Problem: Article: At this point, you should have a list of potential centers. Each of these should offer generalized plans, but some may have a worker sit down with you to come up with a personalized plan. Make a list of pros and cons for available plans so you can best determine which is right for you. After listing pros and cons for your plans, compare your lists. Remove plans with more cons than pros, and give higher priority to the list(s) with the most pros. Some cons may be weightier than others. For example, a price difference of $10 might not be a big deal to you, but a center that is only open while you work, even if it has great plans, may be impossible. With your list of pros and cons this should be relatively easy. However, if you're still struggling to choose one center over another, you may want to factor atmosphere, cleanliness, equipment, and so on into your evaluation. Depending on your training plan, your center may recommend certain days that are best for you to come into your recovery center. Other centers may be looser with scheduling. but in any case, you should try to keep a consistent schedule for best results. Once you've decided on a recovery center and a suitable plan to facilitate your recovery, you're ready to pay. Some centers may require a membership up front, but others allow walk-in appointments as well. Recovery centers can frequently be expensive. This is because of the specialized equipment and care provided. In some cases, you may be able to set up a payment plan with your particular center.
Summary: Compare the available recovery plans. Choose the plan and center that suit your needs. Schedule appointment times. Pay for your recovery center membership.

Problem: Article: Just place the frozen pineapple in the blender, follow the recipe for the drink or smoothie, and enjoy. Remember to use a bit less ice, since the frozen pineapple will add some extra icy flavor to the beverage. Just take it out of the freezer and take a bite into the tasty, frozen fruit. Frozen fruit is delicious, and you can try the same trick with blueberries, raspberries, or any other fruit. It'll have an extra icy flavor that will make it taste even more delicious -- a little bit like ice cream. If you want to eat the pineapple raw but don't want it to be frozen, just place it in the refrigerator and thaw it overnight. Then take it out of the refrigerator and enjoy it on its own or drizzle it with a bit of lemon juice first. You can also add it to any fruit salad of your choice.
Summary: Place the frozen pineapple in a smoothie or frozen drink. Eat the pineapple raw. Thaw the frozen pineapple.

Problem: Article: As with other forms of animation, a storyboard provides a guide to the animators and a means to communicate to others how the story is to flow. As with pen-and-ink animation, stop-motion animation relies on creating numerous pictures of images to be displayed in rapid sequence to produce the illusion of motion. Stop-motion animation, however, normally uses three-dimensional objects, although this is not always the case. You can use any of the following for stop-motion animation: Paper cut-outs. You can cut or tear pieces of paper into parts of human and animal figures and lay them against a drawn background to produce a crude two-dimensional animation. Dolls or stuffed toys. Best known with Rankin-Bass' animated productions such as Rudolph, The Red-Nosed Reindeer or Santa Claus Is Coming to Town and Adult Swim's Robot Chicken, this form of stop-motion dates back to Albert Smith and Stuart Blackton's 1897 The Humpty Dumpty Circus. You'll have to create cutouts for the various lip patterns to attach to your stuffed animals if you want to have them move their lips when they speak, however. Clay figures. Will Vinton's Claymation animated California Raisins are the best-known modern examples of this technique, but the technique dates back to 1912's Modelling Extraordinary and was the method that made Art Clokey's Gumby a TV star in the 1950s. You may need to use armatures for some clay figures and pre-sculpted leg bases, as Marc Paul Chinoy did in his 1980 film I go Pogo. Models. Models can be either of real or fantasy creatures or vehicles. Ray Harryhausen used stop-motion animation for the fantastic creatures of such movies as Jason and the Argonauts and The Golden Voyage of Sinbad. Industrial Light & Magic used stop-motion animation of vehicles to make the AT-ATs walk across the icy wastes of Hoth in The Empire Strikes Back. As with pen-and-ink animation, you'll need to have a scratch soundtrack to synchronize the action to. You may need to create an exposure sheet, a bar sheet, or both. As with pen-and-ink animation, you want to work out the timing between the soundtrack and the animation before you start moving objects around. If you plan to have speaking characters, you'll have to work out the correct mouth shapes for the dialog they're to utter. You may also find it necessary to create something similar to the photomatic described in the section about pen-and-ink animation. This part of stop-motion animation would also be similar to how a cinematographer blocks out a live-action movie, even more so than for pen-and-ink animation, since you're most likely working in three dimensions as in a live-action movie. As with live-action film, you'll more likely have to be concerned with actually lighting a scene as opposed to drawing in the effects of light and shadow as you would in pen-and-ink animation. You'll probably want to have your camera mounted on a tripod to keep it steady during the shooting sequence. If you have a timer that lets you take pictures automatically, you may want to use it if you can set it for long enough periods to let you adjust the components during the scene. Repeat this until you have completed photographing the entire scene from start to finish. Animator Phil Tippett developed a way to have some of the moving of models controlled by computer to produce more realistic motions. Called "go motion," this method was used in The Empire Strikes Back, as well as in Dragonslayer, RoboCop, and RoboCop II. As with photographed cels in pen-and-ink animation, the individual shots from stop-motion animation become film frames that produce the illusion of motion when run one after the other.
Summary:
Prepare the storyboard. Choose the kind of objects to be animated. Record a preliminary soundtrack. Synchronize the soundtrack and storyboard. Lay out the story scenes. Set up and photograph the components of the scene. Move the items that need to be moved and photograph the scene again. Assemble the photographed images into a sequence.