Sentences with phrase «other camera man»

«Hors - Champs», a video filmed «live» by STAN DOUGLAS and one other camera man, records the performance of four American musicians playing a Free Jazz composition.

Not exact matches

Education for chastity, on the other hand, can teach boys to grow to be «real men», offer them a noble understanding of their own masculine sexual identity, and give them a chance to avoid falling into the cycle of sexual addiction offered by pornography on their camera phones and computers.

Cameron and his team of engineers outfitted the DEEPSEA CHALLENGER with cutting - edge flotation mechanisms and energy storage systems, along with cameras, lighting and other features specifically tailored for gathering data, samples and images during the first manned mission to the deepest recess of the Mariana Trench.

SAY NO to: drugs, alcohol in excessive amounts, eating disorders, sheer skirts, boys with video cameras, the jonas brothers, girls who need to be told every other five minutes that they are pretty, emotionally distant boys that act like jerks to get attention, professional athletes, way older men, bobby brown, paris hilton, and lindsay lohan.

in additions with applications such as Line or WhatsApp or Skype and other video tools, it's also possible for older women seeking younger men to chat in real time and see their potential partner on camera

Dating is a stage of romantic relationships in humans whereby two people meet socially with the aim of each assessing the other's suitability as a Good Guy Greg (GGG) is an advice animal image macro series featuring a photo of a square - jawed man smiling at the camera with a marijuana cigarette in his

The cameras are taken into the heart of the action, getting up close and personal with the band as they perform genre - defining hits, from «Iron Man'to «Paranoid» to «War Pigs», among others.

Union and Confederate soldiers impale one another with bayonets and beat each other with their bare fists, as Spielberg's camera scans the multitude, revealing more than a few African - American faces amongst the men in blue uniforms.

Attack of the Killer Donuts is directed by an American filmmaker named Scott Wheeler, who is also an experienced special / digital effects supervisor, camera operator, producer, and second unit director, plus director of a few other bad horror films previously including Martian Land, Transmorphers: Fall of Man, Sink Hole, and Avalanche Sharks.

0:00 — Intro 4:05 — Headlines: Karl Urban is the New Judge Dredd, Sam Worthington to Star in Commando Remake, Terminator 3 - D Animated Remake, Lights Camera Jackson: The - 11 Year - Old Film Critic 20:35 — Review: The Expendables 57:45 — Review: Scott Pilgrim vs. The World 1:47:30 — Trailer Trash: Skyline, Enter the Void, Unstoppable 2:03:30 — Other Stuff We Watched: BBC's Sherlock, Man v Food: Season 3, Lock Up, 12th & Delaware, Marooned, Billion Dollar Brain, Cropsey, Johnny Handsome, Until the Light Takes Us, And the Pursuit of Happiness, The Last Lovecraft, Mad Monkey Kung Fu, Standard Operating Procedure, Spartan, Master and Commander: The Far Side of the World, Cobra 3:05:45 — Junk Mail: Film Junk Mega Mix, Favourite and Best Actors, Devil Trailer, Movies with Right Wing Agendas, TIFF Tips 3:26:20 — Twitter Poll: Why did Scott Pilgrim Fail at the Box Office?

They were reunited in 2002 on «Gerry,» by which time Blauvelt was working as first assistant camera, and he went on to work with him either as first assistant or camera operator on «Elephant,» «Last Days,» «Zodiac,» «Margot At The Wedding,» «Greenberg» and «Restless,» while also operating camera on «Where The Wild Things Are,» «A Single Man» and «I'm Still Here,» among others.

In contrast to principles of classical Hollywood cinema, the camera in Children of Men does not remain wholly subordinate to the presentation of Theo; rather, it asserts the necessity of recognizing what he and other characters refuse to see.

But by the same token, the actual men in front of the camera, nonprofessionals picked up on the spur of the moment, don't realize that they're in a movie — and that they're being chatted up by none other than Scarlett Johansson.

Raimi's collaborator behind the camera was cinematographer Bill Pope, who at the time had shot only one other feature (1989's Death Doll), but = would go on to shoot the highly influential The Matrix trilogy (1999 — 2003), Raimi's three Spider - Man films, and several of Edgar Wright's films, including, most recently, Baby Driver (2017).

The camera backs slowly away from Barbara Jean, then reverse - cuts, disclosing the small assembly in the chapel: Barnett, waiting for it all to be over; an earnest young girl nodding and moving her lips in accompaniment to that voice; a group of mostly aged friends and relatives of other hospital inmates; and two men, Mr. Green (Keenan Wynn) and Pfc. Kelly (Scott Glenn), keeping what will turn out to be deathwatches over the crucial women in their respective lives.

This is another Fox production in CinemaScope, directed by Henry Koster, the man behind the camera for other Fox Scope productions such as «The Robe,» «Desiree,» and, God bless him and Debra Paget, «Stars and Stripes Forever.»

A young man sits on a bed in a dilapidated house, looking into the camera of his laptop and trying to convince an unseen people on the other end that they should pay to watch him pleasure himself and maybe send him a gift if they like it, and on the other end of that online chat, a female reporter does the one thing the young man doesn't expect: ask him about his life.

The depressing statistics don't take away from the great work those women are doing behind the camera, nor does it subtract from the excellent performances in front of the camera by current Emmy nominees like Viola Davis of How to Get Away with Murder, Taraji P. Henson of Empire, Elisabeth Moss of Mad Men, Amy Poehler of Parks and Recreation, Jessica Lange of American Horror Story or any of the other women who are up for awards tonight.

Le Petit chaperon rouge (Little Red Riding Hood)(1929) France Director: Alberto Cavalcanti, Producer: Jean Renoir Screenplay: Jean Renoir, Alberto Cavalcanti, from the story by Charles Perrault Photography: Marcel Lucien, René Ribault; Camera Operator: Jimmy Rogers; Assistant: Eli Lotar Editor: Marguerite Houlé Assistant Directors: Pierre Prévert and André Cerf Cast: Catherine Hessling (Little Red Riding Hood), Jean Renoir (the Wolf), André Cerf (Notary), Pierre Prévert (a little girl and other parts), Pablo Quevado (Young Man), Marcel la Montagne (Farmer), Odette Talazac (Farmer's Wife), William Aguet (old Englishwoman), Aimée Tedesco dit Amy Wells (newspaper seller)

Since 1987 he's been in a few other movies, but has spent the majority of his time behind the camera writing and directing movies such as Iron Man 3, Kiss Kiss Bang Bang, The Monster Squad, Last Action Hero, and Lethal Weapon.

Other standard technology features including cruise control with speed limiter function, sat - nav, a reversing camera and dual - zone climate control do their part to distract from the smaller 5.0 - inch screen and keyed ignition, and the busy man / machine interface.

Shimmering, she approached the podium, the sweater's gold links ricocheting sparks of light, glowing as she slowly moved, not missing a moment of adulation... It was a spectacle, every man with a camera jostling the others to get a better shot at Mabel, her diamonds sparkling pools of light at her throat, fingers, and wrists.

Man, I always get so jealous when I see other people using using video cameras that are way better than mine.

Interestingly, Sony Magic Lab's Richard Marks, the man behind the EyeToy camera and the PlayStation move, said the headset wouldn't just be a platform for games but for other experiences, as well.

There is a crafty aspect to the work Personal Protocols and Other Preferences, which takes do - it - yourself techniques seriously as a way of questioning what is standard, whether it is man - made machines, videos filmed with a handheld camera, or textile - like collages.

The intimate image dialogue between one celebrated photographer and another is an explicit theme of this exhibition with highlights including a portrait of Eugene Atget by Berenice Abbott, Lee Miller by Man Ray, Man Ray by David Bailey, Helmut Newton by Herb Ritts, Bruce Weber by Horst, Henri Cartier - Bresson by Arnold Newman, and Andy Warhol by Sir Cecil Beaton among other remarkable examples which capture significant 20th - century figures who are usually behind the camera.

It is certainly true that Rosemarie Trockel: A Cosmos presents many other names, among them the self - taught bird collagist James Castle, and the camera - man Ladislaw Starewicz who made the quaint beetle film in 1912.

It was filmed in color on 16 mm with two cameras, manned by Andy Warhol and Paul Morrissey, and featured Superstars Viva, Taylor Mead, Louis Waldon, Joe Dallesandro, Tom Hompertz, Ingrid Superstar, and Eric Emerson, plus Nawana Davis and others.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Baker's essays on surrealism, photography, and contemporary art have been widely published, and he has curated the following exhibitions: Undercover Surrealism: Georges Bataille and Documents (Hayward, London, 2006); Close - up: Proximity and Defamiliarisation in Art, Film and Photography (Fruitmarket, Edinburgh, 2008); Exposed: Voyeurism, Surveillance and the Camera (with Sandra Phillips, Tate Modern, 2010); Taryn Simon: A Living Man Declared Dead and Other Chapters I - XVIII (Tate Modern, 2011); and William Klein + Daido Moriyama (Tate Modern, 2012).

Hai Bo's «The Northern No. 7» and Wang Ningde's «Some Days No. 9» offer stark counterpoints to each other; in the former, a man bicycles toward the viewer on a rural road, surrounded by emptiness, while in the latter, a man and his young son stand in grayness, their backs to the camera, as trains pass by on either side.

Two figures, one in disconcertingly martial camouflage, the other wearing what looks like a woolly hat, but is apparently supposed to represent his brain, were inspired by people seen at an ice hockey match in New York, while a top - knotted figure pointing a video camera hints overtly at the current impulse to photograph distressing scenes rather than intervene — as in the recent incident when American youths laughed at and filmed a drowning man.

His transition from camera to scanner was inspired by Man Ray, a 20th century modernist artist known for his photography works created with different approaches other than the camera.

He was an optical engineer who repaired aircraft instruments in Alaska in WWII, a mountain man who could turn a canoe into a sailboat with a folding machete, bed sheets and a few sticks, who taught me diffraction, color theory and relativity on paper when other kids were learning multiplication tables, who designed a potentiometer that went to the Moon by pointing the world's fastest camera at the world's fastest oscilloscope, who designed those traffic lights which only appear bright when you are in the appropriate lane, who didn't have to help me at all when I built my own Heathkit dual - channel scope in grade school, nor had to help me program my Apple II in machine language, who quit Honeywell to work for 3M when the Space Program turned into the nuclear missile program, who studied mining geology in college after growing up in a mining town in Utah, it was he who taught me, early on: make sure your contraption works!

This year we also conducted interviews of Techshow speakers and other legal technology and practice management experts at our booth as Chad Sands manned the camera.

The camera software could do with some polishing, the screen doesn't fill up the entire front of the device and you may be getting faster LTE on other devices with the same chipset, but man.