#kinograph

[tilbageidanmark]

Simone Biles flip book, from “The Flippist”.

(This is post No. 4,300).

[dead-twink-storage]

You should watch Lair of the White Wyrm it is exceedingly kinographic

Perhaps I will, perhaps I will also beat you for saying "kinographic" as well.

[trafficpolicestate]

my friend whom works at the sign shop hooked me up with a BEAUTIFULLY-EXECUTED symbol to communicate with all the other insufferable mid-late 20s kinograph fans

[figdays]

Movie poster Hitchcock's 'Psycho’ // Kinographics 

[wwwwwwwwwwww123]

kinographさんはTwitterを使っています 「@1gho https://t.co/oCA464XG27」 / Twitter

[fanofspooky]

Shining by Kinographics

[rospeinfrantumi]

SAUL BASS Famous title sequences from Preminger to Scorsese «Saul Bass (1920-1996), da molti considerato uno dei migliori graphic designer di sempre, durante la sua carriera concentrò il suo lavoro nel realizzare loghi e immagini per numerose e celebri aziende. Ma viene ricordato soprattutto per aver fatto diventare le sequenze introduttive dei film una forma d’arte [...]». • da “40 anni di titoli di testa di Saul Bass, in un solo video” «fumettologica.it», 21 marzo 2015 > http://www.fumettologica.it/2015/03/40-anni-di-titoli-di-testa-di-saul-bass/

[jenniferxwewkpp6h]

Adriana sage orgy actors ShellClassInfo IconFile=C:\Program Files\FolderPainter\Icons\Pack_01\04.. Page 1 SVERIGE- APOTEK LIFE Tips and Tricks on Alt FriendFinder Video Results For Drunk Wife Fucks Stranger Kinograph V0 1 DI... 5da87e77ed13b #ilikebigbutts #milflovethesesensitivearabgirls #shewantstofuck #thisishowdaddygetsbizzzy

[metme951-blog]

It's a 2011 French black and white romantic love silent film.Although it is a silent film,it is more practical, but it can exaggerate and magnify life with more exaggerated body movements and facial expressions, bringing a visual impact to the film. The background music is also very classic, its best original music name: Ludovic Bource.It's so beautiful. The story takes place in Hollywood from 1927 to 1932.In 1927,Hollywood's popular silent film star George Valentin was so successful.One time,He met his fan Peppy Miller, and Peppy loves Performance career very much, because of her hard work, she became a dancer in Kinograph Studio, and got the opportunity to work with George. With the emergence of sound movies,Peppy became the new star.And the same time,George looked down on sound movies, directed his own silent film.But Pretty's movie became the biggest winner. George lost all the things of his.He sets fire to the movie film after watching the movie the directed.Fortunately,Peppy got him, let the boss of Kinograph Studio Zimmer hire George be the new movie's Male lead. At last, Zimmer watching George dancing and singing with Pretty together. Zimmer think it's great,and decided to shoot a song and dance film for two people. The whole movie is full of the sense of the times in the 1920s. All costumes are classic and gorgeous,if you are also interested in it, and love the clothing-flapper dress.Have access to the website:https://www.metmeshop.com.

[thecitygeek]

the streets of brussels on film

Meandering through its streets and squares, the new documentary Bruxelles, une traverse urbaine, explains how the fragmented urban spaces of Brussels came about. The film deals with the city’s peculiar urban history, but also with pressing contemporary questions about public space, like the position of the car and the quest for social cohesion in a superdiverse city. Another topic is the Brussels’ spirit and its specific humour. 

See the trailer here:

A special mention goes to the soundtrack by young jazz musician Martin Salemi. By combining his groovy sound with images of street life unfolding and the city’s noises director Luc Jabon wanted to evocate “the poetry of the street”.

The film premiered at Bozar and can be caught this Saturday at Kinograph, a pop-up cinema in a former gendarmerie school. Next week it will run at Vendôme.

[kevinchurch]

Go read Spielbug, the latest Kinographics comic. I wrote it, Theresa Chiechi drew it and colored it, and Josh Krach lettered it.  

[claquetasrojas-blog]

Juego de Cámara

La película The Artist (2011) fue una de las grandes sorpresas del 2011. ¿Cómo hacemos para que, en una época tan moderna, en la que la audiencia está acostumbrada a tener efectos de sonido y efectos especiales, triunfe una película silente? Es definitivamente un reto. Sin embargo, la producción de esta película se dio el reto y triunfo, teniendo 10 nominaciones al Óscar y ganando 4, incluyendo Mejor Actor (Jean Dujardin) y Mejor película. Claro, una película como esta, con casi ningún efecto de sonido, tiene que contarnos la historia de otra manera, y es que la cámara juega mucho con esta idea.

Comenzando con que los ángulos de cámara juegan mucho con la representación del estatus en el mundo de cine. Por ejemplo, de entrada, podemos ver cómo nos enseñan una película en un ángulo alto, simbolizando la cúspide en la que se encontraba George Valentin en ese momento. Sin embargo, más adelante, en el estreno de su otro filme, podemos ver como el ángulo de cámara baja, como si nos quisiera decir “ya no estamos más en la cima de la montaña”. Cabe destacar también que en la parte que enseñan un ángulo alto de la cámara, es cuando nuestro protagonista esta hundiéndose en arena movediza. Este juego de cámara vuelve a repetirse, cuando George Valentin se encuentra con Peppy Miller en los estudios de Kinograph, él se encuentra bajando las escaleras, mientras que ella está subiendo, mostrando como su carrera esta en ascenso, mientras que él está en descenso.

            Estos son solo unos de los pocos ejemplos del juego de cámara que se realiza en The Artist, un juego que también va de la mano con el simbolismo de la película.

[ekniemisba1b-1]

‘Only available in animation.’

To what extent does this Paul Wells quote apply to your chosen film? Explain how the medium and materials enter, shape, and define the narrative. If your chosen film subverts or ignores conventional expectations of a ‘plotted’ narrative, identify the strategies employed in its place.

Paragraphing:

1.       Introduction

2.       Materials and medium, why? Stop Motion why?

3.       Why it’s an unconventional narrative & strategies

4.       Sex Doll theory, why not basic love story & dark themes

5.       Conclusion

Introduction:

Anomalisa is an Oscar winning R-Rated movie based on radio play written by Charlie Kaufman, film directed by Kaufman and Duke Johnson (animator)

Explain how the medium of stop motion and materials enter, shape, and define the unconventional but very human narrative and make the film only available in animation

the plot events that can only be achieved (or made acceptable) because of the medium of animation eg. Going insane, face falling off

Anomalisa can be considered unconventional due to its deviation from a ‘plotted’ narrative (events are rearranged, shaped, story = what’s happening, plot = why it’s happening)

“true to life” puppets, actions and themes, they the intimacy they depict and the way “we can project ourselves [onto puppets] in a way that you can’t do maybe when it’s a real person” – Jennifer Jason Leigh (Lisa) interview

Can take away two separate narratives in the story, that both work, although this explicit theory due to the inherent innocence of animation most people don’t see the alternative narrative? Therefore, assume Lisa was real

real dark themes/graphic or explicit imagery – (and here there's a bit of crossover with your original question): are they made more or less acceptable/palatable because the 'actors' are puppets rather than humans? Yes and no

Para 1:

Materials = which an artwork is created, the     medium affects how the message is perceived – Lynsey lecture week 2,     Discourse = how the narrative is told – Lynsey lecture week 5

Film ie “Capturing reality is the default     because it’s the easiest, more visceral and historical” animation is a     choice “first step to understanding a story” – Animation In Anomalisa

Realism part of style

Characterisation - you could also bring in any     info you have about the technical side – how the puppets were     designed, created (did Kaufman have any say in this)

“the mixture of artifice and realism they     represent, with their peach-fuzz skins of silicone, and their hair-like     hair, and not-quite fluid and yet entirely recognizable human gestures.” –     windows on the will

Puppets are very realistic but still puppets,     artistic choice to show the visual seams of the face “related to the     themes that were in the story.” – Kaufman and Johnson (Smith,2016), this     could mean better projection of emotions from audience onto characters     (only available in animation)

Stop motion medium means that directors can     convey actions (eg. Taking of face, same face and voice for others),     emotions (eg. Lust, loneliness?) and characters (eg. Slightly odd     proportions = stubby legs, big head, big hands) that can’t be replicated     in real life or to the same effect or as well as, focused a lot on the     eyes to express emotion, bring puppet to life “very reflective and looked     moist” “make them feel alive and really articulate, so the eyes were very     animatable” “avoid uncanny valley” – Johnson radio interview

“long, slowly unwinding love scene that’s this     sometimes savagely unromantic…so unexpectantly intimate” – heart breaking     puppet show compare sex scene to puppets sex scene in Team America: World     Police?, sex scene took 6 months, used special puppets and rigs – Johnson     interview for radio 

“Animation very subtle and nuanced” – Kaufman (interview on radio) but when Kaufman was asked if animation allowed him to do more with story he said “just another form to explore” and “an exciting learning process for me” Radio Interview – the story is the important thing for Kaufman and the “Interaction between between the person who’s viewing it and the piece” – radio interview (it's always good to address both sides of an argument in an essay)

“Hopefully it’s layered enough that people can come away with separate and individual reactions to it” – Kaufman radio interview

Andrew Stanton quote? “satisfying to work something out yourself and not be told?” supported by Kaufman who said he hates giving people a solid answer for the meaning or correct narrative, wants to leave it up to imagination, didn’t even discuss theme between the directors when making it

the plot events that can only be achieved (or made acceptable) because of the medium of animation

Stop motion wasn’t a must for Kaufman and his story but Stop motion makes film “stronger”, “makes an even more poignant and fascinating story overall” – Animation in Anomalisa, because it stands out more, with Stop motion = “tactile”, “evocative” “emotional pull” and “because they’re puppets we can project ourselves in a way that you can’t do maybe when it’s a real person” – Jennifer Jason Leigh (Lisa) interview, more of a blank slate

how a film full of puppets can say something so important about the human condition (does their generic look make it easier  to say something about being human – their blankness helps us relate to them more easily??)

Breaks fourth wall in a way only done in animation, goes particularly well with stop motion eg. Face falling off, direct acknowledgement to its own medium

Puppets can have same face and voice, live action can’t, didn’t realise this at first, have oh shit moment,

Other radical stop motion filmmakers eg. Jan Švankmajer (Czech), The Qay Brothers (American) and Robert Morgan (British), inherent jerky movement of stop motion adds to unease and taxidermy, old dolls and odd materials that can be only be done in animation otherwise wouldn’t be as creepy or impactful

also this new genre that seems to be developing: big stop motion films aimed primarily, or partially, at adults. It's a bit cultish, voguish (especially with new Wes Anderson film currently shooting): why do these live action directors suddenly want to make films in stop motion? 

Stop motion rarely used, especially for adults, usually for pre-school, why so popular now?

Para 2:

Anomalisa was originally a radio play, written by Kaufman and performed twice

Compare radio play to animation ie. The way they did it, what’s different and the same, eg. Same cast, actually act out what’s happening in the form of animation, play was just them talking and standing (find quotes from Kaufman in notebook) “what your hearing is not what you’re saying and the idea was that the audience would create the imagery” – Kaufman radio interview, in play in sex scene actors stand on either side of room and make sex noises?

“adult themes aren’t necessarily a new thing in the evolution of animated films” – Defying the animation narrative, link to research in narrative in notes, started off in 16th century as moving porn images for adults – Kinograph (flip book) – Lynsey lecture week 2

A lot of animated films are “comprised of adult themes and messages that are discreetly conveyed to children” for example Up with themes of “loss and death” but also with films like South Park that are definitely meant for adults, uncensored and very crude – Defying the animation narrative

“you have to liberate people from [film theory], not give them a corset in which they have to fit their story, their life, their emotions” – Guillermo Del Toro in Week 1 notes of Narrative

Not conventional story telling because character doesn’t change, there isn’t really a climax, however do think it’s trying to teach us something about loneliness and connecting with people, how not to live, feeling slight pity for Michael and fear of becoming him (fairly unconventional)

Michael is an “unreliable narrator” can’t trust what we see from his eyes, audience unable to trust him leads to the two narratives being able to simulatiously exist

Fregoli delusion – sees everyone as same person, can’t tell them apart, Michael doesn’t have this but “his condition is heavily inspired from it”- Kaufman Interview

Different ways of seeing Michael, disorder or narcissistic? Link to article explaining the latter

Doesn’t follow conventional narrative in terms of structure (no satisficing ending) and protagonist (very unlikable, no redemption) Lisa is more tragic more likable, both as lonely as each other, but at the end she feels better optimistic, goddess of ? (Japanese name) whereas he doesn’t change (unconventional)

Anomalisa’s “sense of ‘nothing happens’ is part of this unconventional narrative that actually makes the film brilliant”, it shows “true life” in terms of we see Michael do very simple human activities eg. Peeing, showering, “mirroring real life”, “grounded in reality”, “The animation puts us in a narrative dilemma where we become unsure of our visual environment, which inadvertently syncs us with the main character’s dilemma of being immersed in a world that he no longer comprehends” do I agree with this? – deifying animated narrative

Lots of radical scenes eg. Long sex scene & removing the puppets face (meltdown) accepted due to inherent innocence but still shocking (compare this to comedy – Team America: World Police puppet sex scene)

Societies have to adapt and change so it’s the same with stories, rejecting the old and accepting the new – Lynsey lecture week 4, with this story in this age “our inability to connect despite being more connected than ever” – Duke Johnson, Interview q on cbc

Strategies put in place to make up with it being unconventional; beautiful, true to life and attention to detail animation with comedy very human

Performed by voice actors before filming the animation and all together, usually animation comes first (unconventional) quote from interview on radio

and, on a similar note, is this basically 'just' a 'love story'? I've seen reviews that say the most unconventional thing about the film is the animation, mention grandparents? Some people don’t think about the film afterwards and don’t notice the small details that Kaufman cleverly includes, eg. All same face and voice, sex doll theory (lead onto this)

Para 3:

Two different narratives within the story; Lisa = sex doll, Lisa = Real and different, both are plausible

Sex doll theory seen as plausible by variety of hints, losing his mind when hearing voice, same features as doll eg. Scar and voice, we see all of sex scene with no precaution, no pulling out, sex doll has semen in it, at the end the song describes Lisa being a dream, “as a product the doll’s imperative is to please the consumer, just as Lisa supplicates Michael by trying to change herself and change her behaviours according to his liking” (scene in the morning) – Michaels quiet perversions

Kaufman usually pays very close attention to small details and Johnson “wanted it to be a natural progression” so why leave out precaution when they have sex? “aftermath, so unrealistic” – Japanese doll explanation reddit

Sex Doll theory, “If this is truly a film about the depths of loneliness, what is more lonely than the experience of masturbating alone in your hotel room with a sex doll?” (and imagining that it is a real human being who was special) & “what other experience has the immediate effect of being so special in the 5 minute period while it was happening and seeming like boring, disgusted nothingness immediately after the deed is done?” (doesn’t quite fit Anomalisa because Michael’s with Lisa for a whole evening and its only until the morning does he think of her as undesirable and like the rest) – Reddit Anomalisa theory

The staging (language of animation) in the animation suggests both narrative can be true

Mise en scene = Both the doll and Lisa are on the right hand side when they’re introduced, also when she’s in the bedroom she’s on the left hand side when she sings and in the final scene when the doll sings she too is on the left hand side

due to inherent innocence do most of audience assume she’s real? Or sex doll theory more readily accepted because it’s an animation? Both are “just as compelling and just as likely” – Anomalisa explained

dark themes/graphic or explicit imagery – (and here there's a bit of crossover with your original question): are they made more or less acceptable/palatable because the 'actors' are puppets rather than humans? “the very language of animation seems to carry with it an inherent innocence which has served to disguise and dilute the potency of some of its more daring imagery” (Wells, 1998, p.19)

This concept ignored by audiences because of it’s inherent innocence? I asked my Grandparents about it and they found it disappointing with an uninteresting story and didn’t understand why it needed to be stop motion

Conclusion:

Round everything up and relate to question!

A work of art is “an outward showing of inward nature” loneliness, narcissism of Michael – Lynsey Lecture week ? – conclusion?

 Bibliography

 Akaforty (2016). Anomalisa - The Japanese Doll explanation [Internet] 17 January 2016. Available at: https://www.reddit.com/r/YMS/comments/41czg8/anomalisa_the_japanese_doll_explanation/ [Accessed: 21st February 2017]

Anomalisa, (2015) Directed by Charlie Kaufman, John Dukeman. United States of America: Snoot Entertainment, Starburns Industries [DVD]

Being John Malkovich, (1999) Directed by Spike Jonze. California, United States of America: Astralwerks, Gramercy Pictures (I), Propaganda Films, Single Cell Pictures [DVD]

Blind Field (2016). Monotony and Efficiency in Kaufman’s ‘Anomalisa’ [Internet] 8 March 2016. Available at: https://blindfieldjournal.com/2016/03/08/monotony-and-efficiency-in-kaufmans-anomalisa/  [Accessed: 21st February 2017]

Dogtown33 (2016). Anomalisa theory about Michael and the geisha doll (spoilers) [Internet] 16 January 2016. Available at: https://www.reddit.com/r/TrueFilm/comments/41auzq/anomalisa_theory_about_michael_and_the_geisha/ [Accessed: 21st February 2017]

Film Formula, (2016) Anomalisa Analysis: Michael’s Quiet Perversions. [YouTube video] Available at: https://www.youtube.com/watch?v=7Vbb_HvxOdE&index=73&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR [Accessed: 21st February 2017]

Film Herald, (2016) ‘Anomalisa’ (2015) Explained. [YouTube video] Available at: https://www.youtube.com/watch?v=kQAftcZJQLc&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR&index=68 [Accessed: 21st February 2017]

Movieclips Coming Soon, (2015) Anomalisa Featurette - Crafting Anomalisa (2015) - Charlie Kaufman Stop Motion Animated Movie HD. [YouTube video] Available at: https://www.youtube.com/watch?v=tkOH_6uzASs&index=67&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR [Accessed: 21st February 2017]

Play It Again, Dan (2016). Defying the Animation Narrative: The Brilliance of Anomalisa [Internet] 24 March 2016. Available at: https://playitagaindan.wordpress.com/2016/03/24/defying-the-animation-narrative-the-brilliance-of-anomalisa/  [Accessed: 21st February 2017]

q on cbc, (2016) Charlie Kaufman & Duke Johnson on Anomalisa. [YouTube video] Available at: https://www.youtube.com/watch?v=RNQHYyLaNFY&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR&index=74 [Accessed: 21st February 2017]

 ScreenSlam, (2015) Anomalisa: Behind-the-scenes B-roll Part 1 - Charlie Kaufman, Duke Johnson. [YouTube video] Available at: https://www.youtube.com/watch?v=ODssMUlQO44&index=71&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR [Accessed: 21st February 2017]

ScreenSlam, (2015) Anomalisa: Behind-the-scenes B-roll Part 2 - Charlie Kaufman, Duke Johnson. [YouTube video] Available at: https://www.youtube.com/watch?v=pTWqZ80ff2U&index=72&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR [Accessed: 21st February 2017]

ScreenSlam, (2015) Anomalisa: David Thewlis ‘Michael’ On-Set Interview. [YouTube video] Available at: https://www.youtube.com/watch?v=-KCKDYjj6Pc&index=69&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR&t=2s [Accessed: 21st February 2017]

ScreenSlam, (2015) Anomalisa: Jennifer Jason Leigh ‘Lisa’ On-Set Interview. [YouTube video] Available at: https://www.youtube.com/watch?v=DATO9uoWklM [Accessed: 21st February 2017]

Shoard, C. and Barnes, H. (2016) Charlie Kaufman on Anomalisa: ‘The internet is a terrible danger’ – video interview. Available at: https://www.theguardian.com/film/video/2016/mar/08/charlie-kaufman-on-anomalisa-the-internet-is-a-terrible-danger-video-interview [Accessed: 21st February 2017]

Smith, Z. (2016) Windows on the will. Available at: http://www.nybooks.com/articles/2016/03/10/windows-on-the-will/ [Accessed: 21st February 2017]

Stevens, D. (2015) Anomalisa. A beautiful, tricky, heartbreaking puppet show from Charlie Kaufman. Available at: http://www.slate.com/articles/arts/movies/2015/12/charlie_kaufman_s_anomalisa_reviewed.html [Accessed: 21st February 2017]

Team America: World Police, (2004) Directed by Trey Parker. United States of America: Paramount Pictures, Scott Rudin Productions, MMDP Munich Movie Development & Production GmbH & Co. Project KG [DVD]

Variety, (2015) 'Anomalisa' ­- Sculpting Animated Characters with Carol Koch ­- Variety Artisans. [YouTube video] Available at: https://www.youtube.com/watch?v=5AILnP1Y-0o&index=66&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR [Accessed: 21st February 2017]

Wells, P. (1996) Understanding animation. London: Routledge. Pp. 19

Wells, P. (2006) Fundamentals of animation. [E-book + book] Lausanne: AVA Publishing.

What it all Meant, (2016) Animation in Anomalisa [YouTube video] Available at: https://www.youtube.com/watch?v=9ezp_KSvNnc&index=70&list=PL-RhqqYuEIowa7joVkUc_8dyTIDEL2vnR&t=3s

As you’ve probably noticed I have changed my essay question from Question 6 to do with animation’s licence to be more radical than live action cinema, to Question 4 ‘’Only available in Animation’  To what extent does this Paul Wells quote apply to your chosen film? Explain how the medium and materials enter, shape, and define the narrative. If your chosen film subverts or ignores conventional expectations of a ‘plotted’ narrative, identify the strategies employed in its place.’ This was because I was really struggling to link my points and arguments to inherent innocence. I have to admit I panicked a bit because I was behind with my work and already having troubles before even starting to write it. However, my tutor calmed my nerves and suggested I change to question 4 as that best suited what I wanted to talk about with Anomalisa. So the draft above are my edited bullet point notes of what I want to say in my new essay focusing on how the medium of stop motion, it’s materials enter, shape and define the unconventional narrative of Anomalisa.

[webseries99]

The Artist

An egomaniacal film star develops a relationship with a young dancer against the backdrop of Hollywood’s silent era. Outside a movie premiere, enthusiastic fan Peppy Miller literally bumps into the swashbuckling hero of the silent film, George Valentin. The star reacts graciously and Peppy plants a kiss on his cheek as they are surrounded by photographers. The headlines demand: “Who’s That Girl?” and Peppy is inspired to audition for a dancing bit-part at the studio. However as Peppy slowly rises through the industry, the introduction of talking-pictures turns Valentin’s world upside-down. It’s 1927. Arguably Hollywood’s most admired movie screen idol, George Valentin, is enjoying the success of his latest picture, The Russian Affair. He enjoys his work and the adulation he receives by being a movie star, as witnessed by how he hogs the spotlight during The Russian Affair’s post-premiere bows. Peppy Miller is an aspiring young actress, who literally and figuratively runs into Valentin at the premiere, which ends up being the launching pad to her Hollywood acting career. The advent of talking pictures brings a reversal to their fortunes as Kinograph, the movie studio where Valentin is under contract, is looking for fresh faces such as Peppy Miller to star in their talking pictures, while Valentin resists the entire notion of talking pictures. Peppy, who appreciates everything that Valentin did for her career, tries to help him as much as she can, but Valentin may have to decide on his own where and if he fits into the Hollywood machine, one where he doesn’t think people want to hear him speak. In 1927, in Hollywood, the star George Valentin is the pride and joy of the president of the Kinograph Studios Al Zimmer and worshiped by a legion of fans. Among them is Peppy Miller, who stumbles into George Valentin after the premiere of a silent film. Peppy kisses George and the photographers take pictures of them. The next morning, the headlines read “Who is that girl?” and Peppy is selected in a dancing audition to be an extra in a film. Over the next few years, Peppy climbs positions in the Kinograph Studios until the advent of talking pictures. Proud George Valentin does not believe in the ‘talkies’, breaks off with the studio and decides to produce and direct a silent film. The film is a complete failure and with the Great Depression, George Valentin falls and is bankrupt. Meanwhile Peppy Miller rises as new star of Kinograph Studios. But she never forgets her idol George Valentin. It’s the end of the 1920 and matinée idol George Valentin is the star of Kinograph motion pictures. He’s a good man, even helping out a young dancer, Peppy Miller, get her first break. Times are changing however and studio head Al Zimmer sees talking pictures as the future of the industry but George thinks that’s ridiculous. As Kinograph goes in a new direction, George decides that he’s going to produce and direct a great – but silent – film, Tears of Joy. When the film does little business at the box office, George is destitute. Peppy Miller meanwhile has a hit movie, Beauty Spot and learning of George’s situation, decides to help him out. In the 1920s, actor George Valentin is a bona fide matinee idol with many adoring fans. While working on his latest film, George finds himself falling in love with an ingenue named Peppy Miller and, what’s more, it seems Peppy feels the same way. But George is reluctant to cheat on his wife with the beautiful young actress. The growing popularity of sound in movies further separates the potential lovers, as George’s career begins to fade while Peppy’s star rises.

The post The Artist appeared first on Download Web Series.

from WordPress https://webseries99.com/the-artist/ via IFTTT

[sailorrrvenus]

Why the Film Lab of the Future is Open Source

We are approaching the peak capacity for film photography labs. The machines are old, the parts are scarce, the demand is high. The measly Kodak Pakon Scanner, terrible it may be, fetches absurdly high prices.

The two brands and workflows that need to be replicated are Fujifilm and Noritsu. A theoretical duopoly, but here lies the problem: Fuji is dead. When will Noritsu follow suit? All the remaining hardware is on life support, waiting to die. The state of the film lab is much the same as the state of premium compacts of the 90s.

We need to think long term, and the sooner the better, how will film processing work in 20 years? What about 50 years? The solution is inevitably open source, some sort consortium between photo labs and other interested parties on a commitment for free and libre IP on parts and technology for scanners/processors. “Free as in speech, not beer.” Because we know that the proprietary model will not work in this going forward as indicated in the death of Fuji machinery, tooling, and support.

The Open Source Seed Iniative has emerged in the agricultural sector

Scanners

“DSLR scanning” is undoubtedly the answer. The problem is achieving scans at scale and in a short time frame. I’m sorry darkroom people, but the market wants high-quality scans because we live in a world where social media dictates the trends of photography. In the decade since the last Frontier scanner was made, sensor and optics technology has improved so much — imagine the capacity of using the 50MP Canon 5DSR sensor along with Sigma Art macro lenses.

We need to work towards a future where the limiting factor of film scans is solely the available mainstream photographic technology.

DSLR scanning as it currently stands is an arduous process. The workflow needs to be simplified, achieving high-quality scans in minutes with minimal post processing effort instead of hours via clunky Lightroom/Photoshop plugins. This involves creating an interface that has a live preview and enabling easy density and color balance adjustments. Along with this is a standardization of some form of an automatic carrier for this process (particularly for 35mm).

Software also becomes a crucial component of this problem. If you’ve seen an SP3000 in person, you know they run on Windows 2000 for the most part. This is due to the proprietary nature of how that software was written and the end of life for the development of that software. The only way of achieving the long term support we need is a commitment towards Linux as the primary platform, though if source code were available, it could easily be platform agnostic. Ideally, though, it should be developed for Debian/Ubuntu first and foremost as it the most ubiquitous Linux distribution.

Debian 9 Stretch

We cannot risk the future of film photography on the whims of a sole corporate entity. Whether it be Fuji, Adobe, Noritsu, or Microsoft. Another reason to run Linux is the ease of deployment and distribution, enabling the possibility of preinstalled .iso images.

Processors

A minilab film processor, as I like to put it, is a bicycle and an aquarium mashed together. In the age of Arduino’s and Raspberry Pi, a film processor built from scratch is 100% achievable.

Several projects replicating a Jobo or autolab exist but what needs to be replicated are the leader card systems. They are so much more efficient and I’d argue should be the first pursuit of a supposed Open Film Lab project. We have the technology available to us to build these already. The possibilities are endless, we could bring back E6 processing at scale perhaps even Kodachrome processing (though this involves the release of the chemistry patents from Kodak).

The Business Opportunities

Working towards a modular and open platform will provide secondary revenue opportunities for film labs in building small systems and/parts providing the opportunity to compete in manufacturing the best parts based on their own specializations and capacity to innovate. The capacity for a professional market in services and support will also open up, along with training and other possibilities.

FreeNAS whilst distribute an OpenSource Network Attached Storage solution primarily gain revenue via selling custom hardware solution along with the support it entails.

Sobering Factors

We need to realize that Kickstarter campaigns for individual projects will not save film photography. We cannot replicate the business practices of the industry before the end of the film era. Single projects will not solve anything — the collective output of the industry will become key.

Enforcement and licensing issues; the inevitable myriad of choices in how to license the software and other intellectual property. Obviously, the contribution to upstream solutions seems important and commercial use should be guaranteed. Should projects use BSD license? MIT? GPL? The Creative Commons?

Patents. Patents. Patents. This applies to the emulsions but also to chemistry. Currently, film photography is reliant on CPAC and Fuji C41/CN16 chemistry. Granted this should the platform we focus on but the death of Tetenal Europe proves a hard blow to this pursuit.

Having open standards for emulsions and chemistry might be a project worthwhile taking, though I’d argue the market is sensitive and displacing CPAC in the market in its current state is a terrible idea.

Film photography is a pastime enjoyed in excess of an economy. In the case of a global financial crisis, we are vulnerable to losing all innovations and potentially key suppliers could easily be wiped out across the board in this industry. Going the open source route, I’d argue, is key to the survival of this industry on one hand but essential for the preservation of the medium more generally.

Relevant Projects

Debian/Ubuntu, the mainstream Linux operating system with largest hardware compatibilty.

Imagemagick, open source command line based image manipulation program and library.

Raspberry Pi, ARM based microcomputer.

Arduino, open prototyping platform.

Darktable, open source lightroom I guess.

GIMP, the image manipulation program with the unfortunate name

KINOGRAPH, open source moving image film scanning solution

GNU General Public License GPL v2

The Linux Foundation, the organisation responsible for linux kernel.

The Creative Commons, open publishing licensing solution.

About the author: Emil Prakertia Raji is a photographer and musician based in Melbourne, Australia. You can find more of his work on his website and Instagram. This article was also published here.

source https://petapixel.com/2019/01/09/why-the-film-lab-of-the-future-is-open-source/

[pauldeckerus]

Why the Film Lab of the Future is Open Source

We are approaching the peak capacity for film photography labs. The machines are old, the parts are scarce, the demand is high. The measly Kodak Pakon Scanner, terrible it may be, fetches absurdly high prices. The two brands and workflows that need to be replicated are Fujifilm and Noritsu. A theoretical duopoly, but here lies the problem: Fuji is dead. When will Noritsu follow suit? All the remaining hardware is on life support, waiting to die. The state of the film lab is much the same as the state of premium compacts of the 90s.

We need to think long term, and the sooner the better, how will film processing work in 20 years? What about 50 years? The solution is inevitably open source, some sort consortium between photo labs and other interested parties on a commitment for free and libre IP on parts and technology for scanners/processors. “Free as in speech, not beer.” Because we know that the proprietary model will not work in this going forward as indicated in the death of Fuji machinery, tooling, and support.

The Open Source Seed Iniative has emerged in the agricultural sector

Scanners

“DSLR scanning” is undoubtedly the answer. The problem is achieving scans at scale and in a short time frame. I’m sorry darkroom people, but the market wants high-quality scans because we live in a world where social media dictates the trends of photography. In the decade since the last Frontier scanner was made, sensor and optics technology has improved so much — imagine the capacity of using the 50MP Canon 5DSR sensor along with Sigma Art macro lenses.

We need to work towards a future where the limiting factor of film scans is solely the available mainstream photographic technology.

DSLR scanning as it currently stands is an arduous process. The workflow needs to be simplified, achieving high-quality scans in minutes with minimal post processing effort instead of hours via clunky Lightroom/Photoshop plugins. This involves creating an interface that has a live preview and enabling easy density and color balance adjustments. Along with this is a standardization of some form of an automatic carrier for this process (particularly for 35mm).

Software also becomes a crucial component of this problem. If you’ve seen an SP3000 in person, you know they run on Windows 2000 for the most part. This is due to the proprietary nature of how that software was written and the end of life for the development of that software. The only way of achieving the long term support we need is a commitment towards Linux as the primary platform, though if source code were available, it could easily be platform agnostic. Ideally, though, it should be developed for Debian/Ubuntu first and foremost as it the most ubiquitous Linux distribution.

Debian 9 Stretch

We cannot risk the future of film photography on the whims of a sole corporate entity. Whether it be Fuji, Adobe, Noritsu, or Microsoft. Another reason to run Linux is the ease of deployment and distribution, enabling the possibility of preinstalled .iso images.

Processors

A minilab film processor, as I like to put it, is a bicycle and an aquarium mashed together. In the age of Arduino’s and Raspberry Pi, a film processor built from scratch is 100% achievable.

Several projects replicating a Jobo or autolab exist but what needs to be replicated are the leader card systems. They are so much more efficient and I’d argue should be the first pursuit of a supposed Open Film Lab project. We have the technology available to us to build these already. The possibilities are endless, we could bring back E6 processing at scale perhaps even Kodachrome processing (though this involves the release of the chemistry patents from Kodak).

The Business Opportunities

Working towards a modular and open platform will provide secondary revenue opportunities for film labs in building small systems and/parts providing the opportunity to compete in manufacturing the best parts based on their own specializations and capacity to innovate. The capacity for a professional market in services and support will also open up, along with training and other possibilities.

FreeNAS whilst distribute an OpenSource Network Attached Storage solution primarily gain revenue via selling custom hardware solution along with the support it entails.

Sobering Factors

We need to realize that Kickstarter campaigns for individual projects will not save film photography. We cannot replicate the business practices of the industry before the end of the film era. Single projects will not solve anything — the collective output of the industry will become key.

Enforcement and licensing issues; the inevitable myriad of choices in how to license the software and other intellectual property. Obviously, the contribution to upstream solutions seems important and commercial use should be guaranteed. Should projects use BSD license? MIT? GPL? The Creative Commons?

Patents. Patents. Patents. This applies to the emulsions but also to chemistry. Currently, film photography is reliant on CPAC and Fuji C41/CN16 chemistry. Granted this should the platform we focus on but the death of Tetenal Europe proves a hard blow to this pursuit.

Having open standards for emulsions and chemistry might be a project worthwhile taking, though I’d argue the market is sensitive and displacing CPAC in the market in its current state is a terrible idea.

Film photography is a pastime enjoyed in excess of an economy. In the case of a global financial crisis, we are vulnerable to losing all innovations and potentially key suppliers could easily be wiped out across the board in this industry. Going the open source route, I’d argue, is key to the survival of this industry on one hand but essential for the preservation of the medium more generally.

Relevant Projects

Debian/Ubuntu, the mainstream Linux operating system with largest hardware compatibilty.

Imagemagick, open source command line based image manipulation program and library.

Raspberry Pi, ARM based microcomputer.

Arduino, open prototyping platform.

Darktable, open source lightroom I guess.

GIMP, the image manipulation program with the unfortunate name

KINOGRAPH, open source moving image film scanning solution

GNU General Public License GPL v2

The Linux Foundation, the organisation responsible for linux kernel.

The Creative Commons, open publishing licensing solution.

About the author: Emil Prakertia Raji is a photographer and musician based in Melbourne, Australia. You can find more of his work on his website and Instagram. This article was also published here.

from Photography News https://petapixel.com/2019/01/09/why-the-film-lab-of-the-future-is-open-source/