Boom Movie Download 720p Movies
Kenneth Calimlim
A small Alaskan town braces for a rapid expansion of cruise ship tourism, pushing residents to grapple with benefits, impacts and what they can control. A portrait of a community on the cusp of change in the face of the global tourism industry.
In a small Alaskan island town a large public cruise ship dock is twice rejected by voters. A local business builds and expands a private dock with the help of a large global cruise ship corporation. Some are elated by the economic opportunity, others feel it threatens the very heart of the community.
Nestled between glacial mountains and an island studded sea, Sitka, Alaska is home of the Lingt Aan (Tlingit ) and a large small boat family fishery. No stranger to boom and bust economies, a once thriving pulp mill closed in Sitka years ago. Cruise Boom is a portrait of a town dealing with the possibilities and perils of global tourism. This 55 minute documentary asks who benefits from tourism, how much tourism is enough, and what it means to be a visitor.
A key member of the production audio crew in the film and television industries, the boom operator assists the production sound mixer on set by operating boom microphones, selecting and placing radio microphones, and maintaining the audio equipment.
Boom operator is one of two entry-level positions in the production audio crew, the other being the utility sound technician. Most boom operators are university-trained audio engineers who specialize in live recording (as opposed to studio recording). They work closely with production sound mixers, and may receive a certain degree of on-the-job mentorship from them. Some are happy to work in this position for their entire lives, and progress by finding work on higher-budget projects. Others wait for their golden opportunity to take over the mixing board, perhaps when a production sound mixer is ill or unavailable.
Most boom operators are freelance, although some are employed by Hollywood sound houses in the production sound crew. When shooting on a project, boom operators may spend more than fourteen hours each day on location, alternately working and waiting around, repeating this process every day for several weeks or even months. On the other hand, boom operators can also go for weeks or months between gigs, during which time they may need to find alternative sources of income. Establishing a consistent flow of work is vital to success.
Originally designed for wireless systems in theatres, today the 4060 Series is one of the most loved mics for film applications as well. This miniature captures speech in all of its nuances and is small enough to easily hide in costumes. A range of variants cater to specific audio needs.
A perfect plant mic in difficult filming locations like a car, the 4097 CORE Micro Shotgun is small, slim and unobtrusive with a supercardioid pattern and a built-in shock mount. Just attach it to a transmitter, place it above the sun visor and point it towards the actors. It's ready for action.
Designed for a broad range of applications, this microphone is ideal for use with camera systems, in fixed positions for broadcast / ENG / film booming and even studio recording environments. They are also often the natural choice on a sports scene where large areas are to be covered with a lot of microphones, i.e. a football field and the likes.
With bodyworn miniature mics you can capture the best possible sound, while at the same time completely concealing the microphone. These mics allow you to ensure repeatable, superior sound quality, unseen by the audience. They come in a range of variants, including the virtually invisible Slim Series, which can meet your special concealment needs.
When I first heard DPA's 4061 and 4071 microphones, the sound was so transparent and natural that I felt it could be cut with the boom without any uncomfortable shift in the timbre of the voice. Of course, we still need booms but we can now mix and match between the two depending on the requirements of the scene."
Black Panther or BlacKkKlansman could take home a Golden Globe on Sunday, but they are also signs that 2018 delivered some much-needed change to Hollywood. For the first time in over a decade, Hollywood studios hired a greater percentage of black directors to helm top-performing films. A new study out today sheds light on the phenomenon and documents areas where progress is still needed.
The study observed that roughly 11% of the Produced by credits on the top 300 movies of the last three years went to individuals from underrepresented racial/ethnic groups. Films with underrepresented producers were more likely than films without an underrepresented producer to be directed by an individual from an underrepresented racial/ethnic group. Similar, though less pronounced, results were found for the relationship between female producers and female directors.
Other study findings include an assessment of the age of directors, agency representation, and the genre of films made by women, black, and Asian directors. The authors also offer solutions for consumers and companies to address the ongoing disparities by gender and race in employment opportunities. The report is the latest from the Annenberg Inclusion Initiative and can be found online here.
Examining distributors, Warner Bros. has distributed 12 films with female directors attached over the sample time frame. The distributor least female-friendly is Paramount Pictures. There is no year between 2007 and 2018 in which every distributor has hired or attached at least one female director to a film. The most frequent number of female directors across 12 years of film slates is 0.
A total of 4 Asian directors (3.6%) worked across the 100 top films of 2018. All four of these directors were men (Aneesh Chaganty, Jay Chandrasekhar, Jon M. Chu, James Wan). Unlike their black counterparts, there has been no change in the number or percentage of Asian directors over the 12-year sample time frame. Only 39 top directing jobs have been filled by Asian men and 3 by Asian women.
Two-thirds of all Asian directors (66.7%) only have one directing credit across the sample, which was significantly higher than their non-Asian peers (55.8%). Asian helmers were less likely than non-Asian helmers to have directed 2 or 3 movies during the 12-year sample. The top-performing Asian directors were James Wan (6 films) followed by M. Night Shyamalan (5 films) and Jon M. Chu (5 films).
In terms of distribution, 2018 was business as usual for Asian directors. Warner Bros increased representation of Asian directors in 2018 in comparison to 2017 and 2007. Universal Pictures has employed the highest number of Asian directors, presumably due to franchise successes such as The Fast and the Furious and Despicable Me. Lionsgate has only worked with 1 Asian director in 12 years across this sample.
17.3% of top executive positions (C-Suite) in major media companies were held by women, while 82.7% were held by males. Only 4 of these women were from underrepresented racial/ethnic groups. Viacom has the most gender-inclusive C-suite (31.8%) while Sony and Comcast have no women in the top tier of executives.
Only 2 of the Chairs of major executive film teams were female. The presence of women escalates as the analysis moves lower into the chain of command. 22.5% of President and Chief positions of executive film teams were held by women, while 36.4% of VP-level roles were filled by females. Across all these positions, only 8 women executives were from underrepresented racial/ethnic groups.
The report concludes by summarizing the major trends across the study and highlighting results for executive, above- and below-the-line positions. Limitations and directions for previous research are illuminated and solutions for change are discussed.
Appearing across every aspect of the festival's branding, including digital assets and OOH material, the new identity bursts with vibrant, striking colours and revolves, almost literally, around a cleverly designed logo.
This wordmark, set in Displaay's Azeret Mono, sees the words Film Fest Gent stacked vertically, with the top and bottom words appearing squeezed as if trailing off into the distance. No, this isn't an error on the designer's part but is, in fact, a canny reference to the film reels of yesteryear, specifically the circular shape of Joseph Plateau's Phenakistoscope.
That's right, this logo runs with the motion picture theme by appearing to rotate, with each word scrolling past like the frame of an old film or a still from an animated wheel. As for the three main colourways that dominate the identity, these were defined before any material from the featured movies was confirmed.
This appears to just be the beginning of an ever-evolving identity, too. The studio confirms that the "unique thematic pattern" present in the rebrand will change year after year, allowing each festival going forward to tailor its look to a specific need while also appearing consistent under the same design umbrella.
The new identity doesn't mean the iconography of the previous look has been done away with, though. The horse of Film Fest Gent is a design staple of the festival, and its history is closely linked to that of Ghent. Indeed, the Joseph Plateau Honorary Award features a Phenakistoscope with images of a horse that appears to gallop all around it.
"In a world where we are constantly confronted with an incessant flow of images and information, cinema offers the space for reflection, focus and new thoughts. An inner process that can thus be translated into taking action, developing a critical eye and living a life full of empathy and positive change."
Ever wondered how big blockbuster movie productions are able to feature real tanks and fighter aircraft -- or, in the case of the upcoming Top Gun: Maverick, actors actually launching off an aircraft carrier? Turns out the U.S. military gives many movies a major helping hand, from providing access to bases and ships to actually recruiting troops to serve as background actors. But first, scripts have to get vetted to make sure they're in line with the DoD's core values. In this episode, we'll talk to Glen Roberts, the Pentagon's liaison to Hollywood, who reads those scripts and works with studios to make military-themed productions as realistic as possible.
b1e95dc632