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Two systems working beautifully together: DRKR PXLS Camera Composition Overlays and Black Eye cameras from Black Eye Technologies. DRKR PXLS Camera Overlays gives you inspiring on-screen composition guides. Black Eye cameras look through the lens and follow those guides in real time inside Unreal Engine. Pick a guide, set...

14,591 次观看 • 9 个月前 •via X (Twitter)

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A guy who works at a dealership filmed himself in a new Chevy Traverse Z71 and said it out loud: people are walking in and telling him they do not want a 2027. Not because of the engine. Because of the cameras. 📸 On the steering wheel, sensors watch your eyes so the truck can decide if you’re distracted or drowsy. That’s been creeping in with Super Cruise and Driver Attention Assist. Look away too long and it nags you. Keep looking away and some of these systems will slow the vehicle down and call OnStar. 👀 Look up at the headliner and there’s a new one for 2027: a cabin camera Chevy is putting across the Traverse lineup. Official pitch: “Cabin Glance,” so you can peek at the kids in the third row without turning around, plus Security Recording if the alarm goes off while you’re parked. Older Traverses had backup cameras and maybe 360 outside. Then came the little eye-tracker for hands-free driving. Now they’ve added a camera that points in at the people, and it can record you. We already live in a surveillance state. Phones track us. Doorbells watch the porch. License-plate readers line the roads. Now the family SUV wants a front-row seat to your face, your kids, and whatever happens in that cabin when the doors are locked. Would you buy a brand-new 2027 knowing there’s a camera over your head and one watching your eyes? What happens when the next software update decides you look “distracted,” or too flustered to drive? Have the car companies gone too far now? Be careful what you sign for on that next contract. Once that camera is in the headliner, it’s not coming back out. Would you still buy a 2027? 🧐

Crystal Hope

12,769 次观看 • 1 个月前

Mathieu Kassovitz on why 'La Haine' (1995) would have been horrible had it been in colour instead of Black & White: "Interviewer: Was it essential that it was three kids? Kassovitz: I needed a trio because when you’re with a friend, you have a discussion, and it ends fast because either you agree, or you don’t, but you cannot argue all the time. Three people can disagree all the time because it bounces from one to the other. I wanted one guy that’s the funny one in the middle; the political one that wants to get even with the society; and then the other one who’s trying to hold it in because he knows what real violence is. It was a trick, like the black and white is a trick too – to make it universal, a story that happens everywhere, so you don’t know if it’s Paris or Mexico or Brooklyn: it could be anywhere. Interviewer: How does black and white make it more universal? Kassovitz: When you look at black-and-white footage from the war, it changes when you see that footage put in colour. I did the voiceover for 'Apocalypse', a fantastic documentary series covering wars, for which they colourised all these black-and-white images and rendered them in HD. In colour, all of a sudden the footage becomes very personal – you see your grandfathers there, it’s not just ghosts or an artistic image, it could be today. What black and white does is bring poetry into reality. That’s why when you do a movie about poverty where you don’t have control over the environment and things are supposed to be ugly, it’s very difficult. It costs a lot of money to make it look good. But it doesn’t cost anything to make it look good in black and white. If I showed you 'La Haine' in colour, it’s horrible." (Mathieu Kassovitz's interview with Kaleem Aftab, BFI, 2020)

DepressedBergman

79,263 次观看 • 7 个月前