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Seattle Genealogical Society
“What the character is wearing and how it is arranged can say a lot about them, or not much at all. Which is equally important,”

“For example, in The Village the yellow cloaks act as a deterrent to the beast stalking the villagers. The garish yellow stands out strongly against the wooded background, its daring brightness almost a challenge to the creature. A daring choice that confuses the audience as to whether the villagers are that stupid or perhaps, that smart. When Ivy makes her way through the forest her confrontation with the beast covers her in mud. Her blindness means she is aware of this fact but can do nothing to fix it. The absence of colour stands on in stark contrast to the red robe of the beast that attacks her. Here, colour and costume is used to invoke tension and fear.”

More recently, director Paul Thomas Anderson’s Phantom Thread – about a couture designer and his young muse – weaves meaningful costumes into the tapestry of the film, attempting to use the outside to reflect the inside. For example, Alma’s journey manifests in what she’s wearing. As the film’s costume designer, Mark Bridges, tells it :

“When she’s sort of the fisherman’s daughter, and charting that progress: country clothes, and city clothes, and trying to fit in with the women in the [Woodcock] workroom and things… And then there’s personal expression in the fashion show as well. Something Alma wears references something she wore earlier in the story. And so in a very subtle way, we see how she has come into his life and affected his life as well as his work.”

On the makeup front, Black Swan comes to mind, about an obsessive ballerina who loses her mind in pursuit of artistic excellence. The mounting chaos and thematic darkness are expressed in the protagonist’s dramatic makeup:

| Fox Searchlight Pictures, 2010

Essentially, costumes and makeup are another way to externalize the internal, ever the holy grail of a medium as visual as film!

costumes and makeup are another way to externalize the internal,

Although mise-en-scène isn’t strictly a production term, it’s definitely something that filmmakers consider throughout the creative process! Think of it as the convergence of many different departments’ efforts, as guided by the director, culminating in a singular visual impression that impacts and gets analyzed by audiences and critics alike.

As you design your own films, be sure to consider these five aspects of mise-en-scène. They represent an opportunity for you to tell your story visually.

Nothing need be random, friends. Everything in the frame can carry meaning. It’s up to you and your team to instill it!

Lauren McGrail, with

Want to learn more about mise-en-scène?

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It’s everything you need to learn how to create professional narrative and documentary films using the equipment you already have, wherever you live, with guidance, community, and resources at a fraction of the cost of traditional film school.

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Citation information in Europe Pubmed Central

Reactive astrocytosis is a well-documented feature of HIV encephalitis (HIVE), but it is unclear whether restricted infection of astrocytes contributes to this phenomenon. In addition, the part played by reactive and/or infected astrocytes in AIDS-related dementia is not fully understood. In this study of patients at different stages of the human immunodeficiency virus (HIV) infection, who had been treated at most with one antiretroviral drug, reactive astrocytes were identified by immunopositivity for glial fibrillary acidic protein (GFAP) and infected astrocytes by positivity for HIV Nef protein. Results were compared for drug-using AIDS patients with (n=9) and without (n=7) HIVE, for presymptomatic HIV-positive drug users (n=12) and for control HIV-negative subjects (n=20), including a group who used drugs (n=10). GFAP-reactive astrocytes in both grey and white matter were significantly more numerous in HIVE subjects than in each of the other groups but did not correlate with viral load. Nef-positive astrocytes were confined to HIVE cases and to white matter, but were numerous in only one subject who was treatment-naive. Nef-positive microglia were identified in all HIVE cases and in occasional AIDS and presymptomatic subjects who did not have HIVE. The results suggest that astrocytes may form an additional viral reservoir in late HIV infection and may contribute to HIVE. However, the number of GFAP-positive astrocytes was neither increased in pre-AIDS nor in drug abuse, in contrast with microglia which we have shown previously to be up-regulated in both states.

Roy KM , Bagg J , Kennedy C , Cameron S , Simmonds P , Lycett C , Hunter I , Taylor M . 2003. Prevalence of GBV-C infection among dental personnel. J Med Virol , 70 (1), pp. 150-155. | Show Abstract | PAUL ANDREW Rhea Suede Pointtoe Flats High-Quality Cheap Amazon Online Outlet Wholesale Price Buy Cheap Pictures FoCNQC

Healthcare workers who carry out exposure-prone procedures are theoretically at increased risk of acquiring blood-borne virus infections. GB virus C (GBV-C) is a recently described blood-borne virus that is related distantly to hepatitis C virus. The occupational risk of GBV-C infection to healthcare workers is unknown. This study collected detailed occupational and personal risk data in parallel with a blood specimen, to establish the prevalence and determinants of GBV-C infection among dental healthcare workers. The presence of GBV-C antibodies was detected using commercially available ELISA; GBV-C RNA was detected by nested PCR using primers from the conserved 5' noncoding region. The overall prevalence of GBV-C antibodies among the study population was 11.1% (98/880, 95% confidence interval [CI], 9.1-13.4%) and 4.6% were positive for GBV-C RNA (46/879, 95% CI, 2.5-5.1%), resulting in a cumulative prevalence of 15.7%. These figures are similar to those described in other populations. There was no significant difference in lifetime exposure to GBV-C between dentists (17.7%) and dental nurses/hygienists (14.3%). Significantly more dental nurses/hygienists aged 16-30 years had been exposed to GBV-C compared to dentists of the same age (chi(2) = 13.75; P < 0.001). Conversely, significantly more dentists 46 years or older had evidence of exposure to GBV-C compared to dental nurses/hygienists (chi(2) = 6.79; P = 0.009). The high prevalence of GBV-C infection did not seem to be related to past parenteral exposure, and the data suggest that sexual transmission, rather than occupational transmission, was a more important route for GBV-C infection among this population.

Citation information in Europe Pubmed Central

TT virus (TTV) and TTV-like minivirus (TLMV) are small DNA viruses with single-stranded, closed circular, antisense genomes infecting man. Despite their extreme sequence heterogeneity (>50%), a highly conserved region in the untranslated region (UTR) allows both viruses to be amplified by polymerase chain reaction (PCR). TTV/TLMV infection was detected in 88 of 100 human plasma samples; amplified sequences were differentiated into TTV and TLMV by analysis of melting profiles, showing that both viruses were similarly prevalent. PCR with UTR primers also detected frequent infection with TTV/TLMV-related viruses in a wide range of apes (chimpanzees, gorillas, orangutans, gibbons) and African monkey species (mangabeys, drills, mandrills). These findings support the hypothesis for the co-evolution of TTV-like viruses with their hosts over the period of primate speciation, potentially analogous to the evolution of primate herpesviruses.

As described above in relation to the image sensor, the number of megapixels can be misleading. If Camera X has 24 megapixels and Camera Y has 12 megapixels, this does not necessarily mean that Camera X produces higher quality images. If Camera Y has a larger sensor, higher ISO sensitivity, and a superior lens, you can expect better photos from fewer megapixels.You shouldn’t totally ignore megapixels either. An astute camera buyer should look at sensor size first, then the number of megapixels, and try to gauge how those two numbers stack up against the competition (we’ve tried to make things easier with our handy comparison table above). Generally, the more you pay for a camera the larger the sensor and higher the number of megapixels.

A major point of differentiation between budget and high-end point-and-shoots is the low light performance of the lens and camera. In terms of the lens, the important number to look at is maximum aperture, expressed in f-stops ranging from f/1.4 to f/22 or higher. The lower the number, the wider the lens can open and the more light enters the camera. At the low end of the spectrum is a camera like the Panasonic Lumix LX10 with a maximum aperture of f/1.4and the Sony RX100 serieswithmaximum apertures of f/1.8. Most mid-range and budget point-and-shoots have maximum apertures from around f/2 to f/3.5. You’ll notice that maximum aperture is expressed in two numbers covering both the wide and telephoto end (f/1.8-4.9, for example).

Sunset shot with the Sony RX100 III | James Loesch

In terms of the low light performance of the camera itself, the number to look for is ISO sensitivity (commonly referred to simply as ISO). The higher the ISO, the more sensitive a camera is to light and the less likely you are to get noise (graininess you often see on photos taken by cheap cameras or your smartphone). A camera like the popular Canon ELPH I70 IS isn’t particularly good in low light with an ISO sensitivity of 100-1600, while the Sony RX100 Vhas a much more impressive range of 125-12800. Taken together with the maximum aperture of the lens, these factors are what determine the low light performance of your point-and-shoot.

Like zoom, video is an increasingly sought-after camera feature. Full HD 1080p (1920 x 1080pixels) is standard in 2018, even on point-and-shoots. Some budget models only shoot 720p (1280 x 720 pixels), but they are increasingly scarce. At the top end of the spectrum, some professional compacts are now offering 4K video (4096 x 3072 pixels) like the Sony RX100 V and Panasonic LX10.

In terms of overall video quality, there is more to evaluate than just the resolution. The quality of the autofocus, ISO sensitivity, size of image sensor, and other features like image stabilization all play a role in the video your point-and-shoot produces. Dedicated videographers also like to experiment with different movie speeds, with the most common being 60 fps, 30 fps, and 24 fps. Pricier point-and-shoots usually offer more video speeds to choose from.

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