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Making music for the movies is a complicated, involved, and challenging process. Music Editing for Film and Television covers the practical skills needed to successfully hone your craft. Through an overview of the music editing process, this book will equip you with detailed techniques to solve musical problems encountered during editing. An abundance of interviews with well-known professionals provide a wide range of perspectives on music editing for film, while special features address an array of projects, from a low-budget documentary, to a Hollywood blockbuster, to indie projects.

On the Track offers a comprehensive guide to scoring for film and television. Covering all styles and genres, the authors, both noted film composers, cover everything from the nuts-and-bolts of timing, cuing, and recording through balancing the composer's aesthetic vision with the needs of the film itself. Unlike other books that are aimed at the person \"dreaming\" of a career, this is truly a guide that can be used by everyone from students to technically sophisticated professionals. It contains over 100 interviews with noted composers, illustrating the many technical points made through the text.

Unplanned meetings can stem from complex movements across geographies, with serendipity playing a key role. Media artist Budhaditya Chattopadhyay unexpectedly meets researcher Budhaditya Chattopadhyay at a café in Budapest. This is their eighth meeting, following previous encounters in Copenhagen (2017), Den Haag (2021c), Kolkata (2021b), Berlin (2022a), Beirut (2022b), Basel (2023), and Rampurhat (2024). Each interaction has fostered a reflexive exchange of ideas, merging their artistic and theoretical perspectives on sound, listening, migratory experiences, and decolonial activism. Despite the differing lenses they bring, their conversations generate new insights. In the bustling café, surrounded by disengaged students emblematic of the isolation in European universities, the two engage in thoughtful discussions on acoustic ecologies, sonic environments, field recording, and audiovisual media. Their dialogue embodies a spirit of camaraderie, underscoring the value of interdisciplinary exchanges in nurturing knowledge and understanding across artistic and scholarly domains. Encontros não planejados podem surgir de movimentos complexos através de geografias, com a imponderabilidade desempenhando um papel crucial. O artista midiático Budhaditya Chattopadhyay encontra inesperadamente o pesquisador Budhaditya Chattopadhyay em um café em Budapeste. Este é o oitavo encontro deles, após interações anteriores em Copenhague (2017), Haia (2021c), Calcutá (2021b), Berlim (2022a), Beirute (2022b), Basel (2023) e Rampurhat (2024). Cada interação promoveu uma troca reflexiva de ideias, fundindo suas perspectivas artísticas e teóricas sobre som, escuta, experiências migratórias e ativismo decolonial. Apesar das diferentes lentes que trazem, suas conversas geram novos insights. No café movimentado, cercados por estudantes desengajados, sintomas do isolamento típico de universidades europeias, os dois se envolvem em discussões ponderadas sobre ecologias acústicas, ambientes sonoros, gravações de campo e mídias audiovisuais. Seu diálogo reflete um espírito de camaradagem, destacando o valor das trocas interdisciplinares na promoção do conhecimento e da compreensão entre os domínios artístico e acadêmico.

This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films' fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of 'classical' sound film. Instead, authors highlight the sense of 'fruitful uncertainty' in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, and noises; aesthetic conceptions in sound film theory; and intermedial aesthetics. The volume's scope is decidedly international, covering production and reception contexts in the Soviet Union, Japan, the USA, Germany, France, Italy, the UK, and Switzerland.

Intravenous contrast media are used in MRI, CT and US studies for anatomical evaluation and lesion characterization. Safety is always of paramount importance when administering any contrast media to children, and it is important for radiologists and ordering providers to be knowledgeable of the safety profiles and potential adverse events that can occur. This manuscript reviews the frequency and types of adverse events associated with intravenous contrast agents reported in the pediatric literature. Overall, intravenous contrast agents are very safe to use in children. However, familiarity with how to treat and prevent these uncommon events is crucial in preventing poor outcomes. In addition, an understanding of gadolinium deposition in tissues can help facilitate conversations with concerned physicians and parents. This review provides a concise yet comprehensive reference for radiologists and ordering providers on intravenous contrast safety considerations in the pediatric patient.

The article approaches the issue of believing and making believe from the point of view of sound and music. According to the classical aesthetic theory of Hegel, the power of music takes a grip on the subject and animates it. According to a newer theory of cultural techniques and to media thinking, the individual and the social space, the subjective and the objective are much more entangled. Arnold Schoenberg, in negotiating religious space, establishes close relations between the animate and the inanimate, the human and the environmental in his opera “Moses and Aron”. Music and sound do not force themselves upon the listeners, but summon them to perceive and make new differences and decisions. Jean-Marie Straub and Danièle Huillet in their adaptation of the opera still enforce this entanglement towards an ecological understanding of social relations.

The unpredictable duration of the COVID-19 pandemic necessitates renewed reflection on our collective reliance on video platforms such as Zoom and YouTube for telecommunication and music listening purposes, which have virtually filled the gap left by widely cancelled live performances. The affectively close relationship we forge with these services today echoes a recurrent theme in literary modernism: the tendency to endow early mechanical sound reproduction machines such as the phonograph and the record player with quasi-human subjectivity, emotions, and agency. This historical topos, in turn, anticipates posthumanism’s fascination with the seamless interface between machine-intelligence and its human users. Thinking about these cultural continuities may help the Humanities articulate the crucial role of media technologies and literary discourses under exceptional circumstances.

The Contrast-Enhanced Ultrasound Liver Imaging Reporting and Data System (CEUS LI-RADS) was introduced for classifying suspected hepatocellular carcinoma (HCC). However, it cannot be applied to Sonazoid. We assessed the diagnostic usefulness of a modified CEUS LI-RADS for HCC and non-HCC malignancies based on sensitivity, specificity, positive predictive value (PPV), and negative predictive value (NPV). Patients with chronic liver disease at risk for HCC were evaluated retrospectively. Nodules ≥1 cm with arterial phase hyperenhancement, no early washout (within 60 s), and contrast defects in the Kupffer phase were classified as LR-5. Nodules showing early washout, contrast defects in the Kupffer phase, and/or rim enhancement were classified as LR-M. A total of 104 nodules in 104 patients (median age: 70.0 years; interquartile range: 54.5–78.0 years; 74 men) were evaluated. The 48 (46.2%) LR-5 lesions included 45 HCCs, 2 high-flow hemangiomas, and 1 adrenal rest tumor. The PPV of LR-5 for HCC was 93.8% (95% confidence interval (CI): 82.8–98.7%). The 22 (21.2%) LR-M lesions included 16 non-HCC malignancies and 6 HCCs. The PPV of LR-M for non-HCC malignancies, including six intrahepatic cholangiocarcinomas, was 100% (95% CI: 69.8–100%). In conclusion, in the modified CEUS LI-RADS for Sonazoid, LR-5 and LR-M are good predictors of HCC and non-HCC malignancies, respectively.

The aim of this study was to compare the diagnostic performance of Contrast-Enhanced US Liver Imaging Reporting and Data System (CEUS LI-RADS) version 2017, which includes portal- and late-phase washout as a major imaging feature, with that of modified CEUS LI-RADS, which includes Kupffer-phase findings as a major imaging feature. Participants at risk of hepatocellular carcinoma (HCC) with treatment-naïve hepatic lesions (≥1 cm) were recruited and underwent Sonazoid-enhanced US. Arterial phase hyperenhancement (APHE), washout time, and echogenicity in the Kupffer phase were evaluated using both criteria. The diagnostic performance of both criteria was analyzed using the McNemar test. The evaluation was performed on 102 participants with 102 lesions (HCCs (n = 52), non-HCC malignancies (n = 36), and benign (n = 14)). Among 52 HCCs, non-rim APHE was observed in 92.3% (48 of 52). By 5 min, 73.1% (38 of 52) of HCCs showed mild washout, while by 10 min or in the Kupffer phase, 90.4% (47 of 52) of HCCs showed hypoenhancement. The sensitivity (67.3%; 35 of 52; 95% CI: 52.9%, 79.7%) of modified CEUS LI-RADS criteria was higher than that of CEUS LI-RADS criteria (51.9%; 27 of 52; 95% CI: 37.6%, 66.0%) (p = 0.0047). In conclusion, non-rim APHE with hypoenhancement in the Kupffer phase on Sonazoid-enhanced US is a feasible criterion for diagnosing HCC.