Sentences with phrase «mm film negative»

Neutrino, Gamma, Alpha, Quantum Dots Film (16 and 35 mm film negative tangled inside darkened film tent for ten hours and exposed to: Neutron, gamma and alpha sources and quantum dots in liquid scintillator - made with the assistance of Lindley Winslow and graduate student, Raspberry, at MIT's Neutrino Lab), 2011

Dawn Surf Jellybowl Film (16 mm film negative sanded with surfboard shaping tools, sex wax melted on, squirted, dripped, splashed, sprayed and rubbed with donuts, zinc oxide, cuervo, sunscreen, hydrogen peroxide, tecate, sand, tar, scraped with a shark's tooth, edits made by the surf and a seal while film floated in waves - surfing performed by Andy Perry, Makela Moore, Alanna Moore, Zach Moore, Johnny McCann — shot by Peter West — film negative sanded by Mariah Csepanyi, Andy Perry and Jwest) 16 mm film negative transferred to high - definition, 8 minutes 15 seconds 2011 Image courtesy of the artist.

The artist subjects 16, 35 and 70 mm film negative and leader to an eclectic range of idiosyncratic substances including nailpolish, liquid eyeliner, «Teen Spirit» deodorant, wine, spices, Jell - O shots, body glitter, paintballs, Jack Daniels, hot springs water as well as such physical interventions as skateboarding, smearing, crushing, drawing and throwing.

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

February 6 — 12 Dawn Surf Jellybowl Film (16 mm film negative sanded with surfboard shaping tools, sex wax melted on, squirted, dripped, splashed, sprayed and rubbed with donuts, zinc oxide, cuervo, sunscreen, hydrogen peroxide, tecate, sand, tar, scraped with a shark's tooth, edits made by the surf and a seal while film floated in waves - surfing performed by Andy Perry, Makela Moore, Alanna Moore, Zach Moore, Johnny McCann — shot by Peter West — film negative sanded by Mariah Csepanyi, Andy Perry and Jwest) 2011, 8 minutes 15 seconds 16 mm film negative transferred to high - definition video, no sound Commissioned by the Contemporary Arts Forum, Santa Barbara, California and Thanks to Andy Perry

Not exact matches

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.

Presented windowboxed in 1.65 anamorphic widescreen *, the film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16 negative.

«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.»

Criterion's BD release, sourced from the original camera negative, puts the lie to all of those earlier versions with its richly - textured shadows, searing whites, and twinkling 35 mm film grain.

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.

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.

Rare Video really did this film a solid and gave it a very impressive new high - definition transfer which was taken from the original 35 mm negative.

2K film restoration from original colour 35 mm negative.

Both films are remastered from new 2k scans of 35 mm prints struck directly from the camera negatives and the double feature (two discs on DVD, one on Blu - ray) includes new interviews with manga author Koike Kazuo and screenwriter Norio Osada.

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.

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.

Aside from some crushed blacks and clipped whites (it's not outrageous to assume that Scream pumped up the exposure to help make this dark film a bit more legible), the transfer, with its patina of grain and mild speckling (both positive and negative), is pleasantly evocative of a 35 mm print after a few showings.

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.

Battle of the Bulge (Ken Annakin, 1965, filmed in Ultra Panavision 70) and Grand Prix (John Frankenheimer, 1966, filmed in Super Panavision 70) were both marketed as Cinerama films, even though they were shot on single 65 mm negatives.

Would've placed higher but Cohen's 4K restoration has a weird aspect ratio (2.47:1) and appears to these eyes to be undersaturated and lacking in contrast, although I trust James Ivory's on - board director's statement that the film has never looked better, since a 70 mm blowup resulted in previous transfers being too many steps removed from the original negative.

Luckily, a 35 mm blow - up negative, made for the film's original theatrical released in 1975, was located among the holdings at the lab.

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.

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 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.»

Arrow Academy presents Orchestra Rehearsal utilizing a recent 2K restoration of the film from the original 35 mm camera negative.

90 % of the film is 35 mm analog negative, which gives it that organic feel.

The photo has been sent in as a photo negative, part of a roll of 35 mm film.

Mastered from the original 35 mm camera negative, it's almost flawless (with a touch of fluctuating pixels in the neutral skies) and so clean that the hard vertical scratches 65 minutes into the film — the only blemishes on the print — are jarring.

from the original 16 mm AB camera negative with 35 mm interpositive inserts and final approval by Frank Henenlotter himself, the film now looks better than ever.

She output the videos to 35 mm motion picture film and used the negatives to make prints that she then scanned to make her video, Smoke.

Duncan Campbell, Falls Burns Malone Fiddles, 35 mm photographic negatives and 16 mm film transferred to digital video, 2003.

The exhibition is centered upon West's new 35 mm film, «Electric Kool - Aid Fountain Swimming Film» (35 mm movie negative submerged in LA's Mulhulland Fountain, dripped with Kool - Aid and liquid LSD..).

In a rear room, Matta - Clark's 15 - minute Super 8 mm film, City Slivers, offered a dizzy view of the «in between» spaces of downtown New York, revealing the negative spaces of the city.

Shred the Gnar Full Moon Film Noir (35 mm film print and negative shredded and stomped on by a bunch of Snowboarders and a few Skiers getting ginormous catching air during Aspen Big Air Competition and Fallen Friends Event — marked up with blue course dye — sprayed with Diet Coke, Bud Lite & Whiskey — taken hot tubbing with Epsom salts, rubbed with Arnica, K - Y Jelly, butter and Advil — full moon shot by Peter West) 35 mm film transferred to high definition video, 5 minutes 9 seconds 2010 Image courtesy of the artist.

• Digital lab with Epson Stylus Pro 4900s, 7800, 9600, 9800, and 9900 digital inkjet printers, profiling systems and large print viewer • Hasselblad Imacon high resolution negative scanner, scans up to 4 × 5 sheet film • 18 27 ″ iMacs with a full suite of Adobe Creative Cloud software • Black and white darkroom with 18 enlargers (4 × 5, medium and 35 mm formats) • 16 mm Elmo slimline projector with 800 ′ looper, Full HD Cinema Projectors in all studios and classrooms w / Blu - ray player • Photographic and filmmaking peripherals, such as lenses, microphones, tripods and light kits available for checkout

Nha Trang About Blog Shooting Film is a daily blog for all things analogue: from 35 mm, medium format to large format, color to black and white, negative to slide films, and even instant film.

Load slides, 35 mm color film, black - and - white negatives, and Advanced Photo System (APS) film into your computer with Konica's Qscan QS - 1202U Film Scanner.