Directed with a sense of tranquil serenity and grounded maturity one might be accustomed to finding in the work of a seasoned director, Allen Sunshine is, quite remarkably, the debut feature of 25-year-old Harley Chamandy. The Montreal-born, New York-based filmmaker received the 2024 Werner Herzog Film Prize for his feature following its Munich Film Festival […]

The post Allen Sunshine Review: A Tranquil Debut Feature with a World of Feeling first appeared on The Film Stage.

CLICK TO PLAY J Class - St. Barths Bucket 2013. Five magnificent and gigantic J Class sloops race in the St. Barths Bucket Regatta. Beautifully photographed by Onne van der Wal and edited by Halsey Fulton with on boat, boat-to-boat, crew comments, and aerials. Brought to you by TheSailingChannel.TV. Sailing Documentaries from $2.99. Brought to you by TheSailingChannel.TV

CLICK TO PLAY Preview of Part 1. Originally shot in 16 mm color, the film has been restored and converted to HD video. Completed in 1976, this is a two part sailing documentary by skipper and noted Hollywood cinematographer, Gene Evens (Roots, Jeremiah Johnson, Lady Sings the Blues, Batman and many more movie and television productions) and his wife Josie aboard their 32 foot sloop, "Discubridor" ("Discoverer"). Their two-year sailing adventure takes them over 10,000 miles from southern California south to Costa Rica, offshore to Cocos Island and the Galapagos Islands, then home to San Diego. Along the way they explore remote locales, fish, struggle against storms, and on a few occasions fight for survival. In Part 1, Gene and his wife Josie, sail "Discubridor" ("Discoverer") south from San Diego down the coast of Baja California, Mexico, Guatemala, El Salvador, Nicaragua, and Costa Rica where they are joined by their son Ron and a couple of friends for a 300 mile off shore sail to the mysterious Cocos Island. In Part 2, the crew explore Cocos Island, sail onto the legendary Galapagos Islands for more exploration, then Gene and Josie sail back across the Pacific alone and home to San Diego. Available at https://vimeo.com/ondemand/600days HD 1280 x 720 (Original format: 16mm color) Pt. 1: To Cocos & the Galapagos Islands Running Time: 90 Minutes Pt. 2: Cocos & the Galapagos Islands Running time: 65 Minutes Sailing Documentaries from $2.99. Brought to you by TheSailingChannel.TV

CLICK TO PLAY Don Street Antigua Race Week 1985 Preview From Don Street Antigua Race Week 1985. A one hour award-winning documentary by Charles Croft which lets you share the intense sailing action aboard Don Street's 80 year old, 44 foot, engineless yawl, "Iolaire" during Antigua Sailing Week, 1985, Iolarie's final appearance in one of the world's top sailing events. Built in 1905, Don had sailed and raced "Iolaire" throughout the Caribbean for forty years while he developed his famous Imray-Iolair charts and the first comprehensive cruising guides that opened up the Caribbean to modern sailors. Antigua Sailing Week races became an annual event for Street and Iolaire since the first regatta in 1957. In 1985, Street decided to retire Iolaire from racing and they both went out in style, finishing only 5 points out of first place at race week's end. This award-winning documentary shows you what Caribbean racing was like in its golden years when the skippers all new each other and racing was more fun than business. Available at https://feeds.feedblitz.com/~/557582042/0/thesailingchannel Streaming Rental $4.99 | Download-to-Own (mp4) $9.99 Get The Complete Street - all 5 Don Street Videos for just $49.95 Sailing Documentaries from $2.99. Brought to you by TheSailingChannel.TV

Ten years after Don sold her, at 0200 on July 26, 2019 - Don's 89th birthday, Iolaire was underway in heavy weather. She was sailing dead downwind in the Spanish Balearic islands along the northeast coast of Ibiza. Reports state that an inadvertent jibe caused her to head inshore, pile up on the rocks, and sink ending her 114 year old career. In this video podcast from Don's two volume how-to set: Streetwise Tips, Don demonstrates three different ways to rig a preventer that will stop an accidental jibe of the boom when running well off or straight down wind. CLICK TO PLAY. DON STREET VIDEOS Over the years Don has been involved in the production of five major sailing videos in which he passes on his decades of seamanship knowledge. Iolaire is featured in two of these: "Antigua Race Week 1985" and "Transatlantic with Street". Three others contain dozens of how-to sailing tips: "Streetwise 1 & 2, and Sailors' Knots & Line Handling. You can stream Don's videos, and purchase Downloads and DVDs with a SailFlix subscription. You can buy or rent individual Don Street videos through Vimeo On Demand. MAIN BOOM FOREGUY/PREVENTER Over a half century ago, when Don purchased Iolaire in St Thomas, he realized that the large, heavy main boom (leftover from her gaff rigged days) could be a real widow maker in an inadvertent jibe. Don insisted that whenever sailing broad off, the crew rig a main boom foreguy/preventer. This was often a difficult and dangerous job. After testing various methods, Don developed a foreguy/preventer that the crew could easily rig with no one going FORWARD of the mast. WATCH THE VIDEO then read Don's detailed instructions. ALWAYS rigged when sailing broad off or dead down wind, Don's foreguy/preventer kept crew and Iolaire safe throughout Don's ownership. IOLAIRE HISTORY "Iolaire" is a Gaelic term that translates in English as “white-tailed sea eagle”. She was designed, built and launched by Harris Bros, UK in 1905. Iolaire was the only 100 year old plus yacht that had been in continuous commission since she was launched; cruising and racing during both wars, as she was Irish owned and based. In her early years, Iolair was raced and cruised by several prominent skippers of the R.O.R.C (the UK's Royal Ocean Racing Club). For full specifications and history of Iolaire, visit the Classicsailboats.org Iolaire registry page.. IOLAIRE AND DON STREET Beginning in 1957, Don Street owned and sailed the 46 foot yawl for 52 years cruising, chartering, racing, and exploring the eastern Caribbean with family, friends and his Grenadian crew. Don skippered Iolaire across the Atlantic seven times between the United Kingdom and the Caribbean, and eight times up and down the Thames River - all without an engine. The knowledge he gain from these voyages resulted in hundreds of articles, three books, and his all inclusive Guides to the Eastern Caribbean and the Atlantic's Cape Verdes islands. Don also created the highly popular Imray Iolaire Charts to the Eastern Caribbean, which opened these waters to regular cruising sailors for the first time. Learn more about Don Street and Iolaire. Brought to you by TheSailingChannel.TV

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A whole decade after the release of his second OSS 117 spy spoof, Lost in Rio (review here), Jean Dujardin (who picked up an Oscar for Best Actor in the interim) has at long last stepped back into the role that brought him international fame. Cameras began rolling this week on a third OSS 117 comedy, as announced by director Nicolas Bedos via video of a clapperboard on Instagram. OSS 117: Alerte rouge en Afrique noire (literally translated as OSS 117: Red Alert in Black Africa, which very much has the ring of a Jean Bruce novel title, but the ultimate English title is unlikely to be a direct translation of the French one) is scheduled to film in Paris and Kenya, with Bedos (La belle époque) taking the reins from Michel Hazanavicius (The Artist), who helmed the first two. Hazanavicius and Bedos both contributed to the controversial 2012 sex comedy portmanteau The Players, which also starred Dujardin. Jean-François Halin, who co-wrote the first two OSS 117 comedies with Hazanavicius and went on to create the very funny, Sixties-set comedic spy series Au service de la France (known as A Very Secret Service in America, where it streams on Netflix) handles solo scripting duties on this one. Pierre Niney (Yves Saint Laurent), Fatou N'Diaye (Spiral), and Wladimir Yordanoff (currently appearing with Dujardin in An Officer and a Spy) are also among the cast.

Hubert Bonisseur de la Bath, code name OSS 117, began life long before Dujardin. The redoubtable secret agent was the brainchild of French author Jean Bruce, and starred in a series of 234 novels (of which only a handful have ever been translated into English) beginning in 1949 (and thus predating Ian Fleming's more famous superspy). The books are serious spy stories, and the character was initially treated seriously on screen, too, beginning in the 1950s, but most famously in a series of five exceptional Eurospy movies directed or produced by André Hunebelle (Fantomas) between 1963 and 1968. (Read my review of my favorite, OSS 117: Terror in Tokyo, which presaged many James Bond moments, here.) Once notoriously hard to track down in English-friendly versions, Kino Lorber has now, happily, released a set of those five films on DVD and Blu-ray. For a more in-depth history of the character and links to my reviews of all the films, see my post OSS 117: An Introduction.

In 2006, Michel Hazanavicius revived the character in the hilarious send-up OSS 117: Cairo, Nest of Spies (review here). That first spoof was set in the Fifties and brilliantly parodied the early Bond films (with Dujardin partly channeling young Sean Connery) and Alfred Hitchcock movies... along with the prevalent casual racism and sexism of that era. The 2009 sequel was set in the late Sixties, spoofing the Sixties Bond movies and Eurospy movies.

A third film has been mooted ever since, always intended to be set in Africa. At one point it was supposed to be set in the Seventies and parody blaxploitation movies, Jason King, and Jean-Paul Belmondo action flicks, as well as the Roger Moore Bond movies (and fashions) of that period. Now, presumably since so much time has passed, Premiere reports that OSS 117: Alerte roughe en Afrique noire will be set in the 1980s. While I'm sorry we won't see Dujardin sporting Peter Wyngarde-style fashions, the Eighties setting will still provide ample opportunity to spoof the Moore Bond films and Belmondo, whose own African spy epic The Professional was made in 1981.
Thanks to Jack for the red alert on this one!

Eurospy fans, your collective prayers have been answered! The Sixties Bond knockoff (a term I use with great affection) title I've heard most often requested is finally coming to Blu-ray! In the UK, anyway. So American Eurospy aficionados who don't yet have all-region Blu-ray players (and you really ought to), add them to your Christmas lists! On February 17, 2020, Network will release the Bondified Jet Age Bulldog Drummond movie Some Girls Do (lesser sequel to the greatest Eurospy movie of all, Deadlier Than the Male) in Region B high-def. On the same date the title will also make its standalone DVD debut (Region 2). Both releases are quite notable, because they mark the first time ever that this title has been available in its native 1.66:1 widescreen aspect ratio. It was previously available only on a Region 2 double feature DVD from Network paired with Deadlier Than the Male (which the company has offered on its own on Blu-ray for some time now). While that title came in widescreen, the Some Girls Do on offer was a panned and scanned 4x3 version--and transferred from a rather iffy source. Hopefully (and presumably, given the new aspect ratio), Network have uncovered a better source print for the new 1080p HD transfer. So even if you don't have an all-region Blu-ray player, but do have an all-region DVD player, you'll still have a way to finally see this movie the way it was meant to be seen!

Some Girls Do (1969) stars Richard Johnson (Deadlier Than the Male, Danger Route), Daliah Lavi (Casino Royale, The High Commissioner), Beba Loncar (Fuller Report, Lucky the Inscrutable), James Villiers (For Your Eyes Only, Otley), and the great Robert Morley (Hot Enough For June,  Topkapi) in a scene-stealing role as cooking teacher "Miss Mary." Here's Network's description of the movie:

Richard Johnson returns as Hugh 'Bulldog' Drummond in this action-packed take on the exploits of H.C. McNeile's famous fictional hero - this time with an added dose of late '60s whimsy when Drummond comes up against a gang of armed, gorgeous fembots! Some Girls Do is presented here as a new High Definition transfer from original film elements in its original aspect ratio.
Drummond is hot on the trail of his nemesis, the devious Carl Petersen, who is hell-bent on sabotaging the new British fighter airplane. Peterson must be stopped - whatever the cost - but this time he's protected by a bodyguard of murderous female androids!

Special features are limited to the theatrical trailer and an "extensive image gallery," but just having this title in its proper aspect ratio is reason enough to buy the disc! And to have that great, great poster art on the cover! (My own Some Girls Do UK quad with that key art hangs in a place of pride in my apartment protected by UV-coated museum glass.)

Pre-order the Blu-ray from Network here.
Pre-order the DVD from Network here.
Read my review of Deadlier Than the Male here.

AIP’s Vincent Price vehicle Dr. Goldfoot and the Bikini Machine was one of the first Sixties Bond parodies I ever heard of, long before I actually saw it. In a way, that was a good thing, because it afforded the movie years to percolate in my imagination, growing far beyond a potential it could possibly live up to when I finally saw it. Ultimately I was bound for disappointment, because, let’s face it, Dr. Goldfoot and the Bikini Machine is a far better title than it is a movie. But because of all those years that it lived in my mind as pure potential, I went into it for the first time after college (during college I had tried in vain to track down a 35mm print to program on campus) with a pre-built nostalgia, and nostalgia is a wonderful—and possibly essential—cushion for a movie like this. If you remember it from your childhood, you’ll probably enjoy it more than it deserves to be enjoyed. And the same can be said if you’ve somehow approximated such a nostalgia like I did. But even after that lengthy apologia for liking the movie, I have to admit that I only really like certain parts of it. Most of it is pretty bad.

Made at the height of the Sixties (and here I’m grudgingly conceding that that phrase, which I usually use very positively, can also have negative connotations), Dr. Goldfoot and the Bikini Machine is a as much a blend of what was popular then as those Seltzer and Friedberg “parody” movies (usually with “movie” in the title) were in the early 2000s. (Though to be fair it’s a lot better than those!) And since it was made by American International Pictures, it’s a blend of its time that particularly reflects that studio’s output. Therefore it’s as much a parody of their two bread-and-butter genres—Frankie and Annette beach movies and Poe-inspired Vincent Price horror movies—as it is of James Bond. While I’m indifferent to beach movies, I do love those Poe movies… so I’m not being an espionage chauvinist when I say that the only bits that really work are those inspired by the spy craze. And even then the hit-to-miss ratio is probably 50/50... at best.

Appropriately, Dr. Goldfoot and the Bikini Machine opens with one of the strangest title sequences of any Sixties spy movie. Under a rather great and undeniably infectious theme song performed by the Supremes (available on the stellar Ace Records Sixties spy theme compilation Come Spy With Us), instead of the Bond-style credits most spy spoofs opted for, Bikini Machine treats us to Claymation, courtesy of Gumby creator Art Clokey. And the entire Claymation sequence is built around the stupidest thing in the whole movie: a pair of stupid gold elf shoes with little bells on their pointed toes that Price’s character wears to justify his name, Dr. Goldfoot. I’m aware that I just used the word “stupid” twice in that sentence, but that’s because these shoes are seriously stupid. I don’t know whose idea they were, but I sure am glad that Ken Adam wasn’t struck by a similar necessity to equip Gert Frobe with jingling golden thimbles.

After the titles, we meet an attractive robot woman (Susan Hart) in a trenchcoat and fedora walking through the streets of San Francisco. We learn that she’s a robot woman through a series of stupid gags (there’s that word again… are you detecting a pattern?), like a car crashing into her and getting wrecked (because she’s metal, get it??), or two bank robbers escaping and crashing into her and getting knocked down (because she’s metal!), then shooting her full of holes with no discernable result (because… you’ve figured it out by now, haven’t you?). Then we meet Frankie Avalon being annoying in a restaurant and sporting a really annoying helmet of hair. (Uh-oh. There’s another word that bore repeating twice in one sentence!) The robot woman comes in and drinks a sip of his milk and then spouts out gallons of the white stuff (all from that one sip, apparently) through the “bullet holes” in her body. (John Cleese would recycle the same questionable gag years later in that Schweppes commercial on the original Licence to Kill VHS.) Despite her leakage, the holes (which aren’t visible) don’t seem to have damaged her mechanics one bit, and in minutes she’s successfully picked up Avalon and is heading back to his apartment with him.

Avalon is Craig Gamble, a bumbling agent of Secret Intelligence Command (or SIC, which I think is supposed to pass for a joke) who decorates his walls with a picture of Sherlock Holmes, apparently for inspiration. The robot woman is named Diane, and she talks with an annoying put-on Southern accent and, we and Gamble soon come to learn, wears only a gold lamé bikini underneath her fashionable spy trenchcoat! (The latter makes up for the former.) But what made her pick him?

The answer comes back at Dr. Goldfoot’s lair, where we meet the diabolical mastermind and his sidekick, Igor (occasional Elvis cohort Jack Mullaney). While Vincent Price deserves an iconic entrance in any movie he makes, it’s kind of undercut here by those stupid gold shoes, which really are quite stupid. (Have I mentioned that?) I am not a production designer, nor a fashion maven, but I am confident I could have designed much better gold shoes for the same purpose. And regular readers will know that I am not given to making such claims. Anyway, it transpires at Goldfoot HQ that the idiotic Igor programmed poor Diane to go after the wrong man. While Gamble hasn’t got two pennies to rub together, she was supposed to be seducing Avalon’s beach buddy Dwayne Hickman, as millionaire playboy Todd Armstrong. (As either an inside joke or laziness, Hickman’s character is named after Avalon’s character in Ski Party, and Avalon’s Craig Gamble is named after Hickman’s character from that movie.) To Igor’s credit, the two actors do look a lot alike (in a very generic Sixties heartthrob way), and that fact actually makes the movie a little bit confusing. The fact that Gamble turned out to be a secret agent was just bad luck—or bad scriptwriting. Luckily Dr. Goldfoot can operate Diane by remote control, and he’s able to reprogram her to suddenly walk out on Craig and set off to lay a trap for Todd.

Diane’s trap for Todd involves bending over and pulling her trenchcoat far enough aside to expose a glimpse of that golden behind as she pretends to inspect a flat tire. It also involves Dr. Goldfoot somehow taking remote control of Todd’s car, and driving him backwards until he sees Diane. (Dr. Goldfoot possesses a magical universal remote long before its time, and uses it primarily for making cars drive the wrong direction and various things blow up. He also threatens people with it a lot, though I’m not sure if he’s threatening to blow them up or to reverse them.) One glimpse of Diane, however, is enough to make Todd forget that it might be a little suspicious and just a tad weird to find yourself suddenly pulled backwards by an unseen force while driving. Their meeting also offers the movie’s choicest bit of dialogue—and, yes, it’s every bit as sexist as you would expect/hope for from a movie called Dr. Goldfoot and the Bikini Machine.

“Thank heavens you came along, darling, I’m completely flat!” declares Diane as she opens the front of her trenchcoat.

“Well, I wouldn’t say that,” replies Todd, ogling her gold bikini-clad breasts jutting out of the London Fog.

So what’s all this about? Well, sadly all of Dr. Goldfoot’s ingenuity is expended on a simple gold digging scheme. Diane is supposed to get millionaire Todd to marry her and then make him sign over power of attorney to her (which is of course the same as signing it to Dr. Goldfoot). Honestly, I find it a little disappointing that Dr. Goldfoot has the ingenuity and the wherewithal to build perfectly human-looking robots and universal remotes that control anything, and yet the best scheme he can come up with is gold digging. Why not aim higher, Dr. G? Why not strive for world domination? (Well... that's what sequels are for!)

Anyway, Igor’s error with the target has accidentally tipped off an agent of SIC to the mad doctor’s big gold digging plot. Fortunately for Dr. Goldfoot, though, he’s not a very good agent.

Gamble’s code number is only Double O and a half. “Why they won’t even let you carry a gun until you get a digit instead of a fraction!” yells his boss and uncle, Uncle Donald (genuine comic genius Fred Clark, of Zotz! and Hammer's Curse of the Mummy's Tomb). Donald’s not really in any position to berate his nephew, though, because he’s not the sharpest knife in the drawer himself. When Igor shows up in his office dressed in what looks like a Sherlock Holmes Halloween costume (deerstalker and Inverness cape) claiming to be SIC director Inspector Abernathy, Donald believes him despite Gamble’s protestations.

The gags in this movie are mostly lame (as opposed to lamé), and recycled for the hundredth time. When an upper file cabinet drawer is closed, a lower one pops out knocking someone on the head. A beautiful girl robot is mis-programmed (Igor!) and starts talking like a Brooklyn gorilla. When Igor tries to spy on his boss using a periscope, Dr. Goldfoot splashes some ink on the top end giving Igor a black ring around his eye from the viewer. (Actually, that one's still kind of funny.) Even the spy-specific jokes tend to fall flat a lot of the time. Igor shows Dr. G a new attaché case (pronounced the American way, not the British “attachee”) with its own From Russia With Love-style gadgetry. What surprises does it have in store?  Would you believe a fist with a boxing glove that pops out and punches someone when they open it? (Neatly and obviously accomplished by situating a stuntman underneath the table the case is set on, easily able to reach through a hole in the table and the case.)

While the jokes often fall flat, highlights come in the form of random outbursts of go-go dancing, whether from Dr. Goldfoot’s bikini girls (whose default mode seems to be set as “go-go,” befitting their gold bikini costumes) or in nightclubs. (There’s a odd number from a band all dressed up as Fred Flintstone credited as Sam and the Apemen and accompanied by—you guessed it—go-go girls. But for some reason the go-go girls aren’t dressed in fur bikinis, just regular bikinis.)

Price himself camps it up to the extreme (surprise, surprise), parodying his own other AIP performances and even donning costumes from a few of them at times. To that end, the movie becomes more and more of an AIP in-joke as it proceeds (complete with an Annette Funicello cameo), and eventually Gamble and Todd end up in Dr. Goldfoot’s torture chamber, getting a tour that includes portraits of all his illustrious forebears (again bearing certain resemblances to famous Price roles past) and lots of familiar torture implements. It’s poor Todd who ends up strapped down beneath the swinging pendulum from The Pit and the Pendulum.

But then, in its final act, something unexpected happens. The movie becomes… really fun! The undisputable high point of the film is the fifteen-minute-long final chase through the streets of San Francisco in which the heroes and villains keep changing vehicles. It’s accomplished mostly through obvious rear projection, but the San Francisco scenery is quite real. The heroes (Gamble and Todd) start out in a gadget-laden Cadillac spy car whose gags include inflatable seats that inflate when you don’t want them to and a steering wheel that switches sides between the driver and the passenger at inopportune moments. The villains start out in a motorcycle and sidecar that become detached in the course of the chase and eventually manage to re-attach themselves. When Dr. Goldfoot uses his magic remote control device to blow up their spy car, the heroes swipe a red convertible (a Sunbeam Alpine, like Bond drove in Dr. No), and when the motorcycle and sidecar end up smashed on the front of a train, the villains (their faces coated in black soot, just like a cartoon character’s after surviving such a collision) appropriate an E-Type Jag. Eventually the heroes are on a bicycle while the baddies commandeer a San Francisco cable car—and manage to drive it right off its tracks and all over town! By the end the good guys are in a boat on a boat trailer careening wildly down San Francisco’s steep hills. It’s all pretty fun, really, in a typically zany way.

The end titles feature those stupid gold shoes again (though not Claymation this time), performing a disembodied dance (accomplished simply—and effectively—enough with a dancer dressed all in black dancing in front of a pitch black background) alongside gold bikini-clad go-go dancers—and similarly disembodied writhing gold bikini tops and bottoms. (That’s actually a really cool effect!) All of which handily beats (and makes up for) the Claymation opening in my book.

Even though Doctor Goldfoot and the Bikini Machine leaves things open for a sequel with Dr. Goldfoot and Igor surviving their cable car crash (and subsequent bombardment by gunboats) and turning up on the plane winging our victorious heroes off to Europe, the end credits instead tout the next beach movie, The Girl in the Glass Bikini. Which kind of brings us back to this movie’s title. Say it out loud to yourself. Think about it. Based on that title more than my (or any) review, I suspect you already know if this movie is for you or not.

Deadpool is notorious for his meta-commentary and cutting remarks, many of which are on full display in the MCUs Deadpool & Wolverine.

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Monday morning, Cooper held his seventh annual “Coop’s Catch for Kids” charity fishing tournament, which benefits pediatric cancer research. Cooper’s first tournament in 2016 raised $60,000. This year’s event has brought the grand total to more than $1 million.

Steve McQueen's latest movie splits its time between grand and grandiosity and packs a Dickensian amount of peril into an otherwise worthwhile story.

The scholarships would send graduates of two local high schools to community college. County Mayor Jerry Demings blasted the decision as an "inappropriate" use of county money.

Hagerty topped No. 1-ranked Vero and Lake Highland cruised to region final wins as both reached FHSAA state semifinals. Lake Mary fell short.

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Nearly two months after launching its iPhone 16 lineup, which struggled for sales at launch and is still facing a measured rollout of Apple Intelligence, Apple has now added these devices to its self-repair program. It’s a continuation of the company’s efforts that began in 2022, which provides the tools and parts necessary for customers to

Have you ever read a monitor review or looked at monitor specification pages and wondered what all the terms meant? In this article, we're going to go over display basics, explaining the core specifications of monitors and what you should look for when shopping for a new display. Most of the information and terminology in this post will apply...

World Telecommunication Standardization Assembly Proceedings: Book 1
Book 1 contains Resolutions (Rules of Procedure of ITU-T; Study Group responsibility and mandates; publication of ITU-T Recommendations and WTSA proceedings, etc.), ITU-T Series A Recommendations (Organization of the work of ITU-T), Study Groups and other groups, and the list of questions for the Study Period 2005-2008 as approved by WTSA-2004.

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302 × 222 mm high contrast bi-level chart containing text in a variety of languages and pitches and various black and white patterns.

Test Chart No. 6: 4-colour printing facsimile test chart 4CP01 (ITU-T Recommendation T.23)
302 × 222 mm full colour chart printed from 4-colour separation negatives, containing a complete range of patterns, textures, shadings and bright and pastel colours.