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.

Knowledge Related to Narcissus 1

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.

Knowledge Related to Narcissus 2

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.

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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.

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Introduction to Video Camera
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
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.
Dear Canon, THIS Is What a Filmmaker Looks Like
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
Home Video Camera  Opportunities and Risks
Home Video Camera Opportunities and Risks
In the previous story we talked about video and the prevalence of new solutions at the recent ISCWest trade show. The ubiquity of video was striking, and clearly this is supporting a number of business strategies in the residential security industry some of which are natural, some creative and some quite frankly, alarming!So while the ease of installing video cameras has increased in recent years, many consumers still turn to their existing security providers who are evidently happy to capitalize on the allure of video and the business potential that it offers. We already made note of available anywhere online video storage appealing to a sizeable segment of households, creating a lucrative way for security companies to monetize a cloud delivered service and increase monthly revenues. Another approach some of the companies we met are taking is upselling new devices to their existing subscribers. The standard practice in this case seems to involve proprietary (often branded) cameras that are tied to 2 year (or longer term) contracts on newer smart incarnations of a legacy monitoring service.Another, and more creative way video is becoming economically useful (particularly to operators) is by leveraging it not to increase revenues or extend a contract term but to reduce cost, specifically that of false alarms. False alarmsFor those that dont know, false alarms in residential security are largely due to human error. Such events not only increase service costs due to the greater demand for call center personnel, but also due to wrongful dispatch of emergency response and law enforcement.In one particularly revealing conversation with an executive from a leading security monitoring service we delved into the challenging topic of false alarm reduction and techniques both being used and considered by service providers. The individual we spoke to was very knowledgeable on the topic, having decades of experience serving dozens of alarm companies throughout North America. Monitoring centers possess some tricks to reduce false alarms in manners that are hidden from the consumer (more on that in a future post) but monitoring companies are clearly looking for new solutions that manage to both increase accuracy of alarm events and provide tangible value to the consumer.We were presented with the idea of offering consumers the ability for a security call center agent to go beyond two-way voice that is already embedded in some alarm systems, and actually remotely view the video feed in the subscribers home. The case was made that with this capability, the alarm monitoring company will be able to verify a burglary in real time and thus dispatch law enforcement more effectively.Wait a minute!While making logical sense from a security perspective, virtual alarm bells (excused the pun) started ringing in our minds with respect to privacy risks and the potential of abuse. As we left the exhibit floor and walked back to our hotel we were struggling with the idea, and its implications. These types of things have the potential to really turn ugly if a rogue employee working for an alarm monitoring company or a cybercriminal were to access video footage or even control the cameras, even if they had a shutter or other mechanism (some cameras like this interesting one from Ezviz points at the ceiling when privacy is on). Does the typical customer really stop to consider those risks and understand the implications of a video camera inside their home?ConclusionVideo has long been a part of commercial and industrial security, but we are now seeing a real growth in residential video being tied in to residential security, whether it is self-installed or part of a professionally monitored system.These are still early days in terms of the widespread adoption of home security cameras but the industry as a whole needs to seriously consider the combined interests of all parties increased security, lower costs and higher accuracy without risking the privacy and safety of consumers. While companies can develop functional limitations, policies and procedures to safeguard proper use of video content (including evidence) and privacy, the human factor has repeatedly shown to be the weakest link.We should ask ourselves at what point home security, particularly video-enhanced security, despite the numerous benefits comes at too high of a cost. Perhaps we can all take a moment to think about the possibility of somebodys watching me.
Waterproof Video Camera Hd
Waterproof Video Camera Hd
Are you still looking for a better way to fish? Many people who like to fish, are searching for those better ways to be more effective with their fishing game and catch more fish and higher quality catches. You can improve your fishing with the help of waterproof HD fishing cameras that can give you a better look as to whats happening in the water.You can then easily scout fish, see how the fish are reacting to your fishing hooks, lures, and baits and see their presentation without any major problems. You can fish effectively, whether you are fishing in freshwater or in salt water.How Underwater Camera can be Helpful for you:Many anglers tend to wait for long hours so that they can catch fish. However, not getting the proper visibility of what is happening under the water, they start leaving it up to guess work and gut intuition, and if they dont catch anything theyre left frustrated and clueless. With the help of an underwater HD camera, they are now able to get a better view and angle in the water, letting them know if there are fish or if there arent; and if so, what type and howre theyre reacting to the bait or lures, and with that insight, catch fish in a more effective way.You get the following advantages from the underwater camera:Better Visibility in Dark Areas:Now, you can see clearly even in the darker areas where you might find a variety of fish species in the different structures that you havent seen before. With night vision, you can now easily see what is happening in deep dark water or at night. Get A Better Waterproof Visual Underwater:This will be one of the great and amazing things about using underwater cameras. They provide the best visual underwater with amazing waterproof protection. There are many cameras which require changing their lenses or housing because of the water, but in using an underwater camera, youll be able to have one that was optimized for underwater use. Better Insight For Your Fishing Game:If you face the problem of not knowing how to set your hook, or if the fish are even interested in what youre using; the underwater HD fishing cameras can give you a better insight for catching fish in a perfect way like never before.Strong Enough to Catch Heavy Fishes:With a proper wireless fishing camera, that is built and optimized for fishing you dont have to worry about the camera interfering with your line, lure or bait, and you definitely dont have to worry about it not being able to withhold against the power of a big catch.Some underwater fishing cameras can even hold 1000 lbs of tension. So what are you waiting for? Hook up with the best opportunity to make your fishing experience better and your game more effective with an underwater fishing camera. Get ready for all the advantages that bring the best moments of your fishing experience together with your friends, family, and community RELATED QUESTION Is Kodak still around? The company dropped the consumer side of its business as part of salvaging itself from bankruptcy. It licensed its brand name to J.K. Imaging, which sells superzooms, compacts and waterproof video cameras under the Kodak name, so you'll still find newly manufactured cameras identified as Kodaks. For actual Kodak-made cameras still in the retail stream, Kodak promised to honor all warranties (good for one year after the purchase date). The company says it now concentrates on commercial printing, packaging, funcitonal printing and professional services
How an HD Video Camera Differs From Other Cameras
How an HD Video Camera Differs From Other Cameras
If youre old enough to remember watching TV on an old standard definition (SD) television set, youll understand what a leap forward it was when high definition (HD) television was first introduced. Most Americans made the switch in the early years of the 21st century. And few of us have ever cared to look back. Theres simply no comparison between SD and HD. SD was grainy, fuzzy, and indistinct. HD is sharp, vibrant, richly detailed, and amazingly lifelike.HD is the New StandardFor consumers, the transition to HD was about investing in a new HD-capable television. But it all began with HD video cameras. At first not all content was filmed, or broadcast, in HD. But that too has changed. Of course, HD is now the true standard, so its easy to forget the difference between old standard definition television and modern high definition television. We needed new television sets to view the new HD content that was increasingly being produced and broadcast. And that brings us to HD video cameras. HD CamerasYour HD television would be useless without HD cameras to produce high definition content in the first place. These modern cameras offer unprecedented clarity, detail, and vivid definition. Colors are bright and life-like, and details are so distinct, you can now see an actors every wrinkle, blemish, or stray hair. While television screens have certainly grown in size over the years, HD is not about making things bigger than life. Its about making them true-to-life. In real life, people sometimes have a tiny piece of lint on their clothing. The difference between SD and HD is that now, you can even see the lint. Video Surveillance RevolutionWhile that may make things more challenging for actors and directors, it makes modern surveillance technology far more effective. Countless crimes have been solved using video surveillance footage. But many went unsolved in the past, despite primitive surveillance. These old systems simply didnt provide enough resolution enough fine detail to identify a given perpetrator.Thats no longer the case. HD cameras provide remarkable clarity and detail, even at a distance. Many also now feature screen formats that more closely resemble the widescreen format that many of us have grown accustomed to viewing on our HD television sets. Technically, HD provides better resolution because it supplies more information in a given frame of video. Digital images are created by pixels the tiny dots of light that combine to form an identifiable image on your screen. HD cameras deliver more pixels per square inch, and that means greater detail. Keeping Pace with Frame RateFrame rate per second also matters. Old video surveillance cameras saved space by filming at reduced frame rates. The brain perceives a series of progressive static images as seamless motion when those images are viewed at a rate of at least 24 frames per second. Think of old movie film. It features a series of photographs taken in fast sequence. When viewed in sequence, at a frame rate of 24 or higher, we perceive these images not as photographs, but as a motion picture. Most modern HD cameras are capable of supplying that frame rate, or higher, for natural looking video imagery. The post How an HD Video Camera Differs From Other Cameras appeared first on Q-See.via WordPress
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