Wildscreen Festival 2016 Delegate List at 20 October 2016 FINAL
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Bbc Earth Celebrates 50 Years of Earth Day with a Special Week of Programming
MEDIA ALERT 2nd April 2020 BBC EARTH CELEBRATES 50 YEARS OF EARTH DAY WITH A SPECIAL WEEK OF PROGRAMMING View Earth Week trailer BBC Earth is celebrating 50 years of Earth Day with Earth Week, a special line-up of programming which looks at the beauty of our planet both up close and from far away and explores our vital role in ensuring its future. Screening each evening at 8.30pm from Monday, April 20, the week kicks off with the premiere of Blue Planet Revisited, exploring the challenges facing the marine eco-system and wildlife in the Great Barrier Reef and the Bahamas. The cameras then move from under the ocean to hundreds of kilometres up in the sky in Earth From Space, capturing natural spectacles on an epic scale and showing viewers the planet’s extraordinary beauty and diversity in astonishing detail. The week will finish with a special Sunday screening of every episode of David Attenborough’s iconic Planet Earth II. Presented by Liz Bonnin, Chris Packham and Steve Backshall, Blue Planet Revisited returns to two key locations featured in Blue Planet II to see how things have changed, talk to the scientists who know our oceans best and give us a snapshot of the health of the ocean. With the breeding season underway, the series focuses on the action following whales and their calves and turtles and their hatchlings together with spectacular footage of shark dives in the Bahamas and the underwater dawn chorus of the Great Barrier Reef, home to 600 different kinds of coral and more than 1500 species of fish. -
Diving Deep in the Ocean
Deep in the Ocean LEVELED BOOK • O A Reading A–Z Level O Leveled Book Word Count: 643 Deep in the Connections Ocean Writing Would you want to be an oceanographer when you grow up? Why or why not? Write a paragraph using details from the text to support your answer. Science Choose and research an animal that lives in the deep ocean. Create a poster. Include a picture and at least five interesting facts about the animal and its habitat. • R L • O Written by Natalie Rompella Visit www.readinga-z.com www.readinga-z.com for thousands of books and materials. Words to Know Deep in the adaptable species marine submersible Ocean sensors sulfur Photo Credits: Front cover: © Norbert Wu/Minden Pictures; title page, page 3: © Norbert Wu/ Minden Pictures/National Geographic Stock; page 4: Image courtesy of the Monteray Bay Aquarium Research Institute © 2005 MBARI; page 5 (main): © David Nunuk/All Canada Photos/Getty Images; page 5 (inset): © John Lund/Sam Diephuis/Blend Images/Corbis; page 7 (top): © iStock/LP7; page 7 (center top): © Caan2gobelow/Dreamstime.com; page 7 (center bottom): U.S. Navy photo by Chief Petty Officer Dave Fliesen; page 7 (bottom): © Jeff Rotman/Photolibrary/ Getty Images; page 8 (main): © Stephen Frink/Corbis Documentary/Getty Images; page 8 (inset): © Paul A. Souders/Corbis Documentary/Getty Images; page 9 (main): © Photoshot Holdings Ltd/Alamy; page 9 (inset): © Science Source; page 10: © Chris Newbert/Minden Pictures; page 11: © Fred Bavendam/Minden Pictures; page 12: © Emory Kristof/National Geographic Stock; page 13: © Doug Allan/Nature Picture Library/Getty Images; page 14: © David Shale/NaturePL/Minden Pictures; page 15: © Innerhand/Dreamstime.com Front cover: The deep ocean fangfish has a bony, hard body. -
Location Listing by Category
Phoenix Film Office - PRODUCTION LISTINGS Camera Operators Name/Company Phone-1Phone-2 Email/WebSite Service Description Elliott, Brendan 480-215-6471 [email protected] Worked on commercials, indie films, and international marketing videos as camera operator, director of photography, grip, and editor. Shoot on Panasonic HPX-500, worked on multiple grip trucks and edit with Final Cut Pro, also using Apple Motion to create motion graphics. Cook, Cary 602-494-2446 602-381-1017 [email protected] Director of photography/camera operator. National/international commercials & features. Crew West Inc./Sat West 888-444-2739 480-367-6888 [email protected] Network quality video production company with experienced ENG & EFP m camera crews specializing in TV news, sports, & corporate video. KU/HD/C- Band satellite trucks & interview studio available for uplink needs. Cheryl Goodyear www.crewwestinc.com Michael Barcless Kucharo, Michael J. 602-253-4888 602-284-8332 [email protected] Director/producer/cameraman. Renfrow, Lawrence 480-985-6900 602-618-2118 Camera operator, gaffer & key grip. Over 20 years experience in feature, TV, commercial and industrial productions. 4th Wall Productions, LLC 602-568-8652 anthony@4thwalltvandfilm. APA member. Feature film, television, video and digital photography. Digital com cinematography, DVD broadcast video production. Anthony Miles www.4thwalltvandfilm.com Arizona Freelance Productions, LLC 480-368-5773 602-919-0836 [email protected] APA member. Camera operator/Director of Photography, Location Sound Mixer. Field production for syndicated TV shows, network news and documentary television programs. Stevan Pope azfreelance.com Barcellos, Matt 602-770-4850 623-939-8737 [email protected] Award winning director/videographer with 20 years of experience in all areas of broadcast, cable and corporate video production. -
How You See the World Matters
FLY TO EUROPE FOR LESS! SEE INSIDE HOW YOU SEE THE WORLD MATTERS ENRICHING EXPERIENCES FROM TAUCK & AAA TRAVEL AAA TRAVEL ADDS REAL VALUE TO YOUR TAUCK JOURNEY Book a European adventure with Tauck through AAA Travel and pay just one low price for air. AAA Travel and Tauck have partnered to make getting to your destination easier and less expensive — with exclusive AAA Member savings! Whenever you include airfare with any of your Tauck journeys booked through AAA Travel, you’ll save up to $300 off per person extra on the purchase of Tauck Air on all itineraries. TAKE OFF WITH TAUCK AIR UPFRONT PRICING EXCLUSIVE AAA MEMBER BENEFITS n One flat price for Economy Class Air: n Available on the most direct routes n $75 off the purchase of Tauck air on all $890 per person, roundtrip from select U.S. gateways domestic (US & Canada) itineraries/all dates n One flat price for Premium Class Air: n All taxes & fuel surcharges n $150 off the purchase of Tauck coach class 800-289-0469 $1,490 per person, roundtrip n Valid on most European trips air on all international itineraries/all dates AAA.com/Tauck n One flat price for Business Class Air: departing Mar 1 through Aug 31, 2018 n $300 off the purchase of Tauck business class Visit your AAA Travel branch $3,490 per person, roundtrip n Book from Jan 9 to Feb 28, 2018 air on all international itineraries/all dates THE TAUCK DIFFERENCE For over 90 years, Tauck has been singularly focused on delivering meticulously- PREMIUM ACCOMMODATIONS MEALS From 5-star hotels to premier inside-the- Breakfast: all included. -
3. Master the Camera
mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included. -
Dr. Katie Bird Curriculum Vitae, Sept 2019
Dr. Katie Bird Curriculum Vitae, Sept 2019 Department of Communication University of Texas – El Paso 301 Cotton Memorial El Paso, TX 79968 kebird[at]utep.edu EDUCATION Ph.D. Film and Media Studies, Department of English. University of Pittsburgh. August, 2018 Dissertation: “‘Quiet on Set!: Craft Discourse and Below-the-Line Labor in Hollywood, 1919- 1985” Committee: Mark Lynn Anderson (chair), Adam Lowenstein, Neepa Majumdar, Randall Halle, Daniel Morgan (University of Chicago), Dana Polan (New York University) Fields: Filmmaking, Media Industries, Technology, American Film Industry History, Studio System, Below-the-Line Production Culture, Cultural Studies, Exhibition/Institutional History, Labor History, Film Theory M.A. Literary and Cultural Studies, Department of English, Carnegie Mellon University, 2010 Thesis length project: “Postwar Movie Advertising in Exhibitor Niche Markets: Pittsburgh’s Art House Theaters, 1948-1968” B.A. Film Production, School of Film and Television, Loyola Marymount University, 2007 B.A. Creative Writing, English Department, Loyola Marymount University, 2007 PROFESSIONAL APPOINTMENTS 2019 TT Assistant Professor, Film Studies and Digital Media Production. Department of Communication. University of Texas, El Paso (UTEP) 2018 Visiting Lecturer, Film and Media Studies/Filmmaking. Department of English. University of Pittsburgh 2017 Digital Media Learning Coordinator, Visiting Instructor. Department of English. University of Pittsburgh PUBLICATIONS 2021 Forthcoming. “Sporting Sensations: Béla Balázs and the Bergfilm Camera Operator.” Bird 1 Journal of Cinema and Media Studies/Cinema Journal. Spring 2021. 2020 Forthcoming. “Steadicam Style, 1972-1985” [In]Transition. Spring 2020. 2018 “The Editor’s Face on the Cutting Room Floor: Fredrick Y. Smith’s Precarious Promotion of the American Cinema Editors, 1942-1977.” The Spectator (special issue: “System Beyond the Studios,” guest edited by Luci Marzola) 38, no. -
Review of Spectrum Fees for Fixed Links and Satellite Services
BBC response to Ofcom’s Initial Consultation: Review of spectrum fees for fixed links and satellite services 30 July 2015 BBC response to Ofcom’s Review of spectrum fees for fixed links and satellite services July 2015 2 BBC response to Ofcom’s Review of spectrum fees for fixed links and satellite services July 2015 Overview 1. The BBC welcomes the opportunity to respond to Ofcom’s Initial Consultation: Fees review for fixed link and satellite services published on 21 May 2015. Accordingly, we set out an initial response below along with further detail where most relevant. We look forward to further engagement as Ofcom’s proposals are developed. 2. The BBC is committed to efficient use of spectrum as well as providing value for money for licence fee payers. These responsibilities apply both to programme making and distribution functions which ultimately deliver services enjoyed by 97% of UK adults each week.1 3. The BBC uses fixed and satellite services for programme making and distribution, holding Wireless Telegraphy Act licences as well as contracts with commercial providers of services that use spectrum. 4. Nationally, the BBC’s direct-to-home (DTH) satellite distribution enables the provision of important coverage to populations out of reach of the terrestrial transmitter network. This helps ensure universal coverage so all households, across all parts of the UK, can access BBC services on at least one platform. 5. In addition to uplinks for DTH satellites, fixed and satellite links also comprise a vital part of the BBC’s distribution network providing DTT, DAB and analogue radio signals to transmitters. -
Cetaceans in the Indian Ocean Sanctuary: a Review a WDCS Science Report
Cetaceans in the Indian Ocean Sanctuary: A Review A WDCS Science report Editors: M.N. de Boer, R. Baldwin, C.L.K. Burton, E.L. Eyre, K.C.S. Jenner, M-N.M. Jenner, S.G. Keith, K.A.McCabe, E.C.M. Parsons, V.M. Peddemors, H.C. Rosenbaum, P. Rudolph and M. P. Simmonds WDCSWhale and Dolphin Conservation Society WDCS is the global voice for the protection of whales, dolphins and their environment. CETACEANS IN THE INDIAN OCEAN SANCTUARY: A REVIEW A WDCS SCIENCE REPORT M.N. de Boeri, R. Baldw in:. C.L.K. Burton:. E.L. Eyre: K.C.S. Jenners, M-N.M. Jenners, S.G. Keith:. K.A. McCabes, E.C.M. Parsons7, V.M. Peddemorss, H.C. Rosenbaums P. Rudolphio and M. P. Simmondsi 1. Whale and Dolphin Conservation Society, Brookfield House, 38 St Paul Street, Chippenham, Wiltshire.'SN15 1LU. UK 2. P.O. Box 2531, CPO 111. Sultanate of Oman. 3. Western Whale Research, 25 Knightsbridge Crescent, Mullaloo, Western Australia 6027 4. Biological Sciences Department, Macquarie University, NSW 2109 Australia 5. Centre for Whale Research (Western Australia) Inc. PO Box 1622, Fremantle WA 6959, Australia 6. Institute of Biomedical and Life Sciences, University of Glasgow, Glasgow, G12 8QQ, Scotland. 7. SEAQUEST, Main Street, Tobermory, Isle of Mull, Argyll, PA75 6NU, Scotland/ School of Life Sciences, Napier University, Colinton Road, Edinburgh EH 14 1DJ, Scotland. 8. School of Life & Environmental Sciences, University of Durban-Westville, P. Bag X54001, Durban 4000, South Africa 9. Science Resource Center, The Wildlife Conservation Society, 2300 Southern Blvd, Bronx, NY 10460, USA; American Museum of Natural History, Center for Biodiversity and Conservation and Molecular Systematics Laboratory, 79th Street and Central Park West. -
Usc Sca Ctpr 507 Production I -‐ Fall 2011
USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only). -
MARK CARWARDINE WILD THOUGHTS I Was Saddened Recently to Hear of the Death of an Old Friend of Mine
MARK CARWARDINE WILD THOUGHTS I was saddened recently to hear of the death of an old friend of mine. Richard Henry, who was believed to be more than 80 years old, died of natural causes. A legendary kakapo from New Zealand, he was named after a Victorian conservationist who pioneered efforts to save this Critically Endangered night parrot from extinction. Then I started to think about how many of the last survivors of a range of endangered species I happen to have met over the years. There are loads: from Lonesome George, the last known individual of the Pinta Island giant tortoise in the Galápagos Islands, to Najin, Fatu, Sudan and Suni, four of the world’s last remaining eight northern white rhinoceroses, who I accompanied on their long journey from the Czech Republic to Kenya last year. Of course, scientists working full-time in the field know a great many more individuals by name. Partly, this is a measure of the Mark Carwardine intensity of conservation and research efforts: people get to know and recognise individuals personally because they spend so much time with them – in many cases, more time than they spend with their spouses. I have friends who study humpback The head-mating Sirocco, perhaps whales, and they can the best-known kakapo in the world. recognise and name every individual in “I suppose it’s inevitable populations of hundreds that we get to know the or even thousands. last survivors when there But often this is a measure of how rare are so few left, but it’s many species have shocking nonetheless.” become. -
NARRATIVE Directions in Econarratology
ENVIRONMENT New NARRATIVE Directions in Econarratology edited by ERIN JAMES AND ERIC MOREL ENVIRONMENT AND NARRATIVE THEORY AND INTERPRETATION OF NARRATIVE James Phelan and Katra Byram, Series Editors ENVIRONMENT AND NARRATIVE NEW DIRECTIONS IN ECONARRATOLOGY EDITED BY Erin James AND Eric Morel THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2020 by The Ohio State University. This edition licensed under a Creative Commons Attribution-NonCommercial-NoDerivs License. Library of Congress Cataloging-in-Publication Data Names: James, Erin, editor. | Morel, Eric, editor. Title: Environment and narrative : new directions in econarratology / edited by Erin James and Eric Morel. Other titles: Theory and interpretation of narrative series. Description: Columbus : The Ohio State University Press, [2020] | Series: Theory and interpretation of narrative | Includes bibliographical references and index. | Summary: “Collection of essays connecting ecocriticism and narrative theory to encourage constructive discourse on narrative’s influence of real-world environmental perspectives and the challenges that necessitate revision to current narrative models”—Provided by publisher. Identifiers: LCCN 2019034865 | ISBN 9780814214206 (cloth) | ISBN 0814214207 (cloth) | ISBN 9780814277546 (ebook) | ISBN 0814277543 (ebook) Subjects: LCSH: Ecocriticism. | Environmental literature. | Narration (Rhetoric) Classification: LCC PN98.E36 E55 2020 | DDC 809/.93355—dc23 LC record available at https://lccn.loc.gov/2019034865 Cover design by Andrew Brozyna Text design by Juliet Williams Type set in Adobe Minion Pro for Ben and Freddie, my favorites From Erin for Grandmaman, an avid reader and early recommender of books From Eric CONTENTS Acknowledgments ix INTRODUCTION Notes Toward New Econarratologies ERIN JAMES AND ERIC MOREL 1 I. NARRATOLOGY AND THE NONHUMAN CHAPTER 1 Unnatural Narratology and Weird Realism in Jeff VanderMeer’s Annihilation JON HEGGLUND 27 CHAPTER 2 Object-Oriented Plotting and Nonhuman Realities in DeLillo’s Underworld and Iñárritu’s Babel MARCO CARACCIOLO 45 II. -
Quest 10.3, July 3
T ECHNOLOGY Heated Debates A History of the Development of the Space ShuttleÕs Thermal Protection System: 1970-1981 By BRIAN WOODS tioners may strive to create order, sys- intense heat induced by atmospheric tem and control, through rational deci- drag on re-entry attracted such visible sion-making, technological develop- controversy because its solution was INTRODUCTION ment is a diverse, capricious, contradic- inextricably bound-up with the design tory and messy process. Authors in the of other major elements of the Shuttle. A documentary on the Columbia dis- both the history and sociology of sci- Airframe configuration, structure and aster, recently aired on British ence and technology have shown that materials could not be divorced from Television, concluded that the accident scientific knowledge and technological the selection of materials and structure was the result of Òflawed design.Ó In a artifacts and systems have to be treated of the thermal protection system. similar vein to commentary that fol- as socio-historical products: that the Equally, the weight and distribution of a lowed the Challenger disaster in 1986, definition and creation of an object is thermal protection system could have Nigel Henbest and Heather CouperÕs also the definition and creation of its adverse effects on the design of the documentary located the causes of this socio-technical context. To build and propulsion system.3 Òflawed designÓ and so by implication operate large complex technologies like NASA and its contractors explored the accident itself, in the technical com- the Shuttle, the protagonists have to four principal thermal protection design promises that emerged from the politi- enroll a variety of things, organizations concepts in early 1970: replaceable cal battles between NASA and the and individuals into a range of associa- ablator panels; metallic heat shields; Nixon Administration during the 1969 tions and negotiations that are continu- non-metallic materials; and carbon-car- to 1972 period.