DIALOGUE

Amodern soundtrack is created and assembled in many interconnected stages by sound recordists, mixers, editors and music composers. Dialogue recorded by the production sound mixer during filming, on location or on a soundstage, makes up the initial layer of a movie soundtrack. In addition to capturing live vocal performances, the production mixer tries to anticipate the needs of the sound editors and mixers who will work on the movie after filming ends.“Wild tracks” and “wild sound” recordings are made on the set when the camera is not running. If the movie takes place in a hospital, for instance, the mixer might record 20 or 30 seconds of the sounds in the room at the end of the day. Wild sound often proves clearer or better timed than sound recorded during filming and can be cut into the soundtrack when needed. Not all film dialogue is recorded live. Automated Dialogue Replacement (ADR) is used to record new dialogue if the live track is distorted, if it contains unwanted sounds, or if the director wants to change lines of dialogue or even an entire performance after filming is completed. During ADR, actors watch individual sections of a movie many times, trying to match new dialogue to the lip movements of the characters on screen. Movies are filmed in small segments or scenes called “takes.” Dialogue editors review all takes, recorded live and in ADR, and edit together the best readings, so that all the dialogue appears continuous and natural. Off-screen narration or voiceovers are also recorded during post production. Voice overs supply the voices of characters in animated films and the narration in documentaries and educational films. Voice over narration also is used in fiction films to connect seemingly unrelated images or scenes or to present the observations and thoughts of one or more of the characters. Sunset Blvd., for instance, is narrated by a dead character. In Annie Hall, voiceovers are employed to contrast the characters’ thoughts with their onscreen dialogue for comic effect. According to Oscar-winning film and sound editor Walter Murch, we can focus on a maximum of two sounds at a time. In daily life, most people hear only the sounds that are important to them, tuning out the rest. Encourage your students to begin to listen discriminately to all sounds by asking them to sit quietly at home, in a park, a restaurant or a shopping mall and list the many different sounds they hear. Ask them to listen for sounds with particular qualities, for example, highpitched, low-pitched, fast, slow, loud, soft, regular or irregular, and to identify any unexpected sounds. Have them describe how it feels to listen carefully to sounds and explain whether they agree or disagree with Murch’s statement.

LEARNING from the BEST – PART B

Each year, an outstanding array of new animated films is released. Some are especially appropriate for families, some are appealing to teens, and some are geared toward adult audiences. If you or the parents of your students feel that some, or even all of this year’s nominated films might be inappropriate for viewing by young people, you can modify this activity. Students can view Academy Award-nominated and award-winning films from past years to complete the exercises. A list of films that won Academy Awards for animation appears at the beginning of this teacher’s guide. Ask your students to view one of the films nominated this year for achievement in animation and analyze it in terms of how its storytelling, character development and animation contributed to the total effect of the film.

DRAWING MOVEMENT- PART A

The development of cel animation greatly simplified the animator's task.Working on transparent celluloid or acetate sheets called "cels" freed the animator from repeatedly drawing the same image and made it unnecessary to redraw background images. Separate elements of the drawingcould be placed on individual cels and then assembled in layers of two or three for the camera. For example, if one scene showed only a moving arm, the animator might draw the body on one cel and each progressive arm movement on additional cels.Then the various movements could be inserted on the same body visual in subsequent scenes. Cels also enabled the animator to include more detail in the characters and background, as one drawing could be used multiple times without recopying. As animated films have become longer and more elaborate, an assembly line of sorts has developed in the studios. Certain animators specialize in backgrounds, while others design and draw the extremes. "In-betweeners" then complete the numerous drawings that connect the two extremes. Other animators fill in the colors, clean up the drawings, and apply special effects such as fire, smoke, water, shadows and lighting. The boxes on the activity sheet represent frames in an animated film. In the first row, the beginning and ending "extremes" of an action are shown. It takes planning to get to the right position at the right time.Thought, as well as imagination, is required to make something move in a believable way.To illustrate the process, have your students use the middle five boxes on that page to take the action from its beginning to its end. Check that the midpoint of the movement occurs in the middle box. Next, in the second row, have your students complete the action shown in the first two boxes. Ask them to consider different ways of visualizing movement. For example, they might act out a possible sequence, or they might observe a similar action in real life. Have them change one element of the series and discuss how that change affects the outcome or the mood.Then have them add a special effect.

The ORIGINS of ANIMATION

From the beginning, animation has been an important part of film history. Even before the invention of the motion picture camera, photographer Eadweard Muybridge used sequential photographs to analyze animal and human movement. Early 19th-century devices such as the thaumatrope, praxinoscope and zoetrope anticipated motion picture animation by making still images appear to move. Quickly flashing a series of still pictures past the viewer, these devices took advantage of a phenomenon called "persistence of vision." Because the human eye briefly retains an impression of an image after it has disappeared, the brain will read a rapid series of images as an unbroken movement. Animated films work on the same principle. Each frame of an animated film is a separate still picture, individually exposed. Drawings or props are moved slightly between exposures, creating an illusion of movement when the film is projected. In 1892, Emile Reynaud opened his popular Theatre Optique in Paris, where he projected films that had been drawn directly on transparent celluloid, a technique that would not be used again until the 1930s.The “trick-films” of Parisian magician Georges Méliès mixed stop-motion and single-frame photography with live-action film for magical effect. By the early 20th century, animators such as J. Stuart Blackton and Winsor McCay in the U.S. and Emile Cohl in France were making animated films composed entirely of drawings. Brothers Max and Dave Fleischer, creators of Betty Boop, patented the rotoscope in 1917, enabling animators to copy the movement of live-action by tracing filmed live-action images frame by frame. Raoul Barré opened the first animation studio in New York around 1914. Soon studios in New York, California and elsewhere were producing short films that screened in theaters before the main feature. Over the next few decades, cartoon series flourished, featuring popular characters such as Felix the Cat, Disney’s Mickey Mouse,Walter Lantz's Woody Woodpecker and Warner Bros.’ Bugs Bunny and Wile E. Coyote. In the 1940s, George Pal’s Puppetoons represented one of the few examples of commercial animation using three-dimensional materials.

LEARNING from the BEST

How production designers operate depends in large part on the director, the budget and other practical constraints. Budgets, for example, can determine how many scenes will be shot on location. Art departments have two main divisions.The first focuses on the drawing board, where sets are designed and blueprints produced.The second division deals with furnishings, costumes and props.The production designer oversees both divisions, although most films employ a separate costume designer. In the past, special effects, such as miniatures and matte paintings, were also in the production designer’s domain.As effects became more complicated, with computerized images and other technical innovations, independent special effects departments evolved. For most production designers, the collaborative process begins with storyboards, sketches and models. Storyboards are drawn on panels and depict in continuity the main action of a film scene or sequence. Have your students study set sketches from Pleasantville and compare them to the final film.Then have them create their own storyboard or set sketches for a story that they have read in class. Finally, ask them to view one of the films nominated this year for art direction and analyze it in terms of how its architectural elements, set decoration and color contributed to the story. Each year, the film industry produces an array of outstanding new releases. Some are appropriate for families, some are appealing to teens, and some are geared toward adult audiences. If you or the parents of your students feel that some, or even all, of this year’s nominees might be inappropriate for viewing by young people, you can modify this activity in several ways.They can view Academy Award nominees and Academy Award-winningfilms from past years to complete the exercises.A list of some past nominees and winners appears at the beginning of this teacher’s guide.

Big Mac® Sandwich

INGREDIENTS:

(this is a per sandwich recipe)

1 -regular sized sesame seed bun
1 -regular sized plain bun
2 -previously frozen regular beef patties
2 -tablespoons Big Mac sauce
2 -teaspoons reconstituted onions
1 -slice real American cheese
2 -hamburger pickle slices
1/4 Cup -shredded iceberg lettuce

COOKING:

Discard the crown half of the regular bun, retaining the heel. The cooking method for the Big Mac™ is basically the same as the regular burgers, only the bun toasting method is slightly
different. In the Big Mac's case you toast the bottom (heel) first. Do this along with the extra heel. (this will be your middle bun.)

Cook the two-all-beef-patties just like the regular burgers. After the bun parts are toasted, put 1 tablespoon of "Mac sauce" on each of the heels.(toasted side.) Then add 1/8 cup shredded lettuce to each.On the true bottom bun, place one thin slice of American cheese on top of the lettuce. On the extra "heel", the middle bun, place two pickle slices on top of the lettuce. Toast the "crown" (top) of the bun also. When the meat patties are done, place them one at a time on both prepared buns. Stack the middle bun on top of the bottom bun, and put the crown on top. For proper "aging", or "Q-ing", ...wrap the finished Big Mac® in a 12"x18" sheet of waxed paper as follows:

1...Center the burger, right side up, on the waxed paper. Fold the "long" ends of the paper up over the top. (It will resemble a tube with the burger in the center.)

2...Fold the two remaining ends underneath. Wrap snug, but don't squish it like the regular burgers.

3...Let sit 5-8 minutes, allowing the flavors to "meld".

4...Microwave, still wrapped, 15 seconds on high.

....Enjoy an AWESOME Big Mac® Sandwich!

BIG MAC™ Special Sauce

Ingredients:

1/4 cup KRAFT Miracle Whip

1/4 cup mayonnaise

2 Tablespoons,heaping, WISHBONE deluxe french salad dressing (the orange stuff)

1/2 Tablespoon HEINZ sweet relish

2 teaspooons, heaping, VLASIC dill pickle relish (Heinz dill relish also works)

1 teaspoon sugar

1 teaspoon dried, minced onion

1 teaspoon white vinegar

1 teaspoon ketchup

1/8 teaspoon salt

Mix everything very well in a small container. There better be no streaks! Microwave 25 seconds, and stir well again. Cover, and refrigerate at LEAST 1 hour before using.( to allow all of
the flavors to "meld". ) Makes nearly 1 cup...enough for about 8 Big Macs™.

ACUTE CARTILAGE INJURIES OF THE KNEE

History
. Work or recreational injury
. Mechanism
. Landing impact injury with isolated chondral defect

. Noncontact injury with sudden deceleration or cutting, associated meniscal or ligamentous injury

. Contact injury with varus or valgus force, associated meniscal or
ligamentous injury
. Painful
. May have mechanical symptoms (e.g., locking, catching) from chondral flap
Physical exam
. Moderate effusion
. May have hemarthrosis on aspiration if osteochondral fracture
. Tender over affected condyle, plateau, or patellofemoral joint ± joint line tenderness
Studies
. Radiographs
. AP, lateral sunrise (three or four views)
. Normal
. MRI
. Will show signal changes at articular surface and possibly subchondral bone bruise
. Necessary to detect associated meniscal or ligament pathology
Differential Diagnosis
. Meniscal tear
. Osteochondritis dissecans
. Atraumatic osteonecrosis/avascular necrosis
Treatment
. Evaluate alignment
. If malalignment, consider osteotomy
. Arthroscopy to determine lesion:
. Size
. Containment
. Depth
. Depth of lesion (Outerbridge classification)
. Grade I – Softening of cartilage
. Grade II – Fibrillations
. Grade III – Fissuring
. Grade IV – Full thickness to bone
. Grade I – No treatment
. Grade II and III
. Arthroscopic debridement results in replacement with fibrocartilage
. poor wear characteristics
. Grade IV
. Mesenchymal stem cell stimulation
. Microfracture or drilling into subchondral bone results in replacement with fibrocartilage
. Substitution replacement
. Replacement of defect with autograft or allograft plug(s); also known asmosaicplasty or OATS Procedure
. Biologic replacement
. Requires two surgeries: autologous chondrocytes are harvested and cultured, then later placed into the defect and covered with periostium
. Results in hyaline cartilage – better wear characteristics
Disposition
N/A
Prognosis
. Acute cartilage injury results in release of degradative enzymes (stromelysin), which contributes to further cartilage breakdown.
. Treatment with thermal probe may cause death down to subchondral bone.
. Partial-thickness lesions do not heal without treatment
. May cause meniscal injury and cartilage injury to opposite side of joint
. Full-thickness defects 0–1 cm2 that are well contained do well with drilling or microfracture
. Full-thickness defects 1–2 cm2 that are well contained do well with drilling,microfracture, or OATS procedure
. 50–70% good results at 5 years
. Full-thickness defects >2 cm2 that are well contained do well with autologous chondrocyte implantation
. Depending on location 70–90% good results at 8–10 years
. Can be treated with OATS procedure with minimal long-term
data available
. Large poorly contained lesions have lower probability of regeneration success
. Result in lower levels of function that ultimately may require TKA
. Can be treated with large shell allografts (experimental)
Caveats and Pearls
. Early arthroscopy for classification and treatment will prevent additional chondral and meniscal injury.
. Meniscal pathology, ligamentous instability, and significant malalignment, if untreated, will all result in chondral injury.
. Advances in imaging technology are not yet sufficient to detect and classify these injuries.

TREATMENT FOR ACROMIOCLAVICULAR SEPARATION

. Classification system based on injury to AC and CC ligaments and
severity and direction of displacement of clavicle
I: Sprain of AC ligaments; CC ligaments intact; no increase in CC
distance
II: Disruption of AC ligaments and sprain of CC ligaments;
increase in CC distance <25%; weighted views would show equal CC distances .
III: Disruption of AC and CC ligaments; CC distance 25–100%; deltotrapezial fascia is intact . IV:Disruption of AC and CC ligaments; clavicle is posteriorly displaced into deltotrapezial fascial may not have significant superior displacement .
V: Disruption of AC and CC ligaments; marked superior displacement of clavicle with CC distance of 100–300%; torn deltotrapezial fascia .
VI: Disruption of AC ligaments +/- CC ligaments; inferior displacement of clavicle in either subacromial (CC ligaments intact) or subcoracoid (CC ligaments disrupted) location; subcoracoid dislocation associated with severe injury, rib fractures, and clavicle fracture .
Types I and II
. Ice and sling for comfort for 1–2 weeks
. Return to activity when full pain-free range ofmotion present
. May take longer in type II injuries
. Kenny Howard brace – presses down on clavicle and pushes armupwards
. Must be worn 24 hours a day
. Can cause skin breakdown over clavicle and anterior interosseous nerve palsy
. Pts w/ type II may develop persistent symptoms in future secondary to posttraumatic degeneration, osteolysis of distal clavicle, loose cartilage fragments, or unstable meniscus
. Treat with distal clavicle excision +/- CC stabilization
. Distal clavicle excisions fare poorly if grade II injury present .
Type III
. Operative vs. nonoperative treatment remains controversial
. Literature unclear on the matter, but careful review reveals that recent trend is to opt for nonoperative treatment
. Patients treated nonoperatively recover sooner,with no difference in strength or pain . .Exceptions to this are in overhead laborers and perhaps throwing athletes
. Nonoperative treatment
. Sling for 2–4 weeks
. Early pendulum and ROMexercises
. Begin strengthening at 4–6 weeks
. Avoid contact sports for 4–8 weeks .
Types IV and V
. Operative treatment recommended
. Early (first 2 weeks) surgery results are better than late surgery
. Type IV tends to bemore painful
. Type V symptomatology generally relative to degree of displacement .

ACROMIOCLAVICULAR SEPARATION

History
. Direct force by far most commonmechanism
. Fall onto point of shoulder
. Acromion gets driven downward and clavicle is stabilized by sternoclavicular
(SC) ligaments
. Sequence of ligamentous injuries: acromioclavicular (AC) ligaments,
coracoclavicular (CC) ligaments, deltoid and trapezial muscle
attachments, skin
. Inferior dislocation (type VI separation) likely caused by downward
force on clavicle
. Injury may also be caused by indirect forcewith humeral head being
driven into acromion
. Will cause no damage to CC ligaments
. A common athletic injury
. Football
. Hockey
. Lacrosse
. Bicycling (esp. mountain biking)
. Snowboarding
. Motorcycle accidents
. Tend to be complex with associated injuries
. Patients report pain, swelling at AC
. Chronically may have deformity, clicking, pain
Physical exam
. Inspection of deformity
. Rule out posterior buttonholing of clavicle through deltotrapezial
fascia
. Neurovascular and rotator cuff strength exam
. Palpation of AC and CC regions
. Cross-body adduction
. Injuries to rule out acutely
. Clavicular shaft fracture
. Acromion and coracoid fractures
. Brachial plexus injuries
. SC joint injuries
. Pneumothorax
. Scapulothoracic dissociation
. Chronically must rule out other sources of pain
. SLAP tear
. Cervical radiculopathy
. Rotator cuff tear
Studies
. Preferably done standing
. AP (Zanca view)
. cephalic tilt to avoid superimposition of AC joint on scapula
. Reduced exposure needed as in AP view of glenohumeral joint
. Axillary view
. Rule out posterior displacement of clavicle
. Rule out coracoid and acromion fractures
. Film other side if questionable
. Standing AP view of both shoulders
. Measure CC distances and calculate % increase on affected side
. CC distance normally 1.0–1.3 cm
. Weighted views
. Help distinguish type II from type III
. Not needed, as they seldom change treatment plan or decision
to perform surgery
. MRI
. Can delineate ligamentous injury and arthritis, useful for surgical
planning
Differential Diagnosis
. Lateral clavicle fracture
. Periosteal sleeve fracture
. Bipolar AC separation + SC joint injury
. Combined AC separation + coracoid process fracture
. Glenohumeral joint dislocation

COLOR and TEXTURE

In addition to architectural elements and set decoration, production designers rely on color, tone and texture to help realize their vision. Often the main characters in a script are assigned color and fabric palettes.When choosing a palette, designers consider the characters’ emotional journey as well as their social and cultural background.The chosen colors may show up in the characters’ costumes, in the props they use, or in the décor of their habitat. Colors can have culturally specific symbolic meaning. In Western cultures, for example, red usually denotes danger; white denotes purity. In the Chinese culture, white is the color of death, and red signifies happiness and health. Colors can hint at the emotions or states of mind of a character.As used in the story sequences in A Little Princess (1995), for example, the bright oranges and purples, when contrasted with the grays and browns of the rest of the movie, suggest the happiness in Sara’s past. Certain colors can even suggest physical states.To bring out the theme of drought in the script of Chinatown (1974), production designer Richard Sylbert chose white buildings for many of his locations, because “white makes you feel hotter.” Color tones and shading are also important in art direction. Saturated, deep colors convey a sense of seriousness and intensity, while bright colors suggest lightness and delicacy. Black-and-white photography reproduces the world exclusively in tones of black, gray and white.Therefore, a production designer working on a black-and-white film must be aware of how the colors of his or her set are going to translate into those tones. The texture of a wall, prop, furniture piece or costume is another tool of the production designer.Along with color, the choice of materials can add to the overall design concept. For William Shakespeare’s Romeo + Juliet, for example, production and costume designer Catherine Martin separated the Capulet and Montegue families through choices of color, pattern and texture. She selected dark reds and blacks and fabrics like leather and denim for the Capulet family, and bright-colored Hawaiian shirt patterns for the rival Montegues. To illustrate how colors affect how we view a film, have your students observe and describe places in their everyday world in terms of color.Ask them how the colors of their classroom, bedroom, doctor’s office, etc., make them feel.Then have them write a scene set in their school or neighborhood and describe what colors and textures they might use to heighten the drama.

SETTING the STAGE

Once the architectural elements are in place,production designers must decide how to decorate their sets and locations. Set decoration includes all props and furnishings, including foliage and food, used in a given scene. Sometimes individual props and furnishings can be crucial to the story: the witch’s hourglass in The Wizard of Oz (1939), or the sled in Citizen Kane, for example. More often, however, the effect of set decoration is collective.As in real life, we make assumptions about film characters based on their environment. How characters decorate their living room, or what they put into their medicine chests, can tell us as much about them as the dialogue or action. To get the most out of set decoration, production designers study the script’s characters.Whether the story is contemporary, futuristic or period, designers strive to create a credible everyday world. For period pieces, designers conduct research at libraries and archives to help them achieve authenticity. For futuristic or fantastic stories, they consult with scientists and engineers to create sets that are both imaginative and believable. Sometimes, however, designers choose drama over realism, selecting props or furnishings that may not be absolutely accurate, but are emotionally true. Students can learn about the connection between set decoration and visual storytelling by creating a detailed environment for a specific character.To test whether they have picked appropriate details, have them share their descriptions with their classmates.