Sentences with phrase «frame image from a film»

Not exact matches

As the film progresses and the ball starts moving away from its center position of the image because of poor camera work, the algorithm can essentially rotate each key frame so that the ball magically appears in the same spot in every frame.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

Or rather a striking central performance from Agata Trzebuchowska's face, because it is her watchful, dark - eyed, unblemished visage, usually framed by a plain gray wimple that is perhaps the film's most evocative recurring image, even amongst so much truly remarkable cinematography (from neophyte cinematographer Lucasz Zal).

With its ambiguous ending, Tattoo seems to evoke François Truffaut's Les quatre cents coups (The 400 Blows, 1959), the legendary French New Wave film about another «troubled» teenager who experiences freedom only when he is in motion — whether while spinning in a rotor's drum or when running away from the reformatory in the film's famous concluding tracking shot that culminates in a zoom - in - on - freeze - frame image of his gaze addressing the camera.

In an early scene from Alfred Hitchcock's Rear Window, the panning camera reveals a framed photograph of a young, smiling blond woman — except, the image is on negative film, which serves as a presumable correlation for disabled protagonist Jeff's (Jimmy Stewart) outlook on women, which is tested in his gaze and projected desire from a lofty apartment window throughout the film.

He explains that the film's wiggly look is a result of hand tracing of video shots, with the images changing slightly from frame to frame because of slight variations in the artists» many renderings of the images.

The film's weight comes from the things we know about but can not see within the frame: those haunting images of emaciated Jews, the walking - dead stares of the prisoners consigned to the gas chambers and crematoria, the tragedy of systematic genocide.

I upgraded through the years, first to a letterboxed Japanese LaserDisc that improved the film immeasurably, given Carpenter's skills with «scope framing, and then to a snap - cased DVD from Image Entertainment that felt like a gift from Heaven.

In several shots from 1974 that were filmed with a stationary camera, and in at least one shot from 1980, the picture develops a mild but unmistakable case of vertical jitters, with the image shifting up and down a single pixel or two from frame to frame, indicating some minor registration problems during the film - scanning or telecine process.

Playing like the first IMAX film (which cut from a small 1.33:1 image to the full IMAX frame), «Poet» also makes good use of the surround channels, and it's nice to see such a rare promo piece make it's way to DVD.

Employing a range of techniques, including collage, hand - drawn rotoscoping — a technique that involves tracing from frames of live film footage — interlaced still photographic images, and live 16 mm film footage, Breer composes lively, nimble films that present an intimate, modest, and personal portrait of slices of shared lives and eras.

February 27 — March 5 I ♥ Neutrinos: You Can't See Them but They are Everywhere (70 mm Film Frames of Neutrino Movements — shot in 15 ft Bubble Chamber at Fermilab, Experiment 564 near Chicago — dunked in liquid nitrogen, neutrino movements events with invisible ink and decoder markers and highlighters, inked up by Monica Kogler and Jwest, film roll from Janet Conrad, MIT Professor of Physics) 2011, 37 seconds Roll of specialized film for scientific use of about 1,000 Images transferred to high - definition video on a hand - made telecine device, no sound Made while Jennifer West was an Artist in Residence at the MIT List Visual Arts Center, Cambridge, MA in 2011; Funded, in part, by the Nimoy Visual Artist Residencies program of the Nimoy Foundation.

Image: Frame from Tacita Dean, Day for Night, 2009; 16 mm color film, silent, 10 min.; Collection SFMOMA, Accessions Committee Fund purchase; © Tacita Dean

The prints are hung in a grid of static images like still frames from a film, sequenced to parallel the chronology of movement on an illuminated marquee.

Curated by the DMA's Hoffman Family Senior Curator of Contemporary Art Gavin Delahunty with the Nancy and Tim Hanley Assistant Curator of Contemporary Art Anna Katherine Brodbeck, Truth takes its name from the well - known quotation by French film director Jean - Luc Goddard, «[t] he cinema is truth 24 frames per second,» which suggests that the moving image is particularly capable of ethically and creatively capturing a meaningful construction or framing of reality.

Since this project is predominately created without the use of a camera, the resulting images from the assorted elements cover several inches of the film, neglecting the conventional frame lines produced by camera shutters.

Oursler has broken new ground in the world of video art by freeing the image from the cumbersome boundaries of the video monitor, conventional film screen and picture frame.

Each image features multiple - frames from Kluge's collage - style, impressionistic films Artists in the Big Top: Perplexed and The Indomitable Leni Peickert.

In «Self - Portrait (I am too sad to tell you, after Bas Jan Ader)» (2003), he offers an image of himself patterned on a film frame from a crying performance by a long - deceased Dutch conceptual artist.

Via a video downlink, images from the air can be viewed on the ground in real time, enabling the Pilot, Cameraman and Client full control of the filming angles and framing.