Film stock

Film stock is an analog medium that is used for recording motion pictures or animation. It is a strip or sheet of transparent plastic film base coated on one side with a gelatin emulsion containing microscopically small light-sensitive silver halide crystals. The sizes and other characteristics of the crystals determine the sensitivity, contrast and resolution of the film.[1] The emulsion will gradually darken if left exposed to light, but the process is too slow and incomplete to be of any practical use. Instead, a very short exposure to the image formed by a camera lens is used to produce only a very slight chemical change, proportional to the amount of light absorbed by each crystal. This creates an invisible latent image in the emulsion, which can be chemically developed into a visible photograph. In addition to visible light, all films are sensitive to X-rays and high-energy particles. Most are at least slightly sensitive to invisible ultraviolet (UV) light. Some special-purpose films are sensitive into the infrared (IR) region of the spectrum.

In black-and-white photographic film there is usually one layer of silver salts. When the exposed grains are developed, the silver salts are converted to metallic silver, which blocks light and appears as the black part of the film negative. Color film has at least three sensitive layers. Dyes, which adsorb to the surface of the silver salts, make the crystals sensitive to different colors. Typically the blue-sensitive layer is on top, followed by the green and red layers. During development, the exposed silver salts are converted to metallic silver, just as with black-and-white film. But in a color film, the by-products of the development reaction simultaneously combine with chemicals known as color couplers that are included either in the film itself or in the developer solution to form colored dyes. Because the by-products are created in direct proportion to the amount of exposure and development, the dye clouds formed are also in proportion to the exposure and development. Following development, the silver is converted back to silver salts in the bleach step. It is removed from the film in the fix step. Fixing leaves behind only the formed color dyes, which combine to make up the colored visible image. Later color films, like Kodacolor II, have as many as 12 emulsion layers, with upwards of 20 different chemicals in each layer.

Film strip
A film strip

History

1888–1899: Before standardization

Early motion picture experiments in the 1880s were performed using a fragile paper roll film, with which it was difficult to view a single, continuously moving image without a complex apparatus. The first transparent and flexible film base material was celluloid, which was discovered and refined for photographic use by John Carbutt, Hannibal Goodwin, and George Eastman.[2] Eastman Kodak made celluloid film commercially available in 1889; Thomas Henry Blair, in 1891, was his first competitor. The stock had a frosted base to facilitate easier viewing by transmitted light. Emulsions were orthochromatic. By November 1891 William Dickson, at Edison's laboratory, was using Blair's stock for Kinetoscope experiments.[2] Blair's company supplied film to Edison for five years. Between 1892 and 1893, Eastman experienced problems with production. Because of patent lawsuits in 1893, Blair left his American company and established another in Britain. Eastman became Edison's supplier of film.

Blair's new company supplied European filmmaking pioneers, including Birt Acres, Robert Paul, George Albert Smith, Charles Urban, and the Lumiere Brothers. By 1896 the new movie projector required a fully transparent film base that Blair's American operation could not supply. Eastman shortly thereafter bought the company out and became the leading supplier of film stock. Louis Lumiere worked with Victor Planchon to adapt the Lumiere "Blue Label" (Etiquette Bleue) photographic plate emulsion for use on celluloid roll film, which began in early 1896.

Eastman's first motion picture film stock was offered in 1889.[3] At first the film was the same as photographic film. By 1916, separate "Cine Type" films were offered.[3] From 1895, Eastman supplied their motion picture roll film in rolls of 65 feet, while Blair's rolls were 75 feet. If longer lengths were needed, the unexposed negative rolls could be cemented in a darkroom, but this was largely undesirable by most narrative filmmakers. The makers of Actuality films were much more eager to undertake this method, however, in order to depict longer actions. They created cemented rolls as long as 1000 feet. American Mutoscope and Biograph was the first known company to use such film for the Jeffries-Sharkey fight on November 3, 1899.

1900–1919: Toward the standard picture film

As the quantity of film and filmmakers grew, the demand for standardization increased. Between 1900 and 1910, film formats gradually became standardized and film stocks improved. A number of film gauges were made. Eastman increased the length of rolls to 200 feet without major adjustments to the emulsion, retaining a large market share. Lumiere reformulated its stock to match the speed of Eastman film, naming it 'Etiquette Violette' (Violet Label). Blair sold his English company to Pathé in 1907 and retired to the US. Pathe began to supplement its operation in 1910 by purchasing film prints, stripping the emulsion from the film base and re-coating it. 35mm film began to become the dominant gauge because of the popularity of Edison's and Lumière's cameras. Consumers usually purchased unperforated film and had to punch it by perforators that were often imprecise, causing difficulty in making prints for the opposite perforation format. In 1908, the perforators began to be made by Bell and Howell. Eastman Kodak used the Bell and Howell's machine to perforate its films. In 1909, Edison's organization of the Motion Picture Patents Trust agreed to what would become the standard: 35 mm gauge, with Edison perforations and a 1.33 aspect ratio.[4]

16mmBWrevDP
A silent home movie on 16mm black-and-white reversal double perforation film stock

Agfa began to produce motion picture film in 1913, but remained a largely local supplier until World War I boycotts of popular French, American and Italian film stocks allowed the UFA film studio to flourish, boosting Agfa's orders. All film stocks were manufactured on a nitrate film base, which is highly flammable. Nitrate film fires were difficult to extinguish. A significant number of fatal accidents occurred in theatrical projection booths, where the heat of the projector lamp made ignition most likely. Amateur filmmaking (home movies) slowly developed during this period. Kodak developed a heat-resistant 'safety base' for home projection.

In 1909, tests showed cellulose diacetate to be a viable replacement base, and Kodak began selling acetate-base films the following year in 22 mm widths for Edison's work on the Home Kinetoscope, which was commercially released in 1912. Eastman Kodak introduced a non-inflammable 35 mm film stock in 1909. The plasticizers used to make the film flexible evaporated quickly, making the film dry and brittle, causing splices to part and perforations to tear. In 1911 the major American film studios returned to using nitrate stock.[5] More amateur formats began to use acetate-based film, and several, including Kodak's own 16 mm format, were designed specifically to be manufactured with safety base. Kodak released Cine Negative Film Type E in 1916 and Type F (later known as Negative Film Par Speed Type 1201) in 1917. As both of these orthochromatic films were no faster than previous offeringst, he improvements were in granularity and sharpness.

1920s: Diversification of film sensitivity

Film stock manufacturers began to diversify their products. Each manufacturer had previously offered one negative stock (usually orthochromatic) and one print stock. In 1920, a variant of Type F film known as X-back was introduced to counteract the effects of static electricity on the film, which can cause sparking and create odd exposure patterns on the film. A resin backing was used on the film, which rendered the film too opaque to allow focusing through the back of the film, a common technique for many cameras of that era. The X-back stock was popular on the east coast of the US. Other manufacturers were established in the 1920s, including American E.I. Dupont de Nemours in 1926 and Belgian Gevaert in 1925. Panchromatic film stock became more common. Created in 1913 for use in color film processes such as Kinemacolor, panchromatic was first used in a black-and-white film for exterior sequences in Queen of the Sea (1918) and originally available as a special order product.[6] The stock's increased sensitivity to red light made it an attractive option for day for night shooting. Kodak financed a feature in 1922, shot entirely with panchromatic stock, The Headless Horseman, to promote the film when Kodak introduced it as a standard option. Panchromatic film stock was expensive and no motion pictures were produced in entirety on it for several years. The cross-cutting between panchromatic and orthochromatic stocks caused continuity problems with costume tones and panchromatic film was often avoided.

Orthochromatic film remained dominant until the mid-1920s due to Kodak's lack of competition in the panchromatic market. In 1925, Gevaert introduced an orthochromatic stock with limited color sensitivity and a fully panchromatic stock, Pan-23. In 1926, Kodak lowered the price of panchromatic stock to parity with its orthochromatic offering and the panchromatic stock began to overtake the orthochromatic stock's market share within a few years.[7] Similar panchromatic film stocks were manufactured by Agfa and Pathé, the shift to panchromatic stocks had largely been completed by 1928, and Kodak discontinued orthochromatic stock in 1930.[8]

Colour films

Experiments with colour films were made as early as the late 19th century, but practical colour film was not commercially viable until 1908, and for amateur use when Kodak introduced Kodachrome for 16 mm in 1935 and 8 mm in 1936. Before 1941, commercially successful colour processes used special cameras loaded with black-and-white separation stocks rather than colour negative. Kinemacolor (1908–1914), Technicolor processes 1 through 4 (1917–1954), and Cinecolor used one, two or three strips of monochrome film stock sensitized to certain primary colours or exposed behind colour filters in special cameras. Technicolor introduced a colour reversal stock, called Monopack, for location shooting in 1941; it was ultimately a 35 mm version of Kodachrome that could be used in standard motion picture cameras.

Eastman Kodak introduced their first 35mm colour negative stock, Eastman Colour Negative film 5247, in 1950. A higher quality version in 1952, Eastman Colour Negative film 5248, was quickly adopted by Hollywood for colour motion picture production, replacing both the expensive three-strip Technicolor process and Monopack.

Classification and properties

35mm-undevel
A short strip of undeveloped 35 mm color negative film.

There are several variables in classifying stocks; in practice, one orders raw stock by a code number, based on desired sensitivity to light.

Base

A piece of film consists of a light-sensitive emulsion applied to a tough, transparent base, sometimes attached to anti-halation backing or "rem-jet" layer (now only on camera films). Originally the highly flammable cellulose nitrate was used. In the 1930s, film manufacturers introduced "safety film" with a cellulose triacetate plastic base. All amateur film stocks were safety film, but the use of nitrate persisted for professional releases. Kodak discontinued the manufacture of nitrate base in 1951, and the industry transitioned entirely to safety film in 1951 in the United States and by 1955 internationally. Since the late 1990s, almost all release prints have used polyester film stock.

Emulsion

The emulsion consists of silver halide grains suspended in a gelatin colloid; in the case of color film, there are three layers of silver halide, which are mixed with color couplers and interlayers that filter specific light spectra. These end up creating yellow, cyan, and magenta layers in the negative after development.

Chemistry

Development chemicals applied to an appropriate film can produce either a positive (showing the same densities and colors as the subject) or negative image (with dark highlights, light shadows, and, in principle, complementary colors). The first films were darkened by light: negative films. Later films that produce a positive image became known as reversal films; processed transparent film of this type can be projected onto a screen. Negative images need to be transferred onto photographic paper or other substrate which reverses the image again, producing a final positive image. Creating a positive image from a negative film can also be done by scanning the negative to create a computer file which can then be reversed by software.

Image record

Different emulsions and development processes exist for a variety of image recording possibilities: the two most common of which are black and white, and color. However, there are also variant types, such as infrared film (in black and white or false color); specialist technical films, such as those used for X-rays; and obsolete processes, such as orthochromatic film. Generally, however, the vast majority of stock used today is "normal" (visible spectrum) color, although "normal" black and white also commands a significant minority percentage.

Physical characteristics

Film is also classified according to its gauge and the arrangement of its perforations— gauges range from 8 mm to 70 mm or more, while perforations may vary in shape, pitch, and positioning. The film is also distinguished by how it is wound with regard to perforations and base or emulsion side, as well as whether it is packaged around a core, a daylight spool, or within a cartridge. Depending on the manufacturing processes and camera equipment, lengths can vary anywhere from 25 to 2000 feet. Common lengths include 25 feet for 8 mm, 50 feet for Super 8, 100 and 400 feet for 16 mm, 400 and 1000 feet for 35 mm, and 1000 for 65/70 mm.

Responsivity

A critical property of a stock is its film speed, determined by ASA or its sensitivity to light listed by a measurement on the raw stock which must be chosen with care. Speed determines the range of lighting conditions under which the film can be shot, and is related to granularity and contrast, which influence the look of the image. The stock manufacturer will usually give an exposure index (EI) number equal to the ASA which they recommend exposing for. However, factors such as forced or non-standard development (such as bleach bypass or cross processing), compensation for filters or shutter angle, as well as intended under- and over-exposure may cause the cinematographer to actually "rate" the stock differently from the EI. This new rating is not a change to the stock itself — it is merely a way of calculating exposure without figuring out the compensation after each light reading.

Colour temperature

Another important quality of colour film stock in particular is its colour balance, which is defined by the colour temperature at which it accurately records white. Tungsten lighting is defined at 3200 K, which is considered "warmer" in tone and shifted towards orange; daylight is defined at 5600 K, which is considered "colder" and shifted towards blue. This means that unfiltered tungsten stock will look normal shot under tungsten lights, but blue if shot during daylight. Conversely, daylight stock shot in daylight will look normal, but orange if shot under tungsten lights. Colour temperature issues such as these can be compensated for by other factors such as lens filters and colour gels placed in front of the lights. The colour temperature of a film stock is generally indicated next to the film speed number — e.g. 500T stock is colour film stock with an ASA of 500 and balanced for tungsten light; 250D would have an ASA of 250 and be balanced for daylight. While black-and-white film has no colour temperature itself, the silver halide grains themselves tend to be slightly more responsive to blue light, and therefore will have daylight and tungsten speeds — e.g. Kodak's Double-X stock is rated 250D/200T, since the tungsten light will give slightly less exposure than an equivalent amount of daylight.

Deterioration

All plastic is subject to deterioration through physical or chemical means, and thus, motion picture film is subject to the same deterioration. Films deteriorate over time, which can damage individual frames or even lead to the entire film being destroyed. Cellulose nitrate, cellulose diacetate and triacetate are known to be unstable mediums: improperly preserved film can deteriorate in a period of time much faster than many photographs or other visual presentations. Cellulose nitrate, because of its unstable chemistry, eventually breaks down, releasing nitric acid, further catalyzing the decomposition. In the final stages of celluloid decomposition, the film turns into a rust-like powder. Likewise, tri-acetate stock is also vulnerable to deterioration. Because of the small gauge of the film, owners of home-made films often find that their film can become shrunken and brittle to the point where the film is unwatchable in the space of a few years. In general, decaying acetate film breaks down into acetic acid, and similar to celluloid decomposition, leads to an auto-catylictic breakdown of the base that cannot be reversed. The result of the acetic acid released is a strong odor of vinegar, which is why the decay process in the archival community is known as "vinegar syndrome". Modern polyester-based stocks are far more stable by comparison and are rated to last hundreds of years if stored properly.

Intermediate and print stocks

Anamorphic-digital sound
35 mm film print frames. At far left and far right, outside the perforations, is the SDDS soundtrack as an image of a digital signal. Between the perforations is the Dolby Digital soundtrack (note the tiny Dolby "Double D" logo in the center of each area between the perforations). Just inside the perforations, on the left side of the image, is the analog optical soundtrack, with two channels encoded using Dolby SR noise reduction that can be dematrixed into four channels using Dolby Pro Logic. The optical timecode used to synchronize a DTS soundtrack, which sits between the optical soundtrack and the image, is not pictured. Finally, the image here is an anamorphic image used to create a 2.39:1 aspect ratio when projected through an anamorphic lens. Note the thin frame lines of anamorphic prints.

The distinction between camera stocks and print stocks involves a difference in the recording process. When the work print or edit master has been approved, the Original Camera Negative (OCN) is assembled by a negative cutter using the edited work print or EDL (edit decision list) as a guide. A series of Answer Prints are then made from the OCN. During the Answer Print stage, corrections in the film's density and color are corrected (timed) to the filmmakers' tastes. Interpositive (IP) prints are struck from the OCN, checked to make sure they look the same as the custom timed Answer Print, and then each IP is used to make one or more Dupe Negative (DN) copies. The release prints are then generated from the DN(s). Recently, with the development of digital intermediate (DI), it has become possible to completely edit, composite visual effects, and color grade the image digitally at full resolution and bit-depth. In this workflow, the answer print is generated digitally and then written out to the IP stage using a laser film printer.

Due to the specialized nature of the exposure and the higher degree of control afforded by the film lab equipment, these intermediate and release stocks are specially designed solely for these applications and are generally not feasible for camera shooting. Because intermediates only function to maintain the image information accurately across duplication, each manufacturer tends to only produce one or two different intermediate stocks. Similarly, release print stocks usually are available only in two varieties: a "normal" print or a deluxe print (on more-costly print film like Kodak Vision Premiere) with slightly greater saturation and contrast.

Decline

Use of film remained the dominant form of cinematography until the early 21st century when digital formats supplanted the use of film in many applications. This has also led to the replacement of film projectors with digital projection.[9]

Yet, digital videos are sometimes deliberately altered to achieve a film look, such as adding film grain or other noise for artistic effect.

See also

References

Notes

  1. ^ Karlheinz Keller et al. "Photography" in Ullmann's Encyclopedia of Industrial Chemistry, 2005, Wiley-VCH, Weinheim. doi: 10.1002/14356007.a20_001
  2. ^ a b "Archived copy". Archived from the original on 2015-08-23. Retrieved 2015-08-08.CS1 maint: Archived copy as title (link)
  3. ^ a b http://www.aipcinema.com/ficheiros/Conteudos/KODAK_FILM_HISTORY.pdf
  4. ^ The gauge and perforations are almost identical to modern film stock; the full silent ratio is also used as the film gate in movie cameras, although portions of the image are later cropped out in post-production and projection.
  5. ^ Eileen Bowser, The Transformation of Cinema 1907–1915, Charles Scribner's Sons, 1990, p. 74–75. ISBN 0-684-18414-1.
  6. ^ Koszarski (1994). p. 140.
  7. ^ Salt (1992). p. 179. "There was apparently some question as to differences in relative contrast between the two stocks. As Barry Salt notes, "this claim is almost impossible to substantiate now, given the extreme difficulty there is in seeing a reasonable number of original prints of films shot on both stocks."
  8. ^ Kodak: Chronology of Motion Picture Films, 1889 to 1939.
  9. ^ Digital Cinema Conversion Nears End Game

Bibliography

  • Koszarski, Richard (1994). An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928, University of California Press. ISBN 978-0-520-08535-0.
  • Salt, Barry (1992). Film Style and Technology: History and Analysis. London: Starword.

Further reading

35 mm film

35 mm film (millimeter) is the film gauge most commonly used for motion pictures and chemical still photography (see 135 film). The name of the gauge refers to the width of the photographic film, which consists of strips 34.98 ±0.03 mm (1.377 ±0.001 inches) wide. The standard negative pulldown for movies ("single-frame" format) is four perforations per frame along both edges, which results in 16 frames per foot of film. For still photography, the standard frame has eight perforations on each side.

A variety of largely proprietary gauges were devised for the numerous camera and projection systems being developed independently in the late 19th century and early 20th century, ranging from 13 to 75 mm (0.51 to 2.95 in), as well as a variety of film feeding systems. This resulted in cameras, projectors, and other equipment having to be calibrated to each gauge. The 35 mm width, originally specified as ​1 3⁄8 inches, was introduced in 1892 by William Dickson and Thomas Edison, using 120 film stock supplied by George Eastman. Film 35 mm wide with four perforations per frame became accepted as the international standard gauge in 1909, and remained by far the dominant film gauge for image origination and projection until the advent of digital photography and cinematography, despite challenges from smaller and larger gauges, because its size allowed for a relatively good trade-off between the cost of the film stock and the quality of the images captured.

The gauge has been versatile in application. It has been modified to include sound, redesigned to create a safer film base, formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound data into nearly all of its non-frame areas. Eastman Kodak, Fujifilm and Agfa-Gevaert are some companies that offered 35 mm films. Today Kodak is the last remaining manufacturer of motion picture film. In October 2018, Kodak announced their licensing agreement with AMB Media LLC to launch the KODAK Digitizing Box. This service allows Kodak formats to be digitized to digital formats. The ubiquity of 35 mm movie projectors in commercial movie theaters made 35 mm the only motion picture format that could be played in almost any cinema in the world, until digital projection largely superseded it in the 21st century. It is difficult to compare the quality of film to digital media, but a good estimate would be about 22 megapixels (44 megapixels DSLR Bayer equivalent) would equal one 35-millimeter high quality color frame of film.

828 film

828 is a film format for still photography. Kodak introduced it in 1935, only a year after 135 film. 828 film was introduced with the Kodak Bantam, a consumer-level camera.

The 828 format uses the same basic film stock as 135 film (standard 35mm film), but the film lacks the sprocket holes of 135. The standard image format is 40 × 28 mm. This provides a 30% larger image compared to 135's standard 24 × 36 mm, yet on the same film stock. Because Kodak targeted 828 at a lower-end consumer market, the film was much shorter, at a standard 8 exposures per roll. 828 film originally had one perforation per frame, much like 126 film. Unlike 135 (a single-spool cartridge film) or 126 (a dual-spool cartridge film), 828 is a roll film format, like 120 film. Like 120, it has a backing paper and frames are registered through a colored window on the back of the camera (except on the original folding Bantams, where images were registered with an index hole).

828 cameras never achieved widespread popularity, and the format had a rather limited run. Kodak's last 828 cameras were the Pony 828 in the US, produced until 1959, and the Bantam Colorsnap 3 in the UK, produced until 1963. Kodak ceased production of 828 format film in 1985. The Traid Fotron, sold in the late 1960s, used 828 format film as well. However, the film was enclosed in a proprietary pop-in cartridge and so the consumer never actually saw the film; instead, they merely returned the entire cartridge to Traid for processing.

Those wishing to photograph with an 828-format camera have few options. As of 2005, 828 film is available for purchase on the Internet; this film is probably respooled from bulk unperforated 35mm film. Another option is to use standard 135 film, with sprocket holes, and respool it with used 828 backing paper onto old spools. The effective image size will be reduced with this method as the perforations will intrude on the image area. Finally, as with other obsolete film types, 120 film can be cut (with backing paper) and respooled onto 828 spools.

Cinematographer

A cinematographer or director of photography (sometimes shortened to DP or DOP) is the chief over the camera and light crews working on a film, television production or other live action piece and is responsible for making artistic and technical decisions related to the image. The study and practice of this field is referred to as cinematography.

The cinematographer selects the camera, film stock, lenses, filters, etc., to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify exact camera placement and lens selection. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other; the director will typically convey to the cinematographer what is wanted from a scene visually, and allow the cinematographer latitude in achieving that effect.

Several American cinematographers have become directors, including Reed Morano, ASC who lensed Frozen River and Beyonce's Lemonade before winning an Emmy for directing The Handmaid's Tale. Barry Sonnenfeld, originally the Coen brothers' DP; Jan de Bont, cinematographer on films as Die Hard and Basic Instinct, directed Speed and Twister. Ellen Kuras, ASC photographed Eternal Sunshine of The Spotless Mind as well as a number of Spike Lee films such as Summer of Sam and He Got Game before directing episodes of Legion and Ozark. In 2014, Wally Pfister, cinematographer on Christopher Nolan's three Batman films, made his directorial debut with Transcendence; whilst British cinematographers Jack Cardiff and Freddie Francis regularly moved between the two positions.

Cinematography

Cinematography (from ancient greek κίνημα, kìnema "movement" and γράφειν, gràphein "to write") is the science or art of motion-picture photography by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as film stock.Cinematographers use a lens to focus reflected light from objects into a real image that is transferred to some image sensor or light-sensitive material inside a movie camera. These exposures are created sequentially and preserved for later processing and viewing as a motion picture. Capturing images with an electronic image sensor produces an electrical charge for each pixel in the image, which is electronically processed and stored in a video file for subsequent processing or display. Images captured with photographic emulsion result in a series of invisible latent images on the film stock, which are chemically "developed" into a visible image. The images on the film stock are projected for viewing the motion picture.

Cinematography finds uses in many fields of science and business as well as for entertainment purposes and mass communication.

Clapper loader

A clapper loader or second assistant camera (2nd AC) is part of a film crew whose main functions are that of loading the raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The name "clapper loader" tends to be used in the United Kingdom and Commonwealth, while "second assistant camera" tends to be favored in the United States, but the job is essentially the same whichever title is used. The specific responsibilities and division of labor within the department will almost always vary depending on the circumstances of the shoot.

Collage film

Collage film is a style of film created by juxtaposing found footage from disparate sources. The term has also been applied to the physical collaging of materials onto film stock.

Cuadecuc, vampir

Vampir-Cuadecuc is a 1970 experimental feature film by Spanish filmmaker Pere Portabella.The entire film is photographed on high contrast black & white film stock, which gives it the appearance of a degraded film print, evoking early Expressionist horror films such as F. W. Murnau's Nosferatu or Carl Theodor Dreyer's Vampyr. It was shot on the set of Jesus Franco's Count Dracula, starring Christopher Lee and Herbert Lom. The sound track is by frequent Portabella collaborator Carles Santos, and the only spoken dialogue in the film appears only in the last scene, which features Lee reading from Bram Stoker's original novel.

Lee would appear in another Portabella film the same year--Umbracle.

The word "cuadecuc" is the Catalan word for "worm's tail." The term also refers to the unexposed footage at the end of a roll of film.

Jonathan Rosenbaum, a critic for the Chicago Reader, listed this film as the fourth best in 2006.The film tells an abbreviated version of the Dracula story using behind-the-scenes footage from Count Dracula. Thus, we see crew members and lights in dramatic scenes; often, these scenes are preceded by sequences where we see the set and actors being prepared. For example, before Dracula is shown rising from his coffin, Christopher Lee is seen getting made up and climbing into the coffin as a crew member covers him in fake spiderwebs. This gives the film a humorous tone: scenes meant to shock in Jesus Franco's original film are intercut with the actors making faces between takes and fooling around with the crew.

Drawn-on-film animation

Drawn-on-film animation, also known as direct animation or animation without camera, is an animation technique where footage is produced by creating the images directly on film stock, as opposed to any other form of animation where the images or objects are photographed frame by frame with an animation camera.

Eastman Color Negative

Eastman Color Negative (ECN) is a photographic processing system created by Kodak in the 1950s for the development of monopack color negative motion picture film stock.

The original process, known as ECN-1, was used from the 1950s to the mid-1970s, and involved development at approximately 25°C for around 7–9 minutes. Later research enabled faster development and environmentally friendlier film and process (and thus quicker photo lab turnaround time).

This process allowed a higher development temperature of 41.1°C for around three minutes. This new environmentally friendly development process is known as ECN-2. It is the standard development process for all modern motion picture color negative developing, including Fujifilm and other non-Kodak film manufacturers. All film stocks are specifically created for a particular development process, thus ECN-1 film could not be put into an ECN-2 development bath since the designs are incompatible.

Film gauge

Film gauge is a physical property of photographic or motion picture film stock which defines its width. Traditionally the major movie film gauges in usage are 8 mm, 16 mm, 35 mm, and 65/70 mm (in this case 65 mm for the negative and 70 mm for the release print; the extra five millimeters are reserved for the magnetic soundtrack). There have been other historic gauges in the past, especially in the silent era, most notably 9.5 mm film, as well as a panoply of others ranging from 3 mm to 75 mm.

Footage

In filmmaking and video production, footage is raw, unedited material as originally filmed by a movie camera or recorded by a video camera, which typically must be edited to create a motion picture, video clip, television show or similar completed work.

Footage may also refer to sequences used in film and video editing, such as special effects and archive material (for special cases of this, see stock footage and B roll).

Since the term originates in film, footage is only used for recorded images, such as film stock, videotapes or digitized clips – on live television, the signals from video cameras are instead called sources.

Motion Picture Patents Company

The Motion Picture Patents Company (MPPC, also known as the Edison Trust), founded in December 1908 and terminated seven years later in 1915 after conflicts within the industry, was a trust of all the major US film companies and local foreign-branches (Edison, Biograph, Vitagraph, Essanay, Selig Polyscope, Lubin Manufacturing, Kalem Company, Star Film Paris, American Pathé), the leading film distributor (George Kleine) and the biggest supplier of raw film stock, Eastman Kodak. The MPPC ended the domination of foreign films on US screens, standardized the manner in which films were distributed and exhibited within the US, and improved the quality of US motion pictures by internal competition. But it also discouraged its members' entry into feature film production, and the use of outside financing, both to its members' eventual detriment.

Nitrocellulose

Nitrocellulose (also known as cellulose nitrate, flash paper, flash cotton, guncotton, and flash string) is a highly flammable compound formed by nitrating cellulose through exposure to nitric acid or another powerful nitrating agent. When used as a propellant or low-order explosive, it was originally known as guncotton.

Partially nitrated cellulose has found uses as a plastic film and in inks and wood coatings. In 1862, the first man-made plastic, nitrocellulose (branded Parkesine), was created by Alexander Parkes from cellulose treated with nitric acid and a solvent. In 1868, American inventor John Wesley Hyatt developed a plastic material he named Celluloid, improving on Parkes' invention by plasticizing the nitrocellulose with camphor so it could be processed into finished form and used as a photographic film. Celluloid was used by Kodak, and other suppliers, from the late 1880s as a film base in photography, X-ray films, and motion-picture films, and was known as nitrate film. After numerous fires caused by unstable nitrate films, "safety film" (cellulose acetate film) started to be used from the 1930s in the case of X-ray stock and from 1948 for motion-picture film.

Offline editing

Offline editing is part of the post-production process of filmmaking and television production in which raw footage is copied and the copy only is then edited, thereby not affecting the camera original film stock or video tape. Once the project has been completely offline edited, the original media will be assembled in the online editing stage.

The term offline originated in the computing and telecommunications industries, meaning "not under the direct control of another device" (automation).

Modern offline video editing is conducted in a non-linear editing (NLE) suite. The digital revolution has made the offline editing workflow process immeasurably quicker, as practitioners moved from time-consuming (video tape to tape) linear video editing online editing suites, to computer hardware and video editing software such as Adobe Premiere, Final Cut Pro, Avid, Sony Vegas, Lightworks and VideoPad. Typically, all the original footage (often tens or hundreds of hours) is digitized into the suite at a low resolution. The editor and director are then free to work with all the options to create the final cut.

Plastic film

Plastic film is a thin continuous polymeric material. Thicker plastic material is often called a "sheet". These thin plastic membranes are used to separate areas or volumes, to hold items, to act as barriers, or as printable surfaces.

Plastic films are used in a wide variety of applications. These include: packaging, plastic bags, labels, building construction, landscaping, electrical fabrication, photographic film, film stock for movies, video tape, etc.

Rough cut

In filmmaking, the rough cut is the second of three stages of offline editing. The rough cut is the first stage in which the film begins to resemble its final product. The term originates from the early days of filmmaking when film stock was physically cut and reassembled, but is still used to describe projects that are recorded and edited digitally.

Rough cuts are recognizable as a conventional film, but may have notable errors or defects, may not have the desired narrative flow from scene to scene, may lack soundtrack music, sound effects or visual effects, and still undergo many significant changes before the release of the film.

Super 8 film

Super 8mm film is a motion picture film format released in 1965 by Eastman Kodak as an improvement over the older "Double" or "Regular" 8 mm home movie format.

The film is nominally 8mm wide, the same as older formatted 8mm film, but the dimensions of the rectangular perforations along one edge are smaller, which allows for a greater exposed area. The Super 8 standard also allocates the border opposite the perforations for an oxide stripe upon which sound can be magnetically recorded.

Unlike Super 35, the film stock used for Super 8 is not compatible with standard 8 mm film cameras.

There are several varieties of the film system used for shooting, but the final film in each case has the same dimensions. The most popular system by far was the Kodak system.

The State of Things (film)

The State of Things (German: Der Stand der Dinge) is a 1982 film directed by Wim Wenders. It tells the story of a film crew stuck in Portugal after the production runs out of film stock and money. The director travels to Los Angeles in search of his missing producer.

Videography

Videography refers to the process of capturing moving images on electronic media (e.g., videotape, direct to disk recording, or solid state storage) and even streaming media. The term includes methods of video production and post-production. It could be considered the video equivalent of cinematography (moving images recorded on film stock). The advent of digital video recording in the late 20th century blurred the distinction between videography and cinematography, as in both methods the intermittent mechanism became the same. Nowadays, any video work outside commercial motion picture production could be called videography.

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