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- videomme_window_8/-3t1rj8g6yg/metadata.json +3157 -0
- videomme_window_8/-fbRaGwfqRw/metadata.json +0 -0
- videomme_window_8/-y1U0qk1vDs/metadata.json +0 -0
- videomme_window_8/068rdc75mHM/metadata.json +0 -0
- videomme_window_8/1NYQf_OXDqI/metadata.json +0 -0
- videomme_window_8/1evyOuQz-jM/metadata.json +1270 -0
- videomme_window_8/1tidNDIpKSY/metadata.json +352 -0
- videomme_window_8/20gUIdXGuAs/metadata.json +0 -0
- videomme_window_8/21q-lDikdBg/metadata.json +502 -0
- videomme_window_8/257wV-AbKaE/metadata.json +1918 -0
- videomme_window_8/2Gg4OQo7-zA/metadata.json +0 -0
- videomme_window_8/2LDriAWltwM/metadata.json +0 -0
- videomme_window_8/2NOcM1HoRRg/metadata.json +350 -0
- videomme_window_8/2gFxZmb0dMo/metadata.json +722 -0
- videomme_window_8/2ka5AleJ48I/metadata.json +0 -0
- videomme_window_8/2yGaTOzaGIA/metadata.json +333 -0
- videomme_window_8/3uV8XZcIBbk/embeddings.pt +3 -0
- videomme_window_8/3uV8XZcIBbk/subtitle_embeddings.pt +3 -0
- videomme_window_8/44ivpEIcBhE/embeddings.pt +3 -0
- videomme_window_8/44ivpEIcBhE/frames.mp4 +3 -0
- videomme_window_8/44ivpEIcBhE/subtitle_embeddings.pt +3 -0
- videomme_window_8/4H8hcvNeWtg/metadata.json +524 -0
- videomme_window_8/4V6G0qYVoBg/metadata.json +74 -0
- videomme_window_8/4twBzf6ngSc/embeddings.pt +3 -0
- videomme_window_8/4twBzf6ngSc/frames.mp4 +3 -0
- videomme_window_8/4twBzf6ngSc/subtitle_embeddings.pt +3 -0
- videomme_window_8/5KlS-p5eYH8/metadata.json +0 -0
- videomme_window_8/5_fXicEnKKk/embeddings.pt +3 -0
- videomme_window_8/5_fXicEnKKk/frames.mp4 +3 -0
- videomme_window_8/5_fXicEnKKk/subtitle_embeddings.pt +3 -0
- videomme_window_8/5fPtlxR3s3c/metadata.json +825 -0
- videomme_window_8/5ksVshqVuiM/metadata.json +776 -0
- videomme_window_8/6EIrArTyLVU/metadata.json +572 -0
- videomme_window_8/6Z_XNM_iT4g/metadata.json +22 -0
- videomme_window_8/6ksaVHtfBG8/metadata.json +146 -0
- videomme_window_8/8-aI8Fp2bPU/metadata.json +2910 -0
- videomme_window_8/8IZvEF4Ui10/metadata.json +0 -0
- videomme_window_8/8UxGzDeRIJk/metadata.json +0 -0
- videomme_window_8/A30IuIjQYYg/metadata.json +1135 -0
- videomme_window_8/AeEYQ62t8hA/embeddings.pt +3 -0
- videomme_window_8/AeEYQ62t8hA/subtitle_embeddings.pt +3 -0
- videomme_window_8/B2zhLYz4pYo/metadata.json +2180 -0
- videomme_window_8/B7-6lRo2m4Y/metadata.json +1705 -0
- videomme_window_8/B7Hh0PY1kks/embeddings.pt +3 -0
- videomme_window_8/B7Hh0PY1kks/subtitle_embeddings.pt +3 -0
- videomme_window_8/BEIVOKz4zXw/metadata.json +338 -0
- videomme_window_8/Bgh-2z6P0ao/frames.mp4 +3 -0
- videomme_window_8/Bkheu99K5lY/metadata.json +0 -0
- videomme_window_8/C8Rk__S06_M/frames.mp4 +3 -0
- videomme_window_8/CezlmUwMXNo/metadata.json +841 -0
videomme_window_8/-3t1rj8g6yg/metadata.json
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| 1 |
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{
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| 2 |
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|
| 3 |
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|
| 4 |
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| 6 |
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| 8 |
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| 10 |
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8,
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| 12 |
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| 13 |
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| 14 |
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| 15 |
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| 16 |
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| 17 |
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|
| 18 |
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|
| 19 |
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|
| 20 |
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|
| 21 |
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| 22 |
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| 29 |
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| 30 |
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| 38 |
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| 169 |
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|
| 170 |
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|
| 171 |
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| 172 |
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|
| 173 |
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|
| 174 |
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[],
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| 175 |
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[
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| 176 |
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|
| 177 |
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],
|
| 178 |
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[
|
| 179 |
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|
| 180 |
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],
|
| 181 |
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[
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| 182 |
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|
| 183 |
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],
|
| 184 |
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[
|
| 185 |
+
"nc live is all about trying to emulate a",
|
| 186 |
+
"live performance in a cinema environment"
|
| 187 |
+
],
|
| 188 |
+
[
|
| 189 |
+
"nc live is all about trying to emulate a",
|
| 190 |
+
"live performance in a cinema environment"
|
| 191 |
+
],
|
| 192 |
+
[
|
| 193 |
+
"nc live is all about trying to emulate a",
|
| 194 |
+
"live performance in a cinema environment"
|
| 195 |
+
],
|
| 196 |
+
[
|
| 197 |
+
"nc live is all about trying to emulate a",
|
| 198 |
+
"live performance in a cinema environment",
|
| 199 |
+
"it's a whole new experience for those"
|
| 200 |
+
],
|
| 201 |
+
[
|
| 202 |
+
"live performance in a cinema environment",
|
| 203 |
+
"it's a whole new experience for those"
|
| 204 |
+
],
|
| 205 |
+
[
|
| 206 |
+
"live performance in a cinema environment",
|
| 207 |
+
"it's a whole new experience for those"
|
| 208 |
+
],
|
| 209 |
+
[
|
| 210 |
+
"live performance in a cinema environment",
|
| 211 |
+
"it's a whole new experience for those",
|
| 212 |
+
"who can't be in the theater but feel"
|
| 213 |
+
],
|
| 214 |
+
[
|
| 215 |
+
"it's a whole new experience for those",
|
| 216 |
+
"who can't be in the theater but feel"
|
| 217 |
+
],
|
| 218 |
+
[
|
| 219 |
+
"it's a whole new experience for those",
|
| 220 |
+
"who can't be in the theater but feel",
|
| 221 |
+
"they have a real connection to the live"
|
| 222 |
+
],
|
| 223 |
+
[
|
| 224 |
+
"who can't be in the theater but feel",
|
| 225 |
+
"they have a real connection to the live"
|
| 226 |
+
],
|
| 227 |
+
[
|
| 228 |
+
"who can't be in the theater but feel",
|
| 229 |
+
"they have a real connection to the live",
|
| 230 |
+
"action on stage someone in Australia in"
|
| 231 |
+
],
|
| 232 |
+
[
|
| 233 |
+
"they have a real connection to the live",
|
| 234 |
+
"action on stage someone in Australia in"
|
| 235 |
+
],
|
| 236 |
+
[
|
| 237 |
+
"they have a real connection to the live",
|
| 238 |
+
"action on stage someone in Australia in"
|
| 239 |
+
],
|
| 240 |
+
[
|
| 241 |
+
"they have a real connection to the live",
|
| 242 |
+
"action on stage someone in Australia in"
|
| 243 |
+
],
|
| 244 |
+
[
|
| 245 |
+
"they have a real connection to the live",
|
| 246 |
+
"action on stage someone in Australia in",
|
| 247 |
+
"New Zealand on a small little village in"
|
| 248 |
+
],
|
| 249 |
+
[
|
| 250 |
+
"action on stage someone in Australia in",
|
| 251 |
+
"New Zealand on a small little village in"
|
| 252 |
+
],
|
| 253 |
+
[
|
| 254 |
+
"action on stage someone in Australia in",
|
| 255 |
+
"New Zealand on a small little village in",
|
| 256 |
+
"the UK will be able to see an amazing"
|
| 257 |
+
],
|
| 258 |
+
[
|
| 259 |
+
"New Zealand on a small little village in",
|
| 260 |
+
"the UK will be able to see an amazing"
|
| 261 |
+
],
|
| 262 |
+
[
|
| 263 |
+
"New Zealand on a small little village in",
|
| 264 |
+
"the UK will be able to see an amazing",
|
| 265 |
+
"piece of theater they otherwise won't"
|
| 266 |
+
],
|
| 267 |
+
[
|
| 268 |
+
"the UK will be able to see an amazing",
|
| 269 |
+
"piece of theater they otherwise won't"
|
| 270 |
+
],
|
| 271 |
+
[
|
| 272 |
+
"the UK will be able to see an amazing",
|
| 273 |
+
"piece of theater they otherwise won't",
|
| 274 |
+
"have the chance to see it"
|
| 275 |
+
],
|
| 276 |
+
[
|
| 277 |
+
"piece of theater they otherwise won't",
|
| 278 |
+
"have the chance to see it"
|
| 279 |
+
],
|
| 280 |
+
[
|
| 281 |
+
"piece of theater they otherwise won't",
|
| 282 |
+
"have the chance to see it"
|
| 283 |
+
],
|
| 284 |
+
[
|
| 285 |
+
"piece of theater they otherwise won't",
|
| 286 |
+
"have the chance to see it"
|
| 287 |
+
],
|
| 288 |
+
[],
|
| 289 |
+
[],
|
| 290 |
+
[],
|
| 291 |
+
[
|
| 292 |
+
"[Music]"
|
| 293 |
+
],
|
| 294 |
+
[
|
| 295 |
+
"[Music]"
|
| 296 |
+
],
|
| 297 |
+
[
|
| 298 |
+
"[Music]"
|
| 299 |
+
],
|
| 300 |
+
[
|
| 301 |
+
"[Music]",
|
| 302 |
+
"camera rehearsal one is the first time"
|
| 303 |
+
],
|
| 304 |
+
[
|
| 305 |
+
"[Music]",
|
| 306 |
+
"camera rehearsal one is the first time"
|
| 307 |
+
],
|
| 308 |
+
[
|
| 309 |
+
"[Music]",
|
| 310 |
+
"camera rehearsal one is the first time"
|
| 311 |
+
],
|
| 312 |
+
[
|
| 313 |
+
"[Music]",
|
| 314 |
+
"camera rehearsal one is the first time",
|
| 315 |
+
"as an entire team that we're at the"
|
| 316 |
+
],
|
| 317 |
+
[
|
| 318 |
+
"camera rehearsal one is the first time",
|
| 319 |
+
"as an entire team that we're at the"
|
| 320 |
+
],
|
| 321 |
+
[
|
| 322 |
+
"camera rehearsal one is the first time",
|
| 323 |
+
"as an entire team that we're at the",
|
| 324 |
+
"theater the morning of camera hustle one"
|
| 325 |
+
],
|
| 326 |
+
[
|
| 327 |
+
"as an entire team that we're at the",
|
| 328 |
+
"theater the morning of camera hustle one"
|
| 329 |
+
],
|
| 330 |
+
[
|
| 331 |
+
"as an entire team that we're at the",
|
| 332 |
+
"theater the morning of camera hustle one",
|
| 333 |
+
"was thought at 6:30 and will arrive and"
|
| 334 |
+
],
|
| 335 |
+
[
|
| 336 |
+
"theater the morning of camera hustle one",
|
| 337 |
+
"was thought at 6:30 and will arrive and"
|
| 338 |
+
],
|
| 339 |
+
[
|
| 340 |
+
"theater the morning of camera hustle one",
|
| 341 |
+
"was thought at 6:30 and will arrive and",
|
| 342 |
+
"we will build the cameras so that"
|
| 343 |
+
],
|
| 344 |
+
[
|
| 345 |
+
"was thought at 6:30 and will arrive and",
|
| 346 |
+
"we will build the cameras so that",
|
| 347 |
+
"started building still deck platforms"
|
| 348 |
+
],
|
| 349 |
+
[
|
| 350 |
+
"we will build the cameras so that",
|
| 351 |
+
"started building still deck platforms"
|
| 352 |
+
],
|
| 353 |
+
[
|
| 354 |
+
"we will build the cameras so that",
|
| 355 |
+
"started building still deck platforms",
|
| 356 |
+
"are in our auditorium it might also"
|
| 357 |
+
],
|
| 358 |
+
[
|
| 359 |
+
"started building still deck platforms",
|
| 360 |
+
"are in our auditorium it might also"
|
| 361 |
+
],
|
| 362 |
+
[
|
| 363 |
+
"started building still deck platforms",
|
| 364 |
+
"are in our auditorium it might also",
|
| 365 |
+
"include seat removals we then rigged the"
|
| 366 |
+
],
|
| 367 |
+
[
|
| 368 |
+
"are in our auditorium it might also",
|
| 369 |
+
"include seat removals we then rigged the"
|
| 370 |
+
],
|
| 371 |
+
[
|
| 372 |
+
"are in our auditorium it might also",
|
| 373 |
+
"include seat removals we then rigged the",
|
| 374 |
+
"cameras onto these platforms once these"
|
| 375 |
+
],
|
| 376 |
+
[
|
| 377 |
+
"include seat removals we then rigged the",
|
| 378 |
+
"cameras onto these platforms once these"
|
| 379 |
+
],
|
| 380 |
+
[
|
| 381 |
+
"include seat removals we then rigged the",
|
| 382 |
+
"cameras onto these platforms once these",
|
| 383 |
+
"are ready to then go through a series of"
|
| 384 |
+
],
|
| 385 |
+
[
|
| 386 |
+
"cameras onto these platforms once these",
|
| 387 |
+
"are ready to then go through a series of",
|
| 388 |
+
"checks where we ensure that we've got"
|
| 389 |
+
],
|
| 390 |
+
[
|
| 391 |
+
"are ready to then go through a series of",
|
| 392 |
+
"checks where we ensure that we've got"
|
| 393 |
+
],
|
| 394 |
+
[
|
| 395 |
+
"are ready to then go through a series of",
|
| 396 |
+
"checks where we ensure that we've got",
|
| 397 |
+
"communication lines between the"
|
| 398 |
+
],
|
| 399 |
+
[
|
| 400 |
+
"checks where we ensure that we've got",
|
| 401 |
+
"communication lines between the",
|
| 402 |
+
"auditorium and the OB truck so the great"
|
| 403 |
+
],
|
| 404 |
+
[
|
| 405 |
+
"communication lines between the",
|
| 406 |
+
"auditorium and the OB truck so the great"
|
| 407 |
+
],
|
| 408 |
+
[
|
| 409 |
+
"communication lines between the",
|
| 410 |
+
"auditorium and the OB truck so the great"
|
| 411 |
+
],
|
| 412 |
+
[
|
| 413 |
+
"communication lines between the",
|
| 414 |
+
"auditorium and the OB truck so the great"
|
| 415 |
+
],
|
| 416 |
+
[
|
| 417 |
+
"communication lines between the",
|
| 418 |
+
"auditorium and the OB truck so the great"
|
| 419 |
+
],
|
| 420 |
+
[
|
| 421 |
+
"communication lines between the",
|
| 422 |
+
"auditorium and the OB truck so the great"
|
| 423 |
+
],
|
| 424 |
+
[
|
| 425 |
+
"communication lines between the",
|
| 426 |
+
"auditorium and the OB truck so the great"
|
| 427 |
+
],
|
| 428 |
+
[
|
| 429 |
+
"communication lines between the",
|
| 430 |
+
"auditorium and the OB truck so the great",
|
| 431 |
+
"thing about NT live is being able to go"
|
| 432 |
+
],
|
| 433 |
+
[
|
| 434 |
+
"auditorium and the OB truck so the great",
|
| 435 |
+
"thing about NT live is being able to go"
|
| 436 |
+
],
|
| 437 |
+
[
|
| 438 |
+
"auditorium and the OB truck so the great",
|
| 439 |
+
"thing about NT live is being able to go",
|
| 440 |
+
"to lots of theaters around the West End"
|
| 441 |
+
],
|
| 442 |
+
[
|
| 443 |
+
"thing about NT live is being able to go",
|
| 444 |
+
"to lots of theaters around the West End",
|
| 445 |
+
"and also regionally so when small island"
|
| 446 |
+
],
|
| 447 |
+
[
|
| 448 |
+
"to lots of theaters around the West End",
|
| 449 |
+
"and also regionally so when small island"
|
| 450 |
+
],
|
| 451 |
+
[
|
| 452 |
+
"to lots of theaters around the West End",
|
| 453 |
+
"and also regionally so when small island",
|
| 454 |
+
"we were in the Olivier theatre that's"
|
| 455 |
+
],
|
| 456 |
+
[
|
| 457 |
+
"and also regionally so when small island",
|
| 458 |
+
"we were in the Olivier theatre that's"
|
| 459 |
+
],
|
| 460 |
+
[
|
| 461 |
+
"and also regionally so when small island",
|
| 462 |
+
"we were in the Olivier theatre that's",
|
| 463 |
+
"the theatre we've worked in a number of"
|
| 464 |
+
],
|
| 465 |
+
[
|
| 466 |
+
"we were in the Olivier theatre that's",
|
| 467 |
+
"the theatre we've worked in a number of",
|
| 468 |
+
"times before over the 10 years coming to"
|
| 469 |
+
],
|
| 470 |
+
[
|
| 471 |
+
"the theatre we've worked in a number of",
|
| 472 |
+
"times before over the 10 years coming to"
|
| 473 |
+
],
|
| 474 |
+
[
|
| 475 |
+
"the theatre we've worked in a number of",
|
| 476 |
+
"times before over the 10 years coming to",
|
| 477 |
+
"do the Lehmann trilogy the Piccadilly"
|
| 478 |
+
],
|
| 479 |
+
[
|
| 480 |
+
"times before over the 10 years coming to",
|
| 481 |
+
"do the Lehmann trilogy the Piccadilly",
|
| 482 |
+
"Theatre had his own set of challenges"
|
| 483 |
+
],
|
| 484 |
+
[
|
| 485 |
+
"do the Lehmann trilogy the Piccadilly",
|
| 486 |
+
"Theatre had his own set of challenges"
|
| 487 |
+
],
|
| 488 |
+
[
|
| 489 |
+
"do the Lehmann trilogy the Piccadilly",
|
| 490 |
+
"Theatre had his own set of challenges",
|
| 491 |
+
"but it was the first time we'd been in"
|
| 492 |
+
],
|
| 493 |
+
[
|
| 494 |
+
"Theatre had his own set of challenges",
|
| 495 |
+
"but it was the first time we'd been in",
|
| 496 |
+
"this theatre this rehearsal will run"
|
| 497 |
+
],
|
| 498 |
+
[
|
| 499 |
+
"but it was the first time we'd been in",
|
| 500 |
+
"this theatre this rehearsal will run"
|
| 501 |
+
],
|
| 502 |
+
[
|
| 503 |
+
"but it was the first time we'd been in",
|
| 504 |
+
"this theatre this rehearsal will run",
|
| 505 |
+
"exactly as a normal performance word in"
|
| 506 |
+
],
|
| 507 |
+
[
|
| 508 |
+
"this theatre this rehearsal will run",
|
| 509 |
+
"exactly as a normal performance word in"
|
| 510 |
+
],
|
| 511 |
+
[
|
| 512 |
+
"this theatre this rehearsal will run",
|
| 513 |
+
"exactly as a normal performance word in"
|
| 514 |
+
],
|
| 515 |
+
[
|
| 516 |
+
"this theatre this rehearsal will run",
|
| 517 |
+
"exactly as a normal performance word in",
|
| 518 |
+
"costume full technical support"
|
| 519 |
+
],
|
| 520 |
+
[
|
| 521 |
+
"exactly as a normal performance word in",
|
| 522 |
+
"costume full technical support"
|
| 523 |
+
],
|
| 524 |
+
[
|
| 525 |
+
"exactly as a normal performance word in",
|
| 526 |
+
"costume full technical support",
|
| 527 |
+
"it's our first trial at seeing how we"
|
| 528 |
+
],
|
| 529 |
+
[
|
| 530 |
+
"costume full technical support",
|
| 531 |
+
"it's our first trial at seeing how we"
|
| 532 |
+
],
|
| 533 |
+
[
|
| 534 |
+
"costume full technical support",
|
| 535 |
+
"it's our first trial at seeing how we",
|
| 536 |
+
"can work as the production the job of"
|
| 537 |
+
],
|
| 538 |
+
[
|
| 539 |
+
"it's our first trial at seeing how we",
|
| 540 |
+
"can work as the production the job of"
|
| 541 |
+
],
|
| 542 |
+
[
|
| 543 |
+
"it's our first trial at seeing how we",
|
| 544 |
+
"can work as the production the job of"
|
| 545 |
+
],
|
| 546 |
+
[
|
| 547 |
+
"it's our first trial at seeing how we",
|
| 548 |
+
"can work as the production the job of",
|
| 549 |
+
"the camera director is basically being"
|
| 550 |
+
],
|
| 551 |
+
[
|
| 552 |
+
"can work as the production the job of",
|
| 553 |
+
"the camera director is basically being"
|
| 554 |
+
],
|
| 555 |
+
[
|
| 556 |
+
"can work as the production the job of",
|
| 557 |
+
"the camera director is basically being",
|
| 558 |
+
"in charge of the transfer from the"
|
| 559 |
+
],
|
| 560 |
+
[
|
| 561 |
+
"the camera director is basically being",
|
| 562 |
+
"in charge of the transfer from the"
|
| 563 |
+
],
|
| 564 |
+
[
|
| 565 |
+
"the camera director is basically being",
|
| 566 |
+
"in charge of the transfer from the"
|
| 567 |
+
],
|
| 568 |
+
[
|
| 569 |
+
"the camera director is basically being",
|
| 570 |
+
"in charge of the transfer from the"
|
| 571 |
+
],
|
| 572 |
+
[
|
| 573 |
+
"the camera director is basically being",
|
| 574 |
+
"in charge of the transfer from the",
|
| 575 |
+
"theater audience to the cinema Williams"
|
| 576 |
+
],
|
| 577 |
+
[
|
| 578 |
+
"in charge of the transfer from the",
|
| 579 |
+
"theater audience to the cinema Williams",
|
| 580 |
+
"the way it works is that you can watch"
|
| 581 |
+
],
|
| 582 |
+
[
|
| 583 |
+
"theater audience to the cinema Williams",
|
| 584 |
+
"the way it works is that you can watch"
|
| 585 |
+
],
|
| 586 |
+
[
|
| 587 |
+
"theater audience to the cinema Williams",
|
| 588 |
+
"the way it works is that you can watch",
|
| 589 |
+
"it in the theatre and try and get a"
|
| 590 |
+
],
|
| 591 |
+
[
|
| 592 |
+
"the way it works is that you can watch",
|
| 593 |
+
"it in the theatre and try and get a"
|
| 594 |
+
],
|
| 595 |
+
[
|
| 596 |
+
"the way it works is that you can watch",
|
| 597 |
+
"it in the theatre and try and get a"
|
| 598 |
+
],
|
| 599 |
+
[
|
| 600 |
+
"the way it works is that you can watch",
|
| 601 |
+
"it in the theatre and try and get a",
|
| 602 |
+
"sense of where you want to put the"
|
| 603 |
+
],
|
| 604 |
+
[
|
| 605 |
+
"it in the theatre and try and get a",
|
| 606 |
+
"sense of where you want to put the",
|
| 607 |
+
"cameras whether you want the cameras to"
|
| 608 |
+
],
|
| 609 |
+
[
|
| 610 |
+
"sense of where you want to put the",
|
| 611 |
+
"cameras whether you want the cameras to"
|
| 612 |
+
],
|
| 613 |
+
[
|
| 614 |
+
"sense of where you want to put the",
|
| 615 |
+
"cameras whether you want the cameras to",
|
| 616 |
+
"move all you or the cameras to be static"
|
| 617 |
+
],
|
| 618 |
+
[
|
| 619 |
+
"cameras whether you want the cameras to",
|
| 620 |
+
"move all you or the cameras to be static",
|
| 621 |
+
"and then new camera script so you"
|
| 622 |
+
],
|
| 623 |
+
[
|
| 624 |
+
"move all you or the cameras to be static",
|
| 625 |
+
"and then new camera script so you"
|
| 626 |
+
],
|
| 627 |
+
[
|
| 628 |
+
"move all you or the cameras to be static",
|
| 629 |
+
"and then new camera script so you"
|
| 630 |
+
],
|
| 631 |
+
[
|
| 632 |
+
"move all you or the cameras to be static",
|
| 633 |
+
"and then new camera script so you",
|
| 634 |
+
"basically get given a wide shot from"
|
| 635 |
+
],
|
| 636 |
+
[
|
| 637 |
+
"and then new camera script so you",
|
| 638 |
+
"basically get given a wide shot from"
|
| 639 |
+
],
|
| 640 |
+
[
|
| 641 |
+
"and then new camera script so you",
|
| 642 |
+
"basically get given a wide shot from"
|
| 643 |
+
],
|
| 644 |
+
[
|
| 645 |
+
"and then new camera script so you",
|
| 646 |
+
"basically get given a wide shot from",
|
| 647 |
+
"from the back of the auditorium"
|
| 648 |
+
],
|
| 649 |
+
[
|
| 650 |
+
"basically get given a wide shot from",
|
| 651 |
+
"from the back of the auditorium"
|
| 652 |
+
],
|
| 653 |
+
[
|
| 654 |
+
"basically get given a wide shot from",
|
| 655 |
+
"from the back of the auditorium",
|
| 656 |
+
"you literally start going through the"
|
| 657 |
+
],
|
| 658 |
+
[
|
| 659 |
+
"from the back of the auditorium",
|
| 660 |
+
"you literally start going through the"
|
| 661 |
+
],
|
| 662 |
+
[
|
| 663 |
+
"from the back of the auditorium",
|
| 664 |
+
"you literally start going through the"
|
| 665 |
+
],
|
| 666 |
+
[
|
| 667 |
+
"from the back of the auditorium",
|
| 668 |
+
"you literally start going through the",
|
| 669 |
+
"whole script writing in every camera"
|
| 670 |
+
],
|
| 671 |
+
[
|
| 672 |
+
"you literally start going through the",
|
| 673 |
+
"whole script writing in every camera",
|
| 674 |
+
"shot we shot the first record yesterday"
|
| 675 |
+
],
|
| 676 |
+
[
|
| 677 |
+
"whole script writing in every camera",
|
| 678 |
+
"shot we shot the first record yesterday"
|
| 679 |
+
],
|
| 680 |
+
[
|
| 681 |
+
"whole script writing in every camera",
|
| 682 |
+
"shot we shot the first record yesterday"
|
| 683 |
+
],
|
| 684 |
+
[
|
| 685 |
+
"whole script writing in every camera",
|
| 686 |
+
"shot we shot the first record yesterday"
|
| 687 |
+
],
|
| 688 |
+
[
|
| 689 |
+
"whole script writing in every camera",
|
| 690 |
+
"shot we shot the first record yesterday"
|
| 691 |
+
],
|
| 692 |
+
[
|
| 693 |
+
"whole script writing in every camera",
|
| 694 |
+
"shot we shot the first record yesterday"
|
| 695 |
+
],
|
| 696 |
+
[
|
| 697 |
+
"today we all come and watch it projected"
|
| 698 |
+
],
|
| 699 |
+
[
|
| 700 |
+
"today we all come and watch it projected"
|
| 701 |
+
],
|
| 702 |
+
[
|
| 703 |
+
"today we all come and watch it projected"
|
| 704 |
+
],
|
| 705 |
+
[
|
| 706 |
+
"today we all come and watch it projected"
|
| 707 |
+
],
|
| 708 |
+
[
|
| 709 |
+
"today we all come and watch it projected",
|
| 710 |
+
"in a cinema rather than just on the"
|
| 711 |
+
],
|
| 712 |
+
[
|
| 713 |
+
"today we all come and watch it projected",
|
| 714 |
+
"in a cinema rather than just on the",
|
| 715 |
+
"screen because we're shooting for cinema"
|
| 716 |
+
],
|
| 717 |
+
[
|
| 718 |
+
"in a cinema rather than just on the",
|
| 719 |
+
"screen because we're shooting for cinema"
|
| 720 |
+
],
|
| 721 |
+
[
|
| 722 |
+
"in a cinema rather than just on the",
|
| 723 |
+
"screen because we're shooting for cinema"
|
| 724 |
+
],
|
| 725 |
+
[
|
| 726 |
+
"in a cinema rather than just on the",
|
| 727 |
+
"screen because we're shooting for cinema"
|
| 728 |
+
],
|
| 729 |
+
[
|
| 730 |
+
"in a cinema rather than just on the",
|
| 731 |
+
"screen because we're shooting for cinema"
|
| 732 |
+
],
|
| 733 |
+
[
|
| 734 |
+
"we go around the room afterwards and"
|
| 735 |
+
],
|
| 736 |
+
[
|
| 737 |
+
"we go around the room afterwards and"
|
| 738 |
+
],
|
| 739 |
+
[
|
| 740 |
+
"we go around the room afterwards and",
|
| 741 |
+
"everyone talks about the things that"
|
| 742 |
+
],
|
| 743 |
+
[
|
| 744 |
+
"we go around the room afterwards and",
|
| 745 |
+
"everyone talks about the things that",
|
| 746 |
+
"work and the things that don't work and"
|
| 747 |
+
],
|
| 748 |
+
[
|
| 749 |
+
"everyone talks about the things that",
|
| 750 |
+
"work and the things that don't work and"
|
| 751 |
+
],
|
| 752 |
+
[
|
| 753 |
+
"everyone talks about the things that",
|
| 754 |
+
"work and the things that don't work and",
|
| 755 |
+
"if there's things that we can do better"
|
| 756 |
+
],
|
| 757 |
+
[
|
| 758 |
+
"work and the things that don't work and",
|
| 759 |
+
"if there's things that we can do better",
|
| 760 |
+
"or everybody gets a chance to do that"
|
| 761 |
+
],
|
| 762 |
+
[
|
| 763 |
+
"if there's things that we can do better",
|
| 764 |
+
"or everybody gets a chance to do that"
|
| 765 |
+
],
|
| 766 |
+
[
|
| 767 |
+
"if there's things that we can do better",
|
| 768 |
+
"or everybody gets a chance to do that",
|
| 769 |
+
"and then go away and and everyone does"
|
| 770 |
+
],
|
| 771 |
+
[
|
| 772 |
+
"or everybody gets a chance to do that",
|
| 773 |
+
"and then go away and and everyone does"
|
| 774 |
+
],
|
| 775 |
+
[
|
| 776 |
+
"or everybody gets a chance to do that",
|
| 777 |
+
"and then go away and and everyone does",
|
| 778 |
+
"their own thing to make the next one"
|
| 779 |
+
],
|
| 780 |
+
[
|
| 781 |
+
"and then go away and and everyone does",
|
| 782 |
+
"their own thing to make the next one"
|
| 783 |
+
],
|
| 784 |
+
[
|
| 785 |
+
"and then go away and and everyone does",
|
| 786 |
+
"their own thing to make the next one",
|
| 787 |
+
"better if person sitting in stalls in"
|
| 788 |
+
],
|
| 789 |
+
[
|
| 790 |
+
"their own thing to make the next one",
|
| 791 |
+
"better if person sitting in stalls in"
|
| 792 |
+
],
|
| 793 |
+
[
|
| 794 |
+
"their own thing to make the next one",
|
| 795 |
+
"better if person sitting in stalls in"
|
| 796 |
+
],
|
| 797 |
+
[
|
| 798 |
+
"their own thing to make the next one",
|
| 799 |
+
"better if person sitting in stalls in"
|
| 800 |
+
],
|
| 801 |
+
[
|
| 802 |
+
"their own thing to make the next one",
|
| 803 |
+
"better if person sitting in stalls in"
|
| 804 |
+
],
|
| 805 |
+
[
|
| 806 |
+
"their own thing to make the next one",
|
| 807 |
+
"better if person sitting in stalls in"
|
| 808 |
+
],
|
| 809 |
+
[
|
| 810 |
+
"their own thing to make the next one",
|
| 811 |
+
"better if person sitting in stalls in"
|
| 812 |
+
],
|
| 813 |
+
[
|
| 814 |
+
"their own thing to make the next one",
|
| 815 |
+
"better if person sitting in stalls in"
|
| 816 |
+
],
|
| 817 |
+
[
|
| 818 |
+
"their own thing to make the next one",
|
| 819 |
+
"better if person sitting in stalls in",
|
| 820 |
+
"the Ollivier theater doesn't see the"
|
| 821 |
+
],
|
| 822 |
+
[
|
| 823 |
+
"better if person sitting in stalls in",
|
| 824 |
+
"the Ollivier theater doesn't see the"
|
| 825 |
+
],
|
| 826 |
+
[
|
| 827 |
+
"better if person sitting in stalls in",
|
| 828 |
+
"the Ollivier theater doesn't see the",
|
| 829 |
+
"lace of the way I would like the person"
|
| 830 |
+
],
|
| 831 |
+
[
|
| 832 |
+
"the Ollivier theater doesn't see the",
|
| 833 |
+
"lace of the way I would like the person"
|
| 834 |
+
],
|
| 835 |
+
[
|
| 836 |
+
"the Ollivier theater doesn't see the",
|
| 837 |
+
"lace of the way I would like the person"
|
| 838 |
+
],
|
| 839 |
+
[
|
| 840 |
+
"the Ollivier theater doesn't see the",
|
| 841 |
+
"lace of the way I would like the person",
|
| 842 |
+
"sitting at the cinema not a sin balance"
|
| 843 |
+
],
|
| 844 |
+
[
|
| 845 |
+
"lace of the way I would like the person",
|
| 846 |
+
"sitting at the cinema not a sin balance"
|
| 847 |
+
],
|
| 848 |
+
[
|
| 849 |
+
"lace of the way I would like the person",
|
| 850 |
+
"sitting at the cinema not a sin balance",
|
| 851 |
+
"that's why I have to change it so we are"
|
| 852 |
+
],
|
| 853 |
+
[
|
| 854 |
+
"sitting at the cinema not a sin balance",
|
| 855 |
+
"that's why I have to change it so we are"
|
| 856 |
+
],
|
| 857 |
+
[
|
| 858 |
+
"sitting at the cinema not a sin balance",
|
| 859 |
+
"that's why I have to change it so we are"
|
| 860 |
+
],
|
| 861 |
+
[
|
| 862 |
+
"sitting at the cinema not a sin balance",
|
| 863 |
+
"that's why I have to change it so we are",
|
| 864 |
+
"absolutely sure that even on a tighter"
|
| 865 |
+
],
|
| 866 |
+
[
|
| 867 |
+
"that's why I have to change it so we are",
|
| 868 |
+
"absolutely sure that even on a tighter"
|
| 869 |
+
],
|
| 870 |
+
[
|
| 871 |
+
"that's why I have to change it so we are",
|
| 872 |
+
"absolutely sure that even on a tighter"
|
| 873 |
+
],
|
| 874 |
+
[
|
| 875 |
+
"that's why I have to change it so we are",
|
| 876 |
+
"absolutely sure that even on a tighter",
|
| 877 |
+
"close-up we won't be able to see the"
|
| 878 |
+
],
|
| 879 |
+
[
|
| 880 |
+
"absolutely sure that even on a tighter",
|
| 881 |
+
"close-up we won't be able to see the",
|
| 882 |
+
"lace so we won't spoil the magic of"
|
| 883 |
+
],
|
| 884 |
+
[
|
| 885 |
+
"close-up we won't be able to see the",
|
| 886 |
+
"lace so we won't spoil the magic of"
|
| 887 |
+
],
|
| 888 |
+
[
|
| 889 |
+
"close-up we won't be able to see the",
|
| 890 |
+
"lace so we won't spoil the magic of"
|
| 891 |
+
],
|
| 892 |
+
[
|
| 893 |
+
"close-up we won't be able to see the",
|
| 894 |
+
"lace so we won't spoil the magic of",
|
| 895 |
+
"theatre first kind of rehearsals that is"
|
| 896 |
+
],
|
| 897 |
+
[
|
| 898 |
+
"lace so we won't spoil the magic of",
|
| 899 |
+
"theatre first kind of rehearsals that is"
|
| 900 |
+
],
|
| 901 |
+
[
|
| 902 |
+
"lace so we won't spoil the magic of",
|
| 903 |
+
"theatre first kind of rehearsals that is"
|
| 904 |
+
],
|
| 905 |
+
[
|
| 906 |
+
"lace so we won't spoil the magic of",
|
| 907 |
+
"theatre first kind of rehearsals that is",
|
| 908 |
+
"the time where we take all the notes and"
|
| 909 |
+
],
|
| 910 |
+
[
|
| 911 |
+
"theatre first kind of rehearsals that is",
|
| 912 |
+
"the time where we take all the notes and"
|
| 913 |
+
],
|
| 914 |
+
[
|
| 915 |
+
"theatre first kind of rehearsals that is",
|
| 916 |
+
"the time where we take all the notes and",
|
| 917 |
+
"we start our planning those notes will"
|
| 918 |
+
],
|
| 919 |
+
[
|
| 920 |
+
"the time where we take all the notes and",
|
| 921 |
+
"we start our planning those notes will"
|
| 922 |
+
],
|
| 923 |
+
[
|
| 924 |
+
"the time where we take all the notes and",
|
| 925 |
+
"we start our planning those notes will"
|
| 926 |
+
],
|
| 927 |
+
[
|
| 928 |
+
"the time where we take all the notes and",
|
| 929 |
+
"we start our planning those notes will",
|
| 930 |
+
"have to be ready for second camera"
|
| 931 |
+
],
|
| 932 |
+
[
|
| 933 |
+
"we start our planning those notes will",
|
| 934 |
+
"have to be ready for second camera",
|
| 935 |
+
"rehearsal and that is when we check if"
|
| 936 |
+
],
|
| 937 |
+
[
|
| 938 |
+
"have to be ready for second camera",
|
| 939 |
+
"rehearsal and that is when we check if"
|
| 940 |
+
],
|
| 941 |
+
[
|
| 942 |
+
"have to be ready for second camera",
|
| 943 |
+
"rehearsal and that is when we check if"
|
| 944 |
+
],
|
| 945 |
+
[
|
| 946 |
+
"have to be ready for second camera",
|
| 947 |
+
"rehearsal and that is when we check if",
|
| 948 |
+
"the notes that we applied effectively"
|
| 949 |
+
],
|
| 950 |
+
[
|
| 951 |
+
"rehearsal and that is when we check if",
|
| 952 |
+
"the notes that we applied effectively"
|
| 953 |
+
],
|
| 954 |
+
[
|
| 955 |
+
"rehearsal and that is when we check if",
|
| 956 |
+
"the notes that we applied effectively",
|
| 957 |
+
"worked or not"
|
| 958 |
+
],
|
| 959 |
+
[
|
| 960 |
+
"the notes that we applied effectively",
|
| 961 |
+
"worked or not"
|
| 962 |
+
],
|
| 963 |
+
[
|
| 964 |
+
"the notes that we applied effectively",
|
| 965 |
+
"worked or not",
|
| 966 |
+
"[Music]"
|
| 967 |
+
],
|
| 968 |
+
[
|
| 969 |
+
"worked or not",
|
| 970 |
+
"[Music]"
|
| 971 |
+
],
|
| 972 |
+
[
|
| 973 |
+
"worked or not",
|
| 974 |
+
"[Music]"
|
| 975 |
+
],
|
| 976 |
+
[
|
| 977 |
+
"worked or not",
|
| 978 |
+
"[Music]"
|
| 979 |
+
],
|
| 980 |
+
[
|
| 981 |
+
"worked or not",
|
| 982 |
+
"[Music]"
|
| 983 |
+
],
|
| 984 |
+
[
|
| 985 |
+
"worked or not",
|
| 986 |
+
"[Music]",
|
| 987 |
+
"when you think about the whole NT live"
|
| 988 |
+
],
|
| 989 |
+
[
|
| 990 |
+
"[Music]",
|
| 991 |
+
"when you think about the whole NT live"
|
| 992 |
+
],
|
| 993 |
+
[
|
| 994 |
+
"[Music]",
|
| 995 |
+
"when you think about the whole NT live",
|
| 996 |
+
"production be this incredibly complex"
|
| 997 |
+
],
|
| 998 |
+
[
|
| 999 |
+
"when you think about the whole NT live",
|
| 1000 |
+
"production be this incredibly complex"
|
| 1001 |
+
],
|
| 1002 |
+
[
|
| 1003 |
+
"when you think about the whole NT live",
|
| 1004 |
+
"production be this incredibly complex",
|
| 1005 |
+
"event there's so much going on my job is"
|
| 1006 |
+
],
|
| 1007 |
+
[
|
| 1008 |
+
"production be this incredibly complex",
|
| 1009 |
+
"event there's so much going on my job is"
|
| 1010 |
+
],
|
| 1011 |
+
[
|
| 1012 |
+
"production be this incredibly complex",
|
| 1013 |
+
"event there's so much going on my job is"
|
| 1014 |
+
],
|
| 1015 |
+
[
|
| 1016 |
+
"production be this incredibly complex",
|
| 1017 |
+
"event there's so much going on my job is",
|
| 1018 |
+
"to come in early and rehearse the"
|
| 1019 |
+
],
|
| 1020 |
+
[
|
| 1021 |
+
"event there's so much going on my job is",
|
| 1022 |
+
"to come in early and rehearse the",
|
| 1023 |
+
"introduction just get a sense of how it"
|
| 1024 |
+
],
|
| 1025 |
+
[
|
| 1026 |
+
"to come in early and rehearse the",
|
| 1027 |
+
"introduction just get a sense of how it"
|
| 1028 |
+
],
|
| 1029 |
+
[
|
| 1030 |
+
"to come in early and rehearse the",
|
| 1031 |
+
"introduction just get a sense of how it",
|
| 1032 |
+
"will works and then when the actual"
|
| 1033 |
+
],
|
| 1034 |
+
[
|
| 1035 |
+
"introduction just get a sense of how it",
|
| 1036 |
+
"will works and then when the actual"
|
| 1037 |
+
],
|
| 1038 |
+
[
|
| 1039 |
+
"introduction just get a sense of how it",
|
| 1040 |
+
"will works and then when the actual",
|
| 1041 |
+
"moment comes they can rely on me just to"
|
| 1042 |
+
],
|
| 1043 |
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[
|
| 1044 |
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"will works and then when the actual",
|
| 1045 |
+
"moment comes they can rely on me just to"
|
| 1046 |
+
],
|
| 1047 |
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[
|
| 1048 |
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"will works and then when the actual",
|
| 1049 |
+
"moment comes they can rely on me just to",
|
| 1050 |
+
"welcome the audience in the theater"
|
| 1051 |
+
],
|
| 1052 |
+
[
|
| 1053 |
+
"moment comes they can rely on me just to",
|
| 1054 |
+
"welcome the audience in the theater"
|
| 1055 |
+
],
|
| 1056 |
+
[
|
| 1057 |
+
"moment comes they can rely on me just to",
|
| 1058 |
+
"welcome the audience in the theater",
|
| 1059 |
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"welcome the audience watching worldwide"
|
| 1060 |
+
],
|
| 1061 |
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[
|
| 1062 |
+
"welcome the audience in the theater",
|
| 1063 |
+
"welcome the audience watching worldwide"
|
| 1064 |
+
],
|
| 1065 |
+
[
|
| 1066 |
+
"welcome the audience in the theater",
|
| 1067 |
+
"welcome the audience watching worldwide",
|
| 1068 |
+
"and the director and the whole"
|
| 1069 |
+
],
|
| 1070 |
+
[
|
| 1071 |
+
"welcome the audience watching worldwide",
|
| 1072 |
+
"and the director and the whole",
|
| 1073 |
+
"production crew can concentrate on this"
|
| 1074 |
+
],
|
| 1075 |
+
[
|
| 1076 |
+
"and the director and the whole",
|
| 1077 |
+
"production crew can concentrate on this"
|
| 1078 |
+
],
|
| 1079 |
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[
|
| 1080 |
+
"and the director and the whole",
|
| 1081 |
+
"production crew can concentrate on this",
|
| 1082 |
+
"amazing piece of theater that's about to"
|
| 1083 |
+
],
|
| 1084 |
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[
|
| 1085 |
+
"production crew can concentrate on this",
|
| 1086 |
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|
| 1087 |
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],
|
| 1088 |
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[
|
| 1089 |
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"production crew can concentrate on this",
|
| 1090 |
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"amazing piece of theater that's about to",
|
| 1091 |
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"unfold"
|
| 1092 |
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],
|
| 1093 |
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[
|
| 1094 |
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"amazing piece of theater that's about to",
|
| 1095 |
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"unfold",
|
| 1096 |
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"[Music]"
|
| 1097 |
+
],
|
| 1098 |
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[
|
| 1099 |
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"unfold",
|
| 1100 |
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"[Music]"
|
| 1101 |
+
],
|
| 1102 |
+
[
|
| 1103 |
+
"unfold",
|
| 1104 |
+
"[Music]"
|
| 1105 |
+
],
|
| 1106 |
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[
|
| 1107 |
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"unfold",
|
| 1108 |
+
"[Music]"
|
| 1109 |
+
],
|
| 1110 |
+
[
|
| 1111 |
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"unfold",
|
| 1112 |
+
"[Music]"
|
| 1113 |
+
],
|
| 1114 |
+
[
|
| 1115 |
+
"unfold",
|
| 1116 |
+
"[Music]"
|
| 1117 |
+
],
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| 1118 |
+
[
|
| 1119 |
+
"unfold",
|
| 1120 |
+
"[Music]",
|
| 1121 |
+
"before every show we go around to do"
|
| 1122 |
+
],
|
| 1123 |
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[
|
| 1124 |
+
"[Music]",
|
| 1125 |
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"before every show we go around to do"
|
| 1126 |
+
],
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| 1127 |
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[
|
| 1128 |
+
"[Music]",
|
| 1129 |
+
"before every show we go around to do",
|
| 1130 |
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"what we call a sharp cheddar so we go"
|
| 1131 |
+
],
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| 1132 |
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[
|
| 1133 |
+
"before every show we go around to do",
|
| 1134 |
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"what we call a sharp cheddar so we go"
|
| 1135 |
+
],
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| 1136 |
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[
|
| 1137 |
+
"before every show we go around to do",
|
| 1138 |
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"what we call a sharp cheddar so we go",
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| 1139 |
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"make sure everything's in the right"
|
| 1140 |
+
],
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| 1141 |
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[
|
| 1142 |
+
"what we call a sharp cheddar so we go",
|
| 1143 |
+
"make sure everything's in the right",
|
| 1144 |
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"position we check all the smaller"
|
| 1145 |
+
],
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| 1146 |
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[
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| 1147 |
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"make sure everything's in the right",
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| 1148 |
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"position we check all the smaller"
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| 1149 |
+
],
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| 1150 |
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[
|
| 1151 |
+
"make sure everything's in the right",
|
| 1152 |
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"position we check all the smaller",
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| 1153 |
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"details and that everything looks good"
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| 1154 |
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],
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| 1155 |
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[
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| 1156 |
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"position we check all the smaller",
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| 1157 |
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"details and that everything looks good"
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| 1158 |
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],
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| 1159 |
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[
|
| 1160 |
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"position we check all the smaller",
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| 1161 |
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"details and that everything looks good",
|
| 1162 |
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"to go and it's just quite exciting to"
|
| 1163 |
+
],
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| 1164 |
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[
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| 1165 |
+
"details and that everything looks good",
|
| 1166 |
+
"to go and it's just quite exciting to"
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| 1167 |
+
],
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| 1168 |
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[
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| 1169 |
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"details and that everything looks good",
|
| 1170 |
+
"to go and it's just quite exciting to",
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| 1171 |
+
"know that people are getting to see it"
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| 1172 |
+
],
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| 1173 |
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[
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| 1174 |
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"to go and it's just quite exciting to",
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| 1175 |
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"know that people are getting to see it",
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| 1176 |
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"although the UK and worldwide as well"
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| 1177 |
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],
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| 1178 |
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[
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| 1179 |
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| 1180 |
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"although the UK and worldwide as well"
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| 1181 |
+
],
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| 1182 |
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[
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| 1183 |
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"know that people are getting to see it",
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| 1184 |
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"although the UK and worldwide as well"
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],
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[
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"know that people are getting to see it",
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],
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| 1190 |
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[
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| 1191 |
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"know that people are getting to see it",
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| 1192 |
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"although the UK and worldwide as well",
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| 1193 |
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"I've got a friend he lives in Sydney he"
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| 1194 |
+
],
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| 1195 |
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[
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| 1196 |
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"although the UK and worldwide as well",
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| 1197 |
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"I've got a friend he lives in Sydney he",
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| 1198 |
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| 1199 |
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],
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| 1200 |
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[
|
| 1201 |
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"I've got a friend he lives in Sydney he",
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| 1202 |
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"was like I saw one of your owns he lives"
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| 1203 |
+
],
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| 1204 |
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[
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| 1205 |
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"I've got a friend he lives in Sydney he",
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| 1206 |
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"was like I saw one of your owns he lives",
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| 1207 |
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"and I was like it's you know it's a"
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| 1208 |
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],
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| 1209 |
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[
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| 1210 |
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| 1211 |
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| 1212 |
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],
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| 1213 |
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[
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| 1214 |
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| 1215 |
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"and I was like it's you know it's a",
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| 1216 |
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],
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| 1218 |
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[
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| 1219 |
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"and I was like it's you know it's a",
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| 1220 |
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"really special thing that everyone gets"
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| 1221 |
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],
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| 1222 |
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[
|
| 1223 |
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"and I was like it's you know it's a",
|
| 1224 |
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"really special thing that everyone gets",
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| 1225 |
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|
| 1226 |
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],
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| 1227 |
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[
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| 1228 |
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"really special thing that everyone gets",
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| 1229 |
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|
| 1230 |
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],
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| 1231 |
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[
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"really special thing that everyone gets",
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| 1233 |
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],
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[
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| 1237 |
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],
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| 1239 |
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[
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| 1240 |
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| 1241 |
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| 1242 |
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| 1243 |
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],
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| 1244 |
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[
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| 1245 |
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| 1246 |
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| 1247 |
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],
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| 1248 |
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[
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| 1250 |
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| 1251 |
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],
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| 1252 |
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[
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| 1253 |
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| 1254 |
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| 1255 |
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| 1256 |
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],
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| 1257 |
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[
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| 1258 |
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"broadcasting the Lehmann trilogy the",
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| 1259 |
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| 1260 |
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],
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| 1261 |
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[
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| 1262 |
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"broadcasting the Lehmann trilogy the",
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| 1263 |
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| 1264 |
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| 1265 |
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],
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| 1266 |
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[
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| 1267 |
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"broadcast starts just after 7:00 o'clock",
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| 1268 |
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| 1269 |
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],
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| 1270 |
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[
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| 1271 |
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| 1272 |
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| 1273 |
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],
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| 1274 |
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[
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| 1275 |
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| 1276 |
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| 1277 |
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],
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| 1278 |
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[
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| 1279 |
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| 1280 |
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| 1281 |
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],
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[
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],
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[
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[
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[
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],
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[
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| 1301 |
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],
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[
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[
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],
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[
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],
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[
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[
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| 1328 |
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| 1331 |
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],
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| 1332 |
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[
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],
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[
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| 1339 |
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],
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[
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| 1343 |
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],
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[
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| 1348 |
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],
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| 1349 |
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[
|
| 1350 |
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"watching the show live in that venue",
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| 1351 |
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"hello and welcome to the Piccadilly",
|
| 1352 |
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"Theatre in London's West End"
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| 1353 |
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],
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],
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],
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|
| 1370 |
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| 1383 |
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],
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[
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[
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],
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[],
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[],
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[
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],
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[
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],
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[
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| 1401 |
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[
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[
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[
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| 1458 |
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],
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| 1464 |
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],
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|
| 1466 |
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],
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|
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],
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|
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|
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|
| 1482 |
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],
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|
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],
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|
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],
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],
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|
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| 1499 |
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],
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|
| 1502 |
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| 1503 |
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| 1505 |
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],
|
| 1506 |
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|
| 1507 |
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|
| 1509 |
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],
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| 1510 |
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|
| 1511 |
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| 1512 |
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],
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|
| 1515 |
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| 1516 |
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| 1517 |
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|
| 1518 |
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],
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| 1519 |
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[
|
| 1520 |
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| 1522 |
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],
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|
| 1524 |
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|
| 1525 |
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| 1526 |
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],
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|
| 1528 |
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|
| 1529 |
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|
| 1530 |
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"[Music]"
|
| 1531 |
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],
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|
| 1533 |
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|
| 1534 |
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"[Music]"
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],
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|
| 1537 |
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|
| 1538 |
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"[Music]"
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| 1539 |
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],
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|
| 1541 |
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| 1542 |
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"[Music]"
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],
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|
| 1545 |
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|
| 1546 |
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"[Music]"
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],
|
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|
| 1549 |
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|
| 1550 |
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"[Music]"
|
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],
|
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|
| 1553 |
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|
| 1554 |
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"[Music]"
|
| 1555 |
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],
|
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|
| 1557 |
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|
| 1558 |
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|
| 1559 |
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"[Music]",
|
| 1560 |
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"[Music]"
|
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]
|
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],
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],
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"New Zealand on a small little village in",
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],
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"24": [
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| 1630 |
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],
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"32": [
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| 1632 |
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"[Music]",
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| 1633 |
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"[Music]",
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| 1634 |
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"[Music]",
|
| 1635 |
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"[Music]",
|
| 1636 |
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"camera rehearsal one is the first time",
|
| 1637 |
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"[Music]",
|
| 1638 |
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|
| 1639 |
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"[Music]",
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| 1640 |
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| 1641 |
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|
| 1643 |
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|
| 1644 |
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| 1645 |
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|
| 1646 |
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],
|
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| 1649 |
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| 1650 |
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| 1651 |
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| 1652 |
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| 1653 |
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| 1654 |
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| 1655 |
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| 1656 |
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|
| 1657 |
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"was thought at 6:30 and will arrive and",
|
| 1658 |
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|
| 1659 |
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"was thought at 6:30 and will arrive and",
|
| 1660 |
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"we will build the cameras so that",
|
| 1661 |
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"was thought at 6:30 and will arrive and",
|
| 1662 |
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"we will build the cameras so that",
|
| 1663 |
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"started building still deck platforms",
|
| 1664 |
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"we will build the cameras so that",
|
| 1665 |
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"started building still deck platforms",
|
| 1666 |
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"we will build the cameras so that",
|
| 1667 |
+
"started building still deck platforms",
|
| 1668 |
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"are in our auditorium it might also"
|
| 1669 |
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],
|
| 1670 |
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"48": [
|
| 1671 |
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| 1672 |
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| 1673 |
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| 1674 |
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| 1675 |
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| 1676 |
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|
| 1677 |
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"include seat removals we then rigged the",
|
| 1678 |
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|
| 1679 |
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|
| 1680 |
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|
| 1681 |
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"include seat removals we then rigged the",
|
| 1682 |
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|
| 1683 |
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"include seat removals we then rigged the",
|
| 1684 |
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|
| 1685 |
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"are ready to then go through a series of",
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| 1686 |
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|
| 1687 |
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"are ready to then go through a series of",
|
| 1688 |
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"checks where we ensure that we've got",
|
| 1689 |
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"are ready to then go through a series of",
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| 1690 |
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"checks where we ensure that we've got"
|
| 1691 |
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],
|
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|
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| 1695 |
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"communication lines between the",
|
| 1696 |
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|
| 1697 |
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|
| 1698 |
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|
| 1699 |
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|
| 1700 |
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|
| 1701 |
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| 1702 |
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|
| 1703 |
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|
| 1704 |
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|
| 1705 |
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|
| 1706 |
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|
| 1707 |
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|
| 1708 |
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|
| 1709 |
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|
| 1710 |
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|
| 1711 |
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],
|
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|
| 1713 |
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|
| 1714 |
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|
| 1715 |
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"thing about NT live is being able to go",
|
| 1716 |
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"auditorium and the OB truck so the great",
|
| 1717 |
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"thing about NT live is being able to go",
|
| 1718 |
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"auditorium and the OB truck so the great",
|
| 1719 |
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"thing about NT live is being able to go",
|
| 1720 |
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"to lots of theaters around the West End",
|
| 1721 |
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"thing about NT live is being able to go",
|
| 1722 |
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|
| 1723 |
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"and also regionally so when small island",
|
| 1724 |
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|
| 1725 |
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|
| 1726 |
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|
| 1727 |
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"and also regionally so when small island",
|
| 1728 |
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|
| 1729 |
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"and also regionally so when small island",
|
| 1730 |
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|
| 1731 |
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"and also regionally so when small island",
|
| 1732 |
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|
| 1733 |
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|
| 1734 |
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],
|
| 1735 |
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|
| 1736 |
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| 1737 |
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|
| 1738 |
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"times before over the 10 years coming to",
|
| 1739 |
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|
| 1740 |
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|
| 1741 |
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|
| 1742 |
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|
| 1743 |
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|
| 1744 |
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"times before over the 10 years coming to",
|
| 1745 |
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|
| 1746 |
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"Theatre had his own set of challenges",
|
| 1747 |
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|
| 1748 |
+
"Theatre had his own set of challenges",
|
| 1749 |
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|
| 1750 |
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"Theatre had his own set of challenges",
|
| 1751 |
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"but it was the first time we'd been in",
|
| 1752 |
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|
| 1753 |
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|
| 1754 |
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|
| 1755 |
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|
| 1756 |
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|
| 1757 |
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],
|
| 1758 |
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|
| 1759 |
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|
| 1760 |
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"this theatre this rehearsal will run",
|
| 1761 |
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"exactly as a normal performance word in",
|
| 1762 |
+
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|
| 1763 |
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"exactly as a normal performance word in",
|
| 1764 |
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|
| 1765 |
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"exactly as a normal performance word in",
|
| 1766 |
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|
| 1767 |
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"exactly as a normal performance word in",
|
| 1768 |
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"costume full technical support",
|
| 1769 |
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"exactly as a normal performance word in",
|
| 1770 |
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|
| 1771 |
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"exactly as a normal performance word in",
|
| 1772 |
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|
| 1773 |
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|
| 1774 |
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"costume full technical support",
|
| 1775 |
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|
| 1776 |
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"costume full technical support",
|
| 1777 |
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"it's our first trial at seeing how we",
|
| 1778 |
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"can work as the production the job of"
|
| 1779 |
+
],
|
| 1780 |
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|
| 1781 |
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"it's our first trial at seeing how we",
|
| 1782 |
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"can work as the production the job of",
|
| 1783 |
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"it's our first trial at seeing how we",
|
| 1784 |
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"can work as the production the job of",
|
| 1785 |
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"it's our first trial at seeing how we",
|
| 1786 |
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"can work as the production the job of",
|
| 1787 |
+
"the camera director is basically being",
|
| 1788 |
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"can work as the production the job of",
|
| 1789 |
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"the camera director is basically being",
|
| 1790 |
+
"can work as the production the job of",
|
| 1791 |
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"the camera director is basically being",
|
| 1792 |
+
"in charge of the transfer from the",
|
| 1793 |
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"the camera director is basically being",
|
| 1794 |
+
"in charge of the transfer from the",
|
| 1795 |
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"the camera director is basically being",
|
| 1796 |
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"in charge of the transfer from the",
|
| 1797 |
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"the camera director is basically being",
|
| 1798 |
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"in charge of the transfer from the"
|
| 1799 |
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],
|
| 1800 |
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"96": [
|
| 1801 |
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"the camera director is basically being",
|
| 1802 |
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"in charge of the transfer from the",
|
| 1803 |
+
"theater audience to the cinema Williams",
|
| 1804 |
+
"in charge of the transfer from the",
|
| 1805 |
+
"theater audience to the cinema Williams",
|
| 1806 |
+
"the way it works is that you can watch",
|
| 1807 |
+
"theater audience to the cinema Williams",
|
| 1808 |
+
"the way it works is that you can watch",
|
| 1809 |
+
"theater audience to the cinema Williams",
|
| 1810 |
+
"the way it works is that you can watch",
|
| 1811 |
+
"it in the theatre and try and get a",
|
| 1812 |
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"the way it works is that you can watch",
|
| 1813 |
+
"it in the theatre and try and get a",
|
| 1814 |
+
"the way it works is that you can watch",
|
| 1815 |
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"it in the theatre and try and get a",
|
| 1816 |
+
"the way it works is that you can watch",
|
| 1817 |
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"it in the theatre and try and get a",
|
| 1818 |
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"sense of where you want to put the",
|
| 1819 |
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"it in the theatre and try and get a",
|
| 1820 |
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"sense of where you want to put the",
|
| 1821 |
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"cameras whether you want the cameras to"
|
| 1822 |
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],
|
| 1823 |
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"104": [
|
| 1824 |
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"sense of where you want to put the",
|
| 1825 |
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"cameras whether you want the cameras to",
|
| 1826 |
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"sense of where you want to put the",
|
| 1827 |
+
"cameras whether you want the cameras to",
|
| 1828 |
+
"move all you or the cameras to be static",
|
| 1829 |
+
"cameras whether you want the cameras to",
|
| 1830 |
+
"move all you or the cameras to be static",
|
| 1831 |
+
"and then new camera script so you",
|
| 1832 |
+
"move all you or the cameras to be static",
|
| 1833 |
+
"and then new camera script so you",
|
| 1834 |
+
"move all you or the cameras to be static",
|
| 1835 |
+
"and then new camera script so you",
|
| 1836 |
+
"move all you or the cameras to be static",
|
| 1837 |
+
"and then new camera script so you",
|
| 1838 |
+
"basically get given a wide shot from",
|
| 1839 |
+
"and then new camera script so you",
|
| 1840 |
+
"basically get given a wide shot from",
|
| 1841 |
+
"and then new camera script so you",
|
| 1842 |
+
"basically get given a wide shot from"
|
| 1843 |
+
],
|
| 1844 |
+
"112": [
|
| 1845 |
+
"and then new camera script so you",
|
| 1846 |
+
"basically get given a wide shot from",
|
| 1847 |
+
"from the back of the auditorium",
|
| 1848 |
+
"basically get given a wide shot from",
|
| 1849 |
+
"from the back of the auditorium",
|
| 1850 |
+
"basically get given a wide shot from",
|
| 1851 |
+
"from the back of the auditorium",
|
| 1852 |
+
"you literally start going through the",
|
| 1853 |
+
"from the back of the auditorium",
|
| 1854 |
+
"you literally start going through the",
|
| 1855 |
+
"from the back of the auditorium",
|
| 1856 |
+
"you literally start going through the",
|
| 1857 |
+
"from the back of the auditorium",
|
| 1858 |
+
"you literally start going through the",
|
| 1859 |
+
"whole script writing in every camera",
|
| 1860 |
+
"you literally start going through the",
|
| 1861 |
+
"whole script writing in every camera",
|
| 1862 |
+
"shot we shot the first record yesterday",
|
| 1863 |
+
"whole script writing in every camera",
|
| 1864 |
+
"shot we shot the first record yesterday"
|
| 1865 |
+
],
|
| 1866 |
+
"120": [
|
| 1867 |
+
"whole script writing in every camera",
|
| 1868 |
+
"shot we shot the first record yesterday",
|
| 1869 |
+
"whole script writing in every camera",
|
| 1870 |
+
"shot we shot the first record yesterday",
|
| 1871 |
+
"whole script writing in every camera",
|
| 1872 |
+
"shot we shot the first record yesterday",
|
| 1873 |
+
"whole script writing in every camera",
|
| 1874 |
+
"shot we shot the first record yesterday",
|
| 1875 |
+
"today we all come and watch it projected",
|
| 1876 |
+
"today we all come and watch it projected",
|
| 1877 |
+
"today we all come and watch it projected",
|
| 1878 |
+
"today we all come and watch it projected"
|
| 1879 |
+
],
|
| 1880 |
+
"128": [
|
| 1881 |
+
"today we all come and watch it projected",
|
| 1882 |
+
"in a cinema rather than just on the",
|
| 1883 |
+
"today we all come and watch it projected",
|
| 1884 |
+
"in a cinema rather than just on the",
|
| 1885 |
+
"screen because we're shooting for cinema",
|
| 1886 |
+
"in a cinema rather than just on the",
|
| 1887 |
+
"screen because we're shooting for cinema",
|
| 1888 |
+
"in a cinema rather than just on the",
|
| 1889 |
+
"screen because we're shooting for cinema",
|
| 1890 |
+
"in a cinema rather than just on the",
|
| 1891 |
+
"screen because we're shooting for cinema",
|
| 1892 |
+
"in a cinema rather than just on the",
|
| 1893 |
+
"screen because we're shooting for cinema",
|
| 1894 |
+
"we go around the room afterwards and",
|
| 1895 |
+
"we go around the room afterwards and"
|
| 1896 |
+
],
|
| 1897 |
+
"136": [
|
| 1898 |
+
"we go around the room afterwards and",
|
| 1899 |
+
"everyone talks about the things that",
|
| 1900 |
+
"we go around the room afterwards and",
|
| 1901 |
+
"everyone talks about the things that",
|
| 1902 |
+
"work and the things that don't work and",
|
| 1903 |
+
"everyone talks about the things that",
|
| 1904 |
+
"work and the things that don't work and",
|
| 1905 |
+
"everyone talks about the things that",
|
| 1906 |
+
"work and the things that don't work and",
|
| 1907 |
+
"if there's things that we can do better",
|
| 1908 |
+
"work and the things that don't work and",
|
| 1909 |
+
"if there's things that we can do better",
|
| 1910 |
+
"or everybody gets a chance to do that",
|
| 1911 |
+
"if there's things that we can do better",
|
| 1912 |
+
"or everybody gets a chance to do that",
|
| 1913 |
+
"if there's things that we can do better",
|
| 1914 |
+
"or everybody gets a chance to do that",
|
| 1915 |
+
"and then go away and and everyone does",
|
| 1916 |
+
"or everybody gets a chance to do that",
|
| 1917 |
+
"and then go away and and everyone does"
|
| 1918 |
+
],
|
| 1919 |
+
"144": [
|
| 1920 |
+
"or everybody gets a chance to do that",
|
| 1921 |
+
"and then go away and and everyone does",
|
| 1922 |
+
"their own thing to make the next one",
|
| 1923 |
+
"and then go away and and everyone does",
|
| 1924 |
+
"their own thing to make the next one",
|
| 1925 |
+
"and then go away and and everyone does",
|
| 1926 |
+
"their own thing to make the next one",
|
| 1927 |
+
"better if person sitting in stalls in",
|
| 1928 |
+
"their own thing to make the next one",
|
| 1929 |
+
"better if person sitting in stalls in",
|
| 1930 |
+
"their own thing to make the next one",
|
| 1931 |
+
"better if person sitting in stalls in",
|
| 1932 |
+
"their own thing to make the next one",
|
| 1933 |
+
"better if person sitting in stalls in",
|
| 1934 |
+
"their own thing to make the next one",
|
| 1935 |
+
"better if person sitting in stalls in",
|
| 1936 |
+
"their own thing to make the next one",
|
| 1937 |
+
"better if person sitting in stalls in"
|
| 1938 |
+
],
|
| 1939 |
+
"152": [
|
| 1940 |
+
"their own thing to make the next one",
|
| 1941 |
+
"better if person sitting in stalls in",
|
| 1942 |
+
"their own thing to make the next one",
|
| 1943 |
+
"better if person sitting in stalls in",
|
| 1944 |
+
"their own thing to make the next one",
|
| 1945 |
+
"better if person sitting in stalls in",
|
| 1946 |
+
"the Ollivier theater doesn't see the",
|
| 1947 |
+
"better if person sitting in stalls in",
|
| 1948 |
+
"the Ollivier theater doesn't see the",
|
| 1949 |
+
"better if person sitting in stalls in",
|
| 1950 |
+
"the Ollivier theater doesn't see the",
|
| 1951 |
+
"lace of the way I would like the person",
|
| 1952 |
+
"the Ollivier theater doesn't see the",
|
| 1953 |
+
"lace of the way I would like the person",
|
| 1954 |
+
"the Ollivier theater doesn't see the",
|
| 1955 |
+
"lace of the way I would like the person",
|
| 1956 |
+
"the Ollivier theater doesn't see the",
|
| 1957 |
+
"lace of the way I would like the person",
|
| 1958 |
+
"sitting at the cinema not a sin balance"
|
| 1959 |
+
],
|
| 1960 |
+
"160": [
|
| 1961 |
+
"lace of the way I would like the person",
|
| 1962 |
+
"sitting at the cinema not a sin balance",
|
| 1963 |
+
"lace of the way I would like the person",
|
| 1964 |
+
"sitting at the cinema not a sin balance",
|
| 1965 |
+
"that's why I have to change it so we are",
|
| 1966 |
+
"sitting at the cinema not a sin balance",
|
| 1967 |
+
"that's why I have to change it so we are",
|
| 1968 |
+
"sitting at the cinema not a sin balance",
|
| 1969 |
+
"that's why I have to change it so we are",
|
| 1970 |
+
"sitting at the cinema not a sin balance",
|
| 1971 |
+
"that's why I have to change it so we are",
|
| 1972 |
+
"absolutely sure that even on a tighter",
|
| 1973 |
+
"that's why I have to change it so we are",
|
| 1974 |
+
"absolutely sure that even on a tighter",
|
| 1975 |
+
"that's why I have to change it so we are",
|
| 1976 |
+
"absolutely sure that even on a tighter",
|
| 1977 |
+
"that's why I have to change it so we are",
|
| 1978 |
+
"absolutely sure that even on a tighter",
|
| 1979 |
+
"close-up we won't be able to see the"
|
| 1980 |
+
],
|
| 1981 |
+
"168": [
|
| 1982 |
+
"absolutely sure that even on a tighter",
|
| 1983 |
+
"close-up we won't be able to see the",
|
| 1984 |
+
"lace so we won't spoil the magic of",
|
| 1985 |
+
"close-up we won't be able to see the",
|
| 1986 |
+
"lace so we won't spoil the magic of",
|
| 1987 |
+
"close-up we won't be able to see the",
|
| 1988 |
+
"lace so we won't spoil the magic of",
|
| 1989 |
+
"close-up we won't be able to see the",
|
| 1990 |
+
"lace so we won't spoil the magic of",
|
| 1991 |
+
"theatre first kind of rehearsals that is",
|
| 1992 |
+
"lace so we won't spoil the magic of",
|
| 1993 |
+
"theatre first kind of rehearsals that is",
|
| 1994 |
+
"lace so we won't spoil the magic of",
|
| 1995 |
+
"theatre first kind of rehearsals that is",
|
| 1996 |
+
"lace so we won't spoil the magic of",
|
| 1997 |
+
"theatre first kind of rehearsals that is",
|
| 1998 |
+
"the time where we take all the notes and",
|
| 1999 |
+
"theatre first kind of rehearsals that is",
|
| 2000 |
+
"the time where we take all the notes and"
|
| 2001 |
+
],
|
| 2002 |
+
"176": [
|
| 2003 |
+
"theatre first kind of rehearsals that is",
|
| 2004 |
+
"the time where we take all the notes and",
|
| 2005 |
+
"we start our planning those notes will",
|
| 2006 |
+
"the time where we take all the notes and",
|
| 2007 |
+
"we start our planning those notes will",
|
| 2008 |
+
"the time where we take all the notes and",
|
| 2009 |
+
"we start our planning those notes will",
|
| 2010 |
+
"the time where we take all the notes and",
|
| 2011 |
+
"we start our planning those notes will",
|
| 2012 |
+
"have to be ready for second camera",
|
| 2013 |
+
"we start our planning those notes will",
|
| 2014 |
+
"have to be ready for second camera",
|
| 2015 |
+
"rehearsal and that is when we check if",
|
| 2016 |
+
"have to be ready for second camera",
|
| 2017 |
+
"rehearsal and that is when we check if",
|
| 2018 |
+
"have to be ready for second camera",
|
| 2019 |
+
"rehearsal and that is when we check if",
|
| 2020 |
+
"have to be ready for second camera",
|
| 2021 |
+
"rehearsal and that is when we check if",
|
| 2022 |
+
"the notes that we applied effectively"
|
| 2023 |
+
],
|
| 2024 |
+
"184": [
|
| 2025 |
+
"rehearsal and that is when we check if",
|
| 2026 |
+
"the notes that we applied effectively",
|
| 2027 |
+
"rehearsal and that is when we check if",
|
| 2028 |
+
"the notes that we applied effectively",
|
| 2029 |
+
"worked or not",
|
| 2030 |
+
"the notes that we applied effectively",
|
| 2031 |
+
"worked or not",
|
| 2032 |
+
"the notes that we applied effectively",
|
| 2033 |
+
"worked or not",
|
| 2034 |
+
"[Music]",
|
| 2035 |
+
"worked or not",
|
| 2036 |
+
"[Music]",
|
| 2037 |
+
"worked or not",
|
| 2038 |
+
"[Music]",
|
| 2039 |
+
"worked or not",
|
| 2040 |
+
"[Music]",
|
| 2041 |
+
"worked or not",
|
| 2042 |
+
"[Music]"
|
| 2043 |
+
],
|
| 2044 |
+
"192": [
|
| 2045 |
+
"worked or not",
|
| 2046 |
+
"[Music]",
|
| 2047 |
+
"when you think about the whole NT live",
|
| 2048 |
+
"[Music]",
|
| 2049 |
+
"when you think about the whole NT live",
|
| 2050 |
+
"[Music]",
|
| 2051 |
+
"when you think about the whole NT live",
|
| 2052 |
+
"production be this incredibly complex",
|
| 2053 |
+
"when you think about the whole NT live",
|
| 2054 |
+
"production be this incredibly complex",
|
| 2055 |
+
"when you think about the whole NT live",
|
| 2056 |
+
"production be this incredibly complex",
|
| 2057 |
+
"event there's so much going on my job is",
|
| 2058 |
+
"production be this incredibly complex",
|
| 2059 |
+
"event there's so much going on my job is",
|
| 2060 |
+
"production be this incredibly complex",
|
| 2061 |
+
"event there's so much going on my job is",
|
| 2062 |
+
"production be this incredibly complex",
|
| 2063 |
+
"event there's so much going on my job is",
|
| 2064 |
+
"to come in early and rehearse the"
|
| 2065 |
+
],
|
| 2066 |
+
"200": [
|
| 2067 |
+
"event there's so much going on my job is",
|
| 2068 |
+
"to come in early and rehearse the",
|
| 2069 |
+
"introduction just get a sense of how it",
|
| 2070 |
+
"to come in early and rehearse the",
|
| 2071 |
+
"introduction just get a sense of how it",
|
| 2072 |
+
"to come in early and rehearse the",
|
| 2073 |
+
"introduction just get a sense of how it",
|
| 2074 |
+
"will works and then when the actual",
|
| 2075 |
+
"introduction just get a sense of how it",
|
| 2076 |
+
"will works and then when the actual",
|
| 2077 |
+
"introduction just get a sense of how it",
|
| 2078 |
+
"will works and then when the actual",
|
| 2079 |
+
"moment comes they can rely on me just to",
|
| 2080 |
+
"will works and then when the actual",
|
| 2081 |
+
"moment comes they can rely on me just to",
|
| 2082 |
+
"will works and then when the actual",
|
| 2083 |
+
"moment comes they can rely on me just to",
|
| 2084 |
+
"welcome the audience in the theater",
|
| 2085 |
+
"moment comes they can rely on me just to",
|
| 2086 |
+
"welcome the audience in the theater"
|
| 2087 |
+
],
|
| 2088 |
+
"208": [
|
| 2089 |
+
"moment comes they can rely on me just to",
|
| 2090 |
+
"welcome the audience in the theater",
|
| 2091 |
+
"welcome the audience watching worldwide",
|
| 2092 |
+
"welcome the audience in the theater",
|
| 2093 |
+
"welcome the audience watching worldwide",
|
| 2094 |
+
"welcome the audience in the theater",
|
| 2095 |
+
"welcome the audience watching worldwide",
|
| 2096 |
+
"and the director and the whole",
|
| 2097 |
+
"welcome the audience watching worldwide",
|
| 2098 |
+
"and the director and the whole",
|
| 2099 |
+
"production crew can concentrate on this",
|
| 2100 |
+
"and the director and the whole",
|
| 2101 |
+
"production crew can concentrate on this",
|
| 2102 |
+
"and the director and the whole",
|
| 2103 |
+
"production crew can concentrate on this",
|
| 2104 |
+
"amazing piece of theater that's about to",
|
| 2105 |
+
"production crew can concentrate on this",
|
| 2106 |
+
"amazing piece of theater that's about to",
|
| 2107 |
+
"production crew can concentrate on this",
|
| 2108 |
+
"amazing piece of theater that's about to",
|
| 2109 |
+
"unfold"
|
| 2110 |
+
],
|
| 2111 |
+
"216": [
|
| 2112 |
+
"amazing piece of theater that's about to",
|
| 2113 |
+
"unfold",
|
| 2114 |
+
"[Music]",
|
| 2115 |
+
"unfold",
|
| 2116 |
+
"[Music]",
|
| 2117 |
+
"unfold",
|
| 2118 |
+
"[Music]",
|
| 2119 |
+
"unfold",
|
| 2120 |
+
"[Music]",
|
| 2121 |
+
"unfold",
|
| 2122 |
+
"[Music]",
|
| 2123 |
+
"unfold",
|
| 2124 |
+
"[Music]",
|
| 2125 |
+
"unfold",
|
| 2126 |
+
"[Music]",
|
| 2127 |
+
"before every show we go around to do",
|
| 2128 |
+
"[Music]",
|
| 2129 |
+
"before every show we go around to do"
|
| 2130 |
+
],
|
| 2131 |
+
"224": [
|
| 2132 |
+
"[Music]",
|
| 2133 |
+
"before every show we go around to do",
|
| 2134 |
+
"what we call a sharp cheddar so we go",
|
| 2135 |
+
"before every show we go around to do",
|
| 2136 |
+
"what we call a sharp cheddar so we go",
|
| 2137 |
+
"before every show we go around to do",
|
| 2138 |
+
"what we call a sharp cheddar so we go",
|
| 2139 |
+
"make sure everything's in the right",
|
| 2140 |
+
"what we call a sharp cheddar so we go",
|
| 2141 |
+
"make sure everything's in the right",
|
| 2142 |
+
"position we check all the smaller",
|
| 2143 |
+
"make sure everything's in the right",
|
| 2144 |
+
"position we check all the smaller",
|
| 2145 |
+
"make sure everything's in the right",
|
| 2146 |
+
"position we check all the smaller",
|
| 2147 |
+
"details and that everything looks good",
|
| 2148 |
+
"position we check all the smaller",
|
| 2149 |
+
"details and that everything looks good",
|
| 2150 |
+
"position we check all the smaller",
|
| 2151 |
+
"details and that everything looks good",
|
| 2152 |
+
"to go and it's just quite exciting to"
|
| 2153 |
+
],
|
| 2154 |
+
"232": [
|
| 2155 |
+
"details and that everything looks good",
|
| 2156 |
+
"to go and it's just quite exciting to",
|
| 2157 |
+
"details and that everything looks good",
|
| 2158 |
+
"to go and it's just quite exciting to",
|
| 2159 |
+
"know that people are getting to see it",
|
| 2160 |
+
"to go and it's just quite exciting to",
|
| 2161 |
+
"know that people are getting to see it",
|
| 2162 |
+
"although the UK and worldwide as well",
|
| 2163 |
+
"know that people are getting to see it",
|
| 2164 |
+
"although the UK and worldwide as well",
|
| 2165 |
+
"know that people are getting to see it",
|
| 2166 |
+
"although the UK and worldwide as well",
|
| 2167 |
+
"know that people are getting to see it",
|
| 2168 |
+
"although the UK and worldwide as well",
|
| 2169 |
+
"know that people are getting to see it",
|
| 2170 |
+
"although the UK and worldwide as well",
|
| 2171 |
+
"I've got a friend he lives in Sydney he",
|
| 2172 |
+
"although the UK and worldwide as well",
|
| 2173 |
+
"I've got a friend he lives in Sydney he",
|
| 2174 |
+
"was like I saw one of your owns he lives"
|
| 2175 |
+
],
|
| 2176 |
+
"240": [
|
| 2177 |
+
"I've got a friend he lives in Sydney he",
|
| 2178 |
+
"was like I saw one of your owns he lives",
|
| 2179 |
+
"I've got a friend he lives in Sydney he",
|
| 2180 |
+
"was like I saw one of your owns he lives",
|
| 2181 |
+
"and I was like it's you know it's a",
|
| 2182 |
+
"was like I saw one of your owns he lives",
|
| 2183 |
+
"and I was like it's you know it's a",
|
| 2184 |
+
"was like I saw one of your owns he lives",
|
| 2185 |
+
"and I was like it's you know it's a",
|
| 2186 |
+
"really special thing that everyone gets",
|
| 2187 |
+
"and I was like it's you know it's a",
|
| 2188 |
+
"really special thing that everyone gets",
|
| 2189 |
+
"and I was like it's you know it's a",
|
| 2190 |
+
"really special thing that everyone gets",
|
| 2191 |
+
"to see today we are going to be",
|
| 2192 |
+
"really special thing that everyone gets",
|
| 2193 |
+
"to see today we are going to be",
|
| 2194 |
+
"really special thing that everyone gets",
|
| 2195 |
+
"to see today we are going to be"
|
| 2196 |
+
],
|
| 2197 |
+
"248": [
|
| 2198 |
+
"really special thing that everyone gets",
|
| 2199 |
+
"to see today we are going to be",
|
| 2200 |
+
"really special thing that everyone gets",
|
| 2201 |
+
"to see today we are going to be",
|
| 2202 |
+
"broadcasting the Lehmann trilogy the",
|
| 2203 |
+
"to see today we are going to be",
|
| 2204 |
+
"broadcasting the Lehmann trilogy the",
|
| 2205 |
+
"to see today we are going to be",
|
| 2206 |
+
"broadcasting the Lehmann trilogy the",
|
| 2207 |
+
"to see today we are going to be",
|
| 2208 |
+
"broadcasting the Lehmann trilogy the",
|
| 2209 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2210 |
+
"broadcasting the Lehmann trilogy the",
|
| 2211 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2212 |
+
"broadcasting the Lehmann trilogy the",
|
| 2213 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2214 |
+
"so we at around about half-past five",
|
| 2215 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2216 |
+
"so we at around about half-past five"
|
| 2217 |
+
],
|
| 2218 |
+
"256": [
|
| 2219 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2220 |
+
"so we at around about half-past five",
|
| 2221 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2222 |
+
"so we at around about half-past five",
|
| 2223 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2224 |
+
"so we at around about half-past five",
|
| 2225 |
+
"have to make sure that our cinema can",
|
| 2226 |
+
"so we at around about half-past five",
|
| 2227 |
+
"have to make sure that our cinema can",
|
| 2228 |
+
"so we at around about half-past five",
|
| 2229 |
+
"have to make sure that our cinema can",
|
| 2230 |
+
"so we at around about half-past five",
|
| 2231 |
+
"have to make sure that our cinema can",
|
| 2232 |
+
"tune into the broadcasts you want the",
|
| 2233 |
+
"have to make sure that our cinema can",
|
| 2234 |
+
"tune into the broadcasts you want the",
|
| 2235 |
+
"have to make sure that our cinema can",
|
| 2236 |
+
"tune into the broadcasts you want the",
|
| 2237 |
+
"people who are sat in the audience to"
|
| 2238 |
+
],
|
| 2239 |
+
"264": [
|
| 2240 |
+
"tune into the broadcasts you want the",
|
| 2241 |
+
"people who are sat in the audience to",
|
| 2242 |
+
"tune into the broadcasts you want the",
|
| 2243 |
+
"people who are sat in the audience to",
|
| 2244 |
+
"feel like they're in the theater with",
|
| 2245 |
+
"people who are sat in the audience to",
|
| 2246 |
+
"feel like they're in the theater with",
|
| 2247 |
+
"people who are sat in the audience to",
|
| 2248 |
+
"feel like they're in the theater with",
|
| 2249 |
+
"the rest of the audience actually",
|
| 2250 |
+
"feel like they're in the theater with",
|
| 2251 |
+
"the rest of the audience actually",
|
| 2252 |
+
"feel like they're in the theater with",
|
| 2253 |
+
"the rest of the audience actually",
|
| 2254 |
+
"watching the show live in that venue",
|
| 2255 |
+
"the rest of the audience actually",
|
| 2256 |
+
"watching the show live in that venue",
|
| 2257 |
+
"the rest of the audience actually",
|
| 2258 |
+
"watching the show live in that venue",
|
| 2259 |
+
"hello and welcome to the Piccadilly"
|
| 2260 |
+
],
|
| 2261 |
+
"272": [
|
| 2262 |
+
"watching the show live in that venue",
|
| 2263 |
+
"hello and welcome to the Piccadilly",
|
| 2264 |
+
"watching the show live in that venue",
|
| 2265 |
+
"hello and welcome to the Piccadilly",
|
| 2266 |
+
"watching the show live in that venue",
|
| 2267 |
+
"hello and welcome to the Piccadilly",
|
| 2268 |
+
"Theatre in London's West End",
|
| 2269 |
+
"hello and welcome to the Piccadilly",
|
| 2270 |
+
"Theatre in London's West End",
|
| 2271 |
+
"hello and welcome to the Piccadilly",
|
| 2272 |
+
"Theatre in London's West End",
|
| 2273 |
+
"hello and welcome to the Piccadilly",
|
| 2274 |
+
"Theatre in London's West End",
|
| 2275 |
+
"hello and welcome to the Piccadilly",
|
| 2276 |
+
"Theatre in London's West End",
|
| 2277 |
+
"the Lehmann trilogy directed for the",
|
| 2278 |
+
"Theatre in London's West End",
|
| 2279 |
+
"the Lehmann trilogy directed for the"
|
| 2280 |
+
],
|
| 2281 |
+
"280": [
|
| 2282 |
+
"Theatre in London's West End",
|
| 2283 |
+
"the Lehmann trilogy directed for the",
|
| 2284 |
+
"National Theatre",
|
| 2285 |
+
"the Lehmann trilogy directed for the",
|
| 2286 |
+
"National Theatre",
|
| 2287 |
+
"the Lehmann trilogy directed for the",
|
| 2288 |
+
"National Theatre",
|
| 2289 |
+
"the Lehmann trilogy directed for the",
|
| 2290 |
+
"National Theatre",
|
| 2291 |
+
"it's a very exciting experience to MTV",
|
| 2292 |
+
"it's a very exciting experience to MTV"
|
| 2293 |
+
],
|
| 2294 |
+
"288": [
|
| 2295 |
+
"it's a very exciting experience to MTV",
|
| 2296 |
+
"it's a very exciting experience to MTV",
|
| 2297 |
+
"but essentially you just do the",
|
| 2298 |
+
"it's a very exciting experience to MTV",
|
| 2299 |
+
"but essentially you just do the",
|
| 2300 |
+
"it's a very exciting experience to MTV",
|
| 2301 |
+
"but essentially you just do the",
|
| 2302 |
+
"performance that you would normally do",
|
| 2303 |
+
"but essentially you just do the",
|
| 2304 |
+
"performance that you would normally do",
|
| 2305 |
+
"and of course that's the point about nt9",
|
| 2306 |
+
"performance that you would normally do",
|
| 2307 |
+
"and of course that's the point about nt9",
|
| 2308 |
+
"performance that you would normally do",
|
| 2309 |
+
"and of course that's the point about nt9",
|
| 2310 |
+
"that's the big plus about the whole",
|
| 2311 |
+
"and of course that's the point about nt9",
|
| 2312 |
+
"that's the big plus about the whole"
|
| 2313 |
+
],
|
| 2314 |
+
"296": [
|
| 2315 |
+
"and of course that's the point about nt9",
|
| 2316 |
+
"that's the big plus about the whole",
|
| 2317 |
+
"and of course that's the point about nt9",
|
| 2318 |
+
"that's the big plus about the whole",
|
| 2319 |
+
"experiment as an audience in cinemas you",
|
| 2320 |
+
"that's the big plus about the whole",
|
| 2321 |
+
"experiment as an audience in cinemas you",
|
| 2322 |
+
"that's the big plus about the whole",
|
| 2323 |
+
"experiment as an audience in cinemas you",
|
| 2324 |
+
"that's the big plus about the whole",
|
| 2325 |
+
"experiment as an audience in cinemas you",
|
| 2326 |
+
"that's the big plus about the whole",
|
| 2327 |
+
"experiment as an audience in cinemas you",
|
| 2328 |
+
"will see what you will see on stage you",
|
| 2329 |
+
"experiment as an audience in cinemas you",
|
| 2330 |
+
"will see what you will see on stage you",
|
| 2331 |
+
"have to go to the theater the only",
|
| 2332 |
+
"will see what you will see on stage you",
|
| 2333 |
+
"have to go to the theater the only"
|
| 2334 |
+
],
|
| 2335 |
+
"304": [
|
| 2336 |
+
"will see what you will see on stage you",
|
| 2337 |
+
"have to go to the theater the only",
|
| 2338 |
+
"difference is there's a slight buzz of",
|
| 2339 |
+
"have to go to the theater the only",
|
| 2340 |
+
"difference is there's a slight buzz of",
|
| 2341 |
+
"have to go to the theater the only",
|
| 2342 |
+
"difference is there's a slight buzz of",
|
| 2343 |
+
"excitement about the fact that it's",
|
| 2344 |
+
"difference is there's a slight buzz of",
|
| 2345 |
+
"excitement about the fact that it's",
|
| 2346 |
+
"difference is there's a slight buzz of",
|
| 2347 |
+
"excitement about the fact that it's",
|
| 2348 |
+
"being broadcast all over the place so",
|
| 2349 |
+
"excitement about the fact that it's",
|
| 2350 |
+
"being broadcast all over the place so",
|
| 2351 |
+
"excitement about the fact that it's",
|
| 2352 |
+
"being broadcast all over the place so",
|
| 2353 |
+
"you get these Fester's in the interval",
|
| 2354 |
+
"being broadcast all over the place so",
|
| 2355 |
+
"you get these Fester's in the interval",
|
| 2356 |
+
"game loving it in finland"
|
| 2357 |
+
],
|
| 2358 |
+
"312": [
|
| 2359 |
+
"you get these Fester's in the interval",
|
| 2360 |
+
"game loving it in finland",
|
| 2361 |
+
"you get these Fester's in the interval",
|
| 2362 |
+
"game loving it in finland",
|
| 2363 |
+
"you get these Fester's in the interval",
|
| 2364 |
+
"game loving it in finland",
|
| 2365 |
+
"now that's truly that's",
|
| 2366 |
+
"game loving it in finland",
|
| 2367 |
+
"now that's truly that's",
|
| 2368 |
+
"game loving it in finland",
|
| 2369 |
+
"now that's truly that's",
|
| 2370 |
+
"game loving it in finland",
|
| 2371 |
+
"now that's truly that's",
|
| 2372 |
+
"[Music]",
|
| 2373 |
+
"now that's truly that's",
|
| 2374 |
+
"[Music]",
|
| 2375 |
+
"now that's truly that's",
|
| 2376 |
+
"[Music]"
|
| 2377 |
+
],
|
| 2378 |
+
"320": [
|
| 2379 |
+
"now that's truly that's",
|
| 2380 |
+
"[Music]",
|
| 2381 |
+
"now that's truly that's",
|
| 2382 |
+
"[Music]",
|
| 2383 |
+
"now that's truly that's",
|
| 2384 |
+
"[Music]",
|
| 2385 |
+
"now that's truly that's",
|
| 2386 |
+
"[Music]",
|
| 2387 |
+
"now that's truly that's",
|
| 2388 |
+
"now that's truly that's",
|
| 2389 |
+
"[Music]",
|
| 2390 |
+
"[Music]"
|
| 2391 |
+
]
|
| 2392 |
+
},
|
| 2393 |
+
"unique_subtitles_by_window": {
|
| 2394 |
+
"0": [
|
| 2395 |
+
"nc live is all about trying to emulate a",
|
| 2396 |
+
"live performance in a cinema environment"
|
| 2397 |
+
],
|
| 2398 |
+
"8": [
|
| 2399 |
+
"they have a real connection to the live",
|
| 2400 |
+
"nc live is all about trying to emulate a",
|
| 2401 |
+
"live performance in a cinema environment",
|
| 2402 |
+
"who can't be in the theater but feel",
|
| 2403 |
+
"it's a whole new experience for those",
|
| 2404 |
+
"action on stage someone in Australia in"
|
| 2405 |
+
],
|
| 2406 |
+
"16": [
|
| 2407 |
+
"they have a real connection to the live",
|
| 2408 |
+
"New Zealand on a small little village in",
|
| 2409 |
+
"piece of theater they otherwise won't",
|
| 2410 |
+
"action on stage someone in Australia in",
|
| 2411 |
+
"the UK will be able to see an amazing"
|
| 2412 |
+
],
|
| 2413 |
+
"24": [
|
| 2414 |
+
"piece of theater they otherwise won't",
|
| 2415 |
+
"the UK will be able to see an amazing",
|
| 2416 |
+
"have the chance to see it"
|
| 2417 |
+
],
|
| 2418 |
+
"32": [
|
| 2419 |
+
"as an entire team that we're at the",
|
| 2420 |
+
"[Music]",
|
| 2421 |
+
"camera rehearsal one is the first time"
|
| 2422 |
+
],
|
| 2423 |
+
"40": [
|
| 2424 |
+
"we will build the cameras so that",
|
| 2425 |
+
"theater the morning of camera hustle one",
|
| 2426 |
+
"camera rehearsal one is the first time",
|
| 2427 |
+
"was thought at 6:30 and will arrive and",
|
| 2428 |
+
"as an entire team that we're at the",
|
| 2429 |
+
"started building still deck platforms",
|
| 2430 |
+
"are in our auditorium it might also"
|
| 2431 |
+
],
|
| 2432 |
+
"48": [
|
| 2433 |
+
"include seat removals we then rigged the",
|
| 2434 |
+
"checks where we ensure that we've got",
|
| 2435 |
+
"cameras onto these platforms once these",
|
| 2436 |
+
"are ready to then go through a series of",
|
| 2437 |
+
"started building still deck platforms",
|
| 2438 |
+
"are in our auditorium it might also"
|
| 2439 |
+
],
|
| 2440 |
+
"56": [
|
| 2441 |
+
"communication lines between the",
|
| 2442 |
+
"auditorium and the OB truck so the great",
|
| 2443 |
+
"checks where we ensure that we've got",
|
| 2444 |
+
"are ready to then go through a series of"
|
| 2445 |
+
],
|
| 2446 |
+
"64": [
|
| 2447 |
+
"auditorium and the OB truck so the great",
|
| 2448 |
+
"communication lines between the",
|
| 2449 |
+
"the theatre we've worked in a number of",
|
| 2450 |
+
"to lots of theaters around the West End",
|
| 2451 |
+
"and also regionally so when small island",
|
| 2452 |
+
"thing about NT live is being able to go",
|
| 2453 |
+
"we were in the Olivier theatre that's"
|
| 2454 |
+
],
|
| 2455 |
+
"72": [
|
| 2456 |
+
"times before over the 10 years coming to",
|
| 2457 |
+
"Theatre had his own set of challenges",
|
| 2458 |
+
"the theatre we've worked in a number of",
|
| 2459 |
+
"this theatre this rehearsal will run",
|
| 2460 |
+
"but it was the first time we'd been in",
|
| 2461 |
+
"do the Lehmann trilogy the Piccadilly",
|
| 2462 |
+
"we were in the Olivier theatre that's"
|
| 2463 |
+
],
|
| 2464 |
+
"80": [
|
| 2465 |
+
"exactly as a normal performance word in",
|
| 2466 |
+
"costume full technical support",
|
| 2467 |
+
"it's our first trial at seeing how we",
|
| 2468 |
+
"this theatre this rehearsal will run",
|
| 2469 |
+
"can work as the production the job of",
|
| 2470 |
+
"but it was the first time we'd been in"
|
| 2471 |
+
],
|
| 2472 |
+
"88": [
|
| 2473 |
+
"the camera director is basically being",
|
| 2474 |
+
"can work as the production the job of",
|
| 2475 |
+
"it's our first trial at seeing how we",
|
| 2476 |
+
"in charge of the transfer from the"
|
| 2477 |
+
],
|
| 2478 |
+
"96": [
|
| 2479 |
+
"it in the theatre and try and get a",
|
| 2480 |
+
"the camera director is basically being",
|
| 2481 |
+
"cameras whether you want the cameras to",
|
| 2482 |
+
"in charge of the transfer from the",
|
| 2483 |
+
"theater audience to the cinema Williams",
|
| 2484 |
+
"sense of where you want to put the",
|
| 2485 |
+
"the way it works is that you can watch"
|
| 2486 |
+
],
|
| 2487 |
+
"104": [
|
| 2488 |
+
"cameras whether you want the cameras to",
|
| 2489 |
+
"and then new camera script so you",
|
| 2490 |
+
"move all you or the cameras to be static",
|
| 2491 |
+
"sense of where you want to put the",
|
| 2492 |
+
"basically get given a wide shot from"
|
| 2493 |
+
],
|
| 2494 |
+
"112": [
|
| 2495 |
+
"whole script writing in every camera",
|
| 2496 |
+
"from the back of the auditorium",
|
| 2497 |
+
"shot we shot the first record yesterday",
|
| 2498 |
+
"and then new camera script so you",
|
| 2499 |
+
"basically get given a wide shot from",
|
| 2500 |
+
"you literally start going through the"
|
| 2501 |
+
],
|
| 2502 |
+
"120": [
|
| 2503 |
+
"today we all come and watch it projected",
|
| 2504 |
+
"whole script writing in every camera",
|
| 2505 |
+
"shot we shot the first record yesterday"
|
| 2506 |
+
],
|
| 2507 |
+
"128": [
|
| 2508 |
+
"in a cinema rather than just on the",
|
| 2509 |
+
"today we all come and watch it projected",
|
| 2510 |
+
"screen because we're shooting for cinema",
|
| 2511 |
+
"we go around the room afterwards and"
|
| 2512 |
+
],
|
| 2513 |
+
"136": [
|
| 2514 |
+
"everyone talks about the things that",
|
| 2515 |
+
"we go around the room afterwards and",
|
| 2516 |
+
"and then go away and and everyone does",
|
| 2517 |
+
"if there's things that we can do better",
|
| 2518 |
+
"or everybody gets a chance to do that",
|
| 2519 |
+
"work and the things that don't work and"
|
| 2520 |
+
],
|
| 2521 |
+
"144": [
|
| 2522 |
+
"better if person sitting in stalls in",
|
| 2523 |
+
"and then go away and and everyone does",
|
| 2524 |
+
"their own thing to make the next one",
|
| 2525 |
+
"or everybody gets a chance to do that"
|
| 2526 |
+
],
|
| 2527 |
+
"152": [
|
| 2528 |
+
"sitting at the cinema not a sin balance",
|
| 2529 |
+
"the Ollivier theater doesn't see the",
|
| 2530 |
+
"their own thing to make the next one",
|
| 2531 |
+
"lace of the way I would like the person",
|
| 2532 |
+
"better if person sitting in stalls in"
|
| 2533 |
+
],
|
| 2534 |
+
"160": [
|
| 2535 |
+
"close-up we won't be able to see the",
|
| 2536 |
+
"absolutely sure that even on a tighter",
|
| 2537 |
+
"sitting at the cinema not a sin balance",
|
| 2538 |
+
"that's why I have to change it so we are",
|
| 2539 |
+
"lace of the way I would like the person"
|
| 2540 |
+
],
|
| 2541 |
+
"168": [
|
| 2542 |
+
"close-up we won't be able to see the",
|
| 2543 |
+
"lace so we won't spoil the magic of",
|
| 2544 |
+
"absolutely sure that even on a tighter",
|
| 2545 |
+
"theatre first kind of rehearsals that is",
|
| 2546 |
+
"the time where we take all the notes and"
|
| 2547 |
+
],
|
| 2548 |
+
"176": [
|
| 2549 |
+
"rehearsal and that is when we check if",
|
| 2550 |
+
"theatre first kind of rehearsals that is",
|
| 2551 |
+
"the time where we take all the notes and",
|
| 2552 |
+
"have to be ready for second camera",
|
| 2553 |
+
"we start our planning those notes will",
|
| 2554 |
+
"the notes that we applied effectively"
|
| 2555 |
+
],
|
| 2556 |
+
"184": [
|
| 2557 |
+
"rehearsal and that is when we check if",
|
| 2558 |
+
"[Music]",
|
| 2559 |
+
"the notes that we applied effectively",
|
| 2560 |
+
"worked or not"
|
| 2561 |
+
],
|
| 2562 |
+
"192": [
|
| 2563 |
+
"production be this incredibly complex",
|
| 2564 |
+
"[Music]",
|
| 2565 |
+
"worked or not",
|
| 2566 |
+
"event there's so much going on my job is",
|
| 2567 |
+
"to come in early and rehearse the",
|
| 2568 |
+
"when you think about the whole NT live"
|
| 2569 |
+
],
|
| 2570 |
+
"200": [
|
| 2571 |
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"will works and then when the actual",
|
| 2572 |
+
"moment comes they can rely on me just to",
|
| 2573 |
+
"event there's so much going on my job is",
|
| 2574 |
+
"introduction just get a sense of how it",
|
| 2575 |
+
"to come in early and rehearse the",
|
| 2576 |
+
"welcome the audience in the theater"
|
| 2577 |
+
],
|
| 2578 |
+
"208": [
|
| 2579 |
+
"and the director and the whole",
|
| 2580 |
+
"welcome the audience watching worldwide",
|
| 2581 |
+
"unfold",
|
| 2582 |
+
"moment comes they can rely on me just to",
|
| 2583 |
+
"production crew can concentrate on this",
|
| 2584 |
+
"amazing piece of theater that's about to",
|
| 2585 |
+
"welcome the audience in the theater"
|
| 2586 |
+
],
|
| 2587 |
+
"216": [
|
| 2588 |
+
"before every show we go around to do",
|
| 2589 |
+
"[Music]",
|
| 2590 |
+
"amazing piece of theater that's about to",
|
| 2591 |
+
"unfold"
|
| 2592 |
+
],
|
| 2593 |
+
"224": [
|
| 2594 |
+
"[Music]",
|
| 2595 |
+
"what we call a sharp cheddar so we go",
|
| 2596 |
+
"make sure everything's in the right",
|
| 2597 |
+
"position we check all the smaller",
|
| 2598 |
+
"details and that everything looks good",
|
| 2599 |
+
"before every show we go around to do",
|
| 2600 |
+
"to go and it's just quite exciting to"
|
| 2601 |
+
],
|
| 2602 |
+
"232": [
|
| 2603 |
+
"know that people are getting to see it",
|
| 2604 |
+
"was like I saw one of your owns he lives",
|
| 2605 |
+
"I've got a friend he lives in Sydney he",
|
| 2606 |
+
"details and that everything looks good",
|
| 2607 |
+
"although the UK and worldwide as well",
|
| 2608 |
+
"to go and it's just quite exciting to"
|
| 2609 |
+
],
|
| 2610 |
+
"240": [
|
| 2611 |
+
"to see today we are going to be",
|
| 2612 |
+
"I've got a friend he lives in Sydney he",
|
| 2613 |
+
"really special thing that everyone gets",
|
| 2614 |
+
"and I was like it's you know it's a",
|
| 2615 |
+
"was like I saw one of your owns he lives"
|
| 2616 |
+
],
|
| 2617 |
+
"248": [
|
| 2618 |
+
"to see today we are going to be",
|
| 2619 |
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"so we at around about half-past five",
|
| 2620 |
+
"really special thing that everyone gets",
|
| 2621 |
+
"broadcast starts just after 7:00 o'clock",
|
| 2622 |
+
"broadcasting the Lehmann trilogy the"
|
| 2623 |
+
],
|
| 2624 |
+
"256": [
|
| 2625 |
+
"have to make sure that our cinema can",
|
| 2626 |
+
"so we at around about half-past five",
|
| 2627 |
+
"people who are sat in the audience to",
|
| 2628 |
+
"tune into the broadcasts you want the",
|
| 2629 |
+
"broadcast starts just after 7:00 o'clock"
|
| 2630 |
+
],
|
| 2631 |
+
"264": [
|
| 2632 |
+
"the rest of the audience actually",
|
| 2633 |
+
"hello and welcome to the Piccadilly",
|
| 2634 |
+
"watching the show live in that venue",
|
| 2635 |
+
"feel like they're in the theater with",
|
| 2636 |
+
"people who are sat in the audience to",
|
| 2637 |
+
"tune into the broadcasts you want the"
|
| 2638 |
+
],
|
| 2639 |
+
"272": [
|
| 2640 |
+
"hello and welcome to the Piccadilly",
|
| 2641 |
+
"Theatre in London's West End",
|
| 2642 |
+
"the Lehmann trilogy directed for the",
|
| 2643 |
+
"watching the show live in that venue"
|
| 2644 |
+
],
|
| 2645 |
+
"280": [
|
| 2646 |
+
"it's a very exciting experience to MTV",
|
| 2647 |
+
"National Theatre",
|
| 2648 |
+
"Theatre in London's West End",
|
| 2649 |
+
"the Lehmann trilogy directed for the"
|
| 2650 |
+
],
|
| 2651 |
+
"288": [
|
| 2652 |
+
"that's the big plus about the whole",
|
| 2653 |
+
"and of course that's the point about nt9",
|
| 2654 |
+
"but essentially you just do the",
|
| 2655 |
+
"it's a very exciting experience to MTV",
|
| 2656 |
+
"performance that you would normally do"
|
| 2657 |
+
],
|
| 2658 |
+
"296": [
|
| 2659 |
+
"that's the big plus about the whole",
|
| 2660 |
+
"and of course that's the point about nt9",
|
| 2661 |
+
"will see what you will see on stage you",
|
| 2662 |
+
"experiment as an audience in cinemas you",
|
| 2663 |
+
"have to go to the theater the only"
|
| 2664 |
+
],
|
| 2665 |
+
"304": [
|
| 2666 |
+
"game loving it in finland",
|
| 2667 |
+
"will see what you will see on stage you",
|
| 2668 |
+
"you get these Fester's in the interval",
|
| 2669 |
+
"excitement about the fact that it's",
|
| 2670 |
+
"have to go to the theater the only",
|
| 2671 |
+
"difference is there's a slight buzz of",
|
| 2672 |
+
"being broadcast all over the place so"
|
| 2673 |
+
],
|
| 2674 |
+
"312": [
|
| 2675 |
+
"you get these Fester's in the interval",
|
| 2676 |
+
"now that's truly that's",
|
| 2677 |
+
"[Music]",
|
| 2678 |
+
"game loving it in finland"
|
| 2679 |
+
],
|
| 2680 |
+
"320": [
|
| 2681 |
+
"now that's truly that's",
|
| 2682 |
+
"[Music]"
|
| 2683 |
+
]
|
| 2684 |
+
},
|
| 2685 |
+
"window_by_subtitle": {
|
| 2686 |
+
"nc live is all about trying to emulate a": [
|
| 2687 |
+
0,
|
| 2688 |
+
8
|
| 2689 |
+
],
|
| 2690 |
+
"live performance in a cinema environment": [
|
| 2691 |
+
0,
|
| 2692 |
+
8
|
| 2693 |
+
],
|
| 2694 |
+
"they have a real connection to the live": [
|
| 2695 |
+
8,
|
| 2696 |
+
16
|
| 2697 |
+
],
|
| 2698 |
+
"who can't be in the theater but feel": [
|
| 2699 |
+
8
|
| 2700 |
+
],
|
| 2701 |
+
"it's a whole new experience for those": [
|
| 2702 |
+
8
|
| 2703 |
+
],
|
| 2704 |
+
"action on stage someone in Australia in": [
|
| 2705 |
+
8,
|
| 2706 |
+
16
|
| 2707 |
+
],
|
| 2708 |
+
"New Zealand on a small little village in": [
|
| 2709 |
+
16
|
| 2710 |
+
],
|
| 2711 |
+
"piece of theater they otherwise won't": [
|
| 2712 |
+
16,
|
| 2713 |
+
24
|
| 2714 |
+
],
|
| 2715 |
+
"the UK will be able to see an amazing": [
|
| 2716 |
+
16,
|
| 2717 |
+
24
|
| 2718 |
+
],
|
| 2719 |
+
"have the chance to see it": [
|
| 2720 |
+
24
|
| 2721 |
+
],
|
| 2722 |
+
"as an entire team that we're at the": [
|
| 2723 |
+
32,
|
| 2724 |
+
40
|
| 2725 |
+
],
|
| 2726 |
+
"[Music]": [
|
| 2727 |
+
32,
|
| 2728 |
+
184,
|
| 2729 |
+
192,
|
| 2730 |
+
216,
|
| 2731 |
+
224,
|
| 2732 |
+
312,
|
| 2733 |
+
320
|
| 2734 |
+
],
|
| 2735 |
+
"camera rehearsal one is the first time": [
|
| 2736 |
+
32,
|
| 2737 |
+
40
|
| 2738 |
+
],
|
| 2739 |
+
"we will build the cameras so that": [
|
| 2740 |
+
40
|
| 2741 |
+
],
|
| 2742 |
+
"theater the morning of camera hustle one": [
|
| 2743 |
+
40
|
| 2744 |
+
],
|
| 2745 |
+
"was thought at 6:30 and will arrive and": [
|
| 2746 |
+
40
|
| 2747 |
+
],
|
| 2748 |
+
"started building still deck platforms": [
|
| 2749 |
+
40,
|
| 2750 |
+
48
|
| 2751 |
+
],
|
| 2752 |
+
"are in our auditorium it might also": [
|
| 2753 |
+
40,
|
| 2754 |
+
48
|
| 2755 |
+
],
|
| 2756 |
+
"include seat removals we then rigged the": [
|
| 2757 |
+
48
|
| 2758 |
+
],
|
| 2759 |
+
"checks where we ensure that we've got": [
|
| 2760 |
+
48,
|
| 2761 |
+
56
|
| 2762 |
+
],
|
| 2763 |
+
"cameras onto these platforms once these": [
|
| 2764 |
+
48
|
| 2765 |
+
],
|
| 2766 |
+
"are ready to then go through a series of": [
|
| 2767 |
+
48,
|
| 2768 |
+
56
|
| 2769 |
+
],
|
| 2770 |
+
"communication lines between the": [
|
| 2771 |
+
56,
|
| 2772 |
+
64
|
| 2773 |
+
],
|
| 2774 |
+
"auditorium and the OB truck so the great": [
|
| 2775 |
+
56,
|
| 2776 |
+
64
|
| 2777 |
+
],
|
| 2778 |
+
"the theatre we've worked in a number of": [
|
| 2779 |
+
64,
|
| 2780 |
+
72
|
| 2781 |
+
],
|
| 2782 |
+
"to lots of theaters around the West End": [
|
| 2783 |
+
64
|
| 2784 |
+
],
|
| 2785 |
+
"and also regionally so when small island": [
|
| 2786 |
+
64
|
| 2787 |
+
],
|
| 2788 |
+
"thing about NT live is being able to go": [
|
| 2789 |
+
64
|
| 2790 |
+
],
|
| 2791 |
+
"we were in the Olivier theatre that's": [
|
| 2792 |
+
64,
|
| 2793 |
+
72
|
| 2794 |
+
],
|
| 2795 |
+
"times before over the 10 years coming to": [
|
| 2796 |
+
72
|
| 2797 |
+
],
|
| 2798 |
+
"Theatre had his own set of challenges": [
|
| 2799 |
+
72
|
| 2800 |
+
],
|
| 2801 |
+
"this theatre this rehearsal will run": [
|
| 2802 |
+
72,
|
| 2803 |
+
80
|
| 2804 |
+
],
|
| 2805 |
+
"but it was the first time we'd been in": [
|
| 2806 |
+
72,
|
| 2807 |
+
80
|
| 2808 |
+
],
|
| 2809 |
+
"do the Lehmann trilogy the Piccadilly": [
|
| 2810 |
+
72
|
| 2811 |
+
],
|
| 2812 |
+
"exactly as a normal performance word in": [
|
| 2813 |
+
80
|
| 2814 |
+
],
|
| 2815 |
+
"costume full technical support": [
|
| 2816 |
+
80
|
| 2817 |
+
],
|
| 2818 |
+
"it's our first trial at seeing how we": [
|
| 2819 |
+
80,
|
| 2820 |
+
88
|
| 2821 |
+
],
|
| 2822 |
+
"can work as the production the job of": [
|
| 2823 |
+
80,
|
| 2824 |
+
88
|
| 2825 |
+
],
|
| 2826 |
+
"the camera director is basically being": [
|
| 2827 |
+
88,
|
| 2828 |
+
96
|
| 2829 |
+
],
|
| 2830 |
+
"in charge of the transfer from the": [
|
| 2831 |
+
88,
|
| 2832 |
+
96
|
| 2833 |
+
],
|
| 2834 |
+
"it in the theatre and try and get a": [
|
| 2835 |
+
96
|
| 2836 |
+
],
|
| 2837 |
+
"cameras whether you want the cameras to": [
|
| 2838 |
+
96,
|
| 2839 |
+
104
|
| 2840 |
+
],
|
| 2841 |
+
"theater audience to the cinema Williams": [
|
| 2842 |
+
96
|
| 2843 |
+
],
|
| 2844 |
+
"sense of where you want to put the": [
|
| 2845 |
+
96,
|
| 2846 |
+
104
|
| 2847 |
+
],
|
| 2848 |
+
"the way it works is that you can watch": [
|
| 2849 |
+
96
|
| 2850 |
+
],
|
| 2851 |
+
"and then new camera script so you": [
|
| 2852 |
+
104,
|
| 2853 |
+
112
|
| 2854 |
+
],
|
| 2855 |
+
"move all you or the cameras to be static": [
|
| 2856 |
+
104
|
| 2857 |
+
],
|
| 2858 |
+
"basically get given a wide shot from": [
|
| 2859 |
+
104,
|
| 2860 |
+
112
|
| 2861 |
+
],
|
| 2862 |
+
"whole script writing in every camera": [
|
| 2863 |
+
112,
|
| 2864 |
+
120
|
| 2865 |
+
],
|
| 2866 |
+
"from the back of the auditorium": [
|
| 2867 |
+
112
|
| 2868 |
+
],
|
| 2869 |
+
"shot we shot the first record yesterday": [
|
| 2870 |
+
112,
|
| 2871 |
+
120
|
| 2872 |
+
],
|
| 2873 |
+
"you literally start going through the": [
|
| 2874 |
+
112
|
| 2875 |
+
],
|
| 2876 |
+
"today we all come and watch it projected": [
|
| 2877 |
+
120,
|
| 2878 |
+
128
|
| 2879 |
+
],
|
| 2880 |
+
"in a cinema rather than just on the": [
|
| 2881 |
+
128
|
| 2882 |
+
],
|
| 2883 |
+
"screen because we're shooting for cinema": [
|
| 2884 |
+
128
|
| 2885 |
+
],
|
| 2886 |
+
"we go around the room afterwards and": [
|
| 2887 |
+
128,
|
| 2888 |
+
136
|
| 2889 |
+
],
|
| 2890 |
+
"everyone talks about the things that": [
|
| 2891 |
+
136
|
| 2892 |
+
],
|
| 2893 |
+
"and then go away and and everyone does": [
|
| 2894 |
+
136,
|
| 2895 |
+
144
|
| 2896 |
+
],
|
| 2897 |
+
"if there's things that we can do better": [
|
| 2898 |
+
136
|
| 2899 |
+
],
|
| 2900 |
+
"or everybody gets a chance to do that": [
|
| 2901 |
+
136,
|
| 2902 |
+
144
|
| 2903 |
+
],
|
| 2904 |
+
"work and the things that don't work and": [
|
| 2905 |
+
136
|
| 2906 |
+
],
|
| 2907 |
+
"better if person sitting in stalls in": [
|
| 2908 |
+
144,
|
| 2909 |
+
152
|
| 2910 |
+
],
|
| 2911 |
+
"their own thing to make the next one": [
|
| 2912 |
+
144,
|
| 2913 |
+
152
|
| 2914 |
+
],
|
| 2915 |
+
"sitting at the cinema not a sin balance": [
|
| 2916 |
+
152,
|
| 2917 |
+
160
|
| 2918 |
+
],
|
| 2919 |
+
"the Ollivier theater doesn't see the": [
|
| 2920 |
+
152
|
| 2921 |
+
],
|
| 2922 |
+
"lace of the way I would like the person": [
|
| 2923 |
+
152,
|
| 2924 |
+
160
|
| 2925 |
+
],
|
| 2926 |
+
"close-up we won't be able to see the": [
|
| 2927 |
+
160,
|
| 2928 |
+
168
|
| 2929 |
+
],
|
| 2930 |
+
"absolutely sure that even on a tighter": [
|
| 2931 |
+
160,
|
| 2932 |
+
168
|
| 2933 |
+
],
|
| 2934 |
+
"that's why I have to change it so we are": [
|
| 2935 |
+
160
|
| 2936 |
+
],
|
| 2937 |
+
"lace so we won't spoil the magic of": [
|
| 2938 |
+
168
|
| 2939 |
+
],
|
| 2940 |
+
"theatre first kind of rehearsals that is": [
|
| 2941 |
+
168,
|
| 2942 |
+
176
|
| 2943 |
+
],
|
| 2944 |
+
"the time where we take all the notes and": [
|
| 2945 |
+
168,
|
| 2946 |
+
176
|
| 2947 |
+
],
|
| 2948 |
+
"rehearsal and that is when we check if": [
|
| 2949 |
+
176,
|
| 2950 |
+
184
|
| 2951 |
+
],
|
| 2952 |
+
"have to be ready for second camera": [
|
| 2953 |
+
176
|
| 2954 |
+
],
|
| 2955 |
+
"we start our planning those notes will": [
|
| 2956 |
+
176
|
| 2957 |
+
],
|
| 2958 |
+
"the notes that we applied effectively": [
|
| 2959 |
+
176,
|
| 2960 |
+
184
|
| 2961 |
+
],
|
| 2962 |
+
"worked or not": [
|
| 2963 |
+
184,
|
| 2964 |
+
192
|
| 2965 |
+
],
|
| 2966 |
+
"production be this incredibly complex": [
|
| 2967 |
+
192
|
| 2968 |
+
],
|
| 2969 |
+
"event there's so much going on my job is": [
|
| 2970 |
+
192,
|
| 2971 |
+
200
|
| 2972 |
+
],
|
| 2973 |
+
"to come in early and rehearse the": [
|
| 2974 |
+
192,
|
| 2975 |
+
200
|
| 2976 |
+
],
|
| 2977 |
+
"when you think about the whole NT live": [
|
| 2978 |
+
192
|
| 2979 |
+
],
|
| 2980 |
+
"will works and then when the actual": [
|
| 2981 |
+
200
|
| 2982 |
+
],
|
| 2983 |
+
"moment comes they can rely on me just to": [
|
| 2984 |
+
200,
|
| 2985 |
+
208
|
| 2986 |
+
],
|
| 2987 |
+
"introduction just get a sense of how it": [
|
| 2988 |
+
200
|
| 2989 |
+
],
|
| 2990 |
+
"welcome the audience in the theater": [
|
| 2991 |
+
200,
|
| 2992 |
+
208
|
| 2993 |
+
],
|
| 2994 |
+
"and the director and the whole": [
|
| 2995 |
+
208
|
| 2996 |
+
],
|
| 2997 |
+
"welcome the audience watching worldwide": [
|
| 2998 |
+
208
|
| 2999 |
+
],
|
| 3000 |
+
"unfold": [
|
| 3001 |
+
208,
|
| 3002 |
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|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 314,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
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40
|
| 24 |
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],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
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48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
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56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
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56,
|
| 35 |
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64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
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72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
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72,
|
| 43 |
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80
|
| 44 |
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],
|
| 45 |
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"10": [
|
| 46 |
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80,
|
| 47 |
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88
|
| 48 |
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|
| 49 |
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"11": [
|
| 50 |
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88,
|
| 51 |
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96
|
| 52 |
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],
|
| 53 |
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"12": [
|
| 54 |
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96,
|
| 55 |
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104
|
| 56 |
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],
|
| 57 |
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"13": [
|
| 58 |
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104,
|
| 59 |
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112
|
| 60 |
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],
|
| 61 |
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"14": [
|
| 62 |
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112,
|
| 63 |
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120
|
| 64 |
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],
|
| 65 |
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"15": [
|
| 66 |
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120,
|
| 67 |
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128
|
| 68 |
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],
|
| 69 |
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"16": [
|
| 70 |
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128,
|
| 71 |
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136
|
| 72 |
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],
|
| 73 |
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"17": [
|
| 74 |
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136,
|
| 75 |
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144
|
| 76 |
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],
|
| 77 |
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"18": [
|
| 78 |
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144,
|
| 79 |
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152
|
| 80 |
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],
|
| 81 |
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"19": [
|
| 82 |
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152,
|
| 83 |
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160
|
| 84 |
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],
|
| 85 |
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"20": [
|
| 86 |
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160,
|
| 87 |
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168
|
| 88 |
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],
|
| 89 |
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"21": [
|
| 90 |
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168,
|
| 91 |
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176
|
| 92 |
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],
|
| 93 |
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"22": [
|
| 94 |
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176,
|
| 95 |
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184
|
| 96 |
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],
|
| 97 |
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"23": [
|
| 98 |
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184,
|
| 99 |
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192
|
| 100 |
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],
|
| 101 |
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"24": [
|
| 102 |
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192,
|
| 103 |
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200
|
| 104 |
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],
|
| 105 |
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"25": [
|
| 106 |
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200,
|
| 107 |
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208
|
| 108 |
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],
|
| 109 |
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"26": [
|
| 110 |
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208,
|
| 111 |
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216
|
| 112 |
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],
|
| 113 |
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"27": [
|
| 114 |
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216,
|
| 115 |
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224
|
| 116 |
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],
|
| 117 |
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"28": [
|
| 118 |
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224,
|
| 119 |
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232
|
| 120 |
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],
|
| 121 |
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"29": [
|
| 122 |
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232,
|
| 123 |
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|
videomme_window_8/1tidNDIpKSY/metadata.json
ADDED
|
@@ -0,0 +1,352 @@
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|
| 1 |
+
{
|
| 2 |
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|
| 3 |
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|
| 4 |
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8,
|
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|
| 14 |
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16,
|
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|
| 16 |
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|
| 18 |
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|
| 19 |
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|
| 20 |
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|
| 21 |
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|
| 22 |
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|
| 23 |
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40
|
| 24 |
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|
| 25 |
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|
| 26 |
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40,
|
| 27 |
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48
|
| 28 |
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|
| 29 |
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|
| 30 |
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48,
|
| 31 |
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56
|
| 32 |
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|
| 33 |
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|
| 34 |
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56,
|
| 35 |
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60
|
| 36 |
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]
|
| 37 |
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},
|
| 38 |
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"frames_count": 60,
|
| 39 |
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|
| 40 |
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"all_subtitles": [
|
| 41 |
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[
|
| 42 |
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"[Music]"
|
| 43 |
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],
|
| 44 |
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[
|
| 45 |
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"[Music]"
|
| 46 |
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],
|
| 47 |
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[
|
| 48 |
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"[Music]"
|
| 49 |
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],
|
| 50 |
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[
|
| 51 |
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"[Music]"
|
| 52 |
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],
|
| 53 |
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[
|
| 54 |
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"so here we are for the biggest"
|
| 55 |
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],
|
| 56 |
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[
|
| 57 |
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|
| 58 |
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],
|
| 59 |
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[
|
| 60 |
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|
| 61 |
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|
| 62 |
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],
|
| 63 |
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[
|
| 64 |
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"so here we are for the biggest",
|
| 65 |
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|
| 66 |
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],
|
| 67 |
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[
|
| 68 |
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"so here we are for the biggest",
|
| 69 |
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"announcement in the history of"
|
| 70 |
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],
|
| 71 |
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[
|
| 72 |
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"so here we are for the biggest",
|
| 73 |
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"announcement in the history of",
|
| 74 |
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"announcements where will the final of"
|
| 75 |
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],
|
| 76 |
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[
|
| 77 |
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"announcement in the history of",
|
| 78 |
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|
| 79 |
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],
|
| 80 |
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[
|
| 81 |
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"announcement in the history of",
|
| 82 |
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|
| 83 |
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],
|
| 84 |
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[
|
| 85 |
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"announcement in the history of",
|
| 86 |
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|
| 87 |
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"the"
|
| 88 |
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],
|
| 89 |
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[
|
| 90 |
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|
| 91 |
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|
| 92 |
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|
| 93 |
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],
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| 94 |
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| 95 |
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|
| 96 |
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|
| 97 |
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],
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[
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| 99 |
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|
| 100 |
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|
| 101 |
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],
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| 102 |
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[
|
| 103 |
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|
| 104 |
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|
| 105 |
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],
|
| 106 |
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[
|
| 107 |
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|
| 108 |
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|
| 109 |
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|
| 110 |
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],
|
| 111 |
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[
|
| 112 |
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|
| 113 |
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|
| 114 |
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],
|
| 115 |
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[
|
| 116 |
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"2026 FIFA World Cup be",
|
| 117 |
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|
| 118 |
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| 119 |
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[
|
| 120 |
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|
| 121 |
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|
| 122 |
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|
| 123 |
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[
|
| 124 |
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"2026 FIFA World Cup be",
|
| 125 |
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|
| 126 |
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"[Applause]"
|
| 127 |
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],
|
| 128 |
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[
|
| 129 |
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|
| 130 |
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"[Applause]"
|
| 131 |
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],
|
| 132 |
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[
|
| 133 |
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"played the winner is New York New",
|
| 134 |
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"[Applause]"
|
| 135 |
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],
|
| 136 |
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[
|
| 137 |
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"played the winner is New York New",
|
| 138 |
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"[Applause]"
|
| 139 |
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|
| 140 |
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[
|
| 141 |
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"played the winner is New York New",
|
| 142 |
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|
| 143 |
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],
|
| 144 |
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[],
|
| 145 |
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[],
|
| 146 |
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[
|
| 147 |
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"Jersey"
|
| 148 |
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],
|
| 149 |
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[
|
| 150 |
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|
| 151 |
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|
| 152 |
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[
|
| 153 |
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|
| 154 |
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],
|
| 155 |
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[
|
| 156 |
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"Jersey"
|
| 157 |
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],
|
| 158 |
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| 159 |
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[],
|
| 160 |
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|
| 161 |
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| 162 |
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| 163 |
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|
| 164 |
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| 165 |
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[],
|
| 166 |
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|
| 167 |
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[],
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| 168 |
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|
| 169 |
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|
| 170 |
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[],
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| 171 |
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[],
|
| 172 |
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[],
|
| 173 |
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|
| 174 |
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[],
|
| 175 |
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[],
|
| 176 |
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[],
|
| 177 |
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[
|
| 178 |
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"[Applause]"
|
| 179 |
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],
|
| 180 |
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[
|
| 181 |
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"[Applause]"
|
| 182 |
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],
|
| 183 |
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[
|
| 184 |
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"[Applause]"
|
| 185 |
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],
|
| 186 |
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[
|
| 187 |
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"[Applause]"
|
| 188 |
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],
|
| 189 |
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videomme_window_8/20gUIdXGuAs/metadata.json
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The diff for this file is too large to render.
See raw diff
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videomme_window_8/21q-lDikdBg/metadata.json
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@@ -0,0 +1,502 @@
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|
| 1 |
+
{
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| 2 |
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"window_size": 8,
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| 3 |
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"window_index": 7,
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| 4 |
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| 5 |
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"0": [
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0,
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| 7 |
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| 8 |
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],
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| 9 |
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"1": [
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| 10 |
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8,
|
| 11 |
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| 12 |
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],
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| 13 |
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| 14 |
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16,
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| 15 |
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| 16 |
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| 17 |
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"3": [
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| 18 |
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| 19 |
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| 20 |
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| 21 |
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| 22 |
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| 23 |
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| 26 |
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| 27 |
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48
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| 28 |
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| 29 |
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"6": [
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| 30 |
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48,
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| 31 |
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53
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| 32 |
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]
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| 33 |
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},
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| 34 |
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| 35 |
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| 36 |
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"all_subtitles": [
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[
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| 38 |
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"[Music]"
|
| 39 |
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],
|
| 40 |
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[
|
| 41 |
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|
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"embeddings_count": 36,
|
| 152 |
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"all_subtitles": [
|
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[],
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[],
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|
| 164 |
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[
|
| 165 |
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|
| 166 |
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],
|
| 167 |
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[
|
| 168 |
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"As one of the most notorious gangsters\nin history,"
|
| 169 |
+
],
|
| 170 |
+
[
|
| 171 |
+
"As one of the most notorious gangsters\nin history,",
|
| 172 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 173 |
+
],
|
| 174 |
+
[
|
| 175 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 176 |
+
],
|
| 177 |
+
[
|
| 178 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 179 |
+
],
|
| 180 |
+
[
|
| 181 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 182 |
+
],
|
| 183 |
+
[
|
| 184 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 185 |
+
],
|
| 186 |
+
[
|
| 187 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 188 |
+
],
|
| 189 |
+
[
|
| 190 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 191 |
+
"When he was finally put on trial,"
|
| 192 |
+
],
|
| 193 |
+
[
|
| 194 |
+
"When he was finally put on trial,"
|
| 195 |
+
],
|
| 196 |
+
[
|
| 197 |
+
"When he was finally put on trial,",
|
| 198 |
+
"the most he could be convicted of\nwas tax evasion."
|
| 199 |
+
],
|
| 200 |
+
[
|
| 201 |
+
"the most he could be convicted of\nwas tax evasion."
|
| 202 |
+
],
|
| 203 |
+
[
|
| 204 |
+
"the most he could be convicted of\nwas tax evasion."
|
| 205 |
+
],
|
| 206 |
+
[
|
| 207 |
+
"the most he could be convicted of\nwas tax evasion."
|
| 208 |
+
],
|
| 209 |
+
[
|
| 210 |
+
"the most he could be convicted of\nwas tax evasion."
|
| 211 |
+
],
|
| 212 |
+
[
|
| 213 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 214 |
+
"The nearly $100 million a year,"
|
| 215 |
+
],
|
| 216 |
+
[
|
| 217 |
+
"The nearly $100 million a year,"
|
| 218 |
+
],
|
| 219 |
+
[
|
| 220 |
+
"The nearly $100 million a year,",
|
| 221 |
+
"that's 1.4 billion in today's currency,"
|
| 222 |
+
],
|
| 223 |
+
[
|
| 224 |
+
"that's 1.4 billion in today's currency,"
|
| 225 |
+
],
|
| 226 |
+
[
|
| 227 |
+
"that's 1.4 billion in today's currency,"
|
| 228 |
+
],
|
| 229 |
+
[
|
| 230 |
+
"that's 1.4 billion in today's currency,"
|
| 231 |
+
],
|
| 232 |
+
[
|
| 233 |
+
"that's 1.4 billion in today's currency,",
|
| 234 |
+
"that Capone had earned from\nillegal gambling,"
|
| 235 |
+
],
|
| 236 |
+
[
|
| 237 |
+
"that Capone had earned from\nillegal gambling,"
|
| 238 |
+
],
|
| 239 |
+
[
|
| 240 |
+
"that Capone had earned from\nillegal gambling,",
|
| 241 |
+
"bootlegging,"
|
| 242 |
+
],
|
| 243 |
+
[
|
| 244 |
+
"bootlegging,",
|
| 245 |
+
"brothels,"
|
| 246 |
+
],
|
| 247 |
+
[
|
| 248 |
+
"brothels,"
|
| 249 |
+
],
|
| 250 |
+
[
|
| 251 |
+
"brothels,",
|
| 252 |
+
"and extortion,"
|
| 253 |
+
],
|
| 254 |
+
[
|
| 255 |
+
"and extortion,",
|
| 256 |
+
"would have served as evidence\nof his crimes."
|
| 257 |
+
],
|
| 258 |
+
[
|
| 259 |
+
"would have served as evidence\nof his crimes."
|
| 260 |
+
],
|
| 261 |
+
[
|
| 262 |
+
"would have served as evidence\nof his crimes."
|
| 263 |
+
],
|
| 264 |
+
[
|
| 265 |
+
"would have served as evidence\nof his crimes.",
|
| 266 |
+
"But the money was nowhere\nto be found."
|
| 267 |
+
],
|
| 268 |
+
[
|
| 269 |
+
"But the money was nowhere\nto be found."
|
| 270 |
+
],
|
| 271 |
+
[
|
| 272 |
+
"But the money was nowhere\nto be found."
|
| 273 |
+
],
|
| 274 |
+
[
|
| 275 |
+
"But the money was nowhere\nto be found.",
|
| 276 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses"
|
| 277 |
+
],
|
| 278 |
+
[
|
| 279 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses"
|
| 280 |
+
],
|
| 281 |
+
[
|
| 282 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses"
|
| 283 |
+
],
|
| 284 |
+
[
|
| 285 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses"
|
| 286 |
+
],
|
| 287 |
+
[
|
| 288 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses"
|
| 289 |
+
],
|
| 290 |
+
[
|
| 291 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 292 |
+
"whose ultimate ownership\ncouldn't be proven,"
|
| 293 |
+
],
|
| 294 |
+
[
|
| 295 |
+
"whose ultimate ownership\ncouldn't be proven,"
|
| 296 |
+
],
|
| 297 |
+
[
|
| 298 |
+
"whose ultimate ownership\ncouldn't be proven,"
|
| 299 |
+
],
|
| 300 |
+
[
|
| 301 |
+
"whose ultimate ownership\ncouldn't be proven,",
|
| 302 |
+
"like cash-only laundromats."
|
| 303 |
+
],
|
| 304 |
+
[
|
| 305 |
+
"like cash-only laundromats."
|
| 306 |
+
],
|
| 307 |
+
[
|
| 308 |
+
"like cash-only laundromats."
|
| 309 |
+
],
|
| 310 |
+
[
|
| 311 |
+
"like cash-only laundromats.",
|
| 312 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,"
|
| 313 |
+
],
|
| 314 |
+
[
|
| 315 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,"
|
| 316 |
+
],
|
| 317 |
+
[
|
| 318 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,"
|
| 319 |
+
],
|
| 320 |
+
[
|
| 321 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,"
|
| 322 |
+
],
|
| 323 |
+
[
|
| 324 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,"
|
| 325 |
+
],
|
| 326 |
+
[
|
| 327 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 328 |
+
"money laundering."
|
| 329 |
+
],
|
| 330 |
+
[
|
| 331 |
+
"money laundering."
|
| 332 |
+
],
|
| 333 |
+
[
|
| 334 |
+
"money laundering.",
|
| 335 |
+
"Money laundering came \nto be the term for any process"
|
| 336 |
+
],
|
| 337 |
+
[
|
| 338 |
+
"Money laundering came \nto be the term for any process"
|
| 339 |
+
],
|
| 340 |
+
[
|
| 341 |
+
"Money laundering came \nto be the term for any process"
|
| 342 |
+
],
|
| 343 |
+
[
|
| 344 |
+
"Money laundering came \nto be the term for any process"
|
| 345 |
+
],
|
| 346 |
+
[
|
| 347 |
+
"Money laundering came \nto be the term for any process",
|
| 348 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 349 |
+
],
|
| 350 |
+
[
|
| 351 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 352 |
+
],
|
| 353 |
+
[
|
| 354 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 355 |
+
],
|
| 356 |
+
[
|
| 357 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 358 |
+
],
|
| 359 |
+
[
|
| 360 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 361 |
+
],
|
| 362 |
+
[
|
| 363 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 364 |
+
],
|
| 365 |
+
[
|
| 366 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 367 |
+
"allowing them to be used within\nthe legal economy."
|
| 368 |
+
],
|
| 369 |
+
[
|
| 370 |
+
"allowing them to be used within\nthe legal economy."
|
| 371 |
+
],
|
| 372 |
+
[
|
| 373 |
+
"allowing them to be used within\nthe legal economy."
|
| 374 |
+
],
|
| 375 |
+
[
|
| 376 |
+
"allowing them to be used within\nthe legal economy."
|
| 377 |
+
],
|
| 378 |
+
[
|
| 379 |
+
"allowing them to be used within\nthe legal economy.",
|
| 380 |
+
"But Capone wasn't the first\nto launder money."
|
| 381 |
+
],
|
| 382 |
+
[
|
| 383 |
+
"But Capone wasn't the first\nto launder money."
|
| 384 |
+
],
|
| 385 |
+
[
|
| 386 |
+
"But Capone wasn't the first\nto launder money."
|
| 387 |
+
],
|
| 388 |
+
[
|
| 389 |
+
"But Capone wasn't the first\nto launder money."
|
| 390 |
+
],
|
| 391 |
+
[
|
| 392 |
+
"But Capone wasn't the first\nto launder money.",
|
| 393 |
+
"In fact, this practice is about\nas old as money itself."
|
| 394 |
+
],
|
| 395 |
+
[
|
| 396 |
+
"In fact, this practice is about\nas old as money itself."
|
| 397 |
+
],
|
| 398 |
+
[
|
| 399 |
+
"In fact, this practice is about\nas old as money itself."
|
| 400 |
+
],
|
| 401 |
+
[
|
| 402 |
+
"In fact, this practice is about\nas old as money itself."
|
| 403 |
+
],
|
| 404 |
+
[
|
| 405 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 406 |
+
"Merchants hid their riches from\ntax collecters,"
|
| 407 |
+
],
|
| 408 |
+
[
|
| 409 |
+
"Merchants hid their riches from\ntax collecters,"
|
| 410 |
+
],
|
| 411 |
+
[
|
| 412 |
+
"Merchants hid their riches from\ntax collecters,"
|
| 413 |
+
],
|
| 414 |
+
[
|
| 415 |
+
"Merchants hid their riches from\ntax collecters,",
|
| 416 |
+
"and pirates sought to sell their bounty\nwithout drawing attention"
|
| 417 |
+
],
|
| 418 |
+
[
|
| 419 |
+
"and pirates sought to sell their bounty\nwithout drawing attention"
|
| 420 |
+
],
|
| 421 |
+
[
|
| 422 |
+
"and pirates sought to sell their bounty\nwithout drawing attention"
|
| 423 |
+
],
|
| 424 |
+
[
|
| 425 |
+
"and pirates sought to sell their bounty\nwithout drawing attention"
|
| 426 |
+
],
|
| 427 |
+
[
|
| 428 |
+
"and pirates sought to sell their bounty\nwithout drawing attention",
|
| 429 |
+
"to how they got it."
|
| 430 |
+
],
|
| 431 |
+
[
|
| 432 |
+
"to how they got it."
|
| 433 |
+
],
|
| 434 |
+
[
|
| 435 |
+
"to how they got it.",
|
| 436 |
+
"With the recent arrival \nof virtual currencies,"
|
| 437 |
+
],
|
| 438 |
+
[
|
| 439 |
+
"With the recent arrival \nof virtual currencies,"
|
| 440 |
+
],
|
| 441 |
+
[
|
| 442 |
+
"With the recent arrival \nof virtual currencies,"
|
| 443 |
+
],
|
| 444 |
+
[
|
| 445 |
+
"With the recent arrival \nof virtual currencies,",
|
| 446 |
+
"offshore banking,"
|
| 447 |
+
],
|
| 448 |
+
[
|
| 449 |
+
"offshore banking,",
|
| 450 |
+
"the darknet,"
|
| 451 |
+
],
|
| 452 |
+
[
|
| 453 |
+
"the darknet,"
|
| 454 |
+
],
|
| 455 |
+
[
|
| 456 |
+
"the darknet,",
|
| 457 |
+
"and global markets,"
|
| 458 |
+
],
|
| 459 |
+
[
|
| 460 |
+
"and global markets,"
|
| 461 |
+
],
|
| 462 |
+
[
|
| 463 |
+
"and global markets,",
|
| 464 |
+
"schemes have become much more complex."
|
| 465 |
+
],
|
| 466 |
+
[
|
| 467 |
+
"schemes have become much more complex."
|
| 468 |
+
],
|
| 469 |
+
[
|
| 470 |
+
"schemes have become much more complex."
|
| 471 |
+
],
|
| 472 |
+
[
|
| 473 |
+
"schemes have become much more complex.",
|
| 474 |
+
"Although modern money laundering\nmethods vary greatly,"
|
| 475 |
+
],
|
| 476 |
+
[
|
| 477 |
+
"Although modern money laundering\nmethods vary greatly,"
|
| 478 |
+
],
|
| 479 |
+
[
|
| 480 |
+
"Although modern money laundering\nmethods vary greatly,"
|
| 481 |
+
],
|
| 482 |
+
[
|
| 483 |
+
"Although modern money laundering\nmethods vary greatly,",
|
| 484 |
+
"most share three basic steps:"
|
| 485 |
+
],
|
| 486 |
+
[
|
| 487 |
+
"most share three basic steps:"
|
| 488 |
+
],
|
| 489 |
+
[
|
| 490 |
+
"most share three basic steps:"
|
| 491 |
+
],
|
| 492 |
+
[
|
| 493 |
+
"most share three basic steps:",
|
| 494 |
+
"placement,"
|
| 495 |
+
],
|
| 496 |
+
[
|
| 497 |
+
"placement,",
|
| 498 |
+
"layering,"
|
| 499 |
+
],
|
| 500 |
+
[
|
| 501 |
+
"layering,"
|
| 502 |
+
],
|
| 503 |
+
[
|
| 504 |
+
"layering,",
|
| 505 |
+
"and integration."
|
| 506 |
+
],
|
| 507 |
+
[
|
| 508 |
+
"and integration."
|
| 509 |
+
],
|
| 510 |
+
[
|
| 511 |
+
"and integration.",
|
| 512 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 513 |
+
],
|
| 514 |
+
[
|
| 515 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 516 |
+
],
|
| 517 |
+
[
|
| 518 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 519 |
+
],
|
| 520 |
+
[
|
| 521 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 522 |
+
],
|
| 523 |
+
[
|
| 524 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 525 |
+
],
|
| 526 |
+
[
|
| 527 |
+
"Placement is where illegally obtained\nmoney is converted into assets",
|
| 528 |
+
"that seem legitimate."
|
| 529 |
+
],
|
| 530 |
+
[
|
| 531 |
+
"that seem legitimate."
|
| 532 |
+
],
|
| 533 |
+
[
|
| 534 |
+
"that seem legitimate.",
|
| 535 |
+
"That's often done by depositing funds\ninto a bank account"
|
| 536 |
+
],
|
| 537 |
+
[
|
| 538 |
+
"That's often done by depositing funds\ninto a bank account"
|
| 539 |
+
],
|
| 540 |
+
[
|
| 541 |
+
"That's often done by depositing funds\ninto a bank account"
|
| 542 |
+
],
|
| 543 |
+
[
|
| 544 |
+
"That's often done by depositing funds\ninto a bank account",
|
| 545 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 546 |
+
],
|
| 547 |
+
[
|
| 548 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 549 |
+
],
|
| 550 |
+
[
|
| 551 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 552 |
+
],
|
| 553 |
+
[
|
| 554 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 555 |
+
],
|
| 556 |
+
[
|
| 557 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 558 |
+
],
|
| 559 |
+
[
|
| 560 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 561 |
+
],
|
| 562 |
+
[
|
| 563 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 564 |
+
"This step is where criminals are often\nmost vulnerable to detection"
|
| 565 |
+
],
|
| 566 |
+
[
|
| 567 |
+
"This step is where criminals are often\nmost vulnerable to detection"
|
| 568 |
+
],
|
| 569 |
+
[
|
| 570 |
+
"This step is where criminals are often\nmost vulnerable to detection"
|
| 571 |
+
],
|
| 572 |
+
[
|
| 573 |
+
"This step is where criminals are often\nmost vulnerable to detection"
|
| 574 |
+
],
|
| 575 |
+
[
|
| 576 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 577 |
+
"since they introduce massive wealth\ninto the financial system"
|
| 578 |
+
],
|
| 579 |
+
[
|
| 580 |
+
"since they introduce massive wealth\ninto the financial system"
|
| 581 |
+
],
|
| 582 |
+
[
|
| 583 |
+
"since they introduce massive wealth\ninto the financial system"
|
| 584 |
+
],
|
| 585 |
+
[
|
| 586 |
+
"since they introduce massive wealth\ninto the financial system",
|
| 587 |
+
"seemingly out of nowhere."
|
| 588 |
+
],
|
| 589 |
+
[
|
| 590 |
+
"seemingly out of nowhere."
|
| 591 |
+
],
|
| 592 |
+
[
|
| 593 |
+
"seemingly out of nowhere."
|
| 594 |
+
],
|
| 595 |
+
[
|
| 596 |
+
"seemingly out of nowhere.",
|
| 597 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 598 |
+
],
|
| 599 |
+
[
|
| 600 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 601 |
+
],
|
| 602 |
+
[
|
| 603 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 604 |
+
],
|
| 605 |
+
[
|
| 606 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 607 |
+
],
|
| 608 |
+
[
|
| 609 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 610 |
+
],
|
| 611 |
+
[
|
| 612 |
+
"The second step, layering, involves\nusing multiple transactions",
|
| 613 |
+
"to further distance the funds\nfrom their origin."
|
| 614 |
+
],
|
| 615 |
+
[
|
| 616 |
+
"to further distance the funds\nfrom their origin."
|
| 617 |
+
],
|
| 618 |
+
[
|
| 619 |
+
"to further distance the funds\nfrom their origin."
|
| 620 |
+
],
|
| 621 |
+
[
|
| 622 |
+
"to further distance the funds\nfrom their origin.",
|
| 623 |
+
"This can take the form of transfers\nbetween multiple accounts,"
|
| 624 |
+
],
|
| 625 |
+
[
|
| 626 |
+
"This can take the form of transfers\nbetween multiple accounts,"
|
| 627 |
+
],
|
| 628 |
+
[
|
| 629 |
+
"This can take the form of transfers\nbetween multiple accounts,"
|
| 630 |
+
],
|
| 631 |
+
[
|
| 632 |
+
"This can take the form of transfers\nbetween multiple accounts,",
|
| 633 |
+
"or the purchase of tradable property,"
|
| 634 |
+
],
|
| 635 |
+
[
|
| 636 |
+
"or the purchase of tradable property,"
|
| 637 |
+
],
|
| 638 |
+
[
|
| 639 |
+
"or the purchase of tradable property,"
|
| 640 |
+
],
|
| 641 |
+
[
|
| 642 |
+
"or the purchase of tradable property,",
|
| 643 |
+
"like expensive cars,"
|
| 644 |
+
],
|
| 645 |
+
[
|
| 646 |
+
"like expensive cars,"
|
| 647 |
+
],
|
| 648 |
+
[
|
| 649 |
+
"like expensive cars,",
|
| 650 |
+
"artwork,"
|
| 651 |
+
],
|
| 652 |
+
[
|
| 653 |
+
"artwork,",
|
| 654 |
+
"and real estate."
|
| 655 |
+
],
|
| 656 |
+
[
|
| 657 |
+
"and real estate.",
|
| 658 |
+
"Casinos, where large sums of money\nchange hands every second,"
|
| 659 |
+
],
|
| 660 |
+
[
|
| 661 |
+
"Casinos, where large sums of money\nchange hands every second,"
|
| 662 |
+
],
|
| 663 |
+
[
|
| 664 |
+
"Casinos, where large sums of money\nchange hands every second,"
|
| 665 |
+
],
|
| 666 |
+
[
|
| 667 |
+
"Casinos, where large sums of money\nchange hands every second,"
|
| 668 |
+
],
|
| 669 |
+
[
|
| 670 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 671 |
+
"are also popular venues for layering."
|
| 672 |
+
],
|
| 673 |
+
[
|
| 674 |
+
"are also popular venues for layering."
|
| 675 |
+
],
|
| 676 |
+
[
|
| 677 |
+
"are also popular venues for layering."
|
| 678 |
+
],
|
| 679 |
+
[
|
| 680 |
+
"are also popular venues for layering."
|
| 681 |
+
],
|
| 682 |
+
[
|
| 683 |
+
"are also popular venues for layering.",
|
| 684 |
+
"A money launderer may have their\ngambling balance made available"
|
| 685 |
+
],
|
| 686 |
+
[
|
| 687 |
+
"A money launderer may have their\ngambling balance made available"
|
| 688 |
+
],
|
| 689 |
+
[
|
| 690 |
+
"A money launderer may have their\ngambling balance made available"
|
| 691 |
+
],
|
| 692 |
+
[
|
| 693 |
+
"A money launderer may have their\ngambling balance made available",
|
| 694 |
+
"at a casino chain's locations \nin other countries,"
|
| 695 |
+
],
|
| 696 |
+
[
|
| 697 |
+
"at a casino chain's locations \nin other countries,"
|
| 698 |
+
],
|
| 699 |
+
[
|
| 700 |
+
"at a casino chain's locations \nin other countries,"
|
| 701 |
+
],
|
| 702 |
+
[
|
| 703 |
+
"at a casino chain's locations \nin other countries,",
|
| 704 |
+
"or work with employees\nto rig games."
|
| 705 |
+
],
|
| 706 |
+
[
|
| 707 |
+
"or work with employees\nto rig games."
|
| 708 |
+
],
|
| 709 |
+
[
|
| 710 |
+
"or work with employees\nto rig games."
|
| 711 |
+
],
|
| 712 |
+
[
|
| 713 |
+
"or work with employees\nto rig games."
|
| 714 |
+
],
|
| 715 |
+
[
|
| 716 |
+
"or work with employees\nto rig games.",
|
| 717 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy"
|
| 718 |
+
],
|
| 719 |
+
[
|
| 720 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy"
|
| 721 |
+
],
|
| 722 |
+
[
|
| 723 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy"
|
| 724 |
+
],
|
| 725 |
+
[
|
| 726 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy"
|
| 727 |
+
],
|
| 728 |
+
[
|
| 729 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy"
|
| 730 |
+
],
|
| 731 |
+
[
|
| 732 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy"
|
| 733 |
+
],
|
| 734 |
+
[
|
| 735 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 736 |
+
"and to benefit the original criminal."
|
| 737 |
+
],
|
| 738 |
+
[
|
| 739 |
+
"and to benefit the original criminal."
|
| 740 |
+
],
|
| 741 |
+
[
|
| 742 |
+
"and to benefit the original criminal.",
|
| 743 |
+
"They might invest it into a legal business"
|
| 744 |
+
],
|
| 745 |
+
[
|
| 746 |
+
"They might invest it into a legal business"
|
| 747 |
+
],
|
| 748 |
+
[
|
| 749 |
+
"They might invest it into a legal business"
|
| 750 |
+
],
|
| 751 |
+
[
|
| 752 |
+
"They might invest it into a legal business",
|
| 753 |
+
"claiming payment by producing\nfake invoices,"
|
| 754 |
+
],
|
| 755 |
+
[
|
| 756 |
+
"claiming payment by producing\nfake invoices,"
|
| 757 |
+
],
|
| 758 |
+
[
|
| 759 |
+
"claiming payment by producing\nfake invoices,"
|
| 760 |
+
],
|
| 761 |
+
[
|
| 762 |
+
"claiming payment by producing\nfake invoices,",
|
| 763 |
+
"or even start a bogus charity,"
|
| 764 |
+
],
|
| 765 |
+
[
|
| 766 |
+
"or even start a bogus charity,"
|
| 767 |
+
],
|
| 768 |
+
[
|
| 769 |
+
"or even start a bogus charity,",
|
| 770 |
+
"placing themselves \non the board of directors"
|
| 771 |
+
],
|
| 772 |
+
[
|
| 773 |
+
"placing themselves \non the board of directors"
|
| 774 |
+
],
|
| 775 |
+
[
|
| 776 |
+
"placing themselves \non the board of directors"
|
| 777 |
+
],
|
| 778 |
+
[
|
| 779 |
+
"placing themselves \non the board of directors",
|
| 780 |
+
"with an exorbitant salary."
|
| 781 |
+
],
|
| 782 |
+
[
|
| 783 |
+
"with an exorbitant salary."
|
| 784 |
+
],
|
| 785 |
+
[
|
| 786 |
+
"with an exorbitant salary."
|
| 787 |
+
],
|
| 788 |
+
[
|
| 789 |
+
"with an exorbitant salary.",
|
| 790 |
+
"Money laundering itself"
|
| 791 |
+
],
|
| 792 |
+
[
|
| 793 |
+
"Money laundering itself",
|
| 794 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986."
|
| 795 |
+
],
|
| 796 |
+
[
|
| 797 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986."
|
| 798 |
+
],
|
| 799 |
+
[
|
| 800 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986."
|
| 801 |
+
],
|
| 802 |
+
[
|
| 803 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986."
|
| 804 |
+
],
|
| 805 |
+
[
|
| 806 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986."
|
| 807 |
+
],
|
| 808 |
+
[
|
| 809 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986."
|
| 810 |
+
],
|
| 811 |
+
[
|
| 812 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 813 |
+
"Before that point, the government\nneeded to prosecute a related crime,"
|
| 814 |
+
],
|
| 815 |
+
[
|
| 816 |
+
"Before that point, the government\nneeded to prosecute a related crime,"
|
| 817 |
+
],
|
| 818 |
+
[
|
| 819 |
+
"Before that point, the government\nneeded to prosecute a related crime,"
|
| 820 |
+
],
|
| 821 |
+
[
|
| 822 |
+
"Before that point, the government\nneeded to prosecute a related crime,"
|
| 823 |
+
],
|
| 824 |
+
[
|
| 825 |
+
"Before that point, the government\nneeded to prosecute a related crime,",
|
| 826 |
+
"like tax evasion."
|
| 827 |
+
],
|
| 828 |
+
[
|
| 829 |
+
"like tax evasion."
|
| 830 |
+
],
|
| 831 |
+
[
|
| 832 |
+
"like tax evasion."
|
| 833 |
+
],
|
| 834 |
+
[
|
| 835 |
+
"like tax evasion.",
|
| 836 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating"
|
| 837 |
+
],
|
| 838 |
+
[
|
| 839 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating"
|
| 840 |
+
],
|
| 841 |
+
[
|
| 842 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating"
|
| 843 |
+
],
|
| 844 |
+
[
|
| 845 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating"
|
| 846 |
+
],
|
| 847 |
+
[
|
| 848 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 849 |
+
"that concealment had occurred,"
|
| 850 |
+
],
|
| 851 |
+
[
|
| 852 |
+
"that concealment had occurred,"
|
| 853 |
+
],
|
| 854 |
+
[
|
| 855 |
+
"that concealment had occurred,"
|
| 856 |
+
],
|
| 857 |
+
[
|
| 858 |
+
"that concealment had occurred,",
|
| 859 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,"
|
| 860 |
+
],
|
| 861 |
+
[
|
| 862 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,"
|
| 863 |
+
],
|
| 864 |
+
[
|
| 865 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,"
|
| 866 |
+
],
|
| 867 |
+
[
|
| 868 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,"
|
| 869 |
+
],
|
| 870 |
+
[
|
| 871 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 872 |
+
"like drug traffickers."
|
| 873 |
+
],
|
| 874 |
+
[
|
| 875 |
+
"like drug traffickers."
|
| 876 |
+
],
|
| 877 |
+
[
|
| 878 |
+
"like drug traffickers.",
|
| 879 |
+
"However, a legal shift has raised concerns"
|
| 880 |
+
],
|
| 881 |
+
[
|
| 882 |
+
"However, a legal shift has raised concerns"
|
| 883 |
+
],
|
| 884 |
+
[
|
| 885 |
+
"However, a legal shift has raised concerns"
|
| 886 |
+
],
|
| 887 |
+
[
|
| 888 |
+
"However, a legal shift has raised concerns",
|
| 889 |
+
"involving privacy \nand government surveillance."
|
| 890 |
+
],
|
| 891 |
+
[
|
| 892 |
+
"involving privacy \nand government surveillance."
|
| 893 |
+
],
|
| 894 |
+
[
|
| 895 |
+
"involving privacy \nand government surveillance."
|
| 896 |
+
],
|
| 897 |
+
[
|
| 898 |
+
"involving privacy \nand government surveillance."
|
| 899 |
+
],
|
| 900 |
+
[
|
| 901 |
+
"involving privacy \nand government surveillance.",
|
| 902 |
+
"Today, the United Nations,"
|
| 903 |
+
],
|
| 904 |
+
[
|
| 905 |
+
"Today, the United Nations,"
|
| 906 |
+
],
|
| 907 |
+
[
|
| 908 |
+
"Today, the United Nations,",
|
| 909 |
+
"national governments,"
|
| 910 |
+
],
|
| 911 |
+
[
|
| 912 |
+
"national governments,"
|
| 913 |
+
],
|
| 914 |
+
[
|
| 915 |
+
"national governments,",
|
| 916 |
+
"and various nonprofits"
|
| 917 |
+
],
|
| 918 |
+
[
|
| 919 |
+
"and various nonprofits",
|
| 920 |
+
"fight against money laundering,"
|
| 921 |
+
],
|
| 922 |
+
[
|
| 923 |
+
"fight against money laundering,"
|
| 924 |
+
],
|
| 925 |
+
[
|
| 926 |
+
"fight against money laundering,",
|
| 927 |
+
"yet the practice continues to play\na major role in global crime."
|
| 928 |
+
],
|
| 929 |
+
[
|
| 930 |
+
"yet the practice continues to play\na major role in global crime."
|
| 931 |
+
],
|
| 932 |
+
[
|
| 933 |
+
"yet the practice continues to play\na major role in global crime."
|
| 934 |
+
],
|
| 935 |
+
[
|
| 936 |
+
"yet the practice continues to play\na major role in global crime."
|
| 937 |
+
],
|
| 938 |
+
[
|
| 939 |
+
"yet the practice continues to play\na major role in global crime."
|
| 940 |
+
],
|
| 941 |
+
[
|
| 942 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 943 |
+
"And the most high-profile instances\nof money laundering"
|
| 944 |
+
],
|
| 945 |
+
[
|
| 946 |
+
"And the most high-profile instances\nof money laundering"
|
| 947 |
+
],
|
| 948 |
+
[
|
| 949 |
+
"And the most high-profile instances\nof money laundering"
|
| 950 |
+
],
|
| 951 |
+
[
|
| 952 |
+
"And the most high-profile instances\nof money laundering",
|
| 953 |
+
"have involved \nnot just private individuals,"
|
| 954 |
+
],
|
| 955 |
+
[
|
| 956 |
+
"have involved \nnot just private individuals,"
|
| 957 |
+
],
|
| 958 |
+
[
|
| 959 |
+
"have involved \nnot just private individuals,"
|
| 960 |
+
],
|
| 961 |
+
[
|
| 962 |
+
"have involved \nnot just private individuals,",
|
| 963 |
+
"but major financial institutions\nand government officials."
|
| 964 |
+
],
|
| 965 |
+
[
|
| 966 |
+
"but major financial institutions\nand government officials."
|
| 967 |
+
],
|
| 968 |
+
[
|
| 969 |
+
"but major financial institutions\nand government officials."
|
| 970 |
+
],
|
| 971 |
+
[
|
| 972 |
+
"but major financial institutions\nand government officials."
|
| 973 |
+
],
|
| 974 |
+
[
|
| 975 |
+
"but major financial institutions\nand government officials."
|
| 976 |
+
],
|
| 977 |
+
[
|
| 978 |
+
"but major financial institutions\nand government officials.",
|
| 979 |
+
"No one knows for sure the total\namount of money"
|
| 980 |
+
],
|
| 981 |
+
[
|
| 982 |
+
"No one knows for sure the total\namount of money"
|
| 983 |
+
],
|
| 984 |
+
[
|
| 985 |
+
"No one knows for sure the total\namount of money"
|
| 986 |
+
],
|
| 987 |
+
[
|
| 988 |
+
"No one knows for sure the total\namount of money",
|
| 989 |
+
"that's laundered on a yearly basis,"
|
| 990 |
+
],
|
| 991 |
+
[
|
| 992 |
+
"that's laundered on a yearly basis,"
|
| 993 |
+
],
|
| 994 |
+
[
|
| 995 |
+
"that's laundered on a yearly basis,"
|
| 996 |
+
],
|
| 997 |
+
[
|
| 998 |
+
"that's laundered on a yearly basis,",
|
| 999 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1000 |
+
],
|
| 1001 |
+
[
|
| 1002 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1003 |
+
],
|
| 1004 |
+
[
|
| 1005 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1006 |
+
],
|
| 1007 |
+
[
|
| 1008 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1009 |
+
],
|
| 1010 |
+
[
|
| 1011 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1012 |
+
],
|
| 1013 |
+
[
|
| 1014 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1015 |
+
],
|
| 1016 |
+
[
|
| 1017 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1018 |
+
],
|
| 1019 |
+
[
|
| 1020 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1021 |
+
],
|
| 1022 |
+
[],
|
| 1023 |
+
[],
|
| 1024 |
+
[],
|
| 1025 |
+
[],
|
| 1026 |
+
[],
|
| 1027 |
+
[],
|
| 1028 |
+
[],
|
| 1029 |
+
[],
|
| 1030 |
+
[],
|
| 1031 |
+
[],
|
| 1032 |
+
[],
|
| 1033 |
+
[],
|
| 1034 |
+
[],
|
| 1035 |
+
[],
|
| 1036 |
+
[],
|
| 1037 |
+
[],
|
| 1038 |
+
[]
|
| 1039 |
+
],
|
| 1040 |
+
"subtitles_by_window": {
|
| 1041 |
+
"0": [],
|
| 1042 |
+
"8": [
|
| 1043 |
+
"As one of the most notorious gangsters\nin history,",
|
| 1044 |
+
"As one of the most notorious gangsters\nin history,",
|
| 1045 |
+
"As one of the most notorious gangsters\nin history,",
|
| 1046 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 1047 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 1048 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 1049 |
+
],
|
| 1050 |
+
"16": [
|
| 1051 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 1052 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 1053 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 1054 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.",
|
| 1055 |
+
"When he was finally put on trial,",
|
| 1056 |
+
"When he was finally put on trial,",
|
| 1057 |
+
"When he was finally put on trial,",
|
| 1058 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1059 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1060 |
+
"the most he could be convicted of\nwas tax evasion."
|
| 1061 |
+
],
|
| 1062 |
+
"24": [
|
| 1063 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1064 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1065 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1066 |
+
"The nearly $100 million a year,",
|
| 1067 |
+
"The nearly $100 million a year,",
|
| 1068 |
+
"The nearly $100 million a year,",
|
| 1069 |
+
"that's 1.4 billion in today's currency,",
|
| 1070 |
+
"that's 1.4 billion in today's currency,",
|
| 1071 |
+
"that's 1.4 billion in today's currency,",
|
| 1072 |
+
"that's 1.4 billion in today's currency,"
|
| 1073 |
+
],
|
| 1074 |
+
"32": [
|
| 1075 |
+
"that's 1.4 billion in today's currency,",
|
| 1076 |
+
"that Capone had earned from\nillegal gambling,",
|
| 1077 |
+
"that Capone had earned from\nillegal gambling,",
|
| 1078 |
+
"that Capone had earned from\nillegal gambling,",
|
| 1079 |
+
"bootlegging,",
|
| 1080 |
+
"bootlegging,",
|
| 1081 |
+
"brothels,",
|
| 1082 |
+
"brothels,",
|
| 1083 |
+
"brothels,",
|
| 1084 |
+
"and extortion,",
|
| 1085 |
+
"and extortion,",
|
| 1086 |
+
"would have served as evidence\nof his crimes.",
|
| 1087 |
+
"would have served as evidence\nof his crimes."
|
| 1088 |
+
],
|
| 1089 |
+
"40": [
|
| 1090 |
+
"would have served as evidence\nof his crimes.",
|
| 1091 |
+
"would have served as evidence\nof his crimes.",
|
| 1092 |
+
"But the money was nowhere\nto be found.",
|
| 1093 |
+
"But the money was nowhere\nto be found.",
|
| 1094 |
+
"But the money was nowhere\nto be found.",
|
| 1095 |
+
"But the money was nowhere\nto be found.",
|
| 1096 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1097 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1098 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1099 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses"
|
| 1100 |
+
],
|
| 1101 |
+
"48": [
|
| 1102 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1103 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1104 |
+
"whose ultimate ownership\ncouldn't be proven,",
|
| 1105 |
+
"whose ultimate ownership\ncouldn't be proven,",
|
| 1106 |
+
"whose ultimate ownership\ncouldn't be proven,",
|
| 1107 |
+
"whose ultimate ownership\ncouldn't be proven,",
|
| 1108 |
+
"like cash-only laundromats.",
|
| 1109 |
+
"like cash-only laundromats.",
|
| 1110 |
+
"like cash-only laundromats.",
|
| 1111 |
+
"like cash-only laundromats.",
|
| 1112 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,"
|
| 1113 |
+
],
|
| 1114 |
+
"56": [
|
| 1115 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1116 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1117 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1118 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1119 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1120 |
+
"money laundering.",
|
| 1121 |
+
"money laundering.",
|
| 1122 |
+
"money laundering.",
|
| 1123 |
+
"Money laundering came \nto be the term for any process",
|
| 1124 |
+
"Money laundering came \nto be the term for any process"
|
| 1125 |
+
],
|
| 1126 |
+
"64": [
|
| 1127 |
+
"Money laundering came \nto be the term for any process",
|
| 1128 |
+
"Money laundering came \nto be the term for any process",
|
| 1129 |
+
"Money laundering came \nto be the term for any process",
|
| 1130 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1131 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1132 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1133 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1134 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1135 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,"
|
| 1136 |
+
],
|
| 1137 |
+
"72": [
|
| 1138 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1139 |
+
"allowing them to be used within\nthe legal economy.",
|
| 1140 |
+
"allowing them to be used within\nthe legal economy.",
|
| 1141 |
+
"allowing them to be used within\nthe legal economy.",
|
| 1142 |
+
"allowing them to be used within\nthe legal economy.",
|
| 1143 |
+
"allowing them to be used within\nthe legal economy.",
|
| 1144 |
+
"But Capone wasn't the first\nto launder money.",
|
| 1145 |
+
"But Capone wasn't the first\nto launder money.",
|
| 1146 |
+
"But Capone wasn't the first\nto launder money.",
|
| 1147 |
+
"But Capone wasn't the first\nto launder money."
|
| 1148 |
+
],
|
| 1149 |
+
"80": [
|
| 1150 |
+
"But Capone wasn't the first\nto launder money.",
|
| 1151 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 1152 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 1153 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 1154 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 1155 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 1156 |
+
"Merchants hid their riches from\ntax collecters,",
|
| 1157 |
+
"Merchants hid their riches from\ntax collecters,",
|
| 1158 |
+
"Merchants hid their riches from\ntax collecters,",
|
| 1159 |
+
"Merchants hid their riches from\ntax collecters,",
|
| 1160 |
+
"and pirates sought to sell their bounty\nwithout drawing attention"
|
| 1161 |
+
],
|
| 1162 |
+
"88": [
|
| 1163 |
+
"and pirates sought to sell their bounty\nwithout drawing attention",
|
| 1164 |
+
"and pirates sought to sell their bounty\nwithout drawing attention",
|
| 1165 |
+
"and pirates sought to sell their bounty\nwithout drawing attention",
|
| 1166 |
+
"and pirates sought to sell their bounty\nwithout drawing attention",
|
| 1167 |
+
"to how they got it.",
|
| 1168 |
+
"to how they got it.",
|
| 1169 |
+
"to how they got it.",
|
| 1170 |
+
"With the recent arrival \nof virtual currencies,",
|
| 1171 |
+
"With the recent arrival \nof virtual currencies,",
|
| 1172 |
+
"With the recent arrival \nof virtual currencies,"
|
| 1173 |
+
],
|
| 1174 |
+
"96": [
|
| 1175 |
+
"With the recent arrival \nof virtual currencies,",
|
| 1176 |
+
"offshore banking,",
|
| 1177 |
+
"offshore banking,",
|
| 1178 |
+
"the darknet,",
|
| 1179 |
+
"the darknet,",
|
| 1180 |
+
"the darknet,",
|
| 1181 |
+
"and global markets,",
|
| 1182 |
+
"and global markets,",
|
| 1183 |
+
"and global markets,",
|
| 1184 |
+
"schemes have become much more complex.",
|
| 1185 |
+
"schemes have become much more complex.",
|
| 1186 |
+
"schemes have become much more complex."
|
| 1187 |
+
],
|
| 1188 |
+
"104": [
|
| 1189 |
+
"schemes have become much more complex.",
|
| 1190 |
+
"Although modern money laundering\nmethods vary greatly,",
|
| 1191 |
+
"Although modern money laundering\nmethods vary greatly,",
|
| 1192 |
+
"Although modern money laundering\nmethods vary greatly,",
|
| 1193 |
+
"Although modern money laundering\nmethods vary greatly,",
|
| 1194 |
+
"most share three basic steps:",
|
| 1195 |
+
"most share three basic steps:",
|
| 1196 |
+
"most share three basic steps:",
|
| 1197 |
+
"most share three basic steps:",
|
| 1198 |
+
"placement,",
|
| 1199 |
+
"placement,",
|
| 1200 |
+
"layering,"
|
| 1201 |
+
],
|
| 1202 |
+
"112": [
|
| 1203 |
+
"layering,",
|
| 1204 |
+
"layering,",
|
| 1205 |
+
"and integration.",
|
| 1206 |
+
"and integration.",
|
| 1207 |
+
"and integration.",
|
| 1208 |
+
"Placement is where illegally obtained\nmoney is converted into assets",
|
| 1209 |
+
"Placement is where illegally obtained\nmoney is converted into assets",
|
| 1210 |
+
"Placement is where illegally obtained\nmoney is converted into assets",
|
| 1211 |
+
"Placement is where illegally obtained\nmoney is converted into assets",
|
| 1212 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 1213 |
+
],
|
| 1214 |
+
"120": [
|
| 1215 |
+
"Placement is where illegally obtained\nmoney is converted into assets",
|
| 1216 |
+
"that seem legitimate.",
|
| 1217 |
+
"that seem legitimate.",
|
| 1218 |
+
"that seem legitimate.",
|
| 1219 |
+
"That's often done by depositing funds\ninto a bank account",
|
| 1220 |
+
"That's often done by depositing funds\ninto a bank account",
|
| 1221 |
+
"That's often done by depositing funds\ninto a bank account",
|
| 1222 |
+
"That's often done by depositing funds\ninto a bank account",
|
| 1223 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1224 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1225 |
+
"registered to an anonymous corporation\nor a professional middleman."
|
| 1226 |
+
],
|
| 1227 |
+
"128": [
|
| 1228 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1229 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1230 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1231 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1232 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 1233 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 1234 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 1235 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 1236 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 1237 |
+
"since they introduce massive wealth\ninto the financial system"
|
| 1238 |
+
],
|
| 1239 |
+
"136": [
|
| 1240 |
+
"since they introduce massive wealth\ninto the financial system",
|
| 1241 |
+
"since they introduce massive wealth\ninto the financial system",
|
| 1242 |
+
"since they introduce massive wealth\ninto the financial system",
|
| 1243 |
+
"seemingly out of nowhere.",
|
| 1244 |
+
"seemingly out of nowhere.",
|
| 1245 |
+
"seemingly out of nowhere.",
|
| 1246 |
+
"seemingly out of nowhere.",
|
| 1247 |
+
"The second step, layering, involves\nusing multiple transactions",
|
| 1248 |
+
"The second step, layering, involves\nusing multiple transactions",
|
| 1249 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 1250 |
+
],
|
| 1251 |
+
"144": [
|
| 1252 |
+
"The second step, layering, involves\nusing multiple transactions",
|
| 1253 |
+
"The second step, layering, involves\nusing multiple transactions",
|
| 1254 |
+
"The second step, layering, involves\nusing multiple transactions",
|
| 1255 |
+
"to further distance the funds\nfrom their origin.",
|
| 1256 |
+
"to further distance the funds\nfrom their origin.",
|
| 1257 |
+
"to further distance the funds\nfrom their origin.",
|
| 1258 |
+
"to further distance the funds\nfrom their origin.",
|
| 1259 |
+
"This can take the form of transfers\nbetween multiple accounts,",
|
| 1260 |
+
"This can take the form of transfers\nbetween multiple accounts,",
|
| 1261 |
+
"This can take the form of transfers\nbetween multiple accounts,"
|
| 1262 |
+
],
|
| 1263 |
+
"152": [
|
| 1264 |
+
"This can take the form of transfers\nbetween multiple accounts,",
|
| 1265 |
+
"or the purchase of tradable property,",
|
| 1266 |
+
"or the purchase of tradable property,",
|
| 1267 |
+
"or the purchase of tradable property,",
|
| 1268 |
+
"or the purchase of tradable property,",
|
| 1269 |
+
"like expensive cars,",
|
| 1270 |
+
"like expensive cars,",
|
| 1271 |
+
"like expensive cars,",
|
| 1272 |
+
"artwork,",
|
| 1273 |
+
"artwork,",
|
| 1274 |
+
"and real estate.",
|
| 1275 |
+
"and real estate.",
|
| 1276 |
+
"Casinos, where large sums of money\nchange hands every second,"
|
| 1277 |
+
],
|
| 1278 |
+
"160": [
|
| 1279 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 1280 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 1281 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 1282 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 1283 |
+
"are also popular venues for layering.",
|
| 1284 |
+
"are also popular venues for layering.",
|
| 1285 |
+
"are also popular venues for layering.",
|
| 1286 |
+
"are also popular venues for layering.",
|
| 1287 |
+
"are also popular venues for layering.",
|
| 1288 |
+
"A money launderer may have their\ngambling balance made available"
|
| 1289 |
+
],
|
| 1290 |
+
"168": [
|
| 1291 |
+
"A money launderer may have their\ngambling balance made available",
|
| 1292 |
+
"A money launderer may have their\ngambling balance made available",
|
| 1293 |
+
"A money launderer may have their\ngambling balance made available",
|
| 1294 |
+
"at a casino chain's locations \nin other countries,",
|
| 1295 |
+
"at a casino chain's locations \nin other countries,",
|
| 1296 |
+
"at a casino chain's locations \nin other countries,",
|
| 1297 |
+
"at a casino chain's locations \nin other countries,",
|
| 1298 |
+
"or work with employees\nto rig games.",
|
| 1299 |
+
"or work with employees\nto rig games.",
|
| 1300 |
+
"or work with employees\nto rig games."
|
| 1301 |
+
],
|
| 1302 |
+
"176": [
|
| 1303 |
+
"or work with employees\nto rig games.",
|
| 1304 |
+
"or work with employees\nto rig games.",
|
| 1305 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1306 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1307 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1308 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1309 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1310 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1311 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1312 |
+
"and to benefit the original criminal."
|
| 1313 |
+
],
|
| 1314 |
+
"184": [
|
| 1315 |
+
"and to benefit the original criminal.",
|
| 1316 |
+
"and to benefit the original criminal.",
|
| 1317 |
+
"They might invest it into a legal business",
|
| 1318 |
+
"They might invest it into a legal business",
|
| 1319 |
+
"They might invest it into a legal business",
|
| 1320 |
+
"They might invest it into a legal business",
|
| 1321 |
+
"claiming payment by producing\nfake invoices,",
|
| 1322 |
+
"claiming payment by producing\nfake invoices,",
|
| 1323 |
+
"claiming payment by producing\nfake invoices,",
|
| 1324 |
+
"claiming payment by producing\nfake invoices,",
|
| 1325 |
+
"or even start a bogus charity,"
|
| 1326 |
+
],
|
| 1327 |
+
"192": [
|
| 1328 |
+
"or even start a bogus charity,",
|
| 1329 |
+
"or even start a bogus charity,",
|
| 1330 |
+
"placing themselves \non the board of directors",
|
| 1331 |
+
"placing themselves \non the board of directors",
|
| 1332 |
+
"placing themselves \non the board of directors",
|
| 1333 |
+
"placing themselves \non the board of directors",
|
| 1334 |
+
"with an exorbitant salary.",
|
| 1335 |
+
"with an exorbitant salary.",
|
| 1336 |
+
"with an exorbitant salary.",
|
| 1337 |
+
"with an exorbitant salary.",
|
| 1338 |
+
"Money laundering itself"
|
| 1339 |
+
],
|
| 1340 |
+
"200": [
|
| 1341 |
+
"Money laundering itself",
|
| 1342 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1343 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1344 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1345 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1346 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1347 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1348 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1349 |
+
"Before that point, the government\nneeded to prosecute a related crime,",
|
| 1350 |
+
"Before that point, the government\nneeded to prosecute a related crime,"
|
| 1351 |
+
],
|
| 1352 |
+
"208": [
|
| 1353 |
+
"Before that point, the government\nneeded to prosecute a related crime,",
|
| 1354 |
+
"Before that point, the government\nneeded to prosecute a related crime,",
|
| 1355 |
+
"Before that point, the government\nneeded to prosecute a related crime,",
|
| 1356 |
+
"like tax evasion.",
|
| 1357 |
+
"like tax evasion.",
|
| 1358 |
+
"like tax evasion.",
|
| 1359 |
+
"like tax evasion.",
|
| 1360 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 1361 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 1362 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating"
|
| 1363 |
+
],
|
| 1364 |
+
"216": [
|
| 1365 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 1366 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 1367 |
+
"that concealment had occurred,",
|
| 1368 |
+
"that concealment had occurred,",
|
| 1369 |
+
"that concealment had occurred,",
|
| 1370 |
+
"that concealment had occurred,",
|
| 1371 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 1372 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 1373 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 1374 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,"
|
| 1375 |
+
],
|
| 1376 |
+
"224": [
|
| 1377 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 1378 |
+
"like drug traffickers.",
|
| 1379 |
+
"like drug traffickers.",
|
| 1380 |
+
"like drug traffickers.",
|
| 1381 |
+
"However, a legal shift has raised concerns",
|
| 1382 |
+
"However, a legal shift has raised concerns",
|
| 1383 |
+
"However, a legal shift has raised concerns",
|
| 1384 |
+
"However, a legal shift has raised concerns",
|
| 1385 |
+
"involving privacy \nand government surveillance.",
|
| 1386 |
+
"involving privacy \nand government surveillance.",
|
| 1387 |
+
"involving privacy \nand government surveillance."
|
| 1388 |
+
],
|
| 1389 |
+
"232": [
|
| 1390 |
+
"involving privacy \nand government surveillance.",
|
| 1391 |
+
"involving privacy \nand government surveillance.",
|
| 1392 |
+
"Today, the United Nations,",
|
| 1393 |
+
"Today, the United Nations,",
|
| 1394 |
+
"Today, the United Nations,",
|
| 1395 |
+
"national governments,",
|
| 1396 |
+
"national governments,",
|
| 1397 |
+
"national governments,",
|
| 1398 |
+
"and various nonprofits",
|
| 1399 |
+
"and various nonprofits",
|
| 1400 |
+
"fight against money laundering,",
|
| 1401 |
+
"fight against money laundering,"
|
| 1402 |
+
],
|
| 1403 |
+
"240": [
|
| 1404 |
+
"fight against money laundering,",
|
| 1405 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 1406 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 1407 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 1408 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 1409 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 1410 |
+
"yet the practice continues to play\na major role in global crime.",
|
| 1411 |
+
"And the most high-profile instances\nof money laundering",
|
| 1412 |
+
"And the most high-profile instances\nof money laundering",
|
| 1413 |
+
"And the most high-profile instances\nof money laundering"
|
| 1414 |
+
],
|
| 1415 |
+
"248": [
|
| 1416 |
+
"And the most high-profile instances\nof money laundering",
|
| 1417 |
+
"have involved \nnot just private individuals,",
|
| 1418 |
+
"have involved \nnot just private individuals,",
|
| 1419 |
+
"have involved \nnot just private individuals,",
|
| 1420 |
+
"have involved \nnot just private individuals,",
|
| 1421 |
+
"but major financial institutions\nand government officials.",
|
| 1422 |
+
"but major financial institutions\nand government officials.",
|
| 1423 |
+
"but major financial institutions\nand government officials.",
|
| 1424 |
+
"but major financial institutions\nand government officials.",
|
| 1425 |
+
"but major financial institutions\nand government officials."
|
| 1426 |
+
],
|
| 1427 |
+
"256": [
|
| 1428 |
+
"but major financial institutions\nand government officials.",
|
| 1429 |
+
"No one knows for sure the total\namount of money",
|
| 1430 |
+
"No one knows for sure the total\namount of money",
|
| 1431 |
+
"No one knows for sure the total\namount of money",
|
| 1432 |
+
"No one knows for sure the total\namount of money",
|
| 1433 |
+
"that's laundered on a yearly basis,",
|
| 1434 |
+
"that's laundered on a yearly basis,",
|
| 1435 |
+
"that's laundered on a yearly basis,",
|
| 1436 |
+
"that's laundered on a yearly basis,",
|
| 1437 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1438 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1439 |
+
],
|
| 1440 |
+
"264": [
|
| 1441 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1442 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1443 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1444 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1445 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1446 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1447 |
+
],
|
| 1448 |
+
"272": [],
|
| 1449 |
+
"280": []
|
| 1450 |
+
},
|
| 1451 |
+
"unique_subtitles_by_window": {
|
| 1452 |
+
"0": [],
|
| 1453 |
+
"8": [
|
| 1454 |
+
"As one of the most notorious gangsters\nin history,",
|
| 1455 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 1456 |
+
],
|
| 1457 |
+
"16": [
|
| 1458 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1459 |
+
"When he was finally put on trial,",
|
| 1460 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime."
|
| 1461 |
+
],
|
| 1462 |
+
"24": [
|
| 1463 |
+
"that's 1.4 billion in today's currency,",
|
| 1464 |
+
"the most he could be convicted of\nwas tax evasion.",
|
| 1465 |
+
"The nearly $100 million a year,"
|
| 1466 |
+
],
|
| 1467 |
+
"32": [
|
| 1468 |
+
"brothels,",
|
| 1469 |
+
"that Capone had earned from\nillegal gambling,",
|
| 1470 |
+
"that's 1.4 billion in today's currency,",
|
| 1471 |
+
"bootlegging,",
|
| 1472 |
+
"and extortion,",
|
| 1473 |
+
"would have served as evidence\nof his crimes."
|
| 1474 |
+
],
|
| 1475 |
+
"40": [
|
| 1476 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1477 |
+
"would have served as evidence\nof his crimes.",
|
| 1478 |
+
"But the money was nowhere\nto be found."
|
| 1479 |
+
],
|
| 1480 |
+
"48": [
|
| 1481 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1482 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses",
|
| 1483 |
+
"whose ultimate ownership\ncouldn't be proven,",
|
| 1484 |
+
"like cash-only laundromats."
|
| 1485 |
+
],
|
| 1486 |
+
"56": [
|
| 1487 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,",
|
| 1488 |
+
"Money laundering came \nto be the term for any process",
|
| 1489 |
+
"money laundering."
|
| 1490 |
+
],
|
| 1491 |
+
"64": [
|
| 1492 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1493 |
+
"Money laundering came \nto be the term for any process"
|
| 1494 |
+
],
|
| 1495 |
+
"72": [
|
| 1496 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,",
|
| 1497 |
+
"But Capone wasn't the first\nto launder money.",
|
| 1498 |
+
"allowing them to be used within\nthe legal economy."
|
| 1499 |
+
],
|
| 1500 |
+
"80": [
|
| 1501 |
+
"Merchants hid their riches from\ntax collecters,",
|
| 1502 |
+
"In fact, this practice is about\nas old as money itself.",
|
| 1503 |
+
"But Capone wasn't the first\nto launder money.",
|
| 1504 |
+
"and pirates sought to sell their bounty\nwithout drawing attention"
|
| 1505 |
+
],
|
| 1506 |
+
"88": [
|
| 1507 |
+
"to how they got it.",
|
| 1508 |
+
"and pirates sought to sell their bounty\nwithout drawing attention",
|
| 1509 |
+
"With the recent arrival \nof virtual currencies,"
|
| 1510 |
+
],
|
| 1511 |
+
"96": [
|
| 1512 |
+
"the darknet,",
|
| 1513 |
+
"offshore banking,",
|
| 1514 |
+
"and global markets,",
|
| 1515 |
+
"schemes have become much more complex.",
|
| 1516 |
+
"With the recent arrival \nof virtual currencies,"
|
| 1517 |
+
],
|
| 1518 |
+
"104": [
|
| 1519 |
+
"placement,",
|
| 1520 |
+
"most share three basic steps:",
|
| 1521 |
+
"layering,",
|
| 1522 |
+
"schemes have become much more complex.",
|
| 1523 |
+
"Although modern money laundering\nmethods vary greatly,"
|
| 1524 |
+
],
|
| 1525 |
+
"112": [
|
| 1526 |
+
"and integration.",
|
| 1527 |
+
"layering,",
|
| 1528 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 1529 |
+
],
|
| 1530 |
+
"120": [
|
| 1531 |
+
"That's often done by depositing funds\ninto a bank account",
|
| 1532 |
+
"that seem legitimate.",
|
| 1533 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1534 |
+
"Placement is where illegally obtained\nmoney is converted into assets"
|
| 1535 |
+
],
|
| 1536 |
+
"128": [
|
| 1537 |
+
"This step is where criminals are often\nmost vulnerable to detection",
|
| 1538 |
+
"registered to an anonymous corporation\nor a professional middleman.",
|
| 1539 |
+
"since they introduce massive wealth\ninto the financial system"
|
| 1540 |
+
],
|
| 1541 |
+
"136": [
|
| 1542 |
+
"seemingly out of nowhere.",
|
| 1543 |
+
"since they introduce massive wealth\ninto the financial system",
|
| 1544 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 1545 |
+
],
|
| 1546 |
+
"144": [
|
| 1547 |
+
"to further distance the funds\nfrom their origin.",
|
| 1548 |
+
"This can take the form of transfers\nbetween multiple accounts,",
|
| 1549 |
+
"The second step, layering, involves\nusing multiple transactions"
|
| 1550 |
+
],
|
| 1551 |
+
"152": [
|
| 1552 |
+
"or the purchase of tradable property,",
|
| 1553 |
+
"artwork,",
|
| 1554 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 1555 |
+
"This can take the form of transfers\nbetween multiple accounts,",
|
| 1556 |
+
"like expensive cars,",
|
| 1557 |
+
"and real estate."
|
| 1558 |
+
],
|
| 1559 |
+
"160": [
|
| 1560 |
+
"A money launderer may have their\ngambling balance made available",
|
| 1561 |
+
"Casinos, where large sums of money\nchange hands every second,",
|
| 1562 |
+
"are also popular venues for layering."
|
| 1563 |
+
],
|
| 1564 |
+
"168": [
|
| 1565 |
+
"A money launderer may have their\ngambling balance made available",
|
| 1566 |
+
"at a casino chain's locations \nin other countries,",
|
| 1567 |
+
"or work with employees\nto rig games."
|
| 1568 |
+
],
|
| 1569 |
+
"176": [
|
| 1570 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy",
|
| 1571 |
+
"and to benefit the original criminal.",
|
| 1572 |
+
"or work with employees\nto rig games."
|
| 1573 |
+
],
|
| 1574 |
+
"184": [
|
| 1575 |
+
"claiming payment by producing\nfake invoices,",
|
| 1576 |
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"or even start a bogus charity,",
|
| 1577 |
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"and to benefit the original criminal.",
|
| 1578 |
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"They might invest it into a legal business"
|
| 1579 |
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],
|
| 1580 |
+
"192": [
|
| 1581 |
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"or even start a bogus charity,",
|
| 1582 |
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"Money laundering itself",
|
| 1583 |
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"placing themselves \non the board of directors",
|
| 1584 |
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"with an exorbitant salary."
|
| 1585 |
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],
|
| 1586 |
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|
| 1587 |
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"wasn't officially recognized as a federal\ncrime in the United States until 1986.",
|
| 1588 |
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"Before that point, the government\nneeded to prosecute a related crime,",
|
| 1589 |
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"Money laundering itself"
|
| 1590 |
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],
|
| 1591 |
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|
| 1592 |
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"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 1593 |
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"Before that point, the government\nneeded to prosecute a related crime,",
|
| 1594 |
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"like tax evasion."
|
| 1595 |
+
],
|
| 1596 |
+
"216": [
|
| 1597 |
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"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 1598 |
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"From 1986 on, they could confiscate\nwealth simply by demonstrating",
|
| 1599 |
+
"that concealment had occurred,"
|
| 1600 |
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],
|
| 1601 |
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"224": [
|
| 1602 |
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"which had a positive effect on prosecuting\nmajor criminal operations,",
|
| 1603 |
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"However, a legal shift has raised concerns",
|
| 1604 |
+
"involving privacy \nand government surveillance.",
|
| 1605 |
+
"like drug traffickers."
|
| 1606 |
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],
|
| 1607 |
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"232": [
|
| 1608 |
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"and various nonprofits",
|
| 1609 |
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"national governments,",
|
| 1610 |
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"fight against money laundering,",
|
| 1611 |
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"Today, the United Nations,",
|
| 1612 |
+
"involving privacy \nand government surveillance."
|
| 1613 |
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],
|
| 1614 |
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"240": [
|
| 1615 |
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"And the most high-profile instances\nof money laundering",
|
| 1616 |
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"fight against money laundering,",
|
| 1617 |
+
"yet the practice continues to play\na major role in global crime."
|
| 1618 |
+
],
|
| 1619 |
+
"248": [
|
| 1620 |
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"have involved \nnot just private individuals,",
|
| 1621 |
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"And the most high-profile instances\nof money laundering",
|
| 1622 |
+
"but major financial institutions\nand government officials."
|
| 1623 |
+
],
|
| 1624 |
+
"256": [
|
| 1625 |
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"No one knows for sure the total\namount of money",
|
| 1626 |
+
"but major financial institutions\nand government officials.",
|
| 1627 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.",
|
| 1628 |
+
"that's laundered on a yearly basis,"
|
| 1629 |
+
],
|
| 1630 |
+
"264": [
|
| 1631 |
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"but some organizations estimate it to be\nin the hundreds of billions of dollars."
|
| 1632 |
+
],
|
| 1633 |
+
"272": [],
|
| 1634 |
+
"280": []
|
| 1635 |
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},
|
| 1636 |
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"window_by_subtitle": {
|
| 1637 |
+
"As one of the most notorious gangsters\nin history,": [
|
| 1638 |
+
8
|
| 1639 |
+
],
|
| 1640 |
+
"Al Capone presided over a vast\nand profitable empire of organized crime.": [
|
| 1641 |
+
8,
|
| 1642 |
+
16
|
| 1643 |
+
],
|
| 1644 |
+
"the most he could be convicted of\nwas tax evasion.": [
|
| 1645 |
+
16,
|
| 1646 |
+
24
|
| 1647 |
+
],
|
| 1648 |
+
"When he was finally put on trial,": [
|
| 1649 |
+
16
|
| 1650 |
+
],
|
| 1651 |
+
"that's 1.4 billion in today's currency,": [
|
| 1652 |
+
24,
|
| 1653 |
+
32
|
| 1654 |
+
],
|
| 1655 |
+
"The nearly $100 million a year,": [
|
| 1656 |
+
24
|
| 1657 |
+
],
|
| 1658 |
+
"brothels,": [
|
| 1659 |
+
32
|
| 1660 |
+
],
|
| 1661 |
+
"that Capone had earned from\nillegal gambling,": [
|
| 1662 |
+
32
|
| 1663 |
+
],
|
| 1664 |
+
"bootlegging,": [
|
| 1665 |
+
32
|
| 1666 |
+
],
|
| 1667 |
+
"and extortion,": [
|
| 1668 |
+
32
|
| 1669 |
+
],
|
| 1670 |
+
"would have served as evidence\nof his crimes.": [
|
| 1671 |
+
32,
|
| 1672 |
+
40
|
| 1673 |
+
],
|
| 1674 |
+
"Capone and his associates had hidden it\nthrough investments in various businesses": [
|
| 1675 |
+
40,
|
| 1676 |
+
48
|
| 1677 |
+
],
|
| 1678 |
+
"But the money was nowhere\nto be found.": [
|
| 1679 |
+
40
|
| 1680 |
+
],
|
| 1681 |
+
"In fact, those laundromats are part of\nthe reason for the name of this activity,": [
|
| 1682 |
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48,
|
| 1683 |
+
56
|
| 1684 |
+
],
|
| 1685 |
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"whose ultimate ownership\ncouldn't be proven,": [
|
| 1686 |
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48
|
| 1687 |
+
],
|
| 1688 |
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"like cash-only laundromats.": [
|
| 1689 |
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48
|
| 1690 |
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],
|
| 1691 |
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"Money laundering came \nto be the term for any process": [
|
| 1692 |
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56,
|
| 1693 |
+
64
|
| 1694 |
+
],
|
| 1695 |
+
"money laundering.": [
|
| 1696 |
+
56
|
| 1697 |
+
],
|
| 1698 |
+
"that cleans illegally obtained funds\nof their dirty criminal origins,": [
|
| 1699 |
+
64,
|
| 1700 |
+
72
|
| 1701 |
+
],
|
| 1702 |
+
"But Capone wasn't the first\nto launder money.": [
|
| 1703 |
+
72,
|
| 1704 |
+
80
|
| 1705 |
+
],
|
| 1706 |
+
"allowing them to be used within\nthe legal economy.": [
|
| 1707 |
+
72
|
| 1708 |
+
],
|
| 1709 |
+
"Merchants hid their riches from\ntax collecters,": [
|
| 1710 |
+
80
|
| 1711 |
+
],
|
| 1712 |
+
"In fact, this practice is about\nas old as money itself.": [
|
| 1713 |
+
80
|
| 1714 |
+
],
|
| 1715 |
+
"and pirates sought to sell their bounty\nwithout drawing attention": [
|
| 1716 |
+
80,
|
| 1717 |
+
88
|
| 1718 |
+
],
|
| 1719 |
+
"to how they got it.": [
|
| 1720 |
+
88
|
| 1721 |
+
],
|
| 1722 |
+
"With the recent arrival \nof virtual currencies,": [
|
| 1723 |
+
88,
|
| 1724 |
+
96
|
| 1725 |
+
],
|
| 1726 |
+
"the darknet,": [
|
| 1727 |
+
96
|
| 1728 |
+
],
|
| 1729 |
+
"offshore banking,": [
|
| 1730 |
+
96
|
| 1731 |
+
],
|
| 1732 |
+
"and global markets,": [
|
| 1733 |
+
96
|
| 1734 |
+
],
|
| 1735 |
+
"schemes have become much more complex.": [
|
| 1736 |
+
96,
|
| 1737 |
+
104
|
| 1738 |
+
],
|
| 1739 |
+
"placement,": [
|
| 1740 |
+
104
|
| 1741 |
+
],
|
| 1742 |
+
"most share three basic steps:": [
|
| 1743 |
+
104
|
| 1744 |
+
],
|
| 1745 |
+
"layering,": [
|
| 1746 |
+
104,
|
| 1747 |
+
112
|
| 1748 |
+
],
|
| 1749 |
+
"Although modern money laundering\nmethods vary greatly,": [
|
| 1750 |
+
104
|
| 1751 |
+
],
|
| 1752 |
+
"and integration.": [
|
| 1753 |
+
112
|
| 1754 |
+
],
|
| 1755 |
+
"Placement is where illegally obtained\nmoney is converted into assets": [
|
| 1756 |
+
112,
|
| 1757 |
+
120
|
| 1758 |
+
],
|
| 1759 |
+
"That's often done by depositing funds\ninto a bank account": [
|
| 1760 |
+
120
|
| 1761 |
+
],
|
| 1762 |
+
"that seem legitimate.": [
|
| 1763 |
+
120
|
| 1764 |
+
],
|
| 1765 |
+
"registered to an anonymous corporation\nor a professional middleman.": [
|
| 1766 |
+
120,
|
| 1767 |
+
128
|
| 1768 |
+
],
|
| 1769 |
+
"This step is where criminals are often\nmost vulnerable to detection": [
|
| 1770 |
+
128
|
| 1771 |
+
],
|
| 1772 |
+
"since they introduce massive wealth\ninto the financial system": [
|
| 1773 |
+
128,
|
| 1774 |
+
136
|
| 1775 |
+
],
|
| 1776 |
+
"seemingly out of nowhere.": [
|
| 1777 |
+
136
|
| 1778 |
+
],
|
| 1779 |
+
"The second step, layering, involves\nusing multiple transactions": [
|
| 1780 |
+
136,
|
| 1781 |
+
144
|
| 1782 |
+
],
|
| 1783 |
+
"to further distance the funds\nfrom their origin.": [
|
| 1784 |
+
144
|
| 1785 |
+
],
|
| 1786 |
+
"This can take the form of transfers\nbetween multiple accounts,": [
|
| 1787 |
+
144,
|
| 1788 |
+
152
|
| 1789 |
+
],
|
| 1790 |
+
"or the purchase of tradable property,": [
|
| 1791 |
+
152
|
| 1792 |
+
],
|
| 1793 |
+
"artwork,": [
|
| 1794 |
+
152
|
| 1795 |
+
],
|
| 1796 |
+
"Casinos, where large sums of money\nchange hands every second,": [
|
| 1797 |
+
152,
|
| 1798 |
+
160
|
| 1799 |
+
],
|
| 1800 |
+
"like expensive cars,": [
|
| 1801 |
+
152
|
| 1802 |
+
],
|
| 1803 |
+
"and real estate.": [
|
| 1804 |
+
152
|
| 1805 |
+
],
|
| 1806 |
+
"A money launderer may have their\ngambling balance made available": [
|
| 1807 |
+
160,
|
| 1808 |
+
168
|
| 1809 |
+
],
|
| 1810 |
+
"are also popular venues for layering.": [
|
| 1811 |
+
160
|
| 1812 |
+
],
|
| 1813 |
+
"at a casino chain's locations \nin other countries,": [
|
| 1814 |
+
168
|
| 1815 |
+
],
|
| 1816 |
+
"or work with employees\nto rig games.": [
|
| 1817 |
+
168,
|
| 1818 |
+
176
|
| 1819 |
+
],
|
| 1820 |
+
"The last step, integration, allows clean\nmoney to re-enter the mainstream economy": [
|
| 1821 |
+
176
|
| 1822 |
+
],
|
| 1823 |
+
"and to benefit the original criminal.": [
|
| 1824 |
+
176,
|
| 1825 |
+
184
|
| 1826 |
+
],
|
| 1827 |
+
"claiming payment by producing\nfake invoices,": [
|
| 1828 |
+
184
|
| 1829 |
+
],
|
| 1830 |
+
"or even start a bogus charity,": [
|
| 1831 |
+
184,
|
| 1832 |
+
192
|
| 1833 |
+
],
|
| 1834 |
+
"They might invest it into a legal business": [
|
| 1835 |
+
184
|
| 1836 |
+
],
|
| 1837 |
+
"Money laundering itself": [
|
| 1838 |
+
192,
|
| 1839 |
+
200
|
| 1840 |
+
],
|
| 1841 |
+
"placing themselves \non the board of directors": [
|
| 1842 |
+
192
|
| 1843 |
+
],
|
| 1844 |
+
"with an exorbitant salary.": [
|
| 1845 |
+
192
|
| 1846 |
+
],
|
| 1847 |
+
"wasn't officially recognized as a federal\ncrime in the United States until 1986.": [
|
| 1848 |
+
200
|
| 1849 |
+
],
|
| 1850 |
+
"Before that point, the government\nneeded to prosecute a related crime,": [
|
| 1851 |
+
200,
|
| 1852 |
+
208
|
| 1853 |
+
],
|
| 1854 |
+
"From 1986 on, they could confiscate\nwealth simply by demonstrating": [
|
| 1855 |
+
208,
|
| 1856 |
+
216
|
| 1857 |
+
],
|
| 1858 |
+
"like tax evasion.": [
|
| 1859 |
+
208
|
| 1860 |
+
],
|
| 1861 |
+
"which had a positive effect on prosecuting\nmajor criminal operations,": [
|
| 1862 |
+
216,
|
| 1863 |
+
224
|
| 1864 |
+
],
|
| 1865 |
+
"that concealment had occurred,": [
|
| 1866 |
+
216
|
| 1867 |
+
],
|
| 1868 |
+
"However, a legal shift has raised concerns": [
|
| 1869 |
+
224
|
| 1870 |
+
],
|
| 1871 |
+
"involving privacy \nand government surveillance.": [
|
| 1872 |
+
224,
|
| 1873 |
+
232
|
| 1874 |
+
],
|
| 1875 |
+
"like drug traffickers.": [
|
| 1876 |
+
224
|
| 1877 |
+
],
|
| 1878 |
+
"and various nonprofits": [
|
| 1879 |
+
232
|
| 1880 |
+
],
|
| 1881 |
+
"national governments,": [
|
| 1882 |
+
232
|
| 1883 |
+
],
|
| 1884 |
+
"fight against money laundering,": [
|
| 1885 |
+
232,
|
| 1886 |
+
240
|
| 1887 |
+
],
|
| 1888 |
+
"Today, the United Nations,": [
|
| 1889 |
+
232
|
| 1890 |
+
],
|
| 1891 |
+
"And the most high-profile instances\nof money laundering": [
|
| 1892 |
+
240,
|
| 1893 |
+
248
|
| 1894 |
+
],
|
| 1895 |
+
"yet the practice continues to play\na major role in global crime.": [
|
| 1896 |
+
240
|
| 1897 |
+
],
|
| 1898 |
+
"have involved \nnot just private individuals,": [
|
| 1899 |
+
248
|
| 1900 |
+
],
|
| 1901 |
+
"but major financial institutions\nand government officials.": [
|
| 1902 |
+
248,
|
| 1903 |
+
256
|
| 1904 |
+
],
|
| 1905 |
+
"No one knows for sure the total\namount of money": [
|
| 1906 |
+
256
|
| 1907 |
+
],
|
| 1908 |
+
"but some organizations estimate it to be\nin the hundreds of billions of dollars.": [
|
| 1909 |
+
256,
|
| 1910 |
+
264
|
| 1911 |
+
],
|
| 1912 |
+
"that's laundered on a yearly basis,": [
|
| 1913 |
+
256
|
| 1914 |
+
]
|
| 1915 |
+
},
|
| 1916 |
+
"video_file": "frames.mp4",
|
| 1917 |
+
"fps": 1
|
| 1918 |
+
}
|
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|
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|
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videomme_window_8/2NOcM1HoRRg/metadata.json
ADDED
|
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| 1 |
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|
| 342 |
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|
| 343 |
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|
| 344 |
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|
| 345 |
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|
| 346 |
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|
| 347 |
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|
| 348 |
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|
| 349 |
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|
| 350 |
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}
|
videomme_window_8/2gFxZmb0dMo/metadata.json
ADDED
|
@@ -0,0 +1,722 @@
|
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|
|
|
|
|
|
|
|
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|
|
|
|
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|
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|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
|
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|
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|
|
|
|
|
|
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|
|
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|
|
|
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|
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|
|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 10,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
76
|
| 44 |
+
]
|
| 45 |
+
},
|
| 46 |
+
"frames_count": 76,
|
| 47 |
+
"embeddings_count": 10,
|
| 48 |
+
"all_subtitles": [
|
| 49 |
+
[
|
| 50 |
+
"[Music]"
|
| 51 |
+
],
|
| 52 |
+
[
|
| 53 |
+
"[Music]"
|
| 54 |
+
],
|
| 55 |
+
[
|
| 56 |
+
"[Music]"
|
| 57 |
+
],
|
| 58 |
+
[
|
| 59 |
+
"[Music]"
|
| 60 |
+
],
|
| 61 |
+
[],
|
| 62 |
+
[],
|
| 63 |
+
[],
|
| 64 |
+
[],
|
| 65 |
+
[],
|
| 66 |
+
[],
|
| 67 |
+
[],
|
| 68 |
+
[
|
| 69 |
+
"it's really neat like walking through to"
|
| 70 |
+
],
|
| 71 |
+
[
|
| 72 |
+
"it's really neat like walking through to",
|
| 73 |
+
"be like oh yeah this is where the actors"
|
| 74 |
+
],
|
| 75 |
+
[
|
| 76 |
+
"it's really neat like walking through to",
|
| 77 |
+
"be like oh yeah this is where the actors"
|
| 78 |
+
],
|
| 79 |
+
[
|
| 80 |
+
"it's really neat like walking through to",
|
| 81 |
+
"be like oh yeah this is where the actors",
|
| 82 |
+
"walked through this is where they shot"
|
| 83 |
+
],
|
| 84 |
+
[
|
| 85 |
+
"be like oh yeah this is where the actors",
|
| 86 |
+
"walked through this is where they shot",
|
| 87 |
+
"it you might also recognize this as the"
|
| 88 |
+
],
|
| 89 |
+
[
|
| 90 |
+
"walked through this is where they shot",
|
| 91 |
+
"it you might also recognize this as the"
|
| 92 |
+
],
|
| 93 |
+
[
|
| 94 |
+
"walked through this is where they shot",
|
| 95 |
+
"it you might also recognize this as the",
|
| 96 |
+
"You've got mail bridge a lot of people"
|
| 97 |
+
],
|
| 98 |
+
[
|
| 99 |
+
"it you might also recognize this as the",
|
| 100 |
+
"You've got mail bridge a lot of people"
|
| 101 |
+
],
|
| 102 |
+
[
|
| 103 |
+
"it you might also recognize this as the",
|
| 104 |
+
"You've got mail bridge a lot of people",
|
| 105 |
+
"call it it's kind of one of its"
|
| 106 |
+
],
|
| 107 |
+
[
|
| 108 |
+
"You've got mail bridge a lot of people",
|
| 109 |
+
"call it it's kind of one of its",
|
| 110 |
+
"nicknames has anyone seen a home alone"
|
| 111 |
+
],
|
| 112 |
+
[
|
| 113 |
+
"call it it's kind of one of its",
|
| 114 |
+
"nicknames has anyone seen a home alone",
|
| 115 |
+
"2o perhaps so you might recall Kevin"
|
| 116 |
+
],
|
| 117 |
+
[
|
| 118 |
+
"nicknames has anyone seen a home alone",
|
| 119 |
+
"2o perhaps so you might recall Kevin"
|
| 120 |
+
],
|
| 121 |
+
[
|
| 122 |
+
"nicknames has anyone seen a home alone",
|
| 123 |
+
"2o perhaps so you might recall Kevin"
|
| 124 |
+
],
|
| 125 |
+
[
|
| 126 |
+
"nicknames has anyone seen a home alone",
|
| 127 |
+
"2o perhaps so you might recall Kevin",
|
| 128 |
+
"mallister befriends the Pigeon lady she"
|
| 129 |
+
],
|
| 130 |
+
[
|
| 131 |
+
"2o perhaps so you might recall Kevin",
|
| 132 |
+
"mallister befriends the Pigeon lady she"
|
| 133 |
+
],
|
| 134 |
+
[
|
| 135 |
+
"2o perhaps so you might recall Kevin",
|
| 136 |
+
"mallister befriends the Pigeon lady she",
|
| 137 |
+
"actually stations herself right there I"
|
| 138 |
+
],
|
| 139 |
+
[
|
| 140 |
+
"mallister befriends the Pigeon lady she",
|
| 141 |
+
"actually stations herself right there I"
|
| 142 |
+
],
|
| 143 |
+
[
|
| 144 |
+
"mallister befriends the Pigeon lady she",
|
| 145 |
+
"actually stations herself right there I"
|
| 146 |
+
],
|
| 147 |
+
[
|
| 148 |
+
"mallister befriends the Pigeon lady she",
|
| 149 |
+
"actually stations herself right there I",
|
| 150 |
+
"will mention Limitless with Bradley"
|
| 151 |
+
],
|
| 152 |
+
[
|
| 153 |
+
"actually stations herself right there I",
|
| 154 |
+
"will mention Limitless with Bradley"
|
| 155 |
+
],
|
| 156 |
+
[
|
| 157 |
+
"actually stations herself right there I",
|
| 158 |
+
"will mention Limitless with Bradley",
|
| 159 |
+
"Cooper that does take place here on"
|
| 160 |
+
],
|
| 161 |
+
[
|
| 162 |
+
"will mention Limitless with Bradley",
|
| 163 |
+
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videomme_window_8/2ka5AleJ48I/metadata.json
ADDED
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The diff for this file is too large to render.
See raw diff
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videomme_window_8/2yGaTOzaGIA/metadata.json
ADDED
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@@ -0,0 +1,333 @@
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|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 5,
|
| 4 |
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"window_index_map": {
|
| 5 |
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"0": [
|
| 6 |
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0,
|
| 7 |
+
8
|
| 8 |
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],
|
| 9 |
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"1": [
|
| 10 |
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8,
|
| 11 |
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16
|
| 12 |
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|
| 13 |
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"2": [
|
| 14 |
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16,
|
| 15 |
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|
| 16 |
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|
| 17 |
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"3": [
|
| 18 |
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24,
|
| 19 |
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32
|
| 20 |
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|
| 21 |
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"4": [
|
| 22 |
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32,
|
| 23 |
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37
|
| 24 |
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|
| 25 |
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},
|
| 26 |
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"frames_count": 37,
|
| 27 |
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"embeddings_count": 5,
|
| 28 |
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"all_subtitles": [
|
| 29 |
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[
|
| 30 |
+
"Doom is trying to do the same thing here"
|
| 31 |
+
],
|
| 32 |
+
[
|
| 33 |
+
"Doom is trying to do the same thing here"
|
| 34 |
+
],
|
| 35 |
+
[
|
| 36 |
+
"Doom is trying to do the same thing here",
|
| 37 |
+
"he's swinging wide he's giving himself a"
|
| 38 |
+
],
|
| 39 |
+
[
|
| 40 |
+
"Doom is trying to do the same thing here",
|
| 41 |
+
"he's swinging wide he's giving himself a"
|
| 42 |
+
],
|
| 43 |
+
[
|
| 44 |
+
"Doom is trying to do the same thing here",
|
| 45 |
+
"he's swinging wide he's giving himself a",
|
| 46 |
+
"chance if caraston B home has got this"
|
| 47 |
+
],
|
| 48 |
+
[
|
| 49 |
+
"he's swinging wide he's giving himself a",
|
| 50 |
+
"chance if caraston B home has got this"
|
| 51 |
+
],
|
| 52 |
+
[
|
| 53 |
+
"he's swinging wide he's giving himself a",
|
| 54 |
+
"chance if caraston B home has got this",
|
| 55 |
+
"wrong at all he could be vulnerable but"
|
| 56 |
+
],
|
| 57 |
+
[
|
| 58 |
+
"chance if caraston B home has got this",
|
| 59 |
+
"wrong at all he could be vulnerable but"
|
| 60 |
+
],
|
| 61 |
+
[
|
| 62 |
+
"chance if caraston B home has got this",
|
| 63 |
+
"wrong at all he could be vulnerable but",
|
| 64 |
+
"for home has he got his pacing right"
|
| 65 |
+
],
|
| 66 |
+
[
|
| 67 |
+
"wrong at all he could be vulnerable but",
|
| 68 |
+
"for home has he got his pacing right"
|
| 69 |
+
],
|
| 70 |
+
[
|
| 71 |
+
"wrong at all he could be vulnerable but",
|
| 72 |
+
"for home has he got his pacing right",
|
| 73 |
+
"it's going to be close on the line Doom"
|
| 74 |
+
],
|
| 75 |
+
[
|
| 76 |
+
"for home has he got his pacing right",
|
| 77 |
+
"it's going to be close on the line Doom"
|
| 78 |
+
],
|
| 79 |
+
[
|
| 80 |
+
"for home has he got his pacing right",
|
| 81 |
+
"it's going to be close on the line Doom"
|
| 82 |
+
],
|
| 83 |
+
[
|
| 84 |
+
"for home has he got his pacing right",
|
| 85 |
+
"it's going to be close on the line Doom",
|
| 86 |
+
"Powers across the line 4525 unofficially"
|
| 87 |
+
],
|
| 88 |
+
[
|
| 89 |
+
"it's going to be close on the line Doom",
|
| 90 |
+
"Powers across the line 4525 unofficially"
|
| 91 |
+
],
|
| 92 |
+
[
|
| 93 |
+
"it's going to be close on the line Doom",
|
| 94 |
+
"Powers across the line 4525 unofficially"
|
| 95 |
+
],
|
| 96 |
+
[
|
| 97 |
+
"it's going to be close on the line Doom",
|
| 98 |
+
"Powers across the line 4525 unofficially",
|
| 99 |
+
"that would be a new National Record for"
|
| 100 |
+
],
|
| 101 |
+
[
|
| 102 |
+
"Powers across the line 4525 unofficially",
|
| 103 |
+
"that would be a new National Record for"
|
| 104 |
+
],
|
| 105 |
+
[
|
| 106 |
+
"Powers across the line 4525 unofficially",
|
| 107 |
+
"that would be a new National Record for"
|
| 108 |
+
],
|
| 109 |
+
[
|
| 110 |
+
"Powers across the line 4525 unofficially",
|
| 111 |
+
"that would be a new National Record for",
|
| 112 |
+
"Belgium Doom has looked perfect we"
|
| 113 |
+
],
|
| 114 |
+
[
|
| 115 |
+
"that would be a new National Record for",
|
| 116 |
+
"Belgium Doom has looked perfect we"
|
| 117 |
+
],
|
| 118 |
+
[
|
| 119 |
+
"that would be a new National Record for",
|
| 120 |
+
"Belgium Doom has looked perfect we",
|
| 121 |
+
"cannot believe what he's done here it is"
|
| 122 |
+
],
|
| 123 |
+
[
|
| 124 |
+
"Belgium Doom has looked perfect we",
|
| 125 |
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"cannot believe what he's done here it is"
|
| 126 |
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],
|
| 127 |
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|
| 128 |
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|
| 129 |
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"cannot believe what he's done here it is",
|
| 130 |
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|
| 131 |
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],
|
| 132 |
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[
|
| 133 |
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"cannot believe what he's done here it is",
|
| 134 |
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|
| 135 |
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|
| 136 |
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[
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"cannot believe what he's done here it is",
|
| 138 |
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|
| 139 |
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],
|
| 140 |
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[
|
| 141 |
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|
| 142 |
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"a national"
|
| 143 |
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],
|
| 144 |
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[],
|
| 145 |
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|
| 146 |
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|
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],
|
| 148 |
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|
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|
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|
| 151 |
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|
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|
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|
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|
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|
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|
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|
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|
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|
| 182 |
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|
| 183 |
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|
| 184 |
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|
| 185 |
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|
| 186 |
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|
| 187 |
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|
| 188 |
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],
|
| 189 |
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| 190 |
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|
| 191 |
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|
| 192 |
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"for home has he got his pacing right",
|
| 193 |
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|
| 194 |
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|
| 195 |
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|
| 196 |
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|
| 197 |
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|
| 198 |
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|
| 199 |
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|
| 200 |
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|
| 201 |
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|
| 202 |
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|
| 203 |
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|
| 204 |
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|
| 205 |
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|
| 206 |
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|
| 207 |
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|
| 208 |
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|
| 209 |
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],
|
| 210 |
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| 211 |
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|
| 212 |
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|
| 213 |
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|
| 214 |
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|
| 215 |
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|
| 216 |
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|
| 217 |
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"that would be a new National Record for",
|
| 218 |
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|
| 219 |
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|
| 220 |
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|
| 221 |
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|
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|
| 223 |
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|
| 225 |
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|
| 226 |
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|
| 228 |
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|
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"he's swinging wide he's giving himself a": [
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0
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0
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],
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8
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|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 10,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
73
|
| 44 |
+
]
|
| 45 |
+
},
|
| 46 |
+
"frames_count": 73,
|
| 47 |
+
"embeddings_count": 10,
|
| 48 |
+
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|
| 49 |
+
[
|
| 50 |
+
"hi I'm Jimmy Kimel we have such a big"
|
| 51 |
+
],
|
| 52 |
+
[
|
| 53 |
+
"hi I'm Jimmy Kimel we have such a big",
|
| 54 |
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"show for you tonight you're not even"
|
| 55 |
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],
|
| 56 |
+
[
|
| 57 |
+
"hi I'm Jimmy Kimel we have such a big",
|
| 58 |
+
"show for you tonight you're not even"
|
| 59 |
+
],
|
| 60 |
+
[
|
| 61 |
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"hi I'm Jimmy Kimel we have such a big",
|
| 62 |
+
"show for you tonight you're not even",
|
| 63 |
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"going to believe it so many stars are"
|
| 64 |
+
],
|
| 65 |
+
[
|
| 66 |
+
"show for you tonight you're not even",
|
| 67 |
+
"going to believe it so many stars are"
|
| 68 |
+
],
|
| 69 |
+
[
|
| 70 |
+
"show for you tonight you're not even",
|
| 71 |
+
"going to believe it so many stars are",
|
| 72 |
+
"here tonight but first we're going to"
|
| 73 |
+
],
|
| 74 |
+
[
|
| 75 |
+
"going to believe it so many stars are",
|
| 76 |
+
"here tonight but first we're going to",
|
| 77 |
+
"play a simple game of telephone to get"
|
| 78 |
+
],
|
| 79 |
+
[
|
| 80 |
+
"here tonight but first we're going to",
|
| 81 |
+
"play a simple game of telephone to get"
|
| 82 |
+
],
|
| 83 |
+
[
|
| 84 |
+
"here tonight but first we're going to",
|
| 85 |
+
"play a simple game of telephone to get",
|
| 86 |
+
"things going okay here we go The"
|
| 87 |
+
],
|
| 88 |
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[
|
| 89 |
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"play a simple game of telephone to get",
|
| 90 |
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"things going okay here we go The"
|
| 91 |
+
],
|
| 92 |
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[
|
| 93 |
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|
| 94 |
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"things going okay here we go The"
|
| 95 |
+
],
|
| 96 |
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[
|
| 97 |
+
"play a simple game of telephone to get",
|
| 98 |
+
"things going okay here we go The",
|
| 99 |
+
"Avengers are on the show"
|
| 100 |
+
],
|
| 101 |
+
[
|
| 102 |
+
"things going okay here we go The",
|
| 103 |
+
"Avengers are on the show"
|
| 104 |
+
],
|
| 105 |
+
[
|
| 106 |
+
"things going okay here we go The",
|
| 107 |
+
"Avengers are on the show"
|
| 108 |
+
],
|
| 109 |
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[
|
| 110 |
+
"things going okay here we go The",
|
| 111 |
+
"Avengers are on the show"
|
| 112 |
+
],
|
| 113 |
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[
|
| 114 |
+
"things going okay here we go The",
|
| 115 |
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"Avengers are on the show"
|
| 116 |
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],
|
| 117 |
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[],
|
| 118 |
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[],
|
| 119 |
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[],
|
| 120 |
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[],
|
| 121 |
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[],
|
| 122 |
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[],
|
| 123 |
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[],
|
| 124 |
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[
|
| 125 |
+
"[Laughter]"
|
| 126 |
+
],
|
| 127 |
+
[
|
| 128 |
+
"[Laughter]"
|
| 129 |
+
],
|
| 130 |
+
[
|
| 131 |
+
"[Laughter]",
|
| 132 |
+
"tonight I have a r and I thank you"
|
| 133 |
+
],
|
| 134 |
+
[
|
| 135 |
+
"[Laughter]",
|
| 136 |
+
"tonight I have a r and I thank you"
|
| 137 |
+
],
|
| 138 |
+
[
|
| 139 |
+
"[Laughter]",
|
| 140 |
+
"tonight I have a r and I thank you"
|
| 141 |
+
],
|
| 142 |
+
[
|
| 143 |
+
"[Laughter]",
|
| 144 |
+
"tonight I have a r and I thank you"
|
| 145 |
+
],
|
| 146 |
+
[
|
| 147 |
+
"[Laughter]",
|
| 148 |
+
"tonight I have a r and I thank you"
|
| 149 |
+
],
|
| 150 |
+
[
|
| 151 |
+
"[Laughter]",
|
| 152 |
+
"tonight I have a r and I thank you"
|
| 153 |
+
],
|
| 154 |
+
[
|
| 155 |
+
"[Laughter]",
|
| 156 |
+
"tonight I have a r and I thank you",
|
| 157 |
+
"gosh I don't want to say"
|
| 158 |
+
],
|
| 159 |
+
[
|
| 160 |
+
"tonight I have a r and I thank you",
|
| 161 |
+
"gosh I don't want to say"
|
| 162 |
+
],
|
| 163 |
+
[
|
| 164 |
+
"tonight I have a r and I thank you",
|
| 165 |
+
"gosh I don't want to say",
|
| 166 |
+
"[Laughter]"
|
| 167 |
+
],
|
| 168 |
+
[
|
| 169 |
+
"gosh I don't want to say",
|
| 170 |
+
"[Laughter]"
|
| 171 |
+
],
|
| 172 |
+
[
|
| 173 |
+
"gosh I don't want to say",
|
| 174 |
+
"[Laughter]"
|
| 175 |
+
],
|
| 176 |
+
[
|
| 177 |
+
"gosh I don't want to say",
|
| 178 |
+
"[Laughter]"
|
| 179 |
+
],
|
| 180 |
+
[
|
| 181 |
+
"gosh I don't want to say",
|
| 182 |
+
"[Laughter]"
|
| 183 |
+
],
|
| 184 |
+
[],
|
| 185 |
+
[],
|
| 186 |
+
[
|
| 187 |
+
"[Laughter]"
|
| 188 |
+
],
|
| 189 |
+
[
|
| 190 |
+
"[Laughter]"
|
| 191 |
+
],
|
| 192 |
+
[
|
| 193 |
+
"[Laughter]"
|
| 194 |
+
],
|
| 195 |
+
[
|
| 196 |
+
"[Laughter]"
|
| 197 |
+
],
|
| 198 |
+
[
|
| 199 |
+
"[Laughter]"
|
| 200 |
+
],
|
| 201 |
+
[],
|
| 202 |
+
[],
|
| 203 |
+
[],
|
| 204 |
+
[
|
| 205 |
+
"that the diaphragm jelly is in my glove"
|
| 206 |
+
],
|
| 207 |
+
[
|
| 208 |
+
"that the diaphragm jelly is in my glove"
|
| 209 |
+
],
|
| 210 |
+
[
|
| 211 |
+
"that the diaphragm jelly is in my glove"
|
| 212 |
+
],
|
| 213 |
+
[
|
| 214 |
+
"that the diaphragm jelly is in my glove"
|
| 215 |
+
],
|
| 216 |
+
[
|
| 217 |
+
"that the diaphragm jelly is in my glove"
|
| 218 |
+
],
|
| 219 |
+
[
|
| 220 |
+
"that the diaphragm jelly is in my glove"
|
| 221 |
+
],
|
| 222 |
+
[
|
| 223 |
+
"that the diaphragm jelly is in my glove",
|
| 224 |
+
"box how we do very"
|
| 225 |
+
],
|
| 226 |
+
[
|
| 227 |
+
"box how we do very"
|
| 228 |
+
],
|
| 229 |
+
[
|
| 230 |
+
"box how we do very"
|
| 231 |
+
],
|
| 232 |
+
[
|
| 233 |
+
"box how we do very"
|
| 234 |
+
],
|
| 235 |
+
[
|
| 236 |
+
"box how we do very",
|
| 237 |
+
"bad"
|
| 238 |
+
],
|
| 239 |
+
[
|
| 240 |
+
"box how we do very",
|
| 241 |
+
"bad"
|
| 242 |
+
],
|
| 243 |
+
[
|
| 244 |
+
"box how we do very",
|
| 245 |
+
"bad"
|
| 246 |
+
],
|
| 247 |
+
[
|
| 248 |
+
"box how we do very",
|
| 249 |
+
"bad",
|
| 250 |
+
"that's the best you can"
|
| 251 |
+
],
|
| 252 |
+
[
|
| 253 |
+
"bad",
|
| 254 |
+
"that's the best you can"
|
| 255 |
+
],
|
| 256 |
+
[
|
| 257 |
+
"bad",
|
| 258 |
+
"that's the best you can"
|
| 259 |
+
],
|
| 260 |
+
[
|
| 261 |
+
"bad",
|
| 262 |
+
"that's the best you can"
|
| 263 |
+
],
|
| 264 |
+
[
|
| 265 |
+
"do"
|
| 266 |
+
],
|
| 267 |
+
[
|
| 268 |
+
"do"
|
| 269 |
+
],
|
| 270 |
+
[
|
| 271 |
+
"do"
|
| 272 |
+
],
|
| 273 |
+
[
|
| 274 |
+
"do"
|
| 275 |
+
],
|
| 276 |
+
[],
|
| 277 |
+
[],
|
| 278 |
+
[
|
| 279 |
+
"ass"
|
| 280 |
+
],
|
| 281 |
+
[
|
| 282 |
+
"ass",
|
| 283 |
+
"ass"
|
| 284 |
+
]
|
| 285 |
+
],
|
| 286 |
+
"subtitles_by_window": {
|
| 287 |
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"0": [
|
| 288 |
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"hi I'm Jimmy Kimel we have such a big",
|
| 289 |
+
"hi I'm Jimmy Kimel we have such a big",
|
| 290 |
+
"show for you tonight you're not even",
|
| 291 |
+
"hi I'm Jimmy Kimel we have such a big",
|
| 292 |
+
"show for you tonight you're not even",
|
| 293 |
+
"hi I'm Jimmy Kimel we have such a big",
|
| 294 |
+
"show for you tonight you're not even",
|
| 295 |
+
"going to believe it so many stars are",
|
| 296 |
+
"show for you tonight you're not even",
|
| 297 |
+
"going to believe it so many stars are",
|
| 298 |
+
"show for you tonight you're not even",
|
| 299 |
+
"going to believe it so many stars are",
|
| 300 |
+
"here tonight but first we're going to",
|
| 301 |
+
"going to believe it so many stars are",
|
| 302 |
+
"here tonight but first we're going to",
|
| 303 |
+
"play a simple game of telephone to get",
|
| 304 |
+
"here tonight but first we're going to",
|
| 305 |
+
"play a simple game of telephone to get"
|
| 306 |
+
],
|
| 307 |
+
"8": [
|
| 308 |
+
"here tonight but first we're going to",
|
| 309 |
+
"play a simple game of telephone to get",
|
| 310 |
+
"things going okay here we go The",
|
| 311 |
+
"play a simple game of telephone to get",
|
| 312 |
+
"things going okay here we go The",
|
| 313 |
+
"play a simple game of telephone to get",
|
| 314 |
+
"things going okay here we go The",
|
| 315 |
+
"play a simple game of telephone to get",
|
| 316 |
+
"things going okay here we go The",
|
| 317 |
+
"Avengers are on the show",
|
| 318 |
+
"things going okay here we go The",
|
| 319 |
+
"Avengers are on the show",
|
| 320 |
+
"things going okay here we go The",
|
| 321 |
+
"Avengers are on the show",
|
| 322 |
+
"things going okay here we go The",
|
| 323 |
+
"Avengers are on the show",
|
| 324 |
+
"things going okay here we go The",
|
| 325 |
+
"Avengers are on the show"
|
| 326 |
+
],
|
| 327 |
+
"16": [
|
| 328 |
+
"[Laughter]"
|
| 329 |
+
],
|
| 330 |
+
"24": [
|
| 331 |
+
"[Laughter]",
|
| 332 |
+
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|
| 333 |
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"tonight I have a r and I thank you",
|
| 334 |
+
"[Laughter]",
|
| 335 |
+
"tonight I have a r and I thank you",
|
| 336 |
+
"[Laughter]",
|
| 337 |
+
"tonight I have a r and I thank you",
|
| 338 |
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"[Laughter]",
|
| 339 |
+
"tonight I have a r and I thank you",
|
| 340 |
+
"[Laughter]",
|
| 341 |
+
"tonight I have a r and I thank you",
|
| 342 |
+
"[Laughter]",
|
| 343 |
+
"tonight I have a r and I thank you",
|
| 344 |
+
"[Laughter]",
|
| 345 |
+
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|
| 346 |
+
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|
| 347 |
+
],
|
| 348 |
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"32": [
|
| 349 |
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|
| 350 |
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|
| 351 |
+
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|
| 352 |
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|
| 353 |
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"[Laughter]",
|
| 354 |
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|
| 355 |
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"[Laughter]",
|
| 356 |
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|
| 357 |
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"[Laughter]",
|
| 358 |
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|
| 359 |
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"[Laughter]",
|
| 360 |
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|
| 361 |
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"[Laughter]"
|
| 362 |
+
],
|
| 363 |
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"40": [
|
| 364 |
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"[Laughter]",
|
| 365 |
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"[Laughter]",
|
| 366 |
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"[Laughter]",
|
| 367 |
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"[Laughter]",
|
| 368 |
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"[Laughter]"
|
| 369 |
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],
|
| 370 |
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"48": [
|
| 371 |
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|
| 372 |
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|
| 373 |
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"that the diaphragm jelly is in my glove",
|
| 374 |
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"that the diaphragm jelly is in my glove",
|
| 375 |
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|
| 376 |
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|
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|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 14,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
80
|
| 44 |
+
],
|
| 45 |
+
"10": [
|
| 46 |
+
80,
|
| 47 |
+
88
|
| 48 |
+
],
|
| 49 |
+
"11": [
|
| 50 |
+
88,
|
| 51 |
+
96
|
| 52 |
+
],
|
| 53 |
+
"12": [
|
| 54 |
+
96,
|
| 55 |
+
104
|
| 56 |
+
],
|
| 57 |
+
"13": [
|
| 58 |
+
104,
|
| 59 |
+
105
|
| 60 |
+
]
|
| 61 |
+
},
|
| 62 |
+
"frames_count": 105,
|
| 63 |
+
"embeddings_count": 14,
|
| 64 |
+
"all_subtitles": [
|
| 65 |
+
[
|
| 66 |
+
"[Music]",
|
| 67 |
+
"little man home"
|
| 68 |
+
],
|
| 69 |
+
[
|
| 70 |
+
"[Music]",
|
| 71 |
+
"little man home"
|
| 72 |
+
],
|
| 73 |
+
[
|
| 74 |
+
"[Music]",
|
| 75 |
+
"little man home",
|
| 76 |
+
"Sam did roll but wasn't expecting the"
|
| 77 |
+
],
|
| 78 |
+
[
|
| 79 |
+
"little man home",
|
| 80 |
+
"Sam did roll but wasn't expecting the"
|
| 81 |
+
],
|
| 82 |
+
[
|
| 83 |
+
"little man home",
|
| 84 |
+
"Sam did roll but wasn't expecting the"
|
| 85 |
+
],
|
| 86 |
+
[
|
| 87 |
+
"little man home",
|
| 88 |
+
"Sam did roll but wasn't expecting the",
|
| 89 |
+
"ball Hidalgo now 4v1 in transition kicks"
|
| 90 |
+
],
|
| 91 |
+
[
|
| 92 |
+
"Sam did roll but wasn't expecting the",
|
| 93 |
+
"ball Hidalgo now 4v1 in transition kicks"
|
| 94 |
+
],
|
| 95 |
+
[
|
| 96 |
+
"Sam did roll but wasn't expecting the",
|
| 97 |
+
"ball Hidalgo now 4v1 in transition kicks"
|
| 98 |
+
],
|
| 99 |
+
[
|
| 100 |
+
"Sam did roll but wasn't expecting the",
|
| 101 |
+
"ball Hidalgo now 4v1 in transition kicks",
|
| 102 |
+
"to the rack for two",
|
| 103 |
+
"[Applause]"
|
| 104 |
+
],
|
| 105 |
+
[
|
| 106 |
+
"to the rack for two",
|
| 107 |
+
"[Applause]"
|
| 108 |
+
],
|
| 109 |
+
[
|
| 110 |
+
"to the rack for two",
|
| 111 |
+
"[Applause]"
|
| 112 |
+
],
|
| 113 |
+
[
|
| 114 |
+
"to the rack for two",
|
| 115 |
+
"[Applause]"
|
| 116 |
+
],
|
| 117 |
+
[
|
| 118 |
+
"to the rack for two",
|
| 119 |
+
"[Applause]",
|
| 120 |
+
"he's running in numbers every single"
|
| 121 |
+
],
|
| 122 |
+
[
|
| 123 |
+
"[Applause]",
|
| 124 |
+
"he's running in numbers every single"
|
| 125 |
+
],
|
| 126 |
+
[
|
| 127 |
+
"[Applause]",
|
| 128 |
+
"he's running in numbers every single",
|
| 129 |
+
"time"
|
| 130 |
+
],
|
| 131 |
+
[
|
| 132 |
+
"he's running in numbers every single",
|
| 133 |
+
"time",
|
| 134 |
+
"[Music]"
|
| 135 |
+
],
|
| 136 |
+
[
|
| 137 |
+
"time",
|
| 138 |
+
"[Music]"
|
| 139 |
+
],
|
| 140 |
+
[
|
| 141 |
+
"time",
|
| 142 |
+
"[Music]"
|
| 143 |
+
],
|
| 144 |
+
[
|
| 145 |
+
"time",
|
| 146 |
+
"[Music]"
|
| 147 |
+
],
|
| 148 |
+
[
|
| 149 |
+
"time",
|
| 150 |
+
"[Music]"
|
| 151 |
+
],
|
| 152 |
+
[
|
| 153 |
+
"time",
|
| 154 |
+
"[Music]"
|
| 155 |
+
],
|
| 156 |
+
[
|
| 157 |
+
"time",
|
| 158 |
+
"[Music]"
|
| 159 |
+
],
|
| 160 |
+
[
|
| 161 |
+
"time",
|
| 162 |
+
"[Music]"
|
| 163 |
+
],
|
| 164 |
+
[
|
| 165 |
+
"time",
|
| 166 |
+
"[Music]"
|
| 167 |
+
],
|
| 168 |
+
[
|
| 169 |
+
"time",
|
| 170 |
+
"[Music]"
|
| 171 |
+
],
|
| 172 |
+
[
|
| 173 |
+
"time",
|
| 174 |
+
"[Music]",
|
| 175 |
+
"bye-bye"
|
| 176 |
+
],
|
| 177 |
+
[
|
| 178 |
+
"bye-bye"
|
| 179 |
+
],
|
| 180 |
+
[
|
| 181 |
+
"bye-bye"
|
| 182 |
+
],
|
| 183 |
+
[
|
| 184 |
+
"bye-bye"
|
| 185 |
+
],
|
| 186 |
+
[
|
| 187 |
+
"[Applause]"
|
| 188 |
+
],
|
| 189 |
+
[
|
| 190 |
+
"[Applause]"
|
| 191 |
+
],
|
| 192 |
+
[
|
| 193 |
+
"[Applause]"
|
| 194 |
+
],
|
| 195 |
+
[
|
| 196 |
+
"[Applause]"
|
| 197 |
+
],
|
| 198 |
+
[
|
| 199 |
+
"[Applause]"
|
| 200 |
+
],
|
| 201 |
+
[],
|
| 202 |
+
[],
|
| 203 |
+
[],
|
| 204 |
+
[
|
| 205 |
+
"five for the offensive boards Canada win"
|
| 206 |
+
],
|
| 207 |
+
[
|
| 208 |
+
"five for the offensive boards Canada win"
|
| 209 |
+
],
|
| 210 |
+
[
|
| 211 |
+
"five for the offensive boards Canada win"
|
| 212 |
+
],
|
| 213 |
+
[
|
| 214 |
+
"five for the offensive boards Canada win",
|
| 215 |
+
"it French 24"
|
| 216 |
+
],
|
| 217 |
+
[
|
| 218 |
+
"five for the offensive boards Canada win",
|
| 219 |
+
"it French 24"
|
| 220 |
+
],
|
| 221 |
+
[
|
| 222 |
+
"five for the offensive boards Canada win",
|
| 223 |
+
"it French 24",
|
| 224 |
+
"ball that they win wow give me shooting"
|
| 225 |
+
],
|
| 226 |
+
[
|
| 227 |
+
"it French 24",
|
| 228 |
+
"ball that they win wow give me shooting"
|
| 229 |
+
],
|
| 230 |
+
[
|
| 231 |
+
"it French 24",
|
| 232 |
+
"ball that they win wow give me shooting"
|
| 233 |
+
],
|
| 234 |
+
[
|
| 235 |
+
"it French 24",
|
| 236 |
+
"ball that they win wow give me shooting",
|
| 237 |
+
"it early it was questionable but she"
|
| 238 |
+
],
|
| 239 |
+
[
|
| 240 |
+
"ball that they win wow give me shooting",
|
| 241 |
+
"it early it was questionable but she"
|
| 242 |
+
],
|
| 243 |
+
[
|
| 244 |
+
"ball that they win wow give me shooting",
|
| 245 |
+
"it early it was questionable but she"
|
| 246 |
+
],
|
| 247 |
+
[
|
| 248 |
+
"ball that they win wow give me shooting",
|
| 249 |
+
"it early it was questionable but she"
|
| 250 |
+
],
|
| 251 |
+
[
|
| 252 |
+
"ball that they win wow give me shooting",
|
| 253 |
+
"it early it was questionable but she",
|
| 254 |
+
"makes it a nobody will question that"
|
| 255 |
+
],
|
| 256 |
+
[
|
| 257 |
+
"it early it was questionable but she",
|
| 258 |
+
"makes it a nobody will question that"
|
| 259 |
+
],
|
| 260 |
+
[
|
| 261 |
+
"it early it was questionable but she",
|
| 262 |
+
"makes it a nobody will question that",
|
| 263 |
+
"Delaney give from way downtown"
|
| 264 |
+
],
|
| 265 |
+
[
|
| 266 |
+
"makes it a nobody will question that",
|
| 267 |
+
"Delaney give from way downtown"
|
| 268 |
+
],
|
| 269 |
+
[
|
| 270 |
+
"makes it a nobody will question that",
|
| 271 |
+
"Delaney give from way downtown"
|
| 272 |
+
],
|
| 273 |
+
[
|
| 274 |
+
"makes it a nobody will question that",
|
| 275 |
+
"Delaney give from way downtown"
|
| 276 |
+
],
|
| 277 |
+
[
|
| 278 |
+
"makes it a nobody will question that",
|
| 279 |
+
"Delaney give from way downtown",
|
| 280 |
+
"[Music]"
|
| 281 |
+
],
|
| 282 |
+
[
|
| 283 |
+
"Delaney give from way downtown",
|
| 284 |
+
"[Music]",
|
| 285 |
+
"[Applause]"
|
| 286 |
+
],
|
| 287 |
+
[
|
| 288 |
+
"[Music]",
|
| 289 |
+
"[Applause]",
|
| 290 |
+
"[Music]"
|
| 291 |
+
],
|
| 292 |
+
[
|
| 293 |
+
"[Applause]",
|
| 294 |
+
"[Music]"
|
| 295 |
+
],
|
| 296 |
+
[
|
| 297 |
+
"[Applause]",
|
| 298 |
+
"[Music]"
|
| 299 |
+
],
|
| 300 |
+
[
|
| 301 |
+
"[Applause]",
|
| 302 |
+
"[Music]"
|
| 303 |
+
],
|
| 304 |
+
[
|
| 305 |
+
"[Applause]",
|
| 306 |
+
"[Music]"
|
| 307 |
+
],
|
| 308 |
+
[
|
| 309 |
+
"[Applause]",
|
| 310 |
+
"[Music]"
|
| 311 |
+
],
|
| 312 |
+
[],
|
| 313 |
+
[],
|
| 314 |
+
[],
|
| 315 |
+
[],
|
| 316 |
+
[],
|
| 317 |
+
[],
|
| 318 |
+
[],
|
| 319 |
+
[],
|
| 320 |
+
[],
|
| 321 |
+
[],
|
| 322 |
+
[],
|
| 323 |
+
[],
|
| 324 |
+
[],
|
| 325 |
+
[
|
| 326 |
+
"she drives draws the contact on the"
|
| 327 |
+
],
|
| 328 |
+
[
|
| 329 |
+
"she drives draws the contact on the"
|
| 330 |
+
],
|
| 331 |
+
[
|
| 332 |
+
"she drives draws the contact on the"
|
| 333 |
+
],
|
| 334 |
+
[
|
| 335 |
+
"she drives draws the contact on the",
|
| 336 |
+
"blocking foul"
|
| 337 |
+
],
|
| 338 |
+
[
|
| 339 |
+
"she drives draws the contact on the",
|
| 340 |
+
"blocking foul",
|
| 341 |
+
"[Music]"
|
| 342 |
+
],
|
| 343 |
+
[
|
| 344 |
+
"blocking foul",
|
| 345 |
+
"[Music]"
|
| 346 |
+
],
|
| 347 |
+
[
|
| 348 |
+
"blocking foul",
|
| 349 |
+
"[Music]"
|
| 350 |
+
],
|
| 351 |
+
[
|
| 352 |
+
"blocking foul",
|
| 353 |
+
"[Music]",
|
| 354 |
+
"but man let's see what coach has drawn"
|
| 355 |
+
],
|
| 356 |
+
[
|
| 357 |
+
"[Music]",
|
| 358 |
+
"but man let's see what coach has drawn"
|
| 359 |
+
],
|
| 360 |
+
[
|
| 361 |
+
"[Music]",
|
| 362 |
+
"but man let's see what coach has drawn",
|
| 363 |
+
"up here rejects the screen gray star"
|
| 364 |
+
],
|
| 365 |
+
[
|
| 366 |
+
"but man let's see what coach has drawn",
|
| 367 |
+
"up here rejects the screen gray star"
|
| 368 |
+
],
|
| 369 |
+
[
|
| 370 |
+
"but man let's see what coach has drawn",
|
| 371 |
+
"up here rejects the screen gray star",
|
| 372 |
+
"McMahon water finish through all the"
|
| 373 |
+
],
|
| 374 |
+
[
|
| 375 |
+
"up here rejects the screen gray star",
|
| 376 |
+
"McMahon water finish through all the"
|
| 377 |
+
],
|
| 378 |
+
[
|
| 379 |
+
"up here rejects the screen gray star",
|
| 380 |
+
"McMahon water finish through all the"
|
| 381 |
+
],
|
| 382 |
+
[
|
| 383 |
+
"up here rejects the screen gray star",
|
| 384 |
+
"McMahon water finish through all the"
|
| 385 |
+
],
|
| 386 |
+
[
|
| 387 |
+
"up here rejects the screen gray star",
|
| 388 |
+
"McMahon water finish through all the",
|
| 389 |
+
"contact time I've called again that was"
|
| 390 |
+
],
|
| 391 |
+
[
|
| 392 |
+
"McMahon water finish through all the",
|
| 393 |
+
"contact time I've called again that was"
|
| 394 |
+
],
|
| 395 |
+
[
|
| 396 |
+
"McMahon water finish through all the",
|
| 397 |
+
"contact time I've called again that was",
|
| 398 |
+
"superb coach Jody Taylor knows what"
|
| 399 |
+
],
|
| 400 |
+
[
|
| 401 |
+
"contact time I've called again that was",
|
| 402 |
+
"superb coach Jody Taylor knows what"
|
| 403 |
+
],
|
| 404 |
+
[
|
| 405 |
+
"contact time I've called again that was",
|
| 406 |
+
"superb coach Jody Taylor knows what",
|
| 407 |
+
"she's doing",
|
| 408 |
+
"[Music]"
|
| 409 |
+
],
|
| 410 |
+
[
|
| 411 |
+
"she's doing",
|
| 412 |
+
"[Music]"
|
| 413 |
+
],
|
| 414 |
+
[
|
| 415 |
+
"she's doing",
|
| 416 |
+
"[Music]"
|
| 417 |
+
],
|
| 418 |
+
[
|
| 419 |
+
"she's doing",
|
| 420 |
+
"[Music]"
|
| 421 |
+
],
|
| 422 |
+
[
|
| 423 |
+
"she's doing",
|
| 424 |
+
"[Music]"
|
| 425 |
+
],
|
| 426 |
+
[],
|
| 427 |
+
[
|
| 428 |
+
"[Music]"
|
| 429 |
+
],
|
| 430 |
+
[
|
| 431 |
+
"[Music]"
|
| 432 |
+
],
|
| 433 |
+
[
|
| 434 |
+
"[Music]"
|
| 435 |
+
],
|
| 436 |
+
[
|
| 437 |
+
"[Music]"
|
| 438 |
+
]
|
| 439 |
+
],
|
| 440 |
+
"subtitles_by_window": {
|
| 441 |
+
"0": [
|
| 442 |
+
"[Music]",
|
| 443 |
+
"little man home",
|
| 444 |
+
"[Music]",
|
| 445 |
+
"little man home",
|
| 446 |
+
"[Music]",
|
| 447 |
+
"little man home",
|
| 448 |
+
"Sam did roll but wasn't expecting the",
|
| 449 |
+
"little man home",
|
| 450 |
+
"Sam did roll but wasn't expecting the",
|
| 451 |
+
"little man home",
|
| 452 |
+
"Sam did roll but wasn't expecting the",
|
| 453 |
+
"little man home",
|
| 454 |
+
"Sam did roll but wasn't expecting the",
|
| 455 |
+
"ball Hidalgo now 4v1 in transition kicks",
|
| 456 |
+
"Sam did roll but wasn't expecting the",
|
| 457 |
+
"ball Hidalgo now 4v1 in transition kicks",
|
| 458 |
+
"Sam did roll but wasn't expecting the",
|
| 459 |
+
"ball Hidalgo now 4v1 in transition kicks"
|
| 460 |
+
],
|
| 461 |
+
"8": [
|
| 462 |
+
"Sam did roll but wasn't expecting the",
|
| 463 |
+
"ball Hidalgo now 4v1 in transition kicks",
|
| 464 |
+
"to the rack for two",
|
| 465 |
+
"[Applause]",
|
| 466 |
+
"to the rack for two",
|
| 467 |
+
"[Applause]",
|
| 468 |
+
"to the rack for two",
|
| 469 |
+
"[Applause]",
|
| 470 |
+
"to the rack for two",
|
| 471 |
+
"[Applause]",
|
| 472 |
+
"to the rack for two",
|
| 473 |
+
"[Applause]",
|
| 474 |
+
"he's running in numbers every single",
|
| 475 |
+
"[Applause]",
|
| 476 |
+
"he's running in numbers every single",
|
| 477 |
+
"[Applause]",
|
| 478 |
+
"he's running in numbers every single",
|
| 479 |
+
"time",
|
| 480 |
+
"he's running in numbers every single",
|
| 481 |
+
"time",
|
| 482 |
+
"[Music]"
|
| 483 |
+
],
|
| 484 |
+
"16": [
|
| 485 |
+
"time",
|
| 486 |
+
"[Music]",
|
| 487 |
+
"time",
|
| 488 |
+
"[Music]",
|
| 489 |
+
"time",
|
| 490 |
+
"[Music]",
|
| 491 |
+
"time",
|
| 492 |
+
"[Music]",
|
| 493 |
+
"time",
|
| 494 |
+
"[Music]",
|
| 495 |
+
"time",
|
| 496 |
+
"[Music]",
|
| 497 |
+
"time",
|
| 498 |
+
"[Music]",
|
| 499 |
+
"time",
|
| 500 |
+
"[Music]"
|
| 501 |
+
],
|
| 502 |
+
"24": [
|
| 503 |
+
"time",
|
| 504 |
+
"[Music]",
|
| 505 |
+
"time",
|
| 506 |
+
"[Music]",
|
| 507 |
+
"bye-bye",
|
| 508 |
+
"bye-bye",
|
| 509 |
+
"bye-bye",
|
| 510 |
+
"bye-bye",
|
| 511 |
+
"[Applause]",
|
| 512 |
+
"[Applause]",
|
| 513 |
+
"[Applause]"
|
| 514 |
+
],
|
| 515 |
+
"32": [
|
| 516 |
+
"[Applause]",
|
| 517 |
+
"[Applause]",
|
| 518 |
+
"five for the offensive boards Canada win",
|
| 519 |
+
"five for the offensive boards Canada win",
|
| 520 |
+
"five for the offensive boards Canada win"
|
| 521 |
+
],
|
| 522 |
+
"40": [
|
| 523 |
+
"five for the offensive boards Canada win",
|
| 524 |
+
"it French 24",
|
| 525 |
+
"five for the offensive boards Canada win",
|
| 526 |
+
"it French 24",
|
| 527 |
+
"five for the offensive boards Canada win",
|
| 528 |
+
"it French 24",
|
| 529 |
+
"ball that they win wow give me shooting",
|
| 530 |
+
"it French 24",
|
| 531 |
+
"ball that they win wow give me shooting",
|
| 532 |
+
"it French 24",
|
| 533 |
+
"ball that they win wow give me shooting",
|
| 534 |
+
"it French 24",
|
| 535 |
+
"ball that they win wow give me shooting",
|
| 536 |
+
"it early it was questionable but she",
|
| 537 |
+
"ball that they win wow give me shooting",
|
| 538 |
+
"it early it was questionable but she",
|
| 539 |
+
"ball that they win wow give me shooting",
|
| 540 |
+
"it early it was questionable but she"
|
| 541 |
+
],
|
| 542 |
+
"48": [
|
| 543 |
+
"ball that they win wow give me shooting",
|
| 544 |
+
"it early it was questionable but she",
|
| 545 |
+
"ball that they win wow give me shooting",
|
| 546 |
+
"it early it was questionable but she",
|
| 547 |
+
"makes it a nobody will question that",
|
| 548 |
+
"it early it was questionable but she",
|
| 549 |
+
"makes it a nobody will question that",
|
| 550 |
+
"it early it was questionable but she",
|
| 551 |
+
"makes it a nobody will question that",
|
| 552 |
+
"Delaney give from way downtown",
|
| 553 |
+
"makes it a nobody will question that",
|
| 554 |
+
"Delaney give from way downtown",
|
| 555 |
+
"makes it a nobody will question that",
|
| 556 |
+
"Delaney give from way downtown",
|
| 557 |
+
"makes it a nobody will question that",
|
| 558 |
+
"Delaney give from way downtown",
|
| 559 |
+
"makes it a nobody will question that",
|
| 560 |
+
"Delaney give from way downtown",
|
| 561 |
+
"[Music]"
|
| 562 |
+
],
|
| 563 |
+
"56": [
|
| 564 |
+
"Delaney give from way downtown",
|
| 565 |
+
"[Music]",
|
| 566 |
+
"[Applause]",
|
| 567 |
+
"[Music]",
|
| 568 |
+
"[Applause]",
|
| 569 |
+
"[Music]",
|
| 570 |
+
"[Applause]",
|
| 571 |
+
"[Music]",
|
| 572 |
+
"[Applause]",
|
| 573 |
+
"[Music]",
|
| 574 |
+
"[Applause]",
|
| 575 |
+
"[Music]",
|
| 576 |
+
"[Applause]",
|
| 577 |
+
"[Music]",
|
| 578 |
+
"[Applause]",
|
| 579 |
+
"[Music]"
|
| 580 |
+
],
|
| 581 |
+
"64": [],
|
| 582 |
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"72": [
|
| 583 |
+
"she drives draws the contact on the",
|
| 584 |
+
"she drives draws the contact on the",
|
| 585 |
+
"she drives draws the contact on the",
|
| 586 |
+
"she drives draws the contact on the",
|
| 587 |
+
"blocking foul"
|
| 588 |
+
],
|
| 589 |
+
"80": [
|
| 590 |
+
"she drives draws the contact on the",
|
| 591 |
+
"blocking foul",
|
| 592 |
+
"[Music]",
|
| 593 |
+
"blocking foul",
|
| 594 |
+
"[Music]",
|
| 595 |
+
"blocking foul",
|
| 596 |
+
"[Music]",
|
| 597 |
+
"blocking foul",
|
| 598 |
+
"[Music]",
|
| 599 |
+
"but man let's see what coach has drawn",
|
| 600 |
+
"[Music]",
|
| 601 |
+
"but man let's see what coach has drawn",
|
| 602 |
+
"[Music]",
|
| 603 |
+
"but man let's see what coach has drawn",
|
| 604 |
+
"up here rejects the screen gray star",
|
| 605 |
+
"but man let's see what coach has drawn",
|
| 606 |
+
"up here rejects the screen gray star",
|
| 607 |
+
"but man let's see what coach has drawn",
|
| 608 |
+
"up here rejects the screen gray star",
|
| 609 |
+
"McMahon water finish through all the"
|
| 610 |
+
],
|
| 611 |
+
"88": [
|
| 612 |
+
"up here rejects the screen gray star",
|
| 613 |
+
"McMahon water finish through all the",
|
| 614 |
+
"up here rejects the screen gray star",
|
| 615 |
+
"McMahon water finish through all the",
|
| 616 |
+
"up here rejects the screen gray star",
|
| 617 |
+
"McMahon water finish through all the",
|
| 618 |
+
"up here rejects the screen gray star",
|
| 619 |
+
"McMahon water finish through all the",
|
| 620 |
+
"contact time I've called again that was",
|
| 621 |
+
"McMahon water finish through all the",
|
| 622 |
+
"contact time I've called again that was",
|
| 623 |
+
"McMahon water finish through all the",
|
| 624 |
+
"contact time I've called again that was",
|
| 625 |
+
"superb coach Jody Taylor knows what",
|
| 626 |
+
"contact time I've called again that was",
|
| 627 |
+
"superb coach Jody Taylor knows what",
|
| 628 |
+
"contact time I've called again that was",
|
| 629 |
+
"superb coach Jody Taylor knows what",
|
| 630 |
+
"she's doing",
|
| 631 |
+
"[Music]"
|
| 632 |
+
],
|
| 633 |
+
"96": [
|
| 634 |
+
"she's doing",
|
| 635 |
+
"[Music]",
|
| 636 |
+
"she's doing",
|
| 637 |
+
"[Music]",
|
| 638 |
+
"she's doing",
|
| 639 |
+
"[Music]",
|
| 640 |
+
"she's doing",
|
| 641 |
+
"[Music]",
|
| 642 |
+
"[Music]",
|
| 643 |
+
"[Music]",
|
| 644 |
+
"[Music]"
|
| 645 |
+
],
|
| 646 |
+
"104": [
|
| 647 |
+
"[Music]"
|
| 648 |
+
]
|
| 649 |
+
},
|
| 650 |
+
"unique_subtitles_by_window": {
|
| 651 |
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"0": [
|
| 652 |
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"ball Hidalgo now 4v1 in transition kicks",
|
| 653 |
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"little man home",
|
| 654 |
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|
videomme_window_8/5ksVshqVuiM/metadata.json
ADDED
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@@ -0,0 +1,776 @@
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|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 10,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
78
|
| 44 |
+
]
|
| 45 |
+
},
|
| 46 |
+
"frames_count": 78,
|
| 47 |
+
"embeddings_count": 10,
|
| 48 |
+
"all_subtitles": [
|
| 49 |
+
[
|
| 50 |
+
"the dotom bubble started around 1997"
|
| 51 |
+
],
|
| 52 |
+
[
|
| 53 |
+
"the dotom bubble started around 1997"
|
| 54 |
+
],
|
| 55 |
+
[
|
| 56 |
+
"the dotom bubble started around 1997"
|
| 57 |
+
],
|
| 58 |
+
[
|
| 59 |
+
"the dotom bubble started around 1997",
|
| 60 |
+
"peaked in 2000 and ultimately bursted by"
|
| 61 |
+
],
|
| 62 |
+
[
|
| 63 |
+
"the dotom bubble started around 1997",
|
| 64 |
+
"peaked in 2000 and ultimately bursted by"
|
| 65 |
+
],
|
| 66 |
+
[
|
| 67 |
+
"the dotom bubble started around 1997",
|
| 68 |
+
"peaked in 2000 and ultimately bursted by"
|
| 69 |
+
],
|
| 70 |
+
[
|
| 71 |
+
"the dotom bubble started around 1997",
|
| 72 |
+
"peaked in 2000 and ultimately bursted by",
|
| 73 |
+
"2002 as the name suggests the bubble"
|
| 74 |
+
],
|
| 75 |
+
[
|
| 76 |
+
"peaked in 2000 and ultimately bursted by",
|
| 77 |
+
"2002 as the name suggests the bubble"
|
| 78 |
+
],
|
| 79 |
+
[
|
| 80 |
+
"peaked in 2000 and ultimately bursted by",
|
| 81 |
+
"2002 as the name suggests the bubble"
|
| 82 |
+
],
|
| 83 |
+
[
|
| 84 |
+
"peaked in 2000 and ultimately bursted by",
|
| 85 |
+
"2002 as the name suggests the bubble",
|
| 86 |
+
"revolved around speculative investments"
|
| 87 |
+
],
|
| 88 |
+
[
|
| 89 |
+
"2002 as the name suggests the bubble",
|
| 90 |
+
"revolved around speculative investments"
|
| 91 |
+
],
|
| 92 |
+
[
|
| 93 |
+
"2002 as the name suggests the bubble",
|
| 94 |
+
"revolved around speculative investments",
|
| 95 |
+
"in internet companies simply put"
|
| 96 |
+
],
|
| 97 |
+
[
|
| 98 |
+
"revolved around speculative investments",
|
| 99 |
+
"in internet companies simply put"
|
| 100 |
+
],
|
| 101 |
+
[
|
| 102 |
+
"revolved around speculative investments",
|
| 103 |
+
"in internet companies simply put"
|
| 104 |
+
],
|
| 105 |
+
[
|
| 106 |
+
"revolved around speculative investments",
|
| 107 |
+
"in internet companies simply put",
|
| 108 |
+
"investors were so excited about the"
|
| 109 |
+
],
|
| 110 |
+
[
|
| 111 |
+
"in internet companies simply put",
|
| 112 |
+
"investors were so excited about the"
|
| 113 |
+
],
|
| 114 |
+
[
|
| 115 |
+
"in internet companies simply put",
|
| 116 |
+
"investors were so excited about the",
|
| 117 |
+
"progress of the internet that they"
|
| 118 |
+
],
|
| 119 |
+
[
|
| 120 |
+
"investors were so excited about the",
|
| 121 |
+
"progress of the internet that they",
|
| 122 |
+
"invested in pretty much any tech company"
|
| 123 |
+
],
|
| 124 |
+
[
|
| 125 |
+
"progress of the internet that they",
|
| 126 |
+
"invested in pretty much any tech company"
|
| 127 |
+
],
|
| 128 |
+
[
|
| 129 |
+
"progress of the internet that they",
|
| 130 |
+
"invested in pretty much any tech company",
|
| 131 |
+
"with a pulse they stopped caring about"
|
| 132 |
+
],
|
| 133 |
+
[
|
| 134 |
+
"invested in pretty much any tech company",
|
| 135 |
+
"with a pulse they stopped caring about"
|
| 136 |
+
],
|
| 137 |
+
[
|
| 138 |
+
"invested in pretty much any tech company",
|
| 139 |
+
"with a pulse they stopped caring about"
|
| 140 |
+
],
|
| 141 |
+
[
|
| 142 |
+
"invested in pretty much any tech company",
|
| 143 |
+
"with a pulse they stopped caring about",
|
| 144 |
+
"whether or not a company was profitable"
|
| 145 |
+
],
|
| 146 |
+
[
|
| 147 |
+
"with a pulse they stopped caring about",
|
| 148 |
+
"whether or not a company was profitable"
|
| 149 |
+
],
|
| 150 |
+
[
|
| 151 |
+
"with a pulse they stopped caring about",
|
| 152 |
+
"whether or not a company was profitable",
|
| 153 |
+
"or at least could eventually become"
|
| 154 |
+
],
|
| 155 |
+
[
|
| 156 |
+
"whether or not a company was profitable",
|
| 157 |
+
"or at least could eventually become",
|
| 158 |
+
"profitable Common Sense became a Rarity"
|
| 159 |
+
],
|
| 160 |
+
[
|
| 161 |
+
"or at least could eventually become",
|
| 162 |
+
"profitable Common Sense became a Rarity"
|
| 163 |
+
],
|
| 164 |
+
[
|
| 165 |
+
"or at least could eventually become",
|
| 166 |
+
"profitable Common Sense became a Rarity"
|
| 167 |
+
],
|
| 168 |
+
[
|
| 169 |
+
"or at least could eventually become",
|
| 170 |
+
"profitable Common Sense became a Rarity",
|
| 171 |
+
"from 1997 to March 2000 prices went up"
|
| 172 |
+
],
|
| 173 |
+
[
|
| 174 |
+
"profitable Common Sense became a Rarity",
|
| 175 |
+
"from 1997 to March 2000 prices went up"
|
| 176 |
+
],
|
| 177 |
+
[
|
| 178 |
+
"profitable Common Sense became a Rarity",
|
| 179 |
+
"from 1997 to March 2000 prices went up"
|
| 180 |
+
],
|
| 181 |
+
[
|
| 182 |
+
"profitable Common Sense became a Rarity",
|
| 183 |
+
"from 1997 to March 2000 prices went up"
|
| 184 |
+
],
|
| 185 |
+
[
|
| 186 |
+
"profitable Common Sense became a Rarity",
|
| 187 |
+
"from 1997 to March 2000 prices went up",
|
| 188 |
+
"about five times only to go down five"
|
| 189 |
+
],
|
| 190 |
+
[
|
| 191 |
+
"from 1997 to March 2000 prices went up",
|
| 192 |
+
"about five times only to go down five"
|
| 193 |
+
],
|
| 194 |
+
[
|
| 195 |
+
"from 1997 to March 2000 prices went up",
|
| 196 |
+
"about five times only to go down five",
|
| 197 |
+
"times and return to their pre-boom"
|
| 198 |
+
],
|
| 199 |
+
[
|
| 200 |
+
"about five times only to go down five",
|
| 201 |
+
"times and return to their pre-boom"
|
| 202 |
+
],
|
| 203 |
+
[
|
| 204 |
+
"about five times only to go down five",
|
| 205 |
+
"times and return to their pre-boom",
|
| 206 |
+
"levels from 2000 to 2002 a drop which"
|
| 207 |
+
],
|
| 208 |
+
[
|
| 209 |
+
"times and return to their pre-boom",
|
| 210 |
+
"levels from 2000 to 2002 a drop which"
|
| 211 |
+
],
|
| 212 |
+
[
|
| 213 |
+
"times and return to their pre-boom",
|
| 214 |
+
"levels from 2000 to 2002 a drop which"
|
| 215 |
+
],
|
| 216 |
+
[
|
| 217 |
+
"times and return to their pre-boom",
|
| 218 |
+
"levels from 2000 to 2002 a drop which"
|
| 219 |
+
],
|
| 220 |
+
[
|
| 221 |
+
"times and return to their pre-boom",
|
| 222 |
+
"levels from 2000 to 2002 a drop which",
|
| 223 |
+
"was also exacerbated by the terrorist"
|
| 224 |
+
],
|
| 225 |
+
[
|
| 226 |
+
"levels from 2000 to 2002 a drop which",
|
| 227 |
+
"was also exacerbated by the terrorist"
|
| 228 |
+
],
|
| 229 |
+
[
|
| 230 |
+
"levels from 2000 to 2002 a drop which",
|
| 231 |
+
"was also exacerbated by the terrorist",
|
| 232 |
+
"attacks of September 11th 2001 only one"
|
| 233 |
+
],
|
| 234 |
+
[
|
| 235 |
+
"was also exacerbated by the terrorist",
|
| 236 |
+
"attacks of September 11th 2001 only one"
|
| 237 |
+
],
|
| 238 |
+
[
|
| 239 |
+
"was also exacerbated by the terrorist",
|
| 240 |
+
"attacks of September 11th 2001 only one"
|
| 241 |
+
],
|
| 242 |
+
[
|
| 243 |
+
"was also exacerbated by the terrorist",
|
| 244 |
+
"attacks of September 11th 2001 only one",
|
| 245 |
+
"out of two internet companies survived"
|
| 246 |
+
],
|
| 247 |
+
[
|
| 248 |
+
"attacks of September 11th 2001 only one",
|
| 249 |
+
"out of two internet companies survived"
|
| 250 |
+
],
|
| 251 |
+
[
|
| 252 |
+
"attacks of September 11th 2001 only one",
|
| 253 |
+
"out of two internet companies survived"
|
| 254 |
+
],
|
| 255 |
+
[
|
| 256 |
+
"attacks of September 11th 2001 only one",
|
| 257 |
+
"out of two internet companies survived",
|
| 258 |
+
"with businesses such as pets.com going"
|
| 259 |
+
],
|
| 260 |
+
[
|
| 261 |
+
"out of two internet companies survived",
|
| 262 |
+
"with businesses such as pets.com going"
|
| 263 |
+
],
|
| 264 |
+
[
|
| 265 |
+
"out of two internet companies survived",
|
| 266 |
+
"with businesses such as pets.com going",
|
| 267 |
+
"from a market capitalization of over"
|
| 268 |
+
],
|
| 269 |
+
[
|
| 270 |
+
"with businesses such as pets.com going",
|
| 271 |
+
"from a market capitalization of over"
|
| 272 |
+
],
|
| 273 |
+
[
|
| 274 |
+
"with businesses such as pets.com going",
|
| 275 |
+
"from a market capitalization of over",
|
| 276 |
+
"$300 million to zero within just 268"
|
| 277 |
+
],
|
| 278 |
+
[
|
| 279 |
+
"from a market capitalization of over",
|
| 280 |
+
"$300 million to zero within just 268"
|
| 281 |
+
],
|
| 282 |
+
[
|
| 283 |
+
"from a market capitalization of over",
|
| 284 |
+
"$300 million to zero within just 268"
|
| 285 |
+
],
|
| 286 |
+
[
|
| 287 |
+
"from a market capitalization of over",
|
| 288 |
+
"$300 million to zero within just 268"
|
| 289 |
+
],
|
| 290 |
+
[
|
| 291 |
+
"from a market capitalization of over",
|
| 292 |
+
"$300 million to zero within just 268"
|
| 293 |
+
],
|
| 294 |
+
[
|
| 295 |
+
"from a market capitalization of over",
|
| 296 |
+
"$300 million to zero within just 268",
|
| 297 |
+
"days there are however also success"
|
| 298 |
+
],
|
| 299 |
+
[
|
| 300 |
+
"$300 million to zero within just 268",
|
| 301 |
+
"days there are however also success"
|
| 302 |
+
],
|
| 303 |
+
[
|
| 304 |
+
"$300 million to zero within just 268",
|
| 305 |
+
"days there are however also success"
|
| 306 |
+
],
|
| 307 |
+
[
|
| 308 |
+
"$300 million to zero within just 268",
|
| 309 |
+
"days there are however also success",
|
| 310 |
+
"stories such as Amazon which went from"
|
| 311 |
+
],
|
| 312 |
+
[
|
| 313 |
+
"days there are however also success",
|
| 314 |
+
"stories such as Amazon which went from"
|
| 315 |
+
],
|
| 316 |
+
[
|
| 317 |
+
"days there are however also success",
|
| 318 |
+
"stories such as Amazon which went from",
|
| 319 |
+
"around $100 during the bubble Peak all"
|
| 320 |
+
],
|
| 321 |
+
[
|
| 322 |
+
"stories such as Amazon which went from",
|
| 323 |
+
"around $100 during the bubble Peak all"
|
| 324 |
+
],
|
| 325 |
+
[
|
| 326 |
+
"stories such as Amazon which went from",
|
| 327 |
+
"around $100 during the bubble Peak all",
|
| 328 |
+
"the way down to $7 after it burst but"
|
| 329 |
+
],
|
| 330 |
+
[
|
| 331 |
+
"around $100 during the bubble Peak all",
|
| 332 |
+
"the way down to $7 after it burst but"
|
| 333 |
+
],
|
| 334 |
+
[
|
| 335 |
+
"around $100 during the bubble Peak all",
|
| 336 |
+
"the way down to $7 after it burst but"
|
| 337 |
+
],
|
| 338 |
+
[
|
| 339 |
+
"around $100 during the bubble Peak all",
|
| 340 |
+
"the way down to $7 after it burst but",
|
| 341 |
+
"then climbed back up to over $600 per"
|
| 342 |
+
],
|
| 343 |
+
[
|
| 344 |
+
"the way down to $7 after it burst but",
|
| 345 |
+
"then climbed back up to over $600 per"
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|
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| 574 |
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],
|
| 745 |
+
"stories such as Amazon which went from": [
|
| 746 |
+
56,
|
| 747 |
+
64
|
| 748 |
+
],
|
| 749 |
+
"days there are however also success": [
|
| 750 |
+
56
|
| 751 |
+
],
|
| 752 |
+
"around $100 during the bubble Peak all": [
|
| 753 |
+
56,
|
| 754 |
+
64
|
| 755 |
+
],
|
| 756 |
+
"the way down to $7 after it burst but": [
|
| 757 |
+
64
|
| 758 |
+
],
|
| 759 |
+
"share the conclusion is simple like any": [
|
| 760 |
+
64,
|
| 761 |
+
72
|
| 762 |
+
],
|
| 763 |
+
"then climbed back up to over $600 per": [
|
| 764 |
+
64,
|
| 765 |
+
72
|
| 766 |
+
],
|
| 767 |
+
"other Mania theom bubble is a": [
|
| 768 |
+
72
|
| 769 |
+
],
|
| 770 |
+
"fascinating human nature lesson": [
|
| 771 |
+
72
|
| 772 |
+
]
|
| 773 |
+
},
|
| 774 |
+
"video_file": "frames.mp4",
|
| 775 |
+
"fps": 1
|
| 776 |
+
}
|
videomme_window_8/6EIrArTyLVU/metadata.json
ADDED
|
@@ -0,0 +1,572 @@
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|
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|
|
|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 9,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
68
|
| 40 |
+
]
|
| 41 |
+
},
|
| 42 |
+
"frames_count": 68,
|
| 43 |
+
"embeddings_count": 9,
|
| 44 |
+
"all_subtitles": [
|
| 45 |
+
[
|
| 46 |
+
"today I totally understand that you see"
|
| 47 |
+
],
|
| 48 |
+
[
|
| 49 |
+
"today I totally understand that you see"
|
| 50 |
+
],
|
| 51 |
+
[
|
| 52 |
+
"today I totally understand that you see",
|
| 53 |
+
"these outdoor gyms there's people that"
|
| 54 |
+
],
|
| 55 |
+
[
|
| 56 |
+
"today I totally understand that you see",
|
| 57 |
+
"these outdoor gyms there's people that"
|
| 58 |
+
],
|
| 59 |
+
[
|
| 60 |
+
"today I totally understand that you see",
|
| 61 |
+
"these outdoor gyms there's people that",
|
| 62 |
+
"buff they got six packs and got oh my"
|
| 63 |
+
],
|
| 64 |
+
[
|
| 65 |
+
"these outdoor gyms there's people that",
|
| 66 |
+
"buff they got six packs and got oh my"
|
| 67 |
+
],
|
| 68 |
+
[
|
| 69 |
+
"these outdoor gyms there's people that",
|
| 70 |
+
"buff they got six packs and got oh my",
|
| 71 |
+
"god I could never do that so today I"
|
| 72 |
+
],
|
| 73 |
+
[
|
| 74 |
+
"buff they got six packs and got oh my",
|
| 75 |
+
"god I could never do that so today I"
|
| 76 |
+
],
|
| 77 |
+
[
|
| 78 |
+
"buff they got six packs and got oh my",
|
| 79 |
+
"god I could never do that so today I",
|
| 80 |
+
"wanted to take you through a Sam seven"
|
| 81 |
+
],
|
| 82 |
+
[
|
| 83 |
+
"god I could never do that so today I",
|
| 84 |
+
"wanted to take you through a Sam seven"
|
| 85 |
+
],
|
| 86 |
+
[
|
| 87 |
+
"god I could never do that so today I",
|
| 88 |
+
"wanted to take you through a Sam seven",
|
| 89 |
+
"which introduces you to an outdoor gym"
|
| 90 |
+
],
|
| 91 |
+
[
|
| 92 |
+
"wanted to take you through a Sam seven",
|
| 93 |
+
"which introduces you to an outdoor gym"
|
| 94 |
+
],
|
| 95 |
+
[
|
| 96 |
+
"wanted to take you through a Sam seven",
|
| 97 |
+
"which introduces you to an outdoor gym"
|
| 98 |
+
],
|
| 99 |
+
[
|
| 100 |
+
"wanted to take you through a Sam seven",
|
| 101 |
+
"which introduces you to an outdoor gym",
|
| 102 |
+
"which is a great tool for training we're"
|
| 103 |
+
],
|
| 104 |
+
[
|
| 105 |
+
"which introduces you to an outdoor gym",
|
| 106 |
+
"which is a great tool for training we're"
|
| 107 |
+
],
|
| 108 |
+
[
|
| 109 |
+
"which introduces you to an outdoor gym",
|
| 110 |
+
"which is a great tool for training we're",
|
| 111 |
+
"gonna go back to basics and give you a"
|
| 112 |
+
],
|
| 113 |
+
[
|
| 114 |
+
"which is a great tool for training we're",
|
| 115 |
+
"gonna go back to basics and give you a"
|
| 116 |
+
],
|
| 117 |
+
[
|
| 118 |
+
"which is a great tool for training we're",
|
| 119 |
+
"gonna go back to basics and give you a",
|
| 120 |
+
"beginner workout"
|
| 121 |
+
],
|
| 122 |
+
[
|
| 123 |
+
"gonna go back to basics and give you a",
|
| 124 |
+
"beginner workout"
|
| 125 |
+
],
|
| 126 |
+
[
|
| 127 |
+
"gonna go back to basics and give you a",
|
| 128 |
+
"beginner workout",
|
| 129 |
+
"[Music]"
|
| 130 |
+
],
|
| 131 |
+
[
|
| 132 |
+
"beginner workout",
|
| 133 |
+
"[Music]"
|
| 134 |
+
],
|
| 135 |
+
[
|
| 136 |
+
"beginner workout",
|
| 137 |
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|
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|
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|
|
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|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
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|
|
|
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|
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|
|
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|
|
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|
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|
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|
|
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|
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|
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|
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|
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|
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|
|
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|
|
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|
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|
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|
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|
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|
| 1 |
+
{
|
| 2 |
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"window_size": 8,
|
| 3 |
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|
| 4 |
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"window_index_map": {
|
| 5 |
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|
| 6 |
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0,
|
| 7 |
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|
| 8 |
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],
|
| 9 |
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|
| 10 |
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8,
|
| 11 |
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16
|
| 12 |
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],
|
| 13 |
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"2": [
|
| 14 |
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16,
|
| 15 |
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24
|
| 16 |
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|
| 17 |
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"3": [
|
| 18 |
+
24,
|
| 19 |
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32
|
| 20 |
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],
|
| 21 |
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"4": [
|
| 22 |
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32,
|
| 23 |
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40
|
| 24 |
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|
| 25 |
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"5": [
|
| 26 |
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40,
|
| 27 |
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48
|
| 28 |
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],
|
| 29 |
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"6": [
|
| 30 |
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48,
|
| 31 |
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56
|
| 32 |
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|
| 33 |
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"7": [
|
| 34 |
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56,
|
| 35 |
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64
|
| 36 |
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|
| 37 |
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"8": [
|
| 38 |
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64,
|
| 39 |
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72
|
| 40 |
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|
| 41 |
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"9": [
|
| 42 |
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72,
|
| 43 |
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80
|
| 44 |
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|
| 45 |
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"10": [
|
| 46 |
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80,
|
| 47 |
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88
|
| 48 |
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|
| 49 |
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"11": [
|
| 50 |
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88,
|
| 51 |
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96
|
| 52 |
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|
| 53 |
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"12": [
|
| 54 |
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96,
|
| 55 |
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104
|
| 56 |
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|
| 57 |
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"13": [
|
| 58 |
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104,
|
| 59 |
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112
|
| 60 |
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|
| 61 |
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"14": [
|
| 62 |
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112,
|
| 63 |
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120
|
| 64 |
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|
| 65 |
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"15": [
|
| 66 |
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120,
|
| 67 |
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128
|
| 68 |
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|
| 69 |
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"16": [
|
| 70 |
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128,
|
| 71 |
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136
|
| 72 |
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|
| 73 |
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"17": [
|
| 74 |
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136,
|
| 75 |
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144
|
| 76 |
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|
| 77 |
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"18": [
|
| 78 |
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144,
|
| 79 |
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152
|
| 80 |
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|
| 81 |
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"19": [
|
| 82 |
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152,
|
| 83 |
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160
|
| 84 |
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],
|
| 85 |
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"20": [
|
| 86 |
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160,
|
| 87 |
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168
|
| 88 |
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],
|
| 89 |
+
"21": [
|
| 90 |
+
168,
|
| 91 |
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176
|
| 92 |
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],
|
| 93 |
+
"22": [
|
| 94 |
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176,
|
| 95 |
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184
|
| 96 |
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],
|
| 97 |
+
"23": [
|
| 98 |
+
184,
|
| 99 |
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192
|
| 100 |
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],
|
| 101 |
+
"24": [
|
| 102 |
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192,
|
| 103 |
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200
|
| 104 |
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|
| 105 |
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"25": [
|
| 106 |
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200,
|
| 107 |
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208
|
| 108 |
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|
| 109 |
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"26": [
|
| 110 |
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208,
|
| 111 |
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216
|
| 112 |
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],
|
| 113 |
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"27": [
|
| 114 |
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216,
|
| 115 |
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224
|
| 116 |
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],
|
| 117 |
+
"28": [
|
| 118 |
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224,
|
| 119 |
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232
|
| 120 |
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],
|
| 121 |
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"29": [
|
| 122 |
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232,
|
| 123 |
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240
|
| 124 |
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],
|
| 125 |
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"30": [
|
| 126 |
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240,
|
| 127 |
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248
|
| 128 |
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],
|
| 129 |
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"31": [
|
| 130 |
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248,
|
| 131 |
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256
|
| 132 |
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|
| 133 |
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"32": [
|
| 134 |
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256,
|
| 135 |
+
257
|
| 136 |
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]
|
| 137 |
+
},
|
| 138 |
+
"frames_count": 257,
|
| 139 |
+
"embeddings_count": 33,
|
| 140 |
+
"all_subtitles": [],
|
| 141 |
+
"subtitles_by_window": {},
|
| 142 |
+
"unique_subtitles_by_window": {},
|
| 143 |
+
"window_by_subtitle": {},
|
| 144 |
+
"video_file": "frames.mp4",
|
| 145 |
+
"fps": 1
|
| 146 |
+
}
|
videomme_window_8/8-aI8Fp2bPU/metadata.json
ADDED
|
@@ -0,0 +1,2910 @@
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|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 33,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
80
|
| 44 |
+
],
|
| 45 |
+
"10": [
|
| 46 |
+
80,
|
| 47 |
+
88
|
| 48 |
+
],
|
| 49 |
+
"11": [
|
| 50 |
+
88,
|
| 51 |
+
96
|
| 52 |
+
],
|
| 53 |
+
"12": [
|
| 54 |
+
96,
|
| 55 |
+
104
|
| 56 |
+
],
|
| 57 |
+
"13": [
|
| 58 |
+
104,
|
| 59 |
+
112
|
| 60 |
+
],
|
| 61 |
+
"14": [
|
| 62 |
+
112,
|
| 63 |
+
120
|
| 64 |
+
],
|
| 65 |
+
"15": [
|
| 66 |
+
120,
|
| 67 |
+
128
|
| 68 |
+
],
|
| 69 |
+
"16": [
|
| 70 |
+
128,
|
| 71 |
+
136
|
| 72 |
+
],
|
| 73 |
+
"17": [
|
| 74 |
+
136,
|
| 75 |
+
144
|
| 76 |
+
],
|
| 77 |
+
"18": [
|
| 78 |
+
144,
|
| 79 |
+
152
|
| 80 |
+
],
|
| 81 |
+
"19": [
|
| 82 |
+
152,
|
| 83 |
+
160
|
| 84 |
+
],
|
| 85 |
+
"20": [
|
| 86 |
+
160,
|
| 87 |
+
168
|
| 88 |
+
],
|
| 89 |
+
"21": [
|
| 90 |
+
168,
|
| 91 |
+
176
|
| 92 |
+
],
|
| 93 |
+
"22": [
|
| 94 |
+
176,
|
| 95 |
+
184
|
| 96 |
+
],
|
| 97 |
+
"23": [
|
| 98 |
+
184,
|
| 99 |
+
192
|
| 100 |
+
],
|
| 101 |
+
"24": [
|
| 102 |
+
192,
|
| 103 |
+
200
|
| 104 |
+
],
|
| 105 |
+
"25": [
|
| 106 |
+
200,
|
| 107 |
+
208
|
| 108 |
+
],
|
| 109 |
+
"26": [
|
| 110 |
+
208,
|
| 111 |
+
216
|
| 112 |
+
],
|
| 113 |
+
"27": [
|
| 114 |
+
216,
|
| 115 |
+
224
|
| 116 |
+
],
|
| 117 |
+
"28": [
|
| 118 |
+
224,
|
| 119 |
+
232
|
| 120 |
+
],
|
| 121 |
+
"29": [
|
| 122 |
+
232,
|
| 123 |
+
240
|
| 124 |
+
],
|
| 125 |
+
"30": [
|
| 126 |
+
240,
|
| 127 |
+
248
|
| 128 |
+
],
|
| 129 |
+
"31": [
|
| 130 |
+
248,
|
| 131 |
+
256
|
| 132 |
+
],
|
| 133 |
+
"32": [
|
| 134 |
+
256,
|
| 135 |
+
262
|
| 136 |
+
]
|
| 137 |
+
},
|
| 138 |
+
"frames_count": 262,
|
| 139 |
+
"embeddings_count": 33,
|
| 140 |
+
"all_subtitles": [
|
| 141 |
+
[
|
| 142 |
+
"what's going on guys Shane here welcome"
|
| 143 |
+
],
|
| 144 |
+
[
|
| 145 |
+
"what's going on guys Shane here welcome",
|
| 146 |
+
"to my backyard just kidding but someday"
|
| 147 |
+
],
|
| 148 |
+
[
|
| 149 |
+
"what's going on guys Shane here welcome",
|
| 150 |
+
"to my backyard just kidding but someday"
|
| 151 |
+
],
|
| 152 |
+
[
|
| 153 |
+
"what's going on guys Shane here welcome",
|
| 154 |
+
"to my backyard just kidding but someday"
|
| 155 |
+
],
|
| 156 |
+
[
|
| 157 |
+
"what's going on guys Shane here welcome",
|
| 158 |
+
"to my backyard just kidding but someday"
|
| 159 |
+
],
|
| 160 |
+
[
|
| 161 |
+
"what's going on guys Shane here welcome",
|
| 162 |
+
"to my backyard just kidding but someday",
|
| 163 |
+
"all right so today we're going to be"
|
| 164 |
+
],
|
| 165 |
+
[
|
| 166 |
+
"to my backyard just kidding but someday",
|
| 167 |
+
"all right so today we're going to be",
|
| 168 |
+
"doing a home boxing or mix martial arts"
|
| 169 |
+
],
|
| 170 |
+
[
|
| 171 |
+
"all right so today we're going to be",
|
| 172 |
+
"doing a home boxing or mix martial arts"
|
| 173 |
+
],
|
| 174 |
+
[
|
| 175 |
+
"all right so today we're going to be",
|
| 176 |
+
"doing a home boxing or mix martial arts",
|
| 177 |
+
"workout that's up to you if you want to"
|
| 178 |
+
],
|
| 179 |
+
[
|
| 180 |
+
"doing a home boxing or mix martial arts",
|
| 181 |
+
"workout that's up to you if you want to",
|
| 182 |
+
"incorporate your kicks knees and elbows"
|
| 183 |
+
],
|
| 184 |
+
[
|
| 185 |
+
"workout that's up to you if you want to",
|
| 186 |
+
"incorporate your kicks knees and elbows"
|
| 187 |
+
],
|
| 188 |
+
[
|
| 189 |
+
"workout that's up to you if you want to",
|
| 190 |
+
"incorporate your kicks knees and elbows",
|
| 191 |
+
"or if you just want to do strictly hands"
|
| 192 |
+
],
|
| 193 |
+
[
|
| 194 |
+
"incorporate your kicks knees and elbows",
|
| 195 |
+
"or if you just want to do strictly hands"
|
| 196 |
+
],
|
| 197 |
+
[
|
| 198 |
+
"incorporate your kicks knees and elbows",
|
| 199 |
+
"or if you just want to do strictly hands",
|
| 200 |
+
"there's going to be a muscle endurance"
|
| 201 |
+
],
|
| 202 |
+
[
|
| 203 |
+
"or if you just want to do strictly hands",
|
| 204 |
+
"there's going to be a muscle endurance"
|
| 205 |
+
],
|
| 206 |
+
[
|
| 207 |
+
"or if you just want to do strictly hands",
|
| 208 |
+
"there's going to be a muscle endurance",
|
| 209 |
+
"and cardio work out all right here's the"
|
| 210 |
+
],
|
| 211 |
+
[
|
| 212 |
+
"there's going to be a muscle endurance",
|
| 213 |
+
"and cardio work out all right here's the"
|
| 214 |
+
],
|
| 215 |
+
[
|
| 216 |
+
"there's going to be a muscle endurance",
|
| 217 |
+
"and cardio work out all right here's the",
|
| 218 |
+
"format we're going to be doing 3 minute"
|
| 219 |
+
],
|
| 220 |
+
[
|
| 221 |
+
"and cardio work out all right here's the",
|
| 222 |
+
"format we're going to be doing 3 minute"
|
| 223 |
+
],
|
| 224 |
+
[
|
| 225 |
+
"and cardio work out all right here's the",
|
| 226 |
+
"format we're going to be doing 3 minute",
|
| 227 |
+
"rounds with 30 second rest in between"
|
| 228 |
+
],
|
| 229 |
+
[
|
| 230 |
+
"format we're going to be doing 3 minute",
|
| 231 |
+
"rounds with 30 second rest in between",
|
| 232 |
+
"for five rounds if you want to do more"
|
| 233 |
+
],
|
| 234 |
+
[
|
| 235 |
+
"rounds with 30 second rest in between",
|
| 236 |
+
"for five rounds if you want to do more"
|
| 237 |
+
],
|
| 238 |
+
[
|
| 239 |
+
"rounds with 30 second rest in between",
|
| 240 |
+
"for five rounds if you want to do more",
|
| 241 |
+
"or less that's fine if you want to tweak"
|
| 242 |
+
],
|
| 243 |
+
[
|
| 244 |
+
"for five rounds if you want to do more",
|
| 245 |
+
"or less that's fine if you want to tweak",
|
| 246 |
+
"it in anyway that's okay too it's going"
|
| 247 |
+
],
|
| 248 |
+
[
|
| 249 |
+
"or less that's fine if you want to tweak",
|
| 250 |
+
"it in anyway that's okay too it's going"
|
| 251 |
+
],
|
| 252 |
+
[
|
| 253 |
+
"or less that's fine if you want to tweak",
|
| 254 |
+
"it in anyway that's okay too it's going",
|
| 255 |
+
"to be 30 seconds of Shadow Boxing we'll"
|
| 256 |
+
],
|
| 257 |
+
[
|
| 258 |
+
"it in anyway that's okay too it's going",
|
| 259 |
+
"to be 30 seconds of Shadow Boxing we'll"
|
| 260 |
+
],
|
| 261 |
+
[
|
| 262 |
+
"it in anyway that's okay too it's going",
|
| 263 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 264 |
+
"break down how exactly you're going to"
|
| 265 |
+
],
|
| 266 |
+
[
|
| 267 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 268 |
+
"break down how exactly you're going to",
|
| 269 |
+
"shadow box then 30 seconds of burpees"
|
| 270 |
+
],
|
| 271 |
+
[
|
| 272 |
+
"break down how exactly you're going to",
|
| 273 |
+
"shadow box then 30 seconds of burpees"
|
| 274 |
+
],
|
| 275 |
+
[
|
| 276 |
+
"break down how exactly you're going to",
|
| 277 |
+
"shadow box then 30 seconds of burpees",
|
| 278 |
+
"back to the Shadow Boxing then we're"
|
| 279 |
+
],
|
| 280 |
+
[
|
| 281 |
+
"shadow box then 30 seconds of burpees",
|
| 282 |
+
"back to the Shadow Boxing then we're"
|
| 283 |
+
],
|
| 284 |
+
[
|
| 285 |
+
"shadow box then 30 seconds of burpees",
|
| 286 |
+
"back to the Shadow Boxing then we're",
|
| 287 |
+
"going to do 180 jump squats back to"
|
| 288 |
+
],
|
| 289 |
+
[
|
| 290 |
+
"back to the Shadow Boxing then we're",
|
| 291 |
+
"going to do 180 jump squats back to"
|
| 292 |
+
],
|
| 293 |
+
[
|
| 294 |
+
"back to the Shadow Boxing then we're",
|
| 295 |
+
"going to do 180 jump squats back to",
|
| 296 |
+
"Shadow Boxing again and then we're going"
|
| 297 |
+
],
|
| 298 |
+
[
|
| 299 |
+
"going to do 180 jump squats back to",
|
| 300 |
+
"Shadow Boxing again and then we're going",
|
| 301 |
+
"to finish with Matrix push-ups and we'll"
|
| 302 |
+
],
|
| 303 |
+
[
|
| 304 |
+
"Shadow Boxing again and then we're going",
|
| 305 |
+
"to finish with Matrix push-ups and we'll"
|
| 306 |
+
],
|
| 307 |
+
[
|
| 308 |
+
"Shadow Boxing again and then we're going",
|
| 309 |
+
"to finish with Matrix push-ups and we'll",
|
| 310 |
+
"explain what those are so we're starting"
|
| 311 |
+
],
|
| 312 |
+
[
|
| 313 |
+
"to finish with Matrix push-ups and we'll",
|
| 314 |
+
"explain what those are so we're starting",
|
| 315 |
+
"it off with Shadow Boxing which is a"
|
| 316 |
+
],
|
| 317 |
+
[
|
| 318 |
+
"explain what those are so we're starting",
|
| 319 |
+
"it off with Shadow Boxing which is a"
|
| 320 |
+
],
|
| 321 |
+
[
|
| 322 |
+
"explain what those are so we're starting",
|
| 323 |
+
"it off with Shadow Boxing which is a",
|
| 324 |
+
"great full body workout it gets the"
|
| 325 |
+
],
|
| 326 |
+
[
|
| 327 |
+
"it off with Shadow Boxing which is a",
|
| 328 |
+
"great full body workout it gets the",
|
| 329 |
+
"heart rate up and it improves your"
|
| 330 |
+
],
|
| 331 |
+
[
|
| 332 |
+
"great full body workout it gets the",
|
| 333 |
+
"heart rate up and it improves your"
|
| 334 |
+
],
|
| 335 |
+
[
|
| 336 |
+
"great full body workout it gets the",
|
| 337 |
+
"heart rate up and it improves your",
|
| 338 |
+
"fighting skills so if you're new to"
|
| 339 |
+
],
|
| 340 |
+
[
|
| 341 |
+
"heart rate up and it improves your",
|
| 342 |
+
"fighting skills so if you're new to",
|
| 343 |
+
"Shadow Boxing A good rule of thumb is to"
|
| 344 |
+
],
|
| 345 |
+
[
|
| 346 |
+
"fighting skills so if you're new to",
|
| 347 |
+
"Shadow Boxing A good rule of thumb is to"
|
| 348 |
+
],
|
| 349 |
+
[
|
| 350 |
+
"fighting skills so if you're new to",
|
| 351 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 352 |
+
"finish your punch combinations with"
|
| 353 |
+
],
|
| 354 |
+
[
|
| 355 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 356 |
+
"finish your punch combinations with"
|
| 357 |
+
],
|
| 358 |
+
[
|
| 359 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 360 |
+
"finish your punch combinations with",
|
| 361 |
+
"kicks or with knees you can see I threw"
|
| 362 |
+
],
|
| 363 |
+
[
|
| 364 |
+
"finish your punch combinations with",
|
| 365 |
+
"kicks or with knees you can see I threw",
|
| 366 |
+
"a jab and I finish with the opposite"
|
| 367 |
+
],
|
| 368 |
+
[
|
| 369 |
+
"kicks or with knees you can see I threw",
|
| 370 |
+
"a jab and I finish with the opposite"
|
| 371 |
+
],
|
| 372 |
+
[
|
| 373 |
+
"kicks or with knees you can see I threw",
|
| 374 |
+
"a jab and I finish with the opposite",
|
| 375 |
+
"side knee I finish with a cross and then"
|
| 376 |
+
],
|
| 377 |
+
[
|
| 378 |
+
"a jab and I finish with the opposite",
|
| 379 |
+
"side knee I finish with a cross and then"
|
| 380 |
+
],
|
| 381 |
+
[
|
| 382 |
+
"a jab and I finish with the opposite",
|
| 383 |
+
"side knee I finish with a cross and then",
|
| 384 |
+
"I finish with the opposite side knee"
|
| 385 |
+
],
|
| 386 |
+
[
|
| 387 |
+
"side knee I finish with a cross and then",
|
| 388 |
+
"I finish with the opposite side knee",
|
| 389 |
+
"again it could be a front push kick it"
|
| 390 |
+
],
|
| 391 |
+
[
|
| 392 |
+
"I finish with the opposite side knee",
|
| 393 |
+
"again it could be a front push kick it"
|
| 394 |
+
],
|
| 395 |
+
[
|
| 396 |
+
"I finish with the opposite side knee",
|
| 397 |
+
"again it could be a front push kick it",
|
| 398 |
+
"could be a round kick or if you're just"
|
| 399 |
+
],
|
| 400 |
+
[
|
| 401 |
+
"again it could be a front push kick it",
|
| 402 |
+
"could be a round kick or if you're just",
|
| 403 |
+
"exclusively doing your punches then just"
|
| 404 |
+
],
|
| 405 |
+
[
|
| 406 |
+
"could be a round kick or if you're just",
|
| 407 |
+
"exclusively doing your punches then just"
|
| 408 |
+
],
|
| 409 |
+
[
|
| 410 |
+
"could be a round kick or if you're just",
|
| 411 |
+
"exclusively doing your punches then just"
|
| 412 |
+
],
|
| 413 |
+
[
|
| 414 |
+
"could be a round kick or if you're just",
|
| 415 |
+
"exclusively doing your punches then just",
|
| 416 |
+
"work your hands all right visualizing"
|
| 417 |
+
],
|
| 418 |
+
[
|
| 419 |
+
"exclusively doing your punches then just",
|
| 420 |
+
"work your hands all right visualizing",
|
| 421 |
+
"opponent in front of you moving around"
|
| 422 |
+
],
|
| 423 |
+
[
|
| 424 |
+
"work your hands all right visualizing",
|
| 425 |
+
"opponent in front of you moving around"
|
| 426 |
+
],
|
| 427 |
+
[
|
| 428 |
+
"work your hands all right visualizing",
|
| 429 |
+
"opponent in front of you moving around",
|
| 430 |
+
"so you're exercising good footwork and"
|
| 431 |
+
],
|
| 432 |
+
[
|
| 433 |
+
"opponent in front of you moving around",
|
| 434 |
+
"so you're exercising good footwork and"
|
| 435 |
+
],
|
| 436 |
+
[
|
| 437 |
+
"opponent in front of you moving around",
|
| 438 |
+
"so you're exercising good footwork and",
|
| 439 |
+
"you're keeping your strikes accurate"
|
| 440 |
+
],
|
| 441 |
+
[
|
| 442 |
+
"so you're exercising good footwork and",
|
| 443 |
+
"you're keeping your strikes accurate",
|
| 444 |
+
"going to the head going to the body you"
|
| 445 |
+
],
|
| 446 |
+
[
|
| 447 |
+
"you're keeping your strikes accurate",
|
| 448 |
+
"going to the head going to the body you"
|
| 449 |
+
],
|
| 450 |
+
[
|
| 451 |
+
"you're keeping your strikes accurate",
|
| 452 |
+
"going to the head going to the body you",
|
| 453 |
+
"also got to work your defense your head"
|
| 454 |
+
],
|
| 455 |
+
[
|
| 456 |
+
"going to the head going to the body you",
|
| 457 |
+
"also got to work your defense your head",
|
| 458 |
+
"movement your evasions sometimes Sprint"
|
| 459 |
+
],
|
| 460 |
+
[
|
| 461 |
+
"also got to work your defense your head",
|
| 462 |
+
"movement your evasions sometimes Sprint"
|
| 463 |
+
],
|
| 464 |
+
[
|
| 465 |
+
"also got to work your defense your head",
|
| 466 |
+
"movement your evasions sometimes Sprint",
|
| 467 |
+
"it out with some quick uppercuts or"
|
| 468 |
+
],
|
| 469 |
+
[
|
| 470 |
+
"movement your evasions sometimes Sprint",
|
| 471 |
+
"it out with some quick uppercuts or"
|
| 472 |
+
],
|
| 473 |
+
[
|
| 474 |
+
"movement your evasions sometimes Sprint",
|
| 475 |
+
"it out with some quick uppercuts or",
|
| 476 |
+
"clinch knees soon as you're done you're"
|
| 477 |
+
],
|
| 478 |
+
[
|
| 479 |
+
"it out with some quick uppercuts or",
|
| 480 |
+
"clinch knees soon as you're done you're",
|
| 481 |
+
"going right to burpees all right 30"
|
| 482 |
+
],
|
| 483 |
+
[
|
| 484 |
+
"clinch knees soon as you're done you're",
|
| 485 |
+
"going right to burpees all right 30"
|
| 486 |
+
],
|
| 487 |
+
[
|
| 488 |
+
"clinch knees soon as you're done you're",
|
| 489 |
+
"going right to burpees all right 30",
|
| 490 |
+
"seconds of burpees non-stop rep them out"
|
| 491 |
+
],
|
| 492 |
+
[
|
| 493 |
+
"going right to burpees all right 30",
|
| 494 |
+
"seconds of burpees non-stop rep them out"
|
| 495 |
+
],
|
| 496 |
+
[
|
| 497 |
+
"going right to burpees all right 30",
|
| 498 |
+
"seconds of burpees non-stop rep them out",
|
| 499 |
+
"as many as you can do make sure you're"
|
| 500 |
+
],
|
| 501 |
+
[
|
| 502 |
+
"seconds of burpees non-stop rep them out",
|
| 503 |
+
"as many as you can do make sure you're",
|
| 504 |
+
"doing a push-up at the bottom fast hips"
|
| 505 |
+
],
|
| 506 |
+
[
|
| 507 |
+
"as many as you can do make sure you're",
|
| 508 |
+
"doing a push-up at the bottom fast hips"
|
| 509 |
+
],
|
| 510 |
+
[
|
| 511 |
+
"as many as you can do make sure you're",
|
| 512 |
+
"doing a push-up at the bottom fast hips",
|
| 513 |
+
"exploding a jump at the top land soft"
|
| 514 |
+
],
|
| 515 |
+
[
|
| 516 |
+
"doing a push-up at the bottom fast hips",
|
| 517 |
+
"exploding a jump at the top land soft"
|
| 518 |
+
],
|
| 519 |
+
[
|
| 520 |
+
"doing a push-up at the bottom fast hips",
|
| 521 |
+
"exploding a jump at the top land soft"
|
| 522 |
+
],
|
| 523 |
+
[
|
| 524 |
+
"doing a push-up at the bottom fast hips",
|
| 525 |
+
"exploding a jump at the top land soft",
|
| 526 |
+
"down into your squat right back down"
|
| 527 |
+
],
|
| 528 |
+
[
|
| 529 |
+
"exploding a jump at the top land soft",
|
| 530 |
+
"down into your squat right back down"
|
| 531 |
+
],
|
| 532 |
+
[
|
| 533 |
+
"exploding a jump at the top land soft",
|
| 534 |
+
"down into your squat right back down",
|
| 535 |
+
"burp is one of the best full body"
|
| 536 |
+
],
|
| 537 |
+
[
|
| 538 |
+
"down into your squat right back down",
|
| 539 |
+
"burp is one of the best full body",
|
| 540 |
+
"calisthenics that you can do again it"
|
| 541 |
+
],
|
| 542 |
+
[
|
| 543 |
+
"burp is one of the best full body",
|
| 544 |
+
"calisthenics that you can do again it"
|
| 545 |
+
],
|
| 546 |
+
[
|
| 547 |
+
"burp is one of the best full body",
|
| 548 |
+
"calisthenics that you can do again it",
|
| 549 |
+
"get gets the heart rate up it builds up"
|
| 550 |
+
],
|
| 551 |
+
[
|
| 552 |
+
"calisthenics that you can do again it",
|
| 553 |
+
"get gets the heart rate up it builds up"
|
| 554 |
+
],
|
| 555 |
+
[
|
| 556 |
+
"calisthenics that you can do again it",
|
| 557 |
+
"get gets the heart rate up it builds up",
|
| 558 |
+
"the chest the shoulders the back as well"
|
| 559 |
+
],
|
| 560 |
+
[
|
| 561 |
+
"get gets the heart rate up it builds up",
|
| 562 |
+
"the chest the shoulders the back as well"
|
| 563 |
+
],
|
| 564 |
+
[
|
| 565 |
+
"get gets the heart rate up it builds up",
|
| 566 |
+
"the chest the shoulders the back as well",
|
| 567 |
+
"as the core and the legs all right so"
|
| 568 |
+
],
|
| 569 |
+
[
|
| 570 |
+
"the chest the shoulders the back as well",
|
| 571 |
+
"as the core and the legs all right so"
|
| 572 |
+
],
|
| 573 |
+
[
|
| 574 |
+
"the chest the shoulders the back as well",
|
| 575 |
+
"as the core and the legs all right so",
|
| 576 |
+
"times you want to give up or when I need"
|
| 577 |
+
],
|
| 578 |
+
[
|
| 579 |
+
"as the core and the legs all right so",
|
| 580 |
+
"times you want to give up or when I need",
|
| 581 |
+
"you to especially keep on pushing"
|
| 582 |
+
],
|
| 583 |
+
[
|
| 584 |
+
"times you want to give up or when I need",
|
| 585 |
+
"you to especially keep on pushing"
|
| 586 |
+
],
|
| 587 |
+
[
|
| 588 |
+
"times you want to give up or when I need",
|
| 589 |
+
"you to especially keep on pushing",
|
| 590 |
+
"forward all right that's when you're"
|
| 591 |
+
],
|
| 592 |
+
[
|
| 593 |
+
"you to especially keep on pushing",
|
| 594 |
+
"forward all right that's when you're",
|
| 595 |
+
"going to start to see results when"
|
| 596 |
+
],
|
| 597 |
+
[
|
| 598 |
+
"forward all right that's when you're",
|
| 599 |
+
"going to start to see results when",
|
| 600 |
+
"you're pushing through that wall that"
|
| 601 |
+
],
|
| 602 |
+
[
|
| 603 |
+
"going to start to see results when",
|
| 604 |
+
"you're pushing through that wall that"
|
| 605 |
+
],
|
| 606 |
+
[
|
| 607 |
+
"going to start to see results when",
|
| 608 |
+
"you're pushing through that wall that",
|
| 609 |
+
"you normally give up at as soon as"
|
| 610 |
+
],
|
| 611 |
+
[
|
| 612 |
+
"you're pushing through that wall that",
|
| 613 |
+
"you normally give up at as soon as",
|
| 614 |
+
"you're done you're going to go right"
|
| 615 |
+
],
|
| 616 |
+
[
|
| 617 |
+
"you normally give up at as soon as",
|
| 618 |
+
"you're done you're going to go right",
|
| 619 |
+
"back into your Shadow Boxing all right"
|
| 620 |
+
],
|
| 621 |
+
[
|
| 622 |
+
"you're done you're going to go right",
|
| 623 |
+
"back into your Shadow Boxing all right",
|
| 624 |
+
"you're going to be fatigued you're going"
|
| 625 |
+
],
|
| 626 |
+
[
|
| 627 |
+
"back into your Shadow Boxing all right",
|
| 628 |
+
"you're going to be fatigued you're going",
|
| 629 |
+
"to be tired in a fight too reach those"
|
| 630 |
+
],
|
| 631 |
+
[
|
| 632 |
+
"you're going to be fatigued you're going",
|
| 633 |
+
"to be tired in a fight too reach those"
|
| 634 |
+
],
|
| 635 |
+
[
|
| 636 |
+
"you're going to be fatigued you're going",
|
| 637 |
+
"to be tired in a fight too reach those",
|
| 638 |
+
"goals that you're aiming for whether"
|
| 639 |
+
],
|
| 640 |
+
[
|
| 641 |
+
"to be tired in a fight too reach those",
|
| 642 |
+
"goals that you're aiming for whether",
|
| 643 |
+
"it's to be a better fighter or to lose"
|
| 644 |
+
],
|
| 645 |
+
[
|
| 646 |
+
"goals that you're aiming for whether",
|
| 647 |
+
"it's to be a better fighter or to lose"
|
| 648 |
+
],
|
| 649 |
+
[
|
| 650 |
+
"goals that you're aiming for whether",
|
| 651 |
+
"it's to be a better fighter or to lose"
|
| 652 |
+
],
|
| 653 |
+
[
|
| 654 |
+
"goals that you're aiming for whether",
|
| 655 |
+
"it's to be a better fighter or to lose",
|
| 656 |
+
"weight getting shape these are the times"
|
| 657 |
+
],
|
| 658 |
+
[
|
| 659 |
+
"it's to be a better fighter or to lose",
|
| 660 |
+
"weight getting shape these are the times",
|
| 661 |
+
"that you need to go hard when you're"
|
| 662 |
+
],
|
| 663 |
+
[
|
| 664 |
+
"weight getting shape these are the times",
|
| 665 |
+
"that you need to go hard when you're",
|
| 666 |
+
"huffing and puffing and when your limbs"
|
| 667 |
+
],
|
| 668 |
+
[
|
| 669 |
+
"that you need to go hard when you're",
|
| 670 |
+
"huffing and puffing and when your limbs",
|
| 671 |
+
"are tired that's when you need to keep"
|
| 672 |
+
],
|
| 673 |
+
[
|
| 674 |
+
"huffing and puffing and when your limbs",
|
| 675 |
+
"are tired that's when you need to keep"
|
| 676 |
+
],
|
| 677 |
+
[
|
| 678 |
+
"huffing and puffing and when your limbs",
|
| 679 |
+
"are tired that's when you need to keep",
|
| 680 |
+
"those hands up you need to keep throwing"
|
| 681 |
+
],
|
| 682 |
+
[
|
| 683 |
+
"are tired that's when you need to keep",
|
| 684 |
+
"those hands up you need to keep throwing"
|
| 685 |
+
],
|
| 686 |
+
[
|
| 687 |
+
"are tired that's when you need to keep",
|
| 688 |
+
"those hands up you need to keep throwing",
|
| 689 |
+
"with power 100% speed and accuracy good"
|
| 690 |
+
],
|
| 691 |
+
[
|
| 692 |
+
"those hands up you need to keep throwing",
|
| 693 |
+
"with power 100% speed and accuracy good"
|
| 694 |
+
],
|
| 695 |
+
[
|
| 696 |
+
"those hands up you need to keep throwing",
|
| 697 |
+
"with power 100% speed and accuracy good"
|
| 698 |
+
],
|
| 699 |
+
[
|
| 700 |
+
"those hands up you need to keep throwing",
|
| 701 |
+
"with power 100% speed and accuracy good",
|
| 702 |
+
"footwork switching it up you need to be"
|
| 703 |
+
],
|
| 704 |
+
[
|
| 705 |
+
"with power 100% speed and accuracy good",
|
| 706 |
+
"footwork switching it up you need to be"
|
| 707 |
+
],
|
| 708 |
+
[
|
| 709 |
+
"with power 100% speed and accuracy good",
|
| 710 |
+
"footwork switching it up you need to be",
|
| 711 |
+
"alert you need to be mentally strong too"
|
| 712 |
+
],
|
| 713 |
+
[
|
| 714 |
+
"footwork switching it up you need to be",
|
| 715 |
+
"alert you need to be mentally strong too",
|
| 716 |
+
"making sure you have a good strategy"
|
| 717 |
+
],
|
| 718 |
+
[
|
| 719 |
+
"alert you need to be mentally strong too",
|
| 720 |
+
"making sure you have a good strategy"
|
| 721 |
+
],
|
| 722 |
+
[
|
| 723 |
+
"alert you need to be mentally strong too",
|
| 724 |
+
"making sure you have a good strategy",
|
| 725 |
+
"going to the head to the body working"
|
| 726 |
+
],
|
| 727 |
+
[
|
| 728 |
+
"making sure you have a good strategy",
|
| 729 |
+
"going to the head to the body working"
|
| 730 |
+
],
|
| 731 |
+
[
|
| 732 |
+
"making sure you have a good strategy",
|
| 733 |
+
"going to the head to the body working",
|
| 734 |
+
"your kicks if this is kickboxing and"
|
| 735 |
+
],
|
| 736 |
+
[
|
| 737 |
+
"going to the head to the body working",
|
| 738 |
+
"your kicks if this is kickboxing and"
|
| 739 |
+
],
|
| 740 |
+
[
|
| 741 |
+
"going to the head to the body working",
|
| 742 |
+
"your kicks if this is kickboxing and",
|
| 743 |
+
"sprawls if this is MMA work that"
|
| 744 |
+
],
|
| 745 |
+
[
|
| 746 |
+
"your kicks if this is kickboxing and",
|
| 747 |
+
"sprawls if this is MMA work that",
|
| 748 |
+
"takedown defense next we got 180 jump"
|
| 749 |
+
],
|
| 750 |
+
[
|
| 751 |
+
"sprawls if this is MMA work that",
|
| 752 |
+
"takedown defense next we got 180 jump"
|
| 753 |
+
],
|
| 754 |
+
[
|
| 755 |
+
"sprawls if this is MMA work that",
|
| 756 |
+
"takedown defense next we got 180 jump",
|
| 757 |
+
"squats and these are killers here all"
|
| 758 |
+
],
|
| 759 |
+
[
|
| 760 |
+
"takedown defense next we got 180 jump",
|
| 761 |
+
"squats and these are killers here all"
|
| 762 |
+
],
|
| 763 |
+
[
|
| 764 |
+
"takedown defense next we got 180 jump",
|
| 765 |
+
"squats and these are killers here all",
|
| 766 |
+
"right you're going to jump up spin 180\u00b0"
|
| 767 |
+
],
|
| 768 |
+
[
|
| 769 |
+
"squats and these are killers here all",
|
| 770 |
+
"right you're going to jump up spin 180\u00b0"
|
| 771 |
+
],
|
| 772 |
+
[
|
| 773 |
+
"squats and these are killers here all",
|
| 774 |
+
"right you're going to jump up spin 180\u00b0",
|
| 775 |
+
"midair so it's a great plyometric"
|
| 776 |
+
],
|
| 777 |
+
[
|
| 778 |
+
"right you're going to jump up spin 180\u00b0",
|
| 779 |
+
"midair so it's a great plyometric"
|
| 780 |
+
],
|
| 781 |
+
[
|
| 782 |
+
"right you're going to jump up spin 180\u00b0",
|
| 783 |
+
"midair so it's a great plyometric",
|
| 784 |
+
"exercise here it's going to really burn"
|
| 785 |
+
],
|
| 786 |
+
[
|
| 787 |
+
"midair so it's a great plyometric",
|
| 788 |
+
"exercise here it's going to really burn"
|
| 789 |
+
],
|
| 790 |
+
[
|
| 791 |
+
"midair so it's a great plyometric",
|
| 792 |
+
"exercise here it's going to really burn",
|
| 793 |
+
"the legs out you're going to feel this"
|
| 794 |
+
],
|
| 795 |
+
[
|
| 796 |
+
"exercise here it's going to really burn",
|
| 797 |
+
"the legs out you're going to feel this",
|
| 798 |
+
"quick all right so you're going to jump"
|
| 799 |
+
],
|
| 800 |
+
[
|
| 801 |
+
"the legs out you're going to feel this",
|
| 802 |
+
"quick all right so you're going to jump"
|
| 803 |
+
],
|
| 804 |
+
[
|
| 805 |
+
"the legs out you're going to feel this",
|
| 806 |
+
"quick all right so you're going to jump",
|
| 807 |
+
"you're going to land soft on your toes"
|
| 808 |
+
],
|
| 809 |
+
[
|
| 810 |
+
"quick all right so you're going to jump",
|
| 811 |
+
"you're going to land soft on your toes",
|
| 812 |
+
"back down into a squat you can see me"
|
| 813 |
+
],
|
| 814 |
+
[
|
| 815 |
+
"you're going to land soft on your toes",
|
| 816 |
+
"back down into a squat you can see me"
|
| 817 |
+
],
|
| 818 |
+
[
|
| 819 |
+
"you're going to land soft on your toes",
|
| 820 |
+
"back down into a squat you can see me",
|
| 821 |
+
"already fatiguing I'm getting tired here"
|
| 822 |
+
],
|
| 823 |
+
[
|
| 824 |
+
"back down into a squat you can see me",
|
| 825 |
+
"already fatiguing I'm getting tired here"
|
| 826 |
+
],
|
| 827 |
+
[
|
| 828 |
+
"back down into a squat you can see me",
|
| 829 |
+
"already fatiguing I'm getting tired here",
|
| 830 |
+
"my legs were already on fire from squats"
|
| 831 |
+
],
|
| 832 |
+
[
|
| 833 |
+
"already fatiguing I'm getting tired here",
|
| 834 |
+
"my legs were already on fire from squats",
|
| 835 |
+
"the day before but no days off got to"
|
| 836 |
+
],
|
| 837 |
+
[
|
| 838 |
+
"my legs were already on fire from squats",
|
| 839 |
+
"the day before but no days off got to"
|
| 840 |
+
],
|
| 841 |
+
[
|
| 842 |
+
"my legs were already on fire from squats",
|
| 843 |
+
"the day before but no days off got to",
|
| 844 |
+
"keep on working keep on pushing through"
|
| 845 |
+
],
|
| 846 |
+
[
|
| 847 |
+
"the day before but no days off got to",
|
| 848 |
+
"keep on working keep on pushing through"
|
| 849 |
+
],
|
| 850 |
+
[
|
| 851 |
+
"the day before but no days off got to",
|
| 852 |
+
"keep on working keep on pushing through",
|
| 853 |
+
"just like you guys you got 10 more"
|
| 854 |
+
],
|
| 855 |
+
[
|
| 856 |
+
"keep on working keep on pushing through",
|
| 857 |
+
"just like you guys you got 10 more",
|
| 858 |
+
"seconds to keep on pushing through keep"
|
| 859 |
+
],
|
| 860 |
+
[
|
| 861 |
+
"just like you guys you got 10 more",
|
| 862 |
+
"seconds to keep on pushing through keep",
|
| 863 |
+
"fighting through the paint all right"
|
| 864 |
+
],
|
| 865 |
+
[
|
| 866 |
+
"seconds to keep on pushing through keep",
|
| 867 |
+
"fighting through the paint all right"
|
| 868 |
+
],
|
| 869 |
+
[
|
| 870 |
+
"seconds to keep on pushing through keep",
|
| 871 |
+
"fighting through the paint all right",
|
| 872 |
+
"embrace it that's what I always say if"
|
| 873 |
+
],
|
| 874 |
+
[
|
| 875 |
+
"fighting through the paint all right",
|
| 876 |
+
"embrace it that's what I always say if",
|
| 877 |
+
"you feel the burn in your legs means"
|
| 878 |
+
],
|
| 879 |
+
[
|
| 880 |
+
"embrace it that's what I always say if",
|
| 881 |
+
"you feel the burn in your legs means",
|
| 882 |
+
"you're doing something good then we're"
|
| 883 |
+
],
|
| 884 |
+
[
|
| 885 |
+
"you feel the burn in your legs means",
|
| 886 |
+
"you're doing something good then we're"
|
| 887 |
+
],
|
| 888 |
+
[
|
| 889 |
+
"you feel the burn in your legs means",
|
| 890 |
+
"you're doing something good then we're",
|
| 891 |
+
"back to our Shadow Boxing and again"
|
| 892 |
+
],
|
| 893 |
+
[
|
| 894 |
+
"you're doing something good then we're",
|
| 895 |
+
"back to our Shadow Boxing and again",
|
| 896 |
+
"you're really going to be fatigued after"
|
| 897 |
+
],
|
| 898 |
+
[
|
| 899 |
+
"back to our Shadow Boxing and again",
|
| 900 |
+
"you're really going to be fatigued after",
|
| 901 |
+
"those jump squats but you got to keep on"
|
| 902 |
+
],
|
| 903 |
+
[
|
| 904 |
+
"you're really going to be fatigued after",
|
| 905 |
+
"those jump squats but you got to keep on"
|
| 906 |
+
],
|
| 907 |
+
[
|
| 908 |
+
"you're really going to be fatigued after",
|
| 909 |
+
"those jump squats but you got to keep on",
|
| 910 |
+
"moving good footwork keep throwing those"
|
| 911 |
+
],
|
| 912 |
+
[
|
| 913 |
+
"those jump squats but you got to keep on",
|
| 914 |
+
"moving good footwork keep throwing those"
|
| 915 |
+
],
|
| 916 |
+
[
|
| 917 |
+
"those jump squats but you got to keep on",
|
| 918 |
+
"moving good footwork keep throwing those",
|
| 919 |
+
"kicks this is the third and final round"
|
| 920 |
+
],
|
| 921 |
+
[
|
| 922 |
+
"moving good footwork keep throwing those",
|
| 923 |
+
"kicks this is the third and final round"
|
| 924 |
+
],
|
| 925 |
+
[
|
| 926 |
+
"moving good footwork keep throwing those",
|
| 927 |
+
"kicks this is the third and final round",
|
| 928 |
+
"of this set so we got to finish strong"
|
| 929 |
+
],
|
| 930 |
+
[
|
| 931 |
+
"kicks this is the third and final round",
|
| 932 |
+
"of this set so we got to finish strong",
|
| 933 |
+
"finishing your punches with kicks"
|
| 934 |
+
],
|
| 935 |
+
[
|
| 936 |
+
"of this set so we got to finish strong",
|
| 937 |
+
"finishing your punches with kicks"
|
| 938 |
+
],
|
| 939 |
+
[
|
| 940 |
+
"of this set so we got to finish strong",
|
| 941 |
+
"finishing your punches with kicks",
|
| 942 |
+
"trigging them up with faints maybe"
|
| 943 |
+
],
|
| 944 |
+
[
|
| 945 |
+
"finishing your punches with kicks",
|
| 946 |
+
"trigging them up with faints maybe",
|
| 947 |
+
"getting Fancy with back kicks and guys"
|
| 948 |
+
],
|
| 949 |
+
[
|
| 950 |
+
"trigging them up with faints maybe",
|
| 951 |
+
"getting Fancy with back kicks and guys"
|
| 952 |
+
],
|
| 953 |
+
[
|
| 954 |
+
"trigging them up with faints maybe",
|
| 955 |
+
"getting Fancy with back kicks and guys",
|
| 956 |
+
"if you don't know how to chain combos"
|
| 957 |
+
],
|
| 958 |
+
[
|
| 959 |
+
"getting Fancy with back kicks and guys",
|
| 960 |
+
"if you don't know how to chain combos"
|
| 961 |
+
],
|
| 962 |
+
[
|
| 963 |
+
"getting Fancy with back kicks and guys",
|
| 964 |
+
"if you don't know how to chain combos",
|
| 965 |
+
"together you're not comfortable doing it"
|
| 966 |
+
],
|
| 967 |
+
[
|
| 968 |
+
"if you don't know how to chain combos",
|
| 969 |
+
"together you're not comfortable doing it"
|
| 970 |
+
],
|
| 971 |
+
[
|
| 972 |
+
"if you don't know how to chain combos",
|
| 973 |
+
"together you're not comfortable doing it",
|
| 974 |
+
"no worries check out my fight jim.com we"
|
| 975 |
+
],
|
| 976 |
+
[
|
| 977 |
+
"together you're not comfortable doing it",
|
| 978 |
+
"no worries check out my fight jim.com we"
|
| 979 |
+
],
|
| 980 |
+
[
|
| 981 |
+
"together you're not comfortable doing it",
|
| 982 |
+
"no worries check out my fight jim.com we",
|
| 983 |
+
"made it with the intention to teach you"
|
| 984 |
+
],
|
| 985 |
+
[
|
| 986 |
+
"no worries check out my fight jim.com we",
|
| 987 |
+
"made it with the intention to teach you",
|
| 988 |
+
"guys how to fight how to feel more"
|
| 989 |
+
],
|
| 990 |
+
[
|
| 991 |
+
"made it with the intention to teach you",
|
| 992 |
+
"guys how to fight how to feel more"
|
| 993 |
+
],
|
| 994 |
+
[
|
| 995 |
+
"made it with the intention to teach you",
|
| 996 |
+
"guys how to fight how to feel more",
|
| 997 |
+
"comfortable developing strategies so"
|
| 998 |
+
],
|
| 999 |
+
[
|
| 1000 |
+
"guys how to fight how to feel more",
|
| 1001 |
+
"comfortable developing strategies so",
|
| 1002 |
+
"that you can chain combos together using"
|
| 1003 |
+
],
|
| 1004 |
+
[
|
| 1005 |
+
"comfortable developing strategies so",
|
| 1006 |
+
"that you can chain combos together using"
|
| 1007 |
+
],
|
| 1008 |
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[
|
| 1009 |
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"comfortable developing strategies so",
|
| 1010 |
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"that you can chain combos together using",
|
| 1011 |
+
"ta kwando Muay Thai boxing wrestling all"
|
| 1012 |
+
],
|
| 1013 |
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[
|
| 1014 |
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"that you can chain combos together using",
|
| 1015 |
+
"ta kwando Muay Thai boxing wrestling all"
|
| 1016 |
+
],
|
| 1017 |
+
[
|
| 1018 |
+
"that you can chain combos together using",
|
| 1019 |
+
"ta kwando Muay Thai boxing wrestling all"
|
| 1020 |
+
],
|
| 1021 |
+
[
|
| 1022 |
+
"that you can chain combos together using",
|
| 1023 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 1024 |
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"right all right finishing it off now is"
|
| 1025 |
+
],
|
| 1026 |
+
[
|
| 1027 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 1028 |
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"right all right finishing it off now is",
|
| 1029 |
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"the Matrix push-ups these are tough and"
|
| 1030 |
+
],
|
| 1031 |
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[
|
| 1032 |
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"right all right finishing it off now is",
|
| 1033 |
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"the Matrix push-ups these are tough and"
|
| 1034 |
+
],
|
| 1035 |
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[
|
| 1036 |
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"right all right finishing it off now is",
|
| 1037 |
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"the Matrix push-ups these are tough and",
|
| 1038 |
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"these can always be modified but what"
|
| 1039 |
+
],
|
| 1040 |
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[
|
| 1041 |
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"the Matrix push-ups these are tough and",
|
| 1042 |
+
"these can always be modified but what"
|
| 1043 |
+
],
|
| 1044 |
+
[
|
| 1045 |
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"the Matrix push-ups these are tough and",
|
| 1046 |
+
"these can always be modified but what",
|
| 1047 |
+
"you're doing is leaning to one side one"
|
| 1048 |
+
],
|
| 1049 |
+
[
|
| 1050 |
+
"these can always be modified but what",
|
| 1051 |
+
"you're doing is leaning to one side one"
|
| 1052 |
+
],
|
| 1053 |
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[
|
| 1054 |
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"these can always be modified but what",
|
| 1055 |
+
"you're doing is leaning to one side one",
|
| 1056 |
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"arm to the left or to the right you're"
|
| 1057 |
+
],
|
| 1058 |
+
[
|
| 1059 |
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"you're doing is leaning to one side one",
|
| 1060 |
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"arm to the left or to the right you're"
|
| 1061 |
+
],
|
| 1062 |
+
[
|
| 1063 |
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"you're doing is leaning to one side one",
|
| 1064 |
+
"arm to the left or to the right you're",
|
| 1065 |
+
"going to go down in a full circle motion"
|
| 1066 |
+
],
|
| 1067 |
+
[
|
| 1068 |
+
"arm to the left or to the right you're",
|
| 1069 |
+
"going to go down in a full circle motion"
|
| 1070 |
+
],
|
| 1071 |
+
[
|
| 1072 |
+
"arm to the left or to the right you're",
|
| 1073 |
+
"going to go down in a full circle motion",
|
| 1074 |
+
"once you get to the top you're going to"
|
| 1075 |
+
],
|
| 1076 |
+
[
|
| 1077 |
+
"going to go down in a full circle motion",
|
| 1078 |
+
"once you get to the top you're going to",
|
| 1079 |
+
"reverse and go in the opposite direction"
|
| 1080 |
+
],
|
| 1081 |
+
[
|
| 1082 |
+
"once you get to the top you're going to",
|
| 1083 |
+
"reverse and go in the opposite direction"
|
| 1084 |
+
],
|
| 1085 |
+
[
|
| 1086 |
+
"once you get to the top you're going to",
|
| 1087 |
+
"reverse and go in the opposite direction",
|
| 1088 |
+
"like I said modify these by going down"
|
| 1089 |
+
],
|
| 1090 |
+
[
|
| 1091 |
+
"reverse and go in the opposite direction",
|
| 1092 |
+
"like I said modify these by going down"
|
| 1093 |
+
],
|
| 1094 |
+
[
|
| 1095 |
+
"reverse and go in the opposite direction",
|
| 1096 |
+
"like I said modify these by going down",
|
| 1097 |
+
"onto your knees or by just doing regular"
|
| 1098 |
+
],
|
| 1099 |
+
[
|
| 1100 |
+
"like I said modify these by going down",
|
| 1101 |
+
"onto your knees or by just doing regular"
|
| 1102 |
+
],
|
| 1103 |
+
[
|
| 1104 |
+
"like I said modify these by going down",
|
| 1105 |
+
"onto your knees or by just doing regular",
|
| 1106 |
+
"push-ups okay work your way up to these"
|
| 1107 |
+
],
|
| 1108 |
+
[
|
| 1109 |
+
"onto your knees or by just doing regular",
|
| 1110 |
+
"push-ups okay work your way up to these"
|
| 1111 |
+
],
|
| 1112 |
+
[
|
| 1113 |
+
"onto your knees or by just doing regular",
|
| 1114 |
+
"push-ups okay work your way up to these",
|
| 1115 |
+
"if they're too difficult at first all"
|
| 1116 |
+
],
|
| 1117 |
+
[
|
| 1118 |
+
"push-ups okay work your way up to these",
|
| 1119 |
+
"if they're too difficult at first all",
|
| 1120 |
+
"right 30 seconds again this is about"
|
| 1121 |
+
],
|
| 1122 |
+
[
|
| 1123 |
+
"if they're too difficult at first all",
|
| 1124 |
+
"right 30 seconds again this is about"
|
| 1125 |
+
],
|
| 1126 |
+
[
|
| 1127 |
+
"if they're too difficult at first all",
|
| 1128 |
+
"right 30 seconds again this is about",
|
| 1129 |
+
"muscle endurance it's working the"
|
| 1130 |
+
],
|
| 1131 |
+
[
|
| 1132 |
+
"right 30 seconds again this is about",
|
| 1133 |
+
"muscle endurance it's working the",
|
| 1134 |
+
"triceps it's working the forearms the"
|
| 1135 |
+
],
|
| 1136 |
+
[
|
| 1137 |
+
"muscle endurance it's working the",
|
| 1138 |
+
"triceps it's working the forearms the"
|
| 1139 |
+
],
|
| 1140 |
+
[
|
| 1141 |
+
"muscle endurance it's working the",
|
| 1142 |
+
"triceps it's working the forearms the"
|
| 1143 |
+
],
|
| 1144 |
+
[
|
| 1145 |
+
"muscle endurance it's working the",
|
| 1146 |
+
"triceps it's working the forearms the",
|
| 1147 |
+
"chest the back keep the core tight the"
|
| 1148 |
+
],
|
| 1149 |
+
[
|
| 1150 |
+
"triceps it's working the forearms the",
|
| 1151 |
+
"chest the back keep the core tight the"
|
| 1152 |
+
],
|
| 1153 |
+
[
|
| 1154 |
+
"triceps it's working the forearms the",
|
| 1155 |
+
"chest the back keep the core tight the",
|
| 1156 |
+
"legs straight and then once you're done"
|
| 1157 |
+
],
|
| 1158 |
+
[
|
| 1159 |
+
"chest the back keep the core tight the",
|
| 1160 |
+
"legs straight and then once you're done",
|
| 1161 |
+
"you got a 30 second rest and then you're"
|
| 1162 |
+
],
|
| 1163 |
+
[
|
| 1164 |
+
"legs straight and then once you're done",
|
| 1165 |
+
"you got a 30 second rest and then you're"
|
| 1166 |
+
],
|
| 1167 |
+
[
|
| 1168 |
+
"legs straight and then once you're done",
|
| 1169 |
+
"you got a 30 second rest and then you're",
|
| 1170 |
+
"going to go right back into it try to"
|
| 1171 |
+
],
|
| 1172 |
+
[
|
| 1173 |
+
"you got a 30 second rest and then you're",
|
| 1174 |
+
"going to go right back into it try to"
|
| 1175 |
+
],
|
| 1176 |
+
[
|
| 1177 |
+
"you got a 30 second rest and then you're",
|
| 1178 |
+
"going to go right back into it try to",
|
| 1179 |
+
"get five sets you'll be happy that you"
|
| 1180 |
+
],
|
| 1181 |
+
[
|
| 1182 |
+
"going to go right back into it try to",
|
| 1183 |
+
"get five sets you'll be happy that you",
|
| 1184 |
+
"did it you can switch out different"
|
| 1185 |
+
],
|
| 1186 |
+
[
|
| 1187 |
+
"get five sets you'll be happy that you",
|
| 1188 |
+
"did it you can switch out different",
|
| 1189 |
+
"exercises different calisthetics for"
|
| 1190 |
+
],
|
| 1191 |
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[
|
| 1192 |
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"did it you can switch out different",
|
| 1193 |
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"exercises different calisthetics for"
|
| 1194 |
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],
|
| 1195 |
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[
|
| 1196 |
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"did it you can switch out different",
|
| 1197 |
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"exercises different calisthetics for",
|
| 1198 |
+
"what works for you and just set a timer"
|
| 1199 |
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],
|
| 1200 |
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[
|
| 1201 |
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"exercises different calisthetics for",
|
| 1202 |
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"what works for you and just set a timer"
|
| 1203 |
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],
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| 1204 |
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[
|
| 1205 |
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"exercises different calisthetics for",
|
| 1206 |
+
"what works for you and just set a timer",
|
| 1207 |
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"on your phone or watch a clock as you do"
|
| 1208 |
+
],
|
| 1209 |
+
[
|
| 1210 |
+
"what works for you and just set a timer",
|
| 1211 |
+
"on your phone or watch a clock as you do"
|
| 1212 |
+
],
|
| 1213 |
+
[
|
| 1214 |
+
"what works for you and just set a timer",
|
| 1215 |
+
"on your phone or watch a clock as you do",
|
| 1216 |
+
"it have fun with it work hard guys for"
|
| 1217 |
+
],
|
| 1218 |
+
[
|
| 1219 |
+
"on your phone or watch a clock as you do",
|
| 1220 |
+
"it have fun with it work hard guys for"
|
| 1221 |
+
],
|
| 1222 |
+
[
|
| 1223 |
+
"on your phone or watch a clock as you do",
|
| 1224 |
+
"it have fun with it work hard guys for",
|
| 1225 |
+
"more fulllength workouts drills and"
|
| 1226 |
+
],
|
| 1227 |
+
[
|
| 1228 |
+
"it have fun with it work hard guys for",
|
| 1229 |
+
"more fulllength workouts drills and"
|
| 1230 |
+
],
|
| 1231 |
+
[
|
| 1232 |
+
"it have fun with it work hard guys for",
|
| 1233 |
+
"more fulllength workouts drills and",
|
| 1234 |
+
"techniques check out that link right in"
|
| 1235 |
+
],
|
| 1236 |
+
[
|
| 1237 |
+
"more fulllength workouts drills and",
|
| 1238 |
+
"techniques check out that link right in"
|
| 1239 |
+
],
|
| 1240 |
+
[
|
| 1241 |
+
"more fulllength workouts drills and",
|
| 1242 |
+
"techniques check out that link right in",
|
| 1243 |
+
"the middle there and the Link's also in"
|
| 1244 |
+
],
|
| 1245 |
+
[
|
| 1246 |
+
"techniques check out that link right in",
|
| 1247 |
+
"the middle there and the Link's also in",
|
| 1248 |
+
"the description below for my fight gym"
|
| 1249 |
+
],
|
| 1250 |
+
[
|
| 1251 |
+
"the middle there and the Link's also in",
|
| 1252 |
+
"the description below for my fight gym"
|
| 1253 |
+
],
|
| 1254 |
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[
|
| 1255 |
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"the middle there and the Link's also in",
|
| 1256 |
+
"the description below for my fight gym",
|
| 1257 |
+
"like I said we'll teach you how to"
|
| 1258 |
+
],
|
| 1259 |
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[
|
| 1260 |
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"the description below for my fight gym",
|
| 1261 |
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"like I said we'll teach you how to",
|
| 1262 |
+
"shadow box better and we'll give you"
|
| 1263 |
+
],
|
| 1264 |
+
[
|
| 1265 |
+
"like I said we'll teach you how to",
|
| 1266 |
+
"shadow box better and we'll give you",
|
| 1267 |
+
"full workouts that you can follow along"
|
| 1268 |
+
],
|
| 1269 |
+
[
|
| 1270 |
+
"shadow box better and we'll give you",
|
| 1271 |
+
"full workouts that you can follow along"
|
| 1272 |
+
],
|
| 1273 |
+
[
|
| 1274 |
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"shadow box better and we'll give you",
|
| 1275 |
+
"full workouts that you can follow along",
|
| 1276 |
+
"with with a timer just like this one but"
|
| 1277 |
+
],
|
| 1278 |
+
[
|
| 1279 |
+
"full workouts that you can follow along",
|
| 1280 |
+
"with with a timer just like this one but"
|
| 1281 |
+
],
|
| 1282 |
+
[
|
| 1283 |
+
"full workouts that you can follow along",
|
| 1284 |
+
"with with a timer just like this one but",
|
| 1285 |
+
"that go up to 30 minutes in length until"
|
| 1286 |
+
],
|
| 1287 |
+
[
|
| 1288 |
+
"with with a timer just like this one but",
|
| 1289 |
+
"that go up to 30 minutes in length until"
|
| 1290 |
+
],
|
| 1291 |
+
[
|
| 1292 |
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"with with a timer just like this one but",
|
| 1293 |
+
"that go up to 30 minutes in length until",
|
| 1294 |
+
"next time be sure to follow me on"
|
| 1295 |
+
],
|
| 1296 |
+
[
|
| 1297 |
+
"that go up to 30 minutes in length until",
|
| 1298 |
+
"next time be sure to follow me on",
|
| 1299 |
+
"Twitter and Instagram and subscribe if"
|
| 1300 |
+
],
|
| 1301 |
+
[
|
| 1302 |
+
"next time be sure to follow me on",
|
| 1303 |
+
"Twitter and Instagram and subscribe if"
|
| 1304 |
+
],
|
| 1305 |
+
[
|
| 1306 |
+
"next time be sure to follow me on",
|
| 1307 |
+
"Twitter and Instagram and subscribe if",
|
| 1308 |
+
"you haven't already to get the fight"
|
| 1309 |
+
],
|
| 1310 |
+
[
|
| 1311 |
+
"Twitter and Instagram and subscribe if",
|
| 1312 |
+
"you haven't already to get the fight",
|
| 1313 |
+
"tips before your opponent does I'm Shan"
|
| 1314 |
+
],
|
| 1315 |
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[
|
| 1316 |
+
"you haven't already to get the fight",
|
| 1317 |
+
"tips before your opponent does I'm Shan"
|
| 1318 |
+
],
|
| 1319 |
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[
|
| 1320 |
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"you haven't already to get the fight",
|
| 1321 |
+
"tips before your opponent does I'm Shan",
|
| 1322 |
+
"with fight tips self-defense for The"
|
| 1323 |
+
],
|
| 1324 |
+
[
|
| 1325 |
+
"tips before your opponent does I'm Shan",
|
| 1326 |
+
"with fight tips self-defense for The"
|
| 1327 |
+
],
|
| 1328 |
+
[
|
| 1329 |
+
"tips before your opponent does I'm Shan",
|
| 1330 |
+
"with fight tips self-defense for The"
|
| 1331 |
+
],
|
| 1332 |
+
[
|
| 1333 |
+
"tips before your opponent does I'm Shan",
|
| 1334 |
+
"with fight tips self-defense for The",
|
| 1335 |
+
"Underdogs"
|
| 1336 |
+
],
|
| 1337 |
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[
|
| 1338 |
+
"with fight tips self-defense for The",
|
| 1339 |
+
"with fight tips self-defense for The",
|
| 1340 |
+
"Underdogs",
|
| 1341 |
+
"Underdogs"
|
| 1342 |
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]
|
| 1343 |
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],
|
| 1344 |
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| 1345 |
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"0": [
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| 1346 |
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"what's going on guys Shane here welcome",
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| 1347 |
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"what's going on guys Shane here welcome",
|
| 1348 |
+
"to my backyard just kidding but someday",
|
| 1349 |
+
"what's going on guys Shane here welcome",
|
| 1350 |
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"to my backyard just kidding but someday",
|
| 1351 |
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"what's going on guys Shane here welcome",
|
| 1352 |
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"to my backyard just kidding but someday",
|
| 1353 |
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"what's going on guys Shane here welcome",
|
| 1354 |
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"to my backyard just kidding but someday",
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| 1355 |
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"what's going on guys Shane here welcome",
|
| 1356 |
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"to my backyard just kidding but someday",
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| 1357 |
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"all right so today we're going to be",
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| 1358 |
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"to my backyard just kidding but someday",
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| 1359 |
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"all right so today we're going to be",
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"doing a home boxing or mix martial arts",
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"all right so today we're going to be",
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"all right so today we're going to be",
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"workout that's up to you if you want to",
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"workout that's up to you if you want to",
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"incorporate your kicks knees and elbows",
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"workout that's up to you if you want to",
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"incorporate your kicks knees and elbows",
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"workout that's up to you if you want to",
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| 1374 |
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"incorporate your kicks knees and elbows",
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| 1375 |
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"or if you just want to do strictly hands",
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| 1376 |
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"incorporate your kicks knees and elbows",
|
| 1377 |
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"or if you just want to do strictly hands",
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| 1378 |
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"incorporate your kicks knees and elbows",
|
| 1379 |
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"or if you just want to do strictly hands",
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"there's going to be a muscle endurance",
|
| 1381 |
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"or if you just want to do strictly hands",
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| 1382 |
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"there's going to be a muscle endurance",
|
| 1383 |
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"or if you just want to do strictly hands",
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| 1384 |
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"there's going to be a muscle endurance",
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| 1385 |
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"and cardio work out all right here's the"
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],
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"16": [
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| 1388 |
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"there's going to be a muscle endurance",
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"and cardio work out all right here's the",
|
| 1390 |
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"there's going to be a muscle endurance",
|
| 1391 |
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"and cardio work out all right here's the",
|
| 1392 |
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"format we're going to be doing 3 minute",
|
| 1393 |
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"and cardio work out all right here's the",
|
| 1394 |
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"format we're going to be doing 3 minute",
|
| 1395 |
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"and cardio work out all right here's the",
|
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"format we're going to be doing 3 minute",
|
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"rounds with 30 second rest in between",
|
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"format we're going to be doing 3 minute",
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"rounds with 30 second rest in between",
|
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"for five rounds if you want to do more",
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"rounds with 30 second rest in between",
|
| 1402 |
+
"for five rounds if you want to do more",
|
| 1403 |
+
"rounds with 30 second rest in between",
|
| 1404 |
+
"for five rounds if you want to do more",
|
| 1405 |
+
"or less that's fine if you want to tweak",
|
| 1406 |
+
"for five rounds if you want to do more",
|
| 1407 |
+
"or less that's fine if you want to tweak",
|
| 1408 |
+
"it in anyway that's okay too it's going"
|
| 1409 |
+
],
|
| 1410 |
+
"24": [
|
| 1411 |
+
"or less that's fine if you want to tweak",
|
| 1412 |
+
"it in anyway that's okay too it's going",
|
| 1413 |
+
"or less that's fine if you want to tweak",
|
| 1414 |
+
"it in anyway that's okay too it's going",
|
| 1415 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 1416 |
+
"it in anyway that's okay too it's going",
|
| 1417 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 1418 |
+
"it in anyway that's okay too it's going",
|
| 1419 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 1420 |
+
"break down how exactly you're going to",
|
| 1421 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 1422 |
+
"break down how exactly you're going to",
|
| 1423 |
+
"shadow box then 30 seconds of burpees",
|
| 1424 |
+
"break down how exactly you're going to",
|
| 1425 |
+
"shadow box then 30 seconds of burpees",
|
| 1426 |
+
"break down how exactly you're going to",
|
| 1427 |
+
"shadow box then 30 seconds of burpees",
|
| 1428 |
+
"back to the Shadow Boxing then we're",
|
| 1429 |
+
"shadow box then 30 seconds of burpees",
|
| 1430 |
+
"back to the Shadow Boxing then we're"
|
| 1431 |
+
],
|
| 1432 |
+
"32": [
|
| 1433 |
+
"shadow box then 30 seconds of burpees",
|
| 1434 |
+
"back to the Shadow Boxing then we're",
|
| 1435 |
+
"going to do 180 jump squats back to",
|
| 1436 |
+
"back to the Shadow Boxing then we're",
|
| 1437 |
+
"going to do 180 jump squats back to",
|
| 1438 |
+
"back to the Shadow Boxing then we're",
|
| 1439 |
+
"going to do 180 jump squats back to",
|
| 1440 |
+
"Shadow Boxing again and then we're going",
|
| 1441 |
+
"going to do 180 jump squats back to",
|
| 1442 |
+
"Shadow Boxing again and then we're going",
|
| 1443 |
+
"to finish with Matrix push-ups and we'll",
|
| 1444 |
+
"Shadow Boxing again and then we're going",
|
| 1445 |
+
"to finish with Matrix push-ups and we'll",
|
| 1446 |
+
"Shadow Boxing again and then we're going",
|
| 1447 |
+
"to finish with Matrix push-ups and we'll",
|
| 1448 |
+
"explain what those are so we're starting",
|
| 1449 |
+
"to finish with Matrix push-ups and we'll",
|
| 1450 |
+
"explain what those are so we're starting",
|
| 1451 |
+
"it off with Shadow Boxing which is a",
|
| 1452 |
+
"explain what those are so we're starting",
|
| 1453 |
+
"it off with Shadow Boxing which is a"
|
| 1454 |
+
],
|
| 1455 |
+
"40": [
|
| 1456 |
+
"explain what those are so we're starting",
|
| 1457 |
+
"it off with Shadow Boxing which is a",
|
| 1458 |
+
"great full body workout it gets the",
|
| 1459 |
+
"it off with Shadow Boxing which is a",
|
| 1460 |
+
"great full body workout it gets the",
|
| 1461 |
+
"heart rate up and it improves your",
|
| 1462 |
+
"great full body workout it gets the",
|
| 1463 |
+
"heart rate up and it improves your",
|
| 1464 |
+
"great full body workout it gets the",
|
| 1465 |
+
"heart rate up and it improves your",
|
| 1466 |
+
"fighting skills so if you're new to",
|
| 1467 |
+
"heart rate up and it improves your",
|
| 1468 |
+
"fighting skills so if you're new to",
|
| 1469 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 1470 |
+
"fighting skills so if you're new to",
|
| 1471 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 1472 |
+
"fighting skills so if you're new to",
|
| 1473 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 1474 |
+
"finish your punch combinations with",
|
| 1475 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 1476 |
+
"finish your punch combinations with"
|
| 1477 |
+
],
|
| 1478 |
+
"48": [
|
| 1479 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 1480 |
+
"finish your punch combinations with",
|
| 1481 |
+
"kicks or with knees you can see I threw",
|
| 1482 |
+
"finish your punch combinations with",
|
| 1483 |
+
"kicks or with knees you can see I threw",
|
| 1484 |
+
"a jab and I finish with the opposite",
|
| 1485 |
+
"kicks or with knees you can see I threw",
|
| 1486 |
+
"a jab and I finish with the opposite",
|
| 1487 |
+
"kicks or with knees you can see I threw",
|
| 1488 |
+
"a jab and I finish with the opposite",
|
| 1489 |
+
"side knee I finish with a cross and then",
|
| 1490 |
+
"a jab and I finish with the opposite",
|
| 1491 |
+
"side knee I finish with a cross and then",
|
| 1492 |
+
"a jab and I finish with the opposite",
|
| 1493 |
+
"side knee I finish with a cross and then",
|
| 1494 |
+
"I finish with the opposite side knee",
|
| 1495 |
+
"side knee I finish with a cross and then",
|
| 1496 |
+
"I finish with the opposite side knee",
|
| 1497 |
+
"again it could be a front push kick it",
|
| 1498 |
+
"I finish with the opposite side knee",
|
| 1499 |
+
"again it could be a front push kick it"
|
| 1500 |
+
],
|
| 1501 |
+
"56": [
|
| 1502 |
+
"I finish with the opposite side knee",
|
| 1503 |
+
"again it could be a front push kick it",
|
| 1504 |
+
"could be a round kick or if you're just",
|
| 1505 |
+
"again it could be a front push kick it",
|
| 1506 |
+
"could be a round kick or if you're just",
|
| 1507 |
+
"exclusively doing your punches then just",
|
| 1508 |
+
"could be a round kick or if you're just",
|
| 1509 |
+
"exclusively doing your punches then just",
|
| 1510 |
+
"could be a round kick or if you're just",
|
| 1511 |
+
"exclusively doing your punches then just",
|
| 1512 |
+
"could be a round kick or if you're just",
|
| 1513 |
+
"exclusively doing your punches then just",
|
| 1514 |
+
"work your hands all right visualizing",
|
| 1515 |
+
"exclusively doing your punches then just",
|
| 1516 |
+
"work your hands all right visualizing",
|
| 1517 |
+
"opponent in front of you moving around",
|
| 1518 |
+
"work your hands all right visualizing",
|
| 1519 |
+
"opponent in front of you moving around",
|
| 1520 |
+
"work your hands all right visualizing",
|
| 1521 |
+
"opponent in front of you moving around",
|
| 1522 |
+
"so you're exercising good footwork and"
|
| 1523 |
+
],
|
| 1524 |
+
"64": [
|
| 1525 |
+
"opponent in front of you moving around",
|
| 1526 |
+
"so you're exercising good footwork and",
|
| 1527 |
+
"opponent in front of you moving around",
|
| 1528 |
+
"so you're exercising good footwork and",
|
| 1529 |
+
"you're keeping your strikes accurate",
|
| 1530 |
+
"so you're exercising good footwork and",
|
| 1531 |
+
"you're keeping your strikes accurate",
|
| 1532 |
+
"going to the head going to the body you",
|
| 1533 |
+
"you're keeping your strikes accurate",
|
| 1534 |
+
"going to the head going to the body you",
|
| 1535 |
+
"you're keeping your strikes accurate",
|
| 1536 |
+
"going to the head going to the body you",
|
| 1537 |
+
"also got to work your defense your head",
|
| 1538 |
+
"going to the head going to the body you",
|
| 1539 |
+
"also got to work your defense your head",
|
| 1540 |
+
"movement your evasions sometimes Sprint",
|
| 1541 |
+
"also got to work your defense your head",
|
| 1542 |
+
"movement your evasions sometimes Sprint",
|
| 1543 |
+
"also got to work your defense your head",
|
| 1544 |
+
"movement your evasions sometimes Sprint",
|
| 1545 |
+
"it out with some quick uppercuts or"
|
| 1546 |
+
],
|
| 1547 |
+
"72": [
|
| 1548 |
+
"movement your evasions sometimes Sprint",
|
| 1549 |
+
"it out with some quick uppercuts or",
|
| 1550 |
+
"movement your evasions sometimes Sprint",
|
| 1551 |
+
"it out with some quick uppercuts or",
|
| 1552 |
+
"clinch knees soon as you're done you're",
|
| 1553 |
+
"it out with some quick uppercuts or",
|
| 1554 |
+
"clinch knees soon as you're done you're",
|
| 1555 |
+
"going right to burpees all right 30",
|
| 1556 |
+
"clinch knees soon as you're done you're",
|
| 1557 |
+
"going right to burpees all right 30",
|
| 1558 |
+
"clinch knees soon as you're done you're",
|
| 1559 |
+
"going right to burpees all right 30",
|
| 1560 |
+
"seconds of burpees non-stop rep them out",
|
| 1561 |
+
"going right to burpees all right 30",
|
| 1562 |
+
"seconds of burpees non-stop rep them out",
|
| 1563 |
+
"going right to burpees all right 30",
|
| 1564 |
+
"seconds of burpees non-stop rep them out",
|
| 1565 |
+
"as many as you can do make sure you're",
|
| 1566 |
+
"seconds of burpees non-stop rep them out",
|
| 1567 |
+
"as many as you can do make sure you're",
|
| 1568 |
+
"doing a push-up at the bottom fast hips"
|
| 1569 |
+
],
|
| 1570 |
+
"80": [
|
| 1571 |
+
"as many as you can do make sure you're",
|
| 1572 |
+
"doing a push-up at the bottom fast hips",
|
| 1573 |
+
"as many as you can do make sure you're",
|
| 1574 |
+
"doing a push-up at the bottom fast hips",
|
| 1575 |
+
"exploding a jump at the top land soft",
|
| 1576 |
+
"doing a push-up at the bottom fast hips",
|
| 1577 |
+
"exploding a jump at the top land soft",
|
| 1578 |
+
"doing a push-up at the bottom fast hips",
|
| 1579 |
+
"exploding a jump at the top land soft",
|
| 1580 |
+
"doing a push-up at the bottom fast hips",
|
| 1581 |
+
"exploding a jump at the top land soft",
|
| 1582 |
+
"down into your squat right back down",
|
| 1583 |
+
"exploding a jump at the top land soft",
|
| 1584 |
+
"down into your squat right back down",
|
| 1585 |
+
"exploding a jump at the top land soft",
|
| 1586 |
+
"down into your squat right back down",
|
| 1587 |
+
"burp is one of the best full body",
|
| 1588 |
+
"down into your squat right back down",
|
| 1589 |
+
"burp is one of the best full body",
|
| 1590 |
+
"calisthenics that you can do again it"
|
| 1591 |
+
],
|
| 1592 |
+
"88": [
|
| 1593 |
+
"burp is one of the best full body",
|
| 1594 |
+
"calisthenics that you can do again it",
|
| 1595 |
+
"burp is one of the best full body",
|
| 1596 |
+
"calisthenics that you can do again it",
|
| 1597 |
+
"get gets the heart rate up it builds up",
|
| 1598 |
+
"calisthenics that you can do again it",
|
| 1599 |
+
"get gets the heart rate up it builds up",
|
| 1600 |
+
"calisthenics that you can do again it",
|
| 1601 |
+
"get gets the heart rate up it builds up",
|
| 1602 |
+
"the chest the shoulders the back as well",
|
| 1603 |
+
"get gets the heart rate up it builds up",
|
| 1604 |
+
"the chest the shoulders the back as well",
|
| 1605 |
+
"get gets the heart rate up it builds up",
|
| 1606 |
+
"the chest the shoulders the back as well",
|
| 1607 |
+
"as the core and the legs all right so",
|
| 1608 |
+
"the chest the shoulders the back as well",
|
| 1609 |
+
"as the core and the legs all right so",
|
| 1610 |
+
"the chest the shoulders the back as well",
|
| 1611 |
+
"as the core and the legs all right so",
|
| 1612 |
+
"times you want to give up or when I need"
|
| 1613 |
+
],
|
| 1614 |
+
"96": [
|
| 1615 |
+
"as the core and the legs all right so",
|
| 1616 |
+
"times you want to give up or when I need",
|
| 1617 |
+
"you to especially keep on pushing",
|
| 1618 |
+
"times you want to give up or when I need",
|
| 1619 |
+
"you to especially keep on pushing",
|
| 1620 |
+
"times you want to give up or when I need",
|
| 1621 |
+
"you to especially keep on pushing",
|
| 1622 |
+
"forward all right that's when you're",
|
| 1623 |
+
"you to especially keep on pushing",
|
| 1624 |
+
"forward all right that's when you're",
|
| 1625 |
+
"going to start to see results when",
|
| 1626 |
+
"forward all right that's when you're",
|
| 1627 |
+
"going to start to see results when",
|
| 1628 |
+
"you're pushing through that wall that",
|
| 1629 |
+
"going to start to see results when",
|
| 1630 |
+
"you're pushing through that wall that",
|
| 1631 |
+
"going to start to see results when",
|
| 1632 |
+
"you're pushing through that wall that",
|
| 1633 |
+
"you normally give up at as soon as",
|
| 1634 |
+
"you're pushing through that wall that",
|
| 1635 |
+
"you normally give up at as soon as",
|
| 1636 |
+
"you're done you're going to go right"
|
| 1637 |
+
],
|
| 1638 |
+
"104": [
|
| 1639 |
+
"you normally give up at as soon as",
|
| 1640 |
+
"you're done you're going to go right",
|
| 1641 |
+
"back into your Shadow Boxing all right",
|
| 1642 |
+
"you're done you're going to go right",
|
| 1643 |
+
"back into your Shadow Boxing all right",
|
| 1644 |
+
"you're going to be fatigued you're going",
|
| 1645 |
+
"back into your Shadow Boxing all right",
|
| 1646 |
+
"you're going to be fatigued you're going",
|
| 1647 |
+
"to be tired in a fight too reach those",
|
| 1648 |
+
"you're going to be fatigued you're going",
|
| 1649 |
+
"to be tired in a fight too reach those",
|
| 1650 |
+
"you're going to be fatigued you're going",
|
| 1651 |
+
"to be tired in a fight too reach those",
|
| 1652 |
+
"goals that you're aiming for whether",
|
| 1653 |
+
"to be tired in a fight too reach those",
|
| 1654 |
+
"goals that you're aiming for whether",
|
| 1655 |
+
"it's to be a better fighter or to lose",
|
| 1656 |
+
"goals that you're aiming for whether",
|
| 1657 |
+
"it's to be a better fighter or to lose",
|
| 1658 |
+
"goals that you're aiming for whether",
|
| 1659 |
+
"it's to be a better fighter or to lose"
|
| 1660 |
+
],
|
| 1661 |
+
"112": [
|
| 1662 |
+
"goals that you're aiming for whether",
|
| 1663 |
+
"it's to be a better fighter or to lose",
|
| 1664 |
+
"weight getting shape these are the times",
|
| 1665 |
+
"it's to be a better fighter or to lose",
|
| 1666 |
+
"weight getting shape these are the times",
|
| 1667 |
+
"that you need to go hard when you're",
|
| 1668 |
+
"weight getting shape these are the times",
|
| 1669 |
+
"that you need to go hard when you're",
|
| 1670 |
+
"huffing and puffing and when your limbs",
|
| 1671 |
+
"that you need to go hard when you're",
|
| 1672 |
+
"huffing and puffing and when your limbs",
|
| 1673 |
+
"are tired that's when you need to keep",
|
| 1674 |
+
"huffing and puffing and when your limbs",
|
| 1675 |
+
"are tired that's when you need to keep",
|
| 1676 |
+
"huffing and puffing and when your limbs",
|
| 1677 |
+
"are tired that's when you need to keep",
|
| 1678 |
+
"those hands up you need to keep throwing",
|
| 1679 |
+
"are tired that's when you need to keep",
|
| 1680 |
+
"those hands up you need to keep throwing",
|
| 1681 |
+
"are tired that's when you need to keep",
|
| 1682 |
+
"those hands up you need to keep throwing",
|
| 1683 |
+
"with power 100% speed and accuracy good"
|
| 1684 |
+
],
|
| 1685 |
+
"120": [
|
| 1686 |
+
"those hands up you need to keep throwing",
|
| 1687 |
+
"with power 100% speed and accuracy good",
|
| 1688 |
+
"those hands up you need to keep throwing",
|
| 1689 |
+
"with power 100% speed and accuracy good",
|
| 1690 |
+
"those hands up you need to keep throwing",
|
| 1691 |
+
"with power 100% speed and accuracy good",
|
| 1692 |
+
"footwork switching it up you need to be",
|
| 1693 |
+
"with power 100% speed and accuracy good",
|
| 1694 |
+
"footwork switching it up you need to be",
|
| 1695 |
+
"with power 100% speed and accuracy good",
|
| 1696 |
+
"footwork switching it up you need to be",
|
| 1697 |
+
"alert you need to be mentally strong too",
|
| 1698 |
+
"footwork switching it up you need to be",
|
| 1699 |
+
"alert you need to be mentally strong too",
|
| 1700 |
+
"making sure you have a good strategy",
|
| 1701 |
+
"alert you need to be mentally strong too",
|
| 1702 |
+
"making sure you have a good strategy",
|
| 1703 |
+
"alert you need to be mentally strong too",
|
| 1704 |
+
"making sure you have a good strategy",
|
| 1705 |
+
"going to the head to the body working"
|
| 1706 |
+
],
|
| 1707 |
+
"128": [
|
| 1708 |
+
"making sure you have a good strategy",
|
| 1709 |
+
"going to the head to the body working",
|
| 1710 |
+
"making sure you have a good strategy",
|
| 1711 |
+
"going to the head to the body working",
|
| 1712 |
+
"your kicks if this is kickboxing and",
|
| 1713 |
+
"going to the head to the body working",
|
| 1714 |
+
"your kicks if this is kickboxing and",
|
| 1715 |
+
"going to the head to the body working",
|
| 1716 |
+
"your kicks if this is kickboxing and",
|
| 1717 |
+
"sprawls if this is MMA work that",
|
| 1718 |
+
"your kicks if this is kickboxing and",
|
| 1719 |
+
"sprawls if this is MMA work that",
|
| 1720 |
+
"takedown defense next we got 180 jump",
|
| 1721 |
+
"sprawls if this is MMA work that",
|
| 1722 |
+
"takedown defense next we got 180 jump",
|
| 1723 |
+
"sprawls if this is MMA work that",
|
| 1724 |
+
"takedown defense next we got 180 jump",
|
| 1725 |
+
"squats and these are killers here all",
|
| 1726 |
+
"takedown defense next we got 180 jump",
|
| 1727 |
+
"squats and these are killers here all"
|
| 1728 |
+
],
|
| 1729 |
+
"136": [
|
| 1730 |
+
"takedown defense next we got 180 jump",
|
| 1731 |
+
"squats and these are killers here all",
|
| 1732 |
+
"right you're going to jump up spin 180\u00b0",
|
| 1733 |
+
"squats and these are killers here all",
|
| 1734 |
+
"right you're going to jump up spin 180\u00b0",
|
| 1735 |
+
"squats and these are killers here all",
|
| 1736 |
+
"right you're going to jump up spin 180\u00b0",
|
| 1737 |
+
"midair so it's a great plyometric",
|
| 1738 |
+
"right you're going to jump up spin 180\u00b0",
|
| 1739 |
+
"midair so it's a great plyometric",
|
| 1740 |
+
"right you're going to jump up spin 180\u00b0",
|
| 1741 |
+
"midair so it's a great plyometric",
|
| 1742 |
+
"exercise here it's going to really burn",
|
| 1743 |
+
"midair so it's a great plyometric",
|
| 1744 |
+
"exercise here it's going to really burn",
|
| 1745 |
+
"midair so it's a great plyometric",
|
| 1746 |
+
"exercise here it's going to really burn",
|
| 1747 |
+
"the legs out you're going to feel this",
|
| 1748 |
+
"exercise here it's going to really burn",
|
| 1749 |
+
"the legs out you're going to feel this",
|
| 1750 |
+
"quick all right so you're going to jump"
|
| 1751 |
+
],
|
| 1752 |
+
"144": [
|
| 1753 |
+
"the legs out you're going to feel this",
|
| 1754 |
+
"quick all right so you're going to jump",
|
| 1755 |
+
"the legs out you're going to feel this",
|
| 1756 |
+
"quick all right so you're going to jump",
|
| 1757 |
+
"you're going to land soft on your toes",
|
| 1758 |
+
"quick all right so you're going to jump",
|
| 1759 |
+
"you're going to land soft on your toes",
|
| 1760 |
+
"back down into a squat you can see me",
|
| 1761 |
+
"you're going to land soft on your toes",
|
| 1762 |
+
"back down into a squat you can see me",
|
| 1763 |
+
"you're going to land soft on your toes",
|
| 1764 |
+
"back down into a squat you can see me",
|
| 1765 |
+
"already fatiguing I'm getting tired here",
|
| 1766 |
+
"back down into a squat you can see me",
|
| 1767 |
+
"already fatiguing I'm getting tired here",
|
| 1768 |
+
"back down into a squat you can see me",
|
| 1769 |
+
"already fatiguing I'm getting tired here",
|
| 1770 |
+
"my legs were already on fire from squats",
|
| 1771 |
+
"already fatiguing I'm getting tired here",
|
| 1772 |
+
"my legs were already on fire from squats",
|
| 1773 |
+
"the day before but no days off got to"
|
| 1774 |
+
],
|
| 1775 |
+
"152": [
|
| 1776 |
+
"my legs were already on fire from squats",
|
| 1777 |
+
"the day before but no days off got to",
|
| 1778 |
+
"my legs were already on fire from squats",
|
| 1779 |
+
"the day before but no days off got to",
|
| 1780 |
+
"keep on working keep on pushing through",
|
| 1781 |
+
"the day before but no days off got to",
|
| 1782 |
+
"keep on working keep on pushing through",
|
| 1783 |
+
"the day before but no days off got to",
|
| 1784 |
+
"keep on working keep on pushing through",
|
| 1785 |
+
"just like you guys you got 10 more",
|
| 1786 |
+
"keep on working keep on pushing through",
|
| 1787 |
+
"just like you guys you got 10 more",
|
| 1788 |
+
"seconds to keep on pushing through keep",
|
| 1789 |
+
"just like you guys you got 10 more",
|
| 1790 |
+
"seconds to keep on pushing through keep",
|
| 1791 |
+
"fighting through the paint all right",
|
| 1792 |
+
"seconds to keep on pushing through keep",
|
| 1793 |
+
"fighting through the paint all right",
|
| 1794 |
+
"seconds to keep on pushing through keep",
|
| 1795 |
+
"fighting through the paint all right",
|
| 1796 |
+
"embrace it that's what I always say if"
|
| 1797 |
+
],
|
| 1798 |
+
"160": [
|
| 1799 |
+
"fighting through the paint all right",
|
| 1800 |
+
"embrace it that's what I always say if",
|
| 1801 |
+
"you feel the burn in your legs means",
|
| 1802 |
+
"embrace it that's what I always say if",
|
| 1803 |
+
"you feel the burn in your legs means",
|
| 1804 |
+
"you're doing something good then we're",
|
| 1805 |
+
"you feel the burn in your legs means",
|
| 1806 |
+
"you're doing something good then we're",
|
| 1807 |
+
"you feel the burn in your legs means",
|
| 1808 |
+
"you're doing something good then we're",
|
| 1809 |
+
"back to our Shadow Boxing and again",
|
| 1810 |
+
"you're doing something good then we're",
|
| 1811 |
+
"back to our Shadow Boxing and again",
|
| 1812 |
+
"you're really going to be fatigued after",
|
| 1813 |
+
"back to our Shadow Boxing and again",
|
| 1814 |
+
"you're really going to be fatigued after",
|
| 1815 |
+
"those jump squats but you got to keep on",
|
| 1816 |
+
"you're really going to be fatigued after",
|
| 1817 |
+
"those jump squats but you got to keep on",
|
| 1818 |
+
"you're really going to be fatigued after",
|
| 1819 |
+
"those jump squats but you got to keep on",
|
| 1820 |
+
"moving good footwork keep throwing those"
|
| 1821 |
+
],
|
| 1822 |
+
"168": [
|
| 1823 |
+
"those jump squats but you got to keep on",
|
| 1824 |
+
"moving good footwork keep throwing those",
|
| 1825 |
+
"those jump squats but you got to keep on",
|
| 1826 |
+
"moving good footwork keep throwing those",
|
| 1827 |
+
"kicks this is the third and final round",
|
| 1828 |
+
"moving good footwork keep throwing those",
|
| 1829 |
+
"kicks this is the third and final round",
|
| 1830 |
+
"moving good footwork keep throwing those",
|
| 1831 |
+
"kicks this is the third and final round",
|
| 1832 |
+
"of this set so we got to finish strong",
|
| 1833 |
+
"kicks this is the third and final round",
|
| 1834 |
+
"of this set so we got to finish strong",
|
| 1835 |
+
"finishing your punches with kicks",
|
| 1836 |
+
"of this set so we got to finish strong",
|
| 1837 |
+
"finishing your punches with kicks",
|
| 1838 |
+
"of this set so we got to finish strong",
|
| 1839 |
+
"finishing your punches with kicks",
|
| 1840 |
+
"trigging them up with faints maybe",
|
| 1841 |
+
"finishing your punches with kicks",
|
| 1842 |
+
"trigging them up with faints maybe",
|
| 1843 |
+
"getting Fancy with back kicks and guys"
|
| 1844 |
+
],
|
| 1845 |
+
"176": [
|
| 1846 |
+
"trigging them up with faints maybe",
|
| 1847 |
+
"getting Fancy with back kicks and guys",
|
| 1848 |
+
"trigging them up with faints maybe",
|
| 1849 |
+
"getting Fancy with back kicks and guys",
|
| 1850 |
+
"if you don't know how to chain combos",
|
| 1851 |
+
"getting Fancy with back kicks and guys",
|
| 1852 |
+
"if you don't know how to chain combos",
|
| 1853 |
+
"getting Fancy with back kicks and guys",
|
| 1854 |
+
"if you don't know how to chain combos",
|
| 1855 |
+
"together you're not comfortable doing it",
|
| 1856 |
+
"if you don't know how to chain combos",
|
| 1857 |
+
"together you're not comfortable doing it",
|
| 1858 |
+
"if you don't know how to chain combos",
|
| 1859 |
+
"together you're not comfortable doing it",
|
| 1860 |
+
"no worries check out my fight jim.com we",
|
| 1861 |
+
"together you're not comfortable doing it",
|
| 1862 |
+
"no worries check out my fight jim.com we",
|
| 1863 |
+
"together you're not comfortable doing it",
|
| 1864 |
+
"no worries check out my fight jim.com we",
|
| 1865 |
+
"made it with the intention to teach you"
|
| 1866 |
+
],
|
| 1867 |
+
"184": [
|
| 1868 |
+
"no worries check out my fight jim.com we",
|
| 1869 |
+
"made it with the intention to teach you",
|
| 1870 |
+
"guys how to fight how to feel more",
|
| 1871 |
+
"made it with the intention to teach you",
|
| 1872 |
+
"guys how to fight how to feel more",
|
| 1873 |
+
"made it with the intention to teach you",
|
| 1874 |
+
"guys how to fight how to feel more",
|
| 1875 |
+
"comfortable developing strategies so",
|
| 1876 |
+
"guys how to fight how to feel more",
|
| 1877 |
+
"comfortable developing strategies so",
|
| 1878 |
+
"that you can chain combos together using",
|
| 1879 |
+
"comfortable developing strategies so",
|
| 1880 |
+
"that you can chain combos together using",
|
| 1881 |
+
"comfortable developing strategies so",
|
| 1882 |
+
"that you can chain combos together using",
|
| 1883 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 1884 |
+
"that you can chain combos together using",
|
| 1885 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 1886 |
+
"that you can chain combos together using",
|
| 1887 |
+
"ta kwando Muay Thai boxing wrestling all"
|
| 1888 |
+
],
|
| 1889 |
+
"192": [
|
| 1890 |
+
"that you can chain combos together using",
|
| 1891 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 1892 |
+
"right all right finishing it off now is",
|
| 1893 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 1894 |
+
"right all right finishing it off now is",
|
| 1895 |
+
"the Matrix push-ups these are tough and",
|
| 1896 |
+
"right all right finishing it off now is",
|
| 1897 |
+
"the Matrix push-ups these are tough and",
|
| 1898 |
+
"right all right finishing it off now is",
|
| 1899 |
+
"the Matrix push-ups these are tough and",
|
| 1900 |
+
"these can always be modified but what",
|
| 1901 |
+
"the Matrix push-ups these are tough and",
|
| 1902 |
+
"these can always be modified but what",
|
| 1903 |
+
"the Matrix push-ups these are tough and",
|
| 1904 |
+
"these can always be modified but what",
|
| 1905 |
+
"you're doing is leaning to one side one",
|
| 1906 |
+
"these can always be modified but what",
|
| 1907 |
+
"you're doing is leaning to one side one",
|
| 1908 |
+
"these can always be modified but what",
|
| 1909 |
+
"you're doing is leaning to one side one",
|
| 1910 |
+
"arm to the left or to the right you're"
|
| 1911 |
+
],
|
| 1912 |
+
"200": [
|
| 1913 |
+
"you're doing is leaning to one side one",
|
| 1914 |
+
"arm to the left or to the right you're",
|
| 1915 |
+
"you're doing is leaning to one side one",
|
| 1916 |
+
"arm to the left or to the right you're",
|
| 1917 |
+
"going to go down in a full circle motion",
|
| 1918 |
+
"arm to the left or to the right you're",
|
| 1919 |
+
"going to go down in a full circle motion",
|
| 1920 |
+
"arm to the left or to the right you're",
|
| 1921 |
+
"going to go down in a full circle motion",
|
| 1922 |
+
"once you get to the top you're going to",
|
| 1923 |
+
"going to go down in a full circle motion",
|
| 1924 |
+
"once you get to the top you're going to",
|
| 1925 |
+
"reverse and go in the opposite direction",
|
| 1926 |
+
"once you get to the top you're going to",
|
| 1927 |
+
"reverse and go in the opposite direction",
|
| 1928 |
+
"once you get to the top you're going to",
|
| 1929 |
+
"reverse and go in the opposite direction",
|
| 1930 |
+
"like I said modify these by going down",
|
| 1931 |
+
"reverse and go in the opposite direction",
|
| 1932 |
+
"like I said modify these by going down"
|
| 1933 |
+
],
|
| 1934 |
+
"208": [
|
| 1935 |
+
"reverse and go in the opposite direction",
|
| 1936 |
+
"like I said modify these by going down",
|
| 1937 |
+
"onto your knees or by just doing regular",
|
| 1938 |
+
"like I said modify these by going down",
|
| 1939 |
+
"onto your knees or by just doing regular",
|
| 1940 |
+
"like I said modify these by going down",
|
| 1941 |
+
"onto your knees or by just doing regular",
|
| 1942 |
+
"push-ups okay work your way up to these",
|
| 1943 |
+
"onto your knees or by just doing regular",
|
| 1944 |
+
"push-ups okay work your way up to these",
|
| 1945 |
+
"onto your knees or by just doing regular",
|
| 1946 |
+
"push-ups okay work your way up to these",
|
| 1947 |
+
"if they're too difficult at first all",
|
| 1948 |
+
"push-ups okay work your way up to these",
|
| 1949 |
+
"if they're too difficult at first all",
|
| 1950 |
+
"right 30 seconds again this is about",
|
| 1951 |
+
"if they're too difficult at first all",
|
| 1952 |
+
"right 30 seconds again this is about",
|
| 1953 |
+
"if they're too difficult at first all",
|
| 1954 |
+
"right 30 seconds again this is about",
|
| 1955 |
+
"muscle endurance it's working the"
|
| 1956 |
+
],
|
| 1957 |
+
"216": [
|
| 1958 |
+
"right 30 seconds again this is about",
|
| 1959 |
+
"muscle endurance it's working the",
|
| 1960 |
+
"triceps it's working the forearms the",
|
| 1961 |
+
"muscle endurance it's working the",
|
| 1962 |
+
"triceps it's working the forearms the",
|
| 1963 |
+
"muscle endurance it's working the",
|
| 1964 |
+
"triceps it's working the forearms the",
|
| 1965 |
+
"muscle endurance it's working the",
|
| 1966 |
+
"triceps it's working the forearms the",
|
| 1967 |
+
"chest the back keep the core tight the",
|
| 1968 |
+
"triceps it's working the forearms the",
|
| 1969 |
+
"chest the back keep the core tight the",
|
| 1970 |
+
"triceps it's working the forearms the",
|
| 1971 |
+
"chest the back keep the core tight the",
|
| 1972 |
+
"legs straight and then once you're done",
|
| 1973 |
+
"chest the back keep the core tight the",
|
| 1974 |
+
"legs straight and then once you're done",
|
| 1975 |
+
"you got a 30 second rest and then you're",
|
| 1976 |
+
"legs straight and then once you're done",
|
| 1977 |
+
"you got a 30 second rest and then you're"
|
| 1978 |
+
],
|
| 1979 |
+
"224": [
|
| 1980 |
+
"legs straight and then once you're done",
|
| 1981 |
+
"you got a 30 second rest and then you're",
|
| 1982 |
+
"going to go right back into it try to",
|
| 1983 |
+
"you got a 30 second rest and then you're",
|
| 1984 |
+
"going to go right back into it try to",
|
| 1985 |
+
"you got a 30 second rest and then you're",
|
| 1986 |
+
"going to go right back into it try to",
|
| 1987 |
+
"get five sets you'll be happy that you",
|
| 1988 |
+
"going to go right back into it try to",
|
| 1989 |
+
"get five sets you'll be happy that you",
|
| 1990 |
+
"did it you can switch out different",
|
| 1991 |
+
"get five sets you'll be happy that you",
|
| 1992 |
+
"did it you can switch out different",
|
| 1993 |
+
"exercises different calisthetics for",
|
| 1994 |
+
"did it you can switch out different",
|
| 1995 |
+
"exercises different calisthetics for",
|
| 1996 |
+
"did it you can switch out different",
|
| 1997 |
+
"exercises different calisthetics for",
|
| 1998 |
+
"what works for you and just set a timer",
|
| 1999 |
+
"exercises different calisthetics for",
|
| 2000 |
+
"what works for you and just set a timer"
|
| 2001 |
+
],
|
| 2002 |
+
"232": [
|
| 2003 |
+
"exercises different calisthetics for",
|
| 2004 |
+
"what works for you and just set a timer",
|
| 2005 |
+
"on your phone or watch a clock as you do",
|
| 2006 |
+
"what works for you and just set a timer",
|
| 2007 |
+
"on your phone or watch a clock as you do",
|
| 2008 |
+
"what works for you and just set a timer",
|
| 2009 |
+
"on your phone or watch a clock as you do",
|
| 2010 |
+
"it have fun with it work hard guys for",
|
| 2011 |
+
"on your phone or watch a clock as you do",
|
| 2012 |
+
"it have fun with it work hard guys for",
|
| 2013 |
+
"on your phone or watch a clock as you do",
|
| 2014 |
+
"it have fun with it work hard guys for",
|
| 2015 |
+
"more fulllength workouts drills and",
|
| 2016 |
+
"it have fun with it work hard guys for",
|
| 2017 |
+
"more fulllength workouts drills and",
|
| 2018 |
+
"it have fun with it work hard guys for",
|
| 2019 |
+
"more fulllength workouts drills and",
|
| 2020 |
+
"techniques check out that link right in",
|
| 2021 |
+
"more fulllength workouts drills and",
|
| 2022 |
+
"techniques check out that link right in"
|
| 2023 |
+
],
|
| 2024 |
+
"240": [
|
| 2025 |
+
"more fulllength workouts drills and",
|
| 2026 |
+
"techniques check out that link right in",
|
| 2027 |
+
"the middle there and the Link's also in",
|
| 2028 |
+
"techniques check out that link right in",
|
| 2029 |
+
"the middle there and the Link's also in",
|
| 2030 |
+
"the description below for my fight gym",
|
| 2031 |
+
"the middle there and the Link's also in",
|
| 2032 |
+
"the description below for my fight gym",
|
| 2033 |
+
"the middle there and the Link's also in",
|
| 2034 |
+
"the description below for my fight gym",
|
| 2035 |
+
"like I said we'll teach you how to",
|
| 2036 |
+
"the description below for my fight gym",
|
| 2037 |
+
"like I said we'll teach you how to",
|
| 2038 |
+
"shadow box better and we'll give you",
|
| 2039 |
+
"like I said we'll teach you how to",
|
| 2040 |
+
"shadow box better and we'll give you",
|
| 2041 |
+
"full workouts that you can follow along",
|
| 2042 |
+
"shadow box better and we'll give you",
|
| 2043 |
+
"full workouts that you can follow along",
|
| 2044 |
+
"shadow box better and we'll give you",
|
| 2045 |
+
"full workouts that you can follow along",
|
| 2046 |
+
"with with a timer just like this one but"
|
| 2047 |
+
],
|
| 2048 |
+
"248": [
|
| 2049 |
+
"full workouts that you can follow along",
|
| 2050 |
+
"with with a timer just like this one but",
|
| 2051 |
+
"full workouts that you can follow along",
|
| 2052 |
+
"with with a timer just like this one but",
|
| 2053 |
+
"that go up to 30 minutes in length until",
|
| 2054 |
+
"with with a timer just like this one but",
|
| 2055 |
+
"that go up to 30 minutes in length until",
|
| 2056 |
+
"with with a timer just like this one but",
|
| 2057 |
+
"that go up to 30 minutes in length until",
|
| 2058 |
+
"next time be sure to follow me on",
|
| 2059 |
+
"that go up to 30 minutes in length until",
|
| 2060 |
+
"next time be sure to follow me on",
|
| 2061 |
+
"Twitter and Instagram and subscribe if",
|
| 2062 |
+
"next time be sure to follow me on",
|
| 2063 |
+
"Twitter and Instagram and subscribe if",
|
| 2064 |
+
"next time be sure to follow me on",
|
| 2065 |
+
"Twitter and Instagram and subscribe if",
|
| 2066 |
+
"you haven't already to get the fight",
|
| 2067 |
+
"Twitter and Instagram and subscribe if",
|
| 2068 |
+
"you haven't already to get the fight",
|
| 2069 |
+
"tips before your opponent does I'm Shan"
|
| 2070 |
+
],
|
| 2071 |
+
"256": [
|
| 2072 |
+
"you haven't already to get the fight",
|
| 2073 |
+
"tips before your opponent does I'm Shan",
|
| 2074 |
+
"you haven't already to get the fight",
|
| 2075 |
+
"tips before your opponent does I'm Shan",
|
| 2076 |
+
"with fight tips self-defense for The",
|
| 2077 |
+
"tips before your opponent does I'm Shan",
|
| 2078 |
+
"with fight tips self-defense for The",
|
| 2079 |
+
"tips before your opponent does I'm Shan",
|
| 2080 |
+
"with fight tips self-defense for The",
|
| 2081 |
+
"tips before your opponent does I'm Shan",
|
| 2082 |
+
"with fight tips self-defense for The",
|
| 2083 |
+
"Underdogs",
|
| 2084 |
+
"with fight tips self-defense for The",
|
| 2085 |
+
"with fight tips self-defense for The",
|
| 2086 |
+
"Underdogs",
|
| 2087 |
+
"Underdogs"
|
| 2088 |
+
]
|
| 2089 |
+
},
|
| 2090 |
+
"unique_subtitles_by_window": {
|
| 2091 |
+
"0": [
|
| 2092 |
+
"doing a home boxing or mix martial arts",
|
| 2093 |
+
"what's going on guys Shane here welcome",
|
| 2094 |
+
"all right so today we're going to be",
|
| 2095 |
+
"to my backyard just kidding but someday"
|
| 2096 |
+
],
|
| 2097 |
+
"8": [
|
| 2098 |
+
"and cardio work out all right here's the",
|
| 2099 |
+
"incorporate your kicks knees and elbows",
|
| 2100 |
+
"or if you just want to do strictly hands",
|
| 2101 |
+
"doing a home boxing or mix martial arts",
|
| 2102 |
+
"all right so today we're going to be",
|
| 2103 |
+
"workout that's up to you if you want to",
|
| 2104 |
+
"there's going to be a muscle endurance"
|
| 2105 |
+
],
|
| 2106 |
+
"16": [
|
| 2107 |
+
"or less that's fine if you want to tweak",
|
| 2108 |
+
"and cardio work out all right here's the",
|
| 2109 |
+
"format we're going to be doing 3 minute",
|
| 2110 |
+
"it in anyway that's okay too it's going",
|
| 2111 |
+
"rounds with 30 second rest in between",
|
| 2112 |
+
"there's going to be a muscle endurance",
|
| 2113 |
+
"for five rounds if you want to do more"
|
| 2114 |
+
],
|
| 2115 |
+
"24": [
|
| 2116 |
+
"or less that's fine if you want to tweak",
|
| 2117 |
+
"shadow box then 30 seconds of burpees",
|
| 2118 |
+
"it in anyway that's okay too it's going",
|
| 2119 |
+
"back to the Shadow Boxing then we're",
|
| 2120 |
+
"to be 30 seconds of Shadow Boxing we'll",
|
| 2121 |
+
"break down how exactly you're going to"
|
| 2122 |
+
],
|
| 2123 |
+
"32": [
|
| 2124 |
+
"shadow box then 30 seconds of burpees",
|
| 2125 |
+
"to finish with Matrix push-ups and we'll",
|
| 2126 |
+
"explain what those are so we're starting",
|
| 2127 |
+
"it off with Shadow Boxing which is a",
|
| 2128 |
+
"back to the Shadow Boxing then we're",
|
| 2129 |
+
"going to do 180 jump squats back to",
|
| 2130 |
+
"Shadow Boxing again and then we're going"
|
| 2131 |
+
],
|
| 2132 |
+
"40": [
|
| 2133 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 2134 |
+
"explain what those are so we're starting",
|
| 2135 |
+
"finish your punch combinations with",
|
| 2136 |
+
"great full body workout it gets the",
|
| 2137 |
+
"heart rate up and it improves your",
|
| 2138 |
+
"it off with Shadow Boxing which is a",
|
| 2139 |
+
"fighting skills so if you're new to"
|
| 2140 |
+
],
|
| 2141 |
+
"48": [
|
| 2142 |
+
"Shadow Boxing A good rule of thumb is to",
|
| 2143 |
+
"again it could be a front push kick it",
|
| 2144 |
+
"finish your punch combinations with",
|
| 2145 |
+
"side knee I finish with a cross and then",
|
| 2146 |
+
"I finish with the opposite side knee",
|
| 2147 |
+
"a jab and I finish with the opposite",
|
| 2148 |
+
"kicks or with knees you can see I threw"
|
| 2149 |
+
],
|
| 2150 |
+
"56": [
|
| 2151 |
+
"again it could be a front push kick it",
|
| 2152 |
+
"opponent in front of you moving around",
|
| 2153 |
+
"so you're exercising good footwork and",
|
| 2154 |
+
"I finish with the opposite side knee",
|
| 2155 |
+
"exclusively doing your punches then just",
|
| 2156 |
+
"could be a round kick or if you're just",
|
| 2157 |
+
"work your hands all right visualizing"
|
| 2158 |
+
],
|
| 2159 |
+
"64": [
|
| 2160 |
+
"opponent in front of you moving around",
|
| 2161 |
+
"so you're exercising good footwork and",
|
| 2162 |
+
"going to the head going to the body you",
|
| 2163 |
+
"also got to work your defense your head",
|
| 2164 |
+
"it out with some quick uppercuts or",
|
| 2165 |
+
"you're keeping your strikes accurate",
|
| 2166 |
+
"movement your evasions sometimes Sprint"
|
| 2167 |
+
],
|
| 2168 |
+
"72": [
|
| 2169 |
+
"as many as you can do make sure you're",
|
| 2170 |
+
"going right to burpees all right 30",
|
| 2171 |
+
"seconds of burpees non-stop rep them out",
|
| 2172 |
+
"it out with some quick uppercuts or",
|
| 2173 |
+
"clinch knees soon as you're done you're",
|
| 2174 |
+
"doing a push-up at the bottom fast hips",
|
| 2175 |
+
"movement your evasions sometimes Sprint"
|
| 2176 |
+
],
|
| 2177 |
+
"80": [
|
| 2178 |
+
"as many as you can do make sure you're",
|
| 2179 |
+
"down into your squat right back down",
|
| 2180 |
+
"exploding a jump at the top land soft",
|
| 2181 |
+
"calisthenics that you can do again it",
|
| 2182 |
+
"burp is one of the best full body",
|
| 2183 |
+
"doing a push-up at the bottom fast hips"
|
| 2184 |
+
],
|
| 2185 |
+
"88": [
|
| 2186 |
+
"as the core and the legs all right so",
|
| 2187 |
+
"calisthenics that you can do again it",
|
| 2188 |
+
"burp is one of the best full body",
|
| 2189 |
+
"the chest the shoulders the back as well",
|
| 2190 |
+
"times you want to give up or when I need",
|
| 2191 |
+
"get gets the heart rate up it builds up"
|
| 2192 |
+
],
|
| 2193 |
+
"96": [
|
| 2194 |
+
"you're pushing through that wall that",
|
| 2195 |
+
"you normally give up at as soon as",
|
| 2196 |
+
"going to start to see results when",
|
| 2197 |
+
"as the core and the legs all right so",
|
| 2198 |
+
"you're done you're going to go right",
|
| 2199 |
+
"forward all right that's when you're",
|
| 2200 |
+
"times you want to give up or when I need",
|
| 2201 |
+
"you to especially keep on pushing"
|
| 2202 |
+
],
|
| 2203 |
+
"104": [
|
| 2204 |
+
"you normally give up at as soon as",
|
| 2205 |
+
"to be tired in a fight too reach those",
|
| 2206 |
+
"you're done you're going to go right",
|
| 2207 |
+
"goals that you're aiming for whether",
|
| 2208 |
+
"it's to be a better fighter or to lose",
|
| 2209 |
+
"back into your Shadow Boxing all right",
|
| 2210 |
+
"you're going to be fatigued you're going"
|
| 2211 |
+
],
|
| 2212 |
+
"112": [
|
| 2213 |
+
"those hands up you need to keep throwing",
|
| 2214 |
+
"goals that you're aiming for whether",
|
| 2215 |
+
"with power 100% speed and accuracy good",
|
| 2216 |
+
"it's to be a better fighter or to lose",
|
| 2217 |
+
"huffing and puffing and when your limbs",
|
| 2218 |
+
"weight getting shape these are the times",
|
| 2219 |
+
"that you need to go hard when you're",
|
| 2220 |
+
"are tired that's when you need to keep"
|
| 2221 |
+
],
|
| 2222 |
+
"120": [
|
| 2223 |
+
"going to the head to the body working",
|
| 2224 |
+
"with power 100% speed and accuracy good",
|
| 2225 |
+
"alert you need to be mentally strong too",
|
| 2226 |
+
"footwork switching it up you need to be",
|
| 2227 |
+
"making sure you have a good strategy",
|
| 2228 |
+
"those hands up you need to keep throwing"
|
| 2229 |
+
],
|
| 2230 |
+
"128": [
|
| 2231 |
+
"sprawls if this is MMA work that",
|
| 2232 |
+
"going to the head to the body working",
|
| 2233 |
+
"squats and these are killers here all",
|
| 2234 |
+
"your kicks if this is kickboxing and",
|
| 2235 |
+
"takedown defense next we got 180 jump",
|
| 2236 |
+
"making sure you have a good strategy"
|
| 2237 |
+
],
|
| 2238 |
+
"136": [
|
| 2239 |
+
"quick all right so you're going to jump",
|
| 2240 |
+
"right you're going to jump up spin 180\u00b0",
|
| 2241 |
+
"squats and these are killers here all",
|
| 2242 |
+
"takedown defense next we got 180 jump",
|
| 2243 |
+
"exercise here it's going to really burn",
|
| 2244 |
+
"the legs out you're going to feel this",
|
| 2245 |
+
"midair so it's a great plyometric"
|
| 2246 |
+
],
|
| 2247 |
+
"144": [
|
| 2248 |
+
"quick all right so you're going to jump",
|
| 2249 |
+
"back down into a squat you can see me",
|
| 2250 |
+
"already fatiguing I'm getting tired here",
|
| 2251 |
+
"the legs out you're going to feel this",
|
| 2252 |
+
"you're going to land soft on your toes",
|
| 2253 |
+
"my legs were already on fire from squats",
|
| 2254 |
+
"the day before but no days off got to"
|
| 2255 |
+
],
|
| 2256 |
+
"152": [
|
| 2257 |
+
"fighting through the paint all right",
|
| 2258 |
+
"just like you guys you got 10 more",
|
| 2259 |
+
"seconds to keep on pushing through keep",
|
| 2260 |
+
"keep on working keep on pushing through",
|
| 2261 |
+
"embrace it that's what I always say if",
|
| 2262 |
+
"my legs were already on fire from squats",
|
| 2263 |
+
"the day before but no days off got to"
|
| 2264 |
+
],
|
| 2265 |
+
"160": [
|
| 2266 |
+
"you're doing something good then we're",
|
| 2267 |
+
"those jump squats but you got to keep on",
|
| 2268 |
+
"back to our Shadow Boxing and again",
|
| 2269 |
+
"fighting through the paint all right",
|
| 2270 |
+
"you feel the burn in your legs means",
|
| 2271 |
+
"moving good footwork keep throwing those",
|
| 2272 |
+
"you're really going to be fatigued after",
|
| 2273 |
+
"embrace it that's what I always say if"
|
| 2274 |
+
],
|
| 2275 |
+
"168": [
|
| 2276 |
+
"of this set so we got to finish strong",
|
| 2277 |
+
"those jump squats but you got to keep on",
|
| 2278 |
+
"kicks this is the third and final round",
|
| 2279 |
+
"getting Fancy with back kicks and guys",
|
| 2280 |
+
"moving good footwork keep throwing those",
|
| 2281 |
+
"trigging them up with faints maybe",
|
| 2282 |
+
"finishing your punches with kicks"
|
| 2283 |
+
],
|
| 2284 |
+
"176": [
|
| 2285 |
+
"getting Fancy with back kicks and guys",
|
| 2286 |
+
"if you don't know how to chain combos",
|
| 2287 |
+
"no worries check out my fight jim.com we",
|
| 2288 |
+
"made it with the intention to teach you",
|
| 2289 |
+
"trigging them up with faints maybe",
|
| 2290 |
+
"together you're not comfortable doing it"
|
| 2291 |
+
],
|
| 2292 |
+
"184": [
|
| 2293 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 2294 |
+
"guys how to fight how to feel more",
|
| 2295 |
+
"that you can chain combos together using",
|
| 2296 |
+
"no worries check out my fight jim.com we",
|
| 2297 |
+
"made it with the intention to teach you",
|
| 2298 |
+
"comfortable developing strategies so"
|
| 2299 |
+
],
|
| 2300 |
+
"192": [
|
| 2301 |
+
"arm to the left or to the right you're",
|
| 2302 |
+
"ta kwando Muay Thai boxing wrestling all",
|
| 2303 |
+
"the Matrix push-ups these are tough and",
|
| 2304 |
+
"that you can chain combos together using",
|
| 2305 |
+
"right all right finishing it off now is",
|
| 2306 |
+
"you're doing is leaning to one side one",
|
| 2307 |
+
"these can always be modified but what"
|
| 2308 |
+
],
|
| 2309 |
+
"200": [
|
| 2310 |
+
"arm to the left or to the right you're",
|
| 2311 |
+
"like I said modify these by going down",
|
| 2312 |
+
"once you get to the top you're going to",
|
| 2313 |
+
"going to go down in a full circle motion",
|
| 2314 |
+
"you're doing is leaning to one side one",
|
| 2315 |
+
"reverse and go in the opposite direction"
|
| 2316 |
+
],
|
| 2317 |
+
"208": [
|
| 2318 |
+
"if they're too difficult at first all",
|
| 2319 |
+
"push-ups okay work your way up to these",
|
| 2320 |
+
"right 30 seconds again this is about",
|
| 2321 |
+
"like I said modify these by going down",
|
| 2322 |
+
"onto your knees or by just doing regular",
|
| 2323 |
+
"muscle endurance it's working the",
|
| 2324 |
+
"reverse and go in the opposite direction"
|
| 2325 |
+
],
|
| 2326 |
+
"216": [
|
| 2327 |
+
"muscle endurance it's working the",
|
| 2328 |
+
"right 30 seconds again this is about",
|
| 2329 |
+
"legs straight and then once you're done",
|
| 2330 |
+
"chest the back keep the core tight the",
|
| 2331 |
+
"you got a 30 second rest and then you're",
|
| 2332 |
+
"triceps it's working the forearms the"
|
| 2333 |
+
],
|
| 2334 |
+
"224": [
|
| 2335 |
+
"going to go right back into it try to",
|
| 2336 |
+
"legs straight and then once you're done",
|
| 2337 |
+
"you got a 30 second rest and then you're",
|
| 2338 |
+
"what works for you and just set a timer",
|
| 2339 |
+
"exercises different calisthetics for",
|
| 2340 |
+
"get five sets you'll be happy that you",
|
| 2341 |
+
"did it you can switch out different"
|
| 2342 |
+
],
|
| 2343 |
+
"232": [
|
| 2344 |
+
"it have fun with it work hard guys for",
|
| 2345 |
+
"on your phone or watch a clock as you do",
|
| 2346 |
+
"what works for you and just set a timer",
|
| 2347 |
+
"exercises different calisthetics for",
|
| 2348 |
+
"more fulllength workouts drills and",
|
| 2349 |
+
"techniques check out that link right in"
|
| 2350 |
+
],
|
| 2351 |
+
"240": [
|
| 2352 |
+
"the middle there and the Link's also in",
|
| 2353 |
+
"with with a timer just like this one but",
|
| 2354 |
+
"the description below for my fight gym",
|
| 2355 |
+
"like I said we'll teach you how to",
|
| 2356 |
+
"full workouts that you can follow along",
|
| 2357 |
+
"more fulllength workouts drills and",
|
| 2358 |
+
"techniques check out that link right in",
|
| 2359 |
+
"shadow box better and we'll give you"
|
| 2360 |
+
],
|
| 2361 |
+
"248": [
|
| 2362 |
+
"Twitter and Instagram and subscribe if",
|
| 2363 |
+
"with with a timer just like this one but",
|
| 2364 |
+
"you haven't already to get the fight",
|
| 2365 |
+
"tips before your opponent does I'm Shan",
|
| 2366 |
+
"full workouts that you can follow along",
|
| 2367 |
+
"that go up to 30 minutes in length until",
|
| 2368 |
+
"next time be sure to follow me on"
|
| 2369 |
+
],
|
| 2370 |
+
"256": [
|
| 2371 |
+
"you haven't already to get the fight",
|
| 2372 |
+
"tips before your opponent does I'm Shan",
|
| 2373 |
+
"Underdogs",
|
| 2374 |
+
"with fight tips self-defense for The"
|
| 2375 |
+
]
|
| 2376 |
+
},
|
| 2377 |
+
"window_by_subtitle": {
|
| 2378 |
+
"doing a home boxing or mix martial arts": [
|
| 2379 |
+
0,
|
| 2380 |
+
8
|
| 2381 |
+
],
|
| 2382 |
+
"what's going on guys Shane here welcome": [
|
| 2383 |
+
0
|
| 2384 |
+
],
|
| 2385 |
+
"all right so today we're going to be": [
|
| 2386 |
+
0,
|
| 2387 |
+
8
|
| 2388 |
+
],
|
| 2389 |
+
"to my backyard just kidding but someday": [
|
| 2390 |
+
0
|
| 2391 |
+
],
|
| 2392 |
+
"and cardio work out all right here's the": [
|
| 2393 |
+
8,
|
| 2394 |
+
16
|
| 2395 |
+
],
|
| 2396 |
+
"incorporate your kicks knees and elbows": [
|
| 2397 |
+
8
|
| 2398 |
+
],
|
| 2399 |
+
"or if you just want to do strictly hands": [
|
| 2400 |
+
8
|
| 2401 |
+
],
|
| 2402 |
+
"workout that's up to you if you want to": [
|
| 2403 |
+
8
|
| 2404 |
+
],
|
| 2405 |
+
"there's going to be a muscle endurance": [
|
| 2406 |
+
8,
|
| 2407 |
+
16
|
| 2408 |
+
],
|
| 2409 |
+
"or less that's fine if you want to tweak": [
|
| 2410 |
+
16,
|
| 2411 |
+
24
|
| 2412 |
+
],
|
| 2413 |
+
"format we're going to be doing 3 minute": [
|
| 2414 |
+
16
|
| 2415 |
+
],
|
| 2416 |
+
"it in anyway that's okay too it's going": [
|
| 2417 |
+
16,
|
| 2418 |
+
24
|
| 2419 |
+
],
|
| 2420 |
+
"rounds with 30 second rest in between": [
|
| 2421 |
+
16
|
| 2422 |
+
],
|
| 2423 |
+
"for five rounds if you want to do more": [
|
| 2424 |
+
16
|
| 2425 |
+
],
|
| 2426 |
+
"shadow box then 30 seconds of burpees": [
|
| 2427 |
+
24,
|
| 2428 |
+
32
|
| 2429 |
+
],
|
| 2430 |
+
"back to the Shadow Boxing then we're": [
|
| 2431 |
+
24,
|
| 2432 |
+
32
|
| 2433 |
+
],
|
| 2434 |
+
"to be 30 seconds of Shadow Boxing we'll": [
|
| 2435 |
+
24
|
| 2436 |
+
],
|
| 2437 |
+
"break down how exactly you're going to": [
|
| 2438 |
+
24
|
| 2439 |
+
],
|
| 2440 |
+
"to finish with Matrix push-ups and we'll": [
|
| 2441 |
+
32
|
| 2442 |
+
],
|
| 2443 |
+
"explain what those are so we're starting": [
|
| 2444 |
+
32,
|
| 2445 |
+
40
|
| 2446 |
+
],
|
| 2447 |
+
"it off with Shadow Boxing which is a": [
|
| 2448 |
+
32,
|
| 2449 |
+
40
|
| 2450 |
+
],
|
| 2451 |
+
"going to do 180 jump squats back to": [
|
| 2452 |
+
32
|
| 2453 |
+
],
|
| 2454 |
+
"Shadow Boxing again and then we're going": [
|
| 2455 |
+
32
|
| 2456 |
+
],
|
| 2457 |
+
"Shadow Boxing A good rule of thumb is to": [
|
| 2458 |
+
40,
|
| 2459 |
+
48
|
| 2460 |
+
],
|
| 2461 |
+
"finish your punch combinations with": [
|
| 2462 |
+
40,
|
| 2463 |
+
48
|
| 2464 |
+
],
|
| 2465 |
+
"great full body workout it gets the": [
|
| 2466 |
+
40
|
| 2467 |
+
],
|
| 2468 |
+
"heart rate up and it improves your": [
|
| 2469 |
+
40
|
| 2470 |
+
],
|
| 2471 |
+
"fighting skills so if you're new to": [
|
| 2472 |
+
40
|
| 2473 |
+
],
|
| 2474 |
+
"again it could be a front push kick it": [
|
| 2475 |
+
48,
|
| 2476 |
+
56
|
| 2477 |
+
],
|
| 2478 |
+
"side knee I finish with a cross and then": [
|
| 2479 |
+
48
|
| 2480 |
+
],
|
| 2481 |
+
"I finish with the opposite side knee": [
|
| 2482 |
+
48,
|
| 2483 |
+
56
|
| 2484 |
+
],
|
| 2485 |
+
"a jab and I finish with the opposite": [
|
| 2486 |
+
48
|
| 2487 |
+
],
|
| 2488 |
+
"kicks or with knees you can see I threw": [
|
| 2489 |
+
48
|
| 2490 |
+
],
|
| 2491 |
+
"opponent in front of you moving around": [
|
| 2492 |
+
56,
|
| 2493 |
+
64
|
| 2494 |
+
],
|
| 2495 |
+
"so you're exercising good footwork and": [
|
| 2496 |
+
56,
|
| 2497 |
+
64
|
| 2498 |
+
],
|
| 2499 |
+
"exclusively doing your punches then just": [
|
| 2500 |
+
56
|
| 2501 |
+
],
|
| 2502 |
+
"could be a round kick or if you're just": [
|
| 2503 |
+
56
|
| 2504 |
+
],
|
| 2505 |
+
"work your hands all right visualizing": [
|
| 2506 |
+
56
|
| 2507 |
+
],
|
| 2508 |
+
"going to the head going to the body you": [
|
| 2509 |
+
64
|
| 2510 |
+
],
|
| 2511 |
+
"also got to work your defense your head": [
|
| 2512 |
+
64
|
| 2513 |
+
],
|
| 2514 |
+
"it out with some quick uppercuts or": [
|
| 2515 |
+
64,
|
| 2516 |
+
72
|
| 2517 |
+
],
|
| 2518 |
+
"you're keeping your strikes accurate": [
|
| 2519 |
+
64
|
| 2520 |
+
],
|
| 2521 |
+
"movement your evasions sometimes Sprint": [
|
| 2522 |
+
64,
|
| 2523 |
+
72
|
| 2524 |
+
],
|
| 2525 |
+
"as many as you can do make sure you're": [
|
| 2526 |
+
72,
|
| 2527 |
+
80
|
| 2528 |
+
],
|
| 2529 |
+
"going right to burpees all right 30": [
|
| 2530 |
+
72
|
| 2531 |
+
],
|
| 2532 |
+
"seconds of burpees non-stop rep them out": [
|
| 2533 |
+
72
|
| 2534 |
+
],
|
| 2535 |
+
"clinch knees soon as you're done you're": [
|
| 2536 |
+
72
|
| 2537 |
+
],
|
| 2538 |
+
"doing a push-up at the bottom fast hips": [
|
| 2539 |
+
72,
|
| 2540 |
+
80
|
| 2541 |
+
],
|
| 2542 |
+
"down into your squat right back down": [
|
| 2543 |
+
80
|
| 2544 |
+
],
|
| 2545 |
+
"exploding a jump at the top land soft": [
|
| 2546 |
+
80
|
| 2547 |
+
],
|
| 2548 |
+
"calisthenics that you can do again it": [
|
| 2549 |
+
80,
|
| 2550 |
+
88
|
| 2551 |
+
],
|
| 2552 |
+
"burp is one of the best full body": [
|
| 2553 |
+
80,
|
| 2554 |
+
88
|
| 2555 |
+
],
|
| 2556 |
+
"as the core and the legs all right so": [
|
| 2557 |
+
88,
|
| 2558 |
+
96
|
| 2559 |
+
],
|
| 2560 |
+
"the chest the shoulders the back as well": [
|
| 2561 |
+
88
|
| 2562 |
+
],
|
| 2563 |
+
"times you want to give up or when I need": [
|
| 2564 |
+
88,
|
| 2565 |
+
96
|
| 2566 |
+
],
|
| 2567 |
+
"get gets the heart rate up it builds up": [
|
| 2568 |
+
88
|
| 2569 |
+
],
|
| 2570 |
+
"you're pushing through that wall that": [
|
| 2571 |
+
96
|
| 2572 |
+
],
|
| 2573 |
+
"you normally give up at as soon as": [
|
| 2574 |
+
96,
|
| 2575 |
+
104
|
| 2576 |
+
],
|
| 2577 |
+
"going to start to see results when": [
|
| 2578 |
+
96
|
| 2579 |
+
],
|
| 2580 |
+
"you're done you're going to go right": [
|
| 2581 |
+
96,
|
| 2582 |
+
104
|
| 2583 |
+
],
|
| 2584 |
+
"forward all right that's when you're": [
|
| 2585 |
+
96
|
| 2586 |
+
],
|
| 2587 |
+
"you to especially keep on pushing": [
|
| 2588 |
+
96
|
| 2589 |
+
],
|
| 2590 |
+
"to be tired in a fight too reach those": [
|
| 2591 |
+
104
|
| 2592 |
+
],
|
| 2593 |
+
"goals that you're aiming for whether": [
|
| 2594 |
+
104,
|
| 2595 |
+
112
|
| 2596 |
+
],
|
| 2597 |
+
"it's to be a better fighter or to lose": [
|
| 2598 |
+
104,
|
| 2599 |
+
112
|
| 2600 |
+
],
|
| 2601 |
+
"back into your Shadow Boxing all right": [
|
| 2602 |
+
104
|
| 2603 |
+
],
|
| 2604 |
+
"you're going to be fatigued you're going": [
|
| 2605 |
+
104
|
| 2606 |
+
],
|
| 2607 |
+
"those hands up you need to keep throwing": [
|
| 2608 |
+
112,
|
| 2609 |
+
120
|
| 2610 |
+
],
|
| 2611 |
+
"with power 100% speed and accuracy good": [
|
| 2612 |
+
112,
|
| 2613 |
+
120
|
| 2614 |
+
],
|
| 2615 |
+
"huffing and puffing and when your limbs": [
|
| 2616 |
+
112
|
| 2617 |
+
],
|
| 2618 |
+
"weight getting shape these are the times": [
|
| 2619 |
+
112
|
| 2620 |
+
],
|
| 2621 |
+
"that you need to go hard when you're": [
|
| 2622 |
+
112
|
| 2623 |
+
],
|
| 2624 |
+
"are tired that's when you need to keep": [
|
| 2625 |
+
112
|
| 2626 |
+
],
|
| 2627 |
+
"going to the head to the body working": [
|
| 2628 |
+
120,
|
| 2629 |
+
128
|
| 2630 |
+
],
|
| 2631 |
+
"alert you need to be mentally strong too": [
|
| 2632 |
+
120
|
| 2633 |
+
],
|
| 2634 |
+
"footwork switching it up you need to be": [
|
| 2635 |
+
120
|
| 2636 |
+
],
|
| 2637 |
+
"making sure you have a good strategy": [
|
| 2638 |
+
120,
|
| 2639 |
+
128
|
| 2640 |
+
],
|
| 2641 |
+
"sprawls if this is MMA work that": [
|
| 2642 |
+
128
|
| 2643 |
+
],
|
| 2644 |
+
"squats and these are killers here all": [
|
| 2645 |
+
128,
|
| 2646 |
+
136
|
| 2647 |
+
],
|
| 2648 |
+
"your kicks if this is kickboxing and": [
|
| 2649 |
+
128
|
| 2650 |
+
],
|
| 2651 |
+
"takedown defense next we got 180 jump": [
|
| 2652 |
+
128,
|
| 2653 |
+
136
|
| 2654 |
+
],
|
| 2655 |
+
"quick all right so you're going to jump": [
|
| 2656 |
+
136,
|
| 2657 |
+
144
|
| 2658 |
+
],
|
| 2659 |
+
"right you're going to jump up spin 180\u00b0": [
|
| 2660 |
+
136
|
| 2661 |
+
],
|
| 2662 |
+
"exercise here it's going to really burn": [
|
| 2663 |
+
136
|
| 2664 |
+
],
|
| 2665 |
+
"the legs out you're going to feel this": [
|
| 2666 |
+
136,
|
| 2667 |
+
144
|
| 2668 |
+
],
|
| 2669 |
+
"midair so it's a great plyometric": [
|
| 2670 |
+
136
|
| 2671 |
+
],
|
| 2672 |
+
"back down into a squat you can see me": [
|
| 2673 |
+
144
|
| 2674 |
+
],
|
| 2675 |
+
"already fatiguing I'm getting tired here": [
|
| 2676 |
+
144
|
| 2677 |
+
],
|
| 2678 |
+
"you're going to land soft on your toes": [
|
| 2679 |
+
144
|
| 2680 |
+
],
|
| 2681 |
+
"my legs were already on fire from squats": [
|
| 2682 |
+
144,
|
| 2683 |
+
152
|
| 2684 |
+
],
|
| 2685 |
+
"the day before but no days off got to": [
|
| 2686 |
+
144,
|
| 2687 |
+
152
|
| 2688 |
+
],
|
| 2689 |
+
"fighting through the paint all right": [
|
| 2690 |
+
152,
|
| 2691 |
+
160
|
| 2692 |
+
],
|
| 2693 |
+
"just like you guys you got 10 more": [
|
| 2694 |
+
152
|
| 2695 |
+
],
|
| 2696 |
+
"seconds to keep on pushing through keep": [
|
| 2697 |
+
152
|
| 2698 |
+
],
|
| 2699 |
+
"keep on working keep on pushing through": [
|
| 2700 |
+
152
|
| 2701 |
+
],
|
| 2702 |
+
"embrace it that's what I always say if": [
|
| 2703 |
+
152,
|
| 2704 |
+
160
|
| 2705 |
+
],
|
| 2706 |
+
"you're doing something good then we're": [
|
| 2707 |
+
160
|
| 2708 |
+
],
|
| 2709 |
+
"those jump squats but you got to keep on": [
|
| 2710 |
+
160,
|
| 2711 |
+
168
|
| 2712 |
+
],
|
| 2713 |
+
"back to our Shadow Boxing and again": [
|
| 2714 |
+
160
|
| 2715 |
+
],
|
| 2716 |
+
"you feel the burn in your legs means": [
|
| 2717 |
+
160
|
| 2718 |
+
],
|
| 2719 |
+
"moving good footwork keep throwing those": [
|
| 2720 |
+
160,
|
| 2721 |
+
168
|
| 2722 |
+
],
|
| 2723 |
+
"you're really going to be fatigued after": [
|
| 2724 |
+
160
|
| 2725 |
+
],
|
| 2726 |
+
"of this set so we got to finish strong": [
|
| 2727 |
+
168
|
| 2728 |
+
],
|
| 2729 |
+
"kicks this is the third and final round": [
|
| 2730 |
+
168
|
| 2731 |
+
],
|
| 2732 |
+
"getting Fancy with back kicks and guys": [
|
| 2733 |
+
168,
|
| 2734 |
+
176
|
| 2735 |
+
],
|
| 2736 |
+
"trigging them up with faints maybe": [
|
| 2737 |
+
168,
|
| 2738 |
+
176
|
| 2739 |
+
],
|
| 2740 |
+
"finishing your punches with kicks": [
|
| 2741 |
+
168
|
| 2742 |
+
],
|
| 2743 |
+
"if you don't know how to chain combos": [
|
| 2744 |
+
176
|
| 2745 |
+
],
|
| 2746 |
+
"no worries check out my fight jim.com we": [
|
| 2747 |
+
176,
|
| 2748 |
+
184
|
| 2749 |
+
],
|
| 2750 |
+
"made it with the intention to teach you": [
|
| 2751 |
+
176,
|
| 2752 |
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184
|
| 2753 |
+
],
|
| 2754 |
+
"together you're not comfortable doing it": [
|
| 2755 |
+
176
|
| 2756 |
+
],
|
| 2757 |
+
"ta kwando Muay Thai boxing wrestling all": [
|
| 2758 |
+
184,
|
| 2759 |
+
192
|
| 2760 |
+
],
|
| 2761 |
+
"guys how to fight how to feel more": [
|
| 2762 |
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184
|
| 2763 |
+
],
|
| 2764 |
+
"that you can chain combos together using": [
|
| 2765 |
+
184,
|
| 2766 |
+
192
|
| 2767 |
+
],
|
| 2768 |
+
"comfortable developing strategies so": [
|
| 2769 |
+
184
|
| 2770 |
+
],
|
| 2771 |
+
"arm to the left or to the right you're": [
|
| 2772 |
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192,
|
| 2773 |
+
200
|
| 2774 |
+
],
|
| 2775 |
+
"the Matrix push-ups these are tough and": [
|
| 2776 |
+
192
|
| 2777 |
+
],
|
| 2778 |
+
"right all right finishing it off now is": [
|
| 2779 |
+
192
|
| 2780 |
+
],
|
| 2781 |
+
"you're doing is leaning to one side one": [
|
| 2782 |
+
192,
|
| 2783 |
+
200
|
| 2784 |
+
],
|
| 2785 |
+
"these can always be modified but what": [
|
| 2786 |
+
192
|
| 2787 |
+
],
|
| 2788 |
+
"like I said modify these by going down": [
|
| 2789 |
+
200,
|
| 2790 |
+
208
|
| 2791 |
+
],
|
| 2792 |
+
"once you get to the top you're going to": [
|
| 2793 |
+
200
|
| 2794 |
+
],
|
| 2795 |
+
"going to go down in a full circle motion": [
|
| 2796 |
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200
|
| 2797 |
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],
|
| 2798 |
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"reverse and go in the opposite direction": [
|
| 2799 |
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200,
|
| 2800 |
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208
|
| 2801 |
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],
|
| 2802 |
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"if they're too difficult at first all": [
|
| 2803 |
+
208
|
| 2804 |
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],
|
| 2805 |
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"push-ups okay work your way up to these": [
|
| 2806 |
+
208
|
| 2807 |
+
],
|
| 2808 |
+
"right 30 seconds again this is about": [
|
| 2809 |
+
208,
|
| 2810 |
+
216
|
| 2811 |
+
],
|
| 2812 |
+
"onto your knees or by just doing regular": [
|
| 2813 |
+
208
|
| 2814 |
+
],
|
| 2815 |
+
"muscle endurance it's working the": [
|
| 2816 |
+
208,
|
| 2817 |
+
216
|
| 2818 |
+
],
|
| 2819 |
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"legs straight and then once you're done": [
|
| 2820 |
+
216,
|
| 2821 |
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224
|
| 2822 |
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],
|
| 2823 |
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"chest the back keep the core tight the": [
|
| 2824 |
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216
|
| 2825 |
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],
|
| 2826 |
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"you got a 30 second rest and then you're": [
|
| 2827 |
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216,
|
| 2828 |
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224
|
| 2829 |
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],
|
| 2830 |
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"triceps it's working the forearms the": [
|
| 2831 |
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216
|
| 2832 |
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],
|
| 2833 |
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"going to go right back into it try to": [
|
| 2834 |
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224
|
| 2835 |
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],
|
| 2836 |
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"what works for you and just set a timer": [
|
| 2837 |
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224,
|
| 2838 |
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232
|
| 2839 |
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],
|
| 2840 |
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"exercises different calisthetics for": [
|
| 2841 |
+
224,
|
| 2842 |
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232
|
| 2843 |
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],
|
| 2844 |
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"get five sets you'll be happy that you": [
|
| 2845 |
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224
|
| 2846 |
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],
|
| 2847 |
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"did it you can switch out different": [
|
| 2848 |
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224
|
| 2849 |
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],
|
| 2850 |
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"it have fun with it work hard guys for": [
|
| 2851 |
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232
|
| 2852 |
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],
|
| 2853 |
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"on your phone or watch a clock as you do": [
|
| 2854 |
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232
|
| 2855 |
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],
|
| 2856 |
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"more fulllength workouts drills and": [
|
| 2857 |
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232,
|
| 2858 |
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240
|
| 2859 |
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],
|
| 2860 |
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"techniques check out that link right in": [
|
| 2861 |
+
232,
|
| 2862 |
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240
|
| 2863 |
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],
|
| 2864 |
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"the middle there and the Link's also in": [
|
| 2865 |
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240
|
| 2866 |
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],
|
| 2867 |
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"with with a timer just like this one but": [
|
| 2868 |
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240,
|
| 2869 |
+
248
|
| 2870 |
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],
|
| 2871 |
+
"the description below for my fight gym": [
|
| 2872 |
+
240
|
| 2873 |
+
],
|
| 2874 |
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"like I said we'll teach you how to": [
|
| 2875 |
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240
|
| 2876 |
+
],
|
| 2877 |
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"full workouts that you can follow along": [
|
| 2878 |
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240,
|
| 2879 |
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248
|
| 2880 |
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],
|
| 2881 |
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"shadow box better and we'll give you": [
|
| 2882 |
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240
|
| 2883 |
+
],
|
| 2884 |
+
"Twitter and Instagram and subscribe if": [
|
| 2885 |
+
248
|
| 2886 |
+
],
|
| 2887 |
+
"you haven't already to get the fight": [
|
| 2888 |
+
248,
|
| 2889 |
+
256
|
| 2890 |
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],
|
| 2891 |
+
"tips before your opponent does I'm Shan": [
|
| 2892 |
+
248,
|
| 2893 |
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256
|
| 2894 |
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],
|
| 2895 |
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"that go up to 30 minutes in length until": [
|
| 2896 |
+
248
|
| 2897 |
+
],
|
| 2898 |
+
"next time be sure to follow me on": [
|
| 2899 |
+
248
|
| 2900 |
+
],
|
| 2901 |
+
"Underdogs": [
|
| 2902 |
+
256
|
| 2903 |
+
],
|
| 2904 |
+
"with fight tips self-defense for The": [
|
| 2905 |
+
256
|
| 2906 |
+
]
|
| 2907 |
+
},
|
| 2908 |
+
"video_file": "frames.mp4",
|
| 2909 |
+
"fps": 1
|
| 2910 |
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}
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"video_file": "frames.mp4",
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"fps": 1
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}
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[
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"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
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| 200 |
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|
| 201 |
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],
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| 202 |
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[
|
| 203 |
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"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
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| 204 |
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],
|
| 205 |
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[
|
| 206 |
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"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
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| 207 |
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],
|
| 208 |
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[
|
| 209 |
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"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
|
| 210 |
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],
|
| 211 |
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[
|
| 212 |
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"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
|
| 213 |
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],
|
| 214 |
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[
|
| 215 |
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"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
|
| 216 |
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],
|
| 217 |
+
[
|
| 218 |
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"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 219 |
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"asked his wife to take care of the\nfamily\u2019s finances for the coming months,"
|
| 220 |
+
],
|
| 221 |
+
[
|
| 222 |
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"asked his wife to take care of the\nfamily\u2019s finances for the coming months,"
|
| 223 |
+
],
|
| 224 |
+
[
|
| 225 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,"
|
| 226 |
+
],
|
| 227 |
+
[
|
| 228 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,"
|
| 229 |
+
],
|
| 230 |
+
[
|
| 231 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 232 |
+
"and returned home."
|
| 233 |
+
],
|
| 234 |
+
[
|
| 235 |
+
"and returned home."
|
| 236 |
+
],
|
| 237 |
+
[
|
| 238 |
+
"and returned home."
|
| 239 |
+
],
|
| 240 |
+
[
|
| 241 |
+
"and returned home.",
|
| 242 |
+
"The beginning of a new book \nhad suddenly come to him:"
|
| 243 |
+
],
|
| 244 |
+
[
|
| 245 |
+
"The beginning of a new book \nhad suddenly come to him:"
|
| 246 |
+
],
|
| 247 |
+
[
|
| 248 |
+
"The beginning of a new book \nhad suddenly come to him:"
|
| 249 |
+
],
|
| 250 |
+
[
|
| 251 |
+
"The beginning of a new book \nhad suddenly come to him:"
|
| 252 |
+
],
|
| 253 |
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[
|
| 254 |
+
"The beginning of a new book \nhad suddenly come to him:",
|
| 255 |
+
"\u201cMany years later, \nas he faced the firing squad,"
|
| 256 |
+
],
|
| 257 |
+
[
|
| 258 |
+
"\u201cMany years later, \nas he faced the firing squad,"
|
| 259 |
+
],
|
| 260 |
+
[
|
| 261 |
+
"\u201cMany years later, \nas he faced the firing squad,"
|
| 262 |
+
],
|
| 263 |
+
[
|
| 264 |
+
"\u201cMany years later, \nas he faced the firing squad,",
|
| 265 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon"
|
| 266 |
+
],
|
| 267 |
+
[
|
| 268 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon"
|
| 269 |
+
],
|
| 270 |
+
[
|
| 271 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon"
|
| 272 |
+
],
|
| 273 |
+
[
|
| 274 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon"
|
| 275 |
+
],
|
| 276 |
+
[
|
| 277 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon"
|
| 278 |
+
],
|
| 279 |
+
[
|
| 280 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 281 |
+
"when his father took him to discover ice.\u201d"
|
| 282 |
+
],
|
| 283 |
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[
|
| 284 |
+
"when his father took him to discover ice.\u201d"
|
| 285 |
+
],
|
| 286 |
+
[
|
| 287 |
+
"when his father took him to discover ice.\u201d"
|
| 288 |
+
],
|
| 289 |
+
[
|
| 290 |
+
"when his father took him to discover ice.\u201d"
|
| 291 |
+
],
|
| 292 |
+
[
|
| 293 |
+
"when his father took him to discover ice.\u201d",
|
| 294 |
+
"Over the next eighteen months,"
|
| 295 |
+
],
|
| 296 |
+
[
|
| 297 |
+
"Over the next eighteen months,",
|
| 298 |
+
"those words would blossom \ninto One Hundred Years of Solitude."
|
| 299 |
+
],
|
| 300 |
+
[
|
| 301 |
+
"those words would blossom \ninto One Hundred Years of Solitude."
|
| 302 |
+
],
|
| 303 |
+
[
|
| 304 |
+
"those words would blossom \ninto One Hundred Years of Solitude."
|
| 305 |
+
],
|
| 306 |
+
[
|
| 307 |
+
"those words would blossom \ninto One Hundred Years of Solitude."
|
| 308 |
+
],
|
| 309 |
+
[
|
| 310 |
+
"those words would blossom \ninto One Hundred Years of Solitude."
|
| 311 |
+
],
|
| 312 |
+
[
|
| 313 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 314 |
+
"A novel that would go on \nto bring Latin American literature"
|
| 315 |
+
],
|
| 316 |
+
[
|
| 317 |
+
"A novel that would go on \nto bring Latin American literature"
|
| 318 |
+
],
|
| 319 |
+
[
|
| 320 |
+
"A novel that would go on \nto bring Latin American literature"
|
| 321 |
+
],
|
| 322 |
+
[
|
| 323 |
+
"A novel that would go on \nto bring Latin American literature",
|
| 324 |
+
"to the forefront \nof the global imagination,"
|
| 325 |
+
],
|
| 326 |
+
[
|
| 327 |
+
"to the forefront \nof the global imagination,"
|
| 328 |
+
],
|
| 329 |
+
[
|
| 330 |
+
"to the forefront \nof the global imagination,",
|
| 331 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 332 |
+
],
|
| 333 |
+
[
|
| 334 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 335 |
+
],
|
| 336 |
+
[
|
| 337 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 338 |
+
],
|
| 339 |
+
[
|
| 340 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 341 |
+
],
|
| 342 |
+
[
|
| 343 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 344 |
+
],
|
| 345 |
+
[
|
| 346 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 347 |
+
],
|
| 348 |
+
[
|
| 349 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 350 |
+
"What makes One Hundred Years of Solitude \nso remarkable?"
|
| 351 |
+
],
|
| 352 |
+
[
|
| 353 |
+
"What makes One Hundred Years of Solitude \nso remarkable?"
|
| 354 |
+
],
|
| 355 |
+
[
|
| 356 |
+
"What makes One Hundred Years of Solitude \nso remarkable?"
|
| 357 |
+
],
|
| 358 |
+
[
|
| 359 |
+
"What makes One Hundred Years of Solitude \nso remarkable?",
|
| 360 |
+
"The novel chronicles the fortunes\nand misfortunes"
|
| 361 |
+
],
|
| 362 |
+
[
|
| 363 |
+
"The novel chronicles the fortunes\nand misfortunes"
|
| 364 |
+
],
|
| 365 |
+
[
|
| 366 |
+
"The novel chronicles the fortunes\nand misfortunes"
|
| 367 |
+
],
|
| 368 |
+
[
|
| 369 |
+
"The novel chronicles the fortunes\nand misfortunes",
|
| 370 |
+
"of the Buend\u00eda family \nover seven generations."
|
| 371 |
+
],
|
| 372 |
+
[
|
| 373 |
+
"of the Buend\u00eda family \nover seven generations."
|
| 374 |
+
],
|
| 375 |
+
[
|
| 376 |
+
"of the Buend\u00eda family \nover seven generations."
|
| 377 |
+
],
|
| 378 |
+
[
|
| 379 |
+
"of the Buend\u00eda family \nover seven generations."
|
| 380 |
+
],
|
| 381 |
+
[
|
| 382 |
+
"of the Buend\u00eda family \nover seven generations.",
|
| 383 |
+
"With its lush, detailed sentences,"
|
| 384 |
+
],
|
| 385 |
+
[
|
| 386 |
+
"With its lush, detailed sentences,"
|
| 387 |
+
],
|
| 388 |
+
[
|
| 389 |
+
"With its lush, detailed sentences,"
|
| 390 |
+
],
|
| 391 |
+
[
|
| 392 |
+
"With its lush, detailed sentences,",
|
| 393 |
+
"large cast of characters,"
|
| 394 |
+
],
|
| 395 |
+
[
|
| 396 |
+
"large cast of characters,"
|
| 397 |
+
],
|
| 398 |
+
[
|
| 399 |
+
"large cast of characters,"
|
| 400 |
+
],
|
| 401 |
+
[
|
| 402 |
+
"large cast of characters,"
|
| 403 |
+
],
|
| 404 |
+
[
|
| 405 |
+
"large cast of characters,",
|
| 406 |
+
"and tangled narrative,"
|
| 407 |
+
],
|
| 408 |
+
[
|
| 409 |
+
"and tangled narrative,"
|
| 410 |
+
],
|
| 411 |
+
[
|
| 412 |
+
"and tangled narrative,"
|
| 413 |
+
],
|
| 414 |
+
[
|
| 415 |
+
"and tangled narrative,",
|
| 416 |
+
"One Hundred Years of Solitude \nis not an easy book to read."
|
| 417 |
+
],
|
| 418 |
+
[
|
| 419 |
+
"One Hundred Years of Solitude \nis not an easy book to read."
|
| 420 |
+
],
|
| 421 |
+
[
|
| 422 |
+
"One Hundred Years of Solitude \nis not an easy book to read."
|
| 423 |
+
],
|
| 424 |
+
[
|
| 425 |
+
"One Hundred Years of Solitude \nis not an easy book to read."
|
| 426 |
+
],
|
| 427 |
+
[
|
| 428 |
+
"One Hundred Years of Solitude \nis not an easy book to read.",
|
| 429 |
+
"But it\u2019s a deeply rewarding one,"
|
| 430 |
+
],
|
| 431 |
+
[
|
| 432 |
+
"But it\u2019s a deeply rewarding one,"
|
| 433 |
+
],
|
| 434 |
+
[
|
| 435 |
+
"But it\u2019s a deeply rewarding one,",
|
| 436 |
+
"with an epic assortment \nof intense romances,"
|
| 437 |
+
],
|
| 438 |
+
[
|
| 439 |
+
"with an epic assortment \nof intense romances,"
|
| 440 |
+
],
|
| 441 |
+
[
|
| 442 |
+
"with an epic assortment \nof intense romances,"
|
| 443 |
+
],
|
| 444 |
+
[
|
| 445 |
+
"with an epic assortment \nof intense romances,"
|
| 446 |
+
],
|
| 447 |
+
[
|
| 448 |
+
"with an epic assortment \nof intense romances,",
|
| 449 |
+
"civil war,"
|
| 450 |
+
],
|
| 451 |
+
[
|
| 452 |
+
"civil war,",
|
| 453 |
+
"political intrigue,"
|
| 454 |
+
],
|
| 455 |
+
[
|
| 456 |
+
"political intrigue,"
|
| 457 |
+
],
|
| 458 |
+
[
|
| 459 |
+
"political intrigue,",
|
| 460 |
+
"globe-trotting adventurers,"
|
| 461 |
+
],
|
| 462 |
+
[
|
| 463 |
+
"globe-trotting adventurers,"
|
| 464 |
+
],
|
| 465 |
+
[
|
| 466 |
+
"globe-trotting adventurers,",
|
| 467 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 468 |
+
],
|
| 469 |
+
[
|
| 470 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 471 |
+
],
|
| 472 |
+
[
|
| 473 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 474 |
+
],
|
| 475 |
+
[
|
| 476 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 477 |
+
],
|
| 478 |
+
[
|
| 479 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 480 |
+
],
|
| 481 |
+
[
|
| 482 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 483 |
+
"Yet this is no mere historical drama."
|
| 484 |
+
],
|
| 485 |
+
[
|
| 486 |
+
"Yet this is no mere historical drama."
|
| 487 |
+
],
|
| 488 |
+
[
|
| 489 |
+
"Yet this is no mere historical drama.",
|
| 490 |
+
"One Hundred Years of Solitude \nis one of the most famous examples"
|
| 491 |
+
],
|
| 492 |
+
[
|
| 493 |
+
"One Hundred Years of Solitude \nis one of the most famous examples"
|
| 494 |
+
],
|
| 495 |
+
[
|
| 496 |
+
"One Hundred Years of Solitude \nis one of the most famous examples"
|
| 497 |
+
],
|
| 498 |
+
[
|
| 499 |
+
"One Hundred Years of Solitude \nis one of the most famous examples"
|
| 500 |
+
],
|
| 501 |
+
[
|
| 502 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 503 |
+
"of a literary genre \nknown as magical realism."
|
| 504 |
+
],
|
| 505 |
+
[
|
| 506 |
+
"of a literary genre \nknown as magical realism."
|
| 507 |
+
],
|
| 508 |
+
[
|
| 509 |
+
"of a literary genre \nknown as magical realism."
|
| 510 |
+
],
|
| 511 |
+
[
|
| 512 |
+
"of a literary genre \nknown as magical realism."
|
| 513 |
+
],
|
| 514 |
+
[
|
| 515 |
+
"of a literary genre \nknown as magical realism."
|
| 516 |
+
],
|
| 517 |
+
[
|
| 518 |
+
"of a literary genre \nknown as magical realism.",
|
| 519 |
+
"Here, supernatural events or abilities"
|
| 520 |
+
],
|
| 521 |
+
[
|
| 522 |
+
"Here, supernatural events or abilities"
|
| 523 |
+
],
|
| 524 |
+
[
|
| 525 |
+
"Here, supernatural events or abilities"
|
| 526 |
+
],
|
| 527 |
+
[
|
| 528 |
+
"Here, supernatural events or abilities",
|
| 529 |
+
"are described in a realistic \nand matter-of-fact tone,"
|
| 530 |
+
],
|
| 531 |
+
[
|
| 532 |
+
"are described in a realistic \nand matter-of-fact tone,"
|
| 533 |
+
],
|
| 534 |
+
[
|
| 535 |
+
"are described in a realistic \nand matter-of-fact tone,"
|
| 536 |
+
],
|
| 537 |
+
[
|
| 538 |
+
"are described in a realistic \nand matter-of-fact tone,",
|
| 539 |
+
"while the real events of human life \nand history"
|
| 540 |
+
],
|
| 541 |
+
[
|
| 542 |
+
"while the real events of human life \nand history"
|
| 543 |
+
],
|
| 544 |
+
[
|
| 545 |
+
"while the real events of human life \nand history"
|
| 546 |
+
],
|
| 547 |
+
[
|
| 548 |
+
"while the real events of human life \nand history",
|
| 549 |
+
"reveal themselves \nto be full of fantastical absurdity."
|
| 550 |
+
],
|
| 551 |
+
[
|
| 552 |
+
"reveal themselves \nto be full of fantastical absurdity."
|
| 553 |
+
],
|
| 554 |
+
[
|
| 555 |
+
"reveal themselves \nto be full of fantastical absurdity."
|
| 556 |
+
],
|
| 557 |
+
[
|
| 558 |
+
"reveal themselves \nto be full of fantastical absurdity."
|
| 559 |
+
],
|
| 560 |
+
[
|
| 561 |
+
"reveal themselves \nto be full of fantastical absurdity.",
|
| 562 |
+
"Surreal phenomena within the\nfictional village of Macondo"
|
| 563 |
+
],
|
| 564 |
+
[
|
| 565 |
+
"Surreal phenomena within the\nfictional village of Macondo"
|
| 566 |
+
],
|
| 567 |
+
[
|
| 568 |
+
"Surreal phenomena within the\nfictional village of Macondo"
|
| 569 |
+
],
|
| 570 |
+
[
|
| 571 |
+
"Surreal phenomena within the\nfictional village of Macondo"
|
| 572 |
+
],
|
| 573 |
+
[
|
| 574 |
+
"Surreal phenomena within the\nfictional village of Macondo",
|
| 575 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 576 |
+
],
|
| 577 |
+
[
|
| 578 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 579 |
+
],
|
| 580 |
+
[
|
| 581 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 582 |
+
],
|
| 583 |
+
[
|
| 584 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 585 |
+
],
|
| 586 |
+
[
|
| 587 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 588 |
+
],
|
| 589 |
+
[
|
| 590 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 591 |
+
],
|
| 592 |
+
[
|
| 593 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 594 |
+
"The settlement begins \nin a mythical state of isolation,"
|
| 595 |
+
],
|
| 596 |
+
[
|
| 597 |
+
"The settlement begins \nin a mythical state of isolation,"
|
| 598 |
+
],
|
| 599 |
+
[
|
| 600 |
+
"The settlement begins \nin a mythical state of isolation,"
|
| 601 |
+
],
|
| 602 |
+
[
|
| 603 |
+
"The settlement begins \nin a mythical state of isolation,",
|
| 604 |
+
"but is gradually exposed \nto the outside world,"
|
| 605 |
+
],
|
| 606 |
+
[
|
| 607 |
+
"but is gradually exposed \nto the outside world,"
|
| 608 |
+
],
|
| 609 |
+
[
|
| 610 |
+
"but is gradually exposed \nto the outside world,"
|
| 611 |
+
],
|
| 612 |
+
[
|
| 613 |
+
"but is gradually exposed \nto the outside world,",
|
| 614 |
+
"facing multiple calamities along the way."
|
| 615 |
+
],
|
| 616 |
+
[
|
| 617 |
+
"facing multiple calamities along the way."
|
| 618 |
+
],
|
| 619 |
+
[
|
| 620 |
+
"facing multiple calamities along the way."
|
| 621 |
+
],
|
| 622 |
+
[
|
| 623 |
+
"facing multiple calamities along the way.",
|
| 624 |
+
"As years pass, \ncharacters grow old and die,"
|
| 625 |
+
],
|
| 626 |
+
[
|
| 627 |
+
"As years pass, \ncharacters grow old and die,"
|
| 628 |
+
],
|
| 629 |
+
[
|
| 630 |
+
"As years pass, \ncharacters grow old and die,"
|
| 631 |
+
],
|
| 632 |
+
[
|
| 633 |
+
"As years pass, \ncharacters grow old and die,",
|
| 634 |
+
"only to return as ghosts,"
|
| 635 |
+
],
|
| 636 |
+
[
|
| 637 |
+
"only to return as ghosts,"
|
| 638 |
+
],
|
| 639 |
+
[
|
| 640 |
+
"only to return as ghosts,",
|
| 641 |
+
"or to be seemingly reincarnated \nin the next generation."
|
| 642 |
+
],
|
| 643 |
+
[
|
| 644 |
+
"or to be seemingly reincarnated \nin the next generation."
|
| 645 |
+
],
|
| 646 |
+
[
|
| 647 |
+
"or to be seemingly reincarnated \nin the next generation."
|
| 648 |
+
],
|
| 649 |
+
[
|
| 650 |
+
"or to be seemingly reincarnated \nin the next generation."
|
| 651 |
+
],
|
| 652 |
+
[
|
| 653 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 654 |
+
"When the American fruit company \ncomes to town,"
|
| 655 |
+
],
|
| 656 |
+
[
|
| 657 |
+
"When the American fruit company \ncomes to town,"
|
| 658 |
+
],
|
| 659 |
+
[
|
| 660 |
+
"When the American fruit company \ncomes to town,"
|
| 661 |
+
],
|
| 662 |
+
[
|
| 663 |
+
"When the American fruit company \ncomes to town,",
|
| 664 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies."
|
| 665 |
+
],
|
| 666 |
+
[
|
| 667 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies."
|
| 668 |
+
],
|
| 669 |
+
[
|
| 670 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies."
|
| 671 |
+
],
|
| 672 |
+
[
|
| 673 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies."
|
| 674 |
+
],
|
| 675 |
+
[
|
| 676 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 677 |
+
"A young woman up and floats away."
|
| 678 |
+
],
|
| 679 |
+
[
|
| 680 |
+
"A young woman up and floats away."
|
| 681 |
+
],
|
| 682 |
+
[
|
| 683 |
+
"A young woman up and floats away.",
|
| 684 |
+
"Although the novel moves forward \nthrough subsequent generations,"
|
| 685 |
+
],
|
| 686 |
+
[
|
| 687 |
+
"Although the novel moves forward \nthrough subsequent generations,"
|
| 688 |
+
],
|
| 689 |
+
[
|
| 690 |
+
"Although the novel moves forward \nthrough subsequent generations,"
|
| 691 |
+
],
|
| 692 |
+
[
|
| 693 |
+
"Although the novel moves forward \nthrough subsequent generations,"
|
| 694 |
+
],
|
| 695 |
+
[
|
| 696 |
+
"Although the novel moves forward \nthrough subsequent generations,"
|
| 697 |
+
],
|
| 698 |
+
[
|
| 699 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 700 |
+
"time moves in an almost cyclical manner."
|
| 701 |
+
],
|
| 702 |
+
[
|
| 703 |
+
"time moves in an almost cyclical manner."
|
| 704 |
+
],
|
| 705 |
+
[
|
| 706 |
+
"time moves in an almost cyclical manner."
|
| 707 |
+
],
|
| 708 |
+
[
|
| 709 |
+
"time moves in an almost cyclical manner.",
|
| 710 |
+
"Many characters have similar names \nand features to their forebears,"
|
| 711 |
+
],
|
| 712 |
+
[
|
| 713 |
+
"Many characters have similar names \nand features to their forebears,"
|
| 714 |
+
],
|
| 715 |
+
[
|
| 716 |
+
"Many characters have similar names \nand features to their forebears,"
|
| 717 |
+
],
|
| 718 |
+
[
|
| 719 |
+
"Many characters have similar names \nand features to their forebears,"
|
| 720 |
+
],
|
| 721 |
+
[
|
| 722 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 723 |
+
"whose mistakes they often repeat."
|
| 724 |
+
],
|
| 725 |
+
[
|
| 726 |
+
"whose mistakes they often repeat."
|
| 727 |
+
],
|
| 728 |
+
[
|
| 729 |
+
"whose mistakes they often repeat.",
|
| 730 |
+
"Strange prophecies \nand visits from mysterious gypsies"
|
| 731 |
+
],
|
| 732 |
+
[
|
| 733 |
+
"Strange prophecies \nand visits from mysterious gypsies"
|
| 734 |
+
],
|
| 735 |
+
[
|
| 736 |
+
"Strange prophecies \nand visits from mysterious gypsies"
|
| 737 |
+
],
|
| 738 |
+
[
|
| 739 |
+
"Strange prophecies \nand visits from mysterious gypsies",
|
| 740 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 741 |
+
],
|
| 742 |
+
[
|
| 743 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 744 |
+
],
|
| 745 |
+
[
|
| 746 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 747 |
+
],
|
| 748 |
+
[
|
| 749 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 750 |
+
],
|
| 751 |
+
[
|
| 752 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 753 |
+
],
|
| 754 |
+
[
|
| 755 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 756 |
+
"An American fruit company opens \na plantation near the village"
|
| 757 |
+
],
|
| 758 |
+
[
|
| 759 |
+
"An American fruit company opens \na plantation near the village"
|
| 760 |
+
],
|
| 761 |
+
[
|
| 762 |
+
"An American fruit company opens \na plantation near the village"
|
| 763 |
+
],
|
| 764 |
+
[
|
| 765 |
+
"An American fruit company opens \na plantation near the village"
|
| 766 |
+
],
|
| 767 |
+
[
|
| 768 |
+
"An American fruit company opens \na plantation near the village",
|
| 769 |
+
"and ends up massacring thousands \nof striking workers,"
|
| 770 |
+
],
|
| 771 |
+
[
|
| 772 |
+
"and ends up massacring thousands \nof striking workers,"
|
| 773 |
+
],
|
| 774 |
+
[
|
| 775 |
+
"and ends up massacring thousands \nof striking workers,"
|
| 776 |
+
],
|
| 777 |
+
[
|
| 778 |
+
"and ends up massacring thousands \nof striking workers,",
|
| 779 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 780 |
+
],
|
| 781 |
+
[
|
| 782 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 783 |
+
],
|
| 784 |
+
[
|
| 785 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 786 |
+
],
|
| 787 |
+
[
|
| 788 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 789 |
+
],
|
| 790 |
+
[
|
| 791 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 792 |
+
],
|
| 793 |
+
[
|
| 794 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 795 |
+
"Combined with the novel\u2019s magical realism,"
|
| 796 |
+
],
|
| 797 |
+
[
|
| 798 |
+
"Combined with the novel\u2019s magical realism,"
|
| 799 |
+
],
|
| 800 |
+
[
|
| 801 |
+
"Combined with the novel\u2019s magical realism,",
|
| 802 |
+
"this produces a sense \nof history as a downward spiral"
|
| 803 |
+
],
|
| 804 |
+
[
|
| 805 |
+
"this produces a sense \nof history as a downward spiral"
|
| 806 |
+
],
|
| 807 |
+
[
|
| 808 |
+
"this produces a sense \nof history as a downward spiral"
|
| 809 |
+
],
|
| 810 |
+
[
|
| 811 |
+
"this produces a sense \nof history as a downward spiral"
|
| 812 |
+
],
|
| 813 |
+
[
|
| 814 |
+
"this produces a sense \nof history as a downward spiral",
|
| 815 |
+
"the characters seem powerless to escape."
|
| 816 |
+
],
|
| 817 |
+
[
|
| 818 |
+
"the characters seem powerless to escape."
|
| 819 |
+
],
|
| 820 |
+
[
|
| 821 |
+
"the characters seem powerless to escape."
|
| 822 |
+
],
|
| 823 |
+
[
|
| 824 |
+
"the characters seem powerless to escape.",
|
| 825 |
+
"Beneath the magic is a story \nabout the pattern of Colombian"
|
| 826 |
+
],
|
| 827 |
+
[
|
| 828 |
+
"Beneath the magic is a story \nabout the pattern of Colombian"
|
| 829 |
+
],
|
| 830 |
+
[
|
| 831 |
+
"Beneath the magic is a story \nabout the pattern of Colombian"
|
| 832 |
+
],
|
| 833 |
+
[
|
| 834 |
+
"Beneath the magic is a story \nabout the pattern of Colombian",
|
| 835 |
+
"and Latin American history \nfrom colonial times onward."
|
| 836 |
+
],
|
| 837 |
+
[
|
| 838 |
+
"and Latin American history \nfrom colonial times onward."
|
| 839 |
+
],
|
| 840 |
+
[
|
| 841 |
+
"and Latin American history \nfrom colonial times onward."
|
| 842 |
+
],
|
| 843 |
+
[
|
| 844 |
+
"and Latin American history \nfrom colonial times onward."
|
| 845 |
+
],
|
| 846 |
+
[
|
| 847 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 848 |
+
"This is a history that \nthe author experienced firsthand."
|
| 849 |
+
],
|
| 850 |
+
[
|
| 851 |
+
"This is a history that \nthe author experienced firsthand."
|
| 852 |
+
],
|
| 853 |
+
[
|
| 854 |
+
"This is a history that \nthe author experienced firsthand."
|
| 855 |
+
],
|
| 856 |
+
[
|
| 857 |
+
"This is a history that \nthe author experienced firsthand."
|
| 858 |
+
],
|
| 859 |
+
[
|
| 860 |
+
"This is a history that \nthe author experienced firsthand.",
|
| 861 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict"
|
| 862 |
+
],
|
| 863 |
+
[
|
| 864 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict"
|
| 865 |
+
],
|
| 866 |
+
[
|
| 867 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict"
|
| 868 |
+
],
|
| 869 |
+
[
|
| 870 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict"
|
| 871 |
+
],
|
| 872 |
+
[
|
| 873 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict"
|
| 874 |
+
],
|
| 875 |
+
[
|
| 876 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 877 |
+
"between its Conservative \nand Liberal political parties."
|
| 878 |
+
],
|
| 879 |
+
[
|
| 880 |
+
"between its Conservative \nand Liberal political parties."
|
| 881 |
+
],
|
| 882 |
+
[
|
| 883 |
+
"between its Conservative \nand Liberal political parties."
|
| 884 |
+
],
|
| 885 |
+
[
|
| 886 |
+
"between its Conservative \nand Liberal political parties.",
|
| 887 |
+
"He also lived in an autocratic Mexico"
|
| 888 |
+
],
|
| 889 |
+
[
|
| 890 |
+
"He also lived in an autocratic Mexico"
|
| 891 |
+
],
|
| 892 |
+
[
|
| 893 |
+
"He also lived in an autocratic Mexico"
|
| 894 |
+
],
|
| 895 |
+
[
|
| 896 |
+
"He also lived in an autocratic Mexico",
|
| 897 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist."
|
| 898 |
+
],
|
| 899 |
+
[
|
| 900 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist."
|
| 901 |
+
],
|
| 902 |
+
[
|
| 903 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist."
|
| 904 |
+
],
|
| 905 |
+
[
|
| 906 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist."
|
| 907 |
+
],
|
| 908 |
+
[
|
| 909 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 910 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 911 |
+
],
|
| 912 |
+
[
|
| 913 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 914 |
+
],
|
| 915 |
+
[
|
| 916 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 917 |
+
],
|
| 918 |
+
[
|
| 919 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 920 |
+
],
|
| 921 |
+
[
|
| 922 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 923 |
+
],
|
| 924 |
+
[
|
| 925 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 926 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War"
|
| 927 |
+
],
|
| 928 |
+
[
|
| 929 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War"
|
| 930 |
+
],
|
| 931 |
+
[
|
| 932 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War"
|
| 933 |
+
],
|
| 934 |
+
[
|
| 935 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War"
|
| 936 |
+
],
|
| 937 |
+
[
|
| 938 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 939 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 940 |
+
],
|
| 941 |
+
[
|
| 942 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 943 |
+
],
|
| 944 |
+
[
|
| 945 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 946 |
+
],
|
| 947 |
+
[
|
| 948 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 949 |
+
],
|
| 950 |
+
[
|
| 951 |
+
"whose accounts of the rebellion against\nColombia's conservative government",
|
| 952 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook."
|
| 953 |
+
],
|
| 954 |
+
[
|
| 955 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook."
|
| 956 |
+
],
|
| 957 |
+
[
|
| 958 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook."
|
| 959 |
+
],
|
| 960 |
+
[
|
| 961 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook."
|
| 962 |
+
],
|
| 963 |
+
[
|
| 964 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 965 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition"
|
| 966 |
+
],
|
| 967 |
+
[
|
| 968 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition"
|
| 969 |
+
],
|
| 970 |
+
[
|
| 971 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition"
|
| 972 |
+
],
|
| 973 |
+
[
|
| 974 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition"
|
| 975 |
+
],
|
| 976 |
+
[
|
| 977 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition"
|
| 978 |
+
],
|
| 979 |
+
[
|
| 980 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 981 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style."
|
| 982 |
+
],
|
| 983 |
+
[
|
| 984 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style."
|
| 985 |
+
],
|
| 986 |
+
[
|
| 987 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style."
|
| 988 |
+
],
|
| 989 |
+
[
|
| 990 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style."
|
| 991 |
+
],
|
| 992 |
+
[
|
| 993 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.",
|
| 994 |
+
"Their small house in Aracataca \nwhere the author spent his childhood"
|
| 995 |
+
],
|
| 996 |
+
[
|
| 997 |
+
"Their small house in Aracataca \nwhere the author spent his childhood"
|
| 998 |
+
],
|
| 999 |
+
[
|
| 1000 |
+
"Their small house in Aracataca \nwhere the author spent his childhood"
|
| 1001 |
+
],
|
| 1002 |
+
[
|
| 1003 |
+
"Their small house in Aracataca \nwhere the author spent his childhood",
|
| 1004 |
+
"formed the main inspiration for Macondo."
|
| 1005 |
+
],
|
| 1006 |
+
[
|
| 1007 |
+
"formed the main inspiration for Macondo."
|
| 1008 |
+
],
|
| 1009 |
+
[
|
| 1010 |
+
"formed the main inspiration for Macondo."
|
| 1011 |
+
],
|
| 1012 |
+
[
|
| 1013 |
+
"formed the main inspiration for Macondo."
|
| 1014 |
+
],
|
| 1015 |
+
[
|
| 1016 |
+
"formed the main inspiration for Macondo.",
|
| 1017 |
+
"With One Hundred Years of Solitude,"
|
| 1018 |
+
],
|
| 1019 |
+
[
|
| 1020 |
+
"With One Hundred Years of Solitude,"
|
| 1021 |
+
],
|
| 1022 |
+
[
|
| 1023 |
+
"With One Hundred Years of Solitude,",
|
| 1024 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way"
|
| 1025 |
+
],
|
| 1026 |
+
[
|
| 1027 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way"
|
| 1028 |
+
],
|
| 1029 |
+
[
|
| 1030 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way",
|
| 1031 |
+
"to capture the unique history \nof Latin America."
|
| 1032 |
+
],
|
| 1033 |
+
[
|
| 1034 |
+
"to capture the unique history \nof Latin America."
|
| 1035 |
+
],
|
| 1036 |
+
[
|
| 1037 |
+
"to capture the unique history \nof Latin America."
|
| 1038 |
+
],
|
| 1039 |
+
[
|
| 1040 |
+
"to capture the unique history \nof Latin America.",
|
| 1041 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1042 |
+
],
|
| 1043 |
+
[
|
| 1044 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1045 |
+
],
|
| 1046 |
+
[
|
| 1047 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1048 |
+
],
|
| 1049 |
+
[
|
| 1050 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1051 |
+
],
|
| 1052 |
+
[
|
| 1053 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1054 |
+
],
|
| 1055 |
+
[
|
| 1056 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1057 |
+
"forced to relive \nthe tragedies of the past."
|
| 1058 |
+
],
|
| 1059 |
+
[
|
| 1060 |
+
"forced to relive \nthe tragedies of the past."
|
| 1061 |
+
],
|
| 1062 |
+
[
|
| 1063 |
+
"forced to relive \nthe tragedies of the past."
|
| 1064 |
+
],
|
| 1065 |
+
[
|
| 1066 |
+
"forced to relive \nthe tragedies of the past."
|
| 1067 |
+
],
|
| 1068 |
+
[
|
| 1069 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1070 |
+
"In spite of all this fatalism,\nthe novel still holds hope."
|
| 1071 |
+
],
|
| 1072 |
+
[
|
| 1073 |
+
"In spite of all this fatalism,\nthe novel still holds hope."
|
| 1074 |
+
],
|
| 1075 |
+
[
|
| 1076 |
+
"In spite of all this fatalism,\nthe novel still holds hope."
|
| 1077 |
+
],
|
| 1078 |
+
[
|
| 1079 |
+
"In spite of all this fatalism,\nthe novel still holds hope.",
|
| 1080 |
+
"At his Nobel Lecture,"
|
| 1081 |
+
],
|
| 1082 |
+
[
|
| 1083 |
+
"At his Nobel Lecture,"
|
| 1084 |
+
],
|
| 1085 |
+
[
|
| 1086 |
+
"At his Nobel Lecture,",
|
| 1087 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history"
|
| 1088 |
+
],
|
| 1089 |
+
[
|
| 1090 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history"
|
| 1091 |
+
],
|
| 1092 |
+
[
|
| 1093 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history"
|
| 1094 |
+
],
|
| 1095 |
+
[
|
| 1096 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history"
|
| 1097 |
+
],
|
| 1098 |
+
[
|
| 1099 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1100 |
+
"of civil strife and rampant iniquity."
|
| 1101 |
+
],
|
| 1102 |
+
[
|
| 1103 |
+
"of civil strife and rampant iniquity."
|
| 1104 |
+
],
|
| 1105 |
+
[
|
| 1106 |
+
"of civil strife and rampant iniquity."
|
| 1107 |
+
],
|
| 1108 |
+
[
|
| 1109 |
+
"of civil strife and rampant iniquity.",
|
| 1110 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,"
|
| 1111 |
+
],
|
| 1112 |
+
[
|
| 1113 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,"
|
| 1114 |
+
],
|
| 1115 |
+
[
|
| 1116 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,"
|
| 1117 |
+
],
|
| 1118 |
+
[
|
| 1119 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,"
|
| 1120 |
+
],
|
| 1121 |
+
[
|
| 1122 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,"
|
| 1123 |
+
],
|
| 1124 |
+
[
|
| 1125 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1126 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,"
|
| 1127 |
+
],
|
| 1128 |
+
[
|
| 1129 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,"
|
| 1130 |
+
],
|
| 1131 |
+
[
|
| 1132 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,"
|
| 1133 |
+
],
|
| 1134 |
+
[
|
| 1135 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,"
|
| 1136 |
+
],
|
| 1137 |
+
[
|
| 1138 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1139 |
+
"where love will prove true"
|
| 1140 |
+
],
|
| 1141 |
+
[
|
| 1142 |
+
"where love will prove true"
|
| 1143 |
+
],
|
| 1144 |
+
[
|
| 1145 |
+
"where love will prove true",
|
| 1146 |
+
"and happiness be possible,"
|
| 1147 |
+
],
|
| 1148 |
+
[
|
| 1149 |
+
"and happiness be possible,"
|
| 1150 |
+
],
|
| 1151 |
+
[
|
| 1152 |
+
"and happiness be possible,",
|
| 1153 |
+
"and where the races condemned \nto one hundred years of solitude"
|
| 1154 |
+
],
|
| 1155 |
+
[
|
| 1156 |
+
"and where the races condemned \nto one hundred years of solitude"
|
| 1157 |
+
],
|
| 1158 |
+
[
|
| 1159 |
+
"and where the races condemned \nto one hundred years of solitude"
|
| 1160 |
+
],
|
| 1161 |
+
[
|
| 1162 |
+
"and where the races condemned \nto one hundred years of solitude",
|
| 1163 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1164 |
+
],
|
| 1165 |
+
[
|
| 1166 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1167 |
+
],
|
| 1168 |
+
[
|
| 1169 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1170 |
+
],
|
| 1171 |
+
[
|
| 1172 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1173 |
+
],
|
| 1174 |
+
[
|
| 1175 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1176 |
+
],
|
| 1177 |
+
[
|
| 1178 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1179 |
+
],
|
| 1180 |
+
[],
|
| 1181 |
+
[],
|
| 1182 |
+
[],
|
| 1183 |
+
[],
|
| 1184 |
+
[],
|
| 1185 |
+
[],
|
| 1186 |
+
[],
|
| 1187 |
+
[],
|
| 1188 |
+
[],
|
| 1189 |
+
[],
|
| 1190 |
+
[],
|
| 1191 |
+
[],
|
| 1192 |
+
[],
|
| 1193 |
+
[],
|
| 1194 |
+
[],
|
| 1195 |
+
[],
|
| 1196 |
+
[],
|
| 1197 |
+
[],
|
| 1198 |
+
[],
|
| 1199 |
+
[]
|
| 1200 |
+
],
|
| 1201 |
+
"subtitles_by_window": {
|
| 1202 |
+
"0": [
|
| 1203 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
|
| 1204 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,"
|
| 1205 |
+
],
|
| 1206 |
+
"8": [
|
| 1207 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
|
| 1208 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
|
| 1209 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
|
| 1210 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
|
| 1211 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 1212 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 1213 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 1214 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 1215 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
|
| 1216 |
+
],
|
| 1217 |
+
"16": [
|
| 1218 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 1219 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,",
|
| 1220 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 1221 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 1222 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 1223 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 1224 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 1225 |
+
"and returned home.",
|
| 1226 |
+
"and returned home.",
|
| 1227 |
+
"and returned home."
|
| 1228 |
+
],
|
| 1229 |
+
"24": [
|
| 1230 |
+
"and returned home.",
|
| 1231 |
+
"The beginning of a new book \nhad suddenly come to him:",
|
| 1232 |
+
"The beginning of a new book \nhad suddenly come to him:",
|
| 1233 |
+
"The beginning of a new book \nhad suddenly come to him:",
|
| 1234 |
+
"The beginning of a new book \nhad suddenly come to him:",
|
| 1235 |
+
"The beginning of a new book \nhad suddenly come to him:",
|
| 1236 |
+
"\u201cMany years later, \nas he faced the firing squad,",
|
| 1237 |
+
"\u201cMany years later, \nas he faced the firing squad,",
|
| 1238 |
+
"\u201cMany years later, \nas he faced the firing squad,",
|
| 1239 |
+
"\u201cMany years later, \nas he faced the firing squad,",
|
| 1240 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon"
|
| 1241 |
+
],
|
| 1242 |
+
"32": [
|
| 1243 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1244 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1245 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1246 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1247 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1248 |
+
"when his father took him to discover ice.\u201d",
|
| 1249 |
+
"when his father took him to discover ice.\u201d",
|
| 1250 |
+
"when his father took him to discover ice.\u201d",
|
| 1251 |
+
"when his father took him to discover ice.\u201d"
|
| 1252 |
+
],
|
| 1253 |
+
"40": [
|
| 1254 |
+
"when his father took him to discover ice.\u201d",
|
| 1255 |
+
"Over the next eighteen months,",
|
| 1256 |
+
"Over the next eighteen months,",
|
| 1257 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1258 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1259 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1260 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1261 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1262 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1263 |
+
"A novel that would go on \nto bring Latin American literature",
|
| 1264 |
+
"A novel that would go on \nto bring Latin American literature"
|
| 1265 |
+
],
|
| 1266 |
+
"48": [
|
| 1267 |
+
"A novel that would go on \nto bring Latin American literature",
|
| 1268 |
+
"A novel that would go on \nto bring Latin American literature",
|
| 1269 |
+
"to the forefront \nof the global imagination,",
|
| 1270 |
+
"to the forefront \nof the global imagination,",
|
| 1271 |
+
"to the forefront \nof the global imagination,",
|
| 1272 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 1273 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 1274 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 1275 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 1276 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 1277 |
+
],
|
| 1278 |
+
"56": [
|
| 1279 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 1280 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.",
|
| 1281 |
+
"What makes One Hundred Years of Solitude \nso remarkable?",
|
| 1282 |
+
"What makes One Hundred Years of Solitude \nso remarkable?",
|
| 1283 |
+
"What makes One Hundred Years of Solitude \nso remarkable?",
|
| 1284 |
+
"What makes One Hundred Years of Solitude \nso remarkable?",
|
| 1285 |
+
"The novel chronicles the fortunes\nand misfortunes",
|
| 1286 |
+
"The novel chronicles the fortunes\nand misfortunes",
|
| 1287 |
+
"The novel chronicles the fortunes\nand misfortunes",
|
| 1288 |
+
"The novel chronicles the fortunes\nand misfortunes",
|
| 1289 |
+
"of the Buend\u00eda family \nover seven generations."
|
| 1290 |
+
],
|
| 1291 |
+
"64": [
|
| 1292 |
+
"of the Buend\u00eda family \nover seven generations.",
|
| 1293 |
+
"of the Buend\u00eda family \nover seven generations.",
|
| 1294 |
+
"of the Buend\u00eda family \nover seven generations.",
|
| 1295 |
+
"of the Buend\u00eda family \nover seven generations.",
|
| 1296 |
+
"With its lush, detailed sentences,",
|
| 1297 |
+
"With its lush, detailed sentences,",
|
| 1298 |
+
"With its lush, detailed sentences,",
|
| 1299 |
+
"With its lush, detailed sentences,",
|
| 1300 |
+
"large cast of characters,",
|
| 1301 |
+
"large cast of characters,"
|
| 1302 |
+
],
|
| 1303 |
+
"72": [
|
| 1304 |
+
"large cast of characters,",
|
| 1305 |
+
"large cast of characters,",
|
| 1306 |
+
"large cast of characters,",
|
| 1307 |
+
"and tangled narrative,",
|
| 1308 |
+
"and tangled narrative,",
|
| 1309 |
+
"and tangled narrative,",
|
| 1310 |
+
"and tangled narrative,",
|
| 1311 |
+
"One Hundred Years of Solitude \nis not an easy book to read.",
|
| 1312 |
+
"One Hundred Years of Solitude \nis not an easy book to read.",
|
| 1313 |
+
"One Hundred Years of Solitude \nis not an easy book to read."
|
| 1314 |
+
],
|
| 1315 |
+
"80": [
|
| 1316 |
+
"One Hundred Years of Solitude \nis not an easy book to read.",
|
| 1317 |
+
"One Hundred Years of Solitude \nis not an easy book to read.",
|
| 1318 |
+
"But it\u2019s a deeply rewarding one,",
|
| 1319 |
+
"But it\u2019s a deeply rewarding one,",
|
| 1320 |
+
"But it\u2019s a deeply rewarding one,",
|
| 1321 |
+
"with an epic assortment \nof intense romances,",
|
| 1322 |
+
"with an epic assortment \nof intense romances,",
|
| 1323 |
+
"with an epic assortment \nof intense romances,",
|
| 1324 |
+
"with an epic assortment \nof intense romances,",
|
| 1325 |
+
"with an epic assortment \nof intense romances,",
|
| 1326 |
+
"civil war,"
|
| 1327 |
+
],
|
| 1328 |
+
"88": [
|
| 1329 |
+
"civil war,",
|
| 1330 |
+
"political intrigue,",
|
| 1331 |
+
"political intrigue,",
|
| 1332 |
+
"political intrigue,",
|
| 1333 |
+
"globe-trotting adventurers,",
|
| 1334 |
+
"globe-trotting adventurers,",
|
| 1335 |
+
"globe-trotting adventurers,",
|
| 1336 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 1337 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 1338 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 1339 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 1340 |
+
],
|
| 1341 |
+
"96": [
|
| 1342 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 1343 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 1344 |
+
"Yet this is no mere historical drama.",
|
| 1345 |
+
"Yet this is no mere historical drama.",
|
| 1346 |
+
"Yet this is no mere historical drama.",
|
| 1347 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 1348 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 1349 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 1350 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 1351 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 1352 |
+
"of a literary genre \nknown as magical realism."
|
| 1353 |
+
],
|
| 1354 |
+
"104": [
|
| 1355 |
+
"of a literary genre \nknown as magical realism.",
|
| 1356 |
+
"of a literary genre \nknown as magical realism.",
|
| 1357 |
+
"of a literary genre \nknown as magical realism.",
|
| 1358 |
+
"of a literary genre \nknown as magical realism.",
|
| 1359 |
+
"of a literary genre \nknown as magical realism.",
|
| 1360 |
+
"Here, supernatural events or abilities",
|
| 1361 |
+
"Here, supernatural events or abilities",
|
| 1362 |
+
"Here, supernatural events or abilities",
|
| 1363 |
+
"Here, supernatural events or abilities",
|
| 1364 |
+
"are described in a realistic \nand matter-of-fact tone,"
|
| 1365 |
+
],
|
| 1366 |
+
"112": [
|
| 1367 |
+
"are described in a realistic \nand matter-of-fact tone,",
|
| 1368 |
+
"are described in a realistic \nand matter-of-fact tone,",
|
| 1369 |
+
"are described in a realistic \nand matter-of-fact tone,",
|
| 1370 |
+
"while the real events of human life \nand history",
|
| 1371 |
+
"while the real events of human life \nand history",
|
| 1372 |
+
"while the real events of human life \nand history",
|
| 1373 |
+
"while the real events of human life \nand history",
|
| 1374 |
+
"reveal themselves \nto be full of fantastical absurdity.",
|
| 1375 |
+
"reveal themselves \nto be full of fantastical absurdity.",
|
| 1376 |
+
"reveal themselves \nto be full of fantastical absurdity."
|
| 1377 |
+
],
|
| 1378 |
+
"120": [
|
| 1379 |
+
"reveal themselves \nto be full of fantastical absurdity.",
|
| 1380 |
+
"reveal themselves \nto be full of fantastical absurdity.",
|
| 1381 |
+
"Surreal phenomena within the\nfictional village of Macondo",
|
| 1382 |
+
"Surreal phenomena within the\nfictional village of Macondo",
|
| 1383 |
+
"Surreal phenomena within the\nfictional village of Macondo",
|
| 1384 |
+
"Surreal phenomena within the\nfictional village of Macondo",
|
| 1385 |
+
"Surreal phenomena within the\nfictional village of Macondo",
|
| 1386 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1387 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1388 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 1389 |
+
],
|
| 1390 |
+
"128": [
|
| 1391 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1392 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1393 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1394 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1395 |
+
"The settlement begins \nin a mythical state of isolation,",
|
| 1396 |
+
"The settlement begins \nin a mythical state of isolation,",
|
| 1397 |
+
"The settlement begins \nin a mythical state of isolation,",
|
| 1398 |
+
"The settlement begins \nin a mythical state of isolation,",
|
| 1399 |
+
"but is gradually exposed \nto the outside world,",
|
| 1400 |
+
"but is gradually exposed \nto the outside world,"
|
| 1401 |
+
],
|
| 1402 |
+
"136": [
|
| 1403 |
+
"but is gradually exposed \nto the outside world,",
|
| 1404 |
+
"but is gradually exposed \nto the outside world,",
|
| 1405 |
+
"facing multiple calamities along the way.",
|
| 1406 |
+
"facing multiple calamities along the way.",
|
| 1407 |
+
"facing multiple calamities along the way.",
|
| 1408 |
+
"facing multiple calamities along the way.",
|
| 1409 |
+
"As years pass, \ncharacters grow old and die,",
|
| 1410 |
+
"As years pass, \ncharacters grow old and die,",
|
| 1411 |
+
"As years pass, \ncharacters grow old and die,",
|
| 1412 |
+
"As years pass, \ncharacters grow old and die,",
|
| 1413 |
+
"only to return as ghosts,"
|
| 1414 |
+
],
|
| 1415 |
+
"144": [
|
| 1416 |
+
"only to return as ghosts,",
|
| 1417 |
+
"only to return as ghosts,",
|
| 1418 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 1419 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 1420 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 1421 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 1422 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 1423 |
+
"When the American fruit company \ncomes to town,",
|
| 1424 |
+
"When the American fruit company \ncomes to town,",
|
| 1425 |
+
"When the American fruit company \ncomes to town,"
|
| 1426 |
+
],
|
| 1427 |
+
"152": [
|
| 1428 |
+
"When the American fruit company \ncomes to town,",
|
| 1429 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 1430 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 1431 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 1432 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 1433 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 1434 |
+
"A young woman up and floats away.",
|
| 1435 |
+
"A young woman up and floats away.",
|
| 1436 |
+
"A young woman up and floats away.",
|
| 1437 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1438 |
+
"Although the novel moves forward \nthrough subsequent generations,"
|
| 1439 |
+
],
|
| 1440 |
+
"160": [
|
| 1441 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1442 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1443 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1444 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1445 |
+
"time moves in an almost cyclical manner.",
|
| 1446 |
+
"time moves in an almost cyclical manner.",
|
| 1447 |
+
"time moves in an almost cyclical manner.",
|
| 1448 |
+
"time moves in an almost cyclical manner.",
|
| 1449 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 1450 |
+
"Many characters have similar names \nand features to their forebears,"
|
| 1451 |
+
],
|
| 1452 |
+
"168": [
|
| 1453 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 1454 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 1455 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 1456 |
+
"whose mistakes they often repeat.",
|
| 1457 |
+
"whose mistakes they often repeat.",
|
| 1458 |
+
"whose mistakes they often repeat.",
|
| 1459 |
+
"Strange prophecies \nand visits from mysterious gypsies",
|
| 1460 |
+
"Strange prophecies \nand visits from mysterious gypsies",
|
| 1461 |
+
"Strange prophecies \nand visits from mysterious gypsies",
|
| 1462 |
+
"Strange prophecies \nand visits from mysterious gypsies",
|
| 1463 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 1464 |
+
],
|
| 1465 |
+
"176": [
|
| 1466 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 1467 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 1468 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 1469 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 1470 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 1471 |
+
"An American fruit company opens \na plantation near the village",
|
| 1472 |
+
"An American fruit company opens \na plantation near the village",
|
| 1473 |
+
"An American fruit company opens \na plantation near the village",
|
| 1474 |
+
"An American fruit company opens \na plantation near the village"
|
| 1475 |
+
],
|
| 1476 |
+
"184": [
|
| 1477 |
+
"An American fruit company opens \na plantation near the village",
|
| 1478 |
+
"and ends up massacring thousands \nof striking workers,",
|
| 1479 |
+
"and ends up massacring thousands \nof striking workers,",
|
| 1480 |
+
"and ends up massacring thousands \nof striking workers,",
|
| 1481 |
+
"and ends up massacring thousands \nof striking workers,",
|
| 1482 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 1483 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 1484 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 1485 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 1486 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 1487 |
+
],
|
| 1488 |
+
"192": [
|
| 1489 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 1490 |
+
"Combined with the novel\u2019s magical realism,",
|
| 1491 |
+
"Combined with the novel\u2019s magical realism,",
|
| 1492 |
+
"Combined with the novel\u2019s magical realism,",
|
| 1493 |
+
"this produces a sense \nof history as a downward spiral",
|
| 1494 |
+
"this produces a sense \nof history as a downward spiral",
|
| 1495 |
+
"this produces a sense \nof history as a downward spiral",
|
| 1496 |
+
"this produces a sense \nof history as a downward spiral",
|
| 1497 |
+
"this produces a sense \nof history as a downward spiral",
|
| 1498 |
+
"the characters seem powerless to escape.",
|
| 1499 |
+
"the characters seem powerless to escape."
|
| 1500 |
+
],
|
| 1501 |
+
"200": [
|
| 1502 |
+
"the characters seem powerless to escape.",
|
| 1503 |
+
"the characters seem powerless to escape.",
|
| 1504 |
+
"Beneath the magic is a story \nabout the pattern of Colombian",
|
| 1505 |
+
"Beneath the magic is a story \nabout the pattern of Colombian",
|
| 1506 |
+
"Beneath the magic is a story \nabout the pattern of Colombian",
|
| 1507 |
+
"Beneath the magic is a story \nabout the pattern of Colombian",
|
| 1508 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 1509 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 1510 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 1511 |
+
"and Latin American history \nfrom colonial times onward."
|
| 1512 |
+
],
|
| 1513 |
+
"208": [
|
| 1514 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 1515 |
+
"This is a history that \nthe author experienced firsthand.",
|
| 1516 |
+
"This is a history that \nthe author experienced firsthand.",
|
| 1517 |
+
"This is a history that \nthe author experienced firsthand.",
|
| 1518 |
+
"This is a history that \nthe author experienced firsthand.",
|
| 1519 |
+
"This is a history that \nthe author experienced firsthand.",
|
| 1520 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1521 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1522 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1523 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict"
|
| 1524 |
+
],
|
| 1525 |
+
"216": [
|
| 1526 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1527 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1528 |
+
"between its Conservative \nand Liberal political parties.",
|
| 1529 |
+
"between its Conservative \nand Liberal political parties.",
|
| 1530 |
+
"between its Conservative \nand Liberal political parties.",
|
| 1531 |
+
"between its Conservative \nand Liberal political parties.",
|
| 1532 |
+
"He also lived in an autocratic Mexico",
|
| 1533 |
+
"He also lived in an autocratic Mexico",
|
| 1534 |
+
"He also lived in an autocratic Mexico",
|
| 1535 |
+
"He also lived in an autocratic Mexico",
|
| 1536 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist."
|
| 1537 |
+
],
|
| 1538 |
+
"224": [
|
| 1539 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 1540 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 1541 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 1542 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 1543 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 1544 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 1545 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 1546 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 1547 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 1548 |
+
],
|
| 1549 |
+
"232": [
|
| 1550 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 1551 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 1552 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 1553 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 1554 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 1555 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 1556 |
+
"whose accounts of the rebellion against\nColombia's conservative government",
|
| 1557 |
+
"whose accounts of the rebellion against\nColombia's conservative government",
|
| 1558 |
+
"whose accounts of the rebellion against\nColombia's conservative government",
|
| 1559 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 1560 |
+
],
|
| 1561 |
+
"240": [
|
| 1562 |
+
"whose accounts of the rebellion against\nColombia's conservative government",
|
| 1563 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 1564 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 1565 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 1566 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 1567 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 1568 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1569 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1570 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1571 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition"
|
| 1572 |
+
],
|
| 1573 |
+
"248": [
|
| 1574 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1575 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1576 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.",
|
| 1577 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.",
|
| 1578 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.",
|
| 1579 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.",
|
| 1580 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.",
|
| 1581 |
+
"Their small house in Aracataca \nwhere the author spent his childhood",
|
| 1582 |
+
"Their small house in Aracataca \nwhere the author spent his childhood",
|
| 1583 |
+
"Their small house in Aracataca \nwhere the author spent his childhood"
|
| 1584 |
+
],
|
| 1585 |
+
"256": [
|
| 1586 |
+
"Their small house in Aracataca \nwhere the author spent his childhood",
|
| 1587 |
+
"formed the main inspiration for Macondo.",
|
| 1588 |
+
"formed the main inspiration for Macondo.",
|
| 1589 |
+
"formed the main inspiration for Macondo.",
|
| 1590 |
+
"formed the main inspiration for Macondo.",
|
| 1591 |
+
"formed the main inspiration for Macondo.",
|
| 1592 |
+
"With One Hundred Years of Solitude,",
|
| 1593 |
+
"With One Hundred Years of Solitude,",
|
| 1594 |
+
"With One Hundred Years of Solitude,",
|
| 1595 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way",
|
| 1596 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way"
|
| 1597 |
+
],
|
| 1598 |
+
"264": [
|
| 1599 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way",
|
| 1600 |
+
"to capture the unique history \nof Latin America.",
|
| 1601 |
+
"to capture the unique history \nof Latin America.",
|
| 1602 |
+
"to capture the unique history \nof Latin America.",
|
| 1603 |
+
"to capture the unique history \nof Latin America.",
|
| 1604 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1605 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1606 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1607 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1608 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1609 |
+
],
|
| 1610 |
+
"272": [
|
| 1611 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1612 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1613 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1614 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1615 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1616 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1617 |
+
"In spite of all this fatalism,\nthe novel still holds hope.",
|
| 1618 |
+
"In spite of all this fatalism,\nthe novel still holds hope.",
|
| 1619 |
+
"In spite of all this fatalism,\nthe novel still holds hope.",
|
| 1620 |
+
"In spite of all this fatalism,\nthe novel still holds hope.",
|
| 1621 |
+
"At his Nobel Lecture,"
|
| 1622 |
+
],
|
| 1623 |
+
"280": [
|
| 1624 |
+
"At his Nobel Lecture,",
|
| 1625 |
+
"At his Nobel Lecture,",
|
| 1626 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1627 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1628 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1629 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1630 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1631 |
+
"of civil strife and rampant iniquity.",
|
| 1632 |
+
"of civil strife and rampant iniquity.",
|
| 1633 |
+
"of civil strife and rampant iniquity."
|
| 1634 |
+
],
|
| 1635 |
+
"288": [
|
| 1636 |
+
"of civil strife and rampant iniquity.",
|
| 1637 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1638 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1639 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1640 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1641 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1642 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1643 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1644 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1645 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,"
|
| 1646 |
+
],
|
| 1647 |
+
"296": [
|
| 1648 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1649 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1650 |
+
"where love will prove true",
|
| 1651 |
+
"where love will prove true",
|
| 1652 |
+
"where love will prove true",
|
| 1653 |
+
"and happiness be possible,",
|
| 1654 |
+
"and happiness be possible,",
|
| 1655 |
+
"and happiness be possible,",
|
| 1656 |
+
"and where the races condemned \nto one hundred years of solitude",
|
| 1657 |
+
"and where the races condemned \nto one hundred years of solitude",
|
| 1658 |
+
"and where the races condemned \nto one hundred years of solitude"
|
| 1659 |
+
],
|
| 1660 |
+
"304": [
|
| 1661 |
+
"and where the races condemned \nto one hundred years of solitude",
|
| 1662 |
+
"will have, at last and forever,\na second chance on earth.\"",
|
| 1663 |
+
"will have, at last and forever,\na second chance on earth.\"",
|
| 1664 |
+
"will have, at last and forever,\na second chance on earth.\"",
|
| 1665 |
+
"will have, at last and forever,\na second chance on earth.\"",
|
| 1666 |
+
"will have, at last and forever,\na second chance on earth.\"",
|
| 1667 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1668 |
+
],
|
| 1669 |
+
"312": [],
|
| 1670 |
+
"320": [],
|
| 1671 |
+
"328": []
|
| 1672 |
+
},
|
| 1673 |
+
"unique_subtitles_by_window": {
|
| 1674 |
+
"0": [
|
| 1675 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,"
|
| 1676 |
+
],
|
| 1677 |
+
"8": [
|
| 1678 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,",
|
| 1679 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
|
| 1680 |
+
],
|
| 1681 |
+
"16": [
|
| 1682 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,",
|
| 1683 |
+
"and returned home.",
|
| 1684 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,"
|
| 1685 |
+
],
|
| 1686 |
+
"24": [
|
| 1687 |
+
"and returned home.",
|
| 1688 |
+
"\u201cMany years later, \nas he faced the firing squad,",
|
| 1689 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1690 |
+
"The beginning of a new book \nhad suddenly come to him:"
|
| 1691 |
+
],
|
| 1692 |
+
"32": [
|
| 1693 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon",
|
| 1694 |
+
"when his father took him to discover ice.\u201d"
|
| 1695 |
+
],
|
| 1696 |
+
"40": [
|
| 1697 |
+
"Over the next eighteen months,",
|
| 1698 |
+
"A novel that would go on \nto bring Latin American literature",
|
| 1699 |
+
"those words would blossom \ninto One Hundred Years of Solitude.",
|
| 1700 |
+
"when his father took him to discover ice.\u201d"
|
| 1701 |
+
],
|
| 1702 |
+
"48": [
|
| 1703 |
+
"A novel that would go on \nto bring Latin American literature",
|
| 1704 |
+
"to the forefront \nof the global imagination,",
|
| 1705 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 1706 |
+
],
|
| 1707 |
+
"56": [
|
| 1708 |
+
"What makes One Hundred Years of Solitude \nso remarkable?",
|
| 1709 |
+
"of the Buend\u00eda family \nover seven generations.",
|
| 1710 |
+
"The novel chronicles the fortunes\nand misfortunes",
|
| 1711 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature."
|
| 1712 |
+
],
|
| 1713 |
+
"64": [
|
| 1714 |
+
"large cast of characters,",
|
| 1715 |
+
"With its lush, detailed sentences,",
|
| 1716 |
+
"of the Buend\u00eda family \nover seven generations."
|
| 1717 |
+
],
|
| 1718 |
+
"72": [
|
| 1719 |
+
"large cast of characters,",
|
| 1720 |
+
"and tangled narrative,",
|
| 1721 |
+
"One Hundred Years of Solitude \nis not an easy book to read."
|
| 1722 |
+
],
|
| 1723 |
+
"80": [
|
| 1724 |
+
"with an epic assortment \nof intense romances,",
|
| 1725 |
+
"One Hundred Years of Solitude \nis not an easy book to read.",
|
| 1726 |
+
"civil war,",
|
| 1727 |
+
"But it\u2019s a deeply rewarding one,"
|
| 1728 |
+
],
|
| 1729 |
+
"88": [
|
| 1730 |
+
"political intrigue,",
|
| 1731 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.",
|
| 1732 |
+
"globe-trotting adventurers,",
|
| 1733 |
+
"civil war,"
|
| 1734 |
+
],
|
| 1735 |
+
"96": [
|
| 1736 |
+
"Yet this is no mere historical drama.",
|
| 1737 |
+
"One Hundred Years of Solitude \nis one of the most famous examples",
|
| 1738 |
+
"of a literary genre \nknown as magical realism.",
|
| 1739 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible."
|
| 1740 |
+
],
|
| 1741 |
+
"104": [
|
| 1742 |
+
"of a literary genre \nknown as magical realism.",
|
| 1743 |
+
"Here, supernatural events or abilities",
|
| 1744 |
+
"are described in a realistic \nand matter-of-fact tone,"
|
| 1745 |
+
],
|
| 1746 |
+
"112": [
|
| 1747 |
+
"while the real events of human life \nand history",
|
| 1748 |
+
"are described in a realistic \nand matter-of-fact tone,",
|
| 1749 |
+
"reveal themselves \nto be full of fantastical absurdity."
|
| 1750 |
+
],
|
| 1751 |
+
"120": [
|
| 1752 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.",
|
| 1753 |
+
"reveal themselves \nto be full of fantastical absurdity.",
|
| 1754 |
+
"Surreal phenomena within the\nfictional village of Macondo"
|
| 1755 |
+
],
|
| 1756 |
+
"128": [
|
| 1757 |
+
"The settlement begins \nin a mythical state of isolation,",
|
| 1758 |
+
"but is gradually exposed \nto the outside world,",
|
| 1759 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia."
|
| 1760 |
+
],
|
| 1761 |
+
"136": [
|
| 1762 |
+
"facing multiple calamities along the way.",
|
| 1763 |
+
"but is gradually exposed \nto the outside world,",
|
| 1764 |
+
"only to return as ghosts,",
|
| 1765 |
+
"As years pass, \ncharacters grow old and die,"
|
| 1766 |
+
],
|
| 1767 |
+
"144": [
|
| 1768 |
+
"or to be seemingly reincarnated \nin the next generation.",
|
| 1769 |
+
"When the American fruit company \ncomes to town,",
|
| 1770 |
+
"only to return as ghosts,"
|
| 1771 |
+
],
|
| 1772 |
+
"152": [
|
| 1773 |
+
"When the American fruit company \ncomes to town,",
|
| 1774 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1775 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.",
|
| 1776 |
+
"A young woman up and floats away."
|
| 1777 |
+
],
|
| 1778 |
+
"160": [
|
| 1779 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 1780 |
+
"Although the novel moves forward \nthrough subsequent generations,",
|
| 1781 |
+
"time moves in an almost cyclical manner."
|
| 1782 |
+
],
|
| 1783 |
+
"168": [
|
| 1784 |
+
"Many characters have similar names \nand features to their forebears,",
|
| 1785 |
+
"whose mistakes they often repeat.",
|
| 1786 |
+
"Strange prophecies \nand visits from mysterious gypsies",
|
| 1787 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars."
|
| 1788 |
+
],
|
| 1789 |
+
"176": [
|
| 1790 |
+
"give way to the skirmishes \nand firing squads of repeated civil wars.",
|
| 1791 |
+
"An American fruit company opens \na plantation near the village"
|
| 1792 |
+
],
|
| 1793 |
+
"184": [
|
| 1794 |
+
"and ends up massacring thousands \nof striking workers,",
|
| 1795 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.",
|
| 1796 |
+
"An American fruit company opens \na plantation near the village"
|
| 1797 |
+
],
|
| 1798 |
+
"192": [
|
| 1799 |
+
"this produces a sense \nof history as a downward spiral",
|
| 1800 |
+
"Combined with the novel\u2019s magical realism,",
|
| 1801 |
+
"the characters seem powerless to escape.",
|
| 1802 |
+
"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928."
|
| 1803 |
+
],
|
| 1804 |
+
"200": [
|
| 1805 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 1806 |
+
"the characters seem powerless to escape.",
|
| 1807 |
+
"Beneath the magic is a story \nabout the pattern of Colombian"
|
| 1808 |
+
],
|
| 1809 |
+
"208": [
|
| 1810 |
+
"and Latin American history \nfrom colonial times onward.",
|
| 1811 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1812 |
+
"This is a history that \nthe author experienced firsthand."
|
| 1813 |
+
],
|
| 1814 |
+
"216": [
|
| 1815 |
+
"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict",
|
| 1816 |
+
"He also lived in an autocratic Mexico",
|
| 1817 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 1818 |
+
"between its Conservative \nand Liberal political parties."
|
| 1819 |
+
],
|
| 1820 |
+
"224": [
|
| 1821 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.",
|
| 1822 |
+
"But perhaps his biggest influences \nwere his maternal grandparents."
|
| 1823 |
+
],
|
| 1824 |
+
"232": [
|
| 1825 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War",
|
| 1826 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.",
|
| 1827 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 1828 |
+
],
|
| 1829 |
+
"240": [
|
| 1830 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1831 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.",
|
| 1832 |
+
"whose accounts of the rebellion against\nColombia's conservative government"
|
| 1833 |
+
],
|
| 1834 |
+
"248": [
|
| 1835 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition",
|
| 1836 |
+
"Their small house in Aracataca \nwhere the author spent his childhood",
|
| 1837 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style."
|
| 1838 |
+
],
|
| 1839 |
+
"256": [
|
| 1840 |
+
"With One Hundred Years of Solitude,",
|
| 1841 |
+
"Their small house in Aracataca \nwhere the author spent his childhood",
|
| 1842 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way",
|
| 1843 |
+
"formed the main inspiration for Macondo."
|
| 1844 |
+
],
|
| 1845 |
+
"264": [
|
| 1846 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way",
|
| 1847 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,",
|
| 1848 |
+
"to capture the unique history \nof Latin America."
|
| 1849 |
+
],
|
| 1850 |
+
"272": [
|
| 1851 |
+
"At his Nobel Lecture,",
|
| 1852 |
+
"In spite of all this fatalism,\nthe novel still holds hope.",
|
| 1853 |
+
"forced to relive \nthe tragedies of the past.",
|
| 1854 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,"
|
| 1855 |
+
],
|
| 1856 |
+
"280": [
|
| 1857 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history",
|
| 1858 |
+
"of civil strife and rampant iniquity.",
|
| 1859 |
+
"At his Nobel Lecture,"
|
| 1860 |
+
],
|
| 1861 |
+
"288": [
|
| 1862 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,",
|
| 1863 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1864 |
+
"of civil strife and rampant iniquity."
|
| 1865 |
+
],
|
| 1866 |
+
"296": [
|
| 1867 |
+
"and happiness be possible,",
|
| 1868 |
+
"where love will prove true",
|
| 1869 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,",
|
| 1870 |
+
"and where the races condemned \nto one hundred years of solitude"
|
| 1871 |
+
],
|
| 1872 |
+
"304": [
|
| 1873 |
+
"and where the races condemned \nto one hundred years of solitude",
|
| 1874 |
+
"will have, at last and forever,\na second chance on earth.\""
|
| 1875 |
+
],
|
| 1876 |
+
"312": [],
|
| 1877 |
+
"320": [],
|
| 1878 |
+
"328": []
|
| 1879 |
+
},
|
| 1880 |
+
"window_by_subtitle": {
|
| 1881 |
+
"One day in 1965, while driving to Acapulco\nfor a vacation with his family,": [
|
| 1882 |
+
0,
|
| 1883 |
+
8
|
| 1884 |
+
],
|
| 1885 |
+
"Colombian journalist Gabriel Garc\u00eda \nM\u00e1rquez abruptly turned his car around,": [
|
| 1886 |
+
8,
|
| 1887 |
+
16
|
| 1888 |
+
],
|
| 1889 |
+
"asked his wife to take care of the\nfamily\u2019s finances for the coming months,": [
|
| 1890 |
+
16
|
| 1891 |
+
],
|
| 1892 |
+
"and returned home.": [
|
| 1893 |
+
16,
|
| 1894 |
+
24
|
| 1895 |
+
],
|
| 1896 |
+
"\u201cMany years later, \nas he faced the firing squad,": [
|
| 1897 |
+
24
|
| 1898 |
+
],
|
| 1899 |
+
"Colonel Aureliano Buend\u00eda was to remember \nthat distant afternoon": [
|
| 1900 |
+
24,
|
| 1901 |
+
32
|
| 1902 |
+
],
|
| 1903 |
+
"The beginning of a new book \nhad suddenly come to him:": [
|
| 1904 |
+
24
|
| 1905 |
+
],
|
| 1906 |
+
"when his father took him to discover ice.\u201d": [
|
| 1907 |
+
32,
|
| 1908 |
+
40
|
| 1909 |
+
],
|
| 1910 |
+
"Over the next eighteen months,": [
|
| 1911 |
+
40
|
| 1912 |
+
],
|
| 1913 |
+
"A novel that would go on \nto bring Latin American literature": [
|
| 1914 |
+
40,
|
| 1915 |
+
48
|
| 1916 |
+
],
|
| 1917 |
+
"those words would blossom \ninto One Hundred Years of Solitude.": [
|
| 1918 |
+
40
|
| 1919 |
+
],
|
| 1920 |
+
"to the forefront \nof the global imagination,": [
|
| 1921 |
+
48
|
| 1922 |
+
],
|
| 1923 |
+
"earning Garc\u00eda M\u00e1rquez \nthe 1982 Nobel Prize for Literature.": [
|
| 1924 |
+
48,
|
| 1925 |
+
56
|
| 1926 |
+
],
|
| 1927 |
+
"What makes One Hundred Years of Solitude \nso remarkable?": [
|
| 1928 |
+
56
|
| 1929 |
+
],
|
| 1930 |
+
"of the Buend\u00eda family \nover seven generations.": [
|
| 1931 |
+
56,
|
| 1932 |
+
64
|
| 1933 |
+
],
|
| 1934 |
+
"The novel chronicles the fortunes\nand misfortunes": [
|
| 1935 |
+
56
|
| 1936 |
+
],
|
| 1937 |
+
"large cast of characters,": [
|
| 1938 |
+
64,
|
| 1939 |
+
72
|
| 1940 |
+
],
|
| 1941 |
+
"With its lush, detailed sentences,": [
|
| 1942 |
+
64
|
| 1943 |
+
],
|
| 1944 |
+
"and tangled narrative,": [
|
| 1945 |
+
72
|
| 1946 |
+
],
|
| 1947 |
+
"One Hundred Years of Solitude \nis not an easy book to read.": [
|
| 1948 |
+
72,
|
| 1949 |
+
80
|
| 1950 |
+
],
|
| 1951 |
+
"with an epic assortment \nof intense romances,": [
|
| 1952 |
+
80
|
| 1953 |
+
],
|
| 1954 |
+
"civil war,": [
|
| 1955 |
+
80,
|
| 1956 |
+
88
|
| 1957 |
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],
|
| 1958 |
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"But it\u2019s a deeply rewarding one,": [
|
| 1959 |
+
80
|
| 1960 |
+
],
|
| 1961 |
+
"political intrigue,": [
|
| 1962 |
+
88
|
| 1963 |
+
],
|
| 1964 |
+
"and more characters \nnamed Aureliano than you\u2019d think possible.": [
|
| 1965 |
+
88,
|
| 1966 |
+
96
|
| 1967 |
+
],
|
| 1968 |
+
"globe-trotting adventurers,": [
|
| 1969 |
+
88
|
| 1970 |
+
],
|
| 1971 |
+
"Yet this is no mere historical drama.": [
|
| 1972 |
+
96
|
| 1973 |
+
],
|
| 1974 |
+
"One Hundred Years of Solitude \nis one of the most famous examples": [
|
| 1975 |
+
96
|
| 1976 |
+
],
|
| 1977 |
+
"of a literary genre \nknown as magical realism.": [
|
| 1978 |
+
96,
|
| 1979 |
+
104
|
| 1980 |
+
],
|
| 1981 |
+
"Here, supernatural events or abilities": [
|
| 1982 |
+
104
|
| 1983 |
+
],
|
| 1984 |
+
"are described in a realistic \nand matter-of-fact tone,": [
|
| 1985 |
+
104,
|
| 1986 |
+
112
|
| 1987 |
+
],
|
| 1988 |
+
"while the real events of human life \nand history": [
|
| 1989 |
+
112
|
| 1990 |
+
],
|
| 1991 |
+
"reveal themselves \nto be full of fantastical absurdity.": [
|
| 1992 |
+
112,
|
| 1993 |
+
120
|
| 1994 |
+
],
|
| 1995 |
+
"intertwine seamlessly with events taking\nplace in the real country of Colombia.": [
|
| 1996 |
+
120,
|
| 1997 |
+
128
|
| 1998 |
+
],
|
| 1999 |
+
"Surreal phenomena within the\nfictional village of Macondo": [
|
| 2000 |
+
120
|
| 2001 |
+
],
|
| 2002 |
+
"The settlement begins \nin a mythical state of isolation,": [
|
| 2003 |
+
128
|
| 2004 |
+
],
|
| 2005 |
+
"but is gradually exposed \nto the outside world,": [
|
| 2006 |
+
128,
|
| 2007 |
+
136
|
| 2008 |
+
],
|
| 2009 |
+
"facing multiple calamities along the way.": [
|
| 2010 |
+
136
|
| 2011 |
+
],
|
| 2012 |
+
"only to return as ghosts,": [
|
| 2013 |
+
136,
|
| 2014 |
+
144
|
| 2015 |
+
],
|
| 2016 |
+
"As years pass, \ncharacters grow old and die,": [
|
| 2017 |
+
136
|
| 2018 |
+
],
|
| 2019 |
+
"or to be seemingly reincarnated \nin the next generation.": [
|
| 2020 |
+
144
|
| 2021 |
+
],
|
| 2022 |
+
"When the American fruit company \ncomes to town,": [
|
| 2023 |
+
144,
|
| 2024 |
+
152
|
| 2025 |
+
],
|
| 2026 |
+
"Although the novel moves forward \nthrough subsequent generations,": [
|
| 2027 |
+
152,
|
| 2028 |
+
160
|
| 2029 |
+
],
|
| 2030 |
+
"so does a romantic mechanic who is\nalways followed by yellow butterflies.": [
|
| 2031 |
+
152
|
| 2032 |
+
],
|
| 2033 |
+
"A young woman up and floats away.": [
|
| 2034 |
+
152
|
| 2035 |
+
],
|
| 2036 |
+
"Many characters have similar names \nand features to their forebears,": [
|
| 2037 |
+
160,
|
| 2038 |
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168
|
| 2039 |
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],
|
| 2040 |
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"time moves in an almost cyclical manner.": [
|
| 2041 |
+
160
|
| 2042 |
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],
|
| 2043 |
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"whose mistakes they often repeat.": [
|
| 2044 |
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168
|
| 2045 |
+
],
|
| 2046 |
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"Strange prophecies \nand visits from mysterious gypsies": [
|
| 2047 |
+
168
|
| 2048 |
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],
|
| 2049 |
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"give way to the skirmishes \nand firing squads of repeated civil wars.": [
|
| 2050 |
+
168,
|
| 2051 |
+
176
|
| 2052 |
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],
|
| 2053 |
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"An American fruit company opens \na plantation near the village": [
|
| 2054 |
+
176,
|
| 2055 |
+
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|
| 2056 |
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],
|
| 2057 |
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"and ends up massacring thousands \nof striking workers,": [
|
| 2058 |
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184
|
| 2059 |
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],
|
| 2060 |
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"mirroring the real-life \n\u2018Banana Massacre\u2019 of 1928.": [
|
| 2061 |
+
184,
|
| 2062 |
+
192
|
| 2063 |
+
],
|
| 2064 |
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"this produces a sense \nof history as a downward spiral": [
|
| 2065 |
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192
|
| 2066 |
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],
|
| 2067 |
+
"Combined with the novel\u2019s magical realism,": [
|
| 2068 |
+
192
|
| 2069 |
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],
|
| 2070 |
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"the characters seem powerless to escape.": [
|
| 2071 |
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192,
|
| 2072 |
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200
|
| 2073 |
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],
|
| 2074 |
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"and Latin American history \nfrom colonial times onward.": [
|
| 2075 |
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200,
|
| 2076 |
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208
|
| 2077 |
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],
|
| 2078 |
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"Beneath the magic is a story \nabout the pattern of Colombian": [
|
| 2079 |
+
200
|
| 2080 |
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],
|
| 2081 |
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"Gabriel Garc\u00eda M\u00e1rquez grew up\nin a Colombia torn apart by civil conflict": [
|
| 2082 |
+
208,
|
| 2083 |
+
216
|
| 2084 |
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],
|
| 2085 |
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"This is a history that \nthe author experienced firsthand.": [
|
| 2086 |
+
208
|
| 2087 |
+
],
|
| 2088 |
+
"He also lived in an autocratic Mexico": [
|
| 2089 |
+
216
|
| 2090 |
+
],
|
| 2091 |
+
"and covered the 1958 Venezuelan \ncoup d\u2019\u00e9tat as a journalist.": [
|
| 2092 |
+
216,
|
| 2093 |
+
224
|
| 2094 |
+
],
|
| 2095 |
+
"between its Conservative \nand Liberal political parties.": [
|
| 2096 |
+
216
|
| 2097 |
+
],
|
| 2098 |
+
"But perhaps his biggest influences \nwere his maternal grandparents.": [
|
| 2099 |
+
224,
|
| 2100 |
+
232
|
| 2101 |
+
],
|
| 2102 |
+
"Nicol\u00e1s Ricardo M\u00e1rquez was a\ndecorated veteran of the Thousand Days War": [
|
| 2103 |
+
232
|
| 2104 |
+
],
|
| 2105 |
+
"whose accounts of the rebellion against\nColombia's conservative government": [
|
| 2106 |
+
232,
|
| 2107 |
+
240
|
| 2108 |
+
],
|
| 2109 |
+
"Meanwhile, Do\u00f1a Tranquilina Iguar\u00e1n Cotes\u2019\nomnipresent superstition": [
|
| 2110 |
+
240,
|
| 2111 |
+
248
|
| 2112 |
+
],
|
| 2113 |
+
"led Gabriel Garc\u00eda M\u00e1rquez \nto a socialist outlook.": [
|
| 2114 |
+
240
|
| 2115 |
+
],
|
| 2116 |
+
"Their small house in Aracataca \nwhere the author spent his childhood": [
|
| 2117 |
+
248,
|
| 2118 |
+
256
|
| 2119 |
+
],
|
| 2120 |
+
"became the foundation \nof One Hundred Years of Solitude\u2019s style.": [
|
| 2121 |
+
248
|
| 2122 |
+
],
|
| 2123 |
+
"With One Hundred Years of Solitude,": [
|
| 2124 |
+
256
|
| 2125 |
+
],
|
| 2126 |
+
"Gabriel Garc\u00eda M\u00e1rquez \nfound a unique way": [
|
| 2127 |
+
256,
|
| 2128 |
+
264
|
| 2129 |
+
],
|
| 2130 |
+
"formed the main inspiration for Macondo.": [
|
| 2131 |
+
256
|
| 2132 |
+
],
|
| 2133 |
+
"He was able to depict the strange reality \nof living in a post-colonial society,": [
|
| 2134 |
+
264,
|
| 2135 |
+
272
|
| 2136 |
+
],
|
| 2137 |
+
"to capture the unique history \nof Latin America.": [
|
| 2138 |
+
264
|
| 2139 |
+
],
|
| 2140 |
+
"At his Nobel Lecture,": [
|
| 2141 |
+
272,
|
| 2142 |
+
280
|
| 2143 |
+
],
|
| 2144 |
+
"In spite of all this fatalism,\nthe novel still holds hope.": [
|
| 2145 |
+
272
|
| 2146 |
+
],
|
| 2147 |
+
"forced to relive \nthe tragedies of the past.": [
|
| 2148 |
+
272
|
| 2149 |
+
],
|
| 2150 |
+
"Garc\u00eda Marquez reflected \non Latin America\u2019s long history": [
|
| 2151 |
+
280
|
| 2152 |
+
],
|
| 2153 |
+
"of civil strife and rampant iniquity.": [
|
| 2154 |
+
280,
|
| 2155 |
+
288
|
| 2156 |
+
],
|
| 2157 |
+
"Yet he ended the speech by affirming the\npossibility of building a better world,": [
|
| 2158 |
+
288
|
| 2159 |
+
],
|
| 2160 |
+
"to quote, \u201cwhere no one will be able\nto decide for others how they die,": [
|
| 2161 |
+
288,
|
| 2162 |
+
296
|
| 2163 |
+
],
|
| 2164 |
+
"and happiness be possible,": [
|
| 2165 |
+
296
|
| 2166 |
+
],
|
| 2167 |
+
"where love will prove true": [
|
| 2168 |
+
296
|
| 2169 |
+
],
|
| 2170 |
+
"and where the races condemned \nto one hundred years of solitude": [
|
| 2171 |
+
296,
|
| 2172 |
+
304
|
| 2173 |
+
],
|
| 2174 |
+
"will have, at last and forever,\na second chance on earth.\"": [
|
| 2175 |
+
304
|
| 2176 |
+
]
|
| 2177 |
+
},
|
| 2178 |
+
"video_file": "frames.mp4",
|
| 2179 |
+
"fps": 1
|
| 2180 |
+
}
|
videomme_window_8/B7-6lRo2m4Y/metadata.json
ADDED
|
@@ -0,0 +1,1705 @@
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|
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|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 33,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
80
|
| 44 |
+
],
|
| 45 |
+
"10": [
|
| 46 |
+
80,
|
| 47 |
+
88
|
| 48 |
+
],
|
| 49 |
+
"11": [
|
| 50 |
+
88,
|
| 51 |
+
96
|
| 52 |
+
],
|
| 53 |
+
"12": [
|
| 54 |
+
96,
|
| 55 |
+
104
|
| 56 |
+
],
|
| 57 |
+
"13": [
|
| 58 |
+
104,
|
| 59 |
+
112
|
| 60 |
+
],
|
| 61 |
+
"14": [
|
| 62 |
+
112,
|
| 63 |
+
120
|
| 64 |
+
],
|
| 65 |
+
"15": [
|
| 66 |
+
120,
|
| 67 |
+
128
|
| 68 |
+
],
|
| 69 |
+
"16": [
|
| 70 |
+
128,
|
| 71 |
+
136
|
| 72 |
+
],
|
| 73 |
+
"17": [
|
| 74 |
+
136,
|
| 75 |
+
144
|
| 76 |
+
],
|
| 77 |
+
"18": [
|
| 78 |
+
144,
|
| 79 |
+
152
|
| 80 |
+
],
|
| 81 |
+
"19": [
|
| 82 |
+
152,
|
| 83 |
+
160
|
| 84 |
+
],
|
| 85 |
+
"20": [
|
| 86 |
+
160,
|
| 87 |
+
168
|
| 88 |
+
],
|
| 89 |
+
"21": [
|
| 90 |
+
168,
|
| 91 |
+
176
|
| 92 |
+
],
|
| 93 |
+
"22": [
|
| 94 |
+
176,
|
| 95 |
+
184
|
| 96 |
+
],
|
| 97 |
+
"23": [
|
| 98 |
+
184,
|
| 99 |
+
192
|
| 100 |
+
],
|
| 101 |
+
"24": [
|
| 102 |
+
192,
|
| 103 |
+
200
|
| 104 |
+
],
|
| 105 |
+
"25": [
|
| 106 |
+
200,
|
| 107 |
+
208
|
| 108 |
+
],
|
| 109 |
+
"26": [
|
| 110 |
+
208,
|
| 111 |
+
216
|
| 112 |
+
],
|
| 113 |
+
"27": [
|
| 114 |
+
216,
|
| 115 |
+
224
|
| 116 |
+
],
|
| 117 |
+
"28": [
|
| 118 |
+
224,
|
| 119 |
+
232
|
| 120 |
+
],
|
| 121 |
+
"29": [
|
| 122 |
+
232,
|
| 123 |
+
240
|
| 124 |
+
],
|
| 125 |
+
"30": [
|
| 126 |
+
240,
|
| 127 |
+
248
|
| 128 |
+
],
|
| 129 |
+
"31": [
|
| 130 |
+
248,
|
| 131 |
+
256
|
| 132 |
+
],
|
| 133 |
+
"32": [
|
| 134 |
+
256,
|
| 135 |
+
260
|
| 136 |
+
]
|
| 137 |
+
},
|
| 138 |
+
"frames_count": 260,
|
| 139 |
+
"embeddings_count": 33,
|
| 140 |
+
"all_subtitles": [
|
| 141 |
+
[],
|
| 142 |
+
[],
|
| 143 |
+
[
|
| 144 |
+
"[Music]"
|
| 145 |
+
],
|
| 146 |
+
[
|
| 147 |
+
"[Music]"
|
| 148 |
+
],
|
| 149 |
+
[
|
| 150 |
+
"[Music]"
|
| 151 |
+
],
|
| 152 |
+
[
|
| 153 |
+
"[Music]",
|
| 154 |
+
"already the blizzard has reached the"
|
| 155 |
+
],
|
| 156 |
+
[
|
| 157 |
+
"[Music]",
|
| 158 |
+
"already the blizzard has reached the"
|
| 159 |
+
],
|
| 160 |
+
[
|
| 161 |
+
"[Music]",
|
| 162 |
+
"already the blizzard has reached the",
|
| 163 |
+
"colony"
|
| 164 |
+
],
|
| 165 |
+
[
|
| 166 |
+
"already the blizzard has reached the",
|
| 167 |
+
"colony"
|
| 168 |
+
],
|
| 169 |
+
[
|
| 170 |
+
"already the blizzard has reached the",
|
| 171 |
+
"colony"
|
| 172 |
+
],
|
| 173 |
+
[
|
| 174 |
+
"the chick's only protection is his"
|
| 175 |
+
],
|
| 176 |
+
[
|
| 177 |
+
"the chick's only protection is his"
|
| 178 |
+
],
|
| 179 |
+
[
|
| 180 |
+
"the chick's only protection is his"
|
| 181 |
+
],
|
| 182 |
+
[
|
| 183 |
+
"the chick's only protection is his",
|
| 184 |
+
"overcoat of down"
|
| 185 |
+
],
|
| 186 |
+
[
|
| 187 |
+
"the chick's only protection is his",
|
| 188 |
+
"overcoat of down",
|
| 189 |
+
"and at -40 it's simply not enough"
|
| 190 |
+
],
|
| 191 |
+
[
|
| 192 |
+
"overcoat of down",
|
| 193 |
+
"and at -40 it's simply not enough"
|
| 194 |
+
],
|
| 195 |
+
[
|
| 196 |
+
"overcoat of down",
|
| 197 |
+
"and at -40 it's simply not enough"
|
| 198 |
+
],
|
| 199 |
+
[
|
| 200 |
+
"overcoat of down",
|
| 201 |
+
"and at -40 it's simply not enough"
|
| 202 |
+
],
|
| 203 |
+
[
|
| 204 |
+
"overcoat of down",
|
| 205 |
+
"and at -40 it's simply not enough"
|
| 206 |
+
],
|
| 207 |
+
[
|
| 208 |
+
"overcoat of down",
|
| 209 |
+
"and at -40 it's simply not enough"
|
| 210 |
+
],
|
| 211 |
+
[],
|
| 212 |
+
[],
|
| 213 |
+
[],
|
| 214 |
+
[],
|
| 215 |
+
[],
|
| 216 |
+
[],
|
| 217 |
+
[],
|
| 218 |
+
[],
|
| 219 |
+
[
|
| 220 |
+
"and unfortunately"
|
| 221 |
+
],
|
| 222 |
+
[
|
| 223 |
+
"and unfortunately"
|
| 224 |
+
],
|
| 225 |
+
[
|
| 226 |
+
"and unfortunately",
|
| 227 |
+
"the other mothers care only for their"
|
| 228 |
+
],
|
| 229 |
+
[
|
| 230 |
+
"and unfortunately",
|
| 231 |
+
"the other mothers care only for their"
|
| 232 |
+
],
|
| 233 |
+
[
|
| 234 |
+
"and unfortunately",
|
| 235 |
+
"the other mothers care only for their"
|
| 236 |
+
],
|
| 237 |
+
[
|
| 238 |
+
"and unfortunately",
|
| 239 |
+
"the other mothers care only for their",
|
| 240 |
+
"own"
|
| 241 |
+
],
|
| 242 |
+
[
|
| 243 |
+
"the other mothers care only for their",
|
| 244 |
+
"own"
|
| 245 |
+
],
|
| 246 |
+
[
|
| 247 |
+
"the other mothers care only for their",
|
| 248 |
+
"own"
|
| 249 |
+
],
|
| 250 |
+
[
|
| 251 |
+
"[Music]"
|
| 252 |
+
],
|
| 253 |
+
[
|
| 254 |
+
"[Music]"
|
| 255 |
+
],
|
| 256 |
+
[
|
| 257 |
+
"[Music]"
|
| 258 |
+
],
|
| 259 |
+
[
|
| 260 |
+
"[Music]"
|
| 261 |
+
],
|
| 262 |
+
[
|
| 263 |
+
"the chick's mother calls one last time"
|
| 264 |
+
],
|
| 265 |
+
[
|
| 266 |
+
"the chick's mother calls one last time"
|
| 267 |
+
],
|
| 268 |
+
[
|
| 269 |
+
"the chick's mother calls one last time"
|
| 270 |
+
],
|
| 271 |
+
[
|
| 272 |
+
"the chick's mother calls one last time"
|
| 273 |
+
],
|
| 274 |
+
[
|
| 275 |
+
"the chick's mother calls one last time"
|
| 276 |
+
],
|
| 277 |
+
[
|
| 278 |
+
"the chick's mother calls one last time",
|
| 279 |
+
"but her cries are lost on the wind"
|
| 280 |
+
],
|
| 281 |
+
[
|
| 282 |
+
"the chick's mother calls one last time",
|
| 283 |
+
"but her cries are lost on the wind"
|
| 284 |
+
],
|
| 285 |
+
[
|
| 286 |
+
"the chick's mother calls one last time",
|
| 287 |
+
"but her cries are lost on the wind"
|
| 288 |
+
],
|
| 289 |
+
[
|
| 290 |
+
"the chick's mother calls one last time",
|
| 291 |
+
"but her cries are lost on the wind"
|
| 292 |
+
],
|
| 293 |
+
[
|
| 294 |
+
"the chick's mother calls one last time",
|
| 295 |
+
"but her cries are lost on the wind",
|
| 296 |
+
"[Music]"
|
| 297 |
+
],
|
| 298 |
+
[
|
| 299 |
+
"but her cries are lost on the wind",
|
| 300 |
+
"[Music]"
|
| 301 |
+
],
|
| 302 |
+
[
|
| 303 |
+
"but her cries are lost on the wind",
|
| 304 |
+
"[Music]"
|
| 305 |
+
],
|
| 306 |
+
[
|
| 307 |
+
"but her cries are lost on the wind",
|
| 308 |
+
"[Music]"
|
| 309 |
+
],
|
| 310 |
+
[],
|
| 311 |
+
[],
|
| 312 |
+
[],
|
| 313 |
+
[],
|
| 314 |
+
[
|
| 315 |
+
"[Music]"
|
| 316 |
+
],
|
| 317 |
+
[
|
| 318 |
+
"[Music]"
|
| 319 |
+
],
|
| 320 |
+
[
|
| 321 |
+
"[Music]"
|
| 322 |
+
],
|
| 323 |
+
[
|
| 324 |
+
"[Music]"
|
| 325 |
+
],
|
| 326 |
+
[
|
| 327 |
+
"[Music]"
|
| 328 |
+
],
|
| 329 |
+
[
|
| 330 |
+
"[Music]"
|
| 331 |
+
],
|
| 332 |
+
[
|
| 333 |
+
"[Music]"
|
| 334 |
+
],
|
| 335 |
+
[
|
| 336 |
+
"[Music]"
|
| 337 |
+
],
|
| 338 |
+
[],
|
| 339 |
+
[],
|
| 340 |
+
[],
|
| 341 |
+
[],
|
| 342 |
+
[],
|
| 343 |
+
[],
|
| 344 |
+
[],
|
| 345 |
+
[
|
| 346 |
+
"at last he's found"
|
| 347 |
+
],
|
| 348 |
+
[
|
| 349 |
+
"at last he's found"
|
| 350 |
+
],
|
| 351 |
+
[
|
| 352 |
+
"at last he's found"
|
| 353 |
+
],
|
| 354 |
+
[
|
| 355 |
+
"at last he's found"
|
| 356 |
+
],
|
| 357 |
+
[
|
| 358 |
+
"at last he's found",
|
| 359 |
+
"and not a moment too soon"
|
| 360 |
+
],
|
| 361 |
+
[
|
| 362 |
+
"and not a moment too soon"
|
| 363 |
+
],
|
| 364 |
+
[
|
| 365 |
+
"and not a moment too soon"
|
| 366 |
+
],
|
| 367 |
+
[
|
| 368 |
+
"and not a moment too soon"
|
| 369 |
+
],
|
| 370 |
+
[
|
| 371 |
+
"and not a moment too soon"
|
| 372 |
+
],
|
| 373 |
+
[
|
| 374 |
+
"and not a moment too soon"
|
| 375 |
+
],
|
| 376 |
+
[],
|
| 377 |
+
[],
|
| 378 |
+
[
|
| 379 |
+
"[Music]"
|
| 380 |
+
],
|
| 381 |
+
[
|
| 382 |
+
"[Music]"
|
| 383 |
+
],
|
| 384 |
+
[
|
| 385 |
+
"[Music]"
|
| 386 |
+
],
|
| 387 |
+
[
|
| 388 |
+
"[Music]"
|
| 389 |
+
],
|
| 390 |
+
[
|
| 391 |
+
"[Music]"
|
| 392 |
+
],
|
| 393 |
+
[],
|
| 394 |
+
[],
|
| 395 |
+
[],
|
| 396 |
+
[
|
| 397 |
+
"within a few hours the full force of the"
|
| 398 |
+
],
|
| 399 |
+
[
|
| 400 |
+
"within a few hours the full force of the"
|
| 401 |
+
],
|
| 402 |
+
[
|
| 403 |
+
"within a few hours the full force of the"
|
| 404 |
+
],
|
| 405 |
+
[
|
| 406 |
+
"within a few hours the full force of the",
|
| 407 |
+
"storm engulfs the colony"
|
| 408 |
+
],
|
| 409 |
+
[
|
| 410 |
+
"within a few hours the full force of the",
|
| 411 |
+
"storm engulfs the colony"
|
| 412 |
+
],
|
| 413 |
+
[
|
| 414 |
+
"within a few hours the full force of the",
|
| 415 |
+
"storm engulfs the colony"
|
| 416 |
+
],
|
| 417 |
+
[
|
| 418 |
+
"within a few hours the full force of the",
|
| 419 |
+
"storm engulfs the colony"
|
| 420 |
+
],
|
| 421 |
+
[
|
| 422 |
+
"within a few hours the full force of the",
|
| 423 |
+
"storm engulfs the colony",
|
| 424 |
+
"the chick may be safe but as"
|
| 425 |
+
],
|
| 426 |
+
[
|
| 427 |
+
"the chick may be safe but as"
|
| 428 |
+
],
|
| 429 |
+
[
|
| 430 |
+
"the chick may be safe but as",
|
| 431 |
+
"temperatures drop to -60 his mother's"
|
| 432 |
+
],
|
| 433 |
+
[
|
| 434 |
+
"the chick may be safe but as",
|
| 435 |
+
"temperatures drop to -60 his mother's"
|
| 436 |
+
],
|
| 437 |
+
[
|
| 438 |
+
"the chick may be safe but as",
|
| 439 |
+
"temperatures drop to -60 his mother's"
|
| 440 |
+
],
|
| 441 |
+
[
|
| 442 |
+
"the chick may be safe but as",
|
| 443 |
+
"temperatures drop to -60 his mother's",
|
| 444 |
+
"warmth is not enough"
|
| 445 |
+
],
|
| 446 |
+
[
|
| 447 |
+
"temperatures drop to -60 his mother's",
|
| 448 |
+
"warmth is not enough"
|
| 449 |
+
],
|
| 450 |
+
[
|
| 451 |
+
"temperatures drop to -60 his mother's",
|
| 452 |
+
"warmth is not enough"
|
| 453 |
+
],
|
| 454 |
+
[
|
| 455 |
+
"temperatures drop to -60 his mother's",
|
| 456 |
+
"warmth is not enough",
|
| 457 |
+
"to protect him"
|
| 458 |
+
],
|
| 459 |
+
[
|
| 460 |
+
"warmth is not enough",
|
| 461 |
+
"to protect him",
|
| 462 |
+
"she needs to find refuge in the shared"
|
| 463 |
+
],
|
| 464 |
+
[
|
| 465 |
+
"to protect him",
|
| 466 |
+
"she needs to find refuge in the shared"
|
| 467 |
+
],
|
| 468 |
+
[
|
| 469 |
+
"to protect him",
|
| 470 |
+
"she needs to find refuge in the shared"
|
| 471 |
+
],
|
| 472 |
+
[
|
| 473 |
+
"to protect him",
|
| 474 |
+
"she needs to find refuge in the shared",
|
| 475 |
+
"warmth of the other penguins"
|
| 476 |
+
],
|
| 477 |
+
[
|
| 478 |
+
"she needs to find refuge in the shared",
|
| 479 |
+
"warmth of the other penguins"
|
| 480 |
+
],
|
| 481 |
+
[
|
| 482 |
+
"she needs to find refuge in the shared",
|
| 483 |
+
"warmth of the other penguins"
|
| 484 |
+
],
|
| 485 |
+
[
|
| 486 |
+
"she needs to find refuge in the shared",
|
| 487 |
+
"warmth of the other penguins"
|
| 488 |
+
],
|
| 489 |
+
[
|
| 490 |
+
"she needs to find refuge in the shared",
|
| 491 |
+
"warmth of the other penguins"
|
| 492 |
+
],
|
| 493 |
+
[],
|
| 494 |
+
[],
|
| 495 |
+
[],
|
| 496 |
+
[],
|
| 497 |
+
[],
|
| 498 |
+
[
|
| 499 |
+
"as 100 kilometers an hour winds lash the"
|
| 500 |
+
],
|
| 501 |
+
[
|
| 502 |
+
"as 100 kilometers an hour winds lash the"
|
| 503 |
+
],
|
| 504 |
+
[
|
| 505 |
+
"as 100 kilometers an hour winds lash the"
|
| 506 |
+
],
|
| 507 |
+
[
|
| 508 |
+
"as 100 kilometers an hour winds lash the",
|
| 509 |
+
"colony the penguins huddle together"
|
| 510 |
+
],
|
| 511 |
+
[
|
| 512 |
+
"as 100 kilometers an hour winds lash the",
|
| 513 |
+
"colony the penguins huddle together"
|
| 514 |
+
],
|
| 515 |
+
[
|
| 516 |
+
"as 100 kilometers an hour winds lash the",
|
| 517 |
+
"colony the penguins huddle together"
|
| 518 |
+
],
|
| 519 |
+
[
|
| 520 |
+
"as 100 kilometers an hour winds lash the",
|
| 521 |
+
"colony the penguins huddle together"
|
| 522 |
+
],
|
| 523 |
+
[
|
| 524 |
+
"as 100 kilometers an hour winds lash the",
|
| 525 |
+
"colony the penguins huddle together"
|
| 526 |
+
],
|
| 527 |
+
[
|
| 528 |
+
"as 100 kilometers an hour winds lash the",
|
| 529 |
+
"colony the penguins huddle together"
|
| 530 |
+
],
|
| 531 |
+
[],
|
| 532 |
+
[],
|
| 533 |
+
[],
|
| 534 |
+
[],
|
| 535 |
+
[],
|
| 536 |
+
[],
|
| 537 |
+
[],
|
| 538 |
+
[],
|
| 539 |
+
[],
|
| 540 |
+
[
|
| 541 |
+
"sheltered from the storm"
|
| 542 |
+
],
|
| 543 |
+
[
|
| 544 |
+
"sheltered from the storm",
|
| 545 |
+
"they're snug at last"
|
| 546 |
+
],
|
| 547 |
+
[
|
| 548 |
+
"sheltered from the storm",
|
| 549 |
+
"they're snug at last"
|
| 550 |
+
],
|
| 551 |
+
[
|
| 552 |
+
"sheltered from the storm",
|
| 553 |
+
"they're snug at last"
|
| 554 |
+
],
|
| 555 |
+
[
|
| 556 |
+
"sheltered from the storm",
|
| 557 |
+
"they're snug at last"
|
| 558 |
+
],
|
| 559 |
+
[
|
| 560 |
+
"sheltered from the storm",
|
| 561 |
+
"they're snug at last"
|
| 562 |
+
],
|
| 563 |
+
[],
|
| 564 |
+
[],
|
| 565 |
+
[],
|
| 566 |
+
[
|
| 567 |
+
"but out on the ice"
|
| 568 |
+
],
|
| 569 |
+
[
|
| 570 |
+
"but out on the ice"
|
| 571 |
+
],
|
| 572 |
+
[
|
| 573 |
+
"but out on the ice",
|
| 574 |
+
"the lone father is still paying the"
|
| 575 |
+
],
|
| 576 |
+
[
|
| 577 |
+
"but out on the ice",
|
| 578 |
+
"the lone father is still paying the"
|
| 579 |
+
],
|
| 580 |
+
[
|
| 581 |
+
"but out on the ice",
|
| 582 |
+
"the lone father is still paying the",
|
| 583 |
+
"price for his mistake"
|
| 584 |
+
],
|
| 585 |
+
[
|
| 586 |
+
"the lone father is still paying the",
|
| 587 |
+
"price for his mistake"
|
| 588 |
+
],
|
| 589 |
+
[
|
| 590 |
+
"the lone father is still paying the",
|
| 591 |
+
"price for his mistake"
|
| 592 |
+
],
|
| 593 |
+
[
|
| 594 |
+
"the lone father is still paying the",
|
| 595 |
+
"price for his mistake"
|
| 596 |
+
],
|
| 597 |
+
[
|
| 598 |
+
"the lone father is still paying the",
|
| 599 |
+
"price for his mistake"
|
| 600 |
+
],
|
| 601 |
+
[
|
| 602 |
+
"his only hope is to reach the safety of"
|
| 603 |
+
],
|
| 604 |
+
[
|
| 605 |
+
"his only hope is to reach the safety of"
|
| 606 |
+
],
|
| 607 |
+
[
|
| 608 |
+
"his only hope is to reach the safety of",
|
| 609 |
+
"the colony in time"
|
| 610 |
+
],
|
| 611 |
+
[
|
| 612 |
+
"his only hope is to reach the safety of",
|
| 613 |
+
"the colony in time"
|
| 614 |
+
],
|
| 615 |
+
[
|
| 616 |
+
"his only hope is to reach the safety of",
|
| 617 |
+
"the colony in time",
|
| 618 |
+
"[Music]"
|
| 619 |
+
],
|
| 620 |
+
[
|
| 621 |
+
"the colony in time",
|
| 622 |
+
"[Music]"
|
| 623 |
+
],
|
| 624 |
+
[
|
| 625 |
+
"the colony in time",
|
| 626 |
+
"[Music]"
|
| 627 |
+
],
|
| 628 |
+
[
|
| 629 |
+
"the colony in time",
|
| 630 |
+
"[Music]",
|
| 631 |
+
"in the comfort of the huddle the"
|
| 632 |
+
],
|
| 633 |
+
[
|
| 634 |
+
"[Music]",
|
| 635 |
+
"in the comfort of the huddle the"
|
| 636 |
+
],
|
| 637 |
+
[
|
| 638 |
+
"[Music]",
|
| 639 |
+
"in the comfort of the huddle the",
|
| 640 |
+
"penguins have all the shelter they"
|
| 641 |
+
],
|
| 642 |
+
[
|
| 643 |
+
"in the comfort of the huddle the",
|
| 644 |
+
"penguins have all the shelter they"
|
| 645 |
+
],
|
| 646 |
+
[
|
| 647 |
+
"in the comfort of the huddle the",
|
| 648 |
+
"penguins have all the shelter they",
|
| 649 |
+
"need in the center"
|
| 650 |
+
],
|
| 651 |
+
[
|
| 652 |
+
"penguins have all the shelter they",
|
| 653 |
+
"need in the center"
|
| 654 |
+
],
|
| 655 |
+
[
|
| 656 |
+
"penguins have all the shelter they",
|
| 657 |
+
"need in the center"
|
| 658 |
+
],
|
| 659 |
+
[
|
| 660 |
+
"penguins have all the shelter they",
|
| 661 |
+
"need in the center",
|
| 662 |
+
"temperatures can even reach a toasty 37"
|
| 663 |
+
],
|
| 664 |
+
[
|
| 665 |
+
"need in the center",
|
| 666 |
+
"temperatures can even reach a toasty 37"
|
| 667 |
+
],
|
| 668 |
+
[
|
| 669 |
+
"need in the center",
|
| 670 |
+
"temperatures can even reach a toasty 37"
|
| 671 |
+
],
|
| 672 |
+
[
|
| 673 |
+
"need in the center",
|
| 674 |
+
"temperatures can even reach a toasty 37",
|
| 675 |
+
"degrees"
|
| 676 |
+
],
|
| 677 |
+
[
|
| 678 |
+
"temperatures can even reach a toasty 37",
|
| 679 |
+
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|
| 680 |
+
"to cool down they shuffle to the outside"
|
| 681 |
+
],
|
| 682 |
+
[
|
| 683 |
+
"degrees",
|
| 684 |
+
"to cool down they shuffle to the outside"
|
| 685 |
+
],
|
| 686 |
+
[
|
| 687 |
+
"degrees",
|
| 688 |
+
"to cool down they shuffle to the outside"
|
| 689 |
+
],
|
| 690 |
+
[
|
| 691 |
+
"degrees",
|
| 692 |
+
"to cool down they shuffle to the outside",
|
| 693 |
+
"letting others take their place"
|
| 694 |
+
],
|
| 695 |
+
[
|
| 696 |
+
"to cool down they shuffle to the outside",
|
| 697 |
+
"letting others take their place"
|
| 698 |
+
],
|
| 699 |
+
[
|
| 700 |
+
"to cool down they shuffle to the outside",
|
| 701 |
+
"letting others take their place"
|
| 702 |
+
],
|
| 703 |
+
[
|
| 704 |
+
"to cool down they shuffle to the outside",
|
| 705 |
+
"letting others take their place"
|
| 706 |
+
],
|
| 707 |
+
[
|
| 708 |
+
"by sharing body heat they weather any"
|
| 709 |
+
],
|
| 710 |
+
[
|
| 711 |
+
"by sharing body heat they weather any"
|
| 712 |
+
],
|
| 713 |
+
[
|
| 714 |
+
"by sharing body heat they weather any"
|
| 715 |
+
],
|
| 716 |
+
[
|
| 717 |
+
"by sharing body heat they weather any",
|
| 718 |
+
"storm"
|
| 719 |
+
],
|
| 720 |
+
[
|
| 721 |
+
"by sharing body heat they weather any",
|
| 722 |
+
"storm"
|
| 723 |
+
],
|
| 724 |
+
[
|
| 725 |
+
"by sharing body heat they weather any",
|
| 726 |
+
"storm"
|
| 727 |
+
],
|
| 728 |
+
[
|
| 729 |
+
"desperate for the warmth of the family"
|
| 730 |
+
],
|
| 731 |
+
[
|
| 732 |
+
"desperate for the warmth of the family"
|
| 733 |
+
],
|
| 734 |
+
[
|
| 735 |
+
"desperate for the warmth of the family"
|
| 736 |
+
],
|
| 737 |
+
[
|
| 738 |
+
"desperate for the warmth of the family",
|
| 739 |
+
"the lone father struggles on"
|
| 740 |
+
],
|
| 741 |
+
[
|
| 742 |
+
"desperate for the warmth of the family",
|
| 743 |
+
"the lone father struggles on"
|
| 744 |
+
],
|
| 745 |
+
[
|
| 746 |
+
"desperate for the warmth of the family",
|
| 747 |
+
"the lone father struggles on",
|
| 748 |
+
"for the sake of his chick he simply has"
|
| 749 |
+
],
|
| 750 |
+
[
|
| 751 |
+
"the lone father struggles on",
|
| 752 |
+
"for the sake of his chick he simply has"
|
| 753 |
+
],
|
| 754 |
+
[
|
| 755 |
+
"the lone father struggles on",
|
| 756 |
+
"for the sake of his chick he simply has",
|
| 757 |
+
"to make it back"
|
| 758 |
+
],
|
| 759 |
+
[
|
| 760 |
+
"for the sake of his chick he simply has",
|
| 761 |
+
"to make it back"
|
| 762 |
+
],
|
| 763 |
+
[
|
| 764 |
+
"for the sake of his chick he simply has",
|
| 765 |
+
"to make it back"
|
| 766 |
+
],
|
| 767 |
+
[
|
| 768 |
+
"for the sake of his chick he simply has",
|
| 769 |
+
"to make it back"
|
| 770 |
+
],
|
| 771 |
+
[
|
| 772 |
+
"for the sake of his chick he simply has",
|
| 773 |
+
"to make it back",
|
| 774 |
+
"[Music]"
|
| 775 |
+
],
|
| 776 |
+
[
|
| 777 |
+
"[Music]"
|
| 778 |
+
],
|
| 779 |
+
[
|
| 780 |
+
"[Music]"
|
| 781 |
+
],
|
| 782 |
+
[
|
| 783 |
+
"[Music]"
|
| 784 |
+
],
|
| 785 |
+
[
|
| 786 |
+
"[Music]"
|
| 787 |
+
],
|
| 788 |
+
[
|
| 789 |
+
"[Music]"
|
| 790 |
+
],
|
| 791 |
+
[
|
| 792 |
+
"[Music]"
|
| 793 |
+
],
|
| 794 |
+
[
|
| 795 |
+
"[Music]"
|
| 796 |
+
],
|
| 797 |
+
[
|
| 798 |
+
"[Music]"
|
| 799 |
+
],
|
| 800 |
+
[
|
| 801 |
+
"[Music]",
|
| 802 |
+
"then through the blizzard"
|
| 803 |
+
],
|
| 804 |
+
[
|
| 805 |
+
"[Music]",
|
| 806 |
+
"then through the blizzard"
|
| 807 |
+
],
|
| 808 |
+
[
|
| 809 |
+
"[Music]",
|
| 810 |
+
"then through the blizzard"
|
| 811 |
+
],
|
| 812 |
+
[
|
| 813 |
+
"[Music]",
|
| 814 |
+
"then through the blizzard",
|
| 815 |
+
"salvation"
|
| 816 |
+
],
|
| 817 |
+
[
|
| 818 |
+
"then through the blizzard",
|
| 819 |
+
"salvation"
|
| 820 |
+
],
|
| 821 |
+
[
|
| 822 |
+
"then through the blizzard",
|
| 823 |
+
"salvation",
|
| 824 |
+
"[Music]"
|
| 825 |
+
],
|
| 826 |
+
[
|
| 827 |
+
"salvation",
|
| 828 |
+
"[Music]"
|
| 829 |
+
],
|
| 830 |
+
[
|
| 831 |
+
"salvation",
|
| 832 |
+
"[Music]"
|
| 833 |
+
],
|
| 834 |
+
[
|
| 835 |
+
"salvation",
|
| 836 |
+
"[Music]"
|
| 837 |
+
],
|
| 838 |
+
[],
|
| 839 |
+
[],
|
| 840 |
+
[],
|
| 841 |
+
[],
|
| 842 |
+
[],
|
| 843 |
+
[],
|
| 844 |
+
[],
|
| 845 |
+
[
|
| 846 |
+
"against the odds he's made it home"
|
| 847 |
+
],
|
| 848 |
+
[
|
| 849 |
+
"against the odds he's made it home"
|
| 850 |
+
],
|
| 851 |
+
[
|
| 852 |
+
"against the odds he's made it home"
|
| 853 |
+
],
|
| 854 |
+
[
|
| 855 |
+
"against the odds he's made it home"
|
| 856 |
+
],
|
| 857 |
+
[
|
| 858 |
+
"against the odds he's made it home"
|
| 859 |
+
],
|
| 860 |
+
[
|
| 861 |
+
"against the odds he's made it home",
|
| 862 |
+
"[Music]"
|
| 863 |
+
],
|
| 864 |
+
[
|
| 865 |
+
"[Music]"
|
| 866 |
+
],
|
| 867 |
+
[
|
| 868 |
+
"[Music]"
|
| 869 |
+
],
|
| 870 |
+
[
|
| 871 |
+
"[Music]"
|
| 872 |
+
],
|
| 873 |
+
[
|
| 874 |
+
"[Music]"
|
| 875 |
+
],
|
| 876 |
+
[
|
| 877 |
+
"[Music]"
|
| 878 |
+
],
|
| 879 |
+
[
|
| 880 |
+
"[Music]"
|
| 881 |
+
],
|
| 882 |
+
[
|
| 883 |
+
"[Music]"
|
| 884 |
+
],
|
| 885 |
+
[
|
| 886 |
+
"[Music]"
|
| 887 |
+
],
|
| 888 |
+
[
|
| 889 |
+
"[Music]"
|
| 890 |
+
],
|
| 891 |
+
[
|
| 892 |
+
"[Music]"
|
| 893 |
+
],
|
| 894 |
+
[
|
| 895 |
+
"[Music]"
|
| 896 |
+
],
|
| 897 |
+
[
|
| 898 |
+
"[Music]"
|
| 899 |
+
],
|
| 900 |
+
[
|
| 901 |
+
"[Music]"
|
| 902 |
+
],
|
| 903 |
+
[
|
| 904 |
+
"[Music]"
|
| 905 |
+
],
|
| 906 |
+
[
|
| 907 |
+
"[Music]"
|
| 908 |
+
],
|
| 909 |
+
[
|
| 910 |
+
"[Music]"
|
| 911 |
+
],
|
| 912 |
+
[
|
| 913 |
+
"[Music]"
|
| 914 |
+
],
|
| 915 |
+
[
|
| 916 |
+
"[Music]"
|
| 917 |
+
],
|
| 918 |
+
[
|
| 919 |
+
"[Music]"
|
| 920 |
+
],
|
| 921 |
+
[
|
| 922 |
+
"[Music]"
|
| 923 |
+
],
|
| 924 |
+
[],
|
| 925 |
+
[
|
| 926 |
+
"[Music]"
|
| 927 |
+
],
|
| 928 |
+
[
|
| 929 |
+
"[Music]"
|
| 930 |
+
],
|
| 931 |
+
[
|
| 932 |
+
"[Music]"
|
| 933 |
+
],
|
| 934 |
+
[
|
| 935 |
+
"[Music]"
|
| 936 |
+
],
|
| 937 |
+
[],
|
| 938 |
+
[],
|
| 939 |
+
[],
|
| 940 |
+
[],
|
| 941 |
+
[
|
| 942 |
+
"you",
|
| 943 |
+
"you"
|
| 944 |
+
]
|
| 945 |
+
],
|
| 946 |
+
"subtitles_by_window": {
|
| 947 |
+
"0": [
|
| 948 |
+
"[Music]",
|
| 949 |
+
"[Music]",
|
| 950 |
+
"[Music]",
|
| 951 |
+
"[Music]",
|
| 952 |
+
"already the blizzard has reached the",
|
| 953 |
+
"[Music]",
|
| 954 |
+
"already the blizzard has reached the",
|
| 955 |
+
"[Music]",
|
| 956 |
+
"already the blizzard has reached the",
|
| 957 |
+
"colony"
|
| 958 |
+
],
|
| 959 |
+
"8": [
|
| 960 |
+
"already the blizzard has reached the",
|
| 961 |
+
"colony",
|
| 962 |
+
"already the blizzard has reached the",
|
| 963 |
+
"colony",
|
| 964 |
+
"the chick's only protection is his",
|
| 965 |
+
"the chick's only protection is his",
|
| 966 |
+
"the chick's only protection is his",
|
| 967 |
+
"the chick's only protection is his",
|
| 968 |
+
"overcoat of down",
|
| 969 |
+
"the chick's only protection is his",
|
| 970 |
+
"overcoat of down",
|
| 971 |
+
"and at -40 it's simply not enough",
|
| 972 |
+
"overcoat of down",
|
| 973 |
+
"and at -40 it's simply not enough"
|
| 974 |
+
],
|
| 975 |
+
"16": [
|
| 976 |
+
"overcoat of down",
|
| 977 |
+
"and at -40 it's simply not enough",
|
| 978 |
+
"overcoat of down",
|
| 979 |
+
"and at -40 it's simply not enough",
|
| 980 |
+
"overcoat of down",
|
| 981 |
+
"and at -40 it's simply not enough",
|
| 982 |
+
"overcoat of down",
|
| 983 |
+
"and at -40 it's simply not enough"
|
| 984 |
+
],
|
| 985 |
+
"24": [
|
| 986 |
+
"and unfortunately",
|
| 987 |
+
"and unfortunately",
|
| 988 |
+
"and unfortunately",
|
| 989 |
+
"the other mothers care only for their",
|
| 990 |
+
"and unfortunately",
|
| 991 |
+
"the other mothers care only for their"
|
| 992 |
+
],
|
| 993 |
+
"32": [
|
| 994 |
+
"and unfortunately",
|
| 995 |
+
"the other mothers care only for their",
|
| 996 |
+
"and unfortunately",
|
| 997 |
+
"the other mothers care only for their",
|
| 998 |
+
"own",
|
| 999 |
+
"the other mothers care only for their",
|
| 1000 |
+
"own",
|
| 1001 |
+
"the other mothers care only for their",
|
| 1002 |
+
"own",
|
| 1003 |
+
"[Music]",
|
| 1004 |
+
"[Music]",
|
| 1005 |
+
"[Music]",
|
| 1006 |
+
"[Music]"
|
| 1007 |
+
],
|
| 1008 |
+
"40": [
|
| 1009 |
+
"the chick's mother calls one last time",
|
| 1010 |
+
"the chick's mother calls one last time",
|
| 1011 |
+
"the chick's mother calls one last time",
|
| 1012 |
+
"the chick's mother calls one last time",
|
| 1013 |
+
"the chick's mother calls one last time",
|
| 1014 |
+
"the chick's mother calls one last time",
|
| 1015 |
+
"but her cries are lost on the wind",
|
| 1016 |
+
"the chick's mother calls one last time",
|
| 1017 |
+
"but her cries are lost on the wind",
|
| 1018 |
+
"the chick's mother calls one last time",
|
| 1019 |
+
"but her cries are lost on the wind"
|
| 1020 |
+
],
|
| 1021 |
+
"48": [
|
| 1022 |
+
"the chick's mother calls one last time",
|
| 1023 |
+
"but her cries are lost on the wind",
|
| 1024 |
+
"the chick's mother calls one last time",
|
| 1025 |
+
"but her cries are lost on the wind",
|
| 1026 |
+
"[Music]",
|
| 1027 |
+
"but her cries are lost on the wind",
|
| 1028 |
+
"[Music]",
|
| 1029 |
+
"but her cries are lost on the wind",
|
| 1030 |
+
"[Music]",
|
| 1031 |
+
"but her cries are lost on the wind",
|
| 1032 |
+
"[Music]"
|
| 1033 |
+
],
|
| 1034 |
+
"56": [
|
| 1035 |
+
"[Music]",
|
| 1036 |
+
"[Music]",
|
| 1037 |
+
"[Music]",
|
| 1038 |
+
"[Music]",
|
| 1039 |
+
"[Music]",
|
| 1040 |
+
"[Music]",
|
| 1041 |
+
"[Music]"
|
| 1042 |
+
],
|
| 1043 |
+
"64": [
|
| 1044 |
+
"[Music]"
|
| 1045 |
+
],
|
| 1046 |
+
"72": [
|
| 1047 |
+
"at last he's found",
|
| 1048 |
+
"at last he's found",
|
| 1049 |
+
"at last he's found",
|
| 1050 |
+
"at last he's found",
|
| 1051 |
+
"at last he's found",
|
| 1052 |
+
"and not a moment too soon",
|
| 1053 |
+
"and not a moment too soon",
|
| 1054 |
+
"and not a moment too soon",
|
| 1055 |
+
"and not a moment too soon"
|
| 1056 |
+
],
|
| 1057 |
+
"80": [
|
| 1058 |
+
"and not a moment too soon",
|
| 1059 |
+
"and not a moment too soon",
|
| 1060 |
+
"[Music]",
|
| 1061 |
+
"[Music]",
|
| 1062 |
+
"[Music]",
|
| 1063 |
+
"[Music]"
|
| 1064 |
+
],
|
| 1065 |
+
"88": [
|
| 1066 |
+
"[Music]",
|
| 1067 |
+
"within a few hours the full force of the",
|
| 1068 |
+
"within a few hours the full force of the",
|
| 1069 |
+
"within a few hours the full force of the",
|
| 1070 |
+
"within a few hours the full force of the",
|
| 1071 |
+
"storm engulfs the colony"
|
| 1072 |
+
],
|
| 1073 |
+
"96": [
|
| 1074 |
+
"within a few hours the full force of the",
|
| 1075 |
+
"storm engulfs the colony",
|
| 1076 |
+
"within a few hours the full force of the",
|
| 1077 |
+
"storm engulfs the colony",
|
| 1078 |
+
"within a few hours the full force of the",
|
| 1079 |
+
"storm engulfs the colony",
|
| 1080 |
+
"within a few hours the full force of the",
|
| 1081 |
+
"storm engulfs the colony",
|
| 1082 |
+
"the chick may be safe but as",
|
| 1083 |
+
"the chick may be safe but as",
|
| 1084 |
+
"the chick may be safe but as",
|
| 1085 |
+
"temperatures drop to -60 his mother's",
|
| 1086 |
+
"the chick may be safe but as",
|
| 1087 |
+
"temperatures drop to -60 his mother's",
|
| 1088 |
+
"the chick may be safe but as",
|
| 1089 |
+
"temperatures drop to -60 his mother's"
|
| 1090 |
+
],
|
| 1091 |
+
"104": [
|
| 1092 |
+
"the chick may be safe but as",
|
| 1093 |
+
"temperatures drop to -60 his mother's",
|
| 1094 |
+
"warmth is not enough",
|
| 1095 |
+
"temperatures drop to -60 his mother's",
|
| 1096 |
+
"warmth is not enough",
|
| 1097 |
+
"temperatures drop to -60 his mother's",
|
| 1098 |
+
"warmth is not enough",
|
| 1099 |
+
"temperatures drop to -60 his mother's",
|
| 1100 |
+
"warmth is not enough",
|
| 1101 |
+
"to protect him",
|
| 1102 |
+
"warmth is not enough",
|
| 1103 |
+
"to protect him",
|
| 1104 |
+
"she needs to find refuge in the shared",
|
| 1105 |
+
"to protect him",
|
| 1106 |
+
"she needs to find refuge in the shared",
|
| 1107 |
+
"to protect him",
|
| 1108 |
+
"she needs to find refuge in the shared",
|
| 1109 |
+
"to protect him",
|
| 1110 |
+
"she needs to find refuge in the shared",
|
| 1111 |
+
"warmth of the other penguins"
|
| 1112 |
+
],
|
| 1113 |
+
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|
| 1114 |
+
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|
| 1115 |
+
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|
| 1116 |
+
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|
| 1117 |
+
"warmth of the other penguins",
|
| 1118 |
+
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|
| 1119 |
+
"warmth of the other penguins",
|
| 1120 |
+
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|
| 1121 |
+
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|
| 1122 |
+
],
|
| 1123 |
+
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|
| 1124 |
+
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|
| 1125 |
+
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|
| 1126 |
+
"as 100 kilometers an hour winds lash the",
|
| 1127 |
+
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|
| 1128 |
+
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|
| 1129 |
+
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|
| 1130 |
+
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|
| 1131 |
+
"as 100 kilometers an hour winds lash the",
|
| 1132 |
+
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|
| 1133 |
+
"as 100 kilometers an hour winds lash the",
|
| 1134 |
+
"colony the penguins huddle together"
|
| 1135 |
+
],
|
| 1136 |
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|
| 1137 |
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"as 100 kilometers an hour winds lash the",
|
| 1138 |
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|
| 1139 |
+
"as 100 kilometers an hour winds lash the",
|
| 1140 |
+
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|
| 1141 |
+
],
|
| 1142 |
+
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|
| 1143 |
+
"sheltered from the storm",
|
| 1144 |
+
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|
| 1145 |
+
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|
| 1146 |
+
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|
| 1147 |
+
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|
| 1148 |
+
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|
| 1149 |
+
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|
| 1150 |
+
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|
| 1151 |
+
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|
| 1152 |
+
],
|
| 1153 |
+
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|
| 1154 |
+
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|
| 1155 |
+
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|
| 1156 |
+
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|
| 1157 |
+
"but out on the ice",
|
| 1158 |
+
"but out on the ice",
|
| 1159 |
+
"the lone father is still paying the",
|
| 1160 |
+
"but out on the ice",
|
| 1161 |
+
"the lone father is still paying the"
|
| 1162 |
+
],
|
| 1163 |
+
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|
| 1164 |
+
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|
| 1165 |
+
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|
| 1166 |
+
"price for his mistake",
|
| 1167 |
+
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|
| 1168 |
+
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|
| 1169 |
+
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|
| 1170 |
+
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|
| 1171 |
+
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|
| 1172 |
+
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|
| 1173 |
+
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|
| 1174 |
+
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|
| 1175 |
+
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|
| 1176 |
+
"his only hope is to reach the safety of",
|
| 1177 |
+
"his only hope is to reach the safety of",
|
| 1178 |
+
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|
| 1179 |
+
],
|
| 1180 |
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|
| 1181 |
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|
| 1182 |
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|
| 1183 |
+
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|
| 1184 |
+
"the colony in time",
|
| 1185 |
+
"[Music]",
|
| 1186 |
+
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|
| 1187 |
+
"[Music]",
|
| 1188 |
+
"the colony in time",
|
| 1189 |
+
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|
| 1190 |
+
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|
| 1191 |
+
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|
| 1192 |
+
"in the comfort of the huddle the",
|
| 1193 |
+
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|
| 1194 |
+
"in the comfort of the huddle the",
|
| 1195 |
+
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|
| 1196 |
+
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|
| 1197 |
+
"penguins have all the shelter they",
|
| 1198 |
+
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|
| 1199 |
+
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|
| 1200 |
+
],
|
| 1201 |
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|
| 1202 |
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|
| 1203 |
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|
| 1204 |
+
"need in the center",
|
| 1205 |
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|
| 1206 |
+
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|
| 1207 |
+
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|
| 1208 |
+
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|
| 1209 |
+
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|
| 1210 |
+
"need in the center",
|
| 1211 |
+
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|
| 1212 |
+
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|
| 1213 |
+
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|
| 1214 |
+
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|
| 1215 |
+
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|
| 1216 |
+
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|
| 1217 |
+
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|
| 1218 |
+
"degrees",
|
| 1219 |
+
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|
| 1220 |
+
"degrees",
|
| 1221 |
+
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|
| 1222 |
+
],
|
| 1223 |
+
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|
| 1224 |
+
"degrees",
|
| 1225 |
+
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|
| 1226 |
+
"degrees",
|
| 1227 |
+
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|
| 1228 |
+
"degrees",
|
| 1229 |
+
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|
| 1230 |
+
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|
| 1231 |
+
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|
| 1232 |
+
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|
| 1233 |
+
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|
| 1234 |
+
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|
| 1235 |
+
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|
| 1236 |
+
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|
| 1237 |
+
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|
| 1238 |
+
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|
| 1239 |
+
],
|
| 1240 |
+
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|
| 1241 |
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|
| 1242 |
+
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|
| 1243 |
+
"storm",
|
| 1244 |
+
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|
| 1245 |
+
"storm",
|
| 1246 |
+
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|
| 1247 |
+
"storm",
|
| 1248 |
+
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|
| 1249 |
+
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|
| 1250 |
+
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|
| 1251 |
+
"desperate for the warmth of the family",
|
| 1252 |
+
"the lone father struggles on"
|
| 1253 |
+
],
|
| 1254 |
+
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|
| 1255 |
+
"desperate for the warmth of the family",
|
| 1256 |
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|
| 1257 |
+
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|
| 1258 |
+
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|
| 1259 |
+
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|
| 1260 |
+
"the lone father struggles on",
|
| 1261 |
+
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|
| 1262 |
+
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|
| 1263 |
+
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|
| 1264 |
+
"to make it back",
|
| 1265 |
+
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|
| 1266 |
+
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|
| 1267 |
+
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|
| 1268 |
+
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|
| 1269 |
+
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|
| 1270 |
+
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|
| 1271 |
+
"for the sake of his chick he simply has",
|
| 1272 |
+
"to make it back",
|
| 1273 |
+
"[Music]"
|
| 1274 |
+
],
|
| 1275 |
+
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|
| 1276 |
+
"[Music]",
|
| 1277 |
+
"[Music]",
|
| 1278 |
+
"[Music]",
|
| 1279 |
+
"[Music]",
|
| 1280 |
+
"[Music]",
|
| 1281 |
+
"[Music]",
|
| 1282 |
+
"[Music]",
|
| 1283 |
+
"[Music]"
|
| 1284 |
+
],
|
| 1285 |
+
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|
| 1286 |
+
"[Music]",
|
| 1287 |
+
"then through the blizzard",
|
| 1288 |
+
"[Music]",
|
| 1289 |
+
"then through the blizzard",
|
| 1290 |
+
"[Music]",
|
| 1291 |
+
"then through the blizzard",
|
| 1292 |
+
"[Music]",
|
| 1293 |
+
"then through the blizzard",
|
| 1294 |
+
"salvation",
|
| 1295 |
+
"then through the blizzard",
|
| 1296 |
+
"salvation",
|
| 1297 |
+
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|
| 1298 |
+
"salvation",
|
| 1299 |
+
"[Music]",
|
| 1300 |
+
"salvation",
|
| 1301 |
+
"[Music]",
|
| 1302 |
+
"salvation",
|
| 1303 |
+
"[Music]"
|
| 1304 |
+
],
|
| 1305 |
+
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|
| 1306 |
+
"salvation",
|
| 1307 |
+
"[Music]"
|
| 1308 |
+
],
|
| 1309 |
+
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|
| 1310 |
+
"against the odds he's made it home",
|
| 1311 |
+
"against the odds he's made it home",
|
| 1312 |
+
"against the odds he's made it home",
|
| 1313 |
+
"against the odds he's made it home",
|
| 1314 |
+
"against the odds he's made it home",
|
| 1315 |
+
"against the odds he's made it home",
|
| 1316 |
+
"[Music]",
|
| 1317 |
+
"[Music]",
|
| 1318 |
+
"[Music]"
|
| 1319 |
+
],
|
| 1320 |
+
"232": [
|
| 1321 |
+
"[Music]",
|
| 1322 |
+
"[Music]",
|
| 1323 |
+
"[Music]",
|
| 1324 |
+
"[Music]",
|
| 1325 |
+
"[Music]",
|
| 1326 |
+
"[Music]",
|
| 1327 |
+
"[Music]",
|
| 1328 |
+
"[Music]"
|
| 1329 |
+
],
|
| 1330 |
+
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|
| 1331 |
+
"[Music]",
|
| 1332 |
+
"[Music]",
|
| 1333 |
+
"[Music]",
|
| 1334 |
+
"[Music]",
|
| 1335 |
+
"[Music]",
|
| 1336 |
+
"[Music]",
|
| 1337 |
+
"[Music]",
|
| 1338 |
+
"[Music]"
|
| 1339 |
+
],
|
| 1340 |
+
"248": [
|
| 1341 |
+
"[Music]",
|
| 1342 |
+
"[Music]",
|
| 1343 |
+
"[Music]",
|
| 1344 |
+
"[Music]",
|
| 1345 |
+
"[Music]",
|
| 1346 |
+
"[Music]"
|
| 1347 |
+
],
|
| 1348 |
+
"256": [
|
| 1349 |
+
"you",
|
| 1350 |
+
"you"
|
| 1351 |
+
]
|
| 1352 |
+
},
|
| 1353 |
+
"unique_subtitles_by_window": {
|
| 1354 |
+
"0": [
|
| 1355 |
+
"already the blizzard has reached the",
|
| 1356 |
+
"colony",
|
| 1357 |
+
"[Music]"
|
| 1358 |
+
],
|
| 1359 |
+
"8": [
|
| 1360 |
+
"already the blizzard has reached the",
|
| 1361 |
+
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|
| 1362 |
+
"colony",
|
| 1363 |
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"overcoat of down",
|
| 1364 |
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"the chick's only protection is his"
|
| 1365 |
+
],
|
| 1366 |
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|
| 1367 |
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|
| 1368 |
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"overcoat of down"
|
| 1369 |
+
],
|
| 1370 |
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"24": [
|
| 1371 |
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|
| 1372 |
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"the other mothers care only for their"
|
| 1373 |
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],
|
| 1374 |
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"32": [
|
| 1375 |
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"[Music]",
|
| 1376 |
+
"own",
|
| 1377 |
+
"and unfortunately",
|
| 1378 |
+
"the other mothers care only for their"
|
| 1379 |
+
],
|
| 1380 |
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"40": [
|
| 1381 |
+
"but her cries are lost on the wind",
|
| 1382 |
+
"the chick's mother calls one last time"
|
| 1383 |
+
],
|
| 1384 |
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"48": [
|
| 1385 |
+
"but her cries are lost on the wind",
|
| 1386 |
+
"the chick's mother calls one last time",
|
| 1387 |
+
"[Music]"
|
| 1388 |
+
],
|
| 1389 |
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"56": [
|
| 1390 |
+
"[Music]"
|
| 1391 |
+
],
|
| 1392 |
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"64": [
|
| 1393 |
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"[Music]"
|
| 1394 |
+
],
|
| 1395 |
+
"72": [
|
| 1396 |
+
"at last he's found",
|
| 1397 |
+
"and not a moment too soon"
|
| 1398 |
+
],
|
| 1399 |
+
"80": [
|
| 1400 |
+
"[Music]",
|
| 1401 |
+
"and not a moment too soon"
|
| 1402 |
+
],
|
| 1403 |
+
"88": [
|
| 1404 |
+
"[Music]",
|
| 1405 |
+
"storm engulfs the colony",
|
| 1406 |
+
"within a few hours the full force of the"
|
| 1407 |
+
],
|
| 1408 |
+
"96": [
|
| 1409 |
+
"temperatures drop to -60 his mother's",
|
| 1410 |
+
"storm engulfs the colony",
|
| 1411 |
+
"the chick may be safe but as",
|
| 1412 |
+
"within a few hours the full force of the"
|
| 1413 |
+
],
|
| 1414 |
+
"104": [
|
| 1415 |
+
"the chick may be safe but as",
|
| 1416 |
+
"warmth is not enough",
|
| 1417 |
+
"warmth of the other penguins",
|
| 1418 |
+
"temperatures drop to -60 his mother's",
|
| 1419 |
+
"she needs to find refuge in the shared",
|
| 1420 |
+
"to protect him"
|
| 1421 |
+
],
|
| 1422 |
+
"112": [
|
| 1423 |
+
"she needs to find refuge in the shared",
|
| 1424 |
+
"warmth of the other penguins"
|
| 1425 |
+
],
|
| 1426 |
+
"120": [
|
| 1427 |
+
"colony the penguins huddle together",
|
| 1428 |
+
"as 100 kilometers an hour winds lash the"
|
| 1429 |
+
],
|
| 1430 |
+
"128": [
|
| 1431 |
+
"colony the penguins huddle together",
|
| 1432 |
+
"as 100 kilometers an hour winds lash the"
|
| 1433 |
+
],
|
| 1434 |
+
"136": [
|
| 1435 |
+
"they're snug at last",
|
| 1436 |
+
"sheltered from the storm"
|
| 1437 |
+
],
|
| 1438 |
+
"144": [
|
| 1439 |
+
"they're snug at last",
|
| 1440 |
+
"sheltered from the storm",
|
| 1441 |
+
"the lone father is still paying the",
|
| 1442 |
+
"but out on the ice"
|
| 1443 |
+
],
|
| 1444 |
+
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|
| 1445 |
+
"the lone father is still paying the",
|
| 1446 |
+
"the colony in time",
|
| 1447 |
+
"but out on the ice",
|
| 1448 |
+
"his only hope is to reach the safety of",
|
| 1449 |
+
"price for his mistake"
|
| 1450 |
+
],
|
| 1451 |
+
"160": [
|
| 1452 |
+
"[Music]",
|
| 1453 |
+
"the colony in time",
|
| 1454 |
+
"in the comfort of the huddle the",
|
| 1455 |
+
"penguins have all the shelter they",
|
| 1456 |
+
"his only hope is to reach the safety of"
|
| 1457 |
+
],
|
| 1458 |
+
"168": [
|
| 1459 |
+
"to cool down they shuffle to the outside",
|
| 1460 |
+
"in the comfort of the huddle the",
|
| 1461 |
+
"temperatures can even reach a toasty 37",
|
| 1462 |
+
"degrees",
|
| 1463 |
+
"penguins have all the shelter they",
|
| 1464 |
+
"need in the center"
|
| 1465 |
+
],
|
| 1466 |
+
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|
| 1467 |
+
"by sharing body heat they weather any",
|
| 1468 |
+
"letting others take their place",
|
| 1469 |
+
"degrees",
|
| 1470 |
+
"to cool down they shuffle to the outside"
|
| 1471 |
+
],
|
| 1472 |
+
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|
| 1473 |
+
"by sharing body heat they weather any",
|
| 1474 |
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"storm",
|
| 1475 |
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|
| 1476 |
+
"desperate for the warmth of the family"
|
| 1477 |
+
],
|
| 1478 |
+
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|
| 1479 |
+
"for the sake of his chick he simply has",
|
| 1480 |
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"[Music]",
|
| 1481 |
+
"the lone father struggles on",
|
| 1482 |
+
"to make it back",
|
| 1483 |
+
"desperate for the warmth of the family"
|
| 1484 |
+
],
|
| 1485 |
+
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|
| 1486 |
+
"[Music]"
|
| 1487 |
+
],
|
| 1488 |
+
"208": [
|
| 1489 |
+
"salvation",
|
| 1490 |
+
"[Music]",
|
| 1491 |
+
"then through the blizzard"
|
| 1492 |
+
],
|
| 1493 |
+
"216": [
|
| 1494 |
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"salvation",
|
| 1495 |
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"[Music]"
|
| 1496 |
+
],
|
| 1497 |
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|
| 1498 |
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"[Music]",
|
| 1499 |
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"against the odds he's made it home"
|
| 1500 |
+
],
|
| 1501 |
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|
| 1502 |
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"[Music]"
|
| 1503 |
+
],
|
| 1504 |
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|
| 1505 |
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"[Music]"
|
| 1506 |
+
],
|
| 1507 |
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|
| 1508 |
+
"[Music]"
|
| 1509 |
+
],
|
| 1510 |
+
"256": [
|
| 1511 |
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"you"
|
| 1512 |
+
]
|
| 1513 |
+
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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videomme_window_8/B7Hh0PY1kks/subtitle_embeddings.pt
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| 1 |
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{
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|
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|
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|
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|
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|
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|
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|
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|
| 42 |
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|
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|
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|
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|
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|
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|
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|
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|
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|
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"18": [
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|
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"19": [
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|
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|
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|
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"20": [
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| 86 |
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|
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|
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],
|
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"21": [
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|
|
| 1 |
+
{
|
| 2 |
+
"window_size": 8,
|
| 3 |
+
"window_index": 11,
|
| 4 |
+
"window_index_map": {
|
| 5 |
+
"0": [
|
| 6 |
+
0,
|
| 7 |
+
8
|
| 8 |
+
],
|
| 9 |
+
"1": [
|
| 10 |
+
8,
|
| 11 |
+
16
|
| 12 |
+
],
|
| 13 |
+
"2": [
|
| 14 |
+
16,
|
| 15 |
+
24
|
| 16 |
+
],
|
| 17 |
+
"3": [
|
| 18 |
+
24,
|
| 19 |
+
32
|
| 20 |
+
],
|
| 21 |
+
"4": [
|
| 22 |
+
32,
|
| 23 |
+
40
|
| 24 |
+
],
|
| 25 |
+
"5": [
|
| 26 |
+
40,
|
| 27 |
+
48
|
| 28 |
+
],
|
| 29 |
+
"6": [
|
| 30 |
+
48,
|
| 31 |
+
56
|
| 32 |
+
],
|
| 33 |
+
"7": [
|
| 34 |
+
56,
|
| 35 |
+
64
|
| 36 |
+
],
|
| 37 |
+
"8": [
|
| 38 |
+
64,
|
| 39 |
+
72
|
| 40 |
+
],
|
| 41 |
+
"9": [
|
| 42 |
+
72,
|
| 43 |
+
80
|
| 44 |
+
],
|
| 45 |
+
"10": [
|
| 46 |
+
80,
|
| 47 |
+
86
|
| 48 |
+
]
|
| 49 |
+
},
|
| 50 |
+
"frames_count": 86,
|
| 51 |
+
"embeddings_count": 11,
|
| 52 |
+
"all_subtitles": [
|
| 53 |
+
[
|
| 54 |
+
"in 1973 the united states supreme court"
|
| 55 |
+
],
|
| 56 |
+
[
|
| 57 |
+
"in 1973 the united states supreme court"
|
| 58 |
+
],
|
| 59 |
+
[
|
| 60 |
+
"in 1973 the united states supreme court"
|
| 61 |
+
],
|
| 62 |
+
[
|
| 63 |
+
"in 1973 the united states supreme court",
|
| 64 |
+
"issued its decision in roe vs wade the"
|
| 65 |
+
],
|
| 66 |
+
[
|
| 67 |
+
"in 1973 the united states supreme court",
|
| 68 |
+
"issued its decision in roe vs wade the"
|
| 69 |
+
],
|
| 70 |
+
[
|
| 71 |
+
"in 1973 the united states supreme court",
|
| 72 |
+
"issued its decision in roe vs wade the"
|
| 73 |
+
],
|
| 74 |
+
[
|
| 75 |
+
"in 1973 the united states supreme court",
|
| 76 |
+
"issued its decision in roe vs wade the",
|
| 77 |
+
"effect of the court's ruling was"
|
| 78 |
+
],
|
| 79 |
+
[
|
| 80 |
+
"issued its decision in roe vs wade the",
|
| 81 |
+
"effect of the court's ruling was"
|
| 82 |
+
],
|
| 83 |
+
[
|
| 84 |
+
"issued its decision in roe vs wade the",
|
| 85 |
+
"effect of the court's ruling was",
|
| 86 |
+
"immediate and far-reaching"
|
| 87 |
+
],
|
| 88 |
+
[
|
| 89 |
+
"effect of the court's ruling was",
|
| 90 |
+
"immediate and far-reaching"
|
| 91 |
+
],
|
| 92 |
+
[
|
| 93 |
+
"effect of the court's ruling was",
|
| 94 |
+
"immediate and far-reaching",
|
| 95 |
+
"expanding the right to privacy under the"
|
| 96 |
+
],
|
| 97 |
+
[
|
| 98 |
+
"immediate and far-reaching",
|
| 99 |
+
"expanding the right to privacy under the"
|
| 100 |
+
],
|
| 101 |
+
[
|
| 102 |
+
"immediate and far-reaching",
|
| 103 |
+
"expanding the right to privacy under the",
|
| 104 |
+
"14th amendment"
|
| 105 |
+
],
|
| 106 |
+
[
|
| 107 |
+
"expanding the right to privacy under the",
|
| 108 |
+
"14th amendment",
|
| 109 |
+
"and altering the legal landscape on the"
|
| 110 |
+
],
|
| 111 |
+
[
|
| 112 |
+
"14th amendment",
|
| 113 |
+
"and altering the legal landscape on the"
|
| 114 |
+
],
|
| 115 |
+
[
|
| 116 |
+
"14th amendment",
|
| 117 |
+
"and altering the legal landscape on the",
|
| 118 |
+
"issue of abortion"
|
| 119 |
+
],
|
| 120 |
+
[
|
| 121 |
+
"and altering the legal landscape on the",
|
| 122 |
+
"issue of abortion",
|
| 123 |
+
"across the country norma mccorvey a"
|
| 124 |
+
],
|
| 125 |
+
[
|
| 126 |
+
"issue of abortion",
|
| 127 |
+
"across the country norma mccorvey a"
|
| 128 |
+
],
|
| 129 |
+
[
|
| 130 |
+
"issue of abortion",
|
| 131 |
+
"across the country norma mccorvey a"
|
| 132 |
+
],
|
| 133 |
+
[
|
| 134 |
+
"issue of abortion",
|
| 135 |
+
"across the country norma mccorvey a",
|
| 136 |
+
"single pregnant woman in texas"
|
| 137 |
+
],
|
| 138 |
+
[
|
| 139 |
+
"across the country norma mccorvey a",
|
| 140 |
+
"single pregnant woman in texas"
|
| 141 |
+
],
|
| 142 |
+
[
|
| 143 |
+
"across the country norma mccorvey a",
|
| 144 |
+
"single pregnant woman in texas",
|
| 145 |
+
"sought an abortion at the time texas law"
|
| 146 |
+
],
|
| 147 |
+
[
|
| 148 |
+
"single pregnant woman in texas",
|
| 149 |
+
"sought an abortion at the time texas law"
|
| 150 |
+
],
|
| 151 |
+
[
|
| 152 |
+
"single pregnant woman in texas",
|
| 153 |
+
"sought an abortion at the time texas law",
|
| 154 |
+
"prohibited abortions unless performed or"
|
| 155 |
+
],
|
| 156 |
+
[
|
| 157 |
+
"sought an abortion at the time texas law",
|
| 158 |
+
"prohibited abortions unless performed or"
|
| 159 |
+
],
|
| 160 |
+
[
|
| 161 |
+
"sought an abortion at the time texas law",
|
| 162 |
+
"prohibited abortions unless performed or",
|
| 163 |
+
"obtained to save the life of the mother"
|
| 164 |
+
],
|
| 165 |
+
[
|
| 166 |
+
"prohibited abortions unless performed or",
|
| 167 |
+
"obtained to save the life of the mother"
|
| 168 |
+
],
|
| 169 |
+
[
|
| 170 |
+
"prohibited abortions unless performed or",
|
| 171 |
+
"obtained to save the life of the mother"
|
| 172 |
+
],
|
| 173 |
+
[
|
| 174 |
+
"prohibited abortions unless performed or",
|
| 175 |
+
"obtained to save the life of the mother",
|
| 176 |
+
"to protect her privacy mccorvey filed"
|
| 177 |
+
],
|
| 178 |
+
[
|
| 179 |
+
"obtained to save the life of the mother",
|
| 180 |
+
"to protect her privacy mccorvey filed"
|
| 181 |
+
],
|
| 182 |
+
[
|
| 183 |
+
"obtained to save the life of the mother",
|
| 184 |
+
"to protect her privacy mccorvey filed",
|
| 185 |
+
"suit in federal court"
|
| 186 |
+
],
|
| 187 |
+
[
|
| 188 |
+
"to protect her privacy mccorvey filed",
|
| 189 |
+
"suit in federal court"
|
| 190 |
+
],
|
| 191 |
+
[
|
| 192 |
+
"to protect her privacy mccorvey filed",
|
| 193 |
+
"suit in federal court",
|
| 194 |
+
"under the name jane rowe the defendant"
|
| 195 |
+
],
|
| 196 |
+
[
|
| 197 |
+
"suit in federal court",
|
| 198 |
+
"under the name jane rowe the defendant"
|
| 199 |
+
],
|
| 200 |
+
[
|
| 201 |
+
"suit in federal court",
|
| 202 |
+
"under the name jane rowe the defendant",
|
| 203 |
+
"was henry wade the district attorney in"
|
| 204 |
+
],
|
| 205 |
+
[
|
| 206 |
+
"under the name jane rowe the defendant",
|
| 207 |
+
"was henry wade the district attorney in"
|
| 208 |
+
],
|
| 209 |
+
[
|
| 210 |
+
"under the name jane rowe the defendant",
|
| 211 |
+
"was henry wade the district attorney in",
|
| 212 |
+
"the texas county where mccorvey sought"
|
| 213 |
+
],
|
| 214 |
+
[
|
| 215 |
+
"was henry wade the district attorney in",
|
| 216 |
+
"the texas county where mccorvey sought"
|
| 217 |
+
],
|
| 218 |
+
[
|
| 219 |
+
"was henry wade the district attorney in",
|
| 220 |
+
"the texas county where mccorvey sought",
|
| 221 |
+
"the abortion"
|
| 222 |
+
],
|
| 223 |
+
[
|
| 224 |
+
"the texas county where mccorvey sought",
|
| 225 |
+
"the abortion",
|
| 226 |
+
"roe argued that the abortion ban was"
|
| 227 |
+
],
|
| 228 |
+
[
|
| 229 |
+
"the abortion",
|
| 230 |
+
"roe argued that the abortion ban was"
|
| 231 |
+
],
|
| 232 |
+
[
|
| 233 |
+
"the abortion",
|
| 234 |
+
"roe argued that the abortion ban was",
|
| 235 |
+
"unconstitutional"
|
| 236 |
+
],
|
| 237 |
+
[
|
| 238 |
+
"roe argued that the abortion ban was",
|
| 239 |
+
"unconstitutional"
|
| 240 |
+
],
|
| 241 |
+
[
|
| 242 |
+
"roe argued that the abortion ban was",
|
| 243 |
+
"unconstitutional",
|
| 244 |
+
"and asked the court to issue an order"
|
| 245 |
+
],
|
| 246 |
+
[
|
| 247 |
+
"unconstitutional",
|
| 248 |
+
"and asked the court to issue an order",
|
| 249 |
+
"that would stop texas from enforcing the"
|
| 250 |
+
],
|
| 251 |
+
[
|
| 252 |
+
"and asked the court to issue an order",
|
| 253 |
+
"that would stop texas from enforcing the"
|
| 254 |
+
],
|
| 255 |
+
[
|
| 256 |
+
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|
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|
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|
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|
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|
| 273 |
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
| 482 |
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|
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|
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|
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|
| 487 |
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|
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|
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|
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| 550 |
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| 554 |
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|
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|
| 678 |
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|
| 690 |
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|
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|
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|
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|
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|
| 704 |
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|
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|
| 708 |
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
| 763 |
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|
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|
| 765 |
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|
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|
| 767 |
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32
|
| 768 |
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|
| 769 |
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| 770 |
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|
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|
| 773 |
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|
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|
| 775 |
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|
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|
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|
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|
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|
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|
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| 792 |
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56
|
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|
| 794 |
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| 795 |
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|
| 796 |
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|
| 803 |
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|
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|
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|
| 810 |
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|
| 811 |
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|
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|
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|
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|
| 823 |
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|
| 824 |
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| 825 |
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|
| 827 |
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|
| 828 |
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| 829 |
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|
| 831 |
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|
| 832 |
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|
| 833 |
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64
|
| 834 |
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|
| 835 |
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|
| 836 |
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|
| 837 |
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|
| 838 |
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|
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