How to use "film rail" in a sentence
Separation is a vital process in oil industries, where the mixtures separation, like the upstream gotten from oil reservoirs, differentiate the useful products. Gas-liquid separation process has been widely studied in order to optimize the quality of gas to export and later refine. However liquid-liquid separation has not been as optimized as gas-liquid separation. Nowadays liquid-liquid separators consist in a big over- dimensioned vessels, where due to the slow migration velocities and the coalescence time liquids get separate after some time. Specially in the offshore installations where space and weight play a crucial role in the design and transport of the mate- rials is not so easy, this over-dimension of the containers can create overweight and structural issues. In this thesis the different parts of the separation process (dynamics of droplets, and their interaction with a liquid-liquid interface) have been studied. In order to be able to conceive, design and build a facility which can simulate the processes suffered by the liquids during the separation, an extensive work in literature has been reviewed. The goal of this work is starting from a simple circuit, design and build a test section which will allow to simulate and study the coalescence process and the droplet dynamics inside a gravity separator inducing shear by forcing flows to run in opposite directions in the presence of the other. The design was performed with 3 D software and built in transparent resin in a 3 D printer. A study of transparency through different post-printing processes and section designs with the addition of crystal slides is presented. Also resistance of sections built and supports generated in a 3 D printer has been performed to validate this method for experiments in the future. The facility construction suffered modifications from the first idea due to a lack of time to perform all the components although they are included both in theory and designing part. Visualization of the droplets was achieved with a high-speed camera over a film rail controlled by computer software. The results show the validation of the 3 D prints for possible laboratory uses as the pieces are able to resist increases and reductions of flow without suffering an important pressure drop. Because of the superposition of resin layers and the aging of the resin film through the resin was rejected. A re-design of the test section was made to incorporate windows to be able to visualize and illuminate the simulation of the gravity separation process...
It also featured in the 2007 film Rails & Ties, starring Kevin Bacon.
In 2007, Heizer played the role of Davey Danner at 12 years old in the film Rails & Ties, for which he was nominated for the Young Artist Award for Best Leading Young Actor in a Feature Film. That same year, he had a recurring role as Joshua Lipnicki on the NBC medical drama television series ER. In 2010, he was cast as Drew Holt, the son of Lauren Graham's character, on the NBC drama series Parenthood. Heizer portrayed his character Drew Holt alongside his real life best friend Mae Whitman who starred as his character's sister, Amber Holt, until the series' ending in 2015.
... 2002 [...] "Best Adventure Film", for the film Off The Rails. Mountain and Adventure Film Festival, Graz, Austria.
Abstract. 2 MK- 1760 is a grinding machine used in large scale optical lens manufacturing. To meet the manufacturing requirements, the block thin film hydrostatic guide rail is applied. In this paper, the structure of block thin film hydrostatic guide rail is proposed. In order to get the thickness and the stiffness, design calculation is performed. Experiments are carried out to verify that the feasibility and the validity of this technique...
Burma also celebrated its first gay pride in several cities around the country in 2012, to mark the International Day Against Homophobia, Biphobia and Transphobia. In 2016, The Gemini was released and became the first LGBT film in cinema of Myanmar. The film openly railed against the Burmese homosexuality laws.
In 1977, he portrayed Victor Frankenstein in Terror of Frankenstein, Calvin Floyd's adaptation of Mary Shelley's classic Frankenstein, where he met his future wife Kersti Vitali, who worked as costume designer in the shoot. The Vitalis then worked as costume designers in Birgitta Svensson's Mackan, after which Leon played a bit part in Svensson's next film, Inter Rail (1981). Leon and Kersti would divorce later on.
Conference Name: 3 rd international Conference on Manufacturing Science and Engineering, ICMSE 2012. Conference Address: Xiamen, China. Time:March 27, 2012 - March 29, 2012. Fujian University of Technology; Xiamen University; Fuzhou University; Huaqiao University; University of Wollongong 2 MK- 1760 is a grinding machine used in large scale optical lens manufacturing. To meet the manufacturing requirements, the block thin film hydrostatic guide rail is applied. In this paper, the structure of block thin film hydrostatic guide rail is proposed. In order to get the thickness and the stiffness, design calculation is performed. Experiments are carried out to verify that the feasibility and the validity of this technique. 漏 (2012) Trans Tech Publications...
Toorpu Velle Railu (తూర్పు వెళ్ళే రైలు) is a 1979 Telugu film directed by Bapu and written by Mullapudi Venkata Ramana. The film stars Mohan, Jyoti, Rallapalli, and Sakshi Ranga Rao. The film is a remake of the Tamil film Kizhake Pogum Rail.
Rails Rumble is an annual virtual hackathon competition for developers using Ruby on Rails. It is similar in spirit to Rails Day. Borrowing from the format of the 48 Hour Film Project, Rails Rumble was the pioneer of the 48-hour hackathon model, giving teams of 1-4 developers a weekend to design, develop, and deploy the best web application they can in the allotted time. Finished entries are rated and commented on during a public judging period, after which awards are presented.
Alfred Hitchcock was a well-known rail enthusiast with a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular The Lady Vanishes, Strangers on a Train and Number Seventeen. Often, when the scene and take numbers appeared on a clapperboard during filming, Hitchcock would translate them into London tram route numbers; for example, if Scene 23, Take 2, appeared on the clapperboard, he was wont to whisper: [...] "Woodford; Wimbledon" [...] (the termini of Routes 23 and 2).
Now Sajjan was well established in films. In 1950s- 60s Sajjan acted as hero or side-hero in films like, Sainya, Rail Ka Dibba, Bahana, Sheesha, Malkin, Nirmohi, Kasturi, Mehmaan, Lagan, Girl School, paridhaan, 00 Dulhe, Ghar-Ghar Mein Diioali, Haa-Haa-Hee-Hee-Hoo-Hoo, Poonam Jhanjhar, Halla- Gulla. As hero his last film was Kabuliwala and as an artist he last appeared in 1986 release Shatru with Rajesh Khanna.Artist of more than 150 films Sajjan also worked in TV serials. In Vikram-Betaal he played Betaal. His other serial was Lena-Dena.
The scene at the truck stop and the restaurant (actually called Galileo Coffee) after the kids saw their father in the window was filmed in Britannia Beach. The chase at the end where the truck chase was filmed on the Cambie Street Bridge and Dunsmuir St. between Howe and Burrard Station. The train featured in the film is Via Rail. In reality, Via Rail travels only in Canada. The Amtrak route is the Amtrak Cascades which goes through Seattle. The Pacific Central Station is in Vancouver.
Despite extensive research into adhesion and contaminant films, low adhesion problems continue to plague the modern railway, particularly in autumn when leaves on line and damp conditions combine to form a very low adhesion contaminant film on the rail head which cannot be removed easily. Whether accelerating, braking or simply maintaining the desired speed, good adhesion between rail and wheel is essential. Without good adhesion the braking distances are very long and for safety reasons trains need to reduce speed. Sudden drops in adhesion can cause havoc with time-tables, and can lead to accidents - the number of signals passed a danger is significantly higher in autumn. In addition to low-adhesion problems, contaminants (sometimes environmental, sometimes as a deliberate adhesion-control) can cause problems with track circuitry and the failure of train detection systems can also lead to accidents. This report covers the causes of low adhesion and the methods used to control the problem, and describes measurements which have been carried out in the field or in the laboratory. A plan for new laboratory work examining contaminant films, particularly leaf films, studying new rail materials or coating which provide good adhesion properties, and developing mechanisms for preventing film formation or removing existing films is outlined. If funded, the effects of low-adhesion contaminant films on wear and rolling contact fatigue will be carried out in combination with a parallel project which is modelling wear and crack initiation...
After Kokila, Mohan starred in a Malayalam movie titled Mathalasa. Furthermore, immediately after the success of the Malayalam movie, Mohan went on to sign a Telugu film titled Thoorpu Velle Railu, which was a remake of the Tamil film Kizhakkae Pogum Rail. The Telugu version was directed by Bapu. After that Mohan was introduced in the Tamil film Nenjathai Killathey by director Mahendran. In 1980 he acted in dual roles for the first time in Gandar Golam which was directed by director Singeetham Srinivasa Rao.Nenjathai Killaadhey marked the beginning of the peak of Mohan's career. Kilinjalgal, Payanagal Mudivathillai had Silver Jubilee. Mohan became a major star through Payanangal Mudivathillai (1982).
In an 1884 article, Rau stated that he preferred cameras with Euryscope lenses and cherry or mahogany cases, oxalate-developed plates, and a Loring finder (for capturing moving subjects). His photographs were typically sold as stereo cards or lantern slides, the latter of which Rau described as the most [...] "pleasurable" [...] branch of photography. For his railroad company panoramics, he used a modified Moessard camera with a Ross 15 in portable symmetrical lens, 18 in orthochromatic film, and a rail car equipped with a darkroom and developing facilities. [...] He printed many of his railroad company photographs on albumen paper to evoke an earlier era, as most photographers had abandoned albumen by the 1890s.
Manivannan attended the Sulur Government Boy's High School and later enrolled at Kovai Government Arts College. While completing his pre-university course in Kovai, he became acquainted with Sathyaraj and became friends. According to Sathyaraj, he provided poor guidance to Manivannan and made him pursue a degree in history in advanced English, which made him struggle with topics such as Shakespeare, forcing him to drop out later. While still at college, Manivannan was bitten by the stage-bug and consequently he staged a few performances. Inspired by the impact the film Kizhake Pogum Rail (1978) made on him, he wrote a fan mail to the film-maker Bharathiraja and the letter ran to more than a hundred pages. Bharathiraja took him under his fold as an apprentice. Manivannan joined Bharathiraja's camp around 1979, when the director was acting in and was directing by P S Nivas, Kallukkul Eeram.
With Junglee (1961) his new image was cemented and his subsequent films were all in this genre viz. Romcoms.Mohammed Rafi was frequently chosen as his playback voice in the movies that he did. In his early career in the 1950s, he acted with established actresses playing second fiddle in woman-oriented movies: with Madhubala in films such as Rail Ka Dibba (1953) and Naqab, with Nutan in Laila Majnu, with Shyama in Thokar and with Nalini Jaywant in Hum Sab Chor Hain. From 1953 to 1957, none of his films made him popular, until Tumsa Nahin Dekha in 1957.In the 1960s he was often paired with new actresses such as Asha Parekh, Saira Banu, and Sharmila Tagore, all of whom went on to have very successful careers. Of all his heroines, he said that Sharmila Tagore, Rajshree, and Asha Parekh were easy to work with.
Tom Breiding is a widely diverse artist, songwriter, and producer residing near Pittsburgh, PA, not far from his hometown of Wheeling, WV.. Tom is actively involved with the United Mine Workers of America, providing the union with music for the Fairness at Patriot campaign in 2013-14, the Centennial Commemoration of the Ludlow Massacre in Colorado in 2014, the inauguration of its officers in 2014, the 2015 Constitutional Convention in Las Vegas, and in 2016 on Capitol Hill in front of 10,000 union members to petition the U.S. Government to keep the promise (http://umwa.org/news-media/journal/the-promise-of-1946/) of cradle to grave health care for America's coal miners. Most of Tom's work with the UMWA is documented in his 2015 album and film release River, Rails or Road. He has served as a Commonwealth Speaker for the Pennsylvania Humanities Council and a teaching artist for Gateway to the Arts in Pittsburgh. Tom has also served as guitarist for Pittsburgh's Rock-n-Soul band Bill Toms and Hard Rain since 2002.
Bharathiraja started his film career as an assistant to Kannada film maker Puttanna Kanagal. Later, he assisted P. Pullaiah, M. Krishnan Nair, Avinasi Mani and A. Jagannathan. His first film 16 Vayathinile for which he wrote the script broke the then existing convention to create a new genre of village cinema. The film is now regarded as a milestone in the history of Tamil Cinema. About the film Bharathiraja said, [...] "This movie was meant to be a Black & White art film produced with the help of National Film Development Corporation", but turned out to be a commercially successful color film and a starting point for several important careers. His next film Kizhake Pogum Rail produced similar results and eventually brought in criticisms that Bharathiraja was capable of catering only to village audiences. This led him to make Sigappu Rojakkal, about a psychopathic woman hater that was totally westernized in terms of both conception and production.
Director: Heike Salzer & Ana Baer Choreography & Dance: Heike Salzer Camera: Ana Baer Editing: Heike Salzer & Ana Baer Sound: Jeff Mohler Production: Heike Salzer & Ana Baer Country of production: 2014, United States and United Kingdom; Discussed by Ana Baer in the journal article Being a videographer! A new term is born: describing the multifaceted role of a choreographer creating screendance. The International Journal of Screendance, Vol. 5, 2015 This screendance is the first collaboration of Ana Baer and Heike Salzer, exploring site-specific choreography and screendance making via an improvised collaborative process. Filmed at the rail line at San Marcos Texas, the video presents a piece of embodied consciousness that is triggered by the shared experience of the site. A story unfolds via the phenomenological exploration of ‘being in the moment at a site’ sharing an experience in time and space. What happens in this shared adventure is communicated via the edited version of the screendance accompanied by an original score by American composer Jeff Mohler...
Autumn leaves often cause low adhesion problems for train operations, leading to station overruns and signals passed at danger (SPADS). The aim of this paper was to review operational data and research methods to assess the current understanding of the problem and formulate hypotheses for the causes. Incident analysis showed the relatively high possibility of incidents between the hours of 05 : 00 – 10 : 00 and 20 : 00 – 24 : 00, suggesting the dew effect was important. This result corresponds to the knowledge that wet leaves in the contact area produce very low friction coefficients, below 0. 1. Current mitigation methods, such as sanding, seem inadequate to remove the leaf films completely. To explain the bonding mechanism between the leaf film and the rail, a laboratory-based model and a field-based model were developed based on previous studies. Moreover, key parameters for a strong bond formation were identified, which are iron oxide, temperature, pressure and leaf material. The research gaps were identified by a paper grading method, and several hypotheses for bonding mechanisms and low adhesion mechanisms were proposed, such as sub- or super critical water and pectin gel...
Beginning his career as an assistant to directors G Ramakrishnan and Bharathiraja, Bhagyaraj became recognised for his scriptwriting talent. He first appeared as a junior artist playing small supporting roles with screen-space of not more than three minutes in the film like Pathinaru Vayathinile and later appeared similarly in Sigappu Rojakkal (1978). He was assistant director to Bhartiraja in two films - 16 Vayathnile and Kizhake Pogum Rail. Among his early work was writing the script for Bharathiraja's films, Kizhake Pogum Rail (1978), Tik Tik Tik (1981) and writing dialogues for Sigappu Rojakkal. He made his directorial début with Suvarillatha Chiththirangal in 1979 and also his début as the leading man in Puthiya Vaarpugal in 1979 directed by Bharatiraja. He received Best Dialogues Award for Puthiya Vaarpugal (1979). Kanni Paruvathile, a film for which he wrote dialogues and screenplay and acted in negative role, was a huge success. Though now he had not achieved success as a director till 1979, he was motivated with success as the hero with Puthiya Vaarpugal, negative role and as a writer of story and dialogues in Kanni Paruvathile and decided to direct-act-write Oru Kai Oosai, which though not a huge success, gave him his first Best Actor Award.
Management of rolling contact fatigue (RCF) risk is a critical maintenance activity in railway operations. Practical means of RCF mitigation involve: 1) preventative and corrective grinding to remove RCF cracks; 2) management of wheel and rail profiles to minimize peak contact pressures; and 3) selection of appropriate rail metallurgy. In addition, reduction of traction forces by application of dry film Top of Rail friction modifiers (FM) has recently been shown to reduce crack growth and extend grinding intervals. Hydro-pressurisation and crack face lubrication are processes by which liquid materials (e. g., water), enter pre-existing RCF cracks and under wheel/rail contact pressure and cause accelerated crack growth, leading to spalling and shelling on rail and wheels. Thus, any liquid material added deliberately to the wheel/rail interface should be considered carefully in terms of the potential for aggravating RCF damage. This study compares the impact on hydro-pressurization and crack face lubrication of different types of materials designed for application to the top of rail using twin disc testing. One type of FM material is water-based, drying providing solid particles to the rail-wheel contact. Two other types are oil or oil-plus-water-based (hybrid material) that do not naturally dry and have been introduced more recently to the market. In addition, a commonly used gauge face lubricant (grease) was evaluated...
In 1976 Jacques appeared in a promotional advertising film for British Rail, which pitted her against racing driver Jackie Stewart in a race to London. From 1976 onwards Sykes and Jacques appeared together in the stage play A Hatful of Sykes, both in the UK and internationally. During the course of the different tours relations between the two stars became increasingly strained and Sykes altered the act several times to ensure he received more acclaim than Jacques. While appearing in Blackpool in 1977 Jacques's health became problematic as she suffered from arthritis and ulcerated legs, which required daily dressing. Because a dressing room was arranged that avoided her needing to use stairs, Sykes accused her of receiving special treatment. When the show moved to Rhodesia (now Zimbabwe), Sykes [...] "began to behave rather strangely... and he even accused Hattie... of not being able to deliver a proper feed line". By the time the show appeared in Brighton in 1979 the relationship between the two [...] "was rapidly deteriorating", and, although the pair praised each other in public, Jacques felt hurt by Sykes's treatment of her. Despite the differences, the pair filmed the seventh series of Sykes in 1979, and—in April 1980—the television film Rhubarb Rhubarb; although her part was a small one, she looked [...] "a little unsteady on her feet", according to Merriman.
Synchronized sound was a contentious issue with Soviet film theorist. Pudovkin railed against its use given its capacity for commodification within capitalist society and, primarily, its propensity to move film toward naturalism. In his reasoning, since sync sound was conditioned to the image, it could only lend itself toward enhanced continuity. Continuity, a process that mitigates the dialectical collision of concepts, would dilute the radical potential of films. Further, any dialectical potential for sound had already been explored in cinema, since musical accompaniment had a well established history by the time synchronized sound had been introduced. However, Pudovkin later reversed his position on sync-sound. Joining Eisenstein and others, Pudovkin came to understand sound not a complementary, but as a counterpoint capable of imbuing films with additional conflictual elements. The inherent tension between this position and the State’s mandate for narrative clarity and continuity would be a source of confusion and stagnation for much of this period. Kino-eye took the problem of sound from a documentary/newsreel perspective. In the essays Let’s Discuss Ukrainfilm's First Sound Film: Symphony of the Donbas (1931) and First Steps (1931) Vertov identifies and dismantles the technical, logistical and political hurdles to sync-sound in newsreel cinema. By using his film Enthusiasm (1931), Vertov demonstrated that sound was not only possible, but essential to the evolution of newsreel. Vertv writes ...
Abramovich has been a strong opponent of Holocaust trivialization and its exploitation for ideological and artistic purposes. He has argued against the exploitation of the Holocaust [...] and criticized the tendency to use the Holocaust as material for Hollywood films. He also railed against the abuse of the Holocaust by interest groups, artists and comedians. Abramovich took issue with a skit by John Safran on his 2009 show Race Relations in which the presenter made out in Anne Frank's attic with his supposed girlfriend Katherine Hicks, whom Safran described as a [...] "A Blonde haired Aryan". Abramovich wrote that [...] "Safran's exploitative approach drains the Holocaust of its tragic context (the death camps, the starvation, the shootings, the burning of bodies, the mounds of hair, shoes and glasses)". Abramovich also criticized Safran's mock-gassing of Holocaust denier David Irving in a British radio studio, writing that, [...] "The ABC may have figured that any publicity is good publicity and will lure viewers. But the inclusion of these two hurtful pranks reveals a troubling abdication of responsible judgement and a bewildering lack of sensitivity. Why didn't anyone tell him that this was a bad idea, that there was no humour to be mined from atrocity, that trivialising genocide for silly comic pay-off is inexcusable?. Journalist at The Age Julie Szego reacted to Abramovich's censure of Safran in a column for The Australian Jewish News stating in her opening remarks, [...] "IS Dvir Abramovich kidding? The question popped into my head while reading his thunderous attack on John Safran ("No Laughing Matter" [...] AJN 29/11). For a moment, I wondered if Abramovich’s case against the Melbourne comic was, in fact, a satire of an outraged columnist". In March 2012, Abramovich returned to this subject in an opinion page titled [...] "Horror of the Nazis has no place in comedy shows" [...] which he wrote for the Age newspaper. Abramovich took to task the new Australian comedy show Danger 5 showing on SBS. Abramovich wrote that [...] "I find it disturbing that Russo and Ashby, and by extension SBS, The South Australian Film Corporation and the Adelaide Film Festival, who financially backed the series, felt it was OK to capitalise on the Shoah for entertainment and cheap laughs. Danger 5 and other films, musicals and books of its ilk are not just in bad taste, they are morally wrong because they exploit the horrendous killings of the Jews, Gypsies, homosexuals and other ‘‘undesirables’’, and use them as backdrop for their comic payoff.
This work is a continuation of the RAIL - Rapid Automated Induction Lamination - process developed by S. Yarlagadda et al. at the Center for Composite Materials, University of Delaware, USA. The RAIL process was developed and optimized for laminating prepregs, i. e. preimpregnated carbon fibers that are oriented parallel to each other and then formed as a sheet 12 ” x 36 ”. These sheets are stacked so that there is always an angle between the fibers of two sheets that are in contact with each other. If the angle is zero degrees there will be no heat generated in the induction heating zone due to the fact that conductive loops are required for heating to occur. This project’s primary goal was to test an alternative combination of carbon fiber and thermoplastic polymer and run it in the existing RAIL machine. Carbon fiber weave would be stacked with thermoplastic film and the result would be a flexible and strong composite. Both raw materials could be delivered to the machine separately, on rolls, and the need for pre- impregnation would be eliminated. This would reduce the raw material cost compared to prepregs. A requirement was that the quality of the final composite had to be at least as good as the same composite manufactured in a hot press. The secondary goal was a continuation of the primary: it consisted of modifications of the RAIL process stages, allowing manufacture of non-flat laminates. For this purpose, aluminum molding dies were designed and manufactured and the process would then be a combination of lamination and a variant of pultrusion. The experiments that were carried out showed that it would be possible to replace prepregs with stacks of carbon fiber weave and thermoplastic film in the RAIL process. All experiments were done with Nylon™ as resin. Optical microscopy revealed that the process can heat the fiber weave enough to melt the resin and then evacuate the air in the stack at the consolidation stage. The cooling seemed sufficient as no voids were created. The preheat zone in the RAIL process was developed because impregnated carbon fibers were used at the time and it was necessary to melt the resin so that contact between the fibers could be achieved. Tests with carbon fiber weave and Nylon™ film indicated that the preheat station was not needed in order to reach the processing temperature because the majority of the heating occurs by induction heating inside each layer of the carbon fiber weave. However, preheating was still used for the evaluated laminates because the temperature distribution across the laminate turned out to be much easier to control with the preheating station active. The resulting laminate is very flexible and can easily be cut if desired. Molding dies were designed and manufactured. The purpose was to give the laminate a profile-type shape directly after the lamination stage. The cooling rollers would then have been replaced by the stationary molding dies. Validerat; 20101217 (root...