Miss Dior - 'La vie en rose' Interview Natalie Portman

Discover the new Miss Dior film, starring Natalie Portman.

DIOR J'ADORE [TV FILM]

Redescubriendo el mito...The Complete Citizen Kane - Documentary

Este excelente documental incluye entrevistas con Welles de la BBC en 1960 y 1982. También incluye una entrevista con Pauline Kael hablando de su controversial "Raising Kane" artículo. 

Como iluminar para lograr el efecto del "Film Negro" "Film Noir" #Iluminación #Producción #Excelencia #Cinematografía

Enciclopedia Visual de Cine de FilmmakerIQ The Basics of Lighting for Film Noir from FilmmakerIQ.com on Vimeo.
Origins of Film Noir from FilmmakerIQ.com on Vimeo.
3 Basic DIY Techniques for shooting better Film Noir from FilmmakerIQ.com on Vimeo.
FilmmakerIQ.com Film Noir Contest from FilmmakerIQ.com on Vimeo.
Review of the Impact Quality 300 Lighting Kits from FilmmakerIQ.com on Vimeo.

FOR SALE RED ONE Digital Cinema COMPLETE SYSTEM #RED $30,000 US CY Camara de Cine Digital RED ONE en venta

FOR SALE RED ONE Digital Cinema COMPLETE SYSTEM #RED $29,000 US CY Camara de Cine Digital RED ONE en venta

Equipo Red One: SN 2992
Condiciones	Nueva
Uso	Menos de 30 horas en total
Equipo	Descripción	Costo Pagado	Precio Oferta
Redo One Body	Incluye PL Mount para lentes 35mm	$ 17,500.00	$ 14,350.00
Base Production Pack	Mangos, rods y adaptadores	$ 1,250.00	$ 1,025.00
Lente Red 18-50 T3 Lens	Lente Zoom	$ 6,500.00	$ 5,330.00
Lente Red 300MM f2.8	Telefoto	$ 4,950.00	$ 4,059.00
Red EVF	Viewfinder	$ 2,950.00	$ 2,419.00
Red LCD	Monitor 6''	$ 1,700.00	$ 1,394.00
Cable EVF		$ 180.00	$ 147.60
Cable LCD		$ 180.00	$ 147.60
Red Power Pack	Fuente de Poder y 2 Red Bricks	$ 1,450.00	$ 1,189.00
Red Cheese Plate		$ 300.00	$ 246.00
RedFlash	Módulo Compact Flash	$ 500.00	$ 410.00
Compact Flash (1)	Memoria extraible	$ 275.00	$ 225.50
Red Drive	Disco Duro	$ 4,500.00	$ 3,690.00
	total	$ 42,235.00	$ 34,632.70
Hacer cita enviando email a 1@video.com.mx
De haber alguien interesado, es negociable en 29,000 dólares todo el equipo completo / Tipo de cambio 11.50

Marketing, Advertising, Media Training
www.signal.com.mx

Video,Film, DVD, Television
www.video.com.mx

Promotion & Roadshows
www.promocionales.com.mx

Del escritorio del
© Ing. José María Noriega Fernández
CEO Productor Ejecutivo y Director
Signal Group
VideoWorld Studio

http://www.whohub.com/videoworld

Favor de confirmar la recepción correcta de este mensaje

RED ONE ON SALE.pdf Download this file

Posted via email from Signal Group

Invitación al UABC Filme Festival #Baja California #Cine #Cortometrajes

Estimado Ing. José María Noriega,

Los alumnos y personal docente de la licenciatura en Medios Audiovisuales de la UABC (Universidad Autónoma de Baja California), se enorgullecen en presentar la primera edición del UABC Filme Festival, mismo que se llevará a cabo los días 28 – 31 de Octubre del presente año, en la ciudad de Mexicali, Baja California, México.

Durante la realización de este festival cinematográfico, contaremos con la asistencia de personalidades de la industria fílmica nacional e internacional, compartiendo con los estudiantes sus experiencias y conocimiento a través de conferencias magistrales y talleres, además de proyecciones de gala de reconocidas producciones nacionales.

La razón por la que me he puesto en contacto con usted, es porque nos interesa invitar a los alumnos de comunicación, cine, medios audiovisuales y carreras afines de su escuela, a participar en el concurso de cortometrajes de nuestro festival, mismo que cuenta con un premio de $50’000 m.n. para el primer lugar en las categorías de cortometraje de ficción y documental. Además, haremos proyección de los trabajos seleccionados en las categorías de ficción animada y videoclip.

Las bases para dicho concurso se encuentran en la siguiente liga:

http://www.uabcfilmefestival.com/convocatoriaUFF.pdf

Sin más por el momento, esperamos con entusiasmo una respuesta de su parte. Me pongo a sus órdenes para cualquier aclaración. Gracias de antemano.

Fernando M. Cerecer
Departamento de vinculación
UABC Filme Festival
Nextel: 152*14*13435
Móvil: (686) 250-1835
E-mail: fernando@uabcfilmefestival.com
Teléfono del CEPA
(Centro de Estudios y Producción 
Audiovisual UABC): +52 (686) 841-8240
Posted via email from signal's posterous

Feliz Navidad ¡¡¡¡ Merry Christmas to all ¡¡¡¡¡

Desde México les deseamos que tengan un año 2010 lleno de éxitos !

Send your own ElfYourself eCards

Damos gracias a Dios por sus bendiciones y a nuestros amigos y familiares por compartir su existencia. Queridos todos les deseamos una hermosa Navidad, una cena exquisita, llena de amor y alegría, muchos regalos para los chiquillos y amor y cariño para los adultos la vida es bella ¡¡¡

Mil gracias a todos por su invaluable apoyo

Ing Jose María Noriega y Familia



Para actualizaciones profesionales, links, fotos, y mucho más, asegúrate de visitar y convertirte en fan de mi perfil de usuario en Facebook:

http://tinyurl.com/FBJMN
"Management is doing things right; leadership is doing the right things."

 
SIGNAL MEDIA GROUP

www.signal.com.mx
www.video.com.mx
http://www.promocionales.com.mx/

Posted via email from signal's posterous

Making of Behind the Scenes Detras de Cámaras Comercial de Television

Making Of / Behind the Scenes

Most clients have some idea of what happens behind the production of a commercial, some not, this page illustrates the process easily.

Link

Talentos Jennifer Barrantes & Alberto Martins


Sígueme en: Follow me on Twitter

El Comercial de Amore Mio Versión Beta III

La modelo y el estilista

Celular Video Making OF by Nokia N95 Transmision en Vivo by Qik

Preparando la locación

Una espléndida locación; Hotel de la Ciudad de México

Pruebas del Dolly

Pruebas del Dolly, la bella Jennifer se asoma

Dolly en movimiento

Angulo opuesto de la toma del Dolly

Spot Comercial Escena del Beso Jennifer Barrantes & Alberto Martins

Curso de Entrenamiento para Directores

Marketing & Social Media La Revolucion de la Redes Sociales esta en plena ebullición

Las grandes agencias, los publicistas, los mercadotecnistas y mercadólogos, los artistas, músicos, cineastas, videógrafos y en general todas las personas con actividades creativas estan viviendo en un remolino de desarrollos digitales llamado SOCIAL MEDIA

EL CONOCIMIENTO PROFUNDO DE QUE SOLO el cambio permanece DEBERA GUIAR NUESTROS ESFUERZOS PARA UN REENTRENAMIENTO PERMANENTE PARA PERMANECER VIGENTES Y ACTUALES

Las siguientes producciones te darán una idea de la profundidad del cambio que estamos viviendo


SOCIAL MEDIA VIDEO



PRESENTACION DE COMO DEBE SER UNA NUEVA AGENCIA DE PUBLICIDAD
Manifesto For A New Ad Agency de giles rhys jones,
Como tiene que cambiar la publicidad no solo sus productos sino todos su procesos How advertising needs to change not only its product but is process

Manifesto For A New Ad Agency

View more presentations from giles rhys jones.

Como bien sabes FACEBOOK acaba de llegar a 300 millones de usuarios
Algo estan haciendo MUY BIEN. Esto es un resumen de sus principios generales de diseño MUY RECOMENDABLE

FACEBOOK DESIGN PRINCIPLES

http://www.facebook.com/note.php?note_id=118951047792

The following are our Design Principles. At Facebook, our design is...

Universal

Our mission is to make the entire world more open, and this means reaching every corner, every person. So our design needs to work for everyone, every culture, every language, every device, every stage of life. This is why we build products that work for 90% of users and cut away features that only work for just a minority, even if we step back in the short term.

Human

Users return to our site to be surrounded by friends and other people near to them. This is a central promise of our product, that the people you care about are all in one place. This is why our voice and visual style stay in the background, behind people’s voices, people’s faces, and people’s expression.

Clean

Our visual style is clean and understated, to create a blank canvas on which our users live. A minimal, well-lit space encourages participation and honest transparent communication. Clean is the not the easiest approach to visual style. To the contrary, margins and type scale, washes and color become more important as we reduce the number of styles we rely on.

Consistent

We invest our time wisely, by embracing patterns, recognizing that our usability is greatly improved when similar parts are expressed in similar ways. Our interactions speak to users with a single voice, building trust. Reduce, reuse, don’t redesign.

Useful

Our product is more utility than entertainment, meant for repeated daily use, providing value efficiently. This is why our core interactions, the ones users engage daily, are streamlined, purged of unnecessary clicks and wasted space.

Fast

We value our users time more than our own. We recognize faster experiences are more efficient and feel more effortless. As such, site performance is something our users should never notice. Our site should move as fast as we do.

Transparent

Users trust us with their identity, their photos, their thoughts and conversation. We reciprocate with the utmost honesty and transparency. We are clear and up front about what’s happening and why.


Como ves ahora ya tienes un poco más de información
Gracias por vistar mi blog

Twitter Mosaic

No dejes de visitar mi página profesional de FACEBOOK , me dará mucho gusto ser tu amigo

Friend me on FB

http://tinyurl.com/josenoriega

Tape to Film Transferencia de Video a Película de Cine 35 mm para cineminutos

Somos los expertos en transferencias de archivos digitales y de video a película de cine de 35 mm para cineminutos cortos y largometrajes
Checa nuestra ultima transferencia 
de HDV a 35mm

"El Día" dirigida por TAO

Producción de Tape to Film

Formato HDV > transferido a 35 mm
Producción de Tape to Film
Formato HDV transferido a 35 mm
Ing Jose Maria Noriega

Estimado José María:

Mil gracias por tus tan generosos comentarios. De corazón mil gracias!!!
...Que tengas un gran fin de semana y de nuevo, gracias por tu apoyo y tu invaluable colaboración para que EL DÍA sea. Con agradecimiento
Tu amigo
Tao
15-08-2009
Participante:
Festival Internacional de Estrasburgo
Festival Internacional de Cine de Monterrey
CATEGORIA: Largometrajes de Nuevo León / Nuevo León Feature Films in Competition EL DÍA / (THE DAY) Categoría / Category: Largometrajes de Nuevo León / Nuevo León Feature Films in Competition
Título original / Original title: EL DÍA
Título en inglés / English title: THE DAY
País de Origen / Country of origin: México
País secundario de produccion:
Duración en minutos / Film length in minutes: 102
Nombre del Director / Director's name: Tao
Nombre del Productor / Producer's name: Ana Detlova
Cinefotografía / Cinematography: David Fernández, Adolfo Torres
Guión / Screenplay: Tao
Edición / Editing: Tao
Sonido / Sound Design: Angel Rangel
Reparto / Cast: Juliana Guajardo
Breve sinopsis en español / Brief Synopsis in spanish
Visión poética de un día en la vida de una mujer.


Transferencia digital de video y su conversión a cine: Video a Cine, TAPE to FILM, Tape to Cine , Data to Film, Data to Cine
Tape to Film Transfer de video a film cine 35 mm para proyectarse en Cine minutos, transferencia profesional de video digital a formato de cine 35 mm, 16 mm, 8mm, Tape to Film VideoFILM® Transferencia de Video a Película de Cine 35 mm y 16mm

La verdad del Cine Digital The Truth About 2K, 4K and The Future of Pixels

Article Focus: John Galt, Panavision Senior Vice President of Advanced Digital Imaging, led the team that created the Genesis camera, was responsible for the F900 "Star Wars" camera, and continues to play a leading role in guiding future digital cinema technologies. In this Creative Cow Magazine Extra, join us for a wide-ranging conversation, as John cuts through what he calls the intentional obfuscation of marketing pixels, and considers the range of options that are becoming available to digital filmmakers.

¡Que viva México! - Sergei Eisenstein

Que viva México! (en ruso, Да здравствует Мексика!) fue un proyecto filmico inconcluso de Serguéi Eisenstein. La producción estuvo marcada por dificultades y finalmente abandonada. Jay Leyda y Ziba Voynow lo denominan su plan de filme más grande y su tragedia personal más grande[1] . Eisenstein llega a México en diciembre de 1930, patrocinado por Upton Sinclair y su esposa Mary Kimbrough Sinclair.

El material original nunca fue montado. El material filmado ha sido reconstruido por otros bajo los titulos de Thunder Over Mexico, Eisenstein in Mexico, Death Day y Time in the Sun. En 1979 Grigori Aleksandrov, a partir de los storyboards originales de Eisenstein, compiló Da zdravstvuyet Meksika!, una aproximación al montaje que éste planeaba.

La estructura del filme, en la reconstrución de Aleksandrov es de cuatro episodios, más un prólogo y un epílogo. El prólogo presenta imágenes alegóricas al México prehispánico. El episodio "Sandunga" recrea los preparativos de una boda indígena en Tehuantepec. "Fiesta" desarrolla el ritual de la fiesta brava, mientras que "Maguey" escenifica la tragedia de un campesino victimado por rebelarse en contra de su patrón. "Soldadera" (episodio no filmado) presentaría el sacrificio de una mujer revolucionaria. El epílogo, también conocido como "Día de muertos", se refiere al sincretismo de las distintas visiones que coexisten en México alrededor del tema de la muerte.

A (Very) Brief History of Photography (Part 2)

Photography could only be made via the Daguerreotype and Collodion process exposure systems, both of which were unpractical, and required the photographer to carry a box full of toxic or potentially flammable substances around, along with the plates on which the photography was to be taken. In 1884, George Eastman created the first photographic film with nitrocellulose coated with a dry gel emulsion of silver halide salts.

In 1888, Eastman introduced his Kodak Camera, along with the famous slogan “You press the button, we do the rest”. This was true: the roll of film meant anyone could take a picture, without having to develop the picture almost immediately. In fact, the whole development process could be made by someone else. In 1901, Kodak introduced the famous “Brownie” (Henri Cartier-Bresson’s childhood favorite). The first Brownie was a simple box camera, made of cardboard, and with an initial price of $1 dollar.

In 1913, the 35 mm film format was introduced for still photography. The format was created by Thomas Alva Edison as a way to feed film into a camera through sprocket holes, when all other cameras used friction feed. Edison patented his invention, forcing his competitors to use friction feed until 1902, when a court ruling invalidated Edison’s claim, allowing any producer or distributor to use the film design without a license. The new film format was practical and smaller than other film designs, but wasn’t popular until Leica Camera introduced the Leica I, or Leica A, a precision miniature camera.
The 35 mm snapshot camera design introduced by Leica has not changed much in more than 80 years. But the next great milestone in photography came in 1936.

Single lens reflex cameras were invented 1861 by Thomas Sutton. The sole design of the SLR had been around for more than two centuries before photography was born: Artists would use Camara Obscura fitted with a mirror placed in a 45° angle, which would reflect the image into a ground glass, allowing the artist to make a realistic drawing by simply tracing over the glass.
Early SLRs were large format cameras, and not as popular as the standard View Cameras of the time. They had waist-level viewfinders, and the mirror, most often than not, had to be raised manually before the picture was taken.

In 1936, Dresden-based Company Ihagee released the Kine-Exakta, the first 35mm SLR.

Between 1936 and 1937, Zeiss started working on a 35 mm SLR. The camera used an eye level pentaprism, which allowed the image to be seen in a correct left-to-right orientation, since waist level cameras showed a reversed image. Additionally, a Fresnel lens was placed in between the ground glass and the pentaprism, thus brightening the image. This design became the conventional SLR design used today. The camera wasn’t introduced until 1949 as the Contax S, mainly because all production halted when World War II intervened.

Photography

A (Very) Brief History of Photography (Part 1)

“And God said, Let there be light: and there was light.”
And light was used by all: to frighten and to encourage, to blind and to lead, to destroy, and to create. And light was used to write…
The word photography comes from the Greek words phos (light) and graphis (brush). And that’s exactly what photography is all about: Drawing with light.
Photography is a complex art, being the result of a series of technical discoveries from several different disciplines. Photography involves math, physics and chemistry.

The first “photographic” device known to humanity is the Camara Obscura. Although the Camara Obscura had already been around for a while, it was Ibn al-Haytham, an Arab philosopher, who described it thoroughly in his Book of Optics (circa 1000 a.D). It was simply a box, with a tiny hole in it. The hole would let a small portion of light into the box, and strike a specific part of the back wall, usually a piece of paper, on which the artist would copy the image. As the hole got smaller, the image also became sharper, but more light would be needed (depth of field).

Then, Silver Nitrate and Silver Chloride were discovered in the 12th and 16th century, respectively. Silver Nitrate is the precursor to other silver salts, and Silver Chloride is the “magical” substance from which photographic film is made, since it turns from white to metallic- black/gray via photoreduction. Finally, in the mid-1820’s, Nicéphore Niépce, a French inventor, created the first “photograph”, and 8-hour exposition from a window in Le Gras. He named this new process “Heliographie” or “drawing with the sun”.

Shortly afterward, the term Photographie was used by Hercules Florence, a French artist, to name a process similar to Niépce’s. Meanwhile, William Fox Talbot, an English inventor, had discovered yet another process to create images from a silver salt-based process. Upon reading about Niépce’s invention, Talbot made some adjustments to his process to take faster expositions to be able to photograph people. John Herschel, another English inventor refined Talbot’s negative image process (called calotype) and created the cyanotype, or blueprints. He discovered sodium thiosulphate solution to be a solvent of silver halides in 1819, and informed Talbot of his discovery in 1839 that it could be used to make pictures permanent.

In 1851, an article, written by Frederick Scott Archer, appeared on “The Chemist”. The article reported Scott’s findings on the Collodion wet plate process. Collodion is a nitrocellulose solution in ether, which happens to be also toxic and extremely flammable (another name applied to Nitrocellulose is the word “Guncotton”, because it can be used as a projectile driver, with 6 times the gas generation of black powder (in his book From the Earth to the Moon, Jules Verne’s mega cannon Columbiad uses guncotton to propel a cylindroconical projectile to the Moon)). The discovery of the Collodion process disposed of the albumen process on glass plates, and made the time of exposure shorter. The new process required the projection surface (glass) to be cleaned extremely well. Then, the glass would be flowed with salted Collodion, after which, the glass would be immersed in a silver nitrate solution for about 5 minutes. The plate was then ready to be exposed, and the developed in an iron-based developer. The plate was then fixed with the exposure, and varnished with a mixture of gum sandarac, alcohol and lavender. This process had to be done within minutes of each other, which meant a photographer carried the chemicals wherever he went. It is quite extraordinary there are no reports of a photographer dying in a guncotton related explosion, or from silver nitrate-related poisoning.

Then, in the late 1880’s, the dry collodion plate was introduced to replace the wet plate. By 1884, the film process was created, but it was years before it was adopted as the standard exposure process.

Photography

Cinepolis Mexico el 5o Exhibidor mas grande del Mundo agrega pantallas 3D en alianza Con RealD

Los Angeles—Jul 17, 2008 Cinepolis and RealD 3D Announce Exclusive Digital 3D Partnership 500 new RealD 3D screens coming to leading circuit; huge expansion of 3D cinema into Mexico, Central America, and South America
Morelia and Santa Fe, Mexico- based Cinepolis, Inc, the world's fifth largest cinema exhibitor, and RealD 3D, the global leader in 3D, announced today that Cinepolis will add 500 RealD 3D screens to its circuit.
The rollout of these 500 RealD 3D screens has already begun with six new screens installed for the release of Journey to the Center of the Earth, and will continue through 2010. The partnership makes RealD the exclusive choice of Cinepolis for digital 3D and creates a strong platform in the market for the upcoming slate of over thirty major studio 3D releases in 2009 and 2010. "We are in the midst of a defining moment in movie going history," said Jeffrey Katzenberg, CEO of DreamWorks Animation. "This massive expansion of screens into the critical markets of Central and South America is a giant leap forward for Cinepolis, RealD and all content creators who are committed to the worldwide deployment of digital 3D.""We are thrilled with the support and commitment Cinepolis has made towards 3D entertainment and RealD," said Anthony Marcoly, President, Walt Disney Studios Motion Pictures International. "We look forward to bringing our next Disney Digital 3D animated release, BOLT, to their cinemas this Christmas season as well as many others during the coming years.""Cinepolis confirms its commitment to innovation and client service by placing its confidence on 3D technology. As a company that has always been at the forefront in market innovation and new products and services, Cinepolis is proud to join forces with RealD. We believe this cutting-edge technology represents the future of the exhibition business and with this deal Cinepolis moves ahead in the very competitive Latin American market," said Miguel Mier, COO of Cinepolis "We are thrilled to be the choice of Cinepolis for premium digital 3D," said Michael Lewis, chairman and CEO of RealD. "This partnership marks an expansion of the RealD 3D platform into one of the world's strongest movie markets, as 3D continues to be a truly international phenomenon."RealD's next-generation 3D experience has garnered over 90% of the global market for 3D cinema, with RealD 3D theaters in 25 countries with over 70 exhibition partners. Cinepolis, with theaters in Mexico, Guatemala, Costa Rica, Panama, El Salvador, and Colombia, welcomed 91 million moviegoers through the doors of its theaters in 2007.

About Cinépolis: Cinepolis, a Mexican company with more than 30 years of experience, has presence in 61 cities in Mexico and in five countries in Central and South America. It has more than 1,800 screens in 201 cinemas. It is the market leader in Mexico with over 53% market share. With more than 12,000 employees it has been selected as a Great Place to Work company in 2008 and the previous two years. Cinepolis has introduced innovative concepts to the exhibition industry in Mexico, such as the first concept of luxury cinemas (Cinepolis VIP), the partnership with IMAX resulting in Cinepolis IMAX, and the first concept of edutainment with Cinema Park. It has also innovated in the design of movie-halls, new concession businesses, and new channels for ticket-sales. Cinepolis is also a socially-responsible company. Its main CSR program launched in 2006 "Del Amor Nace la Vista" (Sight is born out of love), has cured more than 2500 cases of cataracts in low-income communities. Cinépolis Directory page

About RealD: RealD is the global leader in 3D, bringing the most advanced and enjoyable digital 3D experience to cinemas worldwide. RealD’s next-generation technology, deployed across the world’s largest 3D platform in 24 countries, provides a stunningly realistic viewing experience beyond the usual concepts of 3D cinema. The impact of 3D upon today’s moviemaking has been compared to the advent of color film when once there was only black and white. Beyond cinema, RealD is the worldwide inventor and provider of key stereoscopic technologies used in science, manufacturing, marketing, and other industries, with thirty years of scientific development behind its systems. RealD’s mission-critical 3D visualization technologies are used by organizations such as NASA, PfizeAbout RealD: RealD is the global leader in 3D, bringing the most advanced and enjoyable digital 3D experience to cinemas worldwide. RealD’s next-generation technology, deployed across the world’s largest 3D platform in 24 countries, provides a stunningly realistic viewing experience beyond the usual concepts of 3D cinema. The impact of 3D upon today’s moviemaking has been compared to the advent of color film when once there was only black and white. Beyond cinema, RealD is the worldwide inventor and provider of key stereoscopic technologies used in science, manufacturing, marketing, and other industries, with thirty years of scientific development behind its systems. RealD’s mission-critical 3D visualization technologies are used by organizations such as NASA, Pfizer, BMW, Boeing and more. RealD Directory page

Demystifying Digital Camera Specifications

Box Office: "Demystifying Digital Camera SpecificationsDemystifying Digital Camera Specifications"

April 3, 2008 - John Galt, Head of Advanced Digital Imaging at Panavision, and Larry Thorpe, National Marketing Manager at Canon Broadcast & Communications Division, came together to help untangle some common misunderstandings in Digital Camera Specifications

7 Parts

http://media.panavision.com/ScreeningRoom/Screening_Room/Demystifying_Part1.html


Press Release- Panavision’s John Galt and Canon’s Larry Thorpe Make The Case for Meaningful Metrics
FOR IMMEDIATE RELEASE
“DEMYSTIFYING DIGITAL CAMERA SPECIFICATIONS,” SEVEN-PART VIDEO SERIES ILLUMINATING DIGITAL IMAGING TECHNOLOGY, DEBUTS ON PANAVISION WEBSITE
Panavision’s John Galt and Canon’s Larry Thorpe Make The Case for Meaningful Metrics Appropriate for The Age of Digital Movie Making
May 6, 2008 - Woodland Hills, Calif. —“Demystifying Digital Camera Specifications,” a seven-part series focusing on the complex science of image resolution and digital cinema cameras is now available on the Panavision website. The URL is: http://media.panavision.com/ScreeningRoom/Screening_Room/Box_Office.html.
The in-depth symposium is presented by two icons of digital cinema technology: John Galt, Panavision Senior Vice President, Advanced Digital Imaging; and Larry Thorpe, National Marketing Manager, Canon Broadcast & Communication Division.
A master class for motion picture professionals and students, the series is also in the minds of its creators a precursor to a broader, crucial industry-wide discussion: the need for a scientifically valid, objective method of assessing the quality of digital and film images.
Recorded in high-definition video, the symposium was held April 3 before an audience of invited guests in the Panavision Theater, located in the company’s world headquarters in Woodland Hills, Calif.
Imaging resolution science: a closer look
Throughout the series, Galt and Thorpe challenge the simplistic and inaccurate assumption that digital camera resolution is “all about the camera output pixels.” Instead, they help serious motion picture creators to understand the difference between optical sampling from camera imagers (where resolution is totally determined) and the camera digital sampling.
They explore in depth what is meant by Modulation Transfer Function (MTF) and the compounding effect of lens MTF, camera MTF, and the MTF of subsequent production system elements.
Their discussion emphasizes that the relationship between the lens-camera MTF profile and associated residual aliasing – in both the horizontal and vertical domains – constitutes the only rational metric on imaging resolution. These two criteria apply to all 2/3-inch three-imager and to 35mm single-imager digital cameras. Nyquist theory, optical prefiltering and imager sampling lattice are explained in the context of camera design criteria that seek a pragmatic compromise between high MTF and minimum aliasing.
While camera manufacturers generally do not publish camera-specific information regarding lens-camera MTF and aliasing, various test charts are available to enable an objective assessment of both criteria. With these charts, fully demonstrated in the series, content developers can directly compare the performance between any two digital cameras regardless of image format size, number of imagers, or their optical sampling lattice.
Using the MTF metric, Galt and Thorpe conclude, digital movie makers now have better tools to help them gauge precisely what effect each step has on the production of the final image.
In addition to appearing on the Panavision website, the “Demystifying Digital Camera Specifications” series is being made available through various professional, trade and media Internet sites. For film schools, students and instructors, it is being showcased through the University Film and Video Association: http://www.ufva.org, in the news section. The UFVA is an international organization of almost 800 professionals and institutions involved in the production and study of film, video, and other media arts.
Transcripts of the seminars, with embedded slides, will soon be available to accompany the video presentation to facilitate class use or individual study.
“With programs like ‘Demystifying Digital Camera Specifications,’” said Bob Beitcher, President and CEO, “Panavision is trying both to educate our customers as well as raise the level of industry discussion about emerging technologies to focus on the science of what we do. I think that most everyone stands to benefit from a good look-and-listen at this stimulating presentation from two true experts.”
About the company Founded in 1954, Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, comprising of film and digital cameras, lenses and accessories for the motion picture and television industries. Panavision systems are rented through its domestic and international owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions.

Women Art Morph Editing Videos

Trabajo de edición morph mujeres y arte

Women in film


Women in Art



Van Gogh



Picasso



Art
Film Restauration
Woman
Naked Art
Family Memories
Morph
Animation
Picasso
Van Gogh



Mary Pickford, Lillian Gish, Gloria Swanson, Marlene Dietrich, Norma Shearer, Ruth Chatterton, Jean Harlow, Katharine Hepburn, Carole Lombard, Bette Davis, Greta Garbo, Barbara Stanwyck, Vivien Leigh, Greer Garson, Hedy Lamarr, Rita Hayworth, Gene Tierney, Olivia de Havilland, Ingrid Bergman, Joan Crawford, Ginger Rogers, Loretta Young, Deborah Kerr, Judy Garland, Anne Baxter, Lauren Bacall, Susan Hayward, Ava Gardner, Marilyn Monroe, Grace Kelly, Lana Turner, Elizabeth Taylor, Kim Novak, Audrey Hepburn, Dorothy Dandridge, Shirley MacLaine, Natalie Wood, Rita Moreno, Janet Leigh, Brigitte Bardot, Sophia Loren, Ann Margret, Julie Andrews, Raquel Welch, Tuesday Weld, Jane Fonda, Julie Christie, Faye Dunaway, Catherine Deneuve, Jacqueline Bisset, Candice Bergen, Isabella Rossellini, Diane Keaton, Goldie Hawn, Meryl Streep, Susan Sarandon, Jessica Lange, Michelle Pfeiffer, Sigourney Weaver, Kathleen Turner, Holly Hunter, Jodie Foster, Angela Bassett, Demi Moore, Sharon Stone, Meg Ryan, Julia Roberts, Salma Hayek, Sandra Bullock, Julianne Moore, Diane Lane, Nicole Kidman, Catherine Zeta-Jones, Angelina Jolie, Charlize Theron, Reese Witherspoon, Halle Berry

Music: Bach's Prelude from Suite for Solo Cello No. 1 in G Major, BWV 1007 performed by Yoyo Ma

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