a standard ID?Ī: Real ID requires more paperwork and documents to prove that you are who you say you are. Watch Video: What you need to know to get a Real ID Q: How hard is it to get a Real ID vs. Department of Defense ID (including IDs issued to dependents), Veteran Health Identification Cards, photo ID from federally recognized Indian tribes, and identify documents issued to aliens lawfully present in the United States. In addition to passports, these include U.S. The Transportation Security Administration lists 15 types of identity documents that may be used for ID for air travel. Q: I have a passport/DoD ID/other federal ID - do I need Real ID?Ī: The Department of Homeland Security says people without Real ID may use passports and passport cards for air travel and access to federal government property. You also wouldn’t be able to use it to enter a nuclear power plant. Q: What happens if I stick with a standard license?Ī: In North Carolina, your standard, non-Real ID driver license will work just fine for driving, buying alcohol, buying cold medicine, voting (if Voter ID ever takes effect) and other common situations where people are asked for ID.īut once the Real ID mandate is fully in place, you won’t be able to use your driver license or state ID to board a commercial airliner, enter Fort Bragg or Camp Lejeune, or enter a federal courthouse. Residents of North Carolina can still get driver licenses and ID cards that are not Real ID compliant. Email us at NCN with your questions and tips Q: Do I have to get a Real ID?Ī: No, the 2005 law does not did not require the public to get Real ID driver licenses or state identification cards. Have a question about the Tar Heel State? The USA TODAY Network's NC News Team can try to find the answer. ► Second, “Real ID” is a colloquial term in the general public for driver licenses or state ID cards that meet the Real ID law’s standards for verifying the person’s identity. The law was enacted because some of the 9/11 terrorists used fraudulent information to obtain state-issued driver licenses and ID cards. This law set tougher identity verification standards for state governments to follow when issuing state ID cards, such as a driver licenses. It’s intended to prevent terrorists and others from obtaining state-government issued ID under false addresses, fake names or by stealing someone else’s identity. ► First, Real ID is a federal law, The REAL ID Act of 2005. More NC Answers: What abortion restrictions have passed in North Carolina? Are more on the way? Q: What is Real ID?Ī: “Real ID” has come to refer to two things: But now it is May 3, 2023, a delay of 19 months. The short answer: Yes, the mandate for North Carolina residents to use Real ID driver licenses and Real ID state ID cards for things like air travel and access to their tax-paid, federal government property like military bases and federal courthouses, has been delayed again. Question: Is Real ID postponed again for North Carolina? It was supposed to start on Oct.
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Bryan Langley and his assistant Reg Johnson were also in demand when it cane to shooting and assembling optical composites, with Langley having a very long career, largely at Pinewood. Other important names in the application of optical printing and composite photography in the UK were George Gunn and Doug Hague who did miraculous work on some of the Powell & Pressburger ballet pictures. RKO's Lloyd Knechtel, Linwood Dunn and Cecil Love would further refine optical printing processes to a point where renowned film maker and actor Orson Welles once stated that "The optical printer is the best train set a boy could ever play with" (I think that's the quote, or something near to it).Įffects industry luminaries such as Irving Ries, Paul Lerpae, Roswell Hoffman, Hans Koenekamp, Donald Glouner, Robert Hoag, Bill Taylor and Clarence Slifer are discussed and their work illustrated.Īcross the Atlantic in England optical printing and travelling matte technology was developing and being refined by leading industry figures such as Vic Margutti at Rank Studios, especially with the yellow backing sodium vapour system where much refinement in pulling mattes from previously problematic artifacts such as water, fine hair and reflective surfaces could be put into practice with excellent results. Improvements and adaptations of the processes would see cleaner finished composites over time, though not without a number of additional photographic steps being required. The Williams as well as the Dunning methods were somewhat limited in range but at a time when rear process projection wasn't feasible the competing travelling matting techniques were readily sought after by studios throughout the 1920's and far into the 1930's. Cinematographers such as Paul Eagler, Louis Tolhurst, Frank Booth and Norman Dawn made important inroads into photographic trick shot processes, with key figures such as Frank Williams and Carroll Dunning, individually of each other, making such significant developments in composite optical cinematography that the principle of the technique - in particular the Williams technique - would prove a vital special effect staple for years to follow. American pioneers such as Edwin S.Porter produced some of the first known in camera split screen composite shots as far back as 1903 on THE GREAT TRAIN ROBBERY. Early exponents in motion picture camera wizardry were European pioneers such as Frenchman Georges Melies and the German cinematographer Guido Seeber where audiences in the early 20th Century were treated to scenes involving multiple exposed superimpositions amid fanciful narratives. Very early experiments consisted of simple double exposures - a hold over from still photography techniques for several decades from around the mid 1850's or so. Optical tinkering trick work in motion pictures has been going on in some form or another probably as long as the medium has been around, certainly as early as the 1910's. Pioneering travelling matte exponent Frank Williams In today's cinema, where relentless, hyper-kinetic and often pointless IMAX scaled visuals are demanded as an absolute prerequisite by both the film maker and the target audience, weaned on mind numbing music videos and X-Box, it's such a pleasure to actually engage with the trick shots of old, before a time of Apple Mac's, Silicon Graphics workstations and binary data, where the creation of the typical optical effect was often a long and complicated 'hands on' as well as 'eyes on' procedure requiring often multiple rolls of film, special lighting and filtration 'recipes', line ups requiring endless patience and skill, highly sensitive film processing, endless wedge tests and, most importantly, necessitating precision built specialist photographic tools and optics that only a select few could operate and successfully bring all of the elements together in as clean a union as possible with the technology available for any given shot. In a slight departure from my standard matte painting survey, we'll be taking a long overdue and thoroughly deserved look into the world of traditional photo-chemical optical effects, with a somewhat staggering array of great imagery from a century of optical printer wizardry in addition to profiles on a number of the key exponents from the under appreciated and mostly closeted away world of The Optical Printer. I've been away in Japan for the past three weeks or so for a wedding and some first rate tourism, though whilst in foreign lands I've had today's blog post in mind. |
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