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Digital x-ray is sweeping the country, and for many good reasons. Digital imaging systems can be used in a wide variety of specializations, including chiropractic and veterinary. Digital medical images can be produced for a much lower cost than film x-rays when you take into consideration the cost of film and developing chemicals, and they are created in a matter of seconds, which is not the case with film images. Certain digital x-ray systems can even be used to retrofit your existing film x-ray equipment, so that you can build up your new digital system at a time and price that best meets your needs.

Chiropractic X-Ray Systems

Digital x-ray systems have been created to meet the needs of busy chiropractic practices. You can find CR, or computed radiography, systems available that are cost-effective answers to traditional film x-ray units. Another benefit that comes from using digital x-ray is the ease with which you can store digital images in the DICOM medical imaging format. Storage of patient images is very important, because you want a secure system that meets HIPPA requirements for patient confidentiality of records as well as disaster recovery in the event of a fire, earthquake or flood. Digital medical images can be quickly and easily stored on CD, DVD, a local server or an offsite server, at your discretion. An office administrator can also be in charge of passwords and usernames for all personnel authorized to use the system, in order to add a layer of security.

Vet Digital X-ray Systems

Vet x-ray imaging systems need to accomplish a variety of tasks well. They are not only used as a primary aid for diagnosis, but they also need to work in environments as diverse as your medical office to out in the field, literally. Many veterinarians find that a CR or DR imaging system works well in either situation, and it brings with it all the versatility you will need to view, store and distribute your digital images. Vet mobile x-ray units can be used along with a laptop computer with wireless Internet access, a printer and a PACS will allow you to take digital x-rays on site, and view them, send them back to your office for further consultations and study, and you can store them quickly and easily.

For more information on these and other types of digital medical imaging equipment, you can check with an online medical imaging distributor, who can answer all of your questions, and can even set you up with a turnkey imaging system that is ready to go.

Wayne Hemrick writes about-- mobile x-ray

Film Budgets: - Some Insider Tips For Film Students

This is my 20th year working in the film industry on over 40 film productions. Throughout that time I have never met a new film school graduate who has a clue about handling the most important aspect of ALL filmmaking - the MONEY! I had always assumed (wrongly, it turns out) that film students just weren't interested in knowing about film budgets. However after a recent survey of film students at a reputable film college we learned that film students DO intuitively understand that knowing the language of film budgeting is crucial to their careers in film. Surprisingly, over 80% were enthusiastic about learning more about film budgeting! Here's what we discovered from that survey (completed in late September, 2005): 1.Over 80% of film students are not only interested in learning more about budgeting for film productions, they are emphatic about it! 2.In all cases, film students expect to find information about film budgeting from the internet, or as recommended reading from their professors. 3.We also learned that there are no references or books available to film schools or film students on this very needed subject. Those working in the film business recognize how important it is to be familiar with film budgeting, if not technically proficient. The confidentiality of film budgets makes it extremely difficult, even for working filmmakers, to get familiar with film budgeting. (I have a true story in my book about a meeting that I had with Ron Howard in 1993 where he wanted to learn specifics about the budget for his film - in spite of having been in the film business for over 30 years as an actor and budding director). Learning about film budgets while on-the-job comes at the expense of hard-knocks, expensive film budgeting software and late night self-training with a technical textbook (if you can find one). In the 20 years that I've been working in the film business, I have NEVER shown a film budget to anyone but a select few insiders - Producers, Production Managers, Studios, Bonding Companies, etc. So, exposure to actual film budgets really is an insider's privilege - which I am about to open the door to for my readers. (Keep in mind the figures shown are samples only. The figures are real enough, but are not drawn from my actual past/present/future film productions.) How can film students get familiar with film budgets while they have the time and opportunity? The only colleges with film budgeting in their syllabus (that I could find after hours of internet searching) was in a specialty course for Production Managers at the New York Film Academy, and through mentors at the American Film Institute (where, I'm proud to say, parts of my book are being used by a mentor there, who has a long record of producing films including a term as Vice President of Production at MGM). The only solution that I see for film students, and for working film crew, to get familiar with film budgeting is to provide them with the information myself. But, what kind of information, and at what level of detail? The answer to that rhetorical question is - in as simple a format as possible, yet still be effective. By effective, I mean that any training in the area of film budgeting will actually help you impress producers for those few film jobs, get your script into production, find financing, be rehired for more film contracts, be more cost effective cinematographers, etc. Also, the basic concept of translating creative ideas into a budgeting process is new to most people, especially those educated in film schools, so that concept should be presented first. Film students don't need to become keen budget technicians. However, they DO need to get enough exposure to film budgets to understand the fundamentals, and to be able to communicate to film producers, film studios, bonding companies, banks, financiers, etc. in the same language as would be expected from professional filmmakers. All of the above is covered in my book, Walk The Talk. I have written a series of 7 free articles based on my book. They're written for the complete novice, so be patient if you've already been exposed to film budgeting. You can sign-up, FREE, for 7 weeks of articles at http://www.allhottips.com. There is a seventh article that could have been added for those who haven't been exposed to the simple administrative procedures like petty cash, purchase orders, check requisitions, etc. Knowing how to use these forms will put you WAY out in front of the pack of job-hungry film students looking for those few film jobs. You'll need to buy my book at this link Walk The Talk to get that inside advantage. (I have kept the price affordable, specifically with students in mind.) Here are the article titles: 1.MAKING IT! In Film Production 2. Introduction to Film Budgeting 3. Translating Creative Ideas Into the Film Budgeting Process 4. Your Participation In Above-the-Line Budgeting 5. Your Participation In Below-the-Line Budgeting 6. Your Report Card - Comparing The Budget to Actual Costs 7. Presentation of the Weekly Cost Report - It's As Important As the Dailies When you read my articles, print them out. Make your own examples. Reread them. Send me your questions if you get stuck. You'll find that you'll be way out in front of the pack!

This is my 20th year working in the film industry on over 40 film productions. Throughout that time I have never met a new film school graduate who has a clue about handling the most important aspect of ALL filmmaking - the MONEY! I had always assumed (wrongly, it turns out) that film students just weren't interested in knowing about film budgets. However after a recent survey of film students at a reputable film college we learned that film students DO intuitively understand that knowing the language of film budgeting is crucial to their careers in film. Surprisingly, over 80% were enthusiastic about learning more about film budgeting!

Here's what we discovered from that survey (completed in late September, 2005):

1.Over 80% of film students are not only interested in learning more about budgeting for film productions, they are emphatic about it!

2.In all cases, film students expect to find information about film budgeting from the internet, or as recommended reading from their professors.

3.We also learned that there are no references or books available to film schools or film students on this very needed subject.

Those working in the film business recognize how important it is to be familiar with film budgeting, if not technically proficient. The confidentiality of film budgets makes it extremely difficult, even for working filmmakers, to get familiar with film budgeting. (I have a true story in my book about a meeting that I had with Ron Howard in 1993 where he wanted to learn specifics about the budget for his film - in spite of having been in the film business for over 30 years as an actor and budding director).

Learning about film budgets while on-the-job comes at the expense of hard-knocks, expensive film budgeting software and late night self-training with a technical textbook (if you can find one). In the 20 years that I've been working in the film business, I have NEVER shown a film budget to anyone but a select few insiders - Producers, Production Managers, Studios, Bonding Companies, etc. So, exposure to actual film budgets really is an insider's privilege - which I am about to open the door to for my readers. (Keep in mind the figures shown are samples only. The figures are real enough, but are not drawn from my actual past/present/future film productions.)

How can film students get familiar with film budgets while they have the time and opportunity? The only colleges with film budgeting in their syllabus (that I could find after hours of internet searching) was in a specialty course for Production Managers at the New York Film Academy, and through mentors at the American Film Institute (where, I'm proud to say, parts of my book are being used by a mentor there, who has a long record of producing films including a term as Vice President of Production at MGM).

The only solution that I see for film students, and for working film crew, to get familiar with film budgeting is to provide them with the information myself. But, what kind of information, and at what level of detail?

The answer to that rhetorical question is - in as simple a format as possible, yet still be effective. By effective, I mean that any training in the area of film budgeting will actually help you impress producers for those few film jobs, get your script into production, find financing, be rehired for more film contracts, be more cost effective cinematographers, etc. Also, the basic concept of translating creative ideas into a budgeting process is new to most people, especially those educated in film schools, so that concept should be presented first.

Film students don't need to become keen budget technicians. However, they DO need to get enough exposure to film budgets to understand the fundamentals, and to be able to communicate to film producers, film studios, bonding companies, banks, financiers, etc. in the same language as would be expected from professional filmmakers.

All of the above is covered in my book, Walk The Talk. I have written a series of 7 free articles based on my book. They're written for the complete novice, so be patient if you've already been exposed to film budgeting. You can sign-up, FREE, for 7 weeks of articles at http://www.allhottips.com.

There is a seventh article that could have been added for those who haven't been exposed to the simple administrative procedures like petty cash, purchase orders, check requisitions, etc. Knowing how to use these forms will put you WAY out in front of the pack of job-hungry film students looking for those few film jobs. You'll need to buy my book at this link Walk The Talk to get that inside advantage. (I have kept the price affordable, specifically with students in mind.)

Here are the article titles:

1.MAKING IT! In Film Production

2. Introduction to Film Budgeting

3. Translating Creative Ideas Into the Film Budgeting Process

4. Your Participation In Above-the-Line Budgeting

5. Your Participation In Below-the-Line Budgeting

6. Your Report Card - Comparing The Budget to Actual Costs

7. Presentation of the Weekly Cost Report - It's As Important As the Dailies

When you read my articles, print them out. Make your own examples. Reread them. Send me your questions if you get stuck. You'll find that you'll be way out in front of the pack!

About the Author

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What was in the case in the film Ronin? (not the case with the ice skates)?

According to Wikipedia:
"The contents of the metal case are never revealed (see MacGuffin). Mamet has written that he believes revealing such details can be anticlimactic, that a director is wiser to allow the audience's imagination to answer the question. This is a technique Mamet has used repeatedly in his films."

A MacGuffin is something the protagonists are chasing in a film or story - often the "goodies" have it and the "baddies" want it, though in the case of Ronin, baddies already seem to have it (spies?) and terrorists (the real IRA?) want it, though Sam, the CIA agent (De Niro) manages to get it back. Whether he even knows what is in the case is a matter of conjecture.

David Mamet (screenwriter for Ronin) has discussed the power of the MacGuffin :

"the less specific the qualities of the MacGuffin are, the more interested the audience will be…A loose abstraction allows audience members to project their own desires onto an essentially featureless goal."

Hope this helps, but the whole point of the film is that the audience is not supposed to know what is in the case.

I am sure there will soon be a film about why Litvinienko was poisoned....but we will never really know why.
.

Film producers look to public collection to save “Lidice” from development hell
The extermination of the village of Lidice by the Nazis is one of the most harrowing tales of WWII, and Czech filmmakers are have long wanted to bring it to the screen. The acclaimed director Alice Nellis is set to helm the project, with some of the country’s top actors already on board. But still what would be an important historical film has been in a proverbial development hell for some years ...

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