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TV Recording Film, Type 834 B and A, B&W (discontinued) The 1969 list is identical to 1966. [8] 1969 is the last appearance of DuPont motion picture film stocks in the American Cinematographer Manual. The list below is from 1970; "A" was 16mm, "B" was 35mm. [9] Films marked with ‡ could also be processed as a negative 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 ...
Tungsten balanced color film, motion picture film stock suitable for C-41 process [141] Austria: 135-24 KONO! Rotwild 400: available: T: 400: C-41: Print: Creative color film with intense tints, ranging from yellow to deep red with re-animated motion picture film stock suitable for C-41 process. Probably a redscale film [142] Austria: 135-24 ...
Film look (also known as filmizing or film-look) is a process in which video is altered in overall appearance to appear to have been shot on film stock. [1] The process is usually electronic , although filmizing can sometimes occur as an unintentional by-product of some optical techniques, such as telerecording .
In 1993, the company Super8 Sound, now called Pro8mm, pioneered the use of the color negative in Super 8 by custom perforating and loading a variety of 35 mm film stocks into the Super 8 film cartridge. [7] This included emulsions from Kodak, Fuji and Ilford. Today Super 8 color negative film is the main color stock used.
1. A spool or core-load of film stock. 2. A command to a film crew to start recording a scene with cameras and sound recorders, and/or to the cast to proceed with the acting out of a scene from a certain point. 3. The rotation of a camera around the lens axis. Contrast pitch and yaw. rotoscoping
Though the results resemble day for night film and video shots, the techniques are quite different. Instead of reducing the exposure of the print made for the night version, the colorist painted an identical print with darker individual tints. No attempt at an overall bluish effect was made, and many colors are actually warmer in the "night" scene.
The two prints, made on film stock half the thickness of regular film, were then cemented together back to back to create a projection print. The Toll of the Sea, which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor. A frame enlargement of a Technicolor segment from The Phantom of the Opera ...