Cutting room

At the suggestion of a colleague, I tried the Cutting Room s White Hot Martini. The White Hot is a chocolate martini, despite the fact that it is as white as a washed poodle. It is a Gen X version of a Grasshopper, or other pastel ladies drinks from tire 1950s that include cream. 

As in all active areas of research, there are several approaches to the development of nanotechnology. One approach involves techniques similar to sculpting, where one starts with a large piece of material and cuts away what is not needed. The problem is that a lot of the material winds up wasted on the cutting room floor. An alternative approach, described in the following section, starts at the bottom or lower end of the scale and builds up from there. An important feature of this approach is the bonding of molecules to make even larger, more complex molecules—supramolecular chemistry. 

The temperature of the cutting room should be no more than 12°C, and once the carcasses have entered the boning room they should be butchered as quickly as possible, to provide optimum vacuum-packed life. Once all the carcasses with the same reference number have been primal cut, they then need to be vacuum-packed and labelled. This needs to be completed before the carcasses with the next reference number are brought into the cutting room to be primal cut, to reduce the chance of batch mixing. 

As seen today, Chamber IV is very irregular in shape. It has two dead comers, is closed on three sides, and therefore very difficult to ventilate. This one, exactly identical to the hair-cutting room in hut 42, shows blue pigmentation on the ceiling and plaster of the northern wall. This blue pigmentation is also found in the plaster on the southern wall, but is on the outside of the wall of Chamber IV. An even more intense bluish pigmentation finally appears in the plaster of the eastern wall, in the vestibule. 

Right. I m not Hunter Thompson s press agent. Interestingly enough, in the case of Hunter—and we talked about this a lot in the cutting room—I think his bipolar nature, the way he would vacillate between dark and light, the way he would be wonderfully generous and also very cruel, I think that allowed him to appreciate the essential contradictions of the American character in a way that somebody who s more balanced probably couldn t. 

You hear stories of directors who don t come to the cutting room that often. I m there every single day for the whole duration of the edit. And before I do the edit, I would ve done a first cut myself at home, and worked on the structure. And that s not in any way to diminish the role of my editor [Jinx Godfrey], who s someone I ve worked with for 13 years on practically every project I ve done. 

Also, I think it makes you very mindful of what a film actually is. A film is a constructed piece, even if it s the best Frederick Wiseman observational film—and he s the best practitioner of that kind of film-making. His films are remarkably and brilliantly constructed to be the way they are they re heavily constructed in the cutting room. I think he calls them "reality fictions," which is a great title. Even though you would think that his work transcends all those accusations about... 

If you re going to try a structure that isn t linear or isn t just one big long recollection, you have to really know your story inside out. And also, the structure has to serve the story. With Man on Wire, it was very clear to me that most people who were going to see the film would know the outcome—or would guess the outcome. And therefore, one had to structure it that way, to create suspense and live in the moment, [to invite] the audience into the gripping unfolding of this unlikely story. It was all worked out on paper, ahead of time, that it should have this structure. Not in the cutting room. 

The key decision points in the cutting room of apparel manufacture include cut order planning, marker planning, and spreading and cutting scheduling. 

After COP and marker planning, spreading arrd cutting are executed in the cutting room, and time and costs reqtrired for these two operations are determined by COPs. A good plan can irrrprove fabric utilization rates. 

WASTES FROM TEXTILE PROCESSING Table 7.35 Typical Cutting Room Waste... 

Reduce loss About 60—70% of the cost of a garment is in the fabric. As such, it is vital that one orders appropriately and tracks the cutting room processes to keep errors to a minimum. Effective production planning relies on the ability to order the... 

Follow-up daily Once the plans are set for a garment mn and dehvery deadlines, one must institute strict follow-up procedures to ensure that the plan is followed correctly. If the cutting room, for example, falls behind in its production schedule, then the sewing and finishing lines must wait, leading to backlogs and missed delivery deadlines for shipment. To avoid this, one must have a daily oversight of each step and keep the rest of the line updated with any delays so that plans can be adjusted to pick up the slack. 

Short-term detailed planning, that is, planning of cutting room and sewing room activities. Inventory control—raw material purchasing, finished goods, etc. 

The planner does the detailed planning of work for each line as per the customer information supphed purchasing of fabric and trimmings loading the cutting room in time production control, that is, to ensure that quantities ordered match with the cut quantities. 

The development of cutting room technologies is still a target for maximum productivity, optimum quality and maximum effective material utilisation. The following tasks are needed in the near future to achieve these targets ... 

Well planned, efficient work processes in a cutting room ensure the maximal material utilisation and smooth flow of work to downstream operations in sewing lines. The... 

Figure 10.1 Workflow in a cutting room (according to Eberle et al, 2013)...

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