removal)
-. 절삭가공법
가. 성형법(formed tool system) : 성형엔드밀법, 성형프라이스법
플레이너나 세이퍼 등에서 바이트를 치형에 맞게 만들어 절삭 깊이를 조절하여 치형을 성형하는 방법이다. 밀링머신에서는 바이트 대신 기어 치형과 반대 형상을 갖은 밀링 커터(formed milling cutter, 엔드밀)를 사용한다.
(formed tool system) : 성형엔드밀법, 성형프라이스법
플레이너나 세이퍼 등에서 바이트를 치형에 맞게 만들어 절삭 깊이를 조절하여 치형을 성형하는 방법이다. 밀링머신에서는 바이트 대신 기어 치형과 반대 형상을 갖은 밀링 커터(formed milling cutter, 엔드밀)를 사용한다. 대형 기어 제작에 주로 사용된다.
headstock), 왕복대(carriage) 및 심압대(tailstock)와 부속장치에 대하여 알아본다.
(1-1) 주축대(主軸臺; headstock):
주축대에는 전동기의 동력을 받아 회전하는 주축(主軸; spindle), 주축의 나사부에 가공물을 고정하는 chuck 또는 면판(面板; face plate)이 설치되어 있다. 가공물의 회전수가 되는 주축의 회전수는 아
one ring.
16 SARK 16
sneering, as he uses his electronic cesta to hurl the pellet
back with violent force.
16A THE SMALLER WARRIOR 16A
??
desperately trying to catch the pellet, but it smashes
into the ring, which explodes into a million pieces. One
last glimpse of the yellow warriors tortured, desperate
face as he falls to instant death.
17 SARK 17
??
triumphant, LAUGHING. High above him, etch
head:
BOND
There has to be an easier way to earn
a living.
Still, Bond climbs. Huffing, sweating, he goes up, and up, until -
ANOTHER ANGLE -
Hes 25 feet from the top. He drives a first ice pick in. Gets a
toehold. But when he slams the second pick in -
THE ICE WALL SHATTERS, FALLING AWAY IN FRONT OF HIM. IN THE SHOCK -
BOND LOSES HIS GRIP ON THE FIRST ICE PICK -
And 007 is now dangling, 575 feet
please. Mr Alford.
OK, thank you.
Mr Alford and Mr Mills are here.
Andr...
Bob Alford. lll start with you.
lm getting leery of these offshore funds.
l suggest we sell shares of OUS.
- Whats your opinion?
- Uh, give me a moment, Bob.
There is something
l want to check on that.
The entire San Francisco stock
has been stolen.
John Bishop has been liquidated.
John Bishop.
Yes, my information seems
head lolls back, at an
impossible angle... tumbles off his shoulders... His headless
body hits the dirt.
EXT. CITY STREETS -- NIGHT
Empty cobblestone streets. Crooked buildings. A RAPIDLY
CLANGING BELL breaks the silence from afar.
INSERT TITLE: New York City
TWO CONSTABLES clamor round a corner, lanterns held high,
listening. They rush into an alleyway.
ELSEWHERE, piers border the Hudson River.
milling
in the halls.
Alex glances at the door and starts to rise from her chair.
MR. WEAVER
We dont have to stop now...
ALEX
(cutting him off)
Thats okay. Ive got a test coming up
anyway. Gotta study.
MR. WEAVER
(sighs)
I have to tell you, Im a little concerned
about you, Alex. Its been three months
now since your mother, uh...
ALEX
(offering, fixing him with
a stare)
Killed herself?
Mr. Weaver
head is not visible, having smashed through the
windshield. His suit is charred and blackened.
A halo of broken glass outlines him. His black boots hang off the
front bumper. The parking lot is silent.
INT. ROOM - NIGHT
A floor scattered with shiny silver quarters. Reflections of neon.
Theres a fourth SANTA here, face-down in a red pool. The suit is
far too big for him. Not that it matters now.
E
angle of still water. A title reads: SANTA MONICA
CANYON. 1957.
The pick-up drives past. Clay parks in the back, hops out.
ANGLE - HOUSE
A SHADOWY FIGURE stands at a window, watching Clay unload
his red power mower.
INT. HOUSE - LIVING ROOM - DAY
The shadow is a man with dove white hair, wearing a dress
shirt and seersucker jacket. This is JAMES WHALE, age 67.
DAVID
Id have more peace of mind if