Accelerated and slowed cinema

Accelerated and slowed cinema 

Accelerated and slowed cinema 

The projection of the films is always done at a frequency of 24 frames per second (im/s), without it being possible to modify it because of the presence of the soundtrack. Indeed, the fidelity of the sound depends on the constancy of the scrolling of this track on the read head.

When shooting, however, other frequencies can be used because the sound is recorded independently, with a tape recorder. Only in the draw will it be postponed on the track of the film. This possibility of varying frequency allows the realization of rigging.

When the frame rate differs from the projection rate of 24 fps, the movement is either accelerated or slowed down. Let's take two examples. By filming a snail at 4 fps, its displacement will be accelerated 6 times when the projection will present it at 24 fps. Conversely, by filming the gallop of a horse at 144 fps, its movement will be slowed down 6 times. These techniques are widely used in cinema.

Animation and rigging cinema 

The subject is, this time, recorded single-shot, knowing that it will take 24 views to make a second projection. Between each of them, the filmmaker composes himself a moment of movement by slightly modifying the position of the subject. The cartoon makes application of this technique. A multitude of drawings representing the phases of the movement are recorded in registration, one after the other. The 24-im / projection will then synthesize this movement.

All special effects (processes that change the appearance of the image and sound) do not come from the shooting frequency. Since Georges Méliès, filmmakers have learned to use many other techniques, such as the substitution of subjects during the shooting, the superimposition (superposition of two shots), the optical effects by mirrors and lenses, the effects of perspective, the differences of scales of the elements of the decoration or models. All effects are not done with the camera. Today, most of these, such as the hide-and-seek (which is based on the principle of double exposure by alternating film-cache and film against-cache), are obtained in the laboratory by printing copies on special films. More and more, the movements of the camera are computer-assisted: as complex as it is, the movement recorded a first time by electronic chips is restored as such during a second shot. Computer-generated computer-generated images make it possible to renew the range of special effects. With the high-definition video image, it is the universe of the possible that will push its limits to infinity.

The realization

Federico Fellini, the definition of cinema

The making of a film is dependent on a key man, the producer, who assumes financial responsibility for all stages of its production. It is he who decides to start filming on the basis of the synopsis submitted to him.

The director or director appears above all as a conductor with multiple talents: the scriptwriter, who ensures the division of the narrative into sequences and plans; the chief operator (or director of photography), who composes the image, the lights and the colors; the actors, who embody the characters; the decorator, who, together with the interior designer, arranges the spatial framework in which the action is located; the composer, who writes the musical score; the sound engineer, who produces the soundtrack; the editor, who gives form to the story by assembling shots in any order. By guiding and coordinating the work of each, the director gives the film its unity and its breath. His collaborators are a script, which is the memory of every moment of the film, and, if necessary, an assistant director.

Filming, during which shots and sound are taken, often brings together important means in equipment, technicians, and actors under the direction of the director. It is done sometimes outdoors, sometimes in the studio in reconstructed sets and powerfully illuminated by arcs, batteries of lamps and spots.

The editing, the last phase of film making, is essential because it synthesizes the visual and sound components of the film. The editor determines, with the director, the length of the plans, their succession, their connections, and their sound elements. The rhythm of each scene and each sequence depends on it. The strength of the work, ultimately, is as much of this editing as the quality of shots and the play of actors.

Projector

The commercial exploitation of a film begins with the drawing of the projection copies. It is usually provided by the distributor, in agreement with the producer: after having negotiated with the owners of cinemas (the operators) the date of release of a film, the distributor decides indeed the number of necessary copies and the circuits of projection (the sales area); it also organizes the media promotion of the film by all advertising means and presides over the distribution of revenue.

The most modern projection rooms are equipped with sophisticated devices, often automated. Generally, the projector is connected to a rewinder, where the film is slabbed on a horizontal tray. The program thus goes on continuously, the operations being linked automatically, including the extinction of the room. Various processes (Sensurround, Dolby Stereo) broadcast stereophonic sound indoors and make the film a total spectacle.

The generalization of digital in the film industry induces eventually a new mutation: that of digital projection, which will end the era of the filmstrip and therefore the drawing of copies of films. A unique digital master will be used for broadcasting, which will be carried out by satellite link. Such an evolution is anticipated by the proliferation of multiplexes (theaters complex).