OpenLLM-France/wikimedia huggingface dataset:
# Knots/Hitch knots/Prusik hitch

* Prusik knot
* Use: A Prusik (aka Prussik or Prussic) is a friction hitch used in climbing, canyoneering, caving, rope rescue and by arborists to grab a rope (sometimes referred to as a rope-grab). The term Prusik is used both for the knot, for the loops of cord, and for the action (to prusik).
* A Prusik rope is a circular loop with a circumference of 20 to 100 cm depending on its intended use. Two Prusik ropes are tied to another rope which is anchored above. When the Prusik knot is under tension, it grabs the rope to which it is tied. When not under tension, it is easily moved. The climber places one foot into each loop, and shifts all of his or her weight to one of them, releasing the tension on the other. The rope without tension is then slid upwards on the vertical rope. The climber the shifts his or her weight to the other loop and slides the first one up. This is repeated until the rope has been ascended.
* Prusiks will work around two ropes, even two ropes of different diameters. Prusiks provide a high-strength and relatively fail-safe (i.e., they will slip before damaging the rope or breaking) attachment, and are used in some rope-rescue techniques. Prusiks are good to use in hauling systems where multiple rope-grabs may be needed, and where mechanical rope-grabs are not available.
* Although the Prusik Climb technique may be called old-school by some, the US Army still includes it in its annual Best Ranger competition. Rangers in the competition routinely make it up a 90 foot rope in under a minute.
* How to tie:
* The Prusik is tied by wrapping the prusik loop around the rope a number of times (depending on the materials, but usually 3-5 times), and then back through itself, forming a barrel around the rope, with a tail hanging out the middle. When the tail is weighted the turns tighten around the main rope and grab. When weight is removed the loop can be slid along the rope by placing a hand directly on the barrel and pushing. The trick is, if it grabs well, then it is hard to slide along the rope. Breaking the Prusik free from the rope after it has been weighted can be difficult, and is easiest done by pushing the bow, being the loop of cord which runs from the top wrap, over the knot to the bottom wrap, along the tail a little. This loosens the grip of the hitch and makes movement easier.
* Step 1
* Step 2
* Step 3
* Step 4
* Locked while holding tension.
* Slides readily without tension.
# Knots/Hitch knots/Two half hitches

* Two half hitches
* Use: This reliable knot is quickly tied and is the hitch most often used in mooring.
* How to tie:
* Pass end of rope around post or other object.
* Wrap short end of rope under and over long part of rope, pushing the end down through the loop. This is a half hitch.
* Repeat on long rope below first half hitch and draw up tight.
# Knots/Lashing

A lashing is an arrangement of rope used to secure two or more items together in a somewhat rigid manner. Lashings are most commonly applied to timber poles, and are commonly associated with the scouting movement and with sailors.
This word usage derives from using whipcord to tie things together.

## Technique

The structure of a lash is nearly the same with any type of lashing: to start, hold two poles in the desired end position. Start a timber hitch around one of the poles to secure the rope onto the pole (in the case of the stockgrower's lash, an adjustable grip hitch or tautline hitch is used, as a timber hitch can slip when the lash is opened). Start to wrap the rope around the poles (the wrap will change when different lashings are used). Once the rope is wrapped around the poles enough to be very tight, end with two timber hitches and one or two clove hitches.

## Types

* Square lashing
* Diagonal lashing
# Knots/Loop knots/Alpine butterfly

The Butterfly Loop, also known as the Lineman's Loop or alpine butterfly loop, is a "non-jamming loop on the bight": a loop which may be tied in a rope with two fixed ends, and can take loads on both ends of the original rope, and on the loop. The alpine butterfly loop is a symmetrical and more secure version of the butterfly loop.

## Usage

The Butterfly Loop has a high breaking strength and is regarded by mountaineers as one of the strongest knots to attach climbers to the middle of a rope, such that they have room to move around even when the main rope goes tight, and they can be supported in either direction from the main rope. The loop is typically attached to a climbing harness by carabiner.
It can also be used to isolate a worn section of rope, where the knot is tied such that the worn section is used for the centre of the loop (which of course does not receive a carabiner or bears any loads in this case)..

## Advantages

* Does not reduce the strength of the rope by very much
* Will not slip (after initial settling)
* Allows for the knot to be loaded three ways (each end of the main line and by the loop)
* Relatively easy to undo after loading (more difficult if wet)
* Very easy to adjust the size of the bight

## Disadvantages

* Difficult to tie one-handed
* Difficult to casually inspect
* Requires some training/practice to master
# Knots/Loop knots/Bowline

The bowline (bow-linn) is an ancient but simple knot used to form a fixed loop at the end of a rope. The structure of the bowline is identical to that of the sheet bend, except the bowline forms a loop in one rope and the sheet bend joins two ropes. Along with the sheet bend and the clove hitch, is often considered one of the most essential knots.
The name has an earlier meaning, dating to the age of sail. On a square-rigged ship, a bowline (sometimes spelled as two words, bow line) is a rope that holds the edge of a square sail towards the bow of the ship and into the wind, preventing it from being taken aback. A ship is said to be on a "taut bowline" when these lines are made as taut as possible in order to sail close-hauled to the wind.

## Usage

The bowline is used mainly to make a temporary loop at the end of a line. Like the other similar knots, it can be made and then secured over an object like a post. Since the bowline is generally tied with the working end, it can be passed through a ring or other object before the knot is tied. This feature makes the bowline a convenient and useful loop knot.
The bowline, or more commonly one of its variations such as the double bowline, is sometimes used by climbers to tie the end of the rope to a climbing harness, or the like. The advantage of the bowline in this application is that the knot is easy to untie even after it has been loaded. The disadvantage is that, while it is a very strong knot under load, it has a tendency to loosen up and become untied when it is unloaded and shaken around over a period of time, as might happen during a climb. Several other knots are more commonly used in modern climbing technique.
This knot can be used in an emergency to hoist a person to safety, since the loop can slipped over a victim's torso, under the armpits, and it will not tighten around the victim's chest and prevent breathing. This is useful when a rescue harness is not available.
The bowline is commonly used in sailing small craft, for example to fasten a halyard to the head of a sail or to tie a jib sheet to a clew of a jib.
A rope with a bowline retains about 65% of its strength at the location of the knot.

## Tying

A mnemonic used to teach the tying of the bowline is to imagine the end of the rope as a rabbit, and where the knot will begin on the standing part, a tree trunk. First a loop is made near the end of the rope, which will act as the rabbit's hole. Then the "rabbit" comes up the hole, around and under the tree, and then back down the hole. When this configuration is tightened, a bowline has been tied. An alternative "lightning method" can also be used.
* The rabbit hole. (Take note of which end is over which.)
* Out comes the rabbit,
* runs around the tree,
* and hops back into its hole.
* Lightning method, tied on a ring. Pull per the blue arrows.

## Related knots

* Category:Knots/Bowlines
# Knots/Hitch knots/Round turn

A turn is a component of a knot. Turns can be made around objects, through rings, or around the standing part of the rope itself. Turns come in various forms, distinguished by the number of passes that the rope makes.
A turn or single turn requires one pass. The line makes a U-shape through or around the object, or half a revolution. A round turn requires two passes and makes one and a half revolutions.

## Riding turn

A riding turn is a section of rope that passes on top of another section of rope, often parallel or at only a slight angle to the section below. Examples of riding turns can be seen in both the Constrictor knot and the Strangle knot. The second course of wrappings in some seizing knots can be referred to as riding turns. The formation of an unintentional riding turn on a sailing winch can cause it to jam.
* ↑ The Ashley Book of Knots, image 40
# Knots/Hitch knots/Timber hitch

* Timber hitch
* Use: The timber hitch is a knot used to attach a single length of rope to a piece of wood. This knot is easily undone after use.
* How to tie:
* To make the knot, pass the rope completely around the wood.
* Pass the running end around the standing part, then through the loop that you have just formed.
* Make three turns around the loop then pull on the standing part to tighten.
* Take care that you double the rope back on itself before making the three turns, or it won't hold.
* Three are recommended for natural rope such as jute, whereas five turns are needed on synthetic rope like nylon.
* This knot is also known as the Bowyer's Knot as it is used to attach the lower end of the bowstring to the bottom limb on an English Longbow.
# Knots/Loop knots/Adjustable grip hitch

The adjustable grip hitch is a simple and useful friction hitch which may easily be shifted up and down the rope while slack. It will hold fast when loaded, but slip when shock loaded until tension is relieved enough for it to again hold fast.
This knot is also called "Adjustable Loop"

## See also

* Category:Book:Knots/Friction hitches

## References

* ↑ Knots & Ropework, The Ultimate Encyclodpedia of; by Geoffrey Budworth, ISBN 1-84309-138-0
# Movie Making Manual/Cinematography/Camera

This Module is part of the Cinematography section of the Movie Making Manual
What specifications would make your perfect camera? This incomplete list serves two purposes:
* To give you an idea for what specifications and possible camera choices you can make, considering you budget.
* It's fun to fantasize

# Low Budget Cameras

<$500 USD

### Possible Specifications

* 720x1280p - 1080x1920p
* 4:4:2 Colour Representation
* Records onto inbuilt HDD or external SD cards
* Ability to record 24, 25 and/or 30fps
* Video Component Out
* Autofocus
* Battery Operated

### Examples

* Canon: Legria HF R26
* Panasonic Lumix: G5, G3

# Mid Budget Cameras

$500-$2500

### Possible Specifications

* <= 1920x1080p resolution.
* Variable frame rate; 23.976, 24, 25, 29.97, 30, 50, 60.
* Select-able Aspect ratio from 4:3, 16:9, 2.35:1.
* 4:4:2 colour representation.
* Custom and Auto Exposure.
* User settable white balance.
* Records to Internal/External HDDs, SD Cards or CF Cards.
* Possible interchangeable lens.
* Reasonable Low-light abilities.
* Liveview functions.
* Records video metadata (date, time)
* Video Component/HDMI out.
* Manual and/or Autofocus
** User has direct, mechanical control over the focus and zoom.
** Eye tracking to control where to focus and exposure
* Audio inputs (3.5mm jack)
* Manual Audio Levels
* User-upgradable firmware

### Examples

* DSLRs
** Canon EOS: 550D, 600D, 650D, 60D, 7D, 5DMII(I)
** Panasonic Lumix: GH1, GH2 (Technically mirror-less)
* Camcorders
** Canon: XA10

# Higher Budget Cameras

$2500-$100,000

### Possible Specifications

* 1080p-5k resolution
* 4:4:4 Colour Representation (Uncompressed RAW)
* Interchangeable Lens
* Manual Focus
* Custom Exposure and White balance settings
* Records to internal/external SSD
* HD/SDI
* XLR Inputs
* Audio Monitoring
* Manual Frame rates: 1-300fps+
* Manual Aspect Ratios: 4:3, 16:9, 2.35:1.
* Records video metadata (Date, Time, Scene number, Take number, Timecode)
* Timecode in.
* PL or other mount.

### Examples

* RED: Scarlet, One, Epic.
* ARRI: Alexa
* SONY: FS700
* CANON: C300, 1D-C

# Hollywood Budget Cameras

$100,000+

### Examples

EXPENSIVE
* 45mm Film
* IMAX film
# Movie Making Manual/Casting Directors

To help you to get some actors for your movie, you're going to need some Casting Directors. Casting Directors are the people who help pick out people to act in your movie. The Casting Directors hold auditions to get actors to act out a snippet of the script and the person who does it best gets picked for the movie.

### Where do I get actors?

One of the best places to announce auditions, is of course institutions like drama/theater schools. Also use online community forums like IMDB Pro.
Drama students can often be convinced to do a movie very cheap or for free — especially if it's their first and it's a low budget film.
# Movie Making Manual/Cinematography/Cameras and Formats/AG-HVX200

The Panasonic HVX-200 is a low-cost professional fixed lens HD camera released in December 2005 (NTSC) and April 2006 (PAL).

## Features

* Variable frame rates and resolutions, including (in the NTSC version):
   * 1080: 60i, 30p
   * 720: 60p, 48p, 36p, 32p, 30p, 26p, 24p, 22p, 20p, 18p, 12p
   * 480: 60i, 30p, 24p
* Professional/Robust format (DVCPRO-HD)
* Tapeless recording (P2 memory cards)
* Professional Audio (48 kHz 16-bit 4-channel PCM audio, 2xXLR)

### Competitors

In the field of semiprofessional HDTV cameras, the main competitors of the HVX200 (all of which use the HDV format) are (as of January 2006):
* Sony HVR-Z1
* Canon XL H1
* JVC HD100

## Films made with the HVX200

* American Standard (2007)
* Cloverfield (2008)

## Tips and tricks

* Additional framerates: How to add 720p 2,3,4,6,8,10,14,16,23,27,28,34,38,40,42,44,46,50,52,54,56,58 fps: info
* Flipping the internal LCD screen (for use with 35 mm adapters): info

## Links

* Specs on the Panasonic.com website
* Focus Enhancment's press-release about a FireStore direct-to-disk system for the HVX200
* Panasonic Pressroom AG-HVX200 FAQ
# Movie Making Manual/Cast Contract
### Non-Union Contract

RELEASE FORM
I, __________________________ do hereby confirm the consent heretofore given you with respect to your photographing me in connection with your motion picture/video: Title: apocalypse Z! and I hereby grant to you, your successors, assigns and licensees the perpetual right to use, in any manner or in any media currently existing or which may be developed in the future, as "Wake-up" Entertainment may desire, all video, still and motion pictures and sound track recordings and records which you may make of me or of my voice, and the right to use my name or likeness in or in connection with the exhibition, advertising, exploitation or any other use of such motion picture or recording. I understand that "Wake-Up" Entertainment will provide to me a copy of the film on DVD or other media for my personal use only. I will not sell said copy or use it for any commercial purposes such as broadcasting, streaming online or Home Video- DVD releases. I shall receive a limited license to use the copy for personal promotional purposes, which shall be limited to using a maximum of 30 seconds of the film on my personal website. I also understand that it takes a significant amount of time to complete a film – and in some cases student films are abandoned and not completed at all. If the filmmaker has promised a tape of the film I agree to allow a reasonable amount of time to elapse after the performance for completion (i.e. six months). I agree that should the film/tape not be completed I will take no action against "Wake-Up" Entertainment or its President.
I am over eighteen years of age. (initial here) _____
I am under eighteen years of age. (initial here) _____ Parent/Guardian signature required.
Signature : _______________________________ (Parent/Guardian if under eighteen years of age) Name (print) : _______________________________ Home address : _______________________________ Phone number : _______________________________ Character name: _______________________________
Date: _______________________________

### Union Contract

The contract above is for non-union actors. For actors who belong to a union (in the USA and Canada, the Screen Actors Guild), you must talk to a SAG representative (lawyer). For low budget movies, there are special agreements. But understand that when you sign most of the SAG agreements (which appear very simple), you also agree to the SAG Basic Agreement which is not simple and is not available to the public. There are restrictions which are not obvious. Signer beware!!!
# Movie Making Manual/Cinematography

This Module is part of the Cinematography section of the Movie Making Manual
Cinematography is the creation of motion picture images. It can involve the use of film or digital imagery, usually with a movie camera. It is closely related to the art of still photography. Many additional technical difficulties and creative possibilities arise when the camera and elements of the scene may be in motion.

## Subtopics

There are many aspects and subtopics of Cinematography, some of these include:

### The Camera

The guide referenced above contains features in cameras that you should look for in different price ranges. These ranges include:
* Low Budget (<$1,200)
* Mid Budget ($1,200-$10,000)
* High Budget ($10,000+)
NB: This is not a complete list of cameras.

### Moving the Camera

Moving the camera can be one of the best ways to portray emotion within cinematography. Some of the ways to move a camera include:
* Handheld
* Dolly / Slider
* Jib / Crane
* SteadiCam
* Shoulder Rigs
* Copters
* Drones

### Filtration

The use of filters or polarizers during filming can be essential or highly recommended to achieve a certain style. Some quick examples include:
* Neutral Density (Graduated) Filters
* Linear and Circular Polarizers
* Ultra Violet Filters

### Aspect Ratio

Aspect ratio is the width:length ratio of an image. What aspect ratio is best to shoot in, or is it better to shoot anamorphic? Common aspect ratios include 16:9 and 2.35:1.

## Learning and Other Resources
### Internet Forums

* See the online resources section for more links.

### Books

* 5 Cs of Cinematography
* 'New Cinematographers' by Alexander Ballinger.
* "Principal Photography" by Vincent LoBrut
* "Matters of Light and Depth" by Ross Lowell
* "A Man with a Camera" by cinematographer Nestor Almendros
* "Cinematography: Theory and Practice" by Blain Brown (Focal Press)
* "Motion Picture and Video Lighting" by Blain Brown (Focal Press)
* "The Filmmaker's Pocket Reference" by Blain Brown (Focal Press)
* The ASC manual
* Reflections
* Any number of college/university textbooks on Cinematography can be found at used bookstores for a fraction of their original cost..

## Notes

This section of Cinematography is only referring to the visual production side. Meaning, this page is only representing capturing the image. For more information on lighting and other cinematography topics, refer to Cinematography.

## Further Reading

Cinematography (Wikipedia)
# Movie Making Manual/Cinematography/Aspect ratios

This Module is part of the Cinematography section of the Movie Making Manual
Please note that much of this content is present in WikiPedia and we should try to consolidate the two.
The aspect ratio of a screen is its width-to-height ratio. Aspect ratio is independent of screen size. A television screen 14 inches wide and 10.5 inches high has the same aspect ratio of a television screen 25 inches wide and 18.75 inches high. This aspect ratio is 4:3, or 1.33:1 (1.33 times as wide as it is high).
When referring to the aspect ratio you generally refer either to the terms “4 by 3” or “16 by 9” for television; for film you refer to the aspect ratio as the numerical term, eliminating the decimal point and the “:1.” Therefore, you would refer to 1.85:1 as simply ”one-eight-five.”
A topic related to aspect ratio is that of Pixel aspect ratio
Cinema and television screens have used a number of different aspect ratios over the years. The following are the common ratios in use today:
* 1.33:1 aka 4:3. Standard for non-widescreen television.
* 1.37:1 (aka “Academy Standard Flat”) This is the frame size of standard 35mm sound film when using 4 perferations. While no films are distributed in this format many projects are shot in 1.37:1 and matted (or cropped) horizontally to fit other aspect ratios.
* 1.66:1 (aka "European widescreen") Matting the Academy Standard Flat on the top and bottom to achieve a wider aspect ratio derives this aspect ratio. Super 16mm is natively 1.66:1.
* 1.77:1 (aka 16:9) This is the standard ratio for widescreen television and all HDTV formats.
* 1.85:1 (aka "Academy Standard Flat Matted") This is one of two major projection formats in American cinema, derived from matting the Academy Standard Flat on the top and bottom to achieve a wider aspect ratio. This aspect ratio can be shot using a 3-perf 35mm camera without wasting any negative. 3-perf 1.85:1 is becoming very popular again in this age of the Digital intermediate.
* 2.35:1 This is usually achieved by matting the 4-perf academy standard 35mm frame. But this wastes a lot of the negative so many people prefer to shoot using matted 3-perf or 2-perf (2-perf was once known as Techniscope). 2-perf uses the least film but it's also the rarest so it's tough to find the cameras and the telecine facilities.
* 2.39:1 AKA Anamorphic. This is the widest format available for modern cinema. It uses standard 35mm sound film with the image squeezed horizontally using anamorphic lenses. When projected a special anamorphic lens unsqueezes the image. These anamorphic lenses have some disadvantages compared to normal lenses.

## Wikipedia links

* Cinemascope
* Aspect Ratio (image)
# Movie Making Manual/Cinematography/Cameras and Formats/Celluloid

This Module is part of the Cinematography section of the Movie Making Manual
Note that wikipedia has some excellent articles on celluloid that we should not try to replicate, instead we should point to these articles
How celluloid works
* Super 8mm Film
* 16mm Film
* 35mm Film
* 70mm Film
* IMAX

## 2 perf 35mm

For a general description of 2-perf 35mm, see here:
http://en.wikipedia.org/wiki/3-perf_pulldown#2-perf

### Suppliers of 2-perf cameras

* Solid Entertainment (based in Malmo in Southern Sweden)
* Mark Hope-Jones, mhope-jones@arrimedia.com (London, UK)

### Costs

GBP:

# External Links

* Why Do Images Captured on Celluloid Have A Sort of Glossy Look When Well Mastered DV Footage Doesn't? - from UKFilm.org
# Pros

* Good image quality
* Interchangable lenses
* Tried and tested - used in 28 Days Later.

# Cons

* The supplied zoom lens has horrible electronic "manual" controls over the zoom and focus - there's no direct mechanical coupling between the rings and the glass. It's pretty tough to zoom smoothly or to focus responsively
* No XLR mic support
* No true 16:9
* No LCD screen
* Not HDV