Critics’ arguments over whether a film’s actors, screenplay, or music score are worth the price of the ticket have been overshadowed by controversy over the technology used for making the film. Comments are mixed, from lukewarm to thumbs-down. The movie-making technology in question involves a change from 24 frames per second (fps) to 48 fps. HFR (high frame rate) technology is the “future of film,” say proponents, and a controversy was set off at last month’s Las Vegas showing of director Peter Jackson’s The Hobbit. Like the famous director, James Cameron, Jackson believes that HFR films are the next important chapter in cinema. Panasonic Introduces Next-Generation Blu-ray Disc Player Citation: High frame rate cinema booed but shows will go on (2012, May 4) retrieved 18 August 2019 from https://phys.org/news/2012-05-high-cinema-booed.html This document is subject to copyright. Apart from any fair dealing for the purpose of private study or research, no part may be reproduced without the written permission. The content is provided for information purposes only. Explore further Unlike movies filmed at an industry standard rate of 24 fps, the use of HFR technology offers less flicker, motion blur and stuttered movement. Attempts to reduce motion blur and flicker found in films can only raise the film experience. The impact on 3-D is especially trumpeted, in resolving the medium‘s problematic issues that make viewing difficult for some people. Higher frame rates of 48 FPS and 60 FPS will soon be the norm, say supporters. At last month’s brief preview at CinemaCon 2012 of Jackson’s new film, however, which was presented in 48fps, some critics voiced harsh reactions. While their words differed, their basic opinion is that the 48 fps technique renders a film that looks phony like TV soap operas. Some more specific observations were that the film lacked enough color contrast and that actors seemed “overlit,” according to a report in Variety.As interesting is the response from Jackson to the criticism: He feels that this is new technology that the viewer’s eye just needs to get used to. What is more, there is no going back on what he notes is a significant step forward. Shooting and projecting at 48 fps is said to make the film “much easier to watch, especially in 3-D. We’ve been watching HOBBIT tests and dailies at 48 fps now for several months, and we often sit through two hours worth of footage without getting any eye strain from the 3-D,” he wrote in Facebook.An earlier study from California State University of 400 filmgoers suggested that watching 3-D films raised the risk of eyestrain, headache or trouble with vision. Proponents of 48 fps believe it is just a matter of viewers adjusting. What critics find as “fake,” is verbally recast as “hyper-realism.”Jackson has written that “You get used to this new look very quickly and it becomes a much more lifelike and comfortable viewing experience.”If HFR is the future, then in practical terms that future may require theaters to upgrade their equipment. According to The Rolling Stone, some theater owners are skeptical about upgrading their equipment. Writing in Extreme Tech, David Cardinal said any moves to upgrade theater projectors to 48 fps, even at a cost of several thousand dollars per screen, though, would be worth it for the operators if it gives theater goers a “premium” experience. The word “if” hovers over the question of how quickly moviegoers will realize they are in for a better future of watching films with 48 fps. The swing for and against may be influenced, though, by those who are put off by present-day 3-D as a source of eyestrain. Jackson said 48 fps is more gentle on the eyes.Paul Martinovic in Den of Geek says that the advantage of 48 fps technology making 3-D more watchable is key. Reducing 3-D eye irritants will be a step forward. People who have up to this time avoided 3-D can now get back “into the fray” free of the shackles of blurry vision,” he said. That alone would make it an economically smart move for industry adoption, he added. © 2012 Phys.Org
Her ideas flow; senses come alive as she uses women’s breasts and nipples to communicate her concerns on gender issues. Joshi belongs to a new breed of young artists, who have no qualms in addressing identity issues like sexuality and feminism in a direct, bold and often radical manner. Several forms have been integrated to these extraordinary and surreal sculptures, in varying complexities and sizes. Her ingenious ideas break away from the ordinary mould as her hard-hitting images seizes the viewer’s attention. Also Read – ‘Playing Jojo was emotionally exhausting’She creates the ridiculous to make an observation on life and society and reacts against censorship of the female body that still prevails in our society. Why is the same breast that was precious when it fed a child treated as a sexual object, seriously questions the artist. For the artist a nipple without a breast is just an innocent brown circle and does not merit censorship. Moreover, she seems to be saying, ‘I am a woman everywhere, not just in my breasts!’ Also Read – Leslie doing new comedy special with NetflixJoshi’s voyage into self-discovery and experiment are intense in works like the large Roots and Wings. The artist presents the challenge of identity faced by women. For Joshi it is as important for a woman to be able to define herself with situations and conditions she is born with, as well as departures from them.Megha started her career as a Set Designer and Art Director for film and television, with over seventy projects to her credit, before returning to full time art practice. She has participated in numerous curated group shows and residencies, both nationally and internationally including R.A.P.E at Art Bull, The Embedded Landscape at Religare Arts and Make/Do at Gallery Ske. Her work has been exhibited at the India Art Summit 2009 and 2011 and the India Art Fair 2012 and 2013. Megha has also been part of several residencies like those at Religare Arts, New Delhi, Scotland, and an International art residency and exhibition in Iceland, supported by the Ministry of Science and Culture of Iceland. Megha trained as a sculptor has a natural talent of drawing and doodling. Her fluid thoughtful lines mark some particular ink and watercolor /mixed media works that simply stand out by their sheer intensity. Megha’s practice spans Sculpture and Installation art and she works with a vast array of media including her recent stint with photography using herself as a subject. She puts together a high impact show, with the intent to awaken consciences rather than merely shock right from her soul, a silent rebellion, not to be ignored.
It was a memorable occasion for the students and staff of St. Columba’s to be a part of the Platinum Jubilee Closing Ceremony on April 28. The celebration commenced with a Mass held in the Middle School Auditorium followed by a dazzling cultural fiesta in the Edmund Rice Hall.The Most Reverent Anil J.T Couto, the Archbishop of Delhi blessed the ceremony. This was followed by a symphony orchestrated by Macdonald and his band of 34 boys. Invitees of the day were Rev. Theodore Mascarenhas, Dr WayneTinsey, Dr Guleria and Principals of various prestigious schools of Delhi. Also Read – Add new books to your shelfDr Wayne, the key note speaker offered his sincere congratulations and expressed his gratitude to the Christian Brothers who helped in the formation of generations of young men. The other highlights of the ceremony were Vande Matram, Presentation of mementoes to Staff, Medley of songs, Bequest, Sufi fusion dance. Through a video message titled Guiding Hands, an attempt was made to capture some moments with the Christian Brothers, who have left behind their imprints through the illustrious years they had spent in the school.This was followed by Principal Br Miranda’s speech where he emphasized on holistic education and the values of Blessed Edmund Rice that students gain from St.Columba’s. The ceremony concluded with Mrs Sheel, the Headmistress of Middle School giving the vote of thanks. The event was brought to a close with a prayer by Rev Theodore Mascarenhas.