OpenLLM-France/wikimedia huggingface dataset:
# Film editing/Understanding "L-Cuts"

Narrative Film Production:
Course: Fundamentals of narrative film editing (which is editing a conversation from a dramatic scene with scripted dialog.)
This lesson is:
Understanding "L-Cuts" in dialog editing
The pages of this lesson are:
Summary - "Hearing Voices" & "Fireworks Display"
What are "L-Cuts"?
When are "L-Cuts" allowed?
"Hearing Voices" DVD-Video
"Fireworks Display" DVD-Video :
Editing a conversation means creating "L-Cuts" Learning the theory of "L-Cuts" - The most important lesson in film editing :
| Lesson summary Two disks The Star Movie Shop created two DVD-Video disks about "L-Cuts". These disks are called "Hearing Voices" and "Fireworks Display". Even though the Star Movie Shop is no longer open to the public, your instructor can still loan you these disks if you promise to return each disk in one month. "Hearing Voices" This DVD-Video/Data disk is a simple introduction to "L-Cuts" and cut-away (insert) short. This disk is more entertaining. "Fireworks Display" This DVD-Video/Data disk explains completely the uses of "L-Cuts". The disk shows you examples of the four different ways that "L-Cuts" can be used to enhance the telling of the story. This disk is more theoretical. Execellent homework These disks are good for studying at home. If your school has these disks, take them home and study them carefully. Many of the effects are only a few frames long. Therefore, you need time to understand what is happening. | The theory of "L-Cuts" Sound edit vs. picture edit An "L-Cut" is where the audio and the picture are edited at differently. This physical difference is the "L-Cut" because it look like an "L" in the timeline. But realize that "L-Cuts" are much more than just separate edits of audio and video. "L-Cuts" change the mood of the scene. Always in sync You need to understand one thing about "L-Cuts". Even though the picture and the audio tracks are edited separately, the audio remains in perfect sync with the picture. If you do not do "L-Cuts" correctly, you can create a mess if you are not careful. Do it the easy way Creating an "L-Cut" can be extremely difficult. That is why the lessons of the Star Movie Shop show you a very easy procedure for editing a conversation which automatically creates "L-Cuts" without any effort. Very easy! |
* The next page
* The next page tells more about L-Cuts.
* What are "L-Cuts"?
* Contact your instructor
* Your instructor for this class is Robert Elliott. To email me, you simply Click Here.
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# Film editing/Understanding "L-Cuts"/Fireworks Display

Narrative Film Production:
Course: Fundamentals of narrative film editing (which is editing a conversation from a dramatic scene with scripted dialog.)
This lesson is:
Understanding "L-Cuts" in dialog editing
The pages of this lesson are:
Summary - "Hearing Voices" & "Fireworks Display"
What are "L-Cuts"?
When are "L-Cuts" allowed?
"Hearing Voices" DVD-Video
"Fireworks Display" DVD-Video :
Four ways to use "L-Cuts" :
| The ultimate two way conversation Four different ways to use "L-Cuts" The best way to learn about editing a conversation is to get the film dailies for a scene and edit the scene. In this case, you see the scene edited four different ways. The only difference is the "L-Cuts" yet the impact is huge. The story A rich man is talking to the workmen about a fireworks display that he wants for the picnic. The workmen think he is crazy. So will you. A challenge This scene was shot quickly with only a few shots to get all the coverage. Not all the shots match perfectly. The performances change from the wide angle shot to the close up shot. So you must worry about a lot of things, not just how to create "L-Cuts". | A simple scene from a TV drama DVD-Video disk The Star Movie Shop has a disk which shows a two way conversation. The disk is called "Fireworks Display". The disk is both a DVD-Video with a demonstration of how this scene can be edited. You just watch the demos and see the many options. Also the disk is a DVD-Data disk containing all the film dailies for use in your editing program. Enough points? If you have enough points, let me know and the disk will be send to you. |
| Who do you want to emphasize? L-Cuts emphasize one actor over the other This disk contains the unedited film footage of one scene which has two people talking. This is probably the absolute ideal conversation to explore. All the examples that are on this disk as just from "L-Cuts". In a conversation, you can use "L-Cuts" to: See the speaker who is talking. See the listener before he begins to speak. This gives the feeling of anticipation. See the listener after he finishes speaking. This shows the listeners reaction. Emphasize one actor over another. Your will see that making "L-Cuts" and adding cut away shots changes the way that the audience interprets the scene. IRou editing creates the emotional content of the scene. | Very Educational Educational but boring! This is concidered the most boring disk from the Star Movie Shop. This is because you will see this scene edited four different ways. The difference is only with the "L-Cuts". Everything else is the same (or almost the same). |
* The next lesson
* The next lesson discusses editing a conversation to add narrative music.
* Contact your instructor
* Your instructor for this film editing class is Robert Elliott. You can email me by clicking here.
# Film editing/Understanding "L-Cuts"/What is

Narrative Film Production:
Course: Fundamentals of narrative film editing (which is editing a conversation from a dramatic scene with scripted dialog.)
This lesson is:
Understanding "L-Cuts" in dialog editing
The pages of this lesson are:
Summary - "Hearing Voices" & "Fireworks Display"
What are "L-Cuts"?
When are "L-Cuts" allowed?
"Hearing Voices" DVD-Video
"Fireworks Display" DVD-Video :
Editing the picture and the audio differently :
| Who's in charge? Definition of conversation The definition of a conversation is two or more people talking back and forth, back and forth without any pauses. When this happens, the rules of film editing change. In an action sequence, the editing is done based on the visual image (the picture). But when you have a conversation, things change. The picture is no longer important. Sound vs. Picture In a conversation, the most important thing is the words. The words must flow naturally or the audience gets very upset. If the picture looks bad in a conversation, people call it art. But if the dialog sounds bad, people complain. Natural rhythm When people talk, there is a natural rhythm. Back and forth, back and forth. In a conversation, sound is the most important element. This sound must have a natural rhythm. | What are 'L-Cuts"? Editing audio and video separately In a conversation, the audio and the picture are usually busy doing different things. Therefore, it is only natural that the audio edits and the video edits do not happen at the same point in time. This is called an "L-Cut" because, if you look at the timeline, the edit looks like an "L". (Well, sort of!) How to add an "L-Cut If you try to figure out exactly how to edit the picture and the audio separately at the same time, you will go bonkers (nuts, crazy, insane, etc.) It gets very complicated. Some editors like to do this but I do not recommend this. At the Star Movie Shop, they never edit the audio and the picture at the same time. Instead, they start with the most important element which is audio. This makes editing so much easier!!!! More than just separate edits "L-Cuts" are more than just separate edits of the picture and the audio. "L-Cuts" also create emotion. This lesson shows you how to create "L-Cuts" for a conversation and then tries to explain the different emotions that you can create with "L-Cuts". |
* The next page
* "L-Cuts" are a trick. But this trick only works at certain times. When can you use "L-Cuts"?
* When are "L-Cuts" allowed
* Contact your instructor
* Your instructor for this film editing class is Robert Elliott. You can email me by clicking here.
# Food in Latin Literature/Vergilius

Eclogae
1.80
Tityrus
80 Hic tamen hanc mecum poteras requiescere noctem
fronde super viridi: sunt nobis mitia poma,
castaneae molles, et pressi copia lactis;
et iam summa procul villarum culmina fumant,
maioresque cadunt altis de montibus umbrae.
2. 51
Ipse ego cana legam tenera lanugine mala,
castaneasque nuces, mea quas Amaryllis amabat;
addam cerea pruna: honos erit huic quoque pomo;
et vos, O lauri, carpam, et te, proxima myrte,
55 sic positae quoniam suavis miscetis odores.
# Football (soccer)/Skills

This page will be about famous skills used by known soccer players.
# Football (soccer)/Goalkeeping

This page is a sub link from the Football (soccer) page. It teaches the user how to play football as the goal keeper, as it requires unique skills to the ones of the other players.

## Aim of the goalkeeper

The aim of the goalkeeper, is to stop the ball from entering the goal, which can be shot at by any player of the opposition team, from entering the goal. The goalkeeper is allowed to use any way possible to stop it. Goalkeepers need good agility, awareness and strength. They do not have an effect on the offside rules. But can still be penalised. They could even score, if the goalkeeper fails to stop the ball.

## Goalkeeping techniques

* Grab - The Goalkeeper can grab or snatch the ball if it comes near. They often do it if the ball is not evalated and not very fast. It is a basic move
* Dive - The diving technique is recommended for high shooting fast balls. The goalkeeper dives in the appropiate direction upwards in order to push the ball outwards. It is for very advanced keepers often enough.
* The boot - If an unguarded ball comes towards the goalkeeper, or a ball at a very low speed. They can boot it upwards away from the goal towards the other half of the pitch.

## Goal kicking and movement

If a shot of the ball from the other team misses the goal in their shoot. Its a goal kick, the goal keeper gets a kick with the ball freely, and must pass it to the other team members by either foot, or by throwing it. Note, the goalkeeper cannot pick the ball up outside of their box. If they do that, it causes a free kick.
# Football (soccer)/Defensive Skills
## Defender

A defender, in soccer/football, is a player who is an outfield player who tries to prevent from the opposing player from attacking (Simply, getting passed them to the goal). Defenders are somewhat like "mini goalies". But they don't use their hands and they are outfield players.

## Tackling for the ball

"Tackling" does not refer to punching and kicking and violence; if used so, they would be given a red card and be sent off the pitch. Instead, tackling refers to diving with the ball, to get the ball. Have confidence of getting the ball.
The picture on the right is a perfect example of what a Defender must do if the player gets "annoying". Tackling, in soccer/football, refers to diving, sliding down to the ball and snatch the ball with your feet. And then pass it to a player which is up closer to the goal.

## Skills & Moves

* Tackling - As mentioned above, tackling is the best way for Defenders to prevent the ball getting passed them.
* When having the ball, take care to go fast and keep the ball away from the other opposite team's player.
* Dribbling - When passing through the opposing team to pass the ball to a forward. Make sure you are fast on your feet and all eyes on the ball too. Make sure you move swiftly with the ball, tapping it while dribbling. Then, pass it on to another defender who is up on the field, or usually, a forward.
# PlanetPhysics/Grothendiecks Esquisse Dun Programme
### "Esquisse d'un Programme" (original document was written by Alexander Grothendieck)
#### A Concise Summary and Outline of "Esquisse d'un Programme":

An influential research proposal submitted by Alexander Grothednieck in 1984 that continues to inspire even today several related areas of mathematics. Of considerable interest to many mathematicians are the recent Galois groupoid and categorical generalizations of Galois theory initiated by Alexander Grothendieck, now developed towards maturity by several other seasoned mathematicians.
Abstract of the paper (In French: "Sommaire")
* The Proposal and enterprise (Envoi).
* Teichm\"uller's Lego-game and the Galois group of Q over Q ("Un jeu de "Lego-Teichm\"uller et le groupe de Galois de Q sur Q).
* Number fields associated with "dessin d'enfants".
(or in orig. : Corps de nombres associ\'es \`a un dessin d' enfant).
* regular polyhedra over finite fields ("Poly\'edres r\'eguliers sur les corps finis").
* General topology or a `Moderated topology' ("Haro sur la topologie dite 'g\'en\'erale', et r\'eflexions heuristiques vers une topologie dite ``mod\'er\'ee").
* Differentiable theories and moderated theories ("Th\'eories diff\'erentiables" (\`{a} la Nash) et "th\'eories mod\'er\'ees").
* Pursuing Stacks ("\`A la Poursuite des Champs").
* Digression on two-dimensional geometry ("Digressions de g\'eom\'etrie bidimensionnelle";
now called "Higher Dimensional Algebra" that Alexander Grothendieck anticipated by several years).
* A Synthesis of the proposed Research Activity (Bilan d'une activit\'e enseignante).
* Epilogue.
* Notes
\mathbf Reference
Alexander Grothendieck, 1984. "Esquisse d'un Programme", (1984 manuscript), finally published in "Geometric Galois Actions", L. Schneps, P. Lochak, eds., London Math. Soc. Lecture Notes 242,Cambridge University Press, 1997, pp.5-48; English transl., ibid., pp. 243-283. MR 99c:14034.
# PlanetPhysics/Grassmann Hopf Algebroid Categories and Grassmann Categories

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### Grassmann-Hopf Algebroid Categories and Grassmann Categories

The categories whose objects are either Grassmann-Hopf al/gebras , or in general $G-H$ algebroids, and whose morphisms are $G-H$ homomorphisms are called Grassmann-Hopf Algebroid Categories .
Although carrying a similar name, a quite different type of Grassmann categories have been introduced previously:
Grassmann Categories (as in) are defined on $k$ letters over nontrivial abelian categories Failed to parse (unknown function "\A"): {\displaystyle \mathbf{\A}} as full subcategories of the categories Failed to parse (unknown function "\A"): {\displaystyle F_{\mathbf{\A}}(x_1,...,x_k)} consisting of diagrams satisfying the relations: $x_{i}x_{j}+x_{j}x_{i}=0$ and $x_{i}x_{i}=0$ with additional conditions on coadjoints, coproducts and morphisms.
They were shown to be equivalent to the category of right modules over the endomorphism ring of the coadjoint $S(R)$ which is isomorphic to the Grassmann--or exterior--ring over $R$ on $k$ letters $E_{R}(X_{1},...,X_{N})$.
# PlanetPhysics/Grothendieck Category Lemma
### Introduction: proper generator

Let us recall that a generator of a Grothendieck category ${\mathcal {G}}$ is called proper if $U$ has the property that a monomorphism $i:U'\to U$ induces an isomorphism $Hom_{\mathcal {G}}(U,U)\cong Hom_{\mathcal {G}}(U',U)$ if and only if $i$ is an isomorphism (viz. p. 251 in ref. ).

### Grothendieck category lemma

\begin{lemma} Any Grothendieck category ${\mathcal {G}}$ has a proper generator. \end{lemma}
# PlanetPhysics/Gradient

The gradient is the vector sum of the resultant rate of increase of a scalar funcion $V$ and is denoted $\nabla V$. It represents a directed rate of change of $V$. A directed derivative or vector derivative of $V$, so to speak. In cartesian coordinates
   $\nabla V={\frac {\partial V}{\partial x}}{\mathbf {\hat {i}} }+{\frac {\partial V}{\partial y}}{\mathbf {\hat {j}} }+{\frac {\partial V}{\partial z}}{\mathbf {\hat {k}} }$
It is common to regard $\nabla$ as the gradient operator which obtains a vector $\nabla V$ from a scalar function $V$ of position in space.
$\nabla V=\left({\frac {\partial }{\partial x}}{\mathbf {\hat {i}} }+{\frac {\partial }{\partial y}}{\mathbf {\hat {j}} }+{\frac {\partial }{\partial z}}{\mathbf {\hat {ik}} }\right)V$
Thus it is easy to work with just the gradient operator
   $\nabla ={\frac {\partial }{\partial x}}{\mathbf {\hat {i}} }+{\frac {\partial }{\partial y}}{\mathbf {\hat {j}} }+{\frac {\partial }{\partial z}}{\mathbf {\hat {k}} }$
This symbolic operator $\nabla$ was introduced by Sir W. R. Hamilton. It has been found by experience that the monosyllable del is so short and easy to pronounce that even in complicated formulas in which $\nabla$ occurs a number of times no inconvenience to the speaker or hearer arises from the repetition. $\nabla V$ is read simply as "del $V$."

### Coordinate System Independence

Although this operator $\nabla$ has been defined as
$\nabla V={\frac {\partial }{\partial x}}{\mathbf {\hat {i}} }+{\frac {\partial }{\partial y}}{\mathbf {\hat {j}} }+{\frac {\partial }{\partial z}}{\mathbf {\hat {k}} }$
so that it appears to depend upon the choice of the axes, it is in reality independent of them. This would be surmised from the interpretation of $\nabla$ as the magnitude and direction of the most rapid increase of $V$. To demonstrate the independence take another set of axes, ${\mathbf {\hat {i}} '}$, ${\mathbf {\hat {j}} '}$, ${\mathbf {\hat {k}} '}$ and a new set of variables $x'$, $y'$, $z'$ referred to them. Then $\nabla$ referred to this system is
$\nabla '={\frac {\partial }{\partial x'}}{\mathbf {\hat {i'}} }+{\frac {\partial }{\partial y'}}{\mathbf {\hat {j'}} }+{\frac {\partial }{\partial z'}}{\mathbf {\hat {k'}} }$
(Please Insert PROOF here...)
Leaving behind the proof of coordinate system independence, here is the gradient opertor in the most common coordinate systems.
Cartesian Coordinates
   $\nabla V={\frac {\partial V}{\partial x}}{\mathbf {\hat {i}} }+{\frac {\partial V}{\partial y}}{\mathbf {\hat {j}} }+{\frac {\partial V}{\partial z}}{\mathbf {\hat {k}} }$
Cylindrical Coordinates
   $\nabla V={\frac {\partial V}{\partial r}}{\mathbf {\hat {r}} }+{\frac {1}{r}}{\frac {\partial V}{\partial \theta }}{\mathbf {\hat {\theta }} }+{\frac {\partial V}{\partial z}}{\mathbf {\hat {z}} }$
Spherical Coordinates
   $\nabla V={\frac {\partial V}{\partial r}}{\mathbf {\hat {r}} }+{\frac {1}{r}}{\frac {\partial V}{\partial \phi }}{\mathbf {\hat {\phi }} }+{\frac {1}{r\sin \phi }}{\frac {\partial V}{\partial \theta }}{\mathbf {\hat {\theta }} }$
# PlanetPhysics/Grothendieck's Publications
### Bibliography- a list of Grothendieck's publications

This list of 64 published papers can be downloaded online at: Alexander Grothendieck's Publications, (in French)
# PlanetPhysics/Grothendieck's Theorem

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{\mathbf Grothendieck's theorem}: Every ${\mathcal {A}}b5$ category with a generator has an injective cogenerator (Grothendieck 1957). \end{theorem}
This initial statement of Grothendieck's theorem is now restated as: \begin{theorem} Every Grothendieck category ${\mathcal {G}}$ has an injective cogenerator. \end{theorem}
# GIMP/Review

| Review by Robert Elliott GIMP - Macintosh version I am reviewing the Macintosh OS X version. There are versions for a dozen other operating systems. Anyone interested in filmmaking should immediately download this free program. It is fun! Note: there are two versions of GIMP. One for developers and one for normal people. Do NOT download the version on the GIMP org page. Instead follow the instructions at GNU Image Manipulation Program (GIMP). | Uses at Wikiversity Film School Adobe Photoshop replacement Storyboarding |
| Review by Robert Elliott GIMP - Macintosh version I am reviewing the Macintosh OS X version. There are versions for a dozen other operating systems. Anyone interested in filmmaking should immediately download this free program. It is fun! Note: there are two versions of GIMP. One for developers and one for normal people. Do NOT download the version on the GIMP org page. Instead follow the instructions at GNU Image Manipulation Program (GIMP). | Rating Five Stars For filmmakers who want a free version of Photoshop, this is a good start. |
# GMAT Test Help
## Free GMAT and MBA Help Area for Students
### GMAT Test Information

* Detailed Overview of the GMAT
** The Analytical Writing Section
** The Quantitative Section
** The Verbal Section
* Computer-Adaptive (CAT) Format
* Your GMAT Score and Score Report
* When to take the GMAT
* GMAT Registration Information

### Business School

* Business School Profiles
* A Day in the Life of an MBA Student

## See Also

* GMAT Sentence Correction Quizzes
# GMAT Test Help/GMAT Sentence Correction Quizzes/Quiz 2

Category:Quiz
GMAT Sentence Correction Quizzes/Quiz 3 --Vipulpratap 03:03, 6 June 2008 (UTC)
# GMAT Test Help/GMAT Sentence Correction Quizzes

List of Links for all GMAT Sentence Correction Quizzes on Wikiversity:
* Quiz 1
* Quiz 2
* Quiz 3
* Quiz 4
* Quiz 5
* Quiz 6
* Quiz 7
* Quiz 8
* Quiz 9
* Quiz 10
* Quiz 11
# GMAT Test Help/GMAT Sentence Correction Quizzes/Quiz 1

--Vipulpratap 03:02, 6 June 2008 (UTC)Category:Quiz
GMAT Sentence Correction quiz 2link title
Vipulpratap 14:57, 19 June 2008 (UTC)
# GMAT Test Help/GMAT Sentence Correction Quizzes/Quiz 3

Category:Quiz
GMAT Sentence Correction Quizzes/Quiz 4
--Vipulpratap 03:04, 6 June 2008 (UTC)
# GMAT Test Help/GMAT Sentence Correction Quizzes/Quiz 4

GMAT Sentence Correction Quizzes/Quiz 5
--Vipulpratap 03:05, 6 June 2008 (UTC)
# GMAT Test Help/GMAT Sentence Correction Quizzes/Quiz 5

GMAT Sentence Correction Quizzes/Quiz 6
--Vipulpratap 03:05, 6 June 2008 (UTC)
# Proofs of elementary ring properties

The following proofs of elementary ring properties use only the axioms that define a mathematical ring:

## Basics
### Multiplication by zero

Theorem: 0 ⋅ a = a ⋅ 0 = 0
0 ⋅ a = (0 + 0) ⋅ a = (0 ⋅ a) + (0 ⋅ a)

### Trivial ring

Theorem: A ring (R, +, ⋅) is trivial (that is, consists of precisely one element) if and only if 0 = 1.

### Multiplication by negative one

Theorem: (−1)a = −a
(-1)· a + a = (-1)· a + 1 · a = ((-1) + 1) · a = 0 · a = 0

### Multiplication by additive inverse

Theorem 3: (−a) ⋅ b = a ⋅ (−b) = −(ab)
To prove that the first expression equals the second one, (−a) ⋅ b = ((-1)⋅a) ⋅ b= (a⋅ (-1)) ⋅ b = a⋅ ((-1) ⋅ b) = a(−b).
To prove that the first expression equals the third one, (−a) ⋅ b = ((-1)⋅a) ⋅ b = (-1) ⋅ (a ⋅ b).
A pseudo-ring does not necessarily have a multiplicative identity element. To prove that the first expression equals the third one without assuming the existence of a multiplicative identity, we show that (−a) ⋅ b is indeed the inverse of (a ⋅ b) by showing that adding them up results in the additive identity element,
Template:Algebra-stub
# Pronunciation of 'S' before 'Y'

Many people get confused with the pronunciation s when precedes y. But here's a good point. An example could be shown, as in this year. Normally we pronounce it as /ðɪs jɪr/ (IPA), but this is actually pronounced as /ðɪʃjiə(r)/ (IPA).

## Pronunciation of S

The letter s has a sound of /s/ (IPA) but it also sounds as /z/ and /ʒ/ and sometimes /ʃ/. For examples, mess /mes/, rose /roʊz/, vision /ˈvɪʒn/, and tissue /'tɪʃu:/.

## Pronunciation of Y

Usually the letter y has a pronunciation of /j/ (IPA; spelled [y]). This letter is one of the two semivowels (the other is w). Words with the letter y are, youth /juːθ/, yolk /joʊk/ etc.

## Pronunciation of S when precedes Y

As mentioned above, this year is pronounced as /ðɪʃjiə(r)/, other words such as pass you, guess you, miss you etc. are pronounced with the same method.
Likewise, if a word ends with the pronunciation of /z/ (e.g. as, is etc.) and precedes a word starting with y, the pronunciation of /z/ should turn into /ʒ/. For examples, as you /æʒjuː/, is your /ɪˈʒjɔːr/ etc.
It doesn't have to be only y, but the same rule will follow if a word starts with the pronunciation of /j/. For example, his university /hɪˌʒjuːnɪˈvɜ:rsətɪ/, miss universe /mɪˈʃjuːnɪvɜː(r)s/.