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Synergy + Firefly Instruction Manual
Brown Manufacturing Group, Inc. FireFly™ & Synergy™ 4661 Stafford SW Wyoming, MI 49548 Instructions 616-249-0200 fax 616-249-3211 www.brownmfg.net US Patent# 10,011,136 [email protected] FY2x36-45 & SY36-84 FireFly Curing System Synergy Pretreat System The Synergy™ Industrial Pretreat Module provides complete multi-variate control of each garment. The system is designed for high volume digital decorators and connects directly to the FireFly curing system, allowing for rapid evaporation of pretreat solution and delivery to the digital output device. $150.00 April 2019 Conveyor Dryer Brown Manufacturing Group, Inc. 4661 Stafford Ave. S.W. Wyoming, MI 49548 Phone: 616-249-0200 Setup Guide Fax: 616-249-3211 www.brownmfg.net [email protected] Assembly A Firefly dryer consists of several modular assemblies BELT TRACKING which are joined together to create a complete conveyor ADJUSTMENT KNOBS dryer unit. Common modules are: TAKEUP ROLLERS OBJECT DETECT SENSORS BELT MOTORS LOAD DETECT SENSORS HEIGHT SENSORS BELT TRACKING KNOBS BELT ROLLERS SCANNER HOLDERS LEVELING FEET Figure 4: TAKE UP ROLLER MODULE Figure 1: DRIVE ROLLER MODULE TOP AIR FILTERS EXHAUST DUCT STARTING COLLARS CAMERA ACCESS PLATES DRONE UPPER CONTROL CABINET CONDENSATION DRONE LOWER CONTROL CABINET CATCH PANS Figure 5: EXHAUST MODULE FRONT BULB COVERS LEVELING FEET Figure 2: PRIMARY HEAT MODULE TOP FILTERS CAMERA ACCESS PLATES DRONE UPPER CONTROL CABINET DRONE LOWER CONTROL CABINET Figure 6: COOLER MODULE LEVELING FEET Figure 3: DRONE HEAT MODULE Assembly Step 1: Ensure Adequate Clearance: Assembly Step 2: Identify and Arrange: Before placing the Firefly modules, it is important to Using the figures in this manual, identify the modules ensure adequate clearance will be available for both the that shipped with your dryer. -
ENGLISH 2810: Television As Literature (V
ENGLISH 2810: Television as Literature (v. 1.0) 9:00 – 10:15 T/Th | EH 229 Dr. Scott Rogers | [email protected] | EH 448 http://faculty.weber.edu/srogers The Course The average American watches about 5 hours of television a day. We are told that this is bad. We are told that television is bad for us, that it is bad for our families, and that it is wasting our time. But not all television is that way. Some television shows have what we might call “literary pretensions.” Shows such as Twin Peaks, Homicide: Life on the Street, The Wire, Buffy the Vampire Slayer, Firefly, Veronica Mars, Battlestar Galactica, and LOST have been both critically acclaimed and the subject of much academic study. In this course, we shall examine a select few of these shows, watching complete seasons as if they were self-contained literary texts. In other words, in this course, you will watch TV and get credit for it. You will also learn to view television in an active and critical fashion, paying attention to the standard literary techniques (e.g. character, theme, symbol, plot) as well as televisual issues such as lighting, music, and camerawork. Texts Students will be expected to own, or have access to, the following: Firefly ($18 on amazon.com; free on hulu.com) and Serenity ($4 used on amazon.com) LOST season one ($25 on amazon.com; free on hulu.com or abc.com) Battlestar Galactica season one ($30 on amazon.com) It is in your best interest to buy or borrow these, if only to make it easier for you to go back and re-watch episodes for your assignments. -
A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected]
Student Research and Creative Works Book Collecting Contest Essays University of Puget Sound Year 2015 The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/book collecting essays/6 Krista Silva The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works I am an inhabitant of the Whedonverse. When I say this, I don’t just mean that I am a fan of Joss Whedon. I am sincere. I live and breathe his works, the ever-expanding universe— sometimes funny, sometimes scary, and often heartbreaking—that he has created. A multi- talented writer, director and creator, Joss is responsible for television series such as Buffy the Vampire Slayer , Firefly , Angel , and Dollhouse . In 2012 he collaborated with Drew Goddard, writer for Buffy and Angel , to bring us the satirical horror film The Cabin in the Woods . Most recently he has been integrated into the Marvel cinematic universe as the director of The Avengers franchise, as well as earning a creative credit for Agents of S.H.I.E.L.D. My love for Joss Whedon began in 1998. I was only eleven years old, and through an incredible moment of happenstance, and a bit of boredom, I turned the television channel to the WB and encountered my first episode of Buffy the Vampire Slayer . I was instantly smitten with Buffy Summers. She defied the rules and regulations of my conservative southern upbringing. -
Legendary Encounters Rules – Firefly
® ™ A Deck Building Game “You got a job, we can do it. Don’t much and wound the players. If you take damage care what it is.” – Captain Malcolm Reynolds equal to or greater than your health, then you’re defeated. Don’t worry though – another Game Summary player can heal you back into the game. But if Welcome to Legendary ® Encounters: everyone gets defeated at the same time, then A Firefly™ Deck Building Game. In this fully you lose. cooperative game for 1-5 players, you’ll take Some enemies attack Serenity herself. If she on the role of Mal, Zoe or one of the other takes too many hits, then it’s all over. crew members. Your First Game You start with a deck of basic cards and For your first game, follow the setup rules on a special Talent card. At the start of your Page 3, using the specific card stacks listed turn, take a card from the Episode deck and there. This will allow you to play the Pilot place it face-down onto the board. It could Episode “Serenity” and “The Train Job.” be an outlaw thug, an alliance ship, or even (Note: The Pilot episode is split into two a reaver raiding party. You’ll play cards separate Episode Decks.) from your hand to generate Attack, Recruit After your first game, you can play through Points, and special abilities. You’ll use all 14 Episodes of the series or mix and match Attack to defeat enemies and to scan hidden Episodes to play them in a different order. -
Serenity Choicetm
Serenity ChoiceTM Music The high-end hearing protection from the no.1 hearing care brand Music levels at concerts generally exceed the safe limit of 85 dB, sound levels beyond this induce hearing damage whether as tinnitus, hyperacusis or long term hearing loss. Serenity Choice™ Music reduces the level of sound by 17 dB making music as loud as 102 dB safe to listen to for up to 8 hours. Serenity Choice™ Music has been designed speci cally for musicians, music lovers and concert goers. The patented membrane lter technology provides a tuned, at attenuation response so all frequencies are reduced by almost the same level, great for music as the listener loses nothing of the original sound, it’s just brought down to a safe level, making Serenity Choice™ Music the best high delity universal ear tips on the market. Serenity Choice™ Music provides an open air passage to the ear, minimising occlusion e ect (low frequency emphasis) while keeping the ear ventilated for optimum comfort. Designed primarily for music applications Serenity Choice™ Music is also suitable for any noisy environments protection applications. Product specifi c benefi ts • A perfect fit is guaranteed: Small, medium and large ear tips in package, extra large size available on request. • Hygienic: Acoustic filters are fitted with advanced mesh technology. They ensure that your ears remain well ventilated at all times. • Hypoallergenic: ear tips are made from medical grade TPE. • Value for money: ear tips can be used multiple times. 17 10 • Natural: Natural hearing is preserved, -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
Sample File110 TRACEY SMITH
CREDITS Written By: Monica Valentinelli, Mark Diaz Truman, Brendan Conway, Dean Gilbert, and Jack Norris Additional Writing By: Margaret Weis, Rob Wieland, P.K. Sullivan, Philippe-Antoine Ménard, Cam Banks, and Dave Chalker Developed By: Monica Valentinelli and Mark Diaz Truman Systems Design By: Cam Banks, Dave Chalker, Philippe-Antoine Ménard, Rob Wieland, P.K. Sullivan, Dean Gilbert, and Mark Diaz Truman Rules Editing By: Mark Diaz Truman Design and Layout By: Daniel Solis and Thomas Deeny Title Page Art By: Crystal Ben Interior Art By: Marie Bergeron, Kurt Komoda, Ben Mund, James Nelson, Alejandro Monge, and Christopher West Edited By: Amanda Valentine, Alexander Perry, and Sally Christensen Series Research By: Chad Underkoffler Crew/Ship Sheet Enhancement By: Chris “Mr. Gone” Leland Playtested By: Sarah Babe, Amie Barnard, Bill Bodden,Sample Jeff Bridges, fileArcher Cafiso, Paul Cafiso, Dave Chalker, Brad Davies, John Drobina, Mike Fitch, E Foley, John Frazier, Jim Henley, Grace Jacobson, Marissa Kelly, Lauren Lyons, Matt M McElroy, Andie Miller, Matthew Nielsen, Brian Poe, Robert Ramus, Benjamin Rogers, Justin Rogers, Erik Stant, Paul Truman, Mark Diaz Truman, Dennis Twigg, Monica Valentinelli, Rob Wieland, and Ben Woerner STAFF Chief Executive: Margaret Weis Business Manager: Christi Cardenas MARGARET Brand Manager: Monica Valentinelli WEIS Systems Lead Designer: Mark Diaz Truman PRODUCTIONS, ltd. Art Director: Daniel Solis Assistant Art Director: Thomas Deeny MARGARETWEIS.COM MARGARET WEIS PRODUCTIONS, THE MW LOGO, CORTEX SYSTEM, -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
The Expanded 'Verse
The Expanded 'Verse: Serialized Transmediality in Firefly/Serenity ............ by Frederick Blichert, BA (Hons.) A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario Submitted August 2014 © 2014, Frederick Blichert ii We know now that a text is not a line of words releasing a single "theological" meaning (the "message" of the Author- God) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. Roland Barthes1 iii ABSTRACT Popular narratives often extend textual content across multiple media platforms, creating transmedia stories. Recent scholarship has stressed the permeability of "the text," suggesting that the framework of a text, made up of paratexts including trailers and DVD extras, must be included in textual analysis. Here, I propose that this notion may be productively coupled with a theory of seriality––we may frame this phenomenon in the filmic terms of a narrative being comprised of transmedia sequels and/or prequels, or in the televisual language of episodes in a series. Through a textual analysis of the multifaceted transmedia narrative Firefly (2002-2003), I argue for a theoretical framework that further destabilizes the traditional text by considering such paratextual works as comic books, web videos, and the feature film Serenity (Joss Whedon, 2005) as narrative continuations within a single metatext that eschews the centrality of any one text over the others in favour of seriality. iv ACKNOWLEDGEMENTS I wish to thank Erika Balsom, Malini Guha, André Loiselle, and Charles O'Brien for their notes on various versions, drafts, and proposals of this material, along with Sylvie Jasen and Murray Leeder, who encouraged me to workshop some of these ideas as guest lecturer in their undergraduate courses. -
Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2012 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected] Published version. "Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work," in Joss Whedon: The Complete Companion: The TV Series, The Movies, The Comic Books and More. Ed. PopMatters Media. London: Titan Books, 2012: 285-297. Publisher Link. © 2012 Titan Books. Used with permission. FIREFLY 3.10 3.10 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan For all the standard horror movie monsters Joss Whedon took up in Buffy and Angel-vampires, of course, but also ghosts, demons, werewolves, witches, Frankenstein's monster, the Devil, mummies, haunted puppets, the Creature from the Black Lagoon, the "bad boyfriend," and so on-you'd think there would have been more zombies. In twelve years of television across both series zombies appear in only a handful of episodes. They attack almost as an afterthought at Buffy's drama-laden homecoming party early in Buffy Season 3 ("Dead Man's Party" 3.2); they completely ruin Xander's evening in "The Zeppo" (3.13) later that same season; they patrol Angel's Los Angeles neighborhood in "The Thin Dead Line" (2.14) in Angel Season 2; they stalk the halls of Wolfram & Hart in "Habeas Corpses" (4.8) in Angel Season 4. A single zombie comes back from the dead to work things out with the girlfriend who poisoned him in a subplot in "Provider" (3.12) in Angel Season 3; Adam uses science to reanimate dead bodies to make his lab assistants near the end of Buffy Season 4 ("Primeval" 4.21); zombies guard a fail-safe device in the basement of Wolfram & Hart in "You're Welcome" (3.12) in Angel Season 5. -
I Really Need to Know I Learned from Firefly
This combination of situations has made him a scoundrel trying to ignore his “heart of gold”, his mercenary inten- tions competing with the better instincts and morals of his past. With the scoundrel captain is the proverbial motley tm crew: Wash, the easy-going, wise-cracking pilot; Jayne, the anything-for-a-buck mercenary; Kaylee, the eternally- optimistic ship's engineer, and Zoe, Malcolm's first mate and comrade from the war. (At first blush, it's almost like you could see their character sheets off to the side.) By James Laird Davenport Also along for the ride is 'Inara', a member of an exclu- sive Guild of Companions. or those poor unfortunates who missed its brief She's more than a classy prostitute; she's a romantic- life on television, Firefly was one of the best gam- interest for the hardened Malcolm. Criminals when nec- F ing series ever produced. While it wasn't about essary, the crew seeks 'to keep fuel in the tanks and food gamers per se, it was quite easy to envision that we were on the table'. watching the adventures of a gaming group, in this case At the beginning of the series, they pick up in a space opera campaign. The show had an engaging three passengers who become de facto members of the ensemble of characters, great stories, and a unique vision crew: Simon, the doctor; River, Simon's mentally-addled, of the future. What more could you ask from a gaming fugitive sister; and Shepherd Book, the preacher looking campaign? to experience life outside the monastery. -
Healing Children, Restoring Families Mission Statement the Mission of Serenity, Inc
Serenity, Inc. Foster Care & Adoption Healing Children, Restoring Families Mission Statement The mission of Serenity, Inc. Foster Care and Adoptions is to heal children and restore families, through the use of early intervention programs that can end the cycle of trauma and abuse. Children are resilient, and when provided with therapeutic interventions and a nurturing environment, they are able to thrive despite life experiences of trauma, neglect, and abuse. Serenity is the bridge between the trauma of a child’s placement in the child welfare system, the uncertainty of foster care placement, and the security of a stable permanent home. “A heart at peace gives life to the body” Proverbs 14:30 Value Statements erenity believes children have a right to be safe, loved and nurtured, and to live with their Sfamilies, biological and/or extended. When that is not possible, Serenity works diligently to find permanent, loving, and nurturing homes where caring and committed adults will provide their children with a lifetime of unconditional, positive commitment and support. erenity holds that the child comes first and can best be served in a home-based family Senvironment. Serenity treats every child and his/her family members with genuine respect, kindness, and empathy; each life is worth our investment of time and care. erenity recognizes that services are most impactful when determined, delivered, and Sevaluated with a team approach involving the child, family, and a professional disciplinary team working from a strengths-based model. These services are most effective when provided with a culturally respectful and sensitive approach. erenity embraces and invests in the value of accountability to assess and manage overall Sperformance, to self-correct when needed, and to innovate in order to achieve positive outcomes.