uple hundred thousand manufacturing jobs。〃
Including a big chunk of the country's meat and food processing industries； and steel and metal manufacturing jobs。 Say； economic renaissance in Chicago。 And nobody thinks of the city's manufactures。 But now there is a small but growing interest looking to preserve that manufacturing base。 One of the results has been the creation of socalled industrial corridors like Goose Island。
In an effort to bring its economic miracle to tis factories； Chicago has created 22 industrial corridors which groups this base of manufactures by location。 Cmpanies work in partnership with grass roots level developing groups and the city government to solve problems like transportation routes。 Industrial corridors are part of Chicago's and other cities' efforts to revive local economy's heavy dependence on manufacturing jobs。
Bolton：〃Manufacturing drives the service sector； the real estate sector； the insurance sector。 No matter where those jobs show up； you need a manufacturing base in order to sustain it somewhere。〃
Sustaining and expanding the manufacturing base is exactly what the city government is trying to do。 Not only with industrial corridors but with tax incentives and low … cost loans。 City hall is also providing dollars for business family infrastructure。 Consider Version； a few years ago the company that builds machinery to manufacture metal components for appliances and cars considered moving to the suburbs。 But the city intervened； building roads and raising viaducts to make transportation easier。 Version President Richard Metzger says the company grew；adding jobs along the way。
Metzger：〃Employment of this company was approximately 400 people in； uh； 19891990； in that time range。 Eh； today we are approximately 700 to 725 people。〃
Metzger says the company's location made it easy to find workers。 Urban developers say that inner city work force gains importance as labor markets get even tighter。
Tilson：〃There is an available work force； ah； often with； ah； with specialized skills； ah； that can be very attractive to； ah； many different； ah； employers。〃
Still； a dedication to the inner city can be challenging； as corrugated boxer maker Pride Container found out when he tried to expand。
Sharfstein：〃There's not a balance in my opinion of good industrial space to support the total needs of the community。〃
Without a suitable city location； Pride Container opened a satellite in the suburbs。 But there may be a bigger issue than space holding back manufacturing's renassance； and that's the widely touted labor force。
Jenkins：〃What company's need；ah； in manufacturing is people who are employable； which means they have to have； ah； you know； work ethics； and you know； show up to work on time； they have to be drug …free and that's a problem。 And they need to be trainable。〃
Even if that human resource challenges met； it's unlikely large scale manufacturing will return to the big city。 Still the potential for revival is there。
Sharfstein：〃Eh； my father； who since passed away and I started this company； eh； April 4；1968。 I love the city； I love what it stand for Eh； and I think that's a； it's an exciting； eh； vibrant opportunist place for people to participate。
That commitment from factory floor to city hall perhaps a blueprint for other cities to follow。
Betsy Karetnick； the Wall Street journal report； Chicago。
电影
＇ File ： Magic。wav ＇
The awesome power of a thundering waterfall； captured up close from a breath taking perspective one could not safely experience first hand。 For most film cameras； these pounding falls would be far too hazardous to approach； but a unique cable supported system has been developed that can carry the camera the operator safely through the spray。 New camera technologies are revolutionizing the world of motion picture effects photography； creating startling shots that take movie audiences where only birds have gone before； and generating explosive images to keep viewers on the edge of their seats。
Coming up； we'll meet the innovators of special effects photography whose cutting edge cameras and supports systems are giving new moves to movies。 From a soaring flight over the roof tops of Europe to a charging ride through the Amerian west； it's truly a moving experience。 Next； on Movie Magic。
The Magic of Movies allows audiences to share experiences not possible in daily life。 Whether the destination is in the heavens or down to earth； every cinematic journey starts with the camera； From the beginning； film makers have pursued ways to make motion pictures move。 In 1903； pioneering cinematographer Billy Bitzer filmed some of first moving shots by placing a camera on the back of a milk wagon Early car chases were photographed by attaching cameras to the fronts of automobiles。 By 1916； Bitzer had placed a camera on a crane to provice us a sweeping high angle gerspective of a backlock Babylon for D。W。Griffith's 〃Intolerance〃。
Over the years cameras have rolled down tracks；taken to the air on planes； and been attached to basically anything that gave movement to a shot。 On today's sound stages；cameras are often placed on cranes atop mobile platforms called dollies。 State of the art camera cars such as 〃the shot maker〃 incorporate a crane arm atop a fast charging vehicle providing smooth shots for even the fastest action sequence。 But locations beyond the reach of traditional camera platforms require even more innovative methods。 One system filling this gap is called 〃the cable cam〃； a movable camera platform that can be suspended above almost any terrain。 Creator Jim Rodnunsky saw a need for this device when earliner in his career； he attempted to film skiers on extremely difficult slopes。 〃The cable cam is essentially a dolly suspended by cables in the air instead of； say； being mounted on a truck or on the track on the track on the ground； we can fly down rivers； we can fly over waterfalls； um； down mountainsides； uh； through stadiums； in places where you couldn't drive a camera car。 Maybe a helicopter wouldn't be able to get that low； or get that closer to people； or animals； that kind of thing。〃
The camera carriage rides on metal track wheels that grip on to a constantly moving cable。 The cable itself runs in an endless loop powered by a hydraulic engine。 While the word 〃cable〃 normally suggests 〃steel〃； the cablecam uses ropes made of synthetic fiber。 〃This is what's basicall the life blood of everybody on the system。 I guess maybe one of the reasons why you call it a cable is when you pull about ten；twelve thousand pounds of tension on this； it feels like steel when you go up weighs only 500 pounds； a comparable steel cable would weigh at least ten times that； and be far too difficult to move and install。
The cable cam system can cover distance of up to half a mile； quickly accelerating to a maximum speed of 60 miles per hour。 The camera can be operated either romotely or by a cinematographer riding on the carriage。
The system has kept up with many speeding vehicles from motorbikes to kayaks。 But here at legendary race track Churchill Downs； the challenge is to follow the ponies for television coverage of the world's most famous system as unobtrusive as possible； the camera is operated remoteley by radio control。 The cable cam provides the derby broadcast with a never before seen perspective on this most photographed of races。 Given its far ranging capabilities； Hollywood effects artists were quick to seize up on this revolutionary technology。 For the Canadian television adventure series Neon Rider； a cable cam was used to capture a galloping herd of wild horses。 In the past； this king of shot was nearly impossible。 The traditional camera trucks or helicopters used for moving shots would scare the horses； denying film makers such close proximity。 〃We were just slightly above the horses'field of view and right beside the horses； and they just came literally right up and bumped into the dolly； and we were going downhill。 It was about 1；400 foot shot。〃
For the magical fantasy film 〃Three Wishes〃； director Martha Coolighe turned to the cable cam for a crucial effects sequence。 In the story's climactic moment； a young boy soars above the carnival。 A helicopter was used to film high angle aerial shots。 But it was too dangerous to bring the chopper close to the carnival rides for shots representing the young boy's point of view。 For these； Coolidge looked to the cable cam。 〃What was great about the cable cam is that it can go very fast and change its perspective。 It has a real incredible feeling （of） speed and flying at a lower attitude than a helicopter can be。 〃Footage of the young boy flying was photographed against a green screen； a temporary background often used in filming effect shots。 The images from the cable cam and green screen shots are combined in post production along with the finishing touch of computer generated fireworks。l The entire sequence is overseen by Academy Award winning visual effects supervisor Phil Tippete。
In the completed scene； the boy takes to the air with the greatest of ease； and illusion generated by a battery of effects and a highly ingenious camera system。
The End
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