Tài liệu miễn phí Sân khấu điện ảnh
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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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TI assumes no liability for applications assistance or customer product design. TI does
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or relating to any combination, machine, or process in which such products or services
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or services does not constitute TI’s approval, license, warranty or endorsement thereof. ...
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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