Beauty Arrangements You Require to Make

Although when You already have the agreement of your wedding, You have all your beauty products?  The beauty of planning is an important part of the preparations for the wedding ceremony, not a lot of important parts of the economy. For this purpose will start cooking right away beauty.

Although your Wedding ceremony beauty preparations would be several steps that you want to select.  1 all may wish to decide how you want to get their hair and makeup.  Bridesmaids, his GOB., all of which are similar to what they consider their agreement, although hair hair styles also are fascinated.  If you find yourself making a complex event, may wish to consider hiring the services of a professional beauty or path "," your local hair salon of beauty or testing appointments.

Speaking of the beauty salon and hair, when you want to make appointments to get the rest to your marriage & amp; hair that has been done, you will need to want to make appointments in advance.  After your wedding is scheduled for "marriage", I wish it is possible to determine whether the meetings, in particular, as as if you have your heart set special hair salon. You can work on only one wedding at a hair salon smaller ceremony, wedding reception is already in use.

In addition to getting your hair done in a day of your wedding, you might also be interested in getting your nails done or do your makeup professionally applied.  If you are intrigued in the get your makeup professionally, you've probably used the did the trick is accurate after hair. Both nail it may be necessary to make an appointment for a few days before the wedding ceremony.  When you or your bridesmaids require settings nail may be made at the last minute.

If you hope that everything will continue also on your wedding, you can aim to prepare for the unexpected. In beauty and fashion, the unexpected can contain a tear in your dress or dress up one of my bride, Speck or a lot of sweating. For this use, you may want to consider an emergency bag beauty & amp; hand you at all times during your marriage ceremony, especially before the ceremony.  Several times, the maid of honor will be responsible for coming up with such a bag, but still, you can ensure that this happens.

As for the items that You want to go indoors bag beauty crisis, You can try the float full of something that You think you or your bridesmaids You may require.  The items that You would have been looking for to enter in the pockets of beauty pressing including makeup, hand lotion, deodorant, hairspray, hair gel, brush, comb, some bobby pins, sewing kit and minor crises that stain chemicals.  In these types of elements and more in the bag beauty crisis will reduce the number of unexpected events that can end the drag of your wedding day.

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Cinematography : Depth of field or soft-style?

However, there have been several filmmakers who were already experimenting with higher depth of field. The highlight of this alternative development may be the work of cinematographer Gregg Toland and director Orson Welles on Citizen Kane call (1941). The combination of various technical developments of the 30s - wide-angle lenses, light-sensitive panchromatic films, advanced arc lamps, specially coated lens systems to better light capture and the new, silent Mitchell Camera - allowing freer use of field depth.

The development is therefore a reciprocal influence of production and technical innovation. Technical developments allowed only certain preferred ways of working and therefore individual stylistic device. On the other hand, the specific production requirements placed on the developer, asked for certain innovations and thus controls the direction of research. There was, however, alternative developments within this area where relations system.
Deep Space cinematography and realism

Andre Bazin celebrates the art of Deep Space cinematography, especially the film Citizen Kane , as a prime example of his definition of realism. For him, the rules of assembly are just patronizing the audience while she / he can choose from more pronounced depth itself the object of his attention. David Bordwell contradicts this approach vigorously, and shows that the quasi-realistic representation of the depth of field already includes significant artistic alienation effects .

A special technique, the so-called "forced perspective" ("forced perspective"), can only succeed with the deep focus cinematography, but it is just not an example of realism. For the Walt Disney - Fantasy film The Darby O'Gill ( Darby O'Gill and the Little People , 1959) method developed makes use of the fact that the human eye due to the dimensionality of the film image cannot determine how far things or people are actually removed from one another so long as the camera or not the filmed objects toward each other. In order to create the impression that a normal-sized person interacts with a character in the brownies format, it was the larger figure draped with a piece of equipment in the foreground of the scene appear smaller is to end the other hand, four times the distance with a frame-accurate "fitting "four times larger equipment in the background. Markers helped the actors here, to play together despite the distance in compliance with the correct line of sight. For these scenes constructed Ub Iwerks , together with engineer Bob Otto, a camera with node-point perspective (English "node-point perspective camera"). This special camera produced from the two different sets seamlessly combined total consumption.  The complicated shots requiring a huge film set , the corresponding amount of light needed to allow a deep sharp picture film succeeds.

Literature 

Blandford, Steve, Grant, Barry Keith & Hillier, Jim (2001): The Film Studies Dictionary . Arnold: London
Bordwell, David (1985): The Mazda Tests of 1928 . In: Bordwell, David, Staiger, Janet and Thompson, Kristin: The Classical Hollywood Cinema. Film Style & Mode of Production to 1960 . Columbia University Press: New York, pp. 294-297
Bordwell, David (1985): deep focus cinematography . In: Bordwell, David, Staiger, Janet and Thompson, Kristin: The Classical Hollywood Cinema. Film Style & Mode of Production to 1960 . Columbia University Press: New York, pp. 341-352

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Deep focus cinematography

The deep focus cinematography is closely associated with the Deep Space mise-en-scčne , but it must not be synonymous. Paradigmatic example is and remains the film Citizen Kane (Orson Welles, USA 1941).

The use of depth of field than cinematographic technique is not only an invention of the 40s. The deep-focus cinematography , as well as its close relative, the deep-space mise-en-scčne , were already known in the early days of cinema as a stylistic device. During the 20s and 30s, however, sat down by at least one classic Hollywood style, the depth is often waived. In this 'soft style' ( soft style ) sharp contrasts were rejected as inartistic, a slight blur over all image planes was rather the goal. Considering the technological innovations in this period, it is obvious how much influence stylistic preferences of the filmmakers and technological innovation are mutually dependent.

Light

Until well into the twenties were carbon arc lamps and orthochromatic film for the standard of the filmmakers. Bulbs, as the product of General Electric Mazda Lamp , could not prevail for a long time, because their temperature was in the red light area, which could not expose the orthochromatic film. Early in 1928, finally isolated innovations were summarized in a larger research and development program. 

The year before, founded Academy organized by the ASC and affected companies such as General Electric, Eastman Mole-Richardson or a test program, were elicited in the benefits and use of Mazda lamps and panchromatic film. Bulbs had the great advantage that they were due to their lower power consumption significantly cheaper, easier to handle and transport. In addition, the carbon-arc lamps had the side effect that they have a permanent, high-pitched whistle gave of himself, which was during the introduction of sound film is a clear disadvantage. The bulbs within a short time they gained widespread use in the studios. A far-reaching consequence of Mazda lamps, however, was that they brought a certain fuzziness and contrast with the weakness. This fit indeed to the then popular soft style, but always led back to individual filmmakers try to return to carbon arc lamps. With the development of the Technicolor three-color system, which worked only with hard bulbs, carbon arc lamps were developed and could claim te late 30's again a certain market segment for itself.

Footage 

Already over 20 years, put the panchromatic film by by and by. Since he also responded to the red light, skin tones could be presented much better. The first panchromatic film materials were very sensitive to light ('slow'): The aperture must be wide open, the light can be amplified. Result was a low-contrast, bright lighting and a shallow depth that gave the image a soft expression. During the '30s, the film materials were developed. But most cinematographers used a wide open aperture, and bright lighting, as only this time the desired 'soft style' revealed. Few filmmakers have preferred to use higher contrast to sharp contours and a certain depth.

The introduction of sound

If the two developments of lighting and film footage to be considered first as independent, so can not deny that they were exactly in the period in which Hollywood surrounded to the clay. Arise out of the introduction of sound, other factors that influenced the lighting and film: the synchronization of sound with the picture of an increase in film speed made it necessary to 24fps. This resulted in a lower maximum exposure time, which in turn made a stronger illumination of the sets required. Still had to be soundproofed or arc lamps are replaced by the quieter Mazda lamps. The cameras had to be sound-insulated. This camera housing, however, led to that the camera filmed through a glass plate, which reduced the sharpness of the image and the light intensity again. Due to the lower exposure time cameramen were further enticed to open the aperture wide and thus reduce the depth of field.

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Dolly Zoom

When Dolly zoom moves the camera on rails ( Dolly ), while the focused object by an opposite adjustment of the focal length unchanged while driving in the image remains. This is the framing of the background either higher (with the Wegfahrt - dolly out, zoom in ) or smaller (in the driveway - dolly in, zoom out ) which creates an unnatural sogartiger effect, the first time in Alfred Hitchcock's film Vertigo - From the Empire the Dead (1958) was used to fear of heights to express. As the inventor of this effect is Irmin Roberts , who at that time for the filming of Vertigo as a cameraman (cinematographer), the 2nd unit had been committed.

The final effect is also often confused by experts because it appears at first contradictory. The background appears to meet the viewer when the camera moves away from the scene (see accompanying chart). Conversely, if a dolly in the extended perspective. Hitchcock himself was in one of his interviews with Truffaut erroneously to a dolly out remembered because in the appropriate settings in the movie Vertigo seems to remove the floor of the tower.

The dolly zoom is not in the post-production , but only live on set to produce a relatively large effort since then and was therefore rather rare and only used by very experienced directors. The difficulty is that the movement of the camera, changing the focal length and sharpness of the correction should provide a uniform motion, so the effect is perfect.
Steven Spielberg used the dolly-zoom in his ocean thriller Jaws . Here the shock response of the protagonist finds resonance in the camera work, as a lead actor Roy Scheider witness is like a shark kills a little boy. His face seems frightened by the dolly zoom rushing round to the spectators. 

In the Spielberg production Poltergeist is from 1982 in a setting both a dolly zoom in and a dolly zoom out used as a result here gives the impression that the film shown corridor would be reduced first and extend it again, with the zoom out eventually transition into a tracking shot to the end of the corridor leads to pursue an actress, as she runs into in the hallway. On the one hand, this gives the conclusion of a special dynamic setting, on the other hand by the dolly zoom but also to some extent, exposed. " 


Here in the beginning created the eerie impression that approximates the background to the foreground (if a person or object strongly to the fore), to make Francis Ford Coppola in Bram Stoker's Dracula advantage, but by deliberately in a scene no dolly zoom is used but the walls of a room can actually move through a moving scene image on the figure in the foreground. 

The impression is almost the same, however, is achieved through more traditional 'methods, which Coppola devotes much anyway (see also references in the film appear on the silhouette film and wanted to imperfect thumbnail images). Meanwhile, the real Dolly Zoom is widespread, but it can also occur unintentionally, as if shot from a moving car in the same direction and zoom out from a smaller image appears.



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Director's Cut

The term expresses the fact that this version of the first published version sells that does not meet the original intentions of the artistic director. A Director's Cut is usually some time (months to years) after the original version cut and preferably at most successful films on the market.

Often, a film based on tested audience reactions, re-cut with pre-screenings. This is the case, if the desired effect fails the test audience or otherwise fails, because individual scenes or plot lines in the version shown is incomprehensible. This may affect especially the end of the film. Cut this can lead to significant changes in the statement of a film. Thus, for example, the director's cut of Blade Runner , in contrast to the original theatrical version, an open end. 

In addition, it lacks the voice-over . Commentary by leading actor Salieri , the narrator and Mozart's antagonist in the movie Amadeus , is the Director's Cut blacker or abysmal shown during the professional killer in the Director's Cut of Leon - The Professional has received somewhat more human traits . Sometimes the sheer length is also a reason for cuts: movies are well over two hours often shortened to allow for two performances in one evening, and this improves the chances for the rental market.

Unlike in Europe, is the director of Hollywood films at the interface does not present itself often. Only a few influential directors is under contract at all the right to the Final Cut granted. This is the final version of the film, as after completion of production on the movie rentals will be delivered. The cutter cuts the film mostly alone and instead holds only after consultation with the director. This blessing then presented to him from the average or suggest further changes.

If a movie for later marketing ( video , DVD is prepared, television), the director shall, however, often even after the average desk and makes a his preferred version, which often contains a few additional scenes not in the original theatrical version available were. That is why a Director's Cut is not uncommon even much longer (for example 48 minutes at Apocalypse Now Redux ). It also occurs that a director's cut gets even shorter than the first version (Examples: Blood Simple , directed by Joel Coen ).

In addition to the Director's Cut, there are sometimes other reworked versions of films. These versions may arise without the intervention of the director and sometimes even against their will. Examples are the long versions of Dune by director David Lynch and The Blue Man by Michael Herbig .

The film editing (English Film Editing ), often interchangeably as mounting means includes the structuring and processing of the recorded audio and video material to the finished film . The interface consists of an intense debate in the course material resistant Materialsichtung, from material selection, assembly and arrangement of material variation by the cutter or cutters .

An interface (English Cut ) refers to the connection or disconnection point from one setting to another. In delineation of transitions is sometimes erroneously also called a "hard cut". This term actually means that between two consecutive film frames , there is no direct connection (local or temporal changes), because sections can not be blinded by example, by motion or connection Tonüberlappungen "soft" and not be consciously perceived.


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Digital Intermediate

Alternatively, the digital images from a digital movie camera used directly. The resulting material is cut and edited digitally ( color correction , CGI , etc.). This produces the so-called DI-master , which both as a template for later digital analysis ( DVD , HD DVD , Blu-ray Disc ) serves as well for the production of copies / master for the analog or digital cinema projection. To create analog copies of the film is exposed on the DI negative film and the resulting negative interaction in the lab copied. Alternatively, the digital cinema projection, a digital master in accordance with DCI created.

Engineering

The DI is usually stored in uncompressed frames. The memory required for this effort depends on the selected resolution and color depth. Common resolutions for photochemical film prints are 1920 * 1080 p , 2K (depending on the format from 1860 to 2048 horizontal pixels ) and 4K (depending on the format 3612-4096 horizontal pixels). For the digital performance are 1080p and the specification of the Digital Cinema Initiatives market-determining.
The number of vertical pixels depends on the aspect ratio of the selected image format used and the exposed surface from the camera.

2K and 4K

The classic 35-mm projection achieved in an independent testing by the International Telecommunication Union, a maximum image resolution of 875 horizontal lines (light-dark cycles). [1] The lion's share of all cinema productions are edited in 2K. Sometimes it is qualitatively reasonable to work with 4K resolution and perform.
From 1990 to 2007 hundreds of movies have been in 2K mastering, now nearly a dozen in 4K. Even in the digital cinema screens are now thousands of 2K globally, compared with only dozens of 4K cinema.
With the availability of new digital cinema cameras with 4K resolution as the RED camera, the 4K production significantly more widespread than previously experienced.
The market share of 2K editing of feature films since the 90s is consistently above 95%. In some cases, higher resolutions are used primarily for visual effects and for restorations.


Data volume

Charges for DI data sets and data rates were originally only comfortable using specific computer systems workable, since it is in the range of terabytes move.
As image data formats are used:
10-bit gamma-encoded RGB 4:4:4 signal (usual format, but a format with no reserve)
10-bit gamma encoded 4:2:2 YUV signal
12-bit gamma-encoded RGB 4:4:4 signal (to replace 10 bit)
16-bit linear 4:4:4 RGB signal
12-bit Bayer matrix nonlinear signal
16-bit linear signal Bayer matrix (usually without loss of L ³ (?) Compressed)
Instead of an RGB color space is used in current production of the XYZ color space that can represent all the existing colors. The gamma value for gamma-encoded signals is 2.6. Bit uncompressed audio is generally stored as 24.

The data sets and data rates (bit 3 × 10) for the smallest RGB format counts. At higher color depths (which are sought), increases the storage space required. By lossless or nearly lossless compression techniques can reduce the memory requirements by about a factor of 2.
The memory footprint refers to 2 hours and cut film. One must however be aware that as part of a film production many times this amount in circulation is:
The produced video footage on the set is usually in the 10 - to 50-fold term of the final film.
In addition to cutting process produces a final version cut a lot of intermediate results and alternative versions.
They want access to source material and other movies with no effort, that one wants to have the entire footage of the studio productions are all in a huge pool (so-called image library).

History

In 1990 the FDI procedure was first used for an entire movie: Beauty and the Beast Special Edition was the first completely digitally colorized and professionally developed film.
In 1993, the first film was restored with an existing DI: The Walt Disney production of Snow White and the Seven Dwarfs , where the original negative was scanned digitally with a resolution of 1937 by 2K/10 (which at that time remarkable for 725 GB of data has shown).
2000, the Coen Brothers film O Brother, Where Art Thou? the first new Hollywood movie and Chicken Run , the first European film, whose copies of the film insert complete master of a DI were created.

In 2002, Star Wars: Episode II - Attack of the Clones , the first film shot entirely digitally, was produced by DI.

In 2004, Spider-Man 2 copies as the first film of a 4K DI-master, but the digital effects were thereby still traditionally produced in 2K resolution and then extrapolated to 4K.
Meanwhile, the DI process has prevailed. Movies that are still being copied directly from the negative without digital intermediate step, have become a rarity. Of the ten most successful films of 2006, the three were animated films created entirely digitally (this one DI master is created without the step of scanning), while the remaining seven live action movies , three of which are partially and one was shot entirely digitally, all on one DI master copies.


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Credits in Movies

Many films show at the opening credits much less than that given above. These shortened opening credits usually present only the studios and the movie title and then Opening Title or opening titles mentioned. Some films do not present these details once. 

In the movie Once Upon a Time in the West (Once Upon a Time in the West, 1968) resigned as director Sergio Leone , despite the current over 10 minutes to complete opening credits the film's title. This was displayed at the end of the film to emphasize the end of the legendary Wild West. The director George Lucas left for a similar maneuver even the Writers Guild of America: For his film Star Wars (Star Wars ), he resigned in 1977 also at the mention of the actors and stakeholders at the beginning of the film - only the guy that was read, before release of the film for which he overtook a separate approval of the WGA. For the sequel The Empire Strikes Back , he did not and had to pay in the following lawsuit against him and the director responsible to heavy fines, after which he resigned from the Writers Guild.

If a movie only shortened or no opening titles, the first end credits are stylistically to compare with most of the above-described opening credits. Here, the order of citation is usually one is different, as the first director to be named, followed by the actors, etc. This is accompanied mostly that information that was already shown in the truncated opening titles, there is no longer or only late again . appear
The procedure described under Opening credits that some actors are provided with a direct role specification occurs statistically more frequently in the end credits to denaturalize probably not the same role at the beginning of the film. To avoid similar assumptions of the audience refrained David Fincher on the naming of Kevin Spacey in the opening sequence of the movie Seven , although there every other major actors have been mentioned. His participation had only read the first insertion in the closing credits.

This appreciation of the important functions according to the scheme of the opening credits has been completed, following the usual scrolling text credits. However, it should be noted that end credits, which have no preceding opening credits sequence, often many times the cast begin to break down that is, actor who played what role film. This breakdown is usually followed by closing credits, which have a "catch up" opening sequence later in the scrolling text part.

Cut in is a camera technique in which after a cut is shown with no change in position, a smaller image. To the contrary, the term is Cut Out used.

This technique of gradual zooming is often used when you jump around from a semi-related adjustment to the close-up of a person. Thereby the axis, on which the camera is connected to the filmed object, not be abandoned. Would be the example described, for example, not cut in or cut out when the first shot would have been filmed from the right and the second from the left.

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Film: TV and Video

Others were able to prevail to this day. In cinema, the image height is usually always the same - with the exception of, for example, for the screening of 70 mm film suitable cinemas covering the "normal case" the lowest part of the canvas. The image width will vary depending on film format. Therefore, in the movies - unlike the video, where the width of the reference level is - always the first height and the width behind called.

The classic format of 35-mm film is 1,375:1 (= 12,5:9). This format is used mainly in amateur and documentary use. In the movie it is increasingly wide-screen formats with the ratios 1.66:1 (15:9) and 1.85:1 (16,65:9) one. These ratios are generated by corresponding picture window in the movie camera or Mask in the projector, which are inserted into the beam path. It is also used just a small cut of each film frame and then stretched this proportion. (Further explanation in open matte .)

When Cinemascope process goes to a different way: The original ratio of 2.35:1 (21:9) is using an anamorphic lens housed in a 1:2 ratio to the footage: The height of the image is preserved, the image acts but compressed in the width. The demonstration of the finished film, the image must, however, with a special cylindrical lens ( anamorphic are called) again equalized.

In the 1950s and early 1960s were years of experimenting with different methods and aspect ratios. Another inexpensive method was Vistavision , since only converted cameras were needed, but the recordings still on 35-mm film. The aspect ratio was 1,96:1 here.


TV and Video

In the analog 4:3 TV was a common format, both the German PAL and the French SECAM or the U.S. NTSC . From the 1990s, increasingly the format was 16:9 (= 1.78:1) was used.
The digital television standards such as DVB and ATSC support in a variety of pixel aspect ratios, the display aspect ratios 16:9 and 4:3 as well as theoretically 2,21:1 (about 20:9), which is not used in practice. When high-definition television aspect ratio is 16:9 usual.
In DVD , SVCD , DVB, the images are often stored anamorphic - analogous to the Cinemascope process.

Screen aspect ratios

Especially for larger and high-quality televisions prevailed with the digitization and the move away from the cathode ray tube, the aspect ratio of 16:9. From 2009 even broader device came in 21:9 format (7:3 = 2.33:1) on the market, which films in the format of 2.35:1 can display without horizontal stripes, with no source optimized for this material exists and the Most of the content with vertical bars or inflated or distorted must be displayed.

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Box Camera

Kodak introduced in 1888 with the Kodak No. 1 specifically out a camera to sell his roll film. This camera was of simple construction, in order to appeal to prospective technically untalented. So you had to either flip the camera apart, much to adjust it.
This was a lot more for the successor to No. 2 of 1901. Exposed the No. 1 images still circular, so there were now rectangular format negatives in 21 / 4 "x 31 / 4", which is 6 cm x 9 cm corresponded. New at number two was also the case material, cardboard was not yet in front of camera design. Thus, this apparatus could, in contrast to expensive no one offered an unusually cheap and thus to the gigantic success. After 20 years, he was at that time still in production, were already sold 2.5 million copies. The immediate use of the camera also expressed in the slogan: You press the button then, do the rest! , thus freely translated: Press it once and do it from then everything else . When it was still No. 1: ! You press the button, we do the rest , it was this model that is still on the photo retailer and got it back later, along with newly inserted film, negatives and prints.

In Germany, the correct term "roll-film box camera" would have been. Box cameras were already at the beginning of photography, it was the simple counterpart of the complex Balgkameras. Towards the end of the 19th Century spoke often of the photo catalogs student cameras. These devices still used glass plates, which carry separately and deploy complex before the patient came. In the case of the new models roll film but once you took the term "box" from overseas.

Since the housing had to be finished easily and without expensive tools, it was preferably made of sheet steel, with expensive cameras ever made of lightweight aluminum and tin, with cheap cardboard. Plastic case was rare, since the heyday of this material only began with the end of the box era.
The typical structure was as follows: There was a front plate on which the lens, the viewfinder and the shutter was attached. With some cameras, this plate was fixed to the sides and the rear wall could expand or diminish either. Then let the film unit for guidance and spools holders take out what you had to toggle Filmtransportrad or pull out easily. In the expanded unit was then clamped a film. In particular, the Agfa-box cameras were set up. In another variant, the left front plate from the housing. In this case, the film guide was sitting on the front panel, then was pulled out of the housing.

In the case of a lens was a meniscus, also called Monocle, to use, so a convex-concave lens. This lens could be before or - then rotated by 180 ° - arranged behind the iris. In the latter case, there was usually a protective glass in front of the aperture and shutter. On the imaging quality of the lens position has no influence, but had to distortion. Before they created a panel attached pincushion, behind a barrel-shaped distortion. The latter meant a tube that protruded into the camera. This led to the perfect square, but also very large case.
An acceptable image quality could be achieved only with a small aperture ratio. At the film format 6 x 9, the limit is 1: 11, who was then also found frequently. Because the image quality of a meniscus to the screen out and fell off rapidly at this square format 6 x 6 was less far away, it could be the opening to 1: 9 enlarge.

The distortion of the meniscus was demonstrated by the use of two such lenses to compensate, which were arranged symmetrically around the aperture. Because of the higher costs but this was rarely used.

With very few box cameras came a achromat used, two cemented lenses, the chromatic aberration compensated. This effort could be realized only in the less popular upmarket.

Mostly had box cameras no distance setting, ie, a fixed-focus lens . At 6 x 9 was then mapped everything sharp from about 3 to 4 meters. For the range of 1 m to 2 m, there were so-called portrait lenses. There are few cameras could be set at a distance two or three stages. A sliding lens meant, however, been a considerable effort, which was not cheap for the models in question. There was also the danger that inexperienced users create then ever with the wrong attitude blurred images.

Virtually all cameras were dim, what usually happened in the beam path by a Swing-hole plate. In most cases, the panels were 11 and 16 to choose from, sometimes up to 3 f-stops. The values ??themselves were, however, as the shutter speed is often not specifically stated. Stopping the put at a meniscus lens, a significantly larger (and in medium format acceptable) picture quality with it. The so achieved greater depth of field was a by-product, partly served the aperture, shutter speed along with the simple, easy to control the exposure. Some boxes also was a close-up lens or a yellow filter mounted on the shutters and could as easily be selected.


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Film Images Moving Images

Usually the term is synonymous with " film images used. " To human perception enough already about 16 to 18 frames per seconds to give the illusion of fluid motion, continuity, create, unless the individual images differ only slightly from each other.

The invention of moving pictures (motion pictures) is based on series of pictures or photographs moment in the natural sequence (1, 2, 3, 4, 5, etc.), providing. The first "moving pictures" were technical advancements of the flip , as the phenacistiscope , the zoetrope or praxinoscope. With the Elektrotachyscop , the possibility of increased wall projection , it eventually led to the film.

The photographs themselves or an image carrier to be seen standing still. One speaks of interrupted or intermittent transport in conjunction with a lock on the record or a screen during playback. Between the moment or phase images , there is a dark pause. In the usual film camera a so-called breaks cycle into two parts by the complementary angle of the circular current closure are expressed, for example, 190 degrees transport dark phase and 170 degrees exposure or light phase.

The "inertia of the eye , "the so-called after-or Phi-effect has however nothing to do with the actual perception of motion in the film, which is widely believed, however erroneously. This Zglinicki "phenomena on the image persistence are based have to do with the cinematography basically nothing. Only stroboscopic phenomena - but in conjunction with the image persistence - may be addressed as an immediate precursor of the film "
The afterimage merely provides that the individual actually different images are seen as interrelated, and the dark phases are perceived as flickering. The actual motion perception is caused by the differences in the contents of successive frames, which are interpreted by the brain as changes in position and derived velocity. This is stroboscopic called.
Flicker-free display is possible from about 45 light-dark changes per second, perceive where most people only subconsciously fibrillation.However, very bright and crisp images, even here yet lead to fibrillation. This can make for an extended period of observation of moving images noticeable by eye fatigue or headaches. From about 60 light-dark changes per second, the risk of such effects is largely eliminated.A method with 60 frames per second is Showscan .

To actually do not take 50 or 100 frames per second have been used in the film early on the trick play any of the images several times. 16 (phases -) images per second are using a three-blade aperture or a translated triple rotating bezel with 48 light-dark changes to the presentation. Recorded from 24 film frames per second, the frame rate of sound films, with the help of a two-blade aperture 48 projected images, which is a compromise between stutter-representation, minimal material consumption and perceived as a flicker-free performance.

In video and television in the European process PAL and SECAM 25 frames or 50 fields per second shown, as this is customary in European electricity networks ac frequency of 50 hertz corresponds.

In addition to the simplex method described up to now there is the duplex method .
For playback of moving images, there are various techniques. The most important are:
? Film projectors ,
? Film viewer ,
? Cathode ray tube screens ,
? Plasma screens ,
? Liquid crystal displays ,
? OLEDs ,
? Beamer .
Plasma, liquid crystal displays and OLEDs due to their not functioning affected by the flicker.
If simultaneously with the moving images and sounds are still playing, then it is an audiovisual sequence .



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Moving images

To human perception enough already about 16 to 18 frames per seconds to give the illusion of fluid motion, continuity, create, unless the individual images differ only slightly from each other.

The invention of moving pictures (motion pictures) is based on series of pictures or photographs moment in the natural sequence (1, 2, 3, 4, 5, etc.), providing. The first "moving pictures" were technical advancements of the flip , as the phenacistiscope , the zoetrope or praxinoscope. With the Elektrotachyscop , the possibility of increased wall projection , it eventually led to the film .

The photographs themselves or an image carrier to be seen standing still. One speaks of interrupted or intermittent transport in conjunction with a lock on the record or a screen during playback. Between the moment or phase images , there is a dark pause. In the usual film camera a so-called breaks cycle into two parts by the complementary angle of the circular current closure are expressed, for example, 190 degrees transport dark phase and 170 degrees exposure or light phase.

The "inertia of the eye , "the so-called after-or Phi-effect has however nothing to do with the actual perception of motion in the film, which is widely believed, however erroneously. This Zglinicki "phenomena on the image persistence are based have to do with the cinematography basically nothing. Only stroboscopic phenomena - but in conjunction with the image persistence - may be addressed as an immediate precursor of the film " 

The afterimage merely provides that the individual actually different images are seen as interrelated, and the dark phases are perceived as flickering. The actual motion perception is caused by the differences in the contents of successive frames, which are interpreted by the brain as changes in position and derived velocity. This is stroboscopic called.

Flicker-free display is possible from about 45 light-dark changes per second, perceive where most people only subconsciously fibrillation.However, very bright and crisp images, even here yet lead to fibrillation. This can make for an extended period of observation of moving images noticeable by eye fatigue or headaches. From about 60 light-dark changes per second, the risk of such effects is largely eliminated.A method with 60 frames per second is Showscan .

To actually do not take 50 or 100 frames per second have been used in the film early on the trick play any of the images several times. 16 (phases -) images per second are using a three-blade aperture or a translated triple rotating bezel with 48 light-dark changes to the presentation. Recorded from 24 film frames per second, the frame rate of sound films, with the help of a two-blade aperture 48 projected images, which is a compromise between stutter-representation, minimal material consumption and perceived as a flicker-free performance.

In video and television in the European process PAL and SECAM 25 frames or 50 fields per second shown, as this is customary in European electricity networks ac frequency of 50 hertz corresponds.

In addition to the simplex method described up to now there is the duplex method .
For playback of moving images, there are various techniques. The most important are:
? Film projectors ,
? Film viewer ,
? Cathode ray tube screens ,
? Plasma screens ,
? Liquid crystal displays ,
? OLEDs ,
? Beamer .
Plasma, liquid crystal displays and OLEDs due to their not functioning affected by the flicker.
If simultaneously with the moving images and sounds are still playing, then it is an audiovisual sequence .




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Audiovisual sequence

This includes a certain image of synchronous sound sequence: With proper reproduction of the image sequence is a certain sound always played simultaneously with a certain image.

The seeing and hearing viewers can perceive a total of a moving picture and to hear the same sound sequence (eg, music or voice).

This allows information to be passed.

Through cameras and microphones at the site of an event, for example, information can be recorded as an audiovisual sequence that are similar to those as they would perceive a person's eyes and ears, which is located at the location of the cameras and microphones. When playing such an audiovisual sequence arise in the eyes and ears of the recipients in turn similar sensations like a man who had stood in the place of the camera and microphone.
It is also possible to create by drafting or editing audio-visual sequences derived not from the location of an event, but were artificially created or recombined. The viewer of such a sequence can sometimes have a similar impression as the witness of an event that has it but that never actually existed.

Audiovisual sequences can be transported or stored on different media, for example,

chemical paths on films or on
magnetic paths on magnetic tapes ( video ), more recently, increasingly, on
digital media such as DVDs or

Streaming video , so as a stream of data (both wired and radio via cable-free).
An audiovisual sequence can include anything, such as a

News program, a specific
time section of it, not a recorded
It has picture and sound of a surveillance camera with microphone, or even a
unintentionally by a technical malfunction caused a sequence of images and sounds.
The term film is used only for named and recorded audio-visual sequences, such as for feature films , documentaries or animated films .

To low beam (English fade in , fade-out ) are cinematic design elements that are often used to scenes clearly delineate. While a Fade in the beginning of a sequence indicates the end of which is marked by a fade-out. Fading in and comply with the curtain in theater .
Both techniques are often used together and serve to build a narrative structure. They enable both temporal and local jumps are illustrated.As artificial effects , but they interrupt the narrative flow and thereby a film one can episodic nature lend. This can reduce the distance between audience and story increase.

In addition to speaking at the brightening of the "black" image at the beginning of film and the darkening of the image at its end by Fade inand fade out . Variations of up-and fade-out, for example, the white visor, is performed at the same with a different color / contrast.

When the movie camera for this purpose is usually the variable shutter used, which allows the adjustment of the light sector, and thus the exposure time during the recording. Rare is the lens aperture in use, because they can not usually very close and because the change indepth may be disruptive. However, there are special lenses, the iris can be closed completely with the help of an additional lamella.

In professional fields, the fading in and out are usually the lab left.

By combining both techniques in conjunction with film rewind results in a transition .


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Anamorphic processes

Functioning

By the action of the anamorphic lens system is the CinemaScope process with optical sound oneaspect ratio of 2.35:1 achieved. In the former four-channel magnetic sound CinemaScope (Commager) the aspect ratio is 2,55:1.
The basic principle of an anamorphic lens design ensures that, when recording the image reduces the image in the horizontal plane by a certain anamorphic factor against the vertical. This creates the effect that the image is "compressed" in width by the anamorphic factor. In the projection of the film projector receives a similar lens system, called an anamorphic lens , which magnifies the image so much again in width and thus the image again "pulls apart". This is the image in the projection - over the image on the film - twice as wide.

Basically, would result from a normal image in the aspect ratio of 1.33:1 CinemaScope process by a factor of 2, an aspect ratio of 2,66:1. But this is not the case, because the inclusion of a film in CinemaScope process in the camera and later used when playing in the projector image window will be slightly higher, so the resulting image on the film has an aspect ratio of 1:1,175. This in turn results in a factor of 2 above, the aspect ratio. The process with the higher frame window uses it to increase the sharpness of the projected image. Through this technique, the scene of the film strip maximally utilized and there is not - such as in wide-screen process with lamination - unused part of the footage. However, this is also the framing narrower, which again lead to negative improper splices are visible.

The advantage of the CinemaScope process is that with low-cost standard material ( 35-mm film can be projected) one wide image. Alternative to CinemaScope, for example, 70-mm film (aspect ratio 2.2:1) and the original Cinerama, on other hand, have significantly higher material costs and also require special projectors.
Another advantage is that the light from the projector lamp is better utilized. Cinema projectors are equipped with rotationally symmetric ellipsoidal mirrors, which illuminate a circular area hence the movie. Optimum utilization of light would be obtained for a square image that is on the film strip. Square image window, the process demanded Superscope today and IMAX .

The advantage of the process but is also a disadvantage. Since the image is compressed, it becomes distorted and must be rectified at the back projection. In case of faulty adjustment of the recording or playback lenses can thus display errors occur. Also, a significant new movie screens for the CS projection are situated.

History 

The CinemaScope process is based on the Anamorphoskop of Professor Henri Chrétien , which has already been developed 1927th In 1952 the process was from the 20th Century Fox Film Corporation purchased. The turn is an evolution of the Anamorphoskop Hypergonars by Henri 

Chrétien.
The monumental Bible film The Robe (The Robe) was established on 16 September 1953 in New York City premiere. It was advertised as a movie, "the one-dimensional without glasses" can see.Since the second half of the forties, the 3D movies in the cinema were a great encouragement, the process by wearing glasses, but also very inconvenient and very costly, was tried it first with a three-dimensional projection is not true, but a curved screen and a wider aspect ratio ( Cinerama ), where the false slogan, if it were a new 3D process, first appeared, and when it was still expensive, thought you look at Centfox on invented by Chrétien anamorphic process, it resulted in the brand CinemaScope, and suggested to the audience with this slogan as with Cinerama and again that he would see in CinemaScope a 3D movie, which of course was not the case. Since a CinemaScope film consists only of a picture (even though it is pretty wide), he is completely "flat".The first true 3D film in CinemaScope was the treasure of the Balearic Islands by director Byron Haskin .

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Amphibians film

The advantage of such productions, therefore, is that the funding in addition to the film support and funding from television stations across the theatrical and DVD market place and in this way compared to conventionally produced motion pictures or television films and series, a larger budget can be provided. The concept is practiced mainly in Germany and to establish the connection to the American competition. Examples of amphibians are films Das Boot (1981),Sophie's World (1999), The Baader Meinhof Complex (2008), Buddenbrooks , Pope Joan (2009) and Henri 4 (2010)

Differentiation from Extended Versions

The TV series version of an amphibian film has similarities with the so-called Extended Versions , so an advanced version of motion pictures, most of which are equipped with the first or second DVD release, with additional scenes to boost the DVD sales, but rarely also like War of the Stars represent renewed theatrical versions. Unlike movies, where an extended version exists, the production of an amphibious film is already laid out during the shoot out that two film versions will be produced and should be used in the film market. For extended versions , this is how the example of Star Wars can see, probably not the case. Only if a movie is very successful and thus the more marketing-DVD really worth already, an appropriate version will be produced in retrospect. Expect there to be among some of the movies the success is, in modern times even more frequently during the filming of appropriate material for extended versions produced that then at the second window on the DVD market, in addition to deleted scenes in the form of an extended version is used . This leads to a slight blurring of the two terms.

Criticism of the concept

The Double Think of cinema and television can hurt a film, partly because it can happen that TV quality comes to the movies and on the other hand, because a movie partly another dramatic need and therefore a different script and a different production than a TV series version.

A well-known critic of the concept was Volker Schlondorff . He was the first director of the film Pope Joan . He criticized, however, in July 2007 in the Süddeutsche Zeitung, the "unholy alliance" of film and television producers, the purpose of cost reduction, the different dramaturgy of a movie and television film and more often to a "amphibian film" [2] mixed. [3] was then by him Constantin Film's production company, said the film, terminated on the grounds that he had violated the trust relationship. His (general) have also criticism of the planned production of Pope Joan harmed.

External links and comments

1. ? Klaus Raab: "Debate on film quality. Television may be the cinema? " the daily newspaper , 22 December 2008, a dispute over "Amphibenfilme"
2. ? to "curtain, curtain down: Volker Schlondorff . The diversity is great, but it threatens an ever greater mixing. For the separation of film and TV " SZ , 12 July 2007
3. ? "It's about money, money" , Süddeutsche Zeitung, 23 July 2007 interview with Schlondorff



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Lightworks Open Source

The internal database is designed, that even at extremely large projects, a fast and safe working. For use in the working groups, such as in TV stations are network solutions that make it possible to simultaneously image and sounds, styles and effects by several editing suites from access - these collaborative capabilities but are not open source.

To Cutter, not the Lightworks used to enable fast efficient work, the keyboard layout as with the widely used software of "Avid" and "FCP", as required.
Very successful cutter, as Thelma Schoonmaker, who won with Lightworks the Oscar for Best Editing and many cut of Martin Scorsese's films, or Chris Gill, whose average work includes "28 Weeks Later" faces ever publicly challenged the benefits to which it relates have moved using Lightworks.

Following the announcement in April 2010, the basic program as Lightworks Open Source to publish, it was about the implications of this in the TV and film industry, many discussions. In particular it was unclear how the owner EditShare access modules for foreign producers formats (such as from RED or Sony could offer) as open source. In September 2010 it was made clear: Lightworks itself will be free of formats including but open source, but bought by the manufacturer for assistance in the form of proprietary formats should be offered on an electronic marketplace.

Furthermore, the manufacturer announced at EditShare, the stereoscopic 3D function, and the networking of research groups working simultaneously on the same project to offer a fee-only proprietary extensions.

About one of EditShare offered, although not exclusive, but the central market place, not only the proprietary access modules for third-party file formats, 3D and networking skills to be sold, but also future proprietary third-party extensions. [4] EditShare here retains an interest, a commission , but also in exchange for the complete accounting and distribution, which will enable smaller, financially weaker and not internationally established vendors and developers the ability to distribute larger quantities of international clientele.

In addition to selling proprietary extensions is how the managing owner of the company EditShare, Andy Liebman, also a further opportunity to earn money is to sell hardware controller. In a web video interview with film-tv-video.de he spoke for more detail.

Licensing model, as 9 / 2011
There are three options available:

Lightworks Free Membership: Free
with "codec" licenses (1) and more "features" (2):

Lightworks Educational Membership: € 25 per year
Lightworks Professional Membership: € 50 per year

(1) "codec" licenses ProRes codecs, Red R3D, DPX, AVC-Intra, XDCAM HD, XDCAM EX, AVCHD/H.264, IMX, Avid DNxHD (Avid is extra, if needed additional € 45th The amount is but only payable once.)

(2) "features" more formats: (Educational and Professional Membership) - AAF (preferences for Avid / Pro Tools), OMF, EDL
more features: (Educational and Professional Membership)
multiple users can simultaneously cut on the same project
Title Generator (GPU-based, real-time preview)

Stereoscopic Support
DVD / Blueray export presets
Hardware I / O support: Blackmagic Design, Matrox XMIO2, DSXLE2 MXO2 and (in future: AJA, DVS)

The first Mac OSX and Linux versions are announced in December 2011. Also pending for the open source version, due to licensing reasons ("Source Code Cleanup") are not yet freigegebn.



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Lightworks History

Lightworks is a pioneer in computer-based film editing and is being developed since 1989. Numerous internationally renowned and Oscar award-winning feature films, including Martin Scorsese's The Departed , Mission Impossible , Pulp Fiction ,Braveheart and Batman were cut on Lightworks and also the system itself has won numerous awards including the Oscar and the Emmy . The program is designed according to the announcement published in mid-2011 as Open Source will be released.

The development of Lightworks began around 1988/1989 in England. The design of the software was of cutters designed and implemented by programmers. This approach distinguished the editing system of the other pioneers of the non-linear video section as Adobe or Avid , which was then largely designed by programmers and technicians, and resulted, among other things, that the operational concept of Lightworks is still stronger in the classic film editing methods like the Steenbeck editing table modeled as typical methods such as in computer file dialogs. From the outset, supported the system also specially designed hardware controllers and control panels, control panels from which traditional cutting tables and television mixers are modeled and thus accelerate compared to the sole use of mouse and keyboard to work with the system. These additions are still optional.

In the 1990s the system was quickly spread, especially in the production of English and American feature films with high budgets. By many aspects, including the very high purchase price, had Lightworks outside of Hollywood and the movie production, however, considerably less spread than the most successful competitor and that their products are very much focused on the more technically much less demanding and also larger TV market.
In 1994, Light Works of Tektronix acquired, a provider of high-priced video very well and film products. 1999, after the NLE market grew, bought the management of Lightworks the rights to the software Tektonix again, and Lightworks changed its name again independently as Light Works It inc followed collaboration, distribution and sale of, inter alia, Fairlight , however, remained the most Users of Lightworks always remains largely in the "high end" niche of the feature film production, largely for cinema - although was constantly expanded the functionality of TV production.

EditShare 2009 bought the American company, whose products align very strongly on networking for all editing systems for TV manufacturers such as cinema, Lightworks.

In April 2010 it was announced that the release of Lightworks as open source it was intended - as the only professional editing and effects system. For TV and cinema post-production industry, this would be a novelty, because unlike, say, for office software ( OpenOffice ), operating systems ( Linux ) or media player ( VLC media player ) until then, there were no powerful editing systems with access to the source code.

Since April 2010, Light Works is in semi-open beta testing phase, the end of the 29 November 2010 is attached. During this period, around 1700 registered developers (firms and individuals) and about 25,000 users.



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Dry for Wet- technology

Procedure

In the dry-wet-for -water through clever lighting techniques, use of colored filters, and suspended particles is simulated by being filmed with a light fog or smoke-filled room in the dry. The use of fans or the use of slow motion effects, can be used to create the impression of flowing movement of the hair and clothes. Rising air bubbles under water or live animals in the post-production computer effects are added as to increase the realism of the film material.

Reasons for the use of technology

For use of this technology, there are many reasons. If a performer does not swim, such as in The Spirit , or he can not for health reasons, turning under water, such as in James Bond 007 - For Your Eyes Only , then the dry-for-wet technique in the production use of a film . 
find

Furthermore, the underwater photographs are usually associated with more expensive equipment, as special underwater housing is required for the cameras from a few hundred euros to be received and prices of up to 30,000 €, also are safety aspects of diving to be considered. The lighting design is at the underwater shots also more difficult because undesired light reflections are avoided.  Due to the refraction index of water of 1.33 is a narrowing of the field angle of 20 degrees instead, which absorbed objects appear larger by 25% when it in fact. are Depending on the chromaticity and the water type paints are different degrees of water absorbed .  In addition, decreases the brightness of light in water with increasing water depth is not linear, but depends on the color in different forms, which the shooting will be more difficult under water and the use of high resolution and light-sensitive cameras will be necessary. The best rotation times for underwater shots are limited to the midday hours when the sun is vertically above the water, thus ensuring the best possible illumination.  In heavy seas, the brightness is decreased significantly, so that work can continue during diving from six meters usually with underwater lights must.

The Dry-for-wet technique came in the 1960s in various television series and feature films for the application.

1964: In the television series Stingray underwater scenes were realized by models of submarines, as well as puppets of divers were filmed through glass water tank, the fish and equipment to produce contained air bubbles.

1981: Carole Bouquet was in the production of James Bond 007 - For Your Eyes Only for health reasons, no stunts under water rotate, so the scenes were filmed in the dry.  

1989: Many of the underwater scenes in abyss - the abyss of death were determined by dry-wet-for -shot technique.
1989: In Leviathan , many of the underwater sequences were with the Dry-for-wet technique implemented.  
1990: The exterior shots of the submerged submarine in The Hunt for Red October were dry-for-wet recording technique, with a suspended at twelve ropes model of the submarine was used, which could be tilted in three dimensions.  
2001: AI - Artificial Intelligence of the sunken ocean amusement park was Coney Iceland with scale models and the dry-wet-for -shot technique.
2001: In the last scene of the movie The Lord of the Rings: The Fellowship was the dry-wet-for -used technique in which Sam falls into a river.  
2003: The scene from Lara Croft: Tomb Raider - The Cradle of Life , in which the underwater scooter was used in dry-for-wet technique. 
2008: All the underwater scenes in The Spirit came in the dry, because Eva Mendes is not at the time of the shooting could not swim.




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The dolly zoom

When Dolly zoom moves the camera on rails ( Dolly ), while the focused object by an opposite adjustment of the focal length unchanged while driving in the image remains. This is the framing of the background either higher (with the Wegfahrt - dolly out, zoom in ) or smaller (in the driveway - dolly in, zoom out ) which creates an unnatural sogartiger effect, the first time in Alfred Hitchcock's film Vertigo - From the Empire the Dead (1958) was used to fear of heights to express. As the inventor of this effect is Irmin Roberts , who at that time for the filming of Vertigo as a cameraman (cinematographer), the 2nd unit had been committed.

The final effect is also often confused by experts because it appears at first contradictory. The background appears to meet the viewer when the camera moves away from the scene (see accompanying chart). Conversely, if a dolly in the extended perspective. Hitchcock himself was in one of his interviews with Truffaut erroneously to a dolly out remembered because in the appropriate settings in the movie Vertigo seems to remove the floor of the tower.

The dolly zoom is not in the post-production , but only live on set to produce a relatively large effort since then and was therefore rather rare and only used by very experienced directors. The difficulty is that the movement of the camera, changing the focal length and sharpness of the correction should provide a uniform motion, so the effect is perfect.
Steven Spielberg used the dolly-zoom in his ocean thriller Jaws . Here the shock response of the protagonist finds resonance in the camera work, as a lead actor Roy Scheider witness is like a shark kills a little boy. His face seems frightened by the dolly zoom rushing round to the spectators. 

In the Spielberg production Poltergeist is from 1982 in a setting both a dolly zoom in and a dolly zoom out used as a result here gives the impression that the film shown corridor would be reduced first and extend it again, with the zoom out eventually transition into a tracking shot to the end of the corridor leads to pursue an actress, as she runs into in the hallway.

On the one hand, this gives the conclusion of a special dynamic setting, on the other hand by the dolly zoom but also to some extent, exposed. " Here in the beginning created the eerie impression that approximates the background to the foreground (if a person or object strongly to the fore), to make Francis Ford Coppola in Bram Stoker's Dracula advantage, but by deliberately in a scene no dolly zoom is used but the walls of a room can actually move through a moving scene image on the figure in the foreground. 

The impression is almost the same, however, is achieved through more traditional 'methods, which Coppola devotes much anyway (see also references in the film appear on the silhouette film and wanted to imperfect thumbnail images). Meanwhile, the real Dolly Zoom is widespread, but it can also occur unintentionally, as if shot from a moving car in the same direction and zoom out from a smaller image appears.

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Axis jump (film)

An axis jump is an average film , with which the action axis (an imaginary line between two or more actors, scenes interview with the visual axis) is skipped. An axis step may cause disorientation in the viewer, as the arrangement and orientation of the actors in the frame appear to change relative to the viewer.

With films from moving cars, the movies means of a window on the opposite car side one axis jump (if you're shooting from the driver's side, the landscape is moving apparently from right to left, there are filmed from the passenger side, they will seem to move from left to right. This change in the direction of movement is irritating). Analogously, there are two cars that in a parallel montage traveling in the same direction (usually from left to right, because that is consistent with our reading direction) is perceived as mutually pursuing if one but from left to right and the other from the right moves to the left, expecting the audience a collision.

In the continuity editing of classical Hollywood cinema of the axis jump is considered an error and avoided accordingly.

The principle is to avoid axis jumps, 180-degree rule called.

In some cases, a conscious leap axis be a stylistic device, for example, to symbolize confusion or breakdown torque ( Stanley Kubrick , in this context is often called). In commercials axis jumps are often used to effect a rapid effect. Also known is a scene in Lord of the Rings , in which Smeagol talks to himself. As he alternately with the cuts from one to the other side says (jump axis), the impression of two identical-looking people, so the split character of the figure is underlined.

In contrast to the jump axis, these are a movement of the camera ( Steadicam or dolly ride ) on the axis, or a change to the motion axis and the line of sight of the characters, creating a new axis is defined. The axis change is not perceived by the viewer as a nuisance, because the fluid motion takes place. This movement is sometimes called Crab. In addition, an intermediate section in a long shot to make possible an axle out because then the spatial arrangement of the protagonists for the audience is clear, or cut to a closeup , because the viewer is then reoriented in space again.

The action axis indicates the main direction of the plot. Mostly it is the combination of actors, at a football match, the connection of the gates.
The visual axis indicates the viewing direction. In conversations, make sure that the characters look, which means that when a figure in an image to the left, looks the interlocutor in the other image (reverse shot) looks to the right. This direction should not be changed as long as the actual viewing direction or the position of the figures does not change.
The camera axis is the "sight" of the camera. In a subjective perspective (Point Of View), it is identical with the visual axis.


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Light types and qualities

The Lighting continues in the Photography or when Film and TV (But also in the Stage Technology) To design a scene through the use of natural or artificial light apart. Your score is the Illumination.

The lights can be distinguished by several criteria:

    * (Technical) OriginSee also Natural light and Artificial light
    * Color: This can be achieved by Color temperature or, particularly in fluorescent lamps and gas discharge through the spectral Composition are described.
    * Duration of illuminationThe sun, moon, and fluorescent lamps provide a constant light (see Steady), Natural Lightning or photographic Flashlight illuminate the scene a short time and are thus able to freeze motion.
    * Hardness of the light: Pointwise and flat, but distant light sources provide a so-called hard light, which is characterized by high contrast and clearly discernible shadow. Former light (Softboxes, reflectors) are able to produce from hard light soft light. An overcast sky is thus a huge softbox for the nearly point-like sun. Similarly, extensive artificial light sources are available.

    * Spatial extent of light: A light source can illuminate only a delimited area with more or less sharp edges (spot) or the entire room.
    * Direction of light: As a frontal light as seen by the camera, Sidelight from left or right Backlight from the look of the camera, light from above and light from below.

# The guiding light. The viewing habits of the people have always been with the light situation an almost point-like light source (sun or moon) familiar. The classic illumination falls back on it and is also a dominant light that casts (often the only light in the scene) and shade. This is the guiding light. Often the scene towards the camera or from the left or right is lit above the camera. A guiding light from directly above the scene, causing deep shadows in the eye sockets, a light from below looks unusual and can also provide very dramatic, eerie scenes. This also applies to a back light as light guide. The guiding light may illuminate not only the scene in the center of the stationary objects and persons, it is the preferred means to draw the viewers attention on the essentials. The quality of light can be hard or soft.

# The brightening. Particularly hard as courtesy lights or run counter and side lights to high light contrasts, from the Density range the film or sensor can no longer be processed. Some subjects will also be flattered by lower contrasts (eg Beauty-Light in portrait photography). This is the task of lightening that illuminate the light from the guide less taken more points. This is a soft, light shade throwing well suited to guide the light to not take his dominance. As lightening, artificial light sources and reflectors are used.

# Effect of light (or edge, light hair, see also Highlight). This is mostly from direct light behind your subject that will help, for example, distinguish a person from the background (luster in hair). The light intensity is often high, the quality of light hard.

# Other light sources. For example, to illuminate the background, and can also be made with transmitted light through the background (see also Chamfer) Or to accentuate other parts of the subject

In the Mixture of light sources Note that these may differ in color temperature. If the resulting colors in the image are not desired, the light sources should have a uniform color temperature. This can be especially when lightening pictures in natural light or when the normal ambient lighting should continue to act to change the picture, and strong. Reflectors may provide better results than flash.

A excessive whitening can be perceived by the eye impression of the scene completely change in nature. For example, this would mean a comfortable Candlelight Dinners suppress with a strong flash to fully light the candles. Likewise, the viewer is expected that the sunlit world outside the window appears brighter than the interior of the room. (See also: Fill)

The Mixture of short bright light (flash) with the ambient light may in accordance with a long exposure time an impression of movement of moving parts of the image left on the otherwise static photo. It was only the flash on second curtain and thus just before the end of the exposure will be ignited by lightning in order to fix the frozen part of the movement in the direction of motion.

Different colors of light can by their Color contrast also be used as a design tool. As an example, the inclusion in a winter cabin in which the interior is bathed in warm light and the outside world from the cold-blue window appears, it is noted. The excessive lightening of the interior with a cold light in correspondence with our viewing habits might seem unnatural here.



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