Silver Halide and Silicon As Consumer Imagers
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Page 16 of 128 Exhibit No. Description Deposition
Case 1:04-cv-01373-KAJ Document 467-2 Filed 10/23/2006 Page 1 of 140 Exhibit Description Deposition Objections No. Ex. No. PTX-168 7/16/2003, Technical Reference Napoli Ex. Manual [DM270] (EKCCCI007053- 132 836) PTX-169 2003, Data Sheet for TMS320DM270 Processor (AX200153-55) PTX-170 10/30/2002, DM270 Preliminary Napoli Ex. Register Manual Rev. b0.6 131 (EKCCCI001305-495) PTX-171 TI DM270 Imx Hardware Akiyama Programming Interface, Version 0.0 Ex. 312 (EKCNYII005007249-260) PTX-172 3/3/2003, DM270 Preliminary Data Ohtake Ex. Sheet Rev. b0.7C (EKCCCI008094- 123 131) PTX-173 Fact Sheet for TMS320DM270 Lacks Processor (AX200150-52) authenticity; Hearsay; Lacks foundation; Lacks relevance PTX-174 6/04, Data Sheet rev 0.5 for Hynix Ligler Ex. Lacks HY57V561620C[L]T[P] (AX200163- 13 (ITC) authenticity; 74) Hearsay; Lacks foundation; Lacks relevance PTX-175 Sharp RJ21T3AA0PT Data Sheet Hearsay; (EKCCCI017389-413) Lacks foundation; Lacks relevance PTX-176 DX7630 Thumbnail Test Lacks (AXD022568-81) authenticity; Hearsay; Lacks foundation; Lacks relevance; Inaccurate/ incomplete description PTX-177 1/11/2005, DM270 IP Chain ver. 0.7 Yoshikawa with translation (EKC001021025-31, Ex. 348 AX211033-42) PTX-178 1/26/2004, Bud Camera F/W Task Lacks foundation; Interface Capture Main <-> Image ISR Lacks relevance (DX7630) ver. 0.07 / Takeshi Domen with translation (EKCCCI002404-19, AX211607-26) Page 16 of 128 Case 1:04-cv-01373-KAJ Document 467-2 Filed 10/23/2006 Page 2 of 140 Exhibit Description Deposition Objections No. Ex. No. PTX-179 2/17/2003, Budweiser Camera EXIF Akiyama Lacks foundation; File Access Library Spec (DX7630) Ex. -
Openimageio 1.7 Programmer Documentation (In Progress)
OpenImageIO 1.7 Programmer Documentation (in progress) Editor: Larry Gritz [email protected] Date: 31 Mar 2016 ii The OpenImageIO source code and documentation are: Copyright (c) 2008-2016 Larry Gritz, et al. All Rights Reserved. The code that implements OpenImageIO is licensed under the BSD 3-clause (also some- times known as “new BSD” or “modified BSD”) license: Redistribution and use in source and binary forms, with or without modification, are per- mitted provided that the following conditions are met: • Redistributions of source code must retain the above copyright notice, this list of condi- tions and the following disclaimer. • Redistributions in binary form must reproduce the above copyright notice, this list of con- ditions and the following disclaimer in the documentation and/or other materials provided with the distribution. • Neither the name of the software’s owners nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIB- UTORS ”AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FIT- NESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUD- ING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABIL- ITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. -
Basic Sensitometry and Characteristics of Film Basic Sensitometry and Characteristics of Film
BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC PHOTOGRAPHIC SENSITOMETRY Sensitometry is the science behind the art of filmmaking. It is the measurement of a film’s characteristics. These measurements are expressed in numeric and chart form to convey how a film will react to the amount of light, the type of lighting, the amount of exposure, the type of developer, the amount of development, and how all these factors interact. In most cases, a cinematographer doesn’t need a great depth of technical information to use motion picture films—using the right film speed and the right process will suKce. On the other hand, having a basic understanding of film sensitometry will help you in tasks as simple as film selection to as complicated as communicating the mood of a challenging scene. THE CHARACTERISTIC CURVE At the heart of sensitometry is the characteristic curve. The characteristic curve plots the amount of exposure against the density achieved by that exposure: 3.0 2.8 2.6 2.4 Shoulder 2.2 2.0 1.8 Y Straight Line T 1.6 I S 1.4 N E D 1.2 1.0 Base-Plus-Fog or 0.8 Gross-Fog Density 0.6 Toe 0.4 0.2 0.0 3.0 2.0 1.0 0.0 1.0 2.0 LOG EXPOSURE To create a characteristic curve, we first need some densities to plot, and they come from a sensitometric tablet exposed onto the film. Commonly called a step tablet, this highly calibrated tool consists of 21 equally spaced intervals of grey. -
Farewell to the Kodak DCS Dslrs
John Henshall’s Chip Shop FAREWELL TO THE KODAK DCS John Henshall looks at Kodak’s legacy as the end of its DSLR production is announced . hen Kodak introduced the the world’s first totally portable Digital W Camera System – the DCS – in 1991 it established Eastman Kodak as the world leader of professional digital image capture. Fourteen years later, Kodak has just announced that it is ending production 1992: DCS200 of Digital Single Lens Reflex cameras. The DCS was a product launched ahead of its potential market, but one which indelibly marked the start of the future of photography. Kodak was smart. It housed its DCS in something photographers were already at home with: a Nikon F3 camera body. All the F3’s functions were retained, and the DCS used standard Nikon lenses. Only the 1991: The original Kodak DCS [100] and DSU 2005: Last of the line – the DCS ProSLR/c focusing screen was changed. A new Kodak-produced digital The relative sensitivity of the camera back was fixed to the Nikon F3 DCS camera back was ISO100. body. A light sensitive integrated circuit Exposure could be ‘pushed’ by – Charge Coupled Device – was fitted one, two or three ƒ-stops to into its film plane. ISO200, 400 or 800 on an This CCD image sensor had an individual shot-by-shot basis. incredible 1.3 million individual pixels It was not necessary to m o c . – more than four times as many as in expose a whole ‘roll of film’ at e r t n television cameras – arranged in a the same ISO rating, as was e c - i 1024 x 1280 pixel rectangle measuring necessary when shooting film. -
Photographica 24/03/2020 10:00 AM GMT
Auction - Photographica 24/03/2020 10:00 AM GMT Lot Title/Description Lot Title/Description 1 Canon Cameras and Lenses, comprising a Canon EOS D30 DSLR 15 Photographic Accessories, including 3 Linhof 6½ x 9 DDS film holders, a body, a Canon EOS 600 camera, a Canon T50 camera, a Canon T70 Schneider Xenar 16.5cm f/4.5 board-mounted lens with Compur shutter, camera, a Canon AE-1 Program camera, a Canonet rangefinder other lenses, some with leaf shutters, a JVC P-100UKC 6 volts 5cm camera, an EF 75-300mm lens and an EF 90-300mm lens (a lot) approx television, untested and other items Est. 50 - 70 Est. 30 - 50 2 Nikon SLR Cameras and Bodies, comprising a Nikon D70s DSLR 16 A Tray of Sub-Miniature 'Spy' Cameras, including a Minox B camera, a camera with an AF Nikkor 28-80mm lens, a Nikon D70 DSLR body, a Minox C camera, a Yashica Atoron camera and a Minolta 16 II camera, Nikon F-301 body, a Nikkormat FTN body, a Nikon EM body, an AF all in maker's cases, together with sundry related items Nikkor 70-210mm f/4-5.6 lens, boxed and a Speedlight SB-16 (a lot) Est. 70 - 100 Est. 50 - 70 17 A Tray of Ensign Midget and Other Sub-Miniature Cameras, a Model 22 3 Pentax M SLR Cameras, comprising three Pentax ME Super cameras, a camera, three Model 33 cameras, a Model 55 camera, a box of unused ME Super body, a MG camera and an MV 1 body (a lot) Ensign Lukos E10 film dated Dec 1935, a Kiku 16 Model II and a Speedex 'Hit-type' cameras, two United Optical Merlin cameras and a Est. -
Modern Post: Workflows and Techniques for Digital Filmmakers
Modern Post Workflows and Techniques for Digital Filmmakers This page intentionally left blank Modern Post Workflows and Techniques for Digital Filmmakers Scott Arundale and Tashi Trieu First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Scott Arundale and Tashi Trieu to be identified as author of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. -
The DCS Story 17 Years of Kodak Professional Digital Camera Systems 1987-2004
The DCS Story 17 years of Kodak Professional digital camera systems 1987-2004 Jim McGarvey June 2004 Electro-Optic Camera (1988) By 1987, Kodak had developed the world's first megapixel CCD imager, the M1. A US Government customer contracted with the Federal Systems Division (FSD) to incorporate the M1 into a standard 35 mm camera body to create the first megapixel portable digital camera, truly the prototype of the digital camera system (DCS) product line. It was designed for covert use, with the black box in a camera bag and the ribbon cable to the camera body concealed inside the neck strap. Images were downloaded from the internal hard drive by docking the black box on an Exabyte tape archive unit. (The first digital camera dock!) The Canon F1 film camera body had no electronic interface, so the shutter release was detected by monitoring the battery current. The imager package was mounted to a TE cooler to reduce noise, but cooling was limited to prevent fogging the cover glass and was not very effective. Only one unit was built. The black box electronics were wire wrapped. • Stock Canon F1 body with motor drive • Monochrome KAF-1400 (M1) imager (1320 x 1035, 6.8 µm) with thermoelectric cooler • 10bit A/D Logarithmic amplifier • 10-Mbyte buffer for 6-image burst; buffer image count display • Internal 100-Mbyte SCSI hard drive holds 60 images; disk image count display • Docking archive unit with 2000-MByte Exabyte 8 mm SCSI tape drive and battery charger • Raw image files in Unix TAR format; Time/Date stamp • Intervalometer; log histogram. -
Redacted for Privacy E
AN ABSTRACT OF THE THESIS OF RICHARD EUGENE GROSS for the MASTER OF SCIENCE (Name) (Degree) General Science in(Radiological Physics) presented on ,20j /9. (Major) (Date) Title: A STUDY OF RELATIVE SPEEDS OF MEDICAL X-RAY FILM AND INTENSIFYING SCREEN COMBIN4TIONS Abstract approved: Redacted for Privacy E. Dale Trout The objective of this study was to determine the relative speeds of available medical x-ray films exposed directly to x-rays and expo- sed in combination with various types of intensifying screens.The information obtained from this sensitometric data was used to obtain factors by which a radiographic exposure technique with one film- screen combination could be modified to obtain an adequate radio- graph with any of the other films or film-screen combinations. All of the films were exposed using a conventional diagnostic x-ray machine and processed in an automatic processor.The sen- sitometric data were tested by producing radiographs with the various films and film-screen combinations using the basic exposure techni- que and the exposure factors obtained from the relative speeds.The radiographic subject was a phantom made of tissue equivalent plastic which encased human skeletal parts.The radiographic results of the testing indicated that adequate radiographs can be obtained using this data. Assuming that the basic radiograph has an average density of 1.0, a second radiograph using a different film-screen combination will have an average density which will not deviate from 1.0 by more than f 0. 15. A Study of Relative Speeds -
Securities Analysts and Incumbent Response to Radical Technological Change: Evidence from Digital Photography and Internet Telephony
Organization Science informs ® Vol. 21, No. 1, January–February 2010, pp. 42–62 doi 10.1287/orsc.1080.0395 issn 1047-7039 eissn 1526-5455 10 2101 0042 ©2010 INFORMS Securities Analysts and Incumbent Response to Radical Technological Change: Evidence from Digital Photography and Internet Telephony Mary J. Benner Management Department, The Wharton School, Philadelphia, Pennsylvania 19104, [email protected] large body of research has explored the factors that impede established firms’ responses to radical technological Achanges. While it is widely acknowledged that managers face pressures from financial markets to choose strategies that maximize shareholder value, little work in the technological change literature has considered the possible influences of public equity markets and the securities analysts who mediate them on incumbent firms challenged with technological change. In this paper, I begin to address the topic by empirically exploring how securities analysts react to the different strategies undertaken by incumbent firms faced with radical technological change. I study the question in two settings: the shift to digital technology in photography and the advent of Voice over Internet Protocol (VoIP) technology in wireline telecommunications. I find evidence that analysts are more attentive and positive toward incumbents’ strategies that extend and preserve the existing technology than toward strategies that respond directly to the new technology. In these settings, analysts largely ignore incumbents’ strategies that directly incorporate the new technology for several years following the discontinuity. This study provides insights into the nature and direction of analysts’ reactions to firms’ strategies in the context of technological change, and is a first step toward better understanding of the potential role of analysts’ and financial markets in incumbent adaptation. -
Sample Manuscript Showing Specifications and Style
F. Cao, F. Guichard, H. Hornung, R. Teissières, An objective protocol for comparing the noise performance of silver halide film and digital sensor, Digital Photography VIII, Electronic Imaging 2012. Copyright 2012 Society of Photo-Optical Instrumentation Engineers. One print or electronic copy may be made for personal use only. Systematic reproduction and distribution, duplication of any material in this paper for a fee or for commercial purposes, or modification of the content of the paper are prohibited. http://dx.doi.org/10.1117/12.910113 An objective protocol for comparing the noise performance of silver halide film and digital sensor Frédéric Cao, Frédéric Guichard, Hervé Hornung, Régis Tessière DxO Labs, 3 Rue Nationale, 92100 Boulogne, France ABSTRACT Digital sensors have obviously invaded the photography mass market. However, some photographers with very high expectancy still use silver halide film. Are they only nostalgic reluctant to technology or is there more than meets the eye? The answer is not so easy if we remark that, at the end of the golden age, films were actually scanned before development. Nowadays film users have adopted digital technology and scan their film to take advantage from digital processing afterwards. Therefore, it is legitimate to evaluate silver halide film “with a digital eye”, with the assumption that processing can be applied as for a digital camera. The article will describe in details the operations we need to consider the film as a RAW digital sensor. In particular, we have to account for the film characteristic curve, the autocorrelation of the noise (related to film grain) and the sampling of the digital sensor (related to Bayer filter array). -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
Beginnings Photography Started with a Camera and the Basic Idea Has Been Around Since About the 5Th Century B.C
Beginnings Photography started with a camera and the basic idea has been around since about the 5th Century B.C. For centuries these were just ideas until an Iraqi scientist developed something called the camera obscura sometime in the 11th Century. Even then, the camera did not actually record images, they simply projected them onto another surface. The images were also upside down. The first camera obscuras used a pinhole in a tent to project an image from outside the tent into the darkened area. It took until the 17th Century for camera obscuras to be made small enough to be portable and basic lenses to be added. Abelardo Morell, about 2000 Permanent Images Photography as we know it today began in the late 1830s in France when Joseph Nicéphore Niépce used a portable camera obscura to expose a pewter plate coated with bitumen to light. This is the first recorded image that did not fade quickly. Daguerreotype This experiment led to collaboration between Niépce and Louis Daguerre that resulted in the creation of the Daguerreotype. Daguerreotypes were the forerunners to our modern film. A copper plate was coated with silver and exposed to iodine vapor before it was exposed to light. To create the image on the plate, the earlier Daguerreotypes had to be exposed to light for up to 15 minutes. The Daguerreotype was very popular until it was replaced in the late 1850s by emulsion plates. Joseph Nicéphore Niépce Louis Daguerre Emulsion Plates Emulsion plates, or wet plates, were less expensive than Daguerreotypes and took only two or three seconds of exposure time.