Films X Trans
⚡ TOUTES LES INFORMATIONS CLIQUEZ ICI 👈🏻👈🏻👈🏻
Films X Trans
House of the Dragon star breaks down fight scene
Peloton Bikes and Gear Are Now Available on Amazon
'She-Hulk' Just Teased a Huge Hulk Solo Adventure
7 Tips for Growing a Glorious Beard
Take Up to $400 on These Top-rated Recovery Boots
Advertisement - Continue Reading Below
Vanessa Etienne
Vanessa Etienne is the Editorial Fellow at Men’s Health.
Advertisement - Continue Reading Below
House of the Dragon: Who Is Jason Lanister?
The 'House of the Dragon' Intro Has a Huge Spoiler
Advertisement - Continue Reading Below
House of the Dragon loses Game of Thrones director
Here's What 'The Rings of Power' Is Based On
'The Rings of Power' Might Be Your New Binge
'She-Hulk' Gave Us a Team of Supervillain Bozos
Official Release Schedule for House of the Dragon
Megan Thee Stallion Just Made it Into the MCU
‘She-Hulk’ Is Marvel’s First True Comedy
'House of the Dragon' Told Rhaenyras Not to Meet
Our product picks are editor-tested, expert-approved. We may earn a commission through links on our site.
From Paris Is Burning to Disclosure .
The transgender community has gone through a history of being underrepresented on-screen until the past several years. Today, there’s a variety of trans stories that add to a catalog of movies that have evidently improved over time. With the success of television shows like Pose , that shows unique and exciting stories of trans people, and Euphoria , that includes a coming-of-age story featuring a transgender character, there is growth in positive and accurate representation.
"I think for a very long time, the ways in which trans people have been represented on-screen have suggested that we're not real, have suggested that we're mentally ill, that we don't exist," Laverne Cox said in the groundbreaking documentary Disclosure . "And yet here I am. Yet here we are, and we've always been here. I never thought I'd live in a world where trans people would be celebrated. On or off the screen. Now, look how far we’ve come."
Yes, some of these movies may be controversial, occasionally having cisgender actors portray transgender characters, and they surely don’t represent a collective transgender perspective. But they all celebrate the community while also recognizing the different struggles they face day-to-day and serve as proof of the progression society has made toward inclusion. So, here are a few movies that illustrate some amazing transgender stories and are worth the watch.
Ricky (Michelle Hendley), a transgender woman and small-town barista, dreams of a bigger life as a fashion designer in New York. With her supportive best friend Robby (Michael Welch) by her side, she also hopes to experience her first love when she meets Francesca (Alexandra Turshen). The two develop a close relationship, despite Francesca’s Marine fiancé. Boy Meets Girl leaves viewers with a refreshingly happy ending.
Loosely based on the story of Danish painters Lili Elbe and Gerda Wegener, this film follows Lili (Eddie Redmayne) during her transition into her female identity, becoming one of the first people to attempt a sex reassignment surgery in 1930. The Oscar-nominated film The Danish Girl , although met with some controversy , is a true depiction of a woman’s journey to be her true self during a time when transgender surgery was fairly new.
This Netflix documentary takes viewers to New York in the '80s to experience drag ballroom culture. Following Black and Hispanic gay men, as well as transgender women and drag queens competing in vogue-dancing battles, the movie opens up the discussion of homophobia, transphobia, and racism the community faced on a daily basis. Paris Is Burning is also the inspiration for today’s hit TV series, Pose .
This modern age comedy follows two transgender sex workers and their crazy adventure for revenge. When Sin-Dee (Kitana Kiki Rodriguez) is released from jail, she finds out from her best friend (Mya Taylor) that her boyfriend has cheated on her with a cisgender woman, leading her on a dramatic and chaotic hunt to track down those who wronged her. Best part? The movie was shot entirely on an iPhone 5S.
Based on the true story of Brandon Teena, a young transgender man who was sexually abused and murdered in 1993 due to his gender identity, this movie is painful and heart-breaking. The film follows Teena (Hilary Swank) and his new romance with a cisgender girl (Chloë Sevigny) while living in a primarily non-accepting community in Nebraska.
In an eye-opening documentary, Disclosure takes a deep look at transgender depictions in Hollywood over the years. Sam Feder, Amy Scholder, and Laverne Cox analyze the history of on-screen misrepresentation of the trans community, its impact on American culture, and the evolving conversation surrounding media and transgender people, showcasing a variety of true trans stories in the process.
The Golden Globe-winning film gives an often rare but beautiful depiction of a trans character beginning their transition at a young age. Ma Vie En Rose follows a seven-year-old boy, Ludovic (Georges Du Fresne), who now wants to be seen as a girl, despite disapproval from family and the community. Rather than amplifying larger themes of homophobia and transphobia, the movie focuses simply on a child navigating their gender identity.
Composed of seven short stories, this indie sci-fi movie, directed by non-binary filmmaker Neelu Bhuman, follows supernatural trans and queer characters from different cultures as they use their newly unlocked magical powers to “protect, love, teach, fight and thrive.”
Transamerica follows the story of a transgender woman, Bree Osborne (Felicity Huffman), in the midst of the final stages of her transition. Her life changes and her plans are halted when she learns she fathered a son 17 years ago. She now has to face telling him who she really is before fully letting go of her masculinity as they connect with each other.
A new army recruit Barry is assigned in Tennessee and befriends Justin, a struggling drug user with a hot temper. The two spend the night at a local bar to see a drag show when Barry falls for and develops a relationship with a transgender woman. This causes Justin to go on a bitter rampage, based on the tragic true story of Barry Winchell .
This French film follows the story of 10-year-old Laure, who experiments with gender identity, and adopts the name Mikaël, after moving to a new neighborhood where many believe Laure is a boy. The ambiguity of the movie allows both trans and cis viewers to relate to the story of a child wanting to be accepting for who they are.
Formats
Canon EF
Canon EF-S
Canon RF
Fuji X
Micro Four Thirds
Nikon DX
Nikon FX
Nikon Z
Pentax K
Sony A
Sony E
Sony FE
Type
Macro
Mid-range
Prime
Telephoto
Wide
Zoom
Lenses 101: What to know
Fujifilm's Super CCD image sensor line went through a number of iterations in its decade-long life. Shown above, courtesy of the company's marketing materials from the period, are representations of the pixel structures used by the original Super CCD (2000, top left), Super CCD SR (2003, top right), Super CCD SR II (2005, bottom left) and Super CCD EXR II (2010, bottom right).
As for the intermediate Super CCD EXR (2009, below), it had a structure akin to that of the original Super CCD, but changed the layout of the red, green and blue pixels making up its Color Filter Array from that seen on the left to that seen at image right.
The shot above and the 100% crop beneath show an excellent example of color aliasing in the blue fabric, caused by the fine thread patterns in the model's outfit. In this particular case, the problem wouldn't be too difficult to eliminate in Photoshop, perhaps using a hue brush to remove the offending colors, however the luminance moiré pattern would still remain. Subjects with varying hues or larger-scale detail patterns of their own can make removing color artifacts very difficult or impossible.
This example shows both color and luminance moiré. You can see some faint chroma artifacts in the center of the cropped image at bottom, and luminance moiré is particularly prominent in the upper right corner, in the form of the swirly lines in what should be diagonal louvers on the building's front. This also happens to be a subject where the color aliasing could be dealt with fairly easily, but there's really nothing to be done about the luminance moiré patterns.
These graphs show blur on the vertical axis against focal distance setting on the horizontal axis. (Let's call them Depth of Field or DOF curves.) A theoretically perfect lens comes into sharpest focus at exactly one focal setting, as shown by the graph on the left. In the real world, lenses tend to have a bit of a flat bottom on their DOF curve, defined by their resolution limit. Lens designers sometimes deliberately flatten the bottom of the curve, though, trading off ultimate sharpness to create a lens that's easier to manufacture.
Most image sensors can't directly register color information, seeing the world only in shades of gray. To capture color images, they must be overlaid with an array of color filters, allowing each photodiode to see only a certain part of the color spectrum, typically red, green and blue. Above left is the standard "Bayer" color filter array pattern used by most cameras' sensors, with the yellow outlines indicating the two-by-two pixel grid on which the array is repeated. The image on the right shows Fuji's unique X-Trans color filter array, with its much larger six-by-six pixel grid. The larger grid allows for a more random layout that is more resistant to moiré.
Fujifilm debuted its unique X-Trans color filter array in 2012's X-Pro1 mirrorless camera.
The most recent generation of Fuji's X-Trans sensor design is the X-Trans CMOS 4 chip, seen above in the X-T3 mirrorless camera.
The X-Trans color filter array by itself isn't the whole story. Just as important are a sufficiently powerful processor like the Fujifilm X-Processor 4 chip shown here and robust third-party software support for the X-Trans sensor's raw files. Fuji has put considerable effort into developing both.
The X-Trans CMOS 4 sensor-based Fujifilm X-T3 was our Camera of the Year for 2018, and we think it's your best choice for a camera under US$1,500 as well.
Imaging Resource © 1998 - 2022. Material on this site may not be reproduced, distributed, transmitted or otherwise used without the prior written consent of The Imaging Resource.
posted Monday, April 20, 2020 at 4:30 PM EDT
More than perhaps any other company, Fujifilm has a long history as an innovator in image sensor design. From the very beginning of the digicam boom, its rivals have almost exclusively used standard, Bayer-filtered sensors in their standalone cameras. Fuji, though, hasn't been afraid to buck that trend in its quest for better image quality.
In the early 2000s, Fujifilm went its own way with its Super CCD technology, first seen in the FinePix 4700, announced in March of 2000. The Super CCD used an unusual grid of octagonal photosites, rotated at 45 degrees to put its peak resolution on the horizontal and vertical axes, where it would make the biggest difference in real-world shots. And in 2003, the Super CCD SR chip in the FinePix F700 put two photodiodes -- one larger and one smaller -- under each microlens, allowing for increased dynamic range. A subsequent SR II generation for 2005's FinePix S3 Pro put the smaller photodiodes in the gaps between the larger ones, and gave them their own microlenses.
In 2009, the FinePix F200EXR debuted the Super CCD EXR image sensor, which had a newly-designed color filter array that allowed for easier pixel binning, and the ability to clock information off the sensor midway through the exposure for half of its pixels. Together, these allowed it to prioritize resolution, sensitivity or dynamic range as needed for any given shot.
And finally, in 2010, the Super CCD EXR II sensor used in both the FinePix F300EXR and Z800EXR added on-chip phase-detection pixels for faster autofocus -- shown in yellow in the second image above -- an industry first that was eventually adopted by almost all camera manufacturers, and which made the mirrorless camera revolution possible. The Super CCD EXR II also marked the final iteration of the distinctive Super CCD sensor layout, with the resolution of image sensors by then having soared to the point where the increased horizontal and vertical resolution it provided made less of a difference.
But while Super CCD faded from memory, it was far from the end of Fujifilm's image sensor innovation. In its place, the first X-Trans image sensor arrived in 2012 with the Fuji X-Pro1. Fujifilm's X-Trans sensor technology followed the idea of using a unique color filter array, but took it much further and in an entirely new direction.
I've mentioned color filter arrays twice now, without describing what they are. At their core, image sensors are like black and white film: They only see a range of brighter or darker tones, with no color information attached. To let them detect color, an array of tiny red, green and blue filters are essentially painted onto the chip, so each sensor pixel will only respond to one of those primary colors. It's as if you had three cameras, each capturing monochrome red, green and blue images that were then combined together to produce a full-color result.
There are two problems with this approach. First, the camera has to do some number-crunching to turn each of the separate red green and blue pixels into full-color RGB ones. This isn't terribly difficult with conventional sensors, but a bigger issue is that the regularly repeating patterns of colored pixels can result in moiré patterns when the subject contains finely-detailed, repeating patterns. (Think of texture in cloth or subjects like venetian blinds.) If you've ever held two pieces of window screen at an angle to each other, you'll have seen the broad swirls of light and dark the conflicting patterns create. The same thing can happen in your camera when a pattern on the subject happens to align in just the wrong way with the regular array of colored pixels on the sensor.
The classic way of dealing with this is to put what's called an optical low-pass filter in front of the sensor. This basically produces a very controlled blurring of the image, so sharp edges and abrupt color and tonal transitions in the subject won't cause problems by interacting with the pixel pattern. Rounding off those sharp edges in the image makes the moiré problem go away, but at the expense of a much softer-looking image.
There's really no way around this; it's a mathematical fact of life, despite what non-mathematicians might tell you. No amount of processing or fancy algorithms can guarantee to eliminate moiré in all cases, if the subject detail is too fine relative to the pitch of the pixels.
Most cameras these days have dispensed with low-pass filters, getting away without them thanks to sensor resolution outstripping the resolving power of many lenses. In many cases, the lens can't resolve detail fine enough to cause a problem with moiré, so it's basically acting as the low-pass filter in the system relative to the fine pitch of the pixels. With the lens blurring the finest subject detail, the camera doesn't need its own low-pass filter to blur it further.
Of course, you can see the problem with this: What happens if your lens can resolve such fine detail?
It's as much art as science to design a lens that not only has good optical characteristics, but that can also be manufactured reliably and repeatably. Any manufacturing process is a game of managing tolerances, balancing what you'd like to do in an ideal world and what you can actually achieve on the factory floor. This is even more true of lens manufacturing than other types. One way lens designers hedge their bets is to design lenses such that there isn't a single point of absolute best focus, but rather a range over which the focus is more or less the same.
An ideal depth of field curve for a textbook-perfect lens and a sensor of infinite resolution would be a V-shape. In the real world, most lenses are designed to have a flattened bottom on the V, which helps accommodate minor variations in part tolerances during manufacturing.
It was probably six or seven years ago that I had a fascinating sit-down with some of Fujifilm's top optical designers who explained this to me. The point of the conversation was that they'd adopted a different philosophy, aiming for maximum sharpness no matter what, making the point of the "V" as sharp as possible. This means crisper images, but what about moiré?
To some extent, the better your lens is, the more likely you are to see moiré in images of subjects with repeating patterns in them. Part of the reason Fuji felt free to pursue this approach was that they already had a solution in mind, in the form of their X-Trans sensor technology.
X-Trans changes things up by using a more complex array of color filters. Rather than the two-by-two RGBG Bayer pattern used by most cameras, X-Trans uses a much larger six-by-six array that mixes up the pixel spacing. Depending on where and in what direction you're looking, the spacing between pixels of a given color can vary quite a bit. This gives the camera's image processor more spatial information to help it sort out what's moiré and what's subject detail.
Of course, X-Trans does still have a repeating pattern of colored pixels, so there's not a 100% guarantee that you'll never see a moiré pattern. The bottom line, though, is that X-Trans sensors give the camera a much broader range of spatial frequency information, so its X-processor has more data to use in striking the best balance between moiré and maximized sharpness. It takes a lot of number-crunching (see below), but the different spatial sampling frequencies give the processor more information to work with.
Like Super CCD before it, Fujifilm's X-Trans sensor technology has continued to evolve over the decade or so since its launch. Since that first generation arrived with the X-Pro1 in 2012, three subsequent generations have refined and extended the technology.
The first X-Trans II chip debuted in the Fuji X100S in 2013. Harkening back to the Super CCD EXR II design that preceded it, Fuji's X-Trans II sensors added on-chip phase-detection autofocus. Improved pixel circuitry also brought better dark-noise suppression, and the resolution jumped from 12.3 to 16.3 megapixels, as well.
In 2016, the third generation X-Trans III arrived with Fuji's X-Pro2. It brought still higher 24.3-megapixel resolution, even more phase-detection AF points, and switched from aluminum to copper wiring, simultaneously lowering noise levels and significantly improving readout speeds and thus camera performance. Most recently of all, the Fujifilm X-Trans CMOS 4 sensor arrived in 2018 with the X-T3. This latest generation switched to a backside-illuminated design for even better light gathering capability, and once again boosted the on-chip phase detection pixel count significantly for more capable autofocus. It also increased the resolution a bit, to 26.1 megapixels. ( Click here to read more about Fuji's advanced AF technology, in my executive interview from the 2019 CP+ trade show. )
X-Trans technology is fundamental to Fujifilm's strategy. They view image quality as a key differentiator for their cameras and have invested a huge amount in developing their own sensor technologies in pursuit of it. X-Trans is just the latest iter
Clara Qui Veut Épouser Mon Fils Porno
Film X Vierge
Brune Baisée