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From Film to DIGITAL
from film TO DIGITAL CTM DEBRIE CATALOGUE CTM Debrie 125, avenue Louis Roche 92230 Gennevilliers France T. +33 1 40 85 82 82 F. +33 1 40 85 82 63 E. [email protected] www.ctmdebrie.com sommaire a word from theCEO 04 About CTM Debrie 06 Experts across the complete Film chain 08 About CTM Solutions Over the course of 100 years, Debrie has acquired an international 10 Experts across Post Production tools reputation as the leading manufacturers of film laboratory equipment. 12 Engineering – R&D The 1992 merger with CTM, a forward-looking company in the post- 13 Turn Key Projects – CTM Group production equipment, broadened Debrie’s product line, thus allowing 14 Production & Front end laboratory chain the newly formed corporation, CTM Debrie, to supply clients with a 15 D / I & DVD chain wide range of machines for the motion pictures industry, for the 16 Restoration chain preservation of and the restoration of moving images. 17 Film processing machine – UNIPLEX III & VARIPLEX 21 Auxiliary equipment for UNIPLEX & VARIPLEX In the nineties, we also developed a parallel organization 23 Wet & dry Contact Printer – MOVIECLONE Series under the name of CTM Solutions, acting as a seller and integrator of 25 Optical printer – MAGIC Series professional audio and video solutions. Specializing in the integration 27 Auxiliary equipment for printers of editing and filming studios, as well as dubbing studios, our goal was 29 Loop cabinet – LOOPER to be able to fully provide and service the post-production chain, from 31 Film splicing table – ECLIPSE the engineering to the training of users. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
185 for Presentation July 8, 1971, NATIONAL CABLE TELEVISION
185 For presentation July 8, 1971, NATIONAL CABLE TELEVISION ASSOCIATION, Washington, D. C. TELECINE SYSTEMS FOR THE CATV ORIGINATION CENTER by Kenneth K. Kaylor Phil ips Broadcast Equipment Corp. Although 11 1 ive'' programming is considered a necessary part of the program origination services of a community-oriented CATV system, tele- cine facilities will hold the key to success or failure of such an operation from an economic standpoint. The word 11 tele-cine11 was developed during the early days of television broadcasting to define those facil i- ties devoted to the video reproduction of the various film media. Since the original commercial telecine television camera was an 11 iconoscope11 camera which had a very large sensitive surface (about 11 11 3 x 4 ), a film projector was focused onto the sensor by using a standard projection lens as shown in Fig. 1. This technique was quite simple and optical alignment was very easy. E1 im i nat i ng the 11 Shutte r Bar" effect In the case of motion picture film, the theatre projector had to be modified in order to prevent a "shutter bar" effect caused by the 186 difference in frame rates between television and motion picture stan dards. Standard sound motion picture film operates at 24 frames per second while the U. S. standard for television scanning is 30 frames per second. The intermittent mechanism had to be modified so that the 1ength of time between "pu 11 -downs" a 1 te rnates between 1/20 and 1/30 second. The average of these two fractions is 1/24 second, or the time demanded by the standard 24-frame-per-second motion picture projection rate. -
Aspects of Television Temporality
Aspects of Television Temporality By Andrzej Gwóźdź Fall 1999 Issue of KINEMA ON SOME ASPECTS OF TELEVISION TEMPORALITY If there is a film that makes the way of existence of its images the object of its discourse, then Cinema Paradiso (Nuovo Cinema Paradiso, by Giuseppe Tornatore, France/Italy, 1989) undoubtedly is that film. It is just here that in an almost demonstrative way the duality of a film iconosphere is shown: a pictorial passage on a film reel on the one hand, and immateriality of die luminous screen phantom on the other, a”film-reel” and a ”film-projection.”(1) It is here that the cinema shows its ontology as a mechanism of difference between materiality of a fundamental cinematographic apparatus and immateriality of a cinematic mechanism that actually results in the source of the cinema. If we were to look for a similar justification for the ontology of television, we would surely have to locate it within the ”time of expression,” that is, temporality immanent to a television image on which the ”time of contents” (2) of a programme structure of television is founded. Since theoreticians of the media agree that it is just time that is ”the major category of television,” that ”time is television’s basis, its principle of strutcturation, as well as its persistent reference”(3); that ”the attitude towards television should be basically derived from temporality”(4); that, finally, ”the essence of the [television] screen is [...] its permanent readiness to experience time.(5)” No matter what stratification of the time of television (television time) is suggested by particular writers, they usually agree on the fundamental ontological premise of television temporality. -
Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media . -
XFINITY Channel Lineup We’Ve Organized All Your Channels by Service Level
2C-307 The New XFINITY Channel Lineup We’ve organized all your channels by service level. So you can find what you want, when you want it. The New XFINITY Channel Lineup. It’s the faster way to find what you’re looking for. For more info, visit www.xfinity.com Prince George’s County, MD – Efective November 1, 2015 LIMITED BASIC LIMITED BASIC LIMITED BASIC LIMITED BASIC SD HD CHANNEL NAME SD HD CHANNEL NAME SD HD CHANNEL NAME SD HD CHANNEL NAME WMDO-47 (uniMàs) 24 941 C-SPAN 23 Jewelry TV 200 WDCA Movies! 15/563 795 Washington DC WDCA-20 (MY) 104 942 C-SPAN2 184 Jewelry TV 20 810 Washington DC 269/559 WMPT V-me 287 Daystar 190 Leased Access WMPT-22 (PBS) 201 WDCW Antenna TV 22 812 72 Educational Access 76 Local Origination Annapolis 206 WDCW This TV 73 Educational Access 279 MHz Arirang 275 WNVC Bon-China WDCW-50 (CW) 3 803 MHz CCTV Washington DC 294 The Word Network 74 Educational Access 276 Documentary WPXW-66 (ION) 75 Educational Access 266 WETA Kids 16 813 273 MHz CCTV News Washington DC 265 WETA UK 77 Educational Access WQAW-20 (Azteca 278 MHz CNC World 198/568 WETA-26 (PBS) America) 78 Educational Access 26 800 277 MHz France 24 Washington DC 208 WRC Cozi TV 96 Educational Access WFDC-14 (Univision) 272 MHz NHK World TV 14/561 794 WRC-4 (NBC) Washington DC 4 804 89/283 EVINE Live Washington DC 274 MHz RT WHUT-32 (PBS) 19 802 291 799 EWTN Washington DC 197 WTTG Buzzr 280 MHz teleSUR 69 Gov’t Access WJLA Live Well WTTG-5 (FOX) 205 5 805 271 MHz Worldview Network Washington DC 70 Gov’t Access 268 MPT2 204 WJLA MeTV 207 WUSA Bounce TV 71 -
San Francisco, WUSA-TV Washington and WAGA-TV Atlanta
San Francisco, WUSA-TV Washington Sandy Newton has been named enter- Palladium/New Century Television's and WAGA-TV Atlanta. tainment reporter. Power Pack film package has been li- censed to 31 stations since its release in Samuel Goldwyn Television has sold Coral Pictures has sold five telenove- mid-January. Among the stations are November Gold 2, package of "acven- las to the Univision Network: Prima- WTAF-TV Philadelphia, KGMC-TV ture" films, to more than 20 markets. vera (200 hours), to debut June 1; Cris- Oklahoma City, WXXA-TV Albany, Among the stations are WTAF-TV tal (246 hours); La Dama De Rosa (219 WAWS-TV Jacksonville and KING- Philadelphia, KTVT-TV Dallas, hours); Leonela (133 hours); and Topa- TV Seattle. WDCA-TV Washington, WUAB-TV ciao (187 hours). Also, Coral recently Cleveland, KHTV(TV) Houston, concluded 111 sales in Latin America LBS Communications will distribute WGNX-TV Atlanta, KTZZ-TV Seat- on 10 novelas, including 47 deals in the one-hour HBO Sports production tle, KPLR-TV St. Louis, WVTV(TV) South America, 47 in Central America of Countdown to Tyson-Spinks, to air Milwaukee and WZTV(TV) Nashville. and nine in the Dominican Republic, between June 13 and June 26. The one- Titles include A Prayer for the Dying, four in Mexico and four in Puerto Rico. hour show is being offered via barter, Hello Mary Lou, Prom Night II and All told, Coral is now distributing 5,176 with stations getting eight minutes, April Morning. hours of Spanish-language program- and national five. Stations have option ming. -
Film Printing
1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record -
|FREE| Film Genre for the Screenwriter
FILM GENRE FOR THE SCREENWRITER EBOOK Author: Jule Selbo Number of Pages: 339 pages Published Date: 07 Aug 2014 Publisher: Taylor & Francis Ltd Publication Country: London, United Kingdom Language: English ISBN: 9781138020832 Download Link: CLICK HERE Film Genre For The Screenwriter Online Read Please Film Genre for the Screenwriter it by verifying the claims made and adding inline citations. Writers Store. Film genres may appear to be readily categorizable from the setting of the film. A screenwriter becomes credible by having work that is recognized, which gives the writer the opportunity to earn a higher income. Should they be prepared to be scared? Are genres culture-bound or trans-cultural? An example would be writing a horror film where a young woman is getting chased by a stranger down a dark alley and finally gets cornered by him. Wikimedia Commons. Subscription or UK public library membership required. New York: Focal Press. Be amazed? When word is put out about a project a film studioproduction companyor producer wants done, they are Film Genre for the Screenwriter to as "open" assignments. So when watching and analyzing film genres we must remember to remember its true intentions aside from its entertainment value. Lists of films by genre and themes. Reviews Film Genre For The Screenwriter Central apparatus room Changing room Master control room Network operations center Production control room Stage theatre Transmission control room. Maybe Stage 32 just kept you in the game?! Format refers to the way the film was shot e. For example, while both The Battle of Midway and All Film Genre for the Screenwriter on the Film Genre for the Screenwriter Front are set in a wartime context and might be classified as belonging to the war film genre, the first examines the themes of honor, sacrifice, and valour, and the second is an anti-war film which emphasizes the pain and horror of war. -
Television Programming for Children: a Report of 'The Children's Televisiontask'fbrce
A ED 183 133 IR* 0Q8 034 AUTHOR GreenWle Susan And Others .TITLE TelevAsion Programming for Children: A Report:of the ChilOenfs Tc4evision Task'FOrce. .'eINSTITUTION. ,PeOral Communications CoMmissicn, 4tsh1ngton, PU 8 DAT h Ot79 NOTE 194p. .4 EDRS PRICE ! ME01/PCOB Plus Póstage. DESCRIPTOR& ^*Broadcast \Industry; nhildens Television; *Compliance (legal): *Educational Policy; Educational Television: *FefUral Regulation: Marketing; Rrograming (BroAdcast); Television Commercials: - Televislon Pel,earch IDENTrFIgRS *Federal Commun,ications,Comm ssion ABSTRACT These two volumes cf a 5-volume.repert cm commerAal* broadcaster complance with thy Federal COmmunications Commission (FCC) 1974 policies on programminil and advertising' to,chilffren provide an overall analysis of ctildrenos television, as well as a detailed analysis of'broadcas, industry compliance. The first volume reviews the social, cognItive, and.economic factors 'that affect t,he, amount, types, and scheduling of childrer0-s programs, and drscuses policy optionz open to 'the FCC with staff recommendationsl The ana14sis of broadcaster compliance dn the second volume il based on a A, series of studies examining the.policy impact on the overalla ount , ofProgramming designed for children 12 years_and under, the afnount sof educatIlertal programming, program SCheduling, and olbvercommerci&lizatibn on children's televisi6nind related advertising issues. The effectiveness of the preent license renewal form as a method of assessing crpliance is also examined. (CMV) 13 , f a. .. , *********************************************1*********************4*** * Repfilductio4S supplied-by EDPS Rre the best that can be made '* . 41% from the original documqnt. , 1 v 0. 1 U.S 'IMPARTMENT OF hEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION e THIS. DOCUMENT HAS 'BEENRePRO. 04 DUCED EXACTIO, AA RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN. -
Federal Register/Vol. 86, No. 91/Thursday, May 13, 2021/Proposed Rules
26262 Federal Register / Vol. 86, No. 91 / Thursday, May 13, 2021 / Proposed Rules FEDERAL COMMUNICATIONS BCPI, Inc., 45 L Street NE, Washington, shown or given to Commission staff COMMISSION DC 20554. Customers may contact BCPI, during ex parte meetings are deemed to Inc. via their website, http:// be written ex parte presentations and 47 CFR Part 1 www.bcpi.com, or call 1–800–378–3160. must be filed consistent with section [MD Docket Nos. 20–105; MD Docket Nos. This document is available in 1.1206(b) of the Commission’s rules. In 21–190; FCC 21–49; FRS 26021] alternative formats (computer diskette, proceedings governed by section 1.49(f) large print, audio record, and braille). of the Commission’s rules or for which Assessment and Collection of Persons with disabilities who need the Commission has made available a Regulatory Fees for Fiscal Year 2021 documents in these formats may contact method of electronic filing, written ex the FCC by email: [email protected] or parte presentations and memoranda AGENCY: Federal Communications phone: 202–418–0530 or TTY: 202–418– summarizing oral ex parte Commission. 0432. Effective March 19, 2020, and presentations, and all attachments ACTION: Notice of proposed rulemaking. until further notice, the Commission no thereto, must be filed through the longer accepts any hand or messenger electronic comment filing system SUMMARY: In this document, the Federal delivered filings. This is a temporary available for that proceeding, and must Communications Commission measure taken to help protect the health be filed in their native format (e.g., .doc, (Commission) seeks comment on and safety of individuals, and to .xml, .ppt, searchable .pdf). -
Simulation of Film Media in Motion Picture Production
Simulation of film media in motion picture production using a digital still camera Arne M. Bakke, Jon Y. Hardeberg and Steffen Paul Gjøvik University College, P.O. Box 191, N-2802 Gjøvik, Norway ABSTRACT The introduction of digital intermediate workflow in movie production has made visualization of the final image on the film set increasingly important. Images that have been color corrected on the set can also serve as a basis for color grading in the laboratory. In this paper we suggest and evaluate an approach that has been used to simulate the appearance of different film stocks. The GretagMacbeth Digital ColorChecker was captured using both a Canon EOS 20D camera as well as an analog film camera. The film was scanned using an Arri film scanner. The images of the color chart were then used to perform a colorimetric characterization of these devices using models based on polynomial regression. By using the reverse model of the digital camera and the forward model of the analog film chain, the output of the film scanner was simulated. We also constructed a direct transformation using regression on the RGB values of the two devices. A different color chart was then used as a test set to evaluate the accuracy of the transformations, where the indirect model was found to provide the required performance for our purpose without compromising the flexibility of having an independent profile for each device. 1. INTRODUCTION AND BACKGROUND The post-production work on a movie is typically carried out on digital representations of the movie frames. The use of digital technology has brought unique possibilities in all aspects of the post-production of a movie (editing, color grading, visual effects) to the creative community of filmmakers.