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Gasparcolor
Gasparcolor was a color motion picture film system, developed in Berlin in 1933 by the Hungarian chemist Dr. Béla Gáspár ( Oraviczbánya, Transylvania 1898-1973). It used a subtractive 3-color process on a single film strip, one of the earliest to do so. During the 1930s and 1940s, it was used primarily in animation, notably by Oskar Fischinger (''Muratti Gets in the Act'', 1934; ''Composition in Blue'', 1935), Len Lye (''Birth of a Robot'', ''Rainbow Dance'', both 1936), and George Pal. It also saw use in live-action film, including "Colour on the Thames" (1935). William Moritz, in his article for the Fischinger Archive, gives more detail about this history of this color process. Because of the darkening political climate in Europe, his hungarian-jewish wife Elly Tardos-Taussig (Szeged 1908-) comitted suicide, Dr. Gaspar eventually moved to Hollywood and sold his patents to Technicolor and 3M. See also * Studio system A studio system is a method of filmmaking wherein t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Len Lye
Leonard Charles Huia Lye (; 5 July 1901 – 15 May 1980) was a New Zealand artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth. Career As a student, Lye became convinced that motion could be part of the language of art, leading him to early (and now lost) experiments with kinetic sculpture, as well as a desire to make film. Lye was also one of the first Pākehā artists to appreciate the art of Māo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Color Motion Picture Film
Color motion picture film refers both to unexposed color photographic film in a format suitable for use in a motion picture camera, and to finished motion picture film, ready for use in a projector, which bears images in color. The first color cinematography was by additive color systems such as the one patented by Edward Raymond Turner in 1899 and tested in 1902. A simplified additive system was successfully commercialized in 1909 as Kinemacolor. These early systems used black-and-white film to photograph and project two or more component images through different color filters. During 1930s the first practical subtractive color processes were introduced. These also used black-and-white film to photograph multiple color-filtered source images, but the final product was a multicolored print that did not require special projection equipment. Before 1932, when three-strip Technicolor was introduced, commercialized subtractive processes used only two color components and could repr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subtractive Color
Subtractive color or subtractive color mixing predicts the spectral power distribution of light after it passes through successive layers of partially absorbing media. This idealized model is the essential principle of how dyes and inks are used in color printing and photography where the perception of color is elicited after white light passes through microscopic "stacks" of partially absorbing media allowing some wavelengths of light to reach the eye and not others. Process The subtractive color mixing model predicts the resultant spectral power distribution of light filtered through overlaid partially absorbing materials on a reflecting or transparent surface. Each layer partially absorbs some wavelengths of light from the illumination spectrum while letting others pass through, resulting in a colored appearance. The resultant spectral power distribution is predicted by sequentially taking the product of the spectral power distributions of the incoming light and transmissiv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oskar Fischinger
Oskar Wilhelm Fischinger (June 22, 1900 – January 31, 1967) was a German-American abstract animator, filmmaker, and painter, notable for creating abstract musical animation many decades before the appearance of computer graphics and music videos. He created special effects for Fritz Lang's 1929 ''Woman in the Moon'', one of the first sci-fi rocket films, and influenced Disney's ''Fantasia''. He made over 50 short films and painted around 800 canvases, many of which are in museums, galleries, and collections worldwide. Among his film works is ''Motion Painting No. 1'' (1947), which is now listed on the National Film Registry of the U.S. Library of Congress. Biography Born in Gelnhausen, near Frankfurt, Fischinger apprenticed at an organ-building firm after he finished school until the owners were drafted into World War I. The next year he worked as a draftsman in an architect's office, until he too was called to duty. However, since he was too "unhealthy", he was rejected from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Pal
George Pal (born György Pál Marczincsak; ; February 1, 1908 – May 2, 1980) was a Hungarian-American animator, film director and producer, principally associated with the fantasy and science-fiction genres. He became an American citizen after emigrating from Europe. He was nominated for Academy Awards (in the category Best Short Subjects, Cartoon) for seven consecutive years (1942–1948) and received an honorary award in 1944. This makes him the second-most nominated Hungarian exile (together with William S. Darling and Ernest Laszlo) after Miklós Rózsa. Early life and career Pal was born in Cegléd, Hungary, the son of György Pál Marczincsak, Sr. and his wife Mária. He graduated from the Hungarian University of Fine Arts in 1928 (aged 20). From 1928 to 1931, he made films for Hunnia Film Studio of Budapest, Hungary. At the age of 23 in 1931, he married Elisabeth "Zsóka" Grandjean, and after moving to Berlin, founded Trickfilm-Studio GmbH Pal und Wittke, with UFA S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Moritz
William Moritz (May 6, 1941 – March 12, 2004), film historian, specialized in visual music and experimental animation. His principal published works concerned abstract filmmaker and painter Oskar Fischinger. He also wrote extensively on other visual music artists who worked with motion pictures, including James and John Whitney and Jordan Belson; Moritz also published on German cinema, Visual Music, color organs, experimental animation, avant-garde film and the California School of Color Music. Early life Moritz was born in Williams, Arizona and raised in California and Arizona. His father Edward Moritz, a German immigrant, influenced his son's interest in music and literature. In an interview Moritz related the importance of his early experiences with animation: I saw a lot of animation in movie theatres, while growing up (there was no television then), like Mickey Mouse, Donald Duck, Porky Pig, Woody Woodpecker cartoons, character animation made by studios. This was a vital p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Technicolor
Technicolor is a series of Color motion picture film, color motion picture processes, the first version dating back to 1916, and followed by improved versions over several decades. Definitive Technicolor movies using three black and white films running through a special camera (3-strip Technicolor or Process 4) started in the early 1930s and continued through to the mid-1950s when the 3-strip camera was replaced by a standard camera loaded with single strip 'monopack' color negative film. Technicolor Laboratories were still able to produce Technicolor prints by creating three black and white matrices from the Eastmancolor negative (Process 5). Process 4 was the second major color process, after Britain's Kinemacolor (used between 1908 and 1914), and the most widely used color process in Cinema of the United States, Hollywood during the Golden Age of Hollywood. Technicolor's #Process 4: Development and introduction, three-color process became known and celebrated for its highly s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Studio System
A studio system is a method of filmmaking wherein the production and distribution of films is dominated by a small number of large movie studios. It is most often used in reference to Hollywood motion picture studios during the Golden Age of Hollywood from the 1920s to 1960s, wherein studios produced films primarily on their own filmmaking lots with creative personnel under often long-term contract, and dominated exhibition through vertical integration, i.e., the ownership or effective control of distributors and exhibition, guaranteeing additional sales of films through manipulative booking techniques such as block booking. The studio system was challenged under the antitrust laws in a 1948 Supreme Court ruling which sought to separate production from the distribution and exhibition and ended such practices, thereby hastening the end of the studio system. By 1954, with television competing for audience and the last of the operational links between a major production studio and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film And Video Technology
A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound and, more rarely, other sensory stimulations. The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it. Recording and transmission of film The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects. Before the introduction of digital production, series of still images were recorded on a strip of chemically sensitize ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
History Of Film
The history of film chronicles the development of a visual art form created using film technologies that began in the late 19th century. The advent of film as an artistic medium is not clearly defined. However, the commercial, public screening of ten of the Lumière brothers' short films in Paris on 28 December 1895 can be regarded as the breakthrough of projected cinematographic motion pictures. There had been earlier cinematographic results and screenings by others like the Skladanowsky brothers, who used their self-made Bioscop to display the first moving picture show to a paying audience on 1 November 1895 in Berlin, but they lacked neither the quality, financial backing, stamina, or the luck to find the momentum that propelled the cinématographe Lumière into worldwide success. Those earliest films were in black and white, under a minute long, without recorded sound and consisted of a single shot from a steady camera. The first decade of motion pictures saw film mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass Media Companies Established In 1933
Mass is an intrinsic property of a body. It was traditionally believed to be related to the quantity of matter in a physical body, until the discovery of the atom and particle physics. It was found that different atoms and different elementary particles, theoretically with the same amount of matter, have nonetheless different masses. Mass in modern physics has multiple definitions which are conceptually distinct, but physically equivalent. Mass can be experimentally defined as a measure of the body's inertia, meaning the resistance to acceleration (change of velocity) when a net force is applied. The object's mass also determines the strength of its gravitational attraction to other bodies. The SI base unit of mass is the kilogram (kg). In physics, mass is not the same as weight, even though mass is often determined by measuring the object's weight using a spring scale, rather than balance scale comparing it directly with known masses. An object on the Moon would weigh les ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
