be diagnosed as premenstrual dysphoric disorder. These symptoms can be severe enough to affect a person's performance at work, school, and in everyday activities in a small percentage of women.When severe pelvic pain and bleeding suddenly occur or worsen during a cycle, this could be due to ectopic pregnancy and spontaneous abortion. This is checked by using a pregnancy test, ideally as soon as unusual pain begins, because ectopic pregnancies can be life‑threatening.The most common treatment for menstrual cramps are non-steroidal anti-inflammatory drugs (NSAIDs). | https://en.wikipedia.org/wiki/Menstrual_blood |
NSAIDs can be used to reduce moderate to severe pain, and all appear similar. About 1 in 5 women do not respond to NSAIDs and require alternative therapy, such as simple analgesics or heat pads. Other medications for pain management include aspirin or paracetamol and combined oral contraceptives. Although combined oral contraceptives may be used, there is insufficient evidence for the efficacy of intrauterine progestogens.One review found tentative evidence that acupuncture may be useful, at least in the short term. Another review found insufficient evidence to determine an effect. | https://en.wikipedia.org/wiki/Menstrual_blood |
In most work-at-height environments, multiple fall protection measures are used concurrently. | https://en.wikipedia.org/wiki/Fall_protection |
In most years through the early 1950s, the pace car led the field around the track for one warm up lap, and then the race began. The pace lap concept was popular with fans, as many drivers commonly waved at the fans and the rolling grid made for spectacular photographs. By 1957, the procedure was changed so the pace car led the field for two warm up laps. This allowed extra time to warm up the engines, oil temperatures, and tires, and allowed the drivers the chance to survey the conditions of the entire track at least once before receiving the green flag. | https://en.wikipedia.org/wiki/Indianapolis_500_pace_cars |
This also allowed the fans on the main stretch (where the largest grandstands are located) to see the entire field parade by one time before the start. Previously only fans on other parts of the track got to actually see the grid go by for photographs and waving. For the 1957–1958 races, the grid was lined up and exited single-file from the newly constructed pit lane. | https://en.wikipedia.org/wiki/Indianapolis_500_pace_cars |
The two laps allowed the field to properly form up, however, in practice it turned out to be difficult and both races saw incidents at the start. In 1959, the field went back to lining up the grid on the main stretch, and continues to do so to this day. By the late 1960s, not only would a special driver be behind the wheel of the pace car, but numerous celebrities would be invited to ride along as passengers. | https://en.wikipedia.org/wiki/Indianapolis_500_pace_cars |
Automotive executives, NASA astronauts, reporters from ABC Sports and the IMS Radio Network, and other celebrities were among those invited to ride in the pace car. In 1971, local Indianapolis Dodge dealer Eldon Palmer was involved in a crash driving the pace car. | https://en.wikipedia.org/wiki/Indianapolis_500_pace_cars |
He crashed into a photographer's stand at the south end of the pit area, injuring several persons. In the years immediately following, the pace car driver utilized would only be an experienced race driver. Former Indy winner Jim Rathmann served six times (and once for caution periods only). Celebrities James Garner and Marty Robbins were chosen in part due to their experience in racing. | https://en.wikipedia.org/wiki/Indianapolis_500_pace_cars |
In most years, students have taken the USAMO at their respective high schools. Prior to 2002, the problems were mailed to the schools in sealed envelopes, not to be opened before the appointed time on the test day. Since 2002, test problems have been posted on the AMC website (see links below) fifteen minutes prior to the official start of the test. Student responses are then faxed back to the AMC office at the end of the testing period. | https://en.wikipedia.org/wiki/United_States_of_America_Mathematical_Olympiad |
In 2002, the Akamai Foundation, as a major sponsor of the American Mathematics Competitions, invited all USAMO participants to take the test at a central event at MIT in Cambridge, Massachusetts, all expenses paid. In addition, Akamai invited all 2002 USAMO participants who were not high school seniors (approximately 160 students) to take part in an enlarged Mathematical Olympiad Program (also known as "MOP") program. Since holding this central event every year would be prohibitively expensive, it has been discontinued. | https://en.wikipedia.org/wiki/United_States_of_America_Mathematical_Olympiad |
In 2004 and 2005, however, funding was found to send 30 rising freshmen to MOP as well, in a program popularly called "Red MOP." Each year, the top 12 scorers on the USAMO are considered for selection to the IMO team for the United States. The students are trained at the MOP at Carnegie Mellon University, and then six are selected to the team. The next approximately 18 high scorers, usually excluding high school seniors, are also invited to MOP. | https://en.wikipedia.org/wiki/United_States_of_America_Mathematical_Olympiad |
In most years, the most visible meteor shower is the Perseids, which peak on 12 August of each year at over one meteor per minute. NASA has a tool to calculate how many meteors per hour are visible from one's observing location. The Leonid meteor shower peaks around 17 November of each year. The Leonid shower produces a meteor storm, peaking at rates of thousands of meteors per hour. | https://en.wikipedia.org/wiki/Meteoroid_shower |
Leonid storms gave birth to the term meteor shower when it was first realised that, during the November 1833 storm, the meteors radiated from near the star Gamma Leonis. The last Leonid storms were in 1999, 2001 (two), and 2002 (two). | https://en.wikipedia.org/wiki/Meteoroid_shower |
Before that, there were storms in 1767, 1799, 1833, 1866, 1867, and 1966. When the Leonid shower is not storming, it is less active than the Perseids. See the Infographics on Meteor Shower Calendar-2021 on the right. | https://en.wikipedia.org/wiki/Meteoroid_shower |
In most zones of continent-continent collision, the relative movement of the plates is oblique to the plate boundary itself. The deformation along the boundary is normally partitioned into dip-slip contractional structures in the foreland with a single large strike-slip structure in the hinterland accommodating all the strike-slip component along the boundary. Examples include the Main Recent Fault along the boundary between the Arabian and Eurasian plates behind the Zagros fold and thrust belt, the Liquiñe-Ofqui Fault that runs through Chile and the Great Sumatran fault that runs parallel to the subduction zone along the Sunda Trench. | https://en.wikipedia.org/wiki/Strike-slip_tectonics |
In most, if not all proteinopathies, a change in the 3-dimensional folding conformation increases the tendency of a specific protein to bind to itself. In this aggregated form, the protein is resistant to clearance and can interfere with the normal capacity of the affected organs. In some cases, misfolding of the protein results in a loss of its usual function. For example, cystic fibrosis is caused by a defective cystic fibrosis transmembrane conductance regulator (CFTR) protein, and in amyotrophic lateral sclerosis / frontotemporal lobar degeneration (FTLD), certain gene-regulating proteins inappropriately aggregate in the cytoplasm, and thus are unable to perform their normal tasks within the nucleus. | https://en.wikipedia.org/wiki/Protein_misfolding_disease |
Because proteins share a common structural feature known as the polypeptide backbone, all proteins have the potential to misfold under some circumstances. However, only a relatively small number of proteins are linked to proteopathic disorders, possibly due to structural idiosyncrasies of the vulnerable proteins. For example, proteins that are normally unfolded or relatively unstable as monomers (that is, as single, unbound protein molecules) are more likely to misfold into an abnormal conformation. | https://en.wikipedia.org/wiki/Protein_misfolding_disease |
In nearly all instances, the disease-causing molecular configuration involves an increase in beta-sheet secondary structure of the protein. The abnormal proteins in some proteopathies have been shown to fold into multiple 3-dimensional shapes; these variant, proteinaceous structures are defined by their different pathogenic, biochemical, and conformational properties. They have been most thoroughly studied with regard to prion disease, and are referred to as protein strains. | https://en.wikipedia.org/wiki/Protein_misfolding_disease |
The likelihood that proteinopathy will develop is increased by certain risk factors that promote the self-assembly of a protein. These include destabilizing changes in the primary amino acid sequence of the protein, post-translational modifications (such as hyperphosphorylation), changes in temperature or pH, an increase in production of a protein, or a decrease in its clearance. Advancing age is a strong risk factor, as is traumatic brain injury. In the aging brain, multiple proteopathies can overlap. For example, in addition to tauopathy and Aβ-amyloidosis (which coexist as key pathologic features of Alzheimer's disease), many Alzheimer patients have concomitant synucleinopathy (Lewy bodies) in the brain.It is hypothesized that chaperones and co-chaperones (proteins that assist protein folding) may antagonize proteotoxicity during aging and in protein misfolding-diseases to maintain proteostasis. | https://en.wikipedia.org/wiki/Protein_misfolding_disease |
In most-idle hunting, calls are always delivered to whichever line has been idle the longest. This considers the length of time that the calltaker has been busy versus available. This is typically used in call centers where the calls are being answered by people, to distribute the load evenly. | https://en.wikipedia.org/wiki/Line_hunting |
In mostly European experience with 69 patients during 1996–2016, the 5- and 10-year survival rates for SCLS patients were 78% and 69%, respectively, but the survivors received significantly more frequent preventive treatment with IVIG than did non-survivors. Five- and 10-year survival rates in patients treated with IVIG were 91% and 77%, respectively, compared to 47% and 37% in patients not treated with IVIG. Moreover, better identification and management of this condition appears to be resulting in lower mortality and improving survival and quality-of-life results as of late. | https://en.wikipedia.org/wiki/Capillary_leak_syndrome |
In motion compensation, quarter or half samples are actually interpolated sub-samples caused by fractional motion vectors. Based on the vectors and full-samples, the sub-samples can be calculated by using bicubic or bilinear 2-D filtering. See subclause 8.4.2.2 "Fractional sample interpolation process" of the H.264 standard. | https://en.wikipedia.org/wiki/Motion_Compensation |
In motion control, the design focus is on straight, linear motion, with the need to move a system from one steady position to another (point-to-point motion). The design concern from a jerk perspective is vertical jerk; the jerk from tangential acceleration is effectively zero since linear motion is non-rotational. Motion control applications include passenger elevators and machining tools. Limiting vertical jerk is considered essential for elevator riding convenience. | https://en.wikipedia.org/wiki/Angular_jerk |
ISO 18738 specifies measurement methods for elevator ride quality with respect to jerk, acceleration, vibration, and noise; however, the standard does not specify levels for acceptable or unacceptable ride quality. It is reported that most passengers rate a vertical jerk of 2 m/s3 as acceptable and 6 m/s3 as intolerable. For hospitals, 0.7 m/s3 is the recommended limit. | https://en.wikipedia.org/wiki/Angular_jerk |
A primary design goal for motion control is to minimize the transition time without exceeding speed, acceleration, or jerk limits. Consider a third-order motion-control profile with quadratic ramping and deramping phases in velocity (see figure). This motion profile consists of the following seven segments: Acceleration build up — positive jerk limit; linear increase in acceleration to the positive acceleration limit; quadratic increase in velocity Upper acceleration limit — zero jerk; linear increase in velocity Acceleration ramp down — negative jerk limit; linear decrease in acceleration; (negative) quadratic increase in velocity, approaching the desired velocity limit Velocity limit — zero jerk; zero acceleration Deceleration build up — negative jerk limit; linear decrease in acceleration to the negative acceleration limit; (negative) quadratic decrease in velocity Lower deceleration limit — zero jerk; linear decrease in velocity Deceleration ramp down — positive jerk limit; linear increase in acceleration to zero; quadratic decrease in velocity; approaching the desired position at zero speed and zero accelerationSegment four's time period (constant velocity) varies with distance between the two positions. | https://en.wikipedia.org/wiki/Angular_jerk |
If this distance is so small that omitting segment four would not suffice, then segments two and six (constant acceleration) could be equally reduced, and the constant velocity limit would not be reached. If this modification does not sufficiently reduce the crossed distance, then segments one, three, five, and seven could be shortened by an equal amount, and the constant acceleration limits would not be reached. Other motion profile strategies are used, such as minimizing the square of jerk for a given transition time and, as discussed above, sinusoidal-shaped acceleration profiles. Motion profiles are tailored for specific applications including machines, people movers, chain hoists, automobiles, and robotics. | https://en.wikipedia.org/wiki/Angular_jerk |
In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue, and music recordings are never referred to as sound effects, though the processes applied to them, such as reverberation or flanging, often are. Necessary incidental units of sound, footsteps, keys, a polishing sound, are created in the foley studio. | https://en.wikipedia.org/wiki/Film_techniques |
In motion picture cameras, the pin(s) hold the film immovable during exposure. In certain "professional" motion picture cameras and "step" printers, there may be two registration pins: one is called the "big pin" and it is employed for primary (axial and lateral) registration while the other one is called the "little pin" and it is employed for secondary (axial) registration. With the "big pin"/"little pin" concept, it is not required to employ side pressure or other means to guide the film through the intermittent movement with absolute precision as the "big pin" is fully fitting in the perforation (the "little pin" is not fully fitting in width, but is fully fitting in height; this difference accommodates slight changes in the dimensions of the film media due to changes in relative humidity and possibly other factors such as media age). This system is employed primarily in high-end "professional" cameras in the West. | https://en.wikipedia.org/wiki/Pin_registration |
In the East (the former Soviet Union and its former Satellites), a single registration pin, corresponding to the "big pin", is employed along with side pressure. Additionally, Western "professional" cameras always employ Bell and Howell (BH) pins whereas Eastern "professional" cameras generally employ Kodak Standard (KS) pins, which standard was originally recommended by the Western standards organizations, but was soundly rejected by Western studios and camera equipment manufacturers. Western "professional" cameras provided to the East during World War II's Lend-Lease program were generally converted to KS pins by the receiving country. | https://en.wikipedia.org/wiki/Pin_registration |
To further improve registration accuracy, the perforations which are utilized for registration are never used for film advancement (i.e., for pull-down). The above description applies to "professional" applications, which is generally taken to mean film gauges larger than 16mm (i.e., 35mm and 65/70mm). | https://en.wikipedia.org/wiki/Pin_registration |
For 16mm, only, a modified strategy is generally employed, at least for "step" printers which utilize 1R (single-row) perforations. The lower pin, the "big pin", will be fully fitting in the axial and lateral dimensions but the upper pin, the "little pin", will be fully fitting in the lateral dimension only, for the same reason that the "professional's" "little pin" is fully fitting in the axial dimension only. This, then, also accomplishes absolute precision, but within the context of "sub-professional" film gauges. For practical reasons, the 1R 16mm "little pin" is usually spaced two perforations above the 16mm "big pin". Again for 16mm, only, certain cameras and "step" printers which utilize 2R (two-row) perforations may employ the same strategy as for "professional" applications, but 2R is seldom utilized except for certain high-speed photography and almost never for duplication or prints. | https://en.wikipedia.org/wiki/Pin_registration |
In motion picture equipment, the Mitchell BNC conversion to reflex was followed by the studio quiet XR35. The Cinema Products XR35 had a Mitchell NC camera inside a lightweight housing or blimp. The blimp was so close in size to the original camera, it looked small compared to the blimps made for Mitchell or Arriflex cameras. The XR35 was a crystal-controlled 35mm motion picture camera considerably lighter than the Hollywood studio–owned blimped Mitchells. | https://en.wikipedia.org/wiki/Cinema_Products_Corporation |
The X stood for crystal, the R for reflex. The reflex system was based on a spinning mirror shutter. During the mirrors' revolution at one point the film would be exposed, then the operator would view the image in the mirror as the film was advanced to the next frame, at 24 times a second. | https://en.wikipedia.org/wiki/Cinema_Products_Corporation |
Cinema Products did their best to buy up all available 35mm Mitchell NC cameras on the market as the XR went into production. Later, Cinema Products sold their remaining Mitchell inventory to a Japanese company when the XR35 was challenged by competitors but still selling well. In 1972 Panavision and Arriflex came to market with their lighter-weight 35mm cameras. | https://en.wikipedia.org/wiki/Cinema_Products_Corporation |
Panavision's Panaflex and the German Arriflex 35BL-I. These cameras were not blimped in the sense they had a camera in a housing; these cameras were designed from the ground up to be quiet. The light and ergonomic Arri 35BL-I gave European film makers (and eventually the American "Brats"), the ability to shoot studio-quality (double system) sync sound movies, but faster, on real locations – and even handheld – and with smaller crews and support equipment. (Due to the limited resources of the 1940s and 1950s the Italian Neo realists and French New Wave had evolved around the approach of shooting wild synch or "Noisy-synch" and then completely post-replacing all sound and dialog.) In America, The Panaflex became the industry standard motion picture camera, displacing the Mitchell legacy. | https://en.wikipedia.org/wiki/Cinema_Products_Corporation |
In motion picture formats, the physical size of the film area between the sprocket perforations determines the image's size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 4:3, or 1.3:1.With a space designated for the standard optical soundtrack, and the frame size reduced to maintain an image that is wider than tall; this resulted in the Academy aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.375:1 aspect ratio. | https://en.wikipedia.org/wiki/Picture_aspect_ratio |
In motion picture production, a Sound Editor/Designer is a member of a film crew responsible for the entirety or some specific parts of a film's soundtrack. In the American film industry, the title Sound Designer is not controlled by any professional organization, unlike titles such as Director or Screenwriter. The terms sound design and sound designer began to be used in the motion picture industry in 1969. At that time, The title of Sound Designer was first granted to Walter Murch by Francis Ford Coppola in recognition for Murch's contributions to the film The Rain People. | https://en.wikipedia.org/wiki/Sound_Design |
The original meaning of the title Sound Designer, as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track". The term sound designer has replaced monikers like supervising sound editor or re-recording mixer for what was essentially the same position: the head designer of the final sound track. Editors and mixers like Murray Spivack (King Kong), George Groves (The Jazz Singer), James G. Stewart (Citizen Kane), and Carl Faulkner (Journey to the Center of the Earth) served in this capacity during Hollywood's studio era, and are generally considered to be sound designers by a different name. | https://en.wikipedia.org/wiki/Sound_Design |
The advantage of calling oneself a sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that legitimised the field of post-production sound at a time when studios were downsizing their sound departments, and when producers were routinely skimping on budgets and salaries for sound editors and mixers. | https://en.wikipedia.org/wiki/Sound_Design |
In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. The position of Sound Designer therefore emerged in a manner similar to that of Production Designer, which was created in the 1930s when William Cameron Menzies made revolutionary contributions to the craft of art direction in the making of Gone with the Wind.The audio production team is a principal member of the production staff, with creative output comparable to that of the film editor and director of photography. Several factors have led to the promotion of audio production to this level, when previously it was considered subordinate to other parts of film: Cinema sound systems became capable of high-fidelity reproduction, particularly after the adoption of Dolby Stereo. | https://en.wikipedia.org/wiki/Sound_Design |
Before stereo soundtracks, film sound was of such low fidelity that only the dialogue and occasional sound effects were practical. These sound systems were originally devised as gimmicks to increase theater attendance, but their widespread implementation created a content vacuum that had to be filled by competent professionals. | https://en.wikipedia.org/wiki/Sound_Design |
Dolby's immersive Dolby Atmos format, introduced in 2012, provides the sound team with 128 tracks of audio that can be assigned to a 7.1.2 bed that utilizes two overhead channels, leaving 118 tracks for audio objects that can be positioned around the theater independent of the sound bed. Object positions are informed by metadata that places them based on X, Y, Z coordinates and the number of speakers available in the room. This immersive sound format expands creative opportunities for the use of sound beyond what was achievable with older 5.1 and 7.1 surround sound systems. | https://en.wikipedia.org/wiki/Sound_Design |
The greater dynamic range of the new systems, coupled with the ability to produce sounds at the sides, behind, or above the audience, provided the audio post-production team new opportunities for creative expression in film sound. Some directors were interested in realizing the new potential of the medium. A new generation of filmmakers, the so-called "Easy Riders and Raging Bulls"—Martin Scorsese, Steven Spielberg, George Lucas, and others—were aware of the creative potential of sound and wanted to use it. | https://en.wikipedia.org/wiki/Sound_Design |
Filmmakers were inspired by the popular music of the era. Concept albums of groups such as Pink Floyd and The Beatles suggested new modes of storytelling and creative techniques that could be adapted to motion pictures. New filmmakers made their early films outside the Hollywood establishment, away from the influence of film labor unions and the then rapidly dissipating studio system.The contemporary title of sound designer can be compared with the more traditional title of supervising sound editor; many sound designers use both titles interchangeably. The role of supervising sound editor, or sound supervisor, developed in parallel with the role of sound designer. The demand for more sophisticated soundtracks was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors, that was required to realize a complete sound job with a fast turnaround. | https://en.wikipedia.org/wiki/Sound_Design |
In motion picture technology—either film or video—high frame rate (HFR) refers to higher frame rates than typical prior practice. The frame rate for motion picture film cameras was typically 24 frames per second (fps) with multiple flashes on each frame during projection to prevent flicker. Analog television and video employed interlacing where only half of the image (known as a video field) was recorded and played back/refreshed at once but at twice the rate of what would be allowed for progressive video of the same bandwidth, resulting in smoother playback, as opposed to progressive video which is more similar to how celluloid works. | https://en.wikipedia.org/wiki/High_Frame_Rate |
The field rate of analog television and video systems was typically 50 or 60 fields per second. Usage of frame rates higher than 24 fps for feature motion pictures and higher than 30 fps for other applications are emerging trends. Filmmakers may capture their projects in a high frame rate so that it can be evenly converted to multiple lower rates for distribution. | https://en.wikipedia.org/wiki/High_Frame_Rate |
In motion picture terminology, a montage (from the French for "putting together" or "assembly") is a film editing technique. There are at least three senses of the term: In French film practice, "montage" has its literal French meaning (assembly, installation) and simply identifies editing. In Soviet filmmaking of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone. In classical Hollywood cinema, a "montage sequence" is a short segment in a film in which narrative information is presented in a condensed fashion.Although film director D. W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing — mastering cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well. | https://en.wikipedia.org/wiki/Assembly_cut |
Griffith's work in the teens was highly regarded by Lev Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing. Kuleshov was among the first to theorize about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema — that which could be duplicated in no other medium — is editing. | https://en.wikipedia.org/wiki/Assembly_cut |
He argues that editing a film is like constructing a building. Brick-by-brick (shot-by-shot) the building (film) is erected. | https://en.wikipedia.org/wiki/Assembly_cut |
His often-cited Kuleshov Experiment established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context. | https://en.wikipedia.org/wiki/Assembly_cut |
Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks. | https://en.wikipedia.org/wiki/Assembly_cut |
But Eisenstein did not always do his own editing, and some of his most important films were edited by Esfir Tobak.A montage sequence consists of a series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being conveyed. | https://en.wikipedia.org/wiki/Assembly_cut |
One famous example of montage was seen in the 1968 film 2001: A Space Odyssey, depicting the start of man's first development from apes to humans. Another example that is employed in many films is the sports montage. The sports montage shows the star athlete training over a period of time, each shot having more improvement than the last. | https://en.wikipedia.org/wiki/Assembly_cut |
Classic examples include Rocky and the Karate Kid. The word's association with Sergei Eisenstein is often condensed—too simply—into the idea of "juxtaposition" or into two words: "collision montage," whereby two adjacent shots that oppose each other on formal parameters or on the content of their images are cut against each other to create a new meaning not contained in the respective shots: Shot a + Shot b = New Meaning c. The association of collision montage with Eisenstein is not surprising. He consistently maintained that the mind functions dialectically, in the Hegelian sense, that the contradiction between opposing ideas (thesis versus antithesis) is resolved by a higher truth, synthesis. | https://en.wikipedia.org/wiki/Assembly_cut |
He argued that conflict was the basis of all art, and never failed to see montage in other cultures. For example, he saw montage as a guiding principle in the construction of "Japanese hieroglyphics in which two independent ideographic characters ('shots') are juxtaposed and explode into a concept. Thus: Eye + Water = Crying Door + Ear = Eavesdropping Child + Mouth = Screaming Mouth + Dog = Barking Mouth + Bird = Singing. "He also found montage in Japanese haiku, where short sense perceptions are juxtaposed and synthesized into a new meaning, as in this example: A lonely crow On a leafless bough One autumn eve. (枯朶に烏のとまりけり秋の暮) — Matsuo Basho As Dudley Andrew notes, "The collision of attractions from line to line produces the unified psychological effect which is the hallmark of haiku and montage." | https://en.wikipedia.org/wiki/Assembly_cut |
In motion pictures, Kodak's Kodacolor brand was originally associated with an early lenticular (additive color) color motion picture process, first introduced in 1928 for 16mm film. The process was based on the Keller-Dorian system of color photography. | https://en.wikipedia.org/wiki/Kodacolor_(filmmaking) |
In motion pictures, gap/supergap financing is a form of mezzanine debt financing where the producer wishes to complete their film finance package by procuring a loan that is secured against the film's unsold territories and rights. Most gap financiers will only lend against the value of unsold foreign (non-North American) rights, as domestic (North American: USA & Canadian) rights are seen as a "performance" risk, as opposed to more quantifiable risk that is the foreign market. In short, this means that the foreign value of a film can be ascertained by a foreign sales company/agent by evaluating the blended value of the quality of the script, its genre, cast, director, producer, as well as whether it has theatrical distribution in the US from a major film studio; all of this is taken into consideration and applied against the historical and current market tastes, trends, and needs of each foreign territory of country. This is still an unpredictable practice. | https://en.wikipedia.org/wiki/Crowdfunded_film |
Domestic distribution is also unpredictable and far from ever a sure thing (e.g. just because a film has a big budget and a commercial genre and cast, it could still be unwatchable and thus never receive a theatrical or television release in the US, thus being relegated to being a big budget, direct-to-video film.) Any certainty in the entertainment business, lending against foreign value estimates is preferable to betting on strictly a domestic success (comedies and urban films being two notable exceptions: they are referred to as "domestic pieces" or "domestic plays".) True to its mezzanine nature, in the pecking order of recoupment of investment, generally, gap (or supergap) loans are subordinate to (recoup after) the senior/bank production loan, but in turn, the gap/supergap loan will be senior to (recoup before) equity financiers. | https://en.wikipedia.org/wiki/Crowdfunded_film |
A gap loan becomes a supergap loan when it extends beyond 10-15% of the production loan required to shoot the film (or in other words, when the percentage of the gap required to complete the film's financing package becomes greater than a bank is willing to bear, which is traditionally 10-15%, but can sometime be a flat dollar threshold like US$1,000,000. )Gap/supergap lending is a very risky form of capital investment and accordingly the fees and interest charged reflect that level of risk. But at the same time it is not unlike buying a house: nobody pays 100% of the purchase price with cash; they pay about 20% in cash and borrow the rest. Supergap financing works by the same principle: put down 20-30% cash/equity and borrow the rest. | https://en.wikipedia.org/wiki/Crowdfunded_film |
In motion pictures, the 1982 comedy Tootsie has the lead character impersonating a woman in order to gain acting work on a long running television soap opera. Several scenes parody the production of soaps, their outrageous storylines and idiosyncratic stylistic elements. The 1991 comedy Soapdish stars Sally Field as an aging soap opera actress on the fictional series The Sun Also Sets who pines over her own neuroses and misfortunes, such as her live-in boyfriend who leaves her to go back to his wife, and the incidents of backstabbing and scheming behind the scenes, some of which are more interesting than the stories on the program. Another 1991 comedy, Delirious, stars John Candy as a soap opera writer who, after a head injury, has a dream experience of being in his own creation. | https://en.wikipedia.org/wiki/Soap_opera |
The dream experience is an increasingly outrageous exaggeration of soap opera plot elements. On television, several soap opera parodies have been produced: The Carol Burnett Show (1967–1978) featured a recurring skit, "As the Stomach Turns", that spoofed the American soap opera As the World Turns. The first season of the children's television series The Electric Company featured a recurring sketch, "Love of Chair", spoofing classic soap operas. | https://en.wikipedia.org/wiki/Soap_opera |
The title was based on the long-running soap opera Love of Life, and its announcer Ken Roberts was also the announcer on Love of Life. Two of the most famous U.S. parodies were the series Mary Hartman, Mary Hartman (1976–1977) and Soap (1977–1981), the latter of which was a weekly sitcom/soap opera parody. | https://en.wikipedia.org/wiki/Soap_opera |
The cult Australian prison soap opera Prisoner (1979–1986) included a spoof television soap that the inmates were occasionally seen watching called "Yesterday, Today and Tomorrow". In one episode, specially recorded audio can be heard in which two characters from the fictional soap opera play out a ludicrous script which clearly pokes fun at the heightened melodrama of daytime soap operas. British soap opera Brookside (1982–2003) included an in-universe soap opera parody of itself called "Meadowcroft Park" which Brookside characters referenced and were occasionally seen watching. | https://en.wikipedia.org/wiki/Soap_opera |
The soap was set on a newly built housing estate in Chester and real scenes, even a "Part two" caption, were produced for airing on the character's houses TV's. Notably, Meadowcroft was also the original working title of Brookside. Fresno was a 1986 American miniseries spoof of the prime time serials of the period. | https://en.wikipedia.org/wiki/Soap_opera |
The recurring "Acorn Antiques" skit on the UK's Victoria Wood As Seen On TV (1985–1987) was modeled on Crossroads and other British soap operas of the 1970s. In 1992, Wood included a new soap parody for the one-off programme Victoria Wood's All Day Breakfast called The Mall which was set in a shopping centre. Wood played Connie who was a send up of Polly Perkins character Trish Valentine in failed BBC soap Eldorado which was still airing at the time. | https://en.wikipedia.org/wiki/Soap_opera |
Let The Blood Run Free (1990–1994) was an Australian parody of medical drama series. The 1990–1991 ABC drama Twin Peaks was a prime time series that poked fun at the genre. Episodes during the series' first season also included a fictional soap within the stories, titled Invitation to Love. | https://en.wikipedia.org/wiki/Soap_opera |
Shark Bay (1996) was an Australian parody of glamorous beachside soap operas. It featured many actors who had appeared in Australian soap operas Sons and Daughters, Prisoner, Home and Away and Neighbours. The 2000–2001 WB sitcom Grosse Pointe was a self-parody of creator Darren Star's behind-the-scenes experiences producing nighttime soaps, in particular Beverly Hills, 90210. | https://en.wikipedia.org/wiki/Soap_opera |
South African comedian Casper de Vries produced the soap opera parody Haak en Steek (which ran from 2003 to 2004), based on South African soaps like Egoli: Place of Gold. The now-cancelled ABC soap opera One Life to Live would often poke fun at the genre as well, even featuring a soap within the soap called Fraternity Row, which many of One Life to Live's characters had either worked on or watched. Months after ABC announced in April 2011 that it would cancel One Life to Live, the series featured a storyline in which Fraternity Row itself was cancelled, leading the character of Roxy Balsom (Ilene Kristen) to desperately try and save the series, to no avail. | https://en.wikipedia.org/wiki/Soap_opera |
A special episode that aired on December 19, 2011, featured the cast of One Life to Live acting out an episode of Fraternity Row in a dream of Roxy's; the episode poked fun at both One Life to Live and the entire genre itself, featuring many soap opera stereotypes such as overacting, outrageous story lines, bad casting and incestuous relationships; it also parodied some storylines featured on the real-world soap. The second-to-last episode of One Life to Live showed characters watching the final episode of Fraternity Row and exposing the show's last big secret: the series' main heroine and protagonist, Lorraine King Vonvaldenburg Baxter Beumont, was really a man. Second City TV featured The Days of the Week: "Monday. | https://en.wikipedia.org/wiki/Soap_opera |
Saturday. Sunday. These are...The Days of the Week." | https://en.wikipedia.org/wiki/Soap_opera |
The ABC comedy drama Desperate Housewives (which ran from 2004 to 2012) was a semi-satirical nighttime series that took many elements from the genre. The Fox broadcast show Futurama has a recurring spoof of All My Children called All My Circuits. The Adult Swim animated series Tender Touches, which premiered in 2017, is a parody of soap operas. | https://en.wikipedia.org/wiki/Soap_opera |
In motion pictures, whether for film (cinema), television, or streaming, de-aging is a visual effects technique used to make an actor or actress look younger, especially for flashback scenes. This is often accomplished via digitally editing the image or using computer-generated imagery (CGI) overlays or touch-ups. Some media will even create de-aged digital actors from scratch or with a mixture of stand-ins and CGI. | https://en.wikipedia.org/wiki/De-aging_in_film |
In motion planning, a Voronoi manifold is constructed by transforming the problem into a point navigation scenario within a higher-dimensional configuration space called C-Space. C-Space obstacles, representing physically unachievable configurations, are represented by higher-dimensional manifolds. The structure of these manifolds is closely related to the intersection of C-Space obstacles.In nonparametric optimization, Voronoi manifolds serve as heuristic indicators of unpromising points. The optimization process gradually eliminates these points until a reduced set of promising points remains. Experiment selection involves choosing a point within the region defined by the reduced sample set, known as the Region of Interest (ROI). This point should meet specific criteria related to the Voronoi manifold and the data in the reduced sample set. | https://en.wikipedia.org/wiki/Voronoi_manifold |
In motivic cohomology, specifically motivic homotopy theory, there is a sheaf K n , A {\displaystyle K_{n,A}} representing a generalization of Milnor K-theory with coefficients in an abelian group A {\displaystyle A} . If we denote A t r ( X ) = Z t r ( X ) ⊗ A {\displaystyle A_{tr}(X)=\mathbb {Z} _{tr}(X)\otimes A} then we define the sheaf K n , A {\displaystyle K_{n,A}} as the sheafification of the following pre-sheafpg 4 Note that sections of this pre-sheaf are equivalent classes of cycles on U × A n {\displaystyle U\times \mathbb {A} ^{n}} with coefficients in A {\displaystyle A} which are equidimensional and finite over U {\displaystyle U} (which follows straight from the definition of Z t r ( X ) {\displaystyle \mathbb {Z} _{tr}(X)} ). It can be shown there is an A 1 {\displaystyle \mathbb {A} ^{1}} -weak equivalence with the motivic Eilenberg-Maclane sheaves K ( A , 2 n , n ) {\displaystyle K(A,2n,n)} (depending on the grading convention). | https://en.wikipedia.org/wiki/Milnor_ring |
In motor control, it contributes to hand-and-eye motor movement, swallowing, gastric motility, and speech articulation. It has been identified as a "central command” centre that ensures that heart rate and blood pressure increase at the onset of exercise. Research upon conversation links it to the capacity for long and complex spoken sentences. It is also involved in motor learning and has been identified as playing a role in the motor recovery from stroke. | https://en.wikipedia.org/wiki/Insular_cortex |
In motor racing, the drag reduction system (DRS) is a form of driver-adjustable bodywork aimed at reducing aerodynamic drag in order to increase top speed and promote overtaking. It is an adjustable rear wing of the car, which moves in response to driver commands. DRS often comes with conditions, such as the requirement in Formula 1 that the pursuing car must be within one second (when both cars cross the detection point) for DRS to be activated. DRS was introduced in Formula One in 2011. | https://en.wikipedia.org/wiki/Drag_reduction_system |
The use of DRS is an exception to the rule banning any moving parts whose primary purpose is to affect the aerodynamics of the car. The system is also used in the Formula Renault 3.5 since 2012, Deutsche Tourenwagen Masters since 2013, Super Formula since 2014, GP2 Series later FIA Formula 2 Championship since 2015, GP3 Series later FIA Formula 3 Championship since 2017. An adjustable wing was also used by the Nissan DeltaWing at the 2012 24 Hours of Le Mans, although with free usage. | https://en.wikipedia.org/wiki/Drag_reduction_system |
In motor racing, the safety of the driver depends on the car body, which must meet stringent regulations, and only a few cars have been built with monocoque structures. An aluminum alloy monocoque chassis was first used in the 1962 Lotus 25 Formula 1 race car and McLaren was the first to use carbon-fiber-reinforced polymers to construct the monocoque of the 1981 McLaren MP4/1. In 1990 the Jaguar XJR-15 became the first production car with a carbon-fiber monocoque. | https://en.wikipedia.org/wiki/Structural_skin |
In motor racing, three successive race wins, winning the same event three times in a row, or securing pole position, fastest lap and race victory in one event may all be referred to as a hat-trick. | https://en.wikipedia.org/wiki/Hat_trick |
In motorcycles and cars, the fuel reserve setting indicates that the level of fuel in the tank is low. In cars and most modern motorcycles this quantity (the reserve) is automatically available. Older motorcycles have a manual fuel tap or petcock. When the main fuel is exhausted, the motor will start sputtering, prompting the rider to change the position knob to continue riding with a known smaller quantity of fuel. | https://en.wikipedia.org/wiki/Fuel_reserve |
Generally, when a rider notices that the engine began sputtering, he or she will have enough time to turn the petcock and access the reserve fuel before the engine shuts down. Most petcocks have three positions: OFF - This position is important to keep the tank from leaking when the engine is off. Whether it is present or not depends on the type of carburetor that is used. | https://en.wikipedia.org/wiki/Fuel_reserve |
MAIN - This is the normal setting when the engine is running. Sometimes this position is labeled "ON" or "RUN". RESERVE - In this position, a known but small volume of fuel is available to allow the rider to be able to reach a petrol station. | https://en.wikipedia.org/wiki/Fuel_reserve |
The reserve is always a small quantity of the total supply.In most cases, the main and the reserve settings are actually drawing from the same tank, but there are two outlets through which the fuel may leave. One outlet is located a short distance above the other, when the fuel selector is set to the 'main' position, the fuel will flow from the upper outlet, and will stop flowing when the fuel level gets below the outlet. When the selector is on 'reserve', the lower outlet will be used, which allows all or most of the fuel to be drawn from the tank. | https://en.wikipedia.org/wiki/Fuel_reserve |
Because in most cases the 'reserve' setting simply allows access to all the fuel, rather than a dedicated tank, the 'reserve' selection allows the rider to deplete the main fuel supply as well as the reserve. In theory this causes no harm, except that the fuel may run out without warning. Because fuel tanks accumulate various substances that can cause problems if these are allowed to flow downstream in the fuel system, it is advisable to refill the tank before or soon after the level reaches the reserve outlet and not drain the tank completely. | https://en.wikipedia.org/wiki/Fuel_reserve |
At the bottom of the tank, especially from old cars and motorcycles and those with metal tanks, there is always a small amount of water (from moisture in the air, or from rain) mixed with various solid materials, like sand (blown in during a gas stop) or rust (from the inside of the metal tank). These substances can block the fuel line or the tiny holes in the carburetor venturi or fuel injection system when allowed to flow down-stream towards the carburetors or fuel injection units and beyond. Too much water mixed in with the fuel can also hinder combustion or damage the combustion chamber due to the fact that water isn't combustible and cannot be compressed like the normal gaseous fuel-air mixture can. | https://en.wikipedia.org/wiki/Fuel_reserve |
In motorcycles, the steering axis angle is measured from the vertical and called the caster angle, rake angle, or just rake; a 0° rake is therefore vertical. For example, Moto Guzzi offers: a 2007 Breva V 1100 with a rake of 25°30′ (25.5 degrees) a 2007 Nevada Classic 750 with a rake of 27.5° | https://en.wikipedia.org/wiki/Mechanical_trail |
In motorcycling, Ballester et al. defined the critical information for airbag efficiency assessment: the zones and levels of torso protection, the impacted surfaces as well as the airbag intervention time and the duration of maintained inflation of the airbag. Also, earlier work by Thollon et al. analysed the effectiveness of airbag protection for reducing thoracic injuries in motorcycle accidents. However, more research is needed regarding neck protection for motorcyclists. Some manufacturers' airbags protect the neck from extreme movement in a crash, but many lack this protection. | https://en.wikipedia.org/wiki/Air_bag_vest |
Independent research found that current airbags are effective and provide significant impact protection, but only under 30 mph. Initial investigation by ADAC found: “Increased protection potential is primarily only effective in accidents up to 50 Km/h.” In 2019, Thierry Serre et al. published more in-depth research (involving not only impact tests on cadavers but detailed analyses of actual crashes involving riders wearing an airbag). They found that: “The airbag jackets seem to offer limited protection from a threshold speed which can be estimated to an impact around to 30-40 Km/h, but these speeds differ with the impact configuration.” | https://en.wikipedia.org/wiki/Air_bag_vest |
In motorcycling, the term "in-line" is sometimes used narrowly, for a straight engine mounted in line with the frame. A two-cylinder straight engine mounted across the frame is sometimes called a parallel twin. Other times, motorcycling experts treat the terms parallel, straight, and inline as equivalent, and use them interchangeably. == References == | https://en.wikipedia.org/wiki/Straight_engine |
In motorsport, a safety car, or a pace car, is an automobile which limits the speed of competing cars or motorcycles on a racetrack in the case of a caution period such as an obstruction on the track or bad weather. The aim of the safety car is to enable the clearance of any obstruction under safer conditions, especially for marshals and/or await more favourable track conditions weather-wise. By following the safety car, the competitors' tyres remain as close as possible to operating temperature while their engines do not overheat. | https://en.wikipedia.org/wiki/Safety_car |
A safety car is also preferred over restarting the race (red flag) as the latter takes longer. During a caution period, the safety car (which generally consists of an aptly modified high-performance production car) enters the track ahead of the leader. Depending on the regulations in effect, competitors are not normally allowed to pass the safety car or other competitors during a caution period, and the safety car leads the field at a pre-determined safe speed, which may vary by series and circuit. At the end of the caution period, the safety car leaves the track and the competitors resume normal racing. The first reliance on this safety measure occurred with the deployment of a pace car during the inaugural Indianapolis 500 in 1911. | https://en.wikipedia.org/wiki/Safety_car |
In motorsport, accident data recorders (ADR) must be used in various series as specified by the FIA. Starting with the 2015 season, the use of an ADR in the Formula 4 championship was compulsory. In the higher series, the use has been mandatory for some time. | https://en.wikipedia.org/wiki/Accident_data_recorder |
In addition to the data of the acceleration sensors mounted on the vehicle, the loads on the driver are also measured with an in-ear accelerometer.Due to the higher speeds in formula sports compared to road traffic, the sensors have a measuring range of ± 150 g with a resolution of 0.1 g. 2 s are recorded before an event. With an event duration of 30 s, 10 events can be stored. | https://en.wikipedia.org/wiki/Accident_data_recorder |
In motorsport, the racing line is the optimal path around a race course. In most cases, the line makes use of the entire width of the track to lengthen the radius of a turn: entering at the outside edge, touching the "apex"—a point on the inside edge—then exiting the turn by returning outside. | https://en.wikipedia.org/wiki/Racing_line |
In motorsport, the racing setup, car setup or vehicle setup is the set of adjustments made to the vehicle in order to optimize its behaviour (performance, handling, reliability, etc.) for specific conditions. Vehicle setups are variable for a variety of reasons, ranging from weather, driver/rider preference and race track characteristics. Contrary to common misperceptions, setup is not used to maximize the performance of the engine, but to optimize it for the track at which it is being used. For example, motorcycle racers frequently detune their engines to reduce performance and power output so as to ensure the bike accelerates in a predictable manner. Usually adjustable vehicle parts include shock absorbers and anti-roll bar (suspension), gear ratios and differential, tyre pressures and type, wing angles, wheel toe and camber angle, brake bias, steering lock and ride height. | https://en.wikipedia.org/wiki/Racing_setup |
In motorsports racing, there is a concept called the racing line. This is defined in lay terms as the optimal path around a race course that will allow the racer to complete a lap in the least possible time with the highest possible average speed. The racing line is a function of the track's layout and the combination of a particular type of racing vehicle's (such as a car versus a motorcycle) capabilities, and the physics of motor racing. Because the physics involved in a motorsports event generally propel the racing vehicles along a certain path, and since the racers tend to work with the forces acting on the vehicle and make course changes while not suddenly confronting the forces in play on the vehicle, their locations at certain points along the track can be predicted and their course of travel extrapolated. As a result, in areas where a vehicle is more likely to depart the course (i.e., around the outside of a corner as opposed to alongside a straight-away), course designers will place a run-off area. | https://en.wikipedia.org/wiki/Run-off_area |
In motorsports, a tire war occurs when more than one manufacturer provides tires for a motorsports series. Historically, tire wars have occurred in many high-level series, such as Formula One, NASCAR, Super GT, and MotoGP. Tire wars are a controversial practice: on the one hand, they promote technical innovation, forcing tire manufacturers to "push the limits" of their tire manufacture. On the other hand, when all event competitors plan to stretch their tires' performance envelope, the event risks widespread tire failures that can reduce driver safety; such a scenario occurred in the 2005 United States Grand Prix. | https://en.wikipedia.org/wiki/Tire_wars |
In mountain areas, workers quarried stone to build the Great Wall. Using the mountains themselves as footings, the outer layer of the Great Wall was built with stone blocks (and bricks), and filled with uncut stone and anything else available (like earth and dead workers). | https://en.wikipedia.org/wiki/Construction_history |
In mountain bike orienteering there are 5 main disciplines which can be competed in at the world championships. Generally, all disciplines have around 25 control points along the way. | https://en.wikipedia.org/wiki/Mountain_bike_orienteering |
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