By Jon Ortner
Для сайта:Мир книгДвадцать пять веков глубокое учение Будды направляло на путь просвещения свыше полутора миллиардов жизней, а также вдохновило на создание самых красивых и великолепных художественных произведений из когда-либо созданных человечеством.Джон Ортнер сфотографировал более one hundred fifty из нихIn the twenty-five centuries because the Buddhas demise, his profound teachings and course have guided and enlightened over one and part billion lives. The Buddha additionally has encouraged probably the most attractive and sumptuous inventive creations ever produced via humanity. Jon Ortners images of over a hundred and fifty of the intense artistic endeavors grace this quantity. From the buddha carved from a unmarried piece of jade to the biggest reclining buddha, the Buddhas knowledge, compassion, and serenity are without end current.
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G. g. as the latter flings the chair. Jarrod sees it coming and ducks down out of shot—the chair comes hurtling toward the camera, through the frame and toward the audience. ”1 Ironically, de Toth opposed the use of the 3-D gimmick sequence with the paddleball coming out at the audience and had to defer to the wishes of producer Bryan Foy in using it in the film. Before the showing of House of Wax, John Norling’s 3-D short Motor Rhythm, a Technicolor stop-frame animation of a blue Chrysler assembling itself, was screened with brandnew prints.
From the opening scenes, in which we see a killing take place in the shadows from the point of view of the murderer, to the final scene, in which we witness Hammer’s revenge slaying of one of the most complicated femmes fatales in all of film noir, Alton made the most of it. Pitch black on the screen is latent with the malign. A two-fisted assailant may suddenly leap out of it. Throughout the film, Hammer moves through a stereoscopic visual space that is dynamically joined to light and shadow, a mirror of moral progression or decay.
10 Dual-Band 3-D Camera Arrangements Four basic arrangements for dual interlocked cameras are illustrated in Norling’s article in New Screen Techniques. The first, described as camera arrangement No. 1, simply places two 35mm cameras side by side. Norling observed that “with both camera lenses pointing toward the scene,” the arrangement “imposes the use of a very large interaxial spacing of the lenses. ”11 Convergence can be achieved by toeing in the two cameras. ” When one camera is turned upside down in relation to the other, there is great reduction of the interaxial spacing.