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Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Inspección Técnica De Materiales En El Archivo De Una Filmoteca 1
SEGUNDA EDICIÓN ELECTRÓNICA NOVIEMBRE DE 2007 www.mcu.es MINISTERIO DE CULTURA Edita: © Instituto de la Cinematografía y de las Artes audiovisuales NIPO: 554-10-014-2 MINISTERIO DE CULTURA Ángeles González-Sinde Ministra de Cultura Ignasi Guardans Director General del ICAA El autor autoriza e incluso agradece expresamente, cualquier tipo de difusión no venal de esta edición electrónica Alfonso del Amo García Noviembre de 2007 Inspección técnica de materiales en el archivo de una filmoteca 1 Introducción Primera edición electrónica Segunda edición electrónica En 1996, al editar este cuaderno, la Filmoteca Pese a constatar que los años transcurridos han Española pretendía cubrir algo del vacío existente envejecido extraordinariamente esta obra, parece en la literatura especializada en el área de la adecuado plantearse la difusión de una nueva conservación cinematográfica. edición electrónica, ahora en formato PDF, Pocos años más tarde, agotada ya aquella cambiando algunos aspectos de la maquetación, edición, los infinitos cambios que se han sucedido para permitir la impresión sobre papel y mejorar en la cinematografía y los avances conseguidos la legibilidad. en el conocimiento de los problemas relacionados Alfonso del Amo García con la conservación pesan sobre este texto: no Noviembre de 2007 obstante, se ha creído conveniente renovar su difusión, ahora en el medio electrónico, a la espera de que nuevos y más completos textos vengan a apoyar la tarea de los archivos. En la preparación de esta versión electrónica se ha seguido, exactamente, a lo publicado en 1996. Únicamente algunas ilustraciones han sido reelaboradas (mejorando su resolución o incluyendo color) y se ha procedido a reorganizar las notas, incorporando algunas nuevas; también se ha introducido un nuevo apéndice con la versión en uso de la Hoja/Modelo para informe de inspección de películas y sus correspondientes tablas. -
The Field Guide to Sponsored Films
THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House. -
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 -
Rethinking British Amateur Films Through Gender and Technology- Based Perspectives
1 Beyond Place: Rethinking British Amateur Films through Gender and Technology- based Perspectives Dr Paul Frith and Dr Keith M. Johnston University of East Anglia In 1934, The IAC Bulletin – the official journal of the Institute of Amateur Cinematographers (IAC) – made the following declaration in relation to amateur productions: The serious worker believes that if a technically correct result is wedded to a careful arrangement of the material, and treated with some thought regarding sequence of shots a film will be vastly more interesting than if it had been blown together as if by accident.1 As Francis Dyson has argued, amateur filmmakers of the 1930s saw the word ‘serious’ as a way to ‘differentiate between the type of practice that incorporated proficient technical skills as well as an understanding of the narrative codes of cinema with other uncontrolled, unskilled forms of film-making.’2 For Ryan Shand, British amateur journals such as The IAC Bulletin and Amateur Cine World were therefore ‘heavily involved in the active creation of an amateur film aesthetic… [that was] both parasitic upon professional practices and innovative toward amateur practices at one and the same time.’3 Between the pages of these journals and in the experimentation of the filmmakers who related to those journals (as either 1 Anonymous, ‘The Serious Worker’, The IAC Bulletin (January 1934), pp. 41. 2 Francis Dyson, ‘Challenging assumptions about amateur film of the inter-war years: Ace Movies and the first generation of London based cine-clubs’, Unpublished PhD Dissertation, University of East Anglia (2012), p. 26. 3 Ryan Shand, ‘Theorizing amateur cinema: limitations and possibilities’, The Moving Image, vol. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Eggleston, Christenberry, Divola: Color Photography Beyond the New York Reception Permalink https://escholarship.org/uc/item/3cb1w5rx Author Main, Reva Leigh Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Eggleston, Christenberry, Divola: Color Photography Beyond the New York Reception A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Reva Leigh Main June 2016 Dissertation Committee: Dr. Susan Laxton, Chairperson Dr. Jason Weems Dr. Liz Kotz Copyright by Reva Leigh Main 2016 The Dissertation of Reva Main is approved: Committee Chairperson University of California, Riverside Acknowledgments My deepest gratitude to all the U.C. Riverside Art History Department staff and faculty. Sincere thanks to Dr. Susan Laxton for advising and encouraging me throughout the many phases of this project. Your patience and support allowed me to complete this thesis while living 3,000 miles away and working full time—a true challenge. I would also like to thank Dr. Jason Weems and Dr. Liz Kotz for serving as members of my committee, pausing their own sabbaticals to provide me with incredibly helpful feedback; Leigh Gleason, Curator of Collections at the California Museum of Photography, for guiding me in my search to find balance between work and school; and Graduate Coordinator, Alesha Jaennette, for solving my many paperwork crises. I am forever grateful to all of you for your flexibility and understanding. Finally, thank you to my family, friends, and Princeton University Art Museum coworkers for sticking with me through the highs and many lows of this process. -
Apéndice 2 Tablas Para Clasificación De Materiales
I PRESENTACIÓN Esto no es un manual. En el año 2000, Michael Friend, entonces Presidente de la Comisión Técnica, planteó la necesidad de estudiar las publicaciones que había realizado la Comisión en la década de los ochenta (Preservation and Restoration of Moving Images and Sound, de 1986 y Preservation of Moving Images and Sound, de 1990) para considerar la posibilidad de actualizar sus contenidos, siguiendo a los cambios introducidos en la cinematografía. Posteriormente, la Comisión encabezada por João Sócrates de Oliveira, decidiría redactar un nuevo manual, orientado al estudio de la conservación de la cinematográfía en tiempos de cambio, que estaría dividido en tres secciones: I-Inspección y clasificación de materiales, II-Manipulación y reproducción, III-Diseño de condiciones de conservación; pero ese plan de trabajo tendría que sufrir grandes modificaciones. La sección segunda tuvo que descolgarse del proyecto; las transformaciones introducidas por la digitalización, hicieron aconsejable retrasar la elaboración de esa parte hasta alcanzar una perspectiva sobre las posibilidades del medio digital. Por otra parte, en esos años el Image Permanence Institute culminaría sus investigaciones sobre conservación, fijando el ámbito en que es posible garantizar la preservación fisicoquímica de las películas. Estas condiciones –expuestas en varias publicaciones– son de climatización artificial y requieren de importantes inversiones económicas y de la más absoluta garantía para la continuidad en su mantenimiento. Simultáneamente, el auge del fenómeno audiovisual y las aparentes facilidades que las técnicas digitales proporcionan para la preservación de imágenes y sonidos, introducirían una enorme presión política sobre los archivos; presión que pretende que la reproducción sobre sistemas de electrónicos de imagen sea considerada como una de las bases para la preservación de las obras cinematográficas. -
The BKSTS Illustrated History of Colour Film
THE MOVING IMAGE SOCIETY An Illustrated History of Colour Film Grant Lobban looks at the historical background and the technologies of colour film Hand-crafted - the A previous article in thi s slides was soon extended versions of Georges series looked at over a to moving pictures, using Melies' trick and fantasy making of a masterwork century of making 'black fine brushes to apply films [2], and the hand Grant Lobban spent the best part of and white' movies. Thi s transparent colour dyes to coloured gun flashes in two years compiling this 'masterwork'. time, it's the turn of each frame. The earliest The Great Train Robbery Eschewing the 'modern' tools of colour, the various ways surviving example is (1903). computer and scanner, and rightly that colour films have probably the Kinetoscope concentrating on acquiring the content been photographed, 1896 subject, Th e Stencil Colouring and not its eventual form, the results processed and printed Serpentine Dance by To speed up the process, of Grant's labours and diligent archive over the years, and the Annabelle-the-Dancer. stencils were sometimes searches were eventually presented to type of original material [Frame 1- facing page. cut to colour areas which the Editor as some 60 pages of closely remained the same shape type-written (yes, not wordprocessed!) which may still be Other numbers in square pages, heavily annotated with second available for making new brackets refer to and size over a large thoughts and reference numbers, plus copies and if necessary subsequent frames]. number of frames. Thi s a couple of dozen A4 pages onto may be restored to ensure Some of the black and sk illed, but laborious task, which 'millions' of precious film clips its future survival. -
Colour in Context Symposium
British Association of Film, Television and Screen Studies Organised by Dr Liz Watkins (University of Leeds) and Professor Sarah Street (University of Bristol) for the British Association of Film, Television and Screen Studies’ Special Interest Group on Colour and Film. Colour in Context Symposium 11:00-18:00 Friday 23rd March 2018. Department of Film and Television, 5th floor, The Richmond Building, 105-115 Queens Road, University of Bristol, Bristol BS8 1LN. Colour - its specific hues, meanings and perception – are a contentious issue in the study of film. From the history of its technologies and the production of a ‘natural colour’ image to its association with all that is artificial and unreal, the interpretation of colour has been closely linked to its cultural, social and historical contexts. Colour in Context is a one-day interdisciplinary symposium and offers a space in which to discuss the diverse ways in which filmmakers and artists have used colour (and the strategy of its absence) as a technique of cinematic expression as well as those who have made a subversive use of colour that is intended to disrupt cinematic forms of representation in a range of cultural, social or historical contexts. Thus, this symposium aims to explore the specificities of colour and its contradictions in a range of cultural, social or historical contexts. Further Information: BAFTSS Special Interest Group on Colour and Film https://colourandfilm.wordpress.com/cfps/ Thanks to BAFTSS, University of Bristol, University of Leeds, Carolyn Rickards, Sam Taylor and Laura King for their support. PROGRAMME Friday 23rd March 2018 11:00 – 11:15 Welcome 11:15- 12:15 Keynote: Professor Lynda Nead ‘Greyscale and Colour: The Hues of Nation and Empire c.1945-60’. -
CLASIFICAR PARA PRESERVAR 1 INTRODUCCIÓN Sos Humanos Y Técnicos, Y De Enormes Presupuestos Económicos
www.mcu.es MINISTERIO DE CULTURA Edita: © Instituto de la Cinematografía y de las Artes audiovisuales NIPO: 554-10-013-7 MINISTERIO DE CULTURA Ángeles González-Sinde Ministra de Cultura Ignasi Guardans Director General del ICAA PALABRA E IMAGEN CONTRA EL OLVIDO Uno de los rasgos distintivos de las grandes civilizaciones es la preservación de la memoria. Mediante la palabra repetida y atesorada en piedra, pergamino y papel, sabemos quienes somos y cuál es nuestro lugar en el mundo. Preservar dicha historia es una obligación incuestionable. Y una película nos dice tanto sobre un individuo, un grupo de personas, un país o una época determinada como un libro, un códice, un manuscrito o una colección de documentos. Un filme es ya, en sí mismo, un acervo documental en imágenes. Es también un testimonio creativo que va dirigido a toda la humanidad, y así lo ha reconocido la UNESCO, a través de su programa Memoria del Mundo. Desgraciadamente, las películas, como casi toda obra humana, están sujetas a la labor destructora del tiempo. Son tan fascinantes como frágiles, y el peor enemigo de la memoria fílmica es el tiempo. Paradójicamente, una película está hecha de tiempo. Es su materia prima, como lo demostró Andrei Tarkovski, y la preservación del cine es nada más y nada menos que una lucha contra el elemento mismo que lo sustenta. Independientemente de su valía artística, toda película corre el riesgo de desaparecer. Con cada filme perdido, se pierde una parte invaluable de nuestra memoria, nuestros sueños y nuestras diferentes maneras de entender el mundo. Por eso mismo, la preservación es responsabilidad insoslayable de una sociedad comprometida con el humanismo, la educación y la cultura. -
Investigation of Film Material–Scanner Interaction
Investigation of Film Material–Scanner Interaction By Barbara Flueckiger,1 David Pfluger,2 Giorgio Trumpy,3 Simone Croci,4 Tunç Aydın,5 Aljoscha Smolic6 Version 1.1. 18 February 2018 1 University of Zurich, Department of Film Studies: Project manager and principal investigator of DIASTOR (2013– 2015) and ERC Advanced Grant FilmColors (2015–2020), conducted the Kinetta (by Kinetta), ARRISCAN (by ARRI), Scanity (by DFT) and Golden Eye (by Digital Vision) tests in collaboration with the corresponding facilities, set up the general objective and procedure in collaboration with her team, contributed general information and evaluation to the report, wrote major parts of the report. 2 University of Zurich, Department of Film Studies: Senior researcher, conducted The Director (by Lasergraphics), D- Archiver Cine10-A (by RTI); Northlight 1 (by Filmlight) and Altra mk3 (by Sondor) tests, elaborated a table with an overview of all the available scanners, set up the general objective and standardization in collaboration with the team, contributed general information and evaluation to the report. 3 University of Basel, Digital Humanities Lab, under the supervision of Rudolf Gschwind and Peter Fornaro, (until 06.2014). University of Zurich, Research Scientist at ERC Advanced Grant FilmColors. Provided major parts of the section Principles of Material–Scanner Interaction, Resolving power and sharpness, and carried out the spectroscopic analysis of film stocks. 4 Swiss Federal Institute of Technology, Computer Graphics Lab, conducted evaluation of results. 5 Disney Research Zurich (DRZ), supervised the evaluation of the results. 6 Disney Research Zurich: Co-project manager of DIASTOR, group leader at DRZ and supervisor of evaluation of results FLUECKIGER ET AL. -
The Objective of This Web Site Is to Provide Simple Guidelines for Preserving Motion Picture Film Materials Outside of Specializ
The objective of this web site is to provide simple guidelines for preserving motion picture film materials outside of specialized archives, with a focus on storage at home. 1. INTRODUCTION Right now there are countless reels of movie film on shelves, in drawers, and in attics. The films themselves may be brand new 16mm experimental works or 8mm home movies from the 1930s. They may be dirty and faded or as vivid as the day they were returned from the lab. All types of film have organic components, which, like all organic material, are subject to decay. Over the past several decades, film archives around the world have discovered new techniques for preserving film, but many are prohibitively expensive or complicated for individuals with small collections and limited resources. However, many can be adapted for collections that are stored in homes and studios. This website will focus on the most common types of films found in private collections and give basic information on implementing a practical preservation strategy for film materials. This will include a basic discussion of the main factors that determine the stability of motion picture film, giving recommendations relating to inspection and handling, cleaning and repair, preparation for storage and storage conditions. 2. FILM SPECIFICS: STOCKS AND SOUNDTRACKS 2.1 FILM BASES 2.11 Nitrate 2.12 Acetate 2.13 Polyester 2.2 B&W VS COLOR 2.3 REVERSAL VS NEGATIVE 2.4 SOUNDTRACKS 2.41 Super/8mm 2.42 Soundtrack-Picture Displacement 2.43 Magnetic Motion picture film comes in countless varieties, each with its own idiosyncrasies, but all have the same essential physical structure consisting of two primary parts--the base and the emulsion.