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Motion Picture
Moving Images Prepared by Bobby Bothmann RDA Moving Images by Robert L. Bothmann is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. Created 2 February 2013 Modified 11 November 2014 https://link.mnsu.edu/rda-video Scope Step-through view of the movie Hairspray from 2007 Generally in RDA rule order Uses MARC 21 examples Describing Manifestations & Items Follows RDA Chapters 2, 3, 4 Describing Works and Expressions Follows RDA Chapters 6, 7 Recording Attributes of Person & Corporate Body Uses RDA Chapters 9, 11, 18 Covers relator terms only Recording Relationships Follows RDA Chapters 24, 25, 26 2 Resources Olson, Nancy B., Robert L. Bothmann, and Jessica J. Schomberg. Cataloging of Audiovisual Materials and Other Special Materials: A Manual Based on AACR2 and MARC 21. Westport, Conn: Libraries Unlimited, 2008. [Short citation: CAVM] Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. Streaming Media Best Practices Task Force. Best Practices for Cataloging Streaming Media. No place : OLAC CAPC, 2009. http://olacinc.org/drupal/capc_files/streamingmedia.pdf Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. DVD Cataloging Guide Update Task Force. Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21. 2008 Update. No place: OLAC CAPC, 2008. http://olacinc.org/drupal/capc_files/DVD_guide_final.pdf Pan-Canadian Working Group on Cataloguing with RDA. “Workflow: Video recording (DVD) RDA.” In RDA Toolkit | Tools| Workflows |Global Workflows. 3 Preferred Source 4 5 Title Proper 2.3.2.1 RDA CORE the chief name of a resource (i.e., the title normally used when citing the resource). 245 10 $a Hairspray Capitalization is institutional and cataloger’s choice Describing Manifestations 6 Note on the Title Proper 2.17.2.3 RDA Make a note on the source from which the title proper is taken if it is a source other than: a) the title page, .. -
ASPECT RATIO Aspect Ratios Are One of the More Confusing Parts of Video
ASPECT RATIO Aspect ratios are one of the more confusing parts of video, although they used to be simple. That's because television and movie content was all about the same size, 4:3 (also known as 1.33:1, meaning that the picture is 1.33 times as long as it is high). The Academy Standard before 1952 was 1.37:1, so there was virtually no problem showing movies on TV. However, as TV began to cut into Hollywood's take at the theater, the quest was on to differentiate theater offerings in ways that could not be seen on TV. Thus, innovations such as widescreen film, Technicolor, and even 3-D were born. Widescreen film was one of the innovations that survived and has since dominated the cinema. Today, you tend to find films in one of two widescreen aspect ratios: 1. Academy Standard (or "Flat"), which has an aspect ratio of 1.85:1 2. Anamorphic Scope (or "Scope"), which has an aspect ratio of 2.35:1. Scope is also called Panavision or CinemaScope. HDTV is specified at a 16:9, or 1.78:1, aspect ratio.If your television isn't widescreen and you want to watch a widescreen film, you have a problem. The most common approach in the past has been what's called Pan and Scan. For each frame o a film, a decision is made as to what constitutes the action area. That part of the film frame is retained, and the rest is lost.. This can often leave out the best parts of a picture. -
FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures. -
Film Printing
1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record -
4. Reconfigurations of Screen Borders: the New Or Not-So-New Aspect Ratios
4. Reconfigurations of Screen Borders: The New or Not-So-New Aspect Ratios Miriam Ross Abstract The ubiquity of mobile phone cameras has resulted in many videos foregoing the traditional horizontal (landscape) frame in favour of a vertical (portrait) mode. While vertical framing is often derided as amateur practice, these new framing techniques are part of a wider contemporary screen culture in which filmmakers and artists are using unconventional aspect ratios and/or expanding and contracting aspect ratios over the course of their audio-visual work. This chapter briefly outlines historical contexts in which the border of the screen has been more flexible and open to changing configurations than is widely acknowledged. It then uses recent case studies to consider how our understanding of on-screen and off-screen space is determined by these framing configurations. Keywords: Aspect ratios, embodiment, framing, cinema In recent years, the increasing ubiquity of mobile phone videos has drawn attention to a radical challenge to traditional screen culture. It is not just that a wide variety of amateur users now have a filmmaking device at their fingertips—rather, that many of them are foregoing the more than a century- long norm for shooting with a horizontal frame. Appearing on social media sites such as YouTube, Facebook, and Twitter as well as in commercial news broadcasts, their footage stands tall in a vertical format. When replayed on horizontal screens, the startling strangeness of wide black bands on either side of the content focuses attention on the border of the frame as well as seem- ingly absent screen space. -
Whose Canon Is It Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by STORE - Staffordshire Online Repository Whose Canon is it Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution Mark McKenna According to figures from the British Film Institute (BFI), the UK has the second largest filmed entertainment market in the world, coming second only to the USA,1 worth an estimated £3.8 billion (2016, p. 2). How we choose to navigate the sheer volume of films available to us is significantly affected by the circulation of discourse, often related to its visibility, as well as notions of taste. Jonathan Rosenbaum suggests that we can observe a segmentation of the discourse surrounding film—where the mainstream, the industry and academia all reinforce and promote their own agendas (2000). Historically, early film criticism was concerned with legitimising these texts and their study, consequently attempting to align film analysis with that of broader historical approaches established in the analysis of the fine arts. These early valorisations about what might constitute the highest quality representations, and the subsequent forma- tion of the film studies discipline, led to the formation of the first canons. Paul Schrader argues that by definition, the film canon is ‘based upon criteria that transcend taste’ (2006, p. 34). Whether a film appeals to you personally or whether the film was hugely popular are inconsequential considerations, instead, every effort should be made to separate out ‘per- sonal favourites from those movies that artistically defined film history’ (ibid.). Within this separation lies what Janet Staiger has referred to as the ‘politics of inclusion and exclusion’, where ‘some films are moved to the center of attention; others, to the margins’ (1985, p. -
Pixel Aspect Ratio, Part 1 Fitting Rectangular Pixels Into Square Holes
Tips N Tricks More available at artbeats.com Pixel Aspect Ratio, Part 1 Fitting rectangular pixels into square holes. by Chris & Trish Meyer, Crish Design One of the more annoying idiosyncrasies of digital video is that im- To compensate, these pixels need to be displayed on a television ages often look distorted on a computer monitor: they’re either too screen 10% thinner than normal to compensate (in other words, wide or too skinny, especially when working with widescreen foot- roughly 90% as wide as they are tall). This is referred to as a PAR of - age. This can lead to a crisis in confidence – often late at night, usu- 0.90, indicating how much the image has to be scaled horizontally ally on deadline – as to whether you can trust your eyes, or if you are to look correct upon playback. As long as you keep the image away doing the right thing. In this article, we will help explain the tricky from a computer and just display it on a video monitor, you’ll never subject of pixel aspect ratio or “PAR” for short, including PARs for see this internal accounting. Alas, as soon as you look at one of these common video formats. In our next article, we will discuss strate- images on a square pixel computer monitor, the images will look a gies for mixing non-video assets such as photographs and scans with touch wide. your digital video, including how not to make a client’s logo – or the clients themselves – look too fat or too thin. -
The Makeover from DVD to Blu-Ray Disc
Praise for Blu-ray Disc Demystified “BD Demystified is an essential reference for designers and developers building with- in Blu-ray’s unique framework and provides them with the knowledge to deliver a compelling user experience with seamlessly integrated multimedia.” — Lee Evans, Ambient Digital Media, Inc., Marina del Rey, CA “Jim’s Demystified books are the definitive resource for anyone wishing to learn about optical media technologies.” — Bram Wessel, CTO and Co-Founder, Metabeam Corporation “As he did with such clarity for DVD, Jim Taylor (along with his team of experts) again lights the way for both professionals and consumers, pointing out the sights, warning us of the obstacles and giving us the lay of the land on our journey to a new high-definition disc format.” — Van Ling, Blu-ray/DVD Producer, Los Angeles, CA “Blu-ray Disc Demystified is an excellent reference for those at all levels of BD pro- duction. Everyone from novices to veterans will find useful information contained within. The authors have done a great job making difficult subjects like AACS encryption, BD-Java, and authoring for Blu-ray easy to understand.” — Jess Bowers, Director, Technical Services, 1K Studios, Burbank, CA “Like its red-laser predecessor, Blu-ray Disc Demystified will immediately take its rightful place as the definitive reference book on producing BD. No authoring house should undertake a Blu-ray project without this book on the author’s desk. If you are new to Blu-ray, this book will save you time, money, and heartache as it guides the DVD author through the new spec and production details of producing for Blu-ray.” — Denny Breitenfeld, CTO, NetBlender, Inc., Alexandria, VA “An all in one encyclopedia of all things BD.” — Robert Gekchyan, Lead Programmer/BD Technical Manager Technicolor Creative Services, Burbank, CA About the Authors Jim Taylor is chief technologist and general manager of the Advanced Technology Group at Sonic Solutions, the leading developer of BD, DVD, and CD creation software. -
Basic Film Terminology
Basic Film Terminology Shot Designations Apparent camera-subject distance Camera appears far away Apparent camera-subject distance Camera appears far away = LONG SHOT Apparent camera-subject distance Subject seen from head to toe Apparent camera-subject distance Subject seen from head to toe = FULL SHOT Apparent camera-subject distance Subject seen from waist up Apparent camera-subject distance Subject seen from waist up = MEDIUM SHOT Apparent camera-subject distance Subject seen from waist up = MEDIUM SHOT Alternate term = WAIST SHOT Apparent camera-subject distance Only head & shoulders are seen Apparent camera-subject distance Only head & shoulders are seen = MEDIUM CLOSE SHOT Apparent camera-subject distance Only head & shoulders are seen = MEDIUM CLOSE SHOT or SHOULDER SHOT Apparent camera-subject distance Subject’s face fills the frame Apparent camera-subject distance Subject’s face fills the frame = CLOSE SHOT or CLOSE-UP Apparent camera-subject distance A portion of the subject’s face fills the frame Apparent camera-subject distance A portion of the subject’s face fills the frame = EXTREME CLOSE SHOT Apparent camera-subject distance Camera too far away to identify subject Apparent camera-subject distance Camera too far away to identify subject = EXTREME LONG SHOT Apparent camera-subject distance Closer when facial expression is important… Apparent camera-subject distance Farther away when environment is important Angle of camera’s viewpoint From below looking up at subject Angle of camera’s viewpoint From below looking up at subject -
Workflow Guidelines Recommended Practice for Shooting with the ARRIFLEX D-21
TECHNOLOGY Workflow Guidelines Recommended Practice for Shooting with the ARRIFLEX D-21 Version 1.2 – 01/2010 ARRI | Technology Workflow Guidelines Recommended Practice for Shooting with the ARRIFLEX D-21 This document is intended to help defining a camera output format and suitable workflow for a given production by introducing a few aspects that can be used for characterization. As there always are exceptions, some productions will benefit more from a workflow that differs from the standard scenarios. Depending on the individual project, it may thus be advisable or necessary to deviate from the recommendations given herein. 2 Content | Introduction | HD 4:2:2 Video | HD 4:4:4 Video | Mscope HD 4:2:2 Video | HD 4:4:4 log | Mscope HD 4:2:2 log | ARRIRAW | Recorder Overview Content 1. Introduction . Page 04 2. HD 4:2:2 Video . Page 08 3. HD 4:4:4 Video . Page 11 4. Mscope HD 4:2:2 Video . Page 14 5. HD 4:4:4 log . Page 18 6. Mscope HD 4:2:2 log . Page 21 7. ARRIRAW . Page 26 8. Recorder Overview . Page 32 Click on the chapter names above or at the top of each pages to quickly navigate to the individual chapters. 3 Content | Introduction | HD 4:2:2 Video | HD 4:4:4 Video | Mscope HD 4:2:2 Video | HD 4:4:4 log | Mscope HD 4:2:2 log | ARRIRAW | Recorder Overview 1. Introduction The ARRIFLEX D-21 offers different output formats, which make it a versatile camera for use in all kinds of productions. -
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. -
All About Anamorphic
Jon Fauer, ASC www.fdtimes.com May 2015 Special Report All About Anamorphic A Review of Film and Digital Times Articles since 2007 about Anamorphic Widescreen Contents Anamorphic Ahead ..........................................................................3 Art, Technique and Technology Anamorphic 2x and 1.3x ..................................................................4 2x or 1.3x Squeeze ..........................................................................4 Film and Digital Times is the guide to technique and 2.35, 2.39, or 2.40 ..........................................................................4 technology, tools and how-tos for Cinematographers, Contempt ........................................................................................5 Photographers, Directors, Producers, Studio Executives, Contempt ........................................................................................6 2-Perf Aaton Penelope .....................................................................6 Camera Assistants, Camera Operators, Grips, Gaffers, Focal Length (spherical or anamorphic) .............................................7 Crews, Rental Houses, and Manufacturers. The Math of 4:3 and 16:9 Anamorphic Cinematography .....................9 It’s written, edited, and published by Jon Fauer, ASC, an 4:3..................................................................................................9 16:9................................................................................................9 award-winning Cinematographer