Movie Magic Scheduling is a software solution that thinks the way schedulers think, featuring powerful new tools that provide increased flexibility and versatility in the way schedules can be created and viewed.Movie Magic Scheduling Box Your production schedule is the essential tool that takes your project from script to actionable plan. Specifically designed for the complexities of production, schedules were originally completed through a trial-and-error process involving repeated manipulation of paper and plastic strips along a board. But then came Movie Magic.The most widely used production scheduling application, Movie Magic Scheduling 5 offers a range of scheduling tools and flexibility not found elsewhere. Workflows are designed to incorporate the time-tested concepts of the stripboard while offering a variety of scenarios to consider: schedules reflecting different shoot lengths, re-ordered scenes, comparisons in location, and more are just a click away.Based on continuous feedback from you, the user, Movie Magic Scheduling 5 saves time, increases efficiency, and prepares schedules that allow your team to make the best production decisions possible.What's new in this version:Red Flags Set reminders that dynamically appear on the Stripboard when your Elements have conflicts. This will help to avoid potential scheduling disasters. Movie Magic Image ManagerAdd Images Attach images, such as Storyboards, location photos, or actor headshots, to your Breakdown Sheets. You can attach as many images as needed to each sheet. Movie Magic Print ScalingPrint Scaling Squeeze more information onto the page before you print your reports. The...
SOL Connections to Mathematics: 2.1, 2.4, 2.5, 2.6, 2.14, 2.16, 2.17, 3.1, 3.2, 3.3, 3.14, 3.16, 3.17, 4.1, 4.4, 4.13, 4.15, 4.16, 5.4, 5.15, 5.18; SOL Connections to English and Fine Arts/Music. Curriculum Connections to the concepts of mathematics magic and illusion, mental calculation, estimate, patterns, number grids, rows and columns, probability, digital root theory, fractions, lowest common denominator (LCD), place value, and elementary algebra.
Movie Magic Scheduling 3.6 3.7
with details to handle 'blitting' (to dramatically improve the liveperformance), to be non-blocking, not repeatedly start/stop the GUIevent loop, handle repeats, multiple animated axes, and easily savethe animation to a movie file.
Play multiple codecs, file types, formats and frame rates in the same playlist. Support for Apple ProRes, AVC-Intra, Avid DNxHD, H.264, HEVC, XDCAM and many more codecs. Multiple file types are supported: movie files (such as .mov, .MXF, .M2T, .M4V), still images or sound. (Check the list in the Tech Specs section.)
"Love is when you look into someone's eyes and suddenly you go all the way inside to their soul, and you both know, instantly," says Angela with assurance at the outset of the episode. So says the girl who has been kissed just four times. However, Angela's complaint, that at fifteen, she doesn't even have a "like" life, and her imagining that the magic moment happens "seconds before the avalanche hits," reveals another side to her conception of love. Angela clearly seems to believe that she can choreograph, manage or manipulate events to create the relationship with Jordan that she desires. She does not yet understand that the bonds that connect people are built naturally, in the passage of time.Curiously, we never actually learn "why Jordan can't read," and neither does Angela. But beyond the literal meaning of "reading," "to read" encompasses any exercise in interpreting and understanding symbols. Here, Jordan's literal reading problem symbolizes his inability to grasp Angela's feelings towards him, largely because she is too inexperienced in matters of the heart to adequately express herself. Therein lies the lesson Angela must learn, and the answer to the mystery posed in the episode title: She knows less about Jordan -- and love -- than she realizes. But Angela gets her first real lesson in what it means to "love," and it is not an altogether happy experience.Angela's concept of love is first revealed by a five-page letter containing "every feeling I ever wanted to express" about Jordan Catalano. She seems to believe that her feelings are susceptible to the discipline and organization of pen and paper. She also seems to believe that she can control events to bring about the goal she desires. (We cannot be too hard on Angela for wanting to control things -- consider Patty.) What follows from Angela's belief in her ability to manage events is a sequence of encounters with Jordan where Angela attempts to exert control only to lose it. Even as Ms. Lerner admonishes the students to "stay with the group," Jordan finds his own way through the museum. So when Angela and Jordan encounter each other in the museum, it is a chance encounter to Jordan, but a carefully timed event to Angela.
Angela asks what is so important about staying with the group, and as nothing is wasted in MSCL, we are at our peril if we dismiss the dialogue as mere filler; the question has been posed for a reason. The outcome of Angela's efforts to force the relationship with Jordan is symbolically foreshadowed by Ms. Lerner's admonitions to "stay with the group." The group symbolizes a certain order and natural process (the group will proceed through the museum in an orderly and thorough manner). However, Jordan has chosen his own path, and for Angela to give chase (no pun intended -- oh, who am I kidding? Of course it was intended!) she must leave the group. But by choosing to leave the group, Angela has only the illusion of control, for she has plunged into what is, for her, the unfamiliar. Thus, Angela unwittingly abandons the very thing she depends on to succeed, and the result is clear: She will fail. End of Digression.As Angela revels in her "really nice conversation" with Jordan, Rayanne confesses to losing the note. Angela tries to regroup, concocting a transparently implausible lie about having written the note about a dead boyfriend. (What Jordan must think of girls! They continually lie to him -- and badly.) However, Jordan's excuses are equally implausible and she is angered by the idea that he didn't actually read a letter she poured so much into: "Oh really? Why is that? I'm curious, I would really like to know what it was that made it so incredibly boring. Just tell me. Was it too emotional, too personal, too many big words--" "Shut up!" Jordan yells.Suddenly, Angela realizes the truth: "You couldn't read it. That's it, isn't it?"Jordan admits as much but before anything more can be said, Shane pulls Jordan away. Shane's role in this episode continues a leitmotif begun in the Pilot episode, where nearly every significant exchange between Angela and Jordan will be interrupted -- by forces beyond Angela's control. Here, however, the interruption seems welcome. To Jordan, his reading problem is something he doesn't talk about, and Shane arrival has spared him. To Angela, Jordan's problem is information she can use to gain an advantage, and Shane's arrival has given her the chance to make new plans. Angela begins planning almost immediately, and it is clear her new knowledge about Jordan figures prominently. As Rayanne runs off to beep George, the "really cute" museum security guard, Angela expresses to Rickie her anxiety about "running into" (i.e., an unplanned meeting) with Jordan. Rickie reassures Angela: "You won't run into him. He has shop fifth period Mondays and Wednesdays and he never cuts shop -- I just know because I used to pass him on the way to Computer."Rickie's knowledge of Jordan's schedule and his too-convenient reason for knowing has a suspicious feel. It's not the first time there has been an indication that Rickie is attracted to, or at least aware of, Jordan's attractiveness. But his intimate knowledge of Jordan's schedule -- he will later be able to tell Angela exactly where to find him-- is equally as naive as Angela's desire to "run into" Jordan. (Rickie, of course, will have his feelings dashed in the wake of Byzantine plans to put him and Cory Helfrich together at the World Happiness dance.) At the Frozen Embryos rehearsal, Angela frets (get it?) that Jordan is not paying attention to her. "Huge events take place on this earth every day, hurricanes, earthquakes -- even glaciers move. So why couldn't he look at me?" Angela asks in voiceover.Almost as soon as she asks the question Jordan offers to sing his new song, "I Call Her Red." The timing of Jordan's offer almost seems to feed Angela's misconception that wishing might make it so. In any event, Jordan plays his song, and because it fits Angela's desires, she believes the song is about her. However, as astute viewers, we know better, and the scene becomes one of the great rewards of watching MSCL. In preceding episodes, the camera has shown very clearly that Jordan drives a red car. Here, we are told by a credible voice (Rickie) that Jordan's song is about Angela, and the camera tries to lull us into believing him, as every view of Jordan's car carefully mutes its red color. If we let the camera deceive us, Angela's ultimate letdown is all the more intense. If we keep in mind what we have already learned, the scene provides insight to Angela: Convinced the song is about her, she fails to acknowledge that there is something else very important to Jordan which is red.We shall dispense with any exegesis of "red" as a homonym for the past tense of "read." Interestingly, Angela associates love with natural disasters, avalanches, hurricanes, and earthquakes, which rarely if ever require any man-made impetus. However, she perceives her connection with Jordan as depending on her ability to manipulate events. Through the rehearsal scene, the episode has presented a cycle of Angela attempting to control the progress of her relationship with Jordan, losing control and attempting to regain control. Angela is about to discover that love, like other natural phenomena, has no blueprint, and can be devastating. When the rehearsal fizzles, Jordan offers Angela a ride home. To Jordan, offering a ride is a natural way of extending generosity to others. (As Graham offers food.) After all, Jordan's car is his "shelter from the storm," from the harshness of the outside world. To Angela, Jordan's invitation is evidence that her efforts are working. In Jordan's car, Angela plays the literacy card. She believes she is the only person besides Jordan to know about it, (although it was clear to Vic Racine in the preceding episode), and accordingly, she believes she knows Jordan better or more intimately than anyone else. As she will later tell Brian: "You don't know, you don't understand, not for one second."Angela believes Jordan's reading problem is her ticket to becoming an important figure in his life. But Jordan does not realize, cannot "read," Angela's agenda. He has an entirely different philosophy. Where Angela sees love in relation to a scenario where she takes control in the face of an avalanche, Jordan sees love in relation to the relatively simple process of making snow: "You know those guys? Up in the mountains?" "What guys?" "Who make snow? Like as their job?" "Well, yeah." "I would really like to do that."With this, Jordan gives Angela the tender, meaningful kiss she has dreamed about. The timing of the kiss shows us Jordan's attitude on the progress of love. After the kiss, Jordan offers an innocent and thoughtful apology. "Sorry." "For what?" "I interrupted you."His statement recalls their kiss in "Dancing in the Dark," where Jordan leaves Angela standing on the curb, arms folded in consternation. Here, Jordan again leaves Angela at curbside, but she deliriously dances (to the same music that plays when Jordan leaves her in "Dancing in the Dark") in innocent, childlike steps to her front door. She has succeeded -- hasn't she? Angela seems to have missed that the tender, romantic kiss she had hoped for was not the result of planning and control. At breakfast, drinking coffee "black with three or four sugars," Angela asks if she can go out on dates. She has already begun new plans. However, Patty throws a wrench into Angela's machinations by decreeing that Angela must present her dates to herself and Graham. (How all occasions do inform against Angela.) Angela's dilemma, and the naivete of her thinking, are punctuated in comic relief by Danielle: "So, say it was somebody you knew. Then I wouldn't have to introduce him, `cause you already know him. Right?"If Angela is thinking ahead to the weekend, Danielle is thinking years ahead. To cope with Patty's ground rules, Angela again hatches elaborate schemes to try to control events: "I want to see him so much, but at the same time, I don't want to just `see' him, like, with no preparation."Rickie tells Angela where to "see" Jordan, and once there, she rehearses her greeting to be sure it sounds spontaneous. Again, the camera helps us understand the context. As Angela practices saying "hi," we see students in the background. But with each different rehearsed greeting by Angela, the same students go through the same motions. The camera has taken us out of the "real" time of the episode to visually emphasize that Angela is going through "takes." Ironically, Jordan's actual appearance takes Angela by surprise, but she sticks to her agenda, trying to back him into both agreeing to see a movie and coming to meet Patty and Graham. Jordan is slow to catch on, but once he sees what is happening, he agrees, almost to get away from Angela. Again, and for the same reason as earlier in the episode, Shane's tugging at Jordan comes as a relief to both Jordan and Angela. But once again, Angela's control over events is short-lived. As it becomes clear that Jordan will not show to meet Patty and Graham, Angela tries to save face: "We kept it loose. It wasn't definite, it wasn't like a date."The scene that follows is nonpareil. Not for MSCL the heartbroken and tearful teen flinging herself on her bed. Rather, the scene is carefully paced and true to the elements of the story. The scene builds from the preceding scene in the living room, where the music begins with guitar and a solo voice humming "I Call Her Red." Angela goes to her room as the solo voice begins singing the words to the song. The tone and tempo of the music and Angela's retreat to her room recalls the Pilot episode where R.E.M.'s "Everybody Hurts" plays as Angela returns from her abortive trip to Let's Bolt.Still trying to plan ahead, Angela begins to look at clothing for the next day. But the hurt is too much for her to bear. She begins to cry. In measured pace, she crouches, then kneels, then slumps to the floor -- she can get no lower. The fade to commercial seems almost welcome as there is no comfort we can offer.We return to a subdued Angela, still wearing the dramatic black of the evening prior, antithesis of the giddy lover at breakfast the preceding morning. The change in mood in two successive mornings dramatizes the ups and downs of adolescence. Angela's voiceover echoes her continuing belief in controlling events: "This life has been a test. If it had been an actual life, you would've received instructions on where to go and what to do."At school, Jordan (of all people) acknowledges that Angela's angst has been self-induced. "She just makes too big a deal out of everything," he tells Rickie. "She makes everything too complicated."Jordan's declaration ends the principal plot, which has been a cycle of failed plans by Angela. But the principal plot leaves Angela's attempts at connecting with Jordan an abject failure, the state of relations between her and Jordan unresolved, the point of her distress unclear. We must, therefore, look to the subplots to understand the lesson Angela has learned -- to understand "why Jordan can't read." 2ff7e9595c
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