The s saw incredible innovation for the motion picture. Stanford was a racehorse breeder and hired Muybridge to prove that a galloping horse lifts all four hooves off the ground at once. So Muybridge was hired to help Stanford win this bet. Muybridge toiled and worked with multiple cameras to take successive photos of horses in motion. On a Sacramento racecourse, he set up a battery of twelve cameras with wires that stretched across the track, and each wire operated their shutters.
So as a horse rode down the track, its hooves would trip each shutter to expose a successive photo of the gallop. In October of , the Scientific American published these series of pictures, with instructions to view them through a zoetrope. Stanford supported Muybridge after this with the invention of the zoogyroscope in This device allowed Muybridge to project photos to an audience in San Francisco, the next year.
Around the same time, in , French physiologist, Etienne-Jules Marey, invented the chronophotographic gun, a camera shaped like a rifle that recorded 12 photos per second. He wanted to study birds in flight. These images were printed on a rotating glass plate, later paper roll film , he then attempted to project these images. But inventors around the world were always working on something.
In in Newark, New Jersey, a minister named Hannibal Goodwin decided to use celluloid as a base for photographic emulsions. But it was George Eastman who experimented with sensitized paper rolls for still photos, and started to manufacture this celluloid roll film in in New York. This type of film could now record thousands of images for longer Celluloid was a durable recording medium that could house the amount of images cinematography requires.
Now the only thing left to do was to combine the apparatuses of Marey and Muybridge with this celluloid strip film to give us a workable motion picture camera. French inventor, Louis Le Prince invented the first motion picture camera in the s. Tungsten, EI H. Process ECN Extended latitude and improved flesh tone. First introduced in Discontinued March, Process VNF Replaces Improved cyan dye post processing keeping.
Process ECP. Markedly improved cyan dye dark-keeping stability. Same as except for Process ECP Process ECN-2, normal.
Ferri bleach version SR High speed 16mm camera film. Process ECP-2A. Discontinued Spring Was given Journal Award for best technical film paper in Improved image structure and color reproduction in a 16mm film. Tungsten, EI 35mm; EI 16mm.
Increased film speed and improved image structure. Optimum reproduction of film over television. National Association of Television Program Executives: Salutation "Congratulations to Eastman Kodak Company on it's th birthday with gratitude for it's enormous and vital contributions to the growth and the beauty of the television medium.
All required Process ME First motion picture film to have "T" Grain. T-Grain is in the fast magenta and slow blue N. Especially for blue screen applications. Reduced grain and increased blue speed. T-Grain in the blue. Modified to Eliminate need of formalin in stabilizer. Process ECP-2B. Daylight EI Extremely fine grain. T-Grain in all layers. SO 35mm. Replaced , 16mm. Improved grain and sharpness. Blue and green separation similar to All T-Grain except in fast yellow J Discontinued This will decrease the propensity for the perforations to fracture, and lengthen the use of products where perforation stress is a factor.
All 16 mm camera films have a reduced tighter tolerance. This refers to perforation height and width dimension and not pitch. Tungsten EI This has been given the title "super-duper-8" or "max-8" and is gradually gaining popularity despite the availability of affordable digital video cameras. During the s the format was often referred to as sub-standard film by the professional industry.
Initially directed toward the amateur market, Kodak hired Willard Beech Cook from his 28 mm Pathescope of America company to create the new 16 mm Kodascope Library. In addition to making home movies, one could buy or rent films from the library, one of the key selling aspects of the format. As it was intended for amateur use, 16 mm film was one of the first formats to use acetate safety film as a , and Kodak never manufactured nitrate film for the format due to the high flammability of the nitrate base.
The silent 16 mm format was initially aimed at the home enthusiast, but by the s it had begun to make inroads into the educational market. The addition of optical sound tracks and, most notably, Kodachrome in , gave an enormous boost to the 16 mm market. Used extensively in WW2, there was a huge expansion of 16 mm professional filmmaking in the post-war years.
Films for government, business, medical and industrial clients created a large network of 16 mm professional filmmakers and related service industries in the s and s. The advent of television also enhanced the use of 16 mm film, initially for its advantage of cost and portability over 35 mm.
At first used as a news-gathering format, the 16 mm format was also used to create programming shot outside the confines of the more rigid television production sets. The home movie market gradually switched to the even less expensive 8 mm film and Super 8 mm format.
Digital video tape has made significant inroads in television production use, even to the extent that in some countries, 16 mm as well as 35 mm is considered obsolete as a TV production format by broadcasters. Nevertheless, it is still in extensive use in its Super 16 ratio see below for high-quality programming in the US and UK.
In the past few years there has been a revival of interest in 3D features, sparked by the availability of digital technology. Whether this will be more than a short-term phenomenon as previous attempts at 3D in the s and s had been remains to be seen, though the trend towards 3D production has seen greater investment and industry commitment than before.
Pictureville is the home of cinema at the National Science and Media Museum. Our three fantastic screens show everything from IMAX blockbusters to indie gems. Discover objects from our collection which illuminate the technological development of moving pictures.
Javascript is disabled. You are here: Home Objects and stories. Published: 18 June Story Content Who invented cinema? What were early films like? How did cinema compete with television? How have cinema attendance figures changed? Further reading. Who invented cinema? Image source for Publicity photograph of man using Edison Kinetophone, c. Detail of Kinetoscope, made by Thomas Edison in The rise of the film industry By , several national film industries were established.
Adding colour Colour was first added to black-and-white movies through hand colouring, tinting, toning and stencilling. Adding colour. Frames of stencil colour film Science Museum Group Collection.
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