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The Cannon Group, Inc. was an American group of companies, including Cannon Films, which produced films from 1967 to 1994. [2] The extensive group also owned, amongst others, a large international cinema chain and a video film company that invested heavily in the video market, buying the international video rights to several classic film libraries.
The following are films produced by Menahem Golan and Yoram Globus (Noah Films) before purchasing Cannon Films in May 1979 that were co-produced and/or released by Dewey-Friedland's Cannon or subsequently released under Golan-Globus' Cannon.
Canon XL-1: Canon EOS zoom Shot in 1999, released in 2005 1999 The New Women Larra Anderson Canon XL-1 Canon EOS zoom Shot in 1999, released in 2001 1998 The Last Broadcast: Lance Weiler: Sony DCR-VX1000 For some sequences a toy video camera from Tyco was used [18] 1998 The Book of Life: Jim Denault Sony DCR-VX1000: 1998 Festen Thomas ...
The review aggregation website Rotten Tomatoes gives the film a 92% approval rating, based on reviews from 49 critics, with an average rating of 7.4/10. The site's consensus states: " Electric Boogaloo: The Wild, Untold Story of Cannon Films pays tribute to the titular studio with an affectionate look back that's arguably more entertaining than ...
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In addition, some Canon and JVC HDV camcorders have the ability to use high-quality interchangeable lenses, rather than the fixed lenses that are included with most prosumer cameras. The Canon EOS 5D Mark II is a "full-frame" format HDSLR camera capable of recording 1080p video at 24, 25 or 30 frames per second, with a file size limit of 4 GB ...
Yoram Globus (Hebrew: יורם גלובוס; born 7 September 1943) is an Israeli–American film producer, cinema owner, and distributor. He has been involved in over 300 full-length motion pictures and he is most known for his association with The Cannon Group, Inc., an American film production company, which he co-owned with his cousin Menahem Golan.
The first camera to be formatted for the new film was the Kodak M2. During the late 1960s, cameras were only formatted to film at 18 frames per second, but as technology improved, speeds such as 24 frame/s (the motion-picture standard) and faster speeds (for slow-motion filming) were incorporated into camera mechanics.
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