Media in Instruction and Management Manual. INSTITUTION Central Michigan Univ., Mount Pleasant
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Ground-Based Photographic Monitoring
United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs. -
American Scientist the Magazine of Sigma Xi, the Scientific Research Society
A reprint from American Scientist the magazine of Sigma Xi, The Scientific Research Society This reprint is provided for personal and noncommercial use. For any other use, please send a request to Permissions, American Scientist, P.O. Box 13975, Research Triangle Park, NC, 27709, U.S.A., or by electronic mail to [email protected]. ©Sigma Xi, The Scientific Research Society and other rightsholders Engineering Next Slide, Please Henry Petroski n the course of preparing lectures years—against strong opposition from Ibased on the material in my books As the Kodak some in the artistic community—that and columns, I developed during the simple projection devices were used by closing decades of the 20th century a the masters to trace in near exactness good-sized library of 35-millimeter Carousel begins its intricate images, including portraits, that slides. These show structures large and the free hand could not do with fidelity. small, ranging from bridges and build- slide into history, ings to pencils and paperclips. As re- The Magic Lantern cently as about five years ago, when I it joins a series of The most immediate antecedent of the indicated to a host that I would need modern slide projector was the magic the use of a projector during a talk, just previous devices used lantern, a device that might be thought about everyone understood that to mean of as a camera obscura in reverse. Instead a Kodak 35-mm slide projector (or its to add images to talks of squeezing a life-size image through a equivalent), and just about every venue pinhole to produce an inverted minia- had one readily available. -
George Eastman Museum Annual Report 2018
George Eastman Museum Annual Report 2018 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 8 Photography Workshops 9 Loans 10 Objects Loaned For Exhibitions 10 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 30 Technology 32 George Eastman Legacy 34 Richard and Ronay Menschel Library 48 Purchases for the Collections 48 Photography 48 Moving Image 49 Technology 49 George Eastman Legacy 49 Richard and Ronay Menschel Library 49 Conservation & Preservation 50 Conservation 50 Photography 50 Technology 52 George Eastman Legacy 52 Richard and Ronay Menschel Library 52 Preservation 53 Moving Image 53 Financial 54 Treasurer’s Report 54 Fundraising 56 Members 56 Corporate Members 58 Annual Campaign 59 Designated Giving 59 Planned Giving 61 Trustees, Advisors & Staff 62 Board of Trustees 62 George Eastman Museum Staff 63 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2018. MAIN GALLERIES HISTORY OF PHOTOGRAPHY GALLERY Stories of Indian Cinema: A History of Photography Abandoned and Rescued Curated by Jamie M. Allen, associate curator, Department of Photography, and Todd Gustavson, exhibitions, Moving Image Department curator, Technology Collection NovemberCurated by 11,Jurij 2017–May Meden, curator 13, 2018 of film October 14, 2017–April 22, 2018 Nandita -
11.4 the Optics of Other Devices
11.4 The Optics of Other Devices projection head Activity 11.4.1 Optics of an Overhead Projector focus knob Overhead projectors (Figure 1), like many optical systems, consist of three sys- tems that work together: a mechanical system, an electronic system, and an optical system. Their function is to project an enlarged image from a transparent film onto a distant screen. In this activity, you will see how the different optical optical components of the projector work together. stage Materials overhead projector appropriate screwdrivers projector case Procedure Figure 1 1. Before turning on the overhead projector, open the optical stage to see An overhead projector inside the projector case. Sketch the arrangement of optical components by considering what a cross-section of the projector would look like. Note the arrangement of any bulbs, mirrors, or lenses that you find in the projector case. Add the optics of the projection head to your sketch. 2. Turn on the projector to project an image of a letter onto a screen nearby. Make adjustments to focus the image. 3. Use the focus knob to move the projection head upward. How does this affect the image? Refocus the image. 4. Use the focus knob to move the projection head downward. How does this affect the image? Refocus the image. 5. Move the projector farther from the screen. How does this affect the image? Analysis (a) Draw a ray diagram, with at least three different rays, showing how light travels from the bulb to the screen. (b) In table form, describe the structure and function of each optical compo- nent of the overhead projector. -
Holographic Wormhole Drive: Philosophical Breakthrough in FTL 'Warp-Drive' Technology
Holographic Wormhole Drive: Philosophical Breakthrough in FTL 'Warp-Drive' Technology Richard L. Amoroso Noetic Advanced Studies Institute Beryl, UT USA [email protected] Skeptics say Faster than light (FTL) space travel is the stuff of Science Fiction, could take 1,000 years and require a Jupiter size mass-energy source to operate superluminal warp drive spaceships. The author solves this problem in a radical new approach called the “Holographic Wormhole Drive” resulting in the possibility of warpdrive technologies in the near term. The Alcubierre warp drive metric (considered most advanced ) derived from Einstein’s General Relativity field equations by Miguel Alcubierre, in 1994 stretches space in a wave. Space ahead of a ship contracts & space behind expands, inhabitants of the warp-bubble travel along what astrophysicists call a ‘freefall’ geodesic, not moving locally inside the bubble at FTL velocities. But this model requires a negative mass-energy the size of Jupiter to operate. Amoroso uses a new spacetime transformation to cover the domain wall of the warp bubble with an array of mini-wormholes allowing an incursive oscillator to manipulate Alcubierre’s alpha and beta functions with minimal external energy input, i.e. the inherent infinite energy of the spacetime vacuum is used instead by a method of ‘ballistic’ spacetime programming. In "The Immanent Implementation of FTL Warp-Drive Technologies", from his book "Orbiting the Moons of Pluto, Amoroso solves major problems facing the Alcubierre metric based on principles of Holographic Anthropic Cosmology from another volume: "The Holographic Anthropic Multiverse". His solution is a 'Holographic Figure-Ground Effect' where the 'local' free-fall Warp Bubble separates from the holographic background by covering the domain wall of the free-fall warp-bubble with a system of mini-wormholes by 'programming mirror symmetry parameters of the spacetime vacuum'. -
Kodak Movie News; Vol. 8, No. 1; Spring 1960
PUBLISHED BY EASTMAN KODAK COMPANY SPRING 1960 KODAK MOVIE NEWS How bright IS your projector? Lamp wattage is only one factor in screen brilliance The amount of light a projector throws on the screen depends not only on the lamp size, but also on the projector design and the efficiency of its optical system. We had occasion recently to see movies of the newest baby of some close friends. The father remarked that he wasn't too happy with his exposure, and asked our advice. Knowing that his projector was of ancient vintage, we asked if we could run his reel off on a new Kodak movie projector-which we did. He was amazed at the differ- ence-the brilliance of his film. If your films are not as bright and colorful as you think they should be, try a reel on one of the new Brownie or Kodak Cine models at your photo dealer's. They're totally new- from design to operation-to provide the maximum light on the screen per watt of illumination. And each is designed to do its job well time after time after time. There's no one "best" projector. It all de- pends on your needs. For example, the Brownie 8 Movie Projector (right) might well be the "best" buy for you. Don't let its small size pounds) fool you! It performs big. Thanks to its special reflector-type projection lamp, ef- ficient optical system, and fast lens, it will give you bright screenings of your Bmm movies up to 3 feet wide. -
Complete Cinema Packages
Outdoor Movies AIRSCREEN® Complete Cinema Packages Outdoor Movies 14803 Southlawn Lane, Suites L - N Rockville, MD 20850 Product information guide Toll Free (866) 488-FILM (3456) Local and International +1 (301) 838-4544 Category Movie Screen Package Sales x102, Technical Support x106, Logistics/ Product Name AIRSCREEN® 24′ PlusHD Shipping x103 GSA Part & SIN GSA Part 24X13-PLUS SIN 192-41 [email protected] Free shipping to continental USA destinations www.outdoor-movies.com Product Information Guide | AIRSCREEN® 24’ PlusHD Movie Screen Package 1 Easy setup. A perfect projection screen. AIRSCREEN® quality sets the industry standard. Beautiful to look at with a stretched, tight, wrinkle free professional seamless screen surface. So much more than just any inflatable movie screen. AIRSCREEN® guarantees the highest quality, as originally invented in 1994, and improved with time and experience. World’s Leading Portable Outdoor Movie Screen Unrivaled Ease When it comes to quality, these portable projection screens Set up a 20’ screen in 20 minutes. The favorite of professional outperform any other inflatable movie screen on the market. outdoor cinema operators. Endorsed by parks, hotels/resorts, State-of-the-art craftsmanship and materials, easy operation, film festivals, governments, studios, and sports venues. three year warranty, and 24/7 access to the industry’s most experienced support team. Amazing Performance and Value Service, Service, Service Patented features and field-tested designs make AIRSCREEN® Honest, candid advice plus super-smart technical support and tough as a beast but a beauty to transport and operate. Our our 3-year warranty backed by a team celebrating 20 years of seamless screen surface stays flat and stable in wind up to 24 keeping customers happy, successful and safe. -
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. -
Jj[Odak. PRODUCT C ATAL G APRI L 19&8 F O R WHOLESALE ~------:1 D I STRI BUTORS Use I C O NFIDENTIAL ~Ales
- ----.,. ~ \~ ... jJ[odak. PRODUCT C ATAL G APRI L 19&8 F O R WHOLESALE ~-- - - ----- --------:1 D I STRI BUTORS Use I C O NFIDENTIAL ~ales Kodak gifts say just about anything ' Happy Father's Day Okay, now let's see thos(' l:lig fish you always talk :>bout. Happy Mother's Day How about some pictures of "the girls" in your bridge dub? Get some colorful shots of the burnt toast. + I - EXTRA PHOTO SALES FOR YOU! Kodak gifts app~al to The big Spring gift Added together, all men-&~women, young season - including this means a lot of ex and not-so-young Mothers' Day, Fa tra photo business anybody who likes thers' Day, Gradua coming your way. pictures. Now that tions, Weddings, and Drugstore photo picture-taking has many Birthdays-is sales are growing fast been made simple, second only to Christ -and you can keep the gift of a KODAK mas as a major gift in creasi n g them -by INSTAMATIC Still or + giving season. And stocking and promot Movie Camera is ap furthermore, Spring is ing KODAK INSTA propriate fo r any the beginning of the MATIC Still and Movie member of the family. biggest picture-tak Cameras. ing season of the year. HAPPY GIFT SELLING! I. New Products A. KODAK INSTAMATIC 714 AND S14 CAMERAS A714 CAMERA AS14 CAMERA Sugg Sell .. $ 89.68 Sugg Sell . .. $1 04.68 list .... .... $119.50 list ... ... $139.50 The "714" and "814" are respectively the same as the "704" and "804" except for: an extra-sharp EKT AR lens; a built-in battery checker; and PX-825 batteries which substantially reduce flash failure. -
Canon Cine Projector S 2 Manual
Canon Cine Projector S 2 Manual Manuals and user guide free PDF downloads for Canon LV-S2. Where Can I Get A Repair/parts Manual For A Canon S-400 Cine Projector? Is The Mx340. In addition to its sensor and processors, the EOS C300 Mark II camera also of more than 100 Canon EF and EF-S photographic lenses (including specialty tilt-shift and and zoom lenses (including the "ENG-style" Canon CINE-SERVO zooms). further facilitate operation and creative freedom include full manual control. Canon Cine Projector S-2 Manual -How to bypass hotel tv - How to i get an older zenith tv model, Plustek 600dpi Usb Scanner Driver Download. Canon Japan announced the Mini Projector C-5 in Japan, a pocket-sized mobile projector. Fixation, Focus Manual, Light source LED light source (life guideline 10,000 hours) Canon EF 35mm f/1.4L II and EF-M 15-45mm IS STM Co. lens rebates (5), Canon CES 2015 (2), Canon CINE-SERVO 50-1000mm lens (1). View and Download Canon P 400 instructions manual online. Cine projector. P 400 Projector pdf Projector Canon LV-S2 Owner's Manual. Canon lv- s2: user. Canon's video projectors deliver the sharpest images for the doctors in the Using Canon's XEED SX80 Mark II Medical video projectors, it has moderni. Canon Cine Projector S 2 Manual Read/Download Download drivers, software, firmware and manuals for your Canon product and get access to online technical support resources and troubleshooting. Canon's video projectors deliver the sharpest images for the doctors in the Using Canon's XEED SX80 Mark II Medical video projectors, it has moderni. -
Module 11 Audiovisual.Pmd
Audiovisual Make things as simple as possible, but not simpler. Albert Einstein © 2003 California State Parks 08/2004 Module 11 Audiovisual/Basic Interpretation Handbook Module 11 Audiovisual What is it? program delivery devices that enhance presentations to increase understanding, facilitate message Why do we do it? retention, and improve visitor enjoyment How do we do it? employ multisensory encoding equipment In our fast-paced world, technology seems to be driving much of what our visitors have come to expect. Introduction Some interpretive programs are enhanced by the use of audiovisual equipment (A/V). A/V presentations range from the very basic, such as using a flip chart, to much more sophisticated computer - and projector-integrated presentations. This module will provide a brief overview of the various tools that might help you to provide personal interpretive programs that appeal to the eyes and ears of your target audience. We will discuss their advantages, disadvantages, proper operation, care and maintenance, and some basic principles of photography. California State Parks’ Access to Parks Guidelines (Department of Parks and Recreation, 1993, p. 38) defines A/V programs as “…informational, educational, entertainment programs that are transmitted by auditory and/or visual means. This includes, but is not limited to, audio tape cassettes, sound systems, video tapes, films, slides, and interactive audio/video displays. Audiovisual programs shall be presented and available from integrated and accessible locations.” In our fast-paced world, technology seems to be driving much of what our visitors have come to expect. But do not be misled, the program styles that Enos Mills, John Muir, and Galen Clark offered over a hundred years ago are still very well received and appreciated. -
Fading Out: the End of 35 Mm Slide Transparencies Tina
Presented at the Electronic Media Group Session, AIC 40th Annual Meeting, May 8–11, 2012, Albuquerque, NM. FADING OUT: THE END OF 35 MM SLIDE TRANSPARENCIES TINA WEIDNER ABSTRACT This paper refects on the challenges facing conservators dealing with the preserva- tion and display of slide-based works in fne art collections following the discon- tinuation of the last remaining slide duplicating stock, Kodak Edupe, in March 2010, and the imminent demise of this analog technology. This paper explores the strategies currently available to conservators and the rapidly decreasing timeframe in which action will need to be taken. INTRODUCTION There are moments in the history of conservation when objects are radically al- tered in order to preserve what was most valued at that time. For example painted surfaces from panel paintings have in the past been stripped from their wooden support and re-adhered to canvas. The arguments justifying these decisions un- doubtedly appeared compelling at the time, only to become highly controversial centuries later. The Electronic Media Review ■ Volume Two 2013 157 TINA WEIDNER Within time-based media conservation, we are faced THE 35 MM SLIDE MEDIUM with a radical shift in technology as commercial support “Slide” commonly refers to a 35 mm photographic posi- for 35 mm slides ceases. In this paper I explore how, tive image comprising chromogenic dyes on a transpar- as conservators, we might respond to, and plan for, this ent base held inside a plastic or card mount. Without signifcant change in the technology underpinning slide- this mount, the transparent flm material would not be based artworks in our collections.