FILM Sorts AND Organizations.


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Inversion film gives a positive picture specifically on the first camera film. ... picture on single-perf 16 mm stock. 16 mm picture on twofold perf stock ...
Transcripts
Slide 1

FILM TYPES AND FORMATS The Essential Reference Guide for Filmmakers

Slide 2

Types of Motion Picture Film Camera Intermediate and Laboratory Print

Slide 3

Camera Films Captures the first picture. Negative film delivers the converse of the hues and/or tones our eye finds in the scene and must be imprinted on another film stock or exchanged for definite survey. Inversion film gives a positive picture straightforwardly on the first camera film.

Slide 4

Camera Film Color Balance Camera movies are adjusted for 5500K light or 3200K tungsten. Shading movies assigned T are tungsten-adjusted. Shading movies assigned D are sunshine adjusted.

Slide 5

Intermediate and Laboratory Films

Slide 6

Print Films Print film is utilized to print both the primary work print (when work print is being utilized) and numerous duplicates of the last altered form. Shading Print Camera Negative DIRECT PRINTING Master Positive Duplicate Negative RELEASE PRINTING

Slide 7

Film Gage Four normal camera film gages: Super 8 16 mm 35 mm 65 mm

Slide 8

Image Format and Aspect Ratio Aspect proportion is free of gage.

Slide 9

1.37:1 and 1.33:1 Need to draw 1.33 spotted lines on this

Slide 10

1.85:1

Slide 11

2.40:1

Slide 12

1.66:1

Slide 13

1.78:1

Slide 14

70 mm

Slide 15

Shooting Formats 1.37:1 1.85:1 1.66:1 (red) and 1.78:1 (cyan)

Slide 16

4-perf Scope A degree negative and print. The whole territory will turn into the 2.40:1 picture when unsqueezed.

Slide 17

4-perf Super 35 The containers in the pictures underneath demonstrate the perspectives that can be taken from a Super 35 mm outline: 2.40:1 1.85:1 1.78:1 (16x9)

Slide 18

4-perf Super 35 pressed print of the 2.40:1 If shooting with a 1.85:1 viewpoint proportion, the picture will likewise must be resized to fit in a standard discharge group.

Slide 19

3-perf 1.85:1 1.78:1 (16x9) 1.37:1 (4x3)

Slide 20

2-perf

Slide 21

Vistavision

Slide 22

Hard Matte

Slide 23

Super 16 1.66:1 1.78:1 (16x9) 1.85:1

Slide 24

Super 16 WHY SUPER 16?

Slide 25

16 mm Regular 16mm picture on single-perf 16 mm stock 16 mm picture on twofold perf stock

Slide 26

Super 8

Slide 27

65 mm We didn\'t utilize this photo here in the book, does it work?

Slide 28

65 mm IMAX

Slide 29

Choosing a Film Stock Suitability for

Slide 30

What are Your Shooting Needs? Where will your film wind up? On film, or other electronic or advanced configuration? Is it true that you are working with sunlight or tungsten lighting? Flighty shooting? Low light conditions? Do you require medium rate with better picture structure? High shading immersion? Blue screen work? Lower contrast, more open shadows, gentler look?

Slide 31

Negative and Reversal Films Negative Range of velocities/parities/looks accessible Latest emulsion innovation Wide introduction scope Fine grained and sharp Processing broadly accessible Printing/filtering important to see

Slide 32

Negative and Reversal Films Reversal Direct positive picture Brilliant immersed hues Fine grained and sharp Narrow presentation scope

Slide 33

Film Speed Film Speed

Slide 34

Color Balance Daylight film uncovered in Daylight film uncovered in Tungsten

Slide 35

Conclusion QUESTIONS?

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