Video Camera Buying Guide

2021-07-20
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What Is the Best Video Camera for Recording Paranormal Investigations That's also Not too Expensive?
In one of my demonic possession cases i had by my assistant girl hiden cam to document the event in case some thing went bad or if the people was fake the cam was hidden between the small sheets we brought with us, we recorded one of my most ginuine and clear demonic possession cases i ever had,in the cam you will see the girl my assistant she is universtiy student intrested in such things and wanted to see in her own eyes how things works maybe to bilieve in the supernatural she was always skeptic in the vedeo you will see clearly how she nearly falled unconsiouse and you will see how the bed whom the vicitim lying next to it start shacking agressivly and we all start to shake with it the camera will start to shack as well ,befor us one priest was thier with someone i think he was psychic but the victim friend sayed he run a way, i bilieved them because i saw his cruss in the bed the poor guy didnt imagened that he will face real demonic possession, in the vedeo you will see how the body of the victim go up and down,you will hear the deep crowling breath of the victim and verry clearly you will hear the victim wich she is just 19 years old lovly girl start answering me in the most deepest and sharpe lout scary voice i ever heared, i never heared such human voice and i know it is demonic even the language was old latin, i publish it in youtube but i get baned and he video was stoped where ever i put it i get baned or attacks and people start blaming mefor thier nightmares, some american company offered me 10000 dollars to have the rights of publishing it or use it in movies or documantary but i refused the offer i didnt want to use it in that cheap way , in the end she is human and victim and i promissed her to not use it in any bad way ,the girl is now fine she was little drunk and played the spirit board and was making fun the time she was possessedWhat is the best video camera for recording paranormal investigations that's also not too expensive?1. Need a good quality, cheap digital video camera for recording live band performances & uploading to youtube???Try Aiptek..... They have cheap video cameras perfect for utube2. what is a good cheap camera for recording homemade youtube music videos?You could look into the Flip Video. They are not super expensive and the video quality is great for the cost. It's also extremely easy to use3. How do I stop my digital camera recording the zoom sound when recording video?Do not zoom while recording. It's a very poor technique anyway4. BEST PROFESSIONAL HD VIDEO CAMERA FOR RECORDING INDOOR CONCERTS/PERFORMANCES (UNDER $1300)?My definition of a "professional" HD video camera: Lens diameter of 70mm or larger; 3CCD or 3CMOS imaging chip array. Low compression video capture and storage. When you find this, you get: Separate zoom and focus rings on the lens barrel; Manual audio gain control on the outside of the camcorder; Neutral density filter setting on the outside of the camcorder... At the low end are "prosumer" units like the Sony HDR-FX1000. Low end camcorders have small lens and small imaging chip - this makes it impossible to capture good video under poor lighting conditions. Manual controls are buried in the menu and difficult to use/reach (your iPad has no manual controls). As the lens diameter gets larger and the imaging chip size increases, the low-light and poor light video capture behavior gets better and so does the price. As the manual controls migrate to the outside of the camcorder, more price increases - and add a mic jack an manual audio control... dSLRs and other still image capture devices that happen to capture video as a secondary "convenience feature" should not be used as camcorders. This does not mean they cannot capture good video - they can, but they can not be treated as a camcorder. dSLRs have known issues related to overheating when capturing video over a prolonged time; poor audio options, file size and video length limitations. Generally, dSLRs do not have "stabilization" for video (even when the lens has stabilization). Best video is captured under perfect lighting and best audio levels using low compression. That is not reality. That means we need to use equipment that works under as many adverse circumstances as possible. Use of some sort of stabilizer (other than the camcorder's optical stabilizer) is strongly recommended. Humans are not built to be steady. Use of the ground, a rock, chair, shelf, monopod, shoulder-mount - anything but handheld... If you are capturing video handheld - with a camcorder, dSLR or other video capture device, expect poor quality. Audio: The built-in mic works well with any camcorder when the audio is at an appropriate level and located in the right place. When this happens, the video framing may not be good. When the video framing is good, then the audio may not be set up correctly. The resolution to this is to use an external mic or audio recorder. This way the audio and the video are not physically depending on each other. Even if you do not choose to use an external mic or audio recorder, it is much better to have the mic jack and manual audio control (in a camcorder) when you want it - rather than want it and not have it. I would suggest you look into the Canon Legria HF S series. Decent lens diameter and imaging chip size for the price, external mic jack and manual audio gain control. Please do not compare their video quality to a $4,000 camcorder - especially under poor/indoor lighting conditions. The lesn diameter is only 58mm and single imaging chip is 1/3". Tips: Use a tripod or other steadying device. On a camcorder, use the white balance. Use an external stereo mic (Audio Technica has a decent, affordable ones) or audio recorder (like a Zoom H2) when recording music - the stereo separation is much better than mono audio. Use the manual audio gain control. Capture video under good lighting. Use the White balance settings. Capture video at highest quality. The shoulder mount cams in your price range have small 37mm lens diameter. The Canon HF S series on a shoulder mount system will be much better. And when you go with the HF S series cam, that leaves you budget for the other stuff. And we do not know if your computer needs to be upgraded to deal with the AVCHD compressed video.
Introduction to Video Camera
1. Synopsis of Video CameraThe 19-minute film is a time-lapse video of the construction of the London International Hotel (now the London Marriott Hotel Kensington) at 147 Cromwell Road, Kensington. The film was made of photographs taken from a single point over a number of months in 1970 and 1971; Lennon sought permission to photograph the building's entire construction. The camera was fixed in place by Iain Macmillan, the photographer who captured the iconic 1969 Abbey Road album cover photograph. The footage was edited on 16 mm film by George Maciunas, founder of the Fluxus art movement and avant-garde contemporary of Ono.The film uses the songs "Airmale" and "You" from Ono's 1971 album Fly, as its soundtrack.When Lennon and Yoko appeared on the Dick Cavett Show on 11 September 1971, Lennon said that the inspiration for the film was when he would spend periods of time away from any particular city, he would return to find large buildings having been constructed. He also outlines how the film shows a single bush showing the seasons passing.------2. Taping locations of Video CameraThe program typically taped at the Canadian Broadcasting Centre in Toronto, Monday to Friday in front of a live studio audience, then is broadcast at 7:00p.m. (ET).The show went on location to Vancouver, Calgary, Montreal, and St. John's, and has twice broadcast from London.One remote broadcast came out of an interview with enterprising trader Kyle MacDonald who said the only limitation to his activities would be that he would not make any trade with the citizenry of a small village called Yahk, British Columbia. When the citizens protested the exclusion by writing letters to the show, the trader accused Stroumboulopoulos of hypnotizing him into making that statement and he would only go to that town if the show went there first. On 9 February 2006, the producers broadcast an episode from that village.------3. George Stroumboulopoulos Tonight of Video CameraGeorge Stroumboulopoulos Tonight (originally known as The Hour) was a Canadian television talk show hosted by George Stroumboulopoulos that aired on CBC Television from 2005 to 2014.As The Hour, the show was so named, as it was a daily one-hour program. For the show's seventh season, the show was renamed and shortened into a daily half-hour show, George Stroumboulopoulos Tonight, beginning September 20, 2010. In September 2011, the program was again extended to one hour with its current name. It returned to a half-hour for the 201213 season and moved to 7:00p.m. (replacing Wheel of Fortune), along with a late-night encore that moved to 11:30p.m. due to the expansion of late local news at several of the CBC's major market stations. The show concluded at the end of the 20132014 season as Stroumboulopoulos moved to Rogers Communications to host Hockey Night in Canada.The show had two opening theme songs during its history. Its first was "Use It" by The New Pornographers, which was replaced by "The Good in Everyone" by Canadian rock band Sloan at the start of the 2008 broadcast season.------4. Plot of Video CameraThe game follows Dan Miles, a former street racer who becomes a new recruit in the Criminal Overturn Program (C.O.P.). Under the terms of the C.O.P., Dan becomes a detective working to protect the citizens of New York City against large-scale threats. Working with his mentor, Detective Brad Winter, Dan is investigating a series of terrorist attacks in the city when Brad is falsely arrested, putting the investigation on hold. While trying to uncover the truth behind Brad's arrest, Dan goes undercover and returns to his life on the streets. Little by little he gets wrapped up in a deadly, widespread conspiracy and must work to prevent a potentially catastrophic attack on the city.------5. Corners/Segments of Video Camera"Manager's Fast Pedal" Manager of team are turning the pedals. The music filled the team's fastest energy is playing. However, any amount determined by the ability of the manager."Profile Talk" The hosts feature the profile, info, facts, and rumors about the guest. The idols need to verify, or even, voluntarily prove the info before the MCs. That must appeal to charm in a short period of time. If guest winner the guest get transition stage, stage video and special effects. This is not something you want, when penalties drastically manager."Survival Game" The guests play a game together with the hosts make a group. If the guest winner will get 10 cameras and show stage, if lost will get 1 camera and pin stage."Survival Show" A special where the guests have result survival and make a group for performance stage.------6. Leben I Feel You of Video Camera"Leben I Feel You" is the second single from the 2003 Schiller album Leben with vocals by Peter Heppner. The song was officially released on 1 October 2003 and peaked at number 15 in the German singles chart and at number 1 in the Romanian singles chart in 2004. It is the second co-operation between Schiller and the German singer Heppner after the song "Dream of You". The single and music video version differs slightly from the album version; the video version has a length of 3:49 minutes and the album version has a length of 5:35 minutes. The single includes the song Vielklang, which was no released on any album.The single was released in two versions, purple and green with different songs. The cover art work shows a graphic of a tree, which represents one of the four elements, earth. The complete four elements are shown on the art work of the album Leben. "Leben I Feel You" was also released on the soundtrack of the 2003 German movie Soundless.------7. Biography of Video CameraLisa Marie Wiegand was born in 1968 in Royal Oak, Michigan, USA. She graduated in 1989 from Wayne State University, and obtained her MFA in cinematography from UCLA in 1998. In 1995, she received a Master's in Cinematography from the American Film Institute AFI.In 1997, she attended the Sznhz-es Filmmvszeti Foiskola (Academy of Drama and Film, Faculty of Film and Television) in Budapest, Hungary, and UCLA in 1998.Wiegand started in taking stills and developing them in her father's darkroom as a child. She switched to motion capture when she started shooting local cable TV ads. She went on to direct multi-camera shoots on commercials and industrial films while working at Detroit's Midwest Video."Wiegand has been featured, several times, in American Cinematographer Magazine and has been awarded for 'Excellence in Cinematography' by the American Society of Cinematographers."Wiegand taught cinematography at The American Film Institute, UCLA, and Loyola Marymount University for several years. She also volunteers her skills to the Sundance Institute's Filmmaker's Labs.2010 she worked on Dollhouse (film), The Assignment, and Mayfly.------8. Gameplay of Video CameraUnit 13 plays much like the SOCOM franchise. The camera stays directly behind the player character in third-person, or otherwise shifts to first person aim if the player selects the option to zoom in with guns that have the compatible attachments. Objectives can be completed in any order in each mission, with some missions allowing taking any approach to accomplish a goal (Direct Action) while others have certain conditions, such as requiring stealth.All missions can be played co-operatively, and each mission features an unlockable "Dynamic" Mode, which changes objectives and objective locations, enemy weapons and locations, to random values and points in the environment.Demo versionA demo version was released for download of the PlayStation Network. It features the opening tutorial mission where players learn the controls and how to otherwise play the game, as well as the complete first mission, named 'Operation Open Flame'. The demo also provides a leaderboard for this mission, both regional and global, as well as being able to play this mission in "Dynamic" Mode. However, Dynamic mode does not support leaderboard ranking, as the mission has random insertions and objectives. The demo version allows for six playable characters, Commando, Technician, Pointman, Gunner, Infiltrator, and Marksman. All characters may progress up to level 4 by completing the single mission well and gaining experience for performance.------9. Recording of Video Camera"My Brave Face" was first recorded at sessions overseen by McCartney and Costello in early 1988. Excerpts from this session were eventually used in McCartney's documentary video Put It There, but other than that were not used. The final version of the song was recorded later the same year at Olympic Studios in London, with producer Mitchell Froom joining in on the work. During the overdub sessions, David Rhodes added an "ebow guitar" in a quick one-day session at Olympic Studios. According to the Put It There documentary, Costello requested that McCartney bring his iconic Hfner violin bass, which he had not played in years, to the recording session. To this day, Paul still uses this bass, in addition to the Rickenbacker 4001 and his Wal 5-String Customized.------10. Background of Video CameraOriginally, the opening bass riff was meant to be played on piano, but due to Nile Rodgers' who also produced the band's 1983 album Talkback suggestion, it was changed. The production was also "punched up" through the use of the Aubrey Juke Brass Section and the Simms Brothers' backing vocals who also have played for the likes of David Bowie.The "doot-doots" in the chorus were added in by accident. Originally, Gordon lacked actual lyrics to add to those portions of the song. While recording, he decided to sing the "doot-doots" as a kind of filler while he tried to formulate words, but he could not come up with anything that fit. This turned out to be a positive outcome, as Rodgers found the "doot-doots" to be captivating enough to keep them in the song. Despite being made for a movie soundtrack, "Romantic Traffic" is one of the Spoons signature songs in part because of that choice in chorus.The video was filmed in the Toronto Subway System at the Bloor and Sheppard stations. Directed by Robert Fresco with one handheld camera, the video was completely off-the-cuff with no script. Regardless of this, Sandy Horne says that it was, "the easiest video we ever did and our most effective".------11. Guests of Video CameraSome of the previous guests have included: Adam Copeland, Sridevi, The Tragically Hip, M.I.A., Eckhart Tolle, Margaret Atwood, Hillary Clinton, Sarah Palin, Wyclef Jean, Chris Jericho, Tom Cruise, Bill Maher, James Cameron, Robert F. Kennedy Jr, Marlee Matlin, Tim Robbins, Jim Parsons, Michael Fassbender, Jason Segel, Spike Lee, Ricky Gervais, Tony Bennett, Greg Kinnear, John Legend, David Byrne, former President of the United States Jimmy Carter, Larry King, LeBron James, Henry Rollins, Evangeline Lilly, former White House Press Secretary Scott McClellan, Alanis Morissette, Malcolm Gladwell, Richard Branson, Howard Zinn, Kings of Leon, Kylie Minogue, Daniel and Henrik Sedin, Sean Avery, former Canadian Prime Ministers Paul Martin, John Turner and Brian Mulroney, P!nk, Smashing Pumpkins, David Suzuki, Nickelback, Mike Holmes, Douglas Coupland, Naomi Klein, Richard Dawkins, Christopher Hitchens, Daniel Tammet, David Thewlis, Larry Charles, Dana White, Tony Robbins, Gordon Ramsay, Dave Salmoni, Steve Wozniak, Kermit the Frog, and Adrien Brody.Stroumboulopoulos conducted the last public interview granted by journalist and social activist June Callwood before her death.In 2007, The Hour ran a Christmas special featuring musical performances on set. On June 6, 2008, the show featured an hour-long special with British band Coldplay. On December 9, 2008, an hour-long special with actor Tom Cruise aired and on December 31, 2008 ran a New Year's Eve special featuring an interview with former vice-presidential candidate Sarah Palin.
Understand Professional Video Camera
An overview of professional video cameraJohn Davies (born 1949) is a British landscape photographer. He is known for completing long-term projects documenting Britain and exploring the industrialisation of space. In 2008, he was nominated for the Deutsche Brse Photography Prize.Life and work of professional video cameraDavies was born in Sedgefield, County Durham, England in 1949. He grew up in coal mining and farming communities, and this combination of open space and industry was to become a persistent motif in his creative work. His early life was spent living in industrial landscapes in County Durham and Nottinghamshire.He studied photography, first attending Mansfield School of Art to complete a foundation course, then studying at Trent Polytechnic (now Nottingham Trent University), graduating in 1974. Following this, he began working on long-term projects, seeking commissions and arts funding to support his work. He has worked closely with Amber/Side Collective on a number of commissions.In 1981, Davies won a one-year photography fellowship at Sheffield Polytechnic, and he became senior research fellow at the Art School of University of Wales Cardiff (UWIC) in 1995.He is known for producing large photographic prints of images produced from high vantage points, using traditional darkroom techniques. His work in the 1980s primarily used medium format cameras, and work from the 1990s a large format camera, although in recent years he has begun using dSLR and digital medium format cameras in his work as well. While his career began by producing traditional, but masterful, landscape images he quickly progressed to composition where the natural environment was juxtaposed against industrial elements impinging on it. This theme of industrialisation has become more prominent with The British Landscape his best-known body of work, and recent work in Mount Fuji, Japan (Fuji City), a meditation on the balance between nature and industry. He has also become involved in local politics, as his interest in the use of public space has been both personal and professional. The shift in subject matter also developed into a fascination with urban regeneration and work on this includes his Metropoli Project, City State, and Cities on the Edge, the latter of which he curated, in addition to contributing images of his own.Davies' style was a major influence on the practice of noted art photographer Andreas Gursky.His book A Green and Pleasant Land was the first photobook published by Dewi Lewis, while Lewis was at Cornerhouse. Lewis would later go on to found Dewi Lewis Publishing.He was the first photographer to be commissioned to work for the Museum of London in 2002.In 2008, Davies was nominated for the Deutsche Brse Photography Prize, organised by The Photographers' Gallery.He lives with his partner and their daughter Alix in Liverpool, England.Books of professional video cameraBooks by DaviesAggie Weston's no.13. Belper, Derbyshire: Stuart Mills, 1977 ASINB0007C4X2C.The Valleys project. Cardiff: Ffotogallery, 1985.On the edge of White Peak. Derbyshire Museum Services, UK, 1985.In the wake of King Cotton. Rochdale Art Gallery, UK, 1986.Mist Mountain Water Wind. London: Traveling Light, 1986. .mw-parser-output cite.citationfont-style:inherit.mw-parser-output .citation qquotes:"""""""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free abackground-image:url("upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png");background-image:linear-gradient(transparent,transparent),url("upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground-image:url("upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground-image:url("upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon abackground-image:url("upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png");background-image:linear-gradient(transparent,transparent),url("upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg");background-repeat:no-repeat;background-size:12px;background-position:right .1em center.mw-parser-output code.cs1-codecolor:inherit;background:inherit;border:inherit;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inheritISBN0-906333-18-0.A Green & Pleasant Land. Manchester: Cornerhouse, 1987. ISBN0-948797-10-X soft cover ISBN0-948797-15-0. Autoroute A26, Calais Reims. Douchy, France: Mission Photogaphique Transmanche, 1989. ISBN2-904538-16-X.Phase 11 (eleven). London: The Photographers' Gallery; London: Davenport, 1991. ISBN0-907879-27-6.Broadgate. London: Davenport, 1991.Cross Currents. Cardiff: Ffotogallery; Manchester: Cornerhouse, 1992. ISBN0-948797-32-0.Linea di Confine della Provincia di Reggio Emillia Laboratorio di Fotografia 5. Arcadia Edizioni & Assessorato alla Cultra del Comune di Rubiera, Italy, 1992.Skylines. Valencia University, Imp. Mari Montanana, Spain, 1993.Through fire and water: River Taff. Oriel (The Arts Council of Wales' Gallery, Cardiff); National Museum & Galleries of Wales, 1997. ISBN0-946329-45-1.Sguardigardesani. Milan, Italy: Charta, 1999. ISBN88-8158-223-6. Temps et Paysage. Tarabuste / Centre d'art et du Paysage, 2000. ISBN2-84587-010-8.Visa III, Littoral / Le retour de la nature. Filigranes, 2001. ISBN2-914381-17-4.Seine Valley. Le Point du Jour Editeur / Pole Image Haute-Normandie, France, 2002. ISBN2-912132-21-5.The British Landscape. Chris Boot, 2006. ISBN0-9546894-7-X.Urban Landscapes / Krajobrazy Miejskie. Pozna, Poland: Centrum Kultury 'Zamek', 2008.European Eyes on Japan / Japan Today volume 10. EU-Japan fest / European Eyes on Japan, 2008.Books with othersJohn Davies, Martin Parr. Sguardi Gardesani 2. Milan: Charta, 1999. ISBN8881582236. Photographs by Davies and Martin Parr, text by Franco Rella. Catalogue of an exhibition held at Museo Civico, Riva del Garda; text in Italian and English.Books edited by DaviesCities on the Edge. Liverpool: Liverpool University. ISBN978-1-84631-186-4. Commissioned as part of European Capital of Culture, 2008. Published on the occasion of an exhibition. Photographs by Davies and others.
Introduction to Video Camera
1. Biography of Video Camera Following his graduation from film school at the age of 22, Demers traveled around the world alone over six months with a handheld camera for La Course destination monde (Radio-Canada Television) and started shooting. After a few years working as a director in the television and advertising industries, his first short fiction film, Discharge (Dcharge), won the award for Best Canadian Short Film at the Toronto International Film Festival. In 2003 he wrote and directed "Dans un spoutnik", an animated music video for Daniel Blanger which won several awards in the ADISQ Gala and at the MuchMusic Video Awards that year. His next documentary, Regular or Super: Views on Mies van der Rohe, that he co-directed and edited, won Best Canadian Work at the Festival International du Film sur l'Art en 2004. Suspicions (Jaloux), his first feature film, was released in 2010. The independent movie was produced by Productions Kinesis and was selected by the Karlovy Vary International Film Festival and by the Toronto International Film Festival while also opening the Canadian Front at the Museum of Modern Art in 2011. Origami (2017) premiered at the Fantasia International Film Festival where it won the Barry Convex Special Jury Prize for its deft direction, sophisticated visual aesthetic, strong performances, and the successful blending of genres in a complex story told in a refreshingly unconventional manner. ------ 2. Filmography of Video Camera Shorts1987 - Ma dernire cigarette 1988 - Le refus 1989 Brand New Flambant Neuf 1990 - monsieurmadamechose 1991 - Lamenta 1999 - Discharge (Dcharge) 2004 - Le ColletAnimation2003 - "Dans un spoutnik" (music video for Daniel Blanger) 2005 - "Heureux d'un printemps"Documentary2004 Regular or Super: Views on Mies van der RoheFeature films2010 - Suspicions (Jaloux) 2017 - Origami
Knowledge Related to Leben I Feel You
"Leben I Feel You" is the second single from the 2003 Schiller album Leben with vocals by Peter Heppner. The song was officially released on 1 October 2003 and peaked at number 15 in the German singles chart and at number 1 in the Romanian singles chart in 2004. It is the second co-operation between Schiller and the German singer Heppner after the song "Dream of You". The single and music video version differs slightly from the album version; the video version has a length of 3:49 minutes and the album version has a length of 5:35 minutes. The single includes the song Vielklang, which was no released on any album. The single was released in two versions, purple and green with different songs. The cover art work shows a graphic of a tree, which represents one of the four elements, earth. The complete four elements are shown on the art work of the album Leben. "Leben I Feel You" was also released on the soundtrack of the 2003 German movie Soundless. · Other Related Knowledge of Video Camera Biography of professional video camera Griffin was born in San Antonio, Texas, the oldest of six children. He grew up in the San Francisco East Bay, primarily in the Easter Hill Village housing project in Richmond, California. He graduated from Castro Valley High School in the fall of 1972, and voluntarily enlisted in the United States Air Force. Upon completion of his four-year tour of duty, he returned to the East Bay, living in Hayward, California and the Haight-Ashbury district of San Francisco. In September 1978, he was awarded a scholarship to attend the Los Angeles Civic Light Opera workshop, and relocated to Los Angeles, where he still lives. Since 1979, Griffin has worked on stage and on camera as a professional actor with notable directors such as Clint Eastwood, Burt Reynolds, Kathryn Bigelow, Ivan Reitman, Douglas Trumbull, Joe Pytka, Jeremy Podeswa, Stephen Kessler, Leslie Dektor, and Jeremiah S. Chechik. He is Drama-Logue Award (stage) and Kari Award (commercials) winner, and has appeared in over 150 commercials. In the 1980s, Griffin began appearing in poetry anthologies, periodicals, and publishing poetry. His writing is influenced by the Beat Generation, Charles Bukowski, punk rock, and Dada. He is an adviser on the curatorial council of Beyond Baroque Literary Arts Center, and in 2011 was the first recipient of Beyond Baroque's Distinguished Service Award. During the 1990s, until its close in 1998, he was a regular at the Onyx Cafe in Los Feliz, producing a number of performances and poetry-reading series there. He toured extensively throughout the United States with three poetry performance groups of which he was a founding member: The Lost Tribe (1985-1992), The Carma Bums (1989-2009) and White Trash Apocalypse (1995-1997). Writer Wanda Coleman named him "L.A.'s Best Performance Poet" for The LA Weekly in 1989, and editor Lucinda Michele Knapp called him the "should-be poet laureate of Los Angeles" in the Los Angeles Alternative Press. Griffin founded his imprint, Rose of Sharon press, in 1989 with the publication of Sharktalk by Doug Knott. He also published and edited the underground poetry journals The Fool, (Sic) Vice & Verse, and MEAT, and worked on the editorial staff for Shattersheet and The Moment. He is the co-editor of The Outlaw Bible of American Poetry which received the Firecracker Alternative Book Award in 2000. He co-founded H.I.P. (Hollywood Institute of Poetics) and WWWRN (World Wide Word Radio Network) Blog Talk Radio. In his attempts to bring poetry to a wider audience, outside of publishing broadsides, chapbooks, and periodicals, Griffin has placed poems on billboards and beer bottles. In 2010 Griffin adapted a 1970 240-MK Vietnam War-era practice bomb to house poetry instead of explosives, gathering over 900 poems from around the world. American pinstripe artist and fabricator Skratch pinstriped the bomb, which Griffin named Elsie in honor of his paternal grandmother. Between April and June 2010, Griffin toured with Elsie the Poetry Bomb across the United States, appearing at 30 different venues, and inviting people to put their poems inside. Of the inspiration behind the project, he said: "War, the art, artifact and artifice of war were created to invent and enforce agreements. Hopefully by transforming this piece I have created something that will inspire disagreements. The democratic process depends upon disagreement in order to function. The Poetry Bomb is a weapon of mass discussion."In 2015, the S.A. Griffin collection of underground poetry, Scott Wannberg, and The Carma Bums, circa 1950-2015 was archived at UCLA, becoming the first acquisition of UCLA's Punk Archive. ------ Franchise History of professional video camera With the growing popularity of the sport of ultimate, the AUDL was formed in 2012 by Josh Moore, with eight teams scattered along the East Coast and in the Midwest. One of the AUDL's inaugural franchises, the Bluegrass Revolution, was based in Kentucky, playing its home games in Lexington, at Henry Clay High School's Jack Bell Stadium. 2012 SeasonIn its first year, the Bluegrass Revolution was composed of ultimate disc players from Kentucky and the surrounding area. After starting the 2012 season 3-0, with wins over Western Division rivals, the Indianapolis AlleyCats, Columbus Cranes, and the Detroit Mechanix, the Bluegrass Revolution finished second in the Western Division with a record of 9-7, behind the AlleyCats. In the 2012 AUDL playoffs, the Revolution played against the AlleyCats for the Western Division title, but lost by the score of 24-20. 2013 SeasonAfter the 2012 season, the Bluegrass Revolution relocated from Lexington to Cincinnati, Ohio. Despite the Bluegrass Revolution's strong play and playoff berth in 2012, attendance at the Revolution's home games in Lexington, KY, was lackluster throughout the year. The Revolution's relocation was also influenced by the folding of the AULD's franchise in Columbus, OH, the Columbus Cranes. Other factors involved in the move northward was Cincinnati's youth ultimate scene, which is one of the largest and most successful in the country, with one of the top high school teams in the nation, and the strong culture of the sport of ultimate in the area. Additionally, the Revolution were able to play its home games at the University of Cincinnati's Sheakley Athletic Center, which is regarded as one of the top stadiums in the league. Despite its 9-7 record in 2012, the Cincinnati Revolution entered the 2013 season as an underdog. Everybody has already said that Madison or Chicago is going to win our division, Raymie Younkin, the Revolution's General Manager, admitted before the season began. However, he disagreed with the previews, which had the Revolution ranked fifth in the six-team Midwestern Division. He stressed the Revolution's focus on team-chemistry over star players, claiming that teamwork is our big thing. We know that we dont have the names like Brodie Smith and Goose Helton of the Windy City Wildfire. But thats not who we are. Nevertheless, it was Smith, Helton, and fellow Wildfire star A.J. Nelson that put on a clinic to hand the Revolution a steep 26-15 defeat in their season opener in front of the home crowd. A similar loss to the Wildfire, a tight victory against the Wind Chill, in which the Revolution fought off a vicious comeback attempt, and a sloppy loss to the Detroit Mechanix in difficult weather conditions left the Revolution at 1-3 and in last place in the Midwestern Division after four weeks of play. Continued strong play from handler Chris Fudge Powers, and deep cutter Isaac Jeffries, however, gave the Revolution back-to-back victories over the Mechanix, bringing them back to .500 and moving them up to the third in the division and fourth in the season's power rankings. However, the Revolution dropped three straight games against their division rivals, the Indianapolis AlleyCats, and then lost its next two matches, against the Minnesota Wind Chill and the Madison Radicals, to fall to 3-8. A 23-21 win in a daunting matchup against the Madison Radicals kept the Revolution's playoff hopes alive, but another bad loss to the Wind Chill in week 12 eliminated them from playoff contention. The Revolution's inability to consistently beat teams of lesser or equal caliber in their division resulted in a 4-12 finish for their 2013 campaign, leaving them in last place in the Midwestern Division. Despite the disappointing finish, the Revolution's roster included several of the AUDL's top performers, such as Powers, who lead the league with 74 assists and made the All AUDL First Team, Jeffries, who, together with Ryan Gorman, tied for the team lead with 36 goals, and Mark Fedorenko, who established himself as a solid deep defender with a team-leading 29 blocks. 2014 SeasonAfter only returning four members of their 2012 roster for the 2013 season, the Revolution's 2014 squad boasted many of their top players from years past, including Jeffries, Powers, and defensive captain Kevin Kula. In addition to retaining their core group from 2013, the Revolution also brought back several of its key players from its 2012 playoff run, including Kentucky natives Ben Blatz and Ben Sever. The Revolution also drew players from their rival Indianapolis AlleyCats roster, including defensive handler Mike Ford, and offensive threat Mike Ames. Other additions to the roster included Patrick Peaches Kaufmann, from the University of Dayton, and players from area club teams, like Columbus Madcow's Phil Cherosky, Dayton Enigma's Matt Watersnake Muhlenkamp, and Cincinnati Steamboat's Joe Mozloom. However, the roster was also without several key pieces from 2013, such as offensive weapon Ryan Gorman, and versatile players like Ben Sage and Ryan Sitler. The remaining roster spots were filled by players who competed for a place on the team in a combination of open and closed tryouts and practices beginning on November 9. After a series of scrimmages against the Indianapolis AlleyCats, the Revolution opened their 2014 campaign at home against last year's Midwest Champion Madison Radicals. Despite a strong first quarter, which ended with the Revolution in a commanding 5-3 lead, Cincinnati faltered in the second and third periods, and the game ended with a 25-16 loss to open the season. The Revolution collected their first win of the 2014 season the next week, however, beating the heavily favored Chicago Wildfire in Cincinnati by a score of 23-22. In what was arguably the biggest upset in franchise history, Revolution relied on Nate Botti throughout the game, as he collected 8 assists and 5 goals, staving off an impressive offensive performance by the Wildfire's A.J. Nelson, who caught 11 goals in the game. Botti would go on to have a breakout year for the Revolution, leading the team with 47 assists, while placing second on the team with 19 goals, one behind team leader Matt Muhlenkamp. The Revolution sat at an impressive 3-2 after the 5th week of the season, but proceeded to lose their next 8 games, falling out of playoff contention after losing a tight game to the AlleyCats in Indianapolis, 23-22. A final victory over the Detroit Mechanix ended the Revolution's 2014 season at 4-10, good for 5th place in the AUDL's Midwestern Conference. Despite the poor final season record, the Revolution saw improvement from young players, such as Alan Huels, who developed into one of the league's best pullers and deep defenders, and Nick"High school"Bissonnette, who graduated from high school in May 2014, but ended up playing 88 points for the Revolution over the course of the season. The Revolution was also the first team in professional ultimate disc to use a GoPro camera to record video from a radio-controlled helicopter during games.
Knowledge Related to Narcissus
Narcissus is a 1983 Canadian short musical and experimental film directed by Norman McLaren and produced by David Verrall, visualizing the legend of Narcissus in a modern way. It was produced for the National Film Board of Canada · Other Related Knowledge of Video Camera Conservation initiatives of professional video camera Conservation for the sake of conserving not only wildlife habitats, but also forest community dominated landscapes near such ecological habitats, providing alternative and yet low-impact livelihoods has always been a long-term goal for Nirmal and has been achieved in many areas. While working with communities his team has supported young sparks and trained them to become entrepreneurs, skilled employment and eco-warriors in field. He has inspired volunteers, students and professionals to join in various capacities for field conservation by sacrificing time and toiling hard to collate data, conduct outreach programs and influence policy. His work has inspired and motivated many to choose conservation as full-time careers, while others have supported with resources and guidance. As part of his scientific pursuit - He has headed and contributed to several research projects: National Biodiversity Strategy and Action Plan studying man-reptile relationship in Sattari Taluka Sahyadri Ecologically Sensitive Area documenting and compiling reptile species Indian Herpetological Society creating a detailed database of snakes in Goa, Karnataka and Maharashtra for an e-guide Goa Forest Department participation in three wildlife census Habitat monitoring and impact on the Olive Ridley Sea Turtles at Morjim beach, which ultimately led to the conservation of their nesting areas Mhadei Bachao Abhiyan independent study on the impact the Mahdei river diversion will have on the Herpetofauna Compilation of basic biodiversity checklists of sacred groves in Sattari Taluka Archeological Society of India documentation of heritage iconography in SattariHe has significant discoveries to his credit - Goan caecilian (Gegeneophis goaensis) Sattari District, Keri Village, Goa Mahdei caecilian (Gegeneophis mhadeiensis) Chorla Village, Khanapur Taluka, Karnataka Chorla Giant striped Ichthyophis (Ichthyophis davidi) from Chorla and Castle Rock in Karnataka Range extension of sub-species of the Pit Viper (Protobothrops jerdonii xanthomelas) the Jerdon's Red Spotted Pit Viper Eaglenest Wildlife Sanctuary, Arunachal PradeshIn addition, he has worked as a volunteer with the Wildlife Conservation Society for estimating prey for tigers in the Nagarhole Wildlife Sanctuary in Karnataka, and as a group team leader on a Conservation Programme at the Eaglenest Wildlife Sanctuary, Arunachal Pradesh. He is also involved in data collection and consultancy services on eco-tourism and wildlife research projects in six states, including Goa, Arunachal Pradesh and Uttaranchal. His experience in setting up and running Wildernest Nature Resort, an eco-tel in the heart of Chorla Ghats, holds him in good stead. Nirmal's growing role as an activist can be seen in the successful Save the Frogs campaign against the local consumption of Indian Bullfrogs, which he led along with co-campaigner Clinton Vaz and the Goa Forest Department. The campaign included awareness-cum-law enforcement activities. He was also part of a team that worked on conserving the Bhimgad Forests in Karnataka. Their efforts ultimately led to the creation of the Bhimgad Wildlife Sanctuary. The efforts by his team under Nirmal's leadership also have helped declare the Mahdei Wildlife Sanctuary as a Proposed Tiger Reserve and bring attention to the Mahdei Dam Project that is slated to irreversibly damage prime Western Ghats habitat. He is associated with and connected to multiple state and national-level organizations which focus on ecological and wildlife conservation. Most notably, he is affiliated to: Goa State Wildlife Advisory Board Madras Crocodile Bank Trust and Centre for Herpetology Goa Heritage Action Group Indian Bird Conservation Network and Goa State Bird Conservation Network Western Ghats Core Group Goa State Bombay Natural History Society Mahdei Bachao Abhiyan Sahyadri Ecologically Sensitive Area (SESA) Committee Katraj Snake Park and Uttara's Ark, a Wildlife rehabilitation center cum snake park at Katraj, Pune TigerLink network, a national network formed to conserve the tiger and its habitat Conservation and Livelihoods network, a network formed to protect community rights as well as natural habitats in the country Indian Herpetological Society, a body working in the field of reptile conservation in the country Vivekanand Environment Awareness Brigade, an NGO involved in spreading conservation awareness in the stateHe was assisted, and mentored by stalwarts in the field of biodiversity research and documentation, most notably Dr. Claude Alvares, Dr. Manoj Borkar, Dr. G K Bhatt and Dr. M. K. Janarthanan. Nirmal and his team work with communities, both urban and rural, with youth and children, with professionals and tourists and in all these target groups the approaches are different and depend on issues as well as needs. The confidence building measures include providing sustainable livelihoods to over 200 families directly or indirectly, reviving age old green traditions, documenting intellectual property issues and providing platforms for communities as well as individuals to rise. The Children's Outreach Programme is the backbone of their initiatives and touches 30 schools across 3 states, which has been acknowledged on a national level by wildlife conservation groups as well as by the media. Nirmal Kulkarni was invited to the Philippines in August 2013 on a series of lectures and talks. He was invited to speak on Engaging youth for conservation through field research training in India by the University of Cebu and the KAS Environmental Law Talks committee. He was also a speaker at "Nurturing Biodiversity Protection among Children" that was organized by the Philippines Earth Justice Center and Dept of Education, City of Cebu Province. Nirmal also engaged with Forest stewards of the Tabunan forests and with Councilor archival at the Eco House on issues ranging from conservation and recycling to wildlife documentation. He was also a speaker at the Forum on Eco Tourism that was organized by Cebu City government and Grassroots Travel. Nirmal was also interviewed on a local television channel by the Cebu lady lawyer's association and his work was covered in local newspapers. While capacity building in rural areas is the focus, in urban areas the community is urged to look around their own surroundings through a network of social and visual media campaigns, through a volunteer network and of course through personal interactions. While parallels are drawn, it is essential to note that humans and wildlife do have specific needs and to balance these, we address them by working with planners and policy makers. This aims at helping communities as well as forests in the long run. His efforts in the Goa State have been covered by CNN-IBN, BBC Open Country, NDTV, Zee News, Sahara News, ETV Marathi, Star News and other local media. Also, his personal databank of professional images of Goa's hinterland and diversity is used by various NGOs, individuals, and institutions in the state as well as nationally for education and creating awareness. ------ Storylines of professional video camera Hannah arrives with her parents for Todd Landers' (Kristian Schmid) funeral but the family are lost along some country roads. When Hannah remarks that she sees Helen Daniels, her parents ignore her but on the way back, they find Helen who was held hostage by Todd's father Bob and abandoned on the roadside. The Martins are going through financial difficulties and Hannah struggles to make friends at school and begins hating the area. However, she befriends Toby Mangel (Ben Guerens). While selling Lollipops for charity with Toby after school one day, Hannah is grabbed by Raymond Chambers (Greg Parker) who attempts to abduct her but Toby foils him. Further drama comes when Hannah discovers Chambers is Julie's old boss. Julie and Philip initially disbelieve her but they report the matter to the police. Further drama ensues when neighbour Cameron Hudson (Benjamin Grant Mitchell) represents Chambers and he is cleared. However, Chambers later confesses after trying to abduct another young girl and the matter is resolved. Michael, Hannah's half-brother returns home for the school holidays and there is a deep animosity between the two as Michael resents Julie for marrying Philip so soon after his mother Loretta's death. Michael then spikes Hannah's orange juice with Jim Robinson's vodka and is soon packed off to boarding school. On Michael's next visit, Hannah is so scared after he attempts to kill Julie, she calls the police and Michael is arrested and imprisoned for six months. Hannah finds her life in danger when she and Beth Brennan are trapped in a burning cottage behind Lassiter's and are rescued by Brad Willis. When Michael is released from paroled, everyone is willing to make an effort, however Hannah resents his presence and tells him she does not want him in the house. Michael decides to leave but Hannah apologises and agrees to give him a chance they put the past behind them. Hannah experiences tragedy when Julie dies after falling from a tower while away on a murder mystery weekend with Philip and Debbie. She blames herself for Julie's death as well as Jim's, as he had been playing with her before he died. The Kennedy family move in next door and Hannah befriends the youngest son, Billy and develops a crush on him. Billy becomes uncomfortable with Hannah's attraction to him and in order to take a hint, he begins seeing Nicole Cahill (Andrea McEwan) which Hannah witnesses, leaving her hurt. Philip begins dating again, seeing Molly Harrison (Robyn Hughan), a woman he met in the newsagency. Hannah goes out of her way to break up Philip and Molly to the extent of spiking her dinner with chilli causing her to have a bad reaction to the mixture. Hannah's behaviour worsens and she begins treating classmate Robert Dong (Nelson Leongue) badly. Philip realises the effect of his relationship with Molly and stops seeing her and Hannah realises how selfish she is being. Hannah responds positively when Philip begins dating Jen Handley but the relationship lasts a short while. Hannah begins seeing Lance Wilkinson (Andrew Bibby) but ends the relationship when he brag about how far he has really gone with her. However, Lance and Hannah find themselves back in each other's lives when Philip begins dating Lance's mother, Ruth who treats Helen after she suffers a stroke. Helen dies the following year, leaving Hannah devastated. Hannah struggles to adjust when Philip and Ruth marry, and Lance and his sister Anne move in. She feels Ruth is trying to replace Julie and is constantly hostile towards her despite reassuring she isn't. Hannah decides she wants to spend time in France with her friend Claire Girard (Adele Schober) for six months. Philip is against it at first but agrees. At the airport, Paul McClain (Jansen Spencer) declares his feelings for her and they share a kiss. On her return, Hannah has visibly changed, sporting short hair and bringing a new attitude home with her. It takes several weeks for her to readjust to life in Erinsborough and she and Paul resume their relationship. However, when Paul obsesses over BMX riding, Hannah breaks up with him takes an interest in John "Teabag" Teasdale (Nathan Phillips), much to Philip's chagrin. Hannah is shocked when Philip and Ruth decide that they plan to move to Darwin and refuses to go, and is determined to stay when she realises Lance and Anne are staying put. Teabag offers to let Hannah stay with him but after she sees his place, she declines. On the night before the Martins' departure, Hannah is distressed when Helen's ring goes missing. Ruth finds it and Hannah is overjoyed. She and Paul spend the night in her cubby house in the backyard and discuss old times. The following morning before the Martins leave for Darwin, Hannah and Paul share one final kiss and agree to keep in touch. In 2005, Hannah makes a brief cameo in Annalise Hartman's (Kimberley Davies) documentary where she is revealed to be living in London and discusses her experiences of living in Ramsay Street.
Dear Canon, THIS Is What a Filmmaker Looks Like
A couple of days ago I made a startling discovery: the camera brand Canon had co-opted the slogan I use all the time for my projects This is what a filmmaker looks like and used it as a cover image for a corporate video about female cinematographers.I would not have said anything about this, except: when I watched the video I found it to be filled with toxic stereotypes about women in film. As a female director and cinematographer, and an advocate for representation, this didnt sit well with me. The video featured only TWO white female cinematographers speaking for all women in film. The editor of the video selected sound bites that were quite negative, making cinematography appear incredibly hostile to women. I tried to put myself in the shoes of a young woman watching the video; instead of being motivated to pursue a career in filmmaking, I would have been turned off and discouraged. Theres something else that compounded my feeling of discomfort and motivated me to speak up. I realized this is the first time that I have ever watched an official video by Canon that shows women using Canons professional camera equipment. Typically Canon only features men in videos for high-end camera gear. I had been waiting for 10 years to see someone that looked like me in one of their videos for equipment destined for professional photography or cinematography. And this video felt like a major letdown.If youre curious about the video, you can watch it on YouTube. A long relationship with CanonI have no ill will against Canon. I have used their cameras for over a decade: I made a feature-length documentary The Illusionists using their 5D Mark II. Ive filmed many other documentary projects using the Mark II , and more recently, a Canon 5D Mark IV. On my wedding day last August, I cracked up guests as I used my beloved Mark IV throughout the day, taking plenty of photos; I was the photographer bride.Youll rarely see me without a camera in my hands. Im also brand agnostic: I routinely use Canon, Fujifilm and Nikon cameras and lenses depending on what Im working on. An opportunity to start a conversationI abhor cancel culture and social media pile-ons. This is not an attempt to diss Canon; I love Canon cameras and lenses. Maybe the discovery of this video, and this post, could be the opportunity to start a conversation about how camera manufacturers could truly help female creatives and give a boost to their careers, helping to narrow the gender gap in film. Brands like Canon but also Nikon, Sony, Panasonic, and Fujifilm certainly have the resources, popular platforms and connections to nurture the careers of female photographers and cinematographers. To improve their representation. And change the culture along the way. Canons video about women in film is not how to do it.Before we start, I think its also important to bring you up to date to the work Ive been doing under the slogan This is what a filmmaker looks like. You need some context, so lets rewind to September 2017.The origins of my project This is What a Film Director Looks LikeFrustrated by the invisibility of female directors and cinematographers in our popular culture, I had an idea. Maybe I could harness the power of the internet and the popularity of GIFs to increase the visibility of women in film. In September 2017, I started creating GIFs that said: this is what a film director looks like and this is what a cinematographer looks like with photos of female filmmakers and their names in big bold letters. I uploaded them to GIPHY the internets leading database of animated GIFs and shared them on my Twitter account. No more excuse for people who cant name a single female director or cinematographer. The project soon caught the attention of people working at GIPHY; they enjoyed it so much, that they gave me an official GIPHY channel. This means that any GIF I make gets automatically fed into search engines, as well as the GIF directories in Slack and Twitter.In three years, I have made over 200 GIFs of women in film; theyve gotten over 30 million views. If you search for GIFs of filmmakers on GIPHY or Twitter or Slack you will see as the top results my images. I almost created a gender imbalance, as searches for cinematographer mostly yield my GIFs of female cinematographersIn addition to making GIFs, I decided to expand my mission to the real world and design and sell t-shirts with slogans like: this is what a film director looks like and this is what a cinematographer looks like. I love the idea that female filmmakers can proudly wear this message. Seeing photos of filmmakers I admire wearing these t-shirts brings me so much joy.I have strived, since the very beginning of the project, to make it diverse and inclusive. I want everyone to feel represented and to feel like: If she can do it, so can I. Fast-forward to the present day and the Canon video with the cover image This is what a filmmaker looks like.Canon Europes video on women in filmI watched the video, heart beating fast, as this is a topic Im obviously very passionate about.I wanted to love the video, feel inspired and energized by it, galvanized to keep on fighting for the representation of women in film. I thought how wonderful to have Canon as an ally in this.Instead, the video left me with a bitter taste and some questions.My 3 Questions for Canon1) Who produced this video and decided to feature only two white female cinematographers?I have nothing but respect for the two cinematographers featured in this video. I will not name them here because my critique is aimed at who produced and who edited the video. These women are phenomenal cinematographers and I have the utmost admiration for them.I am simply puzzled by the decision to only pick TWO white female cinematographers for a video that purports to start a debate about all women in film. Why?There are so many talented female cinematographers out there, of all ages, races, ethinic backgrounds and nationalities. Canon, if you want some inspiration about who to feature next time, check out my GIPHY channel.2) Who edited this video?The first thirty seconds of any video are the most important ones: thats when a viewer decides whether to stick around and learn more or give up watching. Im infinitely puzzled by the decision to use this dialogue for the first 30 seconds of a video that is supposed to highlight the work of female cinematographers:Cinematography is traditionally a very male profession. Its a technical job, its a physical job, it involves a lot of endurance, a lot of heavy lifting these are things that certainly in Western society, weve not thought that women are good at.Those are sound bites taken directly from the interviews with the two female cinematographers featured in the video. I do not mean to criticize the cinematographers at all. I just find it irresponsible, on the part of the EDITOR, to use those sound bites at the beginning. They set a negative tone that is hard to shake off. Repeating toxic stereotypes only reinforces them. Especially when this dialogue is accompanied by dramatic music.Heres how I would have edited the video instead. Act I:You could have started the video showing these inspiring cinematographers at work. You could have briefly mentioned their background and accomplishments (we never hear about them in the video so we dont know why we should care about them). Get us hooked on their stories, so we want to learn more about them. Act II:You could have mentioned the struggles these DPs have had to overcome in their careers, mentioning stats about how the field of cinematography has been male dominated for decades. Nevertheless they persistedAct III: and went on to work on incredible films that won them awards. Then you could have used hopeful sound bites saying that the industry is changing. And you could have told us how YOU, Canon, plan to support female cinematographers going forward ending with the image of a mosaic of female cinematographers at work in various countries around the world. A diverse, inclusive mix.More inspiring, isnt it?Ultimately the tone of the original video is also quite forceful and purports to tell a universal truth about women in film. It only discusses difficulties: gender bias, economic barriers, obstacles at every step. The video fails to mention how glorious it is to work as a cinematographer. Which brings me to the next point:3) Why dont you ever feature prominent female cinematographers and photographers in your videos for professional equipment?With this video, you are sending the message that maybe you care about the gender imbalance in the creative industry. But sorry Canon, I think youre part of the problem. Youve consistently featured male cinematographers and photographers in virtually ALL your video campaigns for professional camera equipment.I know something about this, as Ive been watching all your video commercials for professional cameras since 2010. Youve always chosen men in their 30s or 40s to star in product announcement videos:Ditto for testimonials from film and photography professionals about your high end cameras:The only time I see women or people of color in official Canon videos is for the promotion of consumer products, like entry level cameras and gadgets. But theres more. Every time you release a new professional camera body, you hire a cinematographer to film a video, showcasing that cameras capabilities. I watched all your recent videos for the C100, C200 and C300 cameras and you invariably feature male cinematographers and all male camera crews.Here is a mosaic of screenshots I took from your numerous behind the scenes videos:Dear Canon, its a mans mans world in your videos for professional camera equipment. If I was a young woman stumbling upon your YouTube channel, looking for inspiration, I would not see anyone that looked like me.So, imagine my shock, when I finally see a video on your channel showing female cinematographers using the slogan This is what a filmmaker looks like but the whole video is negative and repeats toxic stereotypes about women in film from start to finish.Why is it that you only show men having fun and doing cool projects with professional camera equipment? Maybe you are also part of the problem?Dear Canon, YOU could be the changeYou are one of the leading brands of camera equipment. Maybe next time you film a campaign for one of your top products, you could hire a female director of photography to shoot a film that accompanies the product release? It would be a first for you. Ive been waiting for this moment for a decade.If you cant think of any female directors of photography for the job, well, FREE THE WORK is a curated talent discovery platform of underrepresented creators (hey, Im a member, if youre looking for someone in France or Italy). And if you need to showcase talented female photographers at work in one of the videos for your new cameras, Daniella Zalcman has created a global database of brilliant female photographers: Women Photograph.Dear Canon, THIS is what a filmmaker looks like:Now can you please start featuring us in your videos for professional camera equipment?Hire us, pay us handsomely, give us visibility, and by doing so, change the culture. And make young aspiring filmmakers dream. The ball is in your court. sincerely,Elena RossiniElena Rossini is an Italian filmmaker, photographer and an advocate for representation. Notable projects include the feature-length documentary The Illusionists about the globalization of beauty and the dark side of advertising (which Rossini shot with a Canon 5D Mark II). Rossini has been populating the internet with GIFs of women in film; her most recent project is 100 Days of Women in Film a blog with profiles and Q&As of unsung heroines in cinema and TV. Links:elenarossini. comThis is what a film director looks like on GIPHY100 Days of Women in FilmJoin my mailing list to keep in touch
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