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How to make movies without a huge carbon footprint

The film and TV industry is switching towards greener energy sources but the transition has challenges.

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How to make movies without a huge carbon footprint

The film and TV industry is switching towards greener energy sources but the transition has challenges.

Cambridge
Cambridgeshire
United-kingdom
Vancouver
British-columbia
Canada
Downton-abbey
James-bond
Demelza-poldark
Louise-smith
Christine-ro
Los-angeles

Aqua Comms announces SubOptic Foundation Partnership

In Hope To Quantify Carbon Emissions Of Internet, Miami Plays A Major Role

/ How carbon intensive is the internet? Some key research on that question is expected to take place in Miami, which is also at risk from sea-level rise due to climate change. An estimated 9% of global electricity consumption goes towards information technology, which includes the internet. As the internet as a resource becomes more ubiquitous in the developing world, and the developed world alike, that number is projected to explode. “By 2030 it s forecast to double, essentially. So it s closer to 20 percent,” said Mike Hazas, a professor of human computer interaction at Uppsala University in Sweden. You turn to WLRN for reporting you can trust and stories that move our South Florida community forward. Your support makes it possible. Please donate now. Thank you.

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"A More Boxier Feel": Aspect Ratio, Architecture, and Ecology in A Cure for Wellness (2016)

Figure 5 – Nature in a Box: A Cure for Wellness, and 1.66:1 This brings us back to Bozelli’s comments with which this article began. The digital reconstruction of an aspect ratio that emerged in the 1950s, but has been used sparingly since, demands consideration of its particular qualities and features. In the 1950s, the coming of Cinerama and CinemaScope led Paramount to develop VistaVision and the 1.66:1 ratio, which was initially marketed as a taller and “more comfortable viewing experience.” [21] Supposedly, it allowed filmmakers to compose images with a greater deal of control and resulted in fewer distractions for the audience than did the comparatively extreme width of CinemaScope. Bazin, for instance, although describing the 1.85:1 version of VistaVision, considered it “spectacular enough to satisfy the eye, yet still rational enough to satisfy the mind.”

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