This document is an edit decision list for camera footage taken by Samantha Jewiss and Louise Heathorn. It provides details of 95 camera shots including shot type, length, quality, and notes. Shots are rated as good or bad based on factors like actors following the script, camera work, and relevance to the narrative. Many shots are deemed usable in part or in edited form for scenes like arguments, conversations in locations, and flashbacks.
This edit decision list contains 86 shots from a film shoot, with descriptions of each shot including length, shot type, quality (good or bad), and notes from the camera operator. Shots are evaluated based on camera work, acting, and whether additional takes are needed to fix issues. The list identifies technical problems, acting mistakes, and shots that require retakes to improve quality.
This document provides a storyboard for the music video for the song "Gunslinger" by Avenged Sevenfold. It outlines 23 shots with descriptions of the camera actions and lyrics or actions occurring in each shot. The storyboard shows various shots of a singer and soldiers, with camera movements including pans, pulls, tilts and static shots. It appears to tell a narrative story through the sequence of shots.
2016 AWS Media & Entertainment Cloud Symposium - New York, NY: May 18, 2016Amazon Web Services
The AWS New York Media and Entertainment Cloud Symposium delivered a full day of presentations and discussions focused on key industry topics including AWS service options for cloud security, storage and digital archive, cloud-based media supply chains, over the top content delivery and customer engagement.
(ARC303) Pure Play Video OTT: A Microservices ArchitectureAmazon Web Services
"An end-to-end, over-the-top (OTT) video system is built of many interdependent architectural tiers, ranging from content preparation, content delivery, and subscriber and entitlement management, to analytics and recommendations. This talk will provide a detailed exploration of how to architect a media platform that allows for growth, scalability, security, and business changes at each tier, based on real-world experiences delivering over 100 Gbps of concurrent video traffic with 24/7/365 linear TV requirements. Finally, learn how Verizon uses AWS, including Amazon Redshift and Amazon Elastic MapReduce, to power its recently launched mobile video application Go90.
Using a mixture of AWS services and native applications, we address the following scaling challenges:
Content ingest, preparation, and distribution
Operation of a 24x7x365 Linear OTT Playout Platform
Common pitfalls with transcode and content preperation
Multi-DRM and packaging to allow cross platform playback
Efficient delivery and multi-CDN methodology to allow for a perfect experience globally
Kinesis as a dual purpose system for both analytics and concurrency access management
Integration with Machine Learning for an adaptive recommendation system, with real time integration between content history and advertising data
User, entitlement, and content management
General best practices for ‘Cloud Architectures’ and their integration with Amazon Web Services; Infrastructure as Code, Disposable and immutable infrastructure, code deployment & release management, DevOps and Microservices Architectures
This session is great for architects, engineers, and CTOs within media and entertainment or others simply interested in decoupled architectures."
The document discusses the history of music videos, acoustic music, and their integration. It notes that early music videos in the 1890s accompanied songs with imagery and that musical films rose in popularity in the 1930s. Modern music videos emerged in the 1980s with MTV, popularizing artists like Michael Jackson. Acoustic music uses no electronic instruments and guitars originated in the 1600s. Recent acoustic music videos include John Fahey in the 1900s and Ed Sheeran today. The document also outlines the evolution of album covers and magazine advertisements.
The student created a music video, magazine advertisement, and Digipak for their media coursework focusing on the musician Secondhand Serenade. They established common themes of love, relationships, and journeys to maintain consistency across all three products. For the magazine ad and Digipak, they portrayed these themes using landscape images and props like candles representing passion. Fonts, colors, and other design elements were kept uniform between the ancillary tasks to clearly link them together and reinforce the unified house style. Through coordinated themes, visuals, and design features across all tasks, the student effectively promoted the music video through complementary ancillary products.
The document discusses how the student conformed to and challenged conventions in their music video, digipak, and magazine advertisement projects. They tried to make the music video as realistic as possible by including a variety of interior and exterior locations. Their research informed elements like camera angles, transitions, and incorporating a love story narrative. For the digipak, they designed it to reflect the album's themes and kept it simple. The magazine ad featured a landscape photo instead of a close-up image and used a double-page landscape format, challenging conventions. Overall, the student aimed to balance conforming to standards while also challenging norms based on other successful media examples.
- The document discusses a music video, digipak, and magazine advertisement created by the author and their partner for their album.
- For the music video, they researched conventions of the genre and incorporated elements like locations, costumes, camera angles, and a love story narrative. They aimed to have the visuals connect to the music.
- For the digipak, they designed it to reflect the themes of the album through simple and effective design. They included typical elements like a barcode and lyric book.
- For the magazine ad, they used a landscape photograph as the central image rather than a close-up. They also used two different images rather than just the album cover, challenging conventions but in
This edit decision list contains 86 shots from a film shoot, with descriptions of each shot including length, shot type, quality (good or bad), and notes from the camera operator. Shots are evaluated based on camera work, acting, and whether additional takes are needed to fix issues. The list identifies technical problems, acting mistakes, and shots that require retakes to improve quality.
This document provides a storyboard for the music video for the song "Gunslinger" by Avenged Sevenfold. It outlines 23 shots with descriptions of the camera actions and lyrics or actions occurring in each shot. The storyboard shows various shots of a singer and soldiers, with camera movements including pans, pulls, tilts and static shots. It appears to tell a narrative story through the sequence of shots.
2016 AWS Media & Entertainment Cloud Symposium - New York, NY: May 18, 2016Amazon Web Services
The AWS New York Media and Entertainment Cloud Symposium delivered a full day of presentations and discussions focused on key industry topics including AWS service options for cloud security, storage and digital archive, cloud-based media supply chains, over the top content delivery and customer engagement.
(ARC303) Pure Play Video OTT: A Microservices ArchitectureAmazon Web Services
"An end-to-end, over-the-top (OTT) video system is built of many interdependent architectural tiers, ranging from content preparation, content delivery, and subscriber and entitlement management, to analytics and recommendations. This talk will provide a detailed exploration of how to architect a media platform that allows for growth, scalability, security, and business changes at each tier, based on real-world experiences delivering over 100 Gbps of concurrent video traffic with 24/7/365 linear TV requirements. Finally, learn how Verizon uses AWS, including Amazon Redshift and Amazon Elastic MapReduce, to power its recently launched mobile video application Go90.
Using a mixture of AWS services and native applications, we address the following scaling challenges:
Content ingest, preparation, and distribution
Operation of a 24x7x365 Linear OTT Playout Platform
Common pitfalls with transcode and content preperation
Multi-DRM and packaging to allow cross platform playback
Efficient delivery and multi-CDN methodology to allow for a perfect experience globally
Kinesis as a dual purpose system for both analytics and concurrency access management
Integration with Machine Learning for an adaptive recommendation system, with real time integration between content history and advertising data
User, entitlement, and content management
General best practices for ‘Cloud Architectures’ and their integration with Amazon Web Services; Infrastructure as Code, Disposable and immutable infrastructure, code deployment & release management, DevOps and Microservices Architectures
This session is great for architects, engineers, and CTOs within media and entertainment or others simply interested in decoupled architectures."
The document discusses the history of music videos, acoustic music, and their integration. It notes that early music videos in the 1890s accompanied songs with imagery and that musical films rose in popularity in the 1930s. Modern music videos emerged in the 1980s with MTV, popularizing artists like Michael Jackson. Acoustic music uses no electronic instruments and guitars originated in the 1600s. Recent acoustic music videos include John Fahey in the 1900s and Ed Sheeran today. The document also outlines the evolution of album covers and magazine advertisements.
The student created a music video, magazine advertisement, and Digipak for their media coursework focusing on the musician Secondhand Serenade. They established common themes of love, relationships, and journeys to maintain consistency across all three products. For the magazine ad and Digipak, they portrayed these themes using landscape images and props like candles representing passion. Fonts, colors, and other design elements were kept uniform between the ancillary tasks to clearly link them together and reinforce the unified house style. Through coordinated themes, visuals, and design features across all tasks, the student effectively promoted the music video through complementary ancillary products.
The document discusses how the student conformed to and challenged conventions in their music video, digipak, and magazine advertisement projects. They tried to make the music video as realistic as possible by including a variety of interior and exterior locations. Their research informed elements like camera angles, transitions, and incorporating a love story narrative. For the digipak, they designed it to reflect the album's themes and kept it simple. The magazine ad featured a landscape photo instead of a close-up image and used a double-page landscape format, challenging conventions. Overall, the student aimed to balance conforming to standards while also challenging norms based on other successful media examples.
- The document discusses a music video, digipak, and magazine advertisement created by the author and their partner for their album.
- For the music video, they researched conventions of the genre and incorporated elements like locations, costumes, camera angles, and a love story narrative. They aimed to have the visuals connect to the music.
- For the digipak, they designed it to reflect the themes of the album through simple and effective design. They included typical elements like a barcode and lyric book.
- For the magazine ad, they used a landscape photograph as the central image rather than a close-up. They also used two different images rather than just the album cover, challenging conventions but in
The document describes the process of editing together footage for a music video using Final Cut Pro. Key steps included piecing clips together in time with the music, adding transitions like fades and dissolves between clips, altering clip speeds for slow motion effects, and changing color schemes to distinguish flashbacks. Text was also added with the song title and artist information at the beginning and end of the video.
The document describes the process of editing together footage for a music video using Final Cut Pro. Several techniques were used to assemble the clips, add transitions, and alter aspects like color and speed to tell the narrative. Challenges like unexpected weather led to changes from the storyboard. Color correction and effects like slow motion and zooms were applied to emphasize emotions and themes. Text was also added at the beginning and end for identification.
The document describes the process of editing together footage for a music video using Final Cut Pro. Key steps included piecing clips together in time with the music while referring to the storyboard and edit decision list. Transitions like fades and dissolves were added between clips to help the narrative flow. Color grading and other effects were applied to distinguish flashback scenes and emphasize emotions. The overall process involved synchronizing video and audio, selecting shots, and applying effects and text to conform to music video conventions.
1) The document describes the process of designing a digi-pak album cover. Photographs were taken and edited using tools like the clone stamp and paintbrush tools to straighten images and reduce glare.
2) Text was added and formatted using different fonts and the warp text tool. Actions were used to add sepia and vintage color effects.
3) The back cover and interior pages were similarly designed using photographs edited to add frames, landscapes in doors, and candles. Actions were used to match the color scheme throughout.
4) The final product matched the original mock up except for excluding models, making the design more ambiguous and personal for the target audience.
The document describes the process of designing a digipak album cover and inserts. Key steps included:
1) Editing a globe photograph for the front cover, including straightening, adding text, and applying a sepia tone.
2) Choosing a globe photograph for the back cover and editing out glare, adding song text over a semi-transparent rectangle, and applying design elements like the artist's website.
3) Editing photographs for the interior spreads, including adding door frames linking images, candles, picture frames, and a pocket indicator.
4) Assembling the completed digipak design.
The document describes the process of designing a digipak album cover and inserts. Key steps included:
1) Editing a globe photograph for the front cover, including straightening, adding text, and applying a sepia tone.
2) Choosing a globe photograph for the back cover and editing out glare, adding song text over a semi-transparent rectangle, and applying design elements like the artist's website.
3) Editing photographs for the interior spreads, including adding door frames linking images, candles, picture frames, and a pocket indicator.
4) Assembling the completed digipak design and flipping layers so it could be printed and assembled properly.
The risk assessment identifies potential hazards for a film shoot in Covent Garden such as damage from large crowds, aggression from individuals, bad weather damaging equipment, and traffic accidents. Precautions include securing equipment, informing crowds, cancelling shoots in bad weather, and travelling carefully together. Emergency procedures involve contacting emergency services and the college contact Zac for any incidents, injuries, or damage requiring aid or reporting. Contact details for emergency services and college staff are provided.
This location scout form documents Covent Garden in London as the potential filming location for the music video "Fix You" by Secondhand Serenade. Key details include the address, availability all week and all day, some parking available, and directions provided. Distances from home and college are also noted.
This location scout form provides details for filming the music video "Fix You" by Secondhand Serenade at 23 Radburn Close in Harlow, Essex. The house is always available all week from 10am to 10pm, has parking on the driveway and nearby streets, and is a 7 minute drive from the college. Power sources and the interior of the house were deemed suitable after inspection.
The call sheet is for the fourth day of shooting which will take place on Friday, March 22nd at 1 Joyce Court in Waltham Abbey. It includes a car argument flashback scene between characters Kirsty and Gareth to be filmed using a camera, tripod, and cigarettes in the car. Makeup is required for Kirsty but not Gareth. Additional scenes are scheduled to be filmed later that week.
This document outlines the plan, tasks, responsibilities, and resources for a film production. It lists items like the budget, treatment, script, storyboard, location scouting, site plans, risk assessments, talent release forms, call sheets, filming, and edit decision list. For each item, it identifies the person responsible, required resources, and any changes made from the original format and why. The changes made were to ensure consistency of style and format across documents to create a cohesive look and feel for the production company.
This risk assessment identifies potential hazards for a film shoot in Green Park and precautions to prevent issues. Traffic and crowds from other park visitors could interfere with filming or damage equipment. Weather could also impact equipment or people's health. The assessment lists contacting emergency services and notifying the film coordinator from Harlow College as actions if hazards occur. It provides team contact details to call in an emergency.
The call sheet is for the eighth day of shooting on Monday, April 1st 2013. It lists the scenes to be filmed at 1 Joyce Court in Waltham Abbey including Kirsty in her bedroom upset, a couple on the sofa in a flashback, walking outside the house, and a photograph scene. Samantha Jewiss and Jake Alger are scheduled to play Kirsty and Gareth with natural makeup. Camera equipment, photographs, and a costume change are needed. Covering the set is also scheduled. Bus directions are provided from Harlow Town Station to the location on Joyce Court.
The call sheet is for a film shoot on Sunday March 31st featuring a scene of a couple walking through a field. Samantha Jewiss and Jake Alger are scheduled to play Kirsty and Gareth between 7-8pm at Barn Mead Field in Harlow. Basic makeup is required for Samantha and none for Jake. The shoot will involve taking photographs of props on location and a potential costume change. The following day's shoot is scheduled for Waltham Abbey. Bus route 3 provides transport from Harlow Town Station to the filming location at Barn Mead.
This call sheet provides details for the sixth day of shooting including the location, scenes, cast, and special instructions. Two flashback scenes will be filmed - "Sparklers" and "Couple By The Fireplace" - at 23 Radburn Close. The "Sparklers" scene requires sparklers, a lighter, and adult supervision. Costumes should be casual and conform to the genre. Additional shooting is scheduled for Sunday to film a couple walking in Barn Mead Field after an argument.
The call sheet is for the fifth day of shooting on March 26th. It includes scenes filmed at Epping Station, Green Park, and Camden Town starring Samantha Jewiss and Jake Alger. Makeup is natural for Samantha and none for Jake. Camera equipment, costumes changes, props like a map, and establishing shots are noted. Travel directions to locations are provided.
This call sheet provides details for the fourth day of shooting a film, including two scenes to be filmed at 1 Joyce Court in Waltham Abbey. The first scene is a car argument flashback between characters Kirsty and Gareth. The second scene shows Gareth stressed and smoking. It lists the director, locations, cast, makeup requirements, equipment needed and directions to the shooting location.
This call sheet provides details for the third day of shooting on March 21st, 2013. It includes one scene shooting at Deer Park Field in Harlow at 5pm. The scene is a flashback titled "Sky Lanterns" featuring characters Kirsty, played by Samantha Jewiss, and Gareth, played by Jake Alger. Special equipment needed includes cameras, tripods, sky lanterns, lighters/matches and emergency contact numbers. Actors will wear casual costumes. Directions to the location and transportation details are also provided.
This call sheet provides details for the third day of shooting on March 21st, 2013. It includes one scene titled "Sky Lanterns - Flashback" to be filmed at Deer Park Field in Harlow starring Samantha Jewiss as Kirsty and Jake Alger as Gareth. Special instructions note the use of sky lanterns, cameras, and safety precautions. Makeup needs and transportation directions to the location are also included.
The call sheet summarizes the shooting schedule for Day 2 of filming. It lists the director, date, call time, and scenes to be filmed at the location of 23 Radburn Close in Harlow. These include argument, sofa, home video, and kitchen flashback scenes starring Samantha Jewiss and Jake Alger. It also provides cast details and instructions on equipment, establishing shots, and directions to the location.
Building Production Ready Search Pipelines with Spark and MilvusZilliz
Spark is the widely used ETL tool for processing, indexing and ingesting data to serving stack for search. Milvus is the production-ready open-source vector database. In this talk we will show how to use Spark to process unstructured data to extract vector representations, and push the vectors to Milvus vector database for search serving.
The document describes the process of editing together footage for a music video using Final Cut Pro. Key steps included piecing clips together in time with the music, adding transitions like fades and dissolves between clips, altering clip speeds for slow motion effects, and changing color schemes to distinguish flashbacks. Text was also added with the song title and artist information at the beginning and end of the video.
The document describes the process of editing together footage for a music video using Final Cut Pro. Several techniques were used to assemble the clips, add transitions, and alter aspects like color and speed to tell the narrative. Challenges like unexpected weather led to changes from the storyboard. Color correction and effects like slow motion and zooms were applied to emphasize emotions and themes. Text was also added at the beginning and end for identification.
The document describes the process of editing together footage for a music video using Final Cut Pro. Key steps included piecing clips together in time with the music while referring to the storyboard and edit decision list. Transitions like fades and dissolves were added between clips to help the narrative flow. Color grading and other effects were applied to distinguish flashback scenes and emphasize emotions. The overall process involved synchronizing video and audio, selecting shots, and applying effects and text to conform to music video conventions.
1) The document describes the process of designing a digi-pak album cover. Photographs were taken and edited using tools like the clone stamp and paintbrush tools to straighten images and reduce glare.
2) Text was added and formatted using different fonts and the warp text tool. Actions were used to add sepia and vintage color effects.
3) The back cover and interior pages were similarly designed using photographs edited to add frames, landscapes in doors, and candles. Actions were used to match the color scheme throughout.
4) The final product matched the original mock up except for excluding models, making the design more ambiguous and personal for the target audience.
The document describes the process of designing a digipak album cover and inserts. Key steps included:
1) Editing a globe photograph for the front cover, including straightening, adding text, and applying a sepia tone.
2) Choosing a globe photograph for the back cover and editing out glare, adding song text over a semi-transparent rectangle, and applying design elements like the artist's website.
3) Editing photographs for the interior spreads, including adding door frames linking images, candles, picture frames, and a pocket indicator.
4) Assembling the completed digipak design.
The document describes the process of designing a digipak album cover and inserts. Key steps included:
1) Editing a globe photograph for the front cover, including straightening, adding text, and applying a sepia tone.
2) Choosing a globe photograph for the back cover and editing out glare, adding song text over a semi-transparent rectangle, and applying design elements like the artist's website.
3) Editing photographs for the interior spreads, including adding door frames linking images, candles, picture frames, and a pocket indicator.
4) Assembling the completed digipak design and flipping layers so it could be printed and assembled properly.
The risk assessment identifies potential hazards for a film shoot in Covent Garden such as damage from large crowds, aggression from individuals, bad weather damaging equipment, and traffic accidents. Precautions include securing equipment, informing crowds, cancelling shoots in bad weather, and travelling carefully together. Emergency procedures involve contacting emergency services and the college contact Zac for any incidents, injuries, or damage requiring aid or reporting. Contact details for emergency services and college staff are provided.
This location scout form documents Covent Garden in London as the potential filming location for the music video "Fix You" by Secondhand Serenade. Key details include the address, availability all week and all day, some parking available, and directions provided. Distances from home and college are also noted.
This location scout form provides details for filming the music video "Fix You" by Secondhand Serenade at 23 Radburn Close in Harlow, Essex. The house is always available all week from 10am to 10pm, has parking on the driveway and nearby streets, and is a 7 minute drive from the college. Power sources and the interior of the house were deemed suitable after inspection.
The call sheet is for the fourth day of shooting which will take place on Friday, March 22nd at 1 Joyce Court in Waltham Abbey. It includes a car argument flashback scene between characters Kirsty and Gareth to be filmed using a camera, tripod, and cigarettes in the car. Makeup is required for Kirsty but not Gareth. Additional scenes are scheduled to be filmed later that week.
This document outlines the plan, tasks, responsibilities, and resources for a film production. It lists items like the budget, treatment, script, storyboard, location scouting, site plans, risk assessments, talent release forms, call sheets, filming, and edit decision list. For each item, it identifies the person responsible, required resources, and any changes made from the original format and why. The changes made were to ensure consistency of style and format across documents to create a cohesive look and feel for the production company.
This risk assessment identifies potential hazards for a film shoot in Green Park and precautions to prevent issues. Traffic and crowds from other park visitors could interfere with filming or damage equipment. Weather could also impact equipment or people's health. The assessment lists contacting emergency services and notifying the film coordinator from Harlow College as actions if hazards occur. It provides team contact details to call in an emergency.
The call sheet is for the eighth day of shooting on Monday, April 1st 2013. It lists the scenes to be filmed at 1 Joyce Court in Waltham Abbey including Kirsty in her bedroom upset, a couple on the sofa in a flashback, walking outside the house, and a photograph scene. Samantha Jewiss and Jake Alger are scheduled to play Kirsty and Gareth with natural makeup. Camera equipment, photographs, and a costume change are needed. Covering the set is also scheduled. Bus directions are provided from Harlow Town Station to the location on Joyce Court.
The call sheet is for a film shoot on Sunday March 31st featuring a scene of a couple walking through a field. Samantha Jewiss and Jake Alger are scheduled to play Kirsty and Gareth between 7-8pm at Barn Mead Field in Harlow. Basic makeup is required for Samantha and none for Jake. The shoot will involve taking photographs of props on location and a potential costume change. The following day's shoot is scheduled for Waltham Abbey. Bus route 3 provides transport from Harlow Town Station to the filming location at Barn Mead.
This call sheet provides details for the sixth day of shooting including the location, scenes, cast, and special instructions. Two flashback scenes will be filmed - "Sparklers" and "Couple By The Fireplace" - at 23 Radburn Close. The "Sparklers" scene requires sparklers, a lighter, and adult supervision. Costumes should be casual and conform to the genre. Additional shooting is scheduled for Sunday to film a couple walking in Barn Mead Field after an argument.
The call sheet is for the fifth day of shooting on March 26th. It includes scenes filmed at Epping Station, Green Park, and Camden Town starring Samantha Jewiss and Jake Alger. Makeup is natural for Samantha and none for Jake. Camera equipment, costumes changes, props like a map, and establishing shots are noted. Travel directions to locations are provided.
This call sheet provides details for the fourth day of shooting a film, including two scenes to be filmed at 1 Joyce Court in Waltham Abbey. The first scene is a car argument flashback between characters Kirsty and Gareth. The second scene shows Gareth stressed and smoking. It lists the director, locations, cast, makeup requirements, equipment needed and directions to the shooting location.
This call sheet provides details for the third day of shooting on March 21st, 2013. It includes one scene shooting at Deer Park Field in Harlow at 5pm. The scene is a flashback titled "Sky Lanterns" featuring characters Kirsty, played by Samantha Jewiss, and Gareth, played by Jake Alger. Special equipment needed includes cameras, tripods, sky lanterns, lighters/matches and emergency contact numbers. Actors will wear casual costumes. Directions to the location and transportation details are also provided.
This call sheet provides details for the third day of shooting on March 21st, 2013. It includes one scene titled "Sky Lanterns - Flashback" to be filmed at Deer Park Field in Harlow starring Samantha Jewiss as Kirsty and Jake Alger as Gareth. Special instructions note the use of sky lanterns, cameras, and safety precautions. Makeup needs and transportation directions to the location are also included.
The call sheet summarizes the shooting schedule for Day 2 of filming. It lists the director, date, call time, and scenes to be filmed at the location of 23 Radburn Close in Harlow. These include argument, sofa, home video, and kitchen flashback scenes starring Samantha Jewiss and Jake Alger. It also provides cast details and instructions on equipment, establishing shots, and directions to the location.
Building Production Ready Search Pipelines with Spark and MilvusZilliz
Spark is the widely used ETL tool for processing, indexing and ingesting data to serving stack for search. Milvus is the production-ready open-source vector database. In this talk we will show how to use Spark to process unstructured data to extract vector representations, and push the vectors to Milvus vector database for search serving.
Programming Foundation Models with DSPy - Meetup SlidesZilliz
Prompting language models is hard, while programming language models is easy. In this talk, I will discuss the state-of-the-art framework DSPy for programming foundation models with its powerful optimizers and runtime constraint system.
HCL Notes und Domino Lizenzkostenreduzierung in der Welt von DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-und-domino-lizenzkostenreduzierung-in-der-welt-von-dlau/
DLAU und die Lizenzen nach dem CCB- und CCX-Modell sind für viele in der HCL-Community seit letztem Jahr ein heißes Thema. Als Notes- oder Domino-Kunde haben Sie vielleicht mit unerwartet hohen Benutzerzahlen und Lizenzgebühren zu kämpfen. Sie fragen sich vielleicht, wie diese neue Art der Lizenzierung funktioniert und welchen Nutzen sie Ihnen bringt. Vor allem wollen Sie sicherlich Ihr Budget einhalten und Kosten sparen, wo immer möglich. Das verstehen wir und wir möchten Ihnen dabei helfen!
Wir erklären Ihnen, wie Sie häufige Konfigurationsprobleme lösen können, die dazu führen können, dass mehr Benutzer gezählt werden als nötig, und wie Sie überflüssige oder ungenutzte Konten identifizieren und entfernen können, um Geld zu sparen. Es gibt auch einige Ansätze, die zu unnötigen Ausgaben führen können, z. B. wenn ein Personendokument anstelle eines Mail-Ins für geteilte Mailboxen verwendet wird. Wir zeigen Ihnen solche Fälle und deren Lösungen. Und natürlich erklären wir Ihnen das neue Lizenzmodell.
Nehmen Sie an diesem Webinar teil, bei dem HCL-Ambassador Marc Thomas und Gastredner Franz Walder Ihnen diese neue Welt näherbringen. Es vermittelt Ihnen die Tools und das Know-how, um den Überblick zu bewahren. Sie werden in der Lage sein, Ihre Kosten durch eine optimierte Domino-Konfiguration zu reduzieren und auch in Zukunft gering zu halten.
Diese Themen werden behandelt
- Reduzierung der Lizenzkosten durch Auffinden und Beheben von Fehlkonfigurationen und überflüssigen Konten
- Wie funktionieren CCB- und CCX-Lizenzen wirklich?
- Verstehen des DLAU-Tools und wie man es am besten nutzt
- Tipps für häufige Problembereiche, wie z. B. Team-Postfächer, Funktions-/Testbenutzer usw.
- Praxisbeispiele und Best Practices zum sofortigen Umsetzen
HCL Notes and Domino License Cost Reduction in the World of DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-and-domino-license-cost-reduction-in-the-world-of-dlau/
The introduction of DLAU and the CCB & CCX licensing model caused quite a stir in the HCL community. As a Notes and Domino customer, you may have faced challenges with unexpected user counts and license costs. You probably have questions on how this new licensing approach works and how to benefit from it. Most importantly, you likely have budget constraints and want to save money where possible. Don’t worry, we can help with all of this!
We’ll show you how to fix common misconfigurations that cause higher-than-expected user counts, and how to identify accounts which you can deactivate to save money. There are also frequent patterns that can cause unnecessary cost, like using a person document instead of a mail-in for shared mailboxes. We’ll provide examples and solutions for those as well. And naturally we’ll explain the new licensing model.
Join HCL Ambassador Marc Thomas in this webinar with a special guest appearance from Franz Walder. It will give you the tools and know-how to stay on top of what is going on with Domino licensing. You will be able lower your cost through an optimized configuration and keep it low going forward.
These topics will be covered
- Reducing license cost by finding and fixing misconfigurations and superfluous accounts
- How do CCB and CCX licenses really work?
- Understanding the DLAU tool and how to best utilize it
- Tips for common problem areas, like team mailboxes, functional/test users, etc
- Practical examples and best practices to implement right away
Best 20 SEO Techniques To Improve Website Visibility In SERPPixlogix Infotech
Boost your website's visibility with proven SEO techniques! Our latest blog dives into essential strategies to enhance your online presence, increase traffic, and rank higher on search engines. From keyword optimization to quality content creation, learn how to make your site stand out in the crowded digital landscape. Discover actionable tips and expert insights to elevate your SEO game.
Dr. Sean Tan, Head of Data Science, Changi Airport Group
Discover how Changi Airport Group (CAG) leverages graph technologies and generative AI to revolutionize their search capabilities. This session delves into the unique search needs of CAG’s diverse passengers and customers, showcasing how graph data structures enhance the accuracy and relevance of AI-generated search results, mitigating the risk of “hallucinations” and improving the overall customer journey.
How to Get CNIC Information System with Paksim Ga.pptxdanishmna97
Pakdata Cf is a groundbreaking system designed to streamline and facilitate access to CNIC information. This innovative platform leverages advanced technology to provide users with efficient and secure access to their CNIC details.
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
As the digital landscape continually evolves, operating systems play a critical role in shaping user experiences and productivity. The launch of Nitrux Linux 3.5.0 marks a significant milestone, offering a robust alternative to traditional systems such as Windows 11. This article delves into the essence of Nitrux Linux 3.5.0, exploring its unique features, advantages, and how it stands as a compelling choice for both casual users and tech enthusiasts.
Let's Integrate MuleSoft RPA, COMPOSER, APM with AWS IDP along with Slackshyamraj55
Discover the seamless integration of RPA (Robotic Process Automation), COMPOSER, and APM with AWS IDP enhanced with Slack notifications. Explore how these technologies converge to streamline workflows, optimize performance, and ensure secure access, all while leveraging the power of AWS IDP and real-time communication via Slack notifications.
Driving Business Innovation: Latest Generative AI Advancements & Success StorySafe Software
Are you ready to revolutionize how you handle data? Join us for a webinar where we’ll bring you up to speed with the latest advancements in Generative AI technology and discover how leveraging FME with tools from giants like Google Gemini, Amazon, and Microsoft OpenAI can supercharge your workflow efficiency.
During the hour, we’ll take you through:
Guest Speaker Segment with Hannah Barrington: Dive into the world of dynamic real estate marketing with Hannah, the Marketing Manager at Workspace Group. Hear firsthand how their team generates engaging descriptions for thousands of office units by integrating diverse data sources—from PDF floorplans to web pages—using FME transformers, like OpenAIVisionConnector and AnthropicVisionConnector. This use case will show you how GenAI can streamline content creation for marketing across the board.
Ollama Use Case: Learn how Scenario Specialist Dmitri Bagh has utilized Ollama within FME to input data, create custom models, and enhance security protocols. This segment will include demos to illustrate the full capabilities of FME in AI-driven processes.
Custom AI Models: Discover how to leverage FME to build personalized AI models using your data. Whether it’s populating a model with local data for added security or integrating public AI tools, find out how FME facilitates a versatile and secure approach to AI.
We’ll wrap up with a live Q&A session where you can engage with our experts on your specific use cases, and learn more about optimizing your data workflows with AI.
This webinar is ideal for professionals seeking to harness the power of AI within their data management systems while ensuring high levels of customization and security. Whether you're a novice or an expert, gain actionable insights and strategies to elevate your data processes. Join us to see how FME and AI can revolutionize how you work with data!
Unlocking Productivity: Leveraging the Potential of Copilot in Microsoft 365, a presentation by Christoforos Vlachos, Senior Solutions Manager – Modern Workplace, Uni Systems
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?Speck&Tech
ABSTRACT: A prima vista, un mattoncino Lego e la backdoor XZ potrebbero avere in comune il fatto di essere entrambi blocchi di costruzione, o dipendenze di progetti creativi e software. La realtà è che un mattoncino Lego e il caso della backdoor XZ hanno molto di più di tutto ciò in comune.
Partecipate alla presentazione per immergervi in una storia di interoperabilità, standard e formati aperti, per poi discutere del ruolo importante che i contributori hanno in una comunità open source sostenibile.
BIO: Sostenitrice del software libero e dei formati standard e aperti. È stata un membro attivo dei progetti Fedora e openSUSE e ha co-fondato l'Associazione LibreItalia dove è stata coinvolta in diversi eventi, migrazioni e formazione relativi a LibreOffice. In precedenza ha lavorato a migrazioni e corsi di formazione su LibreOffice per diverse amministrazioni pubbliche e privati. Da gennaio 2020 lavora in SUSE come Software Release Engineer per Uyuni e SUSE Manager e quando non segue la sua passione per i computer e per Geeko coltiva la sua curiosità per l'astronomia (da cui deriva il suo nickname deneb_alpha).
Climate Impact of Software Testing at Nordic Testing DaysKari Kakkonen
My slides at Nordic Testing Days 6.6.2024
Climate impact / sustainability of software testing discussed on the talk. ICT and testing must carry their part of global responsibility to help with the climat warming. We can minimize the carbon footprint but we can also have a carbon handprint, a positive impact on the climate. Quality characteristics can be added with sustainability, and then measured continuously. Test environments can be used less, and in smaller scale and on demand. Test techniques can be used in optimizing or minimizing number of tests. Test automation can be used to speed up testing.
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/building-and-scaling-ai-applications-with-the-nx-ai-manager-a-presentation-from-network-optix/
Robin van Emden, Senior Director of Data Science at Network Optix, presents the “Building and Scaling AI Applications with the Nx AI Manager,” tutorial at the May 2024 Embedded Vision Summit.
In this presentation, van Emden covers the basics of scaling edge AI solutions using the Nx tool kit. He emphasizes the process of developing AI models and deploying them globally. He also showcases the conversion of AI models and the creation of effective edge AI pipelines, with a focus on pre-processing, model conversion, selecting the appropriate inference engine for the target hardware and post-processing.
van Emden shows how Nx can simplify the developer’s life and facilitate a rapid transition from concept to production-ready applications.He provides valuable insights into developing scalable and efficient edge AI solutions, with a strong focus on practical implementation.
Infrastructure Challenges in Scaling RAG with Custom AI modelsZilliz
Building Retrieval-Augmented Generation (RAG) systems with open-source and custom AI models is a complex task. This talk explores the challenges in productionizing RAG systems, including retrieval performance, response synthesis, and evaluation. We’ll discuss how to leverage open-source models like text embeddings, language models, and custom fine-tuned models to enhance RAG performance. Additionally, we’ll cover how BentoML can help orchestrate and scale these AI components efficiently, ensuring seamless deployment and management of RAG systems in the cloud.
Infrastructure Challenges in Scaling RAG with Custom AI models
Edit decision list
1. EDIT DECISION LIST
Name: Samantha Jewiss & Louise Heathorn
Good
Camera Length Camera operator, with any comments /
Shot type / angle / movement or bad
Code. (mm:ss) descriptions of shot
take
Cam = Louise Heathorn
Two Shot; Mid Shot / Eye
1 00:46 Bad Characters talking to each other. Cat disrupts
Level
scene.
Cam = LH
Two Shot; Mid Shot / Eye
2 01:58 Good Characters talking to each other. Only specific
Level
parts will be used.
Cam = LH
Two Shot; Mid Shot / Eye
3 01:37 Good Characters talking to each other. Only specific
Level
parts will be used.
Cam = LH
Two Shot; Mid Shot / Eye
4 03.10 Good Characters talking to each other. Only specific
Level
parts may be used.
Cam = SJ
Establishing Shot / High Angle /
5 00:21 Good Cars along motorway. Beginning of clip may be
Zoom In-Out
used.
Cam = SJ
6 00:12 Establishing Shot / Eye Level Bad Shot of sky. Will not be used because the clip is
too dark.
Cam = SJ
Establishing Shot / High Angle /
7 00:22 Bad Cars along motorway. The shot is too shaky to
Zoom In-Out
use.
Cam = SJ
Establishing Shot / High Angle /
8 00:24 Good Cars along motorway. Only specific parts may be
Zoom In-Out
used.
Cam = SJ
Establishing Shot / High Angle /
9 00:56 Good Cars along motorway. Only the ending may be
Zoom In-Out
used.
Cam = LH
10 00:16 Two Shot / Eye Level Bad
Characters asleep. Actor is blinking.
Cam = LH
11 00:16 Two Shot / Eye Level Good
Characters asleep. A few seconds may be used.
Cam = LH
12 00:16 Two Shot / Eye Level Bad Characters asleep. Actor laughs and the camera
angle does not show the scene well.
Cam = LH
Two Shot; Mid Shot / Eye Characters creating a home video. Use of photo
13 00:13 Bad
Level camera instead of video camera prop does not
portray the scene well. Bad lighting.
Cam = LH
Characters creating a home video. Use of photo
14 00:14 Two Shot; Mid Shot/ Eye Level Bad
camera instead of video camera prop does not
portray the scene well.
Cam = LH
Two Shot; Mid Shot/ High
15 00:41 Good Characters creating a home video. Actors are
Angle
natural.
Cam = SJ
16 00:36 Two Shot; Close Up Good Clip is recorded in a personal home video style.
May use specific parts for flashback scenes.
2. Two Shot; Mid Shot / Eye Cam = LH
17 00:48 Bad
Level Actors are having a dispute. Actors are laughing.
Cam = LH
Two Shot; Mid-Shot / Eye Actors are having a dispute. Actors are laughing
18 00:24 Bad
Level and not following stage directions. Actors look at
camera and director.
Cam = LH
Two Shot; Mid Shot / Eye
19 00:26 Bad Actors are having a dispute. Actors are not
Level
following stage directions and looking at camera.
Cam = LH
Two Shot; Mid Shot / Eye
20 00:29 Bad Actors are having a dispute. Actor looks at
Level
camera, laughing.
Cam = LH
Two Shot; Mid Shot / Eye
21 00:19 Bad Actors are having a dispute. Camera pans to right
Level
in a non-fluid motion. Actor is laughing.
Cam = LH
Two Shot; Mid-Shot / Eye
22 1:34 Bad Actors are having a dispute. Actors do not follow
Level
stage directions, look at camera, laughing.
Cam = LH
23 00:17 Mid Shot / Eye Level Bad Actor storm out of house. Camera and actors
were not ready to film clip.
Cam = LH
24 00:14 Mid Shot / Eye Level Bad Actor storm out of the house. Actors did not
follow stage directions.
Cam = LH
Actor storms out of house. Actress laughs and is
25 00:18 Mid Shot / Eye Level Bad
not in position when clip begins.
Cam = LH
26 00:17 Mid Shot / Eye Level Good Actor storms out of house. Good clip until end
where actress laughs but might be able to use.
Cam = LH
27 00:10 Long Shot / Eye Level Bad
Actors are preparing for scene – cannot use.
Cam = LH
28 00:07 Long Shot / Eye Level Bad
Actors are not ready for scene – cannot use.
Cam = LH
29 00:23 Mid Shot / Eye Level Good Actors are having a dispute before actor storms
out. Can use specific parts.
Cam = LH
30 02:07 Mid Shot / Eye Level Good Actors are having a dispute before actor storms
out. Can use specific parts.
Cam = LH
31 00:29 Long Shot Bad Actor storms out of house (camera exterior). Does
not look natural, actor laughs.
Cam = LH & SJ
32 00:15 Extreme Long Shot / Eye Level Bad Actor is smoking through patio door.
Dog in scene. Actor doesn’t follow script.
Cam = LH & SJ
33 01:22 Extreme Long Shot / Eye Level Good Actor is smoking through patio door. Can use
parts of the clip.
Cam = SJ
34 01:35 Mid Shot / Eye Level Good Actor is smoking through patio door. Can use
parts of the clip.
3. Cam = LH
35 00:39 Two Shot / Eye Level Good Actors arguing in car. Can use parts of the clip.
Cam = LH
36 00:13 Two Shot / Eye Level Bad
Actors arguing in car. Actors do not follow script.
Cam = LH
37 00:11 Two Shot / Eye Level Bad
Actors arguing in car. Actors do not follow script.
Cam = LH
38 00:24 Medium Close Up / Low Angle Good Actor arguing with partner and follows script
well. Will be used.
Cam = LH
39 00:09 Medium Close Up / Eye Level Bad Actor arguing with partner. Will not be used
because of poor camera work.
Cam = LH
40 01:21 Medium Close Up / Eye Level Good Actor arguing with partner. Can only use specific
parts.
Cam = LH
41 00:24 Two Shot / Eye Level Good
Actor arguing with partner. Will be used.
Establishing Shot / Side Cam = LH
42 01:34 Bad
Tracking Irrelevant to narrative.
Cam = LH
43 00:21 Two Shot / Eye Level Good
Will be used, the script is followed well.
Cam = LH
44 00:12 Two Shot / Medium Close Up Bad
Will not be used, as the footage is too shakey.
Cam = LH
45 00:18 Two Shot / Medium Close Up Good
Talking on train. Can only use parts.
Cam = LH
46 00:10 Two Shot / Medium Close Up Bad
Talking on a train. Camera is too shaky to use.
Cam = LH
47 00:11 Establishing Shot / Eye Level Good
Around Covent garden. Can use parts of it.
Cam = SJ
48 00:35 Establishing Shot / Eye Level Good
Around Covent Garden. Can use parts of video.
Cam = SJ
49 00:32 Establishing Shot / Eye Level Good
Cars driving in street. Will use parts of the clip.
Cam = SJ
50 00:37 Wide Shot / Low Angle Good Shot of statue. Will use parts as a quick
establishing shot.
Cam = LH
51 00:26 Extreme Long Shot / Eye Level Good Setting shot Green Park and actors walking to
look at map. Can use parts of the clip.
Cam = LH
Two Shot; Mid Shot / Eye
52 00:11 Good Actors looking at map. Can use specific sections
Level
of the clip.
4. Cam = LH
Two Shot / Mid Close Up / Eye
53 00:23 Good Actors talking and looking at map. Can use
Level
specific sections of the clip.
Cam = LH
54 00:30 Mid Shot / Eye Level Good Actor talking to the camera in a personal home
video style. Can use parts of the clip.
Cam = SJ
55 00:17 Mid Shot / Low Angle Good Actor talking to the camera in a personal home
video style. Can use parts of the clip.
Cam = SJ
56 00:16 Close Up / Low Angle Good Actor talking to the camera in a personal home
video style. Can use parts of the clip.
Cam = LH
Two Shot / Mid Shot / Eye
57 01:10 Good Actors are talking in Camden. Can use parts of
Level
the clip for a flashback.
Cam = SJ
Establishing Shot / Eye Level / Shot of river in Camden, London. Camera is not
58 00:35 Bad
Panning steady and a wooden pole obstructs part of the
scene.
Cam = SJ
59 00:07 Close Up / Low Angle Good Personal home style video recording. Can use
parts of the clip.
Cam = LH
Two Shot / Mid Shot / Eye
60 00:35 Good Actors are talking. Can use the latter half of the
Level
clip as the start is unusable.
Cam = LH
Establishing Shot / Eye Level /
61 00:21 Bad Shot of river in Camden, London. Camera is not
Panning
steady enough for clip to be used.
Two Shot / Mid Shot / Eye Cam = LH
62 00:46 Good
Level Actors are talking. Can use part of the clip.
Cam = LH
63 00:11 Close Up / High Angle Good Clip of the couple linking arms. Can be used as
part of the flashback.
Cam = LH
Two Shot / Close Up / Eye
64 00:10 Good Actors talking. Can be used as part of the
Level
flashback.
Cam = LH
Actor is talking. Poor camera work as the focus is
65 00:04 Close Up / Eye Level Bad
on the background instead of the actor in the
foreground.
Cam = LH
66 00:04 Mid Shot / Eye Level Bad Lion statue. Not relevant to the narrative and isn’t
a good angle of the statue.
Cam = LH
67 00:32 Mid Shot / Eye Level Bad Actor talking to the cameraperson. Continuity
error if used.
Cam = LH
68 00:15 Eye Level Bad
Black screen – filming in dark/poor lighting.
Cam = LH
69 00:39 Long Shot / Eye Level Good Group of actors playing with sparklers. Can use
parts of the clip.
Cam = LH
70 00:10 Two Shot / Eye Level Good Group of actors playing with sparklers. Can use
parts of the clip.
5. Cam = LH
71 00:47 Two Shot / Eye Level Good Group of actors playing with sparklers. Can use
parts of the clip.
Cam = LH
72 00:31 Two Shot / Eye Level Good Group of actors playing with sparklers. Can use
parts of the clip.
Cam = LH
Two Shot / Over The Shoulder /
73 00:29 Good Two actors talking by the fireplace. Will use parts
Eye Level
of the footage.
Cam = LH
74 00:18 Over The Shoulder / Eye Level Good Actor talking by the fireplace. Can use parts of
the footage.
Cam = LH
75 00:08 Medium Close Up / Eye Level Good
Actor talking by the fireplace. Parts may be used.
Cam = LH
76 00:09 Close Up / Eye Level Good Actor talking by the fireplace. Can use the end of
the clip.
Cam = LH
Two Shot / Mid Shot / Eye
77 00:29 Bad Two actors talking by the fireplace. Didn’t follow
Level
the script.
Cam = LH
Actor talking by the fireplace. Cannot use
78 00:17 Close Up / Eye Level Bad
because another person on set disrupts the
filming.
Cam = LH
Two Shot / Mid Shot / Eye
79 00:59 Bad Two actors talking. Will not be used because of
Level
unnecessary props in the background.
Cam = LH
Two actors talking by the fireplace. Practice shot
80 00:15 Two Shot / Panning / Eye Level Bad
for panning and will not be used because the
camera movement is not fluent.
Cam = LH
81 00:16 Two Shot / Panning / Eye Level Bad Two actors talking by the fireplace. Cannot be
used because the camera movement is too quick.
Cam = LH
Two Shot / Panning / Zoom / Two actors talking by the fireplace. Practice shot
82 01:40 Good
Eye Level for zoom in/out and panning. Parts of the clip can
be used.
Cam = LH
Extreme Long Shot / Zoom /
83 00:27 Good Actors walking across field. Parts of the clip can
Eye Level
be used.
Cam = LH
Extreme Long Shot / Panning /
84 00:25 Good Actors walking across field. Parts of the clip can
Low Level
be used.
Cam = LH
Extreme Long Shot / Panning /
85 00:24 Good Actors walking across field. Parts of the footage
Low Level
can be used.
Cam = LH
86 00:14 Mid Shot / Zoom / Low Level Good Actor looking into distance. May use the
beginning of the clip.
Cam = LH
87 00:21 Mid Shot / Low Level Good Actor looking into distance. Can use beginning
and end of the footage.
Cam = LH
88 00:12 Two Shot / Panning / Eye Level Good Actors looking into distance. Can use parts of the
clip.
6. Cam = LH
89 00:19 Two Shot / Panning / Eye Level Bad Actors looking into distance. Will not use because
the camera movement is not fluent.
Cam = LH
90 00:18 Two Shot / Panning / Eye Level Good Actors looking into distance. Can use parts of the
clip.
Cam = LH
Two Shot / Mid Shot / Eye
91 00:16 Bad Actors lying on sofa. Cannot be used because
Level
actor looks at the camera.
Cam = LH
92 00:24 Two Shot / Long Shot / Zoom Good
Actors lying on the sofa. Can be used.
Cam = LH
Two Shot / Mid Shot / Eye
93 00:27 Good Actors lying on the sofa. The script was followed
Level
well, can be used.
Two Shot / Medium Close Up / Cam = LH
94 00:45 Good
Eye Level Actors lying on the sofa. Can use parts of the clip.
Cam = LH
95 00:19 Close Up / Eye Level Good
Actors lying on the sofa. Can use parts of the clip.
Cam = LH
Two Shot / Extreme Long
96 00:14 Good Actors walking down the street. The script was
Shot / Eye Level
followed well and can be used.
Cam = LH
Two Shot / Long Shot / Eye
97 00:16 Good Actors walking down the street. Can use parts of
Level
the clip.
Cam = LH
Two Shot / Long Shot / Low
98 00:21 Bad Actors walking into house. Cannot be used
Level
because the door could not be opened.
Cam = LH
Two Shot / Long Shot / Low
99 00:22 Bad Actors walking into house. Cannot be used
Level
because the keys were left in the door.
Cam = LH
Two Shot / Long Shot / Low
100 00:24 Good Actors walking into house and can be used
Level
because the script was followed correctly.
Cam = LH
Two Shot / Mid Shot / Panning /
101 00:38 Good Actor walks into room and looks at photographs.
Eye Level
All of this footage can be used.
Cam = LH
Side Angle / Mid Shot / Low
102 00:10 Good Actor looking at a photograph. The entire clip can
Level
be used.
Cam = LH
Over The Shoulder / High
103 00:11 Good Actor looking at a photograph. The whole clip
Angle
can be used.
Cam = LH
Two Shot / Mid Shot/ Eye Actor rips images off of the wall and the other
104 01:02 Bad
Level consoles her. Script was followed but not
rehearsed.
Cam = LH
Two Shot / Mid Shot / Eye
105 00:33 Good Actor rips images off of the wall and the other
Level
consoles her. The footage can be used.
Cam = LH
Two Shot / Close Up / Eye
106 00:07 Good Actors hugging each other. Parts of the clip can
Level
be used.
7. Cam = SJ
Zoom out of photograph left on the wall. Cannot
107 00:14 Establishment Shot / Zoom Bad
be used because the shot was zoomed out of too
quickly.
Cam = SJ
Establishment Shot / Track /
108 00:21 Good Zoom out of photograph left on the wall. Can use
Panning
the shot.
Cam = LH
109 00:07 Long Shot / Eye Level Good Actor sitting in the bedroom. Parts of the clip can
be used.
Cam =LH
110 00:17 Mid Shot / High Angle / Zoom Good
Actor sitting in the bedroom. Parts may be used.
Cam = LH
111 00:13 Mid Shot / Panning / Eye Level Good
Actor sitting in the bedroom. Parts may be used.
Cam = LH
112 00:15 Mid Shot / Panning / Eye Level Good
Actor sitting in the bedroom. Parts may be used.
Mid Shot / Panning / Tilt / Eye Cam = LH
113 00:41 Good
Level Actor in the bathroom. The full clip can be used.