05370nam 2200529 450 99646673360331620221202155509.097810716095141-0716-0951-3(CKB)4100000011881251(MiAaPQ)EBC6539077(Au-PeEL)EBL6539077(OCoLC)1245926410(PPN)255293917(EXLCZ)99410000001188125120211025d2021 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierThe cinema in flux the evolution of motion picture technology from the magic lantern to the digital era /Lenny LiptonNew York, New York :Springer,[2021]©20211 online resource (761 pages)1-0716-0950-5 Includes bibliographical references and index.Part I. The glass cinema: The cinema of real motion. Huygens and the magic lantern ; The magic lanternists ; Lantern light and glass -- Part II. The glass cinema: Apparent motion, discovered and applied. Plateau invents the phenakistoscope ; A persistent myth ; The Zoëtrope and the Praxinoscope ; Daguerre's photography ; Fox Talbot's photography ; Protocinematographers: Duboscq to Le Prince ; Muybridge and Anschütz ; Chronophotographers: Janssen, Marey, and Demenÿ -- Part III. The celluloid cinema: The 35 mm medium. Edison, Dickson, and the Kineto Project ; The Kinetograph ; The Kinetoscope: projection's inspiration ; Dickson moves on: Lambda, Mutoscope, and Bitzer ; Jenkins and Armat: American projection ; The Lumières and the Europeans ; Edison and the Trust ; Porter the filmmaker ; Porter and the Simplex ; Camera design befor WWII ; Camera design after WWII ; Ciné lenses: Part I ; Ciné lenses: Part II -- Part IV. The celluloid cinema: Sound. Silent sound ; Synchronizing the photograph ; Electronics for talking shadows ; The origins of sound-on-film ; One man bands: Lauste and Tykociner ; Tri-Ergon ; de Forest and Case ; Phonofilm ; William Fox hears the future ; Vitaphone ; Movietone ; RCA vs. ERPI ; William Fox vs. the industry ; Optical sound evolution ; Multichannel, magnetic, and digital sound -- Part V. The celluloid cinema: Color. Applied color ; Color elucidated ; Color photography before the movies ; Urban and the origins of Kinemacolor ; The rise and fall of Kinemacolor ; Additive color after Kinemacolor ; Subtractive technologies ; Kelley's color microcosm ; TruColor and Cinecolor ; Two-color Technicolor ; Three-color Technicolor ; Agfa and Ansco color ; Eastman color -- Part VI. The celluloid cinema: Small formats. Early small formats ; 16 mm ; Kodachrome ; Double 8 mm and Super 8 -- Part VII. The celluloid cinema: The big wide screen. The shape of screens to come ; Grandeur et al. ; Expanded screen: the interregnum ends ; This is Cinerama ; Cinerama after Waller ; CinemaScope ; 'Scope variations ; Wide screen and VistaVision ; Todd-AO ; 65/70 mm and Technirama ; IMAX and PLF exhibition -- Part VIII. The celluloid cinema: The Stereoscopic cinema. Early 3-D ; Polarization image selection ; 3-D in the last half of the twentieth century -- Part IX. Television and the digital cinema: Television. Vision at a distance ; Jenkins and Baird ; Farnsworth ; Zworykin ; Broadcasting begins ; Color wars: CBS vs RCA ; High definition television ; Film to video and the VTR -- Part X. Television and the digital cinema: The electronic cinema. Early adopters: electronic cinematography and CGI ; Digital technology ; The hybridization of post-production ; Electro-mechanical to digital projection ; Digital projection and 3-D converge.The first of its kind, this book traces the evolution of motion picture technology in its entirety. Beginning with Huygens' magic lantern and ending in the current electronic era, it explains cinema's scientific foundations and the development of parallel enabling technologies alongside the lives of the innovators. Product development issues, business and marketplace factors, the interaction of aesthetic and technological demands, and the patent system all play key roles in the tale. The topics are covered sequentially, with detailed discussion of the transition from the magic lantern to Edison's invention of the 35mm camera, the development of the celluloid cinema, and the transition from celluloid to digital. Unique and essential reading from a lifetime innovator in the field of cinema technology, this engaging and well-illustrated book will appeal to anyone interested in the history and science of cinema, from movie buffs to academics and members of the motion picture industry.CinematographyHistoryMotion picture camerasHistoryMotion picture industryHistoryMotion picture camerasHistory.fastCinematographyHistory.Motion picture camerasHistory.Motion picture industryHistory.Motion picture cameras.777.09Lipton Lenny1940-971728MiAaPQMiAaPQMiAaPQBOOK996466733603316The cinema in flux2209292UNISA02260nam 2200541 a 450 991078085530332120230721024735.00-8018-9343-7(CKB)2520000000007574(EBL)3318409(OCoLC)923193896(SSID)ssj0000335899(PQKBManifestationID)11230203(PQKBTitleCode)TC0000335899(PQKBWorkID)10277657(PQKB)11137975(MiAaPQ)EBC3318409(OCoLC)542394374(MdBmJHUP)muse2643(Au-PeEL)EBL3318409(CaPaEBR)ebr10363093(EXLCZ)99252000000000757420070514d2008 uy 0engur|n|---|||||txtccrClosed captioning[electronic resource] subtitling, stenography, and the digital convergence of text with television /Gregory J. DowneyBaltimore Johns Hopkins University Press20081 online resource (400 p.)Johns Hopkins studies in the history of technologyDescription based upon print version of record.0-8018-8710-0 Includes bibliographical references (p. [303]-379) and index.Introduction: Invisible speech-to-text systems -- pt. 1. Turning speech into text in three different contexts -- Subtitling film for the cinema audience -- Captioning television for the deaf population -- Stenographic reporting for the court system -- pt. 2. Convergence in the speech-to-text industry -- Realtime captioning for news, education, and the court -- Public interest, market failure, and captioning regulation -- Privatized geographies of captioning and court reporting -- Conclusion: The value of turning speech into text.Johns Hopkins studies in the history of technology (Unnumbered)Speech-to-text systemsSpeech-to-text systems.384.55/6Downey Gregory John852378MiAaPQMiAaPQMiAaPQBOOK9910780855303321Closed captioning3726571UNINA