Gas chromatography-chemical ionization-mass spectrometric fatty acid analysis of a commercial supercritical carbon dioxide lipid extract from New Zealand green-lipped mussel (Perna canaliculus)

Supercritical fluid extracts of New Zealand green-lipped mussels (NZGLM) have been suggested to have therapeutic properties related to their oil components. The large number of minor FA in NZGLM extract was characterized by a GC-CIMS/MS method that excels at identification of double-bond positions in FAME. The extract contained five major lipid classes: sterol esters, TAG, FFA, sterols, and polar lipids. The total FA content of the lipid extract was 0.664 g/mL. Fifty-three unsaturated FA (UFA) were fully identified, of which 37 were PUFA, and a further 21 UFA were detected for which concentrations were too low for assignment of double-bond positions. There were 17 saturated FA, with 14∶0, 16∶0, and 18∶0 present in the greatest concentration. The 10 n−3 PUFA detected included 20∶5n−3 and 22∶6n−3, the two main n−3 FA; n−3 PUFA at low concentrations were 18∶3, 18∶4, 20∶3, 20∶4, 21∶5, 22∶5, 24∶6, and 28∶8. There were 43 UFA from the n−4, n−5, n−6, n−7, n−8, n−9, n−10, n−11 families, with 16∶2n−4, 16∶1n−5, 18∶1n−5, 18∶2n−6, 20∶4n−6, 16∶1n−7, 20∶1n−7, 16∶1n−9, 18∶1n−9, and 20∶1n−9 being the most abundant. In general, we estimated that FAME concentrations greater than 0.05% (w/w) were sufficient to assign double-bond positions. In total, 91 FA were detected in an extract of the NZGLM, whereas previous studies of fresh flesh from the NZGLM had reported identification of 42 FA. These data demonstrate a remarkable diversity of NZGLM FA.

Automated film rhythm extraction for scene analysis

This paper examines film rhythm, an important expressive element in motion pictures, based on our ongoing study to exploit film grammar as a broad computational framework for the task of automated film and video understanding. Of the many, more or less elusive, narrative devices contributing to film rhythm, this paper discusses motion characteristics that form the basis of our analysis, and presents novel computational models for extracting rhythmic patterns induced through a perception of motion. In our rhythm model, motion behaviour is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighbourhoods in movies are then grouped by proportional makeup of these motion behavioural classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. Underlying causes for this level of codification in our approach are postulated from film grammar, and are accompanied by detailed demonstration from real movies for the purposes of clarification.