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Example text length: 6556
('Example text: Sallie Gardner at a Gallop Sallie Gardner at a Gallop is a '
 'short starring Gilbert Domm and Sallie Gardner. The clip shows a jockey, '
 'Domm, riding a horse, Sally Gardner. The clip is not filmed but instead '
 'consists of 24 individual photographs shot in rapid... Sometimes ascribed as '
 '"The Father of the Motion Picture", Eadweard Muybridge undeniably '
 'accomplished exploiting and sometimes introducing a means of instantaneous '
 'and serial images to analyze and synthesize animal locomotion. In part, the '
 "reasons for and the claims made of his work support Virgilio Tosi's thesis "
 'that cinema was invented out of the needs of scientific research. '
 "Conversely, they're informed by Muybridge's background as an artistic "
 'location photographer and, as Phillip Prodger suggests, in book sales and '
 'more useful to art than to science, as Marta Braun has demonstrated (see '
 'sources at bottom). Additionally, Muybridge quickly exploited their '
 'entertainment value via projection to audiences across the U.S. and Europe. '
 'Muybridge pursued both of these paths of invention: the path taken by Jules '
 'Janssen, Étienne-Jules Marey and others for science and the path taken by '
 'Ottomar Anschütz, Thomas Edison, the Lumiére brothers and others for fame '
 'and profit.\n'
 '\n'
 'Muybridge began taking instantaneous single photographs of multi-millionaire '
 "railroad magnate Leland Stanford's horses in motion in 1872. It was disputed "
 "at the time whether all four of a horse's legs were off the ground "
 'simultaneously at any time while running. Although no surviving photographs '
 'prove it, contemporary lithographs and paintings likely based on the '
 'photographs, indeed, show the moment of "unsupported transit". In between '
 'and interrupting these experiments, Muybridge was found not guilty of the '
 "admittedly premeditated fatal shooting of his wife's lover and possibly her "
 "son's father.\n"
 '\n'
 "Publication of Marey's graphic measurements of a horse's movements reignited "
 "Stanford's interest in the gait of horses. In turn, Marey was convinced to "
 "switch to photography in his motion studies after witnessing Muybridge's "
 'work (see "Falling Cat" (1894)). This work in "automatic '
 'electro-photographs" began in 1878 at Stanford\'s Palo Alto Stock Farm. '
 'Multiple cameras were stored in a shed parallel to a track. A series of '
 'closing boards serving as shutters were triggered by tripped threads and '
 'electrical means. The wet collodion process of the time, reportedly, could '
 'need up to half a minute for an exposure. For the split-second shutter '
 'speeds required here, a white canvas background and powdered lime on the '
 'track provided more contrast to compensate for less light getting to the '
 "glass plates. Employees of Stanford's Central Pacific Railroad and others "
 'helped in constructing this "set" and camera equipment.\n'
 '\n'
 'Contrary to unattributed claims on the web, this so-called "Sallie Gardner '
 'at a Gallop" wasn\'t the first series photographed by Muybridge. Six series '
 'of Muybridge\'s first subjects were published on cards entitled "The Horse '
 'in Motion". The first is of the horse Abe Edgington trotting on 11 June '
 '1878. Reporters were invited for the next two series on June 15th, and, as '
 'they reported, again, Abe went first—trotting and pulling the driver behind '
 'in a sulky, which is what tripped the threads. The second subject that day '
 'was Sallie Gardner running and, thus, the mare had to trip the threads. '
 'Reporters noted how this spooked her and how that was reflected in the '
 'negatives developed on the spot. As one article said, she "gave a wild bound '
 'in the air, breaking the saddle girth as she left the ground." Based on such '
 "descriptions, it doesn't seem that this series exists anymore. The "
 'animations on the web that are actually of Sallie are dated June 19th on '
 '"The Horse in Motion" card. Many animations claimed to be Sallie on YouTube, '
 'Wikipedia and elsewhere, as of this date, are actually of a mare named Annie '
 "G. and were part of Muybridge's University of Pennsylvania work published in "
 '1887, as the Library of Congress and other reliable sources have made clear. '
 "The early Palo Alto photographs aren't as detailed and are closer to "
 "silhouettes. The 12 images of Gardner also include one where she's "
 "stationary. The Morse's Gallery pictures are entirely in silhouette, while "
 'the La Nature engravings of these same images show the rider in a white '
 'shirt.\n'
 '\n'
 'The shot of the horse stationary, as Braun points out, was added later and '
 'is indicative of the artistic and un-scientific assemblages Muybridge made '
 'of his images—with the intent of publication, including in his own books. '
 'This was especially prominent in his Pennsylvania work, which included many '
 'nude models that were surely useful for art. Muybridge influenced artists '
 'from Realists like Thomas Eakins and Meissonier, Impressionists like Edgar '
 'Degas and Frederick Remington, to the more abstract works of Francis Bacon. '
 'His precedence has also been cited in the photography of Steven Pippin and '
 'Hollis Frampton, as well as the bullet-time effects in "The Matrix" (1999).\n'
 '\n'
 'Muybridge lectured on this relationship with art when touring with his '
 'Zoöpraxiscope, which was a combination of the magic lantern and '
 'phenakistoscope. With it, he projected, from glass disks, facsimiles of his '
 'photographs hand-painted by Erwin Faber. Without intermittent movement, the '
 'Zoöpraxiscope compressed the images, so elongated drawings were used instead '
 'of photographs. Muybridge and others also used his images for '
 'phenakistoscopes and zoetropes. The first demonstration of the Zoöpraxiscope '
 'was to Stanford and friends in the autumn of 1879. A public demonstration '
 'was given on 4 May 1880 for the San Francisco art association, and Muybridge '
 'continued these lectures for years—personally touring the U.S. and Europe. '
 'Although there were predecessors in animated projections as far back as 1847 '
 'by Leopold Ludwig Döbler, in 1853 by Franz von Uchatius, and with posed '
 'photographs by Henry Heyl in 1870, the chronophotographic and artistic basis '
 "offered some novelty for Muybridge's presentations. They also led him to "
 'meet Edison and Marey and inspire the likes of Anschütz and others—those who '
 'took the next steps in the invention of movies.\n'
 '\n'
 '(Main Sources: "The Inventor and the Tycoon" by Edward Ball. "Eadweard '
 'Muybridge" and "Picturing Time" by Marta Braun. "The Man Who Stopped Time" '
 'by Brian Clegg. "Man in Motion" by Robert Bartlett Haas. "The Father of the '
 'Motion Picture" by Gordon Hendricks. "The Stanford Years, 1872-1882" edited '
 'by Anita Ventura Mozley. "Time Stands Still" by Phillip Prodger. "Cinema '
 'Before Cinema" by Virgilio Tosi.)')
id               int64
url             object
Name            object
PosterLink      object
Genres          object
Actors          object
Director        object
Keywords        object
RatingValue    float32
text            object
MovieYear        int64
dtype: object

pymilvus:2.4.3

/opt/miniconda3/envs/py311-unum/lib/python3.11/site-packages/huggingface_hub/file_download.py:1132: FutureWarning: `resume_download` is deprecated and will be removed in version 1.0.0. Downloads always resume when possible. If you want to force a new download, use `force_download=True`.
  warnings.warn(

model_name: BAAI/bge-large-en-v1.5
EMBEDDING_DIM: 1024
MAX_SEQ_LENGTH: 512

Successfully dropped collection: `IMDB_metadata`

---------------------------------------------------------------------------
NameError                                 Traceback (most recent call last)
Cell In[8], line 18
      9     print(f"Successfully dropped collection: `{COLLECTION_NAME}`")
     11 # # Check if collection already exists, if so drop it.
     12 # has = utility.has_collection(COLLECTION_NAME)
     13 # if has:
   (...)
     16 
     17 # Use no-schema Milvus client uses flexible json key:value format.
---> 18 mc = MilvusClient(connections=connection)
     20 # Create a collection with flexible schema and AUTOINDEX.
     21 mc.create_collection(COLLECTION_NAME, 
     22                      EMBEDDING_DIM,
     23                      consistency_level="Eventually", 
     24                      auto_id=True,  
     25                      overwrite=True,
     26                     )

NameError: name 'connection' is not defined