Movie Reviews

CHRISTMAS DAY ‘GELERT’ MOVIE

2008-11-15T22:03:00.001-08:00

THINKPLAY PROVIDES GRAPHICS FOR S4C’s CHRISTMAS DAY ‘GELERT’ MOVIE

The creative skills of Aberystwyth Technium-based 3D graphics business ThinkPlay.TV will be showcased on S4C on Christmas day, in a new animated take on the traditional Welsh tale of ‘Gelert’.

Produced by Bangor-based production company Griffilms, the story of Gelert has been re-created using the very latest three-dimensional graphics technologies, with the 30-minute film’s 3D backgrounds being designed and produced by ThinkPlay.

ThinkPlay’s expertise is drawn from a variety of disciplines, including the computer gaming sector, where the demand for quality 3D backdrops is high. ThinkPlay director Aled Lloyd commented, “We were delighted to be involved on such a traditional and classical Welsh story. Our aim is to demonstrate that 3D environments for television can be produced both effectively and economically – they may look expensive, but the real issue is expertise, not necessarily cost. There are a growing number of smaller TV production companies who will be able to use our 3D technologies to deliver high quality productions through the use of real-time graphics and virtual studio sets.”

‘Gelert’ recounts the famous and legendary tale of 13th Century Welsh prince Llewellyn’s faithful hound, mistakenly killed by his master following a misunderstanding. It took 18 months to finish the animated movie, which includes 600 camera scenes and 450,000 individual frames. Viewers can tune in to the programme on S4C at 6.25pm on Christmas Day.

(Pictures Attached)

Accessible Macromedia Flash

2008-11-15T22:02:00.000-08:00

Barriers to Accessibility with Flash
The power of Flash is in its timeline-based flexibility. The scripting features of Flash allow dynamic objects to modify themselves whenever the developer chooses.
Screen readers are designed for static content. They parse a Web page for audible output by reading the linear order of the HTML code from left to right, top to bottom. While users can navigate through the page using various methods, the page itself does not typically change in nature as it is being read. Built for a contextual, data-driven medium, applications like JAWS struggle with Flash.

Despite the limitations, when designed thoughtfully and used appropriately, Flash can be made accessible.

Equivalent Content
Equivalent does not mean text-only. A text-only page is much less ‘equivalent’ to a Flash movie than a well formatted and accessible Web page with images, icons, paragraphs, and color. Just because someone accesses your equivalent alternative does not necessarily mean that they have a disability - often, the alternative can be more usable and will frequently accommodate a different learning style. In fact, the careful application of HTML may obviate the need for two versions entirely, which is the best solution for everyone.

Text and Audio

With the advent of the Flash 6 players and screen readers that can access Flash content, much Flash content on the Web that was previously inaccessible suddenly became marginally accessible. With Flash MX 2004, you now have a limited ability to add text equivalents to graphics. Within Flash, there are three types of elements you can create - graphics, clips, and buttons. Graphics are typically for items that are static within the movie and clips are for interactive and more complex animations. Within Flash movies, most simple animations of graphical items are done with graphic symbols. However, text equivalents are not supported by graphic symbols. So, as a developer you must do your animations with clip symbols instead.

If your Flash movie contains any audio, it may interfere with the screen reader. Unless the purpose of the Flash movie is to present audio, you should always provide an option to turn the audio off – this is good design practice that will benefit all users. Remember, if you're conveying any content audibly that is not apparent from the visible display, then you must provide captions for the deaf and hard of hearing.

The Accessibility Panel Explained

Make Object Accessible - This option can be deselected to make the object invisible to the screen reader. If deselected, the text equivalent and any text immediately within the symbol will not be accessible to the screen reader. This can be useful if the symbol does not convey important content.
Make Child Objects Accessible - If you have other objects within this clip symbol, you can make them hidden by selecting this option. This is useful for animations that are comprised of multiple parts, but as a whole only need one text equivalent.
Name - The Flash ALT. This is for a brief description of the object.
Description - The Flash LONGDESC. The screen reader will read the Name first, then the Description if both are present.
Shortcut – A shortcut key for a specific object does not program the keyboard shortcut, but simply alerts the user as to what the shortcut key is. You will need to program additional ActionScript within the movie to capture that keyboard sequence.
Button Accessibility
Buttons must have equivalent text added in the Accessibility panel or they must contain text for them to be reliably accessible. Often, buttons are set to display content during the 'Over' or 'Down' states, meaning when the mouse is hovering over the button or pressing down on the button. The Flash player will only send a single text item to the screen reader from the Over or Down states of a button. Any additional text items, graphics, or movie clips will be ignored. The 'Over' and 'Down' states can also be triggered by the keyboard, when the user tabs to a button, the Over state is exposed, and when the Space bar or Enter key is pressed, the Down state is activated.
Complex button objects, such as sliders, scroll bars, combo boxes, and list boxes are not accessible via the keyboard. Drag and drop items or any item that requires a click and drag is not accessible using a keyboard alone. Any button that contains an animation cannot be made accessible. If it is not set to inaccessible in the Accessibility panel, it will cause the screen reader to begin reading from the top of the Web page continually.
Flash and Keyboard Focus
With the exception of version 7 for IE, when Flash receives the focus within a Web page, it maintains that focus. What this means is that once you click in or tab to a Flash movie, you cannot use the keyboard to navigate to other items on the page. Screen readers have built in functionality which will change focus back to the Web page after all of the Flash items have been accessed. Common browsers, however, do not have this functionality. This can be an issue for people with motor disabilities that must use the keyboard for navigation. You can alleviate this by either making the movie invisible to the Web browser or by setting all of your buttons to be inaccessible in the Accessibility panel. But both of these options make the movie itself inaccessible.

Code Snippet #1: Hiding Flash Content
Sometimes Flash content is used as visual decoration. Unfortunately, this can make the entire Web page totally inaccessible via the keyboard or screen reader. To hide Flash content from both Web browser and screen readers, add the WMODE option to both the OBJECT and EMBED tags of your the Web page containing the Flash movie. Here’s the relevant code:

This will effectively hide the flash movie from the screen reader and the keyboard. It will still appear visibly within the page, but navigating through the page will bypass the Flash content and the screen reader will act as if it isn't even there. Only use this in the movie does not convey important content or if an alternative is provided for the content the movie does contain.

Making QuickTime Movies

2008-11-15T22:01:00.002-08:00

using the QuickCam & HyperStudio
Vasu, ECI 715

Introduction

Using the QuickCam mini-camera to make QuickTime black and white movies with sound for HyperStudio stacks is simple! Just follow the directions that follow. QuickMovie is an application used to capture video, stills, and sound with the QuickCam. In order to use the QuickCam, the software that accompanies it must be installed on your computer. To see if it is installed on your hard drive do a Find File (under the File menu) for QuickMovie. If it is not installed on your hard drive, there is a copy in the ECI 715 folder on the AppleShare server that can be copied to your local hard drive.

Making a QuickTime movie with QuickCam

1. Plug the QuickCam camera cord into the phone port on the back of the PowerMac. (If you do not get an image try plugging it into the printer port). Place the camera on its stand on the top of the PowerMac and aim it at what you want to record.

2. Plug the microphone into the microphone port on the back of the PowerMac and set the sound (under the apple - upper left-hand corner of the screen) so that the volume is loud enough. Under Sound-In - click on (options). Make sure microphone is selected, and make sure playthrough is NOT selected.
Under Volumes - adjust the volume so that it is louder.

3. Launch the QuickMovie application that resides on the hard drive of the PowerMacs in the lab, by double-clicking its icon.

4. You should be prompted for the name of your movie, and the place that you want to save it. You can save it on your own disk, or in the 7-day storage folder on the hard drive.

5. Once you name your movie, a screen similar to the following should appear:

6. Adjust the brightness by clicking and dragging on the small “sun” icon under the picture.

Under the Settings menu choose Video, and choose Compress while recording so that your file will take up less space.

To record a movie click on the Record button. The Record button will change to a Stop button. To stop recording click on the Stop button.

7. To view your movie click on the QuickCam icon and it will change to Edit Video mode:

You can now view the movie as you would videotape, by pressing the play button under the picture. Refer to the QuickCam reference guide for further information about movie editing.

8. When you are finished recording and editing your movie, choose Produce Movie from the File menu. This command creates a new file that contains all movie references and data. Always use this before sending a video file to someone else, or prior to moving or copying it to another machine.

9. When you are done, select Quit from the file menu.

Playing a QuickTime movie with HyperStudio

You can play QuickTime movies in HyperStudio by creating a button with the button action Play a move or video.... First navigate to the stack where you would like to place the QuickTime movie or create a new stack.

1. Add a button to the card by selecting Add a button... from the Objects menu.

- In the Button appearance dialog box, choose a rectangular shape for the button. For the name of the button type in Play Movie. Then click OK.

- You should now see the button “twinkling” on the screen. This means that it has been selected. At the card level, click and drag your Play Movie button to the bottom of the screen.

2. Click on the card away from the button, and the button Actions dialog box should appear. Select Play a movie or video....by clicking in the box beside it.

3. You will be asked “Where do you want to get your movie? Click on Disk File (QuickTime movie). Click OK. Navigate to the location of your movie. In this example the movie Demo1 Movie is located in the 7 day storage folder in the Poe Lab Hard Drive. Open the file by clicking on Open (or double-clicking on the movie’s name).

4. The first frame of your movie will appear “twinkling” (selected) on the screen. Click on the surface of the card away from the movie and the following dialog box should appear.

5. Click on movie controller, so that the play, rewind, and stop buttons will appear under the movie in your stack. You can choose from the selections on the screen if you like. Click OK when you are done. In the button Actions dialog box click on Done.

6. To test the button click on it with the browse tool.

- If you want to change the size or shape of the movie, click on the button with the button tool.
- In the Button appearance dialog box, click on to Actions...
- In the Actions box double-click on Play a movie or video...
- You should get the screen pictured in #4 above. Click on position. To move the movie, click and drag it to a new location. To resize it, grab it by the bottom right hand corner.
- Click on the card away from the movie when you are finished moving and resizing. Click OK when you are done, and test your button with the browse tool.

!!!
Remember to keep your movie in the same folder as your stack when you move or copy the stack so that HyperStudio can find it.
!!!

INDIANA JONES

2008-11-15T22:01:00.001-08:00

“Indiana Jones and the Kingdom of the Crystal Skull” will be presented at the Centennial Branch of the Fort Erie Public Library on Wednesday evening, October 15, beginning at 7 pm. Admission is free for this PG rated movie. Indiana Jones is no ordinary archaeologist. From the fabled lost Ark of the Covenant to the legendary Holy Grail, he has salvaged the world’s amazing artifacts, while beating the toughest villains and defying breathtaking odds. This latest Indy adventure is also available in a book version by bestselling author James Rollins.
“Last King of Scotland”, the Third Thursday film playing at the Centennial Branch on October 16 beginning at 6:30, is the story of Nicholas Garrigan, a young doctor who travels to Uganda to assist in a rural hospital. He meets, befriends and ultimately fears the president, Idi Amin. The book “Last King of Scotland” by Giles Foden is on order, and may be requested at any branch of the Library.
Some people insist on reading the book before they see a movie, while others are only interested in the whole story after they have enjoyed the movie. Which do you prefer? With a visit to the Library, readers and watchers can make their own decisions. Library staff has been debating this issue, and one of our number entirely avoids movie versions of books she loves, so she won’t be disappointed. “Gone with the Wind” is a classic movie, but I missed my favourite character from Margaret Mitchell’s book. Laura Rudynski and I cannot agree on which is better, P. D. James’ “Children of Men” or the recent movie based on the book. “Close Range” by Annie Proulx is a collection of short stories which includes “Brokeback Mountain”. Many people who never read the story came looking for books by Annie Proulx after they saw the movie. Proulx also wrote “Shipping News”, which won awards in film as well.
Debbie Ashworth says she enjoyed the book “P.S. I Love You” and is looking forward to the movie. Dawn Gangarossa and Kelly Garvey say that they enjoy all the Nicholas Sparks books, and the movies do not disappoint. Kelly also recommends both book and movie for “Sisterhood of the Traveling Pants”. The second Sisterhood movie will be shown on Saturday, November 15 at the Centennial Branch.
Children and younger readers can make their own judgments about the Harry Potter books by J. K. Rowling, and the hit movies. “Eragon” and “The Golden Compass” are two other fantasy books for younger readers that have been made into films. All of these titles are available as books and DVDs at the Library.
For lovers of classics, “Of Mice and Men” by John Steinbeck is beautifully rendered by Gary Sinise for the cinema. “To Kill a Mockingbird” by Harper Lee is one of the best movies ever made, and stars Gregory Peck. “The Color Purple” by Alice Walker is at the Library in both book and movie format, as is Betty Smith’s “A Tree Grows in Brooklyn”. Whatever your preference, book or film, you’ll be sure to find something to enjoy at the Library!

Movie/video viewing

2008-11-15T22:00:00.002-08:00

Video Tapes and DVDs that are available for purchase, rented from many commercial establishments, or checked out of the library are for home viewing purposes only. This means that they can only be viewed in your private living spaces, which means your residence hall room or apartment. The same rules apply for movies/television shows that are video taped at home on VCR’s. Purchasing public viewing rights does not depend on variables such as audience size or charging of admission. Regardless of whether you expect 3 people or 300 people, size is not considered in determining if public viewing rights need to be purchased. (Size may, however, influence the amount of the public performance fee). Likewise, you still have to purchase the copyrights even if you are offering the movie/film to the audience for free.
Therefore, any time a group shows a movie in any context, the group must purchase the public viewing rights (copyrights) for that particular showing. Copyright purchase for film typically runs from $300-$800 per showing for popular titles from major movie distributors. Independent films could cost less but must be negotiated with the holder of the copyright for those particular films. Swank Motion Pictures is a film distributing company that works with college environments and handles most commercial grade film titles. For pricing and availability you may contact them at 1-800-876-5577 or www.swank.com.
One exception to these public performance fees exists for institutions of higher education, in the case of face-to face classroom instruction by a faculty member. The faculty member may show the film/movie within or outside of the normal class period, however, it can only be shown to those students who are registered for the class. The movie must also be shown in spaces that are designated for instruction. At a residential college, library screening rooms (and individual carrels) are usually also considered spaces designated for instruction. (In some rare cases, a residence hall might qualify). In most cases, library screening rooms, residence hall or student union lounges, & cafeterias do not qualify. It is best to ask before screening a movie in these areas. This principle holds true no matter how much educational or intellectual value is contained in the film. A faculty member cannot show a movie/TV show to his/her class and then open it up to the rest of the campus. In order to invite others, the public viewing rights must be purchased. Thus, acceptable attendance for films in which the copyright is not purchased, include students registered for the class, the instructor and guest lecturer(s).
Failure to adhere to these guidelines (even if done so innocently and inadvertently) can result in fines from $750 to $30,000 per showing. If admission is charged to the event and the organization/person receives some commercial or personal financial gain, fines can range upward to $150,000 plus a year in jail.

Movie Quiz Contest

2008-11-15T22:00:00.001-08:00

1. Examples include Fear and Desire, Hard Eight, The Sugarland Express, and Dementia 13. The best one at the Cannes Film Festival gets a Camera D’Or, while extremely awful examples include Manos: The Hands of Fate, Freddy Got Fingered, and Piranha Part Two: The Spawning. More successful examples include Chicago, American Beauty, and Citizen Kane. FTP, what is this five-letter word derived from the French to refer to the first film made by a director?
Answer: directorial debut (accept equivalents on early buzz)

2. Andre Jurieu broke Charles Lindbergh’s record for flying solo across the Atlantic, but Christine, the woman he loves, is not there to greet him. After Christine’s husband invites Andre to go hunting, Christine discovers her husband is having an affair with her niece Genevieve. Marceau, the poacher, flirts with the gamekeeper’s wife, Lisette, which leads the gamekeeper to chase Marceau with a gun. A major influence on Robert Altman’s Gosford Park, FTP name this 1939 portrait of the French upper class directed by Jean Renoir.
Answer: The Rules of the Game (or La Regle du Jeu)

3. In his first film appearance, he impersonated a publisher so that he could give Will Graham’s home address to Francis “The Tooth Fairy” Dollarhyde in a coded message hidden in a supermarket tabloid. In his second film appearance, he informs Senator Ruth Martin that the lead suspect in an FBI investigation is a man named Louis Friend, but an FBI trainee discovers it’s just an anagram for “iron sulfide.” Brian Cox was the first actor to play him, but Cox was overshadowed by his Oscar-winning successor. FTP, name this serial killer played in Silence of the Lambs by Anthony Hopkins.
Answer: Hannibal “The Cannibal” Lecter (either first or last acceptable)

4. A newspaper columnist disapproves of his sister Susan’s decision to marry jazz musician, Steve Dallas, so he hires a press agent to depict Steve as a pot smoker and a communist. Featuring a score by the Chico Hamilton Quintet, the film sports classic dialogue by Clifford Odets, such as “You’re a cookie filled with arsenic. I’d hate to take a bite out of you.” Directed by Alexander Mackendrick, FTP, what is this 1957 film starring Tony Curtis as Sidney Falco and Burt Lancaster as J.J. Hunsecker?
Answer: The Sweet Smell of Success

5. When Sofia Coppola won an Oscar for Best Screenplay, she cited Michelangelo Antonioni and this director as her influences. Often inspired by Western pop music, he’s named his films after songs by Nat King Cole, the Rolling Stones, and the Turtles. He directed the martial arts epic, Ashes of Time, but most Americans had not heard of him until Quentin Tarantino distributed Chungking Express in the U.S. FTP, name this Hong Kong director of Happy Together, As Tears Go By, Fallen Angels, Days of Being Wild, and In the Mood for Love.
Answer: Wong Kar-Wai (or Kar-Wai Wong; grudgingly prompt on Kar-Wai)

6. The shortest movie review in Leonard Maltin’s Movie Guide is the word “No” in response to the question asked by this 1948 movie title. The title also refers to a song first performed in the 1932 film Love Me Tonight by a French tailor played by Maurice Chevalier. Later, the song appears in the film Sabrina, because William Holden hires a band to play it while attempting to seduce Audrey Hepburn. FTP, name this song by Rodgers and Hart with a rhetorical question for a title that proclaims, “Every note that’s sung. It’s like a lover’s kiss.”
Answer: Isn’t It Romantic?

7. A woman asks Roland if he would rather sleep with Lyndon Johnson or Chairman Mao. When Roland answers LBJ, the woman instructs her chauffeur to drive away, because Roland is obviously a fascist. An Algerian garbage man swipes a sandwich from Roland so that he can lecture him about the fraction of France’s foreign aid budget that goes to the Congo. Roland assists his wife Corrine in killing her mother for the inheritance, but in the end, Roland gets devoured by cannibal revolutionaries. FTP, name this avant-garde 1967 Jean-Luc Godard film whose title refers to Saturday and Sunday.
Answer: Weekend

8. Alvah Bessie, Adrian Scott, Samuel Ornitz, and John Howard Lawson never sold another script. Albert Maltz never received credit until his final screenplay for Two Mules for Sister Sara, while Lester Cole only worked under assumed names. Herbert Biberman directed Salt of the Earth outside the studio system in 1954. Dalton Trumbo won an Academy Award under a pseudonym in 1956, while Ring Lardner Jr. won an Oscar under his own name for writing M*A*S*H. Edward Dmytryk earned the scorn of the other nine for becoming a “friendly witness.” FTP, give the collective name for this double quintet of writers and directors blacklisted for non-cooperation with the House Un-American Activities Committee.
Answer: the Hollywood Ten

9. The director of this film had originally planned to limit the soundtrack to songs by the Kinks, but settled for focusing on the British Invasion. “Nothin’ In This World Can Stop Me Worryin’ About That Girl” plays as a middle-aged man dives into a green pool while his wife flirts with a tennis instructor. The Who’s “A Quick One While He’s Away” plays while the man runs over a high school student’s bicycle, while the Creation’s “Making Time” plays during a montage featuring Max Fischer’s numerous extracurricular activities. FTP, what is this 1998 Wes Anderson film named after a fictitious prep school starring Jason Schwarzmann and Bill Murray?
Answer: Rushmore

10. A blind man from the “beggars’ union” identifies Hans Beckert as the abductor of Elsie Beckmann after recognizing Hans whistling nervously from Edvard Grieg’s In the Hall of the Mountain King. A street urchin responds by placing a chalk mark on Beckert’s back, which Hans notices in the reflection of a toy store window. Hans eludes the police, but cannot evade the petty criminals who resent him for inducing a police crackdown. FTP, this describes what 1931 German expressionist film by Fritz Lang with a very short title?
Answer: M (or Fritz Lang's M or M - Eine Stadt sucht einen Mörder or M - Mörder unter uns or The Murderers Are Among Us)

11. In this film, the hero fouls up a prison escape attempt because he experiences sneezing fits after inadvertently snorting some powder cocaine. In another misadventure, the lead actor gets arrested for leading a communist demonstration after accidentally picking up a red flag that fell off a lumber truck. A more well-known gag features the Little Tramp threading his entire body through the gear system of a large machine. FTP, name this 1936 silent Charlie Chaplin satire of the Machine Age also starring Paulette Goddard.
Answer: Modern Times

12. She portrayed Bubbles in the film Dance, Girl, Dance and the title character in DuBarry Was a Lady. She got more attention for TV roles, but she still appeared in The Long, Long Trailer with her first husband and Yours, Mine, and Ours with Henry Fonda. She once registered for the Communist Party in the 1930s, but she avoided the blacklist, because her husband said, “The only thing red about her is her hair, and even that’s not real.” FTP, name this actress who appeared in over 90 films, better known for bringing slapstick to 1950s sitcoms with her husband, Desi Arnaz.
Answer: Lucille Ball (do not accept Arnaz)

13. The last name’s the same. Lynn Redgrave in the National Lampoon TV movie, Disco Beaver from Outer Space. The dentist played by Richard Benjamin in Love at First Bite. Henry Fonda in Michael Almereyda’s Nadja. Walter Ladengast in Werner Herzog’s Nosferatu. Mel Brooks in a spoof subtitled Dead and Loving It. Peter Cushing and Anthony Hopkins in versions of Dracula directed by Terence Fisher and Francis Ford Coppola, respectively. FTP, name this character created by Bram Stoker who shares his name with the monster-hunting title character of a recent Hugh Jackman film.
Answer: Van Helsing

14. Eternal Sunshine of the Spotless Mind was partially based on this director’s 1968 film, Je T’Aime, Je T’Aime. He directed Audrey Tautou in his most recent film, Pas Sur La Bouche aka Not on the Lips, but he is better known for his stylized Holocaust documentary, Night and Fog. His trademark style emphasizes nonlinear narrative with sophisticated use of flashbacks and flashforwards, as exemplified by the movie Providence. FTP, name this French New Wave director who made Last Year at Marienbad and Hiroshima, Mon Amour.
Answer: Alain Resnais

15. During World War II, this man filmed footage of Allied troops liberating France later incorporated into the movie Patton. Unable to get union jobs, he began making industrial films in San Francisco, but discovered that filming burlesque shows was more profitable. His 1959 film, The Immoral Mr. Teas, created the nudie-cutie genre, while his film Vixen was the second to receive an X rating in the United States. FTP name this sexploitation pioneer known for directing Faster Pussycat Kill Kill!!, Beneath the Valley of the Ultra-Vixens, and Beyond the Valley of the Dolls.
Answer: Russ Meyer (also accept Russell Albion Meyer)

16. A bishop performs last rites on a dying man who confesses to poisoning the husband and wife of a wealthy family that hired him as a gardener. The bishop realizes the man had killed his parents and shoots him with a rifle. Unlike the Exterminating Angel, the guests at this film’s dinner party never start eating, after being sidetracked by events such as a funeral at a restaurant and a kidnapping attempt by left-wing revolutionaries. A 1973 Oscar winner for Best Foreign Film, FTP name this Luis Bunuel film about the style of the non-proletariat.
Answer: The Discreet Charm of the Bourgeoisie (or La Charm Discret de la Bourgeoisie)

17. Pepa is pregnant, but her boyfriend Iván (ee-VON) breaks up with her anyway using an answering machine message. Candela attempts suicide after discovering her lover is a Shiite terrorist, while Carlos, played by Antonio Banderas, gets knocked out after drinking gazpacho spiked with sleeping pills. Iván’s crazy gun-toting wife, Marisa, has been released from a mental institution and is coming after Pepa who must make a mad dash for the airport in the Mambo Taxi. FTP, this describes what 1988 screwball Spanish comedy by Pedro Almodovar about barely sane females?
Answer: Women on the Verge of a Nervous Breakdown (or Mujeres al Borde de un Ataque de Nervios)

How to use Movie Maker 2

2008-11-15T21:58:00.002-08:00

System Requirements

Windows Movie Maker requires the following minimum system configuration for your PC.

• Microsoft Windows XP
• 600 MHz processor such as an Intel Pentium III
• 128 MB Ram
• 2 GB of free hard disk space
• An audio capture device
• A DV or analogue video capture device
• An Internet connection

New Windows XP machines will come with Movie Maker installed. This may be version 1. To install version 2 log onto
www.microsoft.com and download Movie Maker 2.

When you open the program Movie Maker it will look like this.

To capture a video from a tape in a DV camera.

• Connect your DV camera to your computer.
• On the camera, set the camera mode to play the recorded video.
• Open the program Movie Maker on your computer.
• On the file menu, click capture video. Alternatively , in the Movie Task Pane, under capture video, click capture from video device.

• On the video capture device page, in available devices, click the DV camera.
• In the enter a file name for your captured video box, enter a name for your captured video file. Then in the choose a place to save your captured video box, select the location where you want your video to be saved, or click browse to select a location.
• On the video setting page, choose the video setting you want to use for capturing video and audio.
• On the capture method page, click capture the entire tape automatically. The tape in the DV camera will rewind. Capture will begin automatically and end when the video tape ends.
• Select any of the following commands:
1. To separate the video into smaller clips, select the create clips when wizard finishes check box.
2. To stop capturing before the end of the video tape, click stop capture, and then click yes in the resulting dialog box to save the video that had been captured.

• To close the video capture wizard click finish.

To capture a video from a digital still camera

• Load the video images onto your computer and save in my videos
• Open Movie Maker 2
• Click on import video on the Movie Task pane under capture video.
• Open my videos and select the video you have saved
• Click on import
• The video will be imported into Movie Maker 2 collections.
Creating a movie

To build a storyboard

Movie Maker automatically divides your video into segments to make it easier to drag and drop parts you want onto the storyboard where you put your movie together.

• Open Movie Maker 2
• Click on import video
• Select your video clips and import into movie maker collections.
• Double click each clip to see how it looks in the preview window.
• Once you have decided which clips you wish to use in your movie, click and drag the clips onto the storyboard in the order which you’d like them to appear in your movie.

• To rearrange the clips on the storyboard, just drag and drop them to a different location.

To edit clips

• In the timeline view, click on the clip you’d like to trim.
• In the preview window, drag the scroll bar slowly and watch as the video progresses.
• Stop at the point where you want to trim the clip.
• On the clip menu click set start trim point.
• Now continue to drag the progress indicator until you reach the desired end point of your clip.

• On the clip menu click set end trim point
• You will now have your trimmed clip.
To add audio

• In the task pane click on import audio or music
• Navigate to the music track you’d like to add to your movie.
• Click on import
• The music track will appear in your collection view.
• Click on show timeline button in the storyboard section of your screen.
• Drag your music track to the audio/music level of the timeline.

To add transitions

You can make your movie more professional by using transitions to move between clips.

• Build your storyboard by dragging clips in the desired order.
• In the edit movie section of the task pane click view video transitions. A selection of transitions will appear.

• Double click the transitions to see how they look in the preview window.
• Once you have decided which transitions to include in your final movie, drag them down to the storyboard and place them in the squares between your video clips

To add titles and credits

You can insert titles and scrolling credits at the end of your movie.

• In the task pane click make titles or credits
• On the next screen click the appropriate link that corresponds to the place where you want to add the title or credits.
• Enter the text you want to appear in your title or credits.
• Click change the title animation and then select a title animation from the list. You can preview them by clicking on them.
• Click change the text and font colour and then select the font you like as well as the colour of the text and background.
• You can also alter the transparency, font, size and position of the title.
• Click done and your title or credit will be added to your storyboard.

To add effects

• In the task pane click view video effects. A selection of video effects will appear.
• Double click the effects to see how they look in the preview window.
• Once you have decided which effect to include in your final movie drag it down to the storyboard and place it on top of the star in the lower left hand corner of the clip.
To save your movie

To save your movie to computer

• Once your movie is created click save to my computer in the task pane
• Enter a name for your movie
• Choose a place to save your movie. You’re my videos folder will be the default location but you can store it anywhere you like on your hard drive.
• Click next
• Select the setting for your new movie. Windows movie maker will recommend a setting but you can choose a different setting if you like. Note that the setting details and the movie file size appear in the lower portion of the wizard.
• Click next
• Your movie will be saved.
• Click the check-box in the wizard if you’d like to play your movie when you click finish.
• Click finish.

Using Microsoft Windows Movie Maker 2

2008-11-15T21:58:00.001-08:00

A) Importing
All audio, video and photo clips are imported the same way.
Click on import video, picture or audio and select files to add to your show.
(Ctrl A selects all files in a folder.)
Repeat until all video, audio and photos are imported to the Collection area.
Click and drag media (audio, video, photo) into the correct Timeline sections of the screen. Drag objects to arrange order if needed.

B) Transitions and Timing Effects
Photo intervals are preset to 5 seconds, videos and audio clips vary with the length of the clips. To change the play time (trim a clip,) place the pointer over the clip and move the double sided red arrows to lengthen or shorten the clips. To mute an audio/video clip, simply right click on clip in audio track and choose Mute.
Once the timing is established the transitions between media clips can be enhanced by:
Overlapping- used between clips to blend the clips together. Both clips play at the same time. To do this, hover over the clip on the right until you see the cursor look like a hand then back up over the previous clip. A blue arrow appears.
Video Transitions- used in front of photo/video clips to provide a special effect. Click on Video Transitions, select transition action from the Collection area and drag and drop them in front of the clip while in Storyline format. Effects can be previewed by playing them in the preview area.
Video Effects – used to enhance photo/video clips and placed in front or onto photo clips.

C) Finishing Movie –adding text/narration
Add titles, credits, title pages between clips
Click on choices in task area and follow instructions to add text. Font, size and animation changes can be made at the time of insertion or by simply right clicking on title slide.
Adding Narration
If a microphone is attached, you can narrate your movie, and it will be added as an audio clip. Click on the microphone button on the upper left of the timeline. Record your narration, save the file and then Movie Maker 2 will automatically add the narration to your movie. Use the Input Level slider to increase sensitivity of the microphone if necessary.

D) Saving Movie Maker Show
There are two types of saving….
a) While working on the Movie Maker 2 show save your work regularly using File Save As and select Save Project. The show will be saved and will load properly as long as all of the media files are also saved on that computer. Movie Maker 2 does not imbed the media clips into your show at this point. This file can be re-opened and edited in Movie Maker 2. The extension of this file will be .MSWMM

b) Saving a completed show. Click on File, Save Movie File, and follow the Save Movie Wizard instructions. Choose Best Quality for playback on my computer. This file cannot be re-opened or edited. It will play on all computers with MS Windows. It does not need Movie Maker 2. The extension of this file will be .WMV

Movie List

2008-11-15T21:57:00.000-08:00

Tina Srebotnjak’s Suggestions:

Withnail and I (Director: Bruce Robinson UK – 1987)
In ‘60s London, two down-on-their-luck actors solace in drink and other substances. Seeking respite from their uneventful lives, they escape to Withnail's uncle's stone cottage with no modern conveniences, a bunch of oddball locals, and a surprise visit from an amorous "Uncle Monty."

Tin Men (Director: Barry Levinson USA – 1987)
A minor car accident drives two rival aluminum-siding salesmen to the ridiculous extremes of man versus man in 1963 Baltimore.

Finding Nemo (Directors: Andrew Stanton and Lee Unkrich USA – 2003)
An animated father-son underwater adventure featuring Nemo, a boy clownfish, stolen from his coral reef home. His timid father must then search the ocean to find him.

Jesse Wente’s Suggestions:
CBC Radio movie critic

Half Nelson (Director: Ryan Fleck USA – 2006)
About a junior high school teacher addicted to crack, who bonds with one of his students. “Quite a stunning debut.”

Bon Cop, Bad Cop (Director: Eric Canuel Canada – 2006)
About a Quebec cop and a Toronto cop who join together to stop a hockey killer who is on the loose. “It’s hard to hate any movie where a Zamboni is used as a murder weapon.”

Star Wars (Director: George Lucas USA – 1977)
Luke Skywalker leaves his home planet, teams up with other rebels, and tries to save Princess Leia from the evil clutches of Darth Vader. “That movie opens up a world of cinema for you.”

The Sqiud and the Whale (Director: Noah Baumbach USA – 2005)
Based on the true childhood experiences of Noah Baumbach and his brother, the touching story of two young boys dealing with their parents divorce in Brooklyn in the 1980s. “The best film of 2005.”

Who Killed the Electric Car? (Director: Chris Paine USA – 2006)
A documentary that investigates the birth and death of the electric car, as well as the role of renewable energy and sustainable living in the future. “It’s the type of film that you just want to let out a primal scream because you can’t believe what’s going on.”

Wal-Mart: The High Cost of Low Price (Director: Robert Greenwald USA – 2005)
A look at the impact of the retail giant on local communities.

Cross Country Checkup Caller Suggestions:

Pulp Fiction (Director: Quentin Tarantino USA – 1994)
The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption. “One of those movies that totally surprised me.”

Water (Director: Deepa Mehta India/Canada - 2005)
Set in 1930s India, about the relationship between a widow and a lower caste man. “Just a beautiful, beautiful movie.”

C.R.A.Z.Y. (Director: Jean-Marc Vallée Canada – 2005)
A coming of age film about a family in 1970s Quebec. “It is so evocative of its time. Canadian cinema doesn’t get much better.”

The Adventures of Robin Hood (Director: Michael Curtiz USA – 1938)
When Prince John and the Norman Lords begin oppressing the Saxon masses in King Richard's absence, a Saxon lord fights back as the outlaw leader of a rebel guerrilla army. “If I put on that movie I start to believe again that the world can be a good place and that the good guys can win.”

Rushmore (Director: Wes Anderson USA – 1998)
A prep school student on probation competes for the love of a teacher with his adult friend. “Anderson’s movies start to grow on you the more you watch them.”

Chunking Express (Director: Kar Wai Wong Hong Kong – 1994)
About two love struck cops in Hong Kong. “Beautifully shot, romantic, funny at times; from the wealth of good Asian movies.”

Kirikou and the Sorceress (Director: Michel Ocelot France – 1998)
An extraordinary boy named Kirikou sets out to save his small village in Africa from an evil Sorceress.

The Wild Bunch (Director: Sam Peckinpah USA – 1969)
An aging group of outlaws look for one last big score as the traditional American West is disappearing around them. “Redefined cinematic violence for all time. Best Western movie ever made.”

Blazing Saddles (Director: Mel Brooks USA – 1974)
To ruin a western town, a corrupt political boss appoints a black sheriff, who promptly becomes his most formidable adversary.

Blue Velvet (Director: David Lynch USA – 1986)
After finding a severed human ear in a field, a young man soon discovers a sinister underworld lying just beneath his idyllic suburban home town.

The Grifters (Director: Stephen Frears USA – 1990)
A small-time conman has torn loyalties between his estranged mother and new girlfriend--both of whom are high-stakes grifters with their own angles to play.

L.A. Confidential (Director: Curtis Hansen USA – 1997)
Based on a James Ellroy novel. A shooting at an all-night diner is investigated by three L.A. policemen in their own unique ways.

Sunset Blvd. (Director: Billy Wilder USA – 1950)
A hack screenwriter writes a screenplay for a former silent-film star who has faded into Hollywood obscurity. “About the dark underbelly of Hollywood.”

Wedding in White (Director: William Fruet Canada – 1972)
A young girl is raped by her brother’s army buddy, becomes pregnant and is blamed by her family. “Wonderful scenes in this movie.”

La Lutte (Wrestling) (Director: Michel Brault. Canada – 1961)
National Film Board documentary about wrestling at the Montreal Forum and back-street wrestling parlours.

Born into the Brothels (Director: Zana Briski,Ross Kaufmann USA– 2004)
Two documentary filmmakers chronicle their time in Sonagchi, Calcutta and the relationships they developed with children of prostitutes who work the city's notorious red light district. The filmmaker gives the children cameras and their photos are eventually lauded.

Garden State (Director: Zach Braff USA – 2004)
A quietly troubled young man returns home for his mother's funeral after being estranged from his family for a decade. “About the idea of finally finding yourself.”

A Stranger Among Us (Director: Sidney Lumet USA – 1992)
A brutal murder occurs among the Hasidic Jewish community in New York, and a non-Jewish woman cop goes undercover to find the culprit. “A rich, complex, inspiring movie.”

Oldboy (Director: Chan-wook Park South Korea – 2003)
After being kidnapped and imprisoned for 15 years, Oh Dae-Su is released, only to find that he must find his captor in 5 days. Part of a trilogy based on revenge. “Of all the revenge movies, this one is way, way beyond all the rest. It has the craziest twist at the end I’ve ever seen.”

My Dinner with Andre (Director: Louis Malle USA – 1981)
Two men share their lives over dinner at a restaurant. “I love watching it again and again.”

Velvet Goldmine (Director: Todd Haynes Britain – 1998)
Story of New York journalist Arthur Stuart who is assigned the story of fallen glam rock star Brian Slade. “Visually really decadent.”

Eternal Sunshine of the Spotless Mind (Director: Michel Gondry USA – 2004)
A couple undergo a procedure to erase each other from their memories when their relationship turns sour, but it is only through the process of loss that they discover what they had to begin with.

Sex and Lucia (Lucía y el sexo) (Director: Julio Medem Spain – 2001)
Various lives converge on an isolated island, all connected by an author whose novel has become inextricably entwined with his own life.

The Big Bus (Director: James Frawley USA – 1976)
The ultimate disaster film parody. A nuclear powered bus is going non-stop from New York to Denver and is plagued by disasters due to the machinations of a mysterious group allied with the Oil lobby. “Makes you laugh just thinking about it.”

Out of Sight (Director: Steven Soderbergh USA – 1998)
Based on novel by Elmore Leonard. A career bank robber escapes from prison, attempts to rob a tycoon, and seduces the female US Marshal out to capture him. “Two of them (Cloony and Lopez) generate the most heat I’ve ever seen in a film.”

Bedtime for Bonzo (Director: Frederick DeCordova USA – 1951)
Professor Peter Boyd, played by Ronald Reagan, tries to teach morals to a chimpanzee.

Trainspotting (Director: Danny Boyle Scotland – 1996)
Based on the novel by Irvine Welsh. A junkie, deeply immersed in the Edinburgh drug scene, tries to clean up and get out, despite the allure of the drugs and influence of friends.

The Man Who Planted Trees (L’homme qui plantait d’arbres) (Director: Frédéric Back Canada – 1987)
The story of a shepherd's long and successful single-handed effort to re-forest a desolate valley. Animated NFB film. “A beautiful story and beautifully animated.”

Dune (Director: David Lynch USA - 1984)
Based on Frank Herbert novel. In the distant future, a man appears who may be the prophet that a long-suffering galaxy has been waiting for. “They caught the mood of the book so well.”

Beauty and Sadness (Tristesse et beauté) (Director: Joy Fleury France – 1985)
A glamorous but unhappy lesbian artist manipulates her young protégé to seduce and destroy a man who jilted her years before.

Taxi Driver (Director: Martin Scorsese USA – 1976)
A mentally unstable Vietnam War veteran works as nighttime taxi driver in a city whose perceived decadence and sleaze feeds his urge to violently lash out. “Speaks to me about the lone wolf and the lonely male.”

911: The Road to Tyranny (Director: Alex Jones USA – 2002)
A documentary made after the events of September 11, 2001.

Lord of the Rings (Director: Peter Jackson USA – 2001)
Trilogy based on novels of J.R.R. Tolkien.

My Summer Love (Lato milosci) (Director: Feliks Falk Poland – 1995)
A tale of adolescent romance set in late-czarist Russia. “Not a single scene is wasted,
every take is thought through. Can’t shake the feeling that something terrible is going to happen.”

Enron: The Smartest Guys in the Room (Director: Alex Gibney USA – 2005)
The story behind the infamous Enron scandal. “Tells the most terrible story in a very clear way. All of the threads are brought together skillfully.”

Duel (Director: Stephen Spielberg USA – 1971)
A businessman is pursued and terrorized by a malevolent driver of a massive tractor-trailer. “Jaws on wheels.”

Titus (Director: Julie Taymor USA - 1999)
An adaptation of Shakespeare’s "Titus Andronicus." Titus returns victorious from war, only to plant the seeds of future turmoil for himself and his family. “This is a totally inventive take on the classic play.”

In America (Director: Jim Sheridan Ireland – 2002)
An Irish immigrant family adjusts to life in the United States. “It left my heart really warm. A very emotional story that is beautifully told.”

Following (Director: Christopher Nolan Britain – 1998)
A young, aspiring writer who follows strangers around London for material meets a thief who takes him under his wing.

Phantom of the Paradise (Director: Brian De Palma USA – 1974)
A disfigured musician sells his soul for the woman he loves so that she will perform his music. “A 70’s version of Phantom of the Opera.”

Annie Hall (Director: Woody Allen USA – 1977)
A neurotic New York comedian falls in love with the ditsy Annie Hall. “Full of great one liners.”

Secret of Roan Inish (Director: John Sayles USA – 1994)
A young girl learns the story of the selkie – a seal who can turn into a human. She sets out to find her brother who washed out to sea as a baby, and who she thinks is being raised by seals.

Lone Star (Director: John Sayles USA – 1996)
When the skeleton of his murdered predecessor is found, Sheriff Sam Deeds unearths many other long-buried secrets in his Texas border town. “Emotional pull of the story is very powerful, but also a great detective movie.”

Seven Samurai (Director: Akira Kurosawa Japan – 1954)
A poor village under attack by bandits recruits seven unemployed samurai to help them defend themselves.

Blade Runner: Director’s Cut (Director: Ridley Scott USA – 1982)
Based on the novel by Philip K. Dick. Deckard, a blade runner, has to track down and terminate four replicants who hijacked a ship in space and have returned to earth seeking their maker. “I consider this the grandparent of Seven Samurai.”

Who’s Afraid of Virginia Woolf? (Director: Mike Nichols USA – 1966)
Based on play by Edward Albee. A bitter, aging couple uses a young couple as a way to bring anguish and emotional pain towards one another. “It’s love, it’s hate, it’s warfare.”

Arsenic and Old Lace (Director: Frank Capra USA – 1944)
A drama critic learns on his wedding day that his beloved maiden aunts are homicidal maniacs, and that insanity runs in his family.

My Life Without Me (Director: Isabel Coixet Canada – 2003)
After finding out she has two months to live, a young mother compiles a list of things to do before she dies.

Almost Famous (Director: Cameron Crowe USA – 2000)
A high-school boy is given the chance to write a story for Rolling Stone Magazine about an up-and-coming rock band. He accompanies them on tour and learns some tough lessons along the way. “Crowe has a way with dialogue no one else has.”

Clerks (Director: Kevin Smith USA – 1994)
A day in the lives of two convenience clerks as they annoy customers, discuss movies, and play hockey on the store roof. “It’s hilarious.”

El Mariache (Director: Robert Rodriguez USA – 1992)
A traveling mariachi is mistaken for a murderous criminal and must hide from a gang bent on killing him. “Low budget classic.”

Local Hero (Director: Bill Forsyth Scotland – 1983)
An American oil company sends a man to Scotland to buy up an entire village where they want to build a refinery. But things don't go as expected.

The American Friend (Der Amerikanische Freund) (Director: Wim Wenders Germany – 1977)
A picture framer in Hamburg, Germany is diagnosed with leukemia. To ensure his family’s future, he becomes involved with an American art dealer who has connections with the mob. “A thriller with an existential twist.”

Quadrophenia (Director: Franc Roddam Britain – 1979)
Jimmy hates his job and his parents, but lives for the Mod scene and his scooter in 1970’s London. “One of the top ten rock and roll movies.”

Movie Maker Handout

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IMPORTANT: All files must be saved on a jump/flash drive or other portable device in the same folder. Create a folder in which you will save your images and movie-in-progress. You will not be able to email yourself the files separately.

Step One:
Open Movie Maker
Start > All Programs > Accessories > Entertainment > Windows Movie Maker

Step Two:

Import your:

Images:
Capture Video > Import Pictures > [from the folder you have created on your jump drive] > select the images you wish to upload (use Ctrl key to select more than one image at a time) > Click Import

Video:

• Download video from YouTube:
• Get the YouTube downloader: http://www.snapfiles.com/reviews/youtube-downloader/ytdownloader.html
• Get the URL of your video
• Launch YouTube Downloader > Enter video URL > OK > Save [to folder you have created on your jump drive] > Close > Go back to Downloader > Choose "Convert video (previously downloaded) from file > Select video file [find your file and select it) > Convert to "Windows Media Video" > OK > Import Video > [from file you downloaded video to] > Click Import

Audio:
Import Audio or Music > Paste URL of MP3 into File Name > Click Import

Step Three:
Drag a clip from your collection to the storyboard below

Step Four:
• Add video effects, if desired
• Add video transitions, if desired
• Add title and credit clips (make sure to explore changing the title animation and the title text font and color)

Step Five:
Adjust your timeline to fit your narration by clicking "Show Timeline". If you want to extend or trim a clip, place your mouse before the clip and drag forward or backward.

←

Step Six:
• Add your narration
• In the toolbar, click Narrate Timeline
• Drag the image timeline (located above the narration timeline) to match the length of your spoken narration (narration track will cut off at same time as image track finishes, so make sure your image track is long enough to contain the narration)
• Make sure that Audio Input Source is on "Microphone" (use the drop down menu)
• Click Start Narration
• When you are finished, click Stop Narration
• Click Done
• If needed, delete and rerecord.

→

Step Seven:
Add audio tracks
Edit > Show Collections > drag clip to timeline

Saving your movie:

• When you are ready to finish for the day save it as a PROJECT (Save Project As) and save to the folder on your jump drive in the same folder as your movie images. It will have a MSWMM file extension.
• The next time you open the project, the movie will re-assemble itself just as you left it and you can continue working on it.
• If you are completely finished with your movie and want to "produce it" so that others can see it and you can link it on your website, choose "Save Movie File" to create a .WMV file which can be linked on a webpage. Once you do this you cannot go back and edit the file, so be sure you are truly finished!

MOVIE REVIEW

2008-11-15T21:55:00.000-08:00

TRYING TO GET GOOD: The Jazz Odyssey of Jack Sheldon

By Joe Lang

When I heard about Trying to Get Good: The Jazz Odyssey of Jack Sheldon, it seemed like a project that was a natural. After all, Jack Sheldon is an outstanding jazz trumpeter with a personality that is larger than life, and a sense of humor to match, so devoting a film to an individual with these traits seemed like a sure winner. Well, it is!

Produced, written and directed by the husband and wife team of Doug McIntyre and Penny Peyser, Trying to Get Good uses as its centerpiece a 2002 concert celebration of Sheldon’s birthday at the Beverly Hilton by Sheldon’s 17-piece big band. Interspersed with highlights from the concert is a mix of archival photos, performance footage and interviews that provide biographical details, and place Sheldon in a perspective that captures his successes, as well as the problematic aspects of his life.

Sheldon was born in 1931, and grew up in Florida. As a youngster, he studied the trumpet, and started to perform professionally at the age of 13. In 1947, he moved to Los Angeles, eventually joining the Air Force, and playing in military bands. Once back in civilian life, he became a fixture of the West Coast jazz scene, playing as a member of various groups, including the Lighthouse All Stars, leading his own combos, and counting among his close friends Chet Baker and Lenny Bruce. He frequently served as an opening act for Bruce.

By the mid-1960s, he had built up a reputation as not only an exceptional jazz trumpeter, but also as a cat with comedic talent. He starred for one season as the lead character in the television series Run, Buddy Run,” and soon joined the band on The Merv Griffin Show, where he became a comedy fixture, in addition to his role as a trumpeter.

Since the mid-1950s, Sheldon has been on countless recording sessions as a leader and sideman. In addition, he was featured on several soundtracks, most notably playing the trumpet solo on “The Shadow of Your Smile” from The Sandpiper. He also gained attention for his vocal contributions to the Schoolhouse Rock series, including “Conjunction Junction” and “Just a Bill.” Occasional roles as an actor in films are another aspect of Sheldon’s performance resume.

As the tale of Sheldon’s life unfolds, it is apparent that he is a man of many contradictions. His public persona is that of a clown, one with a sense of humor that often slips into areas of questionable taste. At the same time, he is a serious musician, recognized by his peers as a first rate jazz player. He spent much of his life indulging in self-destructive habits, but, through all of his travails, he always remained committed to never standing still as a musician, always striving to get to the next level, that is “trying to get good.”

Trying to Get Good contains several extended musical interludes, rather than the brief snippets that are usual fare in jazz documentaries. This performance footage serves to emphasize the extraordinary talent of Jack Sheldon. He has a sound that is individual and recognizable, an achievement that many musicians strive for, but relatively few achieve. He is also, like Satchmo or Dizzy, a consummate entertainer. While his humor can be somewhat undisciplined, and often on the blue side, it is this side of his performance persona that attracts many people who soon come to realize that behind the front of buffoonery is a significant jazz talent.

The interviews provide an added dimension to the Sheldon story, touching upon the many facets of his personality. Most poignant are the comments by Jesse Sheldon, as she pulls few punches in describing her father as a flawed man whom she ultimately has accepted for who he is, and makes clear that she loves him deeply. There are over 30 individuals who contribute commentary about Sheldon to the film, ranging from former Secretary of State James A. Baker to comedian/actor Dom DeLuise to actor/jazz aficionado Clint Eastwood, with a host of musicians like Dave Frishberg, Ken Peplowski, Tierney Sutton and Johnny Mandel also among those interviewed. Of course, there is significant input from Merv Griffin who gave Sheldon his first extended national exposure. This cross section of acquaintances provides a rather complete picture of Jack Sheldon.

Penny Peyser and Doug McIntosh have done a fine job of gathering together the disparate elements that comprise their thoroughly engaging portrait of Jack Sheldon. For me, an effective documentary should be both entertaining and informative. On both of these fronts, Trying to Get Good: The Jazz Odyssey of Jack Sheldon hits its targets right in the bull’s eye.

A DVD version of this film is being released this fall. It will contain special feature material consisting of additional content from interviews with Jack Sheldon, Merv Griffin, Dom DeLuise and Dave Frishberg that were not included in the film. They serve as a delightful bonus for those who obtain the DVD.

Trying to Get Good will be shown as part of the NJJS Jazz Film Series on Wednesday October 22. Full details about this screening are contained in “Notes from the Music Committee” elsewhere in this issue of Jersey Jazz. Copies of the DVD will be available for purchase at the screening, or can be ordered at www.tryingotgetgood.com.

ADVANCED FEATURES OF MAGpie

2008-11-15T21:54:00.000-08:00

You should create 2 folders for each student and label them:

1. AWV (Authoring With Video) Projects
2. Completed AWV Projects

AWV Projects folder will contain:
• Movie clips
• Individual student’s work in progress

Completed AWV Projects folder will contain:
• Finished movies with captions that can be shared/viewed by others
• Remember to have all three (3) extensions, in the same folder, for each completed project (i.e., .mov, _qt.smil, _US.qt.txt).
For further explanation, see Page 8 [Step 5] in this manual.
• Only QuickTime will be needed to view these captioned movies. The viewer will not need the MAGpie software.

Steps Involved in Creating a Video/Movie in MAGpie2 and Adding Your Own Personal Written Script

1. View a video/movie and create a written script in
Microsoft WORD.

2. Import your written script into MAGpie.

3. Set the time codes for the text.

4. Review the MAGpie movie with your written script.

5. Export your MAGpie movie and watch it (complete with
movie and written script) on any computer using
QuickTime.

STEP 1
[View a video/movie and create a written script in WORD]

TO BEGIN A NEW PROJECT

Turn Computer On
Open any digitized ‘Movie’
Open ‘Microsoft WORD’
Position movie and WORD document side-by-side for easy viewing

1. Put cursor on movie
2. Play ‘Movie’ by hitting the SPACE BAR
Pause ‘Movie’ by hitting SPACE BAR
3. Put cursor on the WORD document
4. Begin writing and typing your ideas/sentences

5. Always remember to SAVE your written text OFTEN:
FILE Menu
Save As: Title of movie_student name (Plants_John.txt)
Format: Text Only
Where: AWV Projects
SAVE
VERY IMPORTANT!! File Format must be in Text Only format (.txt)
Dialogue box will appear [This document may contain formatting or password protection which will be lost when saved in Text Only format.] click YES

6. Toggle back and forth watching and stopping the movie (by hitting the SPACE BAR) & typing the ‘text’

**Remember to SAVE your work often! **

When your entire written script is finished and you want to see how the text should appear on the movie…
Quit Movie…Quit WORD…and continue with Step 2.

STEP 2
[Import the written script into MAGpie]

1. Open (double click) MAGpie2 icon/OK
2. File Menu
3. New Project
4. Browse button

5. Find the movie (.mov) in the “AWV Projects” folder/click OPEN
6. OK
7. When ‘Create New Project Track’ box appears/click CANCEL
Video clip/movie will now appear in QuickTime Player

**You must now go retrieve the written script you created in WORD. **
8. Tracks Menu
9. Import Track
10. Type in ‘captions’ in Track Name
[**Plain text entries separated by blank lines should be chosen**]
11. Browse button
12. Find the movie_student name (i.e. Plants_John) you’re working on and click OPEN
13. OK

**You must now SAVE your written script in MAGpie. **

14. FILE/SAVE in ‘AWV Projects’ folder
15. File name: movie_magpie_student name (Plants_magpie_John)
16. SAVE

**Remember to SAVE your work often! **

TO QUIT MAGpie
1. File Menu
2. Exit

TO WORK ON AN EXISTING PROJECT
1. Open MAGpie2 icon/OK
2. File / Open Project
3. Find the project with the .magpie extension (as you had saved it)
4. Click OPEN
STEP 3
[Set the time codes for your written text.]

1. Put cursor on 1st caption & click – a green border must appear around the entire box (row) to indicate the text in that line is ready to be assigned a time code.

2. Click ‘PLAY’ button.
Press F9 to assign time code to the text.

3. When finished click ‘STOP’ button [solid black square]
This sends the movie back to the beginning.

**Remember to SAVE your work often! **

STEP 4
[Review the MAGpie movie with your written script.]

Get the Movie back to the beginning by clicking the ‘stop button.’
Click ‘PLAY’ button’ [green triangle]

If you want to make changes to the timing (time codes),
• Find the point in the movie where you’d like to make the change and click the ‘PAUSE’ button [two solid black lines].
• Then click on the text you want to change and press F9 (thus changing the time code) --- or ---
• Make note of the exact time code and type it in manually.

If you want to add a row/caption somewhere within your existing written script:
• Put the cursor at the end of the sentence where you’d like to insert additional text and press ‘ENTER/RETURN’ TWICE quickly.
• This will create a new ‘blank’ row for you to write additional text.

If you want to delete an entire row/caption:
• Put the cursor anywhere in that text box; go up to the Menu—
• Click ‘Captions’
• Click ‘Delete selected row(s) from table

Other correction/change features are done in the same manner as they are in any word processing program using the MAGpie toolbar.
STEP 5
[Export the MAGpie movie and watch it, with your written script, on any computer using QuickTime.]

**Note : This is the last and final step. It is only done after you’ve ‘captioned’ the movie, using MAGpie, and you will not be making any further changes to the written text and/or time codes. **

1. While still in MAGpie - go to the Export Menu
2. Click on ‘QuickTime-SMIL 1.0 format’
3. ‘Export completed/OK
4. QUIT MAGpie…File Menu/Exit

5. Drag the following 3 extensions from the ‘AWV Projects’ Folder into ‘Completed AWV Projects’ Folder on desktop:
Movie title_magpie_student name_qt.smil
Movie title.mov
Movie title_magpie_student name.en_US.qt.txt

After placing the (3) items above into the SAME FOLDER…
You can watch your final MAGpie movie with your written script. This can be viewed on any computer as long as it has the QuickTime Player installed on it.

6. OPEN QuickTime
7. From the QuickTime File menu, choose
Open Movie in New Player
Find: filename_qt.smil and double-click to open it
Click ‘Space Bar’ to start viewing

HOW TO PRINT A WRITTEN SCRIPT IN MAGpie

1. Export Menu
2. Plain Text
3. Export as Plain Text will appear. Put check in the boxes of things you want to print
(i.e., if you do or don’t want time codes to print)

4. OK
5. Go to the AWV folder on your desktop
6. Find the caption.captions.txt file and highlight it
File Menu
Open with
Microsoft WORD
File/print

ADVANCED FEATURES OF MAGpie

To highlight a word using a color:
Double-click on the appropriate word or words in the caption cell, then click on F in box = foreground color

To change type of font, font size, text style, or color for entire script while in MAGpie:
File
Properties
Click on ‘Caption style’
Font
Color
Etc…

To center / right / left / captions on screen:
Same as you would in any word processing document by finding the appropriate icon on the MAGpie menu bar.

Time code changes (alternate method) can be made within a MAGpie project by highlighting the number you want to change and manually changing it.

Arts: The History of American Movie Industry

2008-11-15T21:51:00.000-08:00

1. Before Hollywood
The movies first appeared in public in the United States at Koster and Bial's Music Hall in NYC on April 23, 1896. Thomas Edison, who had created the electric light and the phonograph, was a pioneer of the movies, too. His company produced the first cameras and projectors and with the help of these they started to produce the first films - mostly scenic views and coverage of public events. Edison, however, ignored the film content and his films were not popular among the audience.
Edison's rival Edwin Porter was the first to produce a little 10-minute film with a little story. The movie was called The Great Train Robbery and appeared in 1903. Movies featuring everyday people in everyday situations became popular.
Revolution in the movie industry took place in 1908 and was connected with the name of D.W.Griffith, a failed stage actor and playwright. Griffith made about 400 films and produced his own formula of success. To be popular, he said, a movie should display the following features: 1. the realistic setting,
2. the sense of intimacy with the players achieved through the close-up,
3. the improbable but action filled plot
4. a happy conclusion
In other words, to be popular among the American public a movie should be a combination of realism, romance, high moral principles and optimism. Which is, probably, still true nowadays.

2. Hollywood
American film making became industry when studio system and star system developed. Both systems developed gradually. The development of both systems were connected with the name of Hollywood.
Hollywood, a small farming town near Los Angeles, was founded in 1892. At that time it had no connection with American movie industry. Major film directors of that time, like Griffith, worked in big eastern cities like NYC, Chicago and Philadelphia and the film setting were the streets of the cities. Later, however, the plot of the films became more complicated and the films became longer. Film makers started to search for sun in winter and beautiful scenery. Film producers started to establish year-round studios in Southern California, where land was cheap and the weather was sunny. The first film studio appeared in Hollywood in 1911 and since then Hollywood became the capital of American film industry. Hollywood studios started to grow and expand. On average they produced about 50 pictures a year each.
In the beginning, movie players had been anonymous, since stage actors considered film work as not prestigious and contributing negatively to their popularity. The invention of the close-up changed the situation, it started to focus attention on the actor. By the 1920s the star industry developed and big film starts started to bring million dollars.
By the 1930s contribution of American movie industry to American economy was equal to the contribution of steel and car industries.
Most significant, however, was not the profit the American movie industry brought, but a highly stylized image it created in the collective mind of American people. The repetition of certain themes, situations, character types created a highly stylized art, an art as conventionalized in its way as Elizabethan drama or Italian opera. The most popular genres were the western, the musical and the romantic comedy.

HOME MOVIE DAY

2008-11-15T21:50:00.002-08:00

WHAT IT IS, WHAT IT WAS, AND WHAT IT SHALL BE

Home Movie Day, a celebration of amateur film started by a group of film archivists in 2002, occurs all over the world in mid-August. Like the celebration of a birthday, HMD is a very individualistic affair; each event is unique.

Do you have to be a film archivist to run a HMD event? No, but you do need to be experienced in the exciting realm of small-gauge film handling. Many HMD hosts are veteran film screeners, some are collectors, some are home movie makers themselves.

Home movies are generally shot on reversal film, which means the same piece of film that went through the camera is run through the projector (there is no negative). Inexperienced projectionists or poorly maintained equipment can lead to film damage. Since the only copy of the film is the one in the projector, damage is forever.

However, properly projected, the experience of watching movies on film can’t be matched. The clicking of the projector, the unbeatable color of Kodachrome, the crispness of the image can’t compare to a video. Running a HMD event isn’t always easy, but it’s very rewarding.

THE SET-UP
Find a location

You might be inviting strangers. If so, think twice about having it at your home. If you’re only inviting people you know, go ahead and have it in your living room, which is, under normal circumstances, the most common spot for catching a home movie.

Some public places like libraries, schools, and churches have rooms you can use for free. Places commonly rented out for not too much money include VFW halls, community centers, small hotels etc. Bars will sometimes let you put on events, but you’ll run into issues like some people hate bars, kids sometimes can’t get in, and drunks might break your stuff and spill beer on your movies.

Use your connections. If you have friends at a movie theatre, bowling alley, or country club, hit them up for venue help.

If you don’t have to pay for a venue, your costs will be low.

Venue Needs
No way around it, you need electrical outlets.

You need a dark spot for your screen. Many people put on HMD events during the day. If the room has windows, test out how projected film looks before the day of show. You might need a new location or blankets on the windows.

You need a table for your film inspection area, or at least an area where you can set up a table.

People like to sit in chairs, but you can make them sit on the floor if need be.

A restroom is highly desirable.

Geographic Location
Your venue should be relatively easy to find.

Parking or public transportation should be available, unless everyone can be expected to walk.

TOOLS OF THE TRADE

You will need projectors. Beg, steal, borrow. You should be ready to show 8mm Super 8 and 16mm (and 9.5mm outside the USA). You don’t have to be ready for all formats, but won’t you be disappointed if a lot of 16mm comes through the door and you can’t show it! Do rigorous testing on the projectors long before mid-August. Do scratch tests, lubricate & clean the film path (see Treadway, http://littlefilm.org FAQ). Print out a copy of the indispensable HMD Projection Checklist by Dr. Leo off the homemovieday group, files section. Study it well!

Any backup equipment you can get is great. Film projectors have a maddening tendency to crap out at the last minute, and you need to be prepared.

Figure out how the film needs to be wound to come off the projector. Will your feed reel have the film coming off the front with the sprocket holes on the outside? Practice using your projectors.

Super 8 Sound is a possibility, but it’s not super common, so don’t worry about securing a sound projector. Super 8 Sound has a magnetic stripe along the side (it looks like audio tape).

Super 8 reels have larger spindle holes than regular 8. You may need to pick up some plastic adapters if your projector has just the skinny spindles. If it has fat spindles & it’s a dual 8 projector, it may adapt by pulling the spindle straight off. If not, find another projector.

Also you will need:
• A desk lamp for your inspection area
• A flashlight
• Splicers for the formats you’ll be showing (tape or cement, your choice). Do a lot of practicing before the show!
• Gloves – cotton film/photo type
• A loupe or magnifying glass so you can tell your head from your tail
• White leader in all formats
• You might need an adapter for fitting large holed Super 8 reels on a standard 8 spindle.
• Archival fine-nibbed pen for marking film leader with owner’s name & head/tail
• Rewind cranks for 16mm & 8mm. 16mm cranks that clamp onto a tabletop are available. S/8mm rewinds can be made by taking apart a viewer.
• If you’re concerned about content you can bring a dual 8/S8 viewer. For 16mm you can just use a loupe.
• A movie screen
• Projector stand of some sort
• Clipboard for sign-in sheet
• Pens
• Video camera, Super 8 camera, still camera. Document your event!

CREATING ANIMATED GIFS

2008-11-15T21:50:00.001-08:00

CREATING ANIMATED GIFS AND AVIS FROM THE MATLAB “GETFRAME” COMMAND
BY RICHARD HAGL

• The ftp site ftp.hagl.net mentioned in the tutorial is available again. It was not available for some time.
• Another source for the two programs used in this tutorial is the UWCEM web site. Visit http://uwcem.ece.wisc.edu and follow the ‘Tools’ section.
• Ulead GIF Animator 5 is available. See http://www.ulead.com/
• As of July 2001, VideoMach 2.5.0 is available.
Details at http://www.gromada.com/
• Minor changes were made since I had to recreate this tutorial from a hard copy.

This tutorial briefly explains how to create animated gif and avi files suitable to be imported to a Microsoft Power Point presentation or a web site. Usually, simulations can be played back in Matlab using the “movie” command, however, if one wishes to use the obtained movie in a presentation without having access to Matlab, exporting the movie becomes necessary.

It is assumed that the reader is familiar with playing, and creating Matlab animations using the getframe and movie commands. Further, two freeware programs are used:
1. Ulead GIF Animator LE (v 1.0)
2. Fast Movie Processor 1.41

Ulead GIF Animator LE (LE = Lite Edition) is freeware and can be found by a simple web search. Finding Fast Movie Processor 1.41 will be harder since it is basically replaced by its successor VideoMach 2.3.3. Both Fast Movie Processor 1.41 and VideoMach 2.3.3 are free to non-commercial uses, but require registration for commercial use. VideoMach 2.3.3 can be found at http://www.gromada.com/VideoMach_dl.html. This tutorial will refer to Ulead GIF Animator LE and Fast Movie Processor 1.41 only.

For now, can also be obtained at the following FTP site: ftp.hagl.net. Login as tutorial, password: tutorial (Distribution is permitted under copyright law).

When creating the desired animated gif and avi file we will perform the following steps:
1. Create individual images in Matlab
2. Combine the individual images to an animated gif file
3. Create an avi file from the animated gif image.

Blindness: A Movie that Harms the Blind

2008-11-15T21:49:00.000-08:00

We Condemn and Deplore
The National Federation of the Blind condemns and deplores the negative, damaging, and distorted description of blindness and blind people in the movie Blindness, adapted for the screen from the novel of the same name by José Saramago. This outrageous and offensive movie reinforces society's fears and misconceptions about the blind and will lead to lost opportunities for employment and social acceptance. Contrary to the stereotypes and images this movie portrays:

• Blind people travel, work, go to school, raise families, play sports, and participate in their communities.
• Blindness need not be a tragedy.
• Blind people are confident and competent human beings, with as much imagination, creativity, and capacity as the average sighted person.

The Truth About Blindness
Contrary to the assertions about blindness and blind people found in both the film and book, the National Federation of the Blind wants you to know that:
• Blind people are responsible; a sense of responsibility is not in any way related to visual acuity.
• Blind people can care for themselves both physically and emotionally.
• Blind people are conscious of the importance of hygiene and personal appearance; they do not live in filth and squalor.
• Blind people can successfully travel; they are not generally disoriented or wandering without direction.
• Blind people are unique individuals; they are not without identity.
• Blind people are active in society, not isolated from others and the world.
• Blind people can perceive their surroundings and exercise judgment.
• Blind people are as dignified and conscientious as their sighted peers.

This Film Gets It Wrong
The premise in the film Blindness is that everybody but one person becomes blind. The description of society as an increasing number of its members become blind is one of filth, greed, perversion, and vice. The film depicts blind people as incapable of doing everything, including basic tasks like bathing, dressing, and traveling. Blindness becomes a metaphor for all that is bad in human thought and action. Blind people in the movie have every negative human trait and few of the positive ones. The only encouraging element in the release of this film is the almost universal reaction of the critics that the film is a failure.

Marc Maurer, President of the 50,000-member National Federation of the Blind, said of the film in his July 2008 banquet address, "The Urgency of Optimism":

“The capabilities of those who become blind remain essentially the same after they lose vision as they were before they lost it. Although the loss of any major asset (including vision) will bring a measure of sadness to some and despair to a few, it will also stimulate others to assert their will. Blindness can be a devastating loss, but it also has the power to galvanize some to action. The reaction to blindness is not the least bit one-dimensional. Therefore the description is false. . . . The charge that loss of vision creates a personality alteration to a sordid and criminal character is in itself sordid and defamatory to an entire class of human beings.”

This film will do incalculable harm to the public image of blind people. Society labors under multiple misconceptions about blindness and blind people, and this film promises only to affirm and strengthen these false impressions. The film Blindness will diminish opportunities for blind people to find employment, a distressing reality considering that over 70 percent of blind people are already under-employed or unemployed. The film will also further lower the general public's expectations about the ability of blind people to be fully contributing members of society. Both of these consequences will be devastating to the hopes and aspirations of blind people.

President Maurer concluded his reflections on the film when he said, "The description in Blindness is wrong–completely, unutterably, irretrievably, immeasurably wrong. That such falsity should be regarded as good art is revolting and amazing."

Movie Guides and Questions

2008-11-15T21:48:00.000-08:00

Movies can help us think about bioethics while relaxing. Here are a few movie guides. You can also find websites for most movies. Additional movies will be included in the on-line version.
Whale Rider
Introduction
In a small New Zealand coastal village, Maori people claim descent from "Paikea", the Whale Rider. In every generation for more than a 1000 years, a male heir born to the Chief succeeds to the title. The time is now. [http://www.whaleriderthemovie.com/]
First scene - Hospital
The Chief's eldest son, Porourangi, fathers twins - a boy and a girl. But the boy and his mother die in childbirth. The surviving baby girl is named Pai.
Second Scene - Funeral
Grief-stricken, her father leaves her to be raised by her grandparents. Koro, her grandfather who is the Chief, refuses to acknowledge Pai as the inheritor of the Whalerider tradition and claims she is of no use to him. But her grandmother, Flowers, sees more than a broken family line of chiefs she sees a child in desperate need of love.
Third Scene – Pai (the grand daughter) when she is 12 years old
Koro learns to love the child. When Pai's father, Porourangi, now a famous international artist living in Germany, returns home after twelve years, Koro hopes everything is resolved and Porourangi will accept destiny and become his successor. (By the way a Maori greeting is a nose kiss). But Porourangi has no intention of becoming Chief. He has moved away from his people both physically and emotionally. After a bitter argument with Koro, he leaves, suggesting to Pai that she come with him. She starts the journey but quickly returns, claiming her grandfather needs her.
Fourth Scene – After Porourangi returns to Germany
Koro is blinded by prejudice and even Flowers cannot convince him that Pai is the natural heir. The old Chief is convinced that the tribe's misfortunes began at Pai's birth and calls for his people to bring their 12-year-old boys to him for training. He is certain that through a tough process of teaching the ancient chants, tribal wars and warrior techniques, the future leader of their tribe will be revealed to him. Pai secretly learns these from her uncle.
Fifth Scene – The encounter with the Whales and finding the new chief
Meanwhile, deep within the ocean, a herd of whales is responding, drawn towards Pai and their twin destinies. When the whales become stranded on the beach, Koro is sure this signals an apocalyptic end to his tribe. Until one person prepares to make the ultimate sacrifice to save the people. The Whale Rider.
Questions
1) Do you think the chief of a tribe should be only a male? What about the next Japanese emperor/empress?
2) Why is Pai concerned that the women are smoking? What other lifestyle factors seem bad?
3) What is the image of young Maori persons in the village before the new chief is found? How is that image changed after the new chief is publicly recognized (by the launching of the canoe ("waka"))?
4) How much do you think people can communicate to whales?
5) Any other thoughts? Did you enjoy the movie?

I, Robot
This film is set in 2035A.D. Chicago where robots are programmed to live as servants of humans. Robots are programmed to follow three laws. The scientist who created the robots, Dr. Lanning, dies and the detective Spooner is called to investigate. As he investigates U.S. Robotics headquarters he finds a robot... The movie is based on the book, The Complete Robot, by Isaac Asimov, in which he also wrote the laws of robots… Law 1: A robot may not injure a human being, or, through inaction, allow a human being to come to harm. Law 2: A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. Law 3: A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
Please enjoy the movie and consider the questions below.
Questions
Q1. What is the meaning of the movie title, “I, Robot”?
Q2. Do you think Sonny, the robot, was an “imitation of life” or alive?
Q3. Do you like to buy the latest electronic gadgets? Do you think we would also like to always have new versions of the robots like other machines?
Q4. Do you think artificial intelligence can become a person?
Q5. Have you read Hansel and Gretel?

Frankenstein
The 1931 version of "Frankenstein" is a classic movie, based on a novel written by Mary Shelley in 1816. There have been many remakes of the movie, but please think about the originality of the story, and the themes that have been reused many times since in movies and books. The term "Frankenstein" is applied to many modern scientific research, so it is good to see the original film.
Questions
Please write 300 words total on the 5 questions below, and discuss in a later class.
Q1. How do you feel about the monster? Was the monster guilty of murder?
Q2. What sort of scientist was Dr. Frankenstein?
Q3. Do you think we need scientists like Dr. Frankenstein, who cross the boundaries of accepted morality (i.e. he used dead bodies to rebuild a new body and creature)?
Q4. If Frankenstein's monster was made by someone, and then you were the scientist who was asked to "deal with the monster", what would you do? Would you try to kill him, or educate him?
Q5. Do you have any other comments about this movie?

GATTACA
(Columbia Pictures and Jersey Films 1997; Writer: Andrew Niccol)
The star of the movie, Vincent, attempts to hide his genetic identity to work in an elite company called GATTACA Space Corporation. He changes identity to become a “valid” genetic identity, Jerome Morrow. Genoism means genetic discrimination, and although illegal in their society, it occurs everywhere. The film introduces the idea of a society where genetic discrimination is the principle way life is determined, and then goes through Vincent’s family history. [GATTACA is a DNA sequence and most of their society is determined by judgments that they make about how a sequence determines our fate.]
Questions
Q1. Would you put your faith in nature or God or a geneticist to ensure that your future child has a good genetic start?
Q2. Do you think it is good to give your child the best start in life by genetic engineering.
Q3. When Vincent and Anton compete in the game of swimming as chicken, why is the first swim where Vincent wins so important for Vincent to make his decision to pursue his dream?
Q4. Would you like to have the full DNA sequence of the person you love?
Q5. Which factors determine our fate and whether we reach our dreams?
Race Against Time
(Rosemount Productions, 2000)
This movie describes the situation in which persons make a contract to sell their body and all organs, ending their life, by signing contracts with a medical company LifeCorps, Inc. It is a science fiction thriller that challenges several ethical principles, such as the right to commit suicide, and the harvesting of organs from the persons who have signed a contract. The star, Mr. James Gabriel, signs a contract to give his life after one year in return for money to pay for his son’s life-saving medical treatment. However, when he returns to the hospital to pay the money he is told his son is dead, but the company LifeCorps does not allow the contract to be cancelled, and in fact decides that they would like to take his body immediately. A thriller develops.
Questions
Q1. Do you think people have a right to commit suicide?
Q2. Should the same medical company be buying organs and operating hospitals? Who has power over life and death?
Q3. The early execution of the contract to take his life needs the permission of a judge. Who signs an early retrieval order, in return for some hope? What is his hope?
Q4. Do you think we should allow tracking devices on people? If yes, for whom?
Q5. Can medical research sacrifice persons in the hope of a dramatic breakthrough for society?
Q6. How long would you like to live?

Outbreak
(Warner Brothers, 1995 123 minutes)
Dustin Hoffman plays a US army virologist, Sam Daniels, who is investigating new and emerging diseases. The movie starts with a scene in Zaire, Africa, 1967, with an infection caused by a new virus, Motaba. In order to stop the disease spreading the ultimate measure is taken. Years later, the disease re-emerges in Zaire. Through an imported monkey reaching a Californian town, an Outbreak occurs. The original source of the virus is discovered, and the consequences could be a global pandemic.
Questions
Q1. What biosafety measures are used to protect persons from unknown fatal viruses?
Q2. How effective is quarantine to isolate persons who are infectious?

Q3. What are the ethical issues in the wild animal trade? Think about the capture, transport and market for animals
Q4. Do you trust your government? Do we need strong ethical codes for all branches of the government and professions?

Other movies will have guides developed soon, including:

The Boys From Brazil (1978) Thriller (cloning of Hitler)
Godzilla (1998, or earlier Japanese versions) (radiation causes genetic mutation and giant lizards)
Judgment at Nuremberg (1961) US War/Historical 178 (B&W) (war crime trials from WWII Nazi human experimentation)
Junior (1994) Comedy (male pregnancy)
Jurassic Park (cloning of dinosaurs)
Lorenzo's Oil (alternative medicine for a genetic disorder, Adrenoleukodystrophy (ALD))
Philadelphia (1993) Drama (AIDS)

Please also share ideas for movies that are not only from the Hollywood box office. There are also numerous science fiction movies, and also a number of violent thrillers that look at artificial intelligence and the future. Please consider the recommended age for audiences, and that in many countries students can rent their own videos or DVDs with parental supervision, and still share the ideas on bioethical issues in class.

ABC Movie Points for Discussion:

2008-11-15T21:47:00.002-08:00

ABC Movie Points for Discussion:

1. The ABC movie, Fatal Contact, Bird Flu in America is a movie, and not a documentary. It is a work designed to entertain and not a factual accounting of a real event.
2. Florida has been planning for a pandemic event since 1998, and we are currently working on our tenth version of the plan.
a. This plan will continue to change and evolve as the does the virus and the science of our response.
3. We see a pandemic event every thirty to forty years; history would tell us we are due or perhaps overdue.
4. During the pandemic flu of 1918, as many as 500,000 Americans perished due to the flu. In 1968, 30,000 Americans perished from the Hong Kong Flu, our last pandemic. Each year, some 30 to 40 thousand Americans die from seasonal flu.
5. We have a strong robust surveillance system designed to provide us timely information if a pandemic were to occur.
a. Over 100 sentinel physicians report on a weekly basis any influenza like illness to the CDC and DOH.
b. Each of our five DOH laboratories has bio safety level three facilities to allow us to identify samples of H5N1 safely and quickly.
c. We have a rapid test for H5N1 that takes hours rather than days for a preliminary result.
d. We have epidemiologists, disease investigators located at County Health Departments across the state.
e. We have senior CDC officers working with us at DOH to ensure a clear line of communication if the need should arise.
6. We are exercising, testing and evaluating our plans on both a state and local level across Florida.
a. We coordinate our efforts with DACS, FWC and our Federal partners.
b. Each County Health Department has a pandemic flu plan based on the specific needs and resources.
c. Local, State and Federal agencies are working closely to ensure a coordinated response. We recognize that in a pandemic event, all our resources, people and material, may be limited, and we have included this in our planning objectives.
d. We recently completed a Strategic National Stockpile exercise to ensure we can effectively receive an SNS package and distribute the supplies quickly and effectively.
e. Our tabletop exercise Pandemic Pandemonium is traveling the state, exercising local emergency systems to identify any gaps in planning or coordination.
f. Under the direction of the State Emergency Response Team, all Florida agencies, as well as our Federal partners work together in a unified command.
7. We hope the movie will be act as a catalyst for each of us to prepare our families, and become engaged locally in the planning and preparation process. This is the time to prepare, not only for a pandemic event but also for any natural disaster that might come our way. It is time to plan not to panic.
8. The following are some very simple measures you can take to slow the spread of any respiratory disease:
a. Wash your hands often
b. Cover your cough or sneeze with a tissue and dispose of it properly. Cough or sneeze into your elbow if a tissue is not available.
c. Stay home if you are sick.
d. Keep your children home if they are sick.

Frequently Asked Questions:
1. Is Florida stockpiling Tamiflu?
a. The Governor requested 34 million dollars from the Florida Legislature to purchase enough tamiflu to treat 25% of our population. This request was not funded. We will continue to address this request with the Legislature and work closely with our Federal partners.
2. The movie paints a picture of barbed wire quarantine areas; can we expect this in Florida?
a. The purpose of quarantine is to separate people who may have been exposed to a contagious disease, may be infected, but are not yet showing any symptoms. Quarantine usually refers to confining potentially infected persons to their homes or community based facilities on a voluntary basis.
b. Quarantine may be one of the public health tools employed in the early days of a pandemic, in an attempt to slow the spread of the disease.
3. Should we buy masks?
a. Only special masks designed to filter particles as small as viruses are effective, and those masks must be fitted and the users trained in proper use and disposal.
b. Currently HHS/CDC has not provided guidance on the use of masks by the public.
c. If you are sick, you may be asked to wear a surgical mask if you visit a doctor or health care facility, to keep your cough or sneeze from spreading infectious droplets to others.
4. How much food and water should we stock?
a. We will have limited resources and the more each of us can store away now, the more supplies can be provided to those who truly cannot help themselves. By stockpiling food, water and prescription drugs, you not only help your family, but you also help your community.
5. Are we prepared for a pandemic event?
a. We will all be affected by a pandemic event, some to a lesser and some to a greater extent. If Floridians take the time now to get ready, if they become engaged in the preparation process locally, we will be as prepared as possible.
6. How will you decide who get tamiflu or vaccine, and in what order.
a. Florida will follow federal guidelines for the distribution of anitvirals and vaccines. These guidelines can be found at www.pandemicflu.gov
b. Because influenza viruses continually evolve and mutate it is not possible to develop a vaccine until after the pandemic strain actually comes into existence. With current technology, vaccine production could take as long as six months.
c. HHS has been developing and stockpiling an experimental “pre-pandemic” H5N1 vaccine that may offer some level of immune protection should the H5N1 virus mutate into a pandemic strain. Having a stockpile of this vaccine for up to 20 million people, may help delay or lessen the initial impact of a pandemic while vaccine against the actual pandemic strain is developed and produced.

Shop girl

2008-11-15T21:47:00.001-08:00

Today’s review is about a Hollywood new movie named “shopgirl”

Shop girl

Is a sweet and sad romance--- I’m here to warn ya, you’ll probably end up crying in the process of watching---- but then again, I cry at almost every movie anyways-----
So what’s special about this one?
(music Tellme about it)

Shop girl is an elegant and exquisitely tailored movie, it’s funny, but sad, in a very romantic way, I just think every young woman should watch it. it’s About a young woman named Mirabell, who works at Saks Fifth Avenue in Beverly Hills.

She’s a young college graduate, fresh from Vermont, moved to California all alone, starting out a lonely new life selling gloves behind a counter.

The movie's conceit is that it’ll take a kind of miracle of love for her to be noticed and feel special and blossom into the person that she has the potential to be.

There are two men very different who are contending for Mirabell’s affection.

The first of her suiters is Jeremy, a slacker-hispter-doofus type of guy, I’m sure everybody has met this kind guy, they are cute, but infantile, they are like babies who never grow up, driven by their immediate needs and impulses, lovably, but sadly they seem to be oblivious to the rules that make society work.

So After an unsuccessful attempt dating Jeremy, she’s swept off her feet by ray porter, a swave, elegant silver-haired divorcee, much older than she is, who delights in giving Mirabelle nice presents. And his seduction of Mirabell is handled with Great tack and insight (something that I think all guys with resources could use in the field of love).

As we sit and watch and wonder what it is like to date an older perfect gentleman like ray porter, a disappointment is coming along, love, sometimes, to some degree, might also be a transaction.

Shopgirl is a delicate movie, I would almost call it fragile, if you think too much about it and put too much pressure on the story, it might crack and buckle, the characters might look flimsy. But if you look at from what it is, it’s close to perfect, for a Hollywood movie, that is.

In love, people change, and indeed lovers change one another. This process can be sweet or sad, apart from sentimentality, what love bring to all of us, is a chance for us to become the person we have the potential to be.

Top Producers

2008-11-15T21:46:00.000-08:00

Top Producers Partner for New Hollywood Movie Franchise: "The Tyrant"

LOS ANGELES, CA--(Marketwire - November 10, 2008) - Producers Moritz Borman, Peter Graves and International Investor and Entrepreneur Fabrizio Boccardi announced that they have licensed the film rights for "The Seven Sins™: The Tyrant Ascending™" by bestselling author Jon Land ("Blood Diamonds") from rights holder King Midas World Entertainment.

The deal provides Mr. Borman as producer and Mr. Graves as executive producer with rights to make the first of "The Tyrant" films plus two sequels subject to certain box office results. Mr. Boccardi will be a producer on the film.

"The Seven Sins: The Tyrant Ascending," which has recently been published in English by Forge Books, is loosely inspired by the life of Mr. Boccardi and is the first of an anticipated series of books and films that introduces the global adventures of daredevil magnate, Michael Tiranno, The Tyrant.

Standout praise for the novel from several New York Times bestselling authors include:

"'The Godfather' reimagined for a new generation." -- Vince Flynn.

"Revolutions, world finance, high-stakes gambling, global conspiracies... 'The Seven Sins' is a trendsetter." -- David Morrell.

The upcoming film, which is adapted from the novel, is in the very active stages of development with a target theater release date of 2011.

Mr. Borman is currently producing the highly anticipated "Terminator: Salvation." He has also produced a variety of successful movies including Oliver Stone's newly released "W.," "World Trade Center," "Terminator 3," "The Life of David Gale," "Alexander," "The Quiet American," and "The Wedding Planner."

Mr. Graves is executive producer on "Terminator: Salvation," "W." and "Planet 51" and has been a marketing head or consultant on over 200 titles including "Terminator 3," "Braveheart," "The Perfect Storm" and "The Game."

"The Tyrant is an intriguing new type of lead character that we believe could easily form the basis of a new franchised series," said Mr. Borman.

"This film will take place in an exciting world of heightened action and intrigue that will definitely make this project standout in the marketplace," said Mr. Graves.

Mr. Boccardi and King Midas World Entertainment anticipate that through the novel and movie will come the launch of the worldwide Tyrant franchise.

For more information, please visit www.kingmidasworldentertainment.com.

Contact:
Cameron Andrews
Pier Communications
(562) 432-5300

Constructing a Slowmation on a PC using Windows Movie Maker

2008-11-15T21:45:00.000-08:00

Copyright 2007 © Garry Hoban. All rights reserved
University of Wollongong, Australia (modified 3-12-07)
(Acknowledgement to Stephen Keast from Monash University for his assistance with these instructions)

Windows Movie Maker usually comes free and installed with Windows XP or Windows Vista. On a PC, Movie Maker is the movie making program and Movie Player is the program used for playing videos. If you are having any difficulties there is an extensive “Help Topics” in the pull down menu section.

B. Taking the photographs
1. Make sure the students are aware that many small movements are best. Demonstrate a simple animation first on some post it notes and flip them. Start small by making a simple slowmation.
2. Lay down a project sheet or butcher’s paper (which can be coloured) and build the models on the floor in the horizontal plane with the camera mounted on a tripod looking down at the models. Make sure the models are movable and not stuck to cardboard. You can use existing models such as manipulatives in mathematics.
3. Make sure the image size of the camera is set on the “SMALLEST SIZE” such as 640 x 480 pixels. If you are using more than one camera make sure that they are set on the same photo size.
4. Take the photos moving the materials one small bit at a time. A three minute slowmation needs over 300 photos.
5. Minimise text and only label key concepts taking one photo which can be copied for a static image.
6. Connect the camera to the computer and download the photos which should be available from “My Computer”. Open the “removeable disk” and copy the photos onto the desktop and then disconnect the camera.

C. Using Windows Movie Maker
1. Click on “Start” at the bottom of the PC and click on Windows Media Maker icon which should open the program
2. Go to Movie Tasks on the left hand side and to “Import” and click on “pictures”
3. Locate folder with digital images and click on first image. Click “Ctrl + A” and then all to select all and then click “Import” so that all the photos should appear on the photoboard
4. Go to Tools, then Options, then Advanced and choose picture duration at 0.500 and the transition should be set at 0.25, click “OK”
5. Click on the first slide and then “Ctrl + A” to select all. Drag the photos down to the storyboard.
6.The movie will appear in the “storyboard”. Play it by clicking the large arrow in the animation.
7. If you want to show full screen, click “view” and then full screen.

D. Making static images to suit a narration
1. Click on the relevant photo in the storyboard and then click “Ctrl + C” to copy and “Ctrl + V” as many times as you need to keep the static image on the screen which is important for the narration to be recorded later.
2. Use the arrows on the bottom right hand side of the computer to find the images that you want to copy and do the same as above.
3. You can rewind the storyboard with “Ctrl + Q” and play the storyboard with “Ctrl + W”
4. You can delete any unwanted photos by clicking on them and pressing Delete.
5. You can add your own authentic photos or photos from Google Images by copy and paste.

E. Adding a narration
1. Slowmations need a narration or text but not both. It is advisable to write a script first to get the best possible narration which should already have occurred in the storyboarding phase. Go into “Tools” and select “Narrate Timeline” or click on the microphone icon above the storyboard. Make sure you click on “audio device” to make sure the microphone is selected.
2. Click on “Start Narration” and stop when necessary.
3. Make sure you save and name the file

F. Saving the animation
1. You must save the movie to the computer as a wmv file