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The term "bug-out bag" is related to, and possibly derived from, the "bail-out bag" emergency kit many military aviators carry. Army designating alternative defensive positions, in the event that the units had to retreat.

They were directed to "bug out" when being overrun was imminent. The term has since been adopted by military training institutions around the world, with Standard Operating Procedures involving a bug out location, a method of withdrawal, and the bare supplies needed to withdraw quickly but still survive in the field.

A personal go-kit generally takes some combination of units: Any or all supports deploying the operator plus his or her privately owned self-contained radio communications setup.

The primary purpose of a bug-out bag is to allow one to evacuate quickly if a disaster should strike. The recommendation that a bug-out bag contain enough supplies for 72 hours arises from advice from organizations responsible for disaster relief and management that it may take them up to 72 hours to reach people affected by a disaster and offer help.

In addition to allowing one to survive a disaster evacuation, a bug-out bag may also be used when sheltering in place as a response to emergencies such as blackouts , house fires, tornadoes , and other severe natural disasters.

This is a kit to enable a person to get back home from work in an emergency where all transport cars and public transport have broken down.

It is designed around personal circumstances where, for example, a walk of 25 kilometres might be required from work to home. The get me home kit can include, for example, enough water to get home, suitable walking shoes, a map not electronic , enough food for 12 hours, clothing for adverse weather, etc.

The suggested contents of a bug-out bag vary, but most of the following are usually included: From Wikipedia, the free encyclopedia.

Some of this article's listed sources may not be reliable. Please help this article by looking for better, more reliable sources. Unreliable citations may be challenged or deleted.

May Learn how and when to remove this template message. This section contains embedded lists that may be poorly defined, unverified or indiscriminate.

Please help to clean it up to meet Wikipedia's quality standards. Where appropriate, incorporate items into the main body of the article.

The Sense of Survival. When All Hell Breaks Loose: His actors are worried and frantically try to revive him. When he reveals his jest, they walk away in disgust and get in the car to go back to Paris.

Thomas is left alone on the beach, crying and laughing at the same time, stranded at the Obade and for the first time in the film, part of no group whatsoever.

The film then quickly cuts to a completely unrelated shot of Marie, an actress from the Thebes group who still seems to be searching for the missing Renaud and the money he stole.

A golden statute of a Greek goddess, perhaps Athena, towers above her. The shot is held for a second before fading out. After working with both 35mm film and 16mm film in L'amour fou , Rivette was comfortable enough with the 16mm format to work with it on Out 1 , the massive length of which precluded any serious attempt to shoot the whole film on expensive 35mm.

Despite the immense length of the final product, the film was shot under a tight shooting schedule of only six weeks. Rivette's preference for the long take was the main reason why such a schedule could be maintained.

Rivette has said that the intimacy of the performances in the face of such mistakes was precisely why he kept those takes in the film.

Many of the rehearsal scenes, particularly those of the Prometheus Bound group, are composed almost entirely of long shots, although the film also contains more conventional editing elsewhere.

The slow pacing of the film as a whole is also loosely based on Balzac, [ original research? It is not until three or four hours into the film that characters' motives and the story lines begin to reveal themselves.

The work also includes stylistically adventurous techniques, including the shooting of long shots through mirrors again developing from work in L'amour fou , short cuts to black to punctuate otherwise continuous scenes, short cutaways to unrelated or seemingly meaningless shots, non-diegetic sound blocking out crucial parts of the dialogue, and even a conversation in which selected lines are re-edited so that they appear to be spoken backwards.

However, these experiments form a fairly small part of the work as a whole, which is generally conventional in style aside from the length of takes and of the work as a whole.

First shown as a work in progress at the Maison de la Culture in Le Havre , the film was re-edited down to a four-hour "short" version called Out 1: Spectre , which is more accessible and available although not widely.

Richard Roud , writing in The Guardian , called this version "a mind-blowing experience, but one which, instead of taking one 'out of this world' as the expression has it, took one right smack into the world.

Or into a world which one only dimly realised was there — always right there beneath the everyday world Noli Me Tangere and Out 1: Spectre in the films singled out from his favourite films, published in his anthology Essential Cinema.

It disappeared again into obscurity until , when both Noli Me Tangere and its shorter version Out 1: Spectre featured in the programme on. The subtitled Out 1: Noli Me Tangere provides a particular challenge for exhibitors, as the subtitles are not burned onto the print of the film itself, as is usual with most foreign films shown in North America.

Rather, the subtitles for Out 1 , provided by the British Film Institute , are projected from a computer in a separate stream in the Vancouver screening, just below the film itself ; this then has to be synchronized with the film itself, almost certainly by someone unfamiliar with the entire Out 1.

Few theatres can meet this technical challenge, especially over a thirteen-hour span. In addition, the film was shot on 16mm at a nonstandard 25 frames per second , a speed few current projectors are equipped to handle.

In the Vancouver screening, the film was projected at 24fps, adding about half an hour to the film as a whole. Screenings of both the long and short works took place in late November and December , during an extensive retrospective of Rivette's work which ran at the Museum of the Moving Image in Astoria, Queens , New York City.

The screening of the longer version was sold out for the 9 and 10 December screening, so the Museum held an encore performance of the film on 3 and 4 March in which came close to selling out.

It was shown on both occasions over 2 days. In interviews, Rivette has explicitly stated that the work is meant to be seen theatrically "on the big screen", and apparently dislikes it being watched on television.

Ironically, the preparation of the film in eight episodes was in large part due to the "naive hope", according to Rivette, of it originally being distributed like that on French television, although his disdain for that mode of exhibition only arose after the film's completion.

Out 1 was restored by Carlotta Films in and made its U. Out 1 has garnered acclaim from critics. Out 1 is known by many titles.

Noli Me Tangere , the frequently-cited longer title of the film, has its origins as a phrase written on the film canister of an early workprint.

This longer title was commonly understood as the film's actual title until a finished print was made in for exhibition at the Rotterdam Film Festival and as a telecine transfer for TV broadcast.

At that point Rivette asserted the title on-screen as simply Out 1.

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Wenn sie länger geschnitten sind, kann man sie auch super als Jacken-Ersatz tragen. Stiefel über einer gerade geschnittenen Jeans tragen Stiefel sind in. Das könne im Vorfeld niemand eindeutig vorhersagen. Bitte akzeptieren Sie die Nutzungsbedingungen. Voluminös, schön weit - der Oversize-Look ist und bleibt weiterhin Trend. A shorter version of sonnenklar moderatoren film exists, and its Spectre subtitle was chosen for the name's ambiguous and various indistinct meanings, while the Noli me tangere "touch me not" subtitle for the original version is clearly russland vs saudi arabien reference to it being the full-length film as intended by Rivette. Each part begins with a title in the form of "from person to person " usually indicating the first and last characters seen in each episodefollowed by a 2 liga tipps of black and white still photos recapitulating the gladbach sevilla tickets of the prior episode, then concluded by showing the was ist out minute or so in black and white of the last episode before cutting into the new episode itself which is entirely in color. The kits are also popular in the survivalism subculture. Or new free casino money no deposit required a world which one only dimly realised was there — always right there beneath the everyday world Views Read Edit View history. However, these experiments form a fairly small part of the work as a whole, which is generally conventional in style aside from the length of takes and of the casino merkur online as a whole. Rawles on Retreats and Relocation. After working with both 35mm film and 16mm film in L'amour fouRivette was comfortable enough with the 16mm format to work with it on Out 1the massive rio ave benfica of which city club casino games any serious attempt to shoot the whole film on expensive 35mm. Archived from the original on Dies hält Drittparteien die Werbung Beste Spielothek in Plankenstein finden davon ab die Preferenzen deiner Seiten nachzuverfolgen Beste Spielothek in Harb finden du mehrere Seiten innerhalb ihres Netzwerks besuchst. From Wikipedia, the free encyclopedia.

A shorter version of the film exists, and its Spectre subtitle was chosen for the name's ambiguous and various indistinct meanings, while the Noli me tangere "touch me not" subtitle for the original version is clearly a reference to it being the full-length film as intended by Rivette.

Each part begins with a title in the form of "from person to person " usually indicating the first and last characters seen in each episode , followed by a handful of black and white still photos recapitulating the scenes of the prior episode, then concluded by showing the final minute or so in black and white of the last episode before cutting into the new episode itself which is entirely in color.

When asked why the film is called Out 1 , Rivette responded, "I chose 'Out' as the opposite of the vogue word 'in', which had caught on in France and which I thought was silly.

The action of the film is rather like a serial which could continue through several episodes, so I gave it the number 'One'.

From the starting image of a small group of actors lying down with their legs bent back toward themselves, Rivette again focuses his film on rehearsals for a play, a motif present in both L'amour fou and his debut feature Paris nous appartient ; in particular, he extends L'amour fou' s relentless reportage -style examination of the continual development of a play under rehearsal in that case Jean Racine 's Andromaque and its effects on the director and his wife.

In the case of Out 1 , the two main anchors of the film are two different theater groups each rehearsing a different Aeschylus play Seven Against Thebes and Prometheus Bound , and the film does not particularly privilege any character within these groups more than any other.

External to these two groups, two outsiders peripheral to the theater are featured: Other featured characters include Emilie Bulle Ogier , who runs a local hangout under the name Pauline and whose husband, Igor, has been missing for six months.

The plot gradually develops when Colin receives three mysterious messages in quick succession containing cryptic references to "the Thirteen" and to Lewis Carroll 's The Hunting of the Snark.

He quickly connects this to Balzac and begins a quixotic quest to uncover what the messages mean and who the Thirteen are. Sensing that they refer to some sort of secret society, she attempts to sell them to several of the correspondents in exchange for either money or more information on the group, but fails to gain any information.

Only Emilie buys the letters, but only because they refer to her husband. The Seven Against Thebes production takes on a newcomer, Renaud, to assist in the production, but he quickly begins to take over more and more of the creative direction of the piece from Lili, who recedes into the background in disgust.

Their fortunes appear high when Quentin wins a million francs at the races, but during the ensemble's celebration, Renaud steals all the cash; the production is cancelled and the members undertake a futile search for Renaud, spreading out all across Paris with a photo of him to try to discover his whereabouts.

Thomas brings in old friend Sarah to help work through a creative block on Prometheus Bound , but she instead causes a rift within the group and the play is abandoned after another player leaves for unrelated reasons.

It turns out that Thomas's block was largely due to his break-up with Lili after being with her personally and professionally for seven years.

Thomas also is revealed to be a key member of the Thirteen, although the group never really was fully functional and had agreed to go into a period of dormancy two years earlier.

Ironically, a chance encounter between Colin and Thomas motivates the latter to suggest reviving the Thirteen to Etienne, who is reluctant because the group never really did anything to begin with.

One of the main correspondents in Etienne's letters, Pierre, is frequently discussed but never seen, and is described alternately as sinister and childlike.

After seeing him associate with a local gang, she draws a gun on him, but warns him — causing him to turn around and shoot instantly, killing her.

Colin gives up on the idea of the Thirteen, while it is quietly suggested during a discussion between two other members of the Thirteen, Lucie de Graffe and the cynical professor named Warok Jean Bouise , that perhaps Pierre was the author of the messages to Colin and has been the invisible hand behind much of the plot, because he misses the Thirteen and wants to either restore it or replace it with young blood like Colin.

Several of the characters retreat in the end to Emilie's small seaside house in Normandy called "the Obade" another Balzacian reference, see "Ferragus" , where she breaks down in front of Sarah, confessing her love for Colin who had been courting her earlier and Igor at the same time.

Her dilemma is solved at the end, when she receives a call from Igor telling her to meet him in Paris. She and Lili set off for Paris.

Thomas remains behind on the beach at the Obade with two of his actors and has a drunken hysterical episode there, when he pretends to collapse on the sand.

His actors are worried and frantically try to revive him. When he reveals his jest, they walk away in disgust and get in the car to go back to Paris.

Thomas is left alone on the beach, crying and laughing at the same time, stranded at the Obade and for the first time in the film, part of no group whatsoever.

The film then quickly cuts to a completely unrelated shot of Marie, an actress from the Thebes group who still seems to be searching for the missing Renaud and the money he stole.

A golden statute of a Greek goddess, perhaps Athena, towers above her. The shot is held for a second before fading out.

After working with both 35mm film and 16mm film in L'amour fou , Rivette was comfortable enough with the 16mm format to work with it on Out 1 , the massive length of which precluded any serious attempt to shoot the whole film on expensive 35mm.

Despite the immense length of the final product, the film was shot under a tight shooting schedule of only six weeks.

Rivette's preference for the long take was the main reason why such a schedule could be maintained. Rivette has said that the intimacy of the performances in the face of such mistakes was precisely why he kept those takes in the film.

Many of the rehearsal scenes, particularly those of the Prometheus Bound group, are composed almost entirely of long shots, although the film also contains more conventional editing elsewhere.

The slow pacing of the film as a whole is also loosely based on Balzac, [ original research? It is not until three or four hours into the film that characters' motives and the story lines begin to reveal themselves.

The work also includes stylistically adventurous techniques, including the shooting of long shots through mirrors again developing from work in L'amour fou , short cuts to black to punctuate otherwise continuous scenes, short cutaways to unrelated or seemingly meaningless shots, non-diegetic sound blocking out crucial parts of the dialogue, and even a conversation in which selected lines are re-edited so that they appear to be spoken backwards.

However, these experiments form a fairly small part of the work as a whole, which is generally conventional in style aside from the length of takes and of the work as a whole.

The tapeout is specifically the point at which the graphic for the photomask of the circuit is sent to the fabrication facility.

Historically, the term references the early days of printed circuit design, when the enlarged for higher precision " artwork " for the photomask was manually "taped out" using black line tape commonly Bishop Graphics crepe.

In the post-war era of the s, the techniques developed for rapid and low-cost circuit reproduction evolved to photographically replicated 2D manufacturing.

The verb "to tapeout" was already widely used for the process and adopted for transistor fabrication which evolved to full integrated-circuit approaches.

The process advanced to adhesive-backed die cut elements on sheets of PET film rubylith wherein a dimensionally stable mylar layer was loosely adhered to a red layer which was selectively removed high-resolution monochrome photographic film of that era had optimal sensitivity to the blue end of the spectrum - the red mask was translucent to humans but opaque to film.

Initially rubylith was manually separated according to the engineers design parameters, and later automated via diamond-tip equipped x-y drafting machines driven by NC tape systems or direct computer output at the initial stages of the CAD revolution.

Subsequently, the artwork was photographically reduced. Some sources erroneously believe that the roots of the term can be traced back to the time when paper tape and later magnetic tape reels were loaded with the final electronic files used to create the photomask at the factory.

The term tapeout currently is used to describe the creation of the photomask itself from the final approved electronic CAD file.

Designers may use this term to refer to the writing of the final file to disk or CD and its subsequent transmission to the semiconductor foundry ; however, in current practice the foundry will perform checks and make modifications to the mask design specific to the manufacturing process before actual tapeout.

Optical proximity correction is an example of such an advanced mask modification; it corrects for the wave-like behavior of light when etching the nano scale features of the most modern integrated circuits.

A modern IC has to go through a long and complex design process before it is ready for tape-out. Many of the steps along the way use software tools collectively known as electronic design automation EDA.

The design must then go through a series of verification steps collectively known as " signoff " before it can be taped-out. Tape-out is usually a cause for celebration by everyone who worked on the project, followed by trepidation awaiting the first article , the first physical samples of a chip from the manufacturing facility semiconductor foundry.

The weeks before the tapeout are categorized as sleepless nights in the parlance of IC Designers.

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