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mona-stay · 6 years

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christmas gift -sweet pea

Plot - SP has been distant working for the serpent's Pairing - sweet pea x reader Warnings - none Story You walked into the trailer you shared with sweet pea, seeing him putting his jacket on getting his bag ready. Sweets saw you enter smiling wrapping his arms around you kissing you deeply "I'm so glad I got to do that before I go" he said still keeping in a tight hug.

Lifting your arms around his neck playing with his hair "do you have to go out?" you ask with a sad face. It had been every night for the last two weeks sweet had been out with fp and tall boy working for the serpent's. He didn't exactly tell you what the job was but you had a feeling it was probably something illegal.

"y/n you know I have to go but I promise I'll come back as soon as I can" he said kissing your forehead. You snuggle your head into his chest, inhaling the smell of of his aftershave. "I just miss us, with me working in pops in the day and you working for the serpent's all night. I feel I never see you anymore" you tell him. You feel his chest quickly rise and fall and he blows "I know, I feel the same but please I need to do this, don't make me feel worse than I already do for leaving you y/n" he said pulling himself out of your loving embrace.

Sweet pea turn picking up his bag "I'll be back tonight, I love you y/n" he said kissing your cheek then walking out into the darkness. You sat down putting on the telly, ready for yet another night alone.

Sweet pea met fangs heading to the meeting point with Penny Peabody, "what's wrong you seem moody" Fangs asked. "y/n, I hate leaving her like this her face kills me when I go she says she misses me" sweet pea tells him. Fangs was the only other person expect y/n sweet pea was emotionally honest with. "I get you dude but just think why your doing it her face Christmas morning" Fangs tried to reassure him. Sweep pea smiled "come on let's get this done I wanna be home before 3am" sweets joked.

This continued for a few more days leading up to Christmas eve he would leave just as you got not coming home until 3-5 am. You had spent a few hours wrapping the small gifts you had for Toni, Fangs and Jughead. It's didn't feel right doing it alone you thought sweet pea would be here and you'd both be laughing and joking, being festive. Instead you felt sad and lonely and just wanted to go to bed even if you knew you wouldn't sleep until he's home.

Finally wrapping sweet peas presents, you had gotten him a new pair of combat boots and the flick knife he'd spent months looking at in the combat store. You also believed if he was doing dangerous work it would help protect him. You looked at the time giving up on his promise he'd be home before midnight, you got ready going to bed.

You was still awake when sweet pea came back home, you heard him go to the kitchen. The noise of the microwave told you he'd found his note telling him his dinner just warm it. Around half an hour later, he came into your room getting into bed. Like every night he would lay next to you wrapping his arms around your small warm body. Placing a small kiss on you head "sorry I'm late baby, I love you" he'd whisper before falling into an exhausted sleep. You smiled like you did every night, keeping perfectly still letting him believe your asleep.

You woke first Christmas morning, still tried you snuggle into him. "morning baby" you hear him say. "sorry did I wake you?" you ask, feeling bad sweet pea didn't get much sleep at the best if time you woke him on Christmas on his first lay in, in weeks.

Sweet pea laughed kissing your head, "it's Christmas day I'm always awake early" he answered after seeing the sad look. After a cuddle and lots of kisses sweets told you, you both needed to get up. After breakfast you wanted to give him his gifts.

The look of joy and surprise on his face over his new knife was a rare sight. He almost crushed you with his hug thanking you. Sweet Pea walked over to his work bag, you started to frown unsure why he needed it on Christmas day. He took out a small wrapped box with a bow on the top "merry Christmas princess" he said giving you the box. "I'm sorry I've been working so much I took on extra shifts to get you this I love you y/n and I promise I'll be home with you a lot more now"

You hadn't expected anything from his, especially after all the time he'd spent with the serpent's, you began to think when did he find time to gift shop. "well are you going to open it or just look at it" he chuckled. Your fingers quickly ripped off the paper then opened the navy blue velvet box. inside the was a really expensive looking ring inside. Your mouth hung open at the diamond ring, he smiled getting the speechless reaction he wanted. you couldn't believe he'd worked so hard just for a gift for you.

You both spent the rest of Christmas day in the wyrm, you giddily showed Toni your ring, handing out your gifts. Enjoying Christmas with your serpent family and the boy you loved

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@slytherinstolethetardis

#sweet pea x reader #sweet pea imagine #sweet pea fluff #Sweet pea #riverdale x reader #riverdale imagines #riverdale #fangs #toni #southside serpents #christmas #my writing

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anycontentposter · 4 years

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In Our Time: A Year of Shooting Exactly One Film Photo Per Day

At the end of every year, I get to see, for the first time, all the things I’ve already seen. New Year’s Eve is my final film pickup day for One Second, an ongoing project in which I, an otherwise sane, rational, working modern photographer, make one photograph, and only one photograph, on film, every day, with no do-overs and no second chances.

As I discussed here last year, it remains the most joyful, important, frustrating, and miserable work I’ve ever done — a meditative process as much as an artistic one, in the constant vigilance required to judge each and every moment to decide if it might be the day’s prize or, in desperation, its least-lacking.

I have been a digital shooter since my editor at the suburban newspaper where I worked in 2003 forced me — damn near at swordpoint — to switch to digital, just after I returned from the Eddie Adams Workshop, where I’d been the only person to turn up at their portfolio reviews holding plastic sheets full of slides.

The past is another country; sometimes, you need to travel thousands of miles from where you are born, to know where you are from.

Now, I spend my whole life — in subways, on planes, on foot, sitting at my desk at home — with a little film camera close at hand — a junky little instrument with no autofocus and a dysfunctional meter. Sometimes you know — you can just feel it — that something is going to break out, and you end up wasting in the waiting.

Photography is, at its core, the larceny of time, and when one must be a careful burglar, it feels doubly so. The camera is old, with a loud shutter, and each day’s lonesome exposure makes a heavy, satisfying noise to announce the theft. I am glad of it; every artist must be willing to rescue themselves from a prudent life.

It is a difficult shift from the majority of modern photography, oh-so-recently a marvel but now almost entirely mundane. Only a generation ago, photographs were memories rather than reminders; now, our moments have become momentary. Sure, the claims of endless sightings of abominable snowmen and angels and UFOs have ceased now that near every person on earth keeps a camera in their pocket at all times — an odd coincidence, that — but we’ve lost all the rest of the magic, too.

In 1950, the average American family went through one roll of film a year; today, most people make several thousand on a cellular phone and then forget each and every one of them.

The photograph, the film photograph, is as much an artifact as it is a story; there is an awkward, uncomfortable power in holding a negative in one’s hand. One makes the photograph hoping, waits to develop it unknowing, and produces it nervously. Film photographs are, in many ways, like children — in the gestation, one never knows how they’ll turn out, who they’ll be, and the product is just as fragile. Every scratch can become a scar.

And yet, it is something real, a tactile testimonial.

When I was a little boy, our home’s yard miraculously opened up one day when some soil shifted. A ten-foot hole yawned open revealing what had been the garbage pit of the colonial farming family that had lived there two centuries earlier: long white clay Dutch smoking pipes, piles of broken bottles that once contained every color of liquor, and remedies to cure every ailment known to man and beast — traces of last years’ lives, stolen from time, left by unwitting others to tell us that, even in their long absence, they are survivors.

We, too, in an age of fake news and cultural ephemera, seem to be taking to the old ways, not for pastiche but for permanence: Victrola sales are on the rise, kids with unnatural hair colors buy vinyl records by the crate, and wet plate photography seems to be making the greatest comeback since Lazarus. People are hungry to return to the things that are empirically not as good, but which are real, tangible.

Decades ago, the Voyager probe lit out of our solar system, pining for the stars, carrying in the grooves of its golden disc cargo our music, to be heard by foreigners we’ll never meet. Now, the world is getting hotter, the tides are rising, and there is some comfort in knowing that there may still be tintypes of Paris long after Paris herself is gone.

I, for my part, had a long year on the road, logging 100,000 miles in the air, doing travel assignments on four continents and teaching a workshop in Outer Mongolia. This year’s negatives bear the worn soles of all travelers — in their case, the grain and fogging left by x-ray machines at airports the world over boasting the same bald, bold lie: YOUR NEGATIVES WILL NOT BE HARMED.

I spent half my year arguing with airport security personnel that they should check it by hand, before watching them lob it, half-chuckling, into an X-ray. I lost quite a few photographs this year to this disease; others — as in last year, and probably every year until my last — to missed opportunity.

I hold fast to the tyranny of this project’s main conceit, and the price is enormous: this year, I gave at least two days’ photographs to other things only to waltz into beauty mere minutes later. Once, I found a muscular, refrigerator shaped man getting a tattoo on his chest while doing shirtless pull-ups on St Mark’s Place; on another day, I was forced to watch, helpless and near panting and camera in hand, as an impromptu wedding broke out in a Chick-fil-A.

Still, what the work brings to my life — the chance to treasure not technology, but poetry — cannot be overstated. I do not, at the end of my year, have three thousand photographs of all my lunches to wade through, but I do have this: 365 photographs, one second of my year, not just a moment but a memory, of life in our time.

More images from the past year’s One Second can be seen here.

About the author: B.A. Van Sise is an internationally-known photographer and the author of the interdisciplinary photo book “Children of Grass,” proclaimed “the year’s most startlingly original, remarkable book” by Joyce Carol Oates in the Times’ Books of the Year 2019. The opinions in this article are solely those of the author. Van Sise’s visual work has previously appeared in the New York Times, Village Voice, Washington Post, and BuzzFeed, as well as major museum exhibitions throughout the United States, including Ansel Adams’ Center for Creative Photography, the Peabody Essex Museum, and the Museum of Jewish Heritage; a number of his portraits of notable American poets are in the permanent collection of the Smithsonian’s National Portrait Gallery. His written work has appeared in Poets & Writers, the Southampton Review, Eclectica, and the North American Review. You can find more of his work on his website.

Read more about this at petapixel.com

https://coolarticlespinner.com/in-our-time-a-year-of-shooting-exactly-one-film-photo-per-day/

#analog #bavansise #editorial #everyday #features #inspiration #photoaday #project #year #cameras

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nofomoartworld · 7 years

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Hyperallergic: Art Movements

X-radiograph of Edgar Degas’s “Arabesque over the Right Leg, Left Arm in Front” (© Fitzwilliam Museum)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

The Guggenheim Museum withdrew three works from its upcoming exhibition Art and China after 1989: Theater of the World, following a public outcry from animal rights activists. The museum attributed their decision to pull works by Peng Yu and Sun Yuan, Huang Yong Ping, and Xu Bing, to “explicit and repeated threats of violence.” An online petition objecting to the works has so far garnered over 750,000 supporters.

Jean Nouvel dismissed claims of worker abuse and exploitation at the Louvre museum in Abu Dhabi as an “old question.” “They have the same conditions, even better conditions, than those I see in other countries,” the architect told the Anglo-American Press Association. “We checked and it was fine. We saw no problem.” A 2015 report by Human Rights Watch concluded that migrant laborers working on Saadiyat Island’s Louvre and Guggenheim museum projects were living in squalid conditions, subjected to wage theft and underpayment, and routinely had their passports confiscated.

A series of X-rays taken by conservationists at the Fitzwilliam Museum revealed Edgar Degas‘s use of wine bottle corks, shop-bought armatures, and old floor boards for his wax sculptures of dancers.

Dissident cartoonist Ramón Esono Ebalé (aka Jamón y Queso) was arrested in Equatorial Guinea. The artist, who has produced work criticizing dictator Teodoro Obiang Nguema Mbasogo, had travelled back to his home country to renew his passport.

Richard Rogers challenged Prince Charles to engage in a public architecture debate after claiming he knows of five developers who have privately consulted the prince out of fear of his potential opposition. A spokesman for the prince of Wales denied the architect’s claims. In 2015, the Guardian published the so-called “black spider” memos, a number of letters sent by Charles to British government ministers and politicians advocating his stance on a number of socio-political issues — a violation of the monarchy’s tradition of political neutrality.

Nicole Eisenman‘s sculpture “Sketch for a Fountain” (2017) was vandalized for a second time. The work was spray painted with a swastika and a phallus on the eve of Germany’s 2017 election, in which the far-right party Alternative für Deutschland (AfD) made historic gains in the Bundestag.

Hurvin Anderson, “Is it OK to be black?” (2016), oil on canvas, 130 x 130 cm (courtesy the artist)

The 2017 Turner Prize exhibition opened at the Ferens Art Gallery in Hull. This year’s nominees are Hurvin Anderson, Andrea Büttner, Lubaina Himid and Rosalind Nashashibi.

A Manhattan district judge dismissed a lawsuit filed against London’s National Gallery over the ownership of Henri Matisse’s 1908 portrait of Margarete “Greta” Moll.

A group of amateur archaeologists discovered a Roman mosaic in Boxford, England. Part of a larger villa complex, the mosaic is thought to depict Bellerophon, Hercules, and Cupid.

Developers filed an application to destroy the last remaining example of Victorian slum housing in Leicester, England.

The UK’s oldest postcard firm, J Salmon, will close in December. Founded in 1880, the firm remained a family business for five generations.

Anger Management, a pop-up store organized by Marilyn Minter and Andrianna Campbell, opened at the Brooklyn Museum. Featuring works designed by artists including John Baldessari, Jenny Holzer, Barbara Kruger, and Glenn Ligon, the store features objects dedicated to themes of “resistance, hope, and protest.”

The empty lot on the corner of Bedford and North 1st Street in Williamsburg — known to locals for its eccentric dioramas of stuffed animals — was listed for sale.

Transactions

Wisdom King of Passion (Aizen Myōō) (1300s), Kamakura period (1333–1392) to Nanbokuchō period (1336–92), hanging scroll; ink, color, gold and cut gold on silk, 102 x 60.5 cm (courtesy Cleveland Museum of Art)

Agnes Gund donated works by Brice Marden, Robert Colescott, Claes Oldenburg, Donald Sultan, and Adja Yunkers to the Cleveland Museum of Art. The museum also announced a number of other recent acquisitions, including a portrait by Joseph Wright of Derby and a medieval painting of Aizen Myōō, one of the Five Great Wisdom Kings and protectors of the Five Wisdom Buddhas.

The Peabody Essex Museum acquired the Andover Newton Theological School’s collection of Native American and native Hawaiian objects. The museum has committed to identifying possible ownership of the artifacts in compliance with the Native American Graves Protection and Repatriation Act of 1990.

Cheryl and Haim Saban donated $50 million to the Academy Museum of Motion Pictures.

Yahoo’s cofounder, Jerry Yang, and his wife, Akiko Yamazaki, donated $25 million toward the Asian Art Museum in San Francisco‘s expansion project.

Peter Fu donated $12 million to the McGill School of Architecture.

The Akron Art Museum received an $8-million grant from the Knight Foundation.

Susan and Stephen Wilson donated $1.5 million to the Mary and Leigh Block Museum of Art at Northwestern University.

Gerhard Richter plans to donate a new, multi-part artwork to the city of Münster, Germany.

The Museum of Fine Arts of Montreal acquired Henry Moore’s “Three Piece Reclining Figure No. 1” (1961–62).

The Woodson Research Center at the Fondren Library at Rice University acquired the archive of the Contemporary Arts Museum Houston.

David Hockney donated his 32-panel painting “The Arrival of Spring in Woldgate, East Yorkshire” (2011) to the Center Pompidou.

The Vivien Leigh collection sold at Sotheby’s for £2.2 million (~$3 million) — a figure five times higher than the pre-sale estimate. Highlights included a sketch of the actress by Augustus John, a watercolor by Roger Kemble Furse, and a still life painting by Winston Churchill.

Roger Kemble Furse, “Vivien Leigh Reading with Tissy” (nd), watercolor, pen, ink, and pencil on paper (courtesy Sotheby’s)

Transitions

Gerard Vaughan announced his retirement as director of the National Gallery of Australia.

Linda Blumberg will step down as executive director of the Art Dealers Association of America at the end of the year.

Augustus Casely-Hayford was appointed director of the Smithsonian’s National Museum of African Art.

Kathy Halbreich was appointed executive director of the Robert Rauschenberg Foundation.

Marko Daniel was appointed director of the Joan Miró Foundation.

Thomas Sokolowski was appointed director of the Zimmerli Art Museum at Rutgers University.

Nicola Trezzi was appointed director and chief curator of the Center for Contemporary Art Tel Aviv.

Kwame Kwei-Armah was appointed artistic director of the Young Vic in London.

Colin B. Bailey was elected to the Richard Diebenkorn Foundation’s board of directors.

Sheikha Hoor Al Qasimi was appointed head of the International Biennial Association.

Rendering of the Studio Museum in Harlem’s new building, facade view from 125th Street (courtesy Adjaye Associates)

Diane Wright was appointed curator of glass at the Toledo Museum of Art.

Douglas Brinkley was appointed the New-York Historical Society’s first presidential historian.

The Meadows School of the Arts at SMU announced new faculty appointments, including the Roberto Conduru as professor of Art History.

Loring Randolph was appointed the Frieze art fair’s artistic director of the Americas.

Former Metropolitan Museum of Art curator Carlos Picón was appointed director of Colnaghi’s new New York gallery.

The Studio Museum in Harlem unveiled the first renderings for its new building.

Canada’s first-ever National Holocaust Monument was opened in Ottawa.

The American Museum of Natural History announced a $14.5 million renovation of the Hall of Northwest Coast Indians.

Architecture firm Yamasaki will reopen under the leadership of Robert Szantner, a longtime employee of the late architect Minoru Yamasaki (1912–1986). Szantner teamed up with fellow employees to purchase the firm’s intellectual property out of receivership.

Two museums dedicated to Yves Saint Laurent (1936–2008) will open in Paris and Marrakech next month.

Accolades

The Corning Museum of Glass selected Karen LaMonte for its 2018 Specialty Glass Artist-in-Residence.

The Museum of Contemporary Art Chicago and the Nasher Museum of Art at Duke University were awarded the inaugural Sotheby’s Prize.

Obituaries

The July 1977 issue of Famous Monsters of Filmland, with a cover by Basil Gogos (via Flickr/Toho Scope)

Marc Balakjian (1938–2017), artist.

Katherine M. Bonniwell (1947–2017), Life magazine publisher.

Derek Bourgeois (1941–2017), composer.

Charles Bradley (1948–2017), soul singer and songwriter.

Robert Delpire (1926–2017), editor, curator, and gallery owner.

Ritha Devi (1924–2017), Indian classical dancer and teacher.

Basil Gogos (1929–2017), artist. Best known for his portraits of movie monsters and villains.

Billy Hatton (1941–2017), guitarist and singer. Founding member of the Fourmost.

Hugh Hefner (1926–2017), publisher and founder of Playboy.

Marian Horosko (1925–2017), ballet dancer and historian.

Albert Innaurato (1947–2017), playwright.

John Jack (1933–2017), jazz producer and promoter.

Myrna Lamb (1930–2017), feminist playwright.

Vann Molyvann (1926–2017), architect.

Zuzana Ruzickova (1927–2017), harpsichordist and Holocaust survivor.

David Shepherd (1931–2017), artist and wildlife conservationist.

Albert Speer Jr. (1934–2017), architect. Son of Nazi architect Albert Speer.

Pete Turner (1934–2017), photographer.

The post Art Movements appeared first on Hyperallergic.

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javleech-blog · 7 years

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New Post has been published on Jav Leech

New Post has been published on https://javleech.com/mobile-films-can-also-help-dad-and-mom-keep-on-with-babies-sleep-practices/

Mobile films can also help dad and mom keep on with babies’ sleep practices

A cell program of informational videos and messages may also enhance mother and father’ adherence to safe sleep practices for toddlers, new research has discovered. The researchers examined different types of instructional interventions. The first involved nurses coaching new parents approximately secure sleep practices for infants whilst nevertheless in the health facility. The the second one intervention the cellular program involved delivering facts through e-mails, messages and motion pictures. Following recommended safe sleep practices can reduce the risk of the unexpected sudden infant dying (SUID). The encouraged safe sleep practices were placing infants on their backs, not on their sides or stomachs; preserving them within the room with the mom however now not inside the same bed; keeping off gentle bedding that might strangle or suffocate infants; and the usage of pacifiers, which has been proven to lessen SIDS chance.

“We’d been looking at the prevalence of secure sleep practices for a long time, and I had been getting surely energised approximately doing a examine that takes what we recognize approximately secure sleep occurrence and checks an intervention that would assist improve the adherence to the ‘gold well known’ secure sleep practices,” stated Eve Colson, Professor at Yale School of Medicine, Yale University in New Haven, Connecticut, US. According to the look at, published in the Journal of the American Medical Association, mobile movies for educating new dad and mom on safe toddler sleep practices performed charges of 92.Five according to cent for back sleeping and eighty-five.9 in keeping with the scent for room-sharing without mattress-sharing, of the important steps towards SUID discount. These prices were a lot better than the ones for the group who acquired handiest the in-health facility intervention on safe sleep practices. In a scientific trial with 1,263 households, “mothers who acquired a cellular health intervention with everyday text or e mail messages and movies mentioned statistically notably better prices of setting their babies supine to sleep compared with mothers who obtained control interventions”, the observer stated.

The March of Mobile Video – The Payers and Players

One unmarried cell smartphone can get right of entry to the whole World Wide Web and at the same time video continues to proliferate the Internet. Do you see a connection right here? After conquering our on-line world, video as leisure and marketing keeps its media march into mobile generation. Faster broadband, larger and greater colorful cell smartphone screens, and a boom in wireless Web, video, and textual content messaging are all elements contributing to a mobile video surge. With 25 cellular phones created every second and 2 billion cell phone presently in use worldwide, the possibilities for cell video, and for this reason artistic and work opportunities for video/audio content creators, staggers the mind. The money tells all: advertisers spent $45 million on mobile advertising in 2005, $871 million in 2006, and are projected to spend $1.3 billion with the aid of 2010. Advertisers plan to spend this “cellular money” on, you guessed it, commercials, and especially video advertisements. Mobile video ads are an area of growing hobby and the tiniest fraction of this re-routed advertising and marketing money within the wallet of video/audio manufacturers and editors would be, on the chance of being mundane, as a substitute satisfactory, no?

Who’s Playing and Paying?

A plethora of corporations which consist of cell-phone vendors inclusive of Verizon and Sprint, net portals along with Google and Yahoo, TV networks which include MTV Networks and Comedy Central, and start-united states such as AdMob and Third Screen Media are scrambling to expand and provide mobile video for amusement in addition to advertising. Specific examples encompass; Verizon’s cell percent with YouTube to provide cellular video, MTVN’s formation of MTV Mobile Media, a brand new unit dedicated to developing the company’s mobile leisure enterprise, Fox Entertainment’s launch ultimate summer time of two- minute by-product “mobisodes” of its famous display “24,” Anheuser-Busch’s and American Express’s release of their widespread TV ads on mobile phone video offerings, and Comedy Central’s current declaration to start airing episodes of “Lil’ Bush: Resident of the US,” an animated parody collection and first display in the beginning produced for cellular telephones by using a US TV community.

Types of Mobile Programming being Produced:

Both unique made-for-cell applications and extensions of existing TV shows are being produced for mobile video. Made-for-cellular programs encompass MTV’s popular “Sway’s Hip Hop Owner’s Manual”, CMT’s “Road Hammers”, Comedy Central’s “ClipJoint”, and VH1’s “Celebhead.” Extensions from television programming, including short clips for cell use encompass Comedy Central’ Peabody and Emmy Award-prevailing “The Daily Show with Jon Stewart”; MTV’s “Laguna Beach”; Nickelodeon’s “SpongeBob SquarePants”; VH1’s “Best Week Ever, “The Sopranos” and “The Tonight Show With Jay Leno.” MTVN additionally offers original animation, tune video premieres, and content material highlighting socially large problems inclusive of AIDs/HIV cognizance (MTV Networks 12/18/06). The listing of available video content for cellular telephones grows exponentially and daily.

Opportunities in Mobile Video/Audio Production:

The opportunities for video/audio content material manufacturing for mobile generation are very real. Contacting any manufacturing company now generating cell content material should very without problems produce gigs for video/audio producers and editors as the call for cell content will increase. Start-up GoTV Networks Inc., as an example, now produces 303 indicates and greater than 60 hours of programming each month for Sprint Nextel Corp, Verizon Wireless, and Cingular, and 300,000 cellular smartphone users pay $6 a month for its music, sports, and comedy programming. (Source: NY Times 12/26/06) Another instance is GoTV Mobile Television at which gives special “stations” that feed subscribers a daily digest of hip-hop way of life, university sports, climate, or soaps. For a completely actual opportunity, visit authentic on the net, a cellular distribution business enterprise actively looking for content material. While their economic offer for content material can be deemed a bit low, you’ll nonetheless benefit a feel of the ins and outs of the cellular content manufacturing and distribution. A thorough search and listing of cellular content material consumers and distributors need to be carried out ASAP for gig hungry video/ audio producers or manufacturing agencies looking to expand their shoppers. Please contact me if you’d like to take part or if you have this type of listing.

Tips for Mobile Video Production

There are several recommendations to maintain in mind whilst generating and editing content material for the mobile video. Clips must be brief, generally beneath 3 mins, to accommodate viewing “on the cross.” A cell phone shows also contain extra close-ups, tight shots, and limited movement to offer for the small screen and slower frame speed to be had The audio has to be crisper than “regular” because of the absence of bass on cellular telephones. Text and subtitles ought to be minimal due to issue analyzing at the smaller cell phone screen. One notion to virtually take shots on a video-cellphone before filming to test whether or not the scene is clearly a possible alternative for cell use. Delivery codecs to mobile content material providers in well-known encompass the following: File sizes 15 MB or much less as Windows Media (.Wmv); Audio Video Interleave (.Avi); QuickTime (.Mov); MPEG 1/2/four (.Mpg, .Mpeg); 3rd Generation Partnership Project (.3GPP); Flash; DVD; Digital Video. All codecs ought to be encoded at 320 x 240 (Source: Wall Street Journal 12/04/06)

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lavleech-blog · 7 years

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Mobile films can also help dad and mom keep on with babies’ sleep practices

New Post has been published on https://javleech.com/mobile-films-can-also-help-dad-and-mom-keep-on-with-babies-sleep-practices/

Mobile films can also help dad and mom keep on with babies’ sleep practices

The March of Mobile Video – The Payers and Players

Who’s Playing and Paying?

Types of Mobile Programming being Produced:

Opportunities in Mobile Video/Audio Production:

Tips for Mobile Video Production

0 notes