Star Wars: Then we tested 24P and found that there's judder with still photos. It reminded you that you were looking at video of a still image. Podcasts and archives of our locally-produced programs and live band performances are available on our website, as well as on our smartphone apps for the iPhone, Android and Blackberry.
Our philosophy is that we're telling the story of these images and the photographers who create them, rather than using still images to paint another story.
They're not just narrating the story -- it's about those images. The question of course is, How do you engage your audience with a finite number of materials: June 22, 2012 at 1: When we tried 60 fps, we liked that even better.
I think the most interesting archival footage we have is from Norman Seeff , who was most prolific in the 1970s through mid-1980s. I call them Photo Docs, and the focus is on the photographer, looking behind the lens at the people creating the images. He converted the footage to ProRes 422 LT for editing.
Staged on the outdoor plaza adjacent to the Photography Space, these shows present an opportunity to experience live music in a unique location and enjoy the metropolis, with a vista of architectural delight.
We shot him riding near his studio in Venice, California, to establish who he is and add some flavor to the film, so it's not all talking heads. His deep technical knowledge allows for a perfect blend of creativity and productivity in equal measure.
One point we try to make in the film is that pictures don't take themselves. We went to 30 fps, which looked better than 24.
Login to Comment. RSVP here: The Film was inspired by an exhibition that originated at the Brooklyn Museum in 2009 and has since traveled to museums across the country. But if you're showing photographs in uncompressed 4K resolution, we want you to see the picture, not video of the picture.
So we have two tracks -- photos and live action. Rex released music that has influenced countless other bands, including Portugal. In my Photo Docs, the interviewee can break the fourth wall and acknowledge that someone, the viewer, is watching and even say to the viewer, "This image you're looking at right now is about such-and-such or came about this way.
The photographs were more challenging to deal with.