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nerdwelt · 9 months

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Ein Zeitrafferfilm, kein Zeitraffervideo.

Wir sind es gewohnt, dass Zeitrafferfotografie lediglich eine Funktion unserer Smartphone-Kamera-App ist. Aber natürlich hat es seine Ursprünge im Film. Eine Filmkamera würde Bild für Bild in festen Abständen ausgelöst werden, was das Resultat des Zeitraffers ergibt. Eine tote Kunst, mag man meinen, wäre da nicht [Kevin Santo Cappuccio], der seine Arbeit in Zeitlupe auf 16-mm-Film festhält, mit…

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#16-mm-Film #Smartphone

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scorpionstar2021 · 8 months

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So, at 15, the MM boys are the youngest in the turtle multiverse.

Which is fine.

What is not fine, is that the Bayverse boys are the next youngest at 16.

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courseyoulovemeyoudontknowme · 2 months

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Tigerland (2000, Joel Schumacher)

27/03/2024

Tigerland is a 2000 film by Joel Schumacher.

In September 1971 a group of recruits undergo training before being sent to Vietnam. The training consists of a perfect simulation of what the boys will face in war, and takes place first at Fort Polk and then in Tigerland, a Louisiana swamp very similar to the Vietnamese environment. Among all the recruits, the Rebel Roland Bozz stands out, allergic to the rules, who does not hide his anti-patriotic attitude at all.

Shot on a very low budget and with a handheld camera and in 16mm format. The actors did not have at their disposal make-up artists, hairdressers or any of the luxuries that actors are normally accustomed to. Filming lasted 38 days, from February to March 2000 in Florida.

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tina-aumont · 1 year

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I found this beautiful photo and is new for me!

Here is the article in french language:

https://www.cinematheque.fr/article/1976.html

🌟Thank you very much for these great findings Andrea, you are great!!🌟😍💜

A new Home Movie by Frédéric Pardo has been found and it will be shown the 9th March 2023 at 19:30h at Cinema Reflet Medicis

Home Movie : New York

Frédéric Pardo

France 1968 / 20 min

With Tina Aumont, Nico, Jackie Raynal.

Jackie Raynal and Tina Aumont in Central Park. Views from an apartment, from a car, Nico at the window above Tina Aumont. Jackie Raynal, pregnant, gets dressed in an apartment, Tina is lying down in bed. Walks in the streets of NYC at dusk.

2K digitization at the CNC laboratory by the Cinémathèque française, from the 8 and 16 mm copies kept in the collections.

Three Home Movies, from a collection deposited at the Cinémathèque. Three previously unseen films, which show, in their simplicity of family films, an artist in love: Tina Aumont is permanently at the center of Paris Home Movie With Tina, a candid poem shot mostly in the alleys of Luxembourg and Pardo New York, where the couple joins Viva and Michel Auder in Central Park, and where we also see Nico at the window of a room in the Chelsea Hotel. Here again, Tina magnetizes the painter’s gaze. What he does with her and the light has no other aim than to translate into images an intimacy that obsesses and delights him. Different, because devoted to the group – in this case the Zanzibar band, Philippe Garrel, Serge Bard, Patrick Deval, Jackie Raynal, Michel Auder, Daniel Pommereulle and Sylvina Boissonnas – Home Movie Marrakech begins in Venice. Tina contemplates the Grand Canal from her room before continuing in a boat, then it’s Morocco, crossed in a large American car. We recognize Sylvina Boissonnas, producer and patron of the group, Caroline de Bendern, Auder, and others (it could be, it is to be confirmed, Jean Mascolo, Babethe Lamy and Pierre-Richard Bré). It is a prolegomena to the Home Movie that Pardo will do in the wake of the filming of Garrel’s Le Lit de la Vierge. It is notable that these films were not listed in the catalog of Zanzibar productions. Pardo obviously had no intention of showing them. Discovering them today, however, leads us to place them (all things considered) alongside certain films by Pierre Clémenti, Warhol, Mekas or Garrel: a whole crest line of a cinema that fuels the intimate, the couple, to the band, and to the meeting. In the psychedelic paintings that Pardo was doing at the same time (from his initiation, by Klarwein, to the ancestral tempera method), the princes, the sponsors were replaced by friends, loves. It was an idea he held dear. When we know the influence (aesthetic in all) that Pardo had on the Zanzibar group, we understand better in what perspective Garrel, at the time of Le Berceau de Cristal (where he films Pardo at work) needed in turn to gather his “ family” in his films. To repopulate an imaginary in exile, caught in a perpetual flight.

Philippe Azoury

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clintcatalyst · 8 months

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#short film #16 mm #pierre clémenti #subtitles #still frame #french cinema #art house #soleil #the sun #poetry

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serolfitnas · 1 year

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Querétaro centro, Qro

#lomography #film #film photography #querétaro #queretaro #méxico #35 mm #analog #rensha cardia #rensha cardia byun 16 #kodak #kodak gold 200 #kodak farbwelt

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anthonysperkins · 7 months

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"1967, New York, 42nd Street. A walk with Pasolini. I filmed him on silent 16 mm film and then we talked into a microphone elsewhere."

Pier Paolo Pasolini - Agnès Varda - New York - 1967

#Pier Paolo Pasolini Agnès Varda New York 1967 #1967 Pasolini in NYC #Pier Paolo Pasolini #Agnès Varda #guys #movies #*#**#filmedit #lgbtedit #vintage gay #neon

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las-microfisuras · 1 month

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Chantal Akerman, In the Mirror, 1971

16 mm black and white film transferred to digital format, 14 mins 21 secs. Marian Goodman Gallery.

#chantal akerman

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xjustakay · 8 months

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(9/16) prompt: vision — 1,052 words (fame au pt.3; famous boyfriends pre-their first premiere together - pt.1, pt.2, pt.4, pt.5) @jegulus-microfic

Regulus is sure that Dorcas is pacing impatiently down in his building’s lobby while he finishes examining his reflection. She’s an ‘on time is late and early is on time’ sort of manager and Regulus tests that consistently. Especially since he and James started seeing each other, even more since they’ve gone public.

It’s their first premiere together, two months of their relationship being officially confirmed for the masses under their belt. Even Regulus is sometimes stunted by it still —the outpour of both shock and support that’s come from finally confirming that James is his boyfriend. The Marauders’ tour has been over for months, Regulus wrapped filming his latest project about a week and a half ago. Now, outside of their private time for just the two of them, it’s all various Hollywood events he’s invited to. Except it’s different now, because he gets to have James at his side walking carpets and taking photos.

He adjusts the collar of the white suit jacket his stylist picked out for him. They’ve forgone a shirt underneath and the jacket dips low down his bare chest when it’s left partially open. It leaves the diamond encrusted choker of pieces made to look like bones wrapped around his throat all the more apparent. The styling team had left a little while ago, giving him and James a brief bit of privacy before needing to leave.

Of course, most of that time thus far has been spent looking in a mirror, making sure he likes how he looks. He’s allowed to be a little vain, it’s practically in his job description. Regulus fluffs up the front of messily styled black curls before finally exiting the penthouse bathroom into the adjoined bedroom.

“Ready?” He asks.

James sits waiting for him at the foot of the bed in an all black crushed velvet suit; a picturesque opposite to the all white of Regulus’ ensemble. There’s a deep burgundy tie undone around his neck, left that way on purpose. A new pair of glasses were offered to him for the night, the squared-off frames the same shade of his silk tie, and they bring out the swirl of warm colors in James’ hazel eyes when he looks up from his phone.

Immediately upon his gaze landing on Regulus, James groans dramatically, like he’s in physical pain. He pinches his eyes shut tightly beneath the furrow of his brow, head slumping backward heavily on his neck.

“God, we have to break up right now. I can’t deal with you looking like this anymore.”

Regulus snorts, a smirk twitching at his lips. “Feels a bit dramatic.”

“I’ll write a song about the split and everything. It’ll be so clever, everyone will know it’s about you without trying. I’ll call it ‘Heartache On the Big Screen.’” James sweeps his hand in the air in example before he looks at him with a faint grin, brows lifted. “Are you seeing the vision? Because I’m seeing the vision.”

“Mm, little cheesy, if you ask me,” Regulus hums, moving nearer to stand in front of him. James’ knees part automatically to make room for him there, hands settling at Regulus’ hips when Regulus tucks a hand beneath his chin to tilt his head backwards. “You’re already thinking up lyrics, aren’t you?”

“Oh, absolutely.” James nods, tilts his head down to kiss at the back of Regulus’ hand in response to the soft laugh he lets out. “How do you feel about ‘a tragic story, starring you and me’ for part of the chorus?”

“I hate you,” Regulus laughs further.

“Just adding to my heartbreak, love, you’re really doing me a favor here.”

“You make it so hard to date you.” It’s the world’s biggest fucking lie and Regulus knows it.

James’ eyes flash triumphantly like he knows it, too. “‘Started out like in the movies, but it ended like a bad dream.’ Sounds good, doesn’t it?”

“You’re so annoying.”

“Mhm, keep it coming.”

Rolling his eyes fondly, Regulus dips down to press a lingering kiss to his lips. James hums contently into it and Regulus can feel his unrelenting smile right against his own mouth. Both of James’ hands glide up beneath the back of his suit jacket, settling on the warm skin at his lower back.

It’s enough for Regulus to inch back, their lips still brushing as he murmurs, “Don’t fuck up this outfit, baby.”

“I’ll save that for later.” James winks at him.

With a huff of a laugh, Regulus pushes against his shoulders to put a little distance between them. He takes a small step back but holds out one hand expectantly for his boyfriend.

“Car’s waiting downstairs, Dorcas said. We should get to the photo op’s before you make up anymore fake songs.”

“Fake songs,” James scoffs playfully, taking his hand and standing up. “I’m writing it, it’s so real.”

“No, it’s not.”

“Just you wait, Reg. It’s going to be a fan favorite.”

“You’re lucky I like you so much.”

James chuckles behind him as they get to the front door, crowds into Regulus’ back as he presses the needed buttons for the security system. James loops his arms around his waist from behind and hugs around him. A couple kisses at the side of his neck. Another hum right beside his ear that Regulus can hear the smile present in.

Regulus resists the instinctive urge to tilt back into him, open himself up fully to the physical attention. He can’t afford to go into this premiere looking rumpled or someone (Dorcas) really might kill him.

“I am lucky, you know,” James says softly; so sweet, so full of an adoration that nine months ago might have had Regulus bolting away in seconds.

Instead, now, Regulus turns his head to look at James sideways, affection bright in his own shining eyes. He kisses once at the line of James’ jaw, a second time at his cheek, a third at the corner of his mouth. It’s soft and it’s tender —an isolated moment of knowing that this is real and they’re finally letting themselves have it, have each other.

Then, Regulus jokingly ruins it when he says, “Yeah, you really are.”

James only laughs loudly as he’s tugged by the hand out of the apartment and toward the elevator.

#jegulus #jegulus microfic #movie star reg and musician jamie my beloveds #s/o to 5 seconds of summer for the song james is talking about writing lmao #and s/o to mil for pointing out to me that fame au james would write it #also timmy’s bones and all look at london film festival #okay rambled in the tags bye #kay’s microfics #kay’s writing

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hishoi · 9 months

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HELLO PEOPLE!

ARE YOU A COSPLAYER?

ARE YOU A SKY:COTL PLAYER?

DO YOU LIKE TO CROCHET?

ARE YOU HERE BECAUSE THE ACTUAL SCARF ON THATSKYSHOP IS RIDICULOUSLY EXPENSIVE?

After maybe 2 months, i've finally put together a pattern for this! First, i wanted to make a video about it, but decided it was too much work for me, and it would have been to mentally draining. (And i hosted a poll about it too). This is of course my pattern for the days of feast scarf from sky: children of the light! This is not a hard pattern, but may be a time consuming one. My scarf isn't as long as the one in the game, do i can't wrap it like how it looks in the game, but if you want to make yours game-accurate that's fine too! Now, here's the pattern!

Days of feast scarf

Materials:

2 balls of red yarn

1 ball of white yarn

Hook size of your choosing, mine is a 2.50 mm hook.

Scissors

This pattern really only has 2 parts, the scarf, and the ends. The scarf uses a graph/chart? i made, but if you don't know how graphs work, i suggest looking that up.

Now, i personally did this graph 8 times, to make the lenght of the scarf i wanted. I would suggest maybe 14-16 for the in-game lenght, but i'm not sure. The entire thing is worked in herringbone half-double crochet stitches.

When switching colors, i recommend not taking the yarn with you through the entire project, but cutting the yarn when you switch, and only take the color you begin with you. So for example, you are going to change color to white. You cut off your red yarn, and finish the stitch with the white yarn. Take only the white end with you to fasten as you go. Otherwise the scarf will not look as clean. You can fasten the red yarn later. It's a time consuming process but it is so worth it.

To make the ends, i have a short video showing the process. It is not very hard, you just have to get the hang of it. Take five threads of red yarn for each end. The scarf has four ends on each side.

(my desk is very messy so i filmed this on top of my sketchbook)

Use five threads at once instead of only one, but you don't have to pull it through with the hook if it's too hard. You can use your fingers. You can have the ends to be any lenght you want, it just depends on how you want it to look!

Repeat this for the other side too, and your scarf should be done! If you make it, i'd love to see how it turned out!

#sky cotl #sky children of the light #thatskygame #sky: cotl #that sky game #crochet #crochetblr #scarf #in the end i think the video wouldn't have been worth it #i hope nobody is too sad about that #if anyone has any questions or ideas please tell me!! i'd love to hear it #and if you think it's cool lol

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baronvonkrieger · 1 year

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Happy Birthday Charles Addams

With the Wednesday series having done so well on Netflix, she has become a very popular character. Of course, if it hadn’t been for Charles Addams, there wouldn’t be a Wednesday, and January 7th, is her creator’s 111th Birthday.

For a good part of the 20th Century, Charles Addams twisted look at life was very much a part of popular culture. Alfred Hitchcock was quite a fan, and went out of his way to meeting him in person. Hitchcock even gave him a shoutout in his film “North by Northwest”, while the house in Psycho was based on the houses he drew in a lot of cartoons. His series of Cartoons in the New Yorker were so popular, that the characters we now know as Gomez and Morticia, were referenced by Hannah Barbera, and in Rocky and Bullwinkle. He also did poster art for the 1957 film “How to Murder you Rich Uncle”, and the 1963 Hammer/William Castle remake of “The Old Dark House”. In 1962, dolls were even released by Aboriginal, where Morticia and Wednesday, finally got names. the 1964 series “The Addams Family” cemented Charles Addams as a part of popular culture to this day.

So, why am I have such interest in not just the “Addams Family”, but the works of Charles Addams? As I grew up, I was a fan of the 1964 TV series, and when my mother rented a 16 MM print of “The Old Dark House”, I was fascinated to see the opening credits created by Charles Adams. I think being a misfit had a lot to do with being in the military in the early 1980s, that in an army recreation facility, there was a copy of one of his collections of cartoons among the books, and I finally discovered the wonderfully twisted New Yorker cartoons, and it has cemented my love of his work ever since. I have a love of spooky old houses, antique cars, and twisted humor. When you really feel that you are an oddball, it’s only going to make you love it when you feel you’ve discovered a kindred spirit.

#Charles Addams #Addams Family #Wednesday #Alfred Hitchcock

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zurich-snows · 5 months

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"Interlinea" 2008 Film 16 mm colore, muto, 24 ftg/s, 5'12”

Interlinea. Tratto da frammenti di film erotico ritrovato, dove l’interlinea che divide i fotogrammi si situa come forma plastica oscura che si dibatte al centro dello schermo anche in verticale, La lama di un otturatore seziona i corpi dell’eros per i desideri del fotogramma e della sua cornice. Interlinea [Frameline]. Made from fragments of a found porno film, where the frameline, which divides the images, becomes a mysterious plastic form, struggling in the center of the screen, vertically and horizontally. The blade of the shutter sections the bodies of eros, according to the desires of the film image and its frame.

#Paolo Gioli #Interlinea #2008 #experimental film #film #fragments

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tina-aumont · 1 year

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Hi Eleni! Look what I’ve found!

This is the link:

https://www.cinematheque.fr/film/154288.html

WOW ANDREAAAAAA 😍 😍 😍 🌟 Thank you very much for sending me this, it is totally new to me!!🌟

I’m going to translate the text into English and paste it here, it’s really interesting!! 😍💜 💜

A new Home Movie by Frédéric Pardo has been found and it will be shown the 9th March 2023 at 19:30h at Cinema Reflet Medicis

Home Movie : Tina Aumont

Frédéric Pardo

France 1968 / 9 min

With Tina Aumont & Roland Pardo (Frédéric Pardo’s dad).

Editing of found footage of fiction in Italian and shots of Tina Aumont and Frédéric Pardo in the Luxembourg Gardens, and in the countryside in a cemetery. Then shot of a lunch in the garden of a country house, we see Tina and Pardo’s father.

2K digitization at the CNC laboratory by the Cinémathèque française, from the 8 and 16 mm copies kept in the collections.

Three Home Movies, from a collection deposited at the Cinémathèque. Three previously unseen films, which show, in their simplicity of family films, an artist in love: Tina Aumont is permanently at the center of Paris Home Movie With Tina, a candid poem shot mostly in the alleys of Luxembourg and Pardo New York, where the couple joins Viva and Michel Auder in Central Park, and where we also see Nico at the window of a room in the Chelsea Hotel. Here again, Tina magnetizes the painter’s gaze. What he does with her and the light has no other aim than to translate into images an intimacy that obsesses and delights him. Different, because devoted to the group – in this case the Zanzibar band, Philippe Garrel, Serge Bard, Patrick Deval, Jackie Raynal, Michel Auder, Daniel Pommereulle and Sylvina Boissonnas – Home Movie Marrakech begins in Venice. Tina contemplates the Grand Canal from her room before continuing in a boat, then it’s Morocco, crossed in a large American car. We recognize Sylvina Boissonnas, producer and patron of the group, Caroline de Bendern, Auder, and others (it could be, it is to be confirmed, Jean Mascolo, Babethe Lamy and Pierre-Richard Bré). It is a prolegomena to the Home Movie that Pardo will do in the wake of the filming of Garrel’s Le Lit de la Vierge. It is notable that these films were not listed in the catalog of Zanzibar productions. Pardo obviously had no intention of showing them. Discovering them today, however, leads us to place them (all things considered) alongside certain films by Pierre Clémenti, Warhol, Mekas or Garrel: a whole crest line of a cinema that fuels the intimate, the couple, to the band, and to the meeting. In the psychedelic paintings that Pardo was doing at the same time (from his initiation, by Klarwein, to the ancestral tempera method), the princes, the sponsors were replaced by friends, loves. It was an idea he held dear. When we know the influence (aesthetic in all) that Pardo had on the Zanzibar group, we understand better in what perspective Garrel, at the time of Le Berceau de Cristal (where he films Pardo at work) needed in turn to gather his “ family” in his films. To repopulate an imaginary in exile, caught in a perpetual flight.

Philippe Azoury

#submission #Tina Aumont #Frederic Pardo #1968 Tina Frederic Pardo #Home movie #1968 Home movie #Home Movie: tina Aumont #1968 Home movie: Tina Aumont #Cinematheque #painter #muse #artists #actress #16 mm #16 mm film #the painter and his muse #collaboration #2006 Tina forever

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archivist-crow · 7 months

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On this day:

THE PATTERSON-GIMLIN FILM

On October 20, 1967, Roger Patterson and Bob Gimlin rode their horses along the partially dried Bluff Creek in Northern California, examining the ground as they went. The two men were in search of tracks that would prove the existence of sasquatch. On this day, they rounded a substantial stack of timber that had tumbled together and inadvertently surprised a large hairy creature crouched by a stream. Both horses reared in fright, tossing their riders. Patterson quickly recovered and grabbed his hand-held 16-mm cinecamera. The sasquatch stood and, arms swinging, walked calmly, but quickly into the forest. Patterson ran after the creature.

Gimlin followed at a safe distance, gun at the ready, in case his friend should be attacked. At 80 feet from the animal, Patterson stopped running and began to film. Before the creature completely disappeared, Patterson got a clear look at its conical head, dark fur, and large breasts. The fernale sasquatch was about seven feet tall, had a three-foot shoulder span, and a heavy brow ridge over the eyes of an otherwise flat face. Her weight was calculated to be 700 pounds. The two men took photos and made casts of her 14½-by-6-inch footprints.

Shortly after, Canadian taxidermist Bob Titmus followed the tracks and plotted their route, comparing it to the sasquatch's movements in Patterson's film. He discovered that at one point, the creature sat on a hillside, possibly watching Patterson and Gimlin catch their horses. The Six Rivers National Forest had begun to be a known point of Bigfoot activity after road construction opened up the area ten years earlier. Road workers had noticed a variety of large, humanlike footprints, between twelve and seventeen inches long, in the impressionable ground, and when the newspapers carried a story about the prints, the word bigfoot was coined.

Text from: Almanac of the Infamous, the Incredible, and the Ignored by Juanita Rose Violini, published by Weiser Books, 2009

#paranormal #on this day #film #patterson gimlin film #cryptids #cryptozoology #october #bigfoot #sasquatch

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lonestarflight · 6 months

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Cancelled Missions: Gemini Saturn V

-Concept Art, however this has a typo, as this is clearly the Saturn V.

"American manned lunar orbiter. In l LP late 1964 McDonnell, in addition to a Saturn IB-boosted circumlunar Gemini, McDonnell proposed a lunar-orbit version of Gemini to comprehensively scout the Apollo landing zones prior to the first Apollo missions.

Status: Design 1964. Gross mass: 11,182 kg (24,652 lb).

The lunar orbit version required an Agena stage to provide the delta-V for lunar orbit insertion and trans earth injection. The 1.52 m-diameter Agena was enclosed in an inverted conical fairing to both transmit thrust loads to the Gemini and provide thermal protection during the coast to the moon.

Alternatively, a propulsion module based on a repackaged Apollo Service Module propulsion system, as had been proposed two years earlier for a lunar-landing version of Gemini, could be used. This raised the translunar injection mass of the spacecraft to 11,182 kg, well above the capability of a Saturn IB or Titan III-C, but only a quarter that of a Saturn V. The launch vehicle was unspecified, but could only have been a Saturn V used on an early test mission. The mission profile would have involved a 68 hour flight from low earth orbit to lunar orbit, a 24 hour lunar mapping mission in a 10 nm x 80 nm lunar orbit, and a 68 hour return flight. The scientific equipment would consist of a modest camera array installed in the nose of the spacecraft. This consisted of a long focal-length telescope, to which were attached two narrow-field stereo mapping cameras, a wide field mapping camera, a panoramic camera, and two 16 mm film cameras. The film was not accessible by the astronauts, being stored in a film vault shielded against radiation in the nose of the spacecraft. The camera compartment would protrude from the stub nose of the Gemini after parachute deployment.

The manned portion was the same as the circumlunar version, a modified earth-orbit Gemini. The aft modules would be retained, but with the retrorockets removed. The retro module space would be used to install Apollo-type lunar distance communications, navigation, and test equipment. Deployable DSIF omni-directional and parabolic antennae would deploy from the aft modules to support lunar-distance communications. To handle re-entry from lunar distances, several modifications were necessary. The capsule's heat shield would be beefed up, and the Rene 41 corrugated shingles of Gemini's skin would be replaced with ablative shingles. The load of attitude control propellant for the capsule's reaction control system was substantially increased. Additional strap-down gyros and solar sensor packages would be added to provide navigation system redundancy. The ejection seats would be deleted and a Mercury-style launch escape tower added. The then-planned Rogallo wing recovery system would be used to glide to the Gemini to a runway landing on US territory after return from the moon. To handle the scientific payload, a camera compartment was added to the nose below the parachute/Rogallo wing housing. The Gemini spacecraft modified in this way had on on-orbit mass of 3955 kg as compared to the 3207 kg of the earth-orbit version.

Crew Size: 2. Habitable Volume: 2.55 m3."

-information from Astronautix.com: link

source, source, source

#Gemini Saturn V #Gemini #Gemini Capsule #NASA #Gemini Program #Project Gemini #Saturn V #Rocket #concept art #artwork #cancelled #Lunar Gemini #1964 #preliminary design #Cancelled Mission #my post

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serolfitnas · 1 year

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Plaza de armas, Qro

#lomography #film #film photography #rensha cardia #rensha cardia byun 16 #kodak #kodak film #35 mm #kodak farbwelt #Kodak Gold 200 #querétaro #queretaro

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