Sentences with phrase «mm film for»

A couple of years later, Kirchherr shadowed The Beatles during the filming of A Hard Day's Night in 1964 with photojournalist Max Scheler for Stern, using 35 mm film for the first time.

He and Boyle choose to use 16 mm film for the first third in 1984, 35 mm for the second - part in 1988 and digital for the most - recent segment from 1998.

Experimental filmmaker Luther Price has painstakingly handcrafted slides and 8 mm and 16 mm films for more than three decades.

Not exact matches

A 207 seat theatre capable of screening 16 mm and 35 mm films is available for private bookings at the Alexander Library Building.

Typically customers choose sealant films in the 3.0 mil mm range for this type of application.

I have never owned a digital camera, and can't seem for the life of me to actually go get film developed off of my 35 mm camera's or «disposable» camera's.

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.

«While the era of 35 mm will end at this time, there will still be some older films circulating in print for some cinemas,» Hancock said.

The standard 35 mm film we're all used to seeing in movie theaters will be replaced worldwide by digital technology in the next few years, and the hit blockbuster film «Avatar» is to blame for the shift, according to a new report.

Photographed by Ian Wallis with a Meade LX - 50 10» SC telescope at f / 10 on 35 mm Kodak EGP - 400 negative film at the Schmidt - Cassegrain focus (sometimes mistaken for the «prime focus»), exposed 7 minutes.

Taking breaks between filming, MM, David, and I ventured downtown for a quick coffee run.

Ross mentions using some RCMA products when doing Cate Blanchett's makeup for Carol to create a natural, skin - like look for the 16 mm film.

Criterion's DVD of Days of Heaven presents a luminous enhanced transfer of a film that elicited oohs and ahhs from audiences when first shown in 70 mm; we can imagine this title as a highly - desirable candidate for Hi - Def release.

Criterion's Blu - ray of Days of Heaven presents a luminous enhanced transfer of a film that elicited oohs and ahhs from audiences when first shown in 70 mm; it's a highly appropriate candidate for Hi - Def release.

Presented in 70 mm and with a running time of 187 minutes (because Tarantino), the film continues his love for old school cinema, right down to the three minute «overture» that opens the film, something I don't think I've seen since Dancer in the Dark.

I've never seen a 35 mm print of The Deep, so it's impossible for me to say whether this is an accurate representation of the film, but the cinematographer's experience with Technicolor photography suggests the saturation could well be intentional, if a bit unnatural.

As for the 70 mm presentation... considering most of the film is shot indoors, on a single set, is it fair of me to say that it seems like a waste of the format?

«And so what better way than to show the silent - movie period in black - and - white [35 mm] negative,» he said, «and for the»70s we looked to the urban reality grit of New York films like Mean Streets, The French Connection and Midnight Cowboy — a much rawer look.»

All films seen for the first time and on 35 mm.

I don't really understand why the film was shot in 70 mm, other than maybe it was impressive back in the 80's, but I guess it's a credit to Tobe Hooper for realizing the world wouldn't be able to handle a movie full of Mathilda May's boobs in 35 mm.

This is Tarantino, so the film is all about dialogue and character and not really breathtaking cinematography, so other than Tarantino's firm belief in preserving 70 mm, I'm not clear why he's pushing it for this particular film.

Nothing is better suited for 35 mm film than the western because of the narrative significance of the land, often depicted in lingering long shots.

For what is in essence a catalogue title, Paramount graciously provides DD 5.1 audio (adapted, one presumes, from the six - track mix that adorned 70 mm prints of the film) that gives all six speakers a surprisingly muscular, multi-directional workout.

The picture has a sprinkling of film grain — not so much that it could create an issue for those philistines who prefer their HD pictures grain - free, but enough to make clear the movie's 35 mm origins.

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 movie will be getting a 70 mm IMAX 3D release, and film blog Making Star Wars has posted some info on the initial plans for the IMAX 3D version.

Had the film been shot in color or on 35 mm, it wouldn't have put the viewer in the appropriate state of mind for the unique state of mind necessary and the melding of both comedy and sci - fi.

Disregarding some DVNR that was obviously applied at the mastering as opposed to the telecine stage (lest viewers confuse 35 mm film grain for signal interference, I guess), the image is well - defined and sports impressive dynamic range.

See the film this weekend on 35 mm and in the meantime, watch our Three Reasons video for The Last Days of Disco below.

One of Broomfield's hastier exposés (for starters, it was shot entirely on consumer DV instead of his typical 16 mm), Aileen 2 became a film more or less on the spur of the moment when the documentarian was subpoenaed to testify at one of Wuornos's pre-execution hearings.

I came to the city as a teenager in the late»70s, too late for the New Yorker Theater itself but right on time for the Cinema Studio on 66th and Broadway, where I spent half of my student life seeing and re-seeing movies like Wenders's The American Friend and Godard's aforementioned return to 35 mm feature filmmaking, and the Metro on the corner of Broadway and 100th Street, where I saw Oshima's early films for the first time.

Final note for Bay Area readers: «Fantastic Beasts» is being presented in 70 mm at the Grand Lake Theatre in Oakland - the only Northern California movie house showing the film in this wide high - resolution format.

When that proved to be unfeasible, the film was reconfigured so that the regular scenes would play out in conventional widescreen and expand to 70 mm for the eye - popping vision sequences.

Utilising the 16 mm films shot by her grandfather as memorial evidence and the catalyst for a familial reassessment of the mythologised Mick, the filmmaker adequately structures the piece to reveal buried truths.

Rififi (France, 1955)-- 1:30 PM, 35 mm «Rififi means danger,» proclaimed the ads for this iconic French gangster film in 1955.

But I can confidently report that it's another mammoth achievement for Anderson, who shot the film in 65 mm — not for the sake of spectacle (it doesn't have anything like the grand vistas of Marfa, Texas in There Will Be Blood), but for the intensely intimate relationship that develops between a knockabout WWII veteran (Joaquin Phoenix) and the charismatic religious visionary (Philip Seymour Hoffman) who offers him a way forward.

Straight Time (1978)-- 9:30 PM, 35 mm «He's a lousy lover, a lousy friend (who is responsible for the deaths of two of his buddies by the end of the film), and a hopeless failure as a parolee.

Director Boyle makes his presence felt by filming appropriately in each of the segments: 16 mm for 1984, 35 mm for 1988, and digital for 1998.

Criss Cross (1949)-- 9:30 PM, 35 mm Burt Lancaster reunites with director Robert Siodmak for his second iconic film noir appearance, a perfect companion piece to his debut film The Killers.

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 2012.

Both «She (1935)» and «H.G. Wells» Things to Come (1936)» have been restored to high definition from their original 35 mm film elements and for films that are nearly 80 years old they look quite impressive.

It was also good to see the IMAX film projector used again, for Interstellar, although it was disconcerting to see the aspect ratio change from 70 mm to anamorphic 35 mm, often within the same scene.

The movie, shot on 35 mm film, showed the same steady hand, but McQueen and Bobbitt had more resources to play with, not least in the unforgettable tracking shot that follows Fassbender's Brandon as he goes for a nighttime jog.

The film was shot in anamorphic 35 mm by cinematographer Alexis Zabe, known for his work in music videos (Pharrell's «Happy») and collaborations with director Carlos Reygadas («Silent Night» and «Post Tenebras Lux»).

Chazelle's passion for the movie musical was evident in Guy and Madeline on a Park Bench his no - budget, 16 mm, black - and - white, Harvard - film - student ode to the French New Wave and its love for postwar song»n' dance flicks.

«Carol» on 35 mm (March 26) For one night only, catch Todd Haynes» critically acclaimed film grace the screen in all of its 35 mm glory, along with wildly talented cinematographer Ed Lachman.

Additionally, the Blu - ray includes four iconic GN» R music videos that have been newly sync'd to both remastered stereo audio and new 5.1 surround sound mixes, plus a brand - new video for «It's So Easy» that was shot in 1989 by the band but was never completely finished — until now in 4K HD from 16 mm film transfers.

Expanding on our traditional Dolby screening services for 35 mm soundtracks, we now offer the complete package of equipment and engineering support for digital cinema screenings, including special one - off events, film festivals, marketing screenings, and premieres.

And though I know these were originally shared in 16 mm film clubs, it's hard for me to imagine inviting some friends over to hang out and watch a few hours of Brakhage.

Coixet shot the film herself using a 16 mm camera, hand - held for about 80 % of the time.