DOCSLIB.ORG

Film Formaten Een Overzicht

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Formaten Een Overzicht Film formaten Een woordje uitleg bij de verschillende kolommen (waar nodig) • Negative gauge : afmeting van de negatieffilm, gemeten in de breedte, van rand tot rand • Negative aspect ratio : verhouding breedte / hoogte van het negatief (beeld) • Gate dimensions : afmetingen van de camera gate • Negative pulldown : transportsysteem (perforaties) • Negative lenses : normale (spherical) of anamorfe lenzen (bij opname) • Projection aspect ratio : verschilt van de Negative aspect ratio in geval van anamorfoten • Projection lenses : normale (spherical) of anamorfe lenzen (bij projectie) Met dank aan Wikipeda, waar ook de meeste links naar verwijzen Zie ook hier voor meer uitleg en illustatiemateriaal Negative Gate Negative Negative Projection Projection Projection Projection Year First known Negative aspect [1] Format Creator [1] dimensions pulldown lenses gauge aspect ratio dimensions lenses Created work gauge ratio much Etienne-Jules Chronophotographe 1888 90 mm less than unperforated spherical Marey 1.00 Louis Le Roundhay Paperfilm 1888 54 mm unperforated spherical 54 mm spherical Prince Garden Scene Emile Theatre Optique 1888 Pauvre Pierrot perforated spherical spherical Reynaud William irregular Chronophotographic 1889 54 mm spherical Friese-Greene perfs view of Wordsworth Kinesigraph 1889 Trafalgar 68 mm 1.00? unperforated spherical Donisthorpe Square William strip strip rolled Dickson and 1889 or Monkeyshines, rolled Kinetograph cylinder unperforated spherical around a spherical Thomas 1890 No. 1 around a cylinder Edison cylinder William 1 perf, 1 Dickson 19 mm, Kinetoscope horizontal Dickson and 1891 19 mm side, spherical spherical Greeting horizontal William Heise horizontal William Dickson and Blacksmithing 0.980" x 4 perf, 2 0.931" x Silent film standard 1892 35 mm 1.33 spherical 35 mm 1.33 spherical Thomas Scene 0.735" sides 0.698" Edison unperforated 54 mm (two Max footage of Emil (camera); 4 Bioskop 1892 54 mm spherical strips spherical Skladanowsky Skladanowsky perf, 2 sides interleaved) (projection) The Henley 2.750" x Acres 70 Birt Acres 1894 Royal Regatta 70 mm 1.38 spherical 70 mm spherical 2.000" of 1894 Woodville Griffo-Barnett 1.457" x 4 perf, 2 Eidoloscope 1895 51 mm 1.85 spherical 51 mm 1.85 spherical Latham Prize Fight 0.787" sides 1 perf, 2 Lumiere La Sortie des 0.980" x Cinematographe 1895 35 mm 1.33 sides spherical 35 mm 1.33 spherical Brothers Usines Lumiere 0.735" (rounded) 1 perf, 2 Sparring Herman 2.625" x sides Biograph 1895 Contest at 68 mm 1.35 spherical 68 mm spherical Casler 1.938" (punched in- Canastota camera) 5 perf, 2 Joly-Normandin Henri Joly 1895 60 mm spherical 60 mm spherical sides Biographe 1896 60 mm 1.40 unperforated spherical 60 mm 1.40 spherical Demeny- 1.750" x. Gaumont 1.250" Demeny- 1.750" x. 4 perf, 2 Chronophotographe 1896 60 mm 1.40 spherical 60 mm 1.40 spherical Gaumont 1.250" sides Casimir Sivan Sivan-Dalphin and E. 1896 38 mm spherical 38 mm spherical Dalphin Corbett- 1.875" x 5 perf, 2 Veriscope Enoch Rector 1897 Fitzsimmons 63 mm 1.66 spherical 63 mm spherical 1.125" sides fight Thomas 1.500" x Viventoscope 1897 48 mm 1.50 1 perf? spherical 48 mm spherical Henry Blair 1.000" unknown Birtac Birt Acres 1898 (amateur 17.5 mm 2 perf, 1 side spherical 17.5 mm spherical format) unknown T.C. 0.630" x Biokam 1899 (amateur 17.5 mm 1.60 1 perf, center spherical 17.5 mm spherical Hepworth 0.394" format) unknown John Alfred Prestwich 13 mm 1899 (amateur 13 mm spherical 13 mm spherical Prestwich format) Reulos, unknown 1 notch, 2 Mirograph Goudeau & 1900 (amateur 21 mm spherical 21 mm spherical sides Co format) Lumiere 2.362" x 8 perf, 2 Lumiere Wide 1900 75 mm 1.33 spherical 75 mm 1.33 spherical Brothers 1.772" sides 70 mm x Raoul 70 mm x 10 10 Cineorama Grimoin- 1900 Cineorama 4 perf? spherical projectors spherical cameras Sanson (360°) (360°) 1 perf, center (smaller and unknown 0.630" x less La Petite (Hughes) W.C. Hughes 1900 (amateur 17.5 mm 1.60 spherical 17.5 mm spherical 0.394" rectangular format) than Biokam) unknown Gaumont Pocket Chrono 1900 (amateur 15 mm 1 perf, center spherical 15 mm spherical Demeny format) unknown William no no Vitak 1902 (amateur no standard 1 perf, center spherical 11 mm spherical Wardell standard standard format) 22 mm, 2 0.236" x unknown perf (on no no 0.157" (three Home Kinetoscope Edison 1912 (amateur no standard no standard spherical frameline 1.5 spherical standard standard frames across format) between width) frame rows) unknown 3 perf on one 0.748" x Pathe Kok Pathe 1912 (amateur 28 mm 1.36 side, 1 perf spherical 28 mm spherical 0.551" format) on the other unknown Alexander F. 2 perfs, Duoscope 1912 (amateur 17.5 mm spherical 17.5 mm spherical Victor center format) Filoteo Il sacco di 5 perf, 2 Panoramico 1914 70 mm 2.52 spherical 70 mm spherical Alberini Roma sides 4 perf, 2 spherical Duplex 0.980" x 0.735" x Split Duplex 1915 35 mm 1.33 sides spherical 35 mm 1.87 (split image Corporation 0.735" 0.394" (shooting) 90° rotated) unknown 11 mm (American) 1916 (amateur 11 mm 1 perf, center spherical 11 mm spherical format) Movette unknown 2 perfs, 2 Movette Camera 1917 (amateur 17.5 mm sides spherical 17.5 mm spherical Company format) (rounded) unknown Alexander 0.748" x 3 perf, 2 28 mm safety standard 1918 (amateur 28 mm 1.36 spherical 28 mm spherical Victor 0.551" sides format) unknown 2 perf, 2 Clou (Austrian) 1920 (amateur 17.5 mm spherical 17.5 mm spherical sides format) unknown 26 mm (French) 1920 (amateur 26 mm 1 perf, 1 side spherical 26 mm spherical format) unknown 0.335" x 0.315" x 9.5 mm Pathe 1922 (amateur 9.5 mm 1.31 1 perf, center spherical 9.5 mm 1.31 spherical 0.256" 0.242" format) 35 mm x John D. Elms spherical 2 (both in 0.980" x 1.33 x 2 4 perf, 2 35 mm x 2 0.931" x Widescope and George 1922 (one lens 2.66 spherical same 0.735" negatives sides projectors 0.698" W. Bingham per strip) camera) unknown 2 perf, 2 Cinebloc Ozaphan 1922 (amateur 22 mm spherical 22 mm spherical sides format) 0.980" x 4 perf, 2 0.931" x Tri-Ergon soundfilm Tri-Ergon 1922 35 mm 1.33 spherical 42 mm 1.33 spherical 0.735" sides 0.698" unknown Eastman 0.404" x 1 perf, 1 or 2 0.378" x 16 mm 1923 (amateur 16 mm 1.37 spherical 16 mm 1.37 spherical Kodak 0.295" sides 0.276" format) unknown 2 perf, 2 Duplex G.J. Bradley 1923 (amateur 11 mm sides spherical 11.5 mm spherical format) (rounded) spherical, 1.575" x 10 perf, 2 Corrado on 65° Alberini-Hill 1924 35 mm 1.66 0.945" sides, 35 mm spherical Cerqua revolving (curved) horizontal drum unknown Cinelux Ozaphan 1924 (amateur 24 mm spherical 24 mm spherical format) 1.969" x 0.931" x 48 mm J.H. Powrie 1924 48 mm 1.32 horizontal spherical 35 mm 1.33 spherical 1.496" 0.698" George K. 2.060" x 6 perf, 2 Natural Vision Spoor and P. 1925 The American 63.5 mm 1.84 spherical 63.5 mm 2.00 spherical 1.120" sides, 20 fps John Berggren unknown 13 mm (French) 1925 (amateur 13 mm 4 perf, center spherical 13 mm spherical format) unknown 1 perf, 2 18 mm (Russian) 1925 (amateur 18 mm spherical 18 mm spherical sides format) 0.516" x 0.472" x 1.35 0.382" 0.354" unknown (silent); (silent); 1 perf, 2 1.33 (silent); (silent); Pathe Rural Pathe 1926 (amateur 17.5 mm spherical 17.5 mm spherical 1.30 0.445" x sides 1.26 (sound) 0.445" x format) (sound) 0.343" 0.343" (sound) (sound) John D. Elms Natural Vision 5 perf, 2 Widevision and George 1926 57 mm spherical 57 mm spherical Pictures sides W. Bingham spherical (selected Lorenzo del 0.980" x 4 perf, 2 0.931" x Magnascope 1926 Old Ironsides 35 mm 1.33 spherical 35 mm 1.33 scenes Riccio 0.735" sides 0.698" projected using a wider lens for larger picture) 0.980" x 4 perf, 2 0.826" x Movietone Lee De Forest 1927 As We Lie 35 mm 1.33? spherical 35 mm 1.17 spherical 0.735"? sides 0.708" 35 mm x 1.33 x 3 0.980" x 4 perf, 2 35 mm x 3 0.931" x Polyvision Abel Gance 1927 Napoléon 3 spherical 4.00 spherical negatives 0.735" sides projectors 0.698" cameras Lorenzo del You're in the 1.620" x 4 perf, 2 Magnafilm 1929 56 mm 2.19 spherical 56 mm 2.00 spherical Riccio Army Now 0.740" sides Henri Pour construire 0.980" x 4 perf, 2 2x 0.931" x 2x Hypergonar 1927 35 mm 2.66 35 mm 2.66 Chretien un feu 0.735" sides anamorphic 0.698" anamorphic 4 perf, 2 20th Century Fox Grandeur 1.890" x sides, 20 fps 1.768" x Grandeur 1929 70 mm 2.07 spherical 70 mm 2.00 spherical Fox News 0.913" (before 0.885" 1930) 10 perfs, 2 1.813" x 35 mm, Fearless Super Pictures Ralph G. Fear 1929 35 mm 2.27 sides, spherical spherical 0.800" horizontal horizontal Fearless Super- 1.811" x 5 perf, 2 1.772" x Film /Magnifilm Ralph G.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Café Society
    Presents CAFÉ SOCIETY A film by Woody Allen (96 min., USA, 2016) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia CAFÉ SOCIETY Starring (in alphabetical order) Rose JEANNIE BERLIN Phil STEVE CARELL Bobby JESSE EISENBERG Veronica BLAKE LIVELY Rad PARKER POSEY Vonnie KRISTEN STEWART Ben COREY STOLL Marty KEN STOTT Co-starring (in alphabetical order) Candy ANNA CAMP Leonard STEPHEN KUNKEN Evelyn SARI LENNICK Steve PAUL SCHNEIDER Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON, p.g.a. STEPHEN TENENBAUM, p.g.a. EDWARD WALSON, p.g.a. Co-Producer HELEN ROBIN Executive Producers ADAM B. STERN MARC I. STERN Executive Producer RONALD L. CHEZ Cinematographer VITTORIO STORARO AIC, ASC Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER ACE Costume Design SUZY BENZINGER Casting JULIET TAYLOR PATRICIA DiCERTO 2 CAFÉ SOCIETY Synopsis Set in the 1930s, Woody Allen’s bittersweet romance CAFÉ SOCIETY follows Bronx-born Bobby Dorfman (Jesse Eisenberg) to Hollywood, where he falls in love, and back to New York, where he is swept up in the vibrant world of high society nightclub life. Centering on events in the lives of Bobby’s colorful Bronx family, the film is a glittering valentine to the movie stars, socialites, playboys, debutantes, politicians, and gangsters who epitomized the excitement and glamour of the age. Bobby’s family features his relentlessly bickering parents Rose (Jeannie Berlin) and Marty (Ken Stott), his casually amoral gangster brother Ben (Corey Stoll); his good-hearted teacher sister Evelyn (Sari Lennick), and her egghead husband Leonard (Stephen Kunken).
    [Show full text]
  • Lærebok I Digital Kinoteknikk
    Rolv Gjestland LÆREBOK I DIGITAL KINOTEKNIKK BOKEN ER LAGET I ET SAMARBEID MELLOM FILM & KINO OG FAGFORBUNDET Versjon: 11.12.16 17:36 © 2014 Rolv Gjestland Forsidebilde: Fra premiere på Law Abiding Citizen, Saga Kino i Oslo FOTO: JOHN BERGE, KINOMAGASINET © Illustrasjonene i boken er hentet fra tidligere lærebøker i kinoteknikk (Rolv Gjestland), materiell fra utstyrsfabrikanter, organisasjoner, DCI og fra kilder på internett (Wikipedia mm) Boken er gratis tilgjengelig på web. Det må ikke kopieres fra denne bok utover det som er tillatt etter "Lov om opphavsrett til åndsverk". side 2 Takk Det er mange som har bidratt til denne boken. Først og fremst vil jeg takke Fagforbundet Seksjon kirke, kultur og oppvekst, som har bidratt til finansiering av boken, og rådgiver Ellen Ovenstad, som har vært den viktigste pådriveren og har fulgt bokprosjektet hele veien. Uten denne støtten hadde det ikke blitt noen bok. Fagforbundet har også satt ned en gruppe som har kommet med gode innspill og råd. Gruppen har bestått av Stein Ivar Johansen, Oslo Kino, Per Georg Andersen, Oslo Kino og Hege Lochner, Kristiansand/Vennesla Kino. Stein Ivar har i tillegg vært behjelpelig med mye fagkunnskap og hjelp til illustrasjoner. Takk også til Ronny Bekken Larsen i Folldal, som var en av initiativtakerne til samarbeidet mellom Film & Kino og Fagforbundet om boken. Kinotekniske leverandører og utstyrsfabrikanter har generøst delt av sin kunnskap, og bidratt med informasjon og illustrasjoner om ulike produkter og bruken av disse. Jeg har fått gode råd og mange tips fra teknisk personale på kinoene. Spesielt vil jeg nevne Einar Jacobsen (Bergen), Kurt Laumann (Trondheim), Thor Vidar Hjelmervik (Haugesund) og personalet ved Kristiansand Kino hvor jeg hadde noen dagers praktisk opplæring.
    [Show full text]
  • Widescreen Weekend 2008 Brochure (PDF)
    A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom.
    [Show full text]
  • SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
    SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place.
    [Show full text]
  • Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue
    ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur
    [Show full text]
  • DFHS Summer 2012
    DOBBS FERRY HISTORICAL SOCIETY Fostering an awareness and appreciation for the history of Dobbs Ferry and all the people, noted and humble, who transmitted the good things of the past The to the present and the future. Would you please be our Treasures in the attic - Ferryman“Friend”? Fanny Garrison His Father’s and in our archives Villard son Have you seen our Facebook A simple question leads Your marching orders page yet? Dobbs Ferry’s own This Our 7th annual Road to Did you know us on a hunt and yields remarkable that Mike Todd Denise Wilson has done a two pictures that reveal Freedom March which traces fabulous job of posting woman called the steps of General George Jr. (left) and his a historic treasure that Dobbs Ferry father, both interesting and entertaining still exists in Dobbs Washington and the tidbits about the history of home. The daughter of an Continental Army in the famous movie producers from Ferry today. You American Abolitionist, and the 1960’s, made their homes Dobbs Ferry for all to enjoy. probably have summer of 1781 - will take Check it out! wife of a tycoon, she co- place on Sunday, August in the Rivertowns? Learn wondered what it was. founded two organizations more about these interesting Would you be able to 19th rain or shine! Our that changed and improved special program this year men as different as night and recognize it? the lives of millions. day! Pages 6 & 7 includes a concert. Pages 4 & 5 Page 8 Pages 1, 2 & 3 Volume XXV, Issue No 2 Summer 2012 FATHER & SON, THE TWO MIKE TODDS For flamboyant producer Mike Todd, Sr., only the purchase of a showplace estate in Irvington-on-Hudson, plus marriage to famous actress Joan Blondell (and later to actress Elizabeth Taylor), could satisfy his appetite for grandiose display.
    [Show full text]
  • Uptown Theater Nomination
    GOVERNMENT OF THE DISTRICT OF COLUMBIA HISTORIC PRESERVATION OFFICE HISTORIC PRESERVATION REVIEW BOARD APPLICATION FOR HISTORIC LANDMARK OR HISTORIC DISTRICT DESIGNATION New Designation __X___ Amendment of a previous designation _____ Please summarize any amendment(s) _______________________________________________ Property Name: Uptown Theater______________________________________ If any part of the interior is being nominated, it must be specifically identified and described in the narrative statements. Address 3426 Connecticut Avenue NW Washington, DC 20008 Square and lot number(s) Square 2069, Lot 0816 Affected Advisory Neighborhood Commission 3C Date of Construction: 1936 Date of major alteration(s) _______ Architect(s) _John J. Zink Architectural style(s): Moderne Original use Theater Present use Vacant/Not in Use Property owner Circle Management Company_____________________ ____________________ Legal address of property owner 4018 Brandywine Street NW Washington, DC 20016-1844 NAME OF APPLICANT(S) DC Preservation League and Cleveland Park Historical Society ___ If the applicant is an organization, it must submit evidence that among its purposes is the promotion of historic preservation in the District of Columbia. A copy of its charter, articles of incorporation, or by-laws, setting forth such purpose, will satisfy this requirement. Address/Telephone of applicant(s) 1221 Connecticut Avenue. NW Suite 5A, Washington, DC 200036; 202-783-5144 and P.O. Box 4862 Washington, DC 20008 Name and title of authorized representative: Rebecca Miller, Executive Director, DCPL and Rick Nash, President, Board of Directors, Cleveland Park Historical Society___________________ Signature of applicant representative: ______________________________ Date: 10/29/20 Signature of applicant representative: Date: 10/29/20 Name and telephone of author of application DC Preservation League 202-783-5144; Cleveland Park Historical Society 202-237-5241 Date received ___________ H.P.O.
    [Show full text]
  • Widescreen Weekend 2010 Brochure (PDF)
    52 widescreen weekend widescreen weekend 53 2001: A SPACE ODYSSEY (70MM) REMASTERING A WIDESCREEN CLASSIC: Saturday 27 March, Pictureville Cinema WINDJAMMER GETS A MAJOR FACELIFT Dir. Stanley Kubrick GB/USA 1968 149 mins plus intermission (U) Saturday 27 March, Pictureville Cinema WIDESCREEN Keir Dullea, Gary Lockwood, William Sylvester, Leonard Rossiter, Ed Presented by David Strohmaier and Randy Gitsch Bishop and Douglas Rain as Hal The producer and director team behind Cinerama Adventure offer WEEKEND During the stone age, a mysterious black monolith of alien origination a fascinating behind-the-scenes look at how the Cinemiracle epic, influences the birth of intelligence amongst mankind. Thousands Now in its 17th year, the Widescreen Weekend Windjammer, was restored for High Definition. Several new and of years later scientists discover the monolith hidden on the moon continues to welcome all those fans of large format and innovative software restoration techniques were employed and the re- which subsequently lures them on a dangerous mission to Mars... widescreen films – CinemaScope, VistaVision, 70mm, mastering and preservation process has been documented in HD video. Regarded as one of the milestones in science-fiction filmmaking, Cinerama and IMAX – and presents an array of past A brief question and answer session will follow this event. Stanley Kubrick’s 2001: A Space Odyssey not only fascinated audiences classics from the vaults of the National Media Museum. This event is enerously sponsored by Cinerama, Inc., all around the world but also left many puzzled during its initial A weekend to wallow in the nostalgic best of cinema. release. More than four decades later it has lost none of its impact.
    [Show full text]
  • 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
    [Show full text]
  • History-Of-The-Moving-Image-LIB-Pd
    tEl:T. n83 MASTERPIECES OF MOVINGIMAGE TECI{NOLOGY SEPTEMBER 10, 1988 _ MARCH 19, 1989 Descri ption! gf_fhq Objects in the Exhibition American Museum of the Moving lmage Edison KinetograPh Camera 1891 ln 1888, Thomas Edison set out to create "an instrument that does for the Eye what the phono- graph does for the Ear...." He assigned the project to one of his engineers, W.K.L. Dickson, who, after a series of false starts, completed the Kinetograph in 1891. The Kinetograph was the first motion picture camera to use the Eastman celluloid f ilm; this was a key breakthrough which made modern motion pic- tures possible. The camera photographed circular images one-half inch in diameter on perforated, f lexible strips of film which moved horizontally through a mechanized sprocket system' The prototype was cannibalized for laboratory use soon after completion, but was partially reconstructed in '1895-96 as evidence in a patent dispute. (Lent by the Edison National Historic Site) <Technician Charles H. Kayser posing with the Kinetograph in Edison's West Orange, New .lersey laboratory, c. 1891 . Edison KinetoscoPe 1894 To exploit his moving pictures commercially, Edison introduced the Kinetoscope, a "peep-show" viewer capable of presenting half-minute film shows. The machines were sold on a territory basis to showmen who installed them in arcades and Kinetoscope Parlors in all the major cities of America and Europe' Commercially, the Kinetoscope was a short-lived novelty, but its appearance directly inspired other inventors to find a way of projecting moving images onto a screen. (Reproduction made by A.
    [Show full text]
  • Escape, Cinerama & the Triptych
    58 WIDESCREEN WEEKEND Three steps to heaven Escape, Cinerama & The Triptych Mark Trompeteler reports on the evolving Widescreen Weekend festival of big screen technology at the National Science & Media Museum ust as cinema changes and heaven almost no other venue can emulate. central screen. An additional pair of evolves, so the festivals and Barco’s Stefan Vandemaele and acoustically transparent, and retractable institutions around it change too. Frederick Lanoy referred to the company’s screens, with additional curtaining, are A more diverse demographic of development and launch of the three-wall added to the two sides of the existing screen. delegates than usual descended on Escape system as almost part of another It is DCI-compliant and versions of movies Jthe newly renamed National Science and repeat of cinema history. They asserted that will be available with DCPs encoded so that Media Museum in Bradford to attend the recently, whilst box office takings were either the movie can be run with just one 21st Widescreen Weekend for four days in remaining steady, due to the utilisation of central screen, or in a version that has the mid-October. It billed itself as “the unique higher prices for PLF and an improved and two added screens available to project. They festival of big screen technology, past, wider range of offer and other sales factors, argue that, due to digital projection, Escape present and future”. Incorporating its there will always be a concern about falling is deliverable far more easily and reliably IMAX auditorium alongside the analogue, attendances in auditoria. As in previous than was Cinerama.
    [Show full text]