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Low-Cost 8Mm/Super 8 Film Digitization Using A
Journal of Contemporary Archival Studies Volume 6 Article 16 2019 Low-Cost 8mm/Super 8 Film Digitization Using a Canon 9000F II Flatbed Scanner and Photoshop: A Case Study Kenneth Eckert Hanyang University (ERICA), Korea, [email protected] Follow this and additional works at: https://elischolar.library.yale.edu/jcas Part of the Archival Science Commons, Digital Humanities Commons, Film Production Commons, Other Computer Sciences Commons, and the Other Film and Media Studies Commons Recommended Citation Eckert, Kenneth (2019) "Low-Cost 8mm/Super 8 Film Digitization Using a Canon 9000F II Flatbed Scanner and Photoshop: A Case Study," Journal of Contemporary Archival Studies: Vol. 6 , Article 16. Available at: https://elischolar.library.yale.edu/jcas/vol6/iss1/16 This Case Study is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Journal of Contemporary Archival Studies by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Eckert: 8mm/Super 8 Digitization Using a Canon Scanner Low-Cost 8mm/Super 8 Film Digitization Using a Canon 9000F II Flatbed Scanner and Photoshop: A Case Study Kenneth Eckert Hanyang University, Korea Introduction For some fifty years, between its introduction in 1932 and its obsolescence with the growth of consumer video cameras in the 1980s, 8mm/Super 8 movie film was widely used for home movies and by amateur hobbyists and film students. It occasionally was used in TV news or even for in-flight movies and arcade kiosks, and possibly its most unfortunately famous example is the Zapruder 8mm film of John F. -
Small Gauge Symposium (Portland, 2001)
SMALL GAUGE SYMPOSIUM AMIA Conference, Portland, Oregon November 6-10, 2001 Film Services & Equipment Toni Treadway/Leo Enticknap Page 1 Small Gauge Film Survey Summary Karen Glynn Page 9 Bibliography Katie Trainor Page 11 Roundtable Excerpts Janice Simpson Page 17 Thanks to the Library of Congress’s National Film Preservation Board, Sony Pictures Entertainment, and the National Endowment for the Arts. This compilation, prepared for the 2001 Small Gauge Film Symposium, gathers some initial information prepared by the Task Force to share with AMIA. The documents are works in progress, and cry out for your additions. We invite you to participate in all the Small Gauge presentations throughout the Symposium, to think about the cultural and artistic import of small gauge and amateur film—and if possible to join us on Saturday at 4 p.m. for “A Brainstorming Session on Future Umbrella Projects for Amateur and Small Gauge Film.” Onward! Task Force Members Chair Karan Sheldon, Northeast Historic Film Section Chairs TECHNICAL Toni Treadway, Brodsky & Treadway/IC8 APPRAISAL Lynne Kirste, AMPAS SYMPOSIUM PROGRAM PLANNING Steve Anker, SF Cinémathèque Steve Anker, SF Cinémathèque, Co-curator "Big as Life" Grover Crisp, Sony Pictures Entertainment Karen Glynn, University of Mississippi Jan-Christopher Horak, Hollywood Entertainment Museum Karen Ishizuka, Japanese American National Museum Lynne Kirste, AMPAS Michelle Kribs, Oregon Historical Society Ross Lipman, UCLA Patrick Loughney, Library of Congress Anne Morra, MOMA Mona Nagai, PFA Bill O'Farrell, National Archives of Canada Eddie Richmond, UCLA Film and TV Archive Karan Sheldon, Northeast Historic Film Melinda Stone, University of San Francisco Dwight Swanson, Northeast Historic Film Toni Treadway, Brodsky & Treadway and IC/8 Ken Weissman, Library of Congress Pam Wintle, Human Studies Film Archives, Smithsonian Small Gauge Film Equipment Providers SPLICES AND LEADER Tech Note: Please use white leader from Neumade or Kodak. -
Year 5 Music and HASS
Dance Dance ABORIGINAL AND TORRES STRAIT ISLANDER HISTORIES AND CULTURES LIVINGMotion CULTURES Transfer – Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F Creating Tradition Creating Tradition #0D588C #0D588C YEAR 5 Department of Education Dance Dance LIVING CULTURES – YEAR 5 Motion Transfer Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F CLAPSTICKSCreating Tradition Creating Tradition #0D588C #0D588C Learners undertake an inquiry into an Aboriginal instrument – the clapstick – before listening to a range of traditional and contemporary Aboriginal song and dance to explore the way clapsticks communicate meaning. Finally, students will make a set of their own clapsticks with an Aboriginal Sharer of Knowledge. CROSS CURRICULUM PRIORITY and practices of various cultural groups in relation to a specific time, event or custom Aboriginal and Torres Strait Islander Histories and Cultures Critical & Creative Thinking Organising idea 1 Inquiring – identifying, exploring and organising information Australia has two distinct Indigenous groups: Aboriginal and ideas Peoples and Torres Strait Islander Peoples, and within Organise and process information those groups there is significant diversity. Level 4 – analyse, condense and combine relevant Organising idea 4 information from multiple sources Aboriginal and Torres Strait Islander societies have Generating ideas, possibilities and actions many Language Groups. Imagine possibilities and connect ideas ACHIEVEMENT STANDARDS Level 4 – combine ideas in a variety of ways and from a Music range of sources to create new possibilities Students explain how the elements of music are used to communicate meaning in the music they listen to, compose and perform. They use rhythm, pitch and Learning Goals form symbols and terminology to compose and Learners will: perform music. -
S P O È Me E Lectronique
Densil Cabrera S o u n d S p a c e a n d E d g a r d V a r è s e ’ s P o è m e E l e c t r o n i q u e Master of Arts 1994 University of Technology, Sydney C E R T I F I C A T E I certify that this thesis has not already been submitted for any degree and is not being submitted as part of candidature for any other degree. I also certify that the thesis has been written by me and that any help that I have received in preparing this thesis, and all sources used, have been acknowledged in this thesis. Signature of Candidate i A c k n o w l e d g m e n t s The author acknowledges the specific assistance of the following people in the preparation of this thesis: Martin Harrison for supervision; Greg Schiemer for support in the early stages of research; Elizabeth Francis and Peter Keller for allowing the use of facilities at the University of New South Wales’ Infant Research Centre for the production of the Appendix; Joe Wolfe and Emery Schubert; Roberta Lukes for her correspondence; Kirsten Harley and Greg Walkerden for proof reading. The author also acknowledges an award from the University of Technology, Sydney Vice- Chancellor’s Postgraduate Student Conference Fund in 1992. ii T a b l e o f C o n t e n t s I n t r o d u c t i o n The Philips Pavilion and Poème Electronique Approaches C h a p t e r 1 - S o u n d i n t h e W a l l s Architecture, Music: A Lineage Music-Architecture: Hyperbolic Paraboloids Crystal Sculpture Domestic Images of Sound in Space Sound, Space, Surface C h a p t e r 2 - H y p e r b o l i c P a r a b o l o i d s A -
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. -
Graphicconverter 6.6
User’s Manual GraphicConverter 6.6 Programmed by Thorsten Lemke Manual by Hagen Henke Sales: Lemke Software GmbH PF 6034 D-31215 Peine Tel: +49-5171-72200 Fax:+49-5171-72201 E-mail: [email protected] In the PDF version of this manual, you can click the page numbers in the contents and index to jump to that particular page. © 2001-2009 Elbsand Publishers, Hagen Henke. All rights reserved. www.elbsand.de Sales: Lemke Software GmbH, PF 6034, D-31215 Peine www.lemkesoft.com This book including all parts is protected by copyright. It may not be reproduced in any form outside of copyright laws without permission from the author. This applies in parti- cular to photocopying, translation, copying onto microfilm and storage and processing on electronic systems. All due care was taken during the compilation of this book. However, errors cannot be completely ruled out. The author and distributors therefore accept no responsibility for any program or documentation errors or their consequences. This manual was written on a Mac using Adobe FrameMaker 6. Almost all software, hardware and other products or company names mentioned in this manual are registered trademarks and should be respected as such. The following list is not necessarily complete. Apple, the Apple logo, and Macintosh are trademarks of Apple Computer, Inc., registered in the United States and other countries. Mac and the Mac OS logo are trademarks of Apple Computer, Inc. Photo CD mark licensed from Kodak. Mercutio MDEF copyright Ramon M. Felciano 1992- 1998 Copyright for all pictures in manual and on cover: Hagen Henke except for page 95 exa- mple picture Tayfun Bayram and others from www.photocase.de; page 404 PCD example picture © AMUG Arizona Mac Users Group Inc. -
Dixisd&Harmonyhd
dixi & harmony telecinemas dixisd&harmonyhd Unique design with 3CCD with closed loop control system features Halogen lamps Fast and fully automatic alignment Color integrating sphere Capstan drive Frame storage and integrated tools Calibration color control Integrated color correction Low-cost solution designed specifically for dailies, archives, benefits and television production in standard- and high-definition resolutions Lowest possible operational and maintenance costs and high system availability. Product manager > Telecine Serge LAZZARI CCDs ensure no wear, tear, drift, or degrading Reliability based on over 80 telecine over the course of 10 years Easy-to-service design Dixi SD is upgradable to HD CTM DEBRIE from film to digital 37 telecinemas unique conception capstan drive with 3CCD with closed loop control system Film is propelled by a Capstan drive, thus assuring CTM Debrie telecinemas use state of the art CCD accuracy and steadiness. CTM Debrie telecinemas Technology that has been proven to produce a use servo systems, which employing the smooth clean desirable artistic look. Low maintenance continuous-motion of the Capstan drive system. costs come from a digitally controlled CCD The capstan drive removes the risk of damaging the camera together with closed loop control negative, even if there is a failure, since it is neither systems throughout the machine. There are no necessary to “pull” nor to “push” the film as is the parts requiring regular service on CTM Debrie case when mechanical sprockets, or pins, are telecinemas. CTM Debrie telecinemas are built located in the film sprocket holes. Film can be also to provide the perfect balance between cost, driven by sprocket (optional) image quality, feature sets and utilization for today’s markets and applications. -
A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild
ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents . -
Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State. -
The Theft of Culture and Inauthentic Art and Craft: Australian Consumer Law and Indigenous Intellectual Property
The Theft of Culture and Inauthentic Art and Craft: Australian Consumer Law and Indigenous Intellectual Property Stephanie Parkin LLB Submitted in fulfilment of the requirement for the degree of Master of Philosophy School of Law Faculty of Law Queensland University of Technology 2020 1 Abstract This thesis focuses on the 2017 House of Representatives Standing Committee (2017 Inquiry Committee) on Indigenous Affairs Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. In particular, this thesis explores and gives priority to the evidence submitted by Aboriginal and Torres Strait Islander participants to the Inquiry (2017 Inquiry). In doing so, this thesis investigates a number of relevant fields of intellectual property law including copyright law and trade mark law and gives particular focus to the Australian Consumer Law (ACL). Such analysis considers and answers the research question: ‘How can the law protect Aboriginal cultural expression from exploitation?’ The geographical focus of this thesis is limited to Australia and reference to ‘2017 Inquiry’ is a reference to the above titled inquiry. Inauthentic Art and Craft has existed in the Australian marketplace for decades. The elements of Inauthentic Art and Craft consists of souvenir products that have the visual appearance of being in Aboriginal ‘style’, however they are entirely manufactured and sold without the consent or involvement of an Aboriginal or Torres Strait Islander person. Over the years, Australian Courts have looked at the issue of the infringement of Aboriginal artworks and Inauthentic Art and Craft from an intellectual property law and consumer law perspective. -
Thank You, and Congratulations on Your Choice of the SRX-09
SRX-09_je 1 ページ 2007年3月17日 土曜日 午後2時48分 201a Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 2; p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. 201a この機器を正しくお使いいただくために、ご使用前に「安全上のご注意」(P.3)と「使用上のご注意」(P.4)をよく お読みください。また、この機器の優れた機能を十分ご理解いただくためにも、この取扱説明書をよくお読みくださ い。取扱説明書は必要なときにすぐに見ることができるよう、手元に置いてください。 Thank you, and congratulations on your choice of the SRX-09 このたびは、ウェーブ・エクスパンション・ボード SRX-09 “SR-JV80 Collection Vol.4 World Collection” Wave 「SR-JV80 Collection Vol.4 World Collection」をお買い上 Expansion Board. げいただき、まことにありがとうございます。 This expansion board contains all of the waveforms in the このエクスパンション・ボードは SR-JV80-05 World、14 World SR-JV80-05 World, SR-JV80-14 World Collection “Asia,” and Collection "Asia"、18 World Collection "LATIN" に搭載されていた SR-JV80-18 World Collection “LATIN,” along with specially ウェーブフォームを完全収録、17 Country Collection に搭載されて selected titles from waveforms contained in the 17 Country いたウェーブフォームから一部タイトルを厳選して収録しています。 Collection. This board contains new Patches and Rhythm これらのウェーブフォームを組み合わせた SRX 仕様の Sets which combine the waveforms in a manner that Effect、Matrix Control を生かした新規 パッチ、リズム・ highlights the benefits of SRX Effects and Matrix Control. セットを搭載しています。 This board contains all kinds of unique string, wind, and アフリカ、アジア、中近東、南米、北米、オーストラリア、 percussion instrument sounds, used in ethnic music from ヨーロッパ等、世界中のユニークで様々な弦楽器、管楽器、 Africa, Asia, the Middle East, South and North America, 打楽器などの各種民族楽器の音色を収録しています。 Australia, and Europe. -
KODAK MILESTONES 1879 - Eastman Invented an Emulsion-Coating Machine Which Enabled Him to Mass- Produce Photographic Dry Plates
KODAK MILESTONES 1879 - Eastman invented an emulsion-coating machine which enabled him to mass- produce photographic dry plates. 1880 - Eastman began commercial production of dry plates in a rented loft of a building in Rochester, N.Y. 1881 - In January, Eastman and Henry A. Strong (a family friend and buggy-whip manufacturer) formed a partnership known as the Eastman Dry Plate Company. ♦ In September, Eastman quit his job as a bank clerk to devote his full time to the business. 1883 - The Eastman Dry Plate Company completed transfer of operations to a four- story building at what is now 343 State Street, Rochester, NY, the company's worldwide headquarters. 1884 - The business was changed from a partnership to a $200,000 corporation with 14 shareowners when the Eastman Dry Plate and Film Company was formed. ♦ EASTMAN Negative Paper was introduced. ♦ Eastman and William H. Walker, an associate, invented a roll holder for negative papers. 1885 - EASTMAN American Film was introduced - the first transparent photographic "film" as we know it today. ♦ The company opened a wholesale office in London, England. 1886 - George Eastman became one of the first American industrialists to employ a full- time research scientist to aid in the commercialization of a flexible, transparent film base. 1888 - The name "Kodak" was born and the KODAK camera was placed on the market, with the slogan, "You press the button - we do the rest." This was the birth of snapshot photography, as millions of amateur picture-takers know it today. 1889 - The first commercial transparent roll film, perfected by Eastman and his research chemist, was put on the market.