Sentences with phrase «mm film image»

Instead, separate video images, playing on their own separate monitors, were subsumed into the 35 mm film image as a whole.

With the help of 70 mm film images and a focused light crystal, actors in heavy makeup and costumes invited casual observers to participate in a third dimension filled with dreams, eagles and shadowy visions.

Not exact matches

This moody, elegiac film has universally been acclaimed as a cinematographic masterpiece, from the talents of Cuban - born European Nestor Almendros (and «additional photography» by Haskell Wexler), with naturally - lit, sweeping, 70 mm images of crystal clarity and scope, and artfully composed scenes reminiscent of Andrew Wyeth paintings.

Christine repeatedly studies videotapes and filmed images of herself; she even holds a strip of 16 - mm.

The 1080p 2.35 X 1 digital High Definition image was shot in Super 35 mm by Director of Photography Mark Irwin, C.S.C. / A.S.C., giving it the same lame school look emphasizing the same color schemes typical of such films shot in California.

Established in 1889, the standard format of 35 mm film with an image aspect ratio of 1.33:1 was not seriously challenged until Twentieth Century Fox's invention of CinemaScope (initially 2.55:1, later 2.35:1) in the early 1950s.

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.

THE BLU - RAY DISC If you're familiar with other Arrow Video releases, odds are you know what the deal is: a clean, cinematic image with suitable dynamic range, period - appropriate colour rendition, and a dusting of 35 mm film grain.

Shot on a combo of 35 mm and 16 mm, the black and white Academy cropped image contains plenty of detail and contrast, even showing an adequate amount of film grain.

Carol was shot in super 16 mm film, in which colors mixed in a way they don't in digital and that creates a grainy image that 35 mm film can not.

The image looks like a great 35 mm print from the era should, boasting the right amount of film grain and picture detail.

«Interstellar» was shot using a combination of 35 mm anamorphic film and 65 mm IMAX film to maximize the crispness and clarity of the images.

Having only ever seen muddy, public - domain versions of the film, the 4K digital restoration on Criterion's Blu - ray completely rewrote my memories of it; the crystalline VistaVision images are a revelation I'd compare with seeing the 70 mm restorations of Lawrence of Arabia and Vertigo, even at the reduced size of a TV screen.

The 1080p 1.66 X 1 digital High Definition image transfer on Virgin Suicides has stunning color grading (also a 4K scan from the original 35 mm camera negative), making the film look as great as it ever has and not only increases its smooth density, but its realism and naturalism, no matter how dream - like it gets.

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.

That's largely due to the decision to shoot the film on 65 mm, which basically doubles the width of the image, not only resulting in more sprawling exterior shots, but also enhancing the performances and production design.

After the ingenuity of his iPhone - shot 2015 breakout Tangerine, Baker reasserts his commitment to 35 mm film with sun - blasted images that evoke a young girl's vision of adventure and endurance beyond heartbreak.

As the digital revolution has swept through Hollywood like brushfire, Nolan has remained a stalwart champion of shooting on film, and as 3D has increasingly become the blockbuster norm, he has refused to join the bandwagon, advocating instead for IMAX, a variant on the old 70 mm process responsible for the likes of Lawrence of Arabia and 2001, and whose screen - filling images envelop us in a way that only a select few 3D movies (chiefly Avatar and Hugo) have even approached.

The film was shot on three - perf 35 mm stock to allow for smaller magazines and therefore lighter cameras / increased mobility; according to Greg Carson's worthwhile supplemental featurette, «Obtaining Cover: Inside Code 46», director Michael Winterbottom purposely avoided digital video because he wanted the crispness of celluloid, and yet there is often a PAL - like quality to the image here that considerably softens definition and shadow detail.

Using 70 mm to film interiors and close - ups rather than, as was traditional, expansive vistas and landscapes was a stroke of genius, but The Master «s images and the old school inventiveness of Night Across the Street «s sepia tones and rear projections and Moonrise Kingdom «s crystal - clear storybook aesthetic all come up short versus the «throw the camera on a fishing boat and see what weird horrors and beauties surround us» aesthetic of Leviathan.

, a feature - length documentary on the entire series (from the memorable Second Sight Films release of the film); In Search of the Hotel Broslin, a 2001 featurette with Henenlotter and rapper R.A. «The Rugged Man» Thornburn; a six - minute outtakes reel in HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!»

It provides a 2.20:1 transfer derived from restored 65 mm elements whose image looks vibrant and beautifully detailed throughout, regardless of whether it's racing footage or interiors, and the various European locations look like picture postcards, particularly the scenes of Monaco shown throughout the film's first racing sequences.

1974 - Nintendo developed an image projection system which used a 16 mm ~ film projector, this was put to use in amusement arcades, they exported these to Europe and the United states.

Image Credit: David Lamelas, Time as Activity London, 2011, still from a 16 mm film, 16 minutes, 46 seconds.

Amy Granat creates 16 mm projections in which the artist hand - scratches the film emulsion to produce abstract moving images.

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.

Amy Granat, Chemical Scratch (Return of the Creature), 2003 16 mm film transfered to DVD, sound May 24 — June 28, 2010 Arranged by Front Desk Apparatus Participating Artists: John Cage, Jesse Cohen, Quentin Curry, Philippe Decrauzat, Matias Faldbakken, Amy Granat, Gareth James, Jacob Kassay, Jutta Koether, Amir Mogharabi, Steven Parrino, Seth Price, Josef Strau, Andy Warhol Every image is offered our gaze is only presented, in its very obviousness, by means of the disconcerting economy -LSB-...]

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.

Jenny Perlin, Still image from «Inks,» 16 mm film loop, b / w, 5 seconds, 2014.

Image: Nathaniel Mellors 2013/14, The Sophisticated Neanderthal Interview, 23 min., 35 mm film trans.

Stan Douglas's 1995 Der Sandmann, a nine minute, 16 mm black and white film uses two film projectors synchronized to play so that their film tracks repeatedly overlap images of events in the same location taking place at different times.

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 35 mm film From Source to Poem (2016), co-produced by Pirelli HangarBicocca and CAPC musée d'art contemporain de Bordeaux, France, with the participation of Tabakalera, Donostia, Spain, is shot in Culpeper, Virginia at the Packard Campus for Audio - Visual Conservation, part of the Library of Congress: more than 90 miles of shelves that hold a collection of over four million items, both moving - image (films, videos, television episodes) and audio recordings (music, spoken word, radio broadcasts) in obsolete formats as well as modern digital files.

Image: John Smith, The Black Tower, 1985 - 87, still from 16 mm film, colour, sound, 24 min.

Image: Simon Starling, Black Drop, 2012 (still), 35 mm film transferred to HD.

Now, the 16 mm film camera defines much of her artistic practice with the still camera image also playing an important role in her career.

In each photograph in the series, shot on 35 mm film, the artist physically manipulates the found snapshot to create a new image.

Carolee Schneemann, Viet Flakes, 1965 7 min, toned b & w, 16 mm film Originally shot on 8 mm film, Schneemann layers a sound collage of Vietnamese sacred chants and American pop songs that capture one aspect of the 60's Zeitgeist, over footage of suppressed newpaper images depicting the American war in Vietnam.

One Mile Film (5,280 feet of 35 mm film negative and print taped to the mile - long High Line walk way in New York City for 17 hours on Thursday, September 13th, 2012 with 11,500 visitors — the visitors walked, wrote, jogged, signed, drew, touched, danced, parkoured, sanded, keyed, melted popsicles, spit, scratched, stomped, left shoe prints of all kinds and put gum on the filmstrip — it was driven on by baby stroller and trash can wheels and was traced by art students — people wrote messages on the film and drew animations, etched signs, symbols and words into the film emulsion lines drawn down much of the filmstrip by visitors and Jwest with highlighters and markers — the walk way surfaces of concrete, train track steel, wood, metal gratings and fountain water impressed into the film; filmed images shot by Peter West — filmed Parkour performances by Thomas Dolan and Vertical Jimenez — running on rooftops by Deb Berman and Jwest — film taped, rolled and explained on the High Line by art students and volunteers) 2012, 58 minutes, 40 seconds 35 mm negative and film print transferred to high - definition video, no sound Commissioned and produced by Friends of the High Line and the New York City Department of Parks and Recreation

Hand - held Sky is a 16 mm film depicting the artist's hand holding a postcard image of the sky up to the sky.

karthik pandian and mathias poledna, in turn, cut up a 35 mm film, treat the individual images (frames) as slides, and show them in extremely decelerated slow - motion sequences, so that only one image is presented a day.

Having recently worked on conserving and restoring Looking for Langston images from his extensive archive, he exhibited of photographic works at Victoria Miro Gallery, London (2017), Jessica Silverman Gallery, San Francisco (2016) and Ron Mandos Gallery, Amsterdam (2016) with a screening of the film in its original 16 mm print at Tate Britain.

Image credit: Leslie Thornton Peggy and Fred in Hell: Folding (1985 — 2015) Still from digital video (originated on 16 mm film), 95 mins Courtesy of the artist

The 16 mm film collage, Wikipolis, juxtaposes a scene from Metropolis, Fritz Lang's seminal 1927 film on urban dystopia, with an image of a former nuclear bunker in Stockholm that now houses a data centre with 8,000 computer servers, two of which belong to WikiLeaks.

These installations consist of viewer - activated 16 mm film loops projected either onto or into tableaux (which consist of props with sheets of ground glass) or onto photographs in which the film image blends with the still images.

In the piece, a 16 mm film projector suspended from the ceiling and tethered to a turntable below, spins in a circular motion around the room while casting the projected image across the walls of the darkened space.

She often begins by affecting the raw film (35 mm, 16 mm and 70 mm depending) in many various ways in advance of any image making by marinating, smoking, scratching, biting, dragging, snapping, spraying, throwing and dripping.

Image: Rosa Barba, Subconscious Society, 2013 film still 35 mm © Rosa Barba.

Using techniques such as slow - motion filming with traditional 16 mm film to capture rich, grainy colours and textures Neville avoids the familiar images of contemporary conflict.

The Collection of Moving Images In 1972 the museum purchased three 16 mm films by the Belgian artist Pol Bury (1922 - 2005).