US Patent 7911580
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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. -
United States Patent (19) 11 Patent Number: 4,915,497 Loth Et Al
United States Patent (19) 11 Patent Number: 4,915,497 Loth et al. 45 Date of Patent: Apr. 10, 1990 54 STEREOSCOPIC MOTON PICTURE (56) References Cited APPARATUS WITH HORIZONTAL FILM U.S. PATENT DOCUMENTS MOVEMENT 1,324,122 12/1919 Killman ..............a saaeed seve888 352/239 2,056,600 10/1936 Crosier .................................. 352/6S (75) Inventors: Stanislaw Loth, Nanuet, N.Y.; 2,282,947 5/1942 DeSherbinin ......................... 352/60 Anthony Petitto, Los Angeles, Calif. 3,019,698 2/1962 Sheldon ........... ... 352/60 3,355,292 11/1967 White ....... ... 352/239 (73) Assignee: Parallex Company, Inc., Los 4,464,028 8/1984 Condon ................................. 352/.65 Angeles, Calif. Primary Examiner-Monroe H. Hayes Attorney, Agent, or Firm-Watson, Cole, Grindle & 21 Appl. No.: 381,300 Watson 22 Filed: Jul.18, 1989 57 ABSTRACT An apparatus for photographing a pair of diagonally (51 Int. Cl'.............................................. G03B 35/OO related left and right images of a stereoscopic image (52) U.S. C. ........................................ 352/57; 352/60; couple on to film frames of a horizontally moving 65 352/69; 352/239;352/.65 mm film having 15 film perforations per frame. 58) Field of Search ....................... 352/57, 60, 65, 69, 352/236 5 Claims, 2 Drawing Sheets U.S. Patent Apr. 10, 1990 Sheet 1 of 2 4.915,497 t Oura U.S. Patent Apr. 10, 1990 Sheet 2 of 2 4.915,497 3. z' ? - 4,915,497 1. 2 on a vertically moving film. The system includes a relay STEREOSCOP CMOTON PICTUREAPPARATUS lens which forms two vertically aligned and separated, WITH HORIZONTAL FILM MOVEMENT left and right images on the film, each image occupying approximately one vertical half of each frame area. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
First Words: the Birth of Sound Cinema
First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints. -
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 -
OPTICAL 16Mm Sound-On-Film Recording .•
IJIIMMM~-~~ x 1\1.1: ::E- «> R.T.A.:aT T ~ ~ TO THE PROFESSIONAL NEWSREEL CAMERAMAN Why put up with the marginal results in dependability and poor sound-quality, obtained with an Auricon 100 ft. " Cine-Voice," rebuilt by others to adapt a 400 ft. film magazine? Now you can have a Factory Built and GUARANTEED Auricon "Pro-600 Special" with 400 ft. Magazine .. lightweight, yet expertly designed and Guaranteed by Bach Auricon for the exacting Newsreel Cameraman's requirement! Look at these Professional Featlares built into the AURICON ~~PRO-600 SPECIAL" 16rn.rn. "Double-Systern." or "Single-Systern." Sound Carn.era! ir Camera is Self-Blimped for completely quiet operation_ Makes no noise for Microphone to pick up. ir New 400 ft. Magazine takes lab-pack film or daylight-loading spools. Specially miniaturized all-roller Light-Trap eliminates film-scratches or light-leaks when using new ultra-sensitive film emulsions. ~ "Pro-600 Special" is already prepared, at no extra charge, so that you can slip the "FILMAGNETIC" Unit into place at any future time without the use of tools. Does not interfere with "Single-System" Optical Sound-an-Film Recording. ir Driven by true, synchronous Auricon "Sound rive" Motor for exacting Double-System sound recording, perfectly synchronized with magnetic tape recorder or optical sound-on-film recorder. ir Designed to accept all regular Auricon "Pro-600" accessory equipment as your needs increase. Complete flexi bi I ity! 3G POUNDS "PRO-GOO SPECIAL" FOR NEWSREEL "PRO-GOO" AND DOCUMENTARY FILMING STUDIO CAMERA LIGHTWEIGHT MODEL CM-77 MODEL CM-75 TRAVEL LIGHT WITH THE "ZOOM·LENS" .. -
32 Rudolf Pfenninger in His Laboratory with Hand
Rudolf Pfenninger in his laboratory with hand-drawn sound strips, 1932. Source: Pfenninger Archive, Munich. 32 “Tones from out of Nowhere”: Rudolph Pfenninger and the Archaeology of Synthetic Sound THOMAS Y. LEVIN 4.014 The gramophone record, the musical idea, the written notes, the sound waves, all stand in the same internal representational relationship to one another that obtains between language and the world. —Ludwig Wittgenstein, Tractatus logico-philosophicus (1921) “All-of-a-tremble”: The Birth of Robotic Speech On February 16, 1931, the New York Times ran a story on a curious development that had just taken place in England: “Synthetic Speech Demonstrated in London: Engineer Creates Voice which Never Existed” read the headline.1 The day before, so the article began, “a robot voice spoke for the first time in a darkened room in London . uttering words which had never passed human lips.” According to the accounts of this event in numerous European papers, a young British physi- cist named E.A. Humphries was working as a sound engineer for the British International Film Co. when the studio ran into a serious problem. A synchro- nized sound film (then still quite a novelty) starring Constance Bennett had just been completed in which the name of a rather unsavory criminal character hap- pened to be the same as that of a certain aristocratic British family. This noble clan was either unable or unwilling to countenance the irreducible—even if seemingly paradoxical—polysemy of the proper name (so powerful, perhaps, was the new experience of hearing it actually uttered in the cinema) and threat- ened a libel suit if “their” name was not excised. -
KODAK Motion Picture Products Price Catalog for the United States
KODAK Motion Picture Products Price Catalog for the United States EASTMAN KODAK COMPANY, ROCHESTER, NEW YORK 14650 FOR DIRECT CUSTOMER USE ONLY EFFECTIVE AUGUST 2, 2021* ©2021 Kodak. Kodak, Eastman, Ektachrome, Estar, Tri-X, Double-X, Keykode, Vision, and Wratten and the Kodak logo are trademarks. Prices are subject to change without notice. * Effective date may vary, please see top of each page for current effective date. MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 US Film Pick Up Location 7758 Sunset Blvd Hollywood, CA 90046 Phone: 323-499-1012 To Order Film and Other Items Monday – Friday, 8:00 am to 5:00pm Eastern Time Call KODAK Customer Service: (800) 621-FILM (3456) Fax Orders: (800) 648-9805 Email Orders: [email protected] Technical Product Support [email protected] KODAK Film Laboratories New York 37-18 Northern Blvd. Long Island City, NY 11101 Suite 101 Tel: (718) 606-9263 Email: [email protected] Atlanta Lab/Delivery and Drop Off: 2156 Faulkner Road Atlanta, GA 30324 Tel: (404) 633-1449 Telecine: 6 West Druid Hills Dr. NE Atlanta, GA 30329 Tel: (404) 545-3172 Email: [email protected] London The Ken Adam Building, Pinewood Studios Pinewood Road, Iver Heath Buckinghamshire SL0 0NH. Tel: 0208 993 9779 Email: [email protected] 2 MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 Table of Contents US Film Pick Up Location .................................................................................................................................................................................................... -
WIDE SCREEN MOVIES CORRECTIONS - Rev
WIDE SCREEN MOVIES CORRECTIONS - Rev. 2.0 - Revised December, 2004. © Copyright 1994-2004, Daniel J. Sherlock. All Rights Reserved. This document may not be published in whole or in part or included in another copyrighted work without the express written permission of the author. Permission is hereby given to freely copy and distribute this document electronically via computer media, computer bulletin boards and on-line services provided the content is not altered other than changes in formatting or data compression. Any comments or corrections individuals wish to make to this document should be made as a separate document rather than by altering this document. All trademarks belong to their respective companies. ========== COMMENTS FOR VERSION 1.0 (PUBLISHED APRIL, 1994): The following is a list of corrections and addenda to the book Wide Screen Movies by Robert E. Carr and R.M. Hayes, published in 1988 by McFarland & Company, Inc., Jefferson, NC and London; ISBN 0-89950-242-3. This document may be more understandable if you reference the book, but it is written so that you can read it by itself and get the general idea. This document was written at the request of several individuals to document the problems I found in the book. I am not in the habit of marking up books like I had done with this particular book, but the number of errors I found was overwhelming. The corrections are referenced with the appropriate page number and paragraph in the book. I have primarily limited my comments to the state of the art as it was when the book was published in 1988. -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
Model NR-40 for Optical Sound-On-Film
Model NR-40 for Optical Sound-on-Film ... The Auricon Model NR-40 all AC operated Recording Amplifier with separate Power-Pack, is contained in two metal chassis. The Amplifier-Controls and Meters are mounted in the Monitor-Desk pictured above. The .. Tilt-up hinged Control-Panel construction. separate Power-Pack furnishes all the necessary current for operating the NR-40 Amplifier. The Power-Pack connects to the NR-40 Amplifier The Power-Pack also provides completely filtered DC chassis with an 8 ft. power-cable, so that the Pack can current for lighting the Sound-On-Film recording be placed in any convenient out-of-the-way location Galvanometer Sound-Track Exposure-Lamp lOcated where it is plugged into a 115 volt, 50 or 60 cycle AC inside the Camera or Recorder. power outlet, drawing 150 watts. "T E L E PH 0 N E - E F FEe T S FILTER" The Auricon Model NR-40 Amplifier features two 110DB Many dramatic scripts now incorporate scenes involving high-gain microphone-inputs, each provided with te lephone conversations, police-car radio-conversation, army a continuously adjustable four-position "Speech-Music" Tone walkie-talkie scenes, aircraft radio. underwater divers Control. Both "Input 1" and "Input 2" are low impedance communicating with the surface, science-fiction scenes, or (50 ohms) for use with all types of professional microphones. even puppet-show voices. For all these types of scenes, the In addition, "Input 1" is provided with a "Telephone-Effects new Auricon "Telephone-Effects Filters" on the NR-40 Filter" Key for recording scenes involving simulated telephone Amplifier provides easy and inexpensive means of creating conversations. -
1880-1930 Timetable
1900-1910 - BIRTH 1. THE INVENTION OF THE WIRELESS TELEGRAPH: Guglielmo (Bill) Marconi has ideas for an invention that will (a) replace the wired telegraph, (b) help ensure the safety of ships at sea. Marconi sends, in 1900, his famous S (dit dit dit) in Morse code from England to Canada. 2. FROM WIRELESS TELEGRAPH TO WIRELESS TELEPHONE: Inventors like Lee de Forest and Reginald Fessenden want to find a wireless substitute for the wired telephone. The human voice could add a nuance to communication not possible with the telegraph, but people like Marconi decry it, saying it will not be private and others will be able to hear it. 3. THE FIRST BROADCAST: In 1906 at Brant Rock MA, Fessenden plays his violin, sings a song, reads a bible verse or two into a wireless telephone of his own invention. This is the first broadcast and it happens Christmas Eve, 1906. It is a broadcast because it is designed for more than one listener (not 2-way) it is pre-announced. His goal is to find financial backers. 4. LEE DE FOREST: Probably the most important person in the development of radio, de Forest does two important demonstrations of wireless telephone; (1) in 1907 he equips the Navy fleet with his wireless telephone, an arc transmitter, and plays phonograph records to shore stations as the fleet comes into ports like San Francisco, and (2) in NYC he broadcasts on several occasions well-known opera singers to an audience of reporters. He wants to bring culture into homes. 5. CHARLES HERROLD: In San Jose, Herrold in April 1910 is quoted in a notarized affidavit published in a national magazine, "we have given wireless phonograph concerts to amateur men in Santa Clara Valley," one of the very first published references to what we now know as the activities of radio broadcasting to an audience of more than one.