text:
Movie Making Manual/How you can help

What is this thing you call a "Movie Making Manual WikiBook"?
Think of this as a manual. It is intended as a practical guide to filmmaking. The Movie Making Manual is also a wiki which means that anyone can edit it. This is considered a Good Idea™ because every reader effectively becomes an editor so the content matures and improves over time. As more people read and edit, the content becomes more accurate, more up-to-date and more balanced.

In addition, you will find definitions and lists to supplement the information in the Movie Making Manual here at The Wikipedia Film page.

Join the discussion space for this wikibook here.

It's a Wiki!
You can fully edit this book. Please feel free to remove mistakes, flesh out existing pages or even to start entire new pages. If you've never used a Wiki before then take a look at the Help:Contents page to get started and the MediaWiki users' guide for more detailed information. Also have a look at the To Do page.

OK... sell it to me... why should I spend my time contributing?

 * It's fun showing off how clever you are.

 * It's a pleasure to contribute to a wiki because it's a collaborative process. What does that mean?  Well... you add a little bit and then you come back the next day to find that someone has added a little bit more and so on.  Remember those cress-growing kits kids used to get before Play Stations were developed?  Contributing to a wiki is a little like growing cress... you lay the seeds, let it grow a bit, then take some for your sandwhich, then let it grow some more (OK, crap analogy but you get the idea).  You get to participate in and nurture a growing document.

 * As a filmmaker, you'll spend a lot of your time doing your own independent research (e.g. "What tax breaks can I get in Prague? Should I shoot my next short film on High Def?  What are the guidelines for submitting a music video to a broadcaster?").  Before you do your next bit of research, take a look at the Movie Making Manual to see if we already some answers to your questions.  If not, start a new page and use it to make your research notes on (you were gonna make notes anyway, right?).  Now you're killing two birds with one stone: not only are you doing yourself a favour by taking organised notes but you're also setting the foundations for a full-fleshed-out page that will help others.  Don't worry... you don't have to leave the page in a pristeen condition... just do what you can and others will add to it later.

 * If you're a manufacturer then you might like to educate people about your product. Explicit advertising is not allowed but there's nothing to stop you writing an informative article on how to use your particular tool.

 * You get to feel like you're doing something useful with those hours spent in front of the computer!

Yes, I want to contribute! How do I get started?
There are no concrete regulations but the following could be considered "best practice":

 * 1) Register at WikiBooks (click the "Create account" link at the top right).  This is free and they wont spam you.  Registering will mean that your edits will be signed with your username.
 * 2) If you haven't done so yet then read up on how to edit WikiBooks on this help page and this users' guide for more detailed information.
 * 3) Sign up to the Movie Making Manual discussion forum.  Please discuss any large changes before doing them.
 * 4) Take a look at the "to do" items for this book.
 * 5) Add your name to the list of contributors.
 * 6) Before contributing, make sure the Movie Making Manual doesn't already contain the information you're planning to write about.
 * 7) Have a quick look over the formatting guide below...

The Movie Making Manual and WikiPedia
Before editing or writing an article, check to see if WikiPedia has an article on what you're about to write about. If it does then your job is to integrate the WikiPedia content into the Movie Making Manual. First, link from the Movie Making Manual to WikiPedia (this is easy using interwiki links, you just write a link like this: Interesting WikiPedia page ). Then, if appropriate, link back from WikiPedia to the Movie Making Manual. Useful WikiPedia categories include:
 * Video and movie technology
 * Film techniques
 * Film production

It's very important that we don't try to duplicate what's already on WikiPedia. The Movie Making Manual is focussed on the practical aspects of filmmaking. For example, WikiPedia has some excellent articles on 16mm film but doesn't even begin to tell you how to shoot on 16mm film.

If you have found (or if you have added) a Movie Making Manual page that contains content that isn't covered in WikiPedia then it may be appropriate to start a WikiPedia stub article containing a brief, "encyclopaedic" introduction to the subject and then add a link to the MMM page. For example, the Movie Making Manual has a page on the Panavision Genesis HD camera which is way too technical for WikiPedia but we have added a WikiPedia stub article on the Genesis which points the curious reader to the Movie Making Manual.

Tone
One of the fears with a collaborative book effort is that it loses any sense of "voice". Here are a few guidelines for this.

 * Be direct. Don't be afraid to give it to the reader straight.
 * Use a natural tone. Pretend you are explaining the topic to your best friend.
 * Be positive - encourage, encourage, encourage. There are enough naysayers in this industry, keep it outrageously upbeat.

Style

 * Use the present tense.
 * Use the active voice. "Take the lights", not "The lights should be taken by you"

Practical versus theoretical
This book is a manual so please keep the emphasis on the practical. That said, some topics will require a brief discussion of what you could call "practical theory". That's fine. All the theory in this book should directly inform decisions taken on set and in the edit suite. Please don't discuss film criticism theory or film history in the Movie Making Manual - there is a separate book for film history here.

Personal opinions and experiences
The main narrative of this book should be impartial. But don't shy away from expressing your own opinion. Just make sure it's perfectly clear to the reader which sections are impartial and which bits are personal opinions. For example, you might want to put your opinions or brief case studies in Side Note Boxes.

Pictures

 * 1) Upload your pictures to Creative Commons
 * 2) Name your picture MMM_picturename
 * 3) Link to your photo like this:

For more details, have a look at this help page and this one

Registered trade mark
Whenever you mention a copyrighted trade mark then you should put an ® by the name and add a footnote to say to whome the trade mark is registered. The code to insert this symbol is:

&reg;

When to use WikiBooks
For some reason, wikibooks seems to be fastest in the morning (GMT). It slows down considerably as the evening wears on. Hopefully things will get better as the MediaWiki Foundation get more funding.

Page naming conventions
At the moment, we're using a slightly outdated naming convention of

Movie Making Manual-Page name

But apparently this is outdated and may be made illegal. See the WikiBooks Naming Policy for more info. We'll probably use the following page naming in the future:

MMM/Chapter Name/Module Page

e.g.

MMM/Cinematography MMM/Cinematography/Capture Mediums and Recording Formats MMM/Cinematography/Capture Mediums and Recording Formats/Electronic Capture and Storage

Chapter names
PLEASE DO NOT USE THESE YET

Chapter name (examples of pages they contain)

Preface (contributers, how you can help, how to navigate this book) Intro (basics of filmmaking) Writing Funding and Budgetting Contracts and Law Pre-production Paperwork Cinematography Audio Actors Directing Post-production Sales and Exhibition Training Short Films Music Videos Local Resources Film Festivals You the Filmmaker Tools and Equipment Case Studies

Structure of the book
The MMM has both a flat and a hierachical structure! The naming is flat (i.e. out names are all of the form Movie Making Manual:Writing) but we also make good use of the MediaWiki categorization system to provide a hierarchical structure (see below for more information on the Movie Making Manual's categorization implementation).

(This will soon change... we'll soon be using a hierarchical naming convention)

Headers
Please put a link to one of our page header templates at the top of each new page created. Just put one of these at the top of your new page:

PLEASE DO NOT USE THESE YET - THEY ARE BEING ACTIVELY DISCUSSED IN THE STAFF LOUNGE and in Wikibooks_talk:Naming_policy

Categories
The MediaWiki Category feature is a powerfull way to... well.. categorise pages! There are several great things about this feature:

 * Category indexes are generated automatically
 * Each page can be in as many categories as you want. Take "Telecine"  Should that be in the "cinematography" or the "post-production" category?  Easy!  Just put it in both!
 * Categories allow the wiki to become more "booklike" whilst inheriting all the coolness that databases and hyperlinking provide.

Please put the correct category at the bottom of each page. The availabe categories are (please note that they are all lowercase and that MediaWiki is case sensitive!:

PLEASE DO NOT USE THESE YET - THEY ARE BEING ACTIVELY DISCUSSED IN THE READING ROOM

You also have to put the name of the page into the category sort field like this (note that you have to use a capital letter at the start):

Putting each page into a category means that MediaWiki can automatically make an index page for these categories. Each page can be in several different categories, for example, the page on writing low budget would be put in both the "writing" and the "low budget" categories like this:

If you start a new category then please put the following on the new category page:

A description of my new category

For more info on categories, see this help page.

=Promoting The Movie Making Manual=

We are actively looking for new contributors to the Movie Making Manual. If we can get enough contributors this manual could be THE definitive independent filmmaking resource.

If you wish to promote the MMM to users/contributors then you can use the following outline to Promote the MMM

Before you promote the MMM check out the MMM Promotion Tracking Page to ensure someone else has not very recently publicised it where you were going to. 1 per month per forum should be plenty of promotion :-)!

/Preface

title: Movie Making Manual/How you can help


text:
Cookbook:Oatmeal Banana Waffle

| Bread

Ingredients

 * 2 cups oatmeal
 * 2 cups water
 * ½ banana
 * 2 tablespoons powdered milk
 * 2 tablespoons olive oil
 * ½ teaspoon salt

Procedure

 * 1) Turn waffle iron on high.
 * 2) Put all ingredients in a blender and blend on high until the contents are smooth. Let the mixture sit for 10–15 minutes.
 * 3) Spray the waffle iron with non-stick cooking spray.
 * 4) Pour some of the batter onto the waffle iron. Cook for about 10 minutes. Repeat until you are out of batter.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Cookbook:Oatmeal Banana Waffle


text:
User:Notafish

notafish on meta.

title: User:Notafish


text:
Cookbook:Saucepan Fudge Crackle Cookies

| Cuisine of the United States | Dessert

These saucepan fudge crackle cookies are true chocolate cookies. They are brownie-like or cake-like. They tend to have a dome-like surface that stands ½–¾-inch tall, and have a diameter of 2.5–5 inches. The surface is cracked.

Ingredients

 * 1 cup flour
 * 1 teaspoon baking powder
 * ¼ teaspoon salt
 * ¼ cup margarine
 * 3 ounces unsweetened baking chocolate
 * 1 cup white granulated sugar
 * 2 eggs
 * 1 teaspoon vanilla extract
 * ½ cup coarsely chopped nuts (for example, ½-inch walnut pieces)
 * Additional sugar for coating

Procedure

 * 1) Combine the flour, baking powder, and salt.
 * 2) In a 3-quart saucepan on low heat, melt together the margarine and chocolate.
 * 3) Remove the chocolate mixture from the heat.
 * 4) Into the chocolate mixture, mix the eggs, sugar, vanilla, and nuts.
 * 5) Mix the flour mixture into the chocolate mixture.
 * 6) Cover and refrigerate until firm. Overnight would be good.
 * 7) Make 1½-inch balls of the mixture. As you make them, roll them in coarse sugar and place them onto a cool, ungreased, insulated cookie sheet. Be sure to allow room for expansion.
 * 8) Bake at 300°F for 20 minutes.
 * 9) Immediately remove the cookies from the cookie sheet. If you delay, the cookies will very strongly adhere to the cookie sheet.

Notes, tips, and variations

 * You can use butter instead of margarine, although this can overpower the taste of the chocolate.
 * The insulated cookie sheet avoids burning parts of the cookie while failing to fully cook other parts.
 * Hazelnuts and macadamia nuts go well in this recipe.

title: Cookbook:Saucepan Fudge Crackle Cookies


text:
Talk:General Chemistry/Book Cover

help me - anonymous or original author?

 * K... Help psychology. rawr. --Cyberman 21:54, 27 September 2005 (UTC)

title: Talk:General Chemistry/Book Cover


text:
Template talk:Ada/2005

My idea adding the category to the template was for automatically adding the pages including the template to the category. This has the drawback that we cannot control the sorting of the page. If we finally add the category manually to the subpages, then I think we should remove the category from the template, since it is not a content page and having it in the category might confuse some readers. ManuelGR 19:51, 28 Jan 2005 (UTC)

 * Or should we add a template parameter to be used as sorting key? ManuelGR 19:54, 28 Jan 2005 (UTC)

 * If it works: yes. But it looked like the category inside template did not work that well. --Krischik 10:13, 29 Jan 2005 (UTC)

 * At least it works on Wikipedia. It may be a cache problem or the behaviour here might be different. ManuelGR 17:28, 29 Jan 2005 (UTC)

title: Template talk:Ada/2005


text:
Logic for Computer Science/Querying

=Query and Definability= The problem of satisfiability is central to mathematical logic: for a logic L on a domain D of structures try to find a model in D for a given formula φ from L. The more special problem of model-checking on a logic L and a domain D of structures tries to answer, does $$\mathfrak A \vDash \psi\ $$ hold for a given structure $$\mathfrak A \in D$$ and a formula $$\psi\ \in L$$. Model-checking is an important area in computer science. The concept of querying is leading beyond these 'true-false' evaluations, it introduces the result set as its outcome.

Query
Motivation

Think of a customer-database. Now one can query such a database e.g. "All Customers in Africa" that results in a list of all customers in Africa. In case of a query like "All customers and their countries" the result consists of 2-ary tuples of a customer and a country, whereas the query "(Do) we have a customer in Rwanda" leads to either yes or no. Similarly one can define queries on structures that deliver a set of elements of the universe, where the universe relates to the data in the database.

Notion

First recapture the notion of bound and free variables: whereas a sentence (no free variables) like $$\forall_x \exists_y xRy$$ computes to either true or false the formula's $$\forall_x xRy$$ truth-value is relative to the free variable y and thus implies a set of values for y for which it is true. In general for a formular with n free variables we get a set of n-tuples (that may also be empty). In this sense sentences deliver 0-ary tuples in case they are true.

Definition

Let $$\mathfrak A$$ be a S-structure with universe A, m a nonnegative integer and Q a mapping from S-structures to sets of subsets of Am, s.t. each $$\mathfrak A$$ maps to a subset of Am.

Q is said to be a m-ary Query on S-structures iff Q is closed under isomorphism,

where closed (or preserved) under isomorphism is: if $$\mathfrak A \cong \mathfrak B$$ by an isomorphism $$f$$ then $$f(Q(\mathfrak A)) = Q(\mathfrak B)$$.

Remarks

 * A 0-ary Q is also called a Boolean query. In this case Q maps to A0, that is a 0-tuple, or the empty set.  The former result is also called TRUE the latter FALSE.
 * For a Boolean query Q a subset C of S-structures can be defined by: $$\mathfrak A \in C$$ iff $$Q(\mathfrak A) = true$$
 * the closedness condition ensures that only the 'shape' of structures is queried, i.e. it is unimportant what the universe consists of as long as its related in the same way. Thus questions on the kind of elements of the universe cannot be answered by a query.
 * From a unary query a substructure $$\mathfrak B$$ of the queried structure $$\mathfrak A$$ can be obtained with
 * $$R^\mathfrak B = R^{\mathfrak A} \cap Q^m$$, for an m-ary R and with an 1-1 mapping of constants.

Examples

Simple

Take S = {<}. We query 'all elements that have no smaller element'. This gives for a universe of {10, 11, 12} the result {(10)} (A set of 1-ary tuples). The query for 'all elements that have a smaller element' gives {(11), (12)}. A query for 'all directly succeeding elements' gives {(10, 11), (11, 12)} (A set of 2-ary tuples). The query 'there is a biggest element' results in {} (The 0-ary element), whereas 'there is no biggest element' gives {} (false).

Graphs

Typical queries on graphs $$G = (V, E)$$ are:
 * transitive closure (smallest transitive extension) is a 2-ary query:
 * $$\big\{(x, y ) \in V^2 |\mbox{ there is a path from x to y }\big\}$$
 * isolated nodes is a 1-ary query:
 * $$\{(x) \in V |\mbox{ there is no node connected with x }\}$$
 * planarity is a 0-ary (boolean) query:
 * $$\begin{cases} \{\} & \mbox{if G is planar} \\ \{\} & else \end{cases} $$

Definability
On one hand we have queries that can be more or less 'complicated'. Just think of a database-query simply for all customers with name = 'Ubuntu' compared to a query for customers named Ubuntu that are not situated in Africa or middle east. On the other hand we have languages of different expressive power like FO and MFO (monadic first oder logic). So one can ask if the expressive power of a language is strong enough to express (define) a certain query.

Definition for classes of structures

Let C be a class of finite structures and L be a logic. C is said to be definable in the logic L iff there is a sentence φ in L s.t. C is the set of all finite models of φ.

Definition for queries

Let Q be a query, L a logic

Q is said to be definable in L iff it exists a formular φ(x1, ..., xm) of L in S s.t. for all $$\mathfrak A$$ all elements of $$Q(\mathfrak A)$$ are an assignment on φ s.t. $$\mathfrak A \vDash \varphi$$

Examples

Simple

On a finite graph the query 'there is an element that is adjacent with all others' can be written in FO as $$\exists_x \forall_y x R y$$. The language can even be restricted further, e.g. by allowing only 2 variable per formula (and thus is definable in the logic FO2).

Negative

Single step connectivity for graphs can be defined in FO as

$$\forall_{x y} E(x, y)$$

So we get 2-step connectivity as

$$\forall_{x z} \exists_y E(x, y) \land E(y, z)$$

This can be continued to n-step connectivity for a fixed n, but not for arbitrary n since FO formulas are always of fixed length. It would take some 'infinite conjunction' to expand the above approach to arbitrary length. And since there is no other way to express arbitrary connectivity in FO (what is omitted show here) we say the connectivity query is not definable in FO. It can be shown that it is expressible in UMSO (Universal Monadic Second Order Logic).

Graphs

The definability of the queries considered above is:
 * the transitive closure query is not definable in FO
 * the isolated node query is definable in FO as
 * $$\forall_y \neg E(x, y)$$
 * planarity is not definable in FO

Propositions
Query-Safety

TODO

The impact of Order

TODO

=Finite Structures=

Concept
Definition

A Structure is said to be finite iff it's Universe is finite.

Examples

The unusual effectiveness of finite structures in computer science
Data structures in computer science are usually finite, e.g. a Database always holds finitely many entries. But by restricting to finite structures we have to issues:
 * We still have to deal with structures of arbitrary size, e.g. to sum from 1 to 3 one can write 1 + 2 + 3, from 1 to 4: 1 + 2 + 3 + 4, but from 1 to an arbitrary natural number we must use a special operator like 'Σ' that extends our simple '+' language (Also the '...' notation doesn't help since it extends our language as well).
 * We now have to deal with complexity issues, that we haven't had before. Example ...

Finite Model Theory
So the Theory dealing with finite structures (Finite Model Theory (FMT)) is not just a simplification of the theory also covering infinite ones (Model Theory (MT)). It has it's own character. This is especially an issue when it comes to instruments for proofing. One of the most important of such tools in MT is the compactness theorem, but it is completely useless when we deal with finite structures exclusively:

Consider the following sentence σ3

$$\exists_x \exists_y \exists_z (x\ne y \land y\ne z \land x\ne z)$$

that says that there are at least 3 different elements in a universe. One can expand σ3 easily for n other than 3. So, let Σ = {σ1, σ2, σ3, ...} be the infinite set of all these sentences. Now Σ is obviously not satisfiable by a finite model, although every finite subset of Σ is. Ok, but why does that matter? One of the most useful tools in general Model theory is the Compactness theorem, stating: "Let Σ be a set of FO sentences. If every finite subset of Σ is satisfiable, then Σ is satisfiable." But as just shown this doesn't hold for the finite case, thus there is no Compactness theorem in Finite Model Theory!

And (unfortunately) this is the case for many other important theorems as well (actually the very most of them) like e.g. Gödel's Completeness theorem. Moreover important definitions of MT must be adopted for the finite case. For example the concept of types is a very central one in MT. But applied to FMT it turns out to be quite useless since it already characterises finite structures up to isomorphism. So the definition of types has to be refined in FMT (to a type concept in FO[k], depending on an integer k).

So Finite Model Theorists can not simply adopt the classic instruments from Model theory, they have to find their own. The basic ones are presented in the 'Proofs' section.

The Property of Elementary Equivalence
Querying is about discrimination of structures. So the basic question is "Can i discriminate a structure from all different structures?", where different means not equal up to isomorphy. This can be done for finite structures (but not for infinite ones). E.g. ...

Properties for a finite Number of Structures
So being of a certain structure can be seen as an elementary property, that discriminates a class of isomorphic structures from all others. Now we can think of properties that discriminate 2 different (nonisomorphic) structures from the rest. They can also be discriminated by simply connecting the properties, like e.g. ...

This can be extended to properties for a finite number of structures, like e.g. ...

Properties for an infinite Number of Structures
Also properties that hold for an infinite number of structures can be thought of. But these are not discriminatable in the above way. E.g. ...

There are Logics that allow this sort of infinite disjunction, like ...

So, are there other ways to discriminate these structure in FO? Sometimes, like in the case of ...

So we need a decision tool (method) that decides if structures with a certain property can be discriminated or not, i.e. responds either "yes" or "no" for all possible properties, i.e. is sound and complete.

The special roles of First-Order and Infinitary Logics
TODO

=Some Definability Results=

title: Logic for Computer Science/Querying


text:
Gambas/Installation

Back to Gambas

Download

 * See http://gambas.sourceforge.net/en/main.html
 * Download
 * Download Gambas (latest version)

Short version
tar xzvf gambas-x.xx.tar.gz cd gambas-x.xx ./configure # or ./configure—disable-db-component make

make install

Long version
See also http://gambaswiki.org/wiki/install

title: Gambas/Installation


text:
Cookbook:Sweet and Sour Sauce

| Meat Recipes

This is a simple sweet-and-sour sauce that works well as an everyday meal, even with leftover meat. It is best served with rice, and perhaps also steamed vegetables. The sauce alone (no meat, cherries, or pineapple chunks) can be poured over rice or used as a dip for egg rolls.

Ingredients

 * ½ cup brown sugar
 * 1 tablespoon cornstarch
 * ⅓ cup red wine vinegar
 * 1 tablespoon soy sauce
 * 1 can (20 oz / 567 g) pineapple chunks in unsweetened juice
 * Maraschino cherries
 * Celery, chopped
 * Cooked meat (suggested: chicken or pork) or fish (optional)
 * Cooked rice

Procedure

 * 1) Mix the brown sugar and corn starch in a saucepan.
 * 2) Add the vinegar, soy sauce, and most of the pineapple juice
 * 3) Heat to boiling while stirring constantly.
 * 4) Reduce heat, then add pineapple chunks, cherries, celery, and cooked meat.
 * 5) Cook until celery begins to soften.
 * 6) Serve sauce with cooked rice.

탕수육

title: Cookbook:Sweet and Sour Sauce


text:
Radiation Oncology/Stereotactic radiosurgery

Stereotactic Radiosurgery (SRS)

Clinical Sites
Overview Malignant Benign:
 * CNS Page
 * Brain Metastases
 * Pineal Gland tumors
 * Meningioma
 * Acoustic Neuroma (Vestibular Schwannoma)
 * Pituitary Adenoma
 * Trigeminal Neuralgia
 * Sphenopalatine Neuralgia
 * Chronic Cluster Headaches
 * Arteriovenous Malformation (AVM)
 * Cavernous Malformation
 * Glomus Jugulare (Paraganglioma)
 * Epilepsy
 * Cancer pain

Treatment planning indices

 * Thieme; 2018 (PMID 29699833): Voxel-Based Homogeneity Index (VHI)
 * VHI = k ∫ ∫ ∫ (D(x,y,z)/PD - 1)² / TV
 * D(x,y,z) = Dose at coordinates (x,y,z)
 * PD = prescribed dose
 * TV = Target volume size
 * k = 10^4
 * Sensitive homogeneity index which uses voxel information for score calculation

 * Yomo; 2010 (PMID 19809786): Energy Index
 * EI = ID / (TV x PD)
 * ID = integral dose within target volume
 * PD = prescribed dose
 * Measure of dose homogeneity within target volume

 * Oliver; 2007 (PMID 17194494): Radical Dose Homogeneity Index
 * rDHI = Dmin / Dmax
 * Dmin = minimum dose within target volume
 * Dmax = maximum dose within target volume

 * Oliver; 2007 (PMID 17194494): Moderate Dose Homogeneity Index
 * mDHI = D95% / D5%
 * D95% = dose to 95% of target volume
 * D5% = dose to 5% of target volume

 * Paddick; 2006 (PMID 18503356): Dose Gradient Index
 * GI = PIVhalf / PIV
 * PIVhalf = Prescription isodose volume, at half the prescription isodose (e.g. at 25%)
 * PIV = Prescription isodose volume (e.g. at 50%)
 * Simplified UF Gradient Index

 * Wagner; 2003 (PMID 14575847): Conformity Gradient Index
 * CGI = (CGIc + CGIg) / 2
 * CGIc = TV / PIV * 100
 * CGIg = UF Gradient Index (see below)

 * Wagner; 2003 (PMID 14575847): UF Gradient Index
 * CGIg = 100 - (100 * ((REff,50%Rx - REff,Rx) - 0.3 cm))
 * REff,50%Rx = Effective radius of the isodose line that is equal to one-half of the prescription isodose volume
 * REff,Rx = Effective radius of the prescription volume
 * Evaluates the steepness of the gradient between prescription isodose line (e.g 50%) and half prescription isodose line (e.g. 25%)

 * Nakamura; 2001 (PMID 11728692): New Conformity Index
 * NCI = (TV x PIV) / (TVPIV)2
 * Inverse Paddick Conformity Index

 * Paddick; 2000 (PMID 11143252): Paddick Conformity Index
 * Paddick CI = (TVPIV)2 / (TV x PIV)
 * TVPIV = Target Volume covered by Prescription Isodose Volume
 * TV = Target Volume
 * PIV = Prescription Isodose Volume
 * This is two separate ratios multiplied together:
 * Undertreatment ratio: TVPIV / TV
 * Overtreatment ratio: TVPIV / PIV

 * ICRU; 1999 (ICRU Report): Conformity Index
 * CI = TV / PTV
 * TV: Treated volume = volume eclosed by a given isodose surface (e.g. 50%, 95%)
 * PTV: Planning target volume = CTV + IM + SM
 * RTOG conformity index with ICRU terminology

 * Knoos; 1998 (PMID 9869245): Radiation Conformity Index
 * RCIi = PTV / PIV
 * PTV: Planning target volume = CTV + IM + SM
 * PIV = Prescription Isodose Volume
 * Inverse of RTOG Conformity Index

 * RTOG; 1993 (PMID 8262852): Conformity Index
 * Conformity Index PITV = PIV / TV
 * PI = prescription isodose volume
 * TV = target volume
 * Normal 1.0-2.0, minor deviation if >2.0 or <1.0, major deviation if >2.5 or <0.9

 * RTOG; 1993 (PMID 8262852): Homogeneity
 * Homogeneity MDPD = MD / PD
 * MD = maximum dose within target volume
 * PD = prescribed dose
 * Minor deviation if >2.0, major deviation if >2.5

 * RTOG; 1993 (PMID 8262852): Coverage
 * Coverage = Dmin / PD
 * Dmin = minimum dose within target volume
 * PD = prescribed dose
 * Minor deviation if <0.9, major deviation if <0.8

 * Wu; 1988 (PMID 3352544): Dose Homogeneity Index
 * DHI: (VTDR - VHDR) / VTDR
 * VTDR = total treatment volume enclosed by prescribed treatment dose rate (PIV)
 * VHDR = volume enclosed by high-dose rate which is 1.5x TDR or greater (PIV1.5x)
 * Used for high dose rate brachytherapy implants, but applicable to SRS

Other literature
 * Lomax; 2003 (PMID 12654454)
 * van't Riet; 1997 (PMID 9112473)

Dose overview
Doses are prescribed to the 50% isodose line unless stated otherwise
 * Brain metastases: 24 Gy, 18 Gy, 15 Gy for tumors <2 cm, 2.1-3cm, and 3.1-4 cm.
 * Trigeminal neuralgia: 40 Gy (80 Gy Dmax), using 4mm collimator
 * Acoustic neuroma (vestibular schwannoma): 12.5 Gy
 * Meningioma: 12-14 Gy
 * Arteriovenous malformation: 18-20 Gy

Gamma Knife Machines

 * Hopital Timone, Marseille (2006) -- GKS 4C vs PerfeXion
 * Randomized. 200 patients. Arm 1) GammaKnife 4C vs Arm 2) GammaKnife PerfeXion
 * 2009 PMID 19190462 -- "Radiosurgery with the world's first fully robotized Leksell Gamma Knife PerfeXion in clinical use: a 200-patient prospective, randomized, controlled comparison with the Gamma Knife 4C." (Regis J, Neurosurgery. 2009 Feb;64(2):346-55; discussion 355-6.)
 * Outcome: No technical failures. Median # of collimator sizes 4C 1 vs PerfeXion 2. Median treatment time 60 min vs 40 min (SS), but median beam-on time 33.4 vs 34.0 minutes (NS). Single run 42% vs. 99%. Collision risk requiring gamma angle 24% vs 0%.
 * Toxicity: Less dose with PerfeXion to vertex (8x), thyroid (10x), sternum (13x), and gonads (15X)
 * Conclusion: Technological advances with PerfeXion

CyberKnife System

 * The CyberKnife System is a radiation therapy device manufactured by Accuray Incorporated
 * The system is used to deliver radiosurgery for the treatment of benign tumors, malignant tumors and other medical conditions

Charged-Particle Radiosurgery

 * Stereotactic radiosurgery using charged-particle beams has been the subject of biomedical research and clinical development for almost 60 years
 * Energetic beams of charged particles of proton mass or greater (e.g., nuclei of hydrogen, helium or carbon atoms) manifest unique physical and radiobiological properties that offer advantages for neurosurgical application and for neuroscience research
 * These beams can be readily collimated to any desired cross-sectional size and shape
 * At higher kinetic energies, the beams can penetrate entirely through the patient in a similar fashion to high-energy photon beams but without exponential fall-off of dose
 * At lower kinetic energies, the beams exhibit increased dose-deposition (Bragg ionization peak) at a finite depth in tissue that is determined by the beam’s energy as it enters the patient
 * These properties enable highly precise, 3-dimensional placement of radiation doses to conform to uniquely shaped target volumes anywhere within the brain

Toxicity

 * Please see the toxicity page for further information


text:
Cookbook:Fudge Frosting

| Dessert | Chocolate

This is a rich non-greasy frosting that goes on hot and stiffens as it cools.

Ingredients

 * 5 cups (625 g / 1.38 lb) powdered sugar
 * 3 oz (85 g) unsweetened baking chocolate
 * 2 tablespoons margarine
 * 1 teaspoon vanilla extract
 * 1 teaspoon corn syrup

Procedure

 * 1) Melt the chocolate and margarine together in a double-boiler or, carefully, in a saucepan on low heat.
 * 2) Mix in the vanilla extract and corn syrup, keeping the mixture somewhat hot.
 * 3) Mix in the sugar, still keeping the mixture somewhat hot. You might not use the exact amount listed. Just keep adding sugar until the frosting is as thick as desired.
 * 4) While still hot, spread the mixture on cake or brownies. Mixture will stiffen.

Notes, tips, and variations

 * A very small amount of milk may be added if the mixture is unspreadable even while hot. Don't add more than you truly need.

Warnings

 * Steaming hot cake will release moisture which may collect under a frosting. Cold cake may cause a frosting to stiffen prematurely. Thus, you should use a warm cake.

title: Cookbook:Fudge Frosting


text:
Talk:Finnish/Introduction

Interested
I am interested in learning Finnish and will continue to check up on your explanation, if you continue to write. Congrats on it thus far. -Tas.

 * Thank you. I at least am willing to continue on this Wikibook. I apologize for the mistakes I have possiby made and will make in the future, as I have found the Wikibooks just lately, after five months of using Wikipedia. I will definitely make clerical errors too, as my first language is Finnish, but that fact should just improve this book. Please, now that I should start planning on what to add here, give suggestions and comment, if something is unclear. - Zeal 22:25, 9 Apr 2005 (UTC)

title: Talk:Finnish/Introduction


text:
User:Firoz~enwikibooks

Hi, My name Firoz Ansari and I am working as a System Analyst in one of the leading software development company in Pune, India.

title: User:Firoz~enwikibooks


text:
Cookbook:Egg Roll

| Meat Recipes

Egg rolls are a savory Chinese-American fried pastry. They consist of a filling wrapped in a wheat flour skin and deep-fried. Egg rolls may be eaten plain or dipped in sweet-and-sour sauce or teriyaki sauce.

Note that these egg rolls do not contain cabbage and carrots, which are used by commercial egg roll producers to cheapen the filling; as a result, the filling in these egg rolls is superior to the commercial product.

Ingredients

 * Egg roll wrappers (purchased or made from scratch)
 * Chicken or pork
 * Broccoli (optional)
 * Bok choy (optional)
 * Celery (optional)
 * Spinach (optional)
 * Bean sprouts
 * Powdered ginger
 * Soy sauce
 * Bamboo shoots
 * Oil to fry the filling, possibly including sesame oil
 * Oil to fry the finished rolls, possibly including shortening
 * Egg white

Filling

 * 1) Cut the meat into tiny pieces. This is much easier to do if the meat is cooked, but the result will be better if you cut the meat raw and cook it after cutting.
 * 2) Cut the bamboo shoots into matchsticks.
 * 3) If using, chop the broccoli florets into little pieces ~⅜ inch in diameter. Cut the stalk into matchsticks.
 * 4) If using celery, cut the stalks lengthwise into ¾ inch-wide pieces and then crosswise into ⅛-inch slices.
 * 5) If using bok choy, cut the leaves away from the stalk. Treat the stalks as celery. Cut the leaves crosswise in ½-inch strips, then break the strips into 1.5-inch pieces.
 * 6) If using spinach, treat it much like the bok choy leaves.
 * 7) Wash the bean sprouts, discarding any that are not white and crisp.
 * 8) Place oil in a wok and turn on the heat. High temperatures can produce a better result, but they require rapid stirring to prevent burning. Beginners should use lower temperatures. Split the cooking into batches as needed to ensure that your wok is not too full; there should be plenty of room to stir and toss the food in your wok. You may prefer to cook each ingredient separately, then mix them at the end.
 * 9) Add the meat. If it is uncooked, lightly stir-fry it now. Drain juices and add more oil as needed.
 * 10) You may add a small amount of sesame seed oil and/or sesame seeds for flavor.
 * 11) Add soy sauce. For a typical wok full of food, add a tablespoon.
 * 12) Add ginger. About ½ teaspoon of ginger should be right, depending on taste. Ginger is somewhat hot.
 * 13) Add the broccoli, celery, and/or bok choy stalks. When done, they should be just slightly softened. Broccoli should end up being very bright green, losing the bluish cast but not gaining any hint of a yellow-brown cast.
 * 14) Add bok choy leaves and/or spinach. When done, they should be just barely wilted.
 * 15) Add the bamboo shoots and bean sprouts, and turn off the heat. Do not overcook the bean sprouts.

Construction and frying

 * 1) Begin heating oil to fry the egg rolls. Deep-fat frying works best, though pan frying in ¾-inch of oil will also work. You will not need a basket; egg rolls may stick to a basket and rip. You will need tongs.
 * 2) Place an egg roll wrapper on a plate. Beginners may use flour to help avoid sticking, but this will quickly foul the oil.
 * 3) Turn the plate so that the wrapper has one point toward you and one point away from you.
 * 4) Place some hot filling on the wrapper.
 * 5) Fold over the corner that faces away from you.
 * 6) Paint some egg white onto this corner to act as glue.
 * 7) Fold over the left-facing and right-facing corners.
 * 8) Paint some egg white onto these parts also, and also onto the remaining corner.
 * 9) Roll the egg roll toward you, onto the remaining corner of the wrapper.
 * 10) Examine the wrapper to ensure that it is fully sealed. Tears may be patched up with pieces from a spare wrapper and some egg white glue.
 * 11) Place the egg roll into the hot oil. You may be able to cook several at once, but do not allow the uncooked egg rolls to sit for long. Egg rolls that sit uncooked will become sticky and easy to tear.
 * 12) Turn the egg rolls over a few times as they cook, and dunk them under the oil. Be sure not to break them open as you do this.
 * 13) Remove the egg rolls when they are golden brown. Place them onto a fresh plate, so that they do not become contaminated with raw egg whites. Be sure to not handle the cooked egg rolls with hands that may be contaminated with raw egg whites.
 * 14) Serve quickly; they are best eaten hot.

Notes, tips, and variations

 * Like other fried foods, egg rolls do not keep very long after cooking, but the filling itself will keep well in the fridge.
 * Leftover filling and wrappers may be used to make wonton soup. Leftover wrappers may be deep-fried alone, then immediately covered in sugar and cinnamon.

Warnings

 * When a pot of hot oil catches fire, the flames will reach up for 2 or 3 feet. If you must work under flammable cabinets or shelves, be sure to have a fire extinguisher handy (class K in the United States, class F in Europe.) An oil with a high smoke point is less likely to cause problems, including indoor air pollution and fire. Do not use water to extinguish an oil fire.

title: Cookbook:Egg Roll


text: User talk:202.154.113.214

title: User talk:202.154.113.214


text: User talk:200.134.9.245

title: User talk:200.134.9.245


text:
User:Fommil

i am the maths coordinator of the "Free High School Science Textbooks" project. we aim to create printable books, but by using LaTeX2HTML scripts, we hope to add our content to wikibooks one day.

title: User:Fommil


text:
Conlang/Beginner/Grammar

While we are all familiar with English grammar (if you can read this), it should be noted that every language has its own grammar that may not resemble that of other languages very closely at all. Even closely related languages may differ greatly in their grammar. Don't be tempted to just copy English grammar for your conlang — the result would only be a relex of English.

Unrelated languages may have grammars that seem to have nothing in common. The use of triggers or polysynthesis would strike many English speakers as quite alien. Japanese honorifics likely appear counterrevolutionary to socialists or at least unnecessary to the average English speaker. Nonetheless, they illustrate the massive variety in grammar.

There are two main parts of grammar:

 * Morphology in where words are altered to mean different things.

 * Syntax in where words are arranged in sentences to mean different things.

The difference between the present and past tense forms "run" and "ran" in English is an example of morphology. The difference between the sentences "The dog bit the man" and "The man bit the dog" is an example of syntax.

Morphology
A word can take different forms to show that the word has different properties, like singular/plural, or past/present/future. Sometimes a property of a word can only be one way, like she that's always feminine (though this doesn't happen too much in English). When properties of a word can change, the changes are shown by adding affixes; some different kinds of affixes were suggested in the previous section. Different properties may be shown by separate affixes, but they don't have to be; it's common in natlangs for a single affix to show a certain combination of properties, like "past second-person plural", or "masculine accusative singular".

Here are some properties of words that you might choose to show in your morphology.

In verbs, morphology often shows tense, mood, aspect, and voice, and sometimes person, number, and evidentiality.
 * Tense is the time at which the action of a verb happened, such as past, present, or future. You may have more than these three tenses, depending on whether you want to create tenses that describe that the action happened in the remote vs. near past, or the like.
 * Mood is a way of describing the way the action took place: whether it happens, might happen, can happen, is commanded to happen, etc.
 * Aspect describes the nature of the action in relation to its time: whether it has been done once, happens repeatedly, continues to happen, starts to happen, etc.
 * Voice describes whether the subject does the action, the subject has the action done to it, or the subject does it to itself.
 * Person and number are simply the verb agreeing with its subject — or, in some languages, the verb agreeing with some other noun in the sentence, like the direct object.
 * Evidentiality is how the speaker knows the action happened, and this is common in Amerindian languages. "John cut down that tree" may be inflected different ways depending on whether the speaker saw John do it, has heard so, or is simply supposing so from evidence.

In nouns, morphology may show case, gender, and number.
 * Case is a way of inflecting a noun to show syntactic roles in the sentence: subject, direct object, indirect object, etc. It may also show the object of a certain preposition.
 * Gender is a way of classifying nouns into groups. Note that this need not be masculine/feminine: none of Swahili's seven genders correspond to sex.
 * Number tells how many of the noun there are. English has singular/plural, but Japanese does not differentiate between singular and plural.  Ancient Greek has the dual for pairs of things, and many Austronesian languages have the triadic for triplets.
 * Person tells how the noun is related to the speaker and the audience. Natlangs mainly use it on pronouns.  English has first, second, and third person, but there are other ways to go.  Some natlangs distinguish whether the first-person plural "we" does or doesn't include the audience, or whether a third person is or isn't closely related to the discussion.

Adjectives and adverbs can come in regular form/more/most (often called degrees or degrees of comparison), and may also agree with properties of what they modify (like gender and number).

Syntax
The three main parts of a sentence are the subject (S), verb (V), and object (O). Every natural language on Earth (okay, almost every language on Earth) has a "neutral" word order in which these bits of information can be conveyed without added information or special emphasis. The default, unmarked word order of English is SVO. ("Mice eat cheese.") Spanish uses SVO much of the time, but typically uses SOV when the object is a pronoun ("Mice it eat"). Theoretically any order can be used, but some are more common than others. SVO languages make up about 40% of the world's natural languages; SOV are another 40%, and VSO ("Eat mice cheese") about 15%. The other three combinations, OSV, VOS, and OVS, are much rarer among natural human languages, for some reason, but that doesn't keep you from using them in a conlang. Klingon is OVS. uses OSV — and apparently so does 's native language, judging from the odd way he arranges his sentences in English ("Your father he is").

Just because a language has a neutral order of these parts, that doesn't mean it always uses that order. In English, some kinds of questions use a different order, as in "Are you serious?" (VSO), or "What do you mean?" (mainly OSV, with an extra twist in the auxiliary verb "do"). The conlang uses word order to show tense: SOV for past, SVO for present, and VSO for future.

The next most important thing to decide about word order is whether modifiers — be they words, phrases, or clauses — come before or after the word they modify. For example, an adjective in English usually comes before its noun, so "red brick" is a building material with a certain color, rather than a color typical of that building material (which in English is called "brick red"); but in Spanish, an adjective usually comes after its noun, so "rojo ladrillo" — word by word, literally "red brick" — is a brick-like shade of red.

There are a few VSO and SOV languages that don't always follow these rules, positioning some kinds of modifiers differently. And anyway, since you're building a conlang, you get to put things where you want them.
 * In VSO languages, usually modifiers come after what they modify.
 * In SOV languages, usually modifiers come before what they modify.
 * In SVO languages, some kinds of modifiers may come before what they modify, and other kinds may come after (as in English, which usually puts adjectives before nouns, but modifying phrases and clauses after).

Modifying phrases and clauses are usually marked by special words: English uses a preposition at the start of a modifying phrase, while other languages may use a postposition at the end of the phrase, and still others bound both sides of the phrase with a circumposition. Usually, there's a marking word between the phrase and what it modifies — so that a preposition goes on a phrase after what it modifies (as in English), and a postposition goes on a phrase before what it modifies.

Putting it all together
Languages can differ in how much they rely on morphology versus syntax, and how they specifically use each of these two aspects of grammar to convey meaning. Some languages rely heavily on changes within words to indicate meaning, and let words be arranged somewhat freely within sentences, like Latin: the neutral word order in Latin is SOV, but these main parts of the sentence are marked by their form, so that rearranging their order only changes which parts are most emphasized. Other languages rely heavily on the order of words within sentences, like English.

A final thought on grammatical ambiguity. In natural languages, ambiguity happens. It happens because a sentence can be read in two different ways, and it happens because one language doesn't even try to specify something that another language goes to a lot of trouble to pin down. Some languages don't even (grammatically) show past, present, and future tense! So an ambiguity in your grammar isn't always a problem — your conspeakers might have some rule for resolving it, or avoiding it, or they might not even notice it.

title: Conlang/Beginner/Grammar