Why Do I Need a Professional Profile Image or Headshot?
It’s a burning question that many businesses ask. It doesn’t matter if you’re a team of one, a independent business or a international corporation, having Professional Headshots or Profile Images of your employees or yourself can give you the edge when promoting your professional image. Gone are the days of Headshots & Profile Images being the tool of professional entertainers. Marketing has changed dramatically. The immense range of Digital Social Media Platforms and remote working offers every business the opportunity to showcase their whole workforce before you physically communicate with potential clients. It means that first impressions really count more than ever before. Headshots enable an instant ability to connect and more importantly, engage with you or your business, but whatever way you look at it, people will judge you on looks. so getting the right headshot to promote your profile or business becomes a serious matter. In a physically disconnected world, where many of your networks and connections are made online, it’s more important than ever for people to sense your presence as an industry professional.
In any business, you are likely to have a proportion of your advertising within the major social media platforms. It is more and more common to have a thumbnail image that you use for social media profiles. If you’re involved in an industry where visible presence comes through trade publications or interviews, there’s a pretty strong likelihood that or an article may be written referencing you. In these circumstances, you’ll want a professional headshot or Profile Image photograph to best reflect yourself.
Promoting yourself through a selfie using a grainy, low lit profile photo from a phone while on holiday with a cocktail in your hand probably isn’t the best way to represent yourself to potential clients or colleagues. Blanc Creative have a proven track record in providing Headshots and Commercial Photography to a huge cross section of businesses through the UK. We can provide imagery for actors, presenters, performers or purely corporate based imagery. We offer a flexible service to include any particular elements that you require to ensure you get the perfect stand out headshots you need.
Gone are the days of Headshots being the tool of professional entertainers. Marketing has changed dramatically. The immense range of Digital Social Media Platforms and remote working offers every business the opportunity to showcase their whole workforce before you physically communicate with potential clients. It means that first impressions really count more than ever before. Headshots enable an instant ability to connect and more importantly, engage with you or your business, but whatever way you look at it, people will judge you on looks. so getting the right headshot to promote your profile or business becomes a serious matter.
Blanc Creative have a proven track record in providing Headshots and Commercial Photography to a huge cross section of businesses through the UK.
We would love to discuss your own Headshot Photography requirements. to speak with one of our team, why not call our office on Tel: 01603 893748 or email email@example.com
How Solar Lanterns Are Giving Power to the People – A National Geographic Re-Share
Clean-energy lights are transforming lives—and creating entrepreneurs—in Africa and India.
The following Blog is a fascinating story that has been kindly borrowed from National Geographic. The whole article can be found in full on the National geographic website. To red more, simply “CLICK HERE”
PRASHANT MANDAL FLIPS ON A CANDY-BAR-SIZE LED LIGHT in the hut he shares with his wife and four children. Instantly hues of canary yellow and ocean blue—reflecting off the plastic tarps that serve as the family’s roof and walls—fill the cramped space where they sleep. Mandal, a wiry 42-year-old with a thick black beard and a lazy eye, gestures with a long finger across his possessions: a torn page from a dated Hindu calendar, a set of tin plates, a wooden box used as a chair. He shuts down the solar unit that powers the light and unplugs it piece by piece, then carries it to a tent some 20 yards away, where he works as a chai wallah, selling sweet, milky tea to travelers on the desolate road in Madhotanda, a forested town near the northern border of India.
“My life is sad, but I have my mind to help me through it,” Mandal says, tapping the fraying cloth of his orange turban. “And this solar light helps me to keep my business open at night.”
Holding a solar-powered lamp, Soni Suresh, 20, and Suresh Kashyap, 22, celebrate their marriage ceremony in Uttar Pradesh, where 20 million households lack electricity.
Mandal, whose home sits illegally on public land at the edge of a tiger reserve, is just a tiny cog in a surging new economic machine, one that involves hundreds of companies working aggressively to sell small solar-powered units to off-grid customers in developing nations to help fill their growing energy needs. Roughly 1.1 billion people in the world live without access to electricity, and close to a quarter of them are in India, where people like Mandal have been forced to rely on noxious kerosene and bulky, acid-leaking batteries.
Roughly 1.1 billion people in the world live without access to electricity, and close to a quarter of them are in India.
Mandal’s solar unit, which powers two LED lights and a fan, is energized by a 40-watt solar panel. Sun beats down on the panel, charging a small, orange power station for roughly ten hours at a time. Mandal leases the kit from SimpaNetworks. A for-profit company with a name derived from the notion of “simple payments,” Simpa offers subscription plans structured to fit the budgets of low-income consumers. Even so, the equivalent of roughly 35 cents a day is a massive expenditure for Mandal, who supports his family on a razor-thin budget of less than two dollars a day. Food costs money, as do schoolbooks, medicine, and tea. His middle son, who’s 15, fell ill late last year, and the hospital bill plunged the family into debt exceeding $4,000.
The following Blog is a fascinating story that has been kindly borrowed from National Geographic. The whole article can be found in full on the National geographic website. To red more, simply “CLICK HERE”
Accented Synch Points and Temporal Elasticity in Film Sound
Having attended the first ‘Sound in film’ workshop today, I had the opportunity to discuss sound production in relation to a key scene in one of my all time favourite films. It is somewhat ironic that a completely unrelated attempt at researching sound in film, has led me tonight, straight back to Martin Scorsese’s oscar winning Raging Bull.
The following blog analyses the sound production, sound theory and sound design conventions that are present in the final fight scene of the film in which Jake Lamota fights Sugar Ray Robinson for a second time.
The sound design provided an incredible punch to match the on screen visual aggression. The most noticeable change in the tone of the scene occurs as tired Lamotta rocks against the ropes and taunts Sugar Ray into delivering a barrage of blows. The footage is testament to just how sound effects can provide the illusion of something happening when in fact, it did not.
Repetative sounds of camera flash bulbs seem to explode as fists appear to make contact, and the audience gasp in horror as Lamotto is repeatedly pounded. The foley production including panes of glass braking fruit being pulverised and gunfire mask the sonic-overload of fighting in a complex series of sound production that spanned over two months. After production concluded, it was rumoured that sound man Frank Warner burned all of the recorded elements from the movie to ensure no other films could use the Raging Bull sound elements.
Watch the final Raging Bull fight scene closely with the speed slowed down and you will see that actually, the boxers are seldom, if at all, seen to connect any blows. So how is this possible?
French composer and writer, Michel Chion highlighted a valid perception when he wrote that such a minimal sound is easier to be marked, into a persons conscience and actually, that if the sound itself is removed, then it is easier to notice that there wasn’t really any physical contact at all. It’s relative to the theory that sight actually registers slower into the brain slower than hearing.
Physical contact is the benchmark for the strongest synchronisation where sonic meets visual and the overriding principles are linked to Gestalt, a psychology term of “unified whole”. It refers to theories of visual perception developed by German psychologists in the 1920’s describing how people tend to organise visual elements into groups or unified wholes when certain principles are applied, but that’s a different blog completely.
In his book, Audio-Vison, Chion, delivers arguments and overviews of the evolution and functions of sound in television and film. Raging Bull is specifically mentioned in relation to the fight scenes with a concise explanation of how accented synch points and temporal elasticity have radically impacted on the mood and perception of the film.
Accented Synch Points and Temporal Elasticity
This structure is already present in much non animation cinema, notably in all martial arts and fight films. But Japanese animated films I can see on French television add something more: an analysis of movement (as in Muybridge and Marey’s famous photos, which lie at cinema’s origins), the use of slow motion and radical stylisation of time. These diverse techniques get their inspiration from the slow-motion and still-frames of sports 62 • • • The Audiovisual Contract replays, but also directly from Japanese comic books, or Mangas.
In these rudimentary animated adventures the point of synchronization constituted by the punch, this point of hooking auditory continuity to visual continuity, is what allows the time around it to swell, fold, puff up, tighten, stretch or, on the contrary, to gape or hang loosely like fabric. On either side of a characteristic synch point such as a punch the capacity for temporal elasticity can become almost infinite. During an episode of the series Dragon Ball the battling characters constantly freeze in mid-motion, stop
in mid-air (for they make incredible leaps), and converse interminably, slowing down, speeding up and changing poses like a series of discontinuous slides, before launching flurries of swift punches and kicks to one another. In short, the punch with sound effects is to audiovisual language as the chord is to music, mobilising the vertical dimension. In the brutal and exhausting boxing scenes in Raging Bull Scorsese used punches to bestow a maximum degree of temporal elasticity on the fighting scenes; thus he could use slow motion, repeated images, and so forth. The paradox is that in the beginning, temporal elasticity was an inherent characteristic of the silent cinema. Since the silents did not have to be dubbed point by point and second by second with synchronous sound, they could easily dilate and contract time.
Sound Infuses the Image
It can be said that sound’s greatest influence on film is manifested at the heart of the image itself. The clearer treble you hear, the faster your perception of sound and the keener your sensation of presentness. The better-defined film sound became in the high frequency range, the more it induced a rapid perception of what was onscreen (for vision relies heavily on hearing). This evolution consequently favored a cinematic rhythm composed of multiple fleeting sensations, of collisions and spasmodic events, instead of a continuous and homogenous flow of events. Therefore we owe the hypertense rhythm and speed of much current cinema to the influence of sound that, we daresay, has seeped its way into the heart of modern-day film construction. Further, the standardization of Dolby has introduced a sudden leap in an older and more gradual process that paved the way for it. There is perhaps as much difference between the sound of a Renoir of the early thirties and that of $. fifties Bresson film as there is between the fifties Bresson and a Scorsese in eighties Dolby, whose sound vibrates, gushes, trembles, and cracks (think of the crackling of flashbulbs in Raging Bull.)
Blanc Creative saw Airdog and simply thought this is awesome and could not resist backing the project. Blanc Creative are extremely pleased to be adding this awesome piece of technology to their growing list of video production equipment. The first international shipment of Airdog will include a Blanc Creative unit when Airdog literally launches at the end of 2014.
AirDog is a small, agile, foldable quadcopter, especially designed for filmmakers and action sports enthusiasts who use GoPro cameras.
Like its canine namesake, AirDog automatically follows you wherever you go, whatever you do. It’s not bothered by pelting rain, freezing temps, massive waves, or freaking insane places. AirDog doesn’t say “no.” It just follows, flying right along.
AirDog is your sidekick, just in case you can’t rent a helicopter plus professional photographer to take a video of your black diamond run. AirDog is your personal training assistant, allowing you to review what you’re doing right, and where you need to improve. AirDog can transport you to views that you never thought possible. AirDog can persuade others to join you in your extremes.
Just strap the AirLeash (tracker device) on your wrist or helmet, and the AirDog is ready to follow you
Inside, AirDog is really complex technology. But using and controlling AirDog is really simple.
Here’s the basic idea
AirDog follows a signal from the programmable tracker – AirLeash. We could use a smartphone, but you need more precise tracking for actions sports. So we designed AirLeash.
The AirLeash is a small waterproof computerized tracker with clever software and sensors inside. It sends signals to the AirDog, indicating exact movement trajectory.
It may look bulky now, but as soon as we start production it will be half the size and with multiple attachment opportunities (helmet, snow-googles, wrist, bike handle-bar, etc)
The drone performs inflight calculations to correct its flying pattern, and points the camera at the user wearing AirLeash.
Takeoff and landing is completely autonomous, freeing you to focus on your performance. It will land at the end of your track, or return to the takeoff spot when the battery begins to run low.An alarm on the AirLeash tells you when AirDog’s battery is too low to continue.
We spent countless caffeine-fueled hours, hacking intelligent flight code algorithms. The result is functionality that allows AirDog to follow you while you’re riding down the slope or flipping around on a halfpipe. You don’t have to worry about controlling the camera.
Strap it on, cue it up, and do epic things.
There are six Follow modes that you can configure and control with your AirLeash and smartphone app. Each one is a great choice and will deliver stunning results, regardless of your sport. You’ll probably want to use all six.
1. Auto-follow. Will work with almost any sports. In this mode AirDog will follow you repeating exactly your movement trajectory while maintaining its position in preset distance and altitude from you. It will follow you at speeds up to 40 mph.
2. Relative position follow. In this mode AirDog will maintain constant offset relative to magnetic north from the rider. For example, you can set it to keep a 10 meter distance at 4 meters high to the east from your position. Even when you change your direction, the AirDog will stay at the same preset angle from you. We suggest this mode for straight line wakeboard cable parks, surfing, and some other sports.
3. Follow track. This is the safest way to operate AirDog. Simply go for one lap with AirLeash and it will record your track. Then adjust AirDogs trajectory to your liking in smartphone app. AirDog will repeatedly fly over the exact set trajectory and the camera will be continually adjusted to aim at the rider.This is the most creative mode where you can become a true director of your movie. Adjust AirDog’s trajectory to avoid obstacles like buildings or trees. You can even make it to shoot you from different angle on different spots/kickers in the track. It might sound complicated, but its a simple few tap process in AirDog smartphone app.
4. Hover and Aim. The Hover and Aim setting allows AirDog to stay in one position above the ground, but constantly directing the camera at the AirLeash. This setting is perfect for tight places such as smaller skateparks, narrow forest trails, or for activities such as bungee jumping or base jumping, where clearance from equipment is important.
5. Circle. In this setting, AirDog makes circular rotations on a set radius and altitude, keeping the camera aimed at the AirLeash. This for slow speed or static shots to show impressive view around you.
6. Look down. The most simple mode but can produce very stunning results. Simply “walk” your AirDog above a ramp or kicker where you are about to throw some epic tricks and with push of a button it will freeze its position and aim camera straight down. Now make sure you don’t go too high.
Not satisfied with all these amazing options? No worries.
We’ll always be adding new flight modes through firmware and app updates. We depend on user feedback to continually develop Airdog into something that’s jaw-dropping and awe-inspiring.
The AirDog is designed to go farther and higher than you thought possible. If you’ve ever wanted to shoot an edgy music video from off a cliff, the AirDog is your solution. If you’re shooting an indie movie, and want some clutch aerial shots for the car chase scene, the AirDog is happy to oblige.
Here is little longer story about why we created “AirLeash”
The AirDog uses a unique dedicated tracker called “AirLeash” that guides and controls the AirDog in flight. Why did we invent a new device? Why not just use a smartphone app?
A year ago when we started developing the AirDog, we thought it would be a great idea to make AirDog follow a smartphone. We abandoned this idea really quickly.
1. Smarphone’s Poor Usability in Many Sports Have you ever tried to use your smartphone while surfing a huge wave? Yeah, the water might be a problem. How about using it while executing a cab 5 double grab? Those gloves would kind of get in the way. What about emergency situations, where terminating flight and landing the AirDog is important?
A smartphone was simply not an option if we wanted to maintain safety or efficiency.
2. Lack of Vital Sensors for Precise Auto-follow In testing, we discovered that average smartphone GPS accuracy in a horizontal plane is about 5-10 meters. The margin of error doubles when measuring altitude.
We realized that if we wanted a precise flight tracker, we needed extremely high level sensors. In addition, we would have to develop complicated sensor fusion algorithms to calculate and predict movement trajectory while keeping the camera aimed at rider all the time.
Technologically, no smartphone has such capabilities.
3. Limited WiFi and Bluetooth range Different smartphones have different ranges, but it was clear that anything beyond 30-50 meters was not possible. This can be problem when you’re surfing out in the ocean 350 meters from the drone, and want it to launch and come to you. Or, let’s say you’re riding downhill at 30 mph, and the drone just loses signal. You could potentially lose your drone forever! The stringent standards of AirDog required something with long range power.
As amazing as smartphones are, they simply can’t meet the high demands of many action sports. In true innovation style, we ditched our idea, went back to the drawing board, and created a solution.
The result is better than we hoped. It’s an easy-to-use, sturdy, reliable, long range wireless transmission and custom-developed tracker. It’s called AirLeash.
What do you get when you throw aviation experts, entrepreneurs, programmers, developers, and extreme sports fanatics into a box, and shake it up?
You get us. We’re kind of a quirky group.
We love doing something fanatical like MX, wakeboarding, snowboarding, kitesurfing, skating, surfing, or other daredevil stunts. But when we get sort of serious, we’re cooking up technology that’s just as extreme as the action sports we love.
AirDog is the product of years of development, the pinnacle of drone technology, the apex of sports videography. (And it took a heck of a lot of coffee.)
Now, we’re ready to introduce this mind-blowing technology to extreme sports fans all over the world.
This invention is a dream come true.
If you’re already an experienced remote control (RC) pilot, you’ll love Airdog’s manual flight features. Although AirDog boasts fully autonomous flight modes, you can also use it for FPV (First Person View) or indoor video shooting with your RC transmitter. Simply connect any TX module that supports PPM mode and has more than 6 channels, and fly AirDog completely manually.
But there’s more! You can combine AirDog’s auto-follow feature with manual control. Simply attach the AirLeash tracker to the object you want to shoot — car, boat, animal, whatever — and manually turn follow mode on or off whenever you want to switch to or from manual mode. This way, you can use the auto-follow tracker with enhanced RC maneuvers to make circular fly-around moves at the precise radius and speed.
With this amazing combination of auto-follow and manual control, AirDog is a total game changer in aerial video shooting. You won’t believe the creative possibilities.
So you want to make videos that look drop dead awesome, professional, and really top-notch. We get that.
We designed AirDog, while chanting the mantra “stable, stable, stable.” Okay, maybe it wasn’t exactly like that, but you get the idea. We think stability is important, and we obsessed over it.
AirDog uses 2 axis gyro-stabilized gimbal with the following features to make sure that your aerial videos are as stable as a tripod on a granite slab. Here’s what we engineered:
– Auto pitch and yaw – camera will always be pointed to the tracker;
– Horizon alignment (roll stabilization);
– Vibration isolation;
– AirDog is the only drone that carries GoPro in its protective casing, your camera will be happy for that.
In other words, your GoPro footage is stable as anything, even while airborne, even while flying at 40 mph, and even while tracking your progress on the slalom.
To use AirDog, simply attach your GoPro to the drone’s gimbal and you’re ready for stable action shots.
Early gimbal prototype test demonstrates camera stability.