149-608: Telecine ( / ˈ t ɛ l ə s ɪ n eɪ / or / ˌ t ɛ l ə ˈ s ɪ n eɪ / ) is the process of transferring film into video and is performed in a color suite . The term is also used to refer to the equipment used in this post-production process. Telecine enables a motion picture, captured originally on film stock , to be viewed with standard video equipment, such as television sets , video cassette recorders (VCR), DVD , Blu-ray Disc or computers . Initially, this allowed television broadcasters to produce programs using film, usually 16-mm stock , but transmit them in
298-422: A movie , is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally accompanied by sound and (less commonly) other sensory stimulations. The word "cinema" is a shortening of the word " cinematography " and is used to refer to either filmmaking , the film industry , the overall art form, or
447-432: A movie theater . The moving images of a film are created by photographing actual scenes with a motion-picture camera , by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation , or by a combination of some or all of these techniques, and other visual effects . Before the introduction of digital production, a series of still images were recorded on
596-613: A 1080p24-capable source (such as most Blu-ray Disc players), some of these sets are able to display film-based content using a pulldown scheme of whole multiples of 24, thereby avoiding the problems associated with 2:3 pulldown or the 4% speed-up used in PAL countries. For example, a 1080p 120 Hz set which accepts a 1080p24 input can achieve 5:5 pulldown by simply repeating each frame five times and thus not exhibit picture artifacts associated with telecine judder. Gate weave, known in this context as "telecine weave" or "telecine wobble", caused by
745-558: A 4% speed-up like PAL. 59.94 field/s interlaced formats such as 480i60 and 1080i60 use the same 2:3 pulldown technique as NTSC. In 59.94 frame/s progressive formats such as 480p60 and 720p60 , entire frames (rather than fields) are repeated in a 2:3 pattern, accomplishing the frame rate conversion without interlacing and its associated artifacts. Other formats such as 1080p24 can decode film material at its native rate of 24 or 23.976 frame/s. All of these coding methods are in use to some extent. In PAL countries, 25 frame/s formats remain
894-642: A Film would probably be about the aesthetics or theory of film, while a book entitled Let's Go to the Movies would probably be about the history of entertaining movies and blockbusters . Video tape Videotape is magnetic tape used for storing video and usually sound in addition. Information stored can be in the form of either an analog or digital signal . Videotape is used in both video tape recorders (VTRs) and, more commonly, videocassette recorders (VCRs) and camcorders . Videotapes have also been used for storing scientific or medical data, such as
1043-500: A VCR owner to begin time shifting their viewing of films and other television programs . This caused an enormous change in viewing practices, as one no longer had to wait for a repeat of a program that had been missed. The shift to home viewing also changed the movie industry's revenue streams, because home renting created an additional window of time in which a film could make money. In some cases, films that did only modestly in their theater releases went on to have strong performances in
1192-554: A VHS tape can be erased though degaussing , DVDs and other optical discs are not affected by magnetic fields. DVDs can still be damaged by scratches. DVDs are smaller and take less space to store. DVDs can support both standard 4x3 and widescreen 16x9 screen aspect ratios and DVDs can provide twice the video resolution of VHS. DVD supports random access while a VHS tape is restricted to sequential access and must be rewound. DVDs can have interactive menus, multiple language tracks, audio commentaries, closed captioning and subtitling (with
1341-572: A better overall compression when encoding. The 2:3:3:2 pattern is supported by the Panasonic DVX-100B video camera under the name "Advanced Pulldown". Note that just fields are displayed—no frames hence no dirty frames—in interlaced display such as on a CRT. Dirty frames may appear in other methods of displaying the interlaced video. A new method called 2:2:2:2:2:2:2:2:2:2:2:3, Euro, 12:1 or 24:1 pulldown, can be used in order to convert 24 frame/s material to 25 frame/s. Usually, this involves
1490-611: A coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally. Nearly 34,000 people paid to see it at the Berlin Exhibition Park in the summer of 1892. Others saw it in London or at the 1893 Chicago World's Fair . On 25 November 1894, Anschütz introduced a Electrotachyscope projector with a 6x8 meter screening in Berlin. Between 22 February and 30 March 1895,
1639-474: A contract that called for an annual salary of one million dollars. From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders . In the United States, much of the film industry is centered around Hollywood, California . Other regional centers exist in many parts of the world, such as Mumbai -centered Bollywood ,
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#17327831001581788-421: A day or two to formulate their opinions. Despite this, critics have an important impact on the audience response and attendance at films, especially those of certain genres . Mass marketed action , horror , and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film and the assessment of the director's and screenwriters' work that makes up
1937-540: A few decades before it was successfully combined with a method to record series of sequential images in real-time. In 1878, Eadweard Muybridge eventually managed to take a series of photographs of a running horse with a battery of cameras in a line along the track and published the results as The Horse in Motion on cabinet cards . Muybridge, as well as Étienne-Jules Marey , Ottomar Anschütz and many others, would create many more chronophotography studies. Muybridge had
2086-442: A film to PAL transfer without the aforementioned 4% speedup. For film at 24 frame/s, there are 24 frames of film for every 25 frames of PAL video. In order to accommodate this mismatch in frame rate, 24 frames of film have to be distributed over 50 PAL fields. This can be accomplished by inserting a pulldown field every 12 frames, thus effectively spreading 12 frames of film over 25 fields (or 12.5 frames ) of PAL video. This method
2235-402: A film-to-storage process, as opposed to film-to-air. Changes since the 1950s have primarily been in terms of equipment and physical formats; the basic concept remains the same. Home movies originally on film may be transferred to video tape using this technique. The most complex part of telecine is the synchronization of the mechanical film motion and the electronic video signal. Every time
2384-551: A flashing soda can during a screening). These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and film-related toys (e.g., Star Wars figures ). Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films. The terminology used for describing motion pictures varies considerably between British and American English . In British usage,
2533-691: A medium for storing high-definition video . In 1997, Sony supplemented its Betacam family with the HD-capable HDCAM standard and its higher-end cousin HDCAM SR in 2003. Panasonic's competing HD format for its camcorders was based on DVCPRO and called DVCPRO HD . For VTR and archive use, Panasonic expanded the D-5 specification to store compressed HD streams and called it D-5 HD . The first consumer videocassette recorders (VCRs) used Sony U-matic technology and were launched in 1971. Philips entered
2682-764: A more dynamic and engaging experience for the viewer. The development of scene construction through mise-en-scène , editing, and special effects led to more sophisticated techniques that can be compared to those utilized in opera and ballet. The French New Wave movement of the late 1950s and 1960s also embraced the montage technique, with filmmakers such as Jean-Luc Godard and François Truffaut using montage to create distinctive and innovative films. This approach continues to be influential in contemporary cinema, with directors employing montage to create memorable sequences in their films. In contemporary cinema, montage continues to play an essential role in shaping narratives and creating emotional resonance. Filmmakers have adapted
2831-425: A new section or sequence within a film. This technique can be used to convey a narrative or to create an emotional or intellectual effect by juxtaposing different shots, often for the purpose of condensing time, space, or information. Montage can involve flashbacks , parallel action, or the interplay of various visual elements to enhance the storytelling or create symbolic meaning . The concept of montage emerged in
2980-434: A novel process for its TV shows. They are rendered at exactly 25.000 frames per second; then, for PAL/SECAM distribution, ordinary 2:2 pulldown is applied, but for NTSC distribution, 199 fields out of every 1001 are repeated. This brings the refresh rate from 25 frames/s to exactly 60,000/1001, or ~59.94, fields per second, with no change whatsoever in speed, duration, or audio pitch. The 2:3 pulldown telecine process creates
3129-546: A portion of the film exclusively reserved for it, and was not projected. Contemporary films are usually fully digital through the entire process of production, distribution, and exhibition. The name "film" originally referred to the thin layer of photochemical emulsion on the celluloid strip that used to be the actual medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including "picture", "picture show", "moving picture", "photoplay", and "flick". The most common term in
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#17327831001583278-459: A prerecorded song sequence by Dorothy Collins in color was included in the otherwise live television program. In 1953, Norikazu Sawazaki developed a prototype helical scan video tape recorder. BCE demonstrated a color system in February 1955 using a longitudinal recording on half-inch (1.27 cm) tape. CBS , RCA's competitor, was about to order BCE machines when Ampex introduced
3427-466: A projection before 1882. He then further developed the device into the Théâtre Optique which could project longer sequences with separate backgrounds, patented in 1888. He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to
3576-562: A relationship between the content in the separate shots in the minds of the viewer. It is this relationship that makes all film storytelling possible. In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.) Each scene was a single stationary shot with the action occurring before it. The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell
3725-430: A similar tape format was developed, called 1 inch Type B videotape . Type B machines use the same 1" tape as Type C but they lacked C's shuttle and slow-motion options. The picture quality is slightly better, though. Type B was the broadcast norm in continental Europe for most of the 1980s. A videocassette is a cartridge containing videotape. In 1969, Sony introduced a prototype for the first widespread video cassette,
3874-432: A slight error in the video signal compared to the original film frames that can be seen in the 2:3 pulldown diagram above. This is one reason why films viewed on typical NTSC home equipment may not appear as smooth as when viewed in a cinema and PAL home equipment. The effect is particularly apparent in scenes that feature slow, steady camera movements. These appear slightly jerky when viewed in material that has been through
4023-462: A slightly smoother display. PAL uses a similar system, 2:2 pulldown . However, during the analog broadcasting period, the 24 frames per second film was shown at a slightly faster 25 frames per second rate, to match the PAL video signal. This resulted in a fractionally higher-pitched audio soundtrack, and resulted in feature films having a slightly shorter duration, by being shown 1 frame per second faster. In recent decades, telecine has primarily been
4172-526: A source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in
4321-415: A story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art , but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit
4470-403: A strip of chemically sensitized celluloid ( photographic film stock ), usually at a rate of 24 frames per second. The images are transmitted through a movie projector at the same rate as they were recorded, with a Geneva drive ensuring that each frame remains still during its short projection time. A rotating shutter causes stroboscopic intervals of darkness, but the viewer does not notice
4619-463: A tape could reliably be played back using only the same set of hand-made tape heads, which wore out very quickly. Despite these problems, Quad is capable of producing excellent images. Subsequent videotape systems have used helical scan, where the video heads record diagonal tracks (of complete fields) onto the tape. Many early videotape recordings were not preserved . While much less expensive (if repeatedly recycled) and more convenient than kinescope,
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4768-687: A time through "peep show" devices such as the Electrotachyscope , Kinetoscope and the Mutoscope . Not much later, exhibitors managed to project films on large screens for theatre audiences. The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons, using films produced by their Eidoloscope company, by the Skladanowsky brothers and by
4917-531: A total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin. Émile Reynaud already mentioned the possibility of projecting the images of the Praxinoscope in his 1877 patent application. He presented a praxinoscope projection device at the Société française de photographie on 4 June 1880, but did not market his praxinoscope
5066-516: A total of over 500,000 visitors at the Musée Grévin in Paris. By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras , which could photograph a rapid sequence of images using only one lens, allowed action to be captured and stored on a single compact reel of film. Movies were initially shown publicly to one person at
5215-651: A transverse (scanning the tape across its width) four-head system on a two-inch (5.08 cm) tape and stationary heads for the soundtrack. CBS Television first used the Ampex VRX-1000 Mark IV at its Television City studios in Hollywood on November 30, 1956, to play a delayed broadcast of Douglas Edwards and the News from New York City to the Pacific Time Zone . On January 22, 1957,
5364-474: A valid fine art . André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory . More recent analysis spurred by Jacques Lacan 's psychoanalysis and Ferdinand de Saussure 's semiotics among other things has given rise to psychoanalytic film theory , structuralist film theory , feminist film theory , and others. On
5513-519: A video has cinema-like motion characteristics and is the major component of the so-called film look . For most 24 frames/s cameras, the virtual 2:3 pulldown process is happening inside the camera. Although the camera is capturing a progressive frame at the CCD, just like a film camera, it is then imposing an interlacing on the image to record it to tape so that it can be played back on any standard television. Not every camera handles "24 frames/s" this way, but
5662-573: A worn motion picture." Overall the picture quality was still considered inferior to the best kinescope recordings on film. Bing Crosby Enterprises hoped to have a commercial version available in 1954 but none came forth. The BBC experimented from 1952 to 1958 with a high-speed linear videotape system called Vision Electronic Recording Apparatus (VERA), but this was ultimately dropped in favor of quadruplex videotape . VERA used half-inch metallized (1.27 cm) tape on 20-inch reels traveling at 200 inches per second (5.1 m/s). RCA demonstrated
5811-448: Is a downsized version of VHS, using the same recording method and the same tape, but in a smaller cassette. It is possible to play VHS-C tapes in a regular VHS tape recorder by using an adapter. After the introduction of S-VHS , a corresponding compact version, S-VHS-C, was released as well. Video8 is an indirect descendant of Betamax, using narrower tape and a smaller cassette. Because of its narrower tape and other technical differences, it
5960-608: Is accomplished in two steps. The first step is to slow down the film motion by NTSC's 1000/1001 ratio to 24,000/1001 (~23.976) frames/s. The difference in speed is imperceptible to the viewer. For a two-hour film, play time is extended by 7.2 seconds. If the total playback time must be kept exact, a single frame can be dropped every 1000 frames. The second step of the 2:3 pulldown is distributing cinema frames into video fields. At 23.976 frame/s, there are four frames of film for every five frames of 29.97 frame/s video: These four film frames are stretched into five video frames by exploiting
6109-434: Is already used to designate timecode . Motion picture film scanners are similar to telecines. With the advent of popular broadcast television , producers realized they needed more than live television programming. By turning to film-originated material, they would have access to the wealth of films made for the cinema in addition to recorded television programming on film that could be aired at different times. However,
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6258-618: Is also possible, but more difficult, to perform reverse telecine without prior knowledge of where each field of video lies in the 2:3 pulldown pattern. This is the task faced by most consumer equipment such as line doublers and personal video recorders. Ideally, only a single field needs to be identified, the rest following the pattern in lock-step. However, the 2:3 pulldown pattern does not necessarily remain consistent throughout an entire program. Edits performed on film material after it undergoes 2:3 pulldown, e.g. in NTSC format, can introduce jumps in
6407-401: Is also used to transfer shows and films photographed at 30 frames per second, like Friends and Oklahoma! (1955), to NTSC video, which has ~59.94 Hz scanning rate. This requires playback speed to be slowed by a tenth of a percent. In the United States and other countries where television uses the 59.94 Hz vertical scanning frequency, video is broadcast at ~29.97 frame/s. For
6556-411: Is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition. Montage is a film editing technique in which separate pieces of film are selected, edited, and assembled to create
6705-402: Is identical to the one described above except that it is shifted by one frame. For instance, a cycle that starts with film frame B yields a 3:2 pattern: B-B-B-C-C-D-D-D-A-A or 3-2-3-2 or simply 3–2. In other words, there is no difference between the 2-3 and 3-2 patterns. In fact, the 3-2 notation is misleading because according to SMPTE standards for every four-frame film sequence the first frame
6854-404: Is increasingly merging with that of motion picture film scanners ; high-resolution telecines, such as those mentioned above, can be regarded as film scanners that operate in real time. As digital intermediate post-production becomes more common, the need to combine the traditional telecine functions of input devices, standards converters, and color grading systems is becoming less important as
7003-475: Is inherent in film cinematography, as it was introduced by the film handling within the original film camera: modern digital image stabilization techniques can remove both this and telecine/scanner gate weave. On DVDs , telecined material may be either hard telecined, or soft telecined. In the hard-telecined case, video is stored on the DVD at the playback framerate (29.97 frame/s for NTSC, 25 frame/s for PAL), using
7152-416: Is known as reverse telecine , inverse telecine , reverse pulldown or detelecine . Benefits of reverse telecine include high-quality non-interlaced display on compatible display devices and the elimination of redundant data. Reverse telecine is crucial when acquiring film material into a digital non-linear editing system since these machines produce edit decision lists which refer to specific frames in
7301-538: Is not possible to develop an adapter from Video8 to Betamax. Video8 was later developed into Hi8 , which provides better resolution similar to S-VHS. The first consumer-level and lower-end professional ( prosumer ) digital video recording format, introduced in 1995, used a smaller Digital Video Cassette (DVC). The format was later renamed MiniDV to reflect the DV encoding scheme, but the tapes are still marked DVC . Some later formats like DVC Pro from Panasonic reflect
7450-586: Is photographed at 25 frames per second. The PAL video standard broadcasts at 25 frames per second, so the transfer from film to video is simple; for every film frame, one video frame is captured. Theatrical features originally photographed at 24 frames per second are shown at 25 frames per second. While this is usually not noticed in the picture, the 4% increase in playback speed causes a slightly noticeable increase in audio pitch by about 0.707 semitones . This can be corrected using time stretching algorithms, which speed up audio while preserving pitch. 2:2 pulldown
7599-425: Is pulsed just as the film frame is positioned in front of the optical lens. The camera sends the single, non-interlaced image of the film frame to a digital frame store, where the electronic picture is clocked out at the selected TV frame rate for PAL or NTSC or other standards. More advanced systems replace the sprocket wheel with laser or camera-based perf detection and image stabilization system. Telecine technology
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#17327831001587748-412: Is scanned twice, not three times. The above method is a classic 2:3, which was used before frame buffers allowed for holding more than one frame. The preferred method for doing a 2:3 creates only one dirty frame in every five (i.e. 3:3:2:2 or 2:3:3:2 or 2:2:3:3); while this method has slightly more judder , it allows for easier upconversion (the dirty frame can be dropped without losing information) and
7897-424: Is shone through the exposed film image into a prism, which separates out the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into electrical impulses which the telecine electronics modulate into a video signal which can then be recorded onto video tape or broadcast. Philips-BTS eventually evolved
8046-554: Is still used extensively with filmmakers and television networks because of its longevity, low cost, and reliability. Master copies of visual content are often stored on tape for these reasons, particularly by users who cannot afford to move to tapeless machines. During the mid- to late 2000s, professional users such as broadcast television were still using tape heavily but tapeless formats like P2 , XDCAM and AVCHD were gaining broader acceptance. While live recording has migrated to solid state, optical disc (Sony's XDCAM) and hard disks,
8195-446: Is the greatest director , the one who invented a new language , true to the nature of film, as it captures life as a reflection, life as a dream." An example of the language is a sequence of back and forth images of one speaking actor's left profile, followed by another speaking actor's right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation. This describes another theory of film,
8344-403: The 180-degree rule , as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing. The " Hollywood style " includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film's classical era. Another example of cinematic language
8493-545: The French New Wave , New German Cinema wave, Indian New Wave , Japanese New Wave , New Hollywood , and Egyptian New Wave ) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force for change throughout the 1990s and into the 2000s. Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in
8642-802: The Indian film industry's Hindi cinema which produces the largest number of films in the world. Though the expense involved in making films has led cinema production to concentrate under the auspices of movie studios , recent advances in affordable film making equipment have allowed independent film productions to flourish. Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns , an example being Kevin Costner 's Waterworld . Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are
8791-463: The NBC Television game show Truth or Consequences , produced in Hollywood, became the first program to be broadcast in all time zones from a prerecorded videotape. Ampex introduced a color videotape recorder in 1958 in a cross-licensing agreement with RCA, whose engineers had developed it from an Ampex black-and-white recorder. NBC's special, An Evening With Fred Astaire (1958), is
8940-570: The Shadow Telecine (STE) , a low cost version of the Spirit with no Kodak parts. The Spirit DataCine, Cintel 's C-Reality and ITK's Millennium opened the door to the technology of digital intermediates , wherein telecine tools were not just used for video outputs, but could now be used for high-resolution data that would later be recorded back out to film . The DFT Digital Film Technology, formerly Grass Valley Spirit 4K/2K/HD (2004) replaced
9089-616: The interlaced nature of 60 Hz video. For every video frame, there are actually two incomplete images or fields , one for the odd-numbered lines of the image, and one for the even-numbered lines. There are, therefore, ten fields for every four film frames, which are called A , B , C , and D . The telecine alternately places frame A across two fields, frame B across three fields, frame C across two fields and frame D across three fields. This can be written as A-A-B-B-B-C-C-D-D-D or 2-3-2-3 or simply 2–3. The cycle repeats itself completely after four film frames. A 3:2 pulldown pattern
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#17327831001589238-438: The 1840s and commercial success since the early 1850s, raised interest in completing the photographic medium with the addition of means to capture colour and motion. In 1849, Joseph Plateau published about the idea to combine his invention of the phénakisticope with the stereoscope, as suggested to him by stereoscope inventor Charles Wheatstone , and to use photographs of plaster sculptures in different positions to be animated in
9387-427: The 1890s. Photography was introduced in 1839, but initially photographic emulsions needed such long exposures that the recording of moving subjects seemed impossible. At least as early as 1844, photographic series of subjects posed in different positions were created to either suggest a motion sequence or document a range of different viewing angles. The advent of stereoscopic photography, with early experiments in
9536-432: The 1920s, with pioneering Soviet filmmakers such as Sergei Eisenstein and Lev Kuleshov developing the theory of montage. Eisenstein's film Battleship Potemkin (1925) is a prime example of the innovative use of montage, where he employed complex juxtapositions of images to create a visceral impact on the audience. As the art of montage evolved, filmmakers began incorporating musical and visual counterpoint to create
9685-686: The 2000s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success. However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Other observers note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of
9834-508: The Dolby A noise reduction system, which became a standard in the recording industry and eliminated the hissing sound associated with earlier standardization efforts. Dolby Stereo , a revolutionary surround sound system, followed and allowed cinema designers to take acoustics into consideration when designing theaters. This innovation enabled audiences in smaller venues to enjoy comparable audio experiences to those in larger city theaters. Today,
9983-672: The FDL 60 into the FDL 90 (1989) / Quadra (1993). In 1996 Philips, working with Kodak , introduced the Spirit DataCine (SDC 2000), which was capable of scanning the film image at HDTV resolutions and approaching 2K (1920 Luminance and 960 Chrominace RGB) × 1556 RGB. With the data option the Spirit DataCine can be used as a motion picture film scanner outputting 2K DPX data files as 2048 × 1556 RGB. In 2000 Philips introduced
10132-513: The FSS is that color analysis is done after scanning, so there can be no registration errors as can be produced by vidicon tubes where scanning is done after color separation—it also allows simpler dichroics to be used. The problem with flying-spot scanners was the difference in frequencies between television field rates and film frame rates. This was solved first by the Mark I Polygonal Prism system, which
10281-460: The LED light source for a very short time span gives the full-frame CCD camera a stop action of the film, allowing continuous film motion. With CCD video cameras that have a trigger input, the camera now can be electronically synced up to the film transport framing. There are now a number of retail and home made Pulsed LED/triggered camera systems. An array of high-power multiple red, green and blue LEDs
10430-547: The Spirit 1 Datacine and uses both 2K and 4K line array CCDs. (Note: the SDC-2000 did not use a color prisms and/or dichroic mirrors.) DFT revealed its new scanner at the 2009 NAB Show , Scanity . The Scanity uses time delay integration (TDI) sensor technology for extremely fast and sensitive film scans. High speed scanning 15 frame/s @ 4K; 25 frame/s @ 2K; 44 frame/s @ 1K. With the manufacturing of new high-power LEDs, came pulsed LED/triggered three CCD camera systems. Flashing
10579-567: The TV supports it, to play the disc back at the native 24p rate. NTSC DVDs are often soft telecined, although lower-quality hard-telecined DVDs exist. In the case of PAL DVDs using 2:2 pulldown, the difference between soft and hard telecine vanishes, and the two may be regarded as equal. In the case of PAL DVDs using 2:3 pulldown, either soft or hard telecining may be applied. Blu-ray offers native 24 frame/s support, allowing 5:5 cadence on most modern televisions. Film A film , also known as
10728-458: The United States is "movie", while in Europe , "film" is preferred. Archaic terms include "animated pictures" and "animated photography". "Flick" is, in general a slang term, first recorded in 1926. It originates in the verb flicker, owing to the flickering appearance of early films. Common terms for the field, in general, include "the big screen", "the movies", "the silver screen", and "cinema";
10877-402: The United States, movie is the predominant term for the medium. Although the words film and movie are sometimes used interchangeably, film is more often used when considering artistic , theoretical , or technical aspects. The term movies more often refers to entertainment or commercial aspects, as where to go for fun evening on a date. For example, a book titled How to Understand
11026-581: The ballet The Nutcracker (first telecast in 1977). The next format to gain widespread usage was 1 inch (2.54 cm) Type C videotape introduced in 1976. This format introduced features such as shuttling, various-speed playback (including slow-motion), and still framing. Although 1" Type C's quality was still quite high, the sound and picture reproduction attainable on the format were of slightly lower quality than Quad. However, compared to Quad, 1" Type C machines required much less maintenance, took up less space, and consumed much less electrical power. In Europe,
11175-484: The case of film-sourced video) or simpler deinterlacing (in the case of native video sources). In the United Kingdom , Rank Precision Industries was experimenting with the flying-spot scanner (FSS), which inverted the cathode-ray tube (CRT) concept of scanning using a television screen. Rank Precision- Cintel introduced the Mark series of FSS telecines. In 1950 the first Rank flying spot monochrome telecine
11324-479: The chronophotography works of Muybridge and Étienne-Jules Marey . In 1886, Anschütz developed the Electrotachyscope , an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to a speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions, and arcades from 1887 until at least 1894. Starting in 1891, some 152 examples of
11473-536: The color tape was remarkably good. Some classic television programs recorded on studio videotape have been made available on DVD – among them NBC's Peter Pan (first telecast in 1960) with Mary Martin as Peter, several episodes of The Dinah Shore Chevy Show (late 1950s/early 60s), the final Howdy Doody Show (1960), the television version of Hal Holbrook 's one-man show Mark Twain Tonight (first telecast in 1967), and Mikhail Baryshnikov 's classic production of
11622-552: The combined device. In 1852, Jules Duboscq patented such an instrument as the "Stéréoscope-fantascope, ou Bïoscope", but he only marketed it very briefly, without success. One Bïoscope disc with stereoscopic photographs of a machine is in the Plateau collection of Ghent University, but no instruments or other discs have yet been found. By the late 1850s the first examples of instantaneous photography came about and provided hope that motion photography would soon be possible, but it took
11771-403: The contours of dozens of his chronophotographic series traced onto glass discs and projected them with his zoopraxiscope in his lectures from 1880 to 1895. Anschütz made his first instantaneous photographs in 1881. He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882. The quality of his pictures was generally regarded as much higher than that of
11920-521: The current market leader. There are two primary advantages: First, copying a tape recording onto a computer or other video machine occurs in real time (e.g. a ten-minute video would take ten minutes to copy); since tapeless camcorders record video as computer-ready data files, the files can copied onto a computer significantly faster than real time. Second, tapeless camcorders, and those using solid-state memory in particular, are far simpler mechanically and so are more reliable. Despite these conveniences, tape
12069-411: The data produced by an electrocardiogram . Because video signals have a very high bandwidth , and stationary heads would require extremely high tape speeds, in most cases, a helical-scan video head rotates against the moving tape to record the data in two dimensions. Tape is a linear method of storing information and thus imposes delays to access a portion of the tape that is not already against
12218-444: The device gave what were described as "blurred and indistinct" images using a modified Ampex 200 tape recorder and standard quarter-inch (0.635 cm) audio tape moving at 360 inches (9.1 m) per second. A year later, an improved version using one-inch (2.54 cm) magnetic tape was shown to the press, who reportedly expressed amazement at the quality of the images although they had a "persistent grainy quality that looked like
12367-463: The difference in frame rates between film (generally 24 frames per second) and television (30 or 25 frames per second, interlaced ) meant that simply playing a film into a television camera would result in flickering. The kinescope was used to record the image from a television display to film, synchronized to the TV scan rate. The film could then be shown directly into a video camera for retransmission. Non-live programming could also be filmed using
12516-583: The domestic market the following year with the N1500 . Sony's Betamax (1975) and JVC's VHS (1976) created a mass-market for VCRs and the two competing systems battled the videotape format war , which VHS ultimately won. In Europe, Philips had developed the Video 2000 format, which did not find favor with the TV rental companies in the UK and lost out to VHS. At first VCRs and videocassettes were very expensive, but by
12665-593: The early 2010s. " Film theory " seeks to develop concise and systematic concepts that apply to the study of film as art . The concept of film as an art-form began in 1911 with Ricciotto Canudo 's manifest The Birth of the Sixth Art . The Moscow Film School , the oldest film school in the world, was founded in 1919, in order to teach about and research film theory. Formalist film theory , led by Rudolf Arnheim , Béla Balázs , and Siegfried Kracauer , emphasized how film differed from reality and thus could be considered
12814-410: The eye and ear. The simple solution is to periodically play a selected frame twice. For NTSC, the difference in frame rates can be corrected by showing every fourth frame of film twice. This solution does require the sound to be handled separately. A more advanced technique is to use 2:3 pulldown , discussed below, which turns every second frame of the film into three fields of video, which results in
12963-437: The film's motion to be accurately rendered on the video signal, a telecine must use a technique called the 2:3 pulldown , also known as 3:2 pulldown , to convert from 24 to ~29.97 frame/s. The term pulldown comes from the mechanical process of pulling (physically moving) the film downward within the film portion of the transport mechanism, to advance it from one frame to the next at a given rate (nominally 24 frames/s). This
13112-792: The film. However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result. Journalist film critics are sometimes called film reviewers. Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people. Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines. They also tend to be affiliated with colleges or universities as professors or instructors. The making and showing of motion pictures became
13261-410: The future of sound in film remains uncertain, with potential influences from artificial intelligence , remastered audio, and personal viewing experiences shaping its development. However, it is clear that the evolution of sound in cinema has been marked by continuous innovation and a desire to create more immersive and engaging experiences for audiences. A significant technological advancement in film
13410-522: The future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films. Derivative academic fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism , film history , divisions of film propaganda in authoritarian governments, or psychological on subliminal effects (e.g., of
13559-583: The heads. The early 2000s saw the introduction and rise to prominence of high-quality random-access video recording media such as hard disks and flash memory . Since then, videotape has been increasingly relegated to archival and similar uses. The electronics division of entertainer Bing Crosby 's production company, Bing Crosby Enterprises (BCE), gave the world's first demonstration of a videotape recording in Los Angeles on November 11, 1951. In development by John T. Mullin and Wayne R. Johnson since 1950,
13708-652: The high cost of 3M Scotch 179 and other early videotapes ($ 300 per one-hour reel) meant that most broadcasters erased and reused them, and (in the United States) regarded videotape as simply a better and more cost-effective means of time-delaying broadcasts than kinescopes. It was the four time zones of the continental United States which had made the system very desirable in the first place. Some early broadcast videotapes have survived, including The Edsel Show , broadcast live on October 13, 1957 and An Evening With Fred Astaire which aired on October 18, 1958 and
13857-537: The higher-end format DVCPRO50 being a direct descendant. JVC developed the competing D9/Digital-S format, which compresses video data in a way similar to DVCPRO but uses a cassette similar to S-VHS media. Many helical scan cassette formats such as VHS and Betacam use a head drum with heads that use azimuth recording , in which the heads in the head drum have a gap that is tilted at an angle, and opposing heads have their gaps tilted so as to oppose each other. The introduction of HDTV video production necessitated
14006-493: The innovative work of D. W. Griffith in The Birth of a Nation (1915) and Intolerance (1916). However, in the 1920s, European filmmakers such as Eisenstein , F. W. Murnau and Fritz Lang , in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin , Buster Keaton and others, quickly caught up with American film-making and continued to further advance
14155-432: The interruptions due to flicker fusion . The apparent motion on the screen is the result of the fact that the visual sense cannot discern the individual images at high speeds, so the impressions of the images blend with the dark intervals and are thus linked together to produce the illusion of one moving image. An analogous optical soundtrack (a graphic recording of the spoken words, music, and other sounds ) runs along
14304-423: The kinescope, edited mechanically as normal, and then played back for TV. As the film was run at the same speed as the television, the flickering was eliminated. Various displays, including projectors for these video rate films, slide projectors and film cameras were often combined into a film chain , allowing the broadcaster to cue up various forms of media and switch between them by moving a mirror or prism. Color
14453-452: The last of these is commonly used, as an overarching term, in scholarly texts and critical essays. In the early years, the word "sheet" was sometimes used instead of "screen". The art of film has drawn on several earlier traditions in fields such as oral storytelling , literature , theatre and visual arts . Forms of art and entertainment that had already featured moving or projected images include: The stroboscopic animation principle
14602-433: The late 1980s the price had come down enough to make them affordable to a mainstream audience. Videocassettes finally made it possible for consumers to buy or rent a complete film and watch it at home whenever they wished, rather than going to a movie theater or having to wait until it was telecast. It gave birth to video rental stores, Blockbuster the largest chain, which lasted from 1985 to 2005. It also made it possible for
14751-409: The late 2000s, MiniDV and its high-definition cousin, HDV , were the two most popular consumer or prosumer tape-based formats. The formats use different encoding methods, but the same cassette type. With advances in technology, videotape has moved past its original uses (original recording, editing, and broadcast playback) and is now primarily an archival medium. The death of tape for video recording
14900-801: The magnetic tape recording of both black-and-white and color television programs at its Princeton laboratories on December 1, 1953. The high-speed longitudinal tape system, called Simplex, in development since 1951, could record and play back only a few minutes of a television program . The color system used half-inch (1.27 cm) tape on 10½ inch reels to record five tracks, one each for red, blue, green, synchronization, and audio. The black-and-white system used quarter-inch (0.635 cm) tape also on 10½ inch reels with two tracks, one for video and one for audio. Both systems ran at 360 inches per second (9.1 m/s) with 2,500 feet (760 m) per reel yielding an 83-second capacity. RCA-owned NBC first used it on The Jonathan Winters Show on October 23, 1956, when
15049-461: The majority of most film reviews can still have an important impact on whether people decide to see a film. For prestige films such as most dramas and art films , the influence of reviews is important. Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance. The impact of a reviewer on a given film's box office performance is a matter of debate. Some observers claim that movie marketing in
15198-575: The majority of them do. Cameras that record 25 frames/s (PAL) or 29.97 frames/s (NTSC) do not need to employ 2:3 pulldown, because every progressive frame occupies exactly two video fields. In the video industry, this type of encoding is called progressive segmented frame (PsF) . PsF is conceptually identical to 2:2 pulldown, only there is no film original to transfer from. Digital television and high-definition standards provide several methods for encoding film material. Fifty field/s formats such as 576i50 and 1080i50 can accommodate film content using
15347-405: The medium. In the 1920s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music and sound effects synchronized with the action on the screen. The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies." The revolution they wrought
15496-401: The mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions. The rise of European cinema was interrupted by the outbreak of World War I , while the film industry in the United States flourished with the rise of Hollywood , typified most prominently by
15645-440: The most prominent film awards in the United States, providing recognition each year to films, based on their artistic merits. There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts. Revenue in the industry is sometimes volatile due to the reliance on blockbuster films released in movie theaters . The rise of alternative home entertainment has raised questions about
15794-475: The movement of the film in the telecine machine gate, is a characteristic artifact of real-time telecine scanning. Numerous techniques have been tried to minimize gate weave, using both improvements in mechanical film handling and electronic post-processing. Line-scan telecines are less vulnerable to frame-to-frame judder than machines with conventional film gates, and non-real-time machines are also less vulnerable to gate weave than real-time machines. Some gate weave
15943-477: The name of the medium is film . The word movie is understood but seldom used. Additionally, the pictures (plural) is used somewhat frequently to refer to the place where movies are exhibited; in American English this may be called the movies , but that term is becoming outdated. In other countries, the place where movies are exhibited may be called a cinema or movie theatre . By contrast, in
16092-650: The norm. In NTSC countries, most digital broadcasts of 24 frame/s progressive material, both standard and high definition, continue to use interlaced formats with 2:3 pulldown, even though ATSC allows native 24 and 23.976 frame/s progressive formats which offer the greatest image quality and coding efficiency, and are widely used in motion picture and high definition video production. Nowadays, most HDTV vendors sell LCD televisions in NTSC/ATSC countries capable of 120 Hz or 240 Hz refresh rates and plasma sets capable of 48, 72, or 96 Hz refresh. When combined with
16241-436: The number of films made in color gradually increased year after year. In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance. In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection , and stereophonic sound were introduced, and more films were made in color, which soon became
16390-619: The oldest surviving television network color videotape, and has been restored by the UCLA Film and Television Archive . On December 7, 1963, instant replay , originally a videotape-based system, was used for the first time during the live transmission of the Army–Navy Game by its inventor, director Tony Verna . Although Quad became the industry standard for approximately thirty years, it has drawbacks such as an inability to freeze pictures, and no picture search. Also, in early machines,
16539-439: The option of turning the subtitles on or off, or selecting subtitles in several languages). Moreover, a DVD can be played on a computer. Due to these advantages, by the mid-2000s, DVDs were the dominant form of prerecorded video movies. Through the late 1990s and early 2000s consumers continued to use VCRs to record over-the-air TV shows, because consumers could not make home recordings onto DVDs. This last barrier to DVD domination
16688-414: The original film material. When video from a telecine is ingested into these systems, the operator usually has available a telecine trace , in the form of a text file, which gives the correspondence between the video material and film original. Alternatively, the video transfer may include telecine sequence markers burned in to the video image along with other identifying information such as time code. It
16837-489: The original name. The DVC or MiniDV format provides broadcast-quality video and sophisticated nonlinear editing capability on consumer and some professional equipment and has been used on feature films, including Danny Boyle's 28 Days Later (2002, shot on a Canon XL1) and David Lynch's Inland Empire (2006, shot on a Sony DSR-PD150). In 1999 Sony backported the DV recording scheme to 8-mm systems, creating Digital8 . By using
16986-451: The other 11 frames are each displayed for the duration of two PAL fields (40 milliseconds). This causes a slight hiccup in the video about twice a second. Some DVD players , line doublers , and personal video recorders are designed to detect and remove 2:3 pulldown from telecined video sources, thereby reconstructing the original 24 frame/s film frames. Many video editing programs such as AviSynth also have this ability. This technique
17135-454: The other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein , try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life . Film is considered to have its own language . James Monaco wrote a classic text on film theory, titled "How to Read a Film," that addresses this. Director Ingmar Bergman famously said, " Andrei Tarkovsky for me
17284-454: The pattern if care is not taken to preserve the original frame sequence. Most reverse telecine algorithms attempt to follow the 2:3 pattern using image analysis techniques, e.g. by searching for repeated fields. Algorithms that perform 2:3 pulldown removal also usually perform the task of deinterlacing . It is possible to algorithmically determine whether video contains a 2:3 pulldown pattern or not, and selectively do either reverse telecine (in
17433-567: The post-production chain changes to tapeless and filmless operation. However, the parts of the workflow associated with telecines still remain and are being pushed to the end, rather than the beginning, of the post-production chain, in the form of real-time digital grading systems and digital intermediate mastering systems, increasingly running in software on commodity computer systems. These are sometimes called virtual telecine systems. Some video cameras and consumer camcorders are able to record in progressive "24 frames/s" or "23.976 frames/s". Such
17582-435: The rental market (e.g., cult films ). VHS became the leading consumer tape format for home movies after the videotape format war , though its follow-ups S-VHS , W-VHS and D-VHS never caught up in popularity. In the early 2000s in the prerecorded video market, VHS began to be displaced by DVD . The DVD format has several advantages over VHS tape. A DVD is much better able to take repeated viewings than VHS tape. Whereas
17731-523: The rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color
17880-544: The same cassettes as Hi8, many Digital8 camcorders were able to play analog Video8 or Hi8 recordings, preserving compatibility with already recorded analog video tapes. Sony introduced another camcorder cassette format called MicroMV in 2001. Sony was the only electronics manufacturer to sell MicroMV cameras. In 2006, Sony stopped offering new MicroMV camcorder models. In November 2015, Sony announced that shipment of MicroMV cassettes would be discontinued in March 2016. In
18029-492: The same dreams and hurts, then it deserves to be called great. — Roger Ebert (1986) Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media. Film critics working for newspapers, magazines , and broadcast media mainly review new releases. Normally they only see any given film once and have only
18178-403: The same format, and quality, as other forms of television production. Furthermore, telecine allows film producers , television producers and film distributors working in the film industry to release their productions on video and allows producers to use video production equipment to complete their filmmaking projects. Within the film industry, it is also referred to as a TK , because TC
18327-510: The street, and the view from the front of a trolley as it traveled a city's Main Street. According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater. Around the turn of the 20th century, films started stringing several scenes together to tell a story. (The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes
18476-579: The superior Quadruplex system . BCE was acquired by 3M Company in 1956. In 1959, Toshiba released the first commercial helical scan video tape recorder. The first commercial professional broadcast quality videotape machines capable of replacing kinescopes were the two-inch quadruplex videotape (Quad) machines introduced by Ampex on April 14, 1956, at the National Association of Broadcasters convention in Chicago . Quad employed
18625-416: The telecine process. The phenomenon is commonly referred to as telecine judder . Reversing the 2:3 pulldown telecine is discussed below. PAL material in which 2:3 (Euro) pulldown has been applied suffers from a similar lack of smoothness, though this effect is not usually called telecine judder . Effectively, every 12th film frame is displayed for the duration of three PAL fields (60 milliseconds), whereas
18774-533: The telecined frames as shown above. In the soft-telecined case, the material is stored on the DVD at the film rate (24 or 23.976 frames/s) in the original progressive format, with special flags inserted into the MPEG-2 video stream that instruct the DVD player to repeat certain fields so as to accomplish the required pulldown during playback. Progressive scan DVD players additionally offer output at 480p by using these flags to duplicate frames rather than fields, or if
18923-445: The television threat emerged in the 1940s and 1950s, the film industry needed to innovate to attract audiences. In terms of sound technology, this meant the development of surround sound and more sophisticated audio systems, such as Cinerama's seven-channel system. However, these advances required a large number of personnel to operate the equipment and maintain the sound experience in theaters. In 1966, Dolby Laboratories introduced
19072-451: The traditional montage technique to suit the evolving aesthetics and storytelling styles of modern cinema. As the medium of film continues to evolve, montage remains an integral aspect of visual storytelling, with filmmakers finding new and innovative ways to employ this powerful technique. If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share
19221-564: The various countries of Europe to buy their equipment and photograph, export, import, and screen additional product commercially. The Oberammergau Passion Play of 1898 was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had
19370-511: The video (tele) part of the telecine samples the light electronically, the film (cine) part of the telecine must have a frame in perfect registration and ready to photograph. This is relatively easy when the film is photographed at the same frame rate as the video camera will sample, but when video and film frame rates differ, a sophisticated procedure is required. In countries that use the PAL or SECAM video standards, film destined for television
19519-459: The world's first charge-coupled device (CCD) telecine (1979), the FDL 60 . The FDL 60 designed and made in Darmstadt , West Germany, was the first all solid state telecine. Rank Cintel (ADS telecine 1982) and Marconi Company (1985) both made CCD Telecines for a short time. The Marconi model B3410 telecine sold 84 units over a three-year period. In a line array CCD telecine, a white light
19668-661: The ¾ʺ (1.905 cm) composite U-matic system, which Sony introduced commercially in September 1971 after working out industry standards with other manufacturers. Sony later refined it to Broadcast Video U-matic (BVU). Sony continued its hold on the professional market with its ever-expanding ½ʺ (1.27 cm) component video Betacam family introduced in 1982. This tape form factor would go on to be used for leading professional digital video formats. Panasonic had some limited success with its MII system, but never could compare to Betacam in terms of market share. The next step
19817-420: The – arguably better known – French brothers Auguste and Louis Lumière with ten of their own productions. Private screenings had preceded these by several months, with Latham's slightly predating the otherss'. The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques . Typical films showed employees leaving a factory gate, people walking in
19966-403: Was 16 fps, and 18 fps for Super 8 mm film ) as well as silent film (which in 35 mm format usually was 16 fps, 12 fps, or even lower). Also, other patterns have been described that refer to the progressive frame rate conversion required to display 24 frame/s video (e.g., from a DVD player) on a progressive display (e.g., LCD or plasma): Mainframe Entertainment used
20115-461: Was born out of a frustration with the faster, higher-pitched soundtracks that traditionally accompanied films transferred for PAL and SECAM audiences. A few motion pictures are beginning to be telecined this way. It is particularly suited for films where the soundtrack is of special importance. Similar techniques must be used for films shot at silent speeds of less than 24 frame/s, which includes home movie formats (the standard for Standard 8 mm film
20264-418: Was broken in the late 2000s with the advent of inexpensive DVD recorders and digital video recorders (DVRs). In July 2016, the last known manufacturer of VCRs, Funai , announced that it was ceasing VCR production. Early consumer camcorders used full-size VHS or Betamax cassettes. Later models switched to more compact formats, designed explicitly for smaller camcorder use, like VHS-C and Video8 . VHS-C
20413-488: Was clear. After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with the usual exceptions made only at the insistence of "star" filmmakers such as Peter Bogdanovich and Martin Scorsese . The decades following the decline of the studio system in the 1960s saw changes in the production and style of film. Various New Wave movements (including
20562-561: Was installed at the BBC's Lime Grove Studios . The CRT in the FSS emits a pixel-sized electron beam which excites phosphors coating the envelope, causing them to glow in red, green, and blue. This dot of light is then focused by a lens onto the film's emulsion and finally collected by a special type of photo-electric cell known as a photomultiplier which converts the light into an electrical signal. This can be accomplished in real time , 24 frames per second (or in some cases faster). An advantage of
20711-549: Was introduced in 1833 with the stroboscopic disc (better known as the phénakisticope ) and later applied in the zoetrope (since 1866), the flip book (since 1868), and the praxinoscope (since 1877), before it became the basic principle for cinematography. Experiments with early phénakisticope-based animation projectors were made at least as early as 1843 and publicly screened in 1847. Jules Duboscq marketed phénakisticope projection systems in France from c. 1853 until
20860-636: Was optically synchronized to the television frame rate by the rotating prism and could be run at any frame rate. This was replaced by the Mark II Twin Lens, and then around 1975, by the Mark III Hopping Patch (jump scan). The Mark III series progressed from the original jump scan interlace scan to the Mark IIIB which used a progressive scan and included a digital scan converter (Digiscan) to output interlaced video. The Mark IIIC
21009-623: Was predicted as early as 1995 when the Avid nonlinear editing system was demonstrated storing video clips on hard disks. Yet videotape was still used extensively, especially by consumers, up until about 2004, when DVD-based camcorders became affordable and domestic computers had large enough hard drives to store an acceptable amount of video. Consumer camcorders have switched from being tape-based to tapeless machines that record video as computer files. Small hard disks and writable optical discs have been used, with solid-state memory such as SD cards being
21158-411: Was supported by using a multi-tube video camera, prisms, and filters to separate the original color signal and feed the red, green and blue to individual tubes. However, this still left film shot at cinema frame rates as a problem. The obvious solution is to simply speed up the film to match the television frame rates, but this, at least in the case of NTSC , requires a change that is rather obvious to
21307-947: Was swift. By 1930, silent film was practically extinct in the US and already being referred to as "the old medium." The evolution of sound in cinema began with the idea of combining moving images with existing phonograph sound technology. Early sound-film systems, such as Thomas Edison's Kinetoscope and the Vitaphone used by Warner Bros ., laid the groundwork for synchronized sound in film. The Vitaphone system, produced alongside Bell Telephone Company and Western Electric , faced initial resistance due to expensive equipping costs, but sound in cinema gained acceptance with movies like Don Juan (1926) and The Jazz Singer (1927). American film studios, while Europe standardized on Tobis-Klangfilm and Tri-Ergon systems. This new technology allowed for greater fluidity in film, giving rise to more complex and epic movies like King Kong (1933). As
21456-488: Was the digital revolution. Sony's D-1 was introduced in 1986 and featured uncompressed digital component recording. Because D-1 was extremely expensive, the composite D-2 (Sony, 1988) and D-3 (Panasonic, 1991) were introduced soon after. Ampex introduced the first compressed component recording with its DCT series in 1992. Panasonic's D-5 format was introduced in 1994. Like D-1, it is uncompressed, but much more affordable. The DV standard, which debuted in 1995, and
21605-458: Was the introduction of "natural color," where color was captured directly from nature through photography, as opposed to being manually added to black-and-white prints using techniques like hand-coloring or stencil-coloring. Early color processes often produced colors that appeared far from "natural". Unlike the rapid transition from silent films to sound films, color's replacement of black-and-white happened more gradually. The crucial innovation
21754-562: Was the most popular of the series and used a next-generation Digiscan plus other improvements. The Mark series was then replaced by the Ursa (1989), the first in their line of telecines capable of producing digital data in 4:2:2 color space. The Ursa Gold (1993) stepped this up to 4:4:4 and then the Ursa Diamond (1997), which incorporated many third-party improvements on the Ursa system. The Robert Bosch GmbH , Fernseh division introduced
21903-733: Was the oldest color videotape of an entertainment program known to exist until the discovery of the October 8, 1958 episode of the Kraft Music Hall hosted by Milton Berle . The oldest color videotape known to survive is the May 1958 dedication of the WRC-TV studios in Washington, D.C. ). In 1976, NBC 's 50th-anniversary special included an excerpt from a 1957 color special starring Donald O'Connor ; despite some obvious technical problems,
22052-485: Was the three-strip version of the Technicolor process, first used in animated cartoons in 1932. The process was later applied to live-action short films, specific sequences in feature films, and finally, for an entire feature film, Becky Sharp, in 1935. Although the process was expensive, the positive public response, as evidenced by increased box office revenue, generally justified the additional cost. Consequently,
22201-480: Was widely used both in its native form as MiniDV and in more robust professional variants. In digital camcorders, Sony adapted the Betacam system with its Digital Betacam format in 1993, and in 1996 following it up with the cheaper Betacam SX and the 2000 MPEG IMX format, The semiprofessional DV-based DVCAM system was introduced in 1996. Panasonic used its DV variant DVCPRO for all professional cameras, with
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