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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. -
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 -
Area of 35 Mm Motion Picture Film Used in HDTV Telecines
Rec. ITU-R BR.716-2 1 RECOMMENDATION ITU-R BR.716-2* AREA OF 35 mm MOTION PICTURE FILM USED BY HDTV TELECINES (Question ITU-R 113/11) (1990-1992-1994) Rec. ITU-R BR.716-2 The ITU Radiocommunication Assembly, considering a) that telecines are sometimes used as a television post-production tool for special applications such as the scanning of negative film or other image processing operations, and it is necessary to be able to position the scanned area anywhere on the film exposed area for this application; b) that telecines are also used to televise film programmes with no image post-processing, and it is desirable that the area to be used on the film frame be specified for this application; c) that many formats exist for 35 mm feature films, as listed below, and preferred dimensions for the area used on the frames of all those formats should be recommended: – 1.37:1 (“Academy” format, close to 4:3) – 1.66:1 (European wide-screen format, close to 16:9) – 1.85:1 (United States wide-screen format, close to 16:9) – 2.35:1 (anamorphic “Cinemascope” format); d) the content of ISO Standard 2906 “Image area produced by camera aperture on 35 mm motion picture film”, and that of ISO Standard 2907 “Maximum projectable image area on 35 mm motion picture film” which specifies the dimensions of the projectable area for all the frame formats listed above; e) the content of Recommendation ITU-R BR.713 “Recording of HDTV images on film”, which is based on ISO Standards 2906 and 2907, recommends 1. -
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. -
EBU Tech 3289-2001 Preservation and Reuse of Film Material For
Tech 3289 Guidelines for Broadcasters Preservation and Reuse of Filmmaterial for television May 2001 European Broadcasting Union Case postale 45 Ancienne Route 17A CH-1218 Grand-Saconnex Geneva, Switzerland [email protected] PRESERVATION AND REUSE OF FILM MATERIAL FOR TELEVISION Summary Future television production systems will require easier access to archival film material in an electronic digital form, for both preview and production purposes. In order to meet these requirements, broadcasters will need to transfer large collec- tions of film material – a very time-consuming and expensive operation. Regretta- bly, some of the film material in their vaults may already have started to degrade, due to adverse storage conditions. This document offers comprehensive guidelines to broadcasters on the handling, storage and reuse of motion picture film material for television production, both now and in the future. The telecine transfer process is discussed in detail, with special attention being given to its replay and correction properties. The document also discusses the effects of storage conditions on film material, and the problems encountered when handling endangered, degraded, material in a broadcast environ- ment. There is specific advice on how to check, preserve and store film material. Special attention is paid to the so-called “vinegar syndrome”, which is considered the major threat to the future reuse of acetate-based film material. The EBU working group which produced this document would like to acknowledge Eastman Kodak Company, the Image Permanence Institute and the Rochester Institute of Technology for the facts and figures on motion picture film properties and behaviour that are quoted here. -
Wasson, “The Networked Screen” - 69
WASSON, “THE NETWORKED SCREEN” - 69 THE NETWORKED SCREEN: MOVING IMAGES, MATERIALITY, AND THE AESTHETICS OF SIZE Haidee Wasson However conceived—as institution, experience, or aesthetic—the past and the present of moving images are unthinkable without screens. Large or small, comprised of cloth or liquid crystals, screens provide a primary interface between the forms that constitute visual culture and its inhabitants. Animated by celluloid, electronic, and digital sources, these interfaces broker the increasing presence of moving images in private and public life: museums and galleries, stock exchanges, airplane seats, subways, banks, food courts, record stores, gas stations, office desks, and even the palm of one’s hand. Some screens emit light and some reflect it; some are stationary and others mobile. Variations abound. But, one thing is certain. Contemporary culture is host to more screens in more places.1 In film studies, the proliferation of images and screens has largely been addressed by tending to the ways in which cinema is more malleable than WASSON, “THE NETWORKED SCREEN” - 70 previously understood, appearing everywhere, transforming across varied media and sites of consumption. The dominant metaphors used to discuss the multiplication of screens and the images that fill them have been metaphors of variability, ephemerality, dematerialization, or cross-platform compatibility, wherein screens are reconceptualized as readily collapsible, shrinking and expanding windows. Scholars use terms like “content,” “morphing,” and “themed -
Film Types and Formats Film Types and Formats
FILM TYPES AND FORMATS FILM TYPES AND FORMATS A wide variety of camera films are available today, allowing filmmakers to convey exactly the look they envision. Image capture challenges, from routine through extreme, special eJects, and unique processing and projection requirements can be resolved with today’s sophisticated films. TYPES OF MOTION PICTURE FILM There are three major categories of motion picture films: camera, intermediate and laboratory, and print films. All are available as color or black-and-white films. Camera Films Negative and reversal camera films are used in motion picture cameras to capture the original image. Negative film, just as a still camera negative, produces the reverse of the colors and/or tones our eye sees in the scene and must be printed on another film stock or transferred for final viewing. Reversal film gives a positive image directly on the original camera film. The original can be projected and viewed without going through a print process. Reversal film has a higher contrast than a camera negative film. Color Balance Color films are manufactured for use in a variety of light sources without additional filtration. Camera films are balanced for 5500K daylight or 3200K tungsten. Color films designated D are daylight-balanced. Color films designated T are tungsten-balanced. Filtration over the camera lens or over the light source is used when filming in light sources diJerent from the film's balance. Intermediate and Laboratory Films Labs and postproduction facilities use intermediate and print films to produce the intermediate stages needed for special eJects and titling. Once the film has been edited, the cut negative may be transferred to print film. -
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. -
Widescreen Film Format Before 1950S
OH 1 June (JungYun) Oh Ann Harris Moving Image and Sound: Basic Issues and Training H72.2920 November 19, 2009 Widescreen Film Format Before 1950s The history of widescreen cinema is often told as follows: it was born in 1950s, when the newly -invented television technology threatened the cinema. The film producers had to make their products more attractive to the audiences. Accordingly they widened the screen to provide a more spectacular image. We notice many movie advertisements of the time stressed that they were made by the cutting-edge technology.1 A wider and/or larger image meant something spectacular, which you could have not experienced before. However, widescreen technology was not invented in 1950s. The widescreen image was originally born and introduced to the public at the same time with moving image in 1896, and had its chance to bloom almost at the same time with talkies in the late 1920s. Something that is obvious but easily forgotten when we are discussing widescreen is that something wide is de fined only by comparison; to call something ‘wide’ there must be something ‘narrow’—i.e., ‘standard’ format which is narrower than so called widescreen. The international standardization of the commercial film gauge was completed in 1907: 35mm with an aspect ratio of 1.33:1 and a four- 1 “The wo rld’s greatest thea trical attraction!” (This is Cinérama – the first Cinerama film) “The modern miracle you see without glasses!” ( The Robe – the first c inemascope film) These are the phrases you can see on the advertisement of the movies from the early 1950s, especially of the ones shot on the ‘widescreen film format’. -
AREA of 35 Mm PRINT FILM USED for 4:3 CONVENTIONAL TELEVISION SYSTEMS
Rec. ITU-R BR.782-1 1 RECOMMENDATION ITU-R BR.782-1* AREA OF 35 mm PRINT FILM USED FOR 4:3 CONVENTIONAL TELEVISION SYSTEMS (Question ITU-R 113/11) (1992-1994) Rec. ITU-R BR.782-1 The ITU Radiocommunication Assembly, considering a) that telecines are sometimes used as a television post-production tool, and it is necessary to be able to position the scanned area anywhere on the film frame area for this application; however they are also used to televise film programmes with no image post-processing, and it is desirable that the areas to be used on the film frames be specified for this application; b) that many frame formats exist for 35 mm feature films, as listed below, and preferred dimensions for the area used on the frame of all those formats should be recommended: – 1.37:1 (“Academy” format, close to 4:3) – 1.66:1 (European wide-screen format, close to 16:9) – 1.85:1 (United States wide-screen format, close to 16:9) – 2.35:1 (anamorphic “Cinemascope” format); c) the content of ISO Standard 2907 “Maximum projectable image area on 35 mm motion picture film” which specifies the dimensions of the projectable area for all these film formats and 2939 “Picture image area and photographic sound record on 35 mm motion picture release prints, position and dimensions”; d) that two methods are currently used in the world to scan wide-screen film programmes in conventional television: – the letter-box method in which the width of the film frame fills the width of the television image, leaving black bars at the top and bottom of the television image if the film aspect ratio is wider than the television aspect ratio; this method is used when it is desired to preserve the original image composition of the film; – the pan-scan method in which the height of the film image fills the height of the television image, and the area scanned on the film frame is made to travel as appropriate over the width of the frame if this is wider; this method is used when it is desired that programme material should fill the television screen, recommends 1. -
Widescreen Film Formats
WIDESCREEN FILM FORMATS ------------------------------------------------------------------------------------------------------------------------------ Academy: 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. Prior to the advent of Sound on Film in 1926, the Aspect ratio was 1.33:1. Film Gauge: 35mm Direction of travel: Vertical - four perforations - 24 fps Aperture Dimensions: 0.825" x 0.600" nominal Aspect Ratio: 1.37:1 Print Appearance when projected \ ------------------------------------------------------------------------------------------------------------------------------ ArriScope-ArriVision: ArriScope and ArriVision were designed by the Arriflex Camera Corporation, both are a form of the CinemaScope/Panavision process with an aspect ratio of 2.35:1, 2.35 times wide as it is high. ArriScope was first used on the production of Body Snatchers (1993). ArriVision was used for two 3D feature film Amityville (1983) and Jaws 3 (1983), is still in use today as an Anamorphic process on such films as Star Wars Episode 1 (1999) and Lord of the Rings (2001). Film Gauge: 35mm Direction of travel: Vertical - four perforations - 24 fps Aperture Dimensions: 0.864" x 0.732" nominal Aspect Ratio: 2.35:1 Print Appearance when projected ---------------------------------------------------------------------------------------------------------------------------- Cinerama: In 1928 at the London Tivoli MGM released the French film maker Abel Gance's masterpiece Napoleon. It was shown from three projectors onto a triple width screen. Twenty four years later Fred Waller of Paramount's Special Effects Department, along with Michael Todd, developed a large screen system called Cinerama, which utilised three cameras to record a single image. -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is