Imax Documentary Collection Pack 1080p Torrent
Apolinario Mukherjee
Jonathan Nolan worked on the script for four years.[9] To learn the scientific aspects, he studied relativity at the California Institute of Technology.[24] He was pessimistic about the Space Shuttle program ending and how NASA lacked financing for a human mission to Mars, drawing inspiration from science-fiction films with apocalyptic themes, such as WALL-E (2008) and Avatar (2009). Jeff Jensen of Entertainment Weekly said: "He set the story in a dystopian future ravaged by blight, but populated with hardy folk who refuse to bow to despair."[15] His brother Christopher had worked on other science fiction scripts but decided to take the Interstellar script and choose among the vast array of ideas presented by Jonathan and Thorne. He picked what he felt, as director, he could get "across to the audience and hopefully not lose them," before he merged it with a script he had worked on for years on his own.[16][25] Christopher kept in place Jonathan's conception of the first hour, which is set on a resource depleted Earth in the near future. The setting was inspired by the Dust Bowl that took place in the United States during the Great Depression in the 1930s.[9] He revised the rest of the script, where a team travels into space, instead.[9] After watching the 2012 documentary The Dust Bowl for inspiration, Christopher contacted the director, Ken Burns, and the producer, Dayton Duncan. They granted him permission to use some of their featured interviews in Interstellar.[26]
Describing Nolan as a "merchant of awe," Tim Robey of The Telegraph thought that Interstellar was "agonisingly" close to a masterpiece, highlighting the conceptual boldness and "deep-digging intelligence" of the film.[168] Todd McCarthy of The Hollywood Reporter wrote, "This grandly conceived and executed epic tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results, but is never less than engrossing, and sometimes more than that."[169] In his review for the Associated Press, Jake Coyle praised the film for its "big-screen grandeur," while finding some of the dialogue "clunky." He described it further as "an absurd endeavor" and "one of the most sublime movies of the decade."[170] Scott Mendelson of Forbes listed Interstellar as one of the most disappointing films of 2014, stating that the film "has a lack of flow, loss of momentum following the climax, clumsy sound mixing," and "thin characters" despite seeing the film twice in order to "give it a second chance." He wrote that Interstellar "ends up as a stripped-down and somewhat muted variation on any number of 'go into space to save the world' movies."[171] Matt Zoller Seitz of RogerEbert.com gave the film three-and-a-half out of four stars, saying that despite his usual quibbles regarding Nolan's excessive dialogue and its lack of a sense of composition, "[Interstellar] is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away ... At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a John Ford picture ... a movie that would rather try to be eight or nine things than just one."[172]
In 2011, IMAX announced a 4K 3D digital camera. The camera was developed alongside Vision Research and AbelCine, integrating two Phantom 65 engines. A prototype camera was used for the documentary Born to be Wild, in which approximately 10% of the finished film was shot with the system.[23] The company has said they have no intention of replacing the higher resolution film cameras with the new digital camera, but the latter can be used in scenes that require a lightweight or relatively small 3D camera. While IMAX has completed the production camera and has placed it in service on several films, they have no plans to produce an IMAX film solely with the new digital system. Transformers: Age of Extinction is the first feature film partially filmed with the Phantom 65 IMAX 3D camera.[24]
The dome system, which the San Diego Hall of Science called "Omnimax", uses films shot with a camera equipped with a fisheye lens that squeezes a highly-distorted anamorphic 180 field of view onto the 65 mm IMAX film. The lens is aligned below the center of the frame, and most of the bottom half of the circular field falls beyond the edge of the film. The part of the field that would fall below the edge of the dome is masked. When filming, the camera is aimed upward at an angle that matches the tilt of the dome. When projected through a matching fisheye lens onto a dome, the original panoramic view is recreated. Omnimax wraps 180 horizontally, 100 above the horizon and 22 below the horizon for a viewer at the center of the dome. Omnimax premiered in 1973, showing Voyage to the Outer Planets (produced by Graphic Films) and Garden Isle (by Roger Tilton Films) on a double bill. IMAX has since renamed the system "IMAX Dome", but some theaters (primarily those opened before the 2000s) continue to call it "Omnimax".
While the majority of museum installations focus on educational and documentary films, on special occasions entertainment films are also shown, such as Charlie and the Chocolate Factory at the Oregon Museum of Science and Industry. The largest screen in North America is at the Science World in Vancouver, British Columbia, which has a dome screen Template:Convert in size.
Several of the early films that had been produced in digital 3D for release in conventional theaters were also presented in IMAX 3D, including Avatar, Gravity and The Amazing Spider-Man. The first full-color IMAX 3D film was the 1986 short documentary Transitions, produced for Expo 86 in Vancouver.[61]
After The Lion King in 2003, no Hollywood studio engaged in re-releasing and restoring classic films through the IMAX DMR process until 2012 although ongoing conversion of new releases continued and continued to grow in number. James Cameron's Titanic underwent both 3D conversion and DMR conversion to 3D in 2012 as did Men in Black 3. In August 2012 IMAX and Paramount Pictures announced a one-week exclusive re-release of Raiders of the Lost Ark on September 7, 2012, to promote the release of the Blu-Ray collection. The film, before it underwent DMR, was already restored in a 4K digital intermediate with 7.1 surround sound from the original negative. The process for IMAX theaters, like with the complete restoration, was supervised by Steven Spielberg and sound designer Ben Burtt. "I didn't know if the 1981 print would stand up to a full IMAX transfer, so I came expecting a sort of grainy, muddy, and overly enlarged representation of the movie I had made years ago", Spielberg said. "I was blown away by the fact that it looked better than the movie I had made years ago."
Latino and Latina Collections at the University of North Texas documentthe diverse cultural history of Texas, Mexico and Latin America. Thismajor collection initiative seeks to develop rich primary sourcedocumentation of the artistic, political, economic and cultural historyof our university and our region.
The unique experiences of Latino and Latina communities in the AmericanSouth and Southwest remain under-represented in archival collections.This archive fulfills a need in historical and cultural studies,supporting academic programs in Mexican-American studies, history,anthropology, and a variety of other disciplines. Our users includeundergraduate students, faculty, visiting scholars, genealogists, localhistorians, community members, and documentary filmmakers.
A documentary on the history on mankind's attempts to reach high speeds. Starting with the invention of the bicycle, going on to sports cars, cars with jet engines, rocket-powered cars, attempts to break the sound barrier, and rocket-engine airplanes. Each achievement is documented by title card indicating the speed reached in miles per hour.
Titanica reveals the clearest motion pictures ever captured of the Titanic. Witness startling images of the long-lost ruin contrasted with never-before-seen 1912 archival photos showing her in all her splendor. Feel the passion of the explorers, each obsessed with a different aspect of the expedition. Relive the memories of two survivors--an exclusive interview with Frank Goldsmith and the poignant recollections of Eva Hart.
Fasten your seatbelt and get ready for the ride of your life! 'Super Speedway' puts you in the driver's seat of an Indy-type race car tearing up asphalt at speeds of over 230 miles per hour. Follow the excitement and drama of championship auto racing with narrator and celebrated actor Paul Newman, and join racing star Michael Andretti and his legendary father, Mario, as they craft a state-of-the-art race car. Then, follow the pulse-pounding action of Michael's high-speed quest for victory as he pushes the limits of the new car at the PPG CART World Series.Ever wonder "how did they do that?" 'The Making of Super Speedway' puts you behind the cameras letting you explore the movie magic of making a groundbreaking documentary in the largest film format in the world. A revolutionary chapter selection menu gives you the option of jumping scene by scene from in front of the cameras to behind the lense.So start your engines...'Super Speedway' is about to begin!
A short 9 minute documentary, part of the DREAMTiME project, a commercial high-definition television (HDTV) system was flown on the Space Shuttle. Most of the footage was shot during the STS-99 Mission on Space Shuttle Endeavour (OV-105)
This documentary goes to coral reefs of the Bahamas and the waters of the Kingdom of Tonga for a close encounter with the surviving tribes of the ocean: wild dolphins and belugas, the love of a Humpback mother for her newborn calf, the singing Humpback males, an orca the mighty King of the ocean, and the gentle manatee. Little-known aspects of these creatures capable of sophisticated communication and social interaction. Documents the life of these graceful, majestic yet endangered sea creatures.
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