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Digital Cinema System Specification Version 1.2 with Errata as of 30 August 2012 Incorporated

TI warrants performance of its products to the specifications applicable at the time of sale in accordance with TI’s standard warranty. Testing and other quality control techniques are utilized to the extent TI deems necessary to support this warranty. Specific testing of all parameters of each device is not necessarily performed, except those mandated by government requirements. In order to minimize risks associated with the customer’s applications, adequate design and operating safeguards must be provided by the customer to minimize inherent or procedural hazards. ...

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Avid Digital Cinema Camera Workflows

TI assumes no liability for applications assistance or customer product design. TI does not warrant or represent that any license, either express or implied, is granted under any patent right, copyright, mask work right, or other intellectual property right of TI covering or relating to any combination, machine, or process in which such products or services might be or are used. TI’s publication of information regarding any third party’s products or services does not constitute TI’s approval, license, warranty or endorsement thereof. ...

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Digital Cinema

Reproduction of information in TI data books or data sheets is permissible only if reproduction is without alteration and is accompanied by all associated warranties, conditions, limitations and notices. Representation or reproduction of this information with alteration voids all warranties provided for an associated TI product or service, is an unfair and deceptive business practice, and TI is not responsible nor liable for any such use.

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Digital Cinema in Ireland: A review of current possibilities

While significant parts of this book have been written anew, it have drawn on material from a number of previously published articles. Sometimes only a part of an article made it into the final manuscript; in other cases, its parts ended up in different chapters of the book; in yet other case, a whole article became the basis for one of the sections. In the following I list the articles which were used as material for the book. Many of them were reprinted and translated into other languages; here I list the first instance of publication in English. Also, it...

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THE EDCF GUIDE TO 3D CINEMA

It aims at providing assistance in compiling the specifications for your digital projection equipment. It exclusively focuses on technical questions and does not address the economic, financial and political dimensions of digital cinema. Although it does not claim to be complete, this guide intends to be as complete as possible to assist you with planning your installation. The latter has to meet in France the AFNOR NF S27-100 standard (“Salle de projection électronique de type cinéma numérique” [“Electronic projection room of the type digital cinema”]), ...

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THE EDCF GUIDE TO ALTERNATIVE CONTENT IN DIGITAL CINEMA

Together, we have to successfully make this important transition which is the most demanding challenge our industry has to meet since, at the beginning of the 1930s, cinema progressed from silent films to films with sound. Although more than 2,100 screens are equipped in France today (i.e. 40% of the total screens count) – one of the most rapidly growing d-cinema market in the world - this challenge is far from being accomplished. We have...

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THE EDCF GUIDE TO DIGITAL CINEMA MASTERING

In this part, we will have a look at the environment in which the digital projection system will be installed. Actually, more recent projection booths were not necessarily designed for a double projection system. The booths that are equipped or were formerly equipped with two reel systems are more suitable for a transition to digital. The others sometimes have to be rearranged....

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EUROPEAN CINEMA FACE TO FACE WITH HOLLYWOOD

The digital projector is the new device that comes into your projection booth. It is essential to provide it with a position that gives you the ability to work easily all around it and ensures the right operating conditions. In no instance, should you make compromises concerning any alterations required. Today, it is essential that the projection booths provide enough space to take up two projectors, one 35 mm and one ...

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TECHNICAL GUIDE FOR THE PROJECTION BOOTH IN DIGITAL CINEMA

The glass must be without optical faults, neither as far as geometry nor as far as colorimetry are concerned. The use of glass whose surface and density are treated is recommended. You have to use an extra white glass with anti-reflecting coating; this avoids any losses due to absorption of 10 % of the luminous flux. Be careful: some glasses may cause problems with 3D passive polarized light. Portholes that are installed in booths serving several auditoria have to meet the security standards,...

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Cinema and Soviet Society from the Revolution to the Death of Stalin

With all this new equipment, an additional rack per site is required for your digital equipment. Make sure that you have enough space for it. This 19’’ rack, which should be as tall as possible, serves to take up the central library, the different Ethernet switches*1 or any other equipment required for your digital installation. A ventilated rack is suitable in any case. Install it in such a way so that its interior can easily be accessed to simplify any work on the cabling and connections. This rack does not necessarily have to...

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HISTORIA DO CINEMA MUNDIAL : FERNANDO MASCARELLO

You also have to provide for a service connection for the technical rack mentioned earlier, wherever it may be located in the cinema. Provide for a service connection of 20A single-phase. In territories, in which problems with the electric power supply occur frequently (for example local power-cuts in the mountains) or to prevent an unscheduled deletion by the server, it may be necessary to invest in an uninterruptible power supply (UPS) that maintains the electric current for...

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Cinema 4D Training Introducing VRay: A short guide to the settings of VRayForC4D

The hot air produced by the projection lamphouses must always be extracted to the outside of the building. This is not new and you have to be very careful regarding this exhaust air. The correct exhaust of the hot air ensures a longer service life of your equipment as well as better ageing characteristics of your lamps and an optimized functional capability of your installation. You have to correctly calibrate the flow of the exhaust air in accordance with the lamp power (or the max. lamp power allowed for the lamphouse - see...

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Philippine-German Cinema Relations

It is recommended not to fix the extractor directly to the projector since the vibrations created by the rotation of the ventilation system might disturb the micro-mirrors*. It is therefore better to move it further away in the pipe system. Although being moved, the extractor has to remain accessible to ensure its maintenance (cleaning, replacement in case of failure). Please be careful not to circulate air from one lamphouse to another. You might have to equip...

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Cinema, TV and radio in the EU Statistics on audiovisual services

The projectors currently on sale in the market switch to default mode if the temperature in the projector exceeds around 37°C. This switching to a degraded mode may be indicated in a number of ways, from a simple warning message to a complete stop of the projection in case of excessively high temperatures. The manufacturers recommend a temperature in the booth not exceeding 30°C during operation. This digital projection system consisting of numerous electronic cards ...

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LED Cinema Display (24-inch)

Technically speaking, digital projection does not radically change classic film projection even though the mechanical projector head has been replaced by a digital head, the film spool by a hard disk drive and the platter system by a server. We have already paid utmost attention to these points in order to ensure that the projection quality practically remains the same. Of course, the picture is not visible on its photosensitive carrier anymore: It is from now on quantified...

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Lev Manovich The Language of New Media

As your choice of today will directly influence your picture of tomorrow, it is important to correctly choose your projector depending on the field of application you would like to use it in. A digital cinema projector remains after all a cinema projector! To choose the projector model it is essential that it is correctly adapted to the size of the screen that it has to illuminate ...

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Subtitle Specification (XML File Format) for DLP CinemaTM Projection Technology ( Version 1.1 )

The different criteria defined in the document do not consider the technology deployed in the projector. One has to remain free to use any technology as long as it meets the requirements as stated in the ISO standard. Historically, the recommendations and standards were fixed to a certain number of criteria aimed at defining the quality of digital projection as the minimum equivalent to the one in...

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POWERLITE HOME CINEMA 6100/6500 UB HOME THEATER PROJECTOR

The quantity and the quality of the illumination are aspects that you should pay utmost attention to as far as the choice of your future projection system is concerned. Different projector models are available depending on the maximum screen widths they can be used for and, consequently, the type of lamps they use. Please bear in mind that if you would like to screen in 3D, a change in the lamp power must be possible. This point will be addressed in § “3D“. The related choices affect above all the environment of the projector and the way to operate it. These...

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PowerLite Home Cinema 8100/8500 UB Home Theater Projector

All projectors include a control panel allowing operation of the principal functions (format change, operating the shutter, igniting / switching off the Xenon bulb, focus, zoom and shift* [optical decentralisation of the picture, settings explained in § “Positioning of the projector”]). The way to “enter into” the settings, the maintenance or the different parameters of the machine, vary from one brand to another, even from one model to another. Certain projectors have internal...

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PowerLite® Home Cinema 8350/8700 UB Home Theater Projector

Two questions are addressed: why cinema technology was introduced in the mid-1890s rather than earlier or later; and why cinema- going became popular only with a lag – a decade after the technology was available. Both issues can potentially be affected by changes in supply or changes in demand. These issues are worthwhile to examine, because they can help us get insight into how new consumer goods and services emerge, how the process works by which certain new goods become successful and are widely adopted while others will disappear and are forgotten forever. The paper will also give us more...

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PowerLite® Home Cinema 705HD Home Theater Projector

This paper will use four major approaches to tackle the research questions: qualitative, quantitative, comparative and theoretical. On the qualitative level, history of technology will be analysed to assess the time lag between the availability of the constituent technologies and the appearance of the innovation of the cinematograph. It is expected that the findings will show that it is highly unlikely that there was no significant time-lag between the technologies being available and the innovation that embodied all these technologies appearing. The length of the time lag will also be estimated. ...

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PowerLite® Home Cinema 720 Home Theater Projector

The quantitative part will start with analysing the shape of the growth pattern of the quantity of cinema consumed and expenditure on cinema. The time of the take-off will be estimated quantitatively (and its timing compared with the qualitative findings above). Also growth rates and quantities time series will be compared across countries. A second quantitative section will analyse family expenditure on entertainment between 1890 and 1940.

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PowerLite® Home Cinema 3010/3010e Home Theater Projector

The comparative part will compare the above issues across Britain, France and the US. In this way, it can be ascertained how much of the consumption patterns are determined by local conditions and how much was part of a general trend. . It will be assessed how country differences can be explained; for example, whether differences in income elasticity’s can explain differences in diffusion patterns. Further, a model with quantity elasticities and relative prices will be developed and used to disaggregate paired differences in consumption patterns into the effect of ‘technology’ and the effect of ‘tastes’. ...

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PowerLite® Home Cinema 3020/3020e Home Theater Projector

A lot of the demand, however went to spectator entertainment, and to reduce bottlenecks and increase revenues, entrepreneurs started to use cinema technology. Consumers reacted favourably to this technology, giving entrepreneurs incentives to develop it further. Using informal comparative growth analysis, the paper finds that, over time, in an evolutionary process, more and more expenditure was moved away from things such as tobacco and alcohol to entertainment expenditure, and within entertainment expenditure, more and more was spent on cinema. Cinema-going became a habit for consumers, sometimes daily, sometimes weekly. I.e. the outcome of the evolutionary process was that cinema became...

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POPULAR CINEMA OF THE THIRD REICH

The rest of this paper is structured as follows: Section 2 sets both alternatives against a more detailed history of innovation and the emergence of cinema consumption, sharpening our sense of both the technology aspect and the lag between technical possibility and take-off. In section 3 the available data sources relevant to understanding how the consumption of cinema grew are identified and analyzed in depth, and national differences decomposed in those due to technology and those due to taste. Section 4 further investigates the demand-led explanation of the emergence of cinema by locating it within the changing demand for recreational...

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PowerLite® Home Cinema 1080 UB Home Theater Projector

Many visual devices and gadgets preceded cinema, too many to list here in detail. A widespread and well-known one was the camera obscura, first constructed in 1645, which projected views in a dark room, for painters. Around the same time Anastasius Kircher built a special room to project images with mirrors, which looked somewhat like a cinema. A specialised building with many people using specialised equipment was necessary to project the images. About a decade later, in 1659, the Dutchman Christiaan Huygens invented the magic lantern, an easy, portable device, which could project images painted on a glass plate....

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W7000/W7000+ Digital Projector Home Cinema Series

Sixth, the concept of projection was important for motion pictures, although in the original Edison-invention, projection was lacking. In 1851, onwards, when the projection of photographic slides became possible, the magic lantern became wildly popular, and the industry started to grow quickly. (Michaelis, 1958; Musser 1990: 30-36). A few specialised British and French slide suppliers dominated the trade. They collected photographs from all over the world in London or Paris, and distributed them quickly again to all corners of the globe. The largest firm was probably the French Levy and Company, which was acquired by the American firm...

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CINEMA 4D RELEASE 11: 3D FOR THE REAL WORLD

Seventh, the idea of slicing a view with movements into small dissections, each of a fraction of a second, combined with the idea that when this would be shown the audience would see the movement because of the persistence of vision, was important to cinema. The notion of the persistence of vision is old, and was used in several of the visual gadgets of the 19th century, such as the Thaumatrope and the projection of a cartoon. The idea to dissect a view, however, was newer, and started with the photographs of Marey to capture the movement of...

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CINEMA 4D SDK!

The scientist Jean Marey completed the first working model of a film camera in 1888 in Paris. That year, Edison visited Marey and watched his films. In 1891, Edison filed an American patent for a film camera, which had a different moving mechanism than the Marey camera. In 1890, the Englishman Friese Green presented a working camera to a group of enthusiasts. In 1893 the Frenchman Georges Demeney filed a patent for a camera. Finally, the Lumière brothers filed a patent for their type of camera and for projection in February 1895. In December of that year they gave the...

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TOWARDS A CARIBBEAN CINEMA - CAN THERE BE OR IS THERE A CARIBBEAN CINEMA?

Tham khảo sách 'towards a caribbean cinema - can there be or is there a caribbean cinema?', văn hoá - nghệ thuật, sân khấu điện ảnh phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả

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