Hot Pursuit 2 draws primarily from the gameplay and style of NFS III, putting emphasis on evading the police and over-the-top tracks. Although the game allowed players to play as the police, the pursuit mode was less realistic than preceding versions of NFS; players merely needed to "tap" a speeder to arrest them, as opposed to using simulated police tactics to immobilize a speeding vehicle. This was the first version since the start of the series not to feature an "in the driving seat" (cockpit) camera view, transitioning EA from realistic racing to arcade street racing. It was the last game in the series for the PC version to feature the split-screen two-player mode introduced in Need for Speed II. For the multiplayer mode of the PC version, GameSpy's internet matchmaking system was used in place of Local Area Network (LAN) play. Hot Pursuit 2 was the first NFS game to use songs sung by licensed artists under the EA Trax label.

Principal photography began in Macon, Georgia, in mid-April 2013.[16] Other filming locations include Road Atlanta in Braselton, Georgia, on May 12, 2013,[17] the 13th Street Bridge in Columbus, Georgia and Phenix City, Alabama, and Campus Martius in Detroit, Michigan, beginning on June 1, 2013.[18][19] Other production locations include sections of California's Highway 1 north of Point Arena, the Point Arena Lighthouse, and Highway 253 between Boonville and Ukiah; and also Highway 128, between the town of Navarro and the Navarro Bridge linking Highway 128 North to Highway 1 South to Point Arena.[citation needed]

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In 2015, China Movie Channel and Jiaflix Enterprises teamed up with EA Games to develop a sequel with the film to be set and shot in China.[43] However, as of 2023, no progress has come of the sequel, indicating its possible cancellation.[citation needed]

To start, you will need a camera that allows you to manually change your ISO. When pushing or pulling you simply set your camera or meter to the desired speed (different than the film speed) and shoot the film as you normally would. Pushing film

Hello Ted. It sounds like you are talking about a camera that automatically reads the speed of the film? you are correct -you would just have to consistently over-expose (push) or under-expose (pull) and develop accordingly to achieve those results.

Hi! So in an extremely sunny environment, using portra 160 color film, I measured my light slightly wrong. Using a shutter speed of 400, iso 160 (box speed), and F22 while it actually should have been F11. Am I then pulling or pushing my film?

@Nora

If you can put the camera in full manual control, setting both the shutter speed and aperture, then the correct settings according to an external light meter would work just fine. After all that is sort of what the light meter of the camera does anyway. But you need to make sure to use the light meter properly. In some cases you may want to measure reflected light, in other cases incident light.

@Quanle

Yes. If you shoot at box speed with correct metering and settings, then push processing will result in overdeveloped negatives. The contrast would increase, highlights could be blown out but shadows get more defined and you could see increased grain. For colour negative film or slides you might also get a colour cast.

In most cases, cellulose acetate lamination is reversible in acetone, a common organic solvent. It generally does not harm the paper, inks, hand stamps, or seals, though careful testing prior to any treatment is necessary to verify the safety of the solvents needed for delamination. Cellulose acetate lamination fell from favor and was replaced by polyester encapsulation, introduced in 1976 at the Library of Congress and at the National Archives in the early 1980s. Encapsulation involves placing a document between two sheets of polyester film, all of whose edges are sealed except for air holes at the corners; encapsulated records can be easily removed from their protective enclosures by cutting off the sealed edges of the polyester envelope.

An aperture is the opening of a camera lens that controls the amount of light allowed to pass through and actually contact the film. Aperture is part of the exposure triangle with shutter speed and ISO.

A digital production is a movie on filmed with digital video by means of high-resolution cameras. Afterwards, post-production is carried out using video editing methods, which completely eliminates the need for 35mm film.

In-camera editing is used for filming in the precise order needed for the final product. It eliminates much of the need for post-production editing. It is a quick, but unprofessional, way to create a film, often used by amateur filmmakers or students.

Principal photography is when the majority of a film is shot. These are the scenes that typically involves the lead actors. This is in contrast to second-unit photography or certain VFX shots needing to be completed.

Real time is when the timespan of a plot equals the running time of the film. This is in contrast to filmic time where time can be slowed down or sped up depending on the needs of the plot.

A reshoot contingency refers to funds saved by the producer in case supplementary shoots, or reshoots, are necessary to complete a film. These reshoots often occur after test screenings or when studio executives offer their input.

A storyboard is a sequential series of rough sketches or stills showing what will happen in the movie. It captures what the camera lens will film so that the filmmakers can outline the various shots needed. The storyboard provides a rough synopsis of what will take place.

Film vocabulary is expansive. Fortunately, you can return to this list any time you need a refresher or before you head back to a film set. You should also make sure to check out our glossary devoted solely to cinematography terms that really goes into depth about some key terms every filmmaker should know.

About 8,200 openings for film and video editors and camera operators are projected each year, on average, over the decade. Many of those openings are expected to result from the need to replace workers who transfer to different occupations or exit the labor force, such as to retire.

Most film and video editors and camera operators work full time, although part-time work is common. Work hours often vary with the type of operator or editor. Those who work in broadcasting may put in additional hours to meet a deadline. Those who work in the motion picture industry may have busy schedules while filming, but they go through a period of looking for work once a film is complete and before they are hired for their next job.

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Looking at the restored images and hearingthe renewed soundtrack of the newly restored print one can at least imagine howaudiences must have felt seeing it for the first time. The film existed foryears as an oppressively colorblind dirty secret; the DVD transfer looked likesomething smuggled out of Poland in the guts of a political prisoner. Now it'sas complete and luscious as it could ever be and for that we should all bethankful. Its fusion of the primal and the futuristic is still a shockingdesign to behold, as is its proto-found footage first act, picking up whereGodard left off and predicting every horrific depiction of "reality"as given to us by amateur cameramen gleefully filming the deaths of theirfriends in movies like the aforementioned "Cannibal Holocaust,""Cloverfield" and "Apollo 18." The astronaut'sheartbreaking failure to create sense and order in a temporarily godlessuniverse mirrors the found footage trope of filming one's own death.

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