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Hide your photos.

Most people don't seem to realize their profile photos and other albums are available to strangers. The profile photos are usually shared more widely, e.g. to "Everyone," while the photo albums are often only slightly more restricted, e.g. "Friends of Friends."

From your Facebook home page, go to the Settings menu in the upper right corner, and select "Privacy Settings." Then select "Profile Information." Then scroll down to Photo Albums and click "Edit Settings"...

...and adjust to the level of privacy you are comfortable with ("Only Friends" was probably your setup before):

Hide other people's photos of you

If someone "tags" one of their Facebook photos with your profile, it can show up on your profile. If you don't want strangers (including "Friends of friends") to see these often candid shots, go to Settings/Privacy Settings, then "Profile Information" and adjust "Photos and Videos of me." We'd recommend "Only friends:"

Hide your birthday

It's insane that Facebook recommended that many people share their birthday with "Friends of friends" in its defaults for the new "privacy" scheme. This personal information can be used by financial fraudsters to help impersonate you to your bank, credit card company, email provider and others. We'd recommend showing it to as few people as possible. Or, even better, set it to a false date.

Under Settings/Privacy Settings/Profile Information:

Hide your posts

Facebook is defaulting people to share their posts with "friends of friends," i.e. strangers. You may want to revert this to share only with your friends. Under Settings/Privacy Settings/Profile Information:

Remove your friends list from your profile page

Facebook has updated its privacy policy to say that you can never permanently hide your friends list, and last week it was impossible to hide the list from friends of friends (see Felix Salmon's second update here). This might be changing; on Monday, we couldn't find a way to view the friends list of certain "friends of friends."

In any case, it's definitely possible to make your friends list harder for strangers to view, by removing it from your profile. Go to your Facebook home page, then click on "Profile" in the top right corner to view your profile.

Then scroll down to the section of the profile that shows your friends (titled "Friends"), and click the pencil symbol in the upper left corner. This will reveal a checkbox to hide your friend list from some strangers, at least on your profile page:

Hide your profile from search engines

Facebook is touchy about this one, because it's always displayed some data for search engines, by default, and suddenly people are noticing. That's why when you go to change your settings under Settings/Privacy Settings/Search, Facebook now pops up this ultra-defensive dialog:

What Facebook doesn't tell you is that it now offers a link to "View Such and Such's Friends" from the public, search-engine-indexable profile page. At least, that's what ours does. At the very least, you should look at your search engine page using the preview link under "Public Search Results

RULE 4. REMEMBER WHY IT’S ANIMATED

The current state of special effects is so advanced that it’s become increasingly difficult to impress even the least theatrically experienced 8-year-old. But take heart, there are still things animation can do that can’t be matched by the even the most skilled effects wizards. The key is to know what those things are and use them as tools to make your story as fun as possible.

Good animation looks for an “animation hook” – essentially a reason why the movie is being animated in the first place: Toys coming to life after you leave the room is a hook that bursts with possibilities. The ascension of a rat to the pinnacle of Parisian gastronomy would probably lose a bit of its charm in live action, but Ratatouille stands out as one of my favorite animated films of all time. The key is to squeeze as much mileage out of that hook as is humanly possible.

Which leads me to…

RULE 5. SINK YOUR TEETH INTO THE WORLD

Animators will regularly spend months researching the world of the film. They’ll practically live at the zoo watching exotic animals prance around looking for the idiosyncrasies and personalities of various animals… it wouldn’t kill you to do the same.

On The Princess and the Frog, I was looking for a series of unique ways to show conflict and contrast between the fun-loving Prince Naveen and the hard-working Tiana. I ended up spending a lot of time – don’t laugh – pretending to be a frog. I finally came to the conclusion that Naveen, a world traveler and a man open to new experiences, would immediately enjoy his new frog body. He’d have no problem at all eating flies and hopping around in the swamp. Tiana, who wanted no part of this would try to walk upright (which would lend itself to physical comedy given the fact that it’s virtually impossible for a frog to stand on two feet), she’d resist eating flies and try to retain her dignity through the experience. But, in the end, her inherent resourcefulness would bail them out of a jam or two. Even when the two waltz in the middle of the film it’s filled with acrobatic jumps and underwater moves that only two frogs could do and it adds to the uniqueness and magic of the movie.

RULE 6. THINK VISUALLY

When I worked on situation comedies like “The Fresh Prince of Bel Air” and “Roc”, we would write stuff like “He enters and sits on couch” followed by five pages of witty dialogue. Conversely, there’s nothing more boring in animation than two characters sitting around and talking. Keep your characters moving. Don’t let them talk about what they’re going to do, put them in action. And, when they speak, keep in mind that some poor animator is going to have to sit over a light table or a computer screen for two weeks bringing the sentence you’ve just written to live. Keep it short and make what’s there fun to play with.

RULE 7. REMEMBER TO BRING YOURSELF TO THE TABLE

Animation is a collaborative medium. An actor, (sometimes a singer) and a team of animators create a character. A team of background artists give the characters places to go. Dozens of sound engineers and composers work around the clock to create an auditory reality out of thin air. The process is as different from live action as the laws of nature allow. But, at its heart, good story telling is good story telling. The more outrageous and remarkable the world of your film is, the more it needs to be anchored with an emotional reality. Find the truth in the incredible, give your characters a beating heart, tell your stories as entertainingly as possible and have a ball doing it.

I can’t wait to see the films you make and I hope you’ll all enjoy mine this weekend!

You registered a domain name and set up the free Google Apps Standard Edition to get Gmail, GTalk, GCal, and GDocs running behind it. Now, take a look at some advanced settings Google Apps (for your domain) makes available.

What the what? Sometimes we refer to all of Google's regular, free, public products as "Google Apps," but today we're referring to the product formerly known as "Google Apps for Your Domain" as just plain "Google Apps." (Note to Google: Come up with a clearer naming convention.) Give this flavor of Google Apps a domain name you own—like yourfamily.org or example.com—and it puts Google services behind it. If you've got a regular Google Account and you@gmail.com email address, that's cool—you can forward mail for you@yourdomain.com address to and from it. But Google Apps lets you create and manage several users associated with your domain and enable various services for them. Google Apps (for your domain) comes in several flavors: Standard Edition (free for individuals and non-affiliated groups, what we're going to cover here), Premier Edition (for businesses), Non-Profit Edition, Education Edition, and Government Edition.

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Friedberg is perhaps best known for her book Window Shopping: Cinema and the Postmodern (1993, University of California Press), and, more recently, The Virtual Window: From Alberti to Microsoft, published by MIT Press.

She launched The Virtual Window Interactive, a translation/extension of the book created in collaboration with designer Erik Loyer. She was also the co-editor of Close Up 1927-1933: Cinema and Modernism, an anthology of critical and theoretical writing.

Named as a 2008 Academy Film Scholar by the Academy of Motion Picture Arts and Sciences, her next planned project was a work of digital scholarship on Slavko Vorkapich, a special effects cinematographer, montage expert and former dean of the USC School of Cinematic Arts.

Friedberg consistently worked to expand narrow disciplinary boundaries, an effort carried on by a legion of former graduate students.