تويت
التصوير الفوتوغرافي الحديث
صنع صور متحركة للتلفزيون
المعدات
الكاميرا، الفيلم
EQUIPMENT
THE CAMERA
We have discussed motion picture cameras in a general way in Assignment 19. The following paragraphs will continue this subject from the point of view of serious commercial work , particularly with regard to television use . Before we discuss the camera , however , it would be well to devote a little time to the subject of film size .
As you know , there are three film sizes in general use - 8mm ( this includes the larger Super 8 ) , 16mm and 35mm . Let us see how they are used by the professional movie maker .
8mm photography is primarily intended for use in the home . While modern technology has resulted in a vast improvement in the 8mm image through important advances in film characteristics and lens optics , the fact remains that even the Super 8 image , which is 50 % larger in area than the old regular 8mm image , is still noticeably inferior to the 16mm . In an emergency , 8mm movies can be used if the subject is so important that a bad picture is better than nothing , but in that case , the 8mm film must first be projection printed onto 16mm film because TV station equipment will not accommodate 8mm film .
16mm film is widely used in television . The 16mm camera is smaller , lighter and a much more flexible instrument than the larger 35mm camera . It has a much larger choice of lenses in all categories , but it is particularly superior in its use of high speed , wide angle and zoom lenses . A 400 foot magazine of 16mm film will last as long as 1,000 feet of 35mm film and weighs less than one - fourth as much .
For all these reasons the 16mm camera has become the standard for on location shooting of news and feature stories . One of the many good commercial 16mm movie cameras is shown in Figure 1 .
The 35mm camera is still supreme for studio work , for animation and wherever the best in film quality is wanted . In this type of work , the cost of film is a relatively small part of the overall cost of production , so that the 35mm camera is used by choice in all studio work . If a 16mm print is preferred for showing to small audiences , it can be made from the 35mm original by projection printing . The result is a better print technically than one which is produced with a 16mm camera . Figure 2 shows a 35mm movie camera which is widely used for television work .
Figure 1 Shown above is a professional 16mm movie camera with a three lens turret but it can also accommodate a zoom lens . It has reflex viewing through the taking lens and holds a 100 foot roll of film inside the body or a 400 foot roll in an external magazine .
Figure 2 At the left is a professional 35mm movie camera that will accommodate a 400 foot roll of film in the external magazine only . Both of these cameras are electric driven . Both are ideal for news or commercial use as they can be hand - held or used on a tripod .
Figures 1 and 2 courtesy of Arriflex Corpora tion of America
This 35mm professional studio movie camera is the type used to shoot Hollywood productions . It is four lens turret , reflex viewing , and must be used on a tripod . electric driven , has
Courtesy of Mitchell Camera Corp .
THE FILM
COLOR OR BLACK - AND - WHITE ? For home movie use , whether 8 or 16mm , there is seldom any doubt on this point . Color is so universal that you may find it difficult to obtain black - and - white film in these sizes . The professional movie maker , of course , has his own sources of supply and he can obtain 16mm film in black - and - white or in color so that his choice is not limited in this respect . Generally speaking , the customer or client determines the choice . If the photographer is free - lancing and makes the decision himself , the end product or the end use of the film is the deciding factor .
NEGATIVE OR REVERSAL ? The amateur movie maker is not faced with this problem . The film he shoots is the film he projects and the obvious choice , therefore , is reversal film , whether he shoots in color or black - and - white . The professional , however , makes his film for a wide variety of uses and the amount of money involved is often quite considerable . The choice of film type is often of extreme importance . The cost of producing a film can be very high , and the film that runs through the camera is , therefore , very precious . Not only does it represent the cost of production , but often it cannot be replaced if it is damaged .
The commercial photographer , unless he is working on a very tight budget , never works with the original film whether he shoots in black - and - white or in color . There are a number of ways in which he can protect the master film . If he is shooting in black - and - white , the original exposure is on negative film . A print is then made from the original negative , and this print is called the work print . The original negative is handled very carefully so that it is not damaged , and it is put away immediately after the work print is made . All subsequent cutting and editing is done on the work print . When the work print is completed , it is projected for the client and approved by him . The negative is then cut and edited very carefully to match the approved work print .
If only a limited number of prints is required , the original negative is used to make them . However , if a larger number of prints is needed , as is often the case for sales promotional films , or if the master negative represents a great deal of money and is irreplaceable , a duplicate negative may be made from it by the process laboratory . Prints may then be run off from the duplicate . Where there is considerable money involved , the master negative is usually made on 35mm film so that if 16mm prints are required , they are made by projection from the 35mm negative .
If the film is to be shot in color , the technique involved is somewhat more complicated . If 16mm film is used , the original exposure is necessarily on reversal film , since there is no color negative material available in this size . There are special low contrast reversal films available which have been designed especially . for commercial use where the normal procedure is to use work prints for cutting and editing . The low contrast film makes it possible to obtain a much better duplicate than can be made from ordinary reversal color film . This work print is then edited in much the same way as a black - and - white work print , after which the original film is edited to match . Depending upon the specific needs of the job , the first work print may be used for projection , or duplicates of it run off from the original .
The same method may be used with 35mm color , but it is more common to shoot the original on color negative film and make a work print from it . From then on , the procedure follows closely that used for black - and - white prints .
The above description is necessarily somewhat general . In actual practice there are a number of variations of the above procedures , and these come into play when the job of editing becomes complex , as in the addition of sound or the use of special effects . There is no need to delve further into this matter since it lies within the province of the processing laboratory rather than the photographer .
FILM SPEED . In our discussion of still photography throughout this course , we have always recommended that the fastest films be avoided if possible . These recommendations apply to motion picture graphy to an even greater degree . The image size is much smaller - a 16mm frame is approximately 3/16 inch wide , and a 35mm movie frame is less than half that of a 35mm still frame - so that grain size becomes much more of a problem . For that reason , the fastest films designed for motion picture use are slower than those designed for still photography .
صنع صور متحركة للتلفزيون
المعدات
الكاميرا، الفيلم
EQUIPMENT
THE CAMERA
We have discussed motion picture cameras in a general way in Assignment 19. The following paragraphs will continue this subject from the point of view of serious commercial work , particularly with regard to television use . Before we discuss the camera , however , it would be well to devote a little time to the subject of film size .
As you know , there are three film sizes in general use - 8mm ( this includes the larger Super 8 ) , 16mm and 35mm . Let us see how they are used by the professional movie maker .
8mm photography is primarily intended for use in the home . While modern technology has resulted in a vast improvement in the 8mm image through important advances in film characteristics and lens optics , the fact remains that even the Super 8 image , which is 50 % larger in area than the old regular 8mm image , is still noticeably inferior to the 16mm . In an emergency , 8mm movies can be used if the subject is so important that a bad picture is better than nothing , but in that case , the 8mm film must first be projection printed onto 16mm film because TV station equipment will not accommodate 8mm film .
16mm film is widely used in television . The 16mm camera is smaller , lighter and a much more flexible instrument than the larger 35mm camera . It has a much larger choice of lenses in all categories , but it is particularly superior in its use of high speed , wide angle and zoom lenses . A 400 foot magazine of 16mm film will last as long as 1,000 feet of 35mm film and weighs less than one - fourth as much .
For all these reasons the 16mm camera has become the standard for on location shooting of news and feature stories . One of the many good commercial 16mm movie cameras is shown in Figure 1 .
The 35mm camera is still supreme for studio work , for animation and wherever the best in film quality is wanted . In this type of work , the cost of film is a relatively small part of the overall cost of production , so that the 35mm camera is used by choice in all studio work . If a 16mm print is preferred for showing to small audiences , it can be made from the 35mm original by projection printing . The result is a better print technically than one which is produced with a 16mm camera . Figure 2 shows a 35mm movie camera which is widely used for television work .
Figure 1 Shown above is a professional 16mm movie camera with a three lens turret but it can also accommodate a zoom lens . It has reflex viewing through the taking lens and holds a 100 foot roll of film inside the body or a 400 foot roll in an external magazine .
Figure 2 At the left is a professional 35mm movie camera that will accommodate a 400 foot roll of film in the external magazine only . Both of these cameras are electric driven . Both are ideal for news or commercial use as they can be hand - held or used on a tripod .
Figures 1 and 2 courtesy of Arriflex Corpora tion of America
This 35mm professional studio movie camera is the type used to shoot Hollywood productions . It is four lens turret , reflex viewing , and must be used on a tripod . electric driven , has
Courtesy of Mitchell Camera Corp .
THE FILM
COLOR OR BLACK - AND - WHITE ? For home movie use , whether 8 or 16mm , there is seldom any doubt on this point . Color is so universal that you may find it difficult to obtain black - and - white film in these sizes . The professional movie maker , of course , has his own sources of supply and he can obtain 16mm film in black - and - white or in color so that his choice is not limited in this respect . Generally speaking , the customer or client determines the choice . If the photographer is free - lancing and makes the decision himself , the end product or the end use of the film is the deciding factor .
NEGATIVE OR REVERSAL ? The amateur movie maker is not faced with this problem . The film he shoots is the film he projects and the obvious choice , therefore , is reversal film , whether he shoots in color or black - and - white . The professional , however , makes his film for a wide variety of uses and the amount of money involved is often quite considerable . The choice of film type is often of extreme importance . The cost of producing a film can be very high , and the film that runs through the camera is , therefore , very precious . Not only does it represent the cost of production , but often it cannot be replaced if it is damaged .
The commercial photographer , unless he is working on a very tight budget , never works with the original film whether he shoots in black - and - white or in color . There are a number of ways in which he can protect the master film . If he is shooting in black - and - white , the original exposure is on negative film . A print is then made from the original negative , and this print is called the work print . The original negative is handled very carefully so that it is not damaged , and it is put away immediately after the work print is made . All subsequent cutting and editing is done on the work print . When the work print is completed , it is projected for the client and approved by him . The negative is then cut and edited very carefully to match the approved work print .
If only a limited number of prints is required , the original negative is used to make them . However , if a larger number of prints is needed , as is often the case for sales promotional films , or if the master negative represents a great deal of money and is irreplaceable , a duplicate negative may be made from it by the process laboratory . Prints may then be run off from the duplicate . Where there is considerable money involved , the master negative is usually made on 35mm film so that if 16mm prints are required , they are made by projection from the 35mm negative .
If the film is to be shot in color , the technique involved is somewhat more complicated . If 16mm film is used , the original exposure is necessarily on reversal film , since there is no color negative material available in this size . There are special low contrast reversal films available which have been designed especially . for commercial use where the normal procedure is to use work prints for cutting and editing . The low contrast film makes it possible to obtain a much better duplicate than can be made from ordinary reversal color film . This work print is then edited in much the same way as a black - and - white work print , after which the original film is edited to match . Depending upon the specific needs of the job , the first work print may be used for projection , or duplicates of it run off from the original .
The same method may be used with 35mm color , but it is more common to shoot the original on color negative film and make a work print from it . From then on , the procedure follows closely that used for black - and - white prints .
The above description is necessarily somewhat general . In actual practice there are a number of variations of the above procedures , and these come into play when the job of editing becomes complex , as in the addition of sound or the use of special effects . There is no need to delve further into this matter since it lies within the province of the processing laboratory rather than the photographer .
FILM SPEED . In our discussion of still photography throughout this course , we have always recommended that the fastest films be avoided if possible . These recommendations apply to motion picture graphy to an even greater degree . The image size is much smaller - a 16mm frame is approximately 3/16 inch wide , and a 35mm movie frame is less than half that of a 35mm still frame - so that grain size becomes much more of a problem . For that reason , the fastest films designed for motion picture use are slower than those designed for still photography .
تعليق