On the back, we have a 2.0 inch LCD screen which supports real-time monitoring and previewing, which shows you a clear detail of every picture and video. The lens is located on the upper right side on the front of the camera. On the front is a 12mm lens which is big and easily visible from a distance. It small and compact and I was able to easily fit it inside the little compartment in my purse. The Hawkeye FIREFLY 7SE Voice Control Action Camera has slightly rounded edges, which will improve the experience when it comes to holding it because the round edges make it much easier to hold from an ergonomic point of view. The overall design is very simple, sleek and modern looking. The Hawkeye FIREFLY 7SE Action has a standard design that does not differ much from other action camera models we have reviewed, so it has a simple style. It doesnt feel like a cheap knockoff when you hold and the accompanying accessories are very high quality too. Right from the get go, we can tell that the camera is great.
We personally think its pretty cool that the camera comes with so many accessories especially when it costs only $80.
HAWKEYE MINI CAM REVIEW HOW TO
On the inside is the action camera itself along with a waterproof case, a bicycle stand, a base, a plastic tie, a long and short connector with screws, adapters, a mounting base, adhesive tape, a cable to charge the camera with, a frame for protecting the lens and lastly a user manual with instructions on how to use the camera. The camera comes in a black hard cardboard box with a picture of the camera on the front and some specs on the back. Read More: Xiaomi Mijia Mini 4K Action Camera.As he forms a friendship with the enchanting Lettie Hempstock (Nia Towle), their charm is palpable. A geeky lover of science and the fantasy novel favourites, like C S Lewis’ Narnia series, he woos us with his heartbreaking tales of unattended birthday parties and unspoken grief for his dead mother. Lonely and awkward, he is older than the child in Gaiman’s book but keeps the same sense of naivety. Helped by Steven Hoggett’s movement direction, she is both everywhere and nowhere – a scene where she appears to be behind multiple doors at once is particularly unsettling.īut it is James Bamford’s endearing portrayal of the 12-year-old hero that prevails. She seductively slips her way into the boy’s family, camouflaged by blonde curls and high heels. Laura Roger’s Ursula is a perfect picture of masked evil. But the everyday horror is just as frightening. Oversized, dark-fabric puppets flip overhead and veer menacingly into the audience a bloody, lifelike worm is removed, violently, from the boy’s skin. Hoanusehold appliances emerge from the edges, then go again just as quick, while the light-up twig forest that decorates the stage borders is a constant, eerie reminder of the darkness that is to come.Īnd, at times, it is genuinely terrifying. With the help of an ensemble dressed entirely in black, it jumps us from scene to scene rhythmically and faultlessly. Fly Davis’s set is a constantly moving, sparky phenomenon. While the book excels at conveying the enchantment of the supernatural realm, Katy Rudd’s direction pushes it even further. With that, we are taken with him on a journey of boyish rediscovery, thrust back to a crucial time in his childhood. Here he meets the mystical Old Mrs Hempstock, who is old enough to remember “when the moon was made”.
Accompanied by a choir-like soundscape designed by Ian Dickinson, he ambles to visit a nearby duck pond he recognises from his youth. We meet our unnamed protagonist as an adult at his father’s funeral. His story is brought to life in Joel Horwood’s thunderous adaptation that finds wonder even in the most unremarkable of moments. At just over 200 pages, it is both realistic and fantastical, questioning the position of adults and reminding us that our childish experiences shape who we become. The beauty of Neil Gaiman’s 2013 best-selling fantasy novel, T he Ocean at the End of the Lane, is its vastness. James Bamford as the Boy and Penny Layden as Old Mrs Hempstock (Manuel Harlan)