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Introduction to Moral Reasoning

Part I - Premises

 * 1) /What is Moral Reasoning?/
 * 2) /Why Study Moral Reasoning?/
 * 3) /How to Study/
 * 4) /Traditions in Philosophy/

Part II - Early Moral Theory

 * 1) /Socrates and Plato/
 * 2) /Epicurus and Lucretius/
 * 3) /Diogenes, Alexander and Aristotle/
 * 4) /Alexander the great; Conqueror king or Philosopher king/
 * 5) /Marcus Aurelius, Marcus Cornelius Fronto and Seneca/
 * 6) /Philosophy on the Silk Road/

Part III - Judeo-Christian Moral Theory

 * 1) /Biblical Precedents/
 * 2) /Maimonides/
 * 3) /St. Augustine/
 * 4) /Thomas Aquinas/
 * 5) /C.S. Lewis/

Part IV - Secular Moral Theory

 * 1) /Plato/
 * 2) /Aristotle/
 * 3) /David Hume/
 * 4) /Immanuel Kant/
 * 5) /Ludwig Feuerbach/
 * 6) /Friedrich Nietzsche/

Part V - Responses to Secularism

 * 1) /Soren Kierkegaard/
 * 2) /Martin Buber/

/Authors/

title: Introduction to Moral Reasoning


text:
Introduction to Moral Reasoning/Authors

This module is inspired by an excellent university course concerning moral reasoning. -Lefty

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

title: Introduction to Moral Reasoning/Authors


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Movie Making Manual/Pitching

Making a film is a group endeavour. You cannot do it alone and you will need to convince others to come along for the ride. Sharing your idea for the film and the story of the film is called "pitching" and if you want to be a filmmaker you need to get good at it.

Hook
Describe your film in a sentence. Few have done better than the Alien description of "Jaws in space." But beware - "movie x in setting y" or "movie a meets movie b" descriptions (known as "High Concept") are becoming clichéd. Don't try and force your one-line description into one of these if it doesn't fit.

Use Descriptive language
Be as precise as possible with your language. Which is better?

 * 1) Amores Perros opens with a shot of a dog.
 * 2) Amores Perros opens with a shot of a slavering pit bull terrier.

When pitching a film you need to use visual language. Make the audience of your pitch "see" the film you are describing - sell the sizzle not the steak.

/Writing movies /Money

title: Movie Making Manual/Pitching


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Movie Making Manual/Location Scouting

There’s no great mystery to scouting good locations for a film. There’s no template that tells you exactly how to do it, either. Many of the requirements for a location will be in the script. Finding them is down to marshalling your resources. If you know the area where you are looking, you are well on your way, If you don’t, a good starting point is people who do know it well.

Start with the local film commission. It is their job to attract films to their area and not just big budget films. You may be shooting on a shoestring today, but what about next time? Film commissions are keen to generate future film spend, so they will always be willing to help you stretch today’s pennies so you will be keen to come back. Their collective body is the Association of Film Commissioners International, found at http://www.afci.org/ Their website is a mine of location information and their on-line magazine “Locations” is packed with features on places where film has been shot all over the world.

When we were locating King’s Ransom in Newcastle Upon Tyne, Northern Film Commission were delighted to assist. From notifying them of what we had in mind to the day we wrapped at the last location, they did everything we asked of them and more. They emailed photographs of possible locations from their photo archive before our first recce and then spent recce days with us getting firmer and firmer ideas of what we were looking for. You will find them at www.nsc.org.uk

Their suggestions were always pertinent and they would follow up with calls to local estate agents to establish baseline property rental costs for us before we negotiated with location owners. Until we got a local production office established NFC acted as local referral point for everyone contacting us. Nearer the shoot they also helped us find local crew.

Other people who can come up with useful location suggestions include tourist offices, jobbing builders, delivery people and local council officials. When we needed to find a tidal watersplash scene for a pursuit sequence involving 4X4s, we asked the local Landrover club. They not only knew the places where you could drive Landrovers safely through the tide, but they knew which rivers you could drive up with a Landrover as well! Useful people to know. Their members also have 4X4s for rent as picture and action vehicles.

Draw up a standard location form on which all essential information can be recorded. It is a good idea to attach a sketch plan showing the location layout, access points, fire hydrants, water main, parking areas and so on. Also space for all the phone numbers of contacts people for that location. You will also need to make a risk assessment for the location, of which more later.

Having homed in on some likely prospects you have to consider aesthetics.

The location has to be able to meet the needs of the scene. Will it shoot just as it is, or will it have to be dressed for the part? In King’s Ransom, Mr Bright’s antique shop was in a former cinema and the entrance we needed to use looked like the emergency exit from a cinema rather than the entrance to an antique shop. The broad pavement outside dressed nicely with large antique pieces like a huge wooden mangle. A fresh painted trading title and a couple of pavement advertising boards turned the place into Bright’s antique warehouse and the location exterior looked fine.

Location checklist

 * Sound
 * Will the location be quiet during your shoot dates?
 * Check with the local authority to ensure no building work will be running whilst you're filming.
 * What are the acoustics like?
 * If unsure, ask the sound recordist to check out the location.
 * Available light
 * Daylight?
 * Can you clean the windows?
 * In which direction do the windows face?
 * During which hours of the day do you get direct sunlight through the windows?
 * Can you swap out the fluorescent tubes for color-corrected tubes?
 * Power.
 * can you tie into the local mains power supply?
 * is it OK for you to use a generator?
 * check out the legal requirements for storing fuel.
 * Will people mind the noise of a generator?
 * where can you get fuel from?
 * Will the generator run on red diesel?
 * Parking
 * How much will it cost?
 * Where can you park the vehicles so they won't be in shot?
 * Check where you can and can not put gaffer tape.
 * And, most importantly, does the location suit the script?!?

/Locations /Pre-production

title: Movie Making Manual/Location Scouting


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Movie Making Manual/Super 8mm Film

This Module is part of the Movie Making Manual wikibook

Taken from wikipedia as starting point...please edit to make more relevant to filmmakers....

Super 8mm film is a motion picture film format that was developed in the 1960s by Eastman Kodak as an improvement of the older 8mm home movie format. The film, 8mm wide, comes in plastic cartridges containing a 50-foot reel (about 3 minutes, depending on the film speed). Color stocks were available only in tungsten (3200K), and cameras were required to come with a built-in daylight filter, allowing for both indoor and outdoor shooting.

Amateur usage of Super 8 has been largely replaced by video, but the format is sometimes used by professionals trying to imitate the look of old home movies, or create a stylishly grainy look. Many independent filmmakers such as Derek Jarman have made extensive use of 8mm film with remarkable results, and it appears to have made something of a minor comeback in both the art and experimental film world. Oliver Stone, for example, loves to use it in his more recent films, such as The Doors Natural Born Killers, Nixon, U Turn, and JFK where his DP Robert Richardson employed it to evoke period or to give a different look to setups within a scene.

Until 1999, the University of Southern California's famous School of Cinema-Television required students to shoot their initial projects using Super 8, but the dwindling availability of equipment and processing facilities eventually forced the school to switch these classes to Digital Video. However the film is still used elsewhere by film students who wish to learn the basics of shooting film.

Super 8 is supplied in a light proof cartridge, the design of which allows it to be inserted into a camera without directly threading the film, which made the format even more user-friendly.

Kodak (as of 2004) still manufactures several color and black-and-white Super 8 films, and even introduced new emulsions since year 2002. The most popular Kodak stocks usually have been either Kodachrome or Ektachrome, and usually tend to be quite slow, usually around ISO 25, although there are known stocks that go up to ISO 100 and higher.

The Japanese company Fuji produced another variant called Single 8. The film was exactly the same as Super 8, but used a different design of magazine.

title: Movie Making Manual/Super 8mm Film


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Movie Making Manual/Low Budget/Shooting on Film

You can shoot on 16mm very cheaply if you want. If you wish to shoot on film, here's one way of doing that (prices are for the UK):

Stock

 * 1) Get yourself some short ends AKA free film.
 * 2) Run the stock through a dip test to find out which cans are dud and which are usable.

Camera hire
Most large rental houses have some very nice people in them who are willing to lend cheapskates like us a decent 16mm camera kit for virtually nothing. Just be honest with them - tell them you've done everything you can to raise the money and promise them a screen credit. Be VERY nice to them. You could get an Arri SRII, with a set of primes and a handful of glass filters for around UKP 100 - 200 for a WEEK. Try to avoid shooting in summer though as all the film students will be using the kit. And remember to budget for transport - all those flight cases are very heavy and large. And for God's sake CHECK every bit of kit before it leaves the camera floor and when you return it. And I don't mean just check you've got the right number of boxes - look inside each box and tick off every cable, bolt and filter - I almost got myself in UKP 35,000 of debt because the camera hire company claimed we'd forgotten to return the remote control for the dolly (it turned out they'd screwed up and sent it to the wrong place - but I wasn't sure because we hadn't checked properly).

If you're really skint then try to blag a 16mm camera from your local film society or school. Or, even better, find a Director of Photography who owns their own camera and persuade them of the genius of your script.

And budget for insurance! No camera hire company will give you the kit without insurance. Insurance for UKP 100,000 worth of kit for a week should cost around UKP 150 - 250. Shop around for insurance - the premiums vary by about 200% between insurers.

Developing
8p per foot is probably the cheapest anyone will develop it. (400ft of Super 16mm = 11 minutes at 25 fps ... so, if your running time is 10 minutes and you're using a 10:1 shooting ratio, that's 100 min of stock, which equals 3636 foot of Super 16mm, which comes to a cost of UKP 330.

Telecine
Return again to your bible (The Knowledge). Find the chapter on Telecine. Phone them and ask, very nicely, if they have any trainee telecine operators who wouldn't mind scanning your film during down-time in return for a generous volume of their favourite drink and a special thanks on the credits. Most will reply "no" or "sure, that'll be £400 per hour". But some will say "not a problem, come round next Tuesday evening and we'll se what we can do".

See also the "Amateur Telecine of Super 8mm Footage" guide in the Telecine section for a cost-free telecine method. Before some wiseguys rush to say that the method is useless, I would like to make clear that this is an AMATEUR method, suggested for personal, non-critical usage only, not for professional use! And if one follows all the steps EXACTLY, he/she will get very good results. After all, it is free, trying it won't hurt...

Guestimate budget
So, a rough camera hire and filmstock budget for a week's shoot for a 10 min short would be:

UKP 100 dip tests + UKP 200 camera hire + UKP 200 insurance + UKP 330 developing + UKP 50 alcohol for TK opp = UKP 880.


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Movie Making Manual/You the Filmmaker/Networking For Filmmakers

The adage "It's not what you know but who you know." is probably closest to being true in film. Writers need producers, directors need cinematographers and editors, actors need directors, everyone needs actors, producers need everyone.

This is the most collaborative of all creative mediums and the personnel often change from project to project - producers especially need a large network of contacts to succeed. Do not despair if you don't have a large pool of contacts as meeting, getting to know people, and turning casual contacts into useful ones are skills which can be learned. What you know actually determines who you know.

Although we all try to network, many of us in the industry could be better at it. This article is primarily written for producers but everyone from actors to zoom operators will find it useful.

=Why Network?=

Why make films? Why tell stories? We are filmmakers because we have something to communicate. Communication implies other people.

Perhaps in certain fields of human endeavour one can become successful through skill and talent alone - maybe seismologists don't need many relationships with others. For filmmakers however, social skills are as important as creative ones and to be effective in the industry it is necessary to assiduously develop both.

To work, raise money or get any recognition we must establish professional relationships within the industry, networking is the most effective ways to start off these relationships. For some people networking comes naturally but most of us have to work at it, and work at it we should for our careers may well depend on it..

=What is Networking?=

Having lunch? Speaking on the phone a lot? Using friends to find work? Using acquaintances to find work? An excuse to socialise rather than finish that difficult treatment?

Networking is not only about meeting people but also about building trust with those people and making effective use of our relationships with them. It is not good enough to briefly meet Steven Soderberg at an event and then send him a script - he probably gets that a lot. Networking is about building a *relationship* and to do that you need to help people.

The key to networking is helping people, selfish people are very poor networkers. If you are possessive about your time and contacts you will fail at it.

If for example you have a contact in Greek Television and you meet someone who happens to be making a film with a Greek actor - pass the contact on, the person you met will remember you and be more inclined to help you later. Some help you can give people:

 * Supply information
 * Supply introductions
 * Give ideas and advice
 * Give personal support
 * Give free or discounted services

An effective skill to learn is how to spot opportunities for others. Every offer we turn down as inappropriate may be perfect for someone else in our network. To quote Dale Carnegie, "You can make more friends in two months by becoming really interested in other people than you can in two years by trying to get other people interested in you.". This is just another way of saying that the way to make a friend is to be one.

Networking is not a game so don't keep score. I once asked a friend who has been in the business a lot longer than I for an introduction and was stunned by the response, "No you haven't really done enough for me to justify my giving that away.". This business moves in cycles and those down and out today may well be in a Tarantino film tomorrow.

=Who to Network With=

It is tempting to network with those people who we have a lot of common ground with and spend more time with them, forming close friendships. While it is wonderful and crucial to have friends it is only by reaching out to those who we may not have much in common with initially that we will actually build our networks.

These so-called "Weak Ties" are important because friends are likely to be exposed to the same sources of information as us and therefore don't have fresh news or relationships outside our circles. Those with whom we don't have huge amounts in common with will have access to other groups of people and other sources of information.

Don't network with dodgy geezers or dilettantes - they will sully the reputations we are busy building. A crucial element of networking is building and maintaining trust and nearly all effective networkers are held in high regard by their peers and have exacting ethical standards.

Selectivity is important in other ways. We will spend a lot of time helping our network of contacts so time is best spent on those who:

 * Are good at what they do
 * Understand networking and are willing to enter into the spirit of a mutually beneficial relationship

=Effective Networking=

Don't help one person by placing a burden on another, look for win-win situations.

I once made passing contact with a high level staff member working for Soros Private Equity (Venture Capital) and then promptly emailed him the CV of my friend who was looking for a job with a VC. This was premature. A better tactic would have been to, over some time, give him info about events in the high tech market he may have not spotted. This could have got him feeling obliged and relying on my information at which point I could have asked him to meet with my friend who was looking for a job in VC.

 * If a contact shares interesting information that merits passing on we must ask how confidential it is.
 * Always ask permission before passing on a contact's personal details.
 * Let the person who gave us the information know the outcome of their introduction.
 * If things work out show our appreciation.
 * If we cannot help or pass on information explain why.

=Networking Online=

By subscribing to online groups and better yet contributing to them it is possible to make many useful contacts and perhaps even be remembered in face-to-face meetings. Networking At Events

Remember that most of the others at an event feel just as out of place and uncomfortable as we do, try a conversation opener to break the ice. Closed question which supply the answer ("Busy tonight isn't it?", "You early too?") are nonthreatening and work well, this should be followed with an introduction and a business card.

To join groups of people conversing hang about next to the group and spot who's doing most of the talking (If I'm there chances are it will be me!) and when the opportunity arises ask that person a question, you will soon be included in the conversation.

It sometimes feels like we should meet as many people as possible but flitting from group to group is ineffective. Better is to concentrate on making a couple of meaningful connections at each event this will soon expand our networks.

Worldwide
Mandy.com [facezindia.com]

Kemps

UK
UK Film Council

=Networking Tools=

Whether it's a palm pilot, a mobile phone, a super rolodex or an ipod it is a good idea to use a system to keep lists of contacts current and backed up - digital is easier but not essential. A back up or a photocopy of the contact file is critical - knowing George Clooney is no good without his phone number.

To keep up contact with many people some form of system is essential. Recommending a specific system is beyond the scope of this essay but consider investing in good address book software or some form of CRM system and update and organise lists regularly. Like going to the gym updates are best if done regularly at a scheduled time.

Uber-networker Harvey Mackay organises his contacts daily and spends one Sunday per month going through his (thousands of) contacts, reconnecting with some and pruning others. Business Cards

You need business cards - they are inexpensive, Printing Direct made me 250 full colour cards for £50.00, their prices start from £24.00. Having cards immediately raises your level of professionalism.

=Sources=

/Directing /Developing movies /Crew /Training /Tools and equipment /You the filmmaker


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Movie Making Manual/The Basic Basics

Conceptualization
The beginning of the process. Here the idea germinates. Investors and/or the conceptualizers usually finance this first stage, principally because it doesn't cost anything.

Project development
The conceptualizers, which may be a single writer planning a spec script or a producer or syndicate, put the broad outlines of their project in place. If they have started the idea from scratch, they write a treatment to present the idea to others, followed by the writing of the full script. If they got the idea from a book or story, they seek to purchase the film rights and, once they have a signed contract, begin to convert the story into a script.

Sometimes a director or producer will approach a writer with an idea. They hire the writer under a "work-for-hire" contract, meaning that the rights to the developed script remain with the person who provides the idea and the money to develop it. Professionals will usually provide the writer with a registered treatment of at least 3 pages outlining the story in detail. People new to the industry will simply tell the writer the idea in a few words. The writer will go off and turn the idea into 90-120 pages of plot, characters, dialogue, and action.

Production Design
The art director, production designer and/or producers decide on the overall feel of the production. This has a huge effect on the script breakdown.

Script Breakdown
The Production Designer and the producers dissect the script to identify how many of everything they need; i.e. actors, locations, visual and computer effects, props & costumes.

Crewing up
The producers design a basic timeline and make initial wish-lists on actors, head crew members (director, director of photography (DP), gaffer, sound, visual effects designer, computer effects designer, editor and musician), locations and equipment as it affects format (b&w or colour film, video or digital video)

Finance
This stage runs concurrently with conceptualization but can only really reflect actual needs after the script breakdown and production design stages have finished.

Budget
This tries to take into account all expenses for the entire venture based on results from the script breakdown and production design as well as budgets from similar projects. The line producer (someone familiar with filming in a particular geographical region) usually does the initial budget.

Investors
At this stage the project requires a second level of investors to commit to the project to carry it through to completion. The art of deal-making rules this stage. A good producer can raise millions based on how well they understand the distribution and exhibition controls in the industry. Small productions rely on smaller, non commercial forums of funding.

Market analysis
The producers and distributors clearly define the market at this stage.

Pre-production
Once the line producer completes the initial script breakdown, supplying the budget and schedule for the production, the initial meetings take place with the people involved and all the producers make all the 'final' decisions for the production. The line producer prepares the final budget and schedule during pre-production. Sometimes the 1st assistant director prepares the schedule with the line producer.

First meetings
The producers and crew heads meet to determine if they feel comfortable working together. As each has very different styles of working this meeting stage can make or break the production. Also the director usually meets with the major actors, determining if (s)he feels the actors need rehearsal time, or training (athletic, martial arts, military, medical, etc.) to play their roles.

Locations
The production team (in coordination with the art department) secures locations for the shoot. They determine time-frames and iron out all potential problems (seasonal traffic, weather, etc.) If the production shoots on a sound stage, the set design and construction begins.

Props & special effects
The special effects team and the art department determine what they need to build, buy or borrow (miniature models, multiple vehicles for stunts and explosions, effects make-up, aged props and building, set dressings, etc.).

Production
The executive producer gives the money to the producer to make the motion picture. The producer hires the director who will control the performance of the actors. The producer hires the cinematographer (director of photography) who will capture the performance of the actors on film or digitally. The producer hires a production manager (or line producer) who then hires all the workers (the crew) for the filming of the motion picture. The producer or the production manager will hire the sound recordist (sound mixer) who will capture the dialog of the actors. The producer and the director select the actors for the motion picture with the assistance of a casting director. Each day on the movie set, the actors and crew turn into reality the planning of the production. On the set: Lights, Camera, Action!

Head crew Directors and assistant directors, script supervisor and location manager.

Camera department Director of photography, camera operator, camera assistants and focus pullers.

Lighting/electrical department Gaffer, best boy electric and electricians (sparks).

Grip department Key grip, dolly grip, best boy grip, rigging grips and grips.

Sound department Sound mixer, sound assistants and boom.

Art department Art director, prop manager, painters, set dressers, and construction crew.

Make-up/hair department Make up artist, hair designer, special effects make-up designer and assistants.

Wardrobe/costume department Costume designer (not on set), wardrobe manager, and dressers.

Visual effects department Visual effects supervisor and support crew.

Production department Production manager (not on set), production coordinator, and production assistants (PAs).

Support crew Medical, transport, catering, personal assistants, still photography, and behind-the-scenes videographers.

Post Production
On completion of filming (and even while it still continues) the editing team goes to work to start cutting the project together. If you are interested in learning how to do these steps using your personal computer, see the Teach Yourself Filmmaking section.

Developing /Dailies/Logging
Every night during shooting of the motion picture, the film reels and the sound reels are sent to the lab. The film is developed and circle takes printed onto film or telecined onto video tape. Then the audio is synced with the picture to create the dailies. Or to explain it another way: The dailies are created by combining the visual image (from the motion picture camera or from the DV Camcorder) with the audio (the dialog) from the sound recorder. To begin post production, a copy of these dailies are converted into the formatted required by the film editor and logged. On film, this is known as the work print. The editor never works with the original negative which scratches too easily. For digital films, this is called the off-line edit which is lower resolution than the original images which saves disk space and speeds up playback. For bigger films, logging means that information about every piece of film and every bit of audio must be entered into a huge database which is accessible by the entire post production staff.

Editing
Building the scenes to tell a story. Nowadays, non-linear editing using computers has become the norm (Avid, Final Cut Pro, ...) The editor works closely with the sound effects department and the film scoring person to bring the maximum impact to the movie. For action sequence, the scene will be edited based on the visual images, the music and the sound effects. For conversations, the editor must cut to get the best quality dialog... as well as to worry how the music and sound effects will affect the scene.

ADR
Editors must re-record dialogue that cannot be salvaged from production in a process called looping, dubbing, or ADR. ADR stands for either Additional Dialogue Recording, or Automated Dialogue Replacement, depending on whom you ask. But don't ask why the A sometimes stands for Automated, because there's nothing particularly automatic about the process. An actor watches the image repeatedly while listening to the original production track on headphones as a guide. The actor then re-performs each line to match the wording and lip movements.

Actors vary in their ability to achieve sync and to recapture the emotional tone of their performance. Marlon Brando, for example, was said to enjoy looping because he didn't like to freeze a performance until he knew its final context. (People have said that he mumbled during his on-camera performances to make the production sound unusable, so that he can make adjustments in looping.)

ADR is a necessary evil when production sound is unusable, but directors can also use it to add new character or interpretation to a shot. By altering a few key words or phrases an actor can change the emotional bent on a scene.

Sound Effects
The sound effects (including the Foley, Walla, & Ambience) make a scene seem real. Without the addition of sound effects, a scene would feel like it was filmed on a studio sound stage... which it probably was. Sound effects recorded by a sound effects person are rarely used as is. Instead, sound effects are "sweetened" and enhanced.

Foley
A sound effects technique for synchronous effects or live effects. Foleying supplies the subtle sounds that production mikes often miss. The rustling of clothing and a squeak of a saddle when a rider mounts his horse give a scene a touch of realism that filmmakers find difficult to provide using other effects methods. The good Foley artist must "become" the actor with whom they sync effects or the sounds lack the necessary realism to convince the audience. Most successful Foley artists are audiles; they can look at an object and imagine what type of sound it can be made to produce. The foley crew include the artist or "walker," who makes the sound, and a technician or two to record and mix it. A foley stage often appears as a storage area for the studio's unwanted junk. Metal laundry tubes filled to the brim with metal trays, tin pie plates, empty soda cans, hubcaps, bedpans, knives, forks and broken staple guns. They use these crash tubes for anything from comedy crashes to adding presence (brightness and naturalness) to something as serious as a car crash.

Walla
Walla is the indistinguishable mutterings of people in a crowd. It takes a special skill to create a series of intelligible words with no clear meaning.

Ambience
Unlike sound for television dramas, a motion picture normally records only the dialog (the spoken words) during production. All the other sounds are created in post production. This gives greater freedom when editing the dialog. Therefore, the natural sounds of the environment need to be added. This is especially true if the scene was recorded on a sound stage at the motion picture studio where the background sounds are never natural or realistic. The sound of the environment is the ambience and must be recorded in a real location. Even though ambience is very soft in the background, a scene will feel flat without it.

Ambience is also sometimes referred to as "room tone."

Musical Scoring
The musical score and the musical sound effects create the mood for each scene. Writing the music for film and TV requires special skills from the composers, musicians and sound engineers; they all need a flair for the dramatic and the ability to envision sound. Even though the actors' voices adds a kind of music to a scene as they speak, adding additional music is often necessary to create the proper mood. It is often the director who tells the film's composer what moods he wants the audience to feel during the action and the dialog in the motion picture.

Visual Effects
Visual effects are any element which was not captured during filming that must be created later. This can be done by computers (CGI) or by matte paintings. When two or more elements must be combined (such as live actor shots with computer generated effects), the images are composited.

CGI
CGI stands for Computer Generated Imagery. This term refers to any element created within a computer and encompasses anything from adding digital fog to a scene, to generating a crowd at a stadium, to creating whole characters, completely animated, such as Gollum from the Lord of the Rings films.

Matte Painting
Matte Paintings were originally hand-painted scenery on glass which was photographed along with the live action. When using a matte painting which has been painted on clear glass, the matte painting sits in front of the camera while the actors perform on a partial movie set which can be seen through a clear spot on the matte painting. The rest of the movie set is simply the painting. Now Matte Paintings are created with hand painting, paintings using computer software, still image manipulation, and/or 3D models which have been rendered, and then the matte painting is combined with the live action by compositing in post production, rather than during the filming of the movie.

Titling
Filmmakers consider designing the opening and closing credits to a film or TV piece as an art and skill in itself. Nowadays people's whole careers can consist only of designing titles for major motion pictures and television series.

Compositing
When separate visual elements on film are combined, this is called opticals. With computers and digital images, this is called compositing which is just like combining pictures with Photoshop.

Conforming the Negative
Once all the post production is finished and a working edit of the movie is completed and approved, the negative must be cut to match the working edit of the movie. Only after the negative is conformed is the movie is ready for viewing in a theater (usually at a film festival) where the motion picture will be seen by the public (and potential distributors) for the first time. If the motion picture was made with digital images, the movie must be rendered at full resolution (the on-line edit) and transferred to film. If there will be a digital intermediary, the digital version or a digitized version of the conformed negative is color corrected and then rendered onto film.

Distribution
If the project has distributors on-board from the beginning, this process requires little more than sitting back on the part of the producers and investors, as the distributors practice their trade. However if the producers have not pre-sold the distribution rights, this can entail going to film festivals and/or door-to-door selling to TV, cable stations or video/DVD distributors.

Delivery
Once the motion picture has been sold to a distributor, the distributor will spell out exactly the elements that she requires to accept the film. Then the filmmaker goes back and prepares all these elements. For very low budget movies, this can cost more than the entire production and includes such odd things as insurance policies for errors and omissions and a sound track for the motion picture which has been divided into three separate parts - Dialog, Music and Effects. It is the distributor who will create all the foreign language versions of the motion picture and make all the necessary cuts and reedits to the motion picture to get it acceptable for foreign markets.

Publicity material
Marketing also requires the design of posters, audio & visual trailers and merchandise. Special staff, like graphic artists and voice-over characters, work to produce these invaluable tools. It is the distributor who creates the DVD-Video disk so the distributor must create the special features and publicity for the DVD-Video disk. Hopefully, the production company has created and saved the necessary items need for the publicity such as production stills and documentaries for the DVD-Video disk.

Getting Started
If all of this sounds exciting, you can get started by reading the section called Teach Yourself Filmmaking. This section of the Movie Making Manual shows you simple ways to begin learning how you can make your own motion pictures.

Wikiversity

 * Note
 * Wikiversity now offers free classes in filmmaking and film scoring.

Basic Basics Basic Basics Basic Basics Basic Basics

title: Movie Making Manual/The Basic Basics


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Movie Making Manual/Directing Actors

Clint Eastwood never shouts "action!", as he thinks it shocks actors and disturbs their concentration. Instead, he waits until the camera is rolling, and then says, "when you're ready..."

If you have done the casting correctly and your actor has the ability - let them express it. An actor will respond far better if they are given a degree of freedom to bring their creativity to the process. A good director will encourage this without, however, letting it go too far. The challenge here is to find the balance between allowing the actor to express themselves and serving the scene. The scene is part of a greater whole and their performance should be in balance with the other elements of the film.

Casting Actors
Next to having a great screenplay and a clear vision, casting great actors is the best thing you can do to improve the odds of your film succeeding. Casting good actors is 80% of the directing process because once you have cast actors who understand what they are doing, the director's job is almost done. External reference on Auditioning and Casting actors

Inexperienced Actors
Inexperienced actors nearly always err on the side of overacting, putting too much into the role. Your task is often to convince them to be more naturalistic. Be clear and don't baffle them with technical terms. Explain how tight the shot is and their range of movement within the frame and they should be able to gauge how to behave. One very effective way to get truthful acting from inexperienced actors is to let them improvise their own lines around a specifically designed situation. It works! Guaranteed.

Another rule of thumb is to compliment generally, but criticize specifically. For example, telling an actress that you liked how she flipped her hair will cause her to do it again and again in subsequent takes, and it won't look as natural as it did the first time. Just tell her how great she did and hopefully she'll unconsciously continue what she was doing. However, you will want to be precise (but gentle) when pointing out the things you are certain you do not want.

Discourage the invention of backstories. They waste time. An inexperienced actor will either forget them entirely in the heat of the moment, or struggle to rationalise their performance, as they try to give it, by reference to some invented fact that is not in the screenplay, so that the performance cannot flow convincingly. Or, in other words: [s]he WILL overact, whatever you do to prevent it.

Troubleshooting
These tricks should be a last resort; the best way to work is through honest and open communication. Being sneaky can sometimes lose you the trust of your cast.

There is a great story about an actor who was so nervous he was having trouble remembering his lines and was getting flustered. The director gave him a coin to flip and asked him to keep flipping it throughout the scene. This successfully made the actor less self conscious and the scene flowed after that.

If an actor continually overdoes it, quietly start the camera, keep it rolling and do a "walkthrough" of the scene. Some of the footage might be quite usable.

Another tip: use action words to describe how you want the actor to play the scene. "Play the scene as if you're begging your son to clean his room" is different than "play the scene as if you're threatening your son to clean his room".

/Production /Directing /Actors

title: Movie Making Manual/Directing Actors


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Movie Making Manual/Staff

The number of crew on a movie naturally varies greatly depending on budget and production size and types. The goal of this section is to list as many specific staff positions as possible and describe their responsibilities and skill requirements.

The positions are divided by departments or divisions. The table below allows you to sort via the department they are in or the production steps they are involved with.

<!--=Management/Production Team=
 * Executive Producer
 * Producer
 * Co-Producer
 * Associate/Assistant Producer
 * Director
 * 1st Assistant Director
 * 2nd Assistant Director
 * 2nd 2nd Assistant Director
 * Cinematographer/Director of Photography (DoP)
 * Casting Director
 * Line Producer
 * Unit Production Manager
 * Screenwriter
 * Art Director
 * Production Designer
 * Editor
 * Dialect Coach
 * Extras Coordinator
 * Location Manager
 * Location Scout
 * Prop Master
 * Stunt Coordinator
 * Production Assistant

=Writing=
 * Head: Screenwriter
 * Director of Development
 * Script Editor
 * Script Supervisor

=Financial=
 * Head: Producer
 * Co-Producer
 * Accountants
 * Lawyers
 * Line Producer
 * etc

=Camera and Lighting=
 * Head: Cinematographer/Director of Photography (DoP)
 * Camera Operator
 * 1st Assistant Camera/Focus Puller
 * 2st Assistant Camera/Clapper Loader
 * Dolly Grip
 * Steadicam™ Operator
 * Gaffer
 * Grip
 * Key Grip
 * Lighting Technician
 * Lighting Board Operator
 * Electrician
 * Generator "Genny" Operator
 * Still Photographer

=Sound=
 * Head: Sound Director/Engineer (often the same)
 * Foley Artist

=Music=

 * Head: Music Director/Supervisor (not to be confused with a conductor of an orchestra) - The one with the top level responsibility for the music part of the soundtrack.
 * Composer - Makes the actual music, if it is original to the movie. May have a Sound Engineer working with him to do the recording and mixing.

The most intriguing part of movie making is music. Music is an essential component of any typical movie. Imagine a movie without sound - awful, isn't it?!

Different genres of movie adopt different music styles, for instance, soft music for a romantic comedy, crazy music for a comedy or jarring music for horror movies.

In the history of movie making, there are several examples of movies which were blockbusters, just because of the music! There are also many cases where movies have flunked due to poor music composition.

Music gives a mesmerizing spirit to the movie!

=Art/Props=

Art director Property Master

=Logistics=-->

title: Movie Making Manual/Staff


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Talk:Movie Making Manual/The Basic Basics

I feel the info in this section would be better off spread out into the main part of the manual. Especially something like job descriptions which would be useful off the main index not hidden in this section

The Introduction

 * This is the introduction to the Movie Making Manual. It should have its own section.  It is designed to interest readers in the rest of the pages of this manual.   Robert Elliott


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User:Simontzu

Books Started
With Jack Kelly, Cauri Jaye and Norman Cho - Movie making manual

About me
weblog - www.simontzu.org

production company - www.tzunami.org

I edit the filmmakers bulletin for the online filmmaker's community Shooting People - www.shootingpeople.org

Productions
www.artofflirting.org

www.blisspilgrimage.org

title: User:Simontzu


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Movie Making Manual/Post-production/Editing

What Is Editing?
Editing is the process of choosing which picture and sounds will go into the finished film. Initially this includes picking what is good and what is bad, removing the poor material and putting it into script order. Later it also includes the creation and control of moments that may or may not have been intended during the shoot (see below). This page deals primarily with picture editing, and the Sound Design module may be found here.

How do I edit a Film?
What follows describes the typical process of editing a scripted drama.

Logging and Assembly
Watch and listen to all the material. In a notebook make a log of your reactions to them and any ideas that pop into your head. Use timecode to link your thoughts to specific shots and do not be fooled into thinking you will remember these thoughts later. For a long project the first edit will be a simple version consisting of all the wide shots strung together. This assembly will contain the fewest number of edits required to tell the story. The assembly edit allows you to get a sense of the project as a whole before you begin to focus on the specifics.

The First Rough Cut
Now the rough cut begins. Taking one scene at a time begin to work through all the takes so as to find the best, most consistent material. The scenes may be cut in any order and the point is to let each scene work on its own. When you have a good working version of a scene swap it into the assembly so the cut gradually builds in complexity. Be sure to save versions of your edit several times a day so as to keep a record of all choices made.

Throughout the rough cut be careful to keep the sync sound together with its picture. Do begin to mute or delete unneeded audio, but don’t bother putting in any additional sounds yet. The first rough cut is completed when each scene has been looked at individually, and placed into the edit.

Take the opportunity for a break, overnight if possible, and view the cut without stopping. Afterward take your notebook and begin to re-view the film, stopping to make notes of changes you’d like to try. For a feature film this process can take many hours.

The Main Edit
Now the process of approaching a fine cut begins. Scenes will have individual problems, and now that they are all part of one film, issues will become clear that are inter-dependent between scenes. This stage of the edit can be difficult as some problems can seem unsolvable. Be sure to keep moving.

Key sound effects and music may be introduced at this stage, and the complexity will grow. Be sure to try out lots of ideas, secure in the knowledge that each version is safely saved and may be returned to if necessary. The stage when a rough cut becomes a fine cut is not exact, but is often when the editor feels each idea has been fully explored.

Bring in others to watch your fine cut. Merely sitting next to someone new while watching your film can bring out problems in the edit you have previously missed. Pay careful attention to any questions they ask. Even apparently casual queries can reveal holes in the storytelling that you and your team have missed or unsuccessfully tried to solve.

The Fine Cut
You haven’t finished cutting until several new viewers have seen the edit and you’ve worked with the problems raised. If there are major issues that are never quite dealt with then now is the time that you must be bravest with the material and experiment boldly. It can mean going back to rough cut stage with a scene or two.

Fine cutting itself is the process of getting down to perfect frame accuracy for every single edit in the film, of making sure each moment flows as best it can. Don’t bother working at this level of detail until all story issues have been satisfactorily solved. Once the fine cut is approved the picture is considered locked and no further changes will occur. The project will move into full sound post and the editor’s work is done. Back up all the project files. You’re done.

How Do I Edit a Scene?
Look at the new section for How To Edit a Dramatic Scene. In this section, you will learn the specific details of creating the rough edit for a conversation and then creating L Cut and adding Cut Away Shots to obtain the maximum impact for a conversation.

Software & Equipment
Films are edited almost exclusively off-line using computer-based editing systems. These Non-Linear Editors (NLEs) allow for fast experimentation with ideas and the saving of multiple versions of films. Although the basics of editing require only cuts and dissolves, commonly NLEs include tools for colour grading, keying, speed effects and sound mixing.

These programs allow you to import raw digital video footage from many types of files, or to record in from tape. You can then edit the video using a timeline, which is where the story is built up. The program then allows you to play out the final edit onto tape, or to export the edited video in the form of a digital video file.

Post Production Project Management Software

 * (Mac and PC - Used to build budgets, supports industry standard tasks, tracks time and costs, schedules editing suites, equipment and staff, manages inventory and handles billing.)

Free and Open Source Editing Software

 * Kino (Linux Only - Excellent for capturing DV, only basic editing functionality)
 * Kdenlive (linux only - HD capable, Intuitive interface, A New project under development )
 * Cinelerra (Linux Only - HD capable, Interface takes getting used to)
 * VirtualDubMod (Windows Only)
 * Blender3D (only Linux version with full ffmpeg support- capable 3d modelling)
 * ZS4 Video Editor (Windows, Linux, and OS X; Not OSS but free for any kind of use)
 * Avid FreeDV (Windows/Mac OSX)No longer available. Site now leads you to a trial version of Avid.
 * Cinepaint(Linux,Windows/Mac OSX, deep paint manipulation and image processing)
 * Article from professional perspective

Commercial Editing Software

 * Apple Final Cut Pro X (Mac OSX)
 * Apple iMovie (Mac OSX)
 * Avid XPress Pro (Windows/Mac OSX)
 * Adobe Premiere Pro (Windows/Mac OSX
 * Pinnacle Studio (Windows/OSX)
 * Pinnacle Liquid (Windows)
 * Ulead Mediastudio Pro (Windows)
 * Windows Movie Maker (Windows)
 * Sony Vegas (Windows)
 * Mewa Film (Windows)

Commercial All-in-one Editing Systems

 * Avid Adrenaline
 * Avid Symphony
 * Autodesk Discreet Smoke

Useful information:

 * Build your own editing system
 * Ken Stone's FCP page A great source of articles about Final Cut Pro and related software (DVD Stuidio Pro, Motion etc) Good articles on the basics of editing also.
 * Star Movie Shop Practice scenes for film editing students who want to learn dialog editing for narrative dramas.

For more information, take a look at these pages:

 * Linux in film production
 * Mac in film production
 * Windows in film production

A Short History of the Craft of Editing
Editing is unique amongst the creative arts. At the beginning of cinema at the end of the 1800s, there were writers, actors, directors, producers, set designers, musicians and choreographers all from the stage. Even use of the new technology, the motion picture camera, was a straightforward step from stills photography. But there were no editors. Those that share the name, literary editors, share some of the concerns of film editors such as story and coherence, but in film parlance they are more akin to producers than editors.

Origins
Then one day a gentleman was filming a street scene and the camera jammed, as those hand-made machines did quite regularly. After fixing the problem the filmmaker continued to film the street. On developing the film, he discovered that a carriage in the centre of the road seemed to disappear before his very eyes. Much enamoured with this trick, he used it to great effect and other filmmakers copied the technique. This was the first known edit.

As a Special Effect
Among the finest exponents of this new technique was a stage magician named George Melies who created such lavish fantasies a La Voyage Dans La Lune. It was the Titanic of its day, of great length, with astonishing special effects, excitement, laughter and tense drama. In it, cuts are used more often as an effect device than in the narrative sense that we are used to today.

Telling a Story
It was the American Edwin S. Porter who created the first cinematic narrative box-office hit The Great Train Robbery. Although scenes were still largely played in long shot as if performed on a stage, the scenes of the hero riding to the rescue were intercut with scenes of the girl being terrorised by the hoodlums. Narrative editing had begun!

New Russian Ideas
Russia is our next stop in the history of editing. In Russia in the teens and twenties filmmakers such as Vertov, Kuleshov and Eisenstein experimented with editing styles. The influence of Vertov’s apparently random connection of images can be seen in modern documentaries such as Koyaanisquatsi and Baraka. Eisenstein's almost brutal editing of images looked forward to the editing of today's action blockbusters and Kuleshov managed to codify Russian Montage Theory (or Intellectual Montage) to demonstrate how editing, through juxtaposition, creates meaning from two or more separate pieces of film.

In a famous experiment, Kuleshov showed how by cutting from a man’s face to a bowl of hot food, the emotion of hunger was conveyed to the audience. These two shots had not been filmed at the same time and so it was entirely through editing their meaning was created. Now the real magic happened. Kuleshov used a close-up of the same actor and cut it with a pretty girl, showing affection. It was in fact the exact same shot of the actor that the audiences were interpreting as two different performances. Kuleshov had demonstrated that control of film's meaning lies in the control of the edit.

The Dominant Style
D.W. Griffith and other pioneers of American Cinema through the 1920s settled into using what is now considered the Classical Narrative style of filmmaking, in which editing aspires to be invisible to the audience. This style of editing (also known as continuity editing) has become so dominant across the world that to use other styles is seen as radical and even anti-commercial.

/Editing /Post-production


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Movie Making Manual/Writing/Certification

Please beware - this page lists some rude terms

Silly as it may seem, the rating boards of various countries have lists of words and screen content that determine the rating of a movie and whether one can broadcast it publicly. You may want to keep these in mind when writing.

The ratings in the US, Asia, the Middle East and Europe vary, and are mainly based on sexual content. Europe remains the most liberal, followed by - respectively - Asia, the United Kingdom (separate from the rest of Europe), the United States, and the Middle East (which is extremely strict, with the exception of Israel).

Here we have a list of some of the general rules of language and content that helps writers/producers avoid the 17 years and up rating in English language films in the US (accepted by most other territories):

The standard regarding violence is that there cannot be any blood movement. This means no blood dripping, exploding or in any way moving from a body if shot, stabbed or hurt in any way.

No nudity allowed including: no visible nipples or genitals, though nowadays the occasional shot of the buttocks or the side of a breast may slip by unnoticed.

UNACCEPTABLE TERMS
 * dick head
 * shit, eat shit, shitting me, etc
 * Jesus, For Christ Sakes or any other insulting reference to religions
 * Brass Balls or any other reference to testicles
 * fuck, motherfucker, etc
 * cunt
 * piss
 * cock
 * tits
 * ass-anything (though "ass" is deemed acceptable)

ACCEPTABLE TERMS
 * ass
 * son of a bitch (though not in excess)
 * hell
 * kiss my ass (when used sparingly)
 * oh my god (acceptable since Friends)

/Writing movies /Sales and exhibition /Contracts and law


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Movie Making Manual/Distributing Direct

DVDs have been with us for some time now yet the impact of the new format is just beginning to be felt and its potential just beginning to be explored.

The DVD player has entered the Guinness Book as the "fastest growing paid-for consumer electronics format of all time". There are now 15 million DVD capable devices in the UK and this year for the first time more films will be watched on DVD than in all the other mediums combined.

"Outfoxed: Rupert Murdoch's War on Journalism" a direct to DVD documentary about Fox News is currently ranked 3rd on Amazon's DVD sales chart, just behind "The Complete Star Wars Trilogy" boxed set. So far it has sold over 250 000 copies on DVD - its budget was just USD300 000.

In the UK Luke Morris found no takers for the great short film he produced, "J'Taime John Wayne" and so packaged it with 15 other UK shorts to create the excellent Cinema16 UK directors DVD. This proved a such a success it was followed this year by a collection of 16 shorts by European directors on DVD.[2]

Most independent films lose money in the cinema. Prints cost USD5000 each, advertising with only a website, posters and postcards will cost tens of thousands and Exhibitors take a large chunk of revenues. When I say "lose money" I'm even not talking about losing money relative to the film's budget but actually losing money on the release. DVDs have much higher margins and this is where distributors look to recoup their payments.

The current justification for cinema release is that a high profile cinema release is essential if the film is going to do well on DVD. Yet most independent movies get anything but a high profile release, going out on a handful of screens with a marketing campaign consisting of postcards in pubs and posters on a few buses...if you're lucky.

The DVD success of "Memento" and "Donnie Darko" following their lacklustre cinema showings contradict the view that cinema success is crucial to DVD success. If the purpose is marketing the money spent on the theatrical release could probably be spent in a more focused way on selling/promoting the DVD. The problem is no one in the industry really knows how to sell DVDs yet.

For most of us Shooters the viability of a cinema release is a moot point as the budgets we are currently able to raise probably dictate a straight to DVD release anyway. If that is successful we might just be able to raise the capital for something which will go first to the cinema. In order for it to be successful the film needs to be good (of course!) but the DVD release also needs to be handled properly.

This is where the industry is pretty immature.

What is still needed
Realistically speaking there should be far more direct to DVD distributors than there are. The costs and infrastructure required for a company distributing DVDs directly are probably similar to those of a small book or music publisher yet there are far fewer small DVD distributors than small music or book publishers. In fact small book and music publishers might be just the people to push the next wave of films going out via direct DVD distribution.

In order to truly take advantage of this shift the industry still needs a number of things:

Accurate DVD sales figures
Knowing how many copies of a particular movie are being sold would be invaluable, far more useful than the box office figures. Yet box office figures are readily available while DVD sales figures are not.

Having the sales figures will make it easier to know what kind of budgets are realistic for different films and help immensely with funding plans for ultra-indie features.

Distributors/Publishers with accessibility to the retail channels
Sure we can sell from our website and via eBay and Amazon. But people don't often buy products on a first viewing. Often we see something and think "That's interesting maybe..." and the actual purchase happens after a few encounters.

Being able to partner with companies who know how to get our films on the racks at HMV, Virgin, and Waterstones would be very useful.

Reviews and feedback
I touched on this last week. The more films are out there the more people are going to rely on trusted reviewers to find out what is worth buying/renting. Support of critics and online reviewers will be crucial in selling our films.

Innovative Marketing Companies
Are there any small marketing companies using creative means to sell DVDs? I've not seen any evidence of their work. Is there a company who could actually make something happen on a marketing budget of say GBP30 000? From what I've heard most of the independent firms marketing firms in the UK seem to be tied to the concept of cinema marketing and fairly formulaic in their approaches.

We need companies who can help a direct to DVD film get the attention of its audience. Again independent music promoters (Why have I seen no fly postings for indie DVDs?) and book publishers may have the skills in reaching a niche audience that film marketers have yet to develop.

I think there are still a lot of blanks to be filled in in the DVD distribution ecosystem and a lot of opportunity here. The sooner companies start taking advantage of these opportunities the better it'll be for us.

This is currently seen as a niche, but companies like Filmbay are already addressing this.

/Sales and exhibition

title: Movie Making Manual/Distributing Direct


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Movie Making Manual/Film Marketing

Note: This section should be called "Film Distribution & Marketing".

What happens to your motion picture once you are finished? How does your movie get into the hands of a distributor? How does the distributor get the movie into the hands of the exhibitor or in the case of video tape/disks, into the hands of retail stores? And how does the distributor/theater owner convince the public to attend your movie and to buy the tape/disk?

All of this is called "Marketing".

Finding a Distributor
Probably 99% of all the motion picture which are distributed use a distributor. If a filmmaker cannot find a distributor, the movie will probably never be distributed. Probably 40% of all movies made never find a distributor. So don't assume that finding a distributor will be automatic.

The distributor uses the economics of volume to market motion pictures as cheaply as possible. Even so, the successful motion picture will cost 33% of the final gross just for marketing and distribution. If you try to distribute the movie yourself, the cost can be far more than the income.

Back when you began to make your movie and you went looking for funding, one of the major options you had was getting a distributor on board early. Be sure to read Roger Corman's books and notice that he always had a distributor before he began a movie. It make life so much easier.

A good way to interest a distributor is to have a major star attached to your project. Currently, the market for motion picture is "Star Driven" which means that the public is attracted to movies which have stars rather than good ideas.

If you cannot get a distributor while you are still in the pre-production stage, your only other practical option is to complete you motion picture and show the movie at film festivals to attract a distributor.

Self Distribution
If you want to try to distribute the movie yourself, you must consider your options which are booking directly at a movie theater (either by negotiating a box office split with a theater owner, or renting it for a length of time - also known as "four walling"), Distributing Direct, Selling Online, Digital Cinema Distribution, Submitting to a broadcaster, Putting videos online, Burning a DVD. The process of self distribution is time consuming, requires an additional financial investment, and is a separate business from filmmaking. However, it permits the filmmaker maximal control over how their work is marketed and the highest return on the dollar. An initial successful self distribution of a film can increase the filmmaker's leverage in securing a distribution deal.

Delivery of the Film to the Distributor
When you complete your movie and project your movie at a film festival, you movie is not finished yet. You still do not have all the elements that are needed by the distributor before the distributor will accept your motion picture. These items are known as deliverables. Now, you have to worry about technical deliverables (such as separate tracks of music and sound effects, known as M&E Tracks) and legal deliverables (such as obtaining an "Errors and Omissions" insurance policy.) If you have not planned for this day, you can be in deep trouble. All of this might cost you more than the cost of filming and editing your motion picture.

Developing the Campaign
Finally, we get to the most controversial part of film marketing. To sell a motion picture (with its huge advertising budget), a campaign must be created to introduce the movie to the public. The basic questions are, "What is this movie about?" and "Who will want to see this movie?"

In general, many filmmakers and critics at large, do not like the ad campaigns. But then, they are not paying for any of the millions of dollars that will be spend on the ad campaign. So they complain and gripe and produce meaningless dribble like this:

Get on the Cluetrain
Markets are conversations. Their members communicate in language that is natural, open, honest, direct, funny and often shocking. Whether explaining or complaining, joking or serious, the human voice is unmistakably genuine. It can't be faked.

Most film blurbs, on the other hand, only know how to talk in the soothing, humorless monotone of the clever line, marketing brochure, and your-call-is-important-to-us busy signal. Same old tone, same old lies. No wonder networked markets have no respect for Studio marketing hype unable or unwilling to speak as they do.

But learning to speak in a human voice is not some trick, nor will studios convince us they are human with lip service about "listening to audiences." They will only sound human when they empower real human beings to speak on their behalf.

Marketing the Movie to Exhibitors
The distributor must somehow interest the theater owners to exhibit the movie in their theaters.

Marketing the Movie to the Local Audience
With help from the distributor, the local theater owner will publicize the motion picture before the opening of the movie at the theater.

Marketing the Movie To Tape Distributors
The film's distributor does not normally sell the tape or disk of the movie directly to the Mom & Pop video store. Rather, the distributor must get a specialized distributor to put this in their catalog. In the USA, there are three major tape/disk distributors for movies to video stores.

Publicity
There are many ways to publicize a motion picture or a television drama. The most common are a movie trailer and a behind-the-scenes documentary. The movie trailer is the least expensive and the behind-the-scenes movie can be very time consuming if not expensive.

Publicity is done by both the production company and by the distributor. The still photographs (called appropriately, "stills") and the behind-the-scenes documentary are paid for by the production company. But the movie trailer and movie posters are normally paid for by the distributor. Some production companies in search of a distributor will create their own trailers and posters but once the movie is picked up by a distributor and the advertising campaign is determined, the distributor might still hire one of the many companies in LA which produce trailers for most motion pictures today.

Income Distribution Considerations - Publicity
Should a production company help in the publicity for a motion picture? This is a surprisingly difficult question.

In most cases, the distributor pays the production company a small fee up front for the right to distribute the movie. Then the production company receives a royalty after sales reach a certain amount. Therefore, it is beneficial for the production company to help in the publicity. Also, the cost of the distributor's advertising can often be charged against the income due the production company. So is it better for the production company to do as much of this as they can. But once the distributor creates a marketing campaign, they don't want the production company creating a different image for the movie. And worst of all, all of the rights to most of the publicity material created by the production company is now owned by the film's distributor so the production company can no longer use this material in many cases.

The Forms of Publicity/Advertisements
First, you have the tradition forms of publicity and advertisement.

TV Ads
Television advertisements are simply the movie trailer. Therefore, the cost is only for the air time. This is often the bulk of the cost of publicity for a motion picture.

Newspaper Ads
Newspaper advertisements (either paid for by the distributor or by the theater owner) are almost always created by the distributor.

Publicity tours are paid for by the distributor and the actor's contract usually specifies the amount of pay that the actor will receive for doing the tour. This is particularly useful for film festivals where the movie has won an award.

Website
All movies now have websites.

Editing Workshops = A New Kind of Publicity
Now there is a new way to publicize a motion picture which is half way between a trailer and a behind-the-scenes documentary. This new form of publicity is a tour of the movie set and the editing room for just one (1) scene of the movie. To create this, the film dailies for one scene are turned into a movie which shows the filming of the scene in chronological order showing all the circle takes. That way, the audience can follow along with the script. Then a rough edit of the scene is shown followed by the adjustments to the edits and finally the finished scene with a film score. Once people have seen how the scene was filmed and edited, they can participate in the making of the movie by actually editing the scene on their personal computer.

Currently, there are over 40 million people who have personal computer which are capable of editing digital video but they have nothing exciting to edit. But this new form of publicity will not take off until computer companies such as Apple Computer get behind it since half the benefit of the Editing Workshop is for people who use the personal computer.

To look at this new way to publicize your upcoming motion picture, visit the Star Movie Shop and purchase their Technology Demonstration disk. This is a fully working example of this new kind of publicity for motion pictures or television dramas. You can never have enough publicity for your movie. This is one way which is easy to do, specially if you are editing your movie with Final Cut Pro or similar type of editing program on your computer. You already have all the elements and you just package them in a user friendly way.

Film Scoring Workshop = A New Kind of Publicity
It is also possible to create an entertaining product for people who use GarageBand (which is free will all new Macintosh computers) which is edited scenes without music set up for scoring with GarageBand. At least 5 million people have GarageBand but still no one has done this. Look for it in the next year or two.

Resources for Marketing Independent Films
4Film making.com has detailed articles on the steps to selling an independent film.

/Sales and exhibition

title: Movie Making Manual/Film Marketing


text:
User talk:147.72.114.40

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally.

Nice work on the CMOS page. - Omegatron 22:44, 20 Dec 2004 (UTC)

title: User talk:147.72.114.40


text:
Latin/Chapter 2 Verse

Using a Dictionary
Foremost, Latin verbs are listed using the present indicative first person singular active construct of the verb. For example, to find the meaning of the verb amāre, you must find amō listed in the dictionary. Some verbs like esse and ferre are highly irregular and use different stems to form the perfect tenses.

Nouns are usually much easier. They are always given in the nominative singular. If you see a noun such as vōcem and do not know what it is, do not fret. If you look for voc- in the dictionary, you will not find what you are looking for. The ending -em typically belongs to the third-declension accusative; thus, be aware that third-declension nouns have radically changing stems. Those that have the consonant c or g usually have the consonant x in the nominative singular. Thus the nominative singular of vōcem is vōx, and rēx becomes rēgem in the accusative singular. There are plenty of other simple rules which you will learn through experience.

Words that do not conjugate or decline (like prepositions and particles) are listed under their only form.

Vocabulary

 * 1) affectus, -ūs, m., goodwill
 * 2) confessiō, -ōnis, f., confession
 * 3) dē, from, about, concerning
 * 4) liber, librī, m., book
 * 5) malus -a -um, evil, bad
 * 6) placeō -ēre + dative, to please (placuīsse is a perfect infinitive)
 * 7) filia, -ae f., daughter
 * 8) puella, -ae f., girl

Other Difficulties

 * 1) quod ad mē attinet, as far as I'm concerned
 * 2) cum scriberentur, when they were written (imperfect passive subjuntive)
 * 3) quid sentiant, what they think (present subjunctive in indirect question)
 * 4) ipsī viderint, (loosely) they will see in their own way (future perfect)
 * 5) eōs placēre sciō, accusative-infinitive construction for indirect statement: "I know they [the books] please"

title: Latin/Chapter 2 Verse


text:
Vietnamese/Adjectives

In Vietnamese, the adjectives (Vietnamese: tính từ) usually come right after the nouns they modify:
 * áo đỏ = red shirt (literally "shirt red")

They always say about the particular trait, the property of the noun (before it). They can have the "phó từ" (like the adverbs in English) before it (e.g:"đã" for the sentence in the past simple tense, "sẽ" for the sentence in the future simple tense, "đang" for the sentence in the present progressive tense,... for more, see Tense)
 * Lúc này, thành phố đang rất yên tĩnh. = Now, the city is very quiet. (in present progressive tense)

The adjectives can be divided into two main types:
 * The adjectives mean the relative particular trait: They can go with "rất" (very), "hơi" (quite), etc.
 * The adjectives mean the absolute particular trait: They can't go with "rất", "hơi", etc.

However, due to the great influence, some adjectives, especially monosyllabic adjectives, will come in front of the nouns that they modify. For instance: "cựu", "cố", "nguyên", "đương kim", "siêu", etc.

title: Vietnamese/Adjectives


text: Category:Book:Vietnamese

title: Category:Book:Vietnamese


text:
Abstract Algebra/Integral domains

Integral Domains
Motivation: The concept of divisibility is central to the study of ring theory. Integral domains are a useful tool for studying the conditions under which concepts like divisibility and unique factorization are well-behaved. In fact, they are very important for polynomial rings as well.

The integral domain was already defined before on the page on rings. We provide the definition again for reference.

Definition An integral domain is a commutative ring $$R$$ with $$1_R \neq 0_R$$ such that for all $$a, b \in R$$, the statement $$ab=0$$ implies either $$a = 0$$ or $$b = 0$$.

An equivalent definition is as follows:

Definition Given a ring $$R$$, a zero-divisor is an element $$a \in R$$ such that $$\exists x \in R, x \neq 0$$ such that $$a*x = 0_R$$.

Definition An integral domain is a commutative ring $$R$$ with $$1_R \neq 0_R$$ and with no non-zero zero-divisors.

Remark An integral domain has a useful cancellation property: Let $$R$$ be an integral domain and let $$a, b, c \in R $$ with $$ a \neq 0 $$. Then $$ a b = a c$$ implies $$ b = c$$. For this reason an integral domain is sometimes called a cancellation ring.

Examples:
 * 1) The set $$\mathbb{Z}$$ of integers under addition and multiplication is an integral domain. However, it is not a field since the element $$2 \in {Z}$$ has no multiplicative inverse.
 * 2) The set trivial ring {0} is not an integral domain since it does not satisfy $$0 \neq 1$$.
 * 3) The set $$\mathbb{Z}_6$$ of congruence classes of the integers modulo 6 is not an integral domain because $$[2] * [3] = [0]$$ in $$\mathbb{Z}_6$$.

Theorem: Any field $$F$$ is an integral domain.

Proof: Suppose that $$F$$ is a field and let $$a \in F, a \neq 0$$. If $$ax = 0$$ for some $$x$$ in $$F$$, then multiply by $$a^{-1}$$ to see that $$ax = 0 \Rightarrow a^{-1}(ax) = a^{-1}0 \Rightarrow 1x = 0 \Rightarrow x = 0$$. $$F$$ cannot, therefore, contain any zero divisors. Thus, $$F$$ is an integral domain.$$\square$$

Definition If $$R$$ is a ring, then the set of polynomials in powers of $$x$$ with coefficients from $$R$$ is also a ring, called the polynomial ring of $$R$$ and written $$R[x]$$. Each such polynomial is a finite sum of terms, each term being of the form $$r x^n $$ where $$r \in R$$ and $$x^n$$ represents the $$n$$-th power of $$x$$. The leading term of a polynomial is defined as that term of the polynomial which contains the highest power of $$x$$ in the polynomial.

Remark A polynomial equals $$0$$ if and only if each of its coefficients equals $$0$$.

Theorem: Let $$R$$ be a commutative ring and let $$R[x]$$ be the ring of polynomials in powers of $$x$$ whose coefficients are elements of $$R$$. Then $$R[x]$$ is an integral domain if and only if $$R$$ is.

Proof If commutative ring $$R$$ is not an integral domain, it contains two non-zero elements $$a$$ and $$b$$ such that $$a b = 0$$. Then the polynomials $$a x$$ and $$b x$$ are non-zero elements of $$R[x]$$ and $$ a x b x = a b x x = 0 x x = 0 $$. Thus if $$R$$ is not an integral domain, neither is $$R[x]$$.

Now let $$R$$ be an integral domain and let $$A$$ and $$B$$ be polynomials in $$R[x]$$. If the polynomials are both non-zero, then each one has a non-zero leading term, call them $$a x^m$$ and $$b x^n$$. That these are the leading terms of polynomials $$A$$ and $$B$$ means that the leading term of the product $$A B$$ of these polynomials is $$a b x^{m + n}$$. Since $$R$$ is an integral domain and $$a, b \in R$$, $$a b \neq 0$$. This means, by the Remark above, that the product $$A B$$ is not zero either. This means that $$R[x]$$ is an integral domain.

Unique Factorization Domains, Principal Ideal Domains, and Euclidean Domains
Unique Factorization Domains, Principal Ideal Domains, and Euclidean Domains are ideas that work only on integral domains.

Some definitions

 * Two ring elements a and b are associates if a=ub for some unit u, we write a~b
 * A nonzero nonunit a is irreducible if a=bc (b,c in domain)=>a~b or a~c.
 * a divides b if b=ar for some r within R. When this happens, we write a|b.
 * A nonzero nonunit is prime when a|bc implies that a|b or a|c.

Theorem: If a is prime, then a is irreducible.

Let a be prime, and let a=bc, so that either a|b or a|c. Without loss of generality, assume that a|b, so that b=ad for some element d. Then you can factor a=bc into a=adc, implying that cd=1, or that c is a unit.

Now that we have proven that all prime elements are irreducible, is the converse true? The answer to that is no, for we can easily obtain counterexamples to it. However, we will prove a sufficient and necessary condition for all irreducible elements to be prime.

Unique Factorization Domains
Definition: Let R be an integral domain. If the following two conditions hold: Then we call (the integral domain) R a unique factorization domain (UFD).
 * 1) If a is nonzero, then a=up1p2...pn where u is a unit, and pi are irreducible.
 * 2) Let a=uq1q2...qm be another factorization of irreducibles. Then n = m and after a suitable re-ordering, each pi and qi are associates.

The converse to the above theorem holds true in a UFD.

Theorem: In a UFD, all irreducibles are prime.

Proof

Let a|bc, where a is irreducible. Then ad=bc for some element d. Taking the factorization, a = ud1d2...dl = vb1b2...bmwc1c2...cn = bc where u, v, and w are units. Because it is a UFD, a must be an associate of some bi or ci, implying that a|b or a|c.

The following theorem provides a sufficient and necessary condition for an integral domain R to be an integral domain.

Theorem:
 * 1) Let R be a UFD. R satisfies the following ascending chain condition on principal ideals: let $$a_1, a_2, a_3,...$$ be a sequence of elements of R such that the principal ideals $$(a_1),(a_2),(a_3),...$$ satisfy the condition that $$(a_1)\subseteq (a_2)\subseteq (a_3)\subseteq ,...$$. Then there exists an N such that for all n>N, all the $$(a_n)$$ are the same.
 * 2) If an integral domain R satisfies the ascending chain condition, then every nonzero element can be factored into irreducible elements, meaning that it satisfies the first condition for being a UFD.
 * If, in addition to satisfying the ascending chain condition, all irreducible elements are prime, then the integral domain is a UFD.

Proof
 * 1) Consider a sequence $$a_1, a_2, a_3,...$$ of elements of R such that $$(a_1)\subseteq (a_2)\subseteq (a_3)\subseteq ,...$$. Then obviously $$a_{n+1}|a_n$$ for all natural numbers n, since $$a_n\in (a_{n+1})$$. Then due to unique factorization, all the factors of $$a_{n+1}$$ are associates of the factors $$a_n$$, counting multiplicity of factors. Therefore, the number of non-unit factors is a decreasing sequence on the whole numbers. However, $$a_1$$ has finitely many factors, so there is an N such that for all n>N, all the factors are $$a_n$$ associates, meaning that all the $$(a_n)$$ are also the same.
 * 2) Clearly any nonzero irreducible $$a_1$$ can be factored into irreducibles, which is itself. Otherwise, let $$a_1=a_2b_2$$ be a product of nonunits. If this is not a product of irreducibles, then suppose that one of them is not irreducible, say $$a_2$$. Then obviously $$a_2|a_1$$ so the principal ideals satisfy the relations $$(a_1)\subseteq (a_2)$$. We can factor $$a_2$$ in the same way, to obtain $$a_2=a_3b_3$$ as a product of nonunits. Thus, if $$a_1$$ cannot be factored into irreducibles, we can get an increasing chain $$(a_1)\subseteq (a_2) \subseteq (a_3)\subseteq ...$$ of principal ideals, meaning that it does not satisfy the ascending chain condition.
 * 3) Let $$a=sp_1p_2p_3...p_n=rq_1q_2q_3...q_n$$ where r and s are units and each $$p_i$$ and $$q_i$$ are irreducible, and thus prime. Since $$p_1$$ divides a, it divides one of the factors, and after suitably re-arranging the second factorization, $$p_1$$ can divide $$q_1$$. However, $$q_1$$ is irreducible, so they must be associates, and thus can be factored out and replaced by a unit. We can continue this process until there are no factors left, at which point we conclude that all the factors are associates.

Principal Ideal Domains
Definition: a principal ideal domain (PID) is an integral domain such that every ideal can be generated by a single element (i. e. every ideal is a principal ideal).

Theorem: All PIDs are UFDs.

Proof:

Suppose we have an ascending chain of principal ideals $$(a_1)\subseteq(a_2)\subseteq...$$ and let I be the union $$I=\bigcup_{i=1}^\infty (a_i)$$. Obviously I is an ideal, and is a principal ideal because it is in a PID. Therefore, it is generated by a single element, $$I=(a)$$. Since $$a\in I$$, $$a\in (a_N)$$ for some N. Then if $$i\geq N$$, then we have $$(a)=(a_N)$$, so it satisfies the ascending chain condition of principal ideals.

Let an element $$a$$ be irreducible. If $$1\in (a)$$, then $$a$$ would be a unit, so (a) must be a proper ideal. If there is no maximal proper ideal containing (a), then the ascending chain condition would not be satisfied, so we can conclude that there is a maximal ideal proper ideal I containing (a) (Note: This does not require the Zorn's lemma or axiom of choice, since we did not use the theorem on maximal ideals). This ideal must be a principal ideal (b), but since $$a\in (b)$$, b|a, and since $$a$$ is irreducible, b must either be a unit or an associate of a. Since (b) is a proper ideal, b must not be a unit, so it must be an associate of $$a$$. Therefore, (a)=(b), so (a) is maximal. However, all maximal ideals are clearly prime, so (a) is a prime ideal, which implies that $$a$$ is prime.

Theorem: A UFD is a PID if and only if every nontrivial prime ideal is maximal.

Proof:

Suppose R is a PID, so that consequently, it is a UFD. Let (a) be an ideal of R, which in turn must be contained in a maximal proper ideal (b) due to the ascending chain condition (Note: again, this does not make use of Zorn's lemma). Since $$a\in (b)$$, b|a. Since $$a$$ is irreducible, b must either be a unit or an associate of $$a$$. However, since (b) is a proper ideal, it must not be a unit, so it must be an associate of $$a$$. Therefore, (a)=(b), so (a) is maximal. Conversely,

Euclidean Domains
Definition: An integral domain R is a Euclidean domain (ED) if there is a function f from the nonzero elements of R to the whole numbers such that for any element $$a\in R$$ and any nonzero element b, that a=bq+r for some $$q,r\in R$$ and such that f(r)<f(b) or such that r=0.

Note: In an ED, the Euclidean algorithm to find the greatest common divisor is applicable.

Theorem: All EDs are PIDs.

Proof:

Suppose we have an ideal of R. If it contains only 0, then it is principal. Otherwise, it contains elements other than 0. Then f(I), the image of I under f, is a nonempty set of nonnegative integers. Choose the minimum x of this set, and consider an element b within I which mapped to this x. Let a be another element of I, and there exists $$q,r\in R$$ such that a=qb+r and such that either f(r)<f(b) or r=0. Since both a and b belong to I, r must also belong to I since r=a-qb. However, f(b) is the minimum, so it must be less than or equal to f(r). Thus, r must be 0, so a=qb, proving that b is the generator of the principal ideal (b).

title: Abstract Algebra/Integral domains


text:
MediaWiki:Alllogstext

This a combined display of all logs. From here you can narrow what logs or logged actions to display.

title: MediaWiki:Alllogstext


text:
MediaWiki:Currentevents-url

Wikibooks:Reading room/Bulletin Board

title: MediaWiki:Currentevents-url


text:
MediaWiki:Sitesupport-url

//donate.wikimedia.org/wiki/Special:FundraiserRedirector?utm_source=donate&utm_medium=sidebar&utm_campaign=C13_en.wikibooks.org&uselang=en

title: MediaWiki:Sitesupport-url


text:
MediaWiki:Tagline

From Wikibooks, open books for an open world

title: MediaWiki:Tagline


text:
Java Programming/Struts

'''This reference is under development. All Struts developers are requested to contribute and help in expanding this reference'''

Struts is the most popular framework for developing Java based web applications. Struts is being developed as an open source project started by Apache Software Foundation. Struts framework is based on Model View Controller (MVC) architecture.

Action Framework in a Nutshell
Within the MVC context the struts framework provides its own web Controller component and integrates with other technologies to provide the Model and the View. For the Model, the framework can interact with standard data access technologies, like JDBC and EJB, as well as most any third-party packages, like Hibernate , iBATIS , or Object Relational Bridge. For the View, the framework works well with JavaServer Pages , including JSTL and JSF , as well as Velocity Templates , XSLT , and other presentation systems.

The framework's Controller acts as a bridge between the application's Model and the web View. When a request is received, the Controller invokes an Action class. The Action class consults with the Model (or, preferably, a Facade representing your Model) to examine or update the application's state. The framework provides an ActionForm class to help transfer data between Model and View.

Most often, the Model is represented as a set of JavaBeans. Typically, developers will use the Commons BeanUtils to transfer data between ActionForms and the Model objects (or a Facade). Preferably, the Model will do the "heavy lifting", and the Action will act as a "traffic cop" or adapter.

Struts Config in a Nutshell
A web application uses a deployment descriptor to initialize resources like servlets and taglibs. The deployment descriptor is formatted as a XML document and named "web.xml". Likewise, the framework uses a configuration file to initialize its own resources. These resources include ActionForms to collect input from users, ActionMappings to direct input to server-side Actions, and ActionForwards to select output pages.

The initialisation of struts is achieved through the inclusion of the following in the web.xml file

Here's a simple configuration (struts-config.xml) for a login workflow:

 <!DOCTYPE struts-config PUBLIC "-//Apache Software Foundation//DTD Struts Configuration 1.3//EN" "http://struts.apache.org/dtds/struts-config_1_3.dtd">

There are several other resources you can specify in the framework's configuration file. You can specify validations for the ActionForms in an XML descriptor, using the Struts Validator. A standard extension, Tiles, helps you build pages from smaller fragments.

Struts Action Framework is extensible. Every class deployed by the framework can be replaced by your own default class. The properties of your default class can be set using the Digester's set-property feature. This is one reason why there are so many contributor extensions.

Tiles is a contributor extension.

Screen definitions
Create a screen by assembling Tiles : header, footer, menu, body, etc. Definitions can take place: Definitions provide an inheritance mechanism : a definition can extend another one, and override parameters.
 * in a centralized xml file
 * directly in jsp pages
 * programatically in struts actions

Layouts
Define common page layouts and reuse them across your web site. Define menu layouts, and use them by passing lists of items and links. Define a portal layout, use it by passing a list of Tiles (pages) to show. Reuse existing layouts, or define your own.

Dynamic page building
Tiles can be gathered dynamically during page reload. It is possible to change any attribute: layout, list of Tiles in portal, list of menu items, etc.

Reuse of Tiles / Components
If well defined, a Tile can be reused across multiple applications. Dynamic attributes are used to parameterize Tiles. It is possible to define a library of reusable Tiles. Build a page by assembling predefined components, giving them appropriate parameters.

Internationalization (i18n)
It is possible to load different tiles according to Locale. A mechanism similar to Java properties files is used for definitions files: you can have one definition file per Locale. The appropriate definition is loaded according to the current Locale.

Multi-channels
It is possible to load different Tiles according to a key. For example, the key could be user privilege, browser type, arbitrary name stored in session, etc. A mechanism similar to Java properties files is used for definitions files: you can have one definition file per key. The appropriate definition is loaded according to the key.

Prerequisites
Apart from basic understanding of building a web application. The reader is required to have some sort of working knowledge in the following technologies.
 * HTML
 * HTTP
 * Object-Oriented Programming (OOP)
 * JSP and Java Servlets
 * ../Java Beans/
 * XML (Extensible MarkUp Language)

Getting Started
Struts framework provides the following benefits over conventional methods of Web Application Development.
 * Decoupling of business logic and presentation logic
 * Reusablity
 * Maintainability

These benefits are gained because Struts provides a system based on the "Model 2" paradigm of Java web application design, while also providing a framework for the application that is cleaner than a series of J2EE servlets.

Struts XML Tags and Attributes Reference
(The following list is in the same order as the example above (of a simple configuration) and the example in link below of Struts tutorial on JBoss.)
 * <struts-config - outer tag that encompasses the other tags.
 * <data-sources -
 * <form-beans - defines a section of forms that encompasses one or more <form-bean tags.
 * <form-bean - defines a form :
 * name=
 * type=
 * <global-exceptions -
 * <global-forwards - defines a section of forward routes that are used, by default, in <action tags. It encompasses one or more <forward tags.
 * <action-mappings - defines a section of actions that encompasses one or more <action tags.
 * <action - defines an action, which can have one or more forward routes (with one forward attribute, or one or more <forward sub-tags) :
 * path=
 * forward=
 * type=
 * name=
 * scope=
 * validate=
 * input=
 * parameter= can be read from @struts.Action@ class by @mappings.getParameter@
 * <forward - defines a forward route within an <action tag :
 * name=
 * path=
 * <controller -
 * <message-resources -
 * parameter=

title: Java Programming/Struts


text:
Programmed Math

The goal of this book is to create programmed instruction (PI) math lessons ranging from basic math all the way up through the end of high school math (usually trig). The idea of PI is that lessons can be learned in any order as long as subordinate lessons (pre-requisites) are taught before superordinate ones. For example, one would learn counting, then addition, then subtraction, then multiplication, then division. After this they would have the choice of learning either long division or fractions. After learning multiplication and division of fractions, one would have the choice of either mixed numbers or proportions. The content will be similar to the other math textbooks, but it will be presented in a non linear way. This way one can learn what they want to without having to learn extra material, and can learn the material in any order they choose. The challenge of this project will be figuring out what the prerequisites of each lesson are, and then directing the user to their options for their next lesson.

Content can be freely copied from PlanetMath.org, and any textbook in public domain (published before 1923) or released under the GFDL. Also note, the material on MathWorld is copyrighted so do not copy directly it as there have been legal problems with this website before.

If this project is a success then it will be expanded to other subject areas.

Basic Math

 * /Counting/
 * /Addition/
 * /Subtraction/
 * /Multiplication/
 * /Division/
 * /Long division/
 * /Fractions/
 * /Mixed numbers/
 * /Proportions/
 * /Decimals/
 * /Rounding/
 * /Scientific notation/
 * /Angles/
 * /Measuring/

Transitional Math / Pre-Algebra

 * /Order of operations/
 * /Inequalities/
 * /Commutative/
 * /Associative/
 * /Pythagorean theorem/

Trigonometry

 * /Sine/
 * /Cosine/

title: Programmed Math


text:
A-level Mathematics/OCR

This is a book about AS (advanced subsidiary) and A (advanced) level Mathematics. It aims to fit in with the OCR New GCE A-level Mathematics syllabus but is not endorsed by OCR. It should be useful as a revision guide or to find alternative explanations to the ones in your textbook. It assumes you have already done GCSE Mathematics. While it is aimed at people studying A-levels, it may be of interest to others in general. More information about A-levels can be obtained from the A-level article in Wikipedia.

Mathematics
The OCR AS and A-Level Mathematics syllabus is focused on pure mathematics in addition to applications in statistics and mechanics. The current structure uses a linear exam system, meaning students must take all required exams in the same session, at the end of their course.

 * To be awarded an AS-level qualification in Mathematics, it is required that a student takes two papers; one covers Pure Mathematics and Statistics, and the other features Pure Mathematics and Mechanics.
 * To be awarded an A-level qualification in Mathematics, it is required that a student takes three papers; one covers Pure Mathematics and Statistics, one covers Pure Mathematics and Mechanics, and one consisting of only Pure Mathematics. One of these papers in the OCR B (MEI) specification also features a comprehension section.

Mathematics

 * To be awarded an AS-level qualification in Mathematics, it is required that a student takes 3 modules. These must be C1, C2 and any one of the applied modules.
 * To be awarded an A-level qualification in Mathematics, it is required that a student takes 6 modules. These must be C1, C2, C3, C4 and any two of the applied modules.

Further Mathematics
A module may only be taken as part of a Mathematics or a Further Mathematics course. A student must therefore take 6 unique modules to be awarded an AS-level qualification in Further Mathematics. These 6 modules must be C1, C2, FP1 and any three of the applied modules. A student must take 12 unique modules to receive an A-level qualification in Further Mathematics. You must take all the core modules and FP1. Then you have a choice of taking either FP2 or FP3 with any 6 applied modules or FP2 and FP3 with any 5 applied modules.
 * To be awarded an AS-level qualification in Further Mathematics, it is required that a student takes 3 modules. These must be FP1 and any two of the applied modules.
 * To be awarded an A-level qualification in Further Mathematics, it is required that a student take 6 modules. These must be FP1, either FP2 or FP3, and any four other modules.

Students at schools or colleges that do not offer the Further Mathematics A-Level can now study it through one of the local centres of The Further Mathematics Network.

Modules
{| style="border:2px #000000 solid; background-color:#f2f6ff"
 * width="100px" style="font-size:70px;" | AS
 * style="font-size:14px; letter-spacing: 1.1px;" |

AS modules

 * Core Mathematics 1 (C1)
 * Core Mathematics 2 (C2)
 * Further Pure 1 (FP1)
 * Statistics 1 (S1)
 * Mechanics 1 (M1)
 * Decision 1 (D1)
 * }

{| style="border:2px #000000 solid; background-color:#f2f6ff"
 * width="100px" style="font-size:70px;" | A2
 * style="font-size:14px; letter-spacing: 1.1px;" |

A2 modules

 * Core Mathematics 3 (C3)
 * Core Mathematics 4 (C4)
 * Further Pure 2 (FP2)
 * Further Pure 3 (FP3)
 * Further Pure 4 (FP4)
 * Statistics 2 (S2)
 * Statistics 3 (S3)
 * Statistics 4 (S4)
 * Mechanics 2 (M2)
 * Mechanics 3 (M3)
 * Mechanics 4 (M4)
 * Decision 2 (D2)
 * }

title: A-level Mathematics/OCR


text:
Talk:Programmed Math

I added a few topics to the table of contents as examples. This is nowhere near a complete list, and they are in no particular order. I think it will be difficult but ultimately possible to figure out the prerequisites for each lesson. What I am more concerned about is how do point the user to the lesson(s) they will most likely want next based on the lesson they just finished? Alex Krupp 09:55, 21 Dec 2004 (UTC)

title: Talk:Programmed Math