Emanuel

Early influence of the cinéma vérité style Between 1958 and 1961 Kroitor co-directed, with Wolf Koenig, the Candid Eye direct cinema documentary series for the National Film Board. One of those films became the highly influential cinéma vérité-style documentary about singer Paul Anka: Lonely Boy.[1] This film's use of portable film and sound gear, with lack of a voice over narration, would influence later documentaries like D.A. Pennebaker's 1967 Bob Dylan feature Dont Look Back and even more closely the Peter Watkins 1967 film Privilege. Lonely Boy was one of the earliest examples of a rockumentary[citation needed] and was parodied in the comedy This Is Spinal Tap.[citation needed] Other notable films Kroitor directed or co-directed in the cinema verite style included Glenn Gould: On the Record, Glenn Gould:Off the Record, Stravinsky, among many others. Founder of IMAX Kroitor exhibited a large-scale multi-screen work, Labyrinth, at Expo 67 in Montreal. In the same year he co-founded the Multiscreen Corporation, which later became the IMAX Corporation. The Multivision process, which was a response to Kroitor's experiences at Expo 67, was developed for the Osaka Expo '70 and involved 70mm film projected horizontally rather than vertically. Each frame was as large as a postcard, with 15 sprocket-holes.[4] He produced the first IMAX film, Tiger Child, in 1970 (dir. Donald Brittain), and in 1990 he co-directed the first IMAX feature film, Rolling Stones: At the Max. He also produced the first IMAX stereoscopic (S3D) film, We Are Born of Stars, anaglyph, 1985, and co-produced the first full-color OMNIMAX (IMAX Dome) S3D film, Echoes of the Sun, alternate-eye, 1990.[1] Creator of hand-drawn stereoscopic animation While working to create traditional (actuality) and early CG films in a stereoscopic format, Kroitor became frustrated due to the lack of direct interaction between the desires of the (right-brained) artists and the results on film, because at the time everything had to pass through the (left-brained) mathematicians and programmers. He conceived of SANDDE as a way to allow the artists to directly draw, in full stereoscopic 3D, what they wanted the audience to see. Originator of "The Force" Roman Kroitor was credited by George Lucas, creator of the Star Wars films, as being the origin of the concept of the Force, an important thematic element tying together all the Star Wars films. "One of the audio sources Lipsett sampled for 21-87 [a film that had a great influence on Lucas] was a conversation between artificial intelligence pioneer Warren S. McCulloch and Roman Kroitor, a cinematographer who went on to develop IMAX. In the face of McCulloch's arguments that living beings are nothing but highly complex machines, Kroitor insists that there is something more: 'Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us, and they call it God.'"[1] "When asked if this was the source of 'the Force,' Lucas confirms that his use of the term in Star Wars was 'an echo of that phrase in 21-87.'" Filmography Age of the Beaver, 1952 (editor) Rescue Party, 1952 (director) Paul Tomkowinkz: Street-railway Switchman, Faces of Canada/Snowscapes series, 1952 (director; co-writer with Stanley Jackson; co-editor and co-producer with Tom Daly) Farm Calendar, 1955 (director; writer) To Serve the Mind, Documentary Showcase/Mental Health series, 1955 (co-writer with Stanley Jackson) Introducing Canada, 1956 (co-editor with Tom Daly) L’Année B la ferme, 1957 (director; writer) City of Gold, Documentary Showcase series, 1957 (co-writer with Pierre Berton, Robert Choquette) The Great Plains, Canadian Geography series, 1956 (director; editor) It's a Crime, Documentary Showcase/Snowscapes series, 1957 (writer) Blood and Fire, Candid Eye series, 1958 (co-producer with Wolf Koenig) Country Threshing, Candid Eye series, 1958 (co-producer with Wolf Koenig) The Days Before Christmas, Candid Eye series, 1958 (co-editor with René Laporte, Wolf Koenig; co-producer with Wolf Koenig) A Foreign Language, Candid Eye series, 1958 (co-producer with Wolf Koenig) Memory of Summer, Candid Eye series, 1958 (co-producer with Wolf Koenig) Pilgrimage, Candid Eye series, 1958 (co-producer with Wolf Koenig) Police, Candid Eye series, 1958 (co-producer with Wolf Koenig) The Back-breaking Leaf, Candid Eye/Documentary 60 series, 1959 (co-producer with Wolf Koenig) La Battaison, 1959 (co-producer with Wolf Koenig) The Canadians, 1959 (executive producer) Emergency Ward, Candid Eye/Documentary 60 series, 1959 (co-producer with Wolf Koenig) End of the Line, Candid Eye/Documentary 60 series, 1959 (co-producer with Wolf Koenig) Glenn Gould – Off the Record, Candid Eye/Documentary 60 series, 1959 (co-director and co-producer with Wolf Koenig) Glenn Gould – On the Record, Candid Eye/Documentary 60 series, 1959 (co-director and co-producer with Wolf Koenig) The Cars in Your Life, Candid Eye/Documentary 60 series, 1960 (co-producer with Wolf Koenig) a.k.a. a Down and 24 Months to Pay I Was a Ninety-pound Weakling, Documentary 60 series, 1960 (co-producer with Wolf Koenig) Universe, 1960 (co-director with Colin Low; writer) The Days of Whiskey Gap, 1961 (co-producer with Wolf Koenig) Festival in Puerto Rico, Candid Eye series, 1961 (co-director and co-editor with Wolf Koenig; producer) Lonely Boy, 1961 (co-director with Wolf Koenig; producer) University, Explorations series, 1961 (co-producer with Wolf Koenig) The Living Machine, Explorations series, 1961 (director; co-producer with Tom Daly) Above the Horizon, 1964 (co-director with Hugh O’Connor; co-producer with Hugh O’Connor, Tom Daly) Canadian Businessmen, 1964 (co-director with Wolf Koenig) The Hutterites, 1964 (co-producer with Tom Daly) Legault’s Place, 1964 (co-producer with Tom Daly) Nobody Waved Goodbye, 1964 (co-producer with Donald Owen) Toronto Jazz, 1964 (producer) The Baymen, NFB Presents series, 1965 (co-producer with Peter Jones) Stravinsky, 1965 (co-director with Wolf Koenig; producer) Two Men of Montreal, 1965 (co-producer with Donald Brittain, John Kemeny, Tom Daly) Little White Crimes, NFB Presents series, 1966 (co-producer with John Kemeny) In the Labyrinth, 1967 (co-director with Colin Low, Hugh O’Connor; co-producer with Tom Daly) IBM Close-up, 1968 (co-director with Graeme Ferguson; producer) Tiger Child, 1970 (co-producer with Iichi Ichikawa; writer; IMAX) Code Name Running Jump, 1972 (director; producer) Exercise Running Jump II, 1972 (director; writer; producer) Circus World, 1974 (director; co-editor with Jackie Newell; producer) Man Belongs to the Earth, 1974 (co-producer with Graeme Ferguson) Man the Hunter [Caribou], Man the Hunter series, 1974 (executive producer) Propaganda Message, 1974 (co-producer with Wolf Koenig) Man the Hunter [Fishing], Man the Hunter series, 1975 (executive producer) Man the Hunter [Seal Hunting], Man the Hunter series, 1975 (executive producer) Bargain Basement, 1976 (producer) For Gentlemen Only, 1976 (executive producer) Listen Listen Listen, 1976 (executive producer) Schefferville 4th Arctic Winter Games, 1976 (co-producer with Dennis Sawyer) Striker, 1976 (executive producer) The World is Round, 1976 (executive producer) L’Âge de la machine, 1977 (co-producer with Jacques Bobet) Back Alley Blue, 1977 (executive producer) Bekevar Jubilee, 1977 (executive producer) Breakdown, 1977 (executive producer) Flora: Scenes from a Leadership Convention, People and Power series, 1977 (co-executive producer with Arthur Hammond) Happiness Is Loving Your Teacher, 1977 (executive producer) Henry Ford’s America, 1977 (co- producer with Donald Brittain and Paul Wright) Hold the Ketchup, 1977 (executive producer) I Wasn’t Scared, 1977 (co-producer with Vladimir Valenta) Nature’s Food Chain, 1977 (executive producer) One Man, 1977 (co- producer with Michael Scott, James de B. Domville, Tom Daly, Vladimir Valenta) Sail Away, 1977 (executive producer) Strangers at the Door, Adventures in History series, 1977 (co-producer with John Howe, Maxine Samuels) Oh Canada, 1978 (co-producer with Wolf Koenig, Robert Verrall, Dorothy Courtois) Easter Eggs, Canada Vignettes series, 1978 (executive producer) Margaret Laurence, First Lady of Manawaka, 1978 (executive producer) The Point, 1978 (executive producer) The Red Dress, Adventures in History series, 1978 (co-executive producer with Dieter Nachtigall) The Russels, 1978 (executive producer) So Long to Run, 1978 (executive producer) Teach Me to Dance, Adventures in History series, 1978 (co-producer with Vladimir Valenta, John Howe) Voice of the Fugitive, Adventures in History series, 1978 (executive producer) The War is Over, Adventures in History series, 1978 (executive producer) Bravery in the Field, Adventures in History series, 1979 (co-producer with Stefan Wodoslawsky; executive producer) Gopher Broke, Adventures in History series, 1979 (co-producer with Stefan Wodoslawsky; executive producer) Love on Wheels, Canada Vignettes series, 1979 (executive producer) Northern Composition, 1979 (executive producer) Revolution's Orphans, Adventures in History series, 1979 (co-producer with Rob Iveson) Twice Upon a Time, 1979 (co-producer with Stefan Wodoslawsky) Why Men Rape, 1979 (executive producer) Acting Class, 1980 (executive producer) Challenger: An Industrial Romance, 1980 (executive producer) Challenger: An Industrial Romance [short version], 1980 (executive producer) Coming Back Alive, 1980 (co-producer with Wolf Koenig) Maritimes Dig, Canada Vignettes series, 1980 (executive producer) Nose and Tina, 1980 (executive producer) Prehistoric Artifacts, New Brunswick, Canada Vignettes series, 1980 (executive producer) This was the Beginning, Part 1: The Invertebrates, 1980 (executive producer) This was the Beginning, Part 2: The Vertebrates, 1980 (executive producer) Arthritis: A Dialogue with Pain, 1981 (co-executive producer with Robert Verrall) Baxter Earns His Wings, 1981 (executive producer) First Winter, Adventures in History series, 1981 (executive producer) Hail Columbia!, 1981 (co-producer with Graeme Ferguson; IMAX) Where the Buoys Are, 1981 (executive producer) Laughter in My Soul, 1983 (co-executive producer with Robert Verrall) Skyward, 1985 (co-producer with Susumu Sakane; IMAX) Starbreaker, 1984 (co-editor with Bruce Mackay; producer; co-executive producer with Robert Verrall) A Freedom to Move, 1985 (executive producer; IMAX) We Are Born of Stars, 1985 (producer; writer; OMNIMAX3D) Heart Land, 1987 (co-producer with Sally Dundas; IMAX) Echoes of the Sun, 1990 (co-producer with Fumio Sumi, Sally Dundas; co-writer with Nelson Max, Colin Low; IMAX; technical director Doug Lerner) Flowers in the Sky, 1990 (co-producer with Charles Konowal; IMAX) The Last Buffalo, 1990 (co-producer with Sally Dundas; IMAX3D) Rolling Stones: "At the Max", 1991 (co-director with Julien Temple, David Douglas, Noel Archambault; IMAX) Imagine, 1993 (co-producer with Hyok-Kyu Kwon; IMAX3D) Paint Misbehavin’, 1996 (director; co-producer with Steve Hoban; IMAX3D) The Reality Trip, 1997 (appears as himself; TV) Cinéma Vérité: Defining the Moment, 1999 (appears as himself) Cyberworld, 2000 (co-producer with Sally Dundas, Steven Hoban, Hugh Murray; IMAX)

People are often here used to diminish high resolution stuff and evolution stuff as something worthless so here's my challenge: https://en.wikipedia.org/wiki/Roman_Kroitor

Here's another one why I am happy with my recommendation... The first couple ones are 12MP scaled. source

That would be great! :- )

How have you found their heat dissipation performance for intensive post-production work if any? Prepping any article to come up soon? : ) That 32-core realm is rumored so, yes, that will definitely be something. Even though I find already that Mini M1 16GB under $1000 unique of a kind. They say it beats much more RAM hunger workhorses.

LOL Indeed, there's not a single answer to take : ) Getting a machine for editing/grading/post-production depends a lot on software optimization and distinct parts of the hardware resources required to handle much different tasks :- ) Some of them work just fine and... anyhow awkwardly some under circumstances too, in fact. I am now buying a couple of units of the ASUS Zenfone 7 Pro for 3D UHD capture at 120fps... go figure! ASUS staff can only think I am crazy (I guess they actually do!) and my partner in crime who has already worked as Peter Greenaway stereographer in the past, other than supervising Godard's stuff, as for instance, is puzzled with my decision, so... What can I tell you more sideways? ; ) Those guys on that YT channel up there look like to know their job fairly enough (as well, the fella Max), I find their views honestly interesting on topic BTW: https://www.youtube.com/channel/UCnMf3jl6DDzvPrm5RToktuA

Limited to 30fps in 4K and 60fps in 1080p, though: Other than (the usual) 12 series iPhones, these are the Android devices announced as supported: Sony Xperia 1 II (10-bit HDR) Sony Xperia 1 (10-bit HDR) Xiaomi MI 10 (10-bit HDR) Xiaomi MI 10T (10-bit HDR) Xiaomi Poco F2 (10-bit HDR) Samsung S10 Series (10-bit HDR) Samsung S20 Series (10-bit HDR) Samsung Note 10 Series (10-bit HDR) Samsung Note 20 Series (10-bit HDR) One Plus 8/Pro (10-bit SDR) One Plus 8T (10-bit SDR) App costs $14.99

Well, as seems so: And... they say Intel encoders offer higher IQ in the end : ) On the other hand:

Here's an interesting one: Any other takers?

My initial doubts confirmed. (besides, confirmed by Max @MaxYuryev on his heads-up too) https://www.theverge.com/2020/11/10/21559228/apple-new-macbook-air-pro-difference-arm-m1-fan-thermal-performance https://en.wikipedia.org/wiki/Product_binning#Semiconductor_manufacturing https://www.macworld.co.uk/news/2020-macbook-air-problems-3788127/ Forget the Air, buy the Mini instead if you are on budget. - E.

To you too and everyone, much happier with that post-Brexit agreement as well ; ) Thanks (E :- )

Merry Christmas to you Marty and everyone! 🎄

*interchangeable lens cameras

Jokes aside... - 2014 is pretty irrelevant unless in order to check their actual performance; - their business has proven to be effective in a difficult year for every business on earth and in a special way for the camera industry as whole; - let alone the end on an era all camera manufacturers live nowadays (nothing to make me happy with, BTW) ; - their subscrition model clearly shows they have a strategy and the results show them to succeed. Markets speak volumes. I guess we have no need to go on 'how to properly read financial charts' atm... : X I am happy for them, no matter how I love interchangeable and much bigger sensor size cameras. That said, I never bought a single GoPro camera unit so far... ...but the fact they have adopted David Newman as their main technical resource who made History with Slumdog Millionaire, among other milestones, got every piece of respect I may show for their endeavour. I definitely see evolution in each release of them and praise it, hence my hats off to anyone involved, their customers basis included.

The things we learn in a cameras forum! : D Six years and a half charts are a new must-have... Wait, no, no, the importance of 52-Week High and Low charts five years ago... LOL ; ) https://www.barrons.com/articles/gopro-stock-soars-19-as-new-camera-drives-better-than-expected-profits-51604686232 GoPro shares are flying on Friday after the specialty video-camera company posted third-quarter financial results that were dramatically better than the company had previously projected. For the quarter, GoPro (ticker: GPRO) reported revenue of $281 million, up an impressive 114% from a year ago and up 109% from the previous quarter—and well ahead of the company’s forecast range of $220 million to $250 million. (Nov. 6, 2020)

@fuzzynormal I am not and I wouldn't be worried because there's always room for excellence, no matter what device is, where your screen is and so on. Cinema is alive & kickin' whatever your game is ;- ) - E.

Evolution and not exactly a revolution each year is where they based their business model and have made them a best seller. They've achieved a loyal clientele basis as never seen before... :- ) In the pandemic year... better to not think too much on the remaining camera market : X

GoPro products are like Port Wine... the older the bettter ;- )

They call it a A FILM CREW in your POCKET! A fun device for sure... Computational videography/filmmaking is out there (E :- )

And here's an interesting article on topic: https://www.shotbyrichie.blog/the-impact-of-computational-photography-on-professional-photographers

Here's another one:

Yes, it is. Well said. But you can have an idea of filmmaking on your back when you do the job. I am currently producing a doc series on immigration topic for worldwide distribution, so you can get the picture ; ) or a portion of what I mean with it (E :- )

No, they are not. Directly at least for the most part. But... The whole point is you have now windows you never had before. I mention it from my own experience and bills to afford, nothing vague coming from elsewhere. U.S. has a different tradition but even in the States the things move fast. Tradition is not the same. - E.

https://www.statista.com/chart/15524/worldwide-camera-shipments/ This is absolutely a game changer whether we like it or not... - E.

Of course, I am. People tend to see it B&W, this is not real ; ) Streaming is a bless for filmmaking and guys working in this industry like me for example : ) I have film credits with Angelina Jolie and Spike Lee, I am not sure I could have them so wide years earlier. This age brought the democratization for this medium never seen before. - E.