What if the projections alone could produce the same optical effects?
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But can he be fooled by some ordinary optical effects in a museum?
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He was a great mathematician, a magnificent creator of optical effects and surprising images.
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GRAV employed various types of artificial light and mechanical movement to investigate various kinetic and optical effects.
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"One of the reasons people feel that my work is visually satisfying is the optical effects of my designs," he says.
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But the newly created lasers were so powerful that they could transform the very properties of what they passed through, creating newfound phenomena and optical effects.
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The other, more powerful achievement is the range of optical effects that she is able to attain through her use of white in the Circle paintings.
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Meade's obsession with optical effects in her artwork also play a part in her living space — her paint style and aesthetic blend to create this interactive home experience.
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An optical effects archive maintained by astronomer Andrew Young of San Diego State University details the physics of such observations as seen by the eye, cameras, and video recordings.
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But many of the quilts avoid references to war or any images at all, gathering power from an impressive, admittedly heraldic, range of geometric patterns and their optical effects.
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Her handling of color and creation of complex optical effects in early videos proved that the computer is not at odds with art, but an instrument capable of showcasing creativity.
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The optical effects are unsettling as the paint shifts from gradated bands (or volumetric presences) to flat bands of color, which appear ghostly, as if they are beginning to dissipate along their outer edges, as in "Nucleus 213-49" (1984) and "Nucleus 85-1" (1985).
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Another enchanting cell formed artist and art theorist Josef Albers's area based on his book Interaction of Color (published in 1963) in which the Bauhaus professor proposed a series of exercises intended to cultivate an understanding of color interaction and the optical effects of color.
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To the extent that Crotty's work is about the fluid movement of color across the surface, it can be viewed in terms of Color Field painters such as Morris Louis and Helen Frankenthaler — whom Clement Greenberg championed in the 1960s — and of optical effects that are unabashedly "medium specific," to use that critic's phrase.
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The coloration of the protoplast is a light blue-green, appearing dark or brown due to optical effects of gas-filled vesicles.
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He received the Michelson–Morley Award (1985) and the Frank Isakson prize for optical effects in solids (1992) from the American Physical Society.
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The use of period documentary interviews in black-and-white is interspersed with live action and optical effects generated on film in colour.
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Currently, time-resolved photoemission (ARPES, PEEM, momentum microscopy) and time-resolved magneto-optical effects are implemented with laser pulses in visible light and the soft X-ray region.
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They Live,Pettigrew, p. 685. Prince of Darkness, and Memoirs of an Invisible Man, supplying, depending on the productions's needs, matte paintings, optical effects, stop motion animation, and second- unit direction.
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Some jumping and flying effects were done with Wire fu (wire work). Monster transformations and abilities were done with simple optical effects such as double exposure and step frame printing (Morton, 2001).
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Optical effects were utilized for Godzilla's footprints on the beach by painting them onto glass and inserting it onto an area of the live-action footage. Special effects photography lasted for 71 days.
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Having unique features of tunable resonances and unprecedented near-field enhancement, plasmon is an enabling technique for light management. Recently, performances of thin-film solar cells have been pronouncedly improved by introducing metallic nanostructures. The improvements are mainly attributed to the plasmonic-optical effects for manipulating light propagation, absorption, and scattering. The plasmonic-optical effects could: (1) boost optical absorption of active materials; (2) spatially redistribute light absorption at the active layer due to the localized near-field enhancement around metallic nanostructures.
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The wildfire gave rise to unusual optical effects on 22nd and 23rd May 1870. The ‘strange’ appearance of the sun and sky was widely observed in Ireland and a few parts of British Isles.
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His research has focused on molecular photonics. He specialises in molecular-level nonlinear optical effects. These researches have linked basic physical chemistry with technologies and applications including polymers for information technology and biophotonics imaging.
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The Linear canonical transform (LCT) gives a scalable kernel to fit many well-known optical effects. Using LCTs to approximate an optical system for imaging and inverting this system, theoretically permits recovery of a defocused image.
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William Cameron Menzies who worked as the art director on The Thief of Bagdad (1924), employs every special effect trick of the trade, many miniatures, optical effects, dry for wet to create a visually exciting film.
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This results in only the most common optical effects, such as ordinary refraction with common diffraction limitations in lenses and imaging. Since the beginning of optical sciences, centuries ago, the ability to control the light with materials has been limited to these common optical effects. Metamaterials, on the other hand, are capable of a very strong interaction, or coupling, with the magnetic component of light. Therefore, the range of response to radiated light is expanded beyond the ordinary optical limitations that are described by the sciences of physical optics and optical physics.
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In 1978, The Return of Captain Nemo received two Emmy Award nominations for Outstanding Individual Achievement in Any Area of Creative Technical Crafts. These were for Frank Van der Veer (optical effects) and L.B. Abbott (special photographic effects).
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Their geometric forms, generally in black and white, added to or subtracted from the whole according to perceptive principles that produced specific optical effects. Polesello died from a heart attack on 6 July 2014 in Buenos Aires. He was 75.
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Jaque Catelain, Jaque Catelain présente Marcel L'Herbier. (Paris: Vautrain, 1950). p.51. The interiors were subsequently filmed at the Gaumont studios in Paris at Buttes-Chaumont. With his principal cameraman Georges Lucas, L'Herbier created a number of optical effects during filming.
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Klingshirn, C. F. (2006). Semiconductor Optics. Springer. . One can also generalize the SBEs by including excitation with terahertz (THz) fields that are typically resonant with intraband transitions. One can also quantize the light field and investigate quantum-optical effects that result.
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This article focusses on coherent optical effects in semiconductors and semiconductor nanostructures. After an introduction into the basic principles, the semiconductor Bloch equations (abbreviated as SBEs)Schäfer, W.; Wegener, M. (2002). Semiconductor Optics and Transport Phenomena. Springer. .Haug, H.; Koch, S. W. (2009).
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The third movie was Bhakta Pralhaad, which famously had a large amount of trick photography. Through his mastery of the lens, several optical effects were created. The special effects were appreciated by Indian as well as foreign technicians. He was a pioneer in many respects.
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It is not possible to counteract this effect by increasing the input power because above a certain level this will induce nonlinear optical effects which will disrupt the operation of the system. Typically the maximum range that can be measured is around 40–50 km.
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The film was directed by Bernard Longpré and André Leduc and produced by René Jodoin for the National Film Board of Canada. Monsieur Pointu makes use of the pixillation technique pioneered by NFB animation studio founder Norman McLaren in Neighbours and A Chairy Tale, combined with optical effects.
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Yet it is challenging to duplicate the surface of a butterfly's wing. Professor Ullrich Steiner of Cambridge University's Nanoscience Centre states that, "Despite the detailed scientific understanding of optics, the astonishingly varied colour palette found in nature often surpasses the optical effects that can be generated by technological means".
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In order to film one scene, McChesney wore the suit open-backed due to the damage. No optical effects were used in creating Armus.Westmore, Nazazaro (1993): p. 31 For the scene where Riker is pulled into the oil, a stuntman was used as a stand in for Jonathan Frakes.
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Later, the term "montage sequence", used primarily by British and American studios, became the common technique to suggest the passage of time. From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects (fades, dissolves, split screens, double and triple exposures) dance and music.
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Total internal reflection and Thin-film interference produces colors Pearlescent coatings or pigments possess optical effects that not only serve decorative purposes (such as cosmetics, printed products, industrial coatings, or automotive paints), but also provide important functional roles, such as security printing or optical filters. Example of a pearlescent coating.
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He also oversaw the DVD commentaries of The Sand Pebbles and Executive Suite. He also oversaw and provided DVD commentary for the director's edition of Star Trek: The Motion Picture, which included re-edited scenes, new optical effects and a new sound mix. This was the director's final project before his death.
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Filmed in full scale, the school explosion used drywall around the interior of the set to protect it from the fire. Physical effects supervisor Gary Monak oversaw the explosion. The destruction surprised the cast as they were more used to optical effects in the series. Costume designer Robert Blackman created the Vedek costumes.
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It consists of 400 stainless steel posts arranged in a calculated grid over an area of 1 mile × 1 km. The time of day and weather change the optical effects. It also lights up during thunder storms.Hurd, P (ed.) 2000, The Prestel Dictionary of Art and Artists in the 20th Century, Prestel Verlag, Munich.
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In more recent painting manuals, the more precise subtractive primary colors are magenta, cyan and yellow.for example, see Isabelle Roelofs and Fabien Petillion, La Couleur expliquée aux artistes, p. 16 Complementary colors can create some striking optical effects. The shadow of an object appears to contain some of the complementary color of the object.
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Shot in Allentown, Pennsylvania, and the Lehigh Valley over the course of a year on 35mm and S16mm film, the production used various cameras including a Krasnogorsk hand-cranked camera, achieving all optical effects during production. InSearchOf was the first film to play in another reality when it screened in Second Life in 2008.
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The Frank Isakson Prize for Optical Effects in Solids is a prize that has been awarded every second year by the American Physical Society since 1980. The recipient is chosen for "outstanding optical research that leads to breakthroughs in the condensed matter sciences.". The prize is named after Frank Isakson, and as of 2007 it is valued at $5,000.
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The production of hafnium-free zirconium is the main source for hafnium. thin film optical effects. The chemical properties of hafnium and zirconium are nearly identical, which makes the two difficult to separate. The methods first used — fractional crystallization of ammonium fluoride salts or the fractional distillation of the chloride — have not proven suitable for an industrial- scale production.
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The star-like objects that Halt reported hovering low to the north and south are thought by some sceptics to have been misinterpretations of bright stars distorted by atmospheric and optical effects, another common source of UFO reports. The brightest of them, to the south, matched the position of Sirius, the brightest star in the night sky.
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Francesco Fontana's drawing of the supposed satellite(s) of Venus. Woodcuts from Fontana's work (1646). The fringes of light around Venus are produced by optical effects Neith is a hypothetical natural satellite of Venus reportedly sighted by Giovanni Cassini in 1672 and by several other astronomers in following years. The first supposed sighting of this moon was in 1650.
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Interior view of cupola. The architect Guarino Guarini was a great innovator in Baroque principles first developed by the great Roman Baroque architect Francesco Borromini, in particular the play with optical effects and organic "deconstruction" of the classical orders and principles of column and entablature. However, in San Lorenzo Guarini took these further.Henri Stierlin (ed), Baroque.
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By the 1970s and 1980s, contributors shared a fascination with abstraction, posterisation and optical effects with photographers whose work was found in the Swiss Camera of the same period.Alise Tifentale, Seeing a Century Through the Lens of Sovetskoe Foto, Cultural Analytics Lab, July 31, 2018 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
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In 1970, the physicists Martin Schadt and Wolfgang Helfrich invented the twisted nematic field effect (TN-effect) in the Central Research Laboratories of F. Hoffmann-La Roche Ltd, in Basel, Switzerland. The resulting patent CH532261 was licensed worldwide to electronics and watch industries and thus initiated a paradigm change towards flat panel field effect liquid crystal (LC) displays. In the early 1970s, Martin Schadt started to investigate correlations between liquid crystal molecular structures, material properties, electro-optical effects and display performance to obtain criteria for novel, effect-specific liquid crystal materials for TN- and subsequent field-effect applications. His interdisciplinary approach involving physics and chemistry became the basis for modern industrial LC-materials research and led to the discovery and production of numerous new functional molecules and new electro-optical effects.
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Toho hired en masse part-time employees to work on the film's optical effects. Half of the 400 hired staff were mostly part-timers with little to no experience. An early version of Godzilla's full reveal was filmed that featured Godzilla, via hand-operated puppet, devouring a cow. Sadamasa Arikawa thought the scene was too gruesome and convinced Tsuburaya to re-film it.
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Of about 900 special effects shots, all VistaVision optical effects remained in-house, since ILM was the only company capable of using the format, while about 400 4-perf opticals were subcontracted to outside effects houses. Progress on the opticals was severely delayed for a time when ILM rejected about of film when the film perforations failed image registration and steadiness tests.
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This representation also predicts optical effects that are purely quantum, and cannot be explained classically. Sudarshan was also the first to propose the existence of tachyons, particles that travel faster than light.Time Machines: Time Travel in Physics, Metaphysics, and Science Fiction, p. 346, by Paul J. Nahin He developed a fundamental formalism called dynamical maps to study the theory of open quantum system.
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205 The British got their second opportunity on 9 February 1916. This time the German opponent was the warship . Fifi, now Spicer- Simson's flagship, and Mimi, commanded by a Sub-Lieutenant A E Wainwright, gave chase. Fifi and Hedwig von Wissmann were evenly matched for speed, and due to unusual optical effects on the lake, Fifis rounds kept going wide of the mark.
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As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.
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In March 2014 the first large-scale sculptural installation of Pashgian's work opened at the Los Angeles County Museum of Art (LACMA). In 2018 and early 2019, Hayward Gallery in London presented a sculpture exhibition including a UK premiere by Pashgian where the artist installed large acrylic columns which allowed for various degrees of light and transparency generating optical effects.
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Slow movements may be animated on threes or fours. Different components of a shot might be animated at different framerates – for example, a character in a panning shot might be animated on twos, while everything in the shot is shifted every frame to accomplish the pan. Optical effects such as motion blur may be used to simulate the appearance of a higher framerate.
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142, October 1989 Paul Simons, in an article entitled "Weather Secrets of Miracle at Fátima", stated that it is possible that some of the optical effects at Fátima may have been caused by a cloud of dust from the Sahara."Weather Secrets of Miracle at Fátima", Paul Simons, The Times, 17 February 2005. Skeptical investigator Joe Nickell wrote that the "dancing sun" effects reported at Fátima were "a combination of factors, including optical effects and meteorological phenomena, such as the sun being seen through thin clouds, causing it to appear as a silver disc. Other possibilities include an alteration in the density of the passing clouds, causing the sun’s image to alternately brighten and dim and so seem to advance and recede, and dust or moisture droplets in the atmosphere refracting the sunlight and thus imparting a variety of colors".
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This would have been roughly equivalent to 6 frames at 24 frames per second, but Gehr chose a lower frame rate so that each frame would remain on screen longer, accentuating the optical effects. He was surprised by the physical effect from watching the footage and felt nauseated afterward.MacDonald 2005, p. 375. The footage for Serene Velocity was shot over the course of one night.
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Pastel refers to colors with high brightness and low saturation. Some phenomena are due to related optical effects, but may or may not be described separately from the color name. These include gloss (high- gloss shades are sometimes described as 'metallic'; this is also a distinguishing feature of gold and silver), iridescence or goniochromism (angle-dependent color), dichroism (two-color surfaces), and opacity (solid vs. translucent).
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31 the same day as the "Theme from Star Trek", using a 25-piece orchestra. While Roddenberry liked the theme, he hated the music created specifically for "The Man Trap". The optical effects were created more quickly than usual; Howard A. Anderson, Jr. took two months, three times faster than for some episodes. The overall production costs for "The Man Trap" came in under-budget at $185,401.
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Both surface plasmon polaritons propagating along the metal-dielectric interfaces and localized surface plasmon modes supported by metal nanoparticles are characterized by large momentum values, which enable strong resonant enhancement of the local density of photon states,S.V. Boriskina, H. Ghasemi, and G. Chen, Materials Today, vol. 16, pp. 379-390, 2013 and can be utilized to enhance weak optical effects of opto-electronic devices.
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Magnetochromism is the term applied when a chemical compound changes colour under the influence of a magnetic field. In particular the magneto-optical effects exhibited by complex mixed metal compounds are called magnetochromic when they occur in the visible region of the spectrum. Examples include K2V3O8, lithium purple bronze Li0.9Mo6O17, and related mixed oxides. Reported magnetochromic compounds are multiferroic manganese tungsten oxide and multiferroic bismuth ferrite.
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Vorkapich used kinetic editing, lap dissolves, tracking shots, creative graphics and optical effects for his montage sequences for such features as Manhattan Melodrama (1934), Maytime, The Firefly (both 1937), and Meet John Doe (1941). He created, shot, and edited these kinesthetic montages for features at Universal Pictures, MGM, RKO, and Paramount. He directed a short documentary movie for RKO, Private Smith of the U.S.A., that was nominated for an Academy Award.
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Serene Velocity shows a one-point perspective view of the hallway that divides it into the ceiling, walls, floor, and doors. Watching Serene Velocity produces the appearance of motion and other optical effects, positioning it as a cinematic version of op art. Gehr has noted that the effects of watching the film vary significantly based on which part of the screen the viewer focuses on.MacDonald 2015, p. 236.
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Electrical voltage can be sensed by nonlinear optical effects in specially-doped fiber, which alter the polarization of light as a function of voltage or electric field. Angle measurement sensors can be based on the Sagnac effect. Special fibers like long-period fiber grating (LPG) optical fibers can be used for direction recognition . Photonics Research Group of Aston University in UK has some publications on vectorial bend sensor applications.
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In 1959, Nicolaas Bloembergen proposed an energy diagram for crystals containing ionic impurities. Bloembergen described the system as having excited-state emissions with energy differences much greater than kBT, in contrast to the anti-Stokes shift. Advances in laser technology in the 1960s allowed the observation of non-linear optical effects such as upconversion. This led to the experimental discovery of photon upconversion in 1966 by François Auzel.
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Dunn rose from shooting title cards to creating in-camera optical effects. He was hired as a special effects technician at RKO Radio Pictures, his tenure there lasting from 1929 to 1958. This early experience led to the World War II development of the first practical commercially manufactured optical printer, a device consisting of cameras and projectors allowing for the accurate compositing of multiple images onto a single piece of film.
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Bromberg originally studied journalism and photography at Northwestern University before she became a filmmaker. Bromberg started making her first films at Sarah Lawrence College in 1977, where she studied both film and electronic music. After she graduated from college, Betzy Bromberg relocated to Los Angeles and studied at CalArts under Chick Strand. Later, she spent over twenty years working in the Hollywood industry as an optical effects camerawoman and supervisor.
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Birefringence and other polarization-based optical effects (such as optical rotation and linear or circular dichroism) can be measured by measuring the changes in the polarization of light passing through the material. These measurements are known as polarimetry. Polarized light microscopes, which contain two polarizers that are at 90° to each other on either side of the sample, are used to visualize birefringence. The addition of quarter-wave plates permit examination of circularly polarized light.
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Such an observer will experience some interesting optical effects. If he looks into the oncoming wavefronts at distant galaxies which have already encountered the wave, he will see their images undistorted. This must be the case, since he cannot know the wave is coming until it reaches his location, for it is traveling at the speed of light. However, this can be confirmed by direct computation of the optical scalars of the null congruence \partial_v.
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Exposition of what led up to the previous episode's cliffhanger was usually displayed on placards with a photograph of one of the characters on it. In 1938, Universal brought the first "scrolling text" exposition to the serial, which George Lucas first used in Star Wars in 1977 and then in all of the following Star Wars films. As this would have required subcontracting the optical effects, Republic saved money by not using it.
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VCE's special effects were composited with the live-action reels through a two-headed optical printer to create the final print. Few optical effects were used in Conan the Barbarian. Milius professed ambivalence to fantasy elements, preferring a story that showcases accomplishments realized through one's own efforts without reliance on the supernatural. He also said that he followed the advice of Cobb and other production members on the matters of special effects.
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The unit cells are materials that are ordered in geometric arrangements with dimensions that are fractions of the wavelength of the radiated electromagnetic wave. By having the freedom to alter effects by adjusting the configurations and sizes of the unit cells, control over permittivity and magnetic permeability can be achieved. These two parameters (or quantities) determine the propagation of electromagnetic waves in matter. Therefore, the achievable electromagnetic and optical effects can be extended.
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Ray tracing is capable of simulating a variety of optical effects, such as reflection and refraction, scattering, and dispersion phenomena (such as chromatic aberration). Path tracing is a form of ray tracing that can produce soft shadows, depth of field, motion blur, caustics, ambient occlusion, and indirect lighting. Path tracing is an unbiased rendering method, but a large number of rays must be traced to obtain high quality reference images without noisy artifacts.
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In physics, coherence theory is the study of optical effects arising from partially coherent light and radio sources. Partially coherent sources are sources where the coherence time or coherence length are limited by bandwidth, by thermal noise, or by other effect. Many aspects of modern coherence theory are studied in quantum optics. The theory of partial coherence was awoken in the 1930s due to work by Pieter Hendrik van Cittert and Frits Zernike.
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In 2003, she was named a Canada Research Chair in Fibre Optics and Physics. Bao's areas of research include the development of fiber sensors (e.g., for temperature, strain, pressure, refractive index, and vibration); and the use of nonlinear optical effects (self-phase modulation, cross-phase modulation, four-wave mixing, and stimulated scattering) in fibers to design sensors, instrumentation, lasers, and devices. Sensor systems using Xiaoyi's methods are being used in countries around the world.
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For a meaningful comparison, a virus is roughly 100 nanometers (nm) in size. So that a virus can also call as a nanoparticle. The word nanotechnology is generally used when referring to materials with the size of 0.1 to 100 nanometres, however, it is also inherent that these materials should display different properties from bulk (or micrometric and larger) materials as a result of their size. These differences include physical strength, chemical reactivity, electrical conductance, magnetism and optical effects.
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A decision was made to film Ultraman in color. To keep production costs from going over budget, the show was shot on 16mm stock and optical effects were shot using 35mm. This met the network's requirement for making new episodes on a fast-paced production schedule (due to filming starting in March 1966 for a scheduled debut that July). The production crew were separated into three teams subdivided into separate live-action filming and special effects filming groups.
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In 1990, under different titles, inventors conceived electro optical effects as alternatives to twisted nematic field effect LCDs (TN- and STN- LCDs). One approach was to use interdigital electrodes on one glass substrate only to produce an electric field essentially parallel to the glass substrates.: R. Soref, Liquid crystal electric field sensing measurement and display device, filed June 28, 1973. To take full advantage of the properties of this In Plane Switching (IPS) technology further work was needed.
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Tubular forms of organic ornaments create unique arabesques abundant with optical effects, either pulling the form deep, or drawing it from a flat surface. Jakić used allegory, a symbol and a metaphor as a means of contemplation. He most often worked in Indian ink, felt pen and less frequently used colour, pastel or gouache. In addition to drawing, he wrote a conclusion as a supplementary media in order to emphasize his observation with the use of a written text.
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During 1848, he got his doctorate from the University of Halle on optical effects in Earth's atmosphere. In 1850 he became professor of physics at the Royal Artillery and Engineering School in Berlin and Privatdozent at the Berlin University. In 1855 he became professor at the ETH Zürich, the Swiss Federal Institute of Technology in Zürich, where he stayed until 1867. During that year, he moved to Würzburg and two years later, in 1869 to Bonn.
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Mixed cuts share aspects of both (modified) brilliant and step cuts: they are meant to combine the weight preservation and dimensions of step cuts with the optical effects of brilliants. Typically the crown is brilliant cut and the pavilion step-cut. Mixed cuts are all relatively new, with the oldest dating back to the 1960s. They have been extremely successful commercially and continue to gain popularity, loosening the foothold of the de facto standard round brilliant.
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To create the time-travel effects of the Gate itself, cinematographer René Ohashi produced the ghostly shimmering lights by spinning metal wheels covered in Mylar. Since actual aircraft could not be sent through the set, miniature models and a full-size mock-up of the tail-section of a Boeing 707 were used. Optical effects were used to make the planes look as if they were entering the set. The penultimate scene took place in a contemporary American home.
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NSS also created the main titles, end credits and optical effects, as well as distributing posters, stills and publicity material across the country. Three directors of the UK subsidiary bought that company from NSS in 1987. Keeping the name National Screen Service UK, it continued to distribute trailers and print publicity material for all major film studios to all UK cinema chains. In 2000, the company was bought by Carlton Communications (later taken over by ITV plc).
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ILM supervisor Dennis Muren considered using stop motion animation for the scene.Baxter, p.367 He also explained that another traditional and practical way in the late 1980s to execute this sequence would have been through the use of an optical dissolve with cutaways at various stages. Muren found both stop motion and optical effects to be too technically challenging and decided that the transformation scene would be a perfect opportunity for ILM to create advances with digital morphing technology.
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A gradient-index lens with a parabolic variation of refractive index (n) with radial distance (x). The lens focuses light in the same way as a conventional lens. Gradient-index (GRIN) optics is the branch of optics covering optical effects produced by a gradient of the refractive index of a material. Such gradual variation can be used to produce lenses with flat surfaces, or lenses that do not have the aberrations typical of traditional spherical lenses.
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However, this separation offers other advantages, such as the ability to shoot more rays as needed to perform spatial anti-aliasing and improve image quality where needed. Although it does handle interreflection and optical effects such as refraction accurately, traditional ray tracing is also not necessarily photorealistic. True photorealism occurs when the rendering equation is closely approximated or fully implemented. Implementing the rendering equation gives true photorealism, as the equation describes every physical effect of light flow.
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The T-DCF amplifier was first conceived and demonstrated at Tampere University in the research group of Professor Oleg Okhotnikov in 2008. The technology was granted a patent in 2013 as a means to overcome the nonlinear optical effects which previously limited the power-scaling of fiber lasers and fiber amplifiers.V. Filippov, Yu. Chamorovskii, O. G. Okhotnikov and M. Pessa, US patent No.8,433,168 B2 “Active optical fiber and method for fabricating an active optical fiber”.
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The musical's fantasy setting and disregard for verisimilitude allowed for groundbreaking experimentations in lighting and audio technology. The original London and Broadway productions featured David Hersey's pioneering use of automated lighting to produce kaleidoscopic landscapes and complicated optical effects. Hersey also used light in an "architectural manner", with fast-changing configurations to spotlight different performers in rapid succession. This dynamic shifting of the audience's perspective created an effect similar to that of fast cutting in film editing.
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Bromberg’s earlier films were influenced by New York, where she spent was born and raised, and spent part of her college career. She is known for her experimental avant-garde stylistic approach in cinema. In many of her works she experiments with the intersection of documentary and avant-garde. Bromberg's work in the Hollywood industry of optical effects allowed her to carry over technical and problem solving skills to her experimental work without detriment to its avant-garde themes.
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Visual effects commonly refers to post-production alterations of the film's images. The on set VFX crew works to prepare shots and plates for future visual effects. This may include adding tracking markers, taking and asking for reference plates and helping the director understand the limitations and ease of certain shots that will effect the future post production. A VFX crew can also work alongside the special effects department for any on-set optical effects that need physical representation during filming (on camera).
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Leon Theremin was born in Saint Petersburg, Russian Empire in 1896 into a family of French Huguenot and German ancestry. He had a sister named Helena. In the seventh class of his high school before an audience of students and parents he demonstrated various optical effects using electricity. By the age of 17, when he was in his last year of high school, he had his own laboratory at home for experimenting with high-frequency circuits, optics and magnetic fields.
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Their review claims the film was harmed by amateurish acting, "littered with padding optical effects, hampered by uneven dramatic concept, and redundant in its too-delicious sex teasing." The South Building as seen from Cameron Avenue in Chapel Hill, North Carolina. Vincent Canby of the New York Times called the film: > More raunchy and less funny than any other AIP film I've seen. It's a > fantasizing projection of dearly held contemporary myths about romance, sex, > humour, ethics, aesthetics, art and movies.
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Retrieved: 20 June 2008. F-16 pilot with Joint Helmet Mounted Cueing System and cockpit head-up display The F-16 has a head-up display (HUD), which projects visual flight and combat information in front of the pilot without obstructing the view; being able to keep their head "out of the cockpit" improves a pilot's situation awareness.Task, H. L. "Optical Effects of F-16 Canopy-HUD (Head Up Display) Integration", (Accession No. ADP003222). 'Air Force Aerospace Medical Research Lab, December 1983.
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Due to optical effects the contrast may be sub-optimal and approaches zero before the Nyquist frequency of the display is reached. The optical contrast reduction can be partially reversed by digitally amplifying spatial frequencies selectively before display or further processing. Although more advanced digital image restoration procedures exist, the Wiener deconvolution algorithm is often used for its simplicity and efficiency. Since this technique multiplies the spatial spectral components of the image, it also amplifies noise and errors due to e.g. aliasing.
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Logic gates can be made using pneumatic devices, such as the Sorteberg relay or mechanical logic gates, including on a molecular scale.Mechanical Logic gates (focused on molecular scale) Logic gates have been made out of DNA (see DNA nanotechnology)DNA Logic gates and used to create a computer called MAYA (see MAYA-II). Logic gates can be made from quantum mechanical effects (though quantum computing usually diverges from boolean design; see quantum logic gate). Photonic logic gates use nonlinear optical effects.
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Hafnium oxidized ingots which exhibits thin film optical effects. Thin-film optics is the branch of optics that deals with very thin structured layers of different materials. In order to exhibit thin-film optics, the thickness of the layers of material must be on the order of the wavelengths of visible light (about 500 nm). Layers at this scale can have remarkable reflective properties due to light wave interference and the difference in refractive index between the layers, the air, and the substrate.
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Jane Mulfinger, Caught in Passing (installation detail), 22 pairs of cast Schott Crystal shoes, 1993–4. Installation at Mayor Gallery, London. Mulfinger's early work probed collective experience, memory and history through found objects, images and interventions in architectural space. In installations such as Norris, R.E. and Rhoberts I (both 1989), she transformed exhibition spaces into sites of contemplation and optical effects by sewing locally collected, discarded clothing into tarpaulins that were fit over skylights, creating multi-colored panels resembling cathedral stained glass.
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Oliver played the female lead character Vina in "The Cage" (1964), which was the first pilot of Gene Roddenberry's new show, Star Trek. Two years later, Oliver's performance was reused in the first season, two-part episode "The Menagerie" (1966). The framing device was needed because of significant format and cast changes, and because the special optical effects used by the series were taking longer to complete than anticipated, which made missing an air date a real possibility.Whitfield, Stephen; and Roddenberry, Gene.
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Realization of a photonic controlled-NOT gate for use in quantum computing Photonic logic is the use of photons (light) in logic gates (NOT, AND, OR, NAND, NOR, XOR, XNOR). Switching is obtained using nonlinear optical effects when two or more signals are combined. Resonators are especially useful in photonic logic, since they allow a build-up of energy from constructive interference, thus enhancing optical nonlinear effects. Other approaches that have been investigated include photonic logic at a molecular level, using photoluminescent chemicals.
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The optical Kerr effect, or AC Kerr effect is the case in which the electric field is due to the light itself. This causes a variation in index of refraction which is proportional to the local irradiance of the light. This refractive index variation is responsible for the nonlinear optical effects of self-focusing, self-phase modulation and modulational instability, and is the basis for Kerr-lens modelocking. This effect only becomes significant with very intense beams such as those from lasers.
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Ries's sculptures are noted for their changing internal optical compositions and technical proficiency. Ries's primary medium is clear lead crystal, a glass with an unusually high refractive index, extreme light transmission in the visual range, and outstanding homogeneity. These qualities enable Ries to create the optical effects found within his work. alt=Ries with raw block of optical crystalRies begins with large blocks of optical glass and reduces them to the desired form by cutting, carving, grinding, and polishing them.
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Of note is La Gloria de la Raza (1926),directed by Luis Castillo in collaboration with anthropologist Arturo Posnasky. Optical effects and miniature models were used to depict the decline and disappearance of Tiahuanaco culture, and the film helped to spur the formation of Condor Mayku Films. The first motion picture made in Bolivia was Personajes históricos y de actualidad in 1904. The only surviving film from Bolivia's silent era is Wara Wara, directed by José Velasco Maidana in 1930.
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Names Izabel Brandao de Melo, and a few vague or unverifiable accounts. The only known picture of the Sun taken during the event does not show anything unusual. No unusual phenomenon of the Sun was observed by scientists at the time. A number of theologians, scientists, and skeptics have offered alternative explanations that include psychological suggestibility of the witnesses, temporary retinal distortion caused by staring at the intense light of the Sun, and optical effects caused by natural meteorological phenomena.
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Tsai also attended modern dance classes with Erick Hawkins. In 1963, Tsai won a John Hay Whitney Fellowship for Painting, after which he decided to leave engineering and devote full-time to the arts. After a three-month trip in Europe, he returned to New York and began to make three-dimensional constructions using optical effects, fluorescent paints, and ultra-violet light. These wary works were later selected for The Responsive Eye, an exhibition curated by William Seitz at the Museum of Modern Art in New York.
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The Moon's appearance, like the Sun's, can be affected by Earth's atmosphere. Common optical effects are the 22° halo ring, formed when the Moon's light is refracted through the ice crystals of high cirrostratus clouds, and smaller coronal rings when the Moon is seen through thin clouds. The illuminated area of the visible sphere (degree of illumination) is given by (1-\cos e)/2=\sin^2(e/2), where e is the elongation (i.e., the angle between Moon, the observer (on Earth) and the Sun).
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Goldner 159 Principal photography wrapped at the end of October 1932 with the filming of the climax wherein Driscoll rescues Ann at the top of the Empire State Building. Schoedsack's work was completed and he headed to Syria to film outdoor scenes for Arabia, a project that was never completed.Goldner 185 In December 1932 – January 1933, the actors were called back to film a number of optical effects shots which were mostly rear-screen projections. Technical problems inherent in the process made filming difficult and time-consuming.
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However he didn't consider that due to optical effects these stars had been smeared out a little towards the edges, slightly differently between the two plates. This caused systematic errors resulting in imaginary movements. Another possible explanation is that van Maanen simply saw what he had been trained to see for years: that the "spiral nebulae" were relatively nearby and therefore ought to have a quite detectable rotation. A belief that was quite widespread in the early 20th- century and therefore very hard to ignore.
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Milius and his crew also filmed at historical sites and on sets from previous films. Scenes of a bazaar were filmed at the Moorish Alcazaba of Almería, which was dressed to give it a fictional Hyborian look. Shadizar was realized at a pre-existing film set in the Almerían desert; the fort used for the filming of El Condor (1970) refurbished as an ancient city. It was expensive to build large sets, and Milius did not want to rely on optical effects and matte paintings (painted landscapes).
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Peter Kuran's Visual Concepts Engineering (VCE) effects company was engaged in October 1981 to handle postproduction optical effects for Conan. VCE had previously worked on films such as Raiders of the Lost Ark and Dragonslayer. Among their tasks for Conan were adding glint and sparkle to the Eye of the Serpent and Valeria's Valkyrie armor. Not all of VCE's work made it to the final print; the flames of Valeria's funeral pyre were originally enhanced by the company, but were later restored to the original version.
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Bill Abbott, at Fox, was in charge of the optical effects for the crow attack sequence, which would take six weeks to finish. Abbott organised two teams – both working 11 hours a day – to work on the sequence simultaneously. Abbott's biggest challenge was size ratio, as he had to ensure that the birds looked like they were attacking the children. He achieved this by placing the birds within frame and zooming in on them to make them the correct size in proportion to the children.
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A period drama set in Vienna uses a green screen as a backdrop, to allow a background to be added during post-production. Bluescreens are commonly used in chroma key special effects. Special effects (often abbreviated as SFX, SPFX, F/X or simply FX) are illusions or visual tricks used in the theatre, film, television, video game, and simulator industries to simulate the imagined events in a story or virtual world. Special effects are traditionally divided into the categories of mechanical effects and optical effects.
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For example, prosthetic makeup can be used to make an actor look like a non-human creature. Optical effects (also called photographic effects) are techniques in which images or film frames are created photographically, either "in-camera" using multiple exposure, mattes or the Schüfftan process or in post-production using an optical printer. An optical effect might be used to place actors or sets against a different background. Since the 1990s, computer-generated imagery (CGI) has come to the forefront of special effects technologies.
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Other applications rely on the peak pulse power (rather than the energy in the pulse), especially in order to obtain nonlinear optical effects. For a given pulse energy, this requires creating pulses of the shortest possible duration utilizing techniques such as Q-switching. The optical bandwidth of a pulse cannot be narrower than the reciprocal of the pulse width. In the case of extremely short pulses, that implies lasing over a considerable bandwidth, quite contrary to the very narrow bandwidths typical of continuous wave (CW) lasers.
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Armus was created without any optical effects. Armus was originally intended to be based on the Mummenschanz theatre group style, but was discarded in favor of a "shroud" type creature. Director Joseph L. Scanlan was determined to make the creature believable, and it was aimed to have the creature rise up out of the oil slick, drawing it up with him. A test was made using a melting miniature figure of Armus with the intention to play it in reverse, but it didn't provide the required effect.
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He soon developed his own style, inspired by that of his compatriot, Tábara, that fused the tropical nature of his hometown into the informal constructivist geometry, toward the creation of a visual autonomy. In further development, Molinari began to focus on the geometrical optical effects and changing perspectives. He began intense studies of color theory, yet at times explored spontaneity of color and chromatic delusions. In 1977, Molinari was part of an exhibit at MoMA PS1 titled, 10 Downtown: 10 Years (September 11–October 2, 1977).
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In addition, for electron interference lithography non-optical effects, such as secondary electrons from ionizing radiation or photoacid generation and diffusion, cannot be avoided with interference lithography. For instance, the secondary electron range is roughly indicated by the width of carbon contamination (~20 nm) at the surface induced by a focused (2 nm) electron beam. This indicates that the lithographic patterning of 20 nm half-pitch features or smaller will be significantly affected by factors other than the interference pattern, such as the cleanliness of the vacuum.
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While in Mexico the couple built a house and adopted two children, Gloria and Maricella. After Miriam's unfortunate early death, her pension continued to sustain the artist as the demand for illustration lessened. Now in a financial position to walk away from the machinations of the art market, Haupt embarked upon an extended period of renewed investigation and experimentation, working his way through abstract, color-drenched, non-representational painting styles and developing a series of Surrealist-inspired canvases. Haupt later investigated chromatic vibrations and dynamic optical effects in a series of compelling Op Art canvases.
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Promotional photo of John Carl Buechler with his Deinonychus puppet Carnosaur's special effects were largely designed by John Carl Buechler. Because Corman felt that stop-motion techniques and optical effects would interfere with filming, Buechler agreed with him that all the creatures would be "real-time" models. In constructing the dinosaurs, he hired Mike Jones to sculpt the Deinonychus and Jeff Farley to sculpt the Tyrannosaurus rex. The first creature constructed for the film, Farley's three-foot T. rex animatronic puppet, served as the basis for an unused suit model and the full-scale prop.
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Mercury Passing Before the Sun (' or Mercurio (che) passa davanti al sole) is the title of a series of paintings by Italian Futurist painter Giacomo Balla, depicting the November 17, 1914 transit of Mercury across the face of the Sun. Balla, an amateur astronomer, observed the transit through a telescope likely outfitted with a smoked glass filter. His composition, according to daughter Elica Balla, depicts two intersecting views of the event, through the telescope and with the naked eye. Green and white triangles in the painting represent glare and other optical effects observed by Balla.
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Church of San Lorenzo in Turin. In the Church of San Lorenzo (1670–87) in Turin, Guarino Guarini, a Theatine monk and mathematician, used interlacing bands or ribs reminiscent of Islamic domes at Iznik or Cordoba, or the . The four years he spent in Paris may have influenced the emphasis on forced perspective and optical effects in his domes, in contrast to the more formalistic architectural design of Rome at that time. He used form, color, and light to give the illusion of greater height in his centralized domed churches.
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Silicon has a focusing Kerr nonlinearity, in that the refractive index increases with optical intensity. This effect is not especially strong in bulk silicon, but it can be greatly enhanced by using a silicon waveguide to concentrate light into a very small cross-sectional area. This allows nonlinear optical effects to be seen at low powers. The nonlinearity can be enhanced further by using a slot waveguide, in which the high refractive index of the silicon is used to confine light into a central region filled with a strongly nonlinear polymer.
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In another scene, the motorcycle Keaton was riding skidded and smashed into two cameras, knocking over Eddie Cline and throwing Keaton onto a nearby car. Sherlock Jr. was also Keaton's most complicated film for special optical effects and in-camera tricks. The film's most famous trick shot involves Keaton jumping into a small suitcase and disappearing. Keaton later said that it was an old vaudeville trick that his father had invented, and he later performed it on the Ed Sullivan Show in 1957, but never publicly revealed how he did it.
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Goldstein, p. 20, 249-52, 383, 388; Battcock, p. 165 Her Minimalist paintings used simple lines to explore the optical effects of color.Goldstein, p. 249; Kelley, p. 50 These were shown at the Tibor de Nagy Gallery in New York in the 1960s and her oil painting, William Clark, was included in the 1968 Museum of Modern Art contemporary art survey, “The Art of the Real” Kelley, p. 145 Johanson began making large-scale, Minimal sculpture in 1966 with William Rush, consisting of of painted steel tee-beams laid flat in a clearing.
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Male of Papilio ulysses ambiguus from New Britain, Papua New Guinea The Ulysses butterfly typically has a wingspan of about , but depending on subspecies has some variations in size (western subspecies largest). The upperside of the wings are an iridescent electric blue; the underside is a more subdued black and brown. The colours are produced by the microscopic structure of the scales, a phenomenon called structural colouration.P. Vukusic, J. R. Sambles, C. R. Lawrence, R. J. Wootton (2001) Sculpted- multilayer optical effects in two species of Papilio butterfly.
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The final screenplay integrated scenes from Howard's stories and from the Japanese films Seven Samurai (1954) and Kwaidan (1965). Filming took place in Spain over five months in the regions around Madrid and the province of Almería. The sets, designed by Ron Cobb, were based on Dark Age cultures and Frank Frazetta's paintings of Conan. Milius eschewed optical effects, preferring to realize his ideas with mechanical constructs and optical illusions. Schwarzenegger performed most of his own stunts, and two types of swords, costing $10,000 each, were forged for his character.
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Stefan Gierowski (born 21 May 1925 in Częstochowa) is a Polish painter and an avant garde artist of post-war Poland. For many years he was a professor at the Academy of Fine Arts in Warsaw where he earned numerous distinctions. He abandoned representational and realist painting midway through the 1950s and devoted himself entirely to abstract and optical effects. Acknowledging the concreteness of materials and colors, the artist, by his own admission, is mostly intrigued by the dual nature of light, how light is enclosed within a painting and yet somehow escapes it.
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Kantana is a hub for film post-production services in Asia. Kantana's film lab provides overlay subtitling, negative cutting, color analysis, digital intermediate processing, optical effects, sound transfer, film cleaning and film print copying. The facility has provided lab work on such films as Memoirs of a Geisha, Superman Returns, Casino Royale, Echo Planet and dozens of Thai feature films. The company's sound studio provides audio dubbing and mixing services for feature films, television shows and commercials, including recording, sound effects, foley, sound design and voice dubbing/ADR.
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As a result, LPC manufacturers have had to use more and more powerful lasers and very sophisticated scattered light detectors to keep pace. As line-width approaches 10 nm (a human hair is approximately 100,000 nm in diameter) LPC technology is becoming limited by secondary optical effects, and new particle measurement techniques will be required. Recently, one such novel analysis method named NDLS has successfully been brought into use at Electrum Laboratory (Royal Institute of Technology) in Stockholm, Sweden. NDLS is based on Dynamic Light Scattering (DLS) instrumentation.
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Animated sequences, representing certain action scenes, were used instead of regular live action photography. Examples include a futuristic VTOL-style jet representing the escape plane Hagen Arnold uses to escape from Sino-Asia. Another reuses a previous shot from the animated Jonny Quest TV series of an underwater elevator which terminates inside a submarine on the ocean floor. All animated and some live action sequences were further enhanced with either visual haze, wavy imagery, double exposures, reverse-negative images, monochromatic colors, and other optical effects available in the era.
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It was believed that adding nonlinearity to the linear optical network was sufficient to realize efficient quantum computation. However, to implement nonlinear optical effects is a difficult task. In 2000, Knill, Laflamme and Milburn proved that it is possible to create universal quantum computers solely with linear optical tools. Their work has become known as the "KLM scheme" or "KLM protocol", which uses linear optical elements, single photon sources and photon detectors as resources to construct a quantum computation scheme involving only ancilla resources, quantum teleportations and error corrections.
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At UCLA, Joshi has built a strong research group that has done pioneering work in the areas of laser-plasma instabilities, plasma-based light sources, laser fusion and basic plasma experiments. Joshi has made many fundamental contributions to the understanding of extremely nonlinear optical effects in plasmas. Most notable including his first experimental demonstration of four-wave mixing, stimulated Raman forward instability, resonant self-focusing, frequency upshifting by ionization fronts and nonlinear coupling between electron-plasma waves. His group is best known, however, for developing the field of plasma-based particle accelerators over the past three decades.
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The Terror from Beyond Space (also directed by Cahn) during a sequence in which one of the invaders is encased in plastic so it can be seen. According to author Randy Palmer, "To help camouflage the costume, optical effects were added to lighten the image and give it a distinct blur, so that it's very difficult to tell that the invader's true form matches that of (Blaisdell's) Martian Lizard Man". However, as Warren pointed out, by 1959 "no one cared about SF movies made on this budget level. They were just a product to get on the screen as soon as possible".
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Except for the plasmonic-optical effects, the effects of plasmonically modified recombination, transport and collection of photocarriers (electrons and holes), hereafter named plasmonic-electrical effects, have been proposed by Sha, etal. For boosting device performance, they conceived a general design rule, tailored to arbitrary electron to hole mobility ratio, to decide the transport paths of photocarriers. The design rule suggests that electron to hole transport length ratio should be balanced with electron to hole mobility ratio. In other words, the transport time of electrons and holes (from initial generation sites to corresponding electrodes) should be the same.
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The clicking sound was inspired by a mixture of the visual of the creature and his recollection of a dying horseshoe crab. R/Greenberg Associates created the film's optical effects, including the creature's ability to become invisible, its thermal vision point-of-view, its glowing blood, and the electric spark effects. The invisibility effect was achieved by having someone in a bright red suit (because it was the farthest opposite of the green of the jungle and the blue of the sky) the size of the creature. The take was then repeated without the actors using a 30% wider lens on the camera.
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Combined with a very intuitive sense of colour and design, the work often has more vitality than is immediately apparent. Squares tumble and circles flow across voids. Colour and movement come together and it is at this point in her work that St Ives perhaps exerts the least influence; rather, this approach more likely reflects an interest in the work of Josef Albers who was exciting UK artists at this time, in embracing new possibilities offered by the optical effects of a more formulaic abstraction. Nonetheless there is evidence to suggest that many images did stem from observations of the world around her.
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As the series is set in the then-present day, the special effects team, headed by Derek Meddings, were not required to design many futuristic- looking vehicles. Their main tasks were to build the Ford Model T, Gabriel, create miniature replicas of vehicles and settings common to the 1960s, and produce the optical effects for Matthew Harding's "minimisation". Three versions of Gabriel were built: one full-sized car and two models in differing scales. The car was fitted with belt-driven electric motors, an upholstered interior, a folding roof and a radio control mechanism so that it could be driven remotely.
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The dark head is acquired after a year. The delicate bluish red appearance resembling the bloom of a peach is produced by a combination of blue from the optical effects produced by the rami of the feather and a red pigment in the barbules. Some authors have considered the species to have two subspecies, the nominate from peninsular India (type locality restricted to Gingee) and the population from the foothills of the Himalayas as bengalensis on the basis of the colour of the head in the male which is more red and less blue. Newer works consider the species to be monotypic.
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Experimental laser systems benefit from the use of multiple laser beam profilers to characterize the pump beam, the output beam, and the beam shape at intermediate locations in the laser system, for example, after a Kerr-lens modelocker. Changes in the pump laser beam profile indicate the health of the pump laser, which laser modes are excited in the gain crystal, and also determine whether the laser is warmed up by locating the centroid of the beam relative to the breadboard. The output beam profile is often a strong function of pump power due to thermo- optical effects in the gain medium.
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Felice Farina is a Rome-based artist. He grew through the ferment of Roman avant-garde theatre, both as an actor and backstage, developing – at the same time – a strong interest in animation and special/optical effects for film making. Since 1980 he thus experimented filmmaking riding the transition from traditional to digital imaging, producing several works mixing analogical and numerical techniques in film and multivision. In the same years he started applying elements of technical and industrial design to the field of arts, focusing on the relation between art and science and collaborating on several projects of kinetic and scientific art.
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A circumhorizontal arc over Idaho, June 2006 Cirrus clouds, like cirrostratus clouds, can produce several optical effects, such as halos around the sun and moon. Halos are caused by interaction of the light with hexagonal ice crystals present in the clouds, which, depending on their shape and orientation, can result in a wide variety of white and colored rings, arcs and spots in the sky. Common halo varieties are the 22° halo, sun dogs, the circumzenithal arc and the circumhorizontal arc (also known as fire rainbows). Halos produced by cirrus clouds tend to be more pronounced and colorful than those caused by cirrostratus.
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Grafted Path, a pathway that connects the station to Northeast Century Boulevard, illustrates the grafting method that distinguished Oregon Nursery Company trees. East of the station is Grove of Perspective, made up of rows of trees that create optical effects when viewed from the moving train. On the platform is a piece entitled Branch Benches, located in the passenger shelters, which are custom-made benches designed by Nancy Merritt and bracketed by wisteria-covered arbors. On top of the systems building sits a hand-forged sculpture of a tree, designed by Stuart Keeler and Michael Machnic.
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Ucko, P, (1992). Subjectivity and the recording of Palaeolithic Cave Art, in T Shay & J Clottes (eds), The Limitations of Archaeological Knowledge, 141-180. Liege: University of Liege Press However, this ignores the well-known fact that prehistoric art figures commonly use accidents in the material's surface (bumps, holes, cracks...) as part of their shape, in many occasions drawing only the lines needed to complete the figure; a technique reinforced with the optical effects brought by flickering fire light. Dominique Baffler & Michel Girard, Le karst d'Arcy- sur-Cure (Yonne) et ses occupations Humaines paléolithiques, Quaternaire, vol.
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Bi12GeO20 has a cubic crystal structure (a = 1.01454 nm, z = 2, Pearson symbol cI66, space group I23 No. 197) and a density of 9.22 g/cm3. This bismuth germanate has high electro- optic coefficients (3.3 pm/V for Bi12GeO20), making it useful in nonlinear optics for building Pockels cells, and can also be used for photorefractive devices for ultraviolet range. The Bi12GeO20 crystals are piezoelectric, show strong electro-optical and acousto-optical effects, and find limited use in the field of crystal oscillators and surface acoustic wave devices.Lam, C.S. (2004) Integration of SAW and BAW Technologies for Oscillator Applications.
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The Magic Behind The Cape, 2001, Warner Home Video As detailed in the Superman: The Movie DVD special effects documentary 'The Magic Behind The Cape', presented by optical effects supervisor Roy Field, in the end, three techniques were used to achieve the flying effects. For landings and take-offs, wire flying riggings were devised and used. On location, these were suspended from tower cranes, whereas in the studio elaborate rigs were suspended from the studio ceilings. Some of the wire-flying work was quite audacious—the penultimate shot where Superman flies out of the prison yard, for example.
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With the emergence of digital film-making a distinction between special effects and visual effects has grown, with the latter referring to digital post-production while "special effects" referring to mechanical and optical effects. Mechanical effects (also called practical or physical effects) are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery, scale models, animatronics, pyrotechnics and atmospheric effects: creating physical wind, rain, fog, snow, clouds, making a car appear to drive by itself and blowing up a building, etc. Mechanical effects are also often incorporated into set design and makeup.
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Luis Molinari (1929 in Guayaquil, Ecuador - 1994 in Quito, Ecuador) (Luis Molinari-Flores) was a member of the VAN Group (Vanguardia Artística Nacional), a collective of informal constructivist artists founded by Enrique Tábara and Aníbal Villacís. Molinari began his artistic career focused on formalism, but soon discovered the works of Vasarely and was inspired by geometric forms and their rich optical effects. From 1951-1960, Molinari lived and painted in Buenos Aires, Argentina. In 1960, Molinari traveled to Paris, France, where he began work with the Group de Recherche d'Art Visuel. Molinari lived in Paris from 1960 to 1966.
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Inaugural recipients were David Nygren and Veljko Radeka. ;Frank Isakson Prize for Optical Effects in Solids :The Frank Isakson Prize was established in 1979 to recognize outstanding optical research that leads to breakthroughs in the condensed matter sciences. The prize is awarded in even-numbered years. ;Leo P. Kadanoff Prize ;Joseph F. Keithley Award For Advances in Measurement Science :The Joseph F. Keithley Award For Advances in Measurement Science recognizes physicists who have furthered the development of measurement techniques or equipment for the physics community that provides better measurements. Starting in 1998, the annual award consists of a $5,000 award and certificate.
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Typically, linear optical components such as directional couplers (which act as beamsplitters between waveguide modes), and phase shifters to form nested Mach–Zehnder interferometers are used to encode qubit in the spatial degree of freedom. That is, a single photon is in super position between two waveguides, where the zero and one state of the qubit correspond to the photon's presence in one or the other waveguide. These basic components are combined to produce more complex structures, such as entangling gates and reconfigurable quantum circuits. Reconfigurability is achieved by tuning the phase shifters, which leverage thermo- or electro-optical effects.
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" The more the film resolved in his mind's eye, the more he knew his director of photography would play a critical role in the scenes' execution. He found exactly what he needed right on the Warners lot in the person of staff cameraman Robert Burks, who would continue to work with Hitchcock, shooting every Hitchcock picture through to Marnie (1964), with the exception of Psycho. "Low-keyed, mild mannered", Burks was "a versatile risk-taker with a penchant for moody atmosphere. Burks was an exceptionally apt choice for what would prove to be Hitchcock's most Germanic film in years: the compositions dense, the lighting almost surreal, the optical effects demanding.
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Simple selective absorption and reflection by biological molecules (hemoglobin in the blood vessels, collagen in the vessel and stroma) is the most important element. Rayleigh scattering and Tyndall scattering, (which also happen in the sky) and diffraction also occur. Raman scattering, and constructive interference, as in the feathers of birds, do not contribute to the color of the human eye, but interference phenomena are important in the brilliantly colored iris pigment cells (iridophores) in many animals. Interference effects can occur at both molecular and light microscopic scales, and are often associated (in melanin-bearing cells) with quasi-crystalline formations which enhance the optical effects.
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Die Entwicklungsphasen proposes four major categories of art history analysis - spatial composition, treatment of mass and surface, treatment of optical effects, and the relation of design to social function - that Frankl continued to draw upon in his later work. Frankl held an assistant professorship at the Ludwig Maximilian University of Munich from 1920 to 1921, after which he became full professor at Halle University. It was here that Frankl initiated his lifelong interest in medieval architecture. His study, Die frühmittelalterliche und romanische Baukunst (1926) exemplifies his categorical distinctions between Romanesque and Gothic architecture - the former being "additive", "frontal", and "structural" while the latter is "partial", "diagonal", and "textural".
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Georges Seurat, Le Cirque, 1891, oil on canvas, 185 x 152 cm, Musée d'Orsay, Paris Divisionism, along with the Neo-Impressionism movement as a whole, found its beginnings in Georges Seurat's masterpiece, A Sunday Afternoon on the Island of La Grande Jatte. Seurat was classically trained in the École des Beaux-Arts, and, as such, his initial works reflected the Barbizon style. Studying under Pierre Puvis de Chavannes, Seurat intensely pursued interests in line and color, color theory, and optical effects, all of which formed the basis of Divisionism. In 1883, Seurat and some of his colleagues began exploring ways to express as much light as possible on the canvas.
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One of the biggest challenges facing Iwerks was the scene where a number of sparrows fly in through the chimney of the family home. Utilizing an optical printer, his superposition of a group of small birds flying inside an enclosed glass booth made it possible to multiply the birds in the living room. Most of the special effects work done at Disney was completed in the Process Lab on printer 10, which was made from Iwerk's own original design. At MGM, Bob Hoag was put in charge of the optical effects for the sequence where Melanie hides inside a telephone booth as it is attacked by the birds.
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Multiphoton intrapulse interference phase scan (MIIPS) is a method used in ultrashort laser technology that simultaneously measures (phase characterization), and compensates (phase correction) femtosecond laser pulses using an adaptive pulse shaper. When an ultrashort laser pulse reaches a duration of less than a few hundred femtosecond, it becomes critical to characterize its duration, its temporal intensity curve, or its electric field as a function of time. Classical photodetectors measuring the intensity of light are still too slow to allow for a direct measurement, even with the fastest photodiodes or streak cameras. Other means have been developed based on quasi instantaneous non linear optical effects such as autocorrelation, FROG, SPIDER, etc.
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Essilor's research department particularly concentrates on the combined progress of two complementary disciplines: optics and physiology, with particular recourse to virtual reality, a simulation tool that makes it possible to perceive and interact in 3D in a multi-sensory way. Researchers today use a virtual visualization system, equipped with algorithms and modeling Essilor developed to explore new optical solutions that can be tested directly on wearers. This simulator makes it possible to vary the properties of the lenses tested, study optical effects and immediately gauge wearer satisfaction. To do so, a magnetic sensor records a subject's head movements and images that show the eyes' exact viewpoint 120 times per second.
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The girl is set against a blank wall, probably because the artist sought to eliminate any external distractions from the central image. As with his The Astronomer (1668) and The Geographer (1669), that the artist likely undertook careful study before he executed the work; the art of lacemaking is portrayed closely and accurately.Wheelock, 114 Vermeer probably used a camera obscura while composing the work: many optical effects typical of photography can be seen, in particular the blurring of the foreground. By rendering areas of the canvas as out-of-focus, Vermeer is able to suggest depth of field in a manner unusual of Dutch Baroque painting of the era.
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Nordlander was elected to fellowship of the American Physical Society in 2002 "for pioneering contributions to the chemical physics of atom-surface interactions, including the development of a many-body theoretical description of charge transfer processes in atom-surface scattering." He is also a fellow of SPIE, the American Association for the Advancement of Science and the Optical Society. Nordlander was one of three recipients of the Willis E. Lamb Award in 2013, "for pioneering theoretical contributions in the field of plasmonics" alongside Shaul Mukame and Susanne Yelin. Nordlander, Naomi Halas, and Tony Heinz won the 2014 Frank Isakson Prize for Optical Effects in Solids awarded by the American Physical Society.
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Sherman has said that although he is proud of portions of the movie (particularly the creative use of mechanical "in camera" effects instead of the traditional optical effects often seen in movies of that genre), it is the least favorite of his films. After Poltergeist III, Sherman did a string of TV pilots and television films that he wrote, produced and/or directed, as well as writing and directing the thriller Lisa for MGM. Sherman went on to produce, direct, and write the pilot for the ABC TV series Missing Persons. After producing that series for its duration, he went on to co-executive produce the MGM/Showtime series Poltergeist: The Legacy.
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The viewer's line of sight is parallel and lies within the cones, so from the viewer's perspective the rays seem to be radiating from the antisolar point, within the viewer's shadow. As in similar antisolar optical effects (such as a glory or Heiligenschein), each observer will see an aureole effect radiating only from their own head’s shadow. Similarly, if a photographer holds their camera at arm's length, the aureole effect appearing in the picture will be seen radiating from the shadow of the camera, although the photographer would still see it around their head's shadow while taking the picture. This happens because the aureole effect always appears directly opposite the sun, centered at the antisolar point.
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Glen was also the editor of the film, employing a style similar to the one used by Hunt in the previous Bond films, with fast motion in the action scenes and exaggerated sound effects. The avalanche scenes were due to be filmed in co-operation with the Swiss army who annually used explosions to prevent snow build-up by causing avalanches, but the area chosen naturally avalanched just before filming. The final result was a combination of a man-made avalanche at an isolated Swiss location shot by the second unit, stock footage, and images created by the special effects crew with salt. The stuntmen were filmed later, added by optical effects.
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Front page of the Latin Opticae Thesaurus, which included Alhazen's Book of Optics, showing rainbows, the use of parabolic mirrors to set ships on fire, distorted images caused by refraction in water, and other optical effects. The Book of Optics (; or Perspectiva; ) is a seven-volume treatise on optics and other fields of study composed by the medieval Arab scholar Ibn al-Haytham, known in the West as Alhazen or Alhacen (965–c. 1040 AD). The Book of Optics presented experimentally founded arguments against the widely held extramission theory of vision (as held by Euclid in his Optica), and proposed the modern intromission theory, the now accepted model that vision takes place by light entering the eye.
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Butler's pre-career days were spent in the United States working for his father, William Butler, who worked in films as an optical effects director. He moved to England in the mid 1930s and landed his first independent job with the London Films working for the Hungarian-born producer/director Alexander Korda's chartbuster film Things to Come (1936). His first stint was to do films called The Man Who Could Work Miracles and Fire Over England. What worked wonders for him was the innovative idea of introducing "blue-screen travelling matte process" in special effects, which he developed with his colleagues and implemented it in the Academy Award- winning film The Thief of Bagdad in 1940.
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Perhaps influenced by Levantine sources, Sempere uses it as the main element to organize his creations harmoniously. His paintings are considered as two- dimensional surfaces where the artist plays with visual elements—the light, the colors and tones—using perceptual and optical effects to create suggestive forms in repeating geometric shapes. Sempere worked in many different media, from drawings, gouaches, oil paintings, and silk screen prints to sculptures of iron and stainless steel. Two of his works can be seen in the Museum of Outdoor Sculpture in Madrid, for which he created the rails, now painted blue, which suggest a curious moiré effect when walking beside them, and a mobile which he had loaned to the museum.
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The farmhouse with the iconic red barn is the George Washington Faulkner House, which was open to the public with an annual pumpkin patch attraction for many years.“Pumpkin Patch” Review of Faulkner Farm Because of the logistics of the special effects involved, however, a graveyard was erected on a soundstage in Los Angeles for the climactic finale. The post- production optical effects work was to have been supplied by Dreamquest Images but they were replaced by Perpetual Motion for budgetary reasons. The warlock possessed the ability to conjure bolts of ectoplasm which he hurled at unsuspecting foes, but this proved problematic and had to be toned down since it could only be achieved through animation.
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Erdmann & Block (1998): p. 61 The final full scene filmed was of the scene at the end of the episode where the Dauntless returns to Borg space and Arturis realises he is about to be assimilated, and after an hour of closeups for various scenes, the shoot ended at 12:50am on March 11.Erdmann & Block (1998): p. 75 Editing began later that day, with the first rough cut completed on March 18.Erdmann & Block (1998): p. 76 A version was screened on March 30 for Moore, Peter Lauritson, Dan Curry, J. P. Farrell and Dawn Velazquez to better inform the post-production optical effects which were under production at the time.Erdmann & Block (1998): p.
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NOAA MERIS image of large cyanobacterial bloom confirmed as M. aeruginosa Lake Albert in Wagga Wagga, Australia As the etymological derivation implies, Microcystis is characterized by small cells (of only a few micrometers diameter), which lack individual sheaths. Cells usually are organized into colonies (large colonies of which may be viewed with the naked eye) that begin in a spherical shape, but lose their coherence to become perforated or irregularly shaped over time in culture. Recent evidence suggests of the drivers of colony formation is disturbance / water column mixing. The protoplast is a light blue-green color, appearing dark or brown due to optical effects of gas-filled vesicles; this can be useful as a distinguishing characteristic when using light microscopy.
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In 1976, Boekelheide accepted an invitation to be an apprentice film editor on a film in post-production in Marin County, California, which turned out to be Star Wars (1977). Soon promoted to assistant editor, he found himself overseeing a wide variety of optical effects, from laser beams and animal chess pieces to lightsabers and optical scene transitions. His next film was Carroll Ballard’s The Black Stallion (1979), where he started as an assistant film editor, then was promoted to associate film editor, working alongside Robert Dalva through the rough-cut stage of the film. From fine cut through to the end of the project he edited sound, and was responsible for fashioning temp music for the film for each public work-in-progress screening.
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Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting.Robert Herbert, Neo-Impressionism, Solomon R. Guggenheim Foundation, New York, 1968, Library of Congress Card Catalogue Number: 68-16803 Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called Divisionism at the time (a term he preferred) but now known as Pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86.
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The theory postulates that light has always the same velocity in respect to the source. However de Sitter noted that emitter theory predicted several optical effects that were not seen in observations of binary stars in which the light from the two stars could be measured in a spectrometer. If emission theory were correct, the light from the stars should experience unusual fringe shifting due to the velocity of the stars being added to the speed of the light, but no such effect could be seen. It was later shown by J. G. Fox that the original de Sitter experiments were flawed due to extinction, but in 1977 Brecher observed X-rays from binary star systems with similar null results.
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On September 9, 1939, Selznick, his wife, Irene, investor John "Jock" Whitney, and film editor Hal Kern drove out to Riverside, California to preview the film at the Fox Theatre. The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes; it was later cut to under four hours for its proper release. A double bill of Hawaiian Nights and Beau Geste was playing, but after the first feature it was announced that the theater would be screening a preview; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed.
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An anti-reflection coated window, shown at a 45° and a 0° angle of incidence There are two separate causes of optical effects due to coatings, often called thick-film and thin-film effects. Thick-film effects arise because of the difference in the index of refraction between the layers above and below the coating (or film); in the simplest case, these three layers are the air, the coating, and the glass. Thick-film coatings do not depend on how thick the coating is, so long as the coating is much thicker than a wavelength of light. Thin-film effects arise when the thickness of the coating is approximately the same as a quarter or a half a wavelength of light.
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In late July 1989, the studio announced that the release date for Nightbreed was being pushed back from its original autumn 1989 date to early February 1990 instead. The press release cited "the complex demands of the film's ground-breaking post-production optical effects", but this also included McQuarrie's mural and matte paintings, and a week of additional shooting in late August that would see key parts of the narrative re-shot. Barker shot extra scenes over three days in Los Angeles in late 1989 which included additional scenes with David Cronenberg which expanded and clarified his character. Barker's original version ran two-and-a-half hours and Fox asked for almost an hour to be cut prompting editor Richard Marden to leave the project in protest.
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Special effects head Koichi Kawakita co-wrote a screenplay entitled Godzilla vs. Gigamoth in 1991, which would have pitted Mothra against Godzilla and an irradiated Mothra doppelganger called Gigamoth, though this was rejected early on and replaced with the final plotline that was seen in the film Godzilla vs. Mothra. Kawakita's depiction of Mothra's adult form was given the ability to fire energy beams, which were rendered via optical effects, and the pollen dust emitted from its wings were given a sparkling effect not seen in prior movies. During the character's transformation from larva to adult, it was initially planned to have Mothra's unfolding wings rendered through CGI, though this was scrapped on account of it not looking "sensitive" enough.
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Einstein wrote in a note in 1952: While Einstein's result is the same as Bradley's original equation except for an extra factor of \gamma, Bradley's result does not merely give the classical limit of the relativistic case, in the sense that it gives incorrect predictions even at low relative velocities. Bradley's explanation cannot account for situations such as the water telescope, nor for many other optical effects (such as interference) that might occur within the telescope. This is because in the Earth's frame it predicts that the direction of propagation of the light beam in the telescope is not normal to the wavefronts of the beam, in contradiction with Maxwell's theory of electromagnetism. It also does not preserve the speed of light c between frames.
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He also did extensive work in the study of optical propagation in a randomly inhomogeneous atmosphere and the consequent effects on optical system performance. In 1966 he joined the technical staff of the North American Aviation Science Center, Thousand Oaks, Calif., where he was engaged in a study of the microwave reflectivity and emissivity of rough surfaces. Fried served for 20 years on the U.S. Army Science Board (ASB). For many years, he served on the ASB’s standing committee on ballistic missile defense. In the 1960s, Fried published a series of papers on the optical effects of atmospheric turbulence that provided much of the analytic foundations for the development of adaptive optics systems, and that resulted in the definition of the quantity now known as Fried’s parameter.
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A CD-RW (CD). Amorphous chalcogenide materials form the basis of re-writable CD and DVD solid-state memory technology. Uses include infrared detectors, mouldable infrared optics such as lenses, and infrared optical fibers, with the main advantage being that these materials transmit across a wide range of the infrared electromagnetic spectrum. The physical properties of chalcogenide glasses (high refractive index, low phonon energy, high nonlinearity) also make them ideal for incorporation into lasers, planar optics, photonic integrated circuits, and other active devices especially if doped with rare-earth element ions. Some chalcogenide glasses exhibit several non-linear optical effects such as photon-induced refraction,Tanaka, K. and Shimakawa, K. (2009), Chalcogenide glasses in Japan: A review on photoinduced phenomena. Phys. Status Solidi B, 246: 1744–1757.
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Because these scenes were cut, Fox relied on stock footage from other films (and public domain footage of missile launches and nuclear explosions) for those particular shots. Because of this, and the last-minute decision to add "radioactive skies" in special effects, Damnation Alley was in post-production well past the intended release date of December, 1976 due to the difficult process of superimposing optical effects on the sky in about 300 shots (which was not planned for during filming, resulting in poor execution of the effect). This pushed the release date from December, 1976 to March, 1977, and then again to June, 1977. It was during this delay that 20th Century Fox released their "other" science fiction film for 1977, Star Wars.
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His natural curiosity and his fight against the provincial complex had led to his determination to know as much as possible about the ideas haunting him and made him look for several sources of information. Among these, with the effect of a master class, was Bruno Munari's Design e comunicatione visiva, whose first version Olos must have seen in Italy and whose fourth edition he had received from a friend in 1972. The book had been written as a practical guide with many illustrations, resulting from the lectures Munari, visiting professor at Harvard, had given at the Carpenter Center for the Visual Arts, in the spring of 1967. It had been already about computer graphics, modulation in four dimensions, Retrogardia, Avanguardia, optical effects, ambiguity, visual codes, impossible figures a.s.
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David and Arnold Picker were replaced by Arthur B. Krim and Robert Benjamin who hadn't read Tolkien's books. They were intrigued (Medavoy would later be keen to regroup with Boorman for Excalibur and again for Rings), but the script called for more expensive optical effects than was originally conceived (Boorman himself called it unmakeable) and the executives were "worried about how big an audience there might be for a fantasy film", thinking the genre mostly appealed to kids, and the project stalled. Nevertheless, Boorman had become invested in the script and tried shopping the project at other studios. Disney were interested, but ultimately passed because "they were too worried about the violence" and no other studio was interested in making a widescreen epic, which had since fallen out of favor.
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Since the pulse energy is equal to the average power divided by the repetition rate, this goal can sometimes be satisfied by lowering the rate of pulses so that more energy can be built up in between pulses. In laser ablation, for example, a small volume of material at the surface of a work piece can be evaporated if it is heated in a very short time, while supplying the energy gradually would allow for the heat to be absorbed into the bulk of the piece, never attaining a sufficiently high temperature at a particular point. Other applications rely on the peak pulse power (rather than the energy in the pulse), especially in order to obtain nonlinear optical effects. For a given pulse energy, this requires creating pulses of the shortest possible duration utilizing techniques such as Q-switching.
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Dichroic dyes are distributed by Yamamoto Chemicals. Displays are manufactured by Polytronix (US, TW, CN), DreamGlass Group (ES), Shenzhen Santech (CN), P.P.I. (US), Vitswell (CN), Transicoil (US), and by many others. Further reading : Printing Processes for the Vacuum Free Manufacture of Liquid Crystal Cells with Plastic Substrates M. Randler, E. Lueder, V. Frey, J. Brill, M. Muecke, University of Stuttgart, Labor fuer Bildschirmtechnik, published by the Society for Information Display, Digest of Technical Proceedings. Liquid Crystal Dispersions Liquid Crystals Series, V0L 1 Volume 1 of Series on Advances in Mathematics for Applied Sciences Series on liquid crystals Editor Paul S. Drzaic Publisher World Scientific, 1995 , 9789810217457 Liquid Crystal Dispersions Liquid Crystal Displays: Addressing Schemes and Electro-Optical Effects, by Ernst Lueder, Wiley, 2010, Chapter 21 and Chapter 22, Printing of Layers for LC Cells and at Google Books.
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Depth of field can be described as depending on just angle of view, subject distance, and entrance pupil diameter (as in von Rohr's method). As a result, smaller formats will have a deeper field than larger formats at the same f-number for the same distance of focus and same angle of view since a smaller format requires a shorter focal length (wider angle lens) to produce the same angle of view, and depth of field increases with shorter focal lengths. Therefore, reduced–depth-of-field effects will require smaller f-numbers (and thus potentially more difficult or complex optics) when using small-format cameras than when using larger-format cameras. Image sharpness is related to f/number through two different optical effects: aberration, due to imperfect lens design, and diffraction which is due to the wave nature of light.
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So by means of rough, spontaneous modeling that he would then cast in bronze, plaster, or wax. Rosso maintained a studio in Paris in which he created his own foundry, at a time when most sculptors sent their molds away to professional foundries to be cast. This freedom afforded Rosso the opportunity to manipulate the surfaces of his works in highly unorthodox ways, often retaining what others would have regarded as "casting errors" and elected not to clean away the plaster investment that would be left upon a bronze work after casting. To Rosso, these interventions were designed to create visual or optical effects that by which the materiality of sculpture, as central as it was to his practice, was subordinate the impression of the viewer: > Light being of the very essence of our existence, a work of art that is not > concerned with light has no right to exist.
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At least four episodes were filmed without a live studio audience: "The Bad Old Days," which featured an extended flashback sequence that relied on optical effects that would have been impractical to shoot with a live audience in the studio; "The Alan Brady Show Presents," which required elaborate set and costume changes; "Happy Birthday and Too Many More," which was filmed on November 26, 1963, only four days after President Kennedy's assassination; and "The Gunslinger", which was filmed on location. Reiner considered moving the production of the series to full color as early as season three, only to drop the idea when he was informed that it would add about $7,000 to the cost of each episode. On December 11, 2016, two episodes from the series were presented on CBS-TV colorized. Two more colorized episodes aired December 22, 2017, and an additional two colorized episodes aired on December 15, 2018.
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The design proposed by Kolbe did not make it into production due to the cost and complexity of it, but he was still pleased with the final result as it enabled some different shooting positions than the usual Voyager set.Erdmann & Block (1998): p. 48 The engineering set did provide some challenges; a health and safety brief was required for the actors on it as it was still raised off the ground. Furthermore, the results of the bubbles being sent through water tubes that represented part of the engine core created noise issues for the sound technicians; they asked for it to be turned off whenever it wasn't placed in shot.Erdmann & Block (1998): p. 55 One of the special effects went wrong, causing an actual explosion behind Jeri Ryan rather than simply creating sparks following the weapons fire which would be edited in during post-optical effects.
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In Sidney Lumet's 1974 film adaptation of Agatha Christie's Murder on the Orient Express, his lighting and use of diffusion capture the danger and romance of the train while graceful integration of camera movement and optical effects contributes to the realism of the set while controlling the claustrophobia of the setting. Unsworth's work reached its widest audience with Richard Donner's Superman in 1978. He was responsible for integrating the work of a who's-who of cinematographers and visual effects designers (including Zoran Perisic, an animation stand crew member from 2001, who extended Kubrick's front projection technique for Superman), with the plausibility and sense of grandeur befitting a (mostly) reverent take on a superhero. The style he developed alongside director Donner was essentially that of a science-fiction period film; the glamorous, often highly diffused cinematography observed a panoply of images of Americana, suggesting an epic timeframe for the film's scenes, a mythical America somewhere between the 1930s of the original comics and the 1970s.
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Ian Chilvers & John Glaves-Smith, A Dictionary of Modern and Contemporary Art. Oxford University Press, p. 291 that consisted of eleven opto-kinetic artists, like François Morellet, Julio Le Parc, Francisco Sobrino, , Yvaral, and Vera Molnár, who picked up on Victor Vasarely's concept that the sole artist was outdated and which, according to its 1963 manifesto, appealed to the direct participation of the public with an influence on its behavior, notably through the use of interactive labyrinths. GRAV was active in Paris from 1960 to 1968.Ian Chilvers & John Glaves-Smith, A Dictionary of Modern and Contemporary Art. Oxford University Press, p. 291 Their main aim was to merge the individual identities of the members into a collective and individually anonymous activity linked to the scientific and technological disciplines based around collective events called Labyrinths. Their ideals enticed them to investigate a wide spectrum of kinetic art and op art optical effects by using various types of artificial light and mechanical movement.
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It was known from some of the earlier experiments in ICF that when large laser systems amplified their beams beyond a certain point (typically around the gigawatt level), nonlinear optical effects would begin to appear due to the very intense nature of the light. The most serious effect among these was "Kerr lensing", where, because the beam is so intense, that during its passage through either air or glass the electric field of the light actually alters the index of refraction of the material and causes the beam at the most intense points to "self focus" down to filament like structures of extremely high intensity. When a beam collapses into extremely high intensity filaments like this, it can easily exceed the optical damage threshold of laser glass and other optics, severely damaging them by creating pits, cracks and grey tracks through the glass. These effects became so severe after just the first few amplification stages of early lasers, that it was seen as essentially impossible to exceed the gigawatt level for ICF lasers without destroying the laser itself after just a few shots.
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These latter works, dynamic collages that featured a tight weave of horizontal and vertical bands of multihued paper, show the artist experimenting with the spatial and optical effects of line and color. The idea of the module in Otero's practice first emerged in these works, in which he exhaustively explored a dynamic conception of space and pictorial structure typical of Op Art and Kinetic Art. Drawn back to Caracas, he was invited to participate in the integration of the visual arts into the architectural program of the Ciudad Universitaria de Caracas, a project directed and promoted by the architect Carlos Raúl Villanueva, and considered the most advanced effort in architecture and urbanism in the country. As part of a large group of Venezuelan and foreign artists (including Hans Arp, Alexander Calder, Fernand Léger, Victor Vasarely, Mateo Manaure, Francisco Narváez, and Jesús Rafael Soto) contributing to the project, Otero realized a series of large-scale public works, including murals, stained glass windows, and Policromías (Polychromies), facades in glass mosaic.
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This was denied too by many witnesses from the previous months. She also states that on the morning of October 13th, "the people of Alburitel were darkening bits of glass by exposing them to candle-smoke so that they might watch the Sun, with no harm to their eyes." Supernatural explanations, such as those by Father Pio Scatizzi, who argues that observers in Fátima could not be collectively deceived, or that the effect was not seen by observatories in distant places because of divine interventionDe Marchi 1952b:282 have been dismissed by critics who say those taking part in the event could certainly be deceived by their senses, or they could have experienced a localized, natural phenomenon. Others, such as professor of physics Auguste Meessen, suggest that optical effects created by the human eye can account for the reported phenomenon. Meessen presented his analysis of apparitions and "Miracles of the Sun" at the International Symposium "Science, Religion and Conscience" in 2003.Hallet, M. (2011) Les apparitions de la Vierge et la critique historique (new expanded edition)Apparitions and Miracles of the Sun.
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David Milne, "Takao Okawara Interview III", Kaiju Conversations (December 1995) For Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, director Shūsuke Kaneko had originally planned on using Anguirus as one of Godzilla's antagonists, but was pressured by Toho chairman Isao Matsuoka to use the more recognizable and profitable Mothra,Ed Godziszewski and Norman England, "Interview with Shusuke Kaneko", Japanese Giants #9 (June 2002) as the previous film in the franchise, Godzilla x Megaguirus, which featured an original and unfamiliar antagonist, was a box office and critical failure. For 2003's Godzilla: Tokyo S.O.S., special effects director Eiichi Asada sought to model Mothra directly on her appearance in the original 1961 film and to keep optical effects to a minimum. As with Godzilla, Mothra and King Ghidorah, the adult Mothra was given mobile legs, though they were made to constantly move, as it was felt that the prop stopped looking realistic once they became immobile. Creature designer Shinichi Wakasa had initially wanted Mothra's wings to have the angular design seen in Rebirth of Mothra II, though the prop was ultimately given the wing shape seen in the 1960s movies.
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Dunn produced the lightning-electrocution scene at the end of The Thing from Another World (1951) by scratching the lightning, frame-by-frame, on a strip of black film and then compositing the best of that footage with live action footage of the monster burning and shrinking (done by Dunn via pulling back the camera on a track while filming the monster image element against a black background), with those two elements then photographically combined with the unmoving image of the floor and walls that surround the creature in the final composite. During the brief 3-D craze and the more permanent shift to widescreen processes such as CinemaScope, Dunn pioneered the use of optical composites using these developments, inventing and refining new equipment to achieve it. Dunn worked for Desilu Productions, founded by Desi Arnaz and Lucille Ball, their TV production required the occasional use of optical effects, especially for increasingly elaborate title sequences, and Dunn's Film Effects of Hollywood was one of several optical houses that supplied them. From 1965, Dunn became one of four optical houses that supplied visual effects for the company's (later Paramount) Star Trek TV series.
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Background Noise: Perspectives on Sound Art (2006) New York and London: Continuum International Publishing, pp. 71 & 73-74 During a period of rapid growth in the early 60s, Zazeela not only joined Young's musical group Theatre of Eternal Music as vocalist (which also included, at various times photographer Billy Name, minimalist musician Terry Riley, musician John Cale, video artist and musician Tony Conrad, and poet and musician Angus MacLise), but also produced for them light shows (among the earliest in the form) which may have inspired Andy Warhol and were contemporaneous to the early work of better-known light-artist Dan Flavin. This work derived from her earlier - more expressionistic - calligraphic canvases and drawings, now taking on a psychedelic aspect by mostly using slides of still images and colored gels blended in exceedingly slow dissolves from one to the next creating optical effects associated with Op Art. In 1965, she titled this body of work the Ornamental Lightyears Tracery, and it was subsequently presented at the Museum of Modern Art, Albright-Knox Art Gallery, Fondation Maeght, Moderna Museet, The Metropolitan Museum of Art, Documenta 5, Haus der Kunst, MELA Foundation, and Dia Art Foundation; among other galleries and museum venues.
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