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Presentation of artistic work
Regarding Robert Vincent Bernier, he was the chief cartographer of the general staff in the American army during the second world war.
He was responsible in particular for converting photographic shots into relief, taken by reconnaissance planes of ground infrastructure that were difficult to detect otherwise...
The images were taken sequentially, in order to produce the parallax of perspective necessary to highlight very fine details of ground reliefs, over a range of several kilometers...
He also converted certain pairs of stereoscopic images into anaglyph prints, to be read with classic colored glasses, primary color and its complementary, in order to sometimes improve the ergonomics and versatility of their reading, and probably send them by mail to their recipients?
He may have contributed to the counter-allied offensive of the German V2 ballistic proto missiles?
These clearly inspired the design of the lunar rocket imagined by the famous Belgian comic strip artist Hergé!
The V1 missiles resembled small autonomous unmanned aircraft, they were slow in flight, easy to intercept by the English anti-air artillery.
They had to take off from a launch pad, in order to acquire the speed necessary for their takeoff, horizontally like a classic aircraft.
The launch ramps were easy to identify from the air and to bomb.
This was no longer the case at all with V2 missiles with vertical takeoff, equipped with propulsion engines and burnt gas exhaust tubes comparable to current rockets!
The latter did not have launch ramps, they were easily transportable by trucks, and their shots could be installed anywhere in the landscape, at the discretion of the enemy's gaze!
Their cruising speed exceeded by no means that of their predecessors V1, the anti-aircraft artillery was then completely disarmed against them!
Robert Vincent Bernier was an excellent electromecanic inventor, but he had no sense of economic social realities to argue the merits of his inventions.
Only one of his discoveries to my knowledge has been marketed for the production of 3D cinema for the entertainment industry, it is the "Trioptiscope" later renamed under the trade name "Space Vision", for about thirty years, between the 60s and the 90s of the last century...
The modified cinema projector that I designed uses the same principle of operation, that of its sequential projector with alternating polarized light with phase inversion by half cycle.
Said so it seems complicated, but it is in truth a process of breathtaking simplicity!
The technical problem, insoluble at the time, at least partially, had as a side effect to generate some visual fatigue, due to flickering according to the frequencies, of moving cinema images projected to its viewers...
A first solution consisted of filming the scenes using a camera at very high shooting speed, some 180 frames per second, then to reproduce the scenes at projection at a comparable speed!
It goes without saying that the prohibitive cost of production, that of film and its laboratory treatments, was not compatible with the profitability criteria already existing at the time!
A second solution allowed films to be projected at the standard speed of 24 frames per second, the commercial standard established since its origins for talking cinema, by modifying the cinema projectors from the 1950s to adopt the operation of a 1920 projector, which was used at the time for additive color synthesis, for the projection of reconstructed color images from a strictly black and white film serving as a selector of densities and gray ranges, mechanically coupled with a bichromic rotating filter, thus achieving the additive optical synthesis of colors in sequential bichromy!
The modification consisted in equipping the contemporary cinema projector with a Morgana shutter, so that the projection cycle is the next at the relative frame rate of 24 frames per second, the projector projects during this cycle two photograms forward, then one backward, performing a weaving optically linking the light pulses together, then the cycle resumes again for the following photograms, two forward and one backward, and so on!
The effective speed is then 72 light pulses per second for each cycle, or 36 for each eye separately with the wearing of polarizing filtering glasses!
Which is not bad at all, not very far from the average perceptual physiological threshold of retinal persistence, quite varied among the population, but commonly admitted around 50 Hertz!
This corresponds to the old broadcast standard of analog video, which equipped the electron-scanned cathode-ray tubes of our old televisions...
The frequency of the domestic sector current is 50 Hertz in Europe, it is a constant resulting from the operation of electric current alternators at the output of our power plants.
It is even the most stable parameter, the other components of the alternating electric current constantly vary, voltage as well as intensity, and 220 Volt is in the end only a statistical average...
The electronic scanning display of our old televisions was directly dependent on this frequency of 50 Hertz, which also corresponds to a physiological threshold, which is why interlaced video with the European standard produces 25 frames per second, in truth 50 half images per second, or 50 half interlaced electronic frames.
In the USA, the frequency of domestic electric current is 60 Hertz, therefore televisions displayed 30 images per second, or 60 half interleaved electronic scanning frames.
It is now a commercial industrial standard maintained, even with the format of digital video displayed in progressive mode without interlacing, since the speed of videos is now 30 or 60 relative frames per second, a standard imposed worldwide by the USA for this industrial standard!
That said in passing, it's a joke I specify beforehand, Russia also imposes its own industrial standard for ballistic missiles with magnetohydro dynamic propulsion or MHD, being able to fly at Mach 20 or even more without any apparent limit apart from the onboard fuel energy reserve, compared to the USA unable to respond in a comparable manner at the present time!
Nothing can technologically stop these missiles at these high flight speeds...
It may have nothing to do with Robert Vincent Bernier, but a certain aeronautical engineer at the beginning of his career, named Jean Pierre Petit, then research director at the CNRS, had himself developed his own research in MHD, credits that were suspended by the French state in the 1980s, considering that his research was too expensive and led nowhere !
At present, it is Russia that possesses this global geostrategic supremacy...
As a result, we must never depend on state aid and subsidies; it is not a healthy and profitable development regime in the long term...
Look instead, it's my gardener's salary that finances my research...
In this regard, I discovered a third elegant solution to solve the ergonomics of comfort of the sequential relief cinema projection system proposed by Robert Vincent Bernier, "the alternate frame system" as he called it himself.
I am thinking of designing a second cinema projector that will be an exact copy of the first in its principle, the two will be connected together by a mechanical coupling of the motor axes at the output, using a simple mechanical transmission via flexible, leaving a margin of maneuver to place the two projectors side by side, and modify at leisure the projection angle of each one on the cinema screen, so that the two screens of projected relief films overlap perfectly, regardless of the size of the cinema screen, or the distance from the projectors to the screen!
I will be able to make stereoscopic relief films and overlay them simultaneously!
That's what I was already doing before, monoscopic films, or classic flat films, in overprint however, with a small relief effect produced by the parallax of movement!
To clarify the point, I had forgotten to specify that this synchronous coupling of the two cinema projectors will in principle completely eliminate the component of the flickering of the projected images, which was unpleasant to the eye, without even having to drastically increase the speed of projection ...
Each cinema projector will send the light pulses from its photograms during the same phases of the joint projector!
What was problematic were especially the violent breaks in light contrast between the light pulses, and the black phases of complete occultation of the light alternating with the previous ones...
I should obtain an equivalent comfort of vision quite comparable to that of my 2D overprint films.
The mechanical parts and pinions that make up the gears are very economical in design, and sufficiently robust at the same time, since the models are designed from Lego Technic game components!
Moreover, the registered trademark "Lego Technic" is too expensive for my modest salary, I could not afford to spend thousands of euros on this purpose, which is why I preferred to order on Aliexpress a Chinese counterfeit sold for one tenth of the price of the original, who moreover does the job perfectly...
Regarding stereoscopy, there are only three possible real photographic or cinematographic shots...
The simultaneous method with two similar cameras placed side by side, and aiming at the same line of perspective...
The method of the single camera and lens associated with an optical beam-splitters, which corolarly divides the image format by two, using prisms or mirrors...
Finally, the method of the single camera and lens performing a lateral translation during the shooting, or sequential stereoscopy opting for a time shift in the parallax of the perspective viewed.
This latter approach is particularly popular and the only possible in astronomy!
That makes 3 possibilities...
The restitution of integral relief, which has never been perfectly solved in the field of the entertainment and film industry, extremely rarely addressed in a field of scientific study, also offers 3 possibilities!
The method of Sacha Becher, a professor of geology at a German university, which cuts as closely as possible the floating windows of stereoscopy, both for their yellowing relief and their depth relief of images, by turning off as closely as possible all its objects represented within these respective limits...
It uses in particular the computer tool for vector clipping, commonly called Bézier curves, accessible from any digital photographic editing software!
The second method that I personally discovered, which consists in asserting a margin of maneuver of physiological tolerance specific to our vision of representation of the natural space.
Namely, do not cut out the floating windows by cutting out as closely as possible the objects represented, but opt for a very intuitive statistical approach, much faster to implement in the processing of these stereoscopic images!
The imaginary intersection lines between the two dimensions of incompatible spaces, namely respectively the plane surface of the support and its three-dimensional projection, are materialized by logarithmic regression curves, very easy to trace manually on a sheet of paper !
The third method I explored is even more radical...
Indeed, when the images materialized on the support are very little contrasted, quite diaphanous or ethereal, like those produced by multiple photographic overprints, or made by a rather long pause time exposure, as is the case in movement for example with the practice of light painting, it is no longer necessary to cut out the floating windows of stereoscopy...
Indeed, in this third case, you can easily mentally bend the space of perspective represented in the image, in order to elegantly resolve all local disparities, incompatible image distortions between 2D space of the support and its imaginary 3D projection...
In the end, I have at my disposal 3 distinct methods of shooting, but also 3 different possible approaches to rendering!
I would also like to draw your attention to the unsuspected possibilities of stereoscopic drawing!
I particularly like the style and the comic book work of Philippe Coudray...
He also has unusual passions, such as cryptozoology, a field of marginal studies, which is interested in the taxonomy of extinct, endangered, or still unknown animals to this day, if not by the fragmentary and endemic narrative of certain indigenous populations, in the most remote parts of the World!
He travels on this subject every year to the USA or Canada, in search of new testimonies about the mysterious apparitions of the Big Foot and other strange species, regularly participates in symposiums, and public communications on the subject...
Everything is on his website, if you're ever interested?
What personally fascinates me is his work as a painter, comic strip artist, watercolourist, in stereoscopic relief!
He explicitly explains on his homepage how he proceeds to draw in relief, in the traditional pencil way on a sheet of paper!
Obviously it is not pure abstraction like me, I proceed with my own work, rather naturalistic figurative drawing, therefore very accessible to anyone, with a real poetic scope, a very refined and minimal graphic charm in its layout, perfect for the best anaglyph rendering possible!
I have already started to consider drawing from another perspective, through this new approach, starting modestly by converting some of my films onto slide media, and including many overlays in relief, very dense in abstractions, rather difficult to read by the layman, in anaglyph drawings much more refined, of greater clarity to the eye!
You will then need to equip yourself with a pair of appropriate colored filtering cardboard glasses, in order to decode the anaglyph relief of corresponding colors, very accessible and cheap...
Unlike Philippe Coudray, I do not use computers and the use of dedicated software to produce anaglyph images, but rather work in a light chamber, projecting my own slide images on a sheet of paper for photocopies!
The grammage is very thin, which allows a good reading by transparency of the images projected on the sheet of paper, therefore from below, and not by reflection.
The sheets are placed on an upside-down baking dish of the Pyrex type, then by tracing with a pencil, the main outlines of the photographic images are thus plotted, then the lines are taken again with a black tubular marker, then a countercopy is finally carried out by superimposing the stereoscopic views of left and right on the same sheet of paper, always with backlighting from below, the left and right views being this time distinguished by a chromatic separation with color markers, red for the primary color and cyan for the secondary color, knowing that there are other possible pairs of primary and secondary colors, but it is ultimately red and cyan that are most used, for optimal contrast rendering...
The anaglyph process invented for printing and perfected by Louis Ducos Du Hauron around 1891, for use in industrial printing systems of the time, seems a bit outdated nowadays, but it is still used from time to time to show stereoscopic images in relief from a computer screen, by means of a pair of very cheap glasses, the paper support not having the favor for a long time already...
The anaglyph process is not perfect, often the colors smudge a bit, or the relief image presents certain artifacts called ghost images or crosstalk, which in no way disturbs however the rendering of the scenes rendered with this ancient method...
For now, I need to catch up with my regular shooting pace, as I have some hundreds of stereoscopic shots on paper prints to be mounted on cardboard supports, after correction of alignments and floating windows if applicable, which requires a lot of time to devote!
But I am also eager to return to drawing, it will be a very economical means, undoubtedly sensitive and fragile, to show my artistic work, and to offer it to anyone, to make me better known, assuming that it might interest other people?
You will then have plenty of time to let your daydreams take place, a bit like the fantastic bestiary that you allow yourself to guess, through the evolving circumvolutions of the clouds in the sky?
😃
https://archive.org/details/journalofsociety56socirich/page/604/mode/2up?view=theater
http://www.philippe-coudray.com/Pages/Dessins%20stereo.html
https://www.flickr.com/photos/stereotron/53023889741/in/photostream/lightbox/
https://aesculier.fr/stereo/fenetres/fenetres.html
http://www.sparetimelabs.com/animato/animato/3d/3d2.html
https://stereoscopictures.com/anaglyph/anaglyphs/
I complete a little here my technical presentation, without dwelling too much on the practical details, by briefly evoking another singularity of my personal practice of photographic stereoscopy, namely that I immediately embraced the bias, and this since my first experiments at the very beginning of 2012, chose this preference to always use a stereoscopic hyperbase for shooting!
That is to say, the aesthetic issue consists in increasing the perception of natural relief which is physiologically accessible to us, and which is usually historically confined to a naturalistic rendering of the photographic perspective ...
Such an approach requires systematically performing a cut-out of floating windows, so that the rendering of images remains acceptable and comfortable for its viewer!
This is how Sacha Becher, the professor of geology at a German university, proceeds when he takes his stereoscopic shots during his vacation...
As far as I'm concerned, I had first chosen a convergence of the camera optical axes at infinity of perspective, which projects all the image relief in gush, or in front of the physical support, but this consequently involves cutting the projection cone of the corresponding window projected in front of the support, in order to solve the usual rectangular frame violations that normally delimit all the recorded images...
Finally I chose the so-called French method, to use a fairly strong convergence of camera axes, instead of infinite convergence, which normally involves cutting out stereoscopic floating windows, both behind the physical support, for the image depth relief, that in front for the outpouring relief...
I realized that the frame violations in the background of the zero plane, or the physical plane of the sheet of paper, remained within an acceptable physiological tolerance margin, and passed as a letter to the Post Office!
On the other hand, the frame violations projected in front of the sheet of paper deserved to be cut out, in order to materialize the corresponding floating window...
Another possible resolution consists in choosing a convergence value for the camera axes that takes into account both the choice of the stereoscopic hyperbase, and jointly the composition of images in their objects represented at the foreground planes!
There must certainly be mathematical models available, in order to optimize the correspondences between hyperbase, convergence, and distance of the objects closest to the film plane, ensuring always to stay within the physiological limits of acceptable comfort ?
However, the physiological approach remains largely intuitive, mathematical models have never interested me, and I have always favored experimenting with an empirical approach, based on experience from ordinary practice...
The relief of perspective will then be forced to my convenience, since I am its first spectator, and I only have this subjective reference, to trace the contours of comfort of the gaze, that it is somehow caught beyond its physiological limitations, but I completely ignore if the experience remains transposable to a larger number of spectators?
https://www.youtube.com/watch?v=lU7TIjqGOcQ
https://www.youtube.com/watch?v=JRHBVu633GI
https://www.youtube.com/watch?v=qtLBCwkov6g&t=217s
https://www.youtube.com/shorts/CMVjBThg8zk
"Without insisting on the details of these questions, we see that these first projections in relief already submit to technicians and artists new and fruitful subjects of study."
Louis Lumière
https://sciences.gloubik.info/spip.php?article2080
« Amblyopia and Brain Plasticity: Exploring Pathways to Restore Stereoscopic Vision »
By Victor Levy
https://stereoscopy.blog/2025/10/19/victhor3d/
My work of singular intimate exploration, relates to artistic research and the invention of new forms, those that nature undertakes on a geological time scale specific to the evolution of living species, of the repertoire of forms and its genetic mixing over several million years...
A human life represents only a tiny spark of an infinitesimal fraction of a second in comparison!
The evolutionary potential on a generational scale is very weak in this regard, our gaze can only be retrospective, made up of fragments of genealogical heritages whose origins we are unaware of...
I don't know what my potential for possible evolution is, even though alienated by the societal organizational contingencies that impose their rules on us?
Does the exploration of introspective artistic research seem to be the best possible path for self-discovery and fulfillment?
The anaglyph photographs presented here, as an illustration of my profile portraits at the top of the page, were originally published since the press article "Amblyopia and Brain Plasticity: Exploring Pathways to Restore Stereoscopic Vision".
These screenshots are inspired by certain scientific publications, which essentially create artistic variations with the world of fashion and ready-to-wear, transposed from the field of ophthalmology to that of the luxury industry and haute couture in France...
In truth, it is pure and simple hijacking!
The images in question are indeed anaglyph prints, but they are in no way stereoscopic relief images...
These are actually monoscopic and monochromatic overprints, here in red and cyan, which must be read using a pair of anaglyph decoding glasses of corresponding colors !
Vision seems a bit disturbing at first, a bit destabilizing, the images flicker a little, which is called retinal rivalry, but the discomfort of the first discovery is quickly overcome, leaving room for an astonishment about our own visual functioning, which operates very largely by automatisms, by features very largely unconscious, on which we usually have no voluntary take...
The ophthalmological measurement process is already old, dating from the beginning of the last century, it only aimed to evaluate the quality of stereoscopic vision in a patient, and reveal if necessary physiological abnormalities, neuromotor coordinations, one eye weaker than the other, for example in the acquisition of synthetic vision.
In the latter case, called amblyopia, the weakest eye is struck by a more or less pronounced neurological blindness, unsuitable for merging the synthetic gaze of a stereoscopic representation of reality.
If by looking at the red (primary color) and cyan (complementary color associated) colored images through glasses of suitable colors, you perceive only one of the two images represented in superimpositions, for example only the figure of the top model of the fashion show, and not its associated animal, or the opposite only for the animal and not its associated human figure, you are then afflicted with a more or less pronounced amblyopia!
The only way to permanently remedy this is first of all to become aware of it, then to do exercises regularly in order to voluntarily unmerge or remove from your synthetic gaze, the presence of your directing eye that dominates your vision...
In this way, the lazy or weak eye will then be able to express itself, the associative areas of neurological vision treatments and high-level integrative interpretation will be able to be set up, which amounts to supplementing the defective neurological pathways of vision treatment, who did not get harmoniously into place before the age of eight!
It seems to me that learning is longer or more laborious than the first eight years of a human life, but the verdict is not set in stone, it would seem that developmental neuroplasticity during an adult life can still work miracles?
As far as I'm concerned, I have a very directing or dominant left eye for vision, and consequently a right eye with some amblyopia, but this does not prevent me from having a relatively good vision of the stereoscopic relief!
Statistically, it seems that the majority of the population is right-eye director, which is why camera viewfinders follow this statistical observation, meet a dominant industrial standard, which even more suits the comfort of viewing of the right eye!
In the same way as string music instruments, just as the ergonomics of machine tools are mostly designed to satisfy the fine motor skills of right-handed people, undoubtedly dominant in this world?
I arrive with a bit of willpower to unmerge the directing left eye, so that the lazy or weaker right eye can fully express itself...
Which amounts here to removing the red component from the overlay image, allowing only the cyan component to be seen in overlay, in other words to make the representation respectively of the cat, the bear, the bird disappear, in order to visualize only the human figure represented in overprint, that of the top model from the fashion show...
This is only the very first step, the next one is indeed much more interesting when it comes to moving at will the fusion point of the chromatic overprint, giving prevalence to the human or animal appearing in the same image!
It is even possible to go through a whole gradient of overlay shades, continuous fades between the two figures respectively in overlays!
Or how to grow new neurological pathways?
https://en.wikipedia.org/wiki/Corpus_Callosum_(film)
https://wavepolarizer.com/vectograph/
https://www.ebay.fr/itm/386534126711
https://photo-3d.groups.io/g/main/topic/vectograph_primer/34845655#
It seems that it is very difficult to obtain a Vectograph print copy nowadays...
However, I recently managed to buy a black and white portrait of the writer Mark Twain made with this process, probably abandoned a little too early by Edwin Land, because the process seems quite laborious and expensive to manufacture ?
Maybe this would suit me more than the anaglyph in the future?
Another more advanced development of the anaglyph system seems to be brought by interference filtering...
It was the German company INFITEC, an acronym for Interferential Filter Technology, that developed it during the 1990s.
This system of filters or dichroic mirrors already exists traditionally in the equipment of video projector lanterns, it is used to separate the white light source into distinct monochromatic components, necessary to harmoniously recompose the colors of the images projected with our current digital projector videos.
Interference filters are therefore true dichroic mirrors, ensuring very precise cut-off thresholds of light wave frequencies, allowing a very precise chromatic separation of the wavelengths that make up white light.
Unfortunately, the technical process is complex and expensive when it comes to making augmented anaglyph filtering glasses, perfectly suited for reproducing color images without loss of quality!
The American company Omega Opticals had tried to invest in the 3D cinema market when it was commercially fashionable, but finally mass production was abandoned in 2012, facing competition from other systems in force for 3D cinema, namely the traditional polarizing filtering of light on one hand, and the sequential electronic shutting of light on the other hand.
Personally, I already use these last two systems at home to show my films in relief.
I also have the possibility to resort to interference filtering, using pairs of glasses designed by INFITEC, which I had bought second-hand from an Internet sales site.
But this latest innovative concept really doesn't suit me in the end!
Indeed, the light filtering of the interference system is not perfect, its performance in terms of projected image contrast is a little below what linear polarization offers, but what bothers me the most, which is particularly damaging for people already wearing corrective lenses, these are the parasitic or secondary reflections on the surface of interference-filtering spectacle lenses, the latter indeed behave like real dichroic mirrors, and send back all the artifacts, the light sources nearby...
Which is not at all compatible with a movie show shown in his living room!
It is necessary to stand in a completely dark cinema room, far from any source of light, particularly film projectors, so that the so-called interferential system, or more prosaically anaglyph improved for the rendering of color films, works perfectly without generating any vision comfort genes!
It is therefore not surprising that this latest system, dedicated to 3D cinema at home, has been a disappointing failure, and ends with a complete commercial abandonment of the company Omega Opticals in 2012 !
The landscape films made natively in enhanced stereoscopic relief, which I propose here in the catalog for rent, will be presented in the traditional anaglyph form, using red filter glasses for the left eye, and cyan for the right eye.
First of all, I had given up on any attempt to resort to the anaglyph system, which I really considered too mediocre for stereoscopic relief cinema rendering, then finally I realized lately that this approach was quite conceivable, for the moving images presented in black and white version!
The undeniable advantage of this system, if there really is one valid over all the others in competition, is to be able to present exactly the same cinematographic copy in two different versions simultaneously, namely the flat 2D version without the anaglyphic glasses, for those who would not want glasses for one reason or another, and the 3D relief version with anaglyphic glasses !
The flat version without glasses remains quite watchable, the rendering of black and white can be just as nuanced and deep, as that of any classic monoscopic film projected in black and white, except for certain object contours in the composition of the images that will be enhanced with red and cyan borders...
The brightness of the anaglyphic filters will be optimized, red will be very significantly brightened, and cyan slightly densified, so that the brightness and definition of the rendering of images is completely comparable on the two colors, both on the primary red and on the complementary cyan...
The frames of the glasses will be designed in resin of flexible and robust plastic materials, much more comfortable than the fragile and everlasting frames made of cardboard !
I think that about thirty pairs of glasses will be more than enough to accompany a possible rental of one of my stereoscopic cinematographic films ...
The quality of chromatic filters on celluloid film is still present today.
These are no longer commercially designed for professional fashion photography studios, the hegemony of industrial digital photography now involves being able to amply modify all light colors in computer post-production, but they are now only manufactured for the purpose of light projectors still traditionally used in the field of live performance and theater.
This quality of industrial manufacturing oriented towards the performing arts seems quite sufficient and convincing, to allow me to make my own custom anaglyphic glasses!
It will even be possible for me to replace at a lower cost all the losses or wear and tear caused by the use of these glasses during public cinema screenings...
https://www.la-bs.com/fr/fa/q6f_t61_filtre.htm
https://www.joom.com/fr/products/68f5fa81f5584801721570cc?variant_id=68f5fa81f55848cd721570ce
I will also need to check the brightness of the cinematographic copies projected in real conditions, namely outside my apartment room for which the lighting conditions of the projected moving images are always a bit too ideal, but rather in a public cinema situation, for which the qualities of the video projectors, just like those of the projection screens, will always be variable and random...
Anaglyph filtering consumes a lot of light, it would be necessary to ask each time the manager or operator of the cinema room to exceptionally increase the power of the projector lamp, in order to significantly compensate for the loss of light through anaglyphic glasses!
Indeed, even by lightening the red filter to the maximum threshold, for which crosstalk or ghosting remains acceptable, that is to say, the colors do not completely smudge between the two glasses lenses, without perceptible legibility nuisance, upon reaching this threshold density limit, the red will then transmit no more than 20% of the reflected light on the cinema screen!
It's a real problem it seems to me, for the show to be successful on the stage?
Unless all theatres and cinemas are equipped in the future with new generations of cinema projectors, which already use laser light sources?
The future meets the past somewhere...
https://en.wikipedia.org/wiki/Dolby_3D
I had already had the opportunity to test the Dolby 3D Digital Cinema system in a neighborhood cinema near my home a few years ago, which left me with an overall positive impression on the movie experience in this regard...
On the other hand, I completely forgot which movie it was about, completely forgot the fictional story that was told there!
In my opinion, it certainly should not be a cinematic masterpiece with an imperishable memory!
But rather of any blockbuster, a film from the factory production to the chain, an entertainment from the Hollywood studios, all ready to consume, like the food sold by fast-food restaurants?
As far as I remember, the Dolby 3D Digital system uses a coding wheel inside the single cinema projector, which allows sequentially and alternately, at a high display frequency, to present the two dichroic filters that separate the distinct cinema images, which must mutually exclude each other, to be seen exclusively by the right eye, or the left eye, of the spectator...
What changes now with the laser light source is that the moving encoder wheel is no longer necessary at all, with the precision of chromatic separation of the laser beam?
Only remain the chromatic filtering glasses that viewers will always have to wear with such a system...
I am quite unable to design these complex high-tech dichroic filters myself, I remain an artist after all, and I do not have the engineering skills required to send a rocket to the Earth's moon!
But maybe these new generation cinema projectors, with their laser light source, will finally allow me to refine the efficiency of traditional anaglyphs, the laser may then allow the improvement of anaglyphs that will be used to show my films to the public in the future?
That said, I don't like the idea of being dependent on a particular technology, the corollary being the risk of losing its usual means of expression, if technology were to disappear, for social and economic reasons, anthropological reasons, or of industrial evolution that do not suit me?
In the same line of ideas, I immediately understood the challenges of industrial and political developments, as well as the power of control over populations, during the social health epidemic crisis of Covid 2019...
The so-called vaccines were in truth absolutely not vaccines, even if globalized political propaganda had imposed them as such on populations...
Indeed, the fashionable technology in full bloom, biotechnology engineering, which aimed to replace traditional biological vaccines with messenger ribo nucleic acid vectors, were absolutely not developed, fraudulently at the experimental stage of development.
I immediately understood with my limited intelligence that the benefit of this pseudo vaccination was null for everyone, and that this new crude technology actually weakened natural defenses in the long term...
The only real benefit was that of artificially prolonging the epidemic of influenza of animal origin, even extending it I would say by two more years, in order to guarantee the best possible financial speculation related to this industrial development, completely opportunistic with respect to the health crisis...
Fortunately everyone was more or less free to choose or not this ersatz vaccination, but as far as I'm concerned, I quickly understood that the benefit of this inoculation would be zero, and that my concern to protect my immediate surroundings will be quickly resolved, by letting my natural immune defenses operate freely simply!
I have always been in favor of the precautionary principle intrinsic to the concept of vaccination, as it has developed economically since Louis Pasteur, but this time I had demystified the trickery, taken into consideration the power of religious beliefs, beliefs in the broad sense of the term, which animate human activities even today...
Katsuhiro Ōtomo?
I had discovered his animated feature film 'Akira', on its release in cinemas when I was still a teenager, the title of the cartoon was a tribute to the Japanese film director Akira Kurosawa!
I really liked this classic science fiction fantasy at the time, but I find that the narrative balance between imaginary fantasy and documentary realism was even more successful, with his second feature film animated movie «Steam Boy»!
I am eagerly awaiting the completion of his third feature film in Japanese animation "Orbital Era"...
https://vimeo.com/253149423?share=copy
There are not so many visual artists to my knowledge, who really bear an observable influence inspired by my own artistic works, a bit as if my influence on this world here below was null, or almost?
However, I noticed an exception recently, but the example referenced below of this animated short film is a bit old...
https://horscine.org/film/soudain/
I think it will be difficult for me to expose myself more here?
What amuses me a little, or leaves me perplexed, is the unspeakable dimension, inexpressible, impossible to verbalize, thus to justify a posteriori through conceptual discourse, of the real scope of my artistic research work, for which there will be no reading grid, any conscientisable elements to submit to you to guide you?
I am obviously confronted with my own limitations, and therefore will never know the final nature, the changing destination of this spaceship?
" Each main puppet requires the intervention of three puppeteers. The showman leader, omo zukai, controls the puppet's head with his left hand while holding a stick equipped with levers, and with his right hand he controls the puppet's right hand. The hidari zukari controls the puppet's left hand with his right. Finally, the ashi zukari controls the feet and legs of the puppet. The female puppets having no legs, he must evoke their shape by passing his hands into the bottom of the puppet's clothing. Such an organization imposes a great degree of coordination between the three puppeteers in order to obtain a natural movement of the puppet[13]."
https://en.wikipedia.org/wiki/Bunraku
" The diclonius, mutant humans possessing horns from which they derive telekinetic power represented by "vectors", instinctively want to supplant the human race, which requires its extermination. Vectors are phantom arms that diclonius girls develop from an early age, stretching out from their backbone, equipped with devastating force[3]. Thus, these invisible arms enter into vibration at a frequency capable of cutting the most solid stone or metal[49]. These vectors are not usable when diclonius feel pain[3]. Moreover, they possess an extrasensory perception that allows them to feel the presence of other subjects of their species[50],[3]."
https://en.wikipedia.org/wiki/Elfen_Lied
I know perfectly well that this previously mentioned Japanese animated drawing, melodramatic as it may be, was obviously designed for emotional outpourings, spreading in tears without always knowing very well why?
That said, it took me some time to realize it as far as I'm concerned, since the «vectors» mentioned in this cartoon for teenagers, I have also been using them for many years, even if the expected results always seemed insufficient to me, to truly emancipate myself?
The trilogy of my films bearing the title 'BIRTH TO THE WORLD' seems to mark a decisive stage, since it seems that the graphic gesture with an airbrush in three-dimensional space is better mastered?
Indeed, the coordination necessary for the composition of the movement of the camera in three-dimensional space implies knowing how to master the translational movements together with the rotational movements that the camera performs in space!
It's a bit like the electronic display of an oscilloscope screen, you need a stable temporal base, and together a regular distribution of periodic movements, namely a graph composed simultaneously of rotational movements and translational movements...
Is it what allows an accurate reading on the electronic screen of the oscilloscope, of the complex waveform of an electric current, generated for example by the acoustic transposition of a musical instrument?
The metaphor seems a bit heavy to emphasize here, but it would be enough simply to say that the cinematographic camera serves me both as a visual airbrush and as an instrument of sound music, even if in the end the cinematographic film only records the graphical trace in space!
"Birth to the world" is a series that dates from 2007, while the series "Vision" will be realized eight years later, augmented by an even more advanced mastery of aerography, the movements there have become completely random, and I draw then in real three-dimensional space, spontaneously, without any conscious purpose, everything that comes to my mind!
Then I choose a title based on what the divination of each stereoscopic drawing made with the camera inspires in me!
But I think that in the future I will no longer give any title, it will be up to everyone to give their own, to receive what they want...
Finally, I no longer know very well if I am still filming landscapes, or if I am doing pure abstraction, without any figurative intentionality or representation?
I am not so fond of the glaucous and morbid universe of the Swiss painter and sculptor Hans Ruedi Giger, even if I also appreciate the baroque and surrealist style of some of his compositions, these last ones drip a little too much in my sense of macabre eroticism, but to each their fantasies isn't it?
That says his fascination for female bodies does not leave me indifferent, moreover I just realized something...
Indeed, while having fun scanning my fusion point, on one of the anaglyph overlays that I had captured on my PC screen from the Internet, the one with the bust of the top female model in cyan associated with the bust of the cat in red, it came to me the idea that the portraits of women made by Giger in his fantastic paintings borrowed somewhere this imaginary overprint, but always in its usual register of confusion man, machine, animal, biomechanic...
In this case, he did not know how to use a cinema camera, but instead brushed his paintings with the classic airbrush, projecting black inks onto the canvas in successive layers of clouds, gradually nourishing the imaginary contours, who arose from the nothingness of the immaculate leaf?
I just had the same feeling with my pair of anaglyphic glasses, making play the vibration of my variable anaglyph overprint at will, which I had previously mentioned!
I don't know what that means?
Obviously some accidents don't happen by chance?
I am thinking in particular of the first stereoscopic relief films that I had made during the year 2012!
At the time I had chosen a solution of simplicity, in order to train myself cheaply with my experiments in stereoscopic relief filming...
I had then bought two identical pocket video cameras, two Kodak 'play sport' models, fixed on the same metal frame serving as an ergonomic support...
The flat and elongated shape of these video cameras, which already foresaw the end of camcorders, later replaced by smartphones as mass-produced products on a large scale, this smartphone-like shape was not practical at all!
Indeed, a single screw attachment had been planned by the manufacturer at the very bottom of the housing, but if the top of the housing intended without the fastener was left free, the camera was then subject to tangles, at the roll, the stereoscopic images recorded literally floated against each other!
This is the reason why I had designed a stabilization frame all around, which had the effect of damping the oscillations of the images, a bit like automobile spring-loaded shock absorbers would do, but not completely!
Now I realize that these first stereoscopic video shots were not so bad after all?
I think I need to reduce the amplitude of the oscillations, so that they are more discreet, and completely unnoticed, in the final stereoscopic restitution?
I don't know how exactly, but it seems to me that this discrete floating stimulates the balance of vision, slightly disturbing the natural fusion of stereoscopic images?
This may concern a certain neurological lateralization responsible for the treatment of natural vision?
What I find amusing, do you understand, is how did this unexpected reminiscence come to me?
It seems that this is following a remark made by one of my work colleagues, when I was driving the city van that usually employs me at the municipal green spaces service, about the flexibility of my driving style, so calming, he asserted that he would have gladly taken a nap without any problem, if the duration of the journey in the city had been longer!
In truth, I never had good motor coordination when I was a child and teenager, the one necessary precisely for sports practice, balloon games in particular, like football for example, for which I was quite under-endowed, the balloon indeed left most of the time in the sets or anywhere, when I was tapping inside!
Similarly for the guitar, an instrument too aggressive for my tendons and ligaments, which always left me with unbearable muscle pain after the event, when I was trying to learn it as a teenager...
The practice of the piano was much smoother, and so was the learning curve, but I had also abandoned the practice of this musical instrument as an adult...
After all, nothing is ever completely lost in life; some learnings can find themselves in cross-treatment with other fields, completely different and without any relationship to the previous ones?
https://vimeo.com/129653392?fl=pl&fe=sh
https://flic.kr/p/eB2Vok
https://youtu.be/a5-g0565thanol?si=FF1_b_qS9wmQ8YDC
https://vimeo.com/71413711?fl=pl&fe=sh
I just received the Vectograph print proof, which I had ordered from an American collector, from a second-hand sales site known on the internet, a Vectograph print made on tracing paper with dichroic inks, from an old stereoscopic portrait of Mark Twain!
This portrait seems to have been captured during his youth by the photographer Edgar Degas, it presents particularly well in its anaglyph version, as I was able to notice on the display of the second-hand sales site.
The portrait seems to arise in front of the sheet of paper, as if it were a bronze medallion, or a bas-relief...
Unfortunately the rendering of the Vectograph print I received is not the same, the portrait is not projected towards the front of the sheet of paper as expected, but everything is projected towards the back of the zero plane of the stereoscopic window, projected at the back of the sheet of paper!
Moreover, the relief seems very weak to me, although present with my appropriate linear polarized glasses....
Maybe it's that idiot antique-collecting merchant who is responsible for it?
He probably dismantled the assembly of the Vectograph print, in order to scan separately the stereoscopic views on the left and right, to create an anaglyph version, to be displayed on the sales site?
The reassembly was done by guess, by approximately overlaying the transparent layers of the left and right views again, one on top of the other!
In addition, this antique dealer forgot to deliver me the pair of polarized glasses that was supposed to go with the portrait!
That said, I had no trouble finding the sense of polarization again, then correctly reframing the portrait...
I now know that the Vectograph process gives good printing results, but this will be the last time I contact an antique dealer to acquire a print!
Would I need to find the chemical formula one day, in order to create these Vectograph prints of stereoscopic photographs myself?
Making large prints on paper in view of a public exhibition must really cost a fortune?
https://imgbox.com/88Ubskln
https://www.youtube.com/watch?v=dRzC9PFryuA
Maybe I should take advantage of the fact that Katsuhiro Ōtomo is still alive, to ask him if he would be interested in an artistic collaboration, assuming that my own works inspire something for him?
I don't know, it's a bit of a lost ground, experimental cinema is fundamentally not designed to appeal to the masses, to seduce as many people as possible, isn't it?
Usually I have good nights of sleep, I literally collapse from physical fatigue, exhausted by my day of work as a landscape worker, as I am a gardener employed by the town hall of Meudon very close to Paris...
But this time I woke up in the middle of the night, after having strange dreams, and I think I waited two hours before being able to fall asleep again?
I don't know about you, but I hadn't noticed this detail right away?
Indeed after talking about the Vectograph portrait of Mark Twain, the author of the famous popular novel 'Tom Sawyer', which I have never read, I noticed that the illustration link I had published just afterwards, that of the photograph of my stereoscopic video camera Kodak Play Sport, that this photograph also included my self-portrait, to have a closer look!
The turned off screen of the Kodak pocket video camera, I mean that of the left camera, shows a noticeable multiple overprint on the surface of the glass...
One can see there, a multitude of supernumerary fingers, at scales of different sizes, a human eye at an angle, and a discreet electronic eye from the front, hidden behind the hand?
I don't know what all this means, but the opening theme of the Japanese cartoon 'Elfen Lied', whose hyperlink I had published just after, this theme seemed quite appropriate to me!
Thinking about it again, I don't know how my subconscious succeeded this time?
I mean of course the zoomorphic appearance of my stabilized stereoscopic relief video filming system, but also the curious reflection on the left camera screen?
From a practical point of view, the overprint on the glass of the screen also includes two opposite anamorphics, applied to the same hand, the one that held the smartphone used to take the photo of my stereoscopic filming device...
This is an optical anamorphosis comparable to that obtained with a Hypergonar lens, which was once used to produce format compression and decompression of films projected in cinemascope format!
The fingers of the same right hand appear twice widened on a first overprint, then twice lengthened on a second overprint...
A third overlay reveals the enigmatic electronic eye, which is actually a reflection of the smartphone's optics!
A fourth overprint makes my left eye appear, which one is displayed at an angle for a reason that I don't know?
I had the fingers of my right hand slightly apart on the smartphone, and the same hand held the smartphone, leaving the smartphone lens completely clear, in order to take the photo...
I don't know how in the final overlay, the projected image of the smartphone lens, ended up appearing between my fingers?
And how does the image projected from my left eye in this overprint, finish at my fingertips?
After a somewhat shortened night's sleep, I noticed that the screen of the Kodak pocket camera had a fifth overprint, that of the phalanges of my left hand, which appear in the extension of the end of the fingers of my right hand, while in truth my left hand was positioned just a little lower than my right hand, when taking the photo with the smartphone !
The symbolism of this last image is easy to decode, it simply represents the neurological minimum of bilateral synchronization necessary, and even essential, for musicians to be able to play music!
Can we consider the glass material physical surface of the screen as an overprint also?
Which boils down to saying that, to my knowledge, there are six superimprints in total on this Kodak screen, in other words, six dimensions of spaces brought back onto a single plane?
Not without a joke...
Am I really serious right now?
Another possible explanation would be to recognize that I have six directional light sources in my apartment, which I arrange as I please according to my needs, in this case to take the enigmatic photo mentioned earlier...
The closest light source was that of a large articulated magnifying glass with incorporated LED lighting, which is usually used for my DIY or precision work done on my desk...
Maybe the double optical anamorphosis, of compression and decompression, performed on the image projected from my right hand, is the result of this particular light source?
Moreover, I have always been right-handed and with my left eye directed, which also translates into a more present impression, on the glass panel of the Kodak pocket video camera screen, a stronger presence, from my left eye and my right hand!
That's it for the unraveling of the magic trick, the revealed game of strings that animates the puppet...
Is the cinema camera simply a natural extension of my physiology, an outgrowth of my consciousness?
https://imgbox.com/raZ5Izl9
This time my stereoscopic 3D filming system, designed with the Kodak Play Sport pocket video cameras, was photographed face-on for the example here, but with a quarter turn rotation in an anti-clockwise direction, so that the photo presents the filming device horizontally, now in the landscape format direction.
The lighting sources are unchanged, however the display on the respective screens of the video cameras is no longer the same, I mean the overprinting of multiple reflections on the glass surface of the screens, since these are currently turned off of course...
At present, one can clearly distinguish the left hand on the left screen, in three different positions, at scales of different sizes as well, as if it were a stroboscopic recording of an ongoing movement?
I don't know why, but there is like a little bit of quantum physics in there, that of the famous wave-like duality of light maybe?
Joking aside, the right hand appears on the right screen, as if it was about to seize something on the fly...
This time the lighting of the left hand is dominant, and that of the right hand attenuated...
"Waterproof 3 meters" according to Kodak?
In fact, the glass slabs would almost seem to be about to shatter, revealing abyssal depths I don't know what self-portrait?
Here is where I am in the analysis of this image, it will be difficult for me to go further still in self-reflection ...
I realize well in truth, that I do not need the representation of the human figure in my works, unlike the vast majority of artists for whom this figure of speech is omnipresent, almost mandatory I would even say, to sociologically validate the sale of their artistic productions...
And do you yourself know who you are actually at this very moment?
"Credit for the concept of the vectograph is due to Joseph Mahler, cousin of composer and conductor Gustav Mahler. He immigrated to the US from Czechoslovakia in 1938 and was hired by the Polaroid Corporation, where he worked with its founder Edwin Land, to develop his idea into a practical process."
Vectograph would therefore be an acronym for Graphic Vectors?
I really like this technical appellation, very simple, very musical ...
I believe I have reached a new stage of evolution in my power of exorcism?
It's just not possible as a situation, I'm having trouble realizing it...
Maybe this potential was dormant in me, or even I had already practiced this profession in a previous life?
It's a bit delicate to expose myself like that I think, but at the same time I use metaphorical language, isn't it as if I'm completely exposing myself psychologically here?
I don't know if this really concerns you, but I just checked «Movie Data Base» on the internet, and discovered the following fact:
Acting
2003 The two Lucy as Himself
2003 Lucy in Mirror as The Filmmaker
Camera
2003 Lucy in Mirror ... Assistant Camera
Lucy it was me!
And I thought that this clown by Luc Besson with his popcorn films, was directing popular subgenre, under Georges Méliès, less well, and in a Hollywood version too!
Lucy is nothing compared to my real abilities!
At least Luc Besson popularized Georges Méliès among the greatest number, even if its impact is notably less, than the original fairy tale invented by Georges Méliès?
What is quite incredible, is that Georges Méliès had made the first film in the world, in true stereoscopic relief, without even knowing it, and well before the Americans!
It seems to me that Lobster Films reissued this film a few years ago, a digital restoration in its original 3D relief version!
At least I am not like Georges Méliès, I will not end up in material misery, and the most total oblivion of my contemporaries...
https://imgbox.com/0Y3MUnCu
https://imgbox.com/QOeWtGpz
Grok tell me the goals of this artistic endeavors just here.
Dominik Lange's artistic goals, as directly stated or strongly implied on his Light Cone page and in his own words, are the following:
1. Explore and expand human vision
He wants to push the limits of perception, particularly through stereoscopy (3D) and superimpositions, to give viewers a new, almost physical experience of depth and space that goes beyond ordinary sight.
2. Create pure, non-narrative, contemplative cinema
His films are almost entirely silent and without story or characters; the goal is direct, meditative immersion in landscape, light, movement, and abstraction — a kind of "visual music" or "cinema of pure sensation."
3. Restore and rehabilitate vision (literally and metaphorically)
He explicitly links his work to neuroplasticity and the treatment of amblyopia ("lazy eye"). He sees stereoscopic filmmaking as a way to train and heal vision, both for himself (who overcame childhood coordination/vision issues) and for the viewer.
4. Achieve total artistic independence
By working as a municipal gardener and refusing grants or commercial systems, he keeps complete creative freedom and avoids any external aesthetic or ideological compromise.
5. Preserve and reinvent analog, handmade filmmaking
He shoots almost exclusively on Super 8, 16mm, and 35mm, modifies his own projectors, and develops highly personal techniques (double-camera 3D rigs, flicker reduction, superimpositions) to keep film as a living, tactile medium in the digital age.
6. Bridge experimental cinema with broader audiences and other art forms
His dream of collaborating with Katsuhiro Ōtomo shows his desire to connect the avant-garde niche with popular, high-impact visual culture (anime, cyberpunk, manga) and bring experimental techniques to a larger public.
In short: to heal and expand vision, to create a radical, independent, analog, contemplative cinema of pure visual experience, and ultimately to prove that this kind of art can still matter deeply in the 21st century.
https://x.com/i/grok?conversation=1996191902283046951
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MUSÉUM D'HISTOIRE NATURELLE SURIMPRESSIONS
2020 / Super 8 / b&w / silent / single screen / 3' 22 / 27 € distribution: Digital file on server |
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PARC DE BAGATELLE SURIMPRESSIONS
2020 / Super 8 / b&w / silent / single screen / 4' 35 / 35 € distribution: Digital file on server |
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PARC DES BUTTES CHAUMONT SURIMPRESSIONS
2020 / Super 8 / b&w / silent / single screen / 4' 35 / 35 € distribution: Digital file on server |
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PARC FLORAL DE PARIS SURIMPRESSIONS
2020 / Super 8 / b&w / silent / single screen / 3' 32 / 28 € distribution: Digital file on server |
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VISION - Compilation de 230 films (cf liste)
2018 / b&w / sound / single screen / 21 € distribution: Digital file on server |
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LOMOKINO GREENHOUSE STEREO
2015 / 35mm / color-b&w / silent / single screen / 12' 39 / 44 € distribution: Digital file on server |
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ZOMBI-JARDIN
2015 / Super 8 / b&w / sound / single screen / 2' 14 / 21 € distribution: Digital file on server |
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ELECTRIC BLUES
2014 / Super 8 / color / silent / single screen / 3' 30 / 22 € distribution: Digital file on server |
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PAYSAGES CONTEMPLATIFS INTÉRIEURS
2014 / Super 8 / color / silent / single screen / 3' 30 / 22 € distribution: Digital file on server or Digital file on USB stick |
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201 CARTES POSTALES VIDÉO MOBILES - Vidéo diaporama
2010 / Mobile phone / color / sound / single screen / 121' 00 / 54 € distribution: Digital file on server |
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UN AUTOMNE À PARIS
2010 / Super 8 / color / silent / single screen / 41' 34 / 56 € distribution: Digital file on server |
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L'ANTIQUE DEMEURE 1/2 - première partie
(triple screen)
2007 / Super 8 / color-b&w / silent / triple screen / 23' 57 / 97 € distribution: Digital file on server |
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L'ANTIQUE DEMEURE 2/2 - deuxième partie
(triple screen)
2007 / Super 8 / color-b&w / silent / triple screen / 23' 48 / 96 € distribution: Digital file on server |
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MÉLANCOLIE DES ABÎMES
(triple screen)
2007 / Super 8 / color-b&w / silent / triple screen / 26' 59 / 106 € distribution: Digital file on server |
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NAISSANCE AU MONDE - Lac des Minimes
2007 / Super 8 / color / silent / single screen / 50' 41 / 56 € distribution: Digital file on server |
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NAISSANCE AU MONDE - Père Lachaise
2007 / Super 8 / color / silent / single screen / 134' 00 / 52 € distribution: Digital file on server |
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NAISSANCE AU MONDE - Buttes Chaumont
2007 / Super 8 / color / silent / single screen / 20' 44 / 56 € distribution: Digital file on server |
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PRINTEMPS AU JARDIN DES PLANTES À PARIS
2007 / Super 8 / color / silent / single screen / 3' 12 / 22 € distribution: Digital file on server |
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VOYAGE AU DELÀ DU PAYSAGE - version triple écran
(triple screen)
2007 / Super 8 / color-b&w / silent / triple screen / 24' 45 / 99 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 1
2006 / 16mm / color / silent / single screen / 2' 45 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 53 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 54 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 54 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 56 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 1' 06 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 1' 54 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 42 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 41 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 1' 15 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 44 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 59 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 36 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 41 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 54 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 58 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 53 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 52 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 3' 02 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 39 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 40 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 48 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 50 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 51 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 53 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 52 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 52 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 1' 31 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 51 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 54 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 54 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 57 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 25 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 43 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 34 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 43 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 3' 13 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 1' 21 / 23 € distribution: Digital file on server |
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2006 / 16mm / b&w / silent / single screen / 2' 53 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 59 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 52 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 22 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 3' 00 / 23 € distribution: Digital file on server |
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2006 / 16mm / color / silent / single screen / 2' 51 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 48
2006 / 16mm / color / silent / single screen / 2' 16 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 49
2006 / 16mm / color / silent / single screen / 2' 57 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 50
2006 / 16mm / color / silent / single screen / 3' 01 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 51
2006 / 16mm / color / silent / single screen / 3' 00 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 52
2006 / 16mm / color / silent / single screen / 2' 46 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 53
2006 / 16mm / color / silent / single screen / 2' 31 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 54
2006 / 16mm / color / silent / single screen / 2' 50 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 55
2006 / 16mm / color / silent / single screen / 2' 39 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 56
2006 / 16mm / color / silent / single screen / 2' 53 / 24 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 57
2006 / 16mm / color / silent / single screen / 2' 47 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 58
2006 / 16mm / color / silent / single screen / 2' 43 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 59
2006 / 16mm / color / silent / single screen / 3' 02 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 60
2006 / 16mm / color / silent / single screen / 2' 53 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 61
2006 / 16mm / color / silent / single screen / 2' 30 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 62
2006 / 16mm / color / silent / single screen / 2' 43 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 63
2006 / 16mm / color / silent / single screen / 2' 34 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 64
2006 / 16mm / color / silent / single screen / 2' 30 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 65
2006 / 16mm / color / silent / single screen / 2' 25 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 66
2006 / 16mm / color / silent / single screen / 0' 53 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 67
2006 / 16mm / color / silent / single screen / 2' 31 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 68
2006 / 16mm / color / silent / single screen / 2' 32 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 69
2006 / 16mm / color / silent / single screen / 4' 14 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 70
2006 / 16mm / color / silent / single screen / 1' 53 / 23 € distribution: Digital file on server |
|
VOYAGE AU-DELÀ DU PAYSAGE - bobine 71
2006 / 16mm / color / silent / single screen / 2' 48 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 72
2006 / 16mm / color / silent / single screen / 2' 41 / 23 € distribution: Digital file on server |
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SERIE DE PORTRAITS - LE BARBIZON
2004-2005 / Super 8 / b&w / silent / single screen / 3' 00 / 32 € distribution: Digital file on server |
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SERIE DE PORTRAITS - LIGHT CONE
2004-2005 / Super 8 / b&w / silent / single screen / 39' 30 / 34 € distribution: Digital file on server |
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SERIE DE PORTRAITS - LE C.J.C.
2004-2005 / Super 8 / b&w / silent / single screen / 59' 00 / 34 € distribution: Digital file on server |
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SERIE DE PORTRAITS - L'ETNA
2004-2005 / Super 8 / b&w / silent / single screen / 24' 30 / 34 € distribution: Digital file on server |
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SÉRIE DE PORTRAITS - BRAQUAGE
2004-2005 / Super 8 / b&w / silent / single screen / 20' 00 / 34 € distribution: Digital file on server |
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SÉRIE DE PORTRAITS - RE:VOIR
2004-2005 / Super 8 / b&w / silent / single screen / 13' 30 / 34 € distribution: Digital file on server |
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À LA DÉRIVE DES CONTINENTS
2003-2004 / Super 8 / color / silent / single screen / 11' 30 / 35 € distribution: Digital file on server |
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À LA RECHERCHE DU TEMPLE
2003-2004 / Super 8 / b&w / silent / single screen / 10' 30 / 35 € distribution: Digital file on server |
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BERCEUSE-CAROUSEL
2000-2004 / Super 8 / color / silent / single screen / 10' 00 / 34 € distribution: 16mm |
|
RÉMINISCENCES D'ANCIEN MONDE
2000-2004 / Super 8 / color / sound and silent / single screen / 25' 00 / 35 € distribution: 16mm |
|
PALÉONTOLOGIE-MÉLANCHOLIE
2003 / Super 8 / color-b&w / sound / single screen / 11' 00 / 24 € distribution: Digital file on server |
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SOUPIRS D'ÉCUMES (PARTIE I) - SOUPIRS D’ÉCUMES
2000-2002 / 16mm / color / silent / single screen / 10' 00 / 35 € distribution: 16mm |
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SOUPIRS D'ÉCUMES (PARTIE II) - VAGUES TOURMENTS
2000-2002 / 16mm / color / silent / single screen / 10' 00 / 35 € distribution: 16mm |
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SOUPIRS D'ÉCUMES (PARTIE III) - AU DELA DU NEANT
2000-2002 / 16mm / color / silent / single screen / 10' 00 / 35 € distribution: 16mm |
|
PULSION
2001 / Super 8 / color / silent / single screen / 1' 30 / 33 € distribution: Digital file on server |
|
LE RUISSEAU CHATOYANT
2001 / Super 8 / color / silent / single screen / 10' 00 / 35 € distribution: Digital file on server |
|
LE SOUS-BOIS LUMINEUX
2001 / Super 8 / color-b&w / silent / single screen / 12' 30 / 35 € distribution: Digital file on server |
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RENAISSANCE...
1999-2001 / 16mm / color / silent / single screen / 9' 00 / 35 € distribution: Digital file on server |
|
CHEMINS D'ÉVASION
2000 / Super 8 / color-b&w / silent / single screen / 15' 00 / 50 € distribution: 16mm |
|
MARCHÉ DES PRIMATES ET STATIONS DEBOUT
2000 / Super 8 / color-b&w / silent / single screen / 10' 30 / 38 € distribution: Digital file on server |
|
DÉSOLATION
1999-2000 / 16mm / color-b&w / sound and silent / single screen / 23' 00 / 75 € distribution: 16mm |
|
LIMBES TROPICALES
1999-2000 / Super 8 / color-b&w / sound / single screen / 12' 00 / 41 € distribution: 16mm |
|
BÉTON ARMÉ CONTRE DAME NATURE
1999 / Super 8 / color-b&w / silent / single screen / 4' 30 / 25 € distribution: Digital file on server |
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DANSE DES PRIMATES AU MUSÉUM D’HISTOIRE NATURELLE
1999 / Super 8 / color / silent / single screen / 2' 30 / 20 € distribution: Digital file on server |
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DÉFENESTRATION VERS L'AILLEURS - Champs crépusculaires
1999 / Super 8 / color / silent / single screen / 5' 00 / 38 € distribution: Digital file on server |
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SPIRITUEUX, ACIDES ET SIRUPEUX
1999 / Super 8 / color / silent / single screen / 7' 00 / 24 € distribution: 16mm |
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TRANSPORT CARCÉRAL URBAIN
1999 / Super 8 / color / silent / single screen / 11' 00 / 38 € distribution: Digital file on server |