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      • Extra Resources >
        • ​1. Context for Research from 1971 forwards
        • ​2. Emerging technologies in industry prior to the research period (2007)
        • ​3. High Resolution Research 2007 - 2010
        • 4. Higher Dynamic Range Research 2010 - 2016
        • Test Page Anima Mundi T&C
        • 2016 Bristol International Festival of Cinematography Video Documentation >
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        • 2015 Bristol International Festival of Cinematography Video Documentation
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            • Professor Duncan Petrie on the structure of film training in the UK
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            • RGB-Z Depth Capture in real time
            • The Future of Display Technology
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              • 18 Seconds
              • BOUNCE
              • 7 seconds
              • 4 seconds
          • Verbatim Interviews
          • The Verbatim History of the Aesthetics and Technologies of Analogue Video
          • A History of Video Art
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  • News
    • Latest releases & exhibitions
  • SHOP
  • The Present & The Past
    • The Present and The Past
    • Vida 1976 - 1981
    • Transition 1981 - 1982
    • Early Broadcast work: Triple Vision & Videomakers 1982 - 1985
    • Triple Vision & Channel 4 1985 - 1992
    • A Trip Sideways to the BBC
    • Cinematography and Scripting 1992 - 2006
    • Academia and a developing Artistic Practice 2007 - 2016
    • 2015 & 2016 Cinefest Bristol International Festival of Cinematography
    • Sedition 2015 - Present >
      • Sedition 2015 - Larger
    • Makersplace and NFT's 2020 - 2022
    • 2025 and beyond?
    • Resurrection (for Jean Cocteau) >
      • RWA, FRPS, academic
    • Anecdotal Evidence
  • Artworks, Installations, Docs
    • Artworks, Documentaries, Installations
    • Longer Form Artworks
    • Installations 1992 - The Present >
      • Proposed Exhibition
    • Short works with a life of their own
    • Collaboration: Terry Flaxton Shawn Bell
    • Collaboration: Terry Flaxton Emily Burridge
    • Collaboration: Terry Flaxton Charlotte Humpston
    • Collaboration: Terry Flaxton Al Lethbridge
    • Documentaries 70s to 90s
    • Channel 4 - Moving Image Art Resources
    • Blink 2003 to 2012
    • Work on Racism 1976 - 2000
    • Short Dramas
    • Music Industry Work
    • Music and Sound 1969 - 1975
    • An Early History of Video Art in the UK
    • Theatre Work
    • The Cold War Game: The Soviet Union
  • Phd
    • Abstract >
      • Aims of the Critical Commentary
      • Introduction: practice as research as an investigative tool and methodology
      • Prologue: My Prior Development as an Industry Practitioner, Artist & Academic
    • Portfolio 1 Guide >
      • Critical Commentary on Portfolio 1
      • Portfolio 1 Complete list of outputs
    • Portfolio 2 Guide >
      • Critical Commentary on Portfolio 2
      • Portfolio 2 Complete list of outputs
    • Portfolio 3 Guide >
      • Critical Commentary on Portfolio 3
      • Portfolio 3 Complete list of outputs
    • Portfolio 4 Guide >
      • Critical Commentary on Portfolio 4
      • Portfolio 4 Complete list of outputs
    • Phd Conclusion >
      • Consolidated Bibliography of Works Referred to in the Critical Commentaries
      • Key Propositions from the Research Period
      • Complete List of Outputs
      • Extra Resources >
        • ​1. Context for Research from 1971 forwards
        • ​2. Emerging technologies in industry prior to the research period (2007)
        • ​3. High Resolution Research 2007 - 2010
        • 4. Higher Dynamic Range Research 2010 - 2016
        • Test Page Anima Mundi T&C
        • 2016 Bristol International Festival of Cinematography Video Documentation >
          • Cinefest 2016 Trailer
        • 2015 Bristol International Festival of Cinematography Video Documentation
        • The Verbatim History of Digital Cinematography >
          • The FIlms of Roberto Schaefer ASC, AIC at Encounters 2013 >
            • Professor Duncan Petrie on the structure of film training in the UK
            • An introduction to 'Resolution'
            • Projection Mapping
            • An Introduction to Motion Capture
            • Cinematographers Discuss Their Role
            • The Neurocinematics of FIlm: Hasson et al
            • RGB-Z Depth Capture in real time
            • The Future of Display Technology
            • CMIR ONE >
              • 18 Seconds
              • BOUNCE
              • 7 seconds
              • 4 seconds
          • Verbatim Interviews
          • The Verbatim History of the Aesthetics and Technologies of Analogue Video
          • A History of Video Art
          • Discussions

Email FROM gINA CZARNECKI, HDR LAB ARTIST COLLABORATOR

Dear Debbi [Lander - Encounters Festival Directo], Terry Sarah and all the others who helped with the HDR Lab, I'd like to thank you and Encounters for being given the opportunity to push the limitations of imaging technology in this environment and surrounded by such a great level of skill and energy.

The investigation into areas of dark and light detail that will be made possible when this screen technology becomes available to general consumers is incredible and I would love to continue exploring this through my current video project 'Ghost'  which combines possibilities of creating images in the shadows,  developmental smart-phone projection technologies and the ethics of being able to project anything, anywhere.  I am currently making Ghost as part of my new body of ACE funded works and for this I have employed evaluation throughout production process. My evaluator Bronac Ferran (copied in)  would like to explore the feedback from you/ HDR lab collaborators as part of my ACE evaluation and project development. Bronac is also a curator and interested in possibilities for future exhibition of this work even in its lab state and perhaps including neuroscientists who she knows who are interested in understanding the effect of projected moving images on the brain.

But writing mainly to say thank you for this opportunity and it was really great to revisit Bristol and to work with you all.  I used to go to the Animation festival about 20 years ago and met the brothers Quay,  and sat for endless hours watching ..---.heaven!  - really glad to see that Bristol's even better and the festival's still as vibrant and warm.

yours

Gina Czarnecki

[email protected]

www.ginaczarnecki.com

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