The history of film technology tracks the development of film technology from the early development of "moving pictures" in the late 19th century to the present. Motion pictures were initially exhibited as novelty in the field and developed into one of the most important communication and entertainment tools of the 20th century. Major developments in image technology have included the adoption of synchronized movie sounds, color image films and the adoption of digital film technology to replace physical film stock at both ends of the production chain by digital image sensors and projectors.
Video History of film technology
Movie technology development
Precursors
Film technology largely arises from developments and achievements in the areas of projection, lens, photography, and optics. Preliminary techniques involving movement and/or projection include:
- Shadowgraphy (probably in practice since prehistoric times)
- Camera obscura (a natural phenomenon that may have been used as an artistic aid since prehistoric times)
- Shadowy shadow (probably originally around 200 BC in Central Asia, India, Indonesia, or China)
- The magic lantern (developed in the 1650s, preceded by some incidental and/or inferior projectors)
- stroboscopic "persistence vision" animation device (phÃÆ' Â © nakisticope since 1832, zoetrope since 1866, flip book since 1868)
- Chronophotography (recorded with photographed phase since the 1860s, recorded in real-time since 1878)
Direct projection of moving images occurs in the camera obscura, a natural phenomenon that may have been used artistically since prehistoric. The use of lenses in obscura cameras has been dated back to 1550. Camera device obscura phones were used since the early 17th century, first in tents and shortly thereafter in wooden boxes. Box-type cameras will be adapted into photographic cameras in the 1820s and 1830s.
On or before 1659, the magic lantern was developed by Christiaan Huygens. It projects slides that are usually painted in color on the glass. The 1659 sketch by Huygens shows that moving images may be part of the earliest playback. Around 1790 phantasmagoria multi-media glasses were developed. Rear projection, animated slide, double projector (superimposition), mobile projector (on track or handheld), smoke projection, sound, odor and even electric shock are used to frighten the audience with a convincing ghost horror experience. In the 19th century several other popular magic lantern techniques were developed, including dissolving views and some types of mechanical slides that created a dazzling abstract effect (chromatrope, et cetera) or which showed for example snowfall or planets and their moons spinning.
The basic stroboscopic principle that enabled the making of the film was invented by Joseph Plateau in Belgium around December 1832 and published in January 1833. His discovery - later known as a nakisticope or fantascope phenomenon - is a cardboard disc with a gap in which the viewer can watch a series of rapidly sequential images (photography not yet introduced) reflected in the mirror. If the phÃÆ' Â © nakisticope spin plays fast enough then it invisibly replaces each image with the next and the viewer sees the figure in smooth motion. A very similar "Stroboscope Disc" was independently discovered in Austria by Simon von Stampfer around the same time (probably a few weeks later). Stampfer also mentions some possible variations of his stroboscopic findings, including cylinders (similar to zoetrope ) in addition to long pieces of paper or canvas looped around two parallel rolls (somewhat similar to films) and frame-like theater ( such as pre-later theater theater).
In 1845, Francis Ronalds invented alternative technology - the first successful camera capable of making continuous recordings of various indications of meteorological and geomagnetic instruments over time. The cameras were supplied to many observatories around the world and some remained in use until the 20th century.
The first sequence of motion photographed in real-time, instead of consisting of a series of photographed photos, was created in the US in 1878 by British photographer Eadweard Muybridge. Under the sponsorship of Leland Stanford, he photographed a horse called Sallie Gardner in a fast motion using a series of separate silent cameras. The experiment took place on June 15 at a Stanford ranch in Palo Alto, California, with the press present, and is intended to determine whether a galloping horse once had four legs off the ground at the same time. The cameras are arranged in a line parallel to the edge of the track and spaced 27 inches apart. Each camera shutter is triggered by a thread as the horse passes and each exposure is made in as little as a thousandth of a second. Initially the pictures were published as cards and plates. From 1879 to 1893 Muybridge also had a silhouette of his drawings painted on glass discs to project images onto the screen with a device he called the zoopraxiscope, which could be considered the first film projector. Innovative process is the transition stage to film and cinematography. As soon as the pictures were published, or at least since January 1879, there were some people who put this in the zoetrop to see them move. This is most likely the first appearance of photographic films recorded in real-time.
ÃÆ' â € ° tienne-Jules Marey invented a chronophotographic gun in 1882, capable of taking 12 consecutive frames per second, recording all frames in the same image. He uses a chronophotographic gun to study animals and human motion.
An initial projector, along the same lines as Muybridge's zoopraxiscope, was built by Ottomar AnschÃÆ'¼tz in 1887. His electrotachyscope used 24 images on a rotating glass disk. In 1894, his invention projects motion pictures in Berlin.
First motion picture
As a result of the work of Eadweard Muybridge and ÃÆ'â € ° tienne-Jules Marey, inventors at the end of the 19th century began to realize that the creation and consolidation of 'useful' or even unlimited photographic 'motion pictures' is a practical possibility.
The first image camera was invented by Frenchman Louis Le Prince in the 1880s, while working in Leeds, England. Le Prince has been inspired by the pioneering experiments of Muybridge, and he patented his first invention, a 16-lensed camera, in 1887. The first eight lenses will be triggered in rapid succession by electromagnetic shutter on sensitive films; the film will then be moved forward, allowing eight other lenses to operate on the film. Although the camera is capable of 'capturing' motion, it is not entirely successful because each lens shoots the subject from a slightly different angle, with the result that the foreground elements in the projected scene weave about relative to each other and against the background.
In May 1887, after much trial and error, Le Prince was finally able to develop and patent the first one-lens image camera in 1888. He used it to shoot the world's most recognizable film on the film: Roundhay Garden Scene , a short test photographed on October 14, 1888 in Roundhay, Leeds.
Le Prince then used his camera to photograph tram and horse-drawn traffic and pedestrians at Leeds Bridge (the film was taken from Hicks the Ironmongers, now the British Waterways building, southeast of the bridge; blue plaque now marks the dot). He initially shoots his image on a gelatine or glass plate but then switches to a more suitable celluloid, using a 1.75 inch wide film.
In Leeds in 1889, Le Prince presented the first pure photographic film projection, using the equipment he designed. The projector with a single lens uses an electric arc lamp to project the image onto a white screen. He is considered by many film historians as the father of the film.
Film stock development
Another early pioneer, working at about the same time as Le Prince, was William Friese-Greene. He began experimenting with the use of oily paper as a medium for showing movies in 1885 and in 1887 he experimented with the use of celluloid. In 1889, Friese-Greene took a patent for a 'chronophotographic' camera. It is capable of taking up to ten photos per second using a hollow celluloid film. A report on the camera was published in the English Photography News on 28 February 1890. He gave a public demonstration in 1890 from his device, but the low frame rates combined with unreliable devices made it unprofitable. impression.
Anarchist and English inventor Wordsworth Donisthorpe filed an early patent in 1876 for a film camera, which he named "kinesigraph". At that time, the necessary materials were not yet available to produce a motion picture camera, but in 1889, his interest in the possibility was revived when he heard about the successful experiment of Louis Le Prince, who was then working in the home town of Donsithorpe from Leeds. In 1889 he issued a patent, along with William Carr Crofts, for cameras using celluloid bolsters and projector systems; they then made a short film about the busy traffic at Trafalgar Square London.
Another more successful apparatus was found by Scottish inventor and employee Thomas Alva Edison, W. K. L. Dickson. His camera, called the Kinetograph, was patented in 1891 and took a series of instantaneous photographs on Eastman Kodak photographic emulsion standards coated on 35 mm transparent celluloid. The celluloid block is thinly sliced, then removed with a hot pressure plate. After this, they are coated with a photosensitive gelatin emulsion.
In 1893 at the Chicago World Expo, Thomas Edison revealed 'Kinetoscope' to the public. The machine is contained in a large box, and only allowed images to be viewed by one person at a time looking through the peephole, after starting the engine by inserting the coin. The rooms are equipped with film footage photographed by Dickson, in Edison's "Black Maria" studio. This sequence records both worldly incidents, such as Fred Ott's Sneeze , and entertainment acts, such as acrobatics, music room viewers, and boxing demonstrations. The Kinetoscope peep-show parlor was first opened on April 14, 1894, and was the first commercial exhibition of the film. Kinetoscope parlors soon spread successfully to Europe. Edison, however, never attempted to patent these instruments on the other side of the Atlantic, as they relied heavily on previous experiments and innovations from Britain and Europe.
The Pleograph, created by Polish emigrant Kazimierz Prouszy? Skiing in 1894 was another early camera. It is also duplicated as a projector. The apparatus uses a rectangular celluloid with perforations between several parallel rows of images. Using enhanced pleograph, PrÃÆ'³szynski recorded a short film showing the scene of life in Warsaw, like people skating in the park. Charles Francis Jenkins also exhibited his projector, the Phantoscope in front of the audience in June 1894.
Maps History of film technology
Film industry development
Commercial cinema
The Eidoloscope, designed by Eugene Augustin Lauste for the Latham family, was exhibited for members of the press on April 21, 1895 and opened to the public on May 20, at a down Broadway store with Griffo-Barnett presents boxing films taken from the roof of Madison Square Garden on May 4th. This is the first commercial projection.
In Lyon, Louis and Auguste LumiÃÆ'¨re perfected CinÃÆ' Â © matographe, a tool that takes, prints, and projects films. At the end of 1895 in Paris, Antoine LumiÃÆ'¨re's father began exhibiting projected films before paying the public, initiating a general conversion from medium to projection. They quickly became major European producers with their actualitÃÆ'Â © s like those Workers Leaving LumiÃÆ'¨re Factory and comic sketches like The Sprinkler Sprinkled (< both are 1895)). Even Edison, who initially rejected the projection, joined the trend with Vitascope, the modified Jenkins' Phantoscope, in less than six months.
The slightly older public-motion film presentation was made by Max and Emil Skladanowsky in Berlin, projected with their "Bioscop" equipment, flickerfree duplex construction, Nov. 1 through 31, 1895. However, the equipment was complicated and its use was eventually discontinued.
In the UK, Robert W. Paul and Birt Acres both independently developed their own systems to project moving images onto the screen. Acres presented it in January 1896, and Paul launched his more influential Theatrograph shortly after February 20, the same day Lumieres films were first projected in London. Theatrograph pioneered the 'Maltese cross' system that drives the sprocket roller to provide intermittent movement. After several demonstrations before the scientific group, he was asked to provide projectors and staff to the Alhambra Music Hall in Leicester Square, and he presented his first theatrical program on March 25, 1896. The device was a prototype for modern film projectors and sold throughout Europe.
In 1896, the Edison company realized that more money could be generated by showing film films with projectors to a larger audience than showing them off in the exhibit machines. The Edison company picked up a projector developed by Armat and Jenkins, the "Phantoscope", which changed its name to Vitascope, and it joins a variety of projection machines made by others to show a 480 mm wide film made by the Edison company and the other in France and English.
Initially, the lack of standardization meant that the film producers used different film widths and different projection speeds, but after several years of 35-mm Edison films, and the 16-frames-per-second projection speed of LumiÃÆ'¨re CinÃÆ' Â © matographe became the standard.
Birt Acres designed the first camera for amateur use in 1898. He called it 'Birtac Home Cinema', and used a 17.5mm gauge. The goal, in his words, is 'to place animated photography within the reach of everyone'.
Movie industry
In the late 1890s, the first film companies were established in the US, France, Britain, and elsewhere.
The most successful film company in the United States, with the largest production until 1900, is the American Mutoscope company. It was originally formed to exploit a peep-show type movie using a design made by W.K.L. Dickson after he left the Edison company in 1895. The apparatus used a 70 mm film, and each frame was printed separately onto a sheet of paper for insertion into their observation machine, called Mutoscope. The picture sheets stood out from the edges of the rotating drums, and rotated into consecutive displays.
In addition to the American Mutoscope, there are also many small producers in the United States, and some of them build a long-term presence in the new century. American Vitagraph, one of these small producers, built the studio in Brooklyn, and expanded its operations in 1905.
In France, the LumiÃÆ'¨re company sent cameramen around the world from 1896 onwards to film recording, which was exhibited locally by cameramen, and then sent back to the company's factory in Lyon to make prints for sale to anyone who wanted them. There are nearly a thousand of these films made up to 1901, almost all actualities.
In 1898, Georges MÃÆ'Â © liÃÆ'¨s was the largest producer of fictional films in France, and from then onwards, his output was almost entirely a film that featured a trick effect, which was very successful in all markets. The special popularity of his longer films, which lasted several minutes from 1899 onwards (while most other films are only one minute long), led other filmmakers to begin producing longer films.
In 1900, Charles PathÃÆ'Â Â started film production under the brand PathÃÆ'Â © -FrÃÆ'¨res, with Ferdinand Zecca hired to actually make the film. In 1905, PathÃÆ'Â © was the largest film company in the world, the position was maintained until World War I. LÃÆ' Â © in Gaumont started film production in 1896, with its production overseen by Alice Guy.
In the UK, Birt Acres is one of the first produced the film as well as a news reporter first trip. In 1894 he created the 70 mm film format Henley Royal Regatta. He went on to create some of the first English movie with Robert W. Paul with a 35 mm film camera, Kineopticon, including Incident at Clovelly Cottage , Boat Race Oxford and Cambridge University i> and Rough Sea at Dover .
Charles Urban became managing director of Warwick Trading Company in 1897, where he specializes in film actualities, including news films about the Anglo-Boer War. In July 1903 he formed his own company, Charles Urban Trading Company, moved to London Wardour Street in 1908, the first film business to be located in the home of the British film industry. Mitchell and Kenyon were founded by Sagar Mitchell and James Kenyon in 1897, soon became one of the largest film producers in the United Kingdom. Other early pioneers include James Williamson, G.A. Smith and Cecil Hepworth, who in 1899, began to produce 100 films per year, with his company being the largest in the UK.
The Babelsberg Studio near Berlin in Germany is the world's first large-scale movie studio, founded in 1912, and a pioneer to Hollywood with several major studio companies in the early 20th century.
First cinema
Initially, screening of public commercial films was installed in the theater and the existing music room as a novelty, but the main methods of the exhibition quickly became good as items on various theater programs, or by adventure in the tent theater. , which they take around exhibitions in small towns. It becomes a practice for companies that produce to sell direct prints to exhibitors, with so many by foot, no matter what the subject. The typical price is at first 15 cents per foot in the United States, and one foot shilling in England. Colorful films, produced from the most popular subjects before 1900, cost 2 to 3 times more per foot. There are several producers, such as American Mutoscope and Biograph Company, who do not sell their movies, but exploit them only with their own exhibit units.
The world's first public motion picture presentation was performed by Max and Emil Skladanowsky at the Berlin Wintergarten theater, projected with their "Bioscop" equipment, flickerfree duplex construction, from November 1st to 31st, 1895th.
The first theaters dedicated to moving films were established at the turn of the century, soon known as cinemas. Vitascope Hall in New Orleans opened in 1896 as one of the first places. It shows two exhibits, one in the morning and one in the afternoon.
Another early establishment was the Islington Palace, originally built in 1869 as part of the Royal Agricultural Hall complex. The concert hall was converted into a full-time movie theater in 1901, a year after it showed its first movie.
Nickelodeon was the first successful permanent theater that only featured films, and opened in Pittsburgh in 1905. At that time there were enough films available for a few minutes to fill a program that runs for at least half an hour, and which can be changed every week when a local audience becomes bored of it. Other exhibitors quickly followed, and within a few years there were thousands of "nickelodeons" operating around the world.
Color movies
Additive process
The first person to demonstrate a natural color drawing system was British inventor Edward Raymond Turner, who applied for his patent in 1899, received it in 1900, and was able to show promising but highly mechanically defective results in 1902.
The Turner camera uses a rotating disc of three color filters to photograph the color separation on a single black-and-white film roll. The filtered red, green or blue images are recorded on each frame in a row. The finished film mold is projected, three frames at a time, via the appropriate color filter.
When Turner died in 1903, his financial supporter at the time, the pioneering film producer Charles Urban, continued the development process to George Albert Smith, who in 1906 had developed a simplified version which he later named Kinemacolor. The Kinemacolor camera has a red and green filter in a rotating aperture, so that the red-filtered and green-filtered views of the subject are recorded on successive frames of the panchromatic black-and-white film. The Kinemacolor projector does the same thing in reverse, projecting the black-and-white print frame alternately through the red and green filters in its rotational shutter.
Both devices are operated at twice the regular frame rate to reduce color flicker (technically known as "color bombardment") generated by non-simultaneous projection of two color components, a defect that some people hardly notice but others found prominent and ill head-propelled. The corresponding flaw is the most obvious disadvantage of this process: since the two components are not photographed at the same time, such as the frame pair, the fast-moving subject does not quite fit from one frame to the next when projected on the screen, producing a "fringe" or in extreme cases clearly colored "ghosts". A white dog wagging its tail in front of a dark background can appear to have several tails, a variety of reds, greens and whites.
The first film on display at Kinemacolor was an eight minute short film titled A Visit to the Seaside , which was featured in September 1908. The general public first saw Kinemacolor in the 21 short film program shown. on February 26, 1909 at the Palace Theater in London. The process was first seen in the US on December 11, 1909, at an exhibition hosted by Smith and Urban at Madison Square Garden in New York.
Kinemacolor released the first drama filmed in the process, Examined , in 1910, and the first long documentary, With Our King and Queen Through India , in 1912. Kinemacolor Projector installed in about 300 theaters in England, and 54 dramatic films produced. Four dramatic short films were made at Kinemacolor in the US in 1912-1913, and one in Japan in 1914. However, the company was unsuccessful, partly because of the cost of installing a special Kinemacolor projector.
The variant method is promoted by William Friese-Greene. He calls his additional color system "Biocolour". This differs from Kinemacolor simply because the need for projectors equipped with filters is removed by staining alternative frames from the film itself with red and green dyes. Therefore, ordinary projectors can be used, if the device will be turned on at sufficient speed. Like Kinemacolor, Biocolour suffers from a real flicker of color and from the red and green edges when the subject moves quickly.
In 1913, the French filmmaker and inventor LÃÆ'Â © at Gaumont launched Chronochrome, a colorful additive system. The camera uses three lenses with a color filter to photograph red, green and blue components simultaneously on successive frames of a 35 mm black-and-white film strip. The projector has three suitable lenses. To reduce the strain imposed on the film as the mechanism in each device pulls it down three frames at a time, the frame height is reduced from four regular film perforations into three, resulting in a widescreen image format identical to the modern 16: 9 aspect ratio.
Chronochrome's color quality is impressive, as surviving specimens prove, and since the three frames are exposed and projected simultaneously, color and color bombings of colors around moving objects are avoided. However, since the three camera lenses can not all shoot scenes from exactly the same angle, subjects too close to the camera will show a color margin if the three projected image enrollments are optimized for the scenic background, and vice versa. A method for printing prints to trigger automatic adjustment of projection optics has been found, but expert oversight of the presentation is still required. Light loss due to color filters and limited projection lens dimensions result in images that are too dim to be displayed in large auditoriums except for highly reflective metalized screens or rear projection to the translucent screen used, and a solution made by a "hot spot" that creates a view of the side of the auditorium is not very satisfactory. The films were rarely played outside Gaumont theaters and the system soon became unused.
Technicolor
After experimenting from 1915 to 1921 with an additive color system that filmed and projected two color components simultaneously, rather than in quick turns (thereby eliminating the Kinemacolor color flicker and border of false colors around fast-moving objects), Technicolor Motion Picture Corporation developed subtractive color print process. As in its last additive system, the camera has only one lens but uses a file splitter that allows red and green images to be photographed simultaneously on the adjacent frame of a 35 mm black-and-white film strip, which runs through the camera at twice the normal level. By skip-frame printing of the negatives, two molds are made, on the stock of the film with half the normal base thickness. They are chemically tight (ie, silver particles that form black and white images are proportionally replaced by dye) to colors that roughly complement the filter color (red for green screened images and vice versa), as subtractive color reproduction requires. They are then cemented together, base to base, into a single strip of film. No special projection equipment required.
The first film publicly displayed using this process is The Toll of the Sea (1922) starring Anna May Wong. Perhaps the most ambitious Technicolor feature is the The Black Pirate (1926), starring and produced by Douglas Fairbanks.
In 1928, the system was enhanced by the adoption of ink dyes, which made it possible to transfer dyes from both color matrices into one-sided molds, thereby eliminating the hassle of attaching two prints back to back and allowing multiple prints to be made from a single matrix pair.
Technicolor systems are very popular for several years, but it is an expensive process: the cost of shooting three times more than the cost of photography and black and white printing is also much higher. In 1932, color photography was generally almost deserted by large studios, but then Technicolor introduced a new process that recorded all three main colors. Utilizing a dichroic diode file flanked between two 45-degree prisms in cube form, the light from the lens is divided into two paths to expose three black-and-white films (two of them in bipack), each to record the density for red, green and blue.
These three negatives are printed onto gelatin matrix films, which are processed with selective hardening developers, which are treated to remove silver, and heat-washed to leave only the gelatin image. A receiver print, which comprises 50% of the black-and-white silver print density for the green component, and includes the soundtrack and the frame lines, is fabricated and treated with mordant dye to aid in the imbibition process ("black" image inclusion was discontinued in early 1940 -an). The matrix for each color is immersed in the complementary dye (yellow, cyan, or magenta), then each successively brought to high pressure contact with the receiver, which absorbs and holds the dye, resulting in an almost complete color spectrum. , unlike the previous two-color process. The first animated film to use the three-color system (also called three lines) was Walt Disney's Flowers and Trees (1932), which introduced it to an enthusiastic public. The first short live-action movie is La Cucaracha (1934), and the first all-color feature in "New Technicolor" is Becky Sharp (1935).
The rise of television in the early 1950s contributed to a heavy medieval drive for color in the film industry. In 1947, only 12 percent of American films were made in color. By 1954, that number had risen to more than 50 percent. The color explosion was helped by the near-break of the Technicolor monopoly on the medium. The last booth of black and white films made by or released through major Hollywood studios appeared in the mid-1960s, after which the use of color films for all productions was effectively mandatory and exceptions were rare and arrogantly made.
Sound Era
Initially, there were technical difficulties in syncing images with sound. However, there is still a significant interest in films for films to be produced without sound. The era from the 1890s to the late 1920s, often referred to as the silent era of film. To improve the viewer's experience, silent films are usually accompanied by live musicians and sometimes sound effects and even comments spoken by a showman or projector. In most countries, screen text is used to provide dialogue and narration for the movie.
Experimentation with sound film technology, both for recording and playback, is almost constant throughout the silent era, but the twin problems of synchronization are accurate and amplification quite difficult to overcome (Eyman, 1997). In 1926, Hollywood studio Warner Bros. introduced the "Vitaphone" system, producing short films from live action and public figures and added recorded sound effects and orchestra scores to some of its key features.
During late 1927, Warners released the The Jazz Singer , which was mostly silent but contained what is generally regarded as the first sync dialogue (and singing) in a movie. Early sound-on-disc processes such as Vitaphone were soon replaced by sound-on-film methods like Fox Movietone, DeForest Phonofilm, and RCA Photophone. This tendency convinces industrialists who are reluctant to say that "talking pictures", or "talkie", is the future. Much effort was made before the success of The Jazz Singer , which can be seen in the list of movie sound systems.
Digital movies
Digital cinematography, the process of shooting films using a digital image sensor rather than through film stock, has replaced analog film technology. Since digital technology has increased in recent years, this practice has become dominant. Since mid-2010, most films around the world have been captured and digitally distributed.
Many vendors have brought products to market, including traditional film camera vendors such as Arri and Panavision, as well as new vendors such as RED, Blackmagic, Silicon Imaging, Vision Research, and companies that traditionally focus on consumer and broadcast video devices such as Sony, GoPro, and Panasonic.
Currently digital cameras with 4k output are roughly equivalent to 35mm films in resolution and dynamic range capacity, but digital movies still have a slightly different look to analogue movies. Some filmmakers and photographers still prefer to use analog movies to achieve the desired results.
External links
- View inside old-fashioned camera * popup warning, possibly vanity site *
- Museum Of Motion Picture History, Inc.
- The film history exhibition in Florida, presented by the State Archives of Florida
- American Cinematographer - January, 1930, Early History Of WIDE FILM
- The History of Movie Formats
- History Technicolor
- What is Camera Obscura?
- Voice History Movies on FilmSound.org
- Introduction to the Initial Cinema
- List of Early Voice Films 1894-1929 on Silent Era website
- Official Website of Film Historian/Oral historian Scott Feinberg
- The Reality Movie
- Movie History by Decade * popup warning *
- The "History Westphalia project in the movie"
- Cinema: From 1890 To Now
Source of the article : Wikipedia
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