Digital cinema has quickly created a huge impression in the worlds of film and television. The progression from traditional film to digitized software has brought upon a myriad of new methods and processes to create and transport film more easily than ever before. 2K Resolution is one of many forms of digital cinema that has long been used in the history of film and is still the most popular format to use during screenings of feature films at a movie cinema.
The history of 2K Resolution begins from the beginning of digital cinematography. First starting in the late 1980’s, Sony had started making a marketing push into a new system known as ‘electronic cinematography’. They had attempted to begin this new system by utilizing traditional analogue HDTV cameras and it was not very successful. Later in 1998, HDCAM recorders had just been released alongside digital video cameras which were the first to shoot with a 1920 x 1080 pixel range on CCD technology. The entire system was revamped and become known as ‘digital cinematography’. This paved the way for a new benchmark in cinema history and digital cinema was already at the helm.
2K Resolution is related to digital cinema; it is a primary method of storing video as an electronic copy contained inside a storage device. Computer severs and hard drives are used to store the contents of the video. Digital cinema creates an electronic projection onto a large screen instead of projecting hard light like in traditional cinema projection. Although digital cameras are not exactly new, along with post production houses that have used digital technology for many years, there has been a big push for all-digital distribution which will eventually lead to the fall of motion picture film productio...
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...on has long been used during most peoples’ experiences at the cinema and it is likely that it will continue to be used more often into the future. Many cinemas around the world are now switching towards digital projection with 2K Resolution taking the helm; 96% of all cinemas utilize 2K digital projection and regardless of a film’s original format, be it film, digital, HD or 4K, it is more likely that movie-goers will view a feature film in 2K Resolution.
Images that are projected in 2K Resolution can be used in a variety of bit forms; 10 bit is usually the most commonly used form. In terms of RGB formatting, this allows for 1,024 graduations of red, green and blue. When it comes to the actual images sizes of 2K, which are both 2,048 x 1556 and 2,048 x 1080, they are allocated into two file formats: Cineon or DPX (also known as Digital Picture Exchange Format).
Science fiction movies have taken a leap with the use of its new technology: 3D. With the help of 3-D camera systems, projectors, sound effects, and shutter glasses, film makers have been able to improve science fiction movies, captivating audiences of all ages. It was not until 2004 when 3-D technology regained its popularity after having a thwarted emergence during the 1920s. The first 3-D movie was produced in 1922. Although Avatar is considered the best 3-D film ever made, several movie critics disagree, arguing that “House of Wax”, produced in 1923, has been the best 3-D movie so far. Many companies, such as Sony, Panasonic, and LG, are already selling TV screens with this innovative technology integrated in it. However, not everything about 3-D technology is as good as it seems; it has its drawbacks as well. And it has been recommended that children under the age of 12 should not watch 3-D television until their eyes are fully developed.
It is very important how you put things up on the screen. It tells the viewer what the movie is about. Every single frame in a movie tells the fate of the characters.
The formal characteristics of the work are crucial in their produced effect upon the audience. It is a four panel screen landscape, whose size of 7354 cubic meters is made referent in the title. Despite its monumental size, the work does not function as an oppressive weapon but rather a positive force, one that is able to free us from our inhibitions. Rist frequently experiments with the various ways in which video can be projected onto surfaces. Though she does not push the technical boundaries of the video medium medium, she nonetheless pushes the limits within video projection. Requiring seven different projectors to be linked seamlessly, her work is a technical achievement for this feat alone. A large circular couch occupies the center of the exhibition space. Its shape is meant to be reminiscent of the human iris, but also bring to mind the iris of the camera as well.
The 18th century has marked the commencement of the innovation of cinematography. The invention of cinema owes its existence to a few investors and scientists who are broadly known for laying down its foundation. Among those pioneers are the Lumiere brothers who were some of the earliest contributors to cinema, inventing the first real film camera called the "cinematographe", which effectively functioned as a camera, projector and printer all in one (Barnauw, 1993:6). Thus giving rise to the art of film making. Initially, in the early years of cinema since there was no developed structure [or language] to tell cinematic stories, the early Lumiere brother?s films such as Workers leaving the Lumiere factory (1895) and The Arrival of a Train at the Station (1895), were composed of a single shot, no camera movement and only one continuous action from beginning to end (Obalil, 2007).
As time and people are continually changing, so is knowledge and information; and in the film industry there are inevitable technological advances necessary to keep the attraction of the public. It is through graphic effects, sounds and visual recordings that all individuals see how we have evolved to present day digital technology; and it is because of the efforts and ideas of the first and latest great innovators of the twentieth century that we have advanced in film and computers.
The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.
The film Cinema Paradiso was originated in 1988, it is a drama film that was directed by Giuseppe Tornatore and it’s original title was Nuovo Cinema Paradiso. The film was an inspiring way of exploring Italian Cinema and how it’s importance to viewers it truly is. Salvator, who is the main character looked up to Alfredo as a child, who was his best friend and teacher who taught him everything he knows about film making. In Cinema Paradiso the film dealt with several elements such as scenery, photography, editing, sound, lighting. Cinema Paradiso film showed specific understanding of the Italian and American traditions place in the history of this film. Cinema Paradiso is a film that not only is strong in Italian culture but also shows the significance
Digital Television Resolution: 480 progressive-scan lines, which means that the entire screen is refreshed at the same time.
In Lev Manovich’s What is Digital Cinema, he states that “traditional film technology is universally being replaced by digital technology.” (Manovich, 178) This is indeed true. Digital technology is changing video games as well. Both films and video games depend on each other. Film studios and video game developers remediate each other’s product to maximize profits. Filmmakers, cinematographers, directors, actors and composers often work on video games. The two industries use the same technology. Both medias tell interrelated stories in both narrative worlds, which Jenkins calls it, transmedia storytelling. Transmedia storytelling is an approach that reconfigures the entire media experience. Video games that are based on films allow the players to interact with the characters that are seen in the film by manipulating the console’s controller.
What is color? If someone were to ask you that, what would your answer be? How do you describe yellow without saying its name? You might say it reminds you of sunshine or of school buses or of warmth, but those are all examples. It’s funny how something so integral to our daily lives could be so hard to explain. Could you imagine a world entirely enveloped in grey-scale? A permanent film noir. Color is like sound, all around us, conveying emotion, shaping our world. Without it, our world would be bland; without distinction. Likewise, film is a world of its own, transporting you into its universe, putting you in the characters’ perspectives. Ever since the beginnings of film, filmmakers have looked for ways to put color in film, expanding the
The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.
Many people don’t think about it so much, but movies (or just film in general) have become such a big part of our lives that we don’t think much of it because it just feels like a usual part of living. But have you ever wondered why this is, and how far back film started? Movies and film have been around for a long time, have developed in big ways throughout time, and has advanced in such a big and new way to this day.
Computer technology invades the film industry. The existence of computers have aided in the production of genres of film ranging from action movie special effects, to cartoon animation and claymation. Computer Generated Imagery, better known as CGI, assists filmmakers in many ways. An image can be made two-dimensional from a three-dimensional scene, camera angles can be altered to make a character seem larger and thus more important than its surrounding bodies, and colors can be brightened or neutralized, among other things (Parsons, Oja 1). Without the aid of computers, movies would not have the ability to be what they are today.
The purpose of this research assignment is to put forward a convincing argument in how digital technology in the last four years have completely revolutionised the whole film industry. This thesis will attempt to focus on the main disciplines of film making and the impact that technology has had on each area. Firstly, this article will look at recent changes in the pre-production area of film making followed by what new equipment and storage facilities are being used during film production. Next is arguable the biggest transformation in the film industry as a result of technology, namely the post production stage. New methods of film distribution are explored followed by the negative impact that technology has had on the film industry with the main focus being on the illegal distribution of copyrighted film footage. New ways in post-theatre film distribution is also explored and the impact that continual break-through technologies are having on the education and training of professionals working within the film industry. Finally an examination of the impact of computer generated graphics on the film industry is concluded by a brief discussion on what the future may hold for the film industry.
The Role of Computer Generated Imagery in the Film Industry Computer Generated Imagery is the special effects used in motion pictures to create a visual depiction of an illusion that can not be easily created in real life. Directors of major motion pictures have been using these technologies since the early days of the personal computer. Early on, when and special effects were in their beginning stages, it was difficult to make efficient and effective effects that are well accepted by the movie critics and the general public. An evolution of special effects and the introduction of computerized animation brought the standards for movie effects to a higher level. The development of new methods of Computer Generated Imagery for less money and more effective than in the past has allowed even fairly low budget movies to incorporate such technology.