Mark A. Cella is a distinguished fellow of film studies at San Jose State University. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Double System - The term double system refers to sound and picture as two separate elements, recorded, edited or projected in sync. 16mm and 35mm use the double system format. A camera photographs the picture and a tape recorder records the sound. In the end, the final print is Single System, combining sound and picture onto the same piece of print stock.
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Friday, February 27, 2009
Wednesday, February 25, 2009
Emulsion Batch
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today :Emulsion Batch –
The emulsion batch is the series of numbers on the film can the come after the Emulsion Type. When the film is made, each batch is given a number so that you can shoot a single sequence with one particular batch. Just as a suit where the pants and jacket were cut from different bolts of fabric might be a little off, a sequence shot with different emulsion batches might also be a little off. From one sequence to the next, of course, this doesn’t matter. (And the batches themselves have become more consistent in recent years, so mixing them is less of a sin nowadays.)Learn more at Mark Cella film theory , Mark Cella film studies
Today :Emulsion Batch –
The emulsion batch is the series of numbers on the film can the come after the Emulsion Type. When the film is made, each batch is given a number so that you can shoot a single sequence with one particular batch. Just as a suit where the pants and jacket were cut from different bolts of fabric might be a little off, a sequence shot with different emulsion batches might also be a little off. From one sequence to the next, of course, this doesn’t matter. (And the batches themselves have become more consistent in recent years, so mixing them is less of a sin nowadays.)Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, February 12, 2009
Mark Cella Knows Film
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: – Foot Candle - Measurement of light. One foot candle is the light of one candle, one foot away. Many light meters will use foot candles as a starting number, which then must be converted into an f-stop based on the sensitivity of the film you are using. (Because of the great variety of different film speeds it is sometimes ambiguous to talk too much about foot candles, since a given number of foot candles will not yield the same f-stop from one film speed to another.)
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Today: – Foot Candle - Measurement of light. One foot candle is the light of one candle, one foot away. Many light meters will use foot candles as a starting number, which then must be converted into an f-stop based on the sensitivity of the film you are using. (Because of the great variety of different film speeds it is sometimes ambiguous to talk too much about foot candles, since a given number of foot candles will not yield the same f-stop from one film speed to another.)
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Wednesday, February 11, 2009
Flare
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: – Flare - This has two meanings: 1.: When using film on a daylight spool, the erratic pattern of raw light that washes out the beginning and end of the roll are known as “the flares.” 2.: A flare of the other kind is a Lens Flare. It is caused when light strikes the lens and either causes the entire image to be fogged in appearance, or for a little row of polygons (the silhouette of the iris) to appear from the light hitting the surfaces of the many elements in the lens. It is solved by flagging the lens.
Learn more at Mark Cella film theory , Mark Cella film studies
Today: – Flare - This has two meanings: 1.: When using film on a daylight spool, the erratic pattern of raw light that washes out the beginning and end of the roll are known as “the flares.” 2.: A flare of the other kind is a Lens Flare. It is caused when light strikes the lens and either causes the entire image to be fogged in appearance, or for a little row of polygons (the silhouette of the iris) to appear from the light hitting the surfaces of the many elements in the lens. It is solved by flagging the lens.
Learn more at Mark Cella film theory , Mark Cella film studies
Sunday, February 8, 2009
Mark cella On The Edge
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Edge Numbers
The edge numbers are small numbers running along the edge of the film, in between the perf in 16mm, and just to the far side of them in 35mm. The are photographed onto the film in its manufacture, and are there to aid the negative cutter in lining up shots in the process of conforming the negative. They are sometimes called latent edge numbers to distinguish them from inked-on code numbers. 2.: Code Numbers are sometimes called edge numbers.
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Today: Edge Numbers
The edge numbers are small numbers running along the edge of the film, in between the perf in 16mm, and just to the far side of them in 35mm. The are photographed onto the film in its manufacture, and are there to aid the negative cutter in lining up shots in the process of conforming the negative. They are sometimes called latent edge numbers to distinguish them from inked-on code numbers. 2.: Code Numbers are sometimes called edge numbers.
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, February 5, 2009
Watch The Fade
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Fade
A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. Fades are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of black into the A&B rolls. Labs will only do fades in fixed amounts, such as 24 frames, 48 frames, etc.
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Today: Fade
A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. Fades are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of black into the A&B rolls. Labs will only do fades in fixed amounts, such as 24 frames, 48 frames, etc.
Learn more at Mark Cella film theory , Mark Cella film studies
Wednesday, February 4, 2009
Batch Of Emulsion
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today :Emulsion Batch –
The emulsion batch is the series of numbers on the film can the come after the Emulsion Type. When the film is made, each batch is given a number so that you can shoot a single sequence with one particular batch. Just as a suit where the pants and jacket were cut from different bolts of fabric might be a little off, a sequence shot with different emulsion batches might also be a little off. From one sequence to the next, of course, this doesn’t matter. (And the batches themselves have become more consistent in recent years, so mixing them is less of a sin nowadays.)
Learn more at Mark Cella film theory , Mark Cella film studies
Today :Emulsion Batch –
The emulsion batch is the series of numbers on the film can the come after the Emulsion Type. When the film is made, each batch is given a number so that you can shoot a single sequence with one particular batch. Just as a suit where the pants and jacket were cut from different bolts of fabric might be a little off, a sequence shot with different emulsion batches might also be a little off. From one sequence to the next, of course, this doesn’t matter. (And the batches themselves have become more consistent in recent years, so mixing them is less of a sin nowadays.)
Learn more at Mark Cella film theory , Mark Cella film studies
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