notes.husk.org. scribblings by Paul Mison.

Images from Goldfinger, taken from Dennis Crompton’s ephemera at the Archigram Archive.

Stills of Andrea Riseborough and Tom Cruise from Joseph Kosinski’s Oblivion.

Somehow, I’d never noticed this:

The Panavision logo incorporates three aspect ratios into its design—1.33:1 (TV, standard “Academy” ratio) on the inside, 1.85:1 (standard U.S. widescreen) in the middle, and 2.35/2.40:1 (modern 35mm anamorphic) on the outside.

It was designed by an mechanical designer at the company, “Tak” Miyagishima:

Tak’s legacy is permanently imprinted on the company as the designer of the famous Panavision logo.

hchamp:

Impossible Project, 2010 - Color Shade, First Flush. It may seem heretical to some, but I miss the beautiful painterly aspects of those first few packs of Impossible Project film. They were so beautiful, like a photograph trapped between a dream and a painting. Hard to believe it’s been three years already

Heather’s right; it is hard to believe. I first saw this post in its Twitter version, and my reaction was a sort of stunned disbelief.

Coming across the full photset on Tumblr, though, and I see exactly what she means. Personally I never had quite so much luck with the early Impossible Project films, but I can entirely see the desire to go back to that.

(I’ve recently dug my 680 back out after a year of it sitting unused. Time to get back in the instant habit.)

1999 Japanese poster for La jetée (Chris Marker, France, 1962), via mappeal.

Bond’s 3D-Printed Aston Martin Makes ‘Skyfall’ Debut:

How did Skyfall filmmakers ensure the safety of the original (and rare) 1960 Aston Martin DB 5 that appeared in the very first Bond film? Three-dimensional printing company Voxeljet created three printed replicas to keep the original one out of harm’s way.

To make the replicas as close to the original as possible, they printed plastic parts using the highly advancedVX4000 3D printer for large format printing. After printing 18 parts, they then put them together them the same way a real car would be assembled.

(via)

Jane Yager writing for the Paris Review: (via)

A man with a briefcase arrives in a place called City-A looking like a double agent from 1973: mustachioed and trenchcoated, forever ducking into phone booths for cryptic conversations. The man, Mr. Holz, is a geophysicist of unknown origin. He has come here to work for the New Method Oil Well Cementing Company. City-A is mesmerizingly bleak, a grid of concrete high-rises set between a brackish sea and a wintry industrial wasteland, all of it reeking of environmental contamination and failed utopia. Many things, Holz notices, are amiss here. Clocks don’t run sixty seconds to the minute in City-A. The drinking water is spiked with lithium, a shadowy entity has confiscated his passport, language is rationed, and what exactly is this New Method Oil Well Cementing Company, anyway? As the bewildered-looking Holz moves through the city, is he piecing together clues to solve these mysteries or just being shuttled around by a powerful unseen force?

This, roughly, is the storyline of whiteonwhite:algorithmicnoir, the new film by Eve Sussman and the Rufus Corporation. But because this noir is, as the title promises, algorithmic, the film has no beginning, middle, or end. At each screening, a computer program live-edits a movie out of more than three thousand film clips, eighty voice-overs, and 150 pieces of music. Each of these movable parts is marked with loosely content-related tags (“horizon,” “anxiety,” “white”), and the computer fits the pieces together according to an algorithm that matches tags. Sussman calls this apparatus the “serendipity machine.” Containing more than thirty hours of material, the movie never comes together the same way twice, and it never loops. A small screen to the side runs the metadata of the algorithm while the film plays, reminding viewers that a computer is chugging away busily as they watch, matching “discomfort” tags to “discomfort” tags, “surveillance” to “surveillance.”

Hopefully this is enough for you to go off and read the rest of the article. It’s worth it.

A poster for Cypher, a somewhat silly but definitely enjoyable techno-thriller type thing from 2002.

(I rewatched this last night while pottering with Photoshop, and there are some nice touches in it. I also decided to create a movieinframes four-frame version of it, which is more about the protagonist’s relationships with women in the film than the other direction I could have gone, focussing on the whizz-bang gadgets. Maybe I’ll do another take later.)

dailymeh:

Muybridge is mostly known for his photographs of horses in motion. Above is part of one sequence. These pictures were taken in order to settle the question of whether or not all the horse’s hooves at any time during the trot are off the ground simultaneously. As can be seen here, the answer is yes. But that’s precisely it: it can only be seen because Muybridge has frozen the motion. By animating these pictures, you negate their whole reason for existing: they exist because they allow us to see something we can’t see when the horse is in motion.

The whole post is worth reading. That said, I stand by my posting of an animated gif re-animating the Muybridge photographs, because of the format; there’s something odd about that analogue-digital repurposing split.

There’s also something zoetropic about Google’s presentation that is a nice effect, even if the