Graphic Display Resolutions 1 Graphic Display Resolutions
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CINERAMA: the First Really Big Show
CCINEN RRAMAM : The First Really Big Show DIVING HEAD FIRST INTO THE 1950s:: AN OVERVIEW by Nick Zegarac Above left: eager audience line ups like this one for the “Seven Wonders of the World” debut at the Cinerama Theater in New York were short lived by the end of the 1950s. All in all, only seven feature films were actually produced in 3-strip Cinerama, though scores more were advertised as being shot in the process. Above right: corrected three frame reproduction of the Cypress Water Skiers in ‘This is Cinerama’. Left: Fred Waller, Cinerama’s chief architect. Below: Lowell Thomas; “ladies and gentlemen, this is Cinerama!” Arguably, Cinerama was the most engaging widescreen presentation format put forth during the 1950s. From a visual standpoint it was the most enveloping. The cumbersome three camera set up and three projector system had been conceptualized, designed and patented by Fred Waller and his associates at Paramount as early as the 1930s. However, Hollywood was not quite ready, and certainly not eager, to “revolutionize” motion picture projection during the financially strapped depression and war years…and who could blame them? The standardized 1:33:1(almost square) aspect ratio had sufficed since the invention of 35mm celluloid film stock. Even more to the point, the studios saw little reason to invest heavily in yet another technology. The induction of sound recording in 1929 and mounting costs for producing films in the newly patented 3-strip Technicolor process had both proved expensive and crippling adjuncts to the fluidity that silent B&W nitrate filming had perfected. -
Square Vs Non-Square Pixels
Square vs non-square pixels Adapted from: Flash + After Effects By Chris Jackson Square vs non square pixels can cause problems when exporting flash for TV and video if you get it wrong. Here Chris Jackson explains how best to avoid these mistakes... Before you adjust the Stage width and height, you need to be aware of the pixel aspect ratio. This refers to the width and height of each pixel that makes up an image. Computer screens display square pixels. Every pixel has an aspect ratio of 1:1. Video uses non-square rectangular pixels, actually scan lines. To make matters even more complicated, the pixel aspect ratio is not consistent between video formats. NTSC video uses a non-square pixel that is taller than it is wide. It has a pixel aspect ratio of 1:0.906. PAL is just the opposite. Its pixels are wider than they are tall with a pixel aspect ratio of 1:1.06. Figure 1: The pixel aspect ratio can produce undesirable image distortion if you do not compensate for the difference between square and non-square pixels. Flash only works in square pixels on your computer screen. As the Flash file migrates to video, the pixel aspect ratio changes from square to non-square. The end result will produce a slightly stretched image on your television screen. On NTSC, round objects will appear flattened. PAL stretches objects making them appear skinny. The solution is to adjust the dimensions of the Flash Stage. A common Flash Stage size used for NTSC video is 720 x 540 which is slightly taller than its video size of 720 x 486 (D1). -
History of Widescreen Aspect Ratios
HISTORY OF WIDESCREEN ASPECT RATIOS ACADEMY FRAME In 1889 Thomas Edison developed an early type of projector called a Kinetograph, which used 35mm film with four perforations on each side. The frame area was an inch wide and three quarters of an inch high, producing a ratio of 1.37:1. 1932 the Academy of Motion Picture Arts and Sciences made the Academy Ratio the standard Ratio, and was used in cinemas until 1953 when Paramount Pictures released Shane, produced with a Ratio of 1.66:1 on 35mm film. TELEVISION FRAME The standard analogue television screen ratio today is 1.33:1. The Aspect Ratio is the relationship between the width and height. A Ratio of 1.33:1 or 4:3 means that for every 4 units wide it is 3 units high (4 / 3 = 1.33). In the 1950s, Hollywood's attempt to lure people away from their television sets and back into cinemas led to a battle of screen sizes. Fred CINERAMA Waller of Paramount's Special Effects Department developed a large screen system called Cinerama, which utilised three cameras to record a single image. Three electronically synchronised projectors were used to project an image on a huge screen curved at an angle of 165 degrees, producing an aspect ratio of 2.8:1. This Is Cinerama was the first Cinerama film released in 1952 and was a thrilling travelogue which featured a roller-coaster ride. See Film Formats. In 1956 Metro Goldwyn Mayer was planning a CAMERA 65 ULTRA PANAVISION massive remake of their 1926 silent classic Ben Hur. -
A Brief Intro to Photoshop. Four by Three (4:3): That's For
A brief intro to Photoshop. Although many other image manipulation tools are cheaper and a bit more user friendly, Photoshop is the leading tool for digital image manipulation. As you will see, our uses of Photoshop are basic, but for the introductory student they do require a little bit of work. Please don’t become bogged down in Photoshop. Complete these simple tasks and move on. Four by three (4:3): that’s for me! The industry standard for video and digital video production is an aspect ratio of 4:3. That means the measurements of the screen on which you will see your story finished is 4:3 and we must make all the images you scan fit into that size. The standard measurement for a computer is 640 pixels by 480 pixels (640 x 480 is 4:3!) If an image is scanned or cropped to be a different ratio, then in the end your image will be stretched and distorted to fit the screen, whether you like it or not. Example: You have to put your image through a sizing operation if you want to avoid this distortion. These are your options: 1 Option 1: The Black Bars 1. Open the picture you are working on. Go to FILE > OPEN. Select your file. 2. First make sure that the background is set to black. At the bottom of the tool bar are two little boxes, one on the top left, and one on the bottom right. Click on the bottom left corner box of the COLOR PICKER and choose black in the color picker window. -
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. -
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. -
4010, 237 8514, 226 80486, 280 82786, 227, 280 a AA. See Anti-Aliasing (AA) Abacus, 16 Accelerated Graphics Port (AGP), 219 Acce
Index 4010, 237 AIB. See Add-in board (AIB) 8514, 226 Air traffic control system, 303 80486, 280 Akeley, Kurt, 242 82786, 227, 280 Akkadian, 16 Algebra, 26 Alias Research, 169 Alienware, 186 A Alioscopy, 389 AA. See Anti-aliasing (AA) All-In-One computer, 352 Abacus, 16 All-points addressable (APA), 221 Accelerated Graphics Port (AGP), 219 Alpha channel, 328 AccelGraphics, 166, 273 Alpha Processor, 164 Accel-KKR, 170 ALT-256, 223 ACM. See Association for Computing Altair 680b, 181 Machinery (ACM) Alto, 158 Acorn, 156 AMD, 232, 257, 277, 410, 411 ACRTC. See Advanced CRT Controller AMD 2901 bit-slice, 318 (ACRTC) American national Standards Institute (ANSI), ACS, 158 239 Action Graphics, 164, 273 Anaglyph, 376 Acumos, 253 Anaglyph glasses, 385 A.D., 15 Analog computer, 140 Adage, 315 Anamorphic distortion, 377 Adage AGT-30, 317 Anatomic and Symbolic Mapper Engine Adams Associates, 102 (ASME), 110 Adams, Charles W., 81, 148 Anderson, Bob, 321 Add-in board (AIB), 217, 363 AN/FSQ-7, 302 Additive color, 328 Anisotropic filtering (AF), 65 Adobe, 280 ANSI. See American national Standards Adobe RGB, 328 Institute (ANSI) Advanced CRT Controller (ACRTC), 226 Anti-aliasing (AA), 63 Advanced Remote Display Station (ARDS), ANTIC graphics co-processor, 279 322 Antikythera device, 127 Advanced Visual Systems (AVS), 164 APA. See All-points addressable (APA) AED 512, 333 Apalatequi, 42 AF. See Anisotropic filtering (AF) Aperture grille, 326 AGP. See Accelerated Graphics Port (AGP) API. See Application program interface Ahiska, Yavuz, 260 standard (API) AI. -
Digital Signage Guidelines
DIGITAL SIGNAGE GUIDELINES Content on your displays is the electronic process of bringing posters and fliers to life. In preparation for designing content there are some specifications that should be followed to ensure a high-quality presentation. Display Template Display Orientation: Landscape Displays/TV resolutions: 1920 x 1080 Aspect Ratio: 16:9 (Recommended) can be 4:3 The entire template should be 1920 x 1080 as shown below. The region where main content will be (the area where rotating content will be displayed) should be in a ratio of 16:9 (recommended) or 4:3. Example below as indicated by the arrow is 1344 x 720 which is a 16:9 ratio. Just be consistent. If the main content area is 16:9 then graphics need to be 16:9. If main content area is 4:3 then graphics needs to be 4:3. All other regions can be built around this area to fill the template. 1080 1920 Digital Content Most presentations start with an event or information that needs to reach a wide audience. Information that is pertinent to this event is jotted down and the evolution of a “flier” forms. For print purposes, most users would go to Word or Publisher and start creating a flier. However when making digital content, Word is not recommended. So, what program is best suited for this? PowerPoint This happens to be the most popular program. Powerpoint is designed for presentations that will be projected to a wide variety of screens, so orientation and aspect ratios are already taken into account. -
DCI and OTHER Film Formats by Peter R Swinson (November 2005)
DCI and OTHER Film Formats By Peter R Swinson (November 2005) This document attempts to explain some of the isssues facing compliance with the DCI specification for producing Digital Cinema Distribution Masters (DCDM) when the source material is of an aspect ratio different to the two 2K and 4K DCDM containers. Background Early Digital Projection of varying Aspect Ratios. Digital Cinema Projectors comprise image display devices of a fixed aspect ratio. Early Digital Cinema projectors utilised non linear (Anamorphic) optics as a means to provide conversion from one aspect ratio to another, the projectors also generated images using less than the full surface area of the image display devices to provide other aspect ratios, and, on occasions, the combination of both. Film Aspect Ratios Since the inception of Film many aspect ratios have been used. For Feature Films, the film image width has remained nominally constant at what is known as the academy width and the aspect ratio has been determined by the height of the image on the film. One additional aspect is obtained using the same academy width but also using a 2:1 non-linear anamorphic lens to compress the horizontal image 2:1 while filming. A complimentary expanding 2:1 anamorphic lens is used in the cinema. This anamorphic usage ensures that the film’s full image height and width is used to retain quality. This is known generally as Cinemascope with an aspect ratio of 2.39:1. For those who carry out film area measurements against aspect ratios, this number is arrived at by using a slightly greater frame height than regular 35mm film. -
Video Cards Used in Olivetti Computers
VIDEO CONTROLLERS Table of Contents of the Video Controllers GO317 - GO318 - GO380 - GO709 ............................................................................................ C - 2 E.G.C. GO329 (Enhanced Graphic Colour)................................................................................C - 3 C O.G.C GO708 (Olivetti Graphics Controller)............................................................................... C - 4 P.G.C. GO423 (Positive Graphics Controller).............................................................................C - 4 O.E.C. GO4511 - GO467 - GO491 (Olivetti E.G.A. Compatible)................................................C - 5 O.V.C. GO470 - GO481(Olivetti V.G.A. Compatible)..................................................................C - 6 AGC 26-386 Graphics Enhancement Board ..............................................................................C - 7 HGC 1282 KIT High Resolution Graphics Expansion Board......................................................C - 9 XGC High Resolution Graphics Expansion Board......................................................................C - 10 ATI 8514 ULTRA Graphics Accelerator Board ..........................................................................C - 12 1570 SX Rev. A (GO2021) VGA-Compatible Video Controller Board ....................................... C - 13 VISION-40 (GO 2019) Video Controller Board ..........................................................................C - 14 REALITY-40 (MATROX) GO2027 - GO2049 Video Controller -
Graphical Process Unit a New Era
Nov 2014 (Volume 1 Issue 6) JETIR (ISSN-2349-5162) Graphical Process Unit A New Era Santosh Kumar, Shashi Bhushan Jha, Rupesh Kumar Singh Students Computer Science and Engineering Dronacharya College of Engineering, Greater Noida, India Abstract - Now in present days every computer is come with G.P.U (graphical process unit). The graphics processing unit (G.P.U) has become an essential part of today's mainstream computing systems. Over the past 6 years, there has been a marked increase in the performance and potentiality of G.P.U. The modern G.P.Us is not only a powerful graphics engine but also a deeply parallel programmable processor showing peak arithmetic and memory bandwidth that substantially outpaces its CPU counterpart. The G.P.U's speedy increase in both programmability and capability has spawned a research community that has successfully mapped a broad area of computationally demanding, mixed problems to the G.P.U. This effort in general-purpose computing on the G.P.Us, also known as G.P.U computing, has positioned the G.P.U as a compelling alternative to traditional microprocessors in high-performance computer systems of the future. We illustrate the history, hardware, and programming model for G.P.U computing, abstract the state of the art in tools and techniques, and present 4 G.P.U computing successes in games physics and computational physics that deliver order-of- magnitude performance gains over optimized CPU applications. Index Terms - G.P.U, History of G.P.U, Future of G.P.U, Problems in G.P.U, eG.P.U, Integrated graphics ________________________________________________________________________________________________________ I. -
ATI VGA Wonder Manual
I OPERATION MANUAL OEM VERSION First Edition - July 1988 - Reference# VGAW8MAN. ATI reserves the right to make changes to this manual without prior notice. © Copyright 1988, by: A TI Technologies Inc. 3761 Victoria Park Avenue Scarborough, Ontario MIW3S2 Tel: (416) 756-0718 Fax: (416) 756-0720 Telex: 06-966640 (A TI TOR) All rights reserved, including those to reproduce this manual or parts thereof in any form without the express written permission of A TI Technologies Inc. Trademark Acknowledgements. Trademarks, registered or otherwise, used in this manual are: • VGAWONDER - ATI Technologies Inc. • IBM PC, PCIXT, PC/AT, PS/2 Model 30, 8514, CGA, EGA, VGA, - International Business Machines • Multisync - NEC Home Electronics Inc. • Hercules - Hercules Computer Technology Inc. • Windows, OS/2, Microsoft - Microsoft Corp. • GEM - Digital Research Inc. • 1-2-3, Symphony - Lotus Development Corp. • Ventura Publisher - Xerox Corp. • AutoCAD, AutoShade - Autodesk Inc. • SmarTerm - Persoft Inc. • VTerm - Coefficient Systems Corp. • WordPerfect - WordPerfect Corporation • WordS tar - Micropro International Inc. • Newviews - Q.W. Page Associates, Inc. VGAWONDER Manual U SOFTWARE INSTALLATION A number of changes have been made to the v1.02 disks shipped with VGAWONDER. The information given here replaces that given in 7 of the VGAWONDER USER'S GUIDE. The major changes are: README Extensively revised. Please read this file before installation. VSETUP.COM A choice for NEC VGA has been added to ANALOO SELECTION, which specifies a NEC Multisync 2A or equivalent monitor. is a new feature to adjust grey scale on a TIL monochrome monitor. Note each menu choice in VSETUP, you must EXIT, then power-off to write the to the EEPROM.