Search

EDITORS used to define the post-shoot wrap party as the moment when the shooting is finished and the filmmaking begins. But while post production is becoming more and more significant, [...]

The article focuses on the digital preservation and restoration of Raymond Longford's "The Sentimental Bloke" by ScreenSound Australia and The National Screen and Sound Archive. The surviving nitrate print of the film was rescued after a fire occurred in the Commonwealth Government's News and Information Bureau in Melbourne, Victoria. In tinting and toning of the filmstrips, the originals were chemically dyed to a give a grey and black image on a colored film base or reprocessed to convert the silver image to brown or sepia.

Features the color grading work for motion pictures by the Australian company Atlab. Use of digital facilities and technical expertise; Relationship of Atlab with director Phillip Noyce; Digital color grading of feature films.

Focuses on the highlights and issues of the 1995 Society of Motion Picture and Television Engineers (SMPTE) Conference in Australia in July. Interest in film equipment at the conference; Hardware exhibited; Peter Doyle's talk on the differences between effects for television commercials; Explanation of the technical configuration of the Domino system by Peter Owen.

Highlights the technological advances in cinematography for the wide-screen. Use of digital color correctors; Cinematographic equipment; Transferring of prints; Techniques used by various directors of photography; Camera exposure.

Interviews Peter Webb, motion picture sound director and Chris Schwarze, owner and manager of Complete Post. Description of the Flame sound system; Comparison with other systems; Details of the technology behind the film.

Discusses several film technologies in Australia. Cinevex's kine-tape to film-service; Aaton Keylink's telecine code reader.

Investigates the influx of Korean and Chinese filmmakers in motion picture studios in Australia. Asian post-production works triggered by sound post-production for Clara Law's `Temptation of a Monk'; Relationships of Asian filmmakers with Australian facilities; Stages in budgeting for Chinese films; Language difficulties in transactions; Depth and rage of technologies offered by Australia.

Describes the development of film-to-film digital effects in Australian movies. Includes the movie `Babe'; Image steadying; Techniques used.

Presents a retrospective on the Agfa negative film stock, which Agfa-Gevaert has ceased to manufacture beginning early 1995. Role of the company in color film technology during World War II; Evolution of motion picture films since Agfa's production in 1913; Leading role of Agfa and Gevaert in the development of color films; Parallel developments in Australia; Boom in Australian feature film production.

Examines the use of three-perf system in motion picture cameras in Australia. Modification on film transport; Camera conversions; Nonlinear editing; Advantages over the four-perf system.

The author reflects on the history of Australian Cinematography and the impact of technology on its growth. He relates that during the late 1950s, film developing was still a very photochemical affair and still predominantly in black and white. He reveals that over the course of 50 years, film extended into color and soon afterwards morphed into digital technology. He adds that even with the onset of digital technology, film processing remains photochemical but with more choices in emulsions.

A personal narrative is presented which explores the author's experience of photographing the aurora borealis in Iceland.

The author reflects on the possible future directions in cinematography, filmmaking, an in cinema and other moving image forms in general. He argues that the change to consumer digital photography is more or less complete, but too much is different in professional cinematography. He discusses the advantages of digital 3D technology. The author also describes the place of cinematography in the digital parts of the motion picture production process.

The article explores the development of the film industry. According to the author, the industry began over a century ago, and it is now in the final stage of evolution of the first information revolution. At this stage, the industry applies digital technology, such as the use of recorded moving images as a means of telling stories to large numbers of people.

The article discusses several issues regarding the ethical aspects of photograph and motion picture editing. A U.S. newspaper dismissed a staff photographer after he changed the color of the sky in a picture of fire-fighters. The author notes that some people argue that image editing done in camera was allowable. He believes that there seems to be an innate belief that photographs are supposed to be self-validating.

The article relates the author's experience being a part of the production team involved in the films "Picnic at Hanging Rock" and "Wolf Creek." It describes the film "Picnic at Hanging Rock." It identifies the similarities between both films. It highlights the film industry in Australia.

The article updates on the condition of the cinema industry as of September 2005. Cinemas have faced the fear of extinction twice in the last century. It experienced the threat of losing their audience to home entertainment. The biggest technology change in the industry is its transition towards digital cinema. Digital cinema is the third great technological answer to the problem that has befallen the cinema industry.

The article presents an update on innovations in the U.S. motion picture industry as of 2005. In the previous century, the industry has become an inclusive industry. The production of motion pictures in U.S. studios were less than 600 in 2004. The use of moving images were no longer a restricted to the industry. Moving pictures were evident even in everyday life. These images were accessed through the Internet, computer games, museum displays and teaching aids.

The article begins with a history of the social aspects of inventing, and the effect that patent law had on inventors in the nineteenth century. Augustin Le Prince invented a single-lens motion picture camera in the 1880s, but failed to register his invention due to a suspicion that the patent offices would steal his idea. The rest of the article is concerned with the random nature of film grain. The mixture of grain sizes in motion picture film results in more image detail. In modern digital images, every pixel has the same sensitivity, it lacks the scatter of ranges that grain gives to film.

The article discusses the proper handling of film credits aimed to interest audience to read credits shown at the end of the picture. It emphasizes that credit should be restricted to people who made a specific contribution to the film and to those directly employed by the production company. Service provider companies should be listed by company and not by individual employee. It suggests that credits should list heads of departments and key creatives and the rest need only to be published on the film's Web site. One way to spark interest is to roll credits over an image as seen in the film "Intimate Strangers."