4K Digital Cinema Projection System Which Has Increased Demand for High-Quality Digital Content Retaining 4K Resolution
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Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
Thursday 15 October 11:00 an Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma!
Thursday 15 October 11:00 An Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma! Please allow 10 minutes for introductions Friday 16 October before all films during Widescreen Weekend. 09.45 Interstellar: Visual Effects for 70mm Filmmaking + Interstellar Intermissions are approximately 15 minutes. 14.45 BKSTS Widescreen Student Film of The Year IMAX SCREENINGS: See Picturehouse 17.00 Holiday In Spain (aka Scent of Mystery) listings for films and screening times in 19.45 Fiddler On The Roof the Museum’s newly refurbished digital IMAX cinema. Saturday 17 October 09.50 A Bridge Too Far 14:30 Screen Talk: Leslie Caron + Gigi 19:30 How The West Was Won Sunday 18 October 09.30 The Best of Cinerama 12.30 Widescreen Aesthetics And New Wave Cinema 14:50 Cineramacana and Todd-AO National Media Museum Pictureville, Bradford, West Yorkshire. BD1 1NQ 18.00 Keynote Speech: Douglas Trumbull – The State of Cinema www.nationalmediamuseum.org.uk/widescreen-weekend 20.00 2001: A Space Odyssey Picturehouse Box Office 0871 902 5756 (calls charged at 13p per minute + your provider’s access charge) 20.00 The Making of The Magnificent Seven with Brian Hannan plus book signing and The Magnificent Seven (Cubby Broccoli) Facebook: widescreenweekend Twitter: @widescreenwknd All screenings and events in Pictureville Cinema unless otherwise stated Widescreen Weekend Since its inception, cinema has been exploring, challenging and Tickets expanding technological boundaries in its continuous quest to provide Tickets for individual screenings and events the most immersive, engaging and entertaining spectacle possible. can be purchased from the Picturehouse box office at the National Media Museum or by We are privileged to have an unrivalled collection of ground-breaking phoning 0871 902 5756. -
F65 Digital Motion Picture Camera Elevating Digital Imaging to the Next Level
F65 Digital Motion Picture Camera Elevating Digital Imaging to the Next Level In 1999, Sony released the first 24p digital motion picture production system. Over the years, we have refined the technology based on precious inputs from producers, cinematographers, colorists, and engineers. Just to name a few, full RGB imaging, S-Log, Super 35 mm imager, variable frame rate, 3D, and 60p. All these creative features that are commonplace today were pioneered by Sony CineAlta™ products. As we enter a new paradigm in digital imaging technology, we have decided to give a new look to the prestigious CineAlta logo. Deployment of 4K digital cinema projection systems around the globe has increased the demand for high quality digital content that retains beyond-HDTV resolution. The ever accelerating speed and capacity of IT technology has facilitated people to manipulate high-resolution image files at an unprecedented scale of economy. Regardless of any changes in technology or economy, our mission is to satisfy the ever escalating demands from the creative minds. Sony is committed to further elevate the image quality and improve the visual experience. The new CineAlta logo symbolizes “infinity”, which can be translated into “unlimited creative possibility”, or “endless pursuit in perfecting technology”. 2 F65 – True 4K and Beyond Its debut has been long-awaited, and now Sony proudly introduces a state-of-the-art digital motion picture camera, the F65 – the next-generation CineAlta camera for digital motion picture production. Equipped with Sony’s newly developed 8K CMOS sensor, the F65 offers higher resolution, increased exposure latitude, and a wider color gamut than any previous digital motion picture camera, delivering brilliant HD, 2K, and true 4K images today. -
Digital Cinematography Camera F35 F23
Digital Cinematography Camera F35 F23 www.sony.com/professional SONY54696_F-Series 1 9/26/08 12:08:42 PM ADVANCING THE ART OF DIGITAL IMAGING CineAlta – a name that proudly symbolizes the bond between cinematography and high-resolution digital imaging, distinguishes Sony’s family of 24P acquisition products and systems. The emergence of Sony’s CineAlta™ products marked the beginning of a new era in movie, commercial and television production applications. Since their introduction, CineAlta products – beginning with the groundbreaking HDW-F900, Sony’s first 24P-capable HDCAM™ camcorder, and the HDC-F950 full-bandwidth 4:4:4 (RGB) portable camera – have been globally accepted as a viable creative alternative to 24-frame film origination. Working closely with the creative community over time, Sony has created CineAlta acquisition systems designed specifically to meet the Cinematographer’s needs. This collaboration has lead to array of highly sophisticated digital acquisition systems that offer comprehensive feature sets and workflows specifically designed to maximize on-set efficiencies, flexibility and creative freedom. Consequently, the name CineAlta has come to define the industry standards for quality and flexibility in 24-frame digital cinematography. 2 2 SONY54696_F-Series 2 9/26/08 12:08:45 PM Expand Your Creative Possibilities With a Choice of Film-style Digital Cinematography Cameras Sony has proudly introduced two new powerful film-style Both the F35 and F23 provide an uncompromising design digital cinematography cameras to the CineAlta acquisition that allows direct docking with Sony’s SRW-1 portable lineup. The F35 and F23 cameras combine the proven HDCAM-SR™ recorder. It’s also possible to use the F23 or the technology used in previous CineAlta acquisition models F35 in combination, for even more creative freedom. -
MARK FREEMAN Encyclopedia of Science, Technology and Society Ooks&Sidtext=0816031231&Leftid=0
MARK FREEMAN Encyclopedia of Science, Technology and Society http://www.factsonfile.com/newfacts/FactsDetail.asp?PageValue=B ooks&SIDText=0816031231&LeftID=0 WIDESCREEN The scale of motion picture projection depends upon the inter- relationship of several factors: the size and aspect ratio of the screen; the gauge of the film; the type of lenses used for filming and projection; and the number of synchronized projectors used. These choices are in turn determined by engineering, marketing and aesthetic considerations. Aspect ratio is the width of the screen divided by the height. The classic standard aspect ratio was expressed as 1.33:1. Today most movies are screened as 1.85:1 or 2.35:1 (widescreen). Films shot in these ratios are cropped for television, which retains the classic ratio of 1.33:1. This cropping is accomplished either by removing a third of the image at the sides of the frame, or by "panning and scanning." In this process a technician determines which portion of a given frame should be included. "Letterboxing" creates a band of black above and below the televised film image. This allows the composition as originally photographed to be screened in video. The larger the film negative, the more resolution. Large film gauges allow greater resolution over a given size of projected image. In the 1890's film sizes varied from 12mm to as many as 80mm, before accepting Edison's 35mm standard. Today films continue to be screened in a variety of guages including Super 8mm, 16mm and Super 16mm, 35mm, 70mm and IMAX. Cinema and the fairground share a common history in the search for technologically based spectacles and attractions. -
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. -
PROFESSIONAL VIDEO 315 800-947-1175 | 212-444-6675 Blackmagic • Canon
PROFESSIONAL VIDEO 315 800-947-1175 | 212-444-6675 Blackmagic • Canon VIDEO TAPE Fuji Film PRO-T120 VHS Video Cassette (FUPROT120)............................3.29 XA10 Professional HD Camcorder DVC-60 Mini DV Cassette (FUDVC60) .......................................3.35 Pocket Cinema Camera Ultra-compact, the XA10 DVC-80 Mini DV Cassette (FUDVC80)........................................7.99 shares nearly all the Pocket Cinema Camera is a HDV Cassette, 63 Minute (FUHDVDVM63) .................................6.99 functionality of the XF100, true Super 16 digital film DV141HD63S HDV (FUDV14163S) ............................................7.95 but in an even smaller, camera that’s small enough run-and-gun form factor. to keep with you at all times. Maxell 64GB internal flash drive Remarkably compact (5 x 2.6 DV-60 Mini DV Cassette (MADVM60SE) .................................3.99 and two SDXC-compatible x 1.5”) and lightweight (12.5 M-DV63PRO Mini DV Cassette (MADVM63PRO)......................5.50 card slots allow non-stop oz) with a magnesium alloy chassis, it features 13 stops of T-120 VHS Cassette (MAGXT120) ..........................................2.39 recording. Able to capture dynamic range, Super 16 sensor size, and and records 1080HD STD-160 VHS Cassette (MAGXT160).....................................2.69 AVCHD video at bitrates up to lossless CinemaDNG RAW and Apple ProRes 422 (HQ) files to fast STD-180 VHS Cassette (MAGXT180)......................................3.09 24Mbps, the camcorder’s native 1920 x1080 CMOS sensor also SDXC cards, so you can immediately edit or color correct your HG-T120 VHS Cassette (MAHGT120) .....................................1.99 lets you choose 60i, 24p, PF30, and PF24 frame rates for media on your laptop. Active Micro Four Thirds lens mount can HG-T160 VHS Video Cassette (MAHGT160) ............................2.59 customizing the look of your footage. -
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. -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60I: JUST LOOK at the FACTS
IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60i: JUST LOOK AT THE FACTS. It’s a fact that Sony’s HDCAM® 1080/60i system has This enhanced SDTV programming will increase your established itself as the world’s first proven, practical, revenue today. You’ll have an HD master for additional standardized, and field-tested approach to high defini- revenue tomorrow. You’ll even have built-in legacy play- tion program origination for digital broadcasting. back of your entire BETACAM archive -- including analog It’s a fact that Sony HDCAM camcorders and decks have BETACAM®, BETACAM SP®, BETACAM SX®, DIGITAL BETACAM® been out in the field for nearly five years. Thousands and MPEG IMX™ 1/2" format recordings. have been deployed worldwide. They’ve handled hun- And you’ll have all the tools you need: a complete all- dreds of sophisticated, multi-camera productions -- and Sony system, or select Sony HDCAM components that created uncompromising masters to form the basis of a integrate seamlessly with other systems. valuable digital HD archive for the future. It’s a fact that Sony HDCAM equipment is built on the M OVING AHEAD, OR MISSING HDW-750 industry-leading 1/2" platform, with robust performance and plenty of headroom -- plus the crucially important AN OPPORTUNITY? ability to protect a 15-year legacy of 1/2" BETACAM® Budgets are tight for everyone -- broadcasters, produc- format recordings. ers, corporations, rental houses. Sony understands. So And it’s a fact that now, Sony’s HDCAM 1080/60i your 2nd-generation HDCAM 1080/60i system is specifi- approach is already in its 2nd generation. -
IMAX on Demand Film Library Lockheed Martin IMAX® Theater National Air and Space Museum Smithsonian Eaters
IMAX On Demand Film Library Lockheed Martin IMAX® Theater National Air and Space Museum Smithsonian eaters Arrange a special morning screening with our IMAX On Demand and Planetarium On Demand packages. Choose from any of the titles in the Smithsonian library, and watch a movie before the museum opens to the public. IMAX and Plan- etarium On Demand screenings are offered for groups of 20 or more (40 for Title I schools) every morning around 9:15 am. Minimum one week notice is required to book dates and choice of films is subject to availability. D-Day 3D: Rescue 3D Normandy 1944 (2012, G, 26 min.) (2014, G, 43 min.) Rescue 3D plunges you into the hard, June 6, 1944: The largest Allied but inspiring work of saving lives in operation of World War II began the face of a natural disaster. When in Normandy, France. D-Day 3D: an earthquake strikes Haiti, creating Normandy 1944 provides a new one of the biggest humanitarian perspective to audiences of all disasters of the century, you are ages of this monumental event that changed the swept along, joining the massive effort that brings world. Narrated by Tom Brokaw. military and civilian responders from around the world. Hidden Universe Space Junk 3D (2013, G, 37 min.) (2012, NR, 38 min) Take an extraordinary journey 50 years after launching our dreams deep into space, explore the into space, we’re left with a troubling earliest galaxies and nebulae, legacy: a growing ring of orbiting watch stars being born in vivid debris that threatens the safety of clouds of gas and dust, tour earth’s orbits. -
Experience Dunkirk at the Omni Theater, an IMAX® Dome an Action-Packed 70Mm 2D IMAX® Film Experience Like No Other
FOR IMMEDIATE RELEASE July 7, 2017 Experience Dunkirk at the Omni Theater, an IMAX® Dome An action-packed 70mm 2D IMAX® film experience like no other Fort Worth, TX - Tickets are on sale now for Dunkirk at the Fort Worth Museum of Science and History's Omni Theater, an IMAX® Dome. The film opens at the Omni Theater and nationally on July 21, with early showings set for Thursday, July 20. Anticipation is growing about the technique used by director Christopher Nolan, who filmed most of Dunkirk with 15 perf 65mm IMAX® cameras. These specific sequences, which will expand to fill 40% more of the screen exclusively in IMAX®, will deliver unprecedented crispness and clarity and a truly immersive experience for moviegoers. Nolan previously used IMAX® cameras to film sequences in The Dark Knight, The Dark Knight Rises and Interstellar. "The majority of the film will expand vertically to fill the IMAX® dome screen with vivid color, clarity and detail, unmatched by other theaters," said Omni Theater Director Jonathan Orr. "Filmgoers will hear the film on fifty speakers running on 24,000 watts of power. It all adds up to a unique giant screen experience that makes our guests feel as though they are inside the movie." Dunkirk tells the story of a heroic, real-life WWII mission. In May 1940, Germany advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using every serviceable naval and civilian vessel that could be found.