Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object

The Porsche 964 is the company’s internal name for the Porsche 911 manufactured and sold between 1989 and 1994. Designed by Benjamin Dimson through January 1986, it featured significant styling revisions over previous 911 models, most prominently the more integrated bumpers. It was the first car to be offered with Porsche’s Tiptronic automatic transmission and all wheel drive as options.

The 964 was considered to be 85% new as compared to its predecessor, the Carrera 3.2. The first 964s available in 1989 were all wheel drive equipped “Carrera 4” models; Porsche added the rear wheel drive Carrera 2 variant to the range in 1990. Both variants were available as a coupéTarga or Cabriolet. The 964 Carrera was the last generation sold with the traditional removable Targa roof until the 2011 991 (993996, and 997 versions used instead a complex glass-roof “greenhouse” system). A new naturally aspirated engine called the M64 was used for 964 models, with a flat-6 displacement of 3.6 litres. Porsche substantially revised the suspension, replacing torsion bars with coil springs and shock absorbers.[4] Power steering and ABS brakes were added to the 911 for the first time; both were standard. The exterior bumpers and fog lamps became flush with the car for better aerodynamics. A new electric rear spoiler raised at speeds above 50 mph (80 km/h) and lowered down flush with the rear engine lid at lower speeds. A revised interior featured standard dual airbags beginning in late 1989 for all North American production 1990 MY cars. A new automatic climate control system provided improved heating and cooling. Revised instrumentation housed a large set of warning lights that were tied into the car’s central warning system, alerting the driver to a possible problem or malfunction.

2020年9月13日

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper

Actual texture is a combination of how the painting looks, and how it feels on being touched. It is associated both with the heavy buildup of paint, such as an impasto effect, or the addition of materials. Many artists around the world use different items and materials to create actual texture in their pieces, some create textured pieces to be touched and experienced, such as MD WeemsMD Weems uses homemade gesso to sculpt texture into her artwork. Her textured artwork is then painted and sealed so that viewers can physically touch the artwork. The ability to touch the texture evokes multiple senses through sight and touch and allows for a deeper emotional feel. .

2020年9月11日

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect 

Just Kidding is a Canadian live-action hidden camera reality series that first aired on February 3, 2013 on its original channel, Teletoon, and November 19, 2012 on Disney XD. It is not broadcast on Télétoon due to TVA‘s broadcasting rights of the series in French-Canadian territories. However, on September 1, 2015, the series moved over to La Chaîne Disney. The series has also been broadcast in the UK (CBBC), France, Australia, Poland, Brazil, Spain, Norway, and Sweden. Unlike the international versions, the Disney XD version is hosted by YouTube sensation Zach Fox, and the Disney XD stars Jason Earles and Tyrel Jackson Williams, and since 2014, is hosted by the Disney Channel star Calum Worthy. In 2014, Just Kidding (along with other live-action Teletoon shows, My Babysitter’s a Vampire and R.L. Stine’s The Haunting Hour) moved from Teletoon to YTV. The series was cancelled on November 30, 2014.

The show is loosely based on Just for Laughs: Gags (which is itself based on the American show Candid Camera[1]), with some inspiration from René Cardona‘s La risa en vacaciones series to boot, only this show’s premise focuses on kids pulling jokes. The series plays with no written dialogue, apart from the main theme which gives the impression that all the kids share the hosting position.

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object

mobile phonecellular phone, cell phonecellphone or hand phone, sometimes shortened to 

simply mobilecell or just phone, is a portable telephone that can make and receive calls over a radio frequency link while the user is moving within a telephone service area. The radio frequency link establishes a connection to the switching systems of a mobile phone operator, which provides access to the public switched telephone network (PSTN). Modern mobile telephone services use a cellular network architecture and, therefore, mobile telephones are called cellular telephones or cell phones in North America. In addition to telephony, digital mobile phones (2G) support a variety of other services, such as text messagingMMSemailInternet access, short-range wireless communications (infraredBluetooth), business applications, video games and digital photography. Mobile phones offering only those capabilities are known as feature phones; mobile phones which offer greatly advanced computing capabilities are referred to as smartphones.

The development of metal-oxide-semiconductor (MOS) large-scale integration (LSI) technology, information theory and cellular networking led to the development of affordable mobile communications.[1] The first handheld mobile phone was demonstrated by John F. Mitchell[2][3] and Martin Cooper of Motorola in 1973, using a handset weighing c. 2 kilograms (4.4 lbs).[4] In 1979, Nippon Telegraph and Telephone (NTT) launched the world’s first cellular network in Japan.[citation needed] In 1983, the DynaTAC 8000x was the first commercially available handheld mobile phone. From 1983 to 2014, worldwide mobile phone subscriptions grew to over seven billion; enough to provide one for every person on Earth.[5] In the first quarter of 2016, the top smartphone developers worldwide were SamsungApple and Huawei; smartphone sales represented 78 percent of total mobile phone sales.[6] For feature phones (slang“dumbphones”) as of 2016, the largest were Samsung, Nokia and Alcatel.[7]

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper

Some common examples[edit]

The most common aspect ratios used today in the presentation of films in cinemas are 1.85:1 and 2.39:1.[2] Two common videographic aspect ratios are 4:3 (1.3:1),[a] the universal video format of the 20th century, and 16:9 (1.7:1), universal for high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently.

In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently found in consumer cameras, 16:9.[3] Other aspect ratios, such as 5:3, 5:4, and 1:1 (square format), are used in photography as well, particularly in medium format and large format.

With television, DVD and Blu-ray Disc, converting formats of unequal ratios is achieved by enlarging the original image to fill the receiving format’s display area and cutting off any excess picture information (zooming and cropping), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format’s aspect ratio, by stretching (hence distorting) the image to fill the receiving format’s ratio, or by scaling by different factors in both directions, possibly scaling by a different factor in the center and at the edges (as in Wide Zoom mode).

Practical limitations[edit]

In motion picture formats, the physical size of the film area between the sprocket perforations determines the image’s size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 4:3, or 1.3:1.[4]

With a space designated for the standard optical soundtrack, and the frame size reduced to maintain an image that is wider than tall, this resulted in the Academy aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.375:1 aspect ratio.

Cinema terminology[edit]

The motion picture industry convention assigns a value of 1.0 to the image’s height; an anamorphic frame (since 1970, 2.39:1) is often incorrectly described (rounded) as 2.40:1 or 2.40 (“two-four-oh”). After 1952, a number of aspect ratios were experimented with for anamorphic productions, including 2.66:1 and 2.55:1.[5] A SMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1.[5] An update in 1970 (PH22.106-1971) changed the aspect ratio to 2.39:1 in order to make splices less noticeable.[5] This aspect ratio of 2.39:1 was confirmed by the most recent revision from August 1993 (SMPTE 195-1993).[5]

In American cinemas, the common projection ratios are 1.85:1 and 2.39:1. Some European countries have 1.6:1 as the wide screen standard. The “Academy ratio” of 1.375:1 was used for all cinema films in the sound era until 1953 (with the release of George Stevens’ Shane in 1.6:1). During that time, television, which had a similar aspect ratio of 1.3:1, became a perceived threat to movie studios. Hollywood responded by creating a large number of wide-screen formats: CinemaScope (up to 2.6:1), Todd-AO (2.20:1), and VistaVision (initially 1.50:1, now 1.6:1 to 2.00:1) to name just a few. The “flat” 1.85:1 aspect ratio was introduced in May 1953, and became one of the most common cinema projection standards in the U.S. and elsewhere.

The goal of these various lenses and aspect ratios was to capture as much of the frame as possible, onto as large an area of the film as possible, in order to fully utilize the film being used. Some of the aspect ratios were chosen to utilize smaller film sizes in order to save film costs while other aspect ratios were chosen to use larger film sizes in order to produce a wider higher resolution image. In either case the image was squeezed horizontally to fit the film’s frame size and avoid any unused film area.[6]

Movie camera systems[edit]

Development of various film camera systems must ultimately cater to the placement of the frame in relation to the lateral constraints of the perforations and the optical soundtrack area. One clever wide screen alternative, VistaVision, used standard 35 mm film running sideways through the camera gate, so that the sprocket holes were above and below frame, allowing a larger horizontal negative size per frame as only the vertical size was now restricted by the perforations. There were even a limited number of projectors constructed to also run the print-film horizontally. Generally, however, the 1.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard four-perforation 35 mm film) to show with the standard projectors available at theaters, and was then masked in the projector to the US standard of 1.85:1. The format was briefly revived by Lucasfilm in the late 1970s for special effects work that required larger negative size (due to image degradation from the optical printing steps necessary to make multi-layer composites). It went into obsolescence largely due to better cameras, lenses, and film stocks available to standard four-perforation formats, in addition to increased lab costs of making prints in comparison to more standard vertical processes. (The horizontal process was also adapted to 70 mm film by IMAX, which was first shown at the Osaka ’70 Worlds Fair.)

Super 16 mm film was frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself (as it is not projected but rather transferred to video), and aspect ratio similar to 16:9 (the native ratio of Super 16 mm is 15:9). It also can be blown up to 35 mm for theatrical release and therefore is sometimes used for feature films.

Current video standards[edit]

1:1 (Square)[edit]

Square displays are rarely used in devices[7][8] and monitors.[9] Nonetheless, video consumption on social apps has grown rapidly and led to the emergence of new video formats more suited to mobile devices that can be held in horizontal and vertical orientations. In that sense, square video was popularized by mobile apps such as Instagram and has since been supported by other major social platforms including Facebook and Twitter. It can fill nearly twice as much screen space compared to 16:9 format (when the device is held differently while viewing from how video was recorded).

4:3 standard[edit]

Main article: Fullscreen (aspect ratio)

4:3 (1.3:1) (generally read as Four-Three, Four-by-Three, or Four-to-Three) for standard television has been in use since the invention of moving picture cameras and many computer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era. It is also very close to the 1.375:1 Academy ratio, defined by the Academy of Motion Picture Arts and Sciences as a standard after the advent of optical sound-on-film. By having TV match this aspect ratio, movies originally photographed on 35 mm film could be satisfactorily viewed on TV in the early days of the medium (i.e. the 1940s and the 1950s).

With the adoption of high definition television, the majority of modern televisions are now produced with 16:9 displays instead. Apple’s iPad series of tablets, however, continue to use 4:3 displays (despite other Apple products typically using widescreen aspect ratios) to better suit use as an e-reader. But the 2018 iPad Pro 11 inch uses a 1.43:1 Aspect ratio.[10]

16:10 standard[edit]

Main article: 16:10 aspect ratio

16:10 (8:5) is an aspect ratio mostly used for computer displays and tablet computers. The width of the display is 1.6 times its height. This ratio is close to the golden ratio “

” which is approximately 1.618. LCD computer displays using the 16:10 ratio started to appear in the mass market from 2003. By 2008, 16:10 had become the most common aspect ratio for LCD monitors and laptop displays.[11] Since 2010, however, 16:9 has become the mainstream standard, driven by the 1080p standard for high definition television and lower manufacturing costs.[12][13]

In 2005–2008, 16:10 overtook 4:3 as the most sold aspect ratio for LCD monitors. At the time, 16:10 also had 90% of the notebook market and was the most commonly used aspect ratio for laptops.[12] However, 16:10 had a short reign as the most common aspect ratio. Around 2008–2010, there was a rapid shift by computer display manufacturers to the 16:9 aspect ratio and by 2011 16:10 had almost disappeared from new mass market products. According to Net Applications, by October 2012 the market share of 16:10 displays had dropped to less than 23 percent.[14]

16:9 standard[edit]

Main article: 16:9 aspect ratio

16:9 (1.7:1) (generally named as Sixteen-by-Nine, Sixteen-Nine, and Sixteen-to-Nine) is the international standard format of HDTV, non-HD digital television and analog widescreen television PALplus. Japan’s Hi-Vision originally started with a 5:3 (= 15:9) ratio but converted when the international standards group introduced a wider ratio of 5

13 to 3 (= 16:9). Many digital video cameras have the capability to record in 16:9 (= 42:32), and 16:9 is the only widescreen aspect ratio natively supported by the DVD standard. DVD producers can also choose to show even wider ratios such as 1.85:1 and 2.39:1[2] within the 16:9 DVD frame by hard matting or adding black bars within the image itself. However, it was used often in British TVs in the United Kingdom in the 1990s. It is now also being used in smartphones, laptops and many types of media.

1.85:1[edit]

When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.[15][16]

2:1[edit]

Main article: Univisium

The 2:1 aspect ratio was first used in the 1950s for the RKO Superscope format.[17][18]

Since 1998, cinematographer Vittorio Storaro has advocated for a format named “Univisium” that uses a 2:1 format.[19] It is designed to be a compromise between the cinema 2.39:1 aspect ratio and the HD-TV broadcast 16:9 ratio. Univisium has gained little traction in the theatrical film market, but has recently been used by Netflix and Amazon Video for productions such as House of Cards and Transparent, respectively. This aspect ratio is standard on the acquisition formats mandated by these content platforms and is not necessarily a creative choice.[20]

Moreover, some mobile devices, such as the LG G6LG V30Huawei Mate 10 ProGoogle Pixel 2 XLOnePlus 5T and Sony Xperia XZ3, are embracing the 2:1 format (advertised as 18:9), as well as the Samsung Galaxy S8Samsung Galaxy Note 8Samsung Galaxy S9 and Samsung Galaxy Note 9 with a slightly similar 18.5:9 format.[21][22] The Apple iPhone X also has a similar screen ratio of 19.5:9 (2.16:1).

2.35:1 and 2.39:1[edit]

Main articles: Anamorphic format and 21:9 aspect ratio

Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. When projected, image have an approximated 2.35:1 or 2.39:1 (often rounded to 2.4:1) aspect ratio. “21:9 aspect ratio” is actually 64:27 (= 43:33), or approximately 2.37:1, and is a near both cinematic movie aspect ratios.

Mobile devices are now starting to use the 21:9 format, such as the Sony Xperia 1.

2020年9月3日

Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object

Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object…

13.9.2020

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper…

11.9.2020

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect 

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect …

11.9.2020

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object…

11.9.2020

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper…

3.9.2020

 

psychotechnicはツイヒジカズマサの作品で構成されたウェブサイト。

対比地 一正  ツイヒジカズマサ  Kazumasa Tsuihiji

日本の美術家、コンテンポラリー・アーティスト、アートディレクター。群馬県太田市出身。
コンテンポラリーアートの分野に限り、アーティストネーム”Johnny Mnemonic”を使用、さらに表現方法のバリエーションに合わせてJMがイニシャルの作家名を多数使用する。
(Kazumasa Tsuihiji 対比地一正 ツイヒジカズマサ Johnny Mnemonic

CAREER

*1980 日本大学芸術学部在学中よりフリーランス・イラストレーターとしてのキャリアをスタートその後あらゆるメディアで視覚伝達の仕事に携わる
*1981 New York ・THE SOCIETY OF ILLUSTRATORS 23 INTERNATIONAL EXHIBITIONにおいてEXCELLENCE AWARD を受賞
*1983 SOLO EXHIBITION・電通ギャラリー
*1984 朝日広告賞・表現技術部門賞(イラストレーション)
*1985 朝日広告賞・不動産部門賞
*1986 SOLO EXHIBITION・(銀座アートギャラリー)
*1989 アートレップ・ファンデーション(New York City)に作家登録。海外での活動を開始
*1991 第8回ATP賞・グランプリ(フジテレビ・『カノッサの屈辱』美術担当)
*1994 SOLO EXHIBITION・SPACE YUI (ARTWORK BY KAZUMASA TSUIHIJI)
*1995 SOLO EXHIBITION・PINPOINT GALLERY (WINGS)
*1995 第12回ATP賞・グランプリ(フジテレビ・『料理の鉄人』美術担当)
*2000   SIEGRAPHオープニングムービーを制作
*2010  View of FIVE・Gallery art point
*2011  Abstraction・Gallery art point
*2011   Larotica 2011・Gallery art point
*2011   EXHIBITION EARTH By HEART・Gallery art point
*2012  EXHIBITION FIVE 3・Gallery art point
*2013  EXHIBITION FIVE 4・Gallery art point
*2014  EXHIBITION FIVE 5・Gallery art point
*2015  EXHIBITION FIVE 6・Gallery art point
*2016  EXHIBITION FIVE 7・Gallery art point
*2017  EXHIBITION FIVE 8・Gallery art point

ADITIONAL CAREER

*1984〜1995 日本大学芸術学部美術学科・非常勤講師
*1987〜1998 WALT DISNEY ENTERPRISE JAPAN・オーソライズドアーティスト(フィニッシング)
*1995〜2000 FICCE UOMO・オーソライズドデザイナー(グラフィック)
*2000〜2003 S2EDITION (New York City) 及び KS fine art (New York City)のプロデュースにより、全米アートショウに出品
*2006〜Johnny Mnemonicとしてコンテンポラリーアートの作品制作を開始する

URL

http://www.psychotechnic.net