Sentences with phrase «camera negative at»

In one of this disc's extras, Haneke mentions how the digital intermediate (DI) process allowed him to get unusually sharp monochrome images, and mastering the Blu - ray directly from DI elements allows technicians to keep all but the finest grain from the original camera negative at bay.

THE BLU - RAY DISC You'd think a flick like Death Spa would be fated to languish forever in video obscurity, but MPI Media Group label Gorgon Video has rescued it from the scrap heap and given it a robust second life on Blu - ray, reportedly re-scanning the camera negative at 2K for this disc.

The restoration was produced from the original camera negative at Sony Colorworks in Culver City California.

Not exact matches

The on topic Q&A included redesign plans for other streets, especially Queens Boulevard, why the administration attributes the reduction in pedestrian fatalities to Vision Zero and not to regular year - to - year variances, how the administration actually knows that driving speeds are reduced, why so few street redesign projects have been done on Staten Island, data for any changes in safety at this E.Tremont / Silver Street intersection, why Commissioner Bratton did not attend, why there are few speeding and failure to yield tickets issued in this (45th) precinct, the negative effect of speed bumps on emergency response vehicles, plans for marking and painting of roads, whether the mayor will seek additional red light camera authorizations from the state legislature, the paucity of criminal prosecutions against drivers who kill pedestrians and an estimate of money received from speed camera tickets.

Source elements (camera negative and a 35 mm print) were scanned at 4K and a digital restoration took place at 2K; the film is windowboxed to 1.72:1 for some reason, contrary to the box's claim of 1.66:1.

THE BLU - RAY DISC There isn't a ton of detail in the Super16mm camera negative, but Criterion's Blu - ray transfer of Rosetta, sourced from a 35 mm blow - up IP scanned at 2K and graded under the supervision of DP Alain Marcoen, seems to preserve every softly undulating granule.

After a number of archival film elements were scanned at 4K resolution at Warner Bros.» in - house Motion Picture Imaging lab in Burbank, the original camera negative of the film came to light, providing the basis for the majority of the restoration — that is, until the negative's inferior final reel necessitated dipping into another archive altogether.

From the superimposed crease patterns and dim, degraded image during these shots, I have to assume they were captured by pointing a camera at or through a screen at an actual projection — perhaps of a workprint, which would account for the minor but consistent wear - and - tear on the print itself, as well as its obvious generational distance from the negative.

With a video bitrate running at a posh 31 Mbps, the Criterion transfer is sourced from the original camera negative with colour - timing supervised by Haneke himself.

At least Eyes Without a Face itself is presented gorgeously, in a pillarboxed 1.66:1, 1080p transfer sourced from the 35 mm camera negative.

We can see the flaws too, like the failed focus - pull as Elliott's canoe drifts towards the camera, or the visible cigarette burns at upper right (meaning this probably wasn't mastered from the negative), or the clumsy splice right through the middle of Elliott's lean and handsome face around nineteen minutes in.

Scream has actually reused MGM's Blu - ray transfer from 2009 (an A / B comparison shows identical print spotting at 1:15:40), but the good news is it holds up, with the breathtaking clarity of the 2.35:1, 1080p presentation suggesting it was sourced from something very close to the camera negative.

During a residency at the Penumbra Foundation, I will continue research and begin working on a new body of work utilizing the archaeological «squeeze» technique, producing paper negatives with the Foundation's large format cameras and learning how to make salted paper prints.

Her own thoughts and feelings at the time of exposing the negative are more critical to the picture than describing the scene before the camera.

What: Light, Paper, Process: Reinventing Photography Where: The Getty Center, Los Angeles, CA When: April 14, 2015 to September 6, 2015 Why: While most of the contemporary, photo - savvy population of planet Earth is busy staring at a gridded square on their smart phones, this exhibition explores darkroom techniques, light - sensitive emulsions, archival negatives and custom - built cameras.

A button that controls the microphone and camera is centered at the top of the devices flanked by two volume control buttons; negative and positive.