Although Woodman used different cameras and
film formats during her career, most of her photographs were taken with medium format cameras producing 2-1/4 by 2-1/4 inch (6x6 cm) square negatives.
Not exact matches
During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute
format, whether they could have any surprise cameos (Bill Murray made a very memorable one in the
film), what will determine whether the pilot is successful enough to go to series, and when they might know if they're picked up.
There are a number of revelations, such as the fact they deliberately bounced from 16 mm to 35 mm
film formats to emphasize contrast between Blair and the Queen and the confession that neither was in England
during the week in question.
During her time in college, Ashley discovered her love of alternative photographic processes and large
format film Photograpy.
During January and February S1 Artspace will host three programmes of artist
film and video featuring work by artists based in the UK, USA, Finland, Denmark and Germany combining video
formats with 16 mm
film projection.
During January and February S1 Artspace will host three programmes of artist
film and video featuring work from the UK, Denmark, Germany, Estonia, Serbia and Montenegro, Australia and Peru, combining video
formats with screenings in 16 mm and Super 8.
Both exhibition spaces will,
during similar time periods, each present a distinct part of a newly commissioned
film work, Subconscious Society, designed to be exhibited in different cinematic and sculptural
formats in each of the two galleries.
During this period Ruscha also made two short
films, Premium (1969 — 70) and Miracle (1975), and in 1978 he collaborated with Lawrence Weiner on Hard Light, a
film in book
format.
The
film follows a standard narrative
format, except that,
during the
film, the actors occasionally break from character mid-scene to discuss the pressing issues of contemporary art.
Tarfaya was made whilst working at the Moroccan Cinema Center through the permissible
format of the regional documentary; Mémoire 14 consists of re-cut
films shot by the French
during the conquest and so - called pacification of Morocco.