{"id":267,"date":"2017-10-28T12:00:23","date_gmt":"2017-10-28T12:00:23","guid":{"rendered":"https:\/\/cinematographinnen.net\/en\/?p=267"},"modified":"2024-05-05T20:35:06","modified_gmt":"2024-05-05T20:35:06","slug":"dixie-schmiedle","status":"publish","type":"post","link":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/","title":{"rendered":"Dixie Schmiedle"},"content":{"rendered":"<style class=\"lg-grid-css\">@media (min-width: 701px){#laygrid_post_267 .lg-push-0:first-child{margin-left:0.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-0{left:0.5%}#laygrid_post_267 .lg-push-0{margin-left:3%}#laygrid_post_267 .lg-span-1{width:5.5%}#laygrid_post_267 .lg-push-1:first-child{margin-left:9%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-1{left:9%}#laygrid_post_267 .lg-push-1{margin-left:11.5%}#laygrid_post_267 .lg-span-2{width:14%}#laygrid_post_267 .lg-push-2:first-child{margin-left:17.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-2{left:17.5%}#laygrid_post_267 .lg-push-2{margin-left:20%}#laygrid_post_267 .lg-span-3{width:22.5%}#laygrid_post_267 .lg-push-3:first-child{margin-left:26%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-3{left:26%}#laygrid_post_267 .lg-push-3{margin-left:28.5%}#laygrid_post_267 .lg-span-4{width:31%}#laygrid_post_267 .lg-push-4:first-child{margin-left:34.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-4{left:34.5%}#laygrid_post_267 .lg-push-4{margin-left:37%}#laygrid_post_267 .lg-span-5{width:39.5%}#laygrid_post_267 .lg-push-5:first-child{margin-left:43%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-5{left:43%}#laygrid_post_267 .lg-push-5{margin-left:45.5%}#laygrid_post_267 .lg-span-6{width:48%}#laygrid_post_267 .lg-push-6:first-child{margin-left:51.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-6{left:51.5%}#laygrid_post_267 .lg-push-6{margin-left:54%}#laygrid_post_267 .lg-span-7{width:56.5%}#laygrid_post_267 .lg-push-7:first-child{margin-left:60%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-7{left:60%}#laygrid_post_267 .lg-push-7{margin-left:62.5%}#laygrid_post_267 .lg-span-8{width:65%}#laygrid_post_267 .lg-push-8:first-child{margin-left:68.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-8{left:68.5%}#laygrid_post_267 .lg-push-8{margin-left:71%}#laygrid_post_267 .lg-span-9{width:73.5%}#laygrid_post_267 .lg-push-9:first-child{margin-left:77%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-9{left:77%}#laygrid_post_267 .lg-push-9{margin-left:79.5%}#laygrid_post_267 .lg-span-10{width:82%}#laygrid_post_267 .lg-push-10:first-child{margin-left:85.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-10{left:85.5%}#laygrid_post_267 .lg-push-10{margin-left:88%}#laygrid_post_267 .lg-span-11{width:90.5%}#laygrid_post_267 .lg-push-11:first-child{margin-left:94%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-11{left:94%}#laygrid_post_267 .lg-push-11{margin-left:96.5%}#laygrid_post_267 .lg-span-12{width:99%}#laygrid_post_267 .lg-push-12:first-child{margin-left:102.5%}#laygrid_post_267 .lg-100vh .lg-col.lg-type-text.lg-push-12{left:102.5%}#laygrid_post_267 .lg-push-12{margin-left:105%}#laygrid_post_267.lg-desktop-grid{padding-top:0px;}#laygrid_post_267.lg-desktop-grid{padding-bottom:5%;}#laygrid_post_267.lg-desktop-grid .lg-row-0{margin-bottom:3%;}#laygrid_post_267.lg-desktop-grid .lg-row-1{margin-bottom:3%;}#laygrid_post_267.lg-desktop-grid .lg-row-2{margin-bottom:3%;}#laygrid_post_267.lg-desktop-grid .lg-row-3{margin-bottom:3%;}}<\/style><div class=\"lg-grid lg-desktop-grid\"  id=\"laygrid_post_267\"><div class=\"lg-row lg-row-0 lg-contains-text lg-contains-img\"  ><div class=\"lg-row-inner\"><div class=\"lg-column-wrap\"><div  class=\"lg-col lg-span-8 lg-push-0 lg-align-middle lg-type-text \" ><div class=\"lg-textformat-parent\"><h1 class=\"_names\">Dixie Schmiedle<\/h1><p>dixies@gmx.net<\/p><p>+49 (0)172 9133151<\/p><p>\u00a0<\/p><h1 class=\"_Menu\"><a href=\"http:\/\/www.dixieschmiedle.de\" target=\"_blank\" rel=\"noopener\">Website<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<a href=\"http:\/\/www.imdb.com\/name\/nm0773348\/reference\" target=\"_blank\" rel=\"noopener\">IMDB<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0<a href=\"https:\/\/www.crew-united.com\/de\/Dixie-Schmiedle_926.html#!searchterm=dixie\" target=\"_blank\" rel=\"noopener\">CREW UNITED<\/a><\/h1><\/div><\/div><div  class=\"lg-col lg-span-3 lg-push-1 lg-align-bottom lg-type-img \" ><div class=\"lg-placeholder\" style=\"padding-bottom:149.8127340824%;\">\n\t\t\t\t\t\t<img decoding=\"async\" srcset=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/Portrai-DixieSchmiedle-100x150.jpg 100w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/Portrai-DixieSchmiedle.jpg 267w\" sizes=\"(min-width: 701px) 22.5vw, 100vw\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/2017\/10\/Portrai-DixieSchmiedle.jpg\" alt=\"\">\n\t\t\t\t\t<\/div><\/div><\/div><\/div><\/div><div class=\"lg-row lg-row-1 lg-contains-hr lg-one-col-row\"  ><div class=\"lg-row-inner\"><div class=\"lg-column-wrap\"><div  class=\"lg-col lg-span-12 lg-push-0 lg-align-bottom lg-type-hr \" ><div class=\"lay-hr\"><\/div><\/div><\/div><\/div><\/div><div class=\"lg-row lg-row-2 lg-contains-text\"  ><div class=\"lg-row-inner\"><div class=\"lg-column-wrap\"><div  class=\"lg-col lg-span-7 lg-push-0 lg-align-top lg-type-text \" ><div class=\"lg-textformat-parent\"><p>After completing the FOS Art and Design in Munich, Dixie worked as a camera assistant for eight years before finally starting as a Director of Photography in the areas of feature films, advertising and documentaries in 1996. Dixie lives in Berlin and Brandenburg and also enjoys traveling around the world with her work. In addition to Europe, her filming experiences abroad include Mongolia, India, USA, South Africa and Russia. She is busy as a photographer as well as with her own projects as a filmmaker.<\/p><\/div><\/div><div  class=\"lg-col lg-span-5 lg-push-0 lg-align-top lg-type-text \" ><div class=\"lg-textformat-parent\"><h1 class=\"_Menu\">Languages<\/h1><p>German (native) | English (fluent) |\u00a0French\u00a0(basic)<\/p><p>\u00a0<\/p><h1 class=\"_Menu\">SPECIAL SKILLS<\/h1><p>Analog Film\u00a0<\/p><\/div><\/div><\/div><\/div><\/div><div class=\"lg-row lg-row-3 lg-contains-hr lg-one-col-row\"  ><div class=\"lg-row-inner\"><div class=\"lg-column-wrap\"><div  class=\"lg-col lg-span-12 lg-push-0 lg-align-bottom lg-type-hr \" ><div class=\"lay-hr\"><\/div><\/div><\/div><\/div><\/div><div class=\"lg-row lg-row-4 lg-contains-shortcode lg-contains-text\"  ><div class=\"lg-row-inner\"><div class=\"lg-column-wrap\"><div  class=\"lg-col lg-span-7 lg-push-0 lg-align-top lg-type-shortcode \" ><div class=\"owl-carousel\"><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/2017\/10\/Der-fast-perfekte-Mann.jpg\" alt >\n                    <div class=\"pull-left\" >Der fast perfekte Mann<\/div>\n                    <div id=\"pagination\" class=\"pull-right\"><span class=\"slide_number\">1<\/span> \/ <span class=\"slide_total\"><\/span><\/div>\n                    <\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/2017\/10\/still2-Eagle_Hunters_Son_2009.jpg\" alt >\n                    <div class=\"pull-left\" >Eagle Hunter's Son | 2009<\/div>\n                    <div id=\"pagination\" class=\"pull-right\"><span class=\"slide_number\">1<\/span> \/ <span class=\"slide_total\"><\/span><\/div>\n                    <\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/2017\/10\/still3-Vortex_2001.jpg\" alt >\n                    <div class=\"pull-left\" > Vortex | 2001<\/div>\n                    <div id=\"pagination\" class=\"pull-right\"><span class=\"slide_number\">1<\/span> \/ <span class=\"slide_total\"><\/span><\/div>\n                    <\/div><\/div>\n\n    <script language=\"javascript\">\n\n        jQuery(\".owl-carousel\").on(\"initialized.owl.carousel\", function (e) {\n                jQuery(\".slide_total\").text( e.item.count);\n        });\n\n        jQuery(document).ready(function(){\n            var owl = jQuery(\".owl-carousel\").owlCarousel({\n                        loop:true,\n                        items:1,\n                        autoplay:true,\n                        autoplayTimeout:4500,\n                        startPosition: 1\n            });\n\n            owl.on(\"change.owl.carousel\", function (e) {\n                jQuery(\".slide_number\").text(e.page.index+1);\n            });\n\n        });\n    <\/script>\n    <\/div><div  class=\"lg-col lg-span-5 lg-push-0 lg-align-top lg-type-text \" ><div class=\"lg-textformat-parent\"><h1 class=\"_Menu\">Selected Credits<\/h1><p><strong>Journey to Cure<\/strong> | Documentary for Cinema | D: Dixie Schmiedle | P:\u00a0<span style=\"color: #000000;\">cloud7films<\/span> | India, Germany |\u00a0<span style=\"color: #000000;\">2023<\/span><\/p><p><strong>Alpgeister<\/strong>\u00a0| Documentary for Cinema\u00a0| D: Walter Steffen | P: Konzept- u. Dialog\u00a0Medienproduktion | Germany | 2018<\/p><p><strong>The almost perfect Man<\/strong>\u00a0| Feature film | D: Vanessa Jopp | P: Ufa Cinema GmbH | Germany | 2013<\/p><p><strong>Ladylike \u2013 Jetzt erst recht!<\/strong><span style=\"text-indent: 0em; letter-spacing: 0.01em;\">| TV-movie ZDF | D: Vanessa Jopp | P: moovie GmbH | Germany | 2009<\/span><\/p><p class=\"_Default\"><strong>Eagle Hunter's Son<\/strong>| Feature film | D: Ren\u00e9 Bo Hansen | P: Eden Film (SE), Stromberg Productions | Mongolia, Sweden, Germany\u00a0| 2009<\/p><p><strong>Vortex<\/strong> | Feature film | D: Michael Pohl | P: Candela Film, Fieber Film, Arri Film+TV, BR, HFF Munich | Germany | 1999<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\n<div id='gallery-1' class='gallery galleryid-267 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"128\" height=\"65\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still3-Vortex_2001.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-270\" srcset=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still3-Vortex_2001.jpg 1000w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still3-Vortex_2001-150x76.jpg 150w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still3-Vortex_2001-768x387.jpg 768w\" sizes=\"auto, (max-width: 128px) 100vw, 128px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-270'>\n\t\t\t\t Vortex | 2001\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"128\" height=\"54\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/Der-fast-perfekte-Mann.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-268\" srcset=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/Der-fast-perfekte-Mann.jpg 1000w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/Der-fast-perfekte-Mann-150x64.jpg 150w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/Der-fast-perfekte-Mann-768x326.jpg 768w\" sizes=\"auto, (max-width: 128px) 100vw, 128px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-268'>\n\t\t\t\tDer fast perfekte Mann\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"128\" height=\"72\" src=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still2-Eagle_Hunters_Son_2009.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-269\" srcset=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still2-Eagle_Hunters_Son_2009.jpg 1000w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still2-Eagle_Hunters_Son_2009-150x84.jpg 150w, https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/still2-Eagle_Hunters_Son_2009-768x432.jpg 768w\" sizes=\"auto, (max-width: 128px) 100vw, 128px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-269'>\n\t\t\t\tEagle Hunter&#8217;s Son | 2009\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":275,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"page-templates\/full-width.php","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-member"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Dixie Schmiedle - CINEMATOGRAPHINNEN Women Cinematographers Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dixie Schmiedle - CINEMATOGRAPHINNEN Women Cinematographers Network\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/\" \/>\n<meta property=\"og:site_name\" content=\"CINEMATOGRAPHINNEN Women Cinematographers Network\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-28T12:00:23+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-05-05T20:35:06+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/startseite-film-still_Der-fast-perfekte-Mann.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"350\" \/>\n\t<meta property=\"og:image:height\" content=\"197\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"lealea\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"lealea\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/\"},\"author\":{\"name\":\"lealea\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#\\\/schema\\\/person\\\/f493fc6e85b602af6d9b206ecc954a8c\"},\"headline\":\"Dixie Schmiedle\",\"datePublished\":\"2017-10-28T12:00:23+00:00\",\"dateModified\":\"2024-05-05T20:35:06+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/\"},\"wordCount\":9,\"publisher\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/wp-content\\\/uploads\\\/sites\\\/1\\\/2017\\\/10\\\/startseite-film-still_Der-fast-perfekte-Mann.jpg\",\"articleSection\":[\"Member\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/\",\"url\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/\",\"name\":\"Dixie Schmiedle - CINEMATOGRAPHINNEN Women Cinematographers Network\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/wp-content\\\/uploads\\\/sites\\\/1\\\/2017\\\/10\\\/startseite-film-still_Der-fast-perfekte-Mann.jpg\",\"datePublished\":\"2017-10-28T12:00:23+00:00\",\"dateModified\":\"2024-05-05T20:35:06+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#primaryimage\",\"url\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/wp-content\\\/uploads\\\/sites\\\/1\\\/2017\\\/10\\\/startseite-film-still_Der-fast-perfekte-Mann.jpg\",\"contentUrl\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/wp-content\\\/uploads\\\/sites\\\/1\\\/2017\\\/10\\\/startseite-film-still_Der-fast-perfekte-Mann.jpg\",\"width\":350,\"height\":197},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/dixie-schmiedle\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dixie Schmiedle\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/\",\"name\":\"CINEMATOGRAPHINNEN Women Cinematographers Network\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#organization\",\"name\":\"CINEMATOGRAPHINNEN Women Cinematographers Network\",\"url\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/wp-content\\\/uploads\\\/sites\\\/1\\\/2018\\\/06\\\/2018-06-06_Cinnen_Logo-RGB-lang_wei\u00dferHintergrund_klein.png\",\"contentUrl\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/wp-content\\\/uploads\\\/sites\\\/1\\\/2018\\\/06\\\/2018-06-06_Cinnen_Logo-RGB-lang_wei\u00dferHintergrund_klein.png\",\"width\":489,\"height\":85,\"caption\":\"CINEMATOGRAPHINNEN Women Cinematographers Network\"},\"image\":{\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/#\\\/schema\\\/person\\\/f493fc6e85b602af6d9b206ecc954a8c\",\"name\":\"lealea\",\"url\":\"https:\\\/\\\/cinematographinnen.net\\\/en\\\/author\\\/lealea\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dixie Schmiedle - CINEMATOGRAPHINNEN Women Cinematographers Network","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/","og_locale":"en_US","og_type":"article","og_title":"Dixie Schmiedle - CINEMATOGRAPHINNEN Women Cinematographers Network","og_url":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/","og_site_name":"CINEMATOGRAPHINNEN Women Cinematographers Network","article_published_time":"2017-10-28T12:00:23+00:00","article_modified_time":"2024-05-05T20:35:06+00:00","og_image":[{"width":350,"height":197,"url":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/startseite-film-still_Der-fast-perfekte-Mann.jpg","type":"image\/jpeg"}],"author":"lealea","twitter_card":"summary_large_image","twitter_misc":{"Written by":"lealea","Est. reading time":"1 minute"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#article","isPartOf":{"@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/"},"author":{"name":"lealea","@id":"https:\/\/cinematographinnen.net\/en\/#\/schema\/person\/f493fc6e85b602af6d9b206ecc954a8c"},"headline":"Dixie Schmiedle","datePublished":"2017-10-28T12:00:23+00:00","dateModified":"2024-05-05T20:35:06+00:00","mainEntityOfPage":{"@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/"},"wordCount":9,"publisher":{"@id":"https:\/\/cinematographinnen.net\/en\/#organization"},"image":{"@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#primaryimage"},"thumbnailUrl":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/startseite-film-still_Der-fast-perfekte-Mann.jpg","articleSection":["Member"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/","url":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/","name":"Dixie Schmiedle - CINEMATOGRAPHINNEN Women Cinematographers Network","isPartOf":{"@id":"https:\/\/cinematographinnen.net\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#primaryimage"},"image":{"@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#primaryimage"},"thumbnailUrl":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/startseite-film-still_Der-fast-perfekte-Mann.jpg","datePublished":"2017-10-28T12:00:23+00:00","dateModified":"2024-05-05T20:35:06+00:00","breadcrumb":{"@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#primaryimage","url":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/startseite-film-still_Der-fast-perfekte-Mann.jpg","contentUrl":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2017\/10\/startseite-film-still_Der-fast-perfekte-Mann.jpg","width":350,"height":197},{"@type":"BreadcrumbList","@id":"https:\/\/cinematographinnen.net\/en\/dixie-schmiedle\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/cinematographinnen.net\/en\/"},{"@type":"ListItem","position":2,"name":"Dixie Schmiedle"}]},{"@type":"WebSite","@id":"https:\/\/cinematographinnen.net\/en\/#website","url":"https:\/\/cinematographinnen.net\/en\/","name":"CINEMATOGRAPHINNEN Women Cinematographers Network","description":"","publisher":{"@id":"https:\/\/cinematographinnen.net\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/cinematographinnen.net\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/cinematographinnen.net\/en\/#organization","name":"CINEMATOGRAPHINNEN Women Cinematographers Network","url":"https:\/\/cinematographinnen.net\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/cinematographinnen.net\/en\/#\/schema\/logo\/image\/","url":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2018\/06\/2018-06-06_Cinnen_Logo-RGB-lang_wei\u00dferHintergrund_klein.png","contentUrl":"https:\/\/cinematographinnen.net\/en\/wp-content\/uploads\/sites\/1\/2018\/06\/2018-06-06_Cinnen_Logo-RGB-lang_wei\u00dferHintergrund_klein.png","width":489,"height":85,"caption":"CINEMATOGRAPHINNEN Women Cinematographers Network"},"image":{"@id":"https:\/\/cinematographinnen.net\/en\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/cinematographinnen.net\/en\/#\/schema\/person\/f493fc6e85b602af6d9b206ecc954a8c","name":"lealea","url":"https:\/\/cinematographinnen.net\/en\/author\/lealea\/"}]}},"_links":{"self":[{"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/posts\/267","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/comments?post=267"}],"version-history":[{"count":5,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/posts\/267\/revisions"}],"predecessor-version":[{"id":1901,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/posts\/267\/revisions\/1901"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/media\/275"}],"wp:attachment":[{"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/media?parent=267"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/categories?post=267"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinematographinnen.net\/en\/wp-json\/wp\/v2\/tags?post=267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}