Sentences with phrase «mm film with»
Kusama made this 16 mm film with American experimental filmmaker Jud Yalkut (1938 --- 2013).
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Sophie Michael, The Watershow Extravaganza, 2016 16 mm film with optical sound, 10 min 30 sec, Colour, 1:1.33, 24 fps, Edition 1 of 5
16 mm film with projector and looper.
MARTHA COLBURN One & One is Life 一加一即生活, 2009 16 mm film with sound transferred to DVD 单频有声录像 ， 16mm胶片转DVD Dimensions variable 尺寸可变 3 min 54 sec
Combining handcrafted 16 mm film with video, installation, and performance, her pieces are exhibited internationally in film festivals, museums, galleries, TV, public outdoor installations, and multimedia performances.
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.
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.
Not exact matches
He would fly around LA with an 8 mm movie camera and film out the window.
I started GoPro in 2002, we came out with our first product — the original Hero Camera (a 35 mm film camera)-- in 2004.
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 visiWith 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 visiwith dreams, eagles and shadowy visions.
I had a clunky Canon 35 mm camera loaded with black and white film that I took around the country and the world alike, and I had the time of my life shooting everything from European cathedrals to iconic East Coast skylines.
With a 90 mm... but what film do you use these days?
The market also requires vacuum metallisers that can absorb that increase in the film production output with ever faster (1,200 m / min) and wider (up to 5000 mm) vacuum metallisers,» Mr Cano adds.
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.
The 35 mm film stock and muted colour palette add an authentic 70s patina to the visuals, with cinematographer Janusz Kaminski's smartly choreographed cameras pursuing the film's protagonists through halls and corridors with efficient panache.
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.
Shot on beautiful 35 mm stock, Lincoln is a film filled with natural beauty as seen through the keen eyes of Spielberg and Kamínski.
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.
They discuss the nude scene they're about to film, as well as the restrictions of working with 35 mm celluloid, which can never capture a take longer than 11 minutes.
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.
Filmed entirely on 35 mm, Too Late unfolds in five acts, each a 20 + minute take with no hidden cuts or gimmicks.
The film itself is a shaggy, mostly plotless time capsule, but the transfer looks great, preserving the the original film with a 16 mm graininess that matches the grit of the film itself.
The highlights of my film year were trips to BAFICI 14 in Buenos Aires with a few students — where one venue was dedicated to showing 16 mm experimental films!
Despite switching to 35 mm from the previous film's all - digital lensing, «Spectre» often looks the less refined, harder - textured work, in keeping with its protagonist's restless, on - the - fly work ethic.
The confinement drama, though perhaps predictable to attentive horror veterans, pays off with some prime living - room Grand Guignol, and the deceptively lucid imagery is, as the credits proudly proclaim, «filmed in glorious 35 mm.»
The unveiling of the Macintosh in 1984 is shot on grainy 16 mm film and scored with vintage synthesizers.
The film combines present - day interview segments with Goodall, now in her eighties, and never - before - seen 16 mm footage of her experiences in Africa when she was in her twenties.
In his own micro-budget way, Swanberg is a real filmmaker: His pacing is swift, his editing efficient and his decision to shoot the film in 16 mm imbues it with authentic visual warmth.
Fans of Coppola's work will be particularly pleased with the inclusion of Lick the Star, a 1998 short film she made in 16 mm black - and - white just before she started production on The Virgin Suicides.
Now Baker's taken on Cannes with The Florida Project — this time shot on 35 mm film — about a precocious six year - old and her ragtag group of friends whose summer break is filled with adventure,
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.
White Nights / Le notti bianche Luchino Visconti, Italy / France, 1957, 35 mm, 101m Italian with English subtitles Visconti's adaptation of a Dostoevsky story (filmed many times over, including by Robert Bresson) is a ravishing romantic reverie composed in incandescent black and white.
Polley sets the film up as a series of interviews with family members and friends, and intersperses 8 mm home movie footage.
THE DVD Innerspace is available on DVD from Warner Home Video in a presentation that contains a 1.78:1 anamorphic widescreen transfer of the film along with 5.1 Dolby Digital sound likely based off the six - track mix that accompanied 70 mm prints.
In every surface aspect, it's a textbook New York underground indie (though shot on 16 mm film rather than video), enamored with repellent details (Laura is introduced mid-crying jag, blasting a mucus strand from her nose and reflexively snorting it back in) and sporting just - get - it - done technical credits.
As one would hope, there will definitely be special IMAX 70 mm film showings at the few remaining «real» IMAX theaters, but they will be in 3D with dual projectors, so this will still be pushed as 3D.
He talks about why the movie took years to make, his decision to only screen on 35 mm, working with John Hawkes, and everything else you need to know about one of the most unique film releases of the year.
Though «The Hateful Eight» is filled with the same self - indulgent tendencies that fans have come to expect from the director's movies, this Agatha Christie - styled whodunit is a lot of fun thanks to a smartly crafted script, some outstanding camerawork that benefits from the 65 mm film format, and riotous performances from the ensemble cast.
His enlightening cinematic collage was culled from found 16 mm film of vintage interviews conducted by fellow Swedish journalists with everyone from Black Panthers Bobby Seale and Huey Newton to radical attorney William Kunstler.
«My Beautiful Laundrette» was made with TV in mind, shot in the then - cheaper format of 16 mm, but the response it received at film festivals quickly proved that it warranted a theatrical release.
The majority of the film is rather dark, as it takes place in a dark house the entire film, and there is noticeable grain consistent with being shot on film, which Aronofsky opted to shoot on 16 mm.
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.
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.
Anatomy of a Killer Theme Song» new interview with the original members of the American punk band, The Dickies; «The Chiodos Walk Among Us: Adventures in Super 8 Filmmaking» new documentary highlighting the making of the Chiodo Brothers childhood films, from the giant monster epics made in their basement to their experiments in college; new HD transfers of the complete collection of the Chiodo Brothers 8 mm and Super 8 films, including «Land of Terror,» «Free Inside,» «Beast from the Egg», and more; «Tales of Tobacco» interview with star Grant Cramer; «Debbie's Big Night» interview with star Suzanne Snyder; «Bringing Life to These Things» tour of Chiodo Bros..
Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.
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.»
Shot on 16 mm, Bronstein's film is a bleak but unforgettable character study about a New York door - to - door salesman, played with compassion and ferocity by Dore Mann.
Though «The Hateful Eight» is filled with the same self - indulgent tendencies that fans have come to expect from the director's movies, this Agatha Christie - styled whodunit is a lot of fun thanks to a smartly crafted script, some outstanding camerawork that benefits from the 65 mm film format, and riotous performances from the cast.
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»).