DOCSLIB.ORG

ALEXA 65 Fdtimes Issue 65 Contents Art, Technique and Technology ARRI ALEXA 65: 65Mm Rebooted

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ALEXA 65 Fdtimes Issue 65 Contents Art, Technique and Technology ARRI ALEXA 65: 65Mm Rebooted Jon Fauer, ASC www.fdtimes.com Sept 2014 Special Report Issue 65 Art, Technique and Technology in Motion Picture Production Worldwide ALEXA 65 FDTimes Issue 65 Contents Art, Technique and Technology ARRI ALEXA 65: 65mm Rebooted ...........................................3 65mm Rebooted: ARRI ALEXA 65 ........................................4-5 Film and Digital Times is the guide to technique and technology, ALEXA 65 Specifications ........................................................6 tools and how-tos for Cinematographers, Photographers, Directors, Franz Kraus, Managing Director of ARRI ..............................7-8 Producers, Studio Chieftains, Camera Assistants, Camera Opera- tors, Grips, Gaffers, Crews, Rental Houses, and Manufacturers. Martin Cayzer and Neil Fanthom ........................................9-12 Achim Oehler ..................................................................13-15 It’s written, edited, and published by Jon Fauer, ASC, an award- ARRI ALEXA 65 Views .....................................................16-19 winning Cinematographer and Director. He is the author of 14 bestselling books—over 120,000 in print—famous for their Exterior Dimensions .............................................................20 user-friendly way of explaining things. Sensor Size Comparisons .....................................................21 New ALEXA 65 Lenses .........................................................22 Credits: Thanks to David Zucker for photos of ALEXA 65 Proto- Arriflex 765 Lenses ..............................................................23 types, Johannes Polta for photo-realistic renders, Manfred Jahn, Brigitte Wehner, Kurt Bednarsky for Arriflex 765 photos, Klaus ALEXA 65 Development ........................................................24 Eckerl, Manfred Jahn and Nicole Donaubauer for lens information, ALEXA 65 Construction ........................................................25 Simon Broad and Dana Ross for rental and 65mm data, Martin Klaus Eckerl, IB/E Optics .................................................26-27 Cayzer, Neil Fanthom, Franz Wieser, Marc Shipman-Mueller, and Lenses for ALEXA 65 ...........................................................28 to everyone else who helped make this special report possible. Alexa 65 Lenses (cont’d) ......................................................29 Note: this is an independent report and not an official ARRI Handling ALEXA 65 Data ......................................................30 publication. Some of the specifications and details are based ALEXA 65 Prototype Camera and Lens Views ........................31 on prototypes and pre-production models. Errors may lurk and ALEXA, ALEXA 65 and an Early 65mm Project .......................32 mileage may vary, for which FDTimes is not accountable. The Blue Herring 65mm Project ............................................33 © 2014 Film and Digital Times, Inc. by Jon Fauer Arriflex 765 History .........................................................34-35 Film and Digital Times On Paper, Online, and On iPad www.fdtimes.com/subscribe iPad and iPhone Get Film and Digital Times for iPad and iPhone on the Apple Newsstand. Download our free app in the iTunes Store (search: Film and Digital Times). Get individual issues, back issues, or an annual subscription. Print + Digital Subscriptions Film and Digital Times Print + Digital subscriptions continue to include digital (PDF) access to current and all back issues online. Digital (PDF) subscriptions Digital (PDF) subscriptions include unlimited access to the current and all back issues. www.fdtimes.com/issues FDTimes Customer Service For subscription or account questions, please contact us by phone Monday–Friday, 9 am–5:30 pm EST. Phone: 1-570-567-1224 Toll-Free (USA): 1-800-796-7431 Fax: 1-724-510-0172 Email via website: fdtimes.com/contact Mailing address: Film and Digital Times Subscriptions PO Box 922 Williamsport, PA 17703 USA Editorial offices in New York City 2 Cinec 2014 • Issue 65 65mm Rebooted: ARRI ALEXA 65 Imagine this pitch to a studio executive: Now there’s a new, large format 65mm digital motion picture “Hamlet meets The Greatest Story Ever Told. Around the World camera from ARRI, the new ALEXA 65. The aspirational part of in Eighty Days, South Pacific, Ben-Hur, Exodus, West Side Story, that sentence is 65; the enabling part is digital. Lawrence of Arabia, Mutiny on the Bounty, It’s a Mad, Mad, Mad, Imagine an ALEXA (35mm) camera with a sensor that is 3 times Mad World, Cleopatra, My Fair Lady, The Sound of Music, The larger. It has a familiar ALEXA body style, about the same size Agony and the Ecstasy, Lord Jim, Grand Prix, 2001: A Space Odys- and weight, a little bit wider, with a digital 65mm format sensor. sey, Ryan’s Daughter, Patton...” And new 65mm lenses. A litany of the greatest 65/70mm films of all time should be re- There will be three groups clamoring to be first in line to try these warded with an immediate green light. There is, however, one mi- new rental-only cameras. Creative minds will conjure epic scenes nor setback, a single word, “film.” and awesome effects to benefit from the ALEXA 65’s high resolu- These greatest of all films, in their epic 65mm format, demanded tion and large format, shallow depth of field. The images I saw epic logistical effort, 70+ pound temperamental cameras whose recently were so stunning you felt as if you could reach out and movements sometimes required oiling after every take, and set- touch them in ways more appealing than any current 3D projec- ups that were not, shall we say, swift. Film, processing and dailies tion. could average around $2500 for a 10-minute roll. Technical types will revel in the ALEXA 65 camera’s 6K resolution Nevertheless, large format 65mm cinematography has contin- and seamless familiarity with existing ALEXA 35mm systems. ued to inspire as the aspirational format, the object of desire, for Producers, distributors and exhibitors will rejoice in the reboot of almost every cinematographer, director and producer. There is a format that historically has enticed audiences out of their living magic in it, perhaps in the same way that Richard Avedon once rooms and back into the theaters. described large format still photography. “It requires you to think, As Lawrence said in the greatest large format film of all time, “I to compose, to slow down and create more carefully,” he said. think this is going to be fun.” Issue 65 • Cinec 2014 3 ARRI ALEXA 65 65mm digital cinema camera ARRI A3X CMOS Sensor Aperture equivalent to 5-perf 65mm film 6560 x 3100 Resolution 54.12 x 25.58 mm Sensor size (active image area) Sensor image diagonal: 59.86 mm ARRI XPL Mount (64 mm diameter) 4 Cinec 2014 • Issue 65 Photos of ALEXA 65 Prototype by David Zucker LDS metadata Same accessories as ALEXA XT cameras Electronic Shutter 5° - 358°, adjustable in 1/10° incrrements 0.75 to 28 fps (upgrade to 60 fps planned for early 2015) EI 160 to EI 3200. Base is EI 800 Dynamic Range greater than 14 stops Issue 65 • Cinec 2014 5 ALEXA 65 Specifications Tommy “the Cork” Corcoran, an advisor to FDR, once said you Once we catch our collective breath after screening ALEXA 65 can pretty much learn everything you needed to know about a images, the facts and figures helped explain why they look so place by looking at a map. His office was festooned with maps and good. It’s an interesting map: 54.12 x 25.58 mm image area, 6560 globes. Wasn’t a leader of New Deal policy supposed to be looking x 3100 resolution, more than 14 stops dynamic range, 200-3200 at the big picture instead of big maps? ISO. “Look at this,” he said, stabbing his finger at the map. “Mountains After getting our bearings, we’ll look at some of the thought and here, desert there, and a river. What do you think that means for background that went into the development of the ALEXA 65 trade and commerce? You’re not going to traverse treacherous large format digital motion picture camera system. mountain ranges. You going to follow the river to a port.” There are two ways to learn about a new camera. Look at the im- ages it produces. And read the map. We’ll do both. Overview Connectors Camera ALEXA 65 65mm Viewfinder ALEXA EVF-1 Digital Cinema Camera BNC connector 4 x 3G SDI Sensor type ARRI A3X CMOS sensor - MON (1) Out: 2 x 3G SDI Image Aperture 5-perf 65mm (full camera aperture) - MON (2) Out: 2 x 3G SDI Sensor active image 54.12 x 25.58 mm SD card For software updates and menu settings area (diagonal 59.86 mm) (like ALEXA) New high speed mode for fast ARRIRAW Sensor Resolution 6560 x 3100 (maximum recordable) frame grabs (planned feature) Size Other connectors Focus / Iris / Zoom motor connections 5 x RS 24V for accessories Weight 10.5 kg / 23.2 lb 1 x 12V for accessories Size L: 338.7 mm / 13.3” TC I/O (5-pin Lemo) (body without mount, W: 208.3 / 8.2” EVF, handle, antenna) H: 163 mm / 6.4” 1 x LDD, 2 x LCS, ACC Overall length (body L: 387.8 mm / 15.3” BAT (pin 1: GND, pin 2: +24 VDC) with XPL mount) Mount adds 49.05 mm / 1.9” to length ETHERNET, EXT (multi-pin accessory), Power 24 VDC Other Lens Mount ARRI XPL Mount Camera IP Address 169.254.XXX.123 Lens Mount Contacts LDS Synchronization Like ALEXA, RET IN and EXT: Sensor sync, Optical Center 105 mm / 4.13” from base processing and HD-SDI outputs for 3D and Accessories Same as ALEXA XT range multi-camera Shutter Electronic, 5° - 358° Monitoring 3 independent color outputs: adjustable in 1/10° increments 1. EVF LogC/709/ARRILook Frame Rate 20 - 28 fps (full aperture)
Load more

Recommended publications
  • Widescreen Weekend 2007 Brochure
    The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film.
    [Show full text]
  • Thursday 15 October 11:00 an Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma!
    Thursday 15 October 11:00 An Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma! Please allow 10 minutes for introductions Friday 16 October before all films during Widescreen Weekend. 09.45 Interstellar: Visual Effects for 70mm Filmmaking + Interstellar Intermissions are approximately 15 minutes. 14.45 BKSTS Widescreen Student Film of The Year IMAX SCREENINGS: See Picturehouse 17.00 Holiday In Spain (aka Scent of Mystery) listings for films and screening times in 19.45 Fiddler On The Roof the Museum’s newly refurbished digital IMAX cinema. Saturday 17 October 09.50 A Bridge Too Far 14:30 Screen Talk: Leslie Caron + Gigi 19:30 How The West Was Won Sunday 18 October 09.30 The Best of Cinerama 12.30 Widescreen Aesthetics And New Wave Cinema 14:50 Cineramacana and Todd-AO National Media Museum Pictureville, Bradford, West Yorkshire. BD1 1NQ 18.00 Keynote Speech: Douglas Trumbull – The State of Cinema www.nationalmediamuseum.org.uk/widescreen-weekend 20.00 2001: A Space Odyssey Picturehouse Box Office 0871 902 5756 (calls charged at 13p per minute + your provider’s access charge) 20.00 The Making of The Magnificent Seven with Brian Hannan plus book signing and The Magnificent Seven (Cubby Broccoli) Facebook: widescreenweekend Twitter: @widescreenwknd All screenings and events in Pictureville Cinema unless otherwise stated Widescreen Weekend Since its inception, cinema has been exploring, challenging and Tickets expanding technological boundaries in its continuous quest to provide Tickets for individual screenings and events the most immersive, engaging and entertaining spectacle possible. can be purchased from the Picturehouse box office at the National Media Museum or by We are privileged to have an unrivalled collection of ground-breaking phoning 0871 902 5756.
    [Show full text]
  • ARRI Launches Large-Format Camera System
    Contact: Thomas Feuchtmann Head of Marketing BU Camera Systems +49 89 3809 1712 [email protected] Reegan Koester Corporate Communications Manager +49 89 3809 1768 [email protected] NOT FOR RELEASE UNTIL FEBRUARY 2, 2018 (11 AM CET) ARRI launches large-format camera system • A complete new system: ALEXA LF camera, ARRI Signature Prime lenses, and LPL lens mount. • Intimate and emotionally engaging images with an immersive, three- dimensional feel, pulling the viewer in. • Compatible with existing lenses, accessories, and workflows. February 2, 2018, Munich/London – At the BSC Expo in London, ARRI today unveils a complete large-format system that meets and exceeds modern production reQuirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible With existing lenses, accessories, and WorkfloWs. ALEXA LF camera Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K With ARRI’s best overall image Quality. Filmmakers can explore a large-format aesthetic While retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG WorkfloWs. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, provide total flexibility. “The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look—one that is truly immersive, With a three-dimensional feel.
    [Show full text]
  • Jon Fauer ASC Issue 109
    Jon Fauer ASC www.fdtimes.com Aug 2021 Issue 109 Art, Technique and Technology in Motion Picture Production Worldwide Aug 2021 • Issue 109 1 www.fdtimes.com Art, Technique and Technology On Paper, Online, and now on iPad Film and Digital Times is the guide to technique and technology, tools and how-tos for Cinematographers, Photographers, Directors, Producers, Studio Executives, Camera Assistants, Camera Operators, Grips, Gaffers, Crews, Rental Houses, and Manufacturers. Subscribe It’s written, edited, and published by Jon Fauer, ASC, an award-winning Cinematographer and Director. He is the author of 14 bestselling Online: books—over 120,000 in print—famous for their user-friendly way of explaining things. With inside-the-industry “secrets-of the-pros” www.fdtimes.com/subscribe information, Film and Digital Times is delivered to you by subscription or invitation, online or on paper. We don’t take ads and are supported by readers and sponsors. Call, Mail or Fax: © 2021 Film and Digital Times, Inc. by Jon Fauer Direct Phone: 1-570-567-1224 Toll-Free (USA): 1-800-796-7431 subscribe Fax: 1-724-510-0172 Film and Digital Times Subscriptions www.fdtimes.com PO Box 922 Subscribe online, call, mail or fax: Williamsport, PA 17703 Direct Phone: 1-570-567-1224 USA Toll-Free (USA): 1-800-796-7431 1 Year Print and Digital, USA 6 issues $ 49.95 1 Year Print and Digital, Canada 6 issues $ 59.95 Fax: 1-724-510-0172 1 Year Print and Digital, Worldwide 6 issues $ 69.95 1 Year Digital (PDF) $ 29.95 1 year iPad/iPhone App upgrade + $ 9.99 Film and Digital Times (normally 29.99) Get FDTimes on Apple Newsstand with iPad App when you order On Paper, Online, and On iPad a Print or Digital Subscription (above) Total $ __________ Print + Digital Subscriptions Film and Digital Times Print + Digital subscriptions continue to Payment Method (please check one): include digital (PDF) access to current and all back issues online.
    [Show full text]
  • SKYPANEL New Accessories for the Family of LED Soft Lights
    NEWS IBC ISSUE 2015 SKYPANEL New accessories for the family of LED soft lights ELECTRONIC ALEXA MINI CONTROL SYSTEM AMIRA Karl Walter Lindenlaub ASC, BVK Expanded options for lens and New application areas for tries the Mini on Nine Lives camera remote control the highly versatile AMIRA EDITORIAL DEAR FRIENDS AND COLLEAGUES We hope you can join postproduction through ARRI Media, illustrating us here at IBC, where we the uniquely broad range of products and services are showcasing our latest we offer. 18 camera systems and lighting technologies. For the ARRI Rental has also been busy supplying the first time in ARRI News we are also introducing our ALEXA 65 system to top DPs on major feature films newest business unit: ARRI Medical. Harnessing – many are testing the large-format camera for the core imaging technology and reliability of selected sequences and then opting to use it on ALEXA, our ARRISCOPE digital surgical microscope main unit throughout production. In April IMAX is already at work in operating theaters, delivering announced that it had chosen ALEXA 65 as the unsurpassed 3D images of surgical procedures. digital platform for 2D IMAX productions. In this issue we share news of how AMIRA is Our new SkyPanel LED soft lights, announced 12 being put to use on productions so diverse and earlier this year and shipping now as promised, are wide-ranging that it has taken even us by surprise. proving extremely popular and at IBC we are The same is true of the ALEXA Mini, which was unveiling a full selection of accessories that will introduced at NAB and has been enthusiastically make them even more flexible.
    [Show full text]
  • Format Factor Fundamentals (Corrections Appreciated - [email protected])
    Mark Schubin's Format Factor Fundamentals (corrections appreciated - [email protected]) Dimensions in mm; figures rounded; diagonal determines lens format; AR is aspect ratio; divide comparable dimensions for format factor; lp/mm figures for dimension with highest resolution; 1920 represents lp/mm at full-HD resolution. Camera Diagonal AR :1 Width Height lp/mm 1920 Vision Research Phantom 65 59.6 5:3 1.67 51.2 30.5 40 19 Full-frame DSLR (Canon 5D) 43.3 3:2 1.5 36 24 27 Dalsa Origin, Evolution 38.1 ~2:1 1.98 34.0 17.2 60 31 NAC Memrecam fx K4 35.6 5:4 1.25 27.8 22.2 23 35 Super Hi-Vision 2.5-inch 34 16:9 1.78 29.8 16.4 129 32 Super 35 film 31.1 4:3 1.33 24.9 18.7 -- -- Weisscam HS-2 31.1 4:3 1.33 24.9 18.7 55 39 ARRI D-21 30.8 4:3 1.33 23.8 17.8 61 40 Vision Research Phantom HD 29.1 16:9 1.78 25.6 13.9 40 38 APS-C Canon 7D 28.6 ~13:8 1.64 24.4 14.9 39 APS-C Nikon, Pentax DSLR 28.4 3:2 1.5 23.6 15.8 41 Red One 28.0 16:9 1.78 24.4 13.7 93 39 Panavision Genesis 27.5 16:9 1.78 24.0 13.5 120 40 35-mm Academy aperture film 27.3 11:8 1.38 22.0 16.0 -- -- APS-C Canon DSLR 26.8 3:2 1.5 22.3 14.9 43 Photron Ultima APX-RS 24.6 1:1 1 17.4 17.4 29 55 Panasonic 4/3 DSLR 21.6 16:9 1.78 18.9 10.6 51 Weinberger Cine SpeedCam 20 ~3:2 1.55 17 11 47 56 Super Hi-Vision/4K 1.25-inch 19 16:9 1.78 16.6 9.2 231 58 Weisscam HS-1 19 5:4 1.25 15 12 43 64 1-inch 1035-line HDTV 16.0 16:9 1.78 13.9 7.8 69 69 1-inch 720-line HDTV 16.0 16:9 1.78 13.9 7.8 46 69 Super 16 film 14.5 5:3 1.67 12.5 7.4 -- -- 16-mm film 12.7 11:8 1.38 10.3 7.5 -- -- Ikonoskop a-cam dII 12.2
    [Show full text]
  • Spirit 4K® High-Performance Film Scanner with Bones and Datacine®
    Product Data Sheet Spirit 4K® High-Performance Film Scanner with Bones and DataCine® Spirit 4K Film Scanner/Bones Combination Digital intermediate production – the motion picture workflow in which film is handled only once for scan- ning and then processed with a high-resolution digital clone that can be down-sampled to the appropriate out- put resolution – demands the highest resolution and the highest precision scanning. While 2K resolution is widely accepted for digital post production, there are situations when even a higher re- solution is required, such as for digital effects. As the cost of storage continues to fall and ultra-high resolu- tion display devices are introduced, 4K postproduction workflows are becoming viable and affordable. The combination of the Spirit 4K high-performance film scanner and Bones system is ahead of its time, offe- ring you the choice of 2K scanning in real time (up to 30 frames per second) and 4K scanning at up to 7.5 fps depending on the selected packing format and the receiving system’s capability. In addition, the internal spatial processor of the Spirit 4K system lets you scan in 4K and output in 2K. This oversampling mode eli- minates picture artifacts and captures the full dynamic range of film with 16-bit signal processing. And in either The Spirit 4K® from DFT Digital Film Technology is 2K or 4K scanning modes, the Spirit 4K scanner offers a high-performance, high-speed Film Scanner and unrivalled image detail, capturing that indefinable film DataCine® solution for Digital Intermediate, Commer- look to perfection. cial, Telecine, Restoration, and Archiving applications.
    [Show full text]
  • MARK FREEMAN Encyclopedia of Science, Technology and Society Ooks&Sidtext=0816031231&Leftid=0
    MARK FREEMAN Encyclopedia of Science, Technology and Society http://www.factsonfile.com/newfacts/FactsDetail.asp?PageValue=B ooks&SIDText=0816031231&LeftID=0 WIDESCREEN The scale of motion picture projection depends upon the inter- relationship of several factors: the size and aspect ratio of the screen; the gauge of the film; the type of lenses used for filming and projection; and the number of synchronized projectors used. These choices are in turn determined by engineering, marketing and aesthetic considerations. Aspect ratio is the width of the screen divided by the height. The classic standard aspect ratio was expressed as 1.33:1. Today most movies are screened as 1.85:1 or 2.35:1 (widescreen). Films shot in these ratios are cropped for television, which retains the classic ratio of 1.33:1. This cropping is accomplished either by removing a third of the image at the sides of the frame, or by "panning and scanning." In this process a technician determines which portion of a given frame should be included. "Letterboxing" creates a band of black above and below the televised film image. This allows the composition as originally photographed to be screened in video. The larger the film negative, the more resolution. Large film gauges allow greater resolution over a given size of projected image. In the 1890's film sizes varied from 12mm to as many as 80mm, before accepting Edison's 35mm standard. Today films continue to be screened in a variety of guages including Super 8mm, 16mm and Super 16mm, 35mm, 70mm and IMAX. Cinema and the fairground share a common history in the search for technologically based spectacles and attractions.
    [Show full text]
  • Cinerama to Digital Cinema: from the Zenith to the Decline Written by Enric Mas ( ) January 11, 2016
    Enric Mas nitsenblanc.cat Cinerama to digital cinema: from the zenith to the decline Written by Enric Mas ( http://nitsenblanc.cat ) January 11, 2016 I try to imagine what the audience felt when they first saw a movie in Cinerama... but I cannot. I wonder, did they feel the same as I did when I saw a projection in 70 mm IMAX for the first time? Some clues tell me the answer is no. Howard Rust, of the International Cinerama Society, gave me an initial clue: “I was talking to a chap the other day who’d just been to see IMAX. ‘Sensational’, he said. ‘But, you know… it still doesn’t give you the same pins and needles up and down the back of your spin that Cinerama does’ ”. 1 What is its secret? Why is every film seen in Cinerama a unique event that is remembered for decades? We have another clue in a man who had worked with D.W. Griffith in That Royle Girl (1925), who produced and directed technically innovative short films, where black performers appeared, a rarity at the time, including the first appearance of Billie Holiday (Symphony in Black: A Rhapsody of Negro Life , 1935). He created a new imaging system (Vitarama) for the World’s Fair in New York (1939), joining 11 projectors of 16 mm, which reached a vertical image of 75 degrees high and 130 degrees wide, 2,3 developments which led to the most advanced artillery simulator in the world, which was used to train future aircraft gunners in World War II.
    [Show full text]
  • FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
    FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures.
    [Show full text]
  • Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue
    ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur
    [Show full text]
  • I32-1997 the Use of Super 16 Mm Film for Television Production
    EBU Technical Information I32-1997 The Use of Super 16 mm Film for Television Production EBU Committee First issued Revised Re-issued PMC 1997 Keywords: Film, 16:9 Telecines 1. Introduction This EBU Technical Information document reports on the way and extent that EBU Members and their programme suppliers use Super 16 mm film in 4:3 and 16:9 television production. A questionnaire was sent to EBU Members and other organisations involved in programme production for EBU Members. Replies were received from 36 organisations; 31 broadcasting organisations and 5 film and/or video post-production organisations. The replies showed that 26 organisations were using Super 16 mm; 22 of these were broadcasters located in Austria, Belgium, the Czech Republic, Denmark, Finland, France, Germany, Japan, Greece, the Netherlands, Norway, Poland, Slovakia, Slovenia, Spain, Sweden, Switzerland and the United Kingdom. The present Technical Information document is based on the replies to the questionnaire. In a parallel exercise, the EBU has attempted to give a comparison between the costs of using Super 16 mm and 35 mm film for television production. This comparison is given in Appendix 1 2. Main Applications of Super 16 mm Film 2.1 Types of programme produced on Super 16 mm film Super 16 mm film is mainly used for single camera drama and documentary production. The final product may be intended for television release only, or, in the case of a co-production, it may be intended for both television and cinema release. 2.2 Reported advantages in the use of Super 16 mm film The reported advantages of producing in Super 16 mm film, as compared to 35 mm film, are lower costs of camera film and equipment, lower costs of film laboratory services, and a smaller technical staff needed for shooting.
    [Show full text]