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From: <mo...@di...> - 2004-08-29 00:33:51
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active Video Playback Engineer/Operator/Assist via The Society of Camera Operators. 3 part article, here's a gloss summary. Basically the playback engineer/operator works a video camera that is mounted in parallel with the film camera. The footage of the video should be representative of what will print to film. This approximation allows (or allowed) directors to get a feel for a shot without having to wait for dailies. Seen as unreliable in the early years, it helped directors establish blocking for actors who needed it, kept boom mic operators out of shots, and things of the like. That Jerry Lewis is a genius no? Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 26, 2004 - 00:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... ------------------------------------------------------------------------ August 26, 2004 - 00:29 : Little Nemo Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
|
From: <mo...@di...> - 2004-08-25 19:30:00
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 26, 2004 - 00:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
|
From: <mo...@di...> - 2004-08-25 19:23:50
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-08-25 18:56:33
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: Bruce D'A. <bd...@fa...> - 2004-08-25 01:43:10
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On Aug 24, 2004, at 8:44 PM, Richard Acero wrote: > I'm trying to find the middleground. That's cool. I'm just pointing out the issues here, and they're not terribly obscure. If an undergrad student wants to store citation information for their term papers, they need to be able to accurately store dates that simply don't always conform to YYYY-MM-DD. And just dumb text strings aren't too helpful. Likewise, movie dates are usually just YYYY, IIRC. Bruce |
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From: Richard A. <lil...@ya...> - 2004-08-25 00:45:17
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>Neither of these will work. The above is clearly >November 1, 2004; > it"s a specific day. The below is clearly March 21, >2004; also a > specific day. This is a problem trying to match >bibliographic dates to > data models designed for banks. > I don"t know the solution, but one is to throw out >the date-datatying, > and store it some other way. There is one schema >that represents > seasons something like 2000-21. I understand what you're saying, I was just throwing out an idea that would allow the db to hold an approximate of the date as well as the text. I just don't know that Morbus is going to move away from SQL just to allow for this. I'm trying to find the middleground. __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! http://promotions.yahoo.com/new_mail |
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From: Bruce D'A. <bd...@fa...> - 2004-08-24 22:39:36
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On Aug 24, 2004, at 6:28 PM, Little Nemo wrote: > One can't reasonably assume that a periodical/serial with a publication > date of Nov/Dec actually took 2 months to produce, so why not simply > assign the publication date as 2004-11-01? Neither of these will work. The above is clearly November 1, 2004; it's a specific day. The below is clearly March 21, 2004; also a specific day. This is a problem trying to match bibliographic dates to data models designed for banks. I don't know the solution, but one is to throw out the date-datatying, and store it some other way. There is one schema that represents seasons something like 2000-21. > As for Spring, why not 2004-03-21 (assuming the publisher is in the > Northern Hemisphere)? |
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From: <mo...@di...> - 2004-08-24 22:37:37
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-08-24 22:28:42
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Project: LibDB
Version: cvs
Component: Code
Category: feature requests
Priority: normal
Assigned to: Anonymous
Reported by: Morbus Iff
Updated by: Little Nemo
Status: active
Regarding this post:
One can't reasonably assume that a periodical/serial with a publication
date of Nov/Dec actually took 2 months to produce, so why not simply
assign the publication date as 2004-11-01? The publication couldn't
have been produced any earlier right?
As for Spring, why not 2004-03-21 (assuming the publisher is in the
Northern Hemisphere)?
I just don't think altering the code, much less the db, to get the
dates "technically right" makes much sense when one can make a
reasonable estimation. I think we need to work with what we've got, and
what we've got (I think) is good enough. At least for now.
And if anyone truly wants to know "fictional dates" I'm sure they can
convert them to "normal" calendar dates. LOTR fans I'm looking at you.
Little Nemo
Previous comments:
------------------------------------------------------------------------
August 18, 2004 - 19:18 : Morbus Iff
There are a few qualms I have with the current data model's date system,
and it's all due to implementation, not necessarily bad intent. The
intent is innocent: dates should be in the form of YYYY, YYYY-MM, or
YYYY-MM-DD. The goal here is to say that a "movie came out in 1997" or,
if you know the exact date of theatrical release, "1997-06-02". Same
sorta thing with birthdays: you may approximately know that someone was
born in "1817" or even in "1817-04", but not the exact moment in time.
The almost immediate problem with the above formats, however, is the
lack of support for "A.D. 143" or "B.C. 23" (though I hesitate to label
that a critical issue.) Technically, "A.D. 143" could be referenced as
just "143" (YYY, not YYYY), but I'm not sure the underlying database
will support that early of a year - regardless, MySQL would convert a
date of "AD 43" ("43") to "1943", which isn't what we want. We'd have
to zeropad non-YYYY dates ("0143" and "0043"). This doesn't help us
with B.C. dates at all. See also
http://dev.mysql.com/doc/mysql/en/DATETIME.html: "The supported range
is '1000-01-01 00:00:00' to '9999-12-31 23:59:59'. (``Supported'' means
that although earlier values might work, there is no guarantee that they
will.)"
Irregardless of how early a date is, our current data model expects to
receive YYYY-MM-DD and ONLY YYYY-MM-DD - there's no capability for just
YYYY or YYYY-MM. After some discussion on a #mysql IRC channel, it
appears that the only way to handle ranges (where "1997" is a range of
["1997-01-01" to "1997-12-31"] and "1997-04" is ["1997-04-01" to
"1997-04-31"]) is to have two database fields: date_start and date_end.
It'd then be necessary in our code to create the ranges ourselves (from
a user-entered "1997"). This is the only way to do the "right" thing,
with proper database columns, and use of WHERE date/time clauses (WHERE
date_start > '2004-04-25' for example).
* Is this the "right" thing to do?
* What about fictional dates ("Shiresmoon 23")?
Affected tables: libdb_work libdb_expression libdb_manifestation
libdb_person libdb_corporate_body libdb_events.
------------------------------------------------------------------------
August 19, 2004 - 02:23 : Little Nemo
All right, I'll bite.
Here's a superfluous oneshot bone-head suggestion. A column in each
table to be used as a date modifier that can only be represented as AD
OR BC in a pull down menu.
WARNING - This would require the user to know the difference between BC
and AD. :p
I'm not sure what the column should be identified as in the schema
however. Perhaps "date_type"?
------------------------------------------------------------------------
August 19, 2004 - 02:36 : Little Nemo
Just reread this thread after posting.
Using my suggestion would of course alter this:
WHERE date_start > '2004-04-25'
to this:
WHERE date_start > '2004-04-25' AND date_type = 'AD'
Oh and insofar as fictional events are concerned, if someone reallly
wants them, I'm sure they can convert them to "actual" dates.
--
View: http://drupal.org/node/view/10160
Edit: http://drupal.org/project/comments/add/10160
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From: <mo...@di...> - 2004-08-24 22:14:19
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active * I prefer "Instrument (Oboe)" and "Vocals (Bass)". Better visual acumen. * Similarly, "Instrument (Guitar)" and "Instrument (Guitar, Electric)". Makes sense to me. * These would be workable for both album cataloging and track cataloguing? I should think so. Every now and again someone "drops in" for a guest spot on another artists album. Besides if we map roles strictly to albums and not tracks Ringo Starr gets a composing credit equal to Lennon & McCartney for the entire White Album rather than just for the track "Don't Pass Me By". The horror... * What about Editor, and Recordist, and "Sound Man" roles? Knew I missed something: Producer Arranger Mixing Engineer Any thoughts? Little Nemo Previous comments: ------------------------------------------------------------------------ August 18, 2004 - 18:49 : Morbus Iff This information comes courtesy of Richard Acero: "Music Roles (w/o descriptions): French Horn, Trombone, Trumpet, Tuba, Synthesizer, Tape, Accordion, Celeste, Clavichord, Harmonium, Harpsichord, Organ, Piano, Piano (Electric), Keyboards, Bells, Carillon, Cymbals, Drum Set, Glass Harmonica, Glockenspiel, Marimba, Percussion, Tabla, Taiko, Tamboura, Tambourine, Tympani, Vibraphone, Xylophone, Banjo, Cello, Double Bass, Dulcimer, Erhu, Guitar, Guitar (Acoustic), Guitar (Classical), Guitar (Electric), Guitar (Steel), Harp, Koto, Lute, Lyre, Mandolin, Sarod, Shamisen, Sitar, Vina, Viol, Viola, Violin, Alto (Vocal), Baritone (Vocal), Bass (Vocal), Contralto (Vocal), Counter Tenor (Vocal), Mezzo-Soprano (Vocal), Soprano (Vocal), Tenor (Vocal), Vocals, Bagpipes, Bansuri, Bassoon, Clarinet, Flute, Harmonica, Krummhorn, Oboe, Ocarina, Pan Flute, Recorder, Sackbut, Saxophone, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Shakuhachi, Shawm" Some thoughts over this list: * I prefer "Instrument (Oboe)" and "Vocals (Bass)". Better visual acumen. * Similarly, "Instrument (Guitar)" and "Instrument (Guitar, Electric)". * These would be workable for both album cataloging and track cataloguing? * What about Editor, and Recordist, and "Sound Man" roles? More Richard Acero notes: "Some of these might be better defined as relationships: Lead, Back-up, Side Player, Composer, Founding Member". I don't fully agree. I can certainly see "Founding Member" being a relationship, just like "Father" and "Sister" can be too. But "Composer" and "Vocals (Lead)" and "Vocals (Backup)" would certainly be roles. I dunno what a "Side Player" is, so I can't comment on that one. For intrepid non-coders who want to work on documentation (ie. role descriptions), Richard continues: "The best I could come up with is http://www.allmusic.com. AMG's "explore by... instrument" section has a good selection to start with. It's not comprehensive but it has enough "generic" roles to get started (i.e. guitars, drums, vocals, etc). Each of the instruments also have descriptions. Most of the descriptions are histories of the actual instrument (useful perhaps as object descriptors ?) , though a few actually describe the role of the musician who uses them (which could provide a basis for a role description)." ------------------------------------------------------------------------ August 19, 2004 - 03:09 : Little Nemo I dunno what a "Side Player" is... From http://www.carpentersquare.com/shows/show_sideman.htm : In jazz parlance, a side man (or side player) is a paragon of dependability, a player for hire who can blend in or stand out, play backup or solo, according to what is required. A hired gun if you will. If you can bring yourself to admit that you watched "That Thing You Do" directed by Tom Hanks, you would recognize the Bass Player who replaces Ethan Embry (who joins the armed forces) as a sideman. Ahem. So if you have a CD, say "Kind of Blue" by Miles Davis. Miles is the "featured player" or band leader. And John Coltrane would be a "side player" (tenor sax on "Flamenco Sketches" and "All Blues"). Useful information for the Coltrane enthusiast to have. -- View: http://drupal.org/node/view/10159 Edit: http://drupal.org/project/comments/add/10159 |
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From: Morbus I. <mo...@di...> - 2004-08-20 22:21:25
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>Would one typically store YYYY-MM as YYYY-MM-00? In other words, the >00 represents null, but is still valid with respect to datatyping for That'll work in MySQL, but not in PostgreSQL, so it's not an option. -- Morbus Iff ( earth? shxt and scrambled eggs. earth? ) Technical: http://www.oreillynet.com/pub/au/779 Culture: http://www.disobey.com/ and http://www.gamegrene.com/ icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
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From: Bruce D'A. <bd...@fa...> - 2004-08-20 22:03:51
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On Aug 18, 2004, at 6:42 PM, Morbus Iff wrote: > Hmm. That's an interesting idea. What about: > > date (as it is - YYYY-MM-DD) > date_approximate (a string of any kind) > > The downside is that they'll probably be far more date_approximate's > than date's, and that date processing would need to be handled in the > code, not the database. Question: Would one typically store YYYY-MM as YYYY-MM-00? In other words, the 00 represents null, but is still valid with respect to datatyping for the db? Bruce |
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From: Morbus I. <mo...@di...> - 2004-08-19 00:31:40
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>>> :-) .. it seems to be there are many more important
>>> intricacies to work out with dates (at least for me!), like:
>>> A magazine issued in "November/December", or "Spring."
>>
>I wonder if the November/December thing could be thought of as two
>linked dates of a kind "composite"? Another might be "range"? You can
>imagine a range of years, too. Just thinking out loud...
Well - yes, both dates could be marked up as a range:
[2004-11-01 2004-12-31]
[2004-04-01 2004-07-31] (or whatever Summer is. I dunno).
but those representations are very strictly "meant for computers"
and not representative of the item itself. Of course, you could
go nuts and have the above, plus date_text, which would be the
"as shown on the item" date ("November/December", "Spring", etc.).
--
Morbus Iff ( rotinom ruoy edisni deppart mi pleH )
Technical: http://www.oreillynet.com/pub/au/779
Culture: http://www.disobey.com/ and http://www.gamegrene.com/
icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus
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From: Bruce D'A. <bd...@fa...> - 2004-08-19 00:21:46
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On Aug 18, 2004, at 6:42 PM, Morbus Iff wrote: >> :-) .. it seems to be there are many more important >> intricacies to work out with dates (at least for me!), like: >> A magazine issued in "November/December", or "Spring." > > Hmm. That's an interesting idea. What about: > > date (as it is - YYYY-MM-DD) > date_approximate (a string of any kind) > > The downside is that they'll probably be far more date_approximate's > than date's, and that date processing would need to be handled in the > code, not the database. Right; that's the problem. I just had this conversation on the XSLT list, where I wanted to make use of the new format-date function in XSLT 2.0, but couldn't because bibliographic dates are -- while regular -- more variable than the dates that banks and such deal with. So, there must be a way to reliably handle (in a normalized way) at minimum YYYY-MM-DD, YYYY-MM, and YYYY. I wonder if the November/December thing could be thought of as two linked dates of a kind "composite"? Another might be "range"? You can imagine a range of years, too. Just thinking out loud... Bruce |
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From: Morbus I. <mo...@di...> - 2004-08-18 22:43:39
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>:-) .. it seems to be there are many more important >intricacies to work out with dates (at least for me!), like: >A magazine issued in "November/December", or "Spring." Hmm. That's an interesting idea. What about: date (as it is - YYYY-MM-DD) date_approximate (a string of any kind) The downside is that they'll probably be far more date_approximate's than date's, and that date processing would need to be handled in the code, not the database. Just throwing out an idea. Not sure if I like it yet. -- Morbus Iff ( if god is in me, he is a tumor ) Technical: http://www.oreillynet.com/pub/au/779 Culture: http://www.disobey.com/ and http://www.gamegrene.com/ icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
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From: Bruce D'A. <bd...@fa...> - 2004-08-18 22:26:02
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On Aug 18, 2004, at 5:23 PM, Little Nemo wrote: > Here's a superfluous oneshot bone-head suggestion. A column in each > table to be used as a date modifier that can only be represented as AD > OR BC in a pull down menu. :-) .. it seems to be there are many more important intricacies to work out with dates (at least for me!), like: A magazine issued in "November/December", or "Spring." October, 1-5 March 1, 3, 5 I could see modifiers like this, though, as well as ability to attach a qualifier (e.g. approximate date and such). Bruce |
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From: <mo...@di...> - 2004-08-18 22:09:22
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active I dunno what a "Side Player" is... From http://www.carpentersquare.com/shows/show_sideman.htm : In jazz parlance, a side man (or side player) is a paragon of dependability, a player for hire who can blend in or stand out, play backup or solo, according to what is required. A hired gun if you will. If you can bring yourself to admit that you watched "That Thing You Do" directed by Tom Hanks, you would recognize the Bass Player who replaces Ethan Embry (who joins the armed forces) as a sideman. Ahem. So if you have a CD, say "Kind of Blue" by Miles Davis. Miles is the "featured player" or band leader. And John Coltrane would be a "side player" (tenor sax on "Flamenco Sketches" and "All Blues"). Useful information for the Coltrane enthusiast to have. Little Nemo Previous comments: ------------------------------------------------------------------------ August 18, 2004 - 18:49 : Morbus Iff This information comes courtesy of Richard Acero: "Music Roles (w/o descriptions): French Horn, Trombone, Trumpet, Tuba, Synthesizer, Tape, Accordion, Celeste, Clavichord, Harmonium, Harpsichord, Organ, Piano, Piano (Electric), Keyboards, Bells, Carillon, Cymbals, Drum Set, Glass Harmonica, Glockenspiel, Marimba, Percussion, Tabla, Taiko, Tamboura, Tambourine, Tympani, Vibraphone, Xylophone, Banjo, Cello, Double Bass, Dulcimer, Erhu, Guitar, Guitar (Acoustic), Guitar (Classical), Guitar (Electric), Guitar (Steel), Harp, Koto, Lute, Lyre, Mandolin, Sarod, Shamisen, Sitar, Vina, Viol, Viola, Violin, Alto (Vocal), Baritone (Vocal), Bass (Vocal), Contralto (Vocal), Counter Tenor (Vocal), Mezzo-Soprano (Vocal), Soprano (Vocal), Tenor (Vocal), Vocals, Bagpipes, Bansuri, Bassoon, Clarinet, Flute, Harmonica, Krummhorn, Oboe, Ocarina, Pan Flute, Recorder, Sackbut, Saxophone, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Shakuhachi, Shawm" Some thoughts over this list: * I prefer "Instrument (Oboe)" and "Vocals (Bass)". Better visual acumen. * Similarly, "Instrument (Guitar)" and "Instrument (Guitar, Electric)". * These would be workable for both album cataloging and track cataloguing? * What about Editor, and Recordist, and "Sound Man" roles? More Richard Acero notes: "Some of these might be better defined as relationships: Lead, Back-up, Side Player, Composer, Founding Member". I don't fully agree. I can certainly see "Founding Member" being a relationship, just like "Father" and "Sister" can be too. But "Composer" and "Vocals (Lead)" and "Vocals (Backup)" would certainly be roles. I dunno what a "Side Player" is, so I can't comment on that one. For intrepid non-coders who want to work on documentation (ie. role descriptions), Richard continues: "The best I could come up with is http://www.allmusic.com. AMG's "explore by... instrument" section has a good selection to start with. It's not comprehensive but it has enough "generic" roles to get started (i.e. guitars, drums, vocals, etc). Each of the instruments also have descriptions. Most of the descriptions are histories of the actual instrument (useful perhaps as object descriptors ?) , though a few actually describe the role of the musician who uses them (which could provide a basis for a role description)." -- View: http://drupal.org/node/view/10159 Edit: http://drupal.org/project/comments/add/10159 |
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From: <mo...@di...> - 2004-08-18 21:36:40
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Project: LibDB
Version: cvs
Component: Code
Category: feature requests
Priority: normal
Assigned to: Anonymous
Reported by: Morbus Iff
Updated by: Little Nemo
Status: active
Just reread this thread after posting.
Using my suggestion would of course alter this:
WHERE date_start > '2004-04-25'
to this:
WHERE date_start > '2004-04-25' AND date_type = 'AD'
Oh and insofar as fictional events are concerned, if someone reallly
wants them, I'm sure they can convert them to "actual" dates.
Little Nemo
Previous comments:
------------------------------------------------------------------------
August 18, 2004 - 19:18 : Morbus Iff
There are a few qualms I have with the current data model's date system,
and it's all due to implementation, not necessarily bad intent. The
intent is innocent: dates should be in the form of YYYY, YYYY-MM, or
YYYY-MM-DD. The goal here is to say that a "movie came out in 1997" or,
if you know the exact date of theatrical release, "1997-06-02". Same
sorta thing with birthdays: you may approximately know that someone was
born in "1817" or even in "1817-04", but not the exact moment in time.
The almost immediate problem with the above formats, however, is the
lack of support for "A.D. 143" or "B.C. 23" (though I hesitate to label
that a critical issue.) Technically, "A.D. 143" could be referenced as
just "143" (YYY, not YYYY), but I'm not sure the underlying database
will support that early of a year - regardless, MySQL would convert a
date of "AD 43" ("43") to "1943", which isn't what we want. We'd have
to zeropad non-YYYY dates ("0143" and "0043"). This doesn't help us
with B.C. dates at all. See also
http://dev.mysql.com/doc/mysql/en/DATETIME.html: "The supported range
is '1000-01-01 00:00:00' to '9999-12-31 23:59:59'. (``Supported'' means
that although earlier values might work, there is no guarantee that they
will.)"
Irregardless of how early a date is, our current data model expects to
receive YYYY-MM-DD and ONLY YYYY-MM-DD - there's no capability for just
YYYY or YYYY-MM. After some discussion on a #mysql IRC channel, it
appears that the only way to handle ranges (where "1997" is a range of
["1997-01-01" to "1997-12-31"] and "1997-04" is ["1997-04-01" to
"1997-04-31"]) is to have two database fields: date_start and date_end.
It'd then be necessary in our code to create the ranges ourselves (from
a user-entered "1997"). This is the only way to do the "right" thing,
with proper database columns, and use of WHERE date/time clauses (WHERE
date_start > '2004-04-25' for example).
* Is this the "right" thing to do?
* What about fictional dates ("Shiresmoon 23")?
Affected tables: libdb_work libdb_expression libdb_manifestation
libdb_person libdb_corporate_body libdb_events.
------------------------------------------------------------------------
August 19, 2004 - 02:23 : Little Nemo
All right, I'll bite.
Here's a superfluous oneshot bone-head suggestion. A column in each
table to be used as a date modifier that can only be represented as AD
OR BC in a pull down menu.
WARNING - This would require the user to know the difference between BC
and AD. :p
I'm not sure what the column should be identified as in the schema
however. Perhaps "date_type"?
--
View: http://drupal.org/node/view/10160
Edit: http://drupal.org/project/comments/add/10160
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From: <mo...@di...> - 2004-08-18 21:24:41
|
Project: LibDB
Version: cvs
Component: Code
Category: feature requests
Priority: normal
Assigned to: Anonymous
Reported by: Morbus Iff
Updated by: Little Nemo
Status: active
All right, I'll bite.
Here's a superfluous oneshot bone-head suggestion. A column in each
table to be used as a date modifier that can only be represented as AD
OR BC in a pull down menu.
WARNING - This would require the user to know the difference between BC
and AD. :p
I'm not sure what the column should be identified as in the schema
however. Perhaps "date_type"?
Little Nemo
Previous comments:
------------------------------------------------------------------------
August 18, 2004 - 19:18 : Morbus Iff
There are a few qualms I have with the current data model's date system,
and it's all due to implementation, not necessarily bad intent. The
intent is innocent: dates should be in the form of YYYY, YYYY-MM, or
YYYY-MM-DD. The goal here is to say that a "movie came out in 1997" or,
if you know the exact date of theatrical release, "1997-06-02". Same
sorta thing with birthdays: you may approximately know that someone was
born in "1817" or even in "1817-04", but not the exact moment in time.
The almost immediate problem with the above formats, however, is the
lack of support for "A.D. 143" or "B.C. 23" (though I hesitate to label
that a critical issue.) Technically, "A.D. 143" could be referenced as
just "143" (YYY, not YYYY), but I'm not sure the underlying database
will support that early of a year - regardless, MySQL would convert a
date of "AD 43" ("43") to "1943", which isn't what we want. We'd have
to zeropad non-YYYY dates ("0143" and "0043"). This doesn't help us
with B.C. dates at all. See also
http://dev.mysql.com/doc/mysql/en/DATETIME.html: "The supported range
is '1000-01-01 00:00:00' to '9999-12-31 23:59:59'. (``Supported'' means
that although earlier values might work, there is no guarantee that they
will.)"
Irregardless of how early a date is, our current data model expects to
receive YYYY-MM-DD and ONLY YYYY-MM-DD - there's no capability for just
YYYY or YYYY-MM. After some discussion on a #mysql IRC channel, it
appears that the only way to handle ranges (where "1997" is a range of
["1997-01-01" to "1997-12-31"] and "1997-04" is ["1997-04-01" to
"1997-04-31"]) is to have two database fields: date_start and date_end.
It'd then be necessary in our code to create the ranges ourselves (from
a user-entered "1997"). This is the only way to do the "right" thing,
with proper database columns, and use of WHERE date/time clauses (WHERE
date_start > '2004-04-25' for example).
* Is this the "right" thing to do?
* What about fictional dates ("Shiresmoon 23")?
Affected tables: libdb_work libdb_expression libdb_manifestation
libdb_person libdb_corporate_body libdb_events.
--
View: http://drupal.org/node/view/10160
Edit: http://drupal.org/project/comments/add/10160
|
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From: Morbus I. <mo...@di...> - 2004-08-18 16:14:07
|
>Am too busy to read the rest now, but just to clarify language: they're >not "media." Genre is closer, and consistent with library practice. Yeah, I keep making that mistake. For me (and for the client who is funding the early development on this), a "Genre" is a category like "Horror" or "British Films" (represented in LibDB as a "Concept" from FRBR Group 3). As you'll see in the proposed technical implementation, I don't use "media" anywhere, but rather, base it on the (new) concept of "Representative Expression" from the FRBR. -- Morbus Iff ( you are nothing without your robot car, NOTHING! ) Culture: http://www.disobey.com/ and http://www.gamegrene.com/ Spidering Hacks: http://amazon.com/exec/obidos/ASIN/0596005776/disobeycom icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
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From: Bruce D'A. <bd...@fa...> - 2004-08-18 16:08:40
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On Aug 18, 2004, at 12:03 PM, Morbus Iff wrote: > Defining "types" of media, like a "movie", "book", "comic book", etc., Am too busy to read the rest now, but just to clarify language: they're not "media." Genre is closer, and consistent with library practice. Bruce |
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From: <mo...@di...> - 2004-08-18 16:03:28
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Project: LibDB Version: cvs Component: Code Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff Status: active Defining "types" of media, like a "movie", "book", "comic book", etc., allows LibDB to show custom forms that specifically cater to what you're actually adding (ie. you wouldn't see a "Laserdisc" carrier when you're adding a "book"). Previously, these would be stored in the libdb_work table as "type", per the FRBR specification. However, recent development in the FRBR community has removed the Work "type" attribute, and introduced the concept of a "super type" and a "representative expression". These new approaches require some modification of the data model (at bare minimum, the removal of libdb_work.type, which has already been done). One place that will benefit the most from the use of "type" is the "roles" one can assign to a person or corporate body. With over 50 roles in the database now, just for "movies", that'd be an awful lot of junk to plow through if you're adding a "book". Thus, a type comparison would only show roles that would be relevant to what you're currently adding. Some roles, however, are shared amongst multiple types. Most movies, documentaries, and plays or operas have a "Lighting Technician", and nearly all literary types have an "Editor" and "Writer". As such, our implementation of types in LibDB should have a parent/child relationship. As with all cataloguing tech, however, there's a zillion different ways you can do this. Richard Acero mentioned http://copyright.gov, which breaks copyrightable items down into "literary works", "visual arts", "performing arts", "sound recording" and "serials/periodicals". Each of these types is further broken down into smaller subtypes: literary works encompass fiction, nonfiction, manuscripts, poetry, contributions to collective works, compilations of data or other literary subject matter, dissertations, etc. and performing arts contain motion pictures, scripts, and so forth. Regardless of the subtypes defined, I like the breakdown of the five "major" types. As mentioned, however, there's a zillion different ways of doing this, and some prior art can be found at the URLs below. I don't think it's in our best interest to settle on a final decision RIGHT NOW, this early in the development process. However, based on prior desires and outspoken need, I'm considering implementing "Literary" ("Books" and "Comic books") and "Performing Arts" ("Motion pictures"). Code-wise, the current plan in my head is: * add a new table: libdb_expression_types. * libdb_expression_types: id | parent | name | description * example: [20charIDa] | NULL | "Literary" | "Blah blah" * example: [20charIDb] | [20charIDa] | "Book" | "Blah blah" * add "expression_type" column to libdb_expression. * add "expression_type" column to libdb_roles. With the above implementation, a single role type could have three different values of expression_types: * NULL: this role type should be shown for everything. * [20charIDa] or "super type": shown for every type of "Literary" * [20charIDb] or "sub type": shown for only "Book" types. Prior Work URLs: * http://www.loc.gov/marc/sourcecode/form/formlist.html * http://www.austlit.edu.au/common/manual/AuthorityLists.html#WorkTypeTerms * http://www.loc.gov/marc/sourcecode/genre/genrelist.html Morbus Iff -- View: http://drupal.org/node/view/10162 Edit: http://drupal.org/project/comments/add/10162 |
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From: <mo...@di...> - 2004-08-18 14:57:28
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff Status: active From Richard Acero: Penciller- an artist whom tells a story by loosely rendering static images in a predetermined order, primarily using pencils; Inker- an artist whom adds texture, detail, and shadow over the renderings of the penciller by using brushes, pens, or markers with ink; Letters- an artist who painstakingly renders the writers script over the inkers work in either their own hand, or on computer; Colorist- an artist whom adds color to a black and white image rendered by the penciller and inker. Colorists use a variety of different tools, from paints and brushes to computers; Writer- writes the plot and script for the comic, which the penciller will use to determine what to render on a given page, and in what sequence; Editor- the editor oversees the entire creative team, issues deadlines, oversees continuity (and helps with plot by proxy), answers fan mail, and acts as the go-between for the creative team and the publisher. 'Editor' and 'Writer' will be generic roles, but the others seem fine. Morbus Iff -- View: http://drupal.org/node/view/10161 Edit: http://drupal.org/project/comments/add/10161 |
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From: <mo...@di...> - 2004-08-18 14:41:43
|
Project: LibDB
Version: cvs
Component: Code
Category: feature requests
Priority: normal
Assigned to: Anonymous
Reported by: Morbus Iff
Updated by: Morbus Iff
Status: active
There are a few qualms I have with the current data model's date system,
and it's all due to implementation, not necessarily bad intent. The
intent is innocent: dates should be in the form of YYYY, YYYY-MM, or
YYYY-MM-DD. The goal here is to say that a "movie came out in 1997" or,
if you know the exact date of theatrical release, "1997-06-02". Same
sorta thing with birthdays: you may approximately know that someone was
born in "1817" or even in "1817-04", but not the exact moment in time.
The almost immediate problem with the above formats, however, is the
lack of support for "A.D. 143" or "B.C. 23" (though I hesitate to label
that a critical issue.) Technically, "A.D. 143" could be referenced as
just "143" (YYY, not YYYY), but I'm not sure the underlying database
will support that early of a year - regardless, MySQL would convert a
date of "AD 43" ("43") to "1943", which isn't what we want. We'd have
to zeropad non-YYYY dates ("0143" and "0043"). This doesn't help us
with B.C. dates at all. See also
http://dev.mysql.com/doc/mysql/en/DATETIME.html: "The supported range
is '1000-01-01 00:00:00' to '9999-12-31 23:59:59'. (``Supported'' means
that although earlier values might work, there is no guarantee that they
will.)"
Irregardless of how early a date is, our current data model expects to
receive YYYY-MM-DD and ONLY YYYY-MM-DD - there's no capability for just
YYYY or YYYY-MM. After some discussion on a #mysql IRC channel, it
appears that the only way to handle ranges (where "1997" is a range of
["1997-01-01" to "1997-12-31"] and "1997-04" is ["1997-04-01" to
"1997-04-31"]) is to have two database fields: date_start and date_end.
It'd then be necessary in our code to create the ranges ourselves (from
a user-entered "1997"). This is the only way to do the "right" thing,
with proper database columns, and use of WHERE date/time clauses (WHERE
date_start > '2004-04-25' for example).
* Is this the "right" thing to do?
* What about fictional dates ("Shiresmoon 23")?
Affected tables: libdb_work libdb_expression libdb_manifestation
libdb_person libdb_corporate_body libdb_events.
Morbus Iff
--
View: http://drupal.org/node/view/10160
Edit: http://drupal.org/project/comments/add/10160
|
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From: <mo...@di...> - 2004-08-18 14:02:49
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff Status: active This information comes courtesy of Richard Acero: "Music Roles (w/o descriptions): French Horn, Trombone, Trumpet, Tuba, Synthesizer, Tape, Accordion, Celeste, Clavichord, Harmonium, Harpsichord, Organ, Piano, Piano (Electric), Keyboards, Bells, Carillon, Cymbals, Drum Set, Glass Harmonica, Glockenspiel, Marimba, Percussion, Tabla, Taiko, Tamboura, Tambourine, Tympani, Vibraphone, Xylophone, Banjo, Cello, Double Bass, Dulcimer, Erhu, Guitar, Guitar (Acoustic), Guitar (Classical), Guitar (Electric), Guitar (Steel), Harp, Koto, Lute, Lyre, Mandolin, Sarod, Shamisen, Sitar, Vina, Viol, Viola, Violin, Alto (Vocal), Baritone (Vocal), Bass (Vocal), Contralto (Vocal), Counter Tenor (Vocal), Mezzo-Soprano (Vocal), Soprano (Vocal), Tenor (Vocal), Vocals, Bagpipes, Bansuri, Bassoon, Clarinet, Flute, Harmonica, Krummhorn, Oboe, Ocarina, Pan Flute, Recorder, Sackbut, Saxophone, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Shakuhachi, Shawm" Some thoughts over this list: * I prefer "Instrument (Oboe)" and "Vocals (Bass)". Better visual acumen. * Similarly, "Instrument (Guitar)" and "Instrument (Guitar, Electric)". * These would be workable for both album cataloging and track cataloguing? * What about Editor, and Recordist, and "Sound Man" roles? More Richard Acero notes: "Some of these might be better defined as relationships: Lead, Back-up, Side Player, Composer, Founding Member". I don't fully agree. I can certainly see "Founding Member" being a relationship, just like "Father" and "Sister" can be too. But "Composer" and "Vocals (Lead)" and "Vocals (Backup)" would certainly be roles. I dunno what a "Side Player" is, so I can't comment on that one. For intrepid non-coders who want to work on documentation (ie. role descriptions), Richard continues: "The best I could come up with is http://www.allmusic.com. AMG's "explore by... instrument" section has a good selection to start with. It's not comprehensive but it has enough "generic" roles to get started (i.e. guitars, drums, vocals, etc). Each of the instruments also have descriptions. Most of the descriptions are histories of the actual instrument (useful perhaps as object descriptors ?) , though a few actually describe the role of the musician who uses them (which could provide a basis for a role description)." Morbus Iff -- View: http://drupal.org/node/view/10159 Edit: http://drupal.org/project/comments/add/10159 |
