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Kodak Films

Kodak Films



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Published by Keremcan Karabatak

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Published by: Keremcan Karabatak on Apr 29, 2009
Copyright:Attribution Non-commercial


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Good films-those that effectivelycommunicate the desired message,be it factual, emotional, persuasional,or whatever are the result of an almostmagical blend of ideas andtechnology. If any of these ingredientsis not fully understood by thefilmmaker the outcome could be a filmthat falls short of the mark.The "idea" ingredient is welldocumented, for beginner andprofessional alike. Books coveringvirtually all aspects of the aestheticsand mechanics of filmmaking abound-how to choose an appropriate filmstyle, the importance of sound, how towrite an effective film script, the basicelements of visual continuity, etc.The "technology" ingredient is alittle harder to get to because,although equally important, it is lessglamorous and may even intimidatethe uninformed. With that very realpossibility in mind, we have producedthis guide, EASTMAN ProfessionalMotion Picture Films (Her). In it youwill find technical but easy-to-read-and-apply facts applying technical filmdata to your particular situation, thebest ways to use filters, how soundtracks are made, arranging for safeprojection and storage, etc. Andfinally, we have provided you with abroad overview of the services offeredby your motion picture film laboratory.This final section will give you a betterunderstanding of what happens (andwhy) during this final phase of theFilmmaking process.For those of you who need theultimate in technical film facts, theappendices are filled with detailedlistings of national and internationalfilm standards, publications, and evena lengthy glossary/index that is cross-referenced to the text.And so, regardless of whether youare a student or savant of filmmaking,whether you are creating orcommissioning films, whether yourbudget is meager or multimillion, thisguide will help you choose the filmsyou need to get the best resultspossible.
Thomas Alva Edison, the world-renowned inventor, involved with anunsavory peep show parlor on NewYork City's fashionable Park Avenue?A shocking revelation that made allthe gossip columns in the summer of1884?Hardly. But, these questions dohighlight the fact that Edison's creativegenius enabled the budding science ofstill photography to move intocommercially viable "motion pictures"by the late 1800s. Working closelywith another celebrated inventor ofthat day, George Eastman, Edisonwas able to combine Eastman's newEASTMAN Transparent Film (a stripof clear cellulose nitrate coated withblack-and-white photographicemulsion) and a heavily modifiedKodak still camera to produce the firstreal motion picture. A device forviewing these moving images, theKinetoscope, was also developed andfirst shown at the 1893 ChicagoWorld's Fair. The public reaction tothis exciting new medium wasoverwhelming-Kinetoscope parlorssprang up in all major citiesworldwide, and the demand for newtitles seemed insatiable.In those early days, thefascination of viewing unstaged"captured motion" waves breaking onthe shore, people milling in a citysquare, a locomotive thunderingsilently toward the camera wassufficient to draw large crowds.The real power of this fledglingmedium, that of
telling a story with moving images 
, was just beingdiscovered by innovative stillphotographers such as GeorgeMéliés. This sometime politicalcartoonist, actor, and magician wasintrigued by the storytelling potentialof film and, in the early 1900s, hedeveloped the concept of "artificiallyarranged scenes." Taking his guidefrom the world of theatre, Méliéscreated the events he needed to tellhis story with actors and appropriatesettings rather than relying uponrandomly recorded events. This newapproach to "reality" opened the doorsto creative storytelling worldwide andresulted in a prolific and successfulcareer for Méliés His 400th film,
A Trip to the Moon 
(1902), was enormouslypopular in the United States.Another facet of motion pictureproduction that we take for grantedtoday involves the creative use of filmediting. Until Edwin S. Porter came onthe scene in the early 1900s, no onehad "edited" their films. They simplyshot their footage and projected theresults. Inspired by the innovative useof theatrical staging techniques andvaried camera angles he observed inMéliés films, Porter set out to tell astory using footage he had alreadyshot. He recognized that thefilmmaker had the same freedom indeveloping a fictional world that hadlong been available to the novelist anddramatist the ability to change scenesquickly, to flash backward and forwardin time, to show simultaneous actions,etc. With this new-found flexibility infilm editing came another revelationthat simplified the production process-the scenes in a particular film do nothave to be shot in projection sequencebecause they can always bereassembled later for maximumimpact.Porter, a significant innovator inthe early days of the motion pictureindustry with films such as
The Great Train Robbery 
, went on to direct someof the world's greatest stars (MaryPickford, for example), makespectaculars on location (
The Eternal City 
), and, in general, leave hisindelible stamp on this fast-growingbusiness before retiring in 1915.This fruitful collaboration of artand technology, where each technicaladvance opened additional creativedoors, resulted in an evolving cycle ofcontinuous improvements and hascharacterized the film industry fromthe very beginning. In fact, theprocess is still under way today withthe producers of films such as
Star Wars 
Terminator 2 
relying heavilyupon computers and other alliedspace-age equipment to produceexacting special visual effects.Two major technical advancesthat dramatically reshaped thecreative directions of the film industryin the 1930s should be mentionedbriefly at this point synchronizedsound and color images.Experiments in the opticalrecording of sound on film werereported as early as 1901, but
The Jazz Singer 
(1927) with Al Jolson wasthe first commercially successfulproduction that blended motion, voice,and music so effectively that theywere integral to the cinematicmessage. Many in the industrybelieved that "talkies" were amomentary diversion, a gimmick.Within a year, however, the majorstudios were preparing for all-soundproductions, the equipmentmanufacturers were producing a widearray of recording devices, and theskeptics were stilled.The artistic requirement for colorin films was also heard, but thedevelopment of the necessarytechnology took a bit longer.Many early filmmakers tintedportions of their films for dramaticimpact. D. W. Griffith's
Birth of a Nation 
showed the burning of Atlantain the glare of a red tint thatemphasized the horror of the scene.But emulsion tinting was, at best, anexpensive and time-consumingtechnique.With the introduction ofTechnicolor's two color process, colorbegan to have real impact on filmaudiences. Douglas Fairbanks chosethe new process for his
The Black Pirate 
because he believed that color
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