DOCSLIB.ORG

DIPLOMA in CINEMATOGRAPHY Course Outcome CL

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DIPLOMA in CINEMATOGRAPHY Course Outcome CL Government of Karnataka Department of Technical Education Board of Technical Examinations, Bengalooru DIPLOMA IN CINEMATOGRAPHY Course Title: Course Code: 15CN31T LENS and LIGHTING TECHNIQUES Credits (L:T:P) : 4:0:0 Core/ Elective: CORE Contact Hrs: 4Hrs/week Type of course: Lecture Total Contact Hours: 52 CIE: 25 Marks SEE: 100 Marks Prerequisites: keen to know about quality of image in visual medium.& concepts of lens aesthetics both in film emulsion & digital era and the behaviour of light through lens Course Objectives: 1. To Know the Various types of Lenses 2. To Understand the various Aesthetical image quality control through lenses 3. To identify behaviour of light inside the lens 4. To associate with the lighting techniques and aesthetics On successful completion of the course, the students will be able to attain CO CL Linked PO Teaching Course Outcome Hrs CO1 . List the various types of 06 1,2,3 photographic lenses U/R CO2 Understand the uses of Photographic 10 U/R/A 1,2,6,7,10 lenses in professional cinematography CO3 Know the Care & handling of the U/R/A 1,2,7,10 08 lenses CO4 Apprise the prominent impact of 12 1,2,3,6,7,10 Lighting during filming U/R/A C05 Understand the concept of angle and 10 U/R/A 1,2,36,7,10 coverage of lighting C06 Test the knowledge of lenses & their R/U/A 1,2,3,4,5,6,7,10 06 elements for exposure control Total sessions 52 Directorate of Technical Education Karnataka State 15CN31T Page 1 COURSE-PO ATTAINMENT MATRIX Course Programme Outcomes 1 2 3 4 5 6 7 8 9 10 EVOLUTION OF 3 3 3 3 3 3 3 3 3 3 PHOTOGRAPH Y Level 3- Highly Addressed, Level 2-Moderately Addressed, Level 1-Low Addressed. Method is to relate the level of PO with the number of hours devoted to the COs which address the given PO. If >40% of classroom sessions addressing a particular PO, it is considered that PO is addressed at Level 3 If 25 to 40% of classroom sessions addressing a particular PO, it is considered that PO is addressed at Level 2 If 5 to 25% of classroom sessions addressing a particular PO, it is considered that PO is addressed at Level 1 If < 5% of classroom sessions addressing a particular PO, it is considered that PO is considered not-addressed. COURSE CONTENT AND BLUE PRINT OF MARKS FOR SEE Unit Hour Marks allocated Weightage Marks No Unit Name for different of Marks weightage Cognitive level (%) Questions R U A 1 PATH OF LIGHT 08 05 10 10 25 18 2 LENS DESIGN 08 05 10 10 25 18 3 LENS TYPES 10 05 10 10 25 17 4 TYPES OF LAMPS 06 05 05 05 15 10 5 EXPOSURE CONTROL 10 05 10 10 25 17 LIGHTING RATIO and 10 10 10 10 30 20 6 PARAMETERS Total 52 145 145 100 Legend: R; Remember, U: Understand A: Application CONTENTS UNIT-1 PATH OF LIGHT : Definition ,elements and types , optical theory- reflection, refraction, absorption and transmission, dispersion, PHYSICAL OPTICS-Interference, Diffraction, Physics of the image, modulation transfer function, polarization. GEOMETRICAL OPTICS-Image formation by simple lenses, compound lenses and cordial planes, focal length, magnification, mirrors. OPTICAL CALCULATIONS- Terminology, equations, combination of lenses, focusing movement, depth of focus and depth of field. OPTICAL MATERIALS- Glasses, plastics and other materials. Aperture - diaphragm. F stop , t-stop , exposure calculations UNIT-2 LENS DESIGN OPTICAL ENGINEERING-Pre design, ray tracing, computer aided design, optimization, special designs, LENS HISTORY- Pre photography, astigmatic lenses, Petzval lenses, symmetrical doublets, Directorate of Technical Education Karnataka State 15CN31T Page 2 astigmatism, triplets, double gauss lenses, modern lenses, LENS MANUFACTURE- Stages of production, additional techniques, aspharics, lens mount. LENS COATING- Light losses and effects, theory of thin films, coating methods, multi layer coatings. LENS TESTING- Purpose of testing, calibration during manufacturing. METHODS OF TESTING- Infinity test, the collimator, the reflex auto collimator, star testing, test charts, MFT testing. GENERAL PROPERTIES OF LENS- Lens attachments, lens flare, lens hood, lens makers formula, lens resolution, lens speed, lens testing chart. UNIT-3 LENS TYPES Afocal lens, Anamorphic lens, aspheric lens, camera lenses, catadioptric lens, catoptrics lens, condenser lens, convertible lens, enlarger lens, field lens, , flat field lens, fluoride lens, Fresnel lens, hill cloud lens, long focus lens, macro lens, macro zoom lens, meniscus lens, micro imaging lens, mirror lens, multiple lens, negative lens, orthoscopic lens, perspective control lens(PC), portrait attachment lens, portrait lens, positive lens , process lens, projector lens, reduction lens, reflecting lens, relay lens, soft focus lens, split dioptor lens, supplementary lens, telephoto lens, variable focal length lens, wide angle lens, zoom lens. COVERING POWER OF LENSES-Image circle, circle of good definition, extra covering power, natural vignetting, reduction of vignetting, mechanical vignetting, LENS ABERRATIONS-Causes and effects, monochromatic types, chromatic types and remedies. UNIT-4 TYPES OF LAMPS Arc lights, Tungsten Halogen lamps, CFL lamps, HMI lamps, LED lamps, Role of Gaffer, & the Department of Lighting Maintenance. Reflectors- Fixture lens, Cookies, Nets, CT meter, Spot meter, Light meter, Cyclorama , Gobos. Barn doors, Flags, Scrims, Dimmers, Diffuser, Fuses, Light cables, & Connectors. Color Temperature- Filters, & Mired shift values. C.T meter. UNIT-5 EXPOSURE CONTROL Exposure Index, Exposure Test, Assessment of Exposure Index, Exposure Latitude, Effect of Over Exposure- Camera speed, & Exposure, Exposure & Color, Shutter Angle & Exposure. Effects of Under Exposure- Ansel Adams ‘s Zone system. Correct Exposure- Technical , Aesthetic Approach in setting Exposure, Factors of Exposure & background, Exposure & Direction of light. Light measurement, Types, Incident Reflected. Advantages & Disadvantages. of metering system. Importance of Grey card. UNIT-6 LIGHTING RATIO Key to Shadow, High light to key, High light to key to Shadow Ratio, Portraiture - Single Subject, -Two Subject, One light Glamour, Working with Glamour, Light ratio for Film & Television. Light Effects- Point light Source, Multi point source (Brute), Reflex & Front projection, Chroma key, Semi-Silvered Mirrors, Pepper ghost. Lighting parameters A Flat Surface-Three point lighting. High key, & Low key, Silhouette, the effect of Surface tones, the effect of Make up on Tones, Texture, Importance of Shadows in Lighting , Lighting Styles. Common problems of lighting. Lighting a Person, two or Group, - Lighting Balance, Lighting Continuity, Exposure & Composition, Advantages & Disadvantages of Metering methods, Exposure latitude, Three Point Image Control, Bounce lighting, Diffused lighting, ambient lighting. Directorate of Technical Education Karnataka State 15CN31T Page 3 Course Delivery: The course will be delivered through lectures and presentations, suitable Videos. demonstration hand –in-hand experience, with suitable equipments and accessories Fallowed by sample video screening and panel discussion SUGGESTED LIST OF STUDENT ACTIVITYS Note: the following activities or similar activities for assessing CIE (IA) for 5 marks (Any one) 1. Each student should do any one of the following type activity or any other similar activity related to the course and before conduction, get it approved from concerned Teacher and HOD. 2. Each student should conduct different activity and no repeating should occur 1 Collect the n number(birth of photography to till date) of lenses and behavior of light inside in detail dedicated for motion picture photography 2 Submit a R&D report on photographic lens design and development 3 Visit an industry and submit a report on Types of lamps -exposure control -lighting ratio as per film industry norms MODEL OF RUBRICS FOR ASSESSING STUDENT ACTIVITY Dimensi Scale Students score on (Five students) 1 2 3 4 5 1 2 3 4 5 Unsatisfac Developin Satisfactory Good Exemplary tory g 1.Organi Has not Has Has Has Has included 3 sation included included included included all relevant relevant few some many info needed info relevant relevant relevant info info info 2. Fulfill Does not Performs Performs Performs Performs all 2 team’s perform very little partial nearly all duties of roles & any duties duties duties duties assigned duties assigned team roles 3.Conclu Poor Less Partially Summarises Most 5 sion Effective effective but not Effective exact. 4.Conve Frequent More Some Error Occasional No Error 4 nsions Error Error Error Grand Average/Total 14/4 =3.5 ≈4 Directorate of Technical Education Karnataka State 15CN31T Page 4 Note: This is only an example. Appropriate rubrics/criteria may be devised by the concerned faculty (Course Coordinator) for assessing the given activity. Course Assessment and Evaluation Scheme: What To When/Where Max Evidence collected Course outcomes whom (Frequency Marks in the course) CIE* IA Students Three tests 20 Blue books 1-6 (Average of /prints/DVD/DCP/ three tests) SHOWREEL Student 05 PRINTS/DVD/DCP 1-6 Activity /SHOWREEL SEE* End End of the 100 Answer scripts at BTE 1,2,3,4,5,6 Exam course Student Students Middle of the Feedback forms 1, 2,3 Delivery of Feedback on course course course End of Course End of the Questionnaires 1,2,3,4,5,6 Survey course Effectiveness of Delivery of instructions & Assessment Methods Note: I.A. test shall be conducted for 20 marks. Average marks of three tests shall be rounded off to the next higher digit. Note to IA verifier: The following documents to be verified by CIE verifier at the end of semester 1. Blue books ( 20 marks) 2. Student suggested activities report for 5 marks and should be assessed on RUBRICS 3. Student feedback on course regarding Effectiveness of Delivery of instructions & Assessment Methods. FORMAT OF I A TEST QUESTION PAPER (CIE) Test/Date and Time Semester/year Course/Course Code Max Marks Ex: I test/6 th weak of sem I/II SEM 20 10-11 Am Year: Name of Course coordinator : Units:__ CO’s:____ Question Question MARKS CL CO PO no 1 2 3 4 Note: Internal choice may be given in each CO at the same cognitive level (CL).
Load more

Recommended publications
  • Titanic Open Matte 720P Film
    Titanic Open Matte 720p Film Titanic Open Matte 720p Film 1 / 2 Oct 19, 2016 - Titanic.1997.Open.Matte.720p.BluRay.H264.AAC-RARBG. ... Titanic is a 1997 Hollywood Drama, Romance film starring Leonardo DiCaprio, Kate .... Download latest hindi 2020 movies 720p 480p, Dual audio movies ... Nazis at the Center of the Earth (2012) BDRip 1080p Titanic 4k hdr Titanic 4k hdr. ... на досуге, причем да, open matte Календарь выхода дисков - новинки Blu-ray. Movies Review | Bình luận phim‎ > ‎1997‎ > ‎ ... Titanic 1997 ViE 1080p BluRay DTS x264 {18.7 GiB} - Fshare - TenLua (Thuyết minh) ... Titanic 1997 Open Matte mHD BluRay DD5.1 x264-EPiK {4.9 GiB} - Fshare ... 1280 x 720. XVIDEOS Titanic gratis. ... titanic heroine hot scenes ... Kate Winslet Hot Nude Sketch And Sex Scene From Titanic. 720p4 ... Kate Winslet Titanic Open Matte. Alternate Versions The film's IMAX & Blu-ray 3D release presents the film open-matte, at an aspect ratio of 1. 78:1, meaning there was more .... Download Titanic 1997 Open Matte 1080p 10bit Bluray play in 3GP MP4 FLV MP3 ... 720p, 1080p video formats Free Download and Streaming Titanic 1997 Open ... Extended Trailer #1 (2012) - Tom Hanks, Halle Berry, Wachowski Movie HD. Titanic Movie. Nothing on Earth could come between them. 84 years later, a 101-year-old woman named Rose DeWitt Bukater tells the story to her .... [Thuyết Minh] Titanic 1997 ViE Open Matte 720p Bluray DTS ... Movie Info GENRE. ... Titanic 1997 Open Matte BluRay 1080p AVC DTS-HD MA .... Titanic (1997) English Open Matte 600MB BRRip ESubs Download. ... Movie Title: Titanic (1997) Director: James Cameron Stars: Leonardo DiCaprio ..
    [Show full text]
  • Whose Canon Is It Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by STORE - Staffordshire Online Repository Whose Canon is it Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution Mark McKenna According to figures from the British Film Institute (BFI), the UK has the second largest filmed entertainment market in the world, coming second only to the USA,1 worth an estimated £3.8 billion (2016, p. 2). How we choose to navigate the sheer volume of films available to us is significantly affected by the circulation of discourse, often related to its visibility, as well as notions of taste. Jonathan Rosenbaum suggests that we can observe a segmentation of the discourse surrounding film—where the mainstream, the industry and academia all reinforce and promote their own agendas (2000). Historically, early film criticism was concerned with legitimising these texts and their study, consequently attempting to align film analysis with that of broader historical approaches established in the analysis of the fine arts. These early valorisations about what might constitute the highest quality representations, and the subsequent forma- tion of the film studies discipline, led to the formation of the first canons. Paul Schrader argues that by definition, the film canon is ‘based upon criteria that transcend taste’ (2006, p. 34). Whether a film appeals to you personally or whether the film was hugely popular are inconsequential considerations, instead, every effort should be made to separate out ‘per- sonal favourites from those movies that artistically defined film history’ (ibid.). Within this separation lies what Janet Staiger has referred to as the ‘politics of inclusion and exclusion’, where ‘some films are moved to the center of attention; others, to the margins’ (1985, p.
    [Show full text]
  • TEMA 47 Proyección De Imágenes. Estructura Y Requerimientos Óptico-Acústicos De Las Salas De Proyección
    PROC.Y MEDIOS DE COMUNICACION Proceso de información visual 1 TEMA 47 Proyección de imágenes. Estructura y requerimientos óptico-acústicos de las salas de proyección. Sistemas y formatos de proyección de imágenes, características y tipos. Pantallas. Nuevas técnicas de proyección. Ópticas especiales. Autora: Elena García Esquema: 1.- Introducción. 2.- Proyección de imágenes. 2.1.- Proyectores digitales. 3.- Estructura y requerimientos óptico-acústicos de las salas de proyección. www.preparadores.eu : 4.- Sistemas y formatos de proyección de imágenes, características y Web tipos. 5.- Pantallas. 6.- Nuevas técnicas de proyección. [email protected] : 6.1.- Tecnología DLP Cinema. 6.2.- Tecnología 2K y 4K. 7.- Ópticas especiales. 8.- Conclusiones. 9.- Referencias bibliográficas y documentales. 1.- INTRODUCCIÓN. Los formatos cinematográficos son los medios empleados por los cineastas para que la imagen y el sonido de las películas lleguen hasta las salas cinematográficas. Están comprendidos no sólo por las cámaras que se utilizan en los rodajes, sino por el conjunto de accesorios de las mismas, desde el celuloide empleado para registrar la imagen, pasando por la óptica (lentes y objetivos) e incluso los sistemas de proyección de REV.: 02/20 los cines. Email PREPARADORES DE OPOSICIONES PARA LA ENSEÑANZA C/ Sagasta 20 – 1ºD 28004 Madrid Tel.: 91 308 00 32 PROC.Y MEDIOS DE COMUNICACION Proceso de información visual 2 El Cine Digital (Cine D) es la nueva tecnología de proyección para la industria cinematográfica. En lugar del proyector tradicional, se usa un proyector digital para presentar una versión digitalizada (en un archivo informático) de la película en la pantalla. El Cine D es el reemplazo moderno de la tecnología centenaria usada hasta el momento.
    [Show full text]
  • Snakes and Funerals: Aesthetics and American Widescreen Films
    Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 5-2-2007 Snakes and Funerals: Aesthetics and American Widescreen Films John Harper Cossar Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Part of the Communication Commons Recommended Citation Cossar, John Harper, "Snakes and Funerals: Aesthetics and American Widescreen Films." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/communication_diss/12 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SNAKES AND FUNERALS: AESTHETICS AND AMERICAN WIDESCREEN FILMS by HARPER COSSAR Under the direction of Greg M. Smith ABSTRACT The study of widescreen cinema historically has been under analyzed with regard to aesthetics. This project examines the visual poetics of the wide frame from the silent films of Griffith and Gance to the CinemaScope grandeur of Preminger and Tashlin. Additionally, the roles of auteur and genre are explored as well as the new media possibilities such as letterboxing online content. If cinema’s history can be compared to painting, then prior to 1953, cinema existed as a portrait-only operation with a premium placed on vertical compositions. This is not to say that landscape shots were not possible or that lateral mise-en-scene did not exist. Cinematic texts, with very few exceptions, were composed in only one shape: the almost square Academy Ratio. Before 1953, cinema’s shape is that of portraiture; after 1953 cinema’s shape is landscape.
    [Show full text]
  • Video Nasties’: Economics, Marketing
    RETHINKING THE ‘VIDEO NASTIES’: ECONOMICS, MARKETING, AND DISTRIBUTION MARK MCKENNA A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy October 2017 February 2017 2 CONTENTS ABBREVIATIONS _________________________________________________________ 4 LIST OF ILLUSTRATIONS __________________________________________________ 5 ACKNOWLEDGEMENTS ___________________________________________________ 6 ABSTRACT _______________________________________________________________ 9 INTRODUCTION: A VERY ‘NASTY BUSINESS’ _____________________________ 10 PART ONE: RATIONALE AND CONTEXT __________________________________ 16 1 HISTORICAL OVERVIEW: INTRODUCTION ___________________________ 17 1.1 The Established History of the Campaign _________________________________ 17 1.2 Complicating the Established Narrative __________________________________ 27 2. LITERATURE REVIEW _______________________________________________ 37 3. METHODOLOGICAL APPROACHES: INTRODUCTION _________________ 51 3.1 The New Film History ________________________________________________ 52 3.2 Production Studies ___________________________________________________ 54 3.3 Beyond the Text_____________________________________________________ 56 3.4 The Old Film History ________________________________________________ 57 3.5 Summation _________________________________________________________ 58 4. TECHNOLOGY AND POWER _________________________________________ 63 4.1 Introduction ________________________________________________________
    [Show full text]
  • Reunat Kertovat
    Ville Myllymaa Reunat kertovat Kuvasuhteiden historia ja merkitys elokuvakerronnassa Metropolia Ammattikorkeakoulu Medianomi Elokuvan ja television koulutusohjelma Opinnäytetyö 19.5.2013 Tiivistelmä Tekijä Ville Myllymaa Otsikko Reunat kertovat – Kuvasuhteiden historia ja merkitys eloku- vakerronnassa Sivumäärä 104 sivua + 1 liite Aika 19.5.2013 Tutkinto Medianomi Koulutusohjelma Elokuvan ja television koulutusohjelma Suuntautumisvaihtoehto Kuva ja leikkaus Ohjaaja Kuvauksen lehtori Jouko Seppälä Opinnäytetyö käsittelee kuvasuhteiden ja formaattien historiaa sekä merkitystä elokuvissa. Elokuvan kuvasuhde tarkoittaa kuvan muotoa, joka ilmoitetaan kuvan leveyden suhteena korkeuteen. Historialuvussa käydään läpi kuvaformaateissa tapahtuneita muutoksia elokuvan syntymi- sestä aina digitaaliseen elokuvaan asti. Siinä käsitellään muutosten syitä, jotka voivat olla teknisiä, taloudellisia ja taiteellisia. Työssä on käytetty paljon kuvia eri elokuvista havain- nollistamaan formaattien välisiä eroja. Lisäksi kuvien visuaalinen ilme antaa usein jonkin- laista käsitystä kyseisen aikakauden elokuvista. Työssä on myös käytetty piirroksia esi- merkiksi filmiruuduista, jotka helpottavat ymmärtämään formaattien teknistä puolta. Kuvasuhde vaikuttaa aina elokuvan katsomiskokemukseen. Elokuvat ja televisio ovat kas- vattaneet katsojan lukemaan eri kuvasuhteita, vaikkei katsoja itse sitä tiedostaisikaan. Ku- vasuhde synnyttää mielikuvia tyylistä, vakavuudesta ja realismin tasosta. Kuvasuhteen leveys mahdollistaa ja rajoittaa tiettyjä kuvallisia ratkaisuja.
    [Show full text]
  • Elenco Dvd Prestabili Dal 1° Dicembre 2019
    FILM E SERIE TV PRESTABILI DAL 1° DICEMBRE 2019 50 primavere / un film di Blandine Lenoir ; sceneggiatura Blandine Lenoir e Jean-Luc Gaget ; da un'idea originale di Blandine Lenoir. - [Roma] : Rai Cinema ; : 01 Distribution [distributori], c2018. - 1 DVD-Video (circa 86 min) : color., sonoro ; in contenitore, 19 cm. ((Titolo della copertina. - Produzione cinematografica Francia, 2017. - Lingue: italiano, francese; sottotitoli: italiano. - Interpreti: Agnès Jaoui, Thibault de Montalembert, Pascale Arbillot. - Caratteristiche tecniche: regione 2; PAL; video: 16/9, 1.85:1, SD/25 FPS; DVD 9; Dolby digital 5.1 CINEMA DVD Lenoir,B – inventario 569431 A casa tutti bene / un film di Gabriele Muccino ; soggetto Gabriele Muccino ; sceneggiatura Gabriele Muccino, Paolo Costella ; musiche Nicola Piovani. - [Roma] : Rai Cinema ; : 01 Distribution [distributori], 2018. - 1 DVD-Video (circa 103 min) : color., sonoro ; in contenitore, 19 cm. (( Caratteristiche tecniche: codice area 2; sistema e formato video: PAL; 16/9, 2.40:1, 720x576; DVD 9; formato audio: audio: Dolby digital 5.1. - Titolo del contenitore. - Film del 2018, produzione Italia. - Interpreti: Stefano Accorsi, Carolina Crescentini, Pierfrancesco Favino, Claudia Gerini, Massimo Ghini, Sabrina Impacciatore, ... [et al.]. - Lingue: italiano; sottotitoli: italiano non udenti, inglese CINEMA DVD Muccino,G – inventario 568962 Ascensore per il patibolo / regia di Louis Malle ; [sceneggiatura Roger Nimier, Louis Malle] ; [con] Jeanne Moreau, Maurice Ronet, Lino Ventura. - Usmate Velate : A&R Productions, P2018. - 1 DVD-Video (79 min) : b/n, sonoro ; 12 cm. ((Titolo del contenitore. - Lingue: italiano, francese, tedesco; sottotitoli: italiano, inglese. - Data di produzione cinematografica: Francia, 1958. - Caratteristiche tecniche: codice area 0; NTSC; 16:9, 1.37:1 pillarbox; Dolby digital mono 2.0.
    [Show full text]
  • Cinema's Unstable Texts
    Cinema’s Unstable Texts: A Historical Analysis of Textual Variation in the Film Industry By Mikhail L. Skoptsov B.A. New York University, 2010 M.A. University of Southern California, 2012 Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Modern Culture and Media at Brown University Providence, Rhode Island May 2020 © Copyright 2020 by Mikhail Skoptsov This dissertation by Mikhail L. Skoptsov is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date______________ ____________________________ Philip Rosen, Advisor Recommended to the Graduate Council Date______________ ____________________________ Lynne Joyrich, Reader Date______________ ____________________________ Ariella Azoulay, Reader Approved by the Graduate Council Date______________ ____________________________ Andrew G. Campbell, Dean of the Graduate School iii Curriculum Vitae Mikhail Skoptsov graduated in 2010 from New York University with a B.A. in Cinema Studies with honors, a second major in the French language, and a minor in Producing. He subsequently graduated with an M.A. in Film Studies from the University of Southern California (USC) in 2012. His published academic works include a book chapter in Bringing History to Life Through Film: The Art of Cinematic Storytelling (2013), and articles in the online international journal Series (2015) and Contexts (Spring 2018), the official annual publication of the Haffenreffer Museum of Anthropology. A forthcoming book chapter will appear in The Hobbit in Film and Fiction: Essays on Peter Jacksons Hobbit Trilogy (2020). As a former film critic, he has published multiple reviews in Washington Square News and The Daily Trojan newspapers.
    [Show full text]
  • Microsoft Example Container Format ALL ALL HD Picture Aspect Ratio 4
    Sony Microsoft Example Toshiba Panasonic Container Format ALL ALL HD Sample Pixel Aspect Ratio[1] 1:1, 10:11, 40:33, 1:1, 10:11, 40:33, 4:3, plus 12:11, 4:3 16:11 for 50Hz Picture Aspect Ratio 4:3, 16:9 1.33, 1.78, 1.85, 2.35 Encoded frame 4:3 , 16:9 Resolution 720x480 , PD 320x240, 1280x720, 416x240, SD 1920x1080, plus 640x480, 720x576 for 50Hz 720x480NTSC, 864x480, HD 1280x720, 1440x1080, 1920x1080 Overscan / cropping Optional for AVC cropping devices to crop parameters L+R to 704 with specified in overscan flag in stream and ISO AVC elementary Track size stream equals decoder output size e.g. 1080 or 704, not 1088 or 720 encoded size Black padding Send coordinates OK, but encode of active picture AVC cropping parameters of actual picture area Horizontal sub-sampling No [40:33 IS Yes, e.g. “subsampling”] 720x480 16:9 NTSC 1440x1080 16:9 Quantization range[2] 16-235, 0-253 16-235, 0-253 legal range as visible range, not defined in Rec clipped, as 601 and 709 defined in Rec 601 and 709 Color space [3] Req 601 for PD, Req 601 for PD, SD, Req 709 for SD; Req 709 for HD HD, negative RGB OK 50 hertz or not? Optional for Decode required, Europe etc publication regional Frame rates 29.97, 23.976 14.99, 23.976, plus 25 for 50Hz 25, 29.97, 50, Progressive / interlace Both Both59.94 Recommended practice topics Interlaced temporal sub-sampling, filtering Optimized for progressive display, default AVC 4:2:0 subsample locations Gamma curve, render intent, display Encoded with adaptation studio monitor gamma.
    [Show full text]
  • All Forums DVD Discussions and Bargains Ruscico ANDREI RUBLEV
    Home | Profile | Register | Active Topics | Members | Search | FAQ Username: Password: Save Password All Forums DVD Discussions and Bargains RusCiCo ANDREI RUBLEV... anyone??? Pages: 1 2 3 4 5 Author Topic peerpee Posted - 08/04/2001 : 8:55:47 PM Criterion Enthusiast Anyone got it yet?.. it's definitely doing the rounds... United Kingdom 877 Posts >>>-------> bhomatude Posted - 08/06/2001 : 11:49:08 PM Criterion Enthusiast Yes. I have my paws on it right now. I've done a quick scan through a few chapters and am USA exceedingly happy to report that it is far far superior to Criterion's release (at least they tried)... I 282 Posts put in the Criterion disk and didn't have to even look very close to see how this Ruscico transfer and remaster is such a revelation in every way: Depth of Blacks, Sharpness, Image stability and frame 'waver' and an incredible 5.1 sound mix. I could go on... The extras are similar to the Solaris release, in that you've got an interview with (T's sister?) and a short film on the making of Andrei Rublev - w/footage of T on the set and interview. I just glanced at this though. The standard filmography and Photograpy galleries with 'announcements' or trailers from future Ruscico releases including a trailer for Mirror and Stalker... both looking exceptional (the sound from the Stalker trailer though, sounded like it was from a mono optical print - very harsh and thin - I'm assuming it's a preliminary). Oh and it is anamorphic - roughly equivalent to the letterboxed Criterion aspect ratio?? Upon hasty review, perhaps the Criterion was a tighter letterbox? Hard to tell.
    [Show full text]
  • Owning Kubrick: the Criterion Collection and the Ghost in the Auteur Machine Dru Jeffries
    Special — Peer Reviewed Cinergie – Il cinema e le altre arti. N.12 (2017) https://doi.org/10.6092/issn.2280-9481/7339 ISSN 2280-9481 Owning Kubrick: The Criterion Collection and the Ghost in the Auteur Machine Dru Jeffries Published: 4th December 2017 Abstract Few directors have had their work as incessantly packaged and repackaged on home video as Stanley Kubrick, whose oeuvre seems to get a new box set re-release every few. Critical analyses of the DVD format have overwhelmingly argued that film’s remediation onto home video has a profound impact on acts of spec- tatorship and interpretation, not least because of added paratextual content like commentaries, making-of docs, etc. As Brookey and Westerfelhaus establish, such paratexts don’t merely encourage preferred read- ings but can also discourage others. Extending this line of thinking, Grant has argued that DVDs function as “auteur machines” (borrowing the term from Klinger) insofar as they emphasize directorial intentionality as the central aspect of the DVD’s commodity, connoisseur, and cinephilic value. Even with physical media sales on the wane in favour of streaming services, cinephiles and collectors continue to prioritize ownership and quality over bang-for-buck, as they have since the era of laserdiscs. In this context, it makes sense that The Criterion Collection – a company that has always courted a collector- and cinephile-centric market with their curated selection, high quality presentations, and academic supplemental features – would con- tinue to thrive. Almost half of Kubrick’s features have received “the Criterion treatment” (either on laserdisc or DVD/Blu-ray), buttressing these films’ canonical status.
    [Show full text]
  • Formatos Cinematográficos
    FORMATOS CINEMATOGRÁFICOS FORMATOS CINEMATOGRÁFICOS Artículo de Nacho Aguilar. Agradecimientos a Jordi F. y Alex Fàbregas, Paco Bruña y Manuel Ribera. Obtenido de ZonaDVD zonadvd.com Corrección, compilación, diseño e imagenes por Mariano Castaño. FORMATOS CINEMATOGRÁFICOS Introducción Los formatos cinematográficos son los medios empleados por los cineastas para que la imagen y el sonido de las películas lleguen hasta las salas cinematográficas. Están comprendidos no sólo por las cámaras que se utilizan en los rodajes, sino por el conjunto de accesorios de las mismas, desde el celuloide empleado para registrar la imagen, pasando por la óptica (lentes y objetivos) e incluso los sistemas de proyección de los cines. En cuanto al sonido, existen muy diversos tipos de presentaciones, desde la tradicional monofónica hasta los modernos sistemas de sonido digital multicanal. El formato del cine mudo En los primeros años del cine, durante la época muda, los cineastas usaron ya la película de 35 mm como formato estándar. La proporción de la imagen entre el largo y el alto, en inglés Aspect Ratio, era ya en la época 1.33:1, aunque bien es cierto que pioneros como Edison y los Hermanos Lumière no empleaban exactamente el mismo formato, pues la película Lumière empleaba una perforación redonda por imagen, frente a las cuatro perforaciones rectangulares de la película Edison (las perforaciones son los agujeros a cada lado del fotograma en el negativo y que posibilitan el arrastre por tracción de la película; cuantas más perforaciones, más grande será el negativo sobre el que se rueda y la calidad de imagen será mayor).
    [Show full text]