The Queen, rejoicing, invites the courtiers to dance.Īfter the Mazurka, the King orders for the mirror to be taken to the Queen's room. The Queen, seeing her own reflection, is delighted, much to the joy of the King, who buys the mirror. Among other objects, there is a beautiful ‘magic’ mirror, which possesses the property of reflecting the most beautiful woman in the entire realm. The King orders the lace merchants to be led in, whom he has summoned, together with the lace-makers and workmen of their countries, and also the merchants of old Bohemian crystal and precious stones. Baskets and garlands are brought to the Queen. The King and Queen enter with courtly ladies and cavaliers the Queen is young and beautiful, the King old he tries to please the Queen. Gardeners, men and women, are decorating the garden, weaving baskets and preparing garlands for the Queen. Taken from Roland John Wiley's translation of the original libretto. Kschessinskaya took an active part in this intrigue, revenging herself because at the benefit of her late father, I had not greeted him with a speech. Already, during the rehearsals of this ballet, I was convinced that was something was being plotted against me and my ballet, the commission for which had been given to M. Petipa gives the following account in his memoirs of how he was convinced that the ballet's poor staging was all part of a conspiracy to get rid of him: Despite the failure of the original production, in all the scathing reviews for The Magic Mirror, including a very notorious one by Sergei Diaghilev, Petipa's choreography is never criticised. It did, however, find a home in Moscow, where it was staged in a revival by Alexander Gorsky and was performed thirty-six times between 19. Although it was given two abridged performances in 1904, the ballet never found a permanent place in the Imperial Ballet repertoire. The Magic Mirror was a complete disaster and was received with whistles, cat-calls and even shouts of "curtain" in subsequent performances after the première. The Magic Mirror was given the most appalling staging imaginable with horrific scenery designs and costumes that were unfinished and provoked unanimous laughter. Teliakovsky was determined to de-throne Petipa from his rank of ballet master and Petipa writes in his memoirs that Teliakovsky would stop at nothing to get rid of him and that he believed it was Teliakovsky's plan to sabotage what was to be his last ballet. Vladimir Teliakovsky, Petipa's bitterest enemy. Prince Serge Volkonsky commissioned Petipa to create the ballet in 1902, but soon afterwards, Volkonsky was forced to resign from his position as director after an incident with the Prima Ballerina, Mathilde Kschessinskaya and instead, The Magic Mirror was staged under the direction of Col. The Magic Mirror was the final ballet to be staged by Petipa and was probably his most controversial. The ballet was premièred on the 22 February 1903 at the Imperial Mariinsky Theatre in St. ![]() The libretto is based on the 1812 fairy tale Snow White by the Brothers Grimm and the 1833 poem The Tale of the Dead Princess and the Seven Knights by Alexander Pushkin. ![]() The Magic Mirror ( French: Le Miroir Magique) is a ballet-féerie in four acts and seven scenes, originally choreographed by Marius Petipa with music by Arseny Koreshchenko. Alexander Pushkin's The Tale of the Dead Princess and the Seven Knights
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![]() Sometimes used to refer distinctly to color adjustments made forĬreative purposes rather to correct problems with color. Often used interchangeably, though the term color grading is The terms color correction and color grading are You can use the Exposure effect to change the color values of a layer for final output, or you can just adjust the exposure in a specific viewer for preview purposes. Adjusting the exposure of an HDR image is like adjusting the exposure when photographing a scene in the real world, allowing you to bring detail out of dark or bright areas. The HDR Highlight Compression effect lets you compress the highlight values in an HDR image so that they fall within the value range of a low dynamic range image.īecause we can see only a subset of the luminance values in a real-world scene in an HDR image on a monitor, it is sometimes necessary to adjust the exposure-the amount of light captured in an image-when working with an HDR image. When you’re done, use the HDR Compander to undo the dynamic range compression. In this way, you can use tools that don’t support HDR color, such as 8-bpc and 16-bit effects. You can use the HDR Compander effect to compress the dynamic range of a layer with an HDR footage item as its source. Values over 1.0 (pure, saturated color), so 32-bpc color in After Effects 32-bpc pixels can have values under 0.0 and If all three color channels have the maximum, pure-color value, 16-bpc pixels can have values forĮach color channel from 0 (black) to 32,768 (pure, saturated color). In After Effects, 32-bpc pixel values are floating-point values.Ĩ-bpc pixels can have values for each color channel from 0 (black) Represent a much larger range of numbers with the same number ofīits. The numbers used to represent pixel values is whether the numbersĪre integers or floating-point numbers. In addition to color bit depth, a separate characteristic of In After Effects, you can work in 8-bpc, 16-bpc, or 32-bpc color. The more colors each pixel can represent. The more bits for each RGB channel (red, green, and blue), The number of bits per channel (bpc) used to represent the color GPU and GPU driver requirements for After Effects.How After Effects handles low memory issues while previewing.Use Frame.io with Premiere Pro and After Effects.Collaboration in Premiere Pro and After Effects.Collaboration: Frame.io, and Team Projects.Creative Cloud Libraries in After Effects.Working with After Effects and other applications.Using the GoPro CineForm codec in After Effects.Rendering and exporting still images and still-image sequences.Automated rendering and network rendering.Export an After Effects project as an Adobe Premiere Pro project.Preview changes to 3D designs real time with the Mercury 3D engine.Construct VR environments in After Effects.Use expressions to edit and access text properties. ![]() Syntax differences between the JavaScript and Legacy ExtendScript expression engines.Compositing and transparency overview and resources.Setting, selecting, and deleting keyframes.Animating Sketch and Capture shapes using After Effects.Managing and animating shape paths and masks.Animation, Keyframes, Motion Tracking, and Keying.Cameras, lights, and points of interest.Remove objects from your videos with the Content-Aware Fill panel.Use Offset Paths shape effect to alter shapes.Shape attributes, paint operations, and path operations for shape layers.Paint tools: Brush, Clone Stamp, and Eraser.Overview of shape layers, paths, and vector graphics.Replace images and videos in Motion Graphics templates and Essential Properties.Work with Essential Properties to create Motion Graphics templates.Use expressions to create drop-down lists in Motion Graphics templates.Work with Motion Graphics templates in After Effects.Examples and resources for text animation.Formatting paragraphs and the Paragraph panel.Formatting characters and the Character panel.Detect edit points using Scene Edit Detection.Importing and interpreting footage items.Importing and interpreting video and audio.Importing from After Effects and Adobe Premiere Pro.View detailed performance information with the Composition Profiler.Precomposing, nesting, and pre-rendering.Startup and Repair in Preferences (Beta). ![]() Right now, in a pandemic year filled with sublime dub releases, the hottest album in this genre is a recording made in 1979 and remixed with a fresh approach, something only MBE Dennis Bovell could pull off. This review features samples from an interview I did with Mark two years ago, on Y’s anniversary, the moment when Mute Records put out an extended version of this legendary album on different sexy psychical formats. While many might consider the sound of Bristol something else than the post-punk funk dub, The Pop Group and their debut album demonstrate how you can make an LP that won't age and sounds, 40 years later, fresh as a Kalashnikov. Come 2021, and Y goes full charge into the dub dimension, with the mighty Warrior Dennis Bovell at the Controls. The band's music was and still is very far from what one might call pop in any decade, be it the seventies, eighties, nineties, or our present day. Sitting next to Keith Haring at Save All Robots And I found out from him that in 1979, at the tender age of 18, he and his band The Pop Group were channeling a far more mature power and stream of consciousness than what was happening in Bristol and the UK. Even though there is a 30-years generation gap between us, we are sonically on the same wavelength. Adrian Sherwood called Mark Stewart intimidating, but now, two years after we connected, I have a special relationship with the artist, philosopher, and poet. ![]() The Pop Group’s debut LP, Y, is pure youth energy. I walked backward into the future with my eyes fixed in the past. ![]() Look down one level and you'll find a links folder, inside that, you'll find this file, scooter_1.psd. Remember, here's my absolute path, here are my relative paths, and what this notation here really means is InDesign. I do have to get each path separately but it's a much shorter path. Here, my InDesign file is in the same folder as a Links folder that contains all of the images that I'm going to use in Data Merge. If possible, setup your links as a relative directory path. Well, that's Windows proprietary personalization solutions start to become much more appealing but here's a tip. This is doable, it's tedious, but for a small project, you could use this, but you can imagine what fun this would be if you had 200 graphics that were intended to be used as variable content. This is what's called an absolute path, it starts at the very beginning of the hierarchy and shows you the complete path. Now, you can see that's a really long-winded path. On either platform, once you've copied the directory path, switch back to Excel, click in the appropriate cell and then paste that directory path. Select the file name, hold down the Shift key while you right click for file and then a context menu appears and from that, you choose Copy as Path. On Windows, it's very similar, slight difference. But this, at least, gets you off to a good start so I can copy that and then I can use it back in Excel. ![]() Now, notice that it just goes up so far as the containing folder, Links. On the Mac, just select the file, right click, and then choose Get Info, and in the Get Info dialog, there it is. So, how do you find the directory path for an image? Well, let me show you. You can see in the columns, firstname, lastname, year, brand, model and so forth, and then this last column, is how I have to represent directory path to the Data Merge feature so that it can find the images that I want to use. First, let's take a look at the source excel file that I'm going to use. InDesign's Data Merge feature also lets you incorporate images but there are couple of little tricks that you need to know. |