Gene & Dave,
D's work is addressing the same problems, (and isn't that difficult to
understand, honest) but puts affect outside the subject as a kind of follow
on from the start point of getting rid of the signifier (a terrible,
terrible, over-simplification, sorry but it's late and this is
I think its increasing use, and framed definition, comes from it's use by
Deleuze & Guattari ,.. Simon O'sullivans paper is the best example I can
think of https://simonosullivan.net/articles/aesthetics-of-affect.pdf But
the original texts, Logic of Sensation, Cinema 1 & 2 and Mille Plateau are
Mediainfo http://mediaarea.net/en/MediaInfo can read most video formats and
will tell you the information I think your asking about. Resolution, bit
rate etc. If you want more detailed analysis of a video stream and how it's
compressed you'll need to look to something else as well, like Elecard.
Also, Susan Sontags 'The aesthetics of silence'. Can I ask what
philosophical framework(s) you're using ?
- Stray.
On Tue, Mar 5, 2013 at 8:38 AM, Antonio in.an.autumn.gar...@gmail.comwrote:
hi
this
Indirect Language and the Voices of Silence - Maurice Merleau-Ponty
(essay on painting)
have already read but that is actually a
bit wishy-washy.
--
*From:* Alistair Stray alistair.st...@gmail.com
*To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com
*Sent:* Tuesday, 5 March 2013, 16:00
*Subject:* Re: [Frameworks] Silence
Also
The only way to do it with really good results with H264 I guess is to set
the Keyframes to 1 so basically you just get a stream of I-Frames (as in
fully encoded stills). Basically an Intra file, a file with a GOP of 1
(group-of-pictures). Wherever you host it though is going to reencode it
with a
. Also, you could try giving vimeo a file with a much
higher bitrate (say 30-40Mbps or so), it'll encode it down to a lower rate
but at least it has a better start point.
On Mon, Sep 17, 2012 at 4:33 AM, Alistair Stray alistair.st...@gmail.comwrote:
The only way to do it with really good results
From: David Tetzlaff djte...@gmail.com
The typical student today doesn't get that some things just shouldn't be
watched on an iPhone, or even a 48 flat-panel because they need a much
bigger canvas and the viewer's undivided attention. Beat THAT difference into
their head, get them to
In the behind the scenes video for shooting 'one small step', which they claim
to have shot with the prototype, you can see that their shooting with a
Prosilica GX2300 machine vision camera.
http://www.alliedvisiontec.com/uploads/pics/Prosilica-GX.jpg
and from their BTS video, though there
Yep thats true. The sensor is actually a CCD rather than a CMOS, so it will
have a far better signal to noise ratio and a wider dynamic range. Also, CCD
means no rolling shutter problems. Apparently that particular Kodak CCD gives
11 stops. The workflow will be as painful as any raw workflow
From: Aaron F. Ross aa...@digitalartsguild.com
Definitely good points. However, don't forget that any film stock can
now be emulated, given good enough digital source material.
No it cannot, not remotely. I work in post, and have done for some time, with
both film and digital source and
: Alistair Stray alistair.st...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sunday, 9 October 2011, 9:40
Subject: Re: [Frameworks] Forbes editorial about Kodak
From: Aaron F. Ross aa...@digitalartsguild.com
Definitely good points. However, don't forget
.
Aaron
At 10/4/2011, Alistair Stray alistair.st...@yahoo.com wrote:
wow, speaking as a digital artist that is quite an uneducated and
illinformed post I've read arguing the benefits of the digital
medium over film.
where exposure and depth of field can be entirely controlled in
*POST
in the wind when technology inevitably changes. Likewise,
anyone who buys into the myth of progress will find him or herself
saddled with a lot of useless gadgets.
Thinking critically about technology is a necessary condition for
success in this postmodern world.
Aaron
At 10/4/2011, Alistair Stray
wow, speaking as a digital artist that is quite an uneducated and illinformed
post I've read arguing the benefits of the digital medium over film.
where exposure and depth of field can be entirely controlled in *POST* with no
loss of quality. Thats just bollocks isn't it ? Or do you really
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