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Chrystal Dueno
It is usually a small deposit of calcium which has found its way into the region and is fairly common for ultrasounds conducted in the second and third trimester of pregnancy. One in five babies seem to have at least one echogenic intracardiac focus. Some may even have more than one such focus and they may be distributed in different areas of the infant heart.
They are never attached to the walls of the chambers of the heart. They are usually found in the ventricles within the papillary muscles or chordae tendinae. To be considered echogenic intracardiac foci, they must be of the same echogenicity as fetal bone and must move along with the fetal heart motion. They are seen in 4% of all pregnancies, but there is a higher incidence among Asians. Echogenic intracardiac focus occurrence on ultrasound is nearly 13% of ultrasounds among Asians.
In most cases, infants with intracardiac foci will be born healthy with no issues. However, in some cases things could take a turn for the worse as it may be associated with the chance of a chromosome change in the infant. An echogenic intracardiac focus is linked to a suspected cardiac malformation or may lead to a congenital heart defect at birth.
If the ultrasound has revealed an echogenic intracardiac focus and the doctor suspects a chromosomal mutation, amniocentesis may be requested. This is a test of the amniotic fluid present in the sac in which the fetus is carried. Results of this testing can take about two weeks to come and are highly accurate in predicting several possible birth defects.
Often the amniocentesis is negative. In this case the doctor will continue to monitor the fetus via regular ultrasounds. The echogenic intracardiac focus will also be studied and recorded. Fetal development will be observed for any possible abnormality. As long as all the examinations are normal, there is no reason why a child with an echogenic intracardiac focus may not grow up to be perfectly normal.
He M, Zhang Z, Hu T, Liu S. Chromosomal microarray analysis for the detection of chromosome abnormalities in fetuses with echogenic intracardiac focus in women without high-risk factors. Medicine (Baltimore). 2020;99(5):e19014. doi:10.1097/MD.0000000000019014
Echogenic foci within the left ventricle of the heart have been found in a minority of fetuses and generally are believed to be a normal variant. The cause and exact location of these foci have remained speculative, however. We identified three fetuses with this sonographic finding in whom pathologic correlation was available. The only consistent histologic finding present in all three fetuses was mineralization within a papillary muscle; the chordae tendineae were normal. One of the three fetuses had trisomy 21. Echogenic foci within the left ventricle of the fetal heart represent papillary muscle mineralization. Until more data are available to investigate any possible association with aneuploidy, an echogenic focus in the left ventricle should still be considered a normal variant.
Deep focus is a photographic and cinematographic technique using a large depth of field. Depth of field is the front-to-back range of focus in an image, or how much of it appears sharp and clear. In deep focus, the foreground, middle ground, and background are all in focus.
Deep focus is normally achieved by choosing a small aperture. Since the aperture of a camera determines how much light enters through the lens, achieving deep focus requires a bright scene or long exposure. A wide-angle lens also makes a larger portion of the image appear sharp.
When deep focus is used, filmmakers often combine it with deep space (also called deep staging). Deep space is a part of mise-en-scène, placing significant actors and props in different planes of the picture. Directors and cinematographers may use deep space without using deep focus, being either an artistic choice or because they do not have resources to create a deep focus look, or both.
Directors may use deep focus in only some scenes or even just some shots. Other auteurs choose to use it consistently throughout the movie, either as a stylistic choice or because they believe it represents reality better. Filmmakers such as Akira Kurosawa, Stanley Kubrick, Kenji Mizoguchi, Orson Welles, Masahiro Shinoda, Akio Jissoji, Terry Gilliam, Jean Renoir, Jacques Tati, James Wong Howe and Gregg Toland all used deep focus as part of their signature style.
For French film critic André Bazin, deep-focus visual style was central to his theory of realism in film. He elaborated in an analysis of how deep focus functions in a scene from Wyler's The Best Years of Our Lives:
The choice of shooting format affects how easy it would be to achieve a deep focus look. This is because the size of the sensor or film gauge dictates what particular lens focal length would be used in order to achieve a desired viewing angle. Smaller sensors or film gauges will require an overall range of shorter focal lengths to achieve any desired viewing angle than larger sensors or film gauges. Because depth of field is a characteristic of lens focal length (in addition to aperture and focus distance setting), it is easier to achieve a deep-focus look with a smaller imaging sensor or film gauge. For example, a 40mm lens will give a 30-degree horizontal angle of view in the Super35 format. To achieve the same viewing angle with a 1/2" 16:9 sensor, you would need a 13mm lens. A 13mm lens inherently has much more depth-of-field than a 40mm lens. To achieve the same depth of field with a 40mm lens would require a very small aperture, which in turn would require far more light, and therefore time and expense.
Some filmmakers make deliberate use of the deep-focus capabilities of digital formats. Miami Vice (Michael Mann, 2006), a movie that was shot digitally early in the conversion from film to digital formats, made use of this capability. Cinematographer Dion Beebe commented:
In the 1970s, directors made frequent use of the split-focus diopter. With this invention it was possible to have one plane in focus in one part of the picture and a different plane in focus in the other half of the picture. This was and still is very useful for the anamorphic widescreen format, which has less depth of field.
A split diopter is half convex glass that attaches in front of the camera's main lens to make half the lens nearsighted. The lens can focus on a plane in the background and the diopter on a foreground. A split diopter does not create real deep focus, only the illusion of this. What distinguishes it from traditional deep focus is that there is not continuous depth of field from foreground to background; the space between the two sharp objects is out of focus. Because split focus diopters only cover half the lens, shots in which they are used are characterized by a blurred line between the two planes in focus.
The diopter gave the opportunity for spectacular deep focus-compositions that would have been impossible to achieve otherwise. In the American New Wave, director Brian De Palma explored the possibilities of the split-focus diopter extensively, as did other '70s films such as Robert Wise's The Andromeda Strain and Star Trek: The Motion Picture.
This trend has led to deep focus becoming less common in Hollywood movies. As mentioned in Bordwell's second point, master shots where two or more characters hold a conversation have gone out of fashion, lessening the need for deep focus. In a contemporary Hollywood movie a dialogue scene may consist only of tight close-ups, with the master shot abandoned. If more than one plane in the image contains narrative information, filmmakers switch focus ("rack focusing") instead of keeping both focal planes sharp. In addition, modern sets tend to have less lighting for more comfortable working conditions, and use of deep focus tends to require more light.
Secondly, for a smaller target angle, the area covered by the x-ray beam will be smaller so it is not possible to cover large areas at smaller focus film distances (FFDs), therefore it can be appreciated that choice of target angle is a compromise between tube loading, geometric unsharpness, and desired area to be covered by the useful beam. For practical purpose, at 40" FFD the anode angle should be no smaller than 15 degrees. A decrease in angle below six degrees will result in anode heel effect.
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She has endured the slings and arrows of life in the south Indian film industry. And after shocking turn of events, she has now turned the page.On January 22, Malayalam actress Bhavana Menon got married to long-time boyfriend and Kannada film producer Naveen. And she has now decided to shift base from Kerala to Karnataka capital of Bengaluru.The newlywed couple was in the UAE for a short visit and speaking exclusively to Khaleej Times, Bhavana said she will return to Malayalam film industry if she gets good roles and projects.So, unlike the trend is seen in Indian film industry, Bhavana isn't going to end her career after marriage. In fact, she could be back to shooting as early as next week for Kannada movie 'Inspector Vikram'. Also, her next film release is in Sandalwood with 'Tagaru'."I was not shooting for past 2-3 months. So, I had a big break," she said after inaugurating Thamburu Downtown Restaurant in Sheraton Khalidiya Hotel Abu Dhabi.Even as she is shifting focus to Sandalwood, Bhavana is open to offers from all regional film industries but don't want to rush into any project."I have never been on a tight schedule. I have stopped moving from location to location a long time back. I will do movies but will take break in between."And Malayalam film industry? "If I get good roles and good projects, definitely," she said.Bhavana said it's too early to describe the changes in life post her marriage."I am not in a position to talk about marriage. Right after the wedding, it will be happy and happening. We know each other for past six years. So, it doesn't make much of a difference. It's just that I am away from my family."The couple hasn't had their honeymoon trip yet. "We haven't planned it yet."They were in Dubai and Abu Dhabi for three days - their first overseas trip post marriage. And she said to have gone shopping in Dubai but couldn't explore Abu Dhabi other than restaurant opening."I visited Dubai after so many months. This is for the grand opening of Thamburu Restaurant in Abu Dhabi."It was an inauguration of a restaurant but still a special occasion for the actress."I am with my husband and this is the first official function we are attending. We had a lovely lunch and dinner. The food is awesome and yummy," she said about Thamburu Restaurant.Hubby Naveen just chipped in to say the three-day trip was unplanned one and was done only because of restaurant owner Subhar. "It's been a pleasure that he invited us for the opening," Naveen added before the lovely couple made a dash to the airport...@khaleejtimes.com
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