All About Anamorphic
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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. -
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. -
Motion Picture
Moving Images Prepared by Bobby Bothmann RDA Moving Images by Robert L. Bothmann is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. Created 2 February 2013 Modified 11 November 2014 https://link.mnsu.edu/rda-video Scope Step-through view of the movie Hairspray from 2007 Generally in RDA rule order Uses MARC 21 examples Describing Manifestations & Items Follows RDA Chapters 2, 3, 4 Describing Works and Expressions Follows RDA Chapters 6, 7 Recording Attributes of Person & Corporate Body Uses RDA Chapters 9, 11, 18 Covers relator terms only Recording Relationships Follows RDA Chapters 24, 25, 26 2 Resources Olson, Nancy B., Robert L. Bothmann, and Jessica J. Schomberg. Cataloging of Audiovisual Materials and Other Special Materials: A Manual Based on AACR2 and MARC 21. Westport, Conn: Libraries Unlimited, 2008. [Short citation: CAVM] Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. Streaming Media Best Practices Task Force. Best Practices for Cataloging Streaming Media. No place : OLAC CAPC, 2009. http://olacinc.org/drupal/capc_files/streamingmedia.pdf Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. DVD Cataloging Guide Update Task Force. Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21. 2008 Update. No place: OLAC CAPC, 2008. http://olacinc.org/drupal/capc_files/DVD_guide_final.pdf Pan-Canadian Working Group on Cataloguing with RDA. “Workflow: Video recording (DVD) RDA.” In RDA Toolkit | Tools| Workflows |Global Workflows. 3 Preferred Source 4 5 Title Proper 2.3.2.1 RDA CORE the chief name of a resource (i.e., the title normally used when citing the resource). 245 10 $a Hairspray Capitalization is institutional and cataloger’s choice Describing Manifestations 6 Note on the Title Proper 2.17.2.3 RDA Make a note on the source from which the title proper is taken if it is a source other than: a) the title page, .. -
Vlaams Audiovisueel Fonds
VLAAMS AUDIOVISUEEL FONDS . jaarverslag 2018 VLAAMS AUDIOVISUEEL FONDS . jaarverslag 2018 uitgegeven door het .VLAAMS AUDIOVISUEEL FONDS vzw huis van de vlaamse film bischoffsheimlaan 38 - 1000 brussel [email protected] vaf.be Met de steun van de Vlaamse minister van Cultuur, Media, Jeugd en Brussel en de Vlaamse minister van Onderwijs INHOUD . jaarverslag 2018 VOORWOORDEN FINANCIEEL CREATIE TALENT- ONTWIKKELING •4 •7 •15 •26 COMMUNICATIE & PUBLIEKSWERKING GAMEFONDS SCREEN PROMOTIE FLANDERS •39 •47 •53 •67 DUURZAAM KENNISOPBOUW WERKING VLAAMSE FILM FILMEN IN CIJFERS •73 •77 •81 •89 Toen ik in mei vorig jaar op het Festival Deze maatregelen zullen ongetwijfeld om op dit vlak lessen te trekken. van Cannes de film Girl te zien kreeg, hun vruchten afwerpen. Toch wil ik een Het is duidelijk dat we erin geslaagd zijn voelde ik aan de stilte in de zaal bij warme oproep doen aan de volgende om ook dit jaar als VAF op verschillende de aftiteling welke magie er uitging Vlaamse Regering voor extra middelen vlakken toonaangevend te zijn. Hopelijk VOORWOORD van het brengen van zo’n mooi en in de nieuwe bestuursperiode. Er kunnen we in de toekomst op dit elan ontroerend verhaal. De tsunami aan werden in het verleden reeds extra doorgaan. Met het huidige team van Alles start met een prijzen die de film in ontvangst mocht middelen vrijgemaakt voor het VAF/ medewerkers heb ik er als voorzitter nemen, was ongezien. We mogen als Mediafonds en het VAF/Gamefonds die alvast het volste vertrouwen in. n goed verhaal VAF bijzonder fier zijn dat we mee aan zeker een boost gegeven hebben. -
ARRI Launches Large-Format Camera System
Contact: Thomas Feuchtmann Head of Marketing BU Camera Systems +49 89 3809 1712 [email protected] Reegan Koester Corporate Communications Manager +49 89 3809 1768 [email protected] NOT FOR RELEASE UNTIL FEBRUARY 2, 2018 (11 AM CET) ARRI launches large-format camera system • A complete new system: ALEXA LF camera, ARRI Signature Prime lenses, and LPL lens mount. • Intimate and emotionally engaging images with an immersive, three- dimensional feel, pulling the viewer in. • Compatible with existing lenses, accessories, and workflows. February 2, 2018, Munich/London – At the BSC Expo in London, ARRI today unveils a complete large-format system that meets and exceeds modern production reQuirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible With existing lenses, accessories, and WorkfloWs. ALEXA LF camera Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K With ARRI’s best overall image Quality. Filmmakers can explore a large-format aesthetic While retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG WorkfloWs. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, provide total flexibility. “The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look—one that is truly immersive, With a three-dimensional feel. -
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. -
Jon Fauer ASC Issue 109
Jon Fauer ASC www.fdtimes.com Aug 2021 Issue 109 Art, Technique and Technology in Motion Picture Production Worldwide Aug 2021 • Issue 109 1 www.fdtimes.com Art, Technique and Technology On Paper, Online, and now on iPad Film and Digital Times is the guide to technique and technology, tools and how-tos for Cinematographers, Photographers, Directors, Producers, Studio Executives, Camera Assistants, Camera Operators, Grips, Gaffers, Crews, Rental Houses, and Manufacturers. Subscribe It’s written, edited, and published by Jon Fauer, ASC, an award-winning Cinematographer and Director. He is the author of 14 bestselling Online: books—over 120,000 in print—famous for their user-friendly way of explaining things. With inside-the-industry “secrets-of the-pros” www.fdtimes.com/subscribe information, Film and Digital Times is delivered to you by subscription or invitation, online or on paper. We don’t take ads and are supported by readers and sponsors. Call, Mail or Fax: © 2021 Film and Digital Times, Inc. by Jon Fauer Direct Phone: 1-570-567-1224 Toll-Free (USA): 1-800-796-7431 subscribe Fax: 1-724-510-0172 Film and Digital Times Subscriptions www.fdtimes.com PO Box 922 Subscribe online, call, mail or fax: Williamsport, PA 17703 Direct Phone: 1-570-567-1224 USA Toll-Free (USA): 1-800-796-7431 1 Year Print and Digital, USA 6 issues $ 49.95 1 Year Print and Digital, Canada 6 issues $ 59.95 Fax: 1-724-510-0172 1 Year Print and Digital, Worldwide 6 issues $ 69.95 1 Year Digital (PDF) $ 29.95 1 year iPad/iPhone App upgrade + $ 9.99 Film and Digital Times (normally 29.99) Get FDTimes on Apple Newsstand with iPad App when you order On Paper, Online, and On iPad a Print or Digital Subscription (above) Total $ __________ Print + Digital Subscriptions Film and Digital Times Print + Digital subscriptions continue to Payment Method (please check one): include digital (PDF) access to current and all back issues online. -
ASPECT RATIO Aspect Ratios Are One of the More Confusing Parts of Video
ASPECT RATIO Aspect ratios are one of the more confusing parts of video, although they used to be simple. That's because television and movie content was all about the same size, 4:3 (also known as 1.33:1, meaning that the picture is 1.33 times as long as it is high). The Academy Standard before 1952 was 1.37:1, so there was virtually no problem showing movies on TV. However, as TV began to cut into Hollywood's take at the theater, the quest was on to differentiate theater offerings in ways that could not be seen on TV. Thus, innovations such as widescreen film, Technicolor, and even 3-D were born. Widescreen film was one of the innovations that survived and has since dominated the cinema. Today, you tend to find films in one of two widescreen aspect ratios: 1. Academy Standard (or "Flat"), which has an aspect ratio of 1.85:1 2. Anamorphic Scope (or "Scope"), which has an aspect ratio of 2.35:1. Scope is also called Panavision or CinemaScope. HDTV is specified at a 16:9, or 1.78:1, aspect ratio.If your television isn't widescreen and you want to watch a widescreen film, you have a problem. The most common approach in the past has been what's called Pan and Scan. For each frame o a film, a decision is made as to what constitutes the action area. That part of the film frame is retained, and the rest is lost.. This can often leave out the best parts of a picture. -
Screen Size Selection
Screen Size Selection One of the most important decisions in screen selection is to determine the correct size of screen based upon the dimensions of the audience area and the projection format(s) to be used. In some situations, these two questions yield the same answer; in • Ceiling Height—The bottom of the screen should be approximately others they do not and compromises must be made. Here are the key 40–48" above the floor in a room with a level floor and several rows considerations— of seats. In rooms with theatre seating or only one or two rows, • Audience Area—In determining the correct screen size in relation to such as a home theatre, the bottom of the screen should usually be the audience area, the goal is to make the screen large enough so 24–36" above the floor. Try to make sure that the lower part of the those in the rear of the audience area can read the subject matter screen will be visible from all seats. Extra drop may be required to easily, but not so large that those in the front of the audience area position the screen at a comfortable viewing level in a room with a have difficulty seeing the full width of the projected image. high ceiling. • Height—Use the following formulas for calculating screen height for • Projection Format—Once you have determined the correct size of maximum legibility. For 4:3 moving video and entertainment, screen screen for the audience area, that size may be modified height should be at least 1/6 the distance from the screen to the based upon the type(s) of projection equipment to be used. -
SKYPANEL New Accessories for the Family of LED Soft Lights
NEWS IBC ISSUE 2015 SKYPANEL New accessories for the family of LED soft lights ELECTRONIC ALEXA MINI CONTROL SYSTEM AMIRA Karl Walter Lindenlaub ASC, BVK Expanded options for lens and New application areas for tries the Mini on Nine Lives camera remote control the highly versatile AMIRA EDITORIAL DEAR FRIENDS AND COLLEAGUES We hope you can join postproduction through ARRI Media, illustrating us here at IBC, where we the uniquely broad range of products and services are showcasing our latest we offer. 18 camera systems and lighting technologies. For the ARRI Rental has also been busy supplying the first time in ARRI News we are also introducing our ALEXA 65 system to top DPs on major feature films newest business unit: ARRI Medical. Harnessing – many are testing the large-format camera for the core imaging technology and reliability of selected sequences and then opting to use it on ALEXA, our ARRISCOPE digital surgical microscope main unit throughout production. In April IMAX is already at work in operating theaters, delivering announced that it had chosen ALEXA 65 as the unsurpassed 3D images of surgical procedures. digital platform for 2D IMAX productions. In this issue we share news of how AMIRA is Our new SkyPanel LED soft lights, announced 12 being put to use on productions so diverse and earlier this year and shipping now as promised, are wide-ranging that it has taken even us by surprise. proving extremely popular and at IBC we are The same is true of the ALEXA Mini, which was unveiling a full selection of accessories that will introduced at NAB and has been enthusiastically make them even more flexible. -
Bilan 2003 Du Centre Du Cinéma Et De L
2003 - Bilan en bref Bilan de la production, de la promotion et de la diffusion cinématographiques et audiovisuelles Centre du Cinéma et de l’Audiovisuel Service général de l’Audiovisuel et des Multimédias Ministère de la Communauté française de Belgique TABLE DES MATIÈRES Introduction Le Centre du Cinéma et de l’Audiovisuel : enveloppe budgétaire pour la production audiovisuelle ......................................... 4 1. Bilan de la Commission de Sélection des Films (courts et longs métrages, téléfilms et collections, programmes télévisuels) .................................. 6 1.1 Examen des projets ........................................................................................ 6 1.2 Promesses d’aide sélective attribuées en 2003 ............................................. 7 1.3 Liste des films soutenus ................................................................................. 8 2. Subventions à la diffusion et primes à la qualité ................................................... 16 3. Coproductions entre les producteurs indépendants et les télévisions (RTBF / RTL-TVi / Canal + / AB3) ............................................... 17 4. Ateliers d’accueil, de production et ateliers d’école.............................................. 18 5. Promotion et diffusion ............................................................................................ 18 5.1 Aides à la promotion ..................................................................................... 18 5.2 Aides à la diffusion .......................................................................................