Movie projector

نوشته شده در موضوع خرید اینترنتی در 28 اکتبر 2017

A movie projector is an opto-mechanical device for displaying suit pattern film by raised it onto a screen. Most of a manifest and automatic elements, solely for a enlightenment and sound devices, are benefaction in film cameras.

History[edit]

The initial film projector was a Zoopraxiscope, invented by British photographer Eadweard Muybridge in 1879. The zoopraxiscope projected images from rotating potion disks in quick period to give a sense of motion. The stop-motion images were primarily embellished onto a glass, as silhouettes. A second array of discs, finished in 1892–94, used outline drawings printed onto a discs photographically, afterwards colored by hand.[1]

A some-more worldly film projector was invented by Frenchman Louis Le Prince while operative in Leeds. In 1888 Le Prince took out a obvious for a 16-lens device that sum a suit pattern camera with a projector. In 1888, he used an updated chronicle of his camera to film a initial ever suit picture, a Roundhay Garden Scene. The cinema were secretly exhibited in Hunslet.

The Lumière brothers invented a initial successful film projector. They finished their initial film, Sortie de l’usine Lumière de Lyon, in 1894, that was publicly screened during L’Eden, La Ciotat a year later. The initial commercial, open screening of cinematographic films happened in Paris on 28 Dec 1895.[2] The cinematograph was also exhibited during a Paris Exhibition of 1900. At a Exhibition, films finished by a Lumière Brothers were projected onto a vast shade measuring 16 by 21 meters (approximately 52.5 x 69 feet).[3]

Decline of film projectors[edit]

In 1999,[4]digital cinema projectors were being attempted out in some film theatres. These early projectors played a film stored on a server and played behind by a projector. Due to their comparatively low fortitude (usually customarily 2K), a images during a time showed pixelization blocks in some scenes, many like images on early widescreen televisions. By 2006, a coming of many aloft 4K fortitude digital projection had private any traces of pixelization. The systems became some-more compress than a incomparable machines of 4 years earlier. By 2009, film theatres started replacing a film projectors with digital projectors. In 2013, it was estimated that 92% of film theatres in a United States had converted to digital, with 8% still personification film. In 2015, countless renouned filmmakers—including Quentin Tarantino and Christopher Nolan—lobbied vast studios to dedicate to squeeze a smallest volume of 35 mm film from Kodak. The preference ensured that Kodak’s 35mm film prolongation would continue for several years.[5]

High-resolution digital projectors offer many advantages over normal film units. For example, digital projectors enclose no relocating tools solely fans, can be operated remotely, and are comparatively compact. They also concede for many easier, rebate expensive, and some-more arguable storage and placement of content, including a ability to arrangement live broadcasts.

Physiology[edit]

According to a speculation of a beta phi phenomenon, a mind constitutes an knowledge of apparent transformation when presented with a routine of near-identical still images. This speculation is pronounced to comment for a apparition of suit that formula when a array of film images is displayed in discerning succession, rather than a notice of a sold frames in a series.

Persistence of prophesy should be compared with a compared phenomena of beta transformation and phi movement. A vicious partial of bargain these manifest notice phenomena is that a eye is not a camera, i.e.: there is no “frame rate” or “scan rate” in a eye. Instead, a eye/brain complement has a mixed of suit detectors, fact detectors and settlement detectors, a outputs of all of that are sum to emanate a manifest experience.

The magnitude during that flutter becomes invisible is called a flutter alloy threshold, and is contingent on a spin of illumination. Generally, a support rate of 16 frames per second (frame/s) is regarded as a lowest magnitude during that continual suit is noticed by humans. (Interestingly this threshold varies opposite opposite species; a aloft suit of rod cells in a retina will emanate a aloft threshold level.)

It is probable to perspective a black space between frames and a flitting of a shiver by a following technique:
Close your eyelids, afterwards intermittently quick blink open and closed. If finished quick adequate we will be means to incidentally “trap” a pattern between frames, or during shiver motion. This will not work with radio due to a diligence of a phosphors nor with LCD or DLP light projectors due to a smoothness of image, nonetheless certain tone artifacts might seem with some digital projection technologies.

Silent films customarily were not projected during unchanging speeds [1] yet rather were sundry via a uncover during a option of a projectionist, mostly with some records supposing by a distributor. Speeds ranged from about 18 frame/s on adult – infrequently even faster than complicated sound film speed (24 frame/s). Contrary to perceived opinion, 16 frame/s – yet infrequently used as a camera sharpened speed – was dangerously imprudent for projection, due to a high risk of a nitrate-base prints throwing glow in a projector. (A thespian delivery of a nitrate imitation glow and a potentially harmful effects is famously found in Nuovo Cinema Paradiso, that revolves around a goings-on of a projectionist.)

Since a birth of sound film, probably all film projectors in blurb film theaters plan during a unchanging speed of 24 frame/s. This speed was selected for both financial and technical reasons. When Warner Bros. and Western Electric were perplexing to find a scold projection speed for a new sound pictures, Western Electric went to a Warner Theater in LA and remarkable a normal speed during that films were projected there. They set that as a sound speed during that a acceptable facsimile and loudness of sound could be conducted. There are some dilettante formats (e.g. Showscan and Maxivision) that plan during aloft rates—60 frames/sec for Showscan and 48 for Maxivision. The Hobbit was shot during 48 frames/sec and projected during a aloft support rate during specifically versed theaters.

Principles of operation[edit]

Projection elements[edit]

As in a slip projector there are essential manifest elements:

Light source[edit]

Incandescent lighting and even limelight were a initial light sources used in film projection. In a early 1900s adult until a late 1960s, CO arc lamps were a source of light in roughly all theaters in a world.

The Xenon arc flare was introduced in Germany in 1957 and in a US in 1963. After film platters became hackneyed in a 1970s, Xenon lamps became a many common light source, as they could stay illuminated for extended durations of time, given a CO rod used for a CO arc could final for an hour during a most.

Most flare houses in a veteran melodramatic environment furnish sufficient feverishness to bake a film should a film sojourn still for some-more than a fragment of a second. Because of this, caring contingency be taken in inspecting a film so that it should not mangle in a embankment and be damaged, utterly if it is incendiary cellulose nitrate film stock.

Reflector and condenser lens[edit]

A winding mirror redirects light that would differently be squandered toward a condensing lens.

A certain span lens concentrates a reflected and approach light toward a film gate.

Douser[edit]

(Also spelled dowser.)

A steel or asbestos blade that cuts off light before it can get to a film. The douser is customarily partial of a lamphouse, and might be manually or automatically operated. Some projectors have a second, electrically tranquil douser that is used for changeovers (sometimes called a “changeover douser” or “changeover shutter”). Some projectors have a third, mechanically tranquil douser that automatically closes when a projector slows down (called a “fire shutter” or “fire douser”), to strengthen a film if a projector stops while a initial douser is still open. Dousers strengthen a film when a flare is on yet a film is not moving, preventing a film from melting from enlarged bearing to a approach feverishness of a lamp. It also prevents a lens from scarring or enormous from impassioned heat.

Film embankment and singular image[edit]

A singular pattern of a array of images comprising a film is positioned and reason prosaic within an orifice called a gate. The embankment also provides a slight volume of attrition so that a film does not allege or shelter solely when driven to allege a film to a subsequent image.

Shutter[edit]

A ordinarily reason myth is that film projection is simply a array of sold frames dragged really fast past a projector’s heated light source. This is not a case; if a hurl of film were merely upheld between a light source and a lens of a projector, all that would be manifest on shade would be a continual confused array of images shifting from one dilemma to a other. It is a shiver that gives a apparition of one full support being transposed accurately on tip of another full frame. A rotating petal or gated cylindrical shiver interrupts a issued light during a time a film is modernized to a subsequent frame. The spectator does not see a transition, so tricking a mind into desiring a relocating pattern is on screen. Modern shutters are designed with a flicker-rate of twin times (48 Hz) or even infrequently 3 times (72 Hz) a support rate of a film, so as to revoke a notice of shade flickering. (See Frame rate and Flicker alloy threshold.) Higher rate shutters are rebate light efficient, requiring some-more absolute light sources for a same light on screen.

Imaging lens and orifice plate[edit]

A projection pattern with mixed manifest elements leads a pattern of a film to a observation shade (imaging lens). Imaging lenses also differ in orifice and focal length. Different lenses are used for opposite aspect ratios.

Aspect ratios are tranquil by a lens with a suitable orifice plate, a square of steel with a precisely cut rectilinear hole in a core of homogeneous aspect ratio. The orifice pattern is placed customarily behind a gate, and masks off any light from attack a pattern outward of a area dictated to be shown. All films, even those in a customary Academy ratio, have additional pattern on a support that is meant to be masked off in a projection.

Viewing screen[edit]

In many cases this is a contemplative aspect that might be presumably aluminized (for high contrariety in assuage ambient light) or a white aspect with tiny potion beads (for high luminosity underneath dim conditions). A switchable projection shade can be switched between ambiguous and transparent by a protected voltage underneath 36V AC and is ocular from both sides. In a blurb theater, a shade also has millions of really small, uniformly spaced holes in sequence to concede a thoroughfare of sound from a speakers and subwoofer that mostly are directly behind it.

Film ride elements[edit]

Film supply and takeup[edit]

Two-reel system[edit]

In a two-reel complement a projector has twin reels–one is a feed reel, that binds a partial of a film that has not been shown, a other is a takeup reel, that winds a film that has been shown. In a two-reel projector a feed tilt has a slight drag to say tragedy on a film, while a takeup tilt is constantly driven with a resource that has automatic ‘slip,’ to concede a film to be wound underneath unchanging tragedy so a film is wound in a well-spoken manner.

The film being wound on a takeup tilt is being wound “head in, tails out.” This means that a commencement (or “head”) of a tilt is in a center, where it is inaccessible. As any tilt is taken off of a projector, it contingency be re-wound onto another dull reel. In a museum environment there is mostly a detached appurtenance for rewinding reels. For a 16 mm projectors that were mostly used in schools and churches, a projector could be re-configured to rewind films.

The distance of a reels can change formed on a projectors, yet generally films are divided and distributed in reels of adult to 2000 feet (610 m, about 22 mins during 24 frames/sec). Some projectors can even accommodate adult to 6000 feet (1,830 m), that minimizes a array of changeovers (see below) in a showing. Certain countries also sequence their film reels adult differently; Russian films, for example, mostly come on 1000-foot (305 m) reels, nonetheless it’s expected that many projectionists operative with changeovers would mix them into longer reels of during slightest 2000 feet (610 m), to minimize changeovers and also give sufficient time for threading and any presumably indispensable troubleshooting time.

Films are identified as “short subjects,” holding one tilt or rebate of film, “two-reelers,” requiring twin reels of film (such as some of a early Laurel Hardy, 3 Stooges, and other comedies), and “features,” that can take any array of reels (although many are singular to 1½ to 2 hours in length, enabling a museum to have mixed showings via a day and evening, any arrangement with a feature, commercials, and break to concede a audiences to change). In a “old days” (i.e., ca. 1930–1960), “going to a movies” meant saying a brief theme (a newsreel, brief documentary, a “2-reeler,” etc.), a cartoon, and a feature. Some theaters would have movie-based commercials for internal businesses, and a state of New Jersey compulsory arrangement a blueprint of a museum arrangement all of a exits.

Changeover[edit]

Because a singular film tilt does not enclose adequate film to uncover an whole feature, a film is distributed on mixed reels. To forestall carrying to miscarry a uncover when one tilt ends and a subsequent is mounted, twin projectors are used in what is famous as a “changeover system,” after a switching resource that operates between a finish of one tilt on a initial projector and a commencement of a subsequent tilt on a second projector. The two-reel complement was used roughly zodiacally for film theaters before a coming of a single-reel complement in sequence to be means to uncover feature-length films. Although one-reel long-play systems tend to be some-more renouned with a newer multiplexes, a two-reel complement is still in poignant use to this day.

The projector user operates twin projectors, starting a initial tilt of a uncover on projector “A.” While this tilt is being shown, a projectionist threads a second tilt on projector “B.”

As a tilt being shown approaches a end, a projectionist looks for evidence outlines during a upper-right dilemma of a picture. Usually these are dots or circles, nonetheless they can also be slashes. Some comparison films spasmodic used squares or triangles, and infrequently positioned a cues in a core of a right dilemma of a picture.

The initial evidence appears twelve feet (3.7 m) before a finish of a module on a reel, homogeneous to 8 seconds during 24 frames/sec. This evidence signals a projectionist to start a engine of a projector containing a subsequent reel. After another 10 and a half feet (3.2 m) of film is shown (seven seconds during 24 frames/sec), a changeover evidence should appear, that signals a projectionist to indeed make a changeover. When this second evidence appears, a projectionist has one and a half feet (457 mm), or one second during 24 frame/s, to make a changeover. If it doesn’t start within one second, a tail personality of a tilt entrance to an finish will be projected on a screen.

Twelve feet before a “first support of action,” Academy leaders have a “START” frame. The projectionist positions a “START” in a embankment of a projector. When a initial evidence is seen, a engine of a starting projector is started. Seven seconds after a finish of a personality and start of module element on a new tilt should customarily strech a embankment of a projector when a changeover evidence is seen.

On some projectors, a user would be alerted to a time for a change by a bell that operated when a feed tilt revolution exceeded a certain speed (the feed tilt rotates faster as a film is exhausted), or formed on a hole of a remaining film (Premier Changeover Indicator Pat. No. 411992), nonetheless many projectors do not have such an heard system.

During a tangible operation of a changeover, a twin projectors use an companion electrical control connected to a changeover symbol so that as shortly as a symbol is pressed, a changeover douser on a effusive projector is sealed in sync with a changeover douser on a incoming projector opening. If finished properly, a changeover should be probably unnoticeable to an audience. In comparison theaters, there might be manually operated, shifting covers in front of a projection booth’s windows. A changeover with this complement is mostly clearly manifest as a purify on a screen.

Once a changeover has been made, a projectionist unloads a full takeup tilt from projector “A,” moves a now-empty tilt (that used to reason a film customarily unloaded) from a feed shaft to a takeup spindle, and loads tilt #3 of a arrangement on projector “A.” When tilt 2 on projector “B” is finished, a changeover switches a live uncover from projector “B” behind to projector “A,” and so on for a rest of a show.

When a projectionist removes a finished tilt from a projector it is “tails out,” and needs to be rewound before a subsequent show. The projectionist customarily uses a detached rewind appurtenance and a gangling dull reel, and rewinds a film so it is “head out,” prepared to plan again for a subsequent show.

One advantage of this complement (at slightest for a party management) was that if a programme was regulating a few mins late for any reason, a projectionist would simply replace one (or more) reels of film to redeem a time.

Single-reel system[edit]

There are twin mostly used single-reel systems (also famous as long-play systems) today: a building complement (vertical feed and takeup) and a platter complement (non-rewinding; craft feed and takeup).

The building complement mostly resembles a two-reel system, solely in that a building itself is generally a detached square of apparatus used with a somewhat mutated customary projector. The feed and takeup reels are reason plumb on a axis, solely behind a projector, on oversized spools with 12,000 feet (3,660 m) ability or about 133 mins during 24 frame/s. This vast ability alleviates a need for a changeover on an average-length feature; all of a reels are spliced together into one hulk one. The building is designed with 4 spools, twin on any side, any with a possess motor. This allows a whole bobbin to be immediately rewound after a showing; a additional twin spools on a other side concede for a film to be shown while another is being rewound or even finished adult directly onto a tower. Each bobbin requires a possess engine in sequence to set scold tensioning for a film, given it has to ride (relatively) many offer between a projector film ride and a spools. As any bobbin gains or loses film, a tragedy contingency be intermittently checked and practiced so that a film can be ecstatic on and off a spools yet presumably sagging or snapping.

In a platter complement a sold 20-minute reels of film are also spliced together as one vast reel, yet a film is afterwards wound onto a craft rotating list called a platter. Three or some-more platters are built together to emanate a platter system. Most of a platters in a platter complement will be assigned by film prints; whichever platter happens to be dull serves as a “take-up reel” to accept a film that is personification from another platter.

The approach a film is fed from a platter to a projector is not distinct an eight-track audio cartridge. Film is unwound from a core of a platter by a resource called a payout section that controls a speed of a platter’s revolution so that it matches a speed of a film as it is fed to a projector. The film winds by a array of rollers from a platter smoke-stack to a projector, by a projector, by another array of rollers behind to a platter stack, and afterwards onto a platter apportionment as a take-up reel.

This complement creates it probable to plan a film mixed times yet wanting to rewind it. As a projectionist threads a projector for any showing, a payout section is eliminated from a dull platter to a full platter and a film afterwards plays behind onto a platter it came from. In a box of a double feature, any film plays from a full platter onto an dull platter, swapping positions on a platter smoke-stack via a day.

The advantage of a platter is that a film need not be rewound after any show, that can save labor. Rewinding risks rubbing a film opposite itself, that can means scratching of a film and staining of a mixture that carries a pictures. The disadvantages of a platter complement are that a film can acquire erratic scratches on it if scold caring is not taken while threading film from platter to projector, and a film has some-more event to collect mud and mud as prolonged lengths of film are unprotected to a air. A purify projection counter kept during a scold steam is of good importance, as are cleaning inclination that can mislay mud from a film imitation as it plays.

Automation and a arise of a multiplex[edit]

The singular tilt complement can concede for a finish automation of a projection counter operations, given a scold auxiliary equipment. Since films are still ecstatic in mixed reels they contingency be assimilated together when placed on a projector tilt and taken detached when a film is to be returned to a distributor. It is a finish automation of projection that has enabled a complicated “multiplex” cinema – a singular site typically containing from 8 to 24 theaters with customarily a few projection and sound technicians, rather than a crew of projectionists. The multiplex also offers a good volume of coherence to a museum operator, enabling theaters to vaunt a same renouned prolongation in some-more than one auditorium with staggered starting times. It is also possible, with a scold apparatus installed, to “interlock”, i.e. thread a singular length of film by mixed projectors. This is really useful when traffic with a mass crowds that an intensely renouned film might beget in a initial few days of showing, as it allows for a singular imitation to offer some-more patrons.

Feed and descent sprockets[edit]

Smooth wheels with triangular pins called sprockets rivet perforations punched into one or both edges of a film stock. These offer to set a gait of film transformation by a projector and any compared sound playback system.

Film loop[edit]

As with suit pattern cameras, a few suit of a embankment requires that there be loops above and subsequent a embankment in sequence to offer as a aegis between a unchanging speed enforced by a sprockets above and subsequent a embankment and a few suit enforced during a gate. Some projectors also have a supportive outing pin above a embankment to ensure opposite a tip loop apropos too big. If a loop hits a pin, it will tighten a dousers and stop a engine to forestall an excessively vast loop from jamming a projector.

Film embankment vigour plate[edit]

A spring-loaded vigour pattern functions to align a film in a unchanging pattern plane, both prosaic and perpendicular to a manifest axis. It also provides sufficient drag to forestall film suit during a support display, while still permitting giveaway suit underneath control of a few mechanism. The pattern also has spring-loaded runners to assistance reason film while in place and allege it during motion.

Intermittent mechanism[edit]

The few resource can be assembled in opposite ways. For smaller sign projectors (8 mm and 16 mm), a pawl resource engages a film’s cog hole one side, or holes on any side. This pawl advances customarily when a film is to be changed to a subsequent image. As a pawl retreats for a subsequent cycle it is drawn behind and does not rivet a film. This is identical to a scratch resource in a suit pattern camera.

In 35 mm and 70 mm projectors, there customarily is a special cog immediately underneath a vigour plate, famous as a few sprocket. Unlike all a other sprockets in a projector, that run continuously, a few cog operates in tandem with a shutter, and customarily moves while a shiver is restraint a lamp, so that a suit of a film can't be seen. It also moves in a dissimilar volume during a time, equal to a array of perforations that make adult a support (4 for 35 mm, 5 for 70 mm). The few transformation in these projectors is customarily supposing by a Geneva drive, also famous as a Maltese Cross mechanism.

IMAX projectors use what is famous as a rolling loop method, in that any support is sucked into a embankment by a vacuum, and positioned by registration pins in a perforations analogous to that frame.

Types[edit]

Projectors are personal by a distance of a film used, i.e. a film format. Typical film sizes:

8 mm[edit]

Long used for home cinema before a video camera, this uses double sprocketed 16 mm film, that is run by a camera, exposing one side, afterwards private from a camera, a takeup and feed reels are switched, and a film run by a second time. exposing a other side. The 16 mm film is afterwards apart lengthwise into twin 8 mm pieces that are spliced to make a singular projectable film with sprockets holes on one side.

Super 8[edit]

Developed by Kodak, this film batch uses really tiny cog holes tighten to a dilemma that concede some-more of a film batch to be used for a images. This increases a peculiarity of a image. The unexposed film is granted in a 8 mm width, not apart during estimate as is a progressing 8 mm. Magnetic stripes could be combined to lift encoded sound to be combined after film development. Film could also be pre-striped for approach sound recording in formally versed cameras for after projection.

9.5 mm[edit]

Film format introduced by Pathé Frères in 1922 as partial of a Pathé Baby pledge film system. It was recognised primarily as an inexpensive format to yield copies of commercially finished films to home users. The format uses a single, executive puncture (sprocket hole) between any span of frames, as opposite to 8 mm film that has perforations along one edge, and many other film formats that have perforations on any side of a image. It became really renouned in Europe over a subsequent few decades and is still used by a tiny array of enthusiasts today. Over 300,000 projectors were assembled and sole especially in France and England, and many blurb facilities were accessible in a format. In a sixties a final projectors of this format were being produced. The sign is still alive today. 16mm projectors are converted to 9,5mm and it is still probable to buy film batch (from a French Color City company).

16 mm[edit]

This was a renouned format for audio-visual use in schools and as a high-end home party complement before a coming of promote television. The many renouned home calm were comedic shorts (typically rebate than 20 mins in length in a strange release) and bundles of cartoons formerly seen in film theaters. 16 mm enjoys widespread use now as a format for brief films, eccentric facilities and song videos, being a comparatively careful choice to 35 mm.

35 mm[edit]

The many common film distance for melodramatic productions during a 20th century. In fact, a common 35 mm camera, grown by Leica, was designed to use this film batch and was creatively dictated to be used for exam shots by film directors and cinematographers.[citation needed]

35 mm film is typically run plumb by a camera and projector. In a mid-1950s a VistaVision[6] complement presented far-reaching shade cinema in that a film changed horizontally, permitting many some-more film to be used for a pattern as this avoided a anamorphic rebate of a pattern to fit a support width. As this compulsory specific projectors it was mostly catastrophic as a arrangement routine while remaining appealing as filming, intermediate, and source for prolongation copy and as an middle step in special effects to equivocate film granularity, nonetheless a latter is now supplanted by digital methods.

70 mm[edit]

High-end film productions were mostly assembled in this film sign in a 1950s and 1960s and many really vast shade theaters are still able of raised it in a 21st century. It is mostly referred to as 65/70, as a camera uses film 65 mm wide, yet a projection prints are 70 mm wide. The additional 5 millimeters of film accommodated a soundtrack, customarily a 6 lane captivating stripe. The many common museum designation would use twin sign 35/70mm projectors.

70 mm film is also used in both a prosaic and domed IMAX projection system. In IMAX a film is ecstatic horizontally in a film gate, identical to VistaVision. Some productions dictated for 35 mm anamorphic recover were also expelled regulating 70 mm film stock. A 70 mm imitation finished from a 35 mm disastrous is significantly improved in coming than an all-35 mm process, and authorised for a recover with 6 lane captivating audio.

The coming of 35 mm prints with digital soundtracks in a 1990s mostly supplanted a widespread recover of a some-more costly 70 mm prints.

Sound[edit]

Regardless of a sound format, any sound represented on a film pattern itself will not be a sound for a sold support it occupies. In a embankment of a projector head, there is no space for a reader, and a film is not travelling uniformly during a embankment position. Consequently, all manifest sound formats contingency be homogeneous from a pattern given a sound reader is customarily located above (for captivating readers and many digital manifest readers) or subsequent (for analog manifest readers and a few digital optical) a projector head.

See a 35 mm film essay for some-more information on both digital and analog methods.

Analog manifest sound[edit]

Optical sound constitutes a recording and reading of breadth formed on a volume of light that is projected by a soundtrack area on a film regulating an educational light or laser and a photocell or photodiode. As a photocell picks adult a light in varying intensities, a electricity assembled is strong by an amplifier, that in spin powers a loudspeaker, where a electrical impulses are incited into atmosphere vibrations and thus, sound waves. In 16 mm, this manifest soundtrack is a singular mono lane placed on a right side of a projected image, and a sound conduct is 26 frames after a gate. In 35 mm, this can be mono or stereo, on a left side of a projected image, with a sound conduct 21 frames after a embankment .[7]

The initial form of manifest sound was represented by craft bands of transparent (white) and plain (black) area. The space between plain points represented breadth and was picked adult by a photo-electric dungeon on a other side of a steady, skinny lamp of light being shined by it. This variable density form of sound was eventually phased out given of a disfavour with tone stocks. The choice and eventually a inheritor of non-static firmness has been a variable area track, in that a clear, straight waveform opposite black represents a sound, and a breadth of a waveform is homogeneous to a amplitude. Variable area does have somewhat rebate magnitude response than non-static density, yet given of a pellet and non-static infrared fullness of several film stocks, non-static firmness has a reduce signal-to-noise ratio.

Optical stereo is accessible and review by a shared non-static area track, accessible regulating Dolby Stereo pattern encoding and Dolby sound reduction. Left, center, right and approximate channels are matrix-encoded into these twin tracks.

In a 1970s and early 1980s, manifest sound Super-8 mm copies were assembled especially for airline in-flight movies. Even yet this record was shortly finished archaic by video equipment, a infancy of small-gauge films used captivating sound rather than manifest sound for a aloft magnitude range.

Magnetic sound[edit]

Magnetic sound is no longer used in blurb cinema, yet between 1952 and a early 1990s it supposing a tip fealty sound from film given of a wider magnitude operation and aloft vigilance to sound ratio compared to manifest sound. There are twin forms of captivating sound in and with projection: double-head and striped.

The initial form of captivating sound was a double-head system, in that a film projector was interlocked with a dubber personification a 35 mm tilt of a full-coat, or film totally coated with captivating iron-oxide. This was introduced in 1952 with Cinerama, holding 6 marks of stereophonic sound. Stereophonic releases via 1953 also used an interlocked full-coat for three-channel stereophonic sound.

In interlock, given a sound is on a detached reel, it does not need to be homogeneous from a image. Today, this complement is customarily used customarily for really low-budget or tyro productions, or for screening severe cuts of films before a origination of a final married print. Sync between a twin reels is checked with SMPTE leader, also famous as countdown leader. If a twin reels are synced, there should be one support of “beep” sound accurately on a “2” support of a countdown – 2 seconds or 48 frames before a pattern start.

Striped captivating film is suit pattern film in that ‘stripes’ of captivating oxide are placed on a film between a cog holes and a dilemma of a film, and infrequently also between a cog holes and a image. Each of these stripes has one channel of a audio accessible on it. This technique was initial introduced in September, 1953 by Hazard E. Reeves for Cinemascope. Four marks are benefaction on a film: Left, Center, Right and Surround. This 35mm four-track captivating sound format was used from 1954 by 1982 for “roadshow” screenings of big-budget underline films.

70 mm, that had no manifest sound, used a 5 millimeters gained between a 65 mm disastrous and a final recover imitation to place 3 captivating marks outward of a perforations on any side of a film for a sum of 6 tracks. Until a introduction of digital sound, it was sincerely common for 35 mm films to be blown adult to 70 mm mostly customarily to take advantage of a larger array of sound marks and a fealty of a audio.

Although captivating audio was of glorious peculiarity it also had poignant disadvantages. Magnetic sound prints were expensive, 35mm captivating prints cost roughly twice as many as manifest sound prints, while 70mm prints could cost adult to 15 times as much. Furthermore, they wore out faster and were also disposed to repairs and deletion over time. Because of a high cost of installing captivating sound facsimile apparatus customarily a minority of film theaters ever commissioned it and a captivating soundheads indispensable substantial upkeep to keep their opening adult to standard. As a outcome a use of a Cinemascope 35mm four-track captivating sound format decreased significantly during a march of a 1960s and effectively finished with a success of a Dolby Stereo manifest stereo format in a late 1970s. However 70mm film continued to be used for prestigious “roadshow” screenings until a introduction of digital sound on 35mm film in a early 1990s private one of a vital justifications for regulating this costly format.

On certain bonds of Super 8 and 16 mm an iron-oxide sound recording support was combined for a approach synchronous recording of sound that could afterwards be played by projectors with a captivating sound head. It has given been dropped by Kodak on both gauges.

Digital[edit]

Modern melodramatic systems use manifest representations of digitally encoded multi-channel sound. An advantage of digital systems is that a homogeneous between a sound and pattern heads can be sundry and afterwards set with a digital processors. Digital sound heads are customarily above a gate. All digital sound systems now in use have a ability to now and gracefully tumble behind to a analog manifest sound complement should a digital information be hurtful or a whole complement fail.

Cinema Digital Sound (CDS)[edit]

Created by Kodak and ORC (Optical Radiation Corporation), Cinema Digital Sound was a initial try to move multi-channel digital sound to first-run theaters. CDS was accessible on both 35 mm and 70 mm films. Film prints versed with CDS did not have a compulsory analog manifest or captivating soundtracks to offer as a fill-in in box a digital sound was unreadable. Another waste of not carrying an analog fill-in lane is that CDS compulsory additional film prints be finished for a theaters versed to play CDS. The 3 formats that followed, Dolby Digital, DTS and SDDS, can co-exist with any other and a analog manifest soundtrack on a singular chronicle of a film print. This means that a film imitation carrying all 3 of these formats (and a analog manifest format, customarily Dolby SR) can be played in whichever format a museum is versed to handle. CDS did not grasp widespread use and eventually failed. It premiered with a film Dick Tracy and was used with several other films, such as Days of Thunder and Terminator 2: Judgement Day.

Sony Dynamic Digital Sound (SDDS)[edit]

SDDS runs on a outward of 35 mm film, between a perforations and a edges, on both edges of a film. It was a initial digital complement that could hoop adult to 8 channels of sound. The additional twin marks are for an additional span of shade channels (Left Center and Right Center) located between a 3 unchanging shade channels (Left, Center and Right). A span of CCDs located in a section above a projector reads a twin SDDS tracks. The information is decoded and decompressed before being upheld along to a cinema sound processor. By default, SDDS units use an onboard Sony Cinema Sound Processor, and when a complement is set adult in this manner, a theatre’s whole sound complement can be equalized in a digital domain. The audio information in an SDDS lane is dense in a 20-bit ATRAC2 application intrigue during a ratio of about 4.5:1. SDDS premiered with a film Last Action Hero. SDDS was a slightest commercially successful of a 3 competing digital sound systems for 35mm film. Sony ceased a sale of SDDS processors in 2001-2002.

Dolby Digital[edit]

Dolby Digital information is printed in a spaces between a perforations on a soundtrack side of a film, 26 frames before a picture. Release prints with Dolby Digital always embody an analog Dolby Stereo soundtrack with Dolby SR sound reduction, so these prints are famous as Dolby SR-D prints. Dolby Digital produces 6 dissimilar channels. In a several called SR-D EX, a left and right approximate channels can be dematrixed into left, right, and behind surround, regulating a pattern complement identical to Dolby Pro Logic. The audio information in a Dolby Digital lane is dense in a 16-bit AC-3 application intrigue during a ratio of about 12:1. The images between any puncture are review by a CCD located presumably above a projector or in a unchanging analog sound conduct subsequent a film gate, a digital check within a processor permitting scold lip-sync to be achieved regardless of a position of a reader relations to a pattern gate. The information is afterwards decoded, decompressed and converted to analog; this can occur presumably in a detached Dolby Digital processor that feeds signals to a cinema sound processor, or digital decoding can be built into a cinema processor.One waste of this complement is if a digital copy is not wholly within a space between a cog holes;if a lane was off a bit on presumably a tip or a bottom,the sound lane would be unplayable,and a deputy tilt would have to be ordered.

In 2006, Dolby dropped a sale of their outmost SR-D processor (the DA20), yet enclosed Dolby Digital decoding in their CP500 and after CP650 cinema processors.

A consumer chronicle of Dolby Digital is also used on many DVDs, mostly during aloft information rates than a strange film. A bit for bit chronicle is used on Blu-ray Discs and HD DVDs called Dolby TrueHD. Dolby Digital strictly premiered with a film Batman Returns, yet it was progressing tested during some screenings of Star Trek VI: The Undiscovered Country.

Digital Theater Systems (DTS)[edit]

DTS indeed stores a sound information on detached CD-ROMs granted with a film. The CDs are fed into a special mutated mechanism that syncs adult with a film by a use of DTS time code, decompresses a sound, and passes it by to a customary cinema processor. The time formula is placed between a manifest sound marks and a tangible picture, and is review by an manifest LED forward of a gate. The time formula is indeed a customarily sound complement that is not homogeneous within a film from a picture, yet still needs to be physically set homogeneous forward of a embankment in sequence to say continual motion. Each front can reason somewhat over 90 mins of sound, so longer films will need a second disc. Three forms of DTS sound exist: DTS-ES (Extended Surround), an 8 channel digital system; DTS-6, a 6 lane digital system, and a now-obsolete 4 channel system. DTS-ES derives a behind approximate channel from a left approximate and right approximate channels regulating Dolby Pro Logic. The audio information in a DTS lane is dense in a 20-bit APTX-100 application intrigue during a ratio of about 4.5:1. Of a 3 digital formats now in use, DTS is a customarily one that has been used with 70 mm presentations. DTS was premiered on Jurassic Park. Datasat Digital Entertainment, client of DTS’s cinema multiplication in May 2008, now distributes Datasat Digital Sound to veteran cinemas worldwide. A consumer chronicle of DTS is accessible on some DVDs. A bit for bit chronicle of a DTS soundtrack is on Blu-ray Discs and HD DVDs called DTS-HD MA (DTS-HD Master Audio).

Leaders[edit]

Academy personality is placed during a conduct of recover prints containing information for a projectionist and featuring numbers that are black on a transparent background, counting from 11 to 3 during 16 support intervals (16 frames in 35 mm film = 1 ft). At -12 feet there is a START frame.

SMPTE personality is placed during a conduct of recover prints or video masters containing information for a projectionist or video playback tech. The numbers count down in seconds from 8 to 2 during 24 support intervals finale during a initial support of a “2” followed by 47 frames of black.

Usually there’s an audio POP that play 48 frames (2 seconds during 24 support per second) before initial support of transformation (FFOA) that helps to sync audio and video during copy processes or postproduction.

Types of lenses and screens[edit]

Orthographic[edit]

Before a coming of certain far-reaching shade technologies, lenses always reproduced a accurate proportions of a film pattern onto a screen. Such lenses (known as a “flat” lens in museum projection parlance) are comparatively elementary to pattern and manufacture. Prior to complicated far-reaching screen, a attention customary pattern ratio of breadth to tallness was 1.37:1.

35 mm VistaVision was a far-reaching shade orthographic system. The far-reaching pattern was performed by regulating a film horizontally opposite a embankment so that a breadth reduction of a film was remade to a tallness limitation. See a VistaVision essay for some-more information.

Anamorphic[edit]

1953 saw a growth of far-reaching shade films regulating special lenses for filming and projection. The images on these films employed a some-more squarish aspect ratio (1.18:1) in sequence to accommodate both captivating and manifest tracks. The far-reaching pattern is dense horizontally in half onto a film in a camera regulating additional cylindrical elements within a lens (known as “scope” in museum projection parlance), with a analogous lens used in a projector to enhance a pattern to a far-reaching screen. This technique is called anamorphic projection and several implementations have been marketed underneath several code names, including CinemaScope, Panavision and Superscope, with Technirama implementing a somewhat opposite anamorphic technique regulating straight enlargement to a film rather than craft compression. Large format anamorphic processes enclosed Ultra Panavision and MGM Camera 65 (which was renamed Ultra Panavision 70 in a early 60s).

Fish eye with dome[edit]

The IMAX architecture projection routine (called “OMNIMAX”) uses 70 mm film regulating laterally by a projector to maximize a pattern area and impassioned far-reaching angle lenses to obtain an roughly hemispherical image. The margin of perspective is tilted, as is a projection hemisphere, so one might perspective a apportionment of a belligerent in a foreground. Owing to a good area lonesome by a pattern it is not as splendid as seen with prosaic shade projection, yet a immersive qualities are utterly convincing. While there are not many theaters able of displaying this format there are unchanging productions in a fields of nature, travel, science, and history, and productions might be noticed in many vast civic regions. These architecture theaters are mostly located in vast and moneyed scholarship and record museums.

Wide and low prosaic screen[edit]

The IMAX prosaic shade complement uses vast format film, a far-reaching and low screen, and tighten and utterly high “stadium” seating. The outcome is to fill a manifest margin to a larger grade than is probable with compulsory far-reaching shade systems. Like a IMAX dome, this is found in vital civic areas, yet distinct a architecture complement it is unsentimental to reformat existent film releases to this method. Also, a geometry of a museum and shade are some-more fair to inclusion within a newly assembled yet differently compulsory mixed museum formidable than is a architecture character theater.

Multiple cameras and projectors[edit]

One far-reaching shade growth during a 1950s used non-anamorphic projection, yet used 3 side by side synchronised projectors. Called Cinerama, a images were projected onto an intensely wide, winding screen. Some seams were pronounced to be manifest between a images yet a roughly finish stuffing of a manifest margin finished adult for this. This showed some blurb success as a singular plcae (only in vital cities) muster of a record in This is Cinerama, yet a customarily noted story-telling film finished for this record was How a West Was Won, widely seen customarily in a Cinemascope re-release.

While conjunction a technical nor a blurb success, a business indication survives as implemented by a documentary production, singular recover locations, and prolonged regulating exhibitions of IMAX architecture movies.

Three-dimensional[edit]

For techniques used to arrangement cinema with a three-dimensional appearance, see a 3-D film essay for some film story and a stereoscopy essay for technical information.

See also[edit]

  • Film format
  • List of film formats
  • Projector (disambiguation) for a office of projector types
  • Projectionist
  • Movietone sound system
  • Sound follower

References[edit]

External links[edit]

Wikimedia Commons has media compared to Movie projector.

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Article source: https://en.wikipedia.org/wiki/Movie_projector

tiger pelak 2 Movie projector

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