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Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
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. -
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. -
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 -
The Lens: Focal Length Control of Perspective in the Image Is Very Impor- 5.21 Wide-Angle Distortion in Mikhail Tant to the Filmmaker
The Phongraphic Image r69 The lens of a photographic camera does roughly what your eye does. It gath- ers light from the scene and transmits that light onto the flat surface of the film to form an image that represents size, depth, and other dimensions of the scene. One difference between the eye and the camera,, though, is that photographic lenses may be changed, and each type of lens will render perspective in different ways. If two different lenses photograph the same scene, the perspective relations in the result- ing images could be drastically different. A wide-angle lens could exaggerate the depth you see down the track or could make the foreground trees and buildings seem to bulge; atelephoto lens could drastically reduce the depth, making the trees seem very close together and nearly the same size. The Lens: Focal Length Control of perspective in the image is very impor- 5.21 Wide-angle distortion in Mikhail tant to the filmmaker. The chief variable in the process is the focal length of the Kalatozov's The Cranes Are Flyipg. lens. In technical terms, the focal length is the distance from the center of the lens to the point where light rays converge to a point of focus on the film. The focal length alters the perceived magnification, depth, and scale of things in the image. We usually distinguish three sorts of lenses on the basis of their effects on perspective: 1. The short-focal-length (wide-angle) lens. In 35mm-gauge cinematography, a lens of less than 35mm in focal length is considered a wide-angle lens. -
Basic Film Terminology
Basic Film Terminology Shot Designations Apparent camera-subject distance Camera appears far away Apparent camera-subject distance Camera appears far away = LONG SHOT Apparent camera-subject distance Subject seen from head to toe Apparent camera-subject distance Subject seen from head to toe = FULL SHOT Apparent camera-subject distance Subject seen from waist up Apparent camera-subject distance Subject seen from waist up = MEDIUM SHOT Apparent camera-subject distance Subject seen from waist up = MEDIUM SHOT Alternate term = WAIST SHOT Apparent camera-subject distance Only head & shoulders are seen Apparent camera-subject distance Only head & shoulders are seen = MEDIUM CLOSE SHOT Apparent camera-subject distance Only head & shoulders are seen = MEDIUM CLOSE SHOT or SHOULDER SHOT Apparent camera-subject distance Subject’s face fills the frame Apparent camera-subject distance Subject’s face fills the frame = CLOSE SHOT or CLOSE-UP Apparent camera-subject distance A portion of the subject’s face fills the frame Apparent camera-subject distance A portion of the subject’s face fills the frame = EXTREME CLOSE SHOT Apparent camera-subject distance Camera too far away to identify subject Apparent camera-subject distance Camera too far away to identify subject = EXTREME LONG SHOT Apparent camera-subject distance Closer when facial expression is important… Apparent camera-subject distance Farther away when environment is important Angle of camera’s viewpoint From below looking up at subject Angle of camera’s viewpoint From below looking up at subject -
Go Beyond the Screen: the Evolution and Design Pressures of Viewership, from Hollywood to Silicon Valley
Go beyond the screen: the evolution and design pressures of viewership, from Hollywood to Silicon Valley Adrian Langtry A research Paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2016 Declaration I have read and I understand the plagiarism provisions in the General Regulations of the University Calendar for the current year, found at: http://www.tcd.ie/calendar I have also completed the Online Tutorial on avoiding plagiarism ‘Ready, Steady, Write,’ located at http://tcd- ie.libguides.com/plagiarism/ready-steady-write I declare that the work described in this research Paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: _____________________ Adrian Langtry 10/05/16 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: _____________________ Adrian Langtry 10/05/2016 Acknowledgements I would like to thank Donal O’Mahony for introducing me to augmented and virtual reality through the world of design, and for his help and guidance in forming the structure of this research paper with invaluable feedback as research paper supervisor. With thanks to the love and support of my family, Interactive Digital Media classmates, and the collective studying hive-mind of postgraduate students in the 1937 Reading Room that helped me focus. Abstract This paper investigates the possible disappearance of the screen with the evolution and design pressures of viewership in mind. -
Computer Graphics and 3D
CHAPTER 1 Introduction to Computer Graphics and 3D This book will introduce you to the workings of 3D animation (called computer graphics, or CG) with one of the most popular programs on the mar- ket, Autodesk Maya. It will introduce you to many of Maya’s features and capabilities with the intent of energizing you to study further. The best way to succeed at anything is to practice. Go through the exercises in this book (more than once if you care to) and also think of exercises and projects that can take you further in your learning process. A book, class, or video can take you only so far; the rest is up to you. Imagination and exploration will serve you well. This is not to say you can’t be a casual visitor to working in CG—far from it. Playing around and seeing what you can create in this medium is just flat-out fun. Don’t lose sight of that. If you feel the enjoyment slipping away, step away from the screen for a while. Understanding your own learning pace is important. Throughout this book, you’ll learn how to work with Maya tools and techniques at a pace you set for yourself. This chapter will prepare you for the hands-on study that fol- lows by introducing the most important CG concepts and the roles they will play in your Maya work. When you’re learning how to work with Maya, the most important concept is discovering how you work as an artist. If you have a basic understanding of the meth- odology and terms of computer art and CG, you can skim or even skip this chapter and jump right into working with Maya. -
Selected Film Glossary
SELECTED FILM GLOSSARY The following concise definitions are meant as either quick introductions or brief reminders. For further information, consult the index, which will refer you to the pages that give a fuller discussion. Whenever possible, we have used the definitions (or parts of definitions) published by the University Film Association (Monograph No. 2) as Glossary of Film Terms (University Film Association, 1978). Compiled by John Mercer, this thorough glossary draws upon a previous work published in 1955 by the University Film Producers Association. When our definitions are derived from the Glossary of Film Terms, they are followed by the letters UFA; when that Glossary uses the 1955 definitions, it appends the letters UFPA. Because the Glossary is much more extensive than ours and also more technical in some respects, occasionally we decided to simplify or to write new definitions more appropriate to this book. For more complete terminology, we urge the reader to write to the editor of the Journal of Film and Video for information about obtaining a copy of the Glossary of Film Terms. As the editorship changes hands regularly, check a recent copy of the Journal for the name and address of the current editor. A abstract film A film that uses mass, line, and color to create shifting and changing patterns. Also, loosely, any nonrepresentational film. Academy ratio The size of the frame mask in 35mm cameras and projectors as standardized by the Academy of Motion Picture Arts and Sciences (1 to 1.3). Used from the 1930s to the 1950s. adaptation The movement to the screen of a story, novel, play, or other work suitably treated so as to be realizable through the motion picture medium. -
163448 369986.Pdf
UvA-DARE (Digital Academic Repository) From Grain to Pixel: The Archival Life of Film in Transition Fossati, G. Publication date 2009 Document Version Final published version License CC BY-NC Link to publication Citation for published version (APA): Fossati, G. (2009). From Grain to Pixel: The Archival Life of Film in Transition. (Framing film). Amsterdam University Press. http://oapen.org/search?identifier=369986 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 FROM GRAIN TO PIXEL Fossati Herdruk DEF.indd 1 20-07-11 14:22 FRAMING FILM FRAMING FILM is a new book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices, in line with the existing archive of EYE Film Institute. -
Snakes and Funerals: Aesthetics and American Widescreen Films
Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 5-2-2007 Snakes and Funerals: Aesthetics and American Widescreen Films John Harper Cossar Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Part of the Communication Commons Recommended Citation Cossar, John Harper, "Snakes and Funerals: Aesthetics and American Widescreen Films." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/communication_diss/12 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SNAKES AND FUNERALS: AESTHETICS AND AMERICAN WIDESCREEN FILMS by HARPER COSSAR Under the direction of Greg M. Smith ABSTRACT The study of widescreen cinema historically has been under analyzed with regard to aesthetics. This project examines the visual poetics of the wide frame from the silent films of Griffith and Gance to the CinemaScope grandeur of Preminger and Tashlin. Additionally, the roles of auteur and genre are explored as well as the new media possibilities such as letterboxing online content. If cinema’s history can be compared to painting, then prior to 1953, cinema existed as a portrait-only operation with a premium placed on vertical compositions. This is not to say that landscape shots were not possible or that lateral mise-en-scene did not exist. Cinematic texts, with very few exceptions, were composed in only one shape: the almost square Academy Ratio. Before 1953, cinema’s shape is that of portraiture; after 1953 cinema’s shape is landscape. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Roberts, Steven F Title: High Fidelity Widescreen Cinema VistaVision Film Production and Style in Britain and the USA General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. High Fidelity Widescreen Cinema: VistaVision Film Production and Style in Britain and the USA Steven Francis Roberts A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, Department of Film and Television September 2019 68079 words Abstract In the 1950s, widescreen cinema transcended industry standards of aspect ratio and film size on an international scale.