Investing in stocks documentary heaven

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investing in stocks documentary heaven

This movie is still considered an inspiring movie for those who want to pursue a career in investment banking and stockbroking. Wall Street (Click Here to Buy. Sandoval Studios and K-LOVE Films announce the debut of the new documentary THE CASE FOR HEAVEN, coming to theaters this April for three nights only. In THE CASE FOR HEAVEN, director Mani Sandoval takes audiences on a fascinating journey to discover what happens after we die. Lee Strobel. VOLUME INDICATORS ON BINARY OPTIONS Server : Specify the host name. We cannot guarantee that it is and other management. Connect with us are the property. All-in-one, cloud collaboration use of latest your password.

Occasionally, even a film noir —such as Leave Her to Heaven or Niagara —was filmed in Technicolor. The "Tech" in the company's name was inspired by the Massachusetts Institute of Technology , where Herbert Kalmus and Daniel Frost Comstock received their undergraduate degrees in and were later instructors. In , Kalmus, Comstock, and mechanic W. Burton Wescott formed Kalmus, Comstock, and Wescott, an industrial research and development firm. Most of the early patents were taken out by Comstock and Wescott, while Kalmus served primarily as the company's president and chief executive officer.

When the firm was hired to analyze an inventor's flicker-free motion picture system, they became intrigued with the art and science of filmmaking, particularly color motion picture processes, leading to the founding of Technicolor in Boston in and incorporation in Maine in In , Wescott left the company, and Technicolor Inc. Technicolor originally existed in a two-color red and green system. In Process 1 , a prism beam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film simultaneously, one behind a red filter, the other behind a green filter.

Because two frames were being exposed at the same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two apertures one with a red filter and the other with a green filter , two lenses, and an adjustable prism that aligned the two images on the screen.

Convinced that there was no future in additive color processes, Comstock, Wescott, and Kalmus focused their attention on subtractive color processes. This culminated in what would eventually be known as Process 2 in the later s commonly called by the misnomer "two-strip Technicolor".

As before, the special Technicolor camera used a beam-splitter that simultaneously exposed two consecutive frames of a single strip of black-and-white film, one behind a green filter and one behind a red filter. The difference was that the two-component negative was now used to produce a subtractive color print.

Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist. The frames exposed behind the green filter were printed on one strip of black-and-white film, and the frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly complementary to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones.

Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that the highlights remain clear or nearly so , dark areas are strongly colored, and intermediate tones are colored proportionally. The two prints, made on film stock half the thickness of regular film, were then cemented together back to back to create a projection print.

The Toll of the Sea , which debuted on November 26, , used Process 2 and was the first general-release film in Technicolor. The second all-color feature in Process 2 Technicolor, Wanderer of the Wasteland , was released in Process 2 was also used for color sequences in such major motion pictures as The Ten Commandments , The Phantom of the Opera , and Ben-Hur Although successful commercially, Process 2 was plagued with technical problems.

Because the images on the two sides of the print were not in the same plane, both could not be perfectly in focus at the same time. The significance of this depended on the depth of focus of the projection optics. Much more serious was a problem with cupping.

Films in general tended to become somewhat cupped after repeated use: every time a film was projected, each frame in turn was heated by the intense light in the projection gate, causing it to bulge slightly; after it had passed through the gate, it cooled and the bulge subsided, but not quite completely. It was found that the cemented prints were not only very prone to cupping, but that the direction of cupping would suddenly and randomly change from back to front or vice versa, so that even the most attentive projectionist could not prevent the image from temporarily popping out of focus whenever the cupping direction changed.

Technicolor had to supply new prints so the cupped ones could be shipped to their Boston laboratory for flattening, after which they could be put back into service, at least for a while. The presence of image layers on both surfaces made the prints especially vulnerable to scratching, and because the scratches were vividly colored they were very noticeable.

Splicing a Process 2 print without special attention to its unusual laminated construction was apt to result in a weak splice that would fail as it passed through the projector. Even before these problems became apparent, Technicolor regarded this cemented print approach as a stopgap and was already at work developing an improved process. Based on the same dye-transfer technique first applied to motion pictures in by Max Handschiegl, Technicolor Process 3 was developed to eliminate the projection print made of double-cemented prints in favor of a print created by dye imbibition.

The Technicolor camera for Process 3 was identical to that for Process 2, simultaneously photographing two consecutive frames of a black-and-white film behind red and green filters. In the lab, skip-frame printing was used to sort the alternating color-record frames on the camera negative into two series of contiguous frames, the red-filtered frames being printed onto one strip of specially prepared "matrix" film and the green-filtered frames onto another.

After processing, the gelatin of the matrix film's emulsion was left proportionally hardened, being hardest and least soluble where it had been most strongly exposed to light. The unhardened fraction was then washed away. The result was two strips of relief images consisting of hardened gelatin, thickest in the areas corresponding to the clearest, least-exposed areas of the negative.

To make each final color print, the matrix films were soaked in dye baths of colors nominally complementary to those of the camera filters: the strip made from red-filtered frames was dyed cyan-green and the strip made from green-filtered frames was dyed orange-red. The thicker the gelatin in each area of a frame, the more dye it absorbed. Each matrix in turn was pressed into contact with a plain gelatin-coated strip of film known as the "blank" and the gelatin "imbibed" the dye from the matrix.

A mordant made from deacetylated chitin was applied to the blank before printing, to prevent the dyes from migrating or "bleeding" after they were absorbed. Dye imbibition was not suitable for printing optical soundtracks, which required very high resolution, so when making prints for sound-on-film systems the "blank" film was a conventional black-and-white film stock on which the soundtrack, as well as frame lines, had been printed in the ordinary way prior to the dye transfer operation.

The first feature made entirely in the Technicolor Process 3 was The Viking , which had a synchronized score and sound effects. Redskin , with a synchronized score, and The Mysterious Island , a part-talkie, were photographed almost entirely in this process also but included some sequences in black and white. The following talkies were made entirely — or almost entirely — in Technicolor Process 3: On with the Show!

In addition, scores of features were released with Technicolor sequences. Numerous short subjects were also photographed in Technicolor Process 3, including the first color sound cartoons by producers such as Ub Iwerks and Walter Lantz.

Song of the Flame became the first color movie to use a widescreen process using a system known as Vitascope , which used 65mm film. In , an improvement of Technicolor Process 3 was developed that removed grain from the Technicolor film, resulting in more vivid and vibrant colors. The new process not only improved the color but also removed specks that looked like bugs from the screen, which had previously blurred outlines and lowered visibility.

This new improvement along with a reduction in cost from 8. Warner Bros. Radio Pictures followed by announcing plans to make four more features in the new process. Although Paramount Pictures announced plans to make eight features and Metro-Goldwyn-Mayer promised two color features, these never materialized. Two independently produced features were also made with this improved Technicolor process: Legong: Dance of the Virgins and Kliou the Tiger Very few of the original camera negatives of movies made in Technicolor Process 2 or 3 survive.

In the late s, most were discarded from storage at Technicolor in a space-clearing move, after the studios declined to reclaim the materials. Original Technicolor prints that survived into the s were often used to make black-and-white prints for television and simply discarded thereafter. This explains why so many early color films exist today solely in black and white. Other producers followed Warner Bros.

Consequently, the introduction of color did not increase the number of moviegoers to the point where it was economical. This and the Great Depression severely strained the finances of the movie studios and spelled the end of Technicolor's first financial successes. Technicolor envisioned a full-color process as early as , and was actively developing such a process by Hollywood made so much use of Technicolor in and that many believed the feature film industry would soon be turning out color films exclusively.

By , however, the Great Depression had taken its toll on the film industry, which began to cut back on expenses. The production of color films had decreased dramatically by , when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could now promise studios a full range of colors, as opposed to the limited red-green spectrum of previous films. The new camera simultaneously exposed three strips of black-and-white film, each of which recorded a different color of the spectrum.

The new process would last until the last Technicolor feature film was produced in Technicolor's advantage over most early natural-color processes was that it was a subtractive synthesis rather than an additive one: unlike the additive Kinemacolor and Chronochrome processes, Technicolor prints did not require any special projection equipment.

Unlike the additive Dufaycolor process, the projected image was not dimmed by a light-absorbing and obtrusive mosaic color filter layer. Very importantly, compared to competing subtractive systems, Technicolor offered the best balance between high image quality and speed of printing. The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by Mitchell Camera Corporation, contained color filters , a beam splitter consisting of a partially reflecting surface inside a split-cube prism , and three separate rolls of black-and-white film hence the "three-strip" designation.

The beam splitter allowed one-third of the light coming through the camera lens to pass through the reflector and a green filter and form an image on one of the strips, which therefore recorded only the green-dominated third of the spectrum. The other two-thirds was reflected sideways by the mirror and passed through a magenta filter, which absorbed green light and allowed only the red and blue thirds of the spectrum to pass.

Behind this filter were the other two strips of film, their emulsions pressed into contact face to face. The front film was a red-blind orthochromatic type that recorded only the blue light. On the surface of its emulsion was a red-orange coating that prevented blue light from continuing on to the red-sensitive panchromatic emulsion of the film behind it, which therefore recorded only the red-dominated third of the spectrum.

Each of the three resulting negatives was printed onto a special matrix film. After processing, each matrix was a nearly invisible representation of the series of film frames as gelatin reliefs, thickest and most absorbent where each image was darkest and thinnest where it was lightest. Each matrix was soaked in a dye complementary to the color of light recorded by the negative printed on it: cyan for red, magenta for green, and yellow for blue see also: CMYK color model for a technical discussion of color printing.

A single clear strip of black-and-white film with the soundtrack and frame lines printed in advance was first treated with a mordant solution and then brought into contact with each of the three dye-loaded matrix films in turn, building up the complete color image.

Each dye was absorbed, or imbibed, by the gelatin coating on the receiving strip rather than simply deposited onto its surface, hence the term "dye imbibition". Strictly speaking, this is a mechanical printing process, very loosely comparable to offset printing or lithography , [21] and not a photographic one, as the actual printing does not involve a chemical change caused by exposure to light.

This procedure was used largely to cover up fine edges in the picture where colors would mix unrealistically also known as fringing. This additional black increased the contrast of the final print and concealed any fringing. However, overall colorfulness was compromised as a result.

In , Technicolor had improved the process to make up for these shortcomings and the K record was eliminated. Kalmus convinced Walt Disney to shoot one of his Silly Symphony cartoons, Flowers and Trees , in Process 4, the new "three-strip" process. Seeing the potential in full-color Technicolor, Disney negotiated an exclusive contract for the use of the process in animated films that extended to September All subsequent Silly Symphonies from on were shot with the three-strip process.

One Silly Symphony , Three Little Pigs , engendered such a positive audience response that it overshadowed the feature films with which it was shown. Hollywood was buzzing about color film again. According to Fortune magazine, " Merian C. Cooper , producer for RKO Radio Pictures and director of King Kong , saw one of the Silly Symphonies and said he never wanted to make a black-and-white picture again.

Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive exposure" "SE" process was adopted circa This variation of the three-strip process was designed primarily for cartoon work: the camera would contain one strip of black-and-white negative film, and each animation cel would be photographed three times, on three sequential frames, behind alternating red, green, and blue filters the so-called "Technicolor Color Wheel", then an option of the Acme, Producers Service and Photo-Sonics animation cameras.

Successive exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the original 16mm low-contrast Kodachrome Commercial live action footage was first duplicated onto a 35mm fine-grain SE negative element in one pass of the 16mm element, thereby reducing wear of the 16mm original, and also eliminating registration errors between colors. The live-action SE negative thereafter entered other Technicolor processes and were incorporated with SE animation and three-strip studio live-action, as required, thereby producing the combined result.

The studios were willing to adopt three-color Technicolor for live-action feature production, if it could be proved viable. Shooting three-strip Technicolor required very bright lighting, as the film had an extremely slow speed of ASA 5. That, and the bulk of the cameras and a lack of experience with three-color cinematography made for skepticism in the studio boardrooms.

An October article in Fortune magazine stressed that Technicolor, as a corporation, was rather remarkable in that it kept its investors quite happy despite the fact that it had only been in profit twice in all of the years of its existence, during the early boom at the turn of the decade. A well-managed company, half of whose stock was controlled by a clique loyal to Kalmus, Technicolor never had to cede any control to its bankers or unfriendly stockholders.

In the mid-'30s, all the major studios except MGM were in the financial doldrums, and a color process that truly reproduced the visual spectrum was seen as a possible shot-in-the-arm for the ailing industry. Live-action use of three-strip Technicolor was first seen in a musical number of the Metro-Goldwyn-Mayer feature The Cat and the Fiddle , released February 16, On July 28 of that year, Warner Bros.

Pioneer Pictures , a movie company formed by Technicolor investors, produced the film usually credited as the first live-action short film shot in the three-strip process, La Cucaracha released August 31, This is the best investment I've ever had and I'm so grateful. Jackson Robert for helping me manage my trading account. For those of you looking for a good way to. What was the point? You found the worst of the worst in the community and acted like that's what it's like to live there.

I don't live there myself but this community is not the way you described it. Why would you highlight a few freaks and act like that's the majority? This was just a gross, boring movie, acting like it's supposed to be a documentary. There should be a warning label posted, "This is not a true depiction. View 2 previous comments. Mitzi Toro recommends Some Kind of Heaven. Fascinating documentary capturing the journey of a man made utopia fantasyland retirement village in central Florida.

Amazed how intimate the film maker was able to become a part of the lives of the people covered in the movie.

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Firstly it uncovers a real life scam that happened in in the U. It examines how, after the financial crisis, the next big thing has become investing in Chinese stocks. Everyone wants to be a part and take their share of the China Story unfolding. But it is difficult to invest directly in China, so in a scheming collaboration with U. The problem is the Chinese companies are scam companies with no real sales or business. The movie also introduces you to the world of activist short-sellers.

It is a first-class movie. See how the biggest scam of the 21st century developed and exploded. If you pay an army of high-priced lawyers to stand in the way of investigators and regulatory authorities, you can get away with many financial crimes.

The deepest insides of this scandal are exposed and laid bare for all to see in this high-quality movie. Go Pro Now. I like Michael Moore because he fights for a cause and never shirks away from challenging the status quo. Michael Moore is back and turning his critical gaze on Capitalism itself. Entertaining, thought-provoking, and ultimately a great watch, this movie is highly recommended.

An Example Quote: Rep. A great true story involving the few men who bet against the investment banks going into the financial crisis. Michael Lewis has a way of writing that adds great storytelling to the factual background of what went on before and after the credit crunch.

The financial world upon which we all depend is fragile, and Wall Street investment banks who manipulate the markets place our way of life at risk. It is a really great movie that brings to life the failures of investment banks and institutions even to be able to understand the products they imaginatively create to try to make a profit.

Excellent acting by Brad Pitt and Christian Bale and top directing make this a movie you must see. A bitter battle ensues to take over this conglomerate. Ross Johnson, the C. This true story takes a turn for the worse when the Wall Street investment banking professionals he hires start to become his competition in the buyout. This classic shows what it is like on the inside of these mega-merger and acquisition deals that Wall Street firms thrive on.

Niall Ferguson traces the history of money and how it has grown from a tool to be able to trade goods and services more easily to a dominating factor in society. How has money transformed the world we live in? You want to drink a coffee when watching this as it is a lot of information, and some of it may be hard going. But, ultimately, this is a rewarding watch and gives us a deepened perspective on how and why our modern societies are structured and behave as they do. You have to see this only to understand the depth of the problem of trying to oversee the companies that take advantage of the lazy money.

I read The Wolf of Wall Street book and enjoyed it; this movie does the book justice and brings color and entertainment to this true story. This movie is entertaining and well-directed by Martin Scorcese; it is a real Hollywood blockbuster. It focuses on the excesses of the former trader and scam merchant Jordan Belfort, charismatically played by Dicaprio, but that somewhat misses the point. This movie provides insight into the catalog of mental issues, drug and alcohol-related challenges of Jordan Belfort.

His rise from the mean streets to being a Wall Street hotshot with personal jets, mansions, and empty life is an entertaining lesson. I now manage all my stock investments using Stock Rover. Moore - Founder: LiberatedStockTrader. Based on the infamous Nick Leeson true story and book Rogue Trader, the film depicts how Leeson brought down Barings bank by taking huge risks in his role as a star trader for the firm.

This film shows you how little governance and risk management there was and still is at the top banks or, in fact, most banks. A rather depressing realization that the U. This documentary shows the crisis, and the US government and central bank saved the day, but only just.

Since the financial crisis, there have been no major changes to reduce the number of too big to fail institutions. This film allows you to see inside, try not to be shocked. A fascinating collection of filmed documentaries exploring human nature, this shows that how we explain the world around us is rarely linked to the true cause.

This series is an amazingly entertaining and thought-provoking way to see the world and understand how human behavior always tries to game the system. It can be dry at times, but it does show how taking a different lens to economics and the thought process can show different insights.

From director James Allen Smith, this cult classic captures how it was on the Chicago Board of Options exchange floor. The march of technology has made floor trading largely extinct, with most trades happening electronically now. But floor trading still exists, and a lot of money is still passed over the counter and on the floor. Insights galore here into the different roles on Wall Street, and although they earn a lot of money, the mental stress and anguish of the jobs can crush a person.

A nice insight into the mentality of the people to whom you entrust your money, your portfolio, and, ultimately, your financial future. If there was ever a lesson to trust only yourself, then this is it. The number of shares changes, but the overall value of your holdings remains the same. Stock splits sometimes occur when prices are increasing in a way that deters and disadvantages smaller investors. They can also keep the trading volume up by creating a larger buying pool.

A company's stock price has nothing to do with its value. The relationship of price-to-earnings and net assets is what determines if a stock is overvalued or undervalued. Companies can keep prices artificially high by never conducting a stock split, yet not have the underlying foundational support. Make no assumptions based on price alone. Dividends are usually cash payments that many companies send out to their shareholders.

Dividend investing refers to portfolios containing stocks that consistently issue dividend payments throughout the years. These stocks produce a reliable passive income stream that can be beneficial in retirement. You can't judge a stock by its dividend alone, however. Sometimes, companies increase dividends as a way to attract investors when the underlying company is in trouble. Ask yourself why management isn't reinvesting some of that money in the company for growth if a company is offering high dividends.

Blue-chip stocks—which get their name from poker, where the most valuable chip color is blue—are well-known, well-established companies that have histories of paying out consistent dividends regardless of the economic conditions.

Investors like them because they tend to grow dividend rates more quickly than the rate of inflation. An owner increases income without having to buy another share. Blue-chip stocks aren't necessarily flashy, but they usually have solid balance sheets and steady returns. Preferred stocks are very different from the shares of the common stock most investors own.

Holders of preferred stock are always the first to receive dividends, and they'll be the first shareholders to get paid in cases of bankruptcy. The stock price doesn't fluctuate the way common stock does, however, so some gains can be missed on companies with hypergrowth. Preferred shareholders also get no voting rights in company elections. Investment ideas can come from many places. You can take a look at your surroundings and see what people are interested in buying if spending your time browsing investment websites doesn't sound appealing.

Look for trends and for the companies that are in positions to benefit you. Stroll the aisles of your grocery store with an eye for what's emerging. Ask your family members what products and services they're most interested in and why.

You might find opportunities to invest in stocks across a wide range of industries, from technology to health care. It's also important to consider diversifying the stocks you invest in. Consider stocks for different companies in different industries, or even a variety of stocks for organizations with different market caps. A better-diversified portfolio will have other securities in it, too, such as bonds, ETFs, or commodities.

You can buy stock directly using a brokerage account or one of the many available investment apps. These platforms give you the options to buy, sell, and store your purchased stocks on your home computer or smartphone. The only differences among them are mostly in fees and available resources. Both traditional brokerage companies such as Fidelity and TD Ameritrade, and newer apps such as Robinhood and Webull offer zero-commission trades from time to time.

That makes it a lot easier to buy stocks without the worry of commissions eating into your returns down the line. You can also join an investment club if you don't want to go it alone. Joining one can give you more information at a reasonable cost, but it takes a lot of time to meet with the other club members, all of whom may have various levels of expertise. You might also be required to pool some of your funds into a club account before investing.

Another way to invest in stocks is through your retirement account. Your employer might offer a k or b retirement plan as part of your benefits package. These accounts invest your money for retirement, but your investment options are typically limited to the choices provided by your employer and the plan provider.

You can open an IRA on your own with your bank or brokerage company if your employer doesn't offer a retirement plan. There are two types of stockbrokers : full-service and discount. Newer investors can benefit from the resources provided by full-service brokers, while frequent traders and experienced investors who perform their own research might lean toward platforms with no commission fees. A money manager might also be an option.

Money managers select and buy the stocks for you, and you pay them a hefty fee—usually a percentage of your total portfolio. This arrangement takes the least amount of time, because you can meet with them just once or twice a year if the manager does well. The U. Securities and Exchange Commission SEC offers helpful advice on how to check out your investment professional before allowing them to manage your money and funds.

You might have to put in more time managing your investments if you want low fees. You'll likely have to pay higher fees if you want to outperform the market, or if you want or need a lot of advice. Knowing when to sell is just as important as buying stocks. Most investors buy when the stock market is rising and sell when it's falling, but a wise investor follows a strategy based on their financial needs.

Keep an eye on the major market indices. The three largest U. Don't panic if they enter a correction or a crash. These events don't tend to last very long, and history has shown that the market will climb again. Losing money is never fun, but it's smart to weather the storm of a down market and hold onto your investments, because they will probably rise again.

Learning how to invest in stocks might take a little time, but you'll be on your way to building your wealth when you get the hang of it. Read various investment websites, test out different brokers and stock-trading apps, and diversify your portfolio to hedge against risk. Keep your risk tolerance and financial goals in mind, and you'll be able to call yourself a shareholder before you know it.

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