Thursday 14 March 2013
Did Research On Birth Of Cinema !!
Begining !!
Motion picture technology has three roots
that go back for centuries. The chemistry of
film has its roots in still photography. The
other two roots are projection, which had its
origin in the magic lantern, and stills in
motion, which began as toys that depended
on what is called persistence of vision. Here,
because it takes the eye and the brain a
fraction of a second to lose an image, a series
of still pictures presented in quick succession
will appear as a single moving image.
Railroad baron Leland Stanford, exgovernor
of California and founder of Stanford
University, wanted to settle a bet with
a friend on whether a trotting horse lifted
all four hooves off the ground at the same
time. He hired professional photographer
Eadweard Muybridge, who, after several
trials, set a row of twenty-four cameras
along a racetrack. Strings that would trip
the camera shutters stretched across the
track. The result in 1878 was a series of
stills that, flipped in rapid succession, displayed
the horse in motion. (Stanford won
his bet; all four feet were off the ground.)
Muybridge continued his experiments
by photographing the movements of a variety
of animals. Exhibiting his work in
Paris in 1881 he met a physician, Etienne
Jules Marey, who was doing research in
such animal locomotion as the flapping of a
bird's wings. That meeting led Marey to
take an important step forward in the invention
of motion pictures. Instead of using a
lot of cameras, as Muybridge had done,
Marey built a single camera that could rapidly
shoot a series of pictures on a single
plate and did not require strings, which
would have interfered with the fluttering
wings.
Edison
Soon inventors in several countries were
solving the mechanical difficulties standing
in the way of motion pictures. Among
them were William Friese-Greene in England
and the brothers Louis and Auguste
Lumiere in France. In the United States,
Thomas Edison assigned assistant W.K.L.
Dickson to build a motion picture system,
based on the French photographic revolver,
built by Marey.
Edison originally thought of motion pictures
as just something to accompany the
sound in his phonograph parlors. Working
in Edison's laboratory in New Jersey, with
strips of celluloid film manufactured by
George Eastman for his Kodak still camera,
Dickson in the years 1891 and 1892 invented
the Kinetograph camera and the
motor-driven Kinetoscope, which ran 50
feet of film in about 30 seconds. Sprockets
guided the film's perforated edges past the
lens with a controlled, intermittent movement
like the ticking second hand of a
watch. Here was the peep show, one
viewer at a time.
Dickson erected a studio building that
could be turned to take advantage of light
from the sun coming through a roof opening.
He began making movies, mostly
trained animal acts, circus entertainers,
and the like, each giving a brief performance
in the studio. Workers referred to
the studio building as the "Black Maria,"
because with its tar-paper covering it
vaguely bore the shape of a police paddy
wagon with that nickname.
In a short time, Kinetoscopes were being
shipped around the country as fast as they
reached the end of Edison's assembly line.
They went into Kinetoscope parlors modeled
after Edison's successful phonograph
parlors, with the difference that admission
was not free. Customers paid 25 cents upon
entering, which gave them tickets allowing
them to peep into five machines. Start the
electric motor, gaze into the peep hole, and
there was magic! The viewer stared into a
box to see the frames of film flicker by.
Motion Picture Projection
Yet, it was still not motion picture projection.
That would come soon enough, but not
at first in the United States. The inventive
Dickson also built the Mutoscope peephole
machine, with a series of cards that were
flipped by a handle, an advantage to boys
who could slow the action to a standstill
when Little Egypt performed her hootchykootch
dance. Dickson made the
Mutoscope different enough from his early
Kinetoscope to get around Edison's patent.
Mutoscopes can occasionally still be found
in old-fashioned penny arcades.
In France, the Lumiere brothers, Louis
and Auguste, owners of a photographic
products manufacturing business, saw a
Kinetoscope on display in Paris and set
about to improve it. This they did with their
Cinematographe, a combined camera, film
printer, and projector. Substituting a hand
crank for Edison's electric motor, the Lumieres
reduced the machine's weight so
they could carry it to any location where
they wanted to film. Edison's bulky Kinetograph
required performers to appear in
the studio. Where Edison's films gave the
view of a stage, the Lumiere films were like
a view through a window. In addition, the
Lumieres were able to project their films
onto a screen for an audience, whereas
Edison's Kinetoscope accommodated only
one viewer at a time.
Their first film, of workers leaving their
factory, shot in March 1895 was shown at a
special exhibit. On December 28, 1895, the
Lumieres projected the first motion pictures
before & paying audience in the basement
of a Paris cafe. For one franc apiece,
the audience saw a twenty-minute program
consisting of ten films, accompanied by a
piano and some commentary by the Lumiere's
father. The only other sound was
the astonished gasps of the audience.84 In
no time at all, long lines formed outside the
cafe to see the show. The movies were born
Motion picture technology has three rootsthat go back for centuries. The chemistry of
film has its roots in still photography. The
other two roots are projection, which had its
origin in the magic lantern, and stills in
motion, which began as toys that depended
on what is called persistence of vision. Here,
because it takes the eye and the brain a
fraction of a second to lose an image, a series
of still pictures presented in quick succession
will appear as a single moving image.
Railroad baron Leland Stanford, exgovernor
of California and founder of Stanford
University, wanted to settle a bet with
a friend on whether a trotting horse lifted
all four hooves off the ground at the same
time. He hired professional photographer
Eadweard Muybridge, who, after several
trials, set a row of twenty-four cameras
along a racetrack. Strings that would trip
the camera shutters stretched across the
track. The result in 1878 was a series of
stills that, flipped in rapid succession, displayed
the horse in motion. (Stanford won
his bet; all four feet were off the ground.)
Muybridge continued his experiments
by photographing the movements of a variety
of animals. Exhibiting his work in
Paris in 1881 he met a physician, Etienne
Jules Marey, who was doing research in
such animal locomotion as the flapping of a
bird's wings. That meeting led Marey to
take an important step forward in the invention
of motion pictures. Instead of using a
lot of cameras, as Muybridge had done,
Marey built a single camera that could rapidly
shoot a series of pictures on a single
plate and did not require strings, which
would have interfered with the fluttering
wings.
Edison
Soon inventors in several countries were
solving the mechanical difficulties standing
in the way of motion pictures. Among
them were William Friese-Greene in England
and the brothers Louis and Auguste
Lumiere in France. In the United States,
Thomas Edison assigned assistant W.K.L.
Dickson to build a motion picture system,
based on the French photographic revolver,
built by Marey.
Edison originally thought of motion pictures
as just something to accompany the
sound in his phonograph parlors. Working
in Edison's laboratory in New Jersey, with
strips of celluloid film manufactured by
George Eastman for his Kodak still camera,
Dickson in the years 1891 and 1892 invented
the Kinetograph camera and the
motor-driven Kinetoscope, which ran 50
feet of film in about 30 seconds. Sprockets
guided the film's perforated edges past the
lens with a controlled, intermittent movement
like the ticking second hand of a
watch. Here was the peep show, one
viewer at a time.
Dickson erected a studio building that
could be turned to take advantage of light
from the sun coming through a roof opening.
He began making movies, mostly
trained animal acts, circus entertainers,
and the like, each giving a brief performance
in the studio. Workers referred to
the studio building as the "Black Maria,"
because with its tar-paper covering it
vaguely bore the shape of a police paddy
wagon with that nickname.
In a short time, Kinetoscopes were being
shipped around the country as fast as they
reached the end of Edison's assembly line.
They went into Kinetoscope parlors modeled
after Edison's successful phonograph
parlors, with the difference that admission
was not free. Customers paid 25 cents upon
entering, which gave them tickets allowing
them to peep into five machines. Start the
electric motor, gaze into the peep hole, and
there was magic! The viewer stared into a
box to see the frames of film flicker by.
Motion Picture Projection
Yet, it was still not motion picture projection.
That would come soon enough, but not
at first in the United States. The inventive
Dickson also built the Mutoscope peephole
machine, with a series of cards that were
flipped by a handle, an advantage to boys
who could slow the action to a standstill
when Little Egypt performed her hootchykootch
dance. Dickson made the
Mutoscope different enough from his early
Kinetoscope to get around Edison's patent.
Mutoscopes can occasionally still be found
in old-fashioned penny arcades.
In France, the Lumiere brothers, Louis
and Auguste, owners of a photographic
products manufacturing business, saw a
Kinetoscope on display in Paris and set
about to improve it. This they did with their
Cinematographe, a combined camera, film
printer, and projector. Substituting a hand
crank for Edison's electric motor, the Lumieres
reduced the machine's weight so
they could carry it to any location where
they wanted to film. Edison's bulky Kinetograph
required performers to appear in
the studio. Where Edison's films gave the
view of a stage, the Lumiere films were like
a view through a window. In addition, the
Lumieres were able to project their films
onto a screen for an audience, whereas
Edison's Kinetoscope accommodated only
one viewer at a time.
Their first film, of workers leaving their
factory, shot in March 1895 was shown at a
special exhibit. On December 28, 1895, the
Lumieres projected the first motion pictures
before & paying audience in the basement
of a Paris cafe. For one franc apiece,
the audience saw a twenty-minute program
consisting of ten films, accompanied by a
piano and some commentary by the Lumiere's
father. The only other sound was
the astonished gasps of the audience.84 In
no time at all, long lines formed outside the
cafe to see the show. The movies were born
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