text:
User:Robert Elliott/RETestPage

 * Lesson #002 - Study the Way Movies are Filmed in Hollywood
 * Page 1 - The Basic Filmmaking Process

 * The pages of this lesson are…
 * Title Page for this lesson
 * Page 1 - The Basic Filmmaking Process     → You are here!
 * Page 2 - Analyzing the movie George Lucas in Love
 * Page 3 - Watching how real scenes are broken down and filmed in Hollywood.

 * Current Location
 * Wikiversity (English) $$\Leftrightarrow$$ Humanities $$\Leftrightarrow$$ Art and Design $$\Leftrightarrow$$ Fine Arts $$\Leftrightarrow$$ Film and Television $$\Leftrightarrow$$ Narrative Film Production $$\Leftrightarrow$$  Course #01 - Learning the Basics of Filmmaking  $$\Leftrightarrow$$  Lesson #002 - Study the Way Movies are made in Hollywood$$\Leftrightarrow$$   Page 1 - The Basic Filmmaking Process

UNDER CONSTRUCTION

The Process of Single Camera Filmmaking for Narrative Dramas
The following outline intends to give you a brisk walkthrough of what film and television production entails when filming narrative dramas. (That means dramatic scenes with actors and scripted dialog filmed with a single camera and edited non-linearly so time can be lengthened or shorted as needed.)

Development
Before even pre-production, there is the initial phase where ideas are bounced around. The idea for our movie had been around for many years. Now seems like the ideal time to turn it into a short motion picture.

 * Examples of Ideas for a Motion Picture
 * There are thousands of ideas for short motion picture. Just look around at normal every day things… such as Enriched Wheat Flour.  Does anyone know what is in that?  Who actually makes the enriched part?  What if Microsoft made those unknown ingrediants, what would people look like who ate it?  Do the chemicals in hard water interact with the chemicals in enriched Wheat Flour to create really ugly people?  Is this a binary poison?  Coffee and donuts, anyone?

Think about it!!!!

The Story
All movies start with a story. Click here to look at our story.

In Hollywood, the story might start with just an idea. Or the story might be a book which is turned into a movie.

The Script
In Hollywood, the script is the bible for the movie. So before we begin, the story must be turned into a script. For a novel, that means cutting 20 hours of material down to 90 minutes. That is a lot of cutting!!!.

The first step is to analyze the story to find the characters, the dialog, the action, and the parenthetical comments.

Look at our lesson on formatting the script] to see how we cut our very short story down to just the basic ingredients for a script. This is not the only way to boil our story down into a script. You try!!!

Script formatting
Finally, the script must be formatted before you show it to anyone. To be formatted, the script must be typed in the certain format that everyone quickly understands. In Hollywood, there is a basic format that writers follow for narrative motion pictures. Computer programs such as Final Draft help you create the proper format.

Our story is very simple so typing the script is quick and easy using a script formatting program. You can do quickly by learning a formatting program such as Final Draft and then using this program to format our script.

Good News: Final Draft has a free demo version which is ideal for learning the program and for typing our short script. When itis finished, our script looks great. Look at our [[Media:SBTDS_Script_Ciprian2.pdf | script as formatted by one of our students]].

Creating the thumbnail storyboards
Of all the steps of fimmaking, the most important steps is storyboarding.

The simplest storyboard of all is made with thumbnail sketches. The thumbnail storyboarding is where all the important decisions are made for the visual images of the movie.

The reason that storyboards are so important is this is where you make the major decisions of this movie. When you have completed this movie, you have a good idea how the movie will be shot.

Thumbnail Storboarding

 * The Beginning of the Movie
 * The script says, "EXTERIOR - The local movie theater - NIGHT. The Young Person and Old Person stand looking at the movie poster outside the theater.  Young Person says, "That was a great movie...but I do not understand one thing."

Possible Opening Shots
· ·  ·  ·  ·

Select the Opening Frame
Which frame would you select for the first frame of the movie? You can decide in lesson on thumbnail storyboarding.

When you do the storyboards for our movie, you are making thousands of tiny decisions. That is why this step is so important.

Creating the music
Normally, filmmakers don't worry about the music now. However, in our movie, the music will be one of the actors in the movie. It will be our narrator.

Since the music is so important to our movie, we begin to create a rough draft of our music so we know how long it will be. This will help us in the filming of our movie. You can see this in the lesson to create the temp track for our animatic which will be a test movie made from the storyboards.

Recording the dialog for the animatic
For our movie, we are going to create an animatic from the storyboards. To do this, we need voices of the characters of our movie. You can see how we do this in the lesson about the dialog recording.

Editing the animatic
Once you have the storyboards, you can turn the storyboards into a movie using an editing program on your computer. This is called the animatic which is normally done for special scenes.

To create an animatic from the storyboards, we need to edit it like a slide show but with the narrative music and the spoken dialog. You can see how this will be done in the lesson on editing the animatic.

3D Human Models, 3D Costumes, and Movie Sets
Since we are creating an animated version of our movie, we need to select the models that we will use. This is not just the basic figures but also the cast and costumes.

Lesson 10. Creating 3D Storyboards
The first step in creating an animated motion picture with 3D figures is to create a 3D storyboard. These storyboards are much fancier that thumbnail storyboards and much more accurate. However, they take ten times the effort.

Using a program like DAZ Studio, you can create very useful 3D storyboard artwork. More important, we can also use these illustrations as keyframes in our animation.

Lighting the movie set

 * Selecting the lighting for the movie set for the animated version is rather easy. Creating a light in animation is very fast.  The difficulty is deciding how to get the proper look.  Light is used as a paintbrush.  You create a special look to the movie set by adjusting the lights.

Animating the digital actors

 * Finally, we do the character animation for the animated movie.  Getting digital figures to appear gorgeous is easy.  Getting them to move so they do not look like idiots is hard.  If our digital puppets look too real, any fault in the character animation will be magnified.  So far, animation software for digital puppets is a total failure.  Therefore, this lesson will be more of an exploration of what is possible.

Editing the animated version

 * A movie created with 3D figures is shot like a live action movie. Then the clips have to be edited just like a live action movie.   Editing the animated movie requires an editing program like Final Cut Pro to combine the animation with the dialog, music, and sound effects.

Plan our sound effects and ambience

 * As we edit the movie, we will also worry about the sounds which are not dialog and music. This is more than just basic sound effects or ambience or Foley sounds.   Designing and creating the sounds for the ambience means getting all the sound to work together to help tell the story and to set the correct mood.

Create the Foley sounds

 * One of the most entertaining ways to create sound efects is designing and creating the sounds for the Foley which are sound effects that are too numberous to record separate so they are done live while watching the movie.

Record the music

 * Back at the beginning of the editing process, we create the rough musical score. Now we need to  record the final musical sounds for the movie.  There are many ways to do th is.  Perhaps we can hire a symphony orchestra to record our musical sounds for this movie.

Create the matte painting

 * For our movie set, we used a simple wall with a sign. To create the actual background for our movie (which is a theater on a far and distant planet), need to fake it with a painting that fits around our movie set for the final shot of the movie.   Creating the matte paintings for the movie is can be done with paint brushes and oil paints but I think we will be using a 3D modeling program like Vue or Bryce.

Combine the Matte Painting with the animated scene

 * During the final shot, the audience moves from begining close to the actors to being very far away. Since the matte painting is static, we must do this with a zoom shot.  We will need to  composite the actors into the matte painting which is done with a program such as Adobe AfterEffects.

Live Action
Once we have the animated version complete, we will start on the live action version. The animated version will be the planning for the live action version.

Budgeting
The animated version was done almost completely inside our computers. Therefore, the expenses were limited to computer hardware and software. Now we have to budgeting For Live Action with real movie sets, a real movie camera, and live actors.

Financing

 * Financing the Live Action - Financing the live action version of this movie]] - We have to determine how much money we need and then we have to find it.

 * Constructing the Movie Set - Planning and constructing the movie set for a live action shoot]] - We have to build a movie set.

 * Lighting the Movie Set - Selecting the lights for the movie set for a live action shoot]] - We have to light the movie set.

 * Hiring the Crew - Selecting the crew for a live action shoot]] - We have to find a crew for this movie.

 * Casting the Actors - We have to audition and select the cast.

 * Casting the Actors - Finally we film the live action version.

 * Edit the movie - We have edit either the live action or the animated version of the movie. In both cases, this is done the same way.

 * Designing and creating the sounds for the ambience - We have to decide what sounds are needed for the ambiance for this movie.

 * Designing and creating the sounds for the Foley - We have to record the Foley sounds for the ambiance for this movie. If you don't know who Jack Foley was, go to this wonderful website www.marblehead.net/Foley/jack.html

 * Re-record the dialog - We have to replace the dialog for this movie using ADR.

 * Recording the musical sounds for the movie - We have to create the musical sounds for this movie.

 * Creating the matte paintings for the movie - live action - We have to create the matte paintings for the live action movie.

 * Compositing the matte painting - live action - We have to combine the matte paintings for the live action movie with the actual filming of the movie.

Distribution/Exhibition

 * Creating the titles - We have to create the titles and credits for both the animated and the movie.

 * Prepare the movie's elements for distribution - Creating the titles]] - We have to prepare the movie for distribution.

 * Creating the foreign dubs - We have to create the foreign dubs for this movie.

 * Authoring the disk - We have to create layout and design of the DVD-Video release.

 * Creating the posters, etc. - We have to create the posters, jacket, and slicks for this movie.

 * Accounting - We have to account for the finances of the movie.

Crewing up
This movie will be filmed both as 3D animation and as a live action movie. For the live action movie, the film's line producers will design a basic timeline and make initial wish-lists of 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).

For the animated version of this movie, we have to locate the models which will be used for the two characters in our movie — the Young Person and the Old Person. We will begin this search in the lesson in casting and costumes for aniamtion.

Finance
This stage runs concurrently with conceptualization but can only really reflect actual needs after the script breakdown and production design stages have finished. We will have completed the animated version before we begin to work on the financing of the live action version. This will be done in the lesson on financing the movie.

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. You will see this in the lesson on budgeting.

Investors
As we approach actual filming of the movie, the live action filming will require investors to commit to the project to carry it through to completion. The art of deal-making rules this stage. Hopefully, we will see that in the lesson on financing a movie.

Live Action Motion Pictures
For live action, 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.

Animation
For animation, the procedure is backwards. (To be completed soon...)

Post Production
After 20 to 60 days of filming, you are finished shooting your motion picture. After all that effort, the only thing you have to show for your work is about 100 reels of film, 60 rolls of audio tape, and a well-worn copy of the script which has been marked up by the script supervisor. That's it! Other than publicity stills and maybe a documentaries and perhaps some effects shots being done at effects houses around town, this is all you get for your 40 million dollars. So now, what do you do?

Now you start Post Production. Now you turn the developed film and audio reels into a motion picture for viewing at a film festival. (Much later, you worry about getting the movie ready for distribution.)

Once the dailies are prepared for editing, the film editor begins to edit the picture and the dialog. The sound department will get busy creating an infinite number of sound effects and the film composer will create beautiful music for your movie. If any visual effects are needed, they will get done too at special effects houses... along with the titles and credits.

Finally, when everyone is happy, the negative will be cut to match the edit of the movie and a print will be made for showing at Sundance.

Let's look at these steps individually.

Dailies/Workprint/Telecine/Capture/Syncing Audio
Each day during production of a feature film shot on motion picture film, dailies are prepared for viewing by the director, the crew and the studio executives. To save money, the same dailies can be used by the editor to edit the movie... or at least they can be created at the same time.

Preparing the dailies for editing seems like a trivial task but can be a major headache if not done very carefully. This is just as true for digital video as for film. Some people think that just because they use a digital camcorder, they do not have to process the film dailies. Dailies still have to be captured into the computer so they can be edited. And if you using a separate sound system for recording the dialog, you will still have all the problems of syncing audio to picture for your digital dailies.

For more information on preparing film dailies for editing and the telecine process, see the section on Telecine in the Movie Making Manual.

Logging
If you film and edit only one scene (or a short), you can easily keep track in your head of all the raw footage. But for a feature film, keeping track of all the different shots is not easy. Walter Murch uses Apple's FileMaker Pro. At Macworld Expo, there is usually at least one lecture on how he uses this database during the editing process.

Picture and Dialog Editing
When the movie is edited, the editor must think about more than just the picture and the dialog. The sound effects and the music work together with the pictures and the dialog to tell the story. The sound effects, music, picture and dialog all interact. The editor must figure out how all these elements work together to tell the story.

In Hollywood, there are special teams what do the visual effects, music, and sound effects. But if you are just one person doing the edit of low-budget motion picture, you might have to do everything yourself as you edit the movie.

 * Narrative Films Only
 * This manual covers dramatic movies with scripted dialog. Be aware that editing a documentary, corporate video, multimedia or event video is totally different from editing narrative dramas.  For more information about the process of film editing for narrative motion pictures and televison drama see the section What is Editing in the Movie Making Manual.

For narrative feature films, there are two different kinds of scenes - Action sequences and Conversation. When you edit a conversation, there are lots of constraints... special the script which dictates the spoken dialog. Action sequences have few constraints.

There are two kinds of music - Background music and Narrative music. Background music means very soft music while narrative music is music that gets in your face. At this stage, a temp track is acceptable for background music but for music which tells part of the story, you really need to use something which will be close to the final music.

While there are many kinds of sound effects, at this stage you are only worried about the sound effects that help tell a story, not the sound effects which make the scenery seem realistic such as Ambience, Walla and Foley. These can be done when the editing is finished. For now, just worry about the sound effects that help narrate the story.

For more instructions on how to edit a dramatic scene with scripted dialog, see the section How To Edit a Dramatic Scene in the Movie Making Manual.

ADR (Automatic Dialog Replacement)
Once you have edited the movie, you might need to replace some of the spoken dialog. For more information on ADR, see the section ADR in the Movie Making Manual.

Sound Effects
Once all the scenes are edited, you begin to add all the little sounds which makes the movie seem real. If a scene does not seem realistic, you have not added enough sound effects such as:

Ambiance
The background sounds of the environment.

Walla
This is the indistinguishable sounds of people talking in the background.

Foley
The footsteps and the rustling of clothing make your scene seem real. which are so numerous that it is faster to record these sound effects live while watching the movie. If you have only a few footsteps, you can do this from sound effects libraries in your editing program. But in general, when you need hundreds of tiny sound effects, it is easier to do them with Foley

For more information on Sound for motion pictures, see Sound Design in the Movie Making Manual. For more information on Foley, see the section Foley in the Movie Making Manual. (Note: "Foley" stands for Jack Foley who pioneered this kind of sound effects creating.)

Visual Effects
When doing the basic edit, blank frames or storyboard frames are used in place of visual elements. Once the effects shots are finished, they must be inserted into the edit.

Titles and Credits
Titles can be done any way that you wish. Determining which people to include in the credits can be complicated. This is a good place to make a lot of people angry. Therefore, you must be very careful to list all the people who deserve credit for making the movie. Sometimes, the unions decide this. Sometimes your contracts with the cast and crew decide this. Doing the credits is not as easy as it looks.

Film Scoring
Music creates the mood. Once the edit is complete (with a temp score), the temp score must be replace by the final score. For more information on film scoring, see the section Music/Film Scoring in the Movie Making Manual.

Breakdown into reels
A motion picture must be in manageable pieces for distribution and projection. In the break between reels, there must be no sound or picture.

Conform the Negative
Most of the time, it is not possible to edit at the highest possible resolution. In these cases, up until now, editing is off-line. If there is no digital intermediary, you need to conform the negative.

Prep for Distribution
This should be in the marketing section because it is done after you have a distributor but before the distributor accepts delivery of the motion picture and all its elements. Therefore, only after you have sold the movie, do you learn what film formats are required. This is a hidden expense can be rather nasty. If you have not planned ahead, this can cost you a fortune. Read Robert Rodriguez' Rebel without a Crew which is about the making "El Mariachi" This book should be required reading in all film schools.

Animated Feature Films
Note that if you are making an animated feature-length motion picture, the procedures above are done in a slightly different order.

Post Production
(To be combine with above.) 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 effect 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, & Ambiance) 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. Sounds for a steamy sex scene probably come from a foley artist making dispassionate love to his or her own wrist. 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. wal

Ambiance
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 ambiance and must be recorded in a real location. Even though ambiance is very soft in the background, a scene will feel flat without it.

Ambiance 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 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.

Composting
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 transfered to film. If there will be an 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 the distributor requires for the distributor 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.

Your Teachers at the Wiki Film School

 * User:Robert_Elliott

title: User:Robert Elliott/RETestPage


text: Template:QC-Announce

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

title: Template:QC-Announce


text:
Emergency medical responder (EMR)

Introduction
Please note that the EMR module is incomplete. Currently no units are completed.

Emergency medical responders can range from bystanders with Cardiopulmonary Resuscitation (CPR) certification to trained professional rescuers such as First Responders, EMT-Basics/Intermediates, Paramedics, Nurses, or Doctors. Usually the most important tool used by these people is their brain. In Alberta, Canada, an EMR is a trained EMS professional, as per the National Occupational Competency Profile (NOCP), equivalent to the EMT-B in the U.S.A. This is also true in British Columbia, Canada. The hierarchy of paramedics in the BC Ambulance Service is highest at the Critical Care Paramedic (CCP), followed by Advanced Life Support (ALS), the Infant Transport Team (ITT), Primary Care Paramedic (PCP), and finally Emergency Medical Responder (EMR).

Preface
In general, Emergency Medical Responders are people such as police officer, firefighter or EMT that are trained to provide immediate pre hospital medical treatment to either a medical or trauma victim of accidents or disasters. EMR are not supposed to replace an EMT or Paramedic, EMR’s are only to provide enough care until the ambulance arrives. However, inn Canada, as per the NOCP of the Paramedic Association of Canada, an Emergency Medical Responder (EMR) is the first of four levels of paramedic training. The four levels are Emergency Medical Responder, Primary Care Paramedic, Advanced Care Paramedic, and Critical Care Paramedic (lowest level of training to highest level of training).

Scope of care
This is the Scope of Practice for Alberta Canada only. Please look for your specific location to find your scope. EMR Scope of Practice 􀁺 An Emergency Medical Responder may, under medical control and with an ongoing medical audit, provide the following health services: (a) conduct primary and secondary surveys, including scene assessments (b) use basic methods of managing medical, traumatic and obstetrical emergencies (c) use airway management techniques, including oropharyngeal airways, oral suction devices and oxygen-supplemented mask devices to assist ventilation (d) administer oxygen using basic delivery devices including masks and nasal canula (e) basic bandaging (f) cardiopulmonary resuscitation (g) patient extrication (h) use basic splinting techniques, including spinal immobilization with long spine boards and cervical collars (i) automated and semi-automated defibrillation ( taken from Section 9 of the Health Disciplines Act of Alberta Canada.)

Skills practiced

 * Primary and Secondary surveys
 * Basic airway management
 * Oxygen therapy
 * Ventilation support
 * Circulation support
 * Automated defibrillation
 * Cardiopulmonary resuscitation
 * Spinal immobilization
 * Vital sign evaluation
 * Respirations
 * Pulse
 * Blood pressure
 * Skin condition
 * Pupils
 * Blood glucose
 * Pulse oximetry
 * Splinting
 * Bandaging
 * Stretcher Operation
 * IV Maintenance (starting an IV is a PCP/ACP/CCP skill)
 * Patient extrication and transport

Tools used
The typical tools used by an EMR include but are not limited to the following:
 * Airway management tools:
 * Oropharyngeal airways (all sizes).
 * Nasopharyngeal airways (all sizes).
 * Electric suction, or, V-Vac.
 * Yankeur suction tubing.
 * Bulb suction.
 * Oxygen therapy tools:
 * Easyseal mask.
 * Simple face mask.
 * Non-rebreathing mask (NRB).
 * Nasal cannulae.
 * Oxygen tubing.
 * Compressed, medical grade, oxygen with regulator.
 * Ventilation support tools:
 * Bag valve mask (BVM).
 * Pocket mask.
 * Circulation support tools:
 * Automated external defibrillator (AED).
 * Spinal immobilization tools:
 * Long Back board.
 * Short Spine board.
 * KED.
 * C-collar.
 * Head roll.
 * Scoop stretcher.
 * Vital sign evaluation tools:
 * Stethoscope.
 * Sphygmomanometre.
 * Pediatric BP cuff.
 * Adult BP cuff.
 * Large BP cuff.
 * Penlight.
 * Pulse Oximetre.
 * Blood glucose metre.
 * Other tools:
 * Traction splint.
 * Assorted splints.
 * Assorted bandages.
 * Stretcher.

Body of knowledge

 * Human anatomy
 * See main unit /Human anatomy/
 * Pharmacology
 * See main unit /Pharmacology/

Standard protocols
The most important thing for any EMR is the systemic approach. For every scene and every patient one must follow the same protocol. This protocol is designed to ensure that all life threatening injuries and illnesses are stabilized with a priority sequence and that none are missed. Failure to follow this protocol could result in the loss of a patient and the revocation of an EMR licence and potentially litigation/prosecution should injury/death result (failure to meet the standard of care). Protocols are part of offline medical control. In certain (rare) circumstances, online medical control (direct call to a medical physician, typically a trauma surgeon or the medical director of the relevant entity) can grant an EMR special permissions.

Scene Survey
Upon arriving on scene at any call, an EMR will be required to take certain measures prior to approaching the patient(s) to ensure Responder safety Remember the first priority of every Rescuer/EMR is safety of self and team.

Study the /Scene/patient assessment/ module.

Primary survey
The primary survey is a systemic approach to analyzing the patient in order to rapidly find any life threatening injury or illness. The sequence to be followed is reviewed in the EMR primary survey module and should not be interrupted with the exception of to perform a critical intervention.

Level of Consciousness (LOC)-->Delicate spine/Suspected delicate spine

Airway-->Breathing-->Circulation-->Deadly Bleeding-->External Defib (if necessary)

Rapid Body Survey (RBS)=Head-->neck-->torso/back-->pelvis-->legs-->arms

Study and master the /Primary survey/ module before moving on.

Skin Oxygen(remember to get a baseline SPO2 before throwing O2 on) Airway(as in OPA or NPA) Position of patient

Critical interventions
During the primary survey an EMR may find an immediate life threatening emergency. In these cases the EMR will interrupt the primary survey to perform a critical intervention.

Learn what is and is not classified as a critical intervention and how to carry out a critical intervention in the /Critical interventions/ module

Transport decision
After the primary survey, an EMR must decide whether it is essential to load and go (load the patient into the ambulance immediately and begin transport), or if the EMR can stay on the scene to stabilize the patient (A.K.A. stay and play).

Study the protocol for the transport decision in the /Transport decision/ module.

Patient history
An EMR must retrieve the same medical history for the patient regardless of the suspected mechanism of injury or illness (MOI).

Study the /Patient history/ module.

Vitals
A full set of vitals should include: LOC, RRM(rate/rhythm/quality) of respirations and pulse, skin colour condition and temperature, blood pressure, pulse oximetry, pupils, and blood glucose.

Head-to-Toe
A more detailed version of the RBS. Visually assess for any deformities, contusions, abrasions, penetrations, burns, tenderness, lacerations, swelling. Also feel for any tenderness, instability or crepitus. The head2toe should be completed in the following order: Head-->Neck-->Chest-->Abdomen-->Pelvis-->Lower Extremities-->Upper Extremities-->Back

This is the above mentioned mnemonic used for assessing 'head-to-toe'. It is done as it sounds. For whatever trauma pt, it will be DCAP-BTLS. For unconscious, ask any bystanders if they know what happened, how, if others were involved, etc. If they possibly know the pt's medical history or any allergies or conditions. So for unconscious or conscious, this will be used:

D- Deformities

C- Contusions

A- Abrasions

P- Perforations, punctures, penetrations

B- Burns

T- Tenderness

L- Lacerations

S- Swelling

One for the Medical patient will be done by (if awake and conscious), SAMPLE history and if in pain, OPQRST:

S- Signs and Symptoms  ("what does your pain feel like?")

A- Allergies  ("Do you have any allergies?")

M- Medications  ("Are you on any meds? What ones?")

P- Past of medical history  ("Have you had this happen before? Do you have any other medical problems?")

L- Last Oral Intake  ("What did you last eat?")

E- Events prior and causing EMS to come  ("What happened to make you need to call?")

and

O- Onset  ("What happened to make you feel this way?")

P- Provocation  ("Does anything help it feel better or get worse?")

Q- Quality  ("What does your pain feel like?")

R- Region(s)/ Radiating  ("Does the pain spread anywhere else? Where exactly does it hurt?")

S- Severity

T- Time and History

Respirations
The respiratory rate (number of respirations the patient makes in one minute) should be measured. Place one hand on the patient’s solar plexus and if the patient is unconscious, hover an ear a few inches above the patient’s mouth. Watch the chest rise and fall while listening to the quality of the breaths. Count the number of breaths taken over one (1) minute, if expedience is necessary, count the breaths over fifteen (15) seconds and multiply the number by four (4).

The number of breaths per minute should be as follows:
 * For an adult;
 * 12 to 20 breaths per minute.
 * If the patients breaths per minute exceed 30 or are below 10 a critical intervention is required.
 * For an adolescent aged 11 to 14;
 * 12 to 20 breaths per minute.
 * For a child aged 6 months to 10 years;
 * 15 to 30 breaths per minute.
 * For an infant;
 * 25 to 50 breaths per minute.

Sounds to listen for in a patients breathing are.
 * Snoring: Indicates a partial blockage of the airway.
 * Wheezing: Indicates inflammation in the patient’s airway.
 * Gurgling: Indicates fluids in the airway.
 * Stridor: Indicates the Larynx is swollen and blocking the upper airway

Breath quality may be observed by looking for the following
 * Normal: a normal rise and fall of the chest without accessory muscle use.
 * Shallow: a very slight rise and fall of the chest.
 * Labored: use of accessory muscles while breathing.  In a conscious patient this can be identified by a complaint of “having trouble breathing”.

Pulse
The pulse should be measured from the carotid artery in an adult or child, and from the brachial artery in an infant. Place the index and middle figure on the artery to feel the pulse. Count the number of beats per minute, just as the breaths are counted.

A normal pulse rate should be as follows:
 * For an adult or adolescent older than 11;
 * 60 to 105 beats per minute.
 * For a child aged 3 to 10;
 * 70 to 130 beats per minute.
 * For a small child aged 6 months to 3 years;
 * 80 to 140 beats per minute.
 * For an infant aged 6 months or less;
 * 90 to 140 beats per minute.
 * For a newborn;
 * 120 to 160 beats per minute.

Blood pressure
BP testing is done as part of Vitals in the Secondary Survey. To administer Nitroglycerin (almost exclusively to patients of Angina), the patient MUST have a systolic BP of >100. See Pharmacology.

As of 2016, the systolic BP requirements for NTG administration is now >/= 90 mmhg (Greater than or equal to 90 mmhg) as part of their Chest Pain management protocol in some provinces in Canada, particularly in BC.

Pupils PEARL
Pupils Equal And Responsive to Light

You can determine this with the medical pen light. (Depends upon the EMS company, sometimes they will provide you one for free or at low cost, or you're going to have to get one yourself.)

Blood glucose 80-120 (Or 3.8mmol/l - 8.0mmol/l)
Just remember, four to eight is great!!

Pulse oximetry 90-100%
Pulse oximetry uses a light emitter with red and infrared LEDs that shines through a reasonably translucent site with good blood flow. On adults you should place the pulse oximeter on the finger tip(one without finger nail polish if possible). This device measures oxygen saturation in the blood(SpO2). The reading should be in the range of 90-100% for healthy persons. 95% or higher is an ideal SpO2 reading. Anything <80% is basically incompatible with life. This device can tell you whether or not oxygenated blood is being circulated through the body.

Level of Consciousness
AVPU [A-Alert] [V-Alert to verbal stimuli] [P-Alert to pain (sternal rub, pinch)]* [U=Unresponsive]
 * In British Columbia, Canada, the sternal rub is considered an old standard and no longer Best Practice.

Glascow Coma Scale (GCS)

[Eyes] 4-Spontaneous 3-Responsive to verbal stimuli 2-Responsive to pain stimuli 1-None

[Verbal] 5-Oriented 4-Confused 3-Inappropriate words 2-Incomprehensible sounds 1-None

[Movement] 6-Obeys verbal commands 5-Localizes 4-Withdraws 3-Flexion 2-Extension 1-None

In the Province of British Columbia, Canada, a patient with GCS of 13 or less is RTC (rapid transport category).

Helmet Removal
Though not required if it doesn't impede other protocols, helmets are typically removed by paramedics. This is because hospital staff are typically not trained to properly remove helmets while maintaining spinal stabilization, nor are firefighters and other first responders.

Cervical Collar
Patients with a delicate spine are first returned to an anatomical position, including realignment of the head&neck via a 2-axis movement. Thereafter, a hard cervical collar is applied. Note: the cervical collar is not, by itself, considered adequate spinal stabilization.

Kendrick Extrication Device (the K.E.D.)
Commonly used in auto-vehicle collisions.

Scoop Stretcher
In Canada, with the exception of the British Columbia Ambulance Service, the scoop stretcher is (in general) no longer used for spinal stabilization. It is also difficult to use in non-flat&hard surfaces (e.g., snow, dirt, sand...etc.).

You DO NOT remove anything additional (helmet, impaled bar, knife, etc.) unless it interferes with CPR/ airway.

Heat related emergencies
(96.53.108.182 19:07, 13 September 2012 (UTC)Myles Walters96.53.108.182 19:07, 13 September 2012 (UTC)) Three stages, listed from least fatal, to most. 1-heat cramps S/S (signs and symptoms) -Faintness, dizziness, exhaustion -rapid pulse -nausea, possible vomiting -hot sweaty skin -sever muscular cramps and pain 2-heat exhaustion S/S -Pale skin -Sweaty -nausea -shaking 3-heat stroke- disturbance of heat regulating system and lack of sweating. Temperature over normal range. 40*C will develop into cardiogenic shock if untreated. (most people who think they have heat stroke usually have heat exhaustion)

S/S -temperature rising to 40*C+ -rapid full pulse -hot dry skin (absence of sweating) -noisy breathing -restlessness, convulsions, unconsciousness

Cold related emergencies
Cold related emergencies are no where near as dangerous as heat related emergencies. But these emergencies usaully occur in a backcountry or wilderness settings rather than an urban setting. Cold related emergencies can range anywhere from moderate (1st degree) frostbite to Severe (3rd degree) frostibite and to Hypothermia.

Diagnosis
Diagnosis is the single biggest thing an EMR can do. In the case of severly hypothermic patients a pulse may be present but not felt by the EMR. Leading them to believe this person has had a Myocardial Infarcation. If a good history is available it will show that this person has not had heart failure but rather is severely hypothermic. All patients who appear not to have a pulse after checking for 10 seconds or less, MUST receive CPR/Chest Compressions. PUSH HARD, PUSH FAST and ensure a higher level of care is on it's way, usually by calling 911. Any rough handling such as CPR can cause the heart to go into a cardiac arrhythmia such as Ventricular Fibrillation(V-Fib).

Treatment
Treatment for the cold injured is dependent upon the condition (frostbite or hypothermia) and severity of the condition. Generally the EMR is not going to treat severe cases of cold injury. The most likely course of action is to bring the patient in to a hospital.

Shock
3 Stages of Shock

Compensated Pale Skin Slightly rapid heart rate Normal blood pressure Anxiety Delayed capillary refill in the infant or child

Decompensated Thirst Rapid heart rate Decreased blood pressure Cool and moist skin that is pale, grey, or bluish and mottled. Major changes in the patient's mental status.

Irreversible Cells start to die. Very low blood pressure Extremley rapid pulse. Death is imminent at this point or stage of shock.

TYPES OF SHOCK: 1.Hypovolaemic shock- Patient has lost enough blood to send them into shock. If not treated immediately, it is fatal. Treat the sourceof the bleeding and transport them to ER. Blood volumizers can be administered through IV(large bore if possible). Hextend or hetastarch can buy time until transfusions and surgical care can be arranged.

2.Cardiogenic shock- This is cardiac pump failure. The heart has been damaged by an acute myocardial infarction, and isn't healthy enough to perfuse the organs of the body. This could lead to cardiac arrest and other organ failure. Patient should be taken to cardiac surgery hospital.

3.Anaphylactic shock- This occurs when a patient comes into contact with something that he/she is severely allergic to. Patient will appear swollen, red and splotchy skin legions, contact dermatitis. The problem is that when this occurs, the patients airway can close up. If the patient can't breathe, they will be dead within minutes. Responder should administer epinephrine immediately, and contact EMS or transport to nearest emergency center. Epi pins or so they are called are emergency auto injectors that people carry, especially if they know they are allergic to certain insect bites. Look for a medical allergy tag. This also tells of medications that the patient is allergic to. If Patient's airwary is closed, EMT must intubate the patient. The Combitube may be a good choice, because it is a blind insertion. Even if you miss the trachea, you can inflate a balloon fixed to the device and your bag valve mask will force O2 down the bronchial main tubes, and into the lungs.(always check for bi-lateral chest movement, and gastric distention)

4.Septic shock     - Severe infection starts to shut down the body's organs. Perfusion is decreased to all parts of the body, and if not treated patient will die. Doctors must treat patient with antibiotics and anti-viral medications to save the patients life. However, once a patient has entered septic shock, they are in serious medical trouble.

5.Psychogenic shock - The body loses control over its ability to contract and dilate blood vessels. This could cause a patient to faint, because inadequate levels of blood and oxygen are reaching the brain. This can be cause by shocking news or other traumatic event. The first thing you can do is prevent the patient from injuring themselves when they fall. The skin may appear pale, and the patient may feel lightheaded and confused. Try to reassure them, and transport to hospital if needed.

6.Insulin shock    - The patient has become hypoglycemic (low blood sugar) due to excessively high levels of insulin in the blood stream. Patient will be confused, light headed, combative(possibly) and have redder than usual skin(if light skinned). The medic should administer oral glucose (sub-lingual). This helps raise the patient's blood sugar level. They may begin to come out of shock, however they may still need to see a physician. Always check blood sugar if you're diabetic.

title: Emergency medical responder (EMR)


text:
Topic talk:Basics of Economics

Merge?
I think that this section would be better if it was merged with the Principles of Economics Section. They are essentaily the same thing and would serve as the introduction to the field. Does any one have any thoughts?

Sjwillis39 17:26, 16 June 2009 (UTC)

Hi, I'm a new user/editor of Wikiversity. I'm looking to contribute to the Economics section and feel that this topic should look more like http://en.wikiversity.org/wiki/School:Economics/Ec_1101. Any comments? I am happy to make the changes. Iqbar 19:21, 22 October 2006 (UTC)

title: Topic talk:Basics of Economics


text:
Quenya/Root Words

LESSON 0: Sundocarmi and Lambelë

Theory of sundocarmi
 Any reference in textbooks:

In dealing with Elvish Languages, it is essential to understand the concept of sundocarmë or root.

Definition
The best definition has been given by Tolkien himself in the Qenyaqetsa:

 * Roots are not words in use at all, but serve as an elucidation of the words grouped together and a connection between them.(LT1:246).

Sundocarmi are not actual words, but bases that contain the general meanings, and from which, during the process of evolution of Elvish languages, real words were derived through affixes, suffixes, or modifications.

For example, the idea of "fine rain" is contained in the sundocarmë MIZD-, from which is derived the word for "fine rain" mizdē (in Quenya mistë).

Structure
In the very first phase of the Primitive Quendian, sundocarmi were probably used as actual words; in that period the Elves could speak only through uninflected words, without any differentiation between parts of the speech. Such a simple language is difficult to imagine for us. Tradition says that the very first word ever said by an Elf was el-e!, a primitive esclamation «look!», referring to a star.

Sundocarmi (or proto-words, if they were) usually have the construction vowel-consonant-vowel (both vowels are short), each preceded by a consonant that has been lost:

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * (C)VCV
 * }
 * }

like DELE- ("walk") or ABA- ("deny"). This model was preferred for those sundocarmi whose meanings are related to actions (walking, speaking, making, etc..); usually those sundocarmi are said to have verbal meanings read. For other classes of sundocarmi, various structures crystalised; the most frequent one moves the dismissable phoneme from the first to the last one:

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * CVC(V)
 * }
 * }

like TATA- ("two") or TUR- ("power, control").

So we can affirm that there exists a common basic structure for sundocarmi as well, being:

 * CVCV

formed by two elements:

 * the consonantic group C-C called sundo
 * the vowel V called sundóma (or steam or radical vowel).

There exists also sundocarmi which Tolkien called monoconsonantic which, as does KWE- ("speak, speaking, language"), contains only one consonant.

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * CV or VC
 * }
 * }

Derivation
After Elves had developed a sensibilty for the different parts of speech, they started to derive sundocarmi from the existing ones. Firstly monoconsonantic sundocarmi were expanded, for example KWE- gave KWENE- and KWETE-; later modifications in the structure of sundocarmi appeared. A good example is NAK- >> NDAK- ; ÁNAK- ; NAYKA- ; ecc…

The most frequent modification (that sometimes are used to derive words) are:

 * Intensification: prefixing to a sundocarmë its sundóma, usually together with its lengthening either in the first or in the last position. The extended version is called intensive form.
 * LAK- > ÁLAK-
 * NAR- > ANÁR-

 * A infission: adding an a before the sundóma:
 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * -i- > -ai-
 * SLIW- > slaiwâ
 * -u- > -au-
 * THUS- > thausâ
 * }
 * THUS- > thausâ
 * }

 * I/Y infission: putting an i/y after the sundóma (less frequently used than the previous one):
 * NAK- > NAYKA-
 * WAVA- > WAIWA-

 * Nasal infission: adding an n before the 2nd vowel of the sundo (an m before b, p, n):
 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * n infission
 * DAT- > DANT-
 * m infission
 * DEM- > dimbâ
 * }
 * DEM- > dimbâ
 * }

 * Here is one exemple of infission where ŋ has been added before w:

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * ŋ infission
 * LIW- > liŋwi
 * }
 * }

 * Antoryamë: under this noun has been collected by Tolkien various modifications.
 * Vowel strengthening: that is the lengthened of one or all the appearance of the sundóma.
 * mata > mātā

 * 'Ostimi': An ostimë of the 1st consonant of the sundo is charcterised by «the running together of two elements, that could be analysed phonetically (without reference to intention or effect) as separate gestures or movements, into a combination that had and was intended to have a unitar effect and significance.»(VT#49:9) Ostimi creates a consonantal diphtong called ohlon.

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * t > st
 * s > st
 * l > gl
 * r > gr
 * k > ky
 * k > kw
 * }
 * r > gr
 * k > ky
 * k > kw
 * }
 * k > kw
 * }
 * }

 * The most notable are the nasal ones:
 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * b > mb
 * BAD- > MBAD-
 * d > nd
 * DUL- > NDUL-
 * g > ŋg
 * m > mb
 * BAR- > MBAR-
 * n > nd
 * NAT- > NDAT-
 * ŋ > ŋg
 * ÑOL- > ÑGOL-
 * }
 * n > nd
 * NAT- > NDAT-
 * ŋ > ŋg
 * ÑOL- > ÑGOL-
 * }
 * ÑOL- > ÑGOL-
 * }
 * }

 * Similar modification can occur also either in the middle of the words or at the end. When it occurs in the middle, it is also possible to duplicate a consonant or an entire group of elements, in which case it means the repetition of the action carried by the sundocarmë:

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * CVCV > CVCCV
 * ROKO- > ROKKO-
 * CVC > CVCCV
 * BAT- > battâ-
 * }
 * BAT- > battâ-
 * }

 * Ómataina: a vocalic extension consisting of adding at the end of the sundocarmë its sundóma followed by a consonant, usually –n, -c, -t, or –s.
 * LEP- > LEPET-

 * Differentiation: adding at the end of the sundocarmë the vowel -u
 * KEL- > KELU-

 * Variation: modifying in the sundo some consonants with other similar:

 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * t / th / d
 * s / th
 * sp / ph
 * k / kh
 * p / t
 * d > l
 * }
 * k / kh
 * p / t
 * d > l
 * }
 * d > l
 * }
 * }

 * Much rarer are variations between vowels ( e/a, a/u).

 Theory of sundocarmi: Advanced Level

 * Fauskanger's "The Steam and its modifications" detailed analysis of sundocarmi and their modifications. Reccomanded especially if you are looking to know the attestations of those phenomena.
 * Tolkien's own essay about that topic pubblished on VT#39. (Part of Quendi & Eldar not pubblished in PM.)
 * Renk's "| Intensifying Prefixes in the Etymologies" description of the most occuring intensive devices in Elvish languages.

Lambelë
The word lambelë includes all the aspect related to sounds and their pronunciation, that we usually differentiate in phonological and phonetic aspect of language. An explanation of this technical word has been given by Tolkien himself in:

 * lambelë [is] a general word for what we might call "phonetics", though it includes various aspects that were not purely "phonetic", but considered the effects of design, selecton, predilection (aesthetic preferences). and meaning upon the nature and use of the tengwi ("phonemes").(VT#39:16).

The first and most important rules of Quenya is that the language should always follow phonetics aesthetic prinicples: to write a sentence in good Quenya is not only important its grammatical correctness, but she has also to be "good-sounding". This is the reason why many phonological changes occur in Quenya morphology.

 Lambelë: Advanced Level

 * "Noldorin words for Language" VT#39:15-20.

Phonology
 Textbooks references:
 * Q#R:96-97 → 14.2.1
 * Q#W:Phonology → Vowels, Consonants

Phonology (Greek phonē = voice/sound and logos = word/speech), is a subfield of linguistics which studies the sound system of a specific language (or languages). Whereas phonetics is about the physical production and perception of the sounds of speech, phonology describes the way sounds function within a given language or across languages.

In simpler words, phonology is the collection of rules that defines those phonema that could be used, how they could been modified, their beahviour and how they can be combined.

Q#R gives a concise and good descprition of the major aspects of Quenya phonology, that should be integrated with the contenents of Q#W for a complete overview of Quenya hloni and their pronuciation(sounds).

However, as phonology has a central position in that language, and most of its structures could be understood only through phonological laws, below are highlighted the principal ones.

 * TAPTON OHLONI (Consonant Clusters)
 * Clusters may not appear at the begining of a word, apart from:
 * qu (for kw), ty, ly, ny, nw
 * Inside a word the most occuring clusters are:
 * ld, mb, mp, nc, nd, ng, ngw, nqu, nt, nw, qu (for kw), ps, ts, x (for ks).
 * and the geminated or lenghtened consonants:
 * cc, ll, mm, nn, pp, rr, ss, tt
 * Clusters, apart from case inflection -nt, may not appear at the end of words. In this position the only accepted consonants are:
 * l, n, r, s, t
 * The consonants d and b never appear alone.

 * ÓMEAR (Vowels)
 * A vowel cannot be lenghtened before a geminated consonants or before a cluster.

 * The only accepted diphthongs are:
 * ai, au, eu, iu, oi, ui

Skipping for the moment the section about "Prefixes", let us go directy to Q#R:99: Consonant Shifts. The shifts described here, some of which have already appeared when we talked about antoryamë, occurs not only when we deal with prefixes; they are frequently observed in the grammatical inflections of the language and are peculiarities of Quenya. Learners should try to remember the ones occuring most, and should keep the table in mind whilst studying the grammar.

 Phonology: Advanced Level

 * Fauskanger's Lesson 1: extensive analysis and argumentation of Quenya Pronuciation. (Q#F:Lesson1)
 * The sounds of Quenya. Pronunciation and accentuation.

Phonetics
 Textbooks references:
 * Q#W:Phonology → Vowels, Consonants

Phonetics (from the Greek word φωνή, phone meaning 'sound, voice') is the study of sounds and the voice. It is concerned with the actual properties of speech sounds (phones) as well as those of non-speech sounds, and their production, audition and perception, as opposed to phonology, which is the study of sound systems and abstract sound units (such as phonemes and distinctive features). Phonetics deals with the sounds themselves rather than the contexts in which they are used in languages.

For an extensive illustration of Quenya Phonetics, refer to Q#W or much better to Q#F:Lesson1. Below is given only the pronunciation (with X-SAMPA phonetic notation) of each tengwë (" phoneme"):

 * ómatengwi or lehta tengwi (vowels):
 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * a
 * [a]
 * á
 * [a:]
 * e
 * [e]
 * é
 * [e:]
 * i
 * [I]
 * í
 * [i:]
 * o
 * [o]
 * ó
 * [o:]
 * u
 * [u]
 * ú
 * [u:]
 * }
 * ó
 * [o:]
 * u
 * [u]
 * ú
 * [u:]
 * }
 * ú
 * [u:]
 * }
 * }

 * ohloni (diphthongs):
 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * ai
 * [a:j]
 * ei
 * [e:j]
 * oi
 * [o:j]
 * ui
 * [u:j]
 * au
 * [au:]
 * eu
 * [eu:]
 * iu
 * [ju:]
 * }
 * eu
 * [eu:]
 * iu
 * [ju:]
 * }
 * [ju:]
 * }
 * }

 * sarda tengwi or tapta tengwi (consonants):
 * {| border="1" cellpadding="5" style="border-collapse:collapse;margin-top:0.5em;border: 1px #666666 solid;"

 * b
 * [b]
 * c
 * [k]
 * d
 * [d]
 * f
 * [f]
 * g
 * [g]
 * gw
 * [gw]
 * h
 * [h] at the beggining of words
 * [x] between two vowels
 * [x] before -ta, -to, tu
 * [x\] before -te, -ti
 * hy
 * [x\]
 * hw
 * [B]
 * hl
 * hr
 * l
 * [l] normally
 * [lj] between an -e or -i and a consonant, or after an -e or -i at the end of the word.
 * ly
 * [lj]
 * m
 * [m]
 * n
 * [n] when comes from the primitive n
 * [N] when comes from the primitive ŋ (written also ñ)
 * ny
 * [nj]
 * nw
 * [Nw]
 * p
 * [p]
 * qu
 * [kw]
 * r
 * [r] normally
 * [R] before a consonant
 * ry
 * [rj]
 * s
 * [s] normally
 * [T] among two vowels
 * t
 * [t]
 * ty
 * [tj]
 * v
 * [v]
 * y
 * [j]
 * w
 * [w]
 * }
 * ny
 * [nj]
 * nw
 * [Nw]
 * p
 * [p]
 * qu
 * [kw]
 * r
 * [r] normally
 * [R] before a consonant
 * ry
 * [rj]
 * s
 * [s] normally
 * [T] among two vowels
 * t
 * [t]
 * ty
 * [tj]
 * v
 * [v]
 * y
 * [j]
 * w
 * [w]
 * }
 * t
 * [t]
 * ty
 * [tj]
 * v
 * [v]
 * y
 * [j]
 * w
 * [w]
 * }
 * [j]
 * w
 * [w]
 * }
 * }
 * }

 Phonetics: Advanced Level

 * Fauskanger's Lesson 1: extensive analysis and argumentation of Quenya Pronuciation. (Q#F:Lesson1)
 * The sounds of Quenya. Pronunciation and accentuation.

Stress
 Textbooks references:
 * Q#W:Phonology → Stress

In linguistics, stress is the relative emphasis given to certain syllables in a word. Where it falls in Quenya it's well explained on Q#W.

In addition Quenya features what linguistics call secondary stress in words with more than two syllables; it's placed on the last syllable if both the penultimate and the last are shorts.

 Stress: Advanced Level

 * Fauskanger's Lesson 1: extensive analisys and argumentation of Quenya Pronuciation. (Q#F:Lesson1)
 * The sounds of Quenya. Pronunciation and accentuation.

title: Quenya/Root Words


text:
User talk:Genius695~enwikiversity

French
I got your e-mail. Let's try setting up something on the French pages for practicing! --HappyCamper 19:52, 22 October 2006 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Genius695. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Genius695~enwikiversity that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:37, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:09, 19 April 2015 (UTC)

title: User talk:Genius695~enwikiversity


text:
Economics/Introduction

The Basic Economic Problem
"Economics is the study of the division of scarce resources between unlimited needs and wants"

Let us explain further. You are the head of your household. There are several things which are needed to keep the household running, e.g. food, electricity, gas and so forth. There are also wants, which may not have to be fulfilled per se, but will be acquired somehow.

A store manager has a limited budget to spend on various wants, his resources are scarce. He could spend his money on providing more staff, bringing in more stock from a wholesaler, marketing his product to increase demand through advertising, decorating or improving his store and paying for essential services like water and electricity. Effectively he has unlimited wants but limited means or resources. We say that his resources are scarce. The store manager must economise by choosing to use his resources to satisfy certain wants such as marketing instead of others like stock purchase. As earlier stated, economics is the study of the division of these resources to best satisfy the unlimited wants.

Every economy in the world face three main basic economics problems because the needs and wants of the society are unlimited but the resources available to satisfy those are limited. Whether a country is rich or poor this is a common situation to all of them. The main economics problem are:

 * 1) What to Produce in which quantities?
 * 2) How to Produce?
 * 3) For whom to Produce?

Lets look at the problems in details.

What to produce ?
In any society there are unlimited wants but resources are limited or resources are scarce. And these resources have alternative uses. Due to this each society has to decide what they are to produce using these scarce resources. So each economy has to make choice by thinking what kind of products or what quantity is to be produced. For example an economy has to decide whether to produce more services such as transport or hospitals, or consumable goods like more clothes and houses or more capital goods such as roads, buildings etc. The economy must decide which goods and services to produce and which goods and services to exclude from production is the problem of choice between commodities. Note that the decision of what to produce is made, having the consumers preferences in mind.

How to produce?
The problem of ‘how to produce’ means which combination of resources is to be used for the production-of goods and which technology is to be made use of in production. Once the society has decided what goods and services are to be produced and in what quantities, it must then decide how these goods shall be produced. There are various alternative methods of producing a good and the economy has to choose among them. For example, cloth can be produced either with automatic looms or power looms. Fields can be irrigated (and hence wheat can be produced) by building small irrigation works like tube-wells and tanks or by building large canals and dams. Therefore, the economy has to decide whether cloth is to be produced by power looms or automatic looms. Similarly, it has to decide if the irrigation has to be done by minor irrigation works or by major works. So Obviously, it is a problem of the choice of production

For whom to produce?
Once an economy has produced goods and services, it also has to decide who will consume those goods. This will be decided by different way by the nature of the economy.

Though the above three problem are common to each economy, an economy can take different approaches to solve these basic economics problems, and depending on the approach economies are organised in different way. This is why we find different economies such as market economy, centrally planned economy and mixed economy and so forth.

Another Perspective
Think about why you get up in the morning.

What motivates you to get out of bed? Eat food? Work? Dance? Make friends? Fear of starvation, failure or ridicule?

We are concerned with both the value of doing any given thing as well as the value of not doing any given thing (known hereafter as opportunity cost). Economics comes down to one idea, happiness.

Economics is the quantitative and eventual qualitative description of every human activity in our world. By studying economics you are analysing rational behavior to a higher degree than the level that we live by in our daily lives.

title: Economics/Introduction


text:
User:Tawker

Another user page.... I think people know who I am :)

title: User:Tawker


text:
User talk:Tawker

Welcome to Wikiversity. --JWSchmidt 20:57, 22 October 2006 (UTC)

title: User talk:Tawker


text:
Properties of matter

States of Matter
Solid, Liquid, Gas, Plasma

Gases
On a macroscopic level, gases are notable because of their ability to expand to the size and shape of a container. In addition, gases belong to the only state of matter that is governed by universal laws.

There are a few standard variables that are characteristic of all gases:

 * $$\ p $$ is the pressure (N/m2)
 * $$\ V $$ is the volume (L)
 * $$\ n $$ is the number of moles of gas
 * $$\ R $$ is the gas constant 8.314472 Joules/mol*K
 * $$\ T $$ is the temperature in kelvin (K)
 * $$\ a' $$ is the measure of attraction between the particles
 * $$\ b' $$ is the space enclosed in one particle
 * $$\ k $$ is Boltzmann's Constant, equal to 1.380650524×1023 joule/kelvin

Ideal Gas Law

 * $$\ pV = nRT $$

There are 4 gas laws that, when combined, yield the Ideal Gas Law (often pronounced "Pivnert"). The Ideal Gas Law assumes that particles have no attractions to each other (they do in actuality) and that particles of a mass are infinitely small (they aren't). However, the ideal gas law is accurate for all gases at high temperatures and low pressures. The only times when it becomes highly inaccurate are near the boiling and sublimation points of gases.

Charles' Law

 * $$\frac{V_1}{T_1} = \frac{V_2}{T_2} \qquad \mathrm{or} \qquad \frac {V_2}{V_1} = \frac{T_2}{T_1} \qquad \mathrm{or} \qquad V_1T_2 = V_2T_1$$

This is used to determine the effects of a change in temperature on the volume of a gas at constant pressure and vice versa.

Boyle's Law

 * $$\qquad\qquad {p_1} {V_1} = {p_2} {V_2} $$

This law is used to determine the effects of a change in pressure on the volume of an ideal gas if temperature is constant and vice versa.

Gay - Lussac's Law

 * $$\frac{p_1}{T_1}= \frac {p_2}{T_2}$$

This law is used to calculate the effects of temperature on pressure, and vice versa. Note that there is no known way to increase pressure while keeping volume and number of moles constant besides simply raising the temperature. Additionally, note that if pressure were to suddenly drop, the temperature would also drop. This is the mechanism by which refrigerators operate.

Avogadro's Law
Any two gases with the same volume at the same temperature and pressure contain the same number of particles. At 273.15 K and 101.3 kPa, this works out to approximately 22.4 litres.

Van der Waals equation

 * $$\left(p + \frac{a'}{V^2}\right)\left(V-b'\right) = kT$$

The van der Waals equation takes into account the fact that particles of a gas do actually take up space (i.e., at 0 kelvins they would still have a volume) and that particles of a gas are attracted to each other by dipole-dipole forces, London dispersion forces and van der Waals forces.

Organic Compounds
Organic compounds always contain carbon-hydrogen bonds, i.e., at least one carbon is bonded to at least one hydrogen. Naming conventions are determined by IUPAC, the International Union of Pure and Applied Chemistry. For more information, see Nomenclature.

Inorganic Compounds
Inorganic compounds are those which contain no hydrogen-carbon covalent bonds. Two major types exist: Ionic and Network Covalent. Ionic compounds are based on positive ions (cations), normally metal ions, attracted to negative ions (anions) by electromagnetic forces. The vast majority of ionic compounds are solids, although research into liquid ionic compounds looks promising. Ionic compounds are sometimes soluble in water, but not always. Network covalent compounds are those which have molecules that are infinitely repeatable in all directions. Atoms are bonded by shared electrons and are not charged. Examples include diamonds, graphite, and quartz (silicon dioxide).

For more info, see Inorganic Chemistry

物質の性質

title: Properties of matter


text:
Derivatives

Notation
We denote the derivative of a function $$f$$ at a number $$a$$ as $$f'(a)\,\!$$.

Definition
The derivative of a function $$f$$ at a number $$a$$ a is given by the following limit (if it exists): $$f'(a)=\lim_{h\rightarrow 0}\frac{f(a+h)-f(a)}{h}$$ An analogous equation can be defined by letting $$x=(a+h)$$. Then $$h=(x-a)$$, which shows that when $$x$$ approaches $$a$$, $$h$$ approaches $$0$$: $$f'(a)=\lim_{x\rightarrow a}\frac{f(x)-f(a)}{x-a}$$

As the slope of a tangent line
Given a function $$y=f(x)\,\!$$, the derivative $$f '(a)\,\!$$ can be understood as the slope of the tangent line to $$f(x)$$ at $$x=a$$:

As a rate of change
The derivative of a function $$f(x)$$ at a number $$a$$ can be understood as the instantaneous rate of change of $$f(x)$$ when $$x=a$$.

Vocabulary
The point A(a; f(a)) is the point in contact of the tangent and Cf.

Definition
If f is differentiable in a, then the curve C admits at a point A which has for coordinates (a ; f(a)), a tangent : it is the straight line passing by A and of direction coefficient f'(a). An equation of that tangent is written: y = f'(a)*(x-a)+f(a)

First Degree Derivative [First Order Derivative; f'(x)]
The first degree derivative of a function, commonly showing the slope of the tangent line at one point of the function, shows its instantaneous rate of change. Intuitively, the first degree derivative reveals the direction of the function; a positive first degree derivative shows the increasing of a function, and it shows decreasing when negative.

Local
Local minimums/maximums are found from solving for f'(x)=0, for f(x) is differentiable for all x on desired interval. When the first order derivative is zero, it suggests the stop in increasing or decreasing. Whether the point x at f'(x)=0 is a maximum or minimum requires the derivative to the left and right of x. If the derivative is positive on the left and negative on the right; if the graph shifts from increasing to decreasing at point x, f(x) at x would be a local maximum. Conversely, If the derivative is negative on the left and positive on the right; if the graph shifts from decreasing to increasing at point x, f(x) at x would be a local maximum.

Global
Global minimums/maximums are found at the smallest/largest y-values of each graph.

A saddle point refers to the point where f'(x)=0 but the graph maintains its movement direction.

Application
In a function that measures an object's disposition, the first order derivative shows its instantaneous change in position, i.e. velocity.

Second Degree Derivative [Second Order Derivative; f '' (x)]
The second order derivative takes

Inflection Point
An inflection point refers to the point where the function changes its concavity (from sloping up to down, vice versa). The inflection point is found from solving for f '' (x)=0, for f(x) is differentiable for all x on desired interval.

Application
In a function that measures an object's velocity, the first order derivative shows its instantaneous change in velocity, i.e. acceleration.

Power Rule
One of the most commonly used derivative rules for functions in the form of $$x^n$$($$x $$ raised to the $$n$$th power), $$n\in \mathbb{R}$$.

$${d \over dx}x^n = nx^{n-1}$$

Polynomial Differentiations
Taking the derivative of a polynomial requires the differentiation procedure to be applied to each term including the variable $$x $$.

Example:

$$f(x)=x^5+3x^2 $$

$${d \over dx} f(x)= 5x^4+6x$$

Negative Power Differentiations
Taking the derivative of a function in the form $$1 \over x^n$$ can be achieved through rewriting the function with a negative power, $$x^{-n} $$.

Example:

$$f(x)= {{1}\over {x^7}} = x^{-7} $$

$${d \over dx} f(x)= -7x^{-8}$$

Fractional Exponents and Radicals
Differentiating a function with a radical such as a square root,$$\sqrt{x}

$$, can be done through rewriting the function in the form with a fraction as the exponent, $$x^{1/2} $$.

Example:

$$f(x)= \sqrt{x}=x^{1/2} $$

$${d \over dx} f(x)= {1\over2}x^{-1\over2}={1\over {2 \sqrt{2}}}$$

Quotient Rule
This rule is used to differentiate functions written in the form of $$f(x)={h(x)\over{g(x)}} $$.

$$f'(x) = {{h'(x)g(x)-g'(x)h(x)}\over{g(x)^2}}$$

Example:

$$f(x)= {{x^2+14x^5-\sqrt{2}}\over{\sqrt{14}+x^{-2}}} $$

$$f'(x)= {{-2x^{-3}(x^2+14x^5-\sqrt{2})-(2x+70x^4)(\sqrt{14}+x^{-2})}\over{(\sqrt{14}+x^{-2})^2}} $$

Trigonometric Functions
Rules for differentiating trigonometric functions:

$${d \over dx}(sin(x))=cos(x)dx $$

$${d \over dx}(cos(x))=-sin(x)dx $$

$${d \over dx}(tan(x))=sec^2(x)dx $$

$${d \over dx}(cot(x))=-cose c^2(x)dx $$

$${d \over dx}(sec(x))=sec(x)tan(x)dx $$

$${d \over dx}(csc(x))=-cosec(x)cot(x)dx $$

Logarithmic Functions
Rules for differentiating logarithmic functions:

$${d \over dx}ln(x)={1 \over x}dx $$

$${d \over dx}\log_b(x)={1 \over {ln(b)x}}dx $$

Sample Problems
Differentiate the following:

$$ $$ $$ $$ $$ $$ $$ $$
 * 1) $$f(x)= 2
 * 1) $$f(x)= x
 * 1) $$f(x)= {x^{1\over2}+x^5-\sqrt{x}}
 * 1) $$f(x)= {{-(x+1)}\over{x^2}}
 * 1) $$f(x)= 2sin(3x)
 * 1) $$f(x)= {{2sin(3x)}\over{cos(2x)}}
 * 1) $$f(x)= sec(3x)tan(2x)
 * 1) $$f(x)= {{lnx}\over4cosec(x)}

title: Derivatives


text:
Filmmaking Basics/Thumbnail Storyboard/Examples/Example 1

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: BlanchedAlmond; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;"|

This is an example Thumbnail Storyboard

 * Start with a wide shot
 * In this example, we start with a wide shot from behind the people.. In this view we see the two people looking at the movie poster on the wall.  Then we dolly in to get a better view of the movie poster.

 * style="width: 370px; background-color: #ffffdd; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="3" |

The Thumbnail Storyboards for "Seduced by the Dark Side"
EXTERIOR - The local movie theater - NIGHT

Fade In Dolly In

(1) The Young Person and Old Person stand looking at the movie poster outside the theater.

 * I want to start with an establishing shot which shows two people looking at the poster on the side wall of a local cinema. After two seconds of street sounds, I want to start the "Star Wars" musical theme as the poster becomes larger in the frame as the camera dollies in. I want to stretch this out as much as possible so once the camera is close enough to the poster to start the music for the poster, I want the camera to slow down and move steadily inward at the music plays for a full five seconds.

 * Note: This is a wide angle shot to give the feeling of being far apart. The camera slowly dollies in. (Example: a 24mm lens in 35mm still camera equivalents)

Pedestal Down

(2) Young Person: "That was a great movie..."

 * I want the young person to begin talking before the audience even sees the young person's face.

Dolly Left

(3) Young Person (continued): "but I do not understand one thing."

 * After the camera dollies in and it dollies left (trucks left), I want to see the face of the boy as he turns toward the old person (and toward the camera.)

Cut To

(4) Old Person: "What's that?"

 * I want to use a wide angle shot to emphasize the emotional distance between the two characters.

Cut To

(5) Young Person: "How can anyone be seduced by the Dark Side?"

 * I still want to use a wide angle shot but not as wide as before. I still want the audience to feel that the two people are emotionally very far apart.

Cut To

(6) The old person thinks for a while.

 * Now I want to become more emotionally involved with the old person. Therefore, I will begin using a mild telephoto lens.  I want to pause for three seconds as "thinking music" plays.  This will build tension.

(7) Old Person: "What computer do you have at home?"

 * I want to use a mild telephoto (85 mm lens in 35 mm film camera equivalent)

Cut To

(8) Young Person (eagerly): "A Macintosh!"

 * I want to use a mild telephoto (85 mm lens in 35 mm film camera equivalent). Just enough to feel some warmth to the scene but not too much.

 * For music, I just want a single musical note in the background, possibly angelic voices.

Cut To

(9) Old Person: "But what computer does your father use at work?"

 * Now I want to use a telephoto lens to give a warm and close feeling (135 mm lens in 35 mm film camera equivalent)

 * Before the man speaks, I want about 2 seconds of music to indicate that he knows what he is doing.

Cut To

(10) The young person thinks for a moment.

 * I want to use a portrait telephoto to give a warm and close feeling (135 mm lens in 35 mm film camera equivalent)

 * I want to stretch this out as long as possible. Therefore, I want five seconds of "Serious Thinking Music" to fill this gap in the dialog.

(11) Young Person (amazed and excited): "Seduced by the Dark Side!"

 * I want to use a portrait telephoto to give a warm and close feeling (135 mm lens in 35 mm film camera equivalent)

 * To emphasize this, once the young person says this, I want a (musical) cord from the "Star Wars" theme.

Cut To

(12) The Old Person smiles.

 * Now I want to use portrait telephoto lense to give a warm and close feeling (135 mm lens in 35 mm film camera equivalent). Again, I want to stretch this out as long as possible so I want really powerful music here which is very warm and happy.

Cut To

(13) Old Person and the Young Person walk toward home together.

 * I want to use a portrait telephoto to give a warm and close feeling (135 mm lens in 35 mm film camera equivalent). This is shot full frame of just the old person and the young person. The rest is a matte painting.  The dolly out shot will be done simply by compositing this into the matte painting and zooming out. Since the actual movie set is just a blank wall and a movie poster, everything else is a matte painting.  Threrefore, I can use a 3D animated matte painting with characters from the Star Wars movie walking around the streets in front of the movie cinema.  And of course, I want great music to associate the scene with the space port in Star Wars.

(14) Fade to Black.

The End

Point Of Reference:
This scene will be filmed outside the line. (Away from the poster = In the pink area). Therefore, the camera will never cross the line. The Floor Plan for the Movie
 * }
 * }
 * }

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: Cornsilk; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" ,!--rowspan="2"--> |

The Next Page [[Image:Crystal Clear action loopnone.png|32px]]

 * Look at the other examples by going to the index at the top of this page.

 * Or continue this lesson at What software for thumbnail storyboards? to learn how to get started storyboarding.

 * }


text:
Filmmaking Basics/Thumbnail Storyboard/Examples/Example 2

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: BlanchedAlmond; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;"|

This is an example Thumbnail Storyboard

 * Start with a side view
 * In this example, we start with a side view. In this view we see the two people looking at something on the wall.  Then we look at what they are looking at which is the movie poster.

 * style="width: 370px; background-color: #ffffdd; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="3" |

The Thumbnail Storyboards for "Seduced by the Dark Side"
EXTERIOR - The local movie theater - NIGHT

Fade In Cut To  Dolly Out (1) The Young Person and Old Person stand looking at the movie poster outside the theater.

 * When the movie starts, I don't want anyone to know what the two people are looking at. I just want street noise (cars on wet pavement, etc.).  Then as soon as the scene cuts to the poster, I want the "Star Wars" theme to play very strongly.  I want to shock the audience awake.  Then I want the camera to slowly dolly out so that we see the heads of the two people.  (The camera crosses from inside to outside the line.)

Pedestal Down

(2) Young Person: "That was a great movie..."

 * Even though the start of this movie is totally different from Example 1, the rest of the movie is the same as Example 1.  In this example, I have a different beginning so I can create more of a shock to the audience…  from just street noise to the shot (and music) of the poster.

Dolly Left $$\Rightarrow$$

(3) Young Person (contined): "but I do not understand one thing."

Cut To

(4) Old Person: "What's that?"

Cut To

(5) Young Person: "How can anyone be seduced by the Dark Side?"

-

Cut To

(6) The old person thinks for a while.

(7) Old Person: "What computer do you have at home?"

Cut To

(8) Young Person (eagerly): "A Macintosh!"

Cut To

(9) Old Person: "But what computer does your father use at work?"

Cut To

(10) The young person thinks for a moment.

(11) Young Person (amazed and excited): "Seduced by the Dark Side!"

Cut To

(12) The Old Person smiles.

Cut To Zoom out

(13) Old Person and the Young Person walk toward home together.

(14) Fade to Black.

The End

Point Of Reference:
This scene will be filmed outside the line. (Away from the poster = In the pink area). Therefore, the camera will never cross the line. The Floor Plan for the Movie
 * }
 * }
 * }

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: Cornsilk; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" ,!--rowspan="2"--> |

The Next Page [[Image:Crystal Clear action loopnone.png|32px]]

 * Look at the other examples by going to the index at the top of this page.

 * Or continue this lesson at What software for thumbnail storyboards? to learn how to get started storyboarding.

 * }


text:
User:Haitham

I'm new here, and I try to be useful.

title: User:Haitham


text:
German vocabulary/Verbs/Modal verbs

A modal verb (also modal, modal auxiliary verb, modal auxiliary) is a type of auxiliary verb that is used to indicate modality. The use of auxiliary verbs to express modality is characteristic of Germanic languages. When a modal verb is used, the verb it modifies is kicked to the end of the sentence. For example:
 * Ich muss in den Tierpark gehen (i.e. I must go to the zoo).
 * Wir können es holen (i.e. We can get it).

title: German vocabulary/Verbs/Modal verbs


text:
Portal:Databases

School:Computer Science -> Topic:Computer Programming -> Topic:Databases

Course Purpose
1) The aim is to present the general principles of the database systems with a practical focus, and some implementation assignments. Those assignments may or may not include programming.

2) The course assumes that students have some programming or strong logical reasoning skills in programming languages like C or C++. Some programming data structures such as (heap files, buffer manager, B+ trees, hash indexes, various join methods) are used in the course

Learning projects

 * Topic:SQL - SQL Wikipedia article, SQL at Wikibooks
 * Topic:MySQL - popular Open Source database system (MySQL Wikipedia article, MySQL at Wikibooks)
 * Topic:PostgreSQL - large scale, fully SQL compliant Open Source database system (PostgreSQL at Wikipedia, PostgreSQL at Wikibooks)
 * Topic:Object-Oriented Programming - includes a discussion of Object-relational databases
 * Topic:Web Design - includes learning materials for building dynamic websites with database-driven backends
 * MariaDB

Prerequisites
Learners interested in Topic:Databases should first enroll at School:Computer Science and Computer Programming.
 * Introduction to Programming

Lessons

 * Introduction to Databases
 * Data structures
 * Database Management Systems
 * Introduction to SQL
 * Oracle Database

Introductory course
This course is intended to serve as a quick-and-dirty introduction to Relational Databases, leading the reader to a point where they could create a useful small database for home or small business use.

 * Introduction to Relational Databases
 * Designing a Relational Database
 * Datatypes
 * Generating the Databases
 * Querying to the Database

Forums

 * Wikiversity forum for general discussion of databases. On this page, people will answer the questions you pose about databases.

Wikipedia articles

 * Database
 * Relational database

Wikibooks

 * Databases
 * Database Design
 * MySQL

title: Portal:Databases