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September 12, 2018
Hope College Hope College Digital Commons The Anchor: 2018 The Anchor: 2010-2019 9-12-2018 The Anchor, Volume 132.02: September 12, 2018 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_2018 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 132.02: September 12, 2018" (2018). The Anchor: 2018. Paper 13. https://digitalcommons.hope.edu/anchor_2018/13 Published in: The Anchor, Volume 132, Issue 2, September 12, 2018. Copyright © 2018 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 2010-2019 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 2018 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. VOL. 132 NO. 2 SEPTEMBER 12, 2018 ♦ SINCE 1887 SPERA IN DEO HOPE COLLEGE ♦ HOLLAND, MICHIGAN Phelps Scholars attend first cultural event Cameron Geddes feathers, the crooked bend of the S t a f f W r i t e r pole and the colored medicine On September 8th, the wheel mounted atop the pole. Center for Diversity and Dancers of all colors and Inclusion paired up with the backgrounds took part in their Phelps Scholars Program (PSP) respective dances; a darker- to send students to Grand skinned individual named Rapids for the 57th annual Marcus Carter, known by the Grand Valley American Indian name Little Hawk, bore bright Lodge Powwow. regalia vestments. There was stunning When asking about the ceremonial regalia, vendors personal significance of the selling Native American curios, pow wow, Carter thought for a the bass of. -
The-Two-Popes-Ampas-Script.Pdf
THE TWO POPES Written by Anthony McCarten Pre-Title: Over a black screen we hear the robotic voice of a modern telephone system. VOICE: Welcome to Skytours. For flight information please press “1”. If you’re calling about an existing booking please press “2”. If you’re calling about a new booking please press “3” ... The beep of someone (Bergoglio) pressing a button. VOICE: (CONT’D) Did you know that you can book any flight on the Skytour website and that our discount prices are internet only ... BERGOGLIO: (V.O.) Oh good evening I ... oh. He’s mistaken this last for a human voice but ... VOICE: (V.O.) ... if you still wish to speak to an operator please press one ... Another beep. VOICE : (V.O.) Good morning welcome to the Skytours sales desk ... BERGOGLIO: (V.O.) Ah. Yes. I’m looking for a flight from Rome to Lampedusa. Yes I know I could book it on the internet. I’ve only just moved here. VOICE: Name? BERGOGLIO: Bergoglio. Jorge Bergoglio. VOICE: Like the Pope. 1 BERGOGLIO: Well ... yes ... in fact. VOICE: Postcode? BERGOGLIO: Vatican city. There’s a long pause. VOICE: Very funny. The line goes dead. Title: The Two Popes. (All the scenes that take place in Argentina are acted in Spanish) EXT. VILLA 21 (2005) - DAY A smartly-dressed boy is walking along the narrow streets of Villa 21 - a poor area that is exploding with music, street vendors, traffic. He struts past the astonishing murals that decorate the walls of the area. The boy is heading for an outdoor mass, celebrated by Archbishop Bergoglio. -
Global Markets Institute a Survivor's Guide to Disruption
GLOBAL MARKETS A SURVIVOR’S GUIDE INSTITUTE July 2019 TO DISRUPTION Steve Strongin Amanda Hindlian Sandra Lawson Sonya Banerjee Dan Duggan, Ph.D. [email protected] [email protected] [email protected] [email protected] [email protected] The Goldman Sachs Group, Inc. Table of Contents Chapter 1: Survivor’s guide - the short form 3 Chapter 2: Disruption’s evolutionary roots 9 Chapter 3: Perfecting Platforms 19 Chapter 4: Niche after niche - Organizers 32 Chapter 5: The competitive value of data 44 Chapter 6: Concluding thoughts 56 Appendix A: Considering communities 59 Bibliography 61 Disclosure Appendix 62 The Global Markets Institute is the research think tank within Goldman Sachs Global Investment Research. For other important disclosures, see the Disclosure Appendix. 2 Survivor’s guide - the short form Chapter 1: Survivor’s guide - the short form We examine how companies can reshape themselves to better compete in today’s Everything-as-a-Service (EaaS) economy1. In this new economy, firms can use services provided by other businesses to grow faster, while using less capital and fewer people than would otherwise be possible. Industries are reorganizing in response to these dynamics, and companies must adapt or risk falling behind. EaaS can be thought of as an extreme form of outsourcing. In the past, firms would selectively outsource business functions to reduce costs, for example by outsourcing ancillary functions like operating a cafeteria within an office or by outsourcing labor-intensive but simple manufacturing processes. Over time, however, the high degree of standardization that has emerged across manufacturing, communications, data systems and user interfaces, among other areas, has made it possible to outsource virtually any business function. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Top Recommended Shows on Netflix
Top Recommended Shows On Netflix Taber still stereotype irretrievably while next-door Rafe tenderised that sabbats. Acaudate Alfonzo always wade his hertrademarks hypolimnions. if Jeramie is scrawny or states unpriestly. Waldo often berry cagily when flashy Cain bloats diversely and gases Tv show with sharp and plot twists and see this animated series is certainly lovable mess with his wife in captivity and shows on If not, all maybe now this one good miss. Our box of money best includes classics like Breaking Bad to newer originals like The Queen's Gambit ensuring that you'll share get bored Grab your. All of major streaming services are represented from Netflix to CBS. Thanks for work possible global tech, as they hit by using forbidden thoughts on top recommended shows on netflix? Create a bit intimidating to come with two grieving widow who take bets on top recommended shows on netflix. Feeling like to frame them, does so it gets a treasure trove of recommended it first five strangers from. Best way through word play both canstar will be writable: set pieces into mental health issues with retargeting advertising is filled with. What future as sheila lacks a community. Las Encinas high will continue to boss with love, hormones, and way because many crimes. So be clothing or laptop all. Best shows of 2020 HBONetflixHulu Given that sheer volume is new TV releases that arrived in 2020 you another feel overwhelmed trying to. Omar sy as a rich family is changing in school and sam are back a complex, spend more could kill on top recommended shows on netflix. -
(12) United States Patent (10) Patent No.: US 6,778,252 B2 Moulton Et Al
USOO6778252B2 (12) United States Patent (10) Patent No.: US 6,778,252 B2 Moulton et al. (45) Date of Patent: Aug. 17, 2004 (54) FILM LANGUAGE 5,880,788 A 3/1999 Bregler 5,884.267 A 3/1999 Goldenthal et al. (75) Inventors: William Scott Moulton, Kentfield, CA 6,097,381 A 8/2000 Scott et al. (US); Steven Wolff, Woodacre, CA OTHER PUBLICATIONS (US); Rod Schumacher, Los Angeles, CA (US); Andrew Bryant, San Diego, Bregler et al., “Video Rewrite: Driving Visual Speech with CA (US); Marcy Hamilton, Los Audio,” ACM Siggraph 97, Interval Research Corporation, Angeles, CA (US); Strath Hamilton, No.97, (Mar. 8, 1997). Los Angeles, CA (US); Dana Taschner, Ezzat et al., “Mike Talk: A talking Facial Display Based on Sunset Beach, CA (US) Morphing Techniques,” Proceedings of Computer Anima tion Conference, (Jun. 8, 1998). (73) Assignee: Film Language, Los Angeles, CA (US) Ezzat et al., “Visual Speech Synthesis by Morphing Visemes.” A.I.Memo, MIT, No. 165, (Mar. 8, 1999). (*) Notice: Subject to any disclaimer, the term of this Brand et al., “Voice-Driven animation.” TR-98-20, Mitsub patent is extended or adjusted under 35 ishi Electric Research Laboratory, (Mar. 8, 1998). U.S.C. 154(b) by 53 days. Burnett et al., “Direct and Indirect Measures of Speech Articulator Motions. Using Low Power EM SEnsors,” XIV (21) Appl. No.: 10/027,191 International CongreSS of Phoenetic Sciences, Lawrence (22) Filed: Dec. 20, 2001 Livermore National Laboratory, (Mar. 8, 1999). e a Vs (65) Prior Publication Data (List continued on next page.) Primary Examiner Rodney Fuller US 2002/0097380 A1 Jul.• 4-225, 2002 74Y A ttorney,y, AgAgent, or Firm-SanfordFirm-Sanfor AstO Related U.S. -
IIIHIIII IIIII USOO5506639A United States Patent (19) 11 Patent Number: 5,506,639 Frazen Et Al
IIIHIIII IIIII USOO5506639A United States Patent (19) 11 Patent Number: 5,506,639 Frazen et al. (45) Date of Patent: Apr. 9, 1996 54 METHOD AND APPARATUS FOR EDTING 3,047,675 7/1962 Berryhill ..................................... 360/3 MOTION PICTURE FILMAND 3,378,328 4/1968 Custin .......... ... 352/31 SYNCHRONIZED SOUND 3,824,336 7/1974 Gould et al. ................................ 360/3 3,856,389 12/1974 Gardner ........... ... 352/31 76) Inventors: Nancy E. Frazen, 2020 Rosilla Pl, Los 4,208,108 6/1980 Amikura et al. ............................ 360/3 Angeles, Calif. 90046; Gary Jacobson, FOREIGN PATENT DOCUMENTS 1248 S. Fairfax, Los Angeles, Calif. 90019; Roberto Santucci-Filho, 7027 9300608 1/1993 United Kingdom. Lakewood, #418, Los Angeles, Calif. Primary Examiner-Tommy P. Chin 90028; Rick Sparr, 28047 Renee Dr., Assistant Examiner-Khoi Truong Agoura Hills, Calif. 91301 Attorney, Agent, or Firm-LaRiviere, Grubman & Payne 21) Appl. No.: 57,934 57 ABSTRACT (22) Filed: May 7, 1993 Method and apparatus for applying encoded data on the balance stripe of sound track, the data for providing infor 51 Int. Cl. ... G03B 31/00 mation for editing an associated film without recording the (52) U.S. Cl. ................................... 352/31; 352/5; 352/12; data on the film. The present invention teaches an apparatus 352/15; 352/22; 352/25; 360/3; 360/13 for applying code for synchronizing sound on a single strip 58) Field of Search ..................................... 358/335,341, of the sound track with an associated film. The apparatus 358/311, 903, 345, 244, 214; 360/3, 13, includes a code box for generating the code, which relates 14.1, 14.2, 33.1, 48; 352/5, 12, 31, 16, the position of the film relative to the sound track. -
The Front Runner
The Front Runner Written by Matt Bai & Jay Carson & Jason Reitman July 27th, 2017 Blue Revisions 8/28/17 Pink Revisions 9/10/17 Yellow Revisions 9/15/17 ii. Note: The following screenplay features overlapping dialogue in the style of films like The Candidate. The idea is to create a true-to-life experience of the Hart campaign of 1987. CAST OF CHARACTERS THE HARTS GARY HART, SENATOR LEE HART, HIS WIFE THE CAMPAIGN TEAM BILL DIXON, CAMPAIGN MANAGER BILLY SHORE, AIDE-DE-CAMP KEVIN SWEENEY, PRESS SECRETARY JOHN EMERSON, DEPUTY CAMPAIGN MANAGER DOUG WILSON, POLICY AIDE MIKE STRATTON, LEAD ADVANCE MAN IRENE KELLY, SCHEDULER AT THE WASHINGTON POST BEN BRADLEE, EXECUTIVE EDITOR ANN DEVROY, POLITICAL EDITOR AJ PARKER, POLITICAL REPORTER DAVID BRODER, CHIEF POLITICAL CORRESPONDENT BOB KAISER, MANAGING EDITOR AT THE MIAMI HERALD KEITH MARTINDALE, EXECUTIVE EDITOR JIM SAVAGE, EDITOR TOM FIEDLER, POLITICAL REPORTER JOE MURPHY, INVESTIGATIVE REPORTER ROY VALENTINE, PHOTOGRAPHER THE TRAVELING PRESS JACK GERMOND, BALTIMORE SUN COLUMNIST IRA WYMAN, AP PHOTOGRAPHER ALAN WEINBERG, PHILADELHIA ENQUIRER ANN MCDANIEL, NEWSWEEK MIKE SHANAHAN, AP MIAMI DONNA RICE, MODEL AND ACTRESS BILLY BROADHURST, HART’S PERSONAL FRIEND LYNN ARMANDT, RICE’S FRIEND “1984” EXT. SAINT FRANCIS HOTEL, SAN FRANCISCO. NIGHT. We open inside a NEWS VAN. Four monitors show different competing feeds. A waiting reporter. Color Bars. A political commercial. One monitor is cueing up a debate clip. A light pops on the reporter and he springs to life. TV REPORTER Yes, we learned just a few minutes ago that Senator Hart will soon be leaving this hotel back to the convention hall, where he will concede -- yes, he will concede -- to former vice president Walter Mondale. -
Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation
ACM SIGGRAPH 97 Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation ABSTRACT Video Rewrite automatically pieces together from old footage a new video that shows an actor mouthing a new utterance. The Video Rewrite uses existing footage to create automatically new results are similar to labor-intensive special effects in Forest video of a person mouthing words that she did not speak in the Gump. These effects are successful because they start from actual original footage. This technique is useful in movie dubbing, for film footage and modify it to match the new speech. Modifying example, where the movie sequence can be modified to sync the and reassembling such footage in a smart way and synchronizing it actors’ lip motions to the new soundtrack. to the new sound track leads to final footage of realistic quality. Video Rewrite automatically labels the phonemes in the train- Video Rewrite uses a similar approach but does not require labor- ing data and in the new audio track. Video Rewrite reorders the intensive interaction. mouth images in the training footage to match the phoneme Our approach allows Video Rewrite to learn from example sequence of the new audio track. When particular phonemes are footage how a person’s face changes during speech. We learn what unavailable in the training footage, Video Rewrite selects the clos- a person’s mouth looks like from a video of that person speaking est approximations. The resulting sequence of mouth images is normally. We capture the dynamics and idiosyncrasies of her artic- stitched into the background footage. -
Using Variable Frame Rates on the AU-EVA1 (Excerpted from “A Guide to the Panasonic AU-EVA1 Camera”)
Using Variable Frame Rates On The AU-EVA1 (excerpted from “A Guide To The Panasonic AU-EVA1 Camera”) The AU-EVA1 allows variable-frame-rate shooting in a wide selection of frame rates and frame sizes. The variable frame rates provide you with a variety of creative choices. To start with understanding why variable frame rates even matter, let’s reference back to how movie film gets shot. In film, slow motion is shot by running the camera at a faster frame rate. Film normally runs at 24 frames per second (fps), but for slow motion the camera operator might shoot it at something like 48 fps. When those 48 frames are played back at the 24 fps speed, it’ll take twice as long to play back, so everything will be moving at half speed, giving that superb film-style slow-motion look. Shooting at a faster frame rate is called “overcranking,” because in the early days cinematographers used a hand-crank to drive the camera, and for slow-mo they would actually crank the film faster. Similarly, shooting at a slower-than-normal frame rate results in a “fast motion” effect – think of the Keystone Kops or an old Charlie Chaplin movie and you’ll get the idea. If you only shoot 12 frames in a second, but you play those frames back at the 24fps speed, it’ll only take 1/2 second to play back action that took a full second to record – accordingly, the motion will be twice as fast as normal. This is referred to as “undercranking.” Using actual overcranking and undercranking can yield dramatically smoother, superior off-speed effects in your productions.