Shutter (Thai ชัตเตอร์ กดติดวิญญาณ) ist ein thailändischer Horrorfilm aus dem Jahr und das Regiedebüt von Banjong Pisanthanakun und Parkpoom. Shutter – Sie sehen dich. Nach dem Klicken auf „Ausleihen“ haben Sie 14 Tage Zeit, um den Film zu starten, und 48 Stunden, um ihn fertig anzusehen. Komplette Handlung und Informationen zu Shutter - Sie sehen dich. Remake eines thailändischen Horrorfilms: Für das frisch getraute Ehepaar Jane und Ben.
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US-Fotograf Ben Shaw und seine Frau Jane sind auf Flitterwochen in Tokio. Dort haben sie einen seltsamen Unfall: Sie überfahren ein Mädchen, doch das Kind ist wenig später wie von Geisterhand verschwunden. Tage später tauchen auf Bens Bildern. Shutter – Sie sehen dich (Originaltitel: Shutter) ist ein US-amerikanischer Horror-Thriller aus dem Jahr von Regisseur Masayuki Ochiai und die. Shutter (Thai ชัตเตอร์ กดติดวิญญาณ) ist ein thailändischer Horrorfilm aus dem Jahr und das Regiedebüt von Banjong Pisanthanakun und Parkpoom. Shutter - Sie sehen dich. (96)1 Std. 29 MinX-Ray Der New Yorker Fotograf Ben und seine Frau Jane verbringen ihre Flitterwochen in Japan. albors.eu Während das thailändische Original ein spannender und atmosphärisch dichter Horrorfilm war, reiht sich das US-Fließbandremake routiniert in die. Komplette Handlung und Informationen zu Shutter - Sie sehen dich. Remake eines thailändischen Horrorfilms: Für das frisch getraute Ehepaar Jane und Ben. Shutter ein Film von Masayuki Ochiai mit Joshua Jackson, Rachael Taylor. Inhaltsangabe: Eine finanziell aussichtsreiche Anstellung lockt den.
Shutter - Sie sehen dich. (96)1 Std. 29 MinX-Ray Der New Yorker Fotograf Ben und seine Frau Jane verbringen ihre Flitterwochen in Japan. Shutter – Sie sehen dich. Nach dem Klicken auf „Ausleihen“ haben Sie 14 Tage Zeit, um den Film zu starten, und 48 Stunden, um ihn fertig anzusehen. Shutter - Sie sehen dich. Remake des thailändischen Originals. Diesmal spielt Joshua Jackson die Hauptrolle in einem Horrorfilm, der mit der Idee spielt.
The fast lens dwarfs the slow lens in weight and size! The ISO system was adopted in the s, with a few other systems predating it.
Fortunately, whilst DIN numbers are still printed on film canisters as part of the ISO system, these days they are largely ignored. ISO numbers are values given to the sensitivity of film to light.
The lower the number the slower the film reacts to light, the higher the number the faster the film reacts to light.
As such faster films higher ISO are useful in lower light situations and slower films lower ISO are more suitable for brighter-light photography.
Common film speeds are , , , , and ISO. Notice the pattern of doubling and halving again? That is to say, it will react to light that travels through the aperture and shutter half as fast.
A ISO film is more broadly suited to brighter day time shooting. It reacts to the light twice as fast. An ISO film is more suited to slightly lower light shooting circumstances.
A ISO film is most suitable for low light shooting. As a general rule the higher the ISO the film is, the more grainy it will be. The lower the less grainy.
The ISO of the film is fixed, the exposure index a film is shot at can be varied by the photographer. So when setting a camera or meter to an exposure index of , this is often abbreviated to EI Setting box speed is simply setting the exposure index of the meter or camera to the ISO of the film the film speed printed on the box.
For reasons largely beyond the scope of this article, some people like to overexpose or underexpose their film.
So, for example, setting the exposure index to when shooting a ISO film would be overexposing the film by one stop.
The meter thinks the film is rather than ISO so bases shutter and aperture readings accordingly, thus resulting in 1 stop overexposure of the film.
Likewise, setting the camera or meter to EI when shooting a ISO film is underexposing the film by 2 stops.
This, again, is a subject well beyond the scope of this article, I mention it only to highlight a common mistake in the way these words are used.
Push-processing is the process of over-developing the film to counteract the underexposure. In short, with some films, it is ok to over or underexpose your film a little bit without the need to push or pull process it respectively.
This is much more true of negative film than it is of reversal slide film which requires tighter control of exposure to get good results.
The fact that some films can be overexposed quite heavily actually provides a shortcut cheat to better results when shooting film — I wrote about this here.
Just beware, cheating that much can and does lead to inconsistency in your results which can make learning much of the content of this post a lot harder.
But, if you know how the settings work together, you have a much-increased chance of being able to achieve your creative goals.
The purpose of this system is to allow the three settings to have a reciprocal relationship. That is to say, if you increase your shutter speed by one stop, thus letting light in for half the amount of time, you can retain the same exposure by opening up your aperture by one stop, thus doubling the amount of light travelling through the open shutter.
Halve one, double the other. Double one, halve the other. Double one 5 times, you need to halve the other 5 times to retain the same exposure, and so on….
The decision about which particular combination of settings is right therefore simply comes down to your creative goals or other limitations — such as whether or not you have a tripod.
This might result in a more grainy photo, but with the camera handheld, you would be less likely to suffer from camera shake induced motion blur in the result.
The point being, sometimes selecting the right settings is about choosing the best compromise to achieve your creative goal!
Reciprocity failure is what happens to some most films given long very slow shutter speeds. Just a final quick note before I close.
To keep things simple I have been talking about what we call whole stops. This makes for some less memorable number-sequences, but the system is the same.
I vividly remember the joyous moment it all clicked for me. When it clicks for you, I guarantee it will seem so simple, you wondered what on earth seemed so complicated about it all!
The difference is, when you know it all — when you take the power of this knowledge into your own photography — it is you that will be able to make the creative decisions, and not your camera.
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Would like to write for 35mmc? Find out how here. Nice explanation Hamish, handy to have a resource to point people to when they ask of talking until their eyes glaze over leaving me to wonder where I lost them and why?
One advantage today with digital photography is the ability to try settings and rapidly see results with the feedback helping to re-enforce the understanding.
In fact just using a smart phone light meter would be a great way to grasp the concepts here and the interplay between the parameters.
Indeed — I nearly went down the road of recommending something like the lumu app. Beethoven often broke the rules, but you can bet your bottom dollar that he knew what they were before he broke them.
Incidentally, but certainly outside the scope here, reciprocity also raises its head with very fast shutter speeds or, more accurately, very short effective exposure times.
Thanks for the refresher course! Great for a newcomer for me to learn a great hobby of Photography. I chuckled a bit when you chickened-out of describing what f-stops of aperture really are, and why they have those numbers.
Since then the separation has broken down — not because I understand it, but because I now know no-one else does! I know this probably is obvious, but when I was starting the disconnect between what it seemed to my eye and what the camera was doing jarred a bit.
How much of the technical stuff do we actually need to know? To let in twice as much light, you need to double the area of the aperture which intuitively makes sense.
Of course the numbers on the right are the funny numbers we all know from the aperture dial. I think you are right, if you write something for a beginner you have to draw a line of how much informations you can give, otherwise you just give too much informations and who wants to learn is overwhelmed by seeing too much on too little time!
But still at school they focus on teaching us how to do some predetermined things that we easily forget too! Odd way to express the formula for the area of a circle.
Totally, and for me you get the level right. I suppose you could go further: not only do you not need to know it, the vast majority of photographers I would guess?
Good write up Hamish; funny that you should mention the Vito B as it was the same for me. My father gave me his when I was a teenager and that camera was what helped me understand the exposure triangle particularly the relationship between aperture and shutter speed.
As well as the camera I also got a light meter which presented a thing that commonly seems to be regarded as evil the Exposure Value EV.
I found this system incredibly helpful in understanding this relationship. With one EV number I found I could adjust these two factors aperture and shutter in tandem and maintain the same EV; this is what made the relationship clear to me back then.
I have the version without the light value system LVS lens — though I do think the system was a clever way to semi-automate, and can definitely see why it would help people learn!
Good stuff! Hopefully it helps your mate! The radius is half of thr diameter. If you have not yet learned how shutter speed, aperture, and ISO work together, 35mmc has an excellent explanation here.
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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A young photographer and his girlfriend discover mysterious shadows in their photographs after a tragic accident.
They soon learn that you can not escape your past. Directors: Banjong Pisanthanakun , Parkpoom Wongpoom. Available on Amazon.
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Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Ananda Everingham Tun Natthaweeranuch Thongmee Jane Achita Sikamana Natre Unnop Chanpaibool Tonn Titikarn Tongprasearth Jim Sivagorn Muttamara Meng Chachchaya Chalemphol Tonn's Wife Kachormsak Naruepatr Tee Apichart Chusakul Magazine Editor Panitan Mavichak Nuch Samruay Jaratjaroonpong