₦airaland Forum

Watch Mr Fool Comedy Skit...Watch and Share

https://www.youtube.com/watch?v=FNCUqApfEE4

This is the DIY production Equipments I did...

Hear what Ajah residents have to say after the opening of Ajah Bridge and for also fencing up Ajah Market.


https://www.youtube.com/watch?v=j8ZhBSplM4A

Where Police go dey ask truck load carrier. "Wey Our Money"

During school days, they are some funny names we can never forget even after school, Watch and hear all kinds of funny names you won't believe that existed.

Click to watch
https://www.youtube.com/watch?v=CECw4auGFws

What is the significance?


Can any suffering be compared to the suffering of Jesus Christ?

ANNOYING!!![/quote]The 1 u watch no be movie also...no be person act as Jesus so why complaining about dis....Over too know dey worry u abi

[ IDLENESS ]

Prologue
A Philanthropist corper from a wealthy background also the only son of the family, was posted to a rural community to serve and he was brutally murdered by the jobless community youth.

Watch Out for this movie.!!!!

Two members of a 3-man gang, who posed as prospective passengers to kill an Uber driver have been arrested by the police in Lagos State. The two suspects are Osaro Egbomrewen and Michael Eyeoekpe.

The suspect had reportedly chartered a Uber Kia Rio saloon car driven Iniovosa Emmanuel Alex from Ogba to Oke Ira of the state. The duo suspect and a certain Destiny, who is on the run, had told the driver to take them to Obawole area of Fagba, where he was killed. .

Police investigations revealed that the suspects used a belt to strangulate the driver to death, dumped his remains at Ogba, and drove his vehicle to Edo State. .

One of the suspects, Egbomrewen, 31, said, “Around 9:30p.m, we called the Uber driver to come pick us at Tantalizer eatery at Ogba, I and Destiny were inside the vehicle with the driver, but Michael was outside.”

I was holding the belt, immediately I put the belt across the driver’s neck, Destiny dragged the belt and we strangled him. We took his corpse to Oremeji Street and dumped him in front of a church around 10:30pm.

We took the vehicle to Michael’s boss to sell the vehicle and he enquired on how we got it but when we told him that we killed the owner, he said we should take the car away.

Michael said we should take it (the vehicle) to his house and park it outside before taking it to another buyer in Benin, where we were tracked to and arrested.”

I think she's not really after the money..but fame..can't you see how others ex BBN mate going places after eviction..and 25M nah money oOoo

I parked my vehicle around axis of 3rd Mainland Bridge to answer the nature's call and within 30 seconds, five vehicles had surrounded me shouting, "Don't do it please." Another shouting, You can talk to me, I can help you." they think say I wan jump? Me wey never see my grandchildren...
I never wan die abeg oooooo
Lemme come and be going.....

Tony: Babe.

Wifey: Tony.

Tony: My love

Wifey: Really? That’s what you’re going to say?

Tony: Haba it’s been a long time.

Wifey: Yeah, two long months.

Tony: How are you?

Wifey: I’m okay. How else do you think I am?

Tony: I know. I missed you too.

Wifey: Silence.

Tony: Bobo and Princess nko?

Wifey: They’re asleep.

Tony: I’ve really missed you guys.

Wifey: When did you actually miss us?

Tony: What do you mean?

Wifey: I’m just asking ni. When did you miss us, was it when Bisola gave you head or when you were chasing Tboss?

Tony: Ahan, but you know it was a game na!

Wifey: Tony please please. What kind of dirty game?

Tony: Honest babe. Shebi you saw when I was talking to Ebuka. None of it meant anything.

Wifey: Easy for you to say. The whole world saw you deny your family for this game of yours. You said all your family members are dead.

Tony: Ehn I just said that…

Wifey: Let me talk Tony! I’m the one that had to suffer all the insults from viewers. My friends whisper around me now. I know they talk about the rubbish husband I have that went to disgrace himself on Big Brother.

Tony: Wait…

Wifey: Did you wait before str!pp!ng yourself N@kkd the very first week? People were even pitying you at that point sef. Until you and Bisola started kissing. That was a game too abi?

Tony: It was my strategy…

Wifey: To win 25million abi? Oya where’s the money. Show me the money na.

Tony: But babe you know how these things go…

Wifey: Yes I know how it goes. When you’re around women the first thing you do is deny your family. Remember how I caught you with that actress? Your excuse was that you were rehearsing with her. This one you were doing on satellite tv, that one is rehearsal too abi?



Tony: True to God babe, the whole time I was in there, it was my family I was thinking of o!

Wifey: Tony it’s thunder that will fire that your mouth. ‘Bisola I want to knack you this night without condom…’ Shebi it’s your family that was on your mind when you said that?

Tony: Honestly I don’t even remember I said that. You know we were drinking and that just came out.

Wifey: Yeah whatever.

Tony: You don’t believe me? Sincerely it was part of my plan to win…

Wifey: But did you win? They offered you one million naira to quit. You refused.

Tony: It doesn’t matter that I didn’t win the actual prize money. My appearance alone will open doors.

Wifey: It needs to open doors to a new house. Me I can’t live in this compound anymore. Even our neighbour’s daughter calls you T-T Trash.

Tony: Ah darling, slow down. We can’t move just yet. You know I’ve been away since January and I’m only coming home with the Pay Porte clothes I was given. When they make me ambassador…

Wifey: So all the embarrassment you gave me was for jeans and T-shirt. Chai, I have suffered o!

Tony: Babe just relax. I can fix this. Just let me get home tomorrow. Okay?

Wifey: Be coming, or did I say you should not come? Just stop over your mothers house and pick the children. I’m going for a beauty pageant.

Tony: Babe babe listen. You’re a wife and mother . You can’t go and be exposing your marital body anywhere.

Wifey: Well that’s rich coming from you.

Tony: See I’m still your husband.

Wifey: Define husband.

Tony: Why are you fighting me?

Wifey: You think I have strength to fight? Abeg I dey go sleep.

Tony: Baby let’s sort this out now. I don’t want things to be weird when I get home.

Wifey: Oh things are already weird. Just check Twitter and see what people are saying about you. About us. Some even abuse me for supporting you still.

Tony: Don’t worry all will be well when I get there.

Wifey: Na so.

Tony: Wetin that one come mean now?!

Tony: Babe.

Tony: Are you still there?

Tony: Hi.

Tony: I love you babe.

Tony: I’ll see you soon.

Your number has been blocked by this user.

Yes what happen to him?

Thank me later..juz passing tho

Thank me letter....juz passing

Thank me letter

Cut-In

Shows some (other) part of the subject in detail.

Cut-In

Shows some (other) part of the subject in detail.

CA (Cutaway)

A cutaway is a shot that's usually of something other than the current action. It could be a different subject (e.g. these children), a CU of a different part of the subject (e.g. a CU of the subject's hands), or just about anything else. The CA is used as a "buffer" between shots (to help the editing process), or to add interest/information.

ECU (Extreme Close Up)

The ECU gets right in and shows extreme detail. For people, the ECU is used to convey emotion.

CU (Close Up)

In the CU, a certain feature or part of the subject takes up the whole frame. A close up of a person usually means a close up of their face.

MCU (Medium Close Up)

Half way between a MS and a CU. This shot shows the face more clearly, without getting uncomfortably close.

MS (MidShot)

The MS shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. You wouldn't be paying any attention to their lower body, so that part of the picture is unnecessary.

WS (Wide Shot)

In the WS, the subject takes up the full frame. In this case, the boy's feet are almost at the bottom of frame, and his head is almost at the top. Obviously the subject doesn't take up the whole width of the frame, since this is as close as we can get without losing any part of him. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the head off. It would also look uncomfortable if the feet and head were exactly at the top and bottom of frame.

VWS (Very Wide Shot)

The VWS is much closer to the subject. He is (just) visible here, but the emphasis is still on placing him in his environment. This also works as an establishing shot.

EWS (Extreme Wide Shot)

In the EWS, the view is so far from the subject that he isn't even visible. The point of this shot is to show the subject's surroundings. The EWS is often used as an establishing shot — the first shot of a new scene, designed to show the audience where the action is taking place.

Framing

Shots are all about composition. Rather than pointing the camera at the subject, you need to compose an image. As mentioned previously, framing is the process of creating composition.

Notes:

Framing technique is very subjective. What one person finds dramatic, another may find pointless. What we're looking at here are a few accepted industry guidelines which you should use as rules of thumb.
The rules of framing video images are essentially the same as those for still photography.

Basic Shot Types

There is a convention in the video industry which assigns names to the most common types of shots. The names and their exact meanings may vary, but the following examples give a rough guide to the standard descriptions. The point isn't knowing the names of the shot types (although it's very useful), as much as understanding their purposes.

Basic shots are referred to in terms relative to the subject. For example, a "close up" has to be a close up of something. A close up of a person could also be described as a wide shot of a face, or a very wide shot of a nose.
The subject in all of the following shots is a boy standing in front of a house. See Below

.

Camera Moves

This page outlines the standard types of camera movement in film and video. In the real world, many camera moves use a combination of these techniques simultaneously.

Crab:• A less-common term for tracking or trucking.

Dolly:• The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot.

Dolly Zoom:• A technique in which the camera moves closer or further from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame.

Follow:• The camera physically follows the subject at a more or less constant distance.

Pan:• Horizontal movement, left and right.

Pedestal (Ped):• Moving the camera position vertically with respect to the subject.

Tilt:• Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down).

Track:• Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement.

Truck:• Another term for tracking or dollying.

Zoom:• Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away.

Effects

Many consumer cameras come with a selection of built-in digital effects, such as digital still, mix, strobe, etc. These can be very cool, or they can be very clumsy and tacky. They require dedicated experimentation to get right. Like so many things in video, moderation is the key: use them if you have a good reason to, but don't overdo it.

You should also be aware that almost every effect you can create with a camera can be done better with editing software. If at all possible, shoot your footage "dry" (without effects) and add effects later.

Remember: Although it is sometimes the more practical solution to use automatic features, as a general rule you should do as many camera operations manually as you can.

Shutter

At the beginner level you don't really need to use the shutter, but it deserves a quick mention. It has various applications, most notably for sports or fast-action footage. The main advantage is that individual frames appear sharper (critical for slow-motion replays). The main disadvantage is that motion appears more jerky.

The shutter can also be used to help control exposure.

Unless you know how to use the shutter effectively, leave it off.
Video Camera Shutter
The term shutter comes from still photography, where it describes a mechanical "door" between the camera lens and the film. When a photo is taken, the door opens for an instant and the film is exposed to the incoming light. The speed at which the shutter opens and closes can be varied — the faster the speed, the shorter the period of time the shutter is open, and the less light falls on the film.

Shutter speed is measured in fractions of a second. A speed of 1/60 second means that the shutter is open for one sixtieth of a second. A speed of 1/500 is faster, and 1/10000 is very fast indeed.

Video camera shutters work quite differently from still film camera shutters but the result is basically the same. (The technical difference is that, rather than using a mechanical device, the shutter speed is adjusted by electronically varying the amount of time the CCD is allowed to build a charge. If this means nothing to you, don't worry. It really doesn't matter how the shutter works, it's the effect it has that counts.)

The shutter "opens" and "closes" once for each frame of video; that is, 25 times per second for PAL and 30 times per second for NTSC. Thus, if a camera has its shutter set to 1/60, each frame will be exposed for 1/60 second. If the speed is increased to 1/120, each frame will be exposed for 1/120 of a second. Remember, the shutter speed does not affect the frame rate, which is completely separate and in most cases always stays the same (see shutter speed vs frame rate).

The main effect of higher shutter speeds is that individual frames appear sharper, due to the minimisation of motion blur. Motion blur occurs when the subject moves within the frame while the shutter is open. The less time the shutter is open (i.e. the faster the shutter speed), the less movement will take place.

One side-effect of higher shutter speeds is that movement appears more jerky. This is because motion blur tends to smooth consecutive frames together.

The three shots below were each taken as the car travelled past a stationary camera at 100 km/hr. With the shutter off, motion blur is most pronounced. As the shutter speed is increased, the image becomes sharper.

First Photo: Shutter Off

Second Photo: 1/120 second1/500 second

Third Photo: 1/500 second

Higher shutter speeds are common in sports coverage. Watch any fast-action sport to see the "flickering" shutter effect. Notice how the slow-motion replays look, especially when they freeze the last frame.

Note: As a result of the reduced exposure time with high shutter speeds, the image may appear darker unless the iris is opened to compensate.

How to Perform a Black Balance

Black balance is an operation similar to white balance. As white balance gives the camera a reference to "true white", black balance gives a reference to "true black". This function is normally available only in professional cameras — home video users don't need to worry about it.

When to Black balance

There seems to be a lot of debate around the subject of black balance, and when it's necessary to perform one. Some people say you should do it every time you white balance, but we also know camera operators who hardly ever do it. Our advice is that it can't hurt to black-balance, and you should definitely do it at the beginning of a shoot, whenever you change filters or gain level, and whenever the lighting conditions change significantly.

A poor black balance usually shows as unnatural or incorrect colours in the dark areas of the picture. If you notice this happening, try performing a black balance.

You will need:

• A camera with a manual black-balance function. The "black-balance" switch should be located with the "white balance" switch.

How to Black Balance

A black balance is usually done in conjunction with a white balance. The exact sequence varies between operators but this is a common routine:

1. Perform a white balance first.

2. Throw the black-balance switch. This should shut the iris down and perform a black balance in much the same way as the white balance. Some cameras may require you to close the iris manually first, and you may need to open the iris again when the operation is complete.

3. If you like, perform the white balance again, making a sequence of "white - black - white".