Information about Special Effect
The illusions used in the film, television, and entertainment industries to simulate the imagined events in a story are traditionally called special effects (a.k.a. SFX or SPFX). In modern films, special effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene. The use of special effects is more common in big-budget films, but affordable animation and compositing software enables even amateur filmmakers to create professional-looking effects.
Special effects are traditionally divided into the categories of optical effects and mechanical effects. In recent years, a greater distinction between special effects and visual effects has been recognized, with "visual effects" referring to post-production and optical effects, and "special effects" referring to on-set mechanical effects.
Optical effects (also called visual or photographic effects), are techniques in which images or film frames are created and manipulated for film and video. Optical effects are produced photographically, either "in-camera" using multiple exposure, mattes, or the Schüfftan process, or in post-production processes using an optical printer or video editing software. An optical effect might be used to place actors or sets against a different background, or make an animal appear to talk.
Mechanical effects (also called practical or physical effects), are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery and scale models, and pyrotechnics. Making a car appear to drive by itself, or blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls, or makeup can be used to make an actor look like a monster.
Since the 1990s, computer generated imagery (CGI) has come to the forefront of special effects technologies. CGI gives film-makers greater control, and allows many effects to be accomplished more safely and convincingly. As a result, many optical and mechanical effects techniques have been superseded by CGI.
This was not only the first use of trickery in the cinema, it was the first type of photographic trickery that could only be done in a motion picture, i.e., the "stop trick."
In 1896, French magician Georges Méliès accidentally discovered the same "stop trick." According to Melies, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men turn into women. Melies, the stage manager at the Theatre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1896 and 1914, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand painted colour. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work.
During the 1920s and 1930s, special effects techniques were improved and refined by the motion picture industry. Many techniques were modifications of illusions from the theater (such as Pepper's Ghost) and still photography (such as double exposure and matte compositing). Rear projection was a refinement of the use of painted backgrounds in the theater – only substituting moving pictures to create moving backgrounds.
But several techniques soon developed that, like the "stop trick," were wholly original to motion pictures. Animation, creating the illusion of motion, was accomplished with drawings (most notably by Winsor McCay in Gertie the Dinosaur) and with three-dimensional models (most notably by Willis O'Brien in The Lost World and King Kong). Many studios established in-house "special effects" departments, which were responsible for nearly all optical and mechanical aspects of motion-picture trickery.
Also, the challenge of simulating spectacle in motion encouraged the development of the use of miniatures. Naval battles could be depicted with models in studio tanks, and airplanes could be flown (and crashed) without risk of life and limb. Most impressively, miniatures and matte paintings could be used to depict worlds that never existed. Fritz Lang's film Metropolis was an early special effects spectacular, with innovative use of miniatures, matte paintings, the Schüfftan process, and complex compositing.
An important innovation in special-effects photography was the development of the optical printer. Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until Linwood G. Dunn, A.S.C. refined the design and use of the optical printer, effects shots were accomplished as in-camera effects. Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was Orson Welles' Citizen Kane, where such locations as Xanadu (and some of Gregg Toland's famous 'deep focus' shots) were essentially created by Dunn's optical printer.
The development of color photography required greater refinement of effects techniques. Also, color enabled the development of such travelling matte techniques as bluescreen and the sodium vapor process. Many films became landmarks in special-effects accomplishments: Forbidden Planet used matte paintings, animation, and miniature work to create spectacular alien environments. In The Ten Commandments, Paramount's John P. Fulton, A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted the massive constructions of Rameses with models, and split the Red Sea in a still-impressive combination of travelling mattes and water tanks. Ray Harryhausen extended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as Jason and the Argonauts (whose climax, a sword battle with seven animated skeletons, is considered a landmark in special effects).
If one film could be said to have established the high-water mark for special effects, it would be 1968's , directed by Stanley Kubrick, who assembled his own effects team (Douglas Trumbull, Tom Howard, Con Pedersen and Wally Veevers) rather than use an in-house effects unit. In this film, the spaceship miniatures were highly detailed and carefully photographed for a realistic depth of field. The shots of spaceships were combined through hand-drawn rotoscopes and careful motion-control work, ensuring that the elements were precisely combined in the camera-- a surprising throwback to the silent era, but with spectacular results. Backgrounds of the African vistas in the "Dawn of Man" sequence were combined with soundstage photography via the then-new front projection technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by Douglas Trumbull using a new technique termed slit-scan. Even today, the effects scenes remain impressive, realistic, and awe-inspiring.
The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in the late 1960s and early 1970s, many studios closed down their in-house effects houses. Many technicians became freelancers or founded their own effects companies, sometimes specializing on particular techniques (opticals, animation, etc.).
The second was precipitated by the blockbuster success of two science fiction and fantasy films in 1977. George Lucas's ushered in an era of fantasy films with expensive and impressive special-effects. Effects supervisor John Dykstra and crew developed many improvements in existing effects technology. They developed a computer-controlled camera rig called the "Dykstraflex" that allowed precise repeatability of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimized by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process. The effects crew assembled by Lucas and Dykstra was dubbed Industrial Light and Magic, and since 1977 has spearheaded most effects innovations.
That same year, Steven Spielberg's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional "lens flare" (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers.
The success of these films, and others since, has prompted massive studio investment in effects-heavy fantasy films. This has fuelled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as CGI. It has also encouraged within the industry a greater distinction between special effects and visual effects; the latter is used to characterize post-production and optical work, while special effects refers more often to on-set and mechanical effects.
The most spectacular use of CGI has been the creation of photographically-realistic images of fantasy creations. Images could be created in a computer using the techniques of animated cartoons or model animation. (In 1993, stop-motion animators working on the realistic dinosaurs of Steven Spielberg's Jurassic Park were retrained in the use of computer input devices.) By 1995, films such as Toy Story underscored that the distinction between live-action films and animated films was no longer clear. Other landmark examples include a moving stained-glass window in Young Sherlock Holmes, a tentacle of water in The Abyss, a 'liquid metal' villain in , and hordes of armies of fantastic creatures in Lord of the Rings film trilogy.
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Special effects are traditionally divided into the categories of optical effects and mechanical effects. In recent years, a greater distinction between special effects and visual effects has been recognized, with "visual effects" referring to post-production and optical effects, and "special effects" referring to on-set mechanical effects.
Optical effects (also called visual or photographic effects), are techniques in which images or film frames are created and manipulated for film and video. Optical effects are produced photographically, either "in-camera" using multiple exposure, mattes, or the Schüfftan process, or in post-production processes using an optical printer or video editing software. An optical effect might be used to place actors or sets against a different background, or make an animal appear to talk.
Mechanical effects (also called practical or physical effects), are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery and scale models, and pyrotechnics. Making a car appear to drive by itself, or blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls, or makeup can be used to make an actor look like a monster.
Since the 1990s, computer generated imagery (CGI) has come to the forefront of special effects technologies. CGI gives film-makers greater control, and allows many effects to be accomplished more safely and convincingly. As a result, many optical and mechanical effects techniques have been superseded by CGI.
Developmental history
In 1867, Oscar Gustave Rejlander created the world's first "trick photograph" by combining different regions of 32 other photographs into a single image. In 1895, Alfred Clark created what is commonly accepted as the first-ever special effect on film. While filming a reenactment of the beheading of Mary, Queen of Scots, Clarke instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clarke stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. “Such… techniques would remain at the heart of special effects production for the next century” (Rickitt, 10).This was not only the first use of trickery in the cinema, it was the first type of photographic trickery that could only be done in a motion picture, i.e., the "stop trick."
In 1896, French magician Georges Méliès accidentally discovered the same "stop trick." According to Melies, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men turn into women. Melies, the stage manager at the Theatre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1896 and 1914, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand painted colour. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work.
)
During the 1920s and 1930s, special effects techniques were improved and refined by the motion picture industry. Many techniques were modifications of illusions from the theater (such as Pepper's Ghost) and still photography (such as double exposure and matte compositing). Rear projection was a refinement of the use of painted backgrounds in the theater – only substituting moving pictures to create moving backgrounds.
But several techniques soon developed that, like the "stop trick," were wholly original to motion pictures. Animation, creating the illusion of motion, was accomplished with drawings (most notably by Winsor McCay in Gertie the Dinosaur) and with three-dimensional models (most notably by Willis O'Brien in The Lost World and King Kong). Many studios established in-house "special effects" departments, which were responsible for nearly all optical and mechanical aspects of motion-picture trickery.
)
Metropolis: Rotwang with his invention, which in the original script was called Futura
An important innovation in special-effects photography was the development of the optical printer. Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until Linwood G. Dunn, A.S.C. refined the design and use of the optical printer, effects shots were accomplished as in-camera effects. Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was Orson Welles' Citizen Kane, where such locations as Xanadu (and some of Gregg Toland's famous 'deep focus' shots) were essentially created by Dunn's optical printer.
The development of color photography required greater refinement of effects techniques. Also, color enabled the development of such travelling matte techniques as bluescreen and the sodium vapor process. Many films became landmarks in special-effects accomplishments: Forbidden Planet used matte paintings, animation, and miniature work to create spectacular alien environments. In The Ten Commandments, Paramount's John P. Fulton, A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted the massive constructions of Rameses with models, and split the Red Sea in a still-impressive combination of travelling mattes and water tanks. Ray Harryhausen extended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as Jason and the Argonauts (whose climax, a sword battle with seven animated skeletons, is considered a landmark in special effects).
)
If one film could be said to have established the high-water mark for special effects, it would be 1968's , directed by Stanley Kubrick, who assembled his own effects team (Douglas Trumbull, Tom Howard, Con Pedersen and Wally Veevers) rather than use an in-house effects unit. In this film, the spaceship miniatures were highly detailed and carefully photographed for a realistic depth of field. The shots of spaceships were combined through hand-drawn rotoscopes and careful motion-control work, ensuring that the elements were precisely combined in the camera-- a surprising throwback to the silent era, but with spectacular results. Backgrounds of the African vistas in the "Dawn of Man" sequence were combined with soundstage photography via the then-new front projection technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by Douglas Trumbull using a new technique termed slit-scan. Even today, the effects scenes remain impressive, realistic, and awe-inspiring.
The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in the late 1960s and early 1970s, many studios closed down their in-house effects houses. Many technicians became freelancers or founded their own effects companies, sometimes specializing on particular techniques (opticals, animation, etc.).
The second was precipitated by the blockbuster success of two science fiction and fantasy films in 1977. George Lucas's ushered in an era of fantasy films with expensive and impressive special-effects. Effects supervisor John Dykstra and crew developed many improvements in existing effects technology. They developed a computer-controlled camera rig called the "Dykstraflex" that allowed precise repeatability of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimized by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process. The effects crew assembled by Lucas and Dykstra was dubbed Industrial Light and Magic, and since 1977 has spearheaded most effects innovations.
That same year, Steven Spielberg's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional "lens flare" (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers.
)
The success of these films, and others since, has prompted massive studio investment in effects-heavy fantasy films. This has fuelled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as CGI. It has also encouraged within the industry a greater distinction between special effects and visual effects; the latter is used to characterize post-production and optical work, while special effects refers more often to on-set and mechanical effects.
Computer Generated Imagery (CGI)
A recent and profound innovation in special effects has been the development of computer generated imagery, or CGI, which has changed nearly every aspect of motion picture special effects. Digital compositing avoids the inherent graininess of optical compositing. Digital imagery has enabled technicians to create detailed models, matte "paintings," and even fully-realized characters with the malleability of computer software.The most spectacular use of CGI has been the creation of photographically-realistic images of fantasy creations. Images could be created in a computer using the techniques of animated cartoons or model animation. (In 1993, stop-motion animators working on the realistic dinosaurs of Steven Spielberg's Jurassic Park were retrained in the use of computer input devices.) By 1995, films such as Toy Story underscored that the distinction between live-action films and animated films was no longer clear. Other landmark examples include a moving stained-glass window in Young Sherlock Holmes, a tentacle of water in The Abyss, a 'liquid metal' villain in , and hordes of armies of fantastic creatures in Lord of the Rings film trilogy.
Planning and use
Although most special effects work is completed during post-production, it must be carefully planned and choreographed in pre-production and production. A Visual effects supervisor is usually involved with the production from an early stage to work closely with the Director and all related personnel to achieve the desired effects.Live special effects
Live special effects are effects that are used in front of a live audience. Mostly during sporting events, concerts and corporate shows. Types of effects that are commonly used include a laser lighting display, co2 effects, pyrotechnics, flames and confetti.Visual special effects techniques in rough order of invention
- practical effects
- in-camera effects
- miniature effects
- stop motion
- Schüfftan process
- matte paintings
- rotoscoping
- dolly zoom
- optical effects
- travelling matte
- aerial image effects
- optical printing
- bluescreen
- prosthetic makeup effects
- motion control photography
- Audio-Animatronic models
- digital compositing
- wire removal
- morphing
- computer-generated imagery
- match moving
- virtual cinematography
Special effects companies
- Animal Logic (Sydney, AU and Venice, CA)
- Bird Studios (London UK)
- Bleeding Art Industries - Based out of Calgary, AB, Canada, they also specialize in makeup FX and prosthetics.
- Brain Zoo (Van Nuys, CA, US)
- CA Scanline (München, DE)
- CafeFX (Santa Maria, CA, US)
- CBS Digital (LA, CA, US)
- Cinesite (London/Hollywood)
- Digital Domain (Venice, LA, CA, US)
- Double Negative (VFX) (London, UK)
- DreamWorks (LA, CA, US)
- EdenFx (Hollywood, CA, US)
- The Especial Effects Company
- Flash Film Works (LA, CA, US)
- Framestore CFC (London, UK)
- Giantsteps (Venice, CA)
- Hydraulx (Santa Monica, LA, US)
- Image Engine (Vancouver, BC, CA)
- Industrial Light and Magic, one of the oldest and most respected effects companies in the world.
- Intelligent Creatures (Toronto, ON, CA)
- Intrigue FX Canada
- Mac Guff (LA, CA, US; Paris, FR)
- MagicSnow Systems (Hollywood, CA, US)
- Maya Mimbham(Chennai,India)
- The Mill (London, UK; NY and LA, US)
- Moving Picture Company (Soho, London, UK)
- Pixelloid(Hyderabad,India)
- Pixeltrick (Liverpool, UK)
- Primefocus(Mumbai,India)
- Red Chilles VFX(Bombay,India)
- Rhythm and Hues Studios (LA, CA, US)
- RIOT (Santa Monica, CA and Manhattan, NY, USA)
- Rising Sun Pictures (Adelaide and Sydney, AU)
- Special FX Solutions (London UK)
- Sputnik Studio (Santa Monica, CA)
- Strictly FX - live special effects company
- Surreal World (Melbourne, AU)
- Tippett Studio (Berkeley, CA, US)
- Vision Crew Unlimited
- Weta Digital, a New Zealand-based company that has worked on such films as King Kong and The Lord of the Rings trilogy.
- Zoic Studios (Culver City, CA, US)
References
- Cinefex magazine
- American Cinematographer magazine
- Special Effects: The History and Technique by Richard Rickitt
- Movie Magic: The History of Special Effects in the Cinema by John Brosnan (1974)
- Techniques of Special Effects Cinematography by Raymond Fielding (For many years, the standard technical reference. Current edition 1985)
- Special Effects: Titanic and Beyond The online companion site to the NOVA documentary (especially notable are the timeline and glossary)
- T. Porter and T. Duff, "Compositing Digital Images", Proceedings of SIGGRAPH '84, 18 (1984).
- The Art and Science of Digital Compositing (ISBN 0-12-133960-2)
- McClean, Shilo T. (2007). Digital Storytelling: The Narrative Power of Visual Effects in Film. The MIT Press. ISBN 0-262-13465-9.
Film is a term that encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.
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Television (often abbreviated to TV, T.V., or more recently, tv; sometimes called telly, the tube, boob tube, or idiot box in British English) is a widely used telecommunication system for broadcasting and receiving moving pictures
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Entertainment is an event, performance, or activity designed to give pleasure or relaxation to an audience (although, for example, in the case of a computer game the "audience" may be only one person).
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Animation is the rapid display of a sequence of images of 2-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways.
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This article is about visual effects. For the process of combining several motions, see compositing (democracy). For the technique of compositing typeset by hand, see Typesetting.
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Visual effects (or 'VFX' for short) is the term given to a sub-category of special effects in which images or film frames are created and manipulated for film and video. Visual effects usually involve the integration of live-action footage with computer generated imagery or other
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multiple exposure is an exposure in which the sensitivity to light is reduced and then increased at least once during the total exposure time.
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Overview
Ordinarily cameras have a sensitivity to light that is a function of time...... Click the link for more information.
Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image (such as actors on a set, or a spaceship) with a background image (a scenic vista, a field of stars
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The Schüfftan process is a movie special effect named after its inventor, Eugen Schüfftan (1893–1977). It was widely used in the first half of the 20th century before it was replaced by the travelling matte and bluescreen effects.
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optical printer is a device consisting of one or more film projectors mechanically linked to a movie camera. It allows filmmakers to re-photograph one or more strips of film.
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theatrical property is any object held or used on stage by an actor for use in furthering the plot or story line of a theatrical production. Smaller props are referred to as "hand props". Larger "props" may also be set decoration, such as a chair or table.
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Theatrical scenery is that which is used as a setting for a theatrical production. Scenery may be just about anything, from a single chair to an elaborately re-created street, no matter how large or how small, whether or not the item was custom-made or is, in fact, the genuine
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scale model is a representation or copy of an object that is larger or smaller than the actual size of the object being represented. Very often the scale model is smaller than the original and used as a guide to making the object in full size.
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Pyrotechnics is a field of study often thought synonymous with the manufacture of fireworks, but more accurately it has a wider scope that includes items for military and industrial uses.
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Computer-generated imagery (commonly abbreviated as CGI) is the application of the field of computer graphics (or more specifically, 3D computer graphics) to special effects in films, television programs, commercials, simulators and simulation generally, and printed media.
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Oscar Gustave Rejlander (Sweden 1813 – Clapham, London on 18 January, 1875) was a pioneering Victorian art photographer.
His exact date of birth is uncertain, but was probably 1813. He was the son of Carl Gustaf Rejlander, a stonemason and Swedish Army Officer.
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His exact date of birth is uncertain, but was probably 1813. He was the son of Carl Gustaf Rejlander, a stonemason and Swedish Army Officer.
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Mary I
Queen of Scots
Queen of France
Reign December 14 1542 – July 24 1587
Coronation September 9 1543
Born December 8, 1542
Linlithgow Palace, West Lothian,
Scotland
Died January 8 1587 (aged 46)
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Queen of Scots
Queen of France
Reign December 14 1542 – July 24 1587
Coronation September 9 1543
Born December 8, 1542
Linlithgow Palace, West Lothian,
Scotland
Died January 8 1587 (aged 46)
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Motto
Liberté, Égalité, Fraternité
"Liberty, Equality, Fraternity"
Anthem
"La Marseillaise"
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Liberté, Égalité, Fraternité
"Liberty, Equality, Fraternity"
Anthem
"La Marseillaise"
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Magic is a performing art that entertains an audience by creating illusions of impossible[1] or supernatural[2] feats, using purely natural means. These feats are called magic tricks, effects or illusions.
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Georges Méliès
Georges Méliès
Birth name Marie-Georges-Jean Méliès
Born November 8 1861
Paris
Died January 21 1938 (aged 78)
Paris
Years active
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Georges Méliès
Birth name Marie-Georges-Jean Méliès
Born November 8 1861
Paris
Died January 21 1938 (aged 78)
Paris
Years active
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18th century - 19th century - 20th century
1860s 1870s 1880s - 1890s - 1900s 1910s 1920s
1893 1894 1895 - 1896 - 1897 1898 1899
:
Subjects: Archaeology - Architecture -
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1860s 1870s 1880s - 1890s - 1900s 1910s 1920s
1893 1894 1895 - 1896 - 1897 1898 1899
:
Subjects: Archaeology - Architecture -
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19th century - 20th century - 21st century
1880s 1890s 1900s - 1910s - 1920s 1930s 1940s
1911 1912 1913 - 1914 - 1915 1916 1917
Year 1914 (MCMXIV
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1880s 1890s 1900s - 1910s - 1920s 1930s 1940s
1911 1912 1913 - 1914 - 1915 1916 1917
Year 1914 (MCMXIV
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Double exposure refers to:
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- Double exposure, a photographic technique involving Multiple exposures.
- Double Exposure (comedy series), a Canadian radio and TV show
- Double Exposure, Inc, a game company that features gaming conventions
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Time-lapse photography is a cinematography technique whereby each film frame is captured at a rate much slower than it will be played back. When replayed at normal speed, time appears to be moving faster and thus lapsing.
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In film editing, a dissolve is a gradual transition from one image to another. In film, this effect is created by controlled double exposure from frame to frame; transiting from the end of one clip to the beginning of another.
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cinematograph is a film camera, which also serves as a film projector and developer. It was invented in the 1890s.
There is much dispute as to the identity of its inventor.
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There is much dispute as to the identity of its inventor.
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All Movie Guide profile
IMDb profile
A Trip to the Moon (French: Le Voyage dans la lune) is a 1902 French black and white silent science fiction film.
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IMDb profile
A Trip to the Moon (French: Le Voyage dans la lune) is a 1902 French black and white silent science fiction film.
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Jules Verne
Jules Verne. Photo by Félix Nadar.
Born: January 8 1828
Nantes, France
Died: March 24 1905 (aged 77)
Amiens, France
Occupation: Novelist
Nationality: French
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Jules Verne. Photo by Félix Nadar.
Born: January 8 1828
Nantes, France
Died: March 24 1905 (aged 77)
Amiens, France
Occupation: Novelist
Nationality: French
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From the Earth to the Moon
Author Jules Verne
Original title De la Terre à la Lune
Country France
Language French
Genre(s) Science Fiction
Publisher
Publication date 1865
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Author Jules Verne
Original title De la Terre à la Lune
Country France
Language French
Genre(s) Science Fiction
Publisher
Publication date 1865
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Animation is the rapid display of a sequence of images of 2-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways.
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This article is copied from an article on Wikipedia.org - the free encyclopedia created and edited by online user community. The text was not checked or edited by anyone on our staff. Although the vast majority of the wikipedia encyclopedia articles provide accurate and timely information please do not assume the accuracy of any particular article. This article is distributed under the terms of GNU Free Documentation License.
Herod_Archelaus
