But we did have a time - lapse 16 -
mm camera in the nose of the Beech.
Manakamana is the first feature collaboration between Stephanie Spray and Pacho Velez, where they placed a fixed 16
mm camera in a cable - car that takes passengers to and from the Manakamana Temple in Nepal.
Not exact matches
I started GoPro
in 2002, we came out with our first product — the original Hero
Camera (a 35 mm film camera)-- in
Camera (a 35
mm film
camera)-- in
camera)--
in 2004.
It has long been clear from apparatus like miniature and 8
mm cine
cameras, as well as the tape recorder, which are
in actual fact already
in the hands of the masses, that the individual, so long as he remains isolated, can become with their help at best an amateur but not a producer.
I took several 35
mm photography courses
in high school but I'm definitely still learning how to use a digital SLR
camera.
The Halo uses top and bottom sensor banks to view each object «
in flight» using a combination of LED, CCD
camera and NIR to perform targeted spectroscopy with 1
mm precision.
2.4 ″ LCD Screen Panel Built -
in Digital
Camera — 3MP (snapshots up to 12MP with interpolation) Image Capture Capability — Snapshots 4x Digital Zoom Optical powers of 1 to 3.7 x and 54x 128 MB Internal Flash Memory SD Card Slot (uses optional SD Cards up to 8 GB) Focus Knob Adjustable LED Illumination USB 2.0 Cable (used to upload images to a computer) Carry Pouch Battery powered for field use or
in the home — uses 2AA batteries (user supplied) Weight — 6.5 oz (187 g) Dimensions — 3.8 ″ x2.5 ″ x4.2 ″ (96
mm x 63
mm x 107
mm)
Battinelli started his photo journey
in 1995 when his father, an amateur hobbyist photographer, bought him a Pentax P30T 35
mm black and white film
camera for Christmas so that he could take photography classes
in high school at Peru Central School.
A 25
mm wide - angle lens is incorporated into the standard housing and the
camera is renowned for its excellent light - sensing ability, resulting
in clearer and sharper images.
In order to make each sample — or fingerprint — from the paper sheet consistent, the team used a rectangular box (dimensions 37
mm x 57
mm) and asked users to only capture what was inside this box with the
camera.
This 3 - DVD set features incredible footage of the story of the Saturn V. Amazing rare footage of overcoming technological challenges
in materials and techniques to stunning digital transfers of original 35
mm pad
camera footage.
MUSTANG - 2 is the successor to the GBT's pathfinder 3
mm bolometer
camera, MUSTANG, and represents a large step forward
in sensitivity, fidelity, and robustness.
Throughout the winter months of 2016 - 2017 the new ARGUS 16 - pixel
camera for 3
mm spectroscopy has been
in regular use on the GBT.
The second pair of
cameras, fixed - focal length Mast Cameras (Mastcams) with a 34 mm and 100 mm focal length, were delivered in Marc
cameras, fixed - focal length Mast
Cameras (Mastcams) with a 34 mm and 100 mm focal length, were delivered in Marc
Cameras (Mastcams) with a 34
mm and 100
mm focal length, were delivered
in March 2010.
I don't know much about
cameras, but what I do know is that a 50
mm makes the background a little blurrier than a 35
mm, which means the subject is
in sharper focus.
I've since graduated to the Canon 60D and a 50
mm f / 1.4 lens and can see a difference
in my images, but I'll also tell you that buying the fanciest
camera will do you no good unless you learn how to properly use it.
He buys
cameras instead of renting them, creates a set of an alley way instead of just shooting
in an alley, films on both 35
mm and HD at the same time, and that's before they even start actual production.
The lingering impression of him until the end is one of an old 35
mm camera, blocky and immobile and squatting off to the side as everything unfolds
in front of him.
During the Apollo lunar missions between 1968 and 1972 all of those on board were given 16
mm cameras and asked to film everything they saw,
in space and on the surface of the moon.
Crew:
Camera (color, 24p - to - 35
mm — shown
in Beta), Stephan Schultze; editor, Randy Mack; music, Dean Harada; production designers, Kenn Coplan, Jennifer Copp; sound (Dolby SR), Jeremy Hoenack; casting, Shana Landsburg.
makes its Blu - ray premiere
in a stunning Special Edition, with a crisp HD transfer remastered from the original 35
mm camera negative.
THE BLU - RAY DISC There isn't a ton of detail
in the Super16
mm 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.
Funny how a decade earlier
in Steven Soderbergh's sex, lies, and videotape, the Truth didn't come out until you put the DV
camera down and put your eye to the 35
mm one.
That meant we could not only present the film all from 35
mm, but from a 2ndgeneration nitrate made off the
camera negative
in 1941.
There's much drinking and improvised rambling
in the style of Hopper at his most egomaniacal and paranoid, and all of it is captured on an assortment of
cameras: 16
mm, Super 8, hi - and standard - def DV, iPhones.
After Bendjelloul ran out of film for his 8
mm camera, he used an iPhone app called 8 mm Vintage Camera to shoot the remainder of the movie, which came out in
camera, he used an iPhone app called 8
mm Vintage
Camera to shoot the remainder of the movie, which came out in
Camera to shoot the remainder of the movie, which came out
in 2012.
Nolan and cinematographer Hoyte van Hoytema («Interstellar») shot the film using 65
mm and IMAX
cameras, and while the big scenes of spectacle are unquestionably sweeping and impressive, it's the smaller moments that stayed with me more, whether it's those cascading leaflets
in the opening scene, the terrifying majesty of a fighter plane gliding with its engines off, or a harrowing sequence involving a downed plane that will doubtless be used by English teachers to illustrate what poet Stevie Smith meant when she wrote «Not Waving but Drowning.»
You know, I'd trained, the first things I'd ever made
in my film class were
in black - and - white 16
mm, so there's echoes of that training to expose film, print film — I'd studied all of Ansel Adams's technical manuals, The
Camera, The Negative, The Print.
The pair rejected digital cinematography (they thought the
cameras of the time weren't stable enough for the remote locations)
in favor of good old - fashioned 35
mm.
, German - language documentary
in 4x3 SD with burned -
in yellow English subtitles contains B - roll that provides a good impression of the filming conditions — including the look of the sets and the relatively small size of the handheld 16
mm film
cameras — plus a clip of Burger delivering a lecture on his work
in the camps and footage showing him consulting on set during the production.
THE BLU - RAY DISC Cinematographer Benedict Neuenfels shot The Counterfeiters
in Super16, and the lighter (compared to 35
mm)
cameras allowed for a handheld shooting style that apes documentary - style filmmaking from shakycam operation to fast zooms — an occasionally distracting tactic.
Additionally, whereas the 2002 DVD presented the film
in 1.78:1, Synapse have presented more information from 35
mm camera negative, so while the ratio is now 1.85:1, there's slightly more side information - an important issue for fans concerned the new transfer is slightly cropped.
It Came from Kuchar (Unrated) Bio-pic recounting the enduring career of twins George and Mike Kuchar, legendary, low - budget filmmakers from the Bronx who got their start
in the Fifties shooting movies
in the backyard with an 8
mm camera they borrowed from their Aunt.
Newly scanned and restored
in 2k from 16
mm original
camera negative 2.
Setting aside the return of their giallo series with Dario Argento's The Bird with the Crystal Plumage, a 35
mm screening of The Murder of Fred Hampton, the fascinating sounding Crossroads and The Exploding Digital Inevitable, Bruno Dumont's Joan of Arc movie Jeannette and the latest doc from sensory Ethnography Lab alum JP Sniadecki, El mar la mar, later
in the week, this weekend they've got an exclusive of Hong Sangsoo's utterly delightful Claire's
Camera (I'll be seeing it for the fourth time).
Filmed
in 16
mm, with a hand - held
camera that seems to be breathlessly attempting to keep up with the chaotic events, the movie has a stunning immediacy.
In these rarely seen 8
mm color home movies, shot with Bergman's own
camera (most of it by herself, but you...
These episodes haven't been just remastered from the existing film masters, they actually went back to the original 35
mm camera negatives and redone all the visual effects, all
in high definition.
Vinegar Syndrome proudly presents this madcap gore fest
in its Blu - ray debut, fully uncut and newly restored from its original 35
mm camera negative!
A similar change occurred
in the 1960s when Cinerama was adapted from the complex three -
camera and projector system to the «Super Cinerama» exhibition format based around a single 70
mm projector.
They hold casting sessions, buy
camera equipment (Wiseau's insisted the film be shot
in both 35
mm and HD, even way back
in 2003, much to the delight of the equipment sales reps), crew up, and start shooting.
As it stands, the 1080p 1.85 X 1 digital High Definition image looks fine throughout, shot with remarkable form by Anderson as an uncredited Director of Photography, his use of the grain
in the advanced Kodak Vision 3 35
mm camera negative film stocks is superior and impresses throughout as it usually does
in all of his films.
As stated
in the included booklet: «Supervised by director of photography Yorick Le Saux and approved by director Olivier Assayas, this new digital transfer was created
in 2K resolution on an ARRISCAN film scanner from the 35
mm original
camera negative.»
The weird aspect ratio points to a 65
mm source, but that isn't precisely the case: the picture was shot with the Sony F65 CineAlta, a 4K
camera with a Super35 sensor and a base AR of 1.9:1, which is what Tomorrowland was projected at
in IMAX.
Shot on IMAX 70
mm cameras that capture the enormity of the mass of soldiers on the beaches
in detail, the audience is instilled with a sense of dread at the seeming impossibility of the evacuation.
THE BLU - RAY DISC Likewise amazing, Criterion's Blu - ray release presents The Innocents
in its original CinemaScope aspect ratio of 2.35:1,
in a 1080p transfer the liner notes describe as «created
in 4K resolution on an Oxbery wet-gate film scanner from the 35
mm original
camera negative.»
Anderson and Yeoman shot «Moonrise Kingdom»
in various locations around Narragansett Bay
in Rhode Island using Super 16
mm film, plus Aaton Xterà and A-Minima
cameras.
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.
Noé used a widescreen Minima Super16
mm camera to film the many unbroken shots
in «Irréversible.»
He shot the film with longtime DP Lee Daniel on location
in Austin, Texas and used a 16
mm Arriflex
camera.