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Tag Archives: hair & makeup design
Dynamation is a term which was coined by producer Charles Schneer when we started making black and white films together in the 1950s. We specialised in combining live actors with animated models and, since nobody knew quite what stop motion photography was, they would call it an animated film. We were trying to establish a new division between cartoon and three-dimensional animation, so we came up with the word 'Dynamation' for that process. As the years went by, the publicity department felt that they had to enhance the word, so we got 'Super Dynamation'!
Georges Meliés experimented with stop motion photography in France before 1900 with his unique short film Trip to the Moon but it was Wilis O'Brien in America who first found a commercial use for stop motion. His greatest triumph was King Kong which set me off and I have never been the same since!
It left such an impression on me that I felt it was the type of career I wanted, so I made it my business to find out how it was done – hence Dynamation sprang out of the basic O'Brien technique.
The principle behind the technique is that we project a small picture of the live action. Unlike many companies who build 50ft models, we build small models and shrink the actors down to size in order to have control. The larger you go with complicated hydraulically controlled mechanisms, the less control you have – particularly in dramatic situations – so we use a small rear-projected image of the live action behind the animated model, sometimes adding matting process.
When we were presented with the story of Gulliver's Travels' we wanted to make it as inexpensively as possible. We had heard of the yellow backing travelling matte process used in England at that time (1959) making its own matte instantaneously using a bi-pack camera. We thought that would simplify combining big people with little people. Since we had planned 150 travelling matte shots, we came to the UK to investigate and we have been here ever since. We used the yellow backing system on three pictures, then it suddenly went out of fashion. That was the darkest day I can remember. Now, of course, we use the blue backing system.
We had just perfected the miniature projection duping process for Twenty Million Miles to Earth where you could hardly distinguish between the original negative and the Dynamation shots – and I would have liked to do the next picture that way – but Charles Spooner said you could not shoot an 'Arabian Nights' type picture in black and white, so we made The Seventh Voyage of Sinbad in colour. This took some experimenting as we did not have a choice of colour film which we could use for back projection plates. However, we took the plunge and it worked out quite well commercially. Not too many people found it objectionable to see rather grainy Dynamation shots intercut with the original negative. People who are technically minded are far more aware of that than the average cinema audience, although audiences today are very astute and certainly do not accept things that they would have done twenty years ago.
One of the biggest problems with colour film is contrast and change of colour and we found that the new low contrast print film, designed mainly for television, was very useful. It is much easier to control the colour balance today than it was back in 1958, when you could not leave an unfinished shot in the camera overnight. If you did, it was quite evident the next day to see a colour change jump due to the California temperature drop during the night.
Many times I set my own challenges and I find that my goal is always a little too high for the assets we have. I think that one of my greatest challenges was in Jason and the Argonauts where three men fight seven skeletons. That sequence presented a lot of problems and there were times when I averaged about thirteen frames per nine-hour day – which is less than one foot of film. The accountants got very uptight because they expected me to grind out the footage very much faster than that!
Some of the animated figures used in Jason and the Argonauts
It was necessary for me to handle all the skeletons myself as they had to be synchronised very intimately with the three miniature-projected swordsmen. The skeleton's feet had to be fastened to the floor and, the minute they left the ground, I had to suspend them on wires for accurate control over the animation. Being keen to make the skeletons look professional, I studied fencing myself but unfortunately, I threw my hip out of joint and had to give it up!
The whole fencing sequence had to be choreographed like a ballet and broken down into numbers. We had to pre-plan the cuts ahead of time through the storyboard – and I cannot stress enough how important that it. When you get on the set you do no want to have a lot of arguments and discussions on how shots should be set up. I always make a number of pre-production drawings which aid everyone concerned in visualising just what the final effect will look like on the screen.
The famous Skeleton Fight from Jason and the Argonauts
I always prefer to animate models of animals for exotic settings and situations instead of using real animals. It is so difficult to find a talented crab who will perform just the way you want, or a baboon who can play chess! You do not want to be at the whim and mercy of a lizard, hoping he will go from point A to point B in so many seconds. I find that real lizards become lethargic under the hot studio lights and barely blink or yawn for the benefit of the camera. The animated ones will perform exactly as directed.
For the bulk of the shots in our films I prefer to use miniature rear projection instead of travelling mattes because it's easier to execute intimate interplay between actor and model. You have the projected image right there in front of you, rather than wait for weeks to see the combined effect from an optical printer. However, we do resort to many travelling matte shots which, in themselves, are very time consuming to put together.
Dynamation is a word which really means using every trick in the trade – but there comes a point in the economics of doing stop motion animation where you cannot do as much as you would like to do in the way of retakes and careful matching. The time factor is quite considerable. The ideal situation in the future is the Chroma Key method as used in television. When this method has the same resolution as film, you will be able to make instantaneous travelling mattes. I believe that some companies are working on this at the moment.
In recent years there has been a great exposé of the 'behind the scenes' details of making complicated special effects. It is my belief that it rather spoils the illusion when the audience is told how it is achieved. It is like a stage magician who tells everyone how he achieves his illusions of magic – soon the audience loses interest in the show!
Posted by networkninenews on May 5, 2017 in Animation, Art Department, Cinematography, Feature Film Production, How It All Began, How It All Began, Post Production, Set Construction, Special Effects, Visual Effects
Tags: action stunts, animation, art department, camera footage, CGI, cinematography, compositing, computer graphics, feature film production, film history, film props, film sets, hair & makeup design, in camera effects, post production, set design, special effects, storyboards, vfx, visual effects
THE BOOK!
I've been really busy for the past couple of years helping my Art Director friend Terry Ackland-Snow to write a book about working in the film Art Department. We decided to call it The Art of Illusion: Production Design for Film & Television because illusion is what making a film or a television programme is all about – what the audience sees on the screen isn't altogether real!
Like all good things, this project was started over a glass of wine. Maybe I should think twice next time – but I've really enjoyed working with Terry and helping him to pull this whole thing together.
Essentially, the book is aimed at anyone wanting to make a career in film production and it will take you through the processes involved in creating a film set step by step. Film sets have been constantly developing from the simple canvas backcloths used on theatre stages, right through to the present day where computer generated effects augment the highly sophisticated art of designing, building and dressing sets.
The Art of Illusion is available from all good bookshops, Amazon and other on-line providers with ISBN number 978 1 78500 343 1. If you want to take advantage of any discount offered by the publisher, Crowood Press go to Crowood Press
Posted by networkninenews on April 24, 2017 in Animation, Art Department, Cinematography, Construction Department, Feature Film Production, Production Office, Set Construction, Special Effects, Visual Effects
Tags: action stunts, animation, art department, camera, CGI, cinematography, compositing, computer graphics, drama, feature film production, film, film history, film production, film props, hair & makeup design, in camera effects, set construction, set design, set dressing, special effects, storyboards, technical drawing, television, vfx, visual effects
Working in Costume – not for the faint hearted! … by Iona Smith Oliver
Iona Smith Oliver
After completing a degree in Fine Art at University of the West of England and in the same year losing my Father to cancer, I worked – any job would do, I just wanted to work and keep busy. It wasn't until about a year later that I had a chance to reflect on the fact that I was really stressed and exhausted, splitting my time between babysitting, pub work and a variety of unpaid internships. Even though I had put in a huge amount of effort, I still had no direction and no career plan for the long term.
I have always had an interest in sewing and alterations and have been adjusting and reconstructing charity shop clothing since I was very young – and I even used to make fur coats and Spice Girl shoes out of old corks, plaster and dental floss for my Barbie dolls. However, it never occurred to me in later life that 'Costume' could be a possible career path for me. By sheer coincidence I started babysitting for a Costume Designer who was incredibly supportive in my quest for work and got me onto my first Costume Assistant job, helping her out on an Argos commercial. It was a great first job as I got to experience lots of different elements of filming, not only to do with Costume but also working with green screen, working with a large group of people (what seemed like five Assistant Directors!) and working with puppets and puppeteers. I remember the first time I went into her studio to pull outfits and the excitement I felt at the realisation that this job really ticked all the boxes for me.
From then on I started to be proactive in my search for work and most importantly (seems rather obvious but top tip!) when asked – I told people that I worked in Costume. You would be surprised at the amount of people that are willing to put you in touch with their niece or old school friend or housemate and it is really, really worth following these contacts up! One of the main lessons I learned very quickly was that finding work is all about connecting with people and being present in a community – you never know where any conversation or email will take you. One particular example of this was a seemingly random phone call I got from a Supervisor asking if I could assist her and the Designer on a feature film up in Leeds. I was unable to do the job at the time but we got on so well on the phone that she asked me to assist her on a low budget feature later that year. We have since become great friends and have formed a strong team with the Designer from the Leeds job and have now worked together on several features.
Carey Mulligan as Maud in 'Suffragette' – 2015
Through the first women I worked with, I was fortunate enough to get a few dailies on 'Suffragettes' which was a period feature. It was unlike any experience I had had before. The sheer scale of the production was over whelming. To give you an idea, on one particular day I was one of 18 dailies who were responsible for dressing and assisting 200+ extras. A whole street was shut down in Central London and transformed into a busy working Victorian street, along with horse drawn buses and a hot chestnut stall. This is something I find especially exciting about working for Costume on screen as it is all about making the illusion believable. The attention to detail and the work that goes into these productions does make me feel really proud to be a part of it.
When I'm working on say a 4/5 week shoot my life tends to be dedicated to the process for the whole of the shoot. This is purely because the working day can be anywhere from 12-16 hours and Costume is usually the first to arrive and the last to leave at the end of the day.
There are many qualities I think you need to survive in the world of Costume and I use the word 'survive' as it can be an incredibly tough and competitive industry. First and foremost strong people skills are a must! Working with large groups of people for long hours and often under a time constraint, people will get stressed (you may too!) and I tend to have the policy that what happens at work stays at work and doesn't affect my personal relationships. Problem solving and efficiency is another good quality, as things do and sometimes will go wrong. You need to be able to think fast and act quickly as time is always of the essence.
'Hi-Lo Joe' 2015
I have been working in the industry for just under a year now and, although I have had a wide and varied amount of experience though all sorts of budgets and roles I am now concentrating on being a hard working Costume Trainee. I think you learn and grow from experience on every job you do and in many ways I'm sure this will continue throughout my career. I'm still unsure if I want to be a Costume Designer per se but am very keen to improve my making and construction skills and feel that this may be a large part of my career in the future.
I have been fortunate enough this year to become a part of the 2015 Sara Putt Trainee Scheme and especially lucky, as this is their first year of taking on Costume Trainees. It is so amazing having the support not only from the agency but also from a close network of fellow Trainees. I would really recommend getting involved with a Trainee Scheme as they can be an invaluable resource when learning how to find work and network effectively. Check out my CV (resumé) on this website and contact me via my LinkedIn page.
Iona's credits to date are: Suffragettes, Hi-Lo Joe, Writer's Retreat, Foxes, Black Sea, Golden Years, Lady in the Van.
Posted by networkninenews on April 29, 2015 in Costume Department
Tags: art department, cinematography, Costume, costume design, Costume Designer, drama, experience, feature film production, film, film production, film props, film sets, global audience, hair & makeup design, set dressing, special effects, television, Trainee schemes
GIVE THEM A BREAK! … an Editor's Thought
Wendy Laybourn – Editor
From time to time I'm asked to speak to young people about the realities of working in production. Although many won't make it into the business, there are always the few passionate and talented individuals whose determination to succeed deserves a helping hand. So, if you're involved in a production, why not make an effort to include at least one or two of these young people, even if it's just for a few days. You may very well be disappointed – but it's more likely that you'll be pleasantly surprised.
Everyone in the industry is very aware that there isn't enough well-trained 'new blood' coming into production – and we all know that the colleges, universities and specialist schools can only go so far in the training process and that 'on-the-job' training is the most important aspect – but if the students, trainees and apprentices can't get a 'job' how are they going to learn their skills and keep the reputation of British craftsmen and women at the forefront of the global film industry.
So, Producers, Directors and Heads of Department – take a chance and give these eager young people a break!
Posted by networkninenews on February 24, 2015 in Editor's Thoughts, Uncategorized
Tags: apprenticeships, art department, camera, cinematography, computer graphics, costume design, editing, education, feature film production, film apprenticeships, film director, film distribution, film props, film schools, film score, film studios, global audience, hair & makeup design, media courses, post production, set construction, set design, set dressing, sound design, special effects, television, vfx, visual effects
THE ART OF COSTUME DESIGN by Lindy Hemming
From a 2010 article in Network Nine News ©
Lindy Hemming with her Oscar for 'Topsy Turvy'
I was born in a remote country village in Wales in 1948, the eldest of 5 children. I was always bilingual, speaking Welsh at school and English at home. Both my parents were creative in a craft way and supplemented their rather overstretched income by making and selling things in our local town market at weekends. During the week my father worked at various kinds of sales jobs and at night he worked as a talented woodcarver. My mother was a teacher – she could draw, design and make clothes – mostly in my case, converting 'hand me downs' and sometimes, if we were really lucky, she used new fabric – although in rural Wales this usually meant something in design and fashion terms which looked about 10 years out of date, especially to my beady eye as, even from about 7 or 8 years old, I was very concerned with what people wore and how they looked (I was also very worried that the previous owners of the hand me downs would recognise them on me, in their newly converted state!)
So we spent lots of time hanging around in market places, seeing wild and wonderful people on their one day out off the mountains and later on, when I was about 8 years old, we moved into a village shop where we all took turns to serve and observe.
Anyhow, I can't remember a time when I wasn't interested in people – who they were, what they did, where they came from, what they thought and why did they dress like that … and what did it say about them – what are they saying with their clothes, hair, jewellery, shoes, creases, wrinkles, wear and tear – so many clues to be gleaned but never knowing at the time that this weird obsession would one day form the basis of my work.
I didn't ever attend art school as my father had convinced me that I must do a 'worthwhile' job. So I trained as an orthopaedic nurse which, though seemingly irrelevant to costume design, meant dealing closely with people and observing and listening to them, which I later found incredibly useful in my career.
The Oscar-winning 'Topsy Turvy'
Eventually, encouraged by the example of friends, I attended The Royal Academy of Dramatic Art and studied there for three years, encompassing Stage Management, Design and a notably bad attempt at acting an old woman in a Checkov play! It was at RADA that I first encountered 'Costume Design' and loved it from the first moment, knowing that it encompassed everything I was interested in.
It's my strong opinion that before all else, a person who wants to be a costume designer needs to have an innate, inquisitive and abiding interest in human beings of every age, type and class (this justifies my nosiness!) and be strong enough to hold on to an idea and play a long game … have patience … because, in its simplest form, what designing costumes for film, television, theatre or commercials is all about, is clothing the human body in something which the designer believes will speak both to the actor – who wears the costume – and to the audience, thereby playing a part, however subtly, in creating the character 'with' the actor – thus providing more information to the audience and helping with their understanding and enjoyment of the play or film. This applies equally to both 'period' and 'contemporary' films.
The work is often so subtle that it is pretty subliminal. It is a good exercise to watch contemporary films and think about the garment choices that have been made and whether you think they are perfect. Often, uninitiated audiences think that in a contemporary film the actors are wearing their own clothes.
A costume designer, like most kinds of 'designers' by definition is going to spend a huge portion of their life solving problems and being creative within prescribed parameters which arise, not solely from practical and financial reasons – but from having to take into consideration and often incorporating the ideas and opinions of many other people during the design process; director, producer, studio executives, accountants, actors, et al (not to mention the egos which come with the territory!) It is agreed, I think, by most of us that contemporary costumes are much more difficult to execute, precisely because so many people feel they know what a character would/should wear – with period costume there is a barrier called 'historical accuracy' which quiets the suggestions of the … 'wouldn't it be good if ' … or worse …'my wife loves shopping, maybe she could do your job'….
Lindy's sketch for Elektra's costume in the1999 film
'The World is not Enough'
© 1999 Danjaq, LLC & United Artists Corporation. All rights reserved
Sophie Marceau in costume as Elektra, Maiden's Tower
My first work as a costume designer was at a fringe theatre on Tottenham Court Road called The Open Space Theatre. I was the general and often only costume person and so designed, made, shopped, washed and ironed. I was then fortunate to work at The Hampstead Theatre Club as a designer for several years, simultaneously looking after and supporting a young son and daughter. It was a fantastic opportunity to really find out how theatre costume design worked at a time when there still was political and experimental writing and producing happening. I worked in Fringe Theatre for about 10 years in all and gradually was asked by directors such as Michael Rudman, Mike Leigh, Alan Ayckbourn, Trevor Nunn, Richard Eyre, Howard Davies and Nancy Meckler to work on bigger and more mainstream shows, consequently working in the National Theatre, the Royal Shakespeare Company as well as the West End of London and Broadway in New York. The magic was, at one point, having five shows running simultaneously in London!Anyone who has worked in theatre will know that, whilst it is the most satisfying design experience there isn't, even at that level, a decent living to be earned for a costume designer. So, for that and other reasons, after about 15 years I began to hope that I might be fortunate enough to be asked to design the odd film or two! Good fortune, in the forms of Richard Eyre and Mike Leigh, smiled at me and for the ensuing twenty-six years I have almost exclusively designed for film.
How is this different … well, initially you feel it must be, as the method of production is so different – but all the costume design basics remain exactly the same …
Firstly, there is an interview/meeting situation where you are asked to read the script and then go to meet the Director and possibly the Producer. At this time you are expected to have had some ideas and make some observations and even, if you feel an idea or two forming, you can look out some reference/research to show them, which is a useful aid to your interview and gets them reacting, thus giving you an idea of what they might be thinking. Mainly though, they will be looking to see if you have 'suitable form' or a CV which interests them and whether they feel they will be able to work creatively with you. Often they are also thinking of how you would get on with the actors they have in mind – whether you will 'gel'. IF they decide to engage you, you will have more meetings with the director to discuss his/her and your vision of the film and who the characters in the story are, what their background is and how do we feel their clothing reflects their personality. You will begin to draw your ideas, not necessarily fully-blown costume drawings but sketches and details that you think of, or see, in reference material.
This part of the process is really fantastically enjoyable – a time when you can do loads of research and learn about the world that the film is portraying, whether it be historical or contemporary – it is equally challenging and equally important to come to a conclusion and be clear about what you would aim to do with each character. It could mean spending time in libraries, art galleries, magazine shops, in a hospital or a factory, or just riding on public transport. Collecting things which reflect the colours or textures you want to use and swatching for fabrics either with the intention of using them to make the clothes, or to show alongside your drawings as an aid to understanding what you mean. Often on large films, there isn't time for lots of drawing and I often use tear sheets and collage boards to get my point across – for contemporary work they are sometimes clearer.
It's at this time that you consolidate the LOOK and collaborate with the actors. It is important to them during their creation of the character that they know what the person they are creating will look like.
Here is also the time for you to explain your ideas to the Hair & Makeup department who ideally are working towards the same goal as you. It is important in film to lead a creative 'team' of people and share information – failure to do this can have horrible results.
At this time it is very important to meet with the Production Designer, who will have probably been engaged months before you and will have a broad vision of what the whole film should look like and is responsible to the director for the overall look of everything. He/she can take part in the costume design process and can help you greatly with things like the overall colour palette of the film and what colour the sets are which – don't forget – your costumes will be standing in front of !!
Also there will be the Director of Photography to liaise with. The DoP can be ones greatest ally or downfall. Faces and fabrics change radically in different lighting situations and obviously, so do colours – I'm sure that you know, different film stock will alter the whole look of the film.
Armed with all this information, now is the time to go and meet the actors starting, most sensibly, with the principal actor/actors or STAR …. you will probably be the next person after the Director and Producer that the actors will meet and so you become the representative of the Director's vision of the film. This is not always a welcome position to be in, especially when the actor discovers that the director's lifelong concept may include something radical for instance like …. 'everyone wears a shade of blue'…. and the actor …. 'Hates blue, every time I've ever worn blue the film was a flop'…. 'under no circumstances'…. etc. Now you've got it! You are up and running, carrying the torch (concept) and trying to negotiate the minefield of everyone else's ideas, without letting the torch going out!
My film work could be divided into pre-and post 'Bond'. Before the fateful phone call asking me to come to Pinewood Studios for a meeting with Barbara Broccoli and Michael Wilson, I had been working consistently on smaller British films, often financed by Channel 4. My previous work with Mike Leigh on 'Abigail's Party' in the theatre led him to ask me to work with him on 'Meantime' (one of my favourite films) then 'High Hopes', 'Life is Sweet', 'Naked' and ultimately 'Topsy Turvy' for which both Christine Blundell and Trefor Proud (Hair & Makeup) and I were awarded Oscars. That was, sadly, my last film with Mike Leigh and really I have not changed my way of working from that time – which came from his unique method of improvising everything. Mike Leigh is a National Treasure!!!
Amongst many other films, I have also worked with Steven Frears on 'My Beautiful' Launderette', and (another favourite film) 'Funnybones' directed by Peter Chelsom – I also designed the very successful 'Four Weddings and a Funeral' for director Mike Newel.
Angelina Jolie in 2003 as 'Lara Croft Tomb Raider: The Cradle of Life'
When I was told about the 'Bond' interview by my agent, it seemed as if someone was playing a prank so far was it outside my normal film experience. So legendary and so glam! Anyhow, it was and is, a fantastic relationship with the Broccoli family who are the dedicated and hands on custodians of their 'Bond' world.
What fun and what a privilege it is to travel the world and see it whilst working. Since designing the look of the two new 'Bonds' and creating the look of Angelina Jolie as the 'Tomb Raider' (1&2), I have worked on mostly American studio films. During the past few years I was fortunate to be asked by Chris Nolan to design the new 'Batman' films. This has been a new departure for me involving learning lots more about different technologies of costume such as 'Batsuit' design and manufacture – and the new Joker was just a pure joy to create!
Heath Ledger as The Joker in 'The Dark Knight' – 2008. The costume is designed to reflect The Joker's personality – twitchy, grubby, corrupt
This past year is typical of my varied work experiences. Firstly America to work with Martin Campbell on 'Edge of Darkness', a dark Boston-set contemporary thriller, then quickly back to London to work with young director Louis Letterier on the new 'Clash of the Titans' – phewww.!!! Now a rest!
Sam Worthington as Perseus and Ian White as Sheikh Suleiman in 'Clash of the Titans' – 2010
(C)2010 Warner Bros Entertainment Inc & Legendary Pictures. Photo by Jay Maidment
I feel that I have had the most fantastic opportunities in the world of film and theatre to have worked with some really good producers, directors, actors, production designers and cinematographers – but most of all I have had the pleasure of being able to be surrounded by some of the absolute best technicians in the world in my own department. Supervisors Dan Grace and John Scott. Assistant designers Jaqueline Durran, Michael O'Connor, Guy Speranza, Andrea Cripps, Graham Churchyard, Maria Tortu and Gabriella Loria. Cutters Anne Maskerey, Jennie Alford and Alison O'Brien. Dyers/distressers Tim Shanahan, Vicky Hallam and Steve Gell – and so many makers, wardrobe men and women, sculptors, leather workers, embroiderers – all of whom are artists who are loyal and dedicated to producing the best in their own disciplines. Thank you to everyone who has helped me in my work life and for the opportunity to write this article!
Lindy Hemming's film credits include: The Dark Knight Rises – 2012, Clash of the Titans – 2010, Edge of Darkness – 2010, The Dark Knight – 2008, Casino Royale – 2006, Batman Begins – 2005, Tomb Raider 1 & 2 – 2001 & 2003, Die Another Day – 2002, Harry Potter – Chamber of Secrets – 2002, The World is Not Enough – 1999, Topsy Turvy – 1999, Little Voice – 1998, Tomorrow Never Dies – 1997, Blood and Wine – 1996, GoldenEye – 1995, Funny Bones – 1995, Four Weddings & a Funeral – 1994, High Hopes – 1988, Wetherby – 1985
Posted by networkninenews on March 17, 2013 in Costume Department
Tags: art department, camera, cinematography, costume design, drama, feature film production, film, film costume, film director, film production, film props, film sets, film studios, global audience, hair & makeup design, script, set construction, set design, storyboards, television, theatre costume
The Art Department
Terry on the set of 'Supergirl' in 1984
The Art Department usually employs the largest number of people on any film crew. On big budget fantasy, period drama or sci-fi films, the Art Department Offices, Drawing and Construction Studios can occupy a vast area and employ hundreds of talented people.
The following is an extract from an article by Terry Ackland-Snow in Network Nine News:
I really believe that, in order to maintain the art of draughtsmanship, existing practitioners should bridge the generational gaps between 'ways of doing things'. The best way to achieve this is to have young people taught by the practitioners themselves – with their knowledge and experience. People starting out in the industry must fully understand the role of an Art Director and the Art Department through basic knowledge in design, camera operation, direction, editing techniques – plus scheduling and budget requirements. The Art Department is unique in running its own budget during a production so, to be a successful Art Director, not only do you have to be able to create and visualise, as well as control and inspire a team of people – but also have a full understanding of the financial aspects involved.
It has always been my aim to make sure that the new generation of film makers are fully apprised of the art of creating illusion on film. I have, for several years now, successfully run a course which allows people to learn the traditional art of draughting, CAD drawings, sets and models – along with trick photography and CGI.
Having been in this industry long enough to witness all the changes myself, I think it is so important to continue the outstanding work of the Art Department that has been developing over the last century. I also truly believe that, in order to make best use of the incredible technology available in today's market, the basic skills which created so many classics have to be absorbed and understood.
To check out Terry's Film Design course go to www.filmdi.com
Terry Ackland-Snow's credits include: 'The Rocky Horror Picture Show', 'Papillon', 'Death on the Nile', 'Aliens', 'Superman II & III', 'Supergirl', 'Labyrinth', 'Batman' and 'The Deep'
Posted by networkninenews on January 17, 2012 in Art Department, Set Construction
Tags: art department, cinematography, costume design, film, film director, film production, film props, film sets, hair & makeup design, set construction, set design, set dressing, storyboards, technical drawing
Do you want to work in Film Production ….. ?
So, you think that you would like to work in film production – why?
Wendy Laybourn - Editor
Is it because you've seen all the DVD 'behind-the-camera' footage and you fancy yourself in that glamorous world, having cocktails with the stars and walking the red carpet at the première of your latest blockbuster? Or, is it because you have an overwhelming passion to see something you've been involved in creating, in whatever capacity, up there on the silver screen? If it's the former, then forget it and find another career – but, if it's the latter then take care, you are entering a world where creativity walks hand-in-hand with job uncertainty and life will never be 'normal' again!
On any feature film, depending on the budget, there will be hundreds of people employed and, for those aspiring to be director, producer, cameraman, please remember that these are only three out of those couple of hundred people and it takes many years of perfecting your craft to reach these dizzy heights.
However, think carefully about the rest of the film crew – divided into departments and each needing skilled, reliable and committed people to produce a feature film to entertain a global audience.
The time to do this careful thinking is whilst you're still at school – make no mistake, no matter which career path you choose you will always be best served by getting the highest grades possible – but, if you're mad enough to think that you might still fancy a job in film production, then you need to do a bit of research – and this is what Network Nine can help you with.
We aim to give you enough information about the whole process of film production from the time the producer selects the script to the screening of the film at the cinema so that you can better understand where your particular talents might be best suited.
I'll be posting articles from the News at intervals but, if you want to make the most of our information then you need to subscribe to the magazine from the web site www.network-nine.com
Posted by networkninenews on January 17, 2012 in Feature Film Production
Tags: action stunts, animation, art department, camera footage, CGI, cinematography, costume design, film, film director, film distribution, film producer, film production, film score, film sets, film studios, global audience, hair & makeup design, performance, photography, red carpet, script, set design, sound design, special effects, storyboards, visual effects


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Mr Michael Weymouth Plastic Surgeon
MBBS FRACS(PLAS)
Mr. Michael Weymouth is a fully qualified plastic and reconstructive surgeon, holding a fellowship from the Royal Australasian College of Surgeons (RACS) since 2008. He is also a current member of the Australian Society of Plastic Surgeons (ASPS) and the International Confederation for Plastic, Reconstructive and Aesthetic Surgery (IPRAS). Michael is also a member of the Australian and New Zealand Burns Association (ANZBA), is a qualified instructor of the Emergency Management of Severe Burns course (EMSB) and a member of the Victorian Hand Surgery Society (VHSS).
Michael obtained his medical degree from the University of Adelaide in 1997, before undergoing basic surgical training at The Alfred hospital. He then completed two years of advanced general surgical training, which included the fields of trauma and paediatric surgery, before obtaining selection to undergo a further four years of full-time training in plastic and reconstructive surgery. He underwent training in most of the major centres in Melbourne, including The Alfred, Austin and Repatriation, Royal Children's and St. Vincent's hospitals.
On completion of his fellowship in plastic and reconstructive surgery, Michael worked as a consultant plastic surgeon at the Peter MacCallum Cancer Institute, in the field of skin cancer surgery.
Currently, he holds consultant plastic surgeon positions at The Alfred hospital, where he is a member of the Victorian Melanoma Service and the oncoplastic breast reconstruction unit, and at Austin Health, is a hand surgeon involved in restorative surgeries for quadriplegic patients. He is also the supervisor of plastic surgical training at Austin Health.
In addition, Michael is a member of staff at the Victorian Adult Burns Service, at The Alfred hospital, being one of the principal surgeons involved in treating burns victims of the now infamous Black Saturday bushfires.
Michael is known for his high standard of surgical competency and his genuine, caring manner. He applies this altruistic approach to all facets of his work, whether it be aesthetic or reconstructive.
His special interests include reconstructive and cosmetic breast surgery, skin cancer surgery, hand surgery, burns injuries and management, body contouring surgery, gynaecomastia surgery and microsurgery.

redpajama_set_name: RedPajamaCommonCrawl


text:
All posts tagged "Capitol Building"
Clint Reid seeks 2nd term as College Republican Federation of Alabama chair
Reid, the current chairman, right, said Wednesday he's seeking re-election leading the group.
Capitol Police officer dies after being injured by rioter
Officer Brian Sicknick died at about 9:30 p.m. on Thursday, the Capitol Police said in a statement.
ADP Chair Chris England: Capitol mob was encouraged by Brooks, Trump
Brooks and Trump both gave speeches before a large segment of the rallygoers left and attacked the U.S. Capitol building.
Carl doubles down on vote to challenge to Electoral College results
Both the Arizona and Pennsylvania objections were rejected by both chambers of Congress.
"We will not be deterred," Sewell says after insurrection at the Capitol
The day ended the only way that the day could have ended: with Biden being officially declared the winner of the Electoral College.
Alabama leaders reject Capitol Hill violence
"Today is a very dark day for our country," said U.S. Sen. Richard Shelby, R-Alabama.


Davis and others have cited an article in the Birmingham-based outlet Southern Jewish Life from December 23 criticizing the choice to honour Davis, penned by its editor, Larry Brook—who told The Nation he has been careful not to call her an anti-Semite. It outlines aspects of Davis's activism and political opinions that are common knowledge, including her support for Palestinian-American Rasmea Odeh, her incarceration nearly 50 years ago, and her former membership in the Communist Party. Reports in the Alabama outlet AL.com named the Birmingham Jewish Federation as one of the organizations expressing dismay at the choice of Davis, along with the Birmingham Holocaust Education Center, which sent a letter to BCRI on January 2 specifying Davis's support for BDS, which is "very troubling as it targets the Jewish people exclusively." Both organizations were approached and refused to provide comment.
Maybe even more egregious than the BCRI decision itself is the fact that, as a museum dedicated to the heritage of the civil-rights movement and which honours figures who have spoken truth to power, it has left the matter shrouded in secrecy, dodging accountability and leaving plenty of room for speculation.
For Thompson, the priority is honouring Davis in her hometown and showing that the BCRI decision does not speak for the community. "What I know to be true is that the silencing of black leaders and black women has been a perpetual thing—particularly in the South—for decades." She says there is a diverse and inclusive group involved in organizing the alternative event, including Jewish residents.
Even without all the facts out in the open, this incident is not occurring in a vacuum. It is the latest in a long-standing and widespread campaign to shut down those who are critical of Israeli policies and, specifically, those who promote Palestinian equal rights and BDS. Between 2014 and 2017, the non-profit organization Palestine Legal dealt with nearly 1,000 incidents of censorship, intimidation, and suppression targeting speech supportive of Palestinian rights. "The Klan used to try and terrorize people who spoke out against racial terror and racial segregation, and unfortunately, the same tactics are being used here," says Alicia Garza, co-founder of Black Lives Matter and strategy and partnerships director with the National Domestic Workers Alliance.
Mairav Zonszein is an Israeli-American journalist who writes about Israeli politics, American foreign policy, and human rights. A blogger and contributing editor for +972 Magazine, she has also written for The New York Times, The Washington Post, and The New York Review of Books, among others.


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Algar de Palancia (en valenciano y oficialmente Algar de Palància) es un municipio español de la provincia de Valencia, en la Comunidad Valenciana. Pertenece a la comarca del Campo de Morvedre, limitando al noroeste con la comarca del Alto Palancia.

Geografía

Municipio situado entre las sierras de Espadán y Calderona, en las riberas del río Palancia. La superficie del término es irregular, bastante montañosa con zonas llanas en las riberas del Palancia. Las alturas principales son: Castellet (371 m), la Solana (337 m), Picaio (385 m) y Rincón de Mateu (422 m). El Palancia cruza el término por su parte central, de NO a SE; por la izquierda afluye la rambla de Azuébar y por la derecha la rambla de Arruines que sirve de límite entre Algar de Palancia y el término de Alfara de Algimia. El clima es mediterráneo. El pueblo se alza junto a la margen derecha del Palancia, en un pequeño altozano

Se accede a esta localidad, desde Valencia, a través de la A-23 y tomando luego la CV-327. Otro trayecto más cómodo es utilizar la A-23 y tomar en la salida 18 la N-225.

Localidades limítrofes

Alfara de la Baronía y Sagunto, en la provincia de Valencia y Segorbe, Sot de Ferrer y Soneja en la provincia de Castellón.

Historia
De oríge árabe, fue reconquistada en el año 1238, perteneciendo a la Orden de la Merced y manteniendo su población morisca hasta la fecha de su expulsión en 1609, por lo que quedó prácticamente despoblada. En 1610 es nuevamente repoblada por cristianos.

Administración

Demografía

Economía

245 ha del término son de propiedad comunal, cubiertas de pinos y monte bajo; se utilizan para pastos de invierno. La ganadería es de carácter doméstico. El algarrobo ocupa la mayor parte del secano, seguidos por los olivos, viñedos, almendros y cereales.

La superficie del regadío comprende los siguientes cultivos: naranjos, limoneros, cerezos y excelentes nísperos.

Existe una fábrica de harinas y otra de yeso. Estas fábricas ya no funcionan.
Ahora existen una de pallets y otra de escayolas.

Monumentos
 Iglesia Parroquial. De estilo barroco, data del siglo XVIII, y está dedicada a la Virgen de la Merced.
 Antigua torre defensiva de Algar de Palancia. De origen árabe. Bien de interés cultural número R-I-51-0011177.

Lugares de interés
 gual de Algar. De donde toma aguas del Palancia la Acequia Mayor de Sagunto; su construcción data de los siglos XIII al XIV.

Fiestas locales
 San Antonio Abad. Se celebra el 17 de enero.
 Vuitaba. En la tercera semana de agosto tiene lugar esta fiesta cuyo mayor exponente son los bous al carrer (toros por la villa).
 Fiestas Patronales. Se celebran en honor de la Virgen de la Merced, a San Pedro Nolasco y a San Ramón Nonato a partir del 21 de septiembre.

Referencias

Enlaces externos

Municipios de la provincia de Valencia
Localidades de la provincia de Valencia

redpajama_set_name: RedPajamaWikipedia


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> Launching Young Readers
Launching Young Readers series
Reading and the Brain
What happens when neuroscience meets Dr. Seuss?
Hosted by Henry Winkler, who has had his own struggles with reading, Reading and the Brain explores how brain scientists are working to solve the puzzle of why some children struggle to read and others don't. Startling new research shows the answer may lie in how a child's brain is wired from birth.
This program is the eighth episode of Launching Young Readers, WETA's award–winning series of innovative half-hour programs about how children learn to read, why so many struggle, and what we can do to help.
Featured Video: Reading and the Brain
Find out when the program will be broadcast in your area
Read about the program
View recommended resources
read the interview with Henry Winkler
What happens when neuroscience meets Dr. Seuss? Hosted by Henry Winkler, Reading and the Brain explores how brain scientists across the country — in Houston, Chicago, Louisville, Washington, D.C., and Toronto — are working to help struggling readers.
Exciting new technologies are allowing us to learn on a child's first day of life whether or not he'll have a hard time learning to read down the line. And provocative new research from Dr. Stanley Greenspan shows us how emotional interactions between parents and babies are critical to children's later ability to comprehend what they read.
You'll also meet poet Nikki Giovanni and illustrator Bryan Collier in a segment about their new book, Rosa, a loving portrait of civil rights icon Rosa Parks.
At the University of Texas-Houston, Dr. Papanicolau is using technology to show eight-year-old Peter Oathout his difficulties with reading are rooted in his brain.
Biomapping the brain
In Evanston, Illinois Dr. Nina Kraus thinks that Jenna's reading problems may be related to the way her brain processes sound. To find out, Dr. Kraus is using some well-known technology in a new way.
Baby's first reading skills
Drs. Victoria and Dennis Molfese are starting even younger. In Louisville, Kentucky they are studying speech perception in day old babies like Santana Hamond — something that may be a key factor in determining a child's later reading skills.
The poet and the painter
In Harlem, writer Nikki Giovanni and illustrator Bryan Collier discuss their award-winning book, Rosa, and what it took to write about the influential Rosa Parks.
From emotion to comprehension
Further north in Toronto, six-year-old Arik is reading through his books with lightning speed — but is he understanding it all? Using a technique developed for children with autism like Arik, Drs. Greenspan and Shanker believe that they can help Arik's comprehension by expanding his emotional connection to the words.
Dissecting Dyslexia
For Parents: Raisin' Brain: Maintaining Homes for All Kinds of Minds
For Teachers: Schools in Which All Kinds of Minds Can Grow
Remediation Training Improves Reading Ability of Dyslexic Children
The Dana Foundation is a philanthropic organization with interests in brain science, immunology, and arts education. Dana offers information to the general public about the progress and promise of brain research.
Brainy Kids is a site operated by Dana offering children, parents and teachers selected science-related links to games, labs, science fair ideas, educational resources and lesson plans.
A Good Start in Life: Understanding Your Child's Brain and Behavior from Birth to Age 6
by Norbert Herschkowitz, M.D. and Elinore Chapman Herschkowitz
The Scientist in the Crib: What Early Learning Tells Us About the Mind
by Alison Gopnik, Andrew N. Meltzoff, and Patricia K. Kuhl
Magic Trees of the Mind: How to Nurture Your Child's Intelligence, Creativity, and Healthy Emotions from Birth Through Adolescence
by Marian Diamond and Janet Hopson
An interview with Henry Winkler
Q: You've said that teachers and your own father called you "lazy and stupid" and that you spent a lot of time covering up your difficulties with learning. What were some of the ways you tried to cover up the fact that reading was extremely difficult for you? What signs should parents or teachers look for if they suspect their child or student is "masking" a learning difficulty?
A: I definitely was the class clown. If the teacher read a story out loud, and one of the characters was a hunter shooting ducks out of the air, I became that hunter. I got behind my desk, made the class laugh, and was sent to the principal.
Here it is. A child with a learning challenge is embarrassed by their inability to keep up. They already feel bad. All they need is support, support, a little more support, and then some support. And, ALL of that support must be positive.
Q: Although you endured the pains of growing up with dyslexia, you endured and succeeded in life. What qualities did you have that helped you overcome your learning disability and how can adults help children develop and cultivate those qualities?
A: If there was one word that I would pass on to all children, it would be tenacity. What your school abilities are, and how you perceive your dreams are two very different things. I was not very good at spelling, math, reading, geography, history — I was, however, great at lunch. That being said, my dream of being an actor never wavered.
Being smart does not necessarily correspond to school work. There is intuitive smart, emotional smart, street smart, knowing-how-the-cosmos-works smart. Those incredible pods of intelligence can create a wonderful life without ever getting a passing grade in geometry.
Q: You've said your own son is dyslexic as well. How do you hope this show, Reading and the Brain, can help make a difference for kids like your son?
A: I hope that Reading and the Brain allows children of all shapes and sizes, of all ages to know that they have a wondrous gift inside them, and it is their job to figure out what it is, dig it out, and give it to the world.
Q: You understand far more about dyslexia than your own father. As a parent, what special steps do you take to help your own son handle his dyslexia?
A: My wife and I told our 3 children, "As long as you have tried your hardest, whatever your report card says is all right with us."
I've also learned along the way that when my son or daughter listened to music while they did their homework, that it was not necessarily a distraction, but rather the music helped the kids to concentrate. It actually created a barrier between the outside world — whatever else was happening in the apartment — and their focus. When I finally stopped saying "Hey, you cannot do your homework and listen to music at the same time," and I saw good grades coming home, I realized that this was true.
Q: How does Hank Zipzer fit into this? Do you pull dialogue and situations from your own personal experiences and memories?
A: Hank Zipzer is based on the emotional truth of the stress, the pain, the embarrassment, the humiliation of being dyslexic. AND, what is vital to me, is that the stories are told through humor. The results from the 1000's of letters that Lin Oliver, my writing partner and I receive from all over the country, is that kids, parents, teachers, and librarians all identify.
Q: What's ahead for Hank Zipzer?
A: As of this writing, August 1, 2006, number ten is about to hit the stores, number eleven, The Curtain Went Up, My Pants Fell Down, will be out in April 2007, and Lin Oliver and I just started Chapter two of the twelfth novel, Barfing in the Backseat: A Zipzer Family Road Trip.
Henry Winkler: The human brain holds lots of secrets. like why some kids learn to read easily, while so many struggle. Now brain scientists are looking inside for answers.
Krista: Are you ready to take some pictures of your brain?
Dr. Andrew Papanicolaou: It's like trying to paint with your toes.
Henry: And they're showing how good teaching can rewire a child's brain, turning a struggling reader into a good one.
Anthony: Happy birthday, Thomas!
Henry: "Reading and the Brain" was funded by The United States Department of Education, Office of Special Education Programs.
Henry: Hi, I'm Henry Winkler. Learning to read was one of the most difficult things I've ever done. You know why? Because I'm dyslexic. When I was a kid, people called me lazy, unfocused, dumb. Now to me, reading looked like a magic trick, and I wasn't in on the secret. That's why I'm so excited about the stories that you're about to see. Today, brain scientists are beginning to unlock the mysteries of reading. So let's take a look at their promising work and meet some of the kids they hope to help.
Kids reading: Captain and Mrs. Keller were overjoyed.
Henry: These kids are barely old enough to tie their shoes, but they've already mastered an amazingly complex job: turning lines and squiggles on a page into stories.
Kids reading: …my pencil jumped from my hand.
Henry: Dr. Andrew Papanicolaou is trying to find out how they do it by looking inside their brains. He pioneered the use of magnetoencepholography, or M.E.G., for studying how they read. But he was an accidental pioneer.
Dr. Andrew Papanicolaou: We never looked for dyslexia; it looked for us.
Henry: M.E.G. measures the magnetic field that brain cells create when they communicate with each other. The giant white hat here contains liquid helium — very cold stuff — which helps the sensors detect these tiny fields.
Dr. Papanicolaou: We were using magnetoencepholography to find out what side of the brain is involved in speech.
Henry: While testing one man with epilepsy, Dr. Papanicolaou noticed something very peculiar. When the patient was listening to someone talking, his brain showed primary activation on the left side, like most people. But when he was reading, the activation appeared largely on the right side.
Dr. Papanicolaou: So we thought maybe we had the wires crossed, you know? So we did the test again and again, and then once in a while, it's good to look at the patient and not only the machines. The person seemed to have difficulty with squinting, and someone asked him, "Can't you see the words? Is that why you have difficulty reading? Can't you see them?" He said, "No, I'm dyslexic."
Henry: Dr. Papanicolaou was hooked. And since then, he's been trying to understand how our brains work when we read. His findings match those of researchers doing functional M.R.I. studies, like Sally Shaywitz at Yale, and Guinevere Eden at Georgetown. While the entire brain is involved when we read, Dr. Papanicolaou found that a high level of right-side activation is a kind of cerebral signature of dyslexia. And that's what he saw in Peter Oathout, an eight-year-old who first met Dr. Papanicolaou at a much more trying time.
Mark Oathout: The teacher said that he just broke down and started crying during the test. And she said he was just so frustrated because he knew he could answer the questions and he didn't want to quit, but he couldn't read the questions.
Henry: Peter's parents went online and found Dr. Papanicolaou's research study.
Dr. Marbel Brones: Come on in!
Peter Oathout: Just wondering, are you gonna put that thing on my head?
Dr. Brones: Yes, we are.
Henry: Peter's brain showed a pattern of activation like other people with dyslexia tested in the study. Peter was expending more energy on the right side of his brain than good readers typically do.
Dr. Andrew Papanicolaou: It's like trying to paint with your toes, rather than with your hands. I mean, you are doing something using perfectly normal equipment, but not suitable for the purpose.
Henry: To use another metaphor, while good readers use the interstate highways of their brain, Peter was using country roads to get to the same place. But there's good news.
Dr. Dennis Molfese: The brain is incredibly plastic, and we know that as you learn new information, the brain physically changes — the neurons themselves, the brain cells themselves — change structurally.
Henry: So how do we go about rewiring a child's brain?
Dr. George Hynd: Through certain kinds of reading instruction, very carefully controlled, very intensive, these patterns of brain activation can be changed, while at the same time, the children's ability to read increases.
Henry: Dr. Papanicolaou's study involved intensive research-based reading instruction.
Dr. Eldo Bergman: Children who are struggling readers and don't get intervention do not get better.
Henry: Dr. Eldo Bergman is director of the Texas Reading Institute. now both of his sons have dyslexia, and because of that, he's devoted his life to helping struggling readers like Peter.
Dr. Bergman: Peter came into us as a kindergarten student, frustrated with reading and a phonologically-based reading disorder.
Henry: Peter was tutored every week at the Texas Reading Institute. He worked intensively on his reading skills — connecting sounds to letters, and learning to blend sounds. He practiced the same skills every night with his dad, who was trained by Dr. Bergman and his team. And after a year, the results were really impressive.
Peter: Mr. Duke, the coach, would explode if they were late.
Dr. Bergman: Peter came to us reading in the bottom ten percent. And when he finished his ability to pull words off the page was better than average. And his comprehension had gone from bottom ten percent to the 85th percentile.
Mark: Okay, good; and this one, I think you corrected it. What is that word?
Peter: Ignite.
Henry: Good teaching made Peter a better reader, and changed his brain in the process.
Dr. Papanicolaou: When children receive the appropriate sort of intervention, then their brain profile of activity changes and becomes like the normal.
Henry: And the change goes well beyond the lab.
Mark: I mean, to see your child go from being unhappy and without self-confidence, to being a happy, excited-to-go-to-school kid, it feels like a miracle.
Henry: We're only beginning to understand how brain imaging might help.
Dr. Papanicolaou: One of the problems, usually with new technologies, is that they tend to be oversold. Many people may be ready to say, "Well now, we are going to use M.E.G., F.M.R.I, to diagnose dyslexia," I think that's jumping the gun.
Henry: Dr. Papanicolaou says imaging can complement the kind of assessments done by teachers and school psychologists.
Dr. Papanicolaou: The more you examine an issue from different points of view, you get a more complete picture.
Henry: In Evanston, Illinois, Dr. Nina Kraus is trying to fill in one small part of that picture.
Dr. Nina Kraus: Generally there are many factors that might contribute to why a child is having difficulty reading.
Dr. Hynd: It's a very big puzzle, a complicated puzzle. Reading's an extremely dynamic, complicated process, it involves the whole brain. It involves everything from looking at the word and perceiving what's on the written page, to the whole brain really constructing an understanding of what's being read. What that means is, that any place along that complicated trajectory or that process, something can go wrong.
Kit Harper: Excellent job, give me five!
Henry: Dr. Kraus is helping to identify or to eliminate one possible cause of a child's reading struggles — that's difficulty processing sound. But what does that have to do with reading? Everything!
Girl reading: …with lots of rooms to play in.
Henry: The 26 letters of our alphabet are a code for the sounds that we make when we speak. So if we can't understand the sounds, the letters won't mean much. Eight-year-old jenna rogers is here to see if that might be part of her problem.
Krista: Ready to take some pictures of your brain?
Jenna: Mm-hmm.
Krista: All right!
Henry: Dr. Kraus is using an old technology, E.E.G., in a new way. She calls her measurement a biomap. Biomap stands for biological marker of auditory processing.
Dr. Kraus: What the biomap does is it measures very objectively how the brain responds to sound. We're looking at responses that are coming from the brainstem, so this is the input into the cortex. that one feel okay?
Henry: The responses are involuntary. So even if a kid is having a bad day, or is feeling nervous about the test, the results will not be affected.
Krista: So did you know that your brain makes electricity?
Jenna: No.
Henry: These electrodes will measure how Jenna's brain responds to the sound "Da," as it is repeated like so…
Electronic voice: Da-da-da-da-da-da.
Henry: Now at the same time, Jenna will be zoning out with a cartoon. As Jenna's brain quiets, Dr. Kraus can get a clearer picture of how Jenna's brainwaves respond.
Dr. Kraus: That's rather atypical. It really seems as though she's reflecting — she's representing sound in perhaps, her own unusual way.
Henry: Jenna's brain detects sound a little more slowly than most, and that could be part of her problem with reading.
Dr. Kraus: These lines here represent the brain waves from normal kids, and then these come from dyslexic kids. You can just see how the timing is jittered, how the waves are shifted over. The difference here, we're talking about tenths, fractions of milliseconds.
Henry: Why would such a tiny difference matter? Well, it turns out that the difference between sounds, like those made by the letters "b" and "p" is contained within a tiny span of time. So if your brain doesn't process fast enough, you can't distinguish between the two.
Dr. Molfese: If the child cannot hear that difference between the "b" and the "p" sound, and the parents are talking to them, and saying, "bat the ball; pat the cat," they might be thinking, "oh, bat the ball, bat the cat." And all cat lovers will tell you, that's unacceptable.
Kit: How about "say", where are you gonna put "say"?
Henry: With the new information about Jenna's auditory processing, Kit Harper, her tutor, is focusing more on helping Jenna learn to discriminate between sounds. She's essentially training Jenna's brain to hear more accurately.
Kit: Can you say the sounds while you make it?
Jenna: Ssss, ahhh.
Dr. Kraus: We learn to speak new languages and sing new songs throughout our life, just as you can train your brain to hear sounds differently as you learn to study a musical instrument. Well, if you know which sounds are not being represented well, you can train your brain to hear these sounds in a more accurate fashion.
Jenna: C-a-m-p! Peek-a-boo!
Henry: If there's one thing that most researchers agree on, it's that early intervention is the best way to prevent reading problems. Reading experts like to catch kids at three or four, when language problems often emerge. But what if you could start even earlier?
Henry: Santana Hamond's not quite ready to start reading, he's only one-day-old. But doctors Dennis and Victoria Molfese believe they can look into his future.
Dr. Molfese: We're interested in studying speech perception in infants because we think there is a link, even at the very earliest stages shortly after birth — within hours of birth — and later, reading skills.
Henry: That's because one skill that children must have in order to read is already in place by the time the baby is born. The Molfeses are assessing the ability of a one-day-old baby to discriminate between the sounds for the letter "b" and the letter "p". we don't know why, but some babies are born with a lesser ability to hear the difference between similar sounds. Or they hear the difference more slowly. And we know from Jenna that this seemingly small skill is enormously important.
Kit: Perfect!
Henry: Santana's first stop is a hearing test, which he passes.
Dr. Molfese: The discrimination of the speech sounds is really independent of the child's ability to hear, rather the problem is their ability to not just hear, but then to discriminate between the different sounds.
Henry: Researchers will test that ability in Santana, with this net. Now it might look intimidating, but Santana hardly notices the soft sensors.
Dr. Molfese: We use these nets to pick up on brain activity that's being generated by the neurons within the brain. If the brainwaves are different, so we get one brain wave to a "b" sound, a very different brain wave to a "p" sound, then we know the infant can discriminate between the sounds.
Henry: Santana's brain is picking up on the differences between the two sounds. According to the Molfeses' work, odds are, that with the right opportunity, he will become a proficient reader.
Dr. Molfese: We can predict with about 80% accuracy, from birth, if a child is going to be a good or a very poor reader by as late as eight years of age.
Henry: The Molfeses have begun developing interventions that parents can use to build their baby's speech discrimination skills. They don't have any formal results yet, but their best hunch may sound familiar.
Dr. Victoria Molfese: For generations, people have done nursery rhymes with children, and played word games. And all of that word play, now we find out, is important for developing skills in speech discrimination. Children that may be at risk for reading disabilities who may be not as good at hearing contrast between different speech sounds, need extra experience with those kinds of games.
Henry: This speech sound discrimination screen is not available to the public right now, but the Molfeses hope that will change.
Dr. Molfese: It'd be very simple to screen these children for risk of developing a learning disability, and then start intervening before the child has a chance to develop bad feelings about themselves that's going to interfere with them developing very proficient reading skills that they really need in our society today.
Henry: All right, let's take a little break, and remind ourselves what all this hard work is for. Because reading can actually be a pleasure. Sometimes it can actually be an inspiration. we're gonna head to harlem now, to meet poet Nikki Giovanni, and illustrator Bryan Collier. They've put together a new children's book about the power of one person to change the world.
Nikki Giovanni: I would put books on probably chocolate, because a good book is delicious.
Bryan Collier: It was always a visual thing for me, even when my teacher would talk, i would see words float of her mouth.
Henry: Poet Nikki Giovanni and illustrator Bryan Collier hadn't met until they got together to produce a book about one day in the life of Rosa Parks.
Nikki: Whatever you're writing should be true to you. So if it's funny, you should be laughing. If it's sad, you should be crying. You just pack everything you have into it and then you let it go and see if it flies.
Henry: So when the invitation came to write a story about her friend, Nikki Giovanni worked to make it fly.
Nikki: I had the pleasure of meeting Mrs. Parks about 24, 25 years ago, on a really rainy day in Philadelphia. And I said, "Mrs. Parks, it's Nikki Giovanni, I'm a writer." and she said, "Oh, baby, I love that, Nikki, Rosa." it just took my breath away. I had no idea she knew who I was. I wanted to show her not as a civil rights icon, per se, but as what she was, which is an ordinary woman, who was going to do, and always did do, extraordinary things.
Bryan: When I first got the Rosa Parks book, I read it about 100 times.
Henry: Bryan Collier is an award-winning children's book author and illustrator. His signature artwork is a mix of watercolor and collage, but he begins with a sketch.
Bryan: And that sketch will turn into me painting in watercolor, and then the collage sort of finds its way in. that's me gluing and cutting away and adding to the image. A collage is this wonderful metaphor for life. It's often about small, insignificant moments. Only, when you put them together, that's when they sort of create this huge event.
Henry: Soon it all comes together, when the two worlds of words and pictures collide, you sometimes get magic.
Nikki: "I said, give me those seats, the bus driver bellowed. Jimmy's father muttered more to himself than anyone else, I don't feel like trouble today; I'm gonna move. Mrs. Parks stood to let him out, looked at James Blake, the bus driver, and then sat back down."
Henry: You know, a great story is one of the best reasons to learn how to read. Now for a lot of kids, like Jenna and Peter, sounding out the words was their biggest challenge. Now we'll meet a boy who has no trouble reading individual words, but who struggles to make sense of what he reads.
Henry: Here in Toronto, six-year-old Arik Kimber reads like a champ.
Arik Kimber: "It's windy again," he said to Emma.
Rose Kimber: It's very deceiving that Arik can read so well. He can read the word, but if he doesn't emotionally understand what that word means, it just creates confusion for him.
Dr. Michael Pressley: It's important to emphasize that word-level reading and comprehension rely on very different processes because there certainly were those pushing the theory that if you just learned to read the words, you would automatically learn how to comprehend. That was the wrong theory.
Henry: Kids struggle with comprehension for a lot of reasons. Some children use all their energy just sounding out the words. Other kids have a limited vocabulary. Or they may just lack the background knowledge they need to make sense of the story. Arik struggles because of the effects of autism. Now you wouldn't know it right away, but connecting with the rest of the world has always been difficult for him.
Grant Kimber: He was inside himself. He didn't really want to interact with other people or other children.
Henry: Dr. Stanley Greenspan says that those emotional interactions are the foundation for understanding what you read.
Dr. Stanley Greenspan: The richer your emotional interactions early in life, the more understanding you have of the world, the easier it is then, to have the words that you're learning have meaning. For a nine-year-old to comprehend an abstract concept like justice that they might be reading about, they have to have lots of emotional experiences with being treated fairly and unfairly.
Henry: Dr. Greenspan is a renowned child psychiatrist. He spent decades observing babies, including healthy ones, like Milikah. He's been a leader in the study of the relationship between emotion and intelligence.
Dr. Greenspan: Historically, we've always thought, going back to Descartes, that emotions and reason or intelligence were two separate and competing facets of human existence, where the reason controls and regulates the emotion, which is your passions.
Dr. Greenspan: Oh, good; see, protest is good, too!
Dr. Greenspan: But what we've discovered in our research — both by studying human babies, but also by looking at human evolution — is that actually, our emotional interactions gives birth to our ability to use symbols, and to think, and eventually to be reflective. it's a radically new way of thinking about how intelligence forms.
Henry: To tap into Dr. Greenspan's theory, the Kimbers have been using a technique called floor time. the goal is to increase arik's ability to engage emotionally, which Dr. Greenspan believes can help lay the foundation for improving his reading comprehension.
Jehan Shehata-Aboubakr: The beauty of floor time is it has emphasized the role of emotion in learning. The child is motivated, the child is interested, and this is your opportunity to work with language.
Arik: My birthday's august 12th!
Jehan: Oh, you're all born in the same month, in august!
Arik: All in the same month!
Jehan: All in the same month!
Henry: Floor time is just one aspect of the work Arik is doing to learn how to comprehend. Struggling readers need explicit instruction in how to make sense of what they're readinG. In Arlington, Virginia, six-year-old Anthony sigall has his own struggles with understanding what he reads. His parents turned to Lindamood-Bell Learning Processes for help. Here they teach Anthony to visualize what he's reading, a key aspect of comprehension.
Angelica Benson: Well, Einstein said, "If I Can't picture it, I can't understand it." And if we don't have a way to represent what we're reading about internally, using imagery, it's going to be very difficult for us to be able to develop knowledge.
Instructor: When you see the boy's eyes, what shape do they look like?
Anthony Sigall: Ovals.
Instructor: Ovals? Very good, can you give me a whole sentence?
Angelica: The program starts at a very basic level, where we have a child look at the picture and try to describe it in an appropriate and accurate way.
Instructor: Can you tell me anything else in this picture that i should see?
Anthony: He's biting.
Instructor: Biting? What's the chick biting?
Anthony: The boy.
Henry: Anthony's instructor encourages Anthony to be more and more detailed in his descriptions. His next step will be to describe an image he pictures in his head, based on a word given to him by his instructor.
Instructor: I'm picturing a stop sign in my mind and it looks blue.
Anthony: Thumbs up or thumbs down?
Instructor: I'm picturing a stop sign that looks red!
Henry: Eventually Anthony will work his way up to sentences, paragraphs, and stories. Even at this early stage, his mom is seeing benefits.
Beth Sigall: When he's looking at pictures or books, or reading with us, he can now look at the picture, understand the words in a way that gives him that gestalt or that whole meaning.
Henry: While this intervention is particularly effective with kids who have autism, it has been shown to help other kids who struggle with comprehension, too.
Angelica: The most important lesson that there is in this, is that we can stimulate the brain, and we can teach an individual how to comprehend and how to process information effectively.
Henry: Back in Toronto, Dr. Stuart Shanker has been tracking Arik's progress.
Dr. Stuart Shanker: For a kid that's going through the stages of emotional development, the word apple isn't just the name of a fruit that's round, shiny, and red. It's the name of something that's juicy, and makes a yummy, crunchy sound when you bite into it. But for a kid who's not been taken through these stages of emotional development, "apple" is just a label.
Henry: As Arik develops his ability to connect emotionally, and to communicate, Dr. Shanker and his team take a look inside his brain. We now have the technology that we can actually map the child's emotional development against the child's brain development. They measure the electrical signals that travel from Arik's brain to his scalp, as Arik does things that might engage him emotionally, like looking at familiar faces.
Dr. Shanker: And what we can do is process that information and look at how fast he's able to recognize his mother by looking at certain characteristic signatures in the brain.
Henry: As he develops the ability to make emotional connections, Arik is blossoming.
Arik: All he does is sniff the pictures!
Henry: And he's begun to find meaning in what he reads.
Rose: He's finding humor and the expressions on the people's faces now. It's not just hurry up, get through the book, read the words, go to bed. Taking that extra time to point at the picture, and point at the faces of the people. And all of the little things going on in the background, that's part of the book, and that's what captures him.
Arik: …he scores, at the good old hockey game!
Mr. Kimber: Turn the page.
Henry: I remember the day I found out that my oldest son, Jed, had dyslexia. As all the experts were talking about him, I remember thinking, "Wait a second, they're talking about me." Today the best hope for a struggling reader remains that brain surgeon in the classroom — a talented teacher. Researchers are working to give teachers even better tools, so that kids like Peter, Jenna, and Arik, can avoid years of frustration and jump into a good book.
To learn more about "Reading and the Brain," please visit us on the web, at pbs.org.
To order a dvd or video cassette of "Reading and the Brain," or to order the entire "reading rockets: launching young readers" series, please call 1-800-757-6845.
"Reading and the Brain" was funded by The United States Department of Education, office of special education programs.
We are PBS.
First Place in the Children's Health category, International Health & Medical Media Awards (the Freddie Awards), 2007
Silver World Medal at the International Film and Video Competition of New York, 2007
The Development of Phonological Skills
The Simple View of Reading
Mary Amato's Tips for Keeping a Writer's Notebook
Speaking and Listening in Content Area Learning
Teaching Elementary School Students to Be Effective Writers
How to Increase Higher Order Thinking
Understanding and Assessing Fluency
Get Widgets |
Our Literacy Blogs
Timothy Shanahan
Who's Right about Text Complexity, You or the Institute of Education Sciences?
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Reading Success During Spring Break!
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Learning with laughter: an interview with Kevin McCloskey
Karin Chenoweth
For School Improvement, Demographics Aren't Destiny
Get Widget |
Tweets by @ReadingRockets
"There is no substitute for books in the life of a child." — May Ellen Chase


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Q: Javascript: get time taken to display. (Currently understated) I'm using Javascript to run a simulation. While performance tuning I noticed that my timing code understates the execution time for displaying in the UI.
It's basically a couple of for-loops which collects data in a 2D array then outputs that to a HTML table. JSFiddle here. I'm running the code in Firefox.
Is there some sort of handler I can attach to an event that only fires once Firefox has finished updating the page? It seems that calling new Date().getTime() directly after $('#div').html(theTable) is not recording the time that Firefox actually finishes displaying the table.
My code basically amounts to this:
// CODE BLOCK 1: PROCESSING
var time1 = new Date().getTime();
// for loops here
// ....
time1 = new Date().getTime() - time1;

// CODE BLOCK 2: DISPLAYING
var time2 = new Date().getTime();
// create table here by string concatenation
// then inserting table html string into a div
// with JQuery's element.html(...) method
// ....
time2 = new Date().getTime() - time2;

Thanks

redpajama_set_name: RedPajamaStackExchange


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text:
package org.concord.energy3d.undo;

import java.util.List;

import javax.swing.undo.CannotRedoException;
import javax.swing.undo.CannotUndoException;

import org.concord.energy3d.model.Foundation;
import org.concord.energy3d.model.Mirror;
import org.concord.energy3d.scene.SceneManager;

public class ChangeFoundationHeliostatTargetCommand extends MyAbstractUndoableEdit {

	private static final long serialVersionUID = 1L;
	private final Foundation[] oldValues;
	private Foundation[] newValues;
	private final Foundation foundation;
	private final List<Mirror> mirrors;

	public ChangeFoundationHeliostatTargetCommand(final Foundation foundation) {
		this.foundation = foundation;
		mirrors = foundation.getHeliostats();
		final int n = mirrors.size();
		oldValues = new Foundation[n];
		for (int i = 0; i < n; i++) {
			oldValues[i] = mirrors.get(i).getReceiver();
		}
	}

	public Foundation getFoundation() {
		return foundation;
	}

	@Override
	public void undo() throws CannotUndoException {
		super.undo();
		final int n = mirrors.size();
		newValues = new Foundation[n];
		for (int i = 0; i < n; i++) {
			final Mirror m = mirrors.get(i);
			newValues[i] = m.getReceiver();
			m.setReceiver(oldValues[i]);
			m.draw();
			if (oldValues[i] != null) {
				oldValues[i].drawSolarReceiver();
			}
			if (newValues[i] != null) {
				newValues[i].drawSolarReceiver();
			}
		}
		SceneManager.getInstance().refresh();
	}

	@Override
	public void redo() throws CannotRedoException {
		super.redo();
		final int n = mirrors.size();
		for (int i = 0; i < n; i++) {
			final Mirror m = mirrors.get(i);
			m.setReceiver(newValues[i]);
			m.draw();
			if (oldValues[i] != null) {
				oldValues[i].drawSolarReceiver();
			}
			if (newValues[i] != null) {
				newValues[i].drawSolarReceiver();
			}
		}
		SceneManager.getInstance().refresh();
	}

	@Override
	public String getPresentationName() {
		return "Change Target for All Mirrors on Selected Foundation";
	}

}

redpajama_set_name: RedPajamaGithub


text:
Shomer Rothenberg, Anna
Born, January 1, 1885, in Pinsk, Russia. Died, May 18, 1960 in New York. Yiddish folk singer, composer, author. Her father was a Yiddish playwright and novelist. She started singing as a very young child with extraordinary accuracy. The family moved to New York and she studied voice with Lazar Samioloff, Fracis Rogers and others. Premiered her opera "Once Upon a Time" in 1922 at the New York Yiddish Art Theatre. Member of Yuval Trio. Sang primarily in the Jewish community Jewish music. Held leadership positions in Mailamm, the American-Palestine Music Association, along with her sister, Miriam Shomer. Studied Jewish music in trip to Eretz Yisrael in 1927. Wrote, Songs Heard in Palestine, based on her study there. Her papers are held by YIVO in New York, which include newspaper clippings from 1916 through 1950. The materials are in Yiddish and English. Rothenberg made several recordings of her singing Yiddish songs. Copies of these recordings from the 1920s are held by the Florida Atlantic University. Copies of her book Songs Heard in Palestine, in which she wrote an introduction, are held at Cornell, JTS, Yeshiva, Vanderbilt, Harvard, Oberlin, Univ. of PA, Univ. of Texas at Austin, Ohio State, CAL and Reconstructionist Libraries. Several Public Libraries, including the BPL also hold the volume.