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Full Circle Magazine #33 Contents ^ Full Circle Ubuntu Women P.28
full circle ISSUE #33 - January 2010 CCRREEAATTEE AA MMEEDDIIAA CCEENNTTEERR WWIITTHH UUBBUUNNTTUU,, AANN AACCEERR RREEVVOO && BBOOXXEEEE full circle magazine #33 contents ^ full circle Ubuntu Women p.28 Program In Python - Pt7 p.08 Ubuntu Games p.31 My Story p.19 MOTU Interview p.24 Read how Ubuntu is used in public education, and why one man made the switch to Linux. Ubuntu, Revo & Boxee p.13 Command & Conquer p.05 The Perfect Server - Pt3 p.15 Review - Exaile p.23 Letters p.26 Top 5 - Sync. Clients p.35 The articles contained in this magazine are released under the Creative Commons Attribution-Share Alike 3.0 Unported license. This means you can adapt, copy, distribute and transmit the articles but only under the following conditions: You must attribute the work to the original author in some way (at least a name, email or URL) and to this magazine by name ('full circle magazine') and the URL www.fullcirclemagazine.org (but not attribute the article(s) in any way that suggests that they endorse you or your use of the work). If you alter, transform, or build upon this work, you must distribute the resulting work under the same, similar or a compatible license. full circle magazine #33 contents ^ EDITORIAL This magazine was created using : Welcome to another issue of Full Circle magazine. ast month, Andrew gave us his Top 5 Media Center applications. This month I've written a How-To on using Ubuntu on an Acer Aspire Revo to create the foundation for Boxee. For under £150 I've created a fantastic media center L which not only looks great, it's fully customizable! That's my media center story, but don't forget to read the My Story articles which this month focus on Ubuntu, Linux and open-source in public education, as well as how one man went from using old (modern at the time) computers, to using Ubuntu. -
Home Audio System Getting Started Operating Instructions USB Device
Home Audio System Getting Started Operating Instructions USB Device BLUETOOTH connection Sound Adjustment Other Operations Additional Information GTK-XB60/XB90 GTK-XB60/XB90.4-697-227-22(1) For customers in Europe WARNING Disposal of waste batteries and To reduce the risk of fire, do not cover the electrical and electronic equipment ventilation opening of the appliance with (applicable in the European Union newspapers, tablecloths, curtains, etc. and other European countries with Do not expose the appliance to naked separate collection systems) flame sources (for example, lighted This symbol on the product, candles). the battery or on the To reduce the risk of fire or electric shock, packaging indicates that the do not expose this appliance to dripping product and the battery shall or splashing, and do not place objects not be treated as household filled with liquids, such as vases, on the waste. On certain batteries appliance. this symbol might be used in As the main plug is used to disconnect combination with a chemical symbol. The the unit from the mains, connect the unit chemical symbols for mercury (Hg) or to an easily accessible AC outlet. Should lead (Pb) are added if the battery you notice an abnormality in the unit, contains more than 0.0005% mercury or disconnect the main plug from the AC 0.004% lead. By ensuring these products outlet immediately. and batteries are disposed of correctly, you will help prevent potentially negative Do not install the appliance in a confined consequences for the environment and space, such as a bookcase or built-in human health which could otherwise be cabinet. -
Monolithic Transformation
Compliments of Monolithic Transformation Using DevOps, Agile, and Cloud Platforms to Execute a Digital Transformation Strategy Michael Coté Monolithic Transformation Using DevOps, Agile, and Cloud Platforms to Execute a Digital Transformation Strategy Michael Coté Beijing Boston Farnham Sebastopol Tokyo Monolithic Transformation by Michael Coté Copyright © 2019 Michael Coté. All rights reserved. Printed in the United States of America. Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472. O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions are also available for most titles (http://oreilly.com). For more infor‐ mation, contact our corporate/institutional sales department: 800-998-9938 or cor‐ [email protected]. Editors: Alicia Young and Melissa Duf‐ Proofreader: Nan Barber field Interior Designer: David Futato Production Editor: Nan Barber Cover Designer: Karen Montgomery Copyeditor: Octal Publishing, LLC Illustrator: Rebecca Demarest March 2019: First Edition Revision History for the First Edition 2019-02-15: First Release Figures 1-2 and 1-3 are copyright © 2019 Pivotal Software, Inc. This work is part of a collaboration between O’Reilly and Pivotal. See our statement of editorial independence. The O’Reilly logo is a registered trademark of O’Reilly Media, Inc. Monolithic Trans‐ formation, the cover image, and related trade dress are trademarks of O’Reilly Media, Inc. The views expressed in this work are those of the author, and do not represent the publisher’s views. While the publisher and the author have used good faith efforts to ensure that the information and instructions contained in this work are accurate, the publisher and the author disclaim all responsibility for errors or omissions, includ‐ ing without limitation responsibility for damages resulting from the use of or reli‐ ance on this work. -
Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television
International Specialised Skills Institute Inc Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television Julie Belle Skills Victoria/ISS Institute TAFE Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc. APRIL 2010 © International Specialised Skills Institute ISS Institute Suite 101 685 Burke Road Camberwell Vic AUSTRALIA 3124 Telephone 03 9882 0055 Facsimile 03 9882 9866 Email [email protected] Web www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne. ISS Institute 101/685 Burke Road Camberwell 3124 AUSTRALIA April 2010 Also extract published on www.issinstitute.org.au © Copyright ISS Institute 2010 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary In film and television production, the art department operates, under the leadership of the production designer or art director, to create and manipulate the overall ‘look, feel and mood’ of the production. The appearance of sets and locations transports audiences into the world of the story, and is an essential element in making a production convincing and evocative. -
Ghibli Digital Catalogue En.Pdf
An enduring legacy | 6 Endless possibilities | 8 A distinctive invitation | 20 High-powered Luxury | 26 History of character Discover the Ghibli Experience something truly Maserati Connect and Collection unique in a world of Safety ADAS standardized choices Fuoriserie | 42 Technical specifications | 48 A world of possibilities | 52 Your Maserati tailor-made Specifications overview of all to your unique personality Ghibli versions You’re Not Like Everyone Else 2 3 Bold and Elegant The Maserati Ghibli offers something very different in a world of business- like conformity. As you would expect of a luxury sports sedan, there’s soothing comfort and effortlessly intuitive technology. The attention to detail, style and quality, reveal the very essence of the Maserati. Whatever your choice, whatever your ambition, the Maserati Ghibli always has a uniquely inspirational answer. 4 5 The first Maserati Ghibli was designed by Giorgetto Ghibli SS | 1966 Giugiaro and unveiled at the Turin Motor Show of 1966. Giugiaro, then in his 20s, was considered a design prodigy. And rightly so. His creation, with its 2+2, fastback format, pop-up headlights and audacious shark-nosed profile was an instant hit and became an automotive design icon. The latest Ghibli model carries on the spirit that shaped its first incarnation in 1966. That means exclusive luxury, glorious style, progressive technology and of course, empowering performance. An Enduring Legacy 6 7 V8 Engine - Ghibli Trofeo V6 Engine - Ghibli SQ 4, Ghibli S L4 Engine - Ghibli Hybrid A core offering of all Maserati vehicles is the ability to cover long distances at dynamic yet refined high speed. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
Drawing in GTK+
CSci493.70 Graphical User Interface Programming Prof. Stewart Weiss Drawing in GTK+ Drawing in GTK+ Background In order to understand how to draw in GTK, you rst have to understand something about how GTK draws widgets, because how GTK draws widgets has an important role in how you design your drawing application. An understanding of how GTK draws widgets is also required if you ever plan to build your own custom widgets. Windows and Clipping Most windowing systems are designed around the idea that an application's visual display lies within a rectangular region on the screen called its window. The windowing system, e.g. Gnome or KDE or Explorer, does not automatically save the graphical content of an application's windows; instead it asks the application itself to repaint 1 its windows whenever it is needed. For example, if a window that is stacked below other windows gets raised to the top, then a client program has to repaint the area that was previously obscured. When the windowing system asks a client program to redraw part of a window, it sends an exposure event to the program that contains that window. An exposure event is simply an event sent from the underlying windowing system to a widget to notify it that it must redraw itself. In this context, a "window" means "a rectangular region with automatic clipping", not a top-level application window. Clipping is the act of removing portions of a window that do not need to be redrawn, or looked at the other way, it is determining which are the only regions of a window that must be redrawn. -
John Paino Production Designer
John Paino Production Designer Selected Film and Television BIG LITTLE LIES 2 (In Post Production) Producers | Jean-Marc Vallée, Nicole Kidman, Reese Witherspoon, Per Saari, Bruna Papandrea, Nathan Ross Blossom Films Director | Andrea Arnold Cast | Meryl Streep, Nicole Kidman, Reese Witherspoon, Zoë Kravitz, Adam Scott, Shailene Woodley, Laura Dern SHARP OBJECTS Producers | Amy Adams, Jean-Marc Vallée, Jason Blum, Gillian Flynn, Charles Layton, Marti Noxon, Jessica Rhoades, Nathan Ross Blumhouse Productions Director | Jean-Marc Vallée Cast | Amy Adams, Eliza Scanlen, Jackson Hurst, Reagan Pasternak, Madison Davenport BIG LITTLE LIES Producers | Jean-Marc Vallée, Nicole Kidman, Reese Witherspoon, Per Saari, Bruna Papandrea, Nathan Ross Blossom Films Director | Jean-Marc Vallée Cast | Nicole Kidman, Reese Witherspoon, Zoë Kravitz, Alexander Skarsgård, Adam Scott, Shailene Woodley, Laura Dern *Winner of [5] Emmy Awards, 2017* DEMOLITION Producers | Lianne Halfon, Thad Luckinbill, Trent Luckinbill, John Malkovich, Molly Smith, Russell Smith Black Label Media Director | Jean-Marc Vallée Cast | Jake Gyllenhaal, Naomi Watts, Chris Cooper, Polly Draper THE LEFTOVERS (Season 2 & 3) Producers | Sara Aubrey, Peter Berg, Albert Berger, Damon Lindelof, Tom Perrotta, Ron Yerxa, Tom Spezialy, Mimi Leder Warner Bros. Television Directors | Various Cast | Liv Tyler, Justin Theroux, Amy Brenneman, Amanda Warren, Regina King WILD Producers | Burna Papandrea, Reese Witherspoon Fox Searchlight Director | Jean-Marc Vallée Cast | Reese Witherspoon, Gaby Hoffmann, -
William B. Kaplan CAS
Career Achievement Award Recipient William B. Kaplan CAS CAS Filmmaker Award Recipient George SPRING Clooney 2021 Overcoming Atmos Anxiety • Playing Well with Other Departments • RF in the 21st Century Remote Mixing in the Time of COVID • Return to the Golden Age of Booming Sound Ergonomics for a Long Career • The Evolution of Noise Reduction FOR YOUR CONSIDERATION CINEMA AUDIO SOCIETY AWARDS NOMINEE MOTION PICTURE LIVE ACTION PRODUCTION MIXER DREW KUNIN RERECORDING MIXERS REN KLYCE, DAVID PARKER, NATHAN NANCE SCORING MIXER ALAN MEYERSON, CAS ADR MIXER CHARLEEN RICHARDSSTEEVES FOLEY MIXER SCOTT CURTIS “★★★★★. THE FILM LOOKS AND SOUNDS GORGEOUS.” THE GUARDIAN “A WORK OF DAZZLING CRAFTSMANSHIP.” THE HOLLYWOOD REPORTER “A stunning and technically marvelous portrait of Golden Era Hollywood that boasts MASTERFUL SOUND DESIGN.” MIRROR CAS QUARTERLY, COVER 2 REVISION 1 NETFLIX: MANK PUB DATE: 03/15/21 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” INSIDE THIS ISSUE SPRING 2021 CAREER ACHIEVEMENT AWARD RECIPIENT WILLIAM B. KAPLAN CAS | 20 DEPARTMENTS The President’s Letter | 4 From the Editor | 6 Collaborators | 8 Learn about the authors of your stories 26 34 Announcements | 10 In Remembrance | 58 Been There Done That |59 CAS members check in The Lighter Side | 61 See what your colleagues are up to 38 52 FEATURES A Brief History of Noise Reduction | 15 Remote Mixing in the Time of COVID: User Experiences | 38 RF in the Twenty-First Century |18 When mix teams and clients are apart Filmmaker Award: George Clooney | 26 Overcoming Atmos Anxiety | 42 Insight to get you on your way The 57th Annual CAS Awards Nominees for Outstanding Achievement Playing Well with Other Production in Sound Mixing for 2020 | 28 Departments | 48 The collaborative art of entertainment Outstanding Product Award Nominees| 32 Sound Ergonomics for a Long Career| 52 Return to the Golden Age Staying physically sound on the job Cover: Career Achievement Award of Booming | 34 recipient William B. -
The Production of Tv Commercials and Stills Photography in Cape Town
THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN An overview of the impacts and constraints of the commercial production sector on the Cape Town economy. Martin Cuff, August 4th 2011 Commercial Producers Association SAASP P O Box 413005 PO Box 51649 Craighall Waterfront 2024 8002 Tel: 27 11 673 6809 Tel: 27 21 447 1075 Cell: 27 82 683 0575 Cel: 27 82 403 3661 Fax: 27 86 674 8321 Fax: 27 86 656 9656 E‐mail: [email protected] E‐mail: [email protected] Web: www.Cpasa.tv Web: www.saasp.Co.za DisClaimer: This doCument was assembled from various publiCations and websites between 2005 and 2011. It is intended for general researCh purposes only. Whilst every effort was made to ensure the information herein was CorreCt at time of Compilation, we make no warranties of any kind regarding the Completeness, aCCuraCy, reliability or suitability of the information. Any relianCe you plaCe on suCh is at your own risk, and we will not be liable for any loss or damage whatsoever arising out of, or in ConneCtion with the use of this information. The following doCuments were used as referenCe materials for this doCument: • DACST Cultural Industries Growth Strategy (1998) • Department of Trade & Industry SeCtor Development Strategy for Film and Television (June 2005); • Western Cape ProvinCial Government MiCro EConomiC Development Strategy (MEDS) Report for the Film SeCtor (April 2005) • CommerCial ProduCers AssoCiation Industry Survey (2005 ‐ 2011) • South AfriCan AssoCiation of Stills ProduCers Annual Survey (2005/6, 2009‐11) • Cape Film Commission StrategiC EConomiC Analysis (2006) • Gauteng Film Commission EConomiC review (2007) • The Durban & KZN Film Industry Review (2008) • Eastern Cape Development Corporation Film SeCtor Review (2009) THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN SUMMARY: • Stills and TV Commercials make up 57.7% of the the turnover of production in the Western Cape • The combined value of Stills & TV Commercial Production in the province is R1.53 billion. -
I.A.T.S.E. Local 38 Mark Sejnowski 50845 Shenandoah Macomb
I.A.T.S.E. Local 38 Mark Sejnowski 50845 Shenandoah Macomb, Michigan 48044 (586) 421-1326 (Home) (248) 408-7558 (Cell) E-mail [email protected] OBJECTIVE Be a problem solver and try and make a set look as realistic as possible. To work in accordance with the style of the script, along with the instructions of the production designer, art director, construction coordinator and set decorator. FILM CREDIT HISTORY Batman vrs Superman Dawn Of Justice 2014 Set Dec Painter Lead Painter – Frank Piercy 661- 993- 0962 Eloise 2014 Set Painter Lead Painter – Tony Gaudio 818-406-3256 12 Monkeys NBC TV 2013 Set Painter Lead Painter - Tony Gaudio 818-406-3256 Transformer 4 2013 Set Painter Lead Painter - Frank Piercy 661-993-0962 Need For Speed 2013 Greensman Head Greensman - Mike Zambiski 586-557-2046 Low Winter Sun AMC TV 2012-13 Set Painter Contruction Coordinator - Sean Clouser 818-674-3190 Lead Painter - Dita Clouser 818-282-2236 Into The Storm 2012 Set Painter Lead Painter - Frank Dambra 708-227-5815 Only Lovers Left Alive 2012 Set Painter Construction Coordinator - Sean Clouser 818-674-3190 Lead Painter - Dita Clouser 818-282-2236 AKA Jimmy Picard 2012 Set Painter Construction Coordinator - Sean Clouser 818-674-3190 Lead Painter - Dita Clouser 818-282-2236 Oz: The Great And Powerful 2011 Set Painter Lead Painter - Tom Brown 818-398-5931 Paint Foreman - Eric Saperstein 310-991-3229 Hung Season 3 2011 Set Painter Lead Painter - Melanie Mahoney 310-433-6656 5 Year Engagement 2011 Set Dresser Leadman - Mike Sunga 818-635-2499 Detroit 187 -
Hollywood Pantages Theatre Los Angeles, California
® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA Hamilton 8/2 Final upload.indd 1 8/2/21 2:41 PM HOLLYWOOD PANTAGES THEATRE August 17-August 31, 2021 Jeffrey Seller Sander Jacobs Jill Furman AND The Public Theater PRESENT BOOK, MUSIC AND LYRICS BY Lin-Manuel Miranda INSPIRED BY THE BOOK ALEXANDER HAMILTON BY Ron Chernow WITH Rubén J. Carbajal Nicholas Christopher Joanna A. Jones Taylor Iman Jones Carvens Lissaint Simon Longnight Rory O’Malley Sabrina Sloan Wallace Smith Jamael Westman AND Sam Aberman Gerald Avery Remmie Bourgeois Amanda Braun Cameron Burke Yossi Chaikin Trey Curtis Karlee Ferreira John Michael Fiumara Tré Frazier Aaron Alexander Gordon Vincent Jamal Hooper Jared Howelton Sabrina Imamura Carina-Kay Louchiey Yvette Lu Taeko McCarroll Mallory Michaellann Candace Quarrels Antuan Magic Raimone Julian Ramos Jen Sese Willie Smith III Terrance Spencer Tommar Wilson Morgan Anita Wood SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN David Korins Paul Tazewell Howell Binkley Nevin Steinberg HAIR AND WIG DESIGN ARRANGEMENTS MUSIC COORDINATORS ASSOCIATE MUSIC SUPERVISOR Charles G. LaPointe Alex Lacamoire Michael Keller Matt Gallagher Lin-Manuel Miranda Michael Aarons EXECUTIVE PRODUCER PRODUCTION SUPERVISORS PRODUCTION STAGE MANAGER MUSIC DIRECTOR Maggie Brohn J. Philip Bassett Scott Rowen Andre Cerullo Amber White MARKETING & COMMUNICATIONS TECHNICAL SUPERVISION CASTING Laura Matalon Hudson Theatrical Associates The Telsey Office John Gilmour Bethany Knox, CSA ASSOCIATE & SUPERVISING DIRECTOR ASSOCIATE & SUPERVISING