Loading...

Soft and hard g
Quiz by whisper's life
Customize this quiz to suit your class
Instantly translate to 100+ languages
Tag the questions with any skills you have. Your dashboard will track each student's mastery of each skill.
Give this quiz to my class
Spelling - soft and hard 'g'
Filmic Techniques Based on the work of Brad Smilanich Mis-en-Scene: originally a French theatrical term arrangements of all the visual elements of the stage area in film â âthe contents of the frame and the way those contents are organizedâ include: lighting, costume, dĂŠcor, props, camera movement or distance . . . all photographic decisions etc. Proxemics: Spatial relationship among characters within the mis-en-scene Rule of Thirds: a compositional rule of thumb in painting, design, photography etc. suggests image divided into 9 equal parts with two vertical and two horizontal lines important elements of the mis-en-scene should be placed along these lines and their intersections some suggest aligning with intersections makes for more interesting pictures than just centreing the subject Proxemics Camera Distance: Quite literally, how far the camera is from the subject being filmed The Hand Camera Camera Distance: Quite literally, how far the camera is from the subject being filmed Extreme Close Up: Singles out one small portion of the body or object Used to intensify emotion, or show reaction Camera Distance: Close up Shot: Shows head of character or small significant object Used to show emotions Camera Distance: Medium Shot: shows figures from the waist up allows character to be seen within background Camera Distance: Long Shot: shows figures from feet up similar to the âstageâ in live theatre orients audience to figures within a location or surrounding Camera Distance: Extreme Long Shot: Sometimes called an âestablishing shotâ Panoramic view of an exterior location orients audience to a location Camera Distance: Camera Angle: Cameraâs angle of view relative to the subject being photographed High Angle Shot: looks down on the subject often used to make the subject look small and insignificant (in combination with camera distance) puts the camera (audience) in âpowerâ position Camera Angle: Low Angle Shot: looks up at the subject often used to make the subject look large and powerful puts the camera (audience) in a âsubmissiveâ position Camera Angle: Flat Angle Shot: camera on same plane as the subject feels most ânormalâ to an audience Camera Angle: Canted Shot: frame is unbalanced in relation to the subject may indicate a symbolic unbalance in the character Camera Angle: Camera Movement literally the camera moving with or around or to follow the subjects in the mis-en-scene or frame Camera Movement: Tilting Movement camera moves up or down on a horizontal axis similar to head nodding movement may be used to show subjects relation to surroundings Camera Movement: Panning Movement camera moves side to side on a vertical axis similar to head shaking movement may be used to establish setting Camera Movement: Dolly Movement camera mounted on a vehicle that moves along with the subject (camera moves, not pivots) follows the subject to signify something important Camera Movement: Crane Shot camera mounted on a crane or boom permits camera to move in & out, up & down, backward & forward often used for high aerial establishing shots Misc. Shots: Hand Held: camera carried to seem jerky, giving ârealistic feelâ Push In: camera moves up to a characterâs face to indicate an epiphany (realization) Spiral: camera circles subject for effect End for ELA 20-2 and 10-1 Shot Transitions/Editing: artificial editing done to string together multiple shots to create a narrative scene or sequence a cut is the change from one shot to another usually separated in to âsoftâ and âhardâ cuts Jump Cut: an instantaneous change from one shot to another this can be very natural or may disorient the audience, depending on how it is used Transitions/Editing Swish Pan: A pan where the speed of the camera is so fast that images are blurry used often to connect events in different settings that are connected by time Transitions/Editing Dissolve: transition where one shot gradually dissapears while another shot gradually appears often used to suggest change of setting or long time passage i.e. flashbacks Transitions/Editing Fade In/Out: transition where the shot gradually overexposes to white or underexposes to black often used to suggest a lengthy passage of time or change in location Transitions/Editing Wipe: transition where one shot is gradually eliminated as another shot moves onto the screen can be vertically or horizontally often suggests movement of the camera to another location Transitions/Editing Iris In/Out: transition where one shot gradually appears as an expanding circle in the middle of an old image suggests . . .??? Transitions/Editing Shot-Reverse Shot: one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconciously assumes that they are looking at each other. Transitions/Editing Two-Shot: Face-up shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Transitions/Editing Shot Transitions/Editing: Sound: used to reflect or enhance what is shown visually on the screen can include dialogue, music, sound effects, voiceover etc. Diegetic Sound: sound that has a source in the world of the story dialogue spoken by characters, sound made by objects, or music coming from a source grounded in the story of the film Non-diegetic Sound: sound that has a source outside the world of the story usually part of the score or the soundtrack Parallel Sound: sound that complements the image shown i.e. romantic music during a love scene Counterpoint Sound: sound that contradicts the âfeelingâ of the image a happy song played while images of graphic violence are portrayed Voiceover: voice of a non-visible narrator laid over the scene often provides some comment about the narrative of the film Sound Bridge: used to âsoftenâ the transition between one scene and another takes sound from the next shot and overlays it on the current shot 2-3 seconds earlier than we see the image Examples of Diegetic/Non-Diegetic: In the first clip, the non-diegetic music changes to diegetic music when the main character moves inside of the convenience store. In the second clip, the âduhn duhn duuuuhâ which often is non-diegetic becomes diegetic because it is the band in the passing bus playing that music! End for ELA 20-1 Lighting: Can be used by a director to: Control the mood of a scene guide a viewerâs eye to a specific place in mis-en-scene Emphasize and de-emphasize elements in frame Add texture and color Make people look beautiful, ugly, sinister, or angelic Standard 3-Point Lighting: uses three lights called the key light, fill light and back light forms the basis of most lighting. once you understand three point lighting you are well on the way to understanding all lighting. Key Light: main light usually the strongest and has the most influence on the look of the scene. it is placed to one side of the camera/subject so that side is well lit and other side has shadow. Fill Light: secondary light is placed on the opposite side of the key light used to fill the shadows created by key softer and less bright than key Back Light: placed behind the subject ; lights it from the rear. provides definition and subtle highlights around the subject's outlines. Separates subject from background provides a three-dimensional look. Standard 3-Point Lighting: http://www.zvork.fr/vls/ Try using this simulator to play with lighting with those 3 points.
Oral Manifestations of Viral Infections Viral infections can lead to a variety of oral manifestations, which may vary depending on the type of virus involved. Below are the key viral infections and their associated oral symptoms. --- 1. Herpes Simplex Virus (HSV) Infections Type: HSV-1 and HSV-2 Common Oral Manifestations: Primary Herpetic Gingivostomatitis: In children, presents as painful swelling and redness of the gums, with vesicular lesions on the lips, tongue, and hard palate. Recurrent Herpes Simplex: Cold sores (herpes labialis) often appear on the lips or around the mouth, and are painful and fluid-filled. Herpetic Whitlow: Infection of the fingers, often seen in healthcare workers. Clinical Features: Vesicular lesions that break to form ulcers Painful and burning sensations in affected areas Swollen lymph nodes Fever (during primary infection) Diagnosis: Direct immunofluorescence, PCR, or viral culture. --- 2. Varicella-Zoster Virus (VZV) Infections Type: Varicella (chickenpox) and Herpes Zoster (shingles) Common Oral Manifestations: Varicella: Enanthem (oral lesions) such as vesicular lesions on the hard palate, tongue, and lips, in conjunction with the characteristic skin rash. Herpes Zoster (Shingles): Unilateral painful oral lesions, often involving the hard and soft palate, and can extend to the tongue or buccal mucosa along the distribution of the trigeminal nerve. Clinical Features: Vesicular lesions that ulcerate Pain and discomfort in affected areas Fever, malaise, and headache (for chickenpox) Diagnosis: PCR, direct fluorescence antibody test, and clinical signs. --- 3. Human Papillomavirus (HPV) Infections Type: Multiple strains, including HPV types 16 and 18 Common Oral Manifestations: Oral Warts: Benign, non-painful growths typically found on the lips, palate, tongue, and floor of the mouth. Condyloma Acuminatum: Wart-like lesions in the mouth, often associated with genital HPV. Oropharyngeal Cancer: Certain high-risk HPV strains (e.g., HPV-16) are linked to cancers of the oropharynx, including tonsils and base of tongue. Clinical Features: Raised, fleshy, or cauliflower-like growths Rarely associated with pain or discomfort Diagnosis: Biopsy and PCR testing for HPV. --- 4. Coxsackievirus Infections Type: Hand, Foot, and Mouth Disease (HFMD) Common Oral Manifestations: Oral Ulcers: Painful, shallow ulcers typically seen on the soft palate, tonsils, tongue, and buccal mucosa. Vesicular Lesions: Small vesicles that ulcerate to form painful sores. Clinical Features: Red spots or vesicles that turn into ulcers Fever, sore throat, and malaise Rash and lesions on hands and feet Diagnosis: Clinical presentation and PCR. --- 5. Measles (Rubeola) Type: Paramyxovirus Common Oral Manifestations: Koplik Spots: Small, white or bluish-white spots seen on the buccal mucosa opposite the molars before the rash appears. Generalized Oral Ulceration: Following the appearance of Koplik spots, mucosal lesions may develop. Clinical Features: High fever, cough, and rash (starts on the face and spreads) Conjunctivitis Koplik spots as early indicators Diagnosis: Clinical signs and serology for measles antibodies. --- 6. HIV/AIDS Type: Human Immunodeficiency Virus Common Oral Manifestations: Oral Candidiasis: Fungal overgrowth in the mouth due to immunosuppression. Kaposi's Sarcoma: A form of cancer that appears as purple or brown lesions in the mouth, especially in the palate or gingiva. Oral Hairy Leukoplakia: White, hairy lesions on the lateral borders of the tongue, often associated with Epstein-Barr virus. Herpes Simplex and Zoster: Recurrent infections in the oral cavity. Clinical Features: Candidiasis: White plaques that can be scraped off Kaposiâs Sarcoma: Purple, macular lesions Hairy Leukoplakia: White, corrugated patches on the tongue Recurrent infections and oral ulcers Diagnosis: HIV testing, biopsy for Kaposi's sarcoma, and culture for candidiasis. --- 7. Influenza Virus Type: Influenza A and B Common Oral Manifestations: Pharyngitis: Sore throat and erythema of the oropharyngeal mucosa. Dry Mouth: Often secondary to fever and dehydration. Mucosal Erosions: Rare, but may occur in severe cases. Clinical Features: Fever, cough, sore throat, muscle aches, and headache Red or swollen tonsils and oral mucosa Diagnosis: Rapid influenza tests and PCR. --- 8. Epstein-Barr Virus (EBV) Type: Epstein-Barr virus Common Oral Manifestations: Oral Hairy Leukoplakia: White, asymptomatic, corrugated patches on the lateral borders of the tongue. Pharyngitis: Sore throat with swelling of tonsils. Oral Ulcers: Occasionally seen in association with infectious mononucleosis. Clinical Features: Fever, sore throat, and swollen lymph nodes (mononucleosis) Fatigue and malaise Diagnosis: EBV serology and PCR. --- 9. Rabies Virus Type: Rabies virus Common Oral Manifestations: Hydrophobia: Difficulty swallowing and fear of water. Increased Salivation: Resulting from dysfunction in the throat and jaw muscles. Clinical Features: Progressive neurological symptoms Paroxysms of pain or spasms in the throat and mouth Diagnosis: Clinical signs, rabies testing (saliva, CSF, or tissue biopsy). --- 10. Human Immunodeficiency Virus (HIV) Common Oral Manifestations: Oral Candidiasis: White, creamy lesions in the mouth, especially in immunocompromised individuals. Kaposiâs Sarcoma: Purple or red lesions on the palate and gingiva. Herpes Simplex: Recurrent oral lesions. Oral Hairy Leukoplakia: A condition linked with Epstein-Barr virus, presenting as white patches on the lateral borders of the tongue. --- Conclusion Oral manifestations of viral infections are varied and can provide valuable clues for diagnosing systemic viral diseases. Clinicians must consider the specific features and patterns of lesions in combination with other clinical signs for an accurate diagnosis. Some infections may also have long-term oral health implications, requiring management and prevention strategies.
What is an earthquake? Would you be surprised to learn that several million earthquakes happen every year? Seriously. Most are so small in magnitude or size that we cannot even feel them. In fact, only 20 earthquakes are efficiently reported each year in the United States Geological Survey. Wow! That is a huge difference! The Earth has four major layers. Inner core, outer core, mantle, and crust. Think of the crust and top of the mantle like the skin of the earth. This skin is made up of different pieces of rock called tectonic plates. There are about 15 major slabs that join together, kind of like a puzzle. The edges around the tectonic plates are called plate boundaries. These massive pieces of rock slide back and forth under the Earth's surface, bumping up against each other and creating a lot of tension. This tension and movement create faults, which are basically huge cracks in the rock. When the faults get stuck, they build up pressure. And when they get unstuck, you guessed it, an earthquake. So basically, an earthquake is caused by the shifting and sliding of tectonic plates on the Earth's upper mantle and crust. There are three ways that tectonic plates shift or slide. They are subduction, lateral sliding, and spreading. Subduction happens when plates crash into each other. This can cause one plate to slide under another and be destroyed. Or the edges of the plate may rise up and form mountains. Lateral sliding means that the plates slide alongside each other, which can create lots of friction. And like you might have guessed, spreading happens when plates move apart from each other. When they do, melted rock between the plates rises and cools, forming new crust. Here's an interesting fact. Nearly 90% of all earthquakes begin in the Pacific Ocean, in an area called the Ring of Fire. It's called the Ring of Fire because along with earthquakes, it's filled with many active volcanoes. More than 450! Earthquakes can be powerful enough to change the surface of the earth and can do a lot of damage. And sometimes earthquakes can even cause other natural disasters, like avalanches, landslides, and tsunamis. Pretty wild, right? The epicenter is the location of an earthquake on the Earth's surface. The closer you are to the epicenter, the more of the earthquake you will feel. Earthquakes lose intensity as they travel away from the epicenter. Scientists measure the intensity of an earthquake using a special device called a seismograph. Seismometers detect and measure the vibrations given off by an earthquake. Magnitude is the number given to record the size of an earthquake. For example, a magnitude 5.5 is considered moderate. Above 8.0 is considered a major earthquake and we see one every year or two. Earthquakes measured at 2.5 or less are usually not felt, but can be recorded. And believe it or not, there are millions that happen each year. You can make a model of a seismograph at home, and we are going to show you how. It's activity time! You can print off directions for this one on our website at learnbright.org. You'll need a cardboard box, string, a plastic cup, a marker, small heavy objects, a long strip of paper, and a friend because this is an activity for at least two people. Now comes the fun part. One friend shakes the box, alternating between hard and soft and slow and fast, while the other friend is pulling the strip of paper through the bottom. Watch the marker as it records the movement. This is exactly what a seismograph does during an earthquake. So, in a way, we have not only created our own seismograph, but our own earthquake as well. Now, we can analyze the data just like scientists. Can you tell how hard the box was shaking based on the line? Can you tell when it was barely shaking at all? You are on your way to becoming a seismologist. A seismologist is a person that studies earthquakes. It's pretty cool to watch the process, but it's even more exciting to do it yourself. You can head on over to our website to get detailed instructions for this activity. Just download the lesson plan and as always have fun! Hope you had fun learning with us! Visit us at learnbright.org for thousands of Hope you had fun learning with us! Visit us at learnbright.org for thousands of free resources and turnkey solutions for teachers and homeschoolers.
This funny story is about two friends. One is honest but foolish. The other is dishonest but fears law and police. Read about the foolishness they wanted to hide from everyone. of Prakash and Prasanna, who put up placards to tell the world what Prakash lived in a village near Agra. He was an honest man. One day, he found a gold ring on the road. He looked around and shouted loudly, "Whose gold ring is this?" Now, this ring had fallen off from a rich merchant's finger. Fortunately, the rich merchant was nearby and heard Prakash shout. He checked his finger and lo, his ring was missing! He quickly walked up to Prakash and looked at the ring. "Oh, my!" The merchant thought, 'this is my ring. So, he took it from Prakash and put it on his finger. The rich merchant was so impressed with Prakash's honesty that he gave him fifteen silver coins. Prakash had never seen so many silver coins before. He was very happy. At the same time, he was scared that someone might steal the silver coins. He thought he would keep them with a friend, but he realised that, that would not be safe, then he thought that he would put them in a purse and carry the purse with him wherever he went, but he realised that, that too would be unsafe! Suddenly, an idea struck him. He would hide the coins in his little garden! So, he dug a hole in hes ganken and hid the coins in it. He covered the coins with fresh mad. But still he w not at ease. He thought. What if someone comes into my garden and takes away the csins? He could not sleep the whole night. The thought of the coins being stolen nagged him How you think Prakash will be the sims safe? He thought and thinight, and an idea struck him. He went to the market and bought a brush and some paint. With the paint and the brush, he wrote the followitg wonds on a placard: NO MONEY IS HIDDEN HERE and put the placard near the hole where he had hidden the slver coins Some days later, Prasanna, Prakash's friend, came to visit him. He found the door locked and decided to have a stroll in the garden till Prakash came back There, he saw the writing on the placard. He was surprised. He wondered why Prakash had written these words. Soon, he knew the reason. He sat down and began to dig the mund. The mud was loose and soft. He dug out the fresh mud and pushed his hands into the hole. As he did this, his hands touched something hard and cold. He had found the coins! He took the coins and put them in his pockets. He wanted to run home, but realised that someone might find out that he had stolen the coins. The police would catch him and put him in jail. He began to feel anxious and scared Prasanna began to think. An idea flashed in his mind. He took the brush and paint that Prakash had left in the gardem and wrote something on a piece of paper and pasted it un the placard. This is what he wrote: I HAVE NOT STOLEN ANY MONEY FROM THE HOLE IN THE GARDEN ASIAMAN HONESTMAN PRASANNA....
**Tools and Equipment** * **Spatula:** Used for leveling ingredients and spreading fillings. * **Butter Knife:** Used for spreading butter, peanut butter, and cream cheese. * **Chef's Knives:** Come in various sizes, used for general cutting. * **Deli Knife:** Designed for thick sandwiches, with an offset blade for easy slicing. * **Lettuce Knife:** Serrated knife specifically designed for slicing lettuce. * **Paring Knife:** Small knife with a sharp blade, used for peeling and coring foods. * **Sandwich Knife:** Similar to a deli knife but shorter, used for slicing sandwiches. * **Serrated Knife:** Used for slicing bread with hard crusts and soft insides. * **Cutting Board:** A surface for cutting and preparing food. * **Mixing Bowls:** Used for mixing ingredients. * **Rubber Scraper:** Used for scraping down bowls and pans. * **Measuring Cups:** Used for measuring liquids and solids. * **Utility Tray:** Used for holding food in place. * **Strainer:** Used for separating liquids from solids. * **Mixing Spoon:** Used for combining ingredients. * **Can Opener:** Used for opening cans. * **Measuring Spoons:** Used for measuring small quantities of ingredients. * **Grills/Griddles:** Flat heated surfaces for direct cooking. * **Ovens:** Enclosed equipment for heating food with hot air or infrared radiation. * **Microwave Ovens:** Use microwave radiation to heat food. * **Salamanders:** Small broilers used for browning or glazing. * **Bread Toaster:** Used for toasting bread. * **Slicer:** Used for slicing food evenly. * **Chillers:** Used for chilling sandwiches and other foods. * **Freezer:** Used for storing food for extended periods. * **Refrigerator:** Used for storing food at a temperature below room temperature.
The Pedestrian (adapted) by Ray Bradbury Mr. Leonard Mead loved to walk outside at night. The city was quiet at eight oâclock on a misty November evening. He liked to put his hands in his pockets and stroll along the cracked sidewalks, stepping over grass that grew between the concrete. He would stop at the corners, look down the empty streets, and choose which way to go. It didnât really matter which way he picked, because he was always alone in the year 2053. Sometimes, Mr. Mead would walk for hours and miles, coming home only at midnight. As he walked, he saw houses with their windows dark, like he was walking through a graveyard. Sometimes, he saw tiny flashes of light from behind curtains or heard soft voices from open windows. Mr. Mead wore sneakers so his footsteps wouldnât make noise. If he wore shoes with hard heels, the dogs would bark and people might look out their windows. He liked being quiet and unnoticed as he walked in the cool November air. On this night, Mr. Mead walked west, toward the sea. The air was cold and frosty, making his nose sting and his lungs feel fresh. He listened to the sound of his shoes in the fallen leaves and sometimes picked up a leaf to look at it under the streetlights. As he walked, he whispered to the houses, âHello in there. Whatâs on TV tonight? Where are the cowboys? Is the cavalry coming?â But the street was silent and empty, with only his shadow moving. He checked his watch. âEight-thirty. Is it time for a quiz show? Or a funny show?â He thought he heard laughter from a house, but nothing else happened. He kept walking, sometimes stumbling over the broken sidewalk. In all his years of walking, he had never seen another person out at night. He reached a big intersection where two highways crossed. During the day, it was full of cars, but now it was empty and quiet, like a dry riverbed. Mr. Mead turned onto a side street, heading home. Suddenly, a police car turned the corner and shined a bright light on him. He stood still, surprised by the light. A metallic voice from the car said, âStand still. Donât move! Put up your hands!â Mr. Mead obeyed. The police car asked, âWhatâs your name?â âLeonard Mead,â he answered. âWhatâs your job?â âI guess Iâm a writer,â Mr. Mead said. The police car replied, âNo profession.â Mr. Mead hadnât written anything in years, since people didnât buy books or magazines anymore. People just stayed inside their houses, watching TV. The car asked, âWhat are you doing out?â âIâm walking,â Mr. Mead said. âWalking? Just walking?â the car repeated. âYes,â he said. âWhere are you walking? Why?â âFor air. To see things,â Mr. Mead answered. âYour address?â âEleven South Saint James Street.â âDo you have air in your house? An air conditioner?â âYes.â âDo you have a TV?â âNo.â âNo?â The car was quiet for a moment. âAre you married?â âNo,â Mr. Mead said. âNot married,â the car said. The night was cold and quiet. âJust walking, Mr. Mead?â âYes.â âBut why?â âI told you. For air, to see, and just to walk.â âDo you do this often?â âEvery night for years.â The police car was silent for a moment. Then it said, âGet in.â The back door opened. âWait, I havenât done anything!â Mr. Mead protested. âGet in,â the car repeated. Mr. Mead looked into the car. There was no one inside, just an empty front seat. The back seat was like a small jail cell, cold and hard. âWhere are you taking me?â he asked. The car answered, âTo the Psychiatric Center for Research on Regressive Tendencies.â Mr. Mead got in. The door closed, and the car drove away through the empty streets. As they passed his house, he saw that all the lights were on. âThatâs my house,â he said, but no one answered. The car drove off into the night, leaving the streets empty and silent for the rest of the cold November night.
Hey, Dr. Binocs! Hey there. Hello, Dr. Binocs. Hello. Oh, hello! Friends, did you spot any kinda difference between these two? I'll give you 10 points if you do! No? Well, don't worry. I'll tell you how they are different from each other. But for that I need to tell you all about the Animal Kingdom! Come with me! Zoom in! The Animal Kingdom is divided into two groups. Invertebrates and Vertebrates. And today, we will talk about the invertebrates. Animals without a backbone are called Invertebrates. Which are further classified into.. Worms! Sea Jellies! Mollusks! Anthropods! And Sponges! Now, let us explore a little into their worlds! Worms! They have long, soft bodies with no legs. Oh, and two body openings. You've seen earthworms, right? If you haven't, rush to your nearest garden! Sea Jellies! Jellyfish is a good example here. They have soft and long stinging bodies. Stinging because they use their stingers to stun their prey.. ..before pulling them into their stomach. Mollusks! They have soft and warm bodies. Many of them have hard shells, like the snail. Other examples are Octopus and Squid. Anthropods! These animals form the largest group of the Invertebrates. They have their skeleton on the outside of their bodies. Creepy crawlies such as cockroaches, spiders are anthropods. Sponges! They generally live in saltwater and don't move from place to place. They filter nutrients and tiny organisms out of water, for food. TRIVIA TIME! The Invertebrates will eat almost anything that was or is alive. 97% of all animal species are invertebrates. Well, that keeps a very tiny space for the vertebrates. So do one thing, check this video out, to know more about them! So this is me zoooming out! Tune in next time, for more fun facts.