Bill Joys Why the Future Doesnt Need Us Free Essay Example, 750 words

ï » ¿ Why the Future does not Need Us Why the Future Doesn't Need Us provides us with the future’s interpretation in a very pessimistic manner. Bill Joy's depiction depicts how in future the robotic race will conquer the earth once technology advances greatly. The robotics will have their own mind, make their own judgments and thus eradicate the human race. From this title, it can easily be predicted that there is no future for the human race. Bill Joy debates the negative prospects of the technological advancements in nanotechnology, genetics development and the use of robots. The computers processing speeds exponentially growing in recent years and the development of novel inventions will supersede the speed of growth. The gigantic computing power might make the intellectual fictitious robot possible. Human beings and the robots will merge in an attempt to complete the industrial tasks. These changes might even lead to human replacements in these industrial tasks. These hazards also occur in nanotechnology and genetics scopes of life. The establishment of nanotechnology made possible development of electronics of molecular nanoscale. This technology will grow greatly in the subsequent two decades. We will write a custom essay sample on Bill Joy's Why the Future Doesn't Need Us or any topic specifically for you Only $17.96 $11.86/pageorder now Joy said that it is by far easy to make negative applications for nanotechnology as opposed to the more functional ones. He further articulated that, if we do not put the ethical issues of nanotechnology in mind, there is a high danger of destroying the earth’s biosphere that we all depend for survival. The development of genetic technology presently brought us numerous ethical issues. Bill Joy supposed that the general community is conscious of, and nervous about, genetically customized groceries, and appears to be declining the concept that such edibles should be allowed to be unlabeled. Bill’s apprehension was that genetic technology might give the authority to bad personality and aid them to perform disparaging act with an example being the White Plague. The price of employing GNR technologies to perform negative acts is being less than the NBC period is what Bill worries. While creating weaponry of mass destruction with NBC techno logy requires rare novel unprocessed materials and largely protected data with large-scale actions, the GNR technologies are abused easily. According to him, they will not need vast facilities or novel unprocessed materials but the knowledge is what will enhance their usage. This is knowledge provokes the human thought. Undeniably, the advancement of GNR technologies will alter our existence to a large degree. The development of genetic technology will treat today’s incurable diseases Nanotechnology will provide enormous industrial materials to be used in production of electronics. Humans will be freed from their places of work with the deployment of robotics to substitute human labor. This is a remarkable negative effect because human labor will be brought to extinction. Human labor is what most people depend on to make or earn their living as it provides employment. Some of Bills debates are not on point because there is uncertainty whether the expectations of the future a re pessimistic without the power to manipulate the development of GNR technologies. I do not suppose that there is abuse of GNR technologies just by being knowledge about it. A number of Bill Joy’s justifications of disagreement are sufficient. In addition, I doubt whether the future is that pessimistic if we do not manage the development of GNR technologies. Just as we require tools to develop mass destructive arsenal with NBC machinery, we also require equivalent tools for application of GNR awareness. High precision machinery is required to implement genetic and nano-technological advancements. I am in doubt of the future being so pessimistic with no ethics care in such fields. Bill Joy depicts that people may combine with robots hence development of new Borg similar species. We ask ourselves if this is the destiny of human evolution (Winston & Edelbach, 156). Bill’s representation depicts two alternating future representations putting in mind that the computer wi zards have progressed in coming up with intelligent machinery that can perform tasks as compared to human beings. These representations have a negative outcome to humans. This passage confers that humans will not be stupid enough to give all control to the machinery. This passage is not telling we willingly grant them authority, nor will they grab our power. The depiction does not ever talk about the robots being wicked and will destroy humanity. It articulates of our migrant under robot management until we will not succumb to the belief that robots are right. With the technology increasing, the society will become intricate and machines develop to be more intelligent. We will commence to let machines decide for us and not later from now, societal problems will be very complex. It is not probable for people to make clever judgments. Machines will be the definite solutions to our troubles, and almost immediately will take useful control. The second depiction centers on humans sustaining power over machines. The power over hefty machine systems will be in the control of the meager elite. At some point, these elites will posses better methods, and human beings work will not be required. It proposes that the stipulations of these elites being brutal will annihilate the mass of humanity. Conversely, their human nature will diminish birth rate to the extent of humans becoming extinct; hence, the world will be left to the elite. In conclusion, on assumption that the elite are gentle liberals, they would step up to guide humanity to a life satisfying every need and want, hence a life with no purpose. Works Cited Winston, Emmanuel, and Edelbach, Ralph. Society, ethics, and technology. Boston. Wadsworth Cengage Learning, 2012.

Cape Town, South Africa Programs to End Exploitation and...

Exploitation of Children Anti-Child Labour Youth Development Counter Human Trafficking They are a children’s rights organisation that is trying to end of all forms of exploitation and abuse of children. Their work involves counter human trafficking, anti-child labour and the development of the youth in South Africa. All three programs are dedicated to stop all forms or situations which result in the enslavement of children Their Vision is to protected the rights of children and end exploitation in South Africa Their Mission is to become and remain the best children’s Rights non-profit organization in our country by prevent the exploitation of children: 1.Anti-child Labour 2.Counter-human Trafficking 3.Youth Development in the Central Karoo Child labour continues to exist in our country and around the world and yet people are still not talking about it and this it all the more difficult. Not all work is harmful to children In fact, some work is considered beneficial for their development. But Child labour is defined as: work by children under 18 which are exploitative, hazardous or inappropriate for their age, destructive to their schooling, or their social, physical, mental, spiritual or normal development. Child labour deprives children of their childhood because they are being exploited and harmed and this creates the cycle of poverty within a family and the community. There is a day once a year set aside to acknowledge the existence of child labour it is calledShow MoreRelatedOne Significant Change That Has Occurred in the World Between 1900 and 2005. 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Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sà £o Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editor In Chief: Stephanie Wall Executive Editor: Bob Horan Program Manager Team Lead: Ashley Santora Program Manager: Denise Vaughn Editorial Assistant: Kaylee Rotella Executive Marketing Manager: Anne K. Fahlgren Project ManagerRead MoreOrganisational Theory230255 Words   |  922 Pagesunderstandings of the relationship between organizations and society A puzzle – is it is better to ‘belong’ or to be an ‘individual’? 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Planning in Early Childhood Free Essays

The observation of children is performed by teachers and educators, to help understand each child, and their characteristics. Along with assessment and evaluation, educators are able to understand each child’s development, and make decisions about appropriate activities and experience to offer each child, to help foster their individual development. (Veale, A. We will write a custom essay sample on Planning in Early Childhood or any similar topic only for you Order Now and Piscitelli, B. 1988) This essay will discuss the Value of the Observation Process in Planning for early childhood settings, and the role of each teacher in facilitating children’s individual learning and development. Observation is a very valuable and important part of the planning process as each child is different. Observation and Record Keeping in Early Childhood Programs (Veale, A. and Piscitelli, B. 1988,) Suggests that in order for educators to provide proper learning experience for children, they must know each child’s strengths, weaknesses, interests, fears, joys, ideas and individual interests to plan stimulating and appropriate learning experiences. Through observation, Educators can gather this information on what each child is capable of, how each child behaves under a range of different circumstances and how the child interacts with other children, and adults. The information collected from observation helps educators to develop objectives and plans to â€Å"enhance children’s learning and development† (Planning and Learning, NZTC pg. 5). Effective Planning and developing of learning outcomes for children is a collaborated effort between colleagues, children, Parents/Whanau and the community. DOP 6 outlines that importance of collaboration between colleagues when it comes to forming an effective plan in the early childhood environment. Open relationships and free discussions amongst each other empowers educators to become reflective practitioners and to understand different perspectives (MoE, 1998) By collaborating with parents/ Whanau educators can increase their understanding of the child’s â€Å"thinking and learning, parents and carers become wiser about the child† (Stonehouse, cited in Hanna, 2006, p. 3) and planning becomes more effective and purposeful for the child. Te Whariki states under the principle of Family and Community, â€Å"The wellbeing of children is interdependent with the well-being and culture of local communities and neighborhoods. Children’s learning and development are fostered it the well-being of their family and community is supported. †(MoE, 1996, p. 42) Society is constantly changing, and children grow and change with the community, so educators need to plan for the growth and change. And most importantly the children need to be considered while planning. Children are individuals and their voice needs to be heard. Educators need to be aware of the child’s capabilities, interests and learning needs to provide efficient learning activities that will be effective and enjoyable for the child. â€Å"The purpose of assessment is to give useful information about children’s learning and development to the adults providing the program and to children and their families. † (MoE, 1996 pg. 9) Assessment of the effectiveness of the program and keeping track of the child’s development helps educators to make decisions so effective changes can be made as needed to help the child’s personal progress and learning objectives. Likewise with planning, assessment needs to consider the changes in the community, consider the needs of the child and the parents/whanau to be the most effective for the child’s learning. Evaluation is the final step in the on-going planning of children’s learning. The purpose of evaluation is to make informed judgments about the quality and effectiveness of the program. † (MoE, 1996 Pg. 29) Evaluation is a crucial part of the planning process as it gives educators a chance to assess and evaluate the effectiveness of their program planning and to be better informed for future planning. Educators need to use a range of methods to evaluate the program. This can be done by reflections, regularly updating what works well and monitoring effectiveness, consulting with patents/whanau, and most importantly making appropriate changes. Educators hold the important role of supporting and facilitating each child’s development, one method of facilitating for the child is by recognizing and providing an optimal learning environment. An optimal learning environment is a safe environment specifically designed to facilitate a child’s learning and developmental needs. Educators need to provide time and opportunity for children to respond and experience the world creatively, it also needs to offer exposure to a variety of experience, to be secure and offer stimulating experiences so children can take risks and investigate the world around them safely. Olds (2001) suggests that children need to feel comfortable in their environment for them to explore. Educators need to be vigilant in making sure that each individuals needs are met so the child feels safe and comfortable in the learning environment. Creating an optimal learning environment means educators need to consider the aspects that create this environment. Harris Helm suggests that the overall effectiveness of an early childhood program is dependant on quality of staff, suitable environment, consistent schedules and parent involvement. Another aspect educators need to consider while facilitating learning is the importance of the interpersonal environment. â€Å"Interpersonal environment refers to the relationships established in the environment. † (Planning and Learning, NZTC, 2009, pg 49. ) Educators need to provide an environment that will allow children to learn through responsive and reciprocal relationships with people (MoE, 1996). Children must feel comfortable safe and secure in order to engage in efficient and meaningful learning. Fu (2004) believes that establishing supportive, responsive relationships with children and parents/whanau helps with the development of knowledge, social skills and attitudes and reinforces learning. Building a relationship with the child and their family will help educators to have a clear understanding of the child’s development and the holistic needs of the child. Educators need to engage in constant interactions with parents to gain proper insight into the child’s individual beliefs, rituals, preference and values, so to build a personal and meaningful relationship with the child. Relationships are the heart of learning. By Building a close relationship with the child allows educators to respond sensitively to each child’s needs. By building this Positive and sensitive relationships, research has shown that it enhance a child’s development and is the base of early childhood education. Vygotsky social constructive theory of the Zone of Proximal Development can effectively help educators with providing the best support and to develop strategies to assist the learning and development of the children. The Zone of Proximal Development is described by Vygotsky as â€Å"the distance between the actual developmental level as determined by independent problem solving and the level of potential development as determined through problem solving under adult guidance, or in collaboration with more capable peer† (L. S. Vygotsky, p. 86) Vygotsky observed that when an individual was tested on tasks alone, they rarely did as well as when they were working in collaboration with an adult. The process of involvement by the adult enabled them to refine their thinking or their performance to make it more effective. James Atherton, 2009) by observing a child, educators can observe what a child needs individually, find out what is changeling for the child and work collaboratively alongside with the child and develop strategies to help further the child’s learning. From this theory the teaching strategy of Co-construction was developed. Con-construction is described as a â€Å"collabora tive process from which new understanding and concepts emerge. (Planning and Learning NZTC, 2009, Pg. 39)By collaborating together to find new understanding and concepts between the child, peers, and adults can develop strategies to offer new ideas and concepts to activities. Educators have the important role of providing a co-constructive environment by listening to the child, playing with the child, and have an active participation in their learning, to help develop a child’s interests in learning further. Educators also need to encourage children â€Å"to share what they think and know† (Planning and Learning, NZTC, 2009, pg. 39) . â€Å"Planning the curriculum should be a continuing process, involving careful observation, identification of needs and capabilities, provision of resources, assessment and evaluation† (MoE, 1996, p. 8) Observation, planning, assessment, and evaluation is an ongoing process that must be part of a daily routine. Every educator will be different in how they plan, but thru collaboration with colleagues, parents/whanau, the child, and consideration of the community will help educators to plan as effectively as they can for each individual and help them to grow and improve, and learn how to provide children with the best possible environment to learn and develop in. How to cite Planning in Early Childhood, Papers

Cinematography Treatment Example Essay Example For Students

Cinematography Treatment Example Essay The Might of Spite Plot Summary The movie is about a guy (Antagonist) and a girl (Protagonist) living together that get turns to do the laundry. The guy (Thando) is very lazy, watches TV the whole day and refuses to do the laundry even after the girl (Carrie), tries to force him physically. Carrie is miserable after that but then finds another way to get him of the couch. She tells him that his car is being stolen and when he gets outside, Carrie locks the door behind him. Thando sees his car isn’t being stolen. He then sees the washing basket outside and sees Carrie through the window enjoying the victory and waving the key mockingly. Genre When filmmakers and movie critics refer to a film genre, they generally mean a specific style, or subject matter. While a movie may have elements of a number of different genres, it is often classified under a single film genre for reference purposes. Film genres include Comedy, drama, romantic comedy, action/adventure, musical and experimental. *(http://www. wisegeek. com/what-is-a-film-genre. htm, Michael Pollick). The Might of spite will classify in the comedy genre even though it is more of an everyday general situation. It is a very light hearted film with laidback comedic moments present, throughout the film. Binaries Primary event binary is Tactfulness VS Spitefulness, because Thando was being spiteful by just refusing to do the laundry after Carrie has been tactful. Carrie then outsmarts Thando giving him no choice but to do the laundry. The binary of the protagonist is Mind VS Body. Carrie thought it is a losing battle after she tried to force Thando physically to do the laundry. She then used brain power to manipulate Thando into going outside where the clothesline is and locks the door behind him. The antagonist’s binary is Selfishness VS Contribution, because Thando refuses to do his part of the housekeeping and only watches TV and making more of a mess in the house. He needs to stop being lazy and help Carrie by contributing in cleaning the house. Conceptual and Emotional Relevance The event problem in a story is when the character is put in a situation outside their normal environment. This is what happened to Carrie after Thando refuse to help her, because they obviously agreed to split some of the housekeeping duties. Conceptual Relevance is the event narrative structure in any story. It is the events in the narrative that will progress the story along. In all classic narrative the Conceptual relevance relates to a simple story line. *(Directing for film an introduction, p24, Brandon Oelofse, 2007). The conceptual relevance in this story is when Carrie tricks Thando into doing the laundry. At first she accepted defeat but noticed Thando’s car outside near the clothesline. She then came up with an idea and told him his car is being stolen and locked the door when he went out. This is relevant to the viewer because by outsmarting Thando she came out on top by approaching a problem with thought. Character problem within the narrative can be described with this question. Why does the character react the way they do with different events? We know that Claire is being ignored by Thando and that physically forcing him can’t work either. That is why she locked him out with the laundry until it is finished. Emotional Relevance is the heart of any story. It is the journey that the character will go through to achieve a sense of completion at the end of the narrative. (Directing for film an introduction, p22, Brandon Oelofse, 2007). The emotional relevance in this story is that Carrie gave up at first but got up and tried again. ETB The Establishment Problem Solution Priority Order We first see our antagonist Thando, a lazy guy drinking beer, sitting in front of the TV. We then meet our antagonist Carrie, a bright and hardworking girl, walking into the dirty living room, which she probably will have to clean, with a laundry basket in her hands. The First Explosion Carrie tells Thando that it is his turn to do the laundry and he looks at her ut returns his attention to the TV ignoring her. Problem Solving Vacuum Carrie gapes in disbelief because they always make turns. But she won’t give up yet. Problem-Solution Digits Thando still ignores her by just looking at the TV. New Problem Solution Priority Order Carrie shoves the washing basket in front of Thando, blocking his view of the TV. Second Explosion Thando ignores Carrie and just move into a different position to see the TV. Carrie blocks his view of the TV with the basket again, but Thando just reposition again. This happens again and again, until Thando stands up picks the basket up and put it on the floor out of his way and sits down. Carrie gives up and leaves with the basket. The Second Problem- Solution Vacuum and the Potential Problem-Solution Digits Carrie goes to the kitchen to think of a different way because by trying to spite Thando to do the laundry is clearly not going to work. But she gets an idea when she sees something outside. The Dramatic Climax Carrie quickly locks the door and laughing at Thando, shaking the keys of the door through the window. The Final Problem Solution Priority Order Carrie watches Thando from the kitchen wind while he is hanging up the laundry and she drinking a glass of wine. General Look and Feel of the Film Design and style are overlapping categories, and it is possible to have an effective design without a distinctive personal style. Style is primarily dependent on the needs of the story being told. * (Film directing fundamentals, Nicholas T. Proferes, p. 46, 2005). The general look and feel will be of an ordinary couple, in an ordinary house with an ordinary garden. The TV room will be a bit darker though with pale look and feel to it because it is the antagonist’s lair. The outside will have more of a bright contrast and colourful look to it, because the antagonist is out of his territory and that is where he will be defeated. The kitchen will have a more stable feel to it with some solid colours and shadows. Lighting Lighting shapes the realty in front of the lens, giving it depth or flatness, excitement or boredom, reality or artificiality. Light can fall on the scene in a variety of ways to create many different moods to help tell the story. (Kodak: the art of lighting-notes, 2003) To amplify this laidback light hearted comedy, soft lines and shadows will be used more. In a comedy high key-light is usually used to amplify the narrative. This is what I will be doing but also use mixed lighting at one location. The TV room will have a different light setting that is gloomier than the high contrast the kitchen and the garden will have. T his is because it is where the antagonist spends most of his time and there will be mixed light used that strategically falls on certain places. The sun coming through a window and or a lamp on a table will also be used as extras to get enough light on the subjects so that low key light won’t be made. With the face of the antagonist in a darker part of the room the flicker of the TV will slightly be seen by using a reflector board and moving it slightly on the subject’s face. Taken by GETY *(http://www. telegraph. co. uk/culture/tvandradio/5998253/One-in-six-Britons-too-lazy-to-get-up-to-change-TV-channel. html) The kitchen will be more brightly lit, also because this is where the protagonist spends most of her time and feel at home. To create this high-key light the fill light will be closer than the key light so that it shines almost as bright as the key light. Because it is day during the whole film, the light coming trough the window will also be seen on the subject. When the character is staring through the window the reflection of the car will be seen in it. If needs be, a reflector board will be used to create to bounce minimal light onto the window so that the character can be seen inside and the reflection of the car. Taken by Courtney *(httpmusingsofanightowl. blogspot. om200909time-to-reflecthtmlpng) September 11 2009 In the garden outside the house, the sun will be used to create the high-key light needed and a reflector board will be used to help with unwanted shadows on the subject’s face. In one particular shot light will be used outside as a back light to create a shadow of the antagonist. In the next shot should, this shadow on the white material will be used to amplify to the audience tha t the antagonist isnt doing this out of free will and so it looks like he is out of place, because he is put here and he is still a lazy guy. Taken by unknown *(www. gettyimages. om/detail/200486956-001/Riser) The main character revelation will be Carrie. When she is in the kitchen the first time the kitchen will look colder and the second time after she is in the kicthen it will have a slightly warmer colour. Because some scenes will be shot interior and some exterior, shooting will be done with 250d film. CTB will be needed to colour correct the interior shots. In the kitchen a full CTB will be used for the cooler effect and only half CTB will be used for the warmer shot. This is going to be done because Carrie feels better about herself and don’t feel so bad about Thando ignoring her. The Giver EssayUnlock the magazine lock and remove the magazine latch. Open the camera cover (side door), open the film gate on the inside of the camera by pressing the latching knob inwards and swinging the pressure pad assembly open on its hinges. Spray some dust-off inside the camera, put the film loop in the camera and put the magazine on the camera. Place the film in the gate so that the transport claw fits into the film perforation holes. Turn the inching knob so that the registration pin fit in the film perforation holes and holds it in place. Make sure the film lays firm on the aperture plate and close the gate and camera door. *(Arrieflex 16 S operating instructions,p. 2-18, unknown date) To achieve accurate exposure, you need to use a light meter as well as the right settings on the light meter. The camera will be rolling at the speed of 24-25 frames per second and therefore you need configure it as either 24 or 25 fps on the light meter. The second setting is the ISO, for this film it will be set on 250 because 250D film will be used the whole time. Now you can do an incident reading to get an average reading how much light is being reflected by the subject from different lights or a spot reading to get a more accurate reading of how much light is falling onto the subject at different spots. You then use the reading you got from the light meter and set your aperture to that number. When mount a lens, utter care must be taken and always hold a lens firmly in your hand. Firstly remove the turret plug or cavity cap from the camera. Look through the eyepiece and make sure it is in focus by turning the adjusting ring. Stick some gaffer tape over the adjusting ring, so that it cannot change. Remove the back lens cap from the lens. For the Arri camera it is only needed to align the gap in the camera with the lens’s, press the lock lever on the camera, slide the lens carefully in and release the lock leaver when lens is perfectly fitted in the lens cavity. With these cameras you don’t twist or turn the lens or anything, it just slides in perfectly. After that you can take off the front lens cap. The focus, aperture and, if you’ve got a zoom lens, the zooming can be adjusted by turning the lens clockwise and anticlockwise to the different markers. During shooting, a magazine card should be filled with all the necessary information such as, roll number, mag number, amount of footage shot in feet, take length in seconds, print, lens used and f-stop used, slate number, take number and if there are any remarks. Here is an example of a Mag card. After the shoot is done, all the information on the mag card must be put on the picture negative report (Neg report). A copy of the neg report get stuck onto the can with the film in and sent to the lab. This info is everything they need to expose the film correctly and make sure that everything is filled in, in case of any uncertainty by the film lab. Here is an example of a neg report. The setting up and maintenance of equipment is some of the most important things for safety and not to break anything. Always keep a neat gear station out of the and against a wall away from people. All cases must be closed and latched and safe from getting stolen or wet. Never use equipment on a wet place and just do one thing at a time when working with it. When setting up a light stand, camera or C-stand, secure it with at least one sandbag so that it won’t fall over or damage, when someone bumps it or trip over the cable or anything. Start to raise a light or C-stand from the highest lock-off grip to the lowest so that you can reach the lock-off grip if you need to. The cable of a light or an extension should be as far out of the way as possible. If it on a spot where people walk, the cable must be gaffer aped to the floor. A cable should be rolled up in a figure eight underneath the lamp, because it can create an electrical current and melt the cable. It also helps for if someone pulls the cable, the light won’t fall over because there is enough slack for it. Rolling up a cable can’t be done any way. Rolling it up around the arm will only wrinkle and damage the cable. The way to do it is by holding one point in your hand so t hat it is hanging and rolling it up by letting the cable follow how it has rolled up before. Then the cable must be tied with a piece of rope attached to it, the same way a shoe lace is tied with the two loops. To set up a camera you first spread the spreaders. Then you attach the legs onto the spreaders with a sandbag on. Now that the camera can be put on the legs, it is done by screwing the camera on and locking it so that it is secure. After the magazine is loaded and laced, you must bubble the camera so that it is level. Operating the Camera To book equipment, an equipment request form must be given in at the equipment storeroom. On the form must be everything needed to book out and the signatures of the discipline lecturer and Keroshin Reddy. The date you need the equipment and when it will be returned must be on the form. The person responsible for the equipment signature and Cell number must be on the form and it must be given in at least two days before the equipment is needed. When equipment is being taken, it must be checked and signed off as in working condition. Everything must be checked if it is there and if it is working before signing. Every light must be struck and all the extensions must be checked. If everything on the list are there and working, the form can be signed and given back to the storeroom manager. The equipment signed for are now the signer’s responsibility not to get lost or damaged. When Thando gets up and give Carrie the false impression, by picking the laundry basket up, the camera tilt up so that upliftment can be created but the camera will also tilt to the side to show that it is not really meant. When Thando runs to his car to save it, a hand held shot will be done giving an unstable feel and a feel of realism to it. To keep the subject in focus, the distance of the subject to the camera will stay the same by tying a rope around the subject and the cinematographer. On most cameras, there will be a button that must be pressed, as the lens is turned. The Arri doesn’t turn, but some turn one way and some the other. Absolutely, never ever, must a lens be attempted to be remove from any camera, until you’re sure you know how. This goes for trying to take the lens off again as well. Lens cleaner and a cotton cloth must be used to clean a lens. Circular motions must be made from the inside out to prevent from scratching it. The camera must always be on the legs or stand, locked off, in a competent person’s hands, in other words a cinematographer, or in the camera bag. It must never be left alone unattended, because it can get stolen, damaged and just about anything can happen. Keep everything in a dry clean place and keep everything neat and together. Bibliography Websites *(http://www. wisegeek. com/what-is-a-film-genre. htm, Michael Pollick) *(http://www. telegraph. co. uk/culture/tvandradio/5998253/One-in-six-Britons-too-lazy-to-get-up-to-change-TV-channel. html) *(httpmusingsofanightowl. logspot. com200909time-to-reflecthtmlpng, September 11 2009) *(www. gettyimages. com/detail/200486956-001/Riser) *(moniquer710. blogspot. com/2009_11_01_archive. html) Books *(Directing for film an introduction, p24, Brandon Oelofse, 2007) *(Directing for film an introduction, p22, Brandon Oelofse, 2007) *(Film directing fundamentals, Nicholas T. Proferes, p. 46, 2005) *(Kodak: the art of lighting-notes, 2003 ) *(Picture composition for film and television, Peter Ward, p. 10, 2003). *(Arrieflex 16 S operating instructions,p. 2-18, unknown date)