AV Geeks 16mm Lunch 4 3 2026

Hello everybody. This is Skip Elsheimer. Welcome to the AV Geeks Lunchtime Streaming Show. And today I'm still not feeling great. Man, it's like this crud. It's like crud going on. Ugh. Anyways, uh I still want to show you some new films that we've been scanning from our collection. Um excited to show some of these cuz we've not seen these at all. Big fan of that. Uh first one is we're doing a couple of Centron films. So this is uh Drinking Driver, What Could You Do? Which kind of comes up with scenarios on what to do when confronted uh with you or someone else drinking. Then Makeup for Theater. Then uh Titration of an acid with a base. It's another exciting Centron chemistry film. And then finally, we're going to end with a uh uh um Bailey Films or BFA uh did a series of Discovering Music. And they did this really amazing one called Discovering Electronic Music. We got a pretty good scan of it. So I'm excited to share this with you. Everybody have a great weekend. Uh I'll Excuse me. I hope to be back >> [snorts] >> on Monday feeling better. Uh I definitely feel better today compared to yesterday, but still not quite there yet. But uh thank you for all your well wishing and your kind words. Uh everybody have a good break if you have time off. And uh we will see you on Monday. Everybody take care. Bye. >> [music] >> This is car number 107. We're at the Mayhill Crossing. We've had a car accident out here and we need an ambulance. And you better notify the coroner. One of the young passengers is dead. 10-4 107. We'll have an ambulance en route. Also, radio in the identities as soon as possible. 10-4. 10-4. One of our kids went on a picnic in that area today. Could have been anybody. Well, that's true. Uh this is Police Department needing an ambulance at the Mayhill Crossing. There's been a bad accident. It could be anyone. A son or daughter, a brother or sister, a friend. It could be anyone you know. Or you could help make sure it isn't. >> [music] >> This is a reenactment >> [screaming] >> of thousands of real situations that occur every year. What you doing the way out? I want a beer. Beer? Gotcha, Scott. Yeah. Thanks. There's a kid over here. We need to get Bye. Give him a light. Do you have any ice in there? Some nice beer here, too. That's all I got. I got it. The people in this group are friends. None would like to see any of the others seriously injured. It's a typical paradoxical situation. Nobody wants to be responsible for the injury or death of another. Yet nobody really wants to take the responsibility OF PREVENTING IT. MANY OF THEM WOULD IF THEY KNEW AN accident was going to happen. All of them would, in fact. But the greatest paradox of safety is that a prevented accident is one that does not occur. The person who prevents an accident from occurring will never receive credit for the lives saved. You know, I think we should have somebody volunteer not to drink so they could drive. Well, um The more successful one has been in preventing an accident, the less likely one is to receive praise. Well, I remember last time you made a great big deal about it. Nothing happened. That is not easy to take. So somebody in this situation is going to need a lot of guts. It may be someone who knows the facts. Certain effects of alcohol in the human bloodstream are neither social nor moral judgments. They are simply tested and proven facts, often contrary to popular misconceptions. Listen and see if you know fact from fiction. Man, you need some exercise to get the alcohol out of your system. Excellent. That is not true. About 90% of consumed alcohol is oxidized in the liver. The time it takes varies by individual, but exercise does not speed up the liver oxidation process. Here, drink some black coffee. It'll sober you up. Untrue. Time and only time will eliminate the effects of intoxication. I'll just sip this drink and make it last. I'll eat something with it so it won't hit me so hard. True within reason. Because the food may dilute the alcohol a bit. And by letting one drink substitute for several, he will have less alcohol in his system. I was too far gone to drive while ago, but I feel better now. I'm all right. A common misjudgment. He is comparing his present condition to his worst condition, not to his normal condition. Self-criticism, the ability to judge one's own condition is one of the first things alcohol depresses. >> [laughter] [laughter] >> The problem situations about to develop are not easy to deal with. We have no simple answers to give you. They might have been prevented by planning ahead, but this group did not do that. We will not know how these situations end. No one ever knows that at the time decisions must be made. But if you were in any of these situations, if your friends were involved, try to determine what could you have done beforehand? What could you do now? Everybody in. Come with me. COME ON. COMING. TAKE OVER THAT END. GO. COME ON. EVERYBODY IN. HEY, YOU better take it easy. COME ON, DAD. LET'S GO. BRING YOUR GUITAR. >> YEAH, I'M GOING. HEY, DAVE. MAYBE YOU ought to drive. She's a little high. Oh, come on. I'm going to sit in back. Don't want my music. Yeah, wait a minute. What's the matter, little brother? You jealous? No, it's not that. Oh, come If the girls don't worry about it, why should I? Come on, slowpoke. Hurry up. We've been waiting on you. Okay. Let's go. Yeah. Hold on, DAD. COME ON. GIVE IT UP. I GOT IT. TRY A DIFFERENT WAY. YOU OKAY? Go go back. Okay. Okay. GO. HEY, MOVE OUT OF THE WAY. COME ON. GET OUT OF THE WAY, JOHN. Don't be a jerk. Come on. Yeah. LET'S GO AWAY. >> NEED A RIDE? OH, MR. JOHNSON, thank you. I live here in town. Get in. Hi, my name's Amy. We're going this way to pick up the interstate. We've met Or have we? Well, I recognize you. My mother shops at your store quite a bit. Oh, good for her. Oh, Mr. Johnson, I'm sorry. I thought you were going to hit that car. Huh? Kids and I are going to go see their grandmother. Grandma, right, kiddos? >> my dad? How far does she live? Oh, 3 or 4 hours. Aren't you afraid they might arrest you with this in the car? With this? Oh, don't don't worry about this. It's a long, dull drive and after I've had a few, I'm extra careful. Mr. Johnson, you just went through a red light. Hey, you going to start telling an old hand how to drive? Cuz if you are, I'll let you out right here. It's a long trip and we haven't got any time to waste. Well, what do you want to do? Come on, Linda, let's go. Are you sure you can drive? Are you kidding? Of course I can drive. You seen my keys anywhere? I think you left them over by that post over there. So long, Linda. You're going to be the last ones out here. Dan. I'll see you at school Monday. I got to be at work in less than an hour or I'll be fired. Dan. Huh? I can't drive and I'm supposed to ride home with Bill and he's too drunk to do anything. Well, I know three other girls that would volunteer. I know, but Well, Joanne can't drive a car with a stick shift and Bill can't handle my motorcycle and I can't leave it out here to be stolen. You have to go in the other direction anyway. You're going to be late for work. Yeah, well, hey. You make him take it easy. >> [laughter] >> Hey, Dan. Later. See you later. They're in my pocket the whole time. Get in. That looks like a house key to me. Oh, yeah, it is. I should have learned how to drive. Don't worry about it. I'll give you lessons on the way into town. What is it? 15 miles? I bet you I can make it in 14 minutes. Don't try. Everybody's gone. We'll catch them. Please, don't. What's wrong? Don't you trust me? Don't you think I can drive? I don't even have enough for bus fare. Bus? Bus, you know no bus comes out here. There's no bus, there's no phone, nothing. That's it. Now, make up your mind. What are you going to do? Come with me or not? If it were you in any of these four situations, what might you have done? What could you do? This is ambulance two. We'll be arriving at the emergency entrance in 3 minutes. Notify the doctor on emergency duty. We've got one DOA and two patients that look like they may need surgery. >> [music] [music] [music] >> It is a rule in creating good makeup for the theater that all makeups must be checked on stage under the actual lighting conditions before the show starts. Then and only then will all the faults show up. Now, let's see how to apply a simple straight makeup. Always start with a clean face. Take off all traces of street makeup and apply some astringent to eliminate any remaining grease. Next, having determined what color found, apply the base. Squeeze about 1/4 inch of grease paint on your palm. Dot it all over the face and down onto the neck. Next, with the fingertips again, blend the foundation evenly and carefully up into the hairline, around the nose and the eyes. Make certain that the base is not too thick. Next, apply just a dot of rouge to each cheekbone and blend it very lightly away from the center of the dot until the rouge at the outside edge blends imperceptibly into the foundation color. If the color is not strong enough, repeat the process. The eyes are the most expressive and striking part of the face and therefore should receive even more attention than the rest of the face. Eye shadow that is colored liner of the appropriate shade is best applied with a flat 1/4 inch sable brush. Concentrate the color on the eyelid and blend it out into the foundation. Sharpen an eyebrow pencil to a wedge. Now, outline the eye. On the upper lid, the thin line should start at about 1/3 of the way from the inner corner and continue to approximately 3/8 of an inch past the outer corner, at the same time rising slightly. The line on the lower lid should be about 1/32 of an inch below the lash, starting at 2/3 of the way out from the inner corner of the eye and extending outward and slightly upward to meet the other line. With the flat side of the wedge, darken the eyebrows, extending them slightly, and blend the ends into the foundation. Unless some special effect is desired, follow the natural hair growth. Do not use the pencil heavily in drawing the eyebrows. Use it only to darken the existing hair. If the eyebrow needs filling in, carefully and patiently draw fine individual hairs, always following the natural growth. The final step before powdering is the application of the lip rouge. Choose the proper shade and apply it with the sable brush. In shaping the lips, remember that they, like the eyes, give character to the face. So, the lip rouge should be carefully applied to the character being portrayed, rather than the style you use for street wear. Having finished the lips, apply white talcum powder to them. To the rest of the face and neck, apply powder of a shade corresponding to the base used. Use plenty of powder. It serves a dual purpose, absorbing the grease and setting the makeup so that it will not smear. Remember, too, that powder has a definite color of its own and has a tendency to tint the colors under it. We use the white talcum on the lips because it doesn't change the intense red. Using either a powder brush or the other side of the puff, remove the excess powder. With the mascara brush, dust any remaining powder from the eyebrows. And carefully apply mascara to the lashes. If necessary, touch up the rouge with a corresponding shade of dry rouge. Comb your hair and your makeup is complete. Let us see the similarities and differences between the makeup we have just applied and that which we use on a man. Once again, we start with a clean face. This time, however, let's see how the stick type of foundation is applied. Because this type of base has less grease in it, we spread a thin film of grease over the face to facilitate an even application of the foundation. The color used on men is generally a shade or two darker than that used on women. Blend carefully around the eyes, the nose, and the hairline. The man's rouge, like the foundation, is darker and is applied more sparingly. Brown eye shadow is generally used on men. Apply it gently to the upper lid with the sable brush. Darken at the base of the lid and blend it out into the foundation. With the eyebrow pencil, outline the eye. First, the upper lid, starting about 1/3 of the way out from the inner corner and extending to 3/8 of an inch beyond the outer corner. The line on the lower lid starts 2/3 of the way out from the inner corner and extends outward and upward to meet the other line. Now, darken the eyebrows following the natural hair growth. The same shade of rouge is used on the lips as was used on the cheeks. But, instead of the hard edge that we use on women, here we soften it so that the lips will not look made up. Remember, shape the lips according to the character being portrayed. Now, powder the face liberally to absorb the grease and to set the makeup. The white talcum on the lips is not necessary here since we are not concerned with keeping their intense hue. Brush off the excess powder from the face, the eyebrows, and the lashes. Comb your hair and your makeup is complete. Places, please. These are the materials necessary for the titration of an acid with a base. The procedure you will see involves adding a sodium hydroxide solution of known concentration to a solution that contains an unknown quantity of acid by means of a burette. When sodium hydroxide equivalent to the acid is added, a properly chosen indicator will change color and then the unknown quantity of acid can be calculated. These are the three indicators most commonly used in acid-base titrations. One type of acid-base titration requires that a volumetric pipette be used to transfer an accurately known volume of acid of unknown concentration. To avoid contamination or dilution, this clean pipette has already been thoroughly rinsed in the acid solution to be used in the titration. Exactly 25 ml will be delivered when filled to this mark. The acid solution should be homogeneous before a known volume of the solution is taken. The excess acid on the tip of the pipette is wiped off. Then the volume of liquid in the pipette is drained to the calibration mark with the excess acid being tipped off against a beaker. The pipette is drained into a clean flask using the proper technique to deliver the acid. The bottle of acid should be stoppered and covered to keep it clean. Then an appropriate indicator is added. In this case, three drops of a 1% phenolphthalein solution. The inside of the flask is rinsed with distilled water to ensure that no droplets of the acid solution are clinging to the walls of the flask. Next, a small volume of the sodium hydroxide solution of known concentration is used to rinse out a burette which has been cleaned in detergent or cleaning solution so that no droplets of liquid adhere to the inside of the burette. After rinsing, this burette is then filled with the sodium hydroxide solution. The air bubbles are removed from the stopcock and the tip of the burette. And the level of the solution is adjusted in the burette so that the volume can be read. The volume of liquid in the burette should be determined by observing the position of the bottom of the meniscus and should be estimated to the closest hundredth of a milliliter. This reading should be promptly recorded in the notebook. The sodium hydroxide solution is now added at a rate of 15 to 20 ml per minute to the acid solution and the flask is swirled continuously. As the sodium hydroxide is added, a small portion of the solution turns pink where the base first contacts the acid. As the titration is continued, a larger and larger proportion of the solution in the flask will develop a pink color. When approximately 1/2 of the volume of the solution has a pink color, the rate of addition of sodium hydroxide should be decreased markedly. The titration is continued by adding the sodium hydroxide dropwise and swirling the flask after each addition of base to ensure that the solution is homogeneous. Finally, when the addition of one drop or less of sodium hydroxide imparts a permanent faint pink color to the solution in the flask, the titration is finished. The inside of the flask is again washed with distilled water to guarantee that no acid or base solution is adhering to the walls of the flask. If the faint pink color is still apparent in the flask, the volume of sodium hydroxide left in the burette is read. The volume now is 25.38 ml. This volume is recorded in the notebook. The volume of sodium hydroxide solution used in the titration is found by subtracting the initial burette reading from the final burette reading. The entire titration procedure is then repeated in exactly the same manner. The results of both titrations are calculated. Then, since the molarity of the sodium hydroxide and the volume of acid solution taken for the titration are known, the molarity of available protons in the acid is calculated. To show what the color of the solution would be if too much base were added, another drop of sodium hydroxide solution is added to the solution just titrated. The color of the solution is now a dark pink. It is important to realize that such a color indicates that more base than is equivalent to the acid has been added and the titration is not so accurate as if the solution has only a faint pink color when the titration is concluded. >> [music] [music] [music] [bell] >> We live in an age of technology in which machines touch every part of our lives. It is not surprising that music has also been influenced by technology. We are listening to music in which every sound was created electronically. >> [music] >> The piece of electronic jazz we are now hearing, which I wrote about a year ago, represents one kind of electronic music. But the range of possibilities is enormous, extending from popular rock and roll settings to the most abstract kind of concert hall music. One of the things that I enjoy most about electronic music is its immediacy. The composer normally waits quite a long time between the time he puts notes on paper and hears his piece performed in a concert hall. But a composer working with electronic music is more like a painter or a sculptor who works directly with his medium. You hear the sounds as they are created. Another challenging part of electronic music is working with sophisticated electronic equipment such as computers or electronic sound synthesizers. I turned to electronic music mainly because I found I couldn't get the kinds of sounds I wanted with live players and ordinary instruments. I wanted very fast running passages and complicated rhythms which players can't I wanted pitches which lie in between the pitches of the regular instruments and I wanted particularly sound qualities which no instrument or combination of instruments can readily produce. >> [whistles] >> One of the consequences of the new types of sound is that the old notation using notes on staffs simply doesn't work anymore. We find that we have to introduce an entirely new sort of notation which often takes the form of graphs. To find out how electronic music is created, let's first learn how sounds are produced on conventional musical instruments. >> [music] >> When a string on a string bass is made to vibrate [music] or oscillate, a sound is produced. >> [music] >> By changing the length of the oscillating strings with the left hand, the instrument produces different pitches. >> [music] [music] >> Oscillations are also occurring in the air column inside the flute. >> [music] >> When fingers are raised and lowered, the rate of oscillation is changed, and so is the pitch. >> [music] [music] >> The flute sound can be picked up by a microphone and changed into an electric current that also oscillates. >> [music] >> This electronic oscillation can then be shown. It forms a wave pattern. >> [music] >> Here is an instrument that creates electronic oscillations. It is called an oscillator. The flute is playing the same pitch as the oscillator, yet the two sounds are different. The oscillator sound. The flute sound. The same rate of oscillation, yet the wave forms are different. So, pitch is changed by changing the rate of oscillation. >> [music] >> And sound quality is changed by altering the wave form. We are looking at a machine called an electronic sound synthesizer. The synthesizer can create and alter sounds. Built into the synthesizer are a number of oscillators. These oscillators produce sound electronically. Each oscillator produces a different kind of sound with a different wave form. This is a sine wave. Another oscillator produces a triangular wave. A square or pulse wave. And a sawtooth [music] wave. These wave forms are the building blocks of music. The pitch or rate of oscillation of each wave form can be controlled. Pitch can also be controlled on the synthesizer by using a fingerboard. Or a keyboard. >> [music] [music] >> By mixing wave forms, richness and variety of sound can be achieved. >> [music] [music] [music] >> Each musical instrument makes a distinctive sound. This is because of the wave form the instrument produces and by the way it envelopes sound. Enveloping has to do with how abruptly each note begins and ends. On the sound synthesizer, it is possible to create and alter envelopes. Here is a note with an abrupt beginning and end. To create an envelope for the sound, a beginning or attack is added. Next, an ending or decay is attached. >> [music] >> As well as enveloping, the synthesizer can also filter sound. Let's listen to how this jet noise can be altered when parts of it are filtered or removed. One filter removes the high parts of the sound, allowing only the low end to pass. With another filter, the low sounds are removed. By using both filters at once, it is possible to allow only a narrow band of sound to pass. This band can be moved down or up. By connecting the keyboard to the filters, a melody can be played by filtering the jet noise. >> [snorts] >> Musical [music] instruments can be imitated on the synthesizer by creating and mixing wave forms and filtering and enveloping these sounds. Since the string bass makes low sounds, the filter is used which removes high pitches. Then, different wave forms are tried out. >> [music] >> Next, an envelope is added. A sharp attack. And a slower decay. >> [music] [music] >> Now, let's listen as the sound synthesizer imitates the koto, a Japanese instrument, and then the trumpet. >> [music] [music] [music] [music] [music] >> As well as musical instruments, natural sounds can also be imitated on the synthesizer. Let's listen to the synthesizer as it is played and then as it changes the sounds of musical instruments. >> [music] [music] [music] >> The sounds made by musical instruments can be picked up by microphones and fed [music] into the synthesizer. The synthesizer can then alter or process these sounds by filtering and changing envelopes and waveforms. >> [music] [music] [music] [music] [music] [music] [music] [music] >> Often it is difficult for a person to control a complicated sound synthesizer quickly enough. A computer can take over much of this control work and do it more quickly and accurately than a human being. This computer is connected to and controls envelope generators, filters, and electronic oscillators. The composer is telling the computer what kind of sounds he wants. Using computer language, he is describing a melody he wants to use in a composition. >> [music] >> This melody by Bach is one we've already heard. The computer can help manipulate this melody in many ways. By using a switch, the composer can instruct the computer to play the melody backwards or upside down. >> [music] [music] >> He can change the pitches. He can play loudly or softly. >> [music] >> Or fast and slow. >> [music] [music] [music] >> The composition we are about to hear is based entirely on this melody, often played in fragments or so swiftly it becomes a noise. The great variation of sound is possible because the computer aids the composer in controlling and changing waveforms, envelopes, and filters. >> [music] [music] >> Through the use of synthesizers and computers, it is possible to create, imitate, and change sound. A whole new range of creative possibilities has been opened to the musician by electronic music.