Transparent Films

1 transparency, transparence, clarity, pellucidity.

2 slide, photographic slide.

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► nombre femenino

1 transparency, transparence

2 (diapositiva) transparency, slide

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1) [de cristal, agua] transparency

2) (=claridad) openness, transparency

3) (Fot) slide, transparency

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a) ( cualidad) transparency

b) (Fot) slide, transparency; ( para retroprojector) transparency

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= slide, transparency, acetate sheet, overhead slide, overhead projection transparency, seamlessness, disclosure.

Ex. A slide is a piece of transparent material on which there is a two-dimensional image, usually held in a mount, and designed for use in a projector or viewer.

Ex. A transparency is a sheet of transparent material bearing an image and designed for use with an overhead projector or a light box.

Ex. The teacher may use pre-prepared acetate sheets home-produced using a spirit-based pen to ensure permanence.

Ex. The main form of knowledge transfer and the basis for decision making within corporations has not been a paper, a document or a detailed report, but a set of overhead slides and the discussions around them.

Ex. The catalogue covers filmstrips, slides, films, filmloops, portfolios, posters, charts, overhead projection transparencies, kits, cassettes, gramophone records, work cards, educational games, spirit masters, etc.

Ex. The article covers the growth in World Wide Web based products, pricing, seamlessness, outsourcing, ease of use, and partnerships and alliances.

Ex. The patent abstract is a concise statement of the technical disclosure of the patent and must emphasize that which is new in the context of the invention.

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* proyección de transparencias = overhead projection.

* transparencia de sobreposición = overlay.

* transparencia de superposición = overlay transparency.

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a) ( cualidad) transparency

b) (Fot) slide, transparency; ( para retroprojector) transparency

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1 (de un material) transparency

(de una situación): la transparencia de nuestro sistema de seguridad social the public accountability of our social security system

la transparencia del nuevo régimen the new regime's policy of openness o of open government

B ( Fot) transparency, slide

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transparencia, trasparencia nf

1. [de líquido, material] transparency

2. [de intenciones] obviousness;

3. [de elecciones, proceso] openness, transparency;

es esencial mantener una absoluta transparencia en la gestión it is essential that management be seen to be completely above-board;

garantizar la transparencia de los comicios to guarantee fair elections;

falta de transparencia lack of openness

4. [para retroproyector] transparency

5. Cine

6. [tejido] see-through fabric

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f transparency; para proyectar transparency, slide

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transparencia nf

: transparency

SUBJECT AREA: Photography, film and optics

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Dickson was born in France of English and Scottish parents. As a young man of almost 19 years, he wrote in 1879 to Thomas Edison in America, asking for a job. Edison replied that he was not taking on new staff at that time, but Dickson, with his mother and sisters, decided to emigrate anyway. In 1883 he contacted Edison again, and was given a job at the Goerk Street laboratory of the Edison Electric Works in New York. He soon assumed a position of responsibility as Superintendent, working on the development of electric light and power systems, and also carried out most of the photography Edison required. In 1888 he moved to the Edison West Orange laboratory, becoming Head of the ore-milling department. When Edison, inspired by Muybridge's sequence photographs of humans and animals in motion, decided to develop a motion picture apparatus, he gave the task to Dickson, whose considerable skills in mechanics, photography and electrical work made him the obvious choice. The first experiments, in 1888, were on a cylinder machine like the phonograph, in which the sequence pictures were to be taken in a spiral. This soon proved to be impractical, and work was delayed for a time while Dickson developed a new ore-milling machine. Little progress with the movie project was made until George Eastman's introduction in July 1889 of celluloid roll film, which was thin, tough, transparent and very flexible. Dickson returned to his experiments in the spring of 1891 and soon had working models of a film camera and viewer, the latter being demonstrated at the West Orange laboratory on 20 May 1891. By the early summer of 1892 the project had advanced sufficiently for commercial exploitation to begin. The Kinetograph camera used perforated 35 mm film (essentially the same as that still in use in the late twentieth century), and the kinetoscope, a peep-show viewer, took fifty feet of film running in an endless loop. Full-scale manufacture of the viewers started in 1893, and they were demonstrated on a number of occasions during that year. On 14 April 1894 the first kinetoscope parlour, with ten viewers, was opened to the public in New York. By the end of that year, the kinetoscope was seen by the public all over America and in Europe. Dickson had created the first commercially successful cinematograph system. Dickson left Edison's employment on 2 April 1895, and for a time worked with Woodville Latham on the development of his Panoptikon projector, a projection version of the kinetoscope. In December 1895 he joined with Herman Casier, Henry N.Marvin and Elias Koopman to form the American Mutoscope Company. Casier had designed the Mutoscope, an animated-picture viewer in which the sequences of pictures were printed on cards fixed radially to a drum and were flipped past the eye as the drum rotated. Dickson designed the Biograph wide-film camera to produce the picture sequences, and also a projector to show the films directly onto a screen. The large-format images gave pictures of high quality for the period; the Biograph went on public show in America in September 1896, and subsequently throughout the world, operating until around 1905. In May 1897 Dickson returned to England and set up as a producer of Biograph films, recording, among other subjects, Queen Victoria's Diamond Jubilee celebrations in 1897, Pope Leo XIII in 1898, and scenes of the Boer War in 1899 and 1900. Many of the Biograph subjects were printed as reels for the Mutoscope to produce the "what the butler saw" machines which were a feature of fairgrounds and seaside arcades until modern times. Dickson's contact with the Biograph Company, and with it his involvement in cinematography, ceased in 1911.

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запи́сывать на плё́нку — record on film

заряжа́ть плё́нку кфт. — load a camera

наноси́ть плё́нку като́дным распыле́нием — sputter a film

напыля́ть плё́нку испаре́нием — deposit by evaporation

обвола́кивать плё́нкой — film

ма́сло обвола́кивает твё́рдые части́цы плё́нкой — the oil films the solid particles

обраба́тывать плё́нку кфт. — process the film

осажда́ть [наноси́ть осажде́нием] плё́нку — deposit a film

проявля́ть плё́нку — develop the film

стека́ть то́нкой плё́нкой — flow in thin sheets

адсорбцио́нная плё́нка — adsorbed film

ацета́тная плё́нка — acetate film

ацетилцеллюло́зная плё́нка — acetate film

бесподло́жечная плё́нка — unbacked film

брызгозащи́тная плё́нка — antispray (oil) film

высокочувстви́тельная плё́нка — high-speed [fast] film

двусторо́нняя плё́нка — duplitized film

двухэмульсио́нная плё́нка — sandwich film

диазоти́пная плё́нка кфт. — diazosensitized film

диапозити́вная плё́нка — transparency film

кле́йкая плё́нка — adhesive film

ли́нзово-ра́стровая плё́нка — lenticutal film

магни́тная плё́нка — magnetic film

магнитострикцио́нная плё́нка — magnetostrictive film

малочувстви́тельная плё́нка — slow film

мелкозерни́стая плё́нка — fine-grain film

мономолекуля́рная плё́нка — monomolecular [unimolecular] film, monomolecular layer

монта́жная плё́нка полигр. — stripping film

плё́нка на грани́це разде́ла фаз — interfacial film

плё́нка на кра́ске ( засохшая) — paint scum

невоспламеня́ющаяся плё́нка — safety film

негати́вная плё́нка — negative film

непрозра́чная плё́нка — opaque film

неэкспони́рованная плё́нка — unexposed film

обрати́мая плё́нка — reversal [reversible] film

окси́дная плё́нка — oxide film

ортохромати́ческая плё́нка — orthochromatic film

панхромати́ческая плё́нка — panchromatic film

парова́я плё́нка — steam blanket, steam film

пове́рхностная плё́нка — surface film

позити́вная плё́нка — positive film

покро́вная плё́нка кож. — coating film

поливинилхлори́дная плё́нка — polyvinylchloride [PVC] film

полиме́рная плё́нка — polymer film

полиэтиле́новая плё́нка — polyethylene film

полупроводнико́вая плё́нка — semiconductor film

прозра́чная плё́нка — transparent film

радиографи́ческая плё́нка — radiographic film

растри́рованная плё́нка — screened [pre-screened] film

резисти́вная плё́нка — resistive film

рентге́новская плё́нка — X-ray film

рота́торная плё́нка цел.-бум. — duplicating stencil paper

сверхпроводя́щая плё́нка — superconducting film

светочувстви́тельная плё́нка — light-sensitive film

сегнетоэлектри́ческая плё́нка — ferroelectric film

скле́ивающая плё́нка — glue film

плё́нка с подло́жкой — backed film

то́лстая плё́нка — thick film

то́нкая плё́нка — thin film

упако́вочная плё́нка — packaging film

ферромагни́тная плё́нка — ferromagnetic film

флюорографи́ческая плё́нка — fluorographic film

плё́нка фоногра́ммы — sound film

фотографи́ческая плё́нка — photographic film

фоторезисти́вная плё́нка — photoresist film

цветна́я плё́нка — colour film

целлофа́новая плё́нка — cellophane film

цилиндри́ческая плё́нка — cylindrical film

чё́рно-бе́лая плё́нка — black-and-white film

эпитаксиа́льная плё́нка — epitaxial [epitaxially grown] film

SUBJECT AREA: Photography, film and optics

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The son of a tax collector, Ducos du Hauron began researches into colour photography soon after the publication of Clerk Maxwell's experiment in 1861. In a communication sent in 1862 for presentation at the Académie des Sciences, but which was never read, he outlined a number of methods for photography of colours. Subsequently, in his book Les Couleurs en photographie, published in 1869, he outlined most of the principles of additive and subtractive colour photography that were later actually used. He covered additive processes, developed from Clerk Maxwell's demonstrations, and subtractive processes which could yield prints. At the time, the photographic materials available prevented the processes from being employed effectively. The design of his Chromoscope, in which transparent reflectors could be used to superimpose three additive images, was sound, however, and formed the basis of a number of later devices. He also proposed an additive system based on the use of a screen of fine red, yellow and blue lines, through which the photograph was taken and viewed. The lines blended additively when seen from a certain distance. Many years later, in 1907, Ducos du Hauron was to use this principle in an early commercial screen-plate process, Omnicolore. With his brother Alcide, he published a further work in 1878, Photographie des Couleurs, which described some more-practical subtractive processes. A few prints made at this time still survive and they are remarkably good for the period. In a French patent of 1895 he described yet another method for colour photography. His "polyfolium chromodialytique" involved a multiple-layer package of separate red-, green-and blue-sensitive materials and filters, which with a single exposure would analyse the scene in terms of the three primary colours. The individual layers would be separated for subsequent processing and printing. In a refined form, this is the principle behind modern colour films. In 1891 he patented and demonstrated the anaglyph method of stereoscopy, using superimposed red and green left and right eye images viewed through green and red filters. Ducos du Hauron's remarkable achievement was to propose theories of virtually all the basic methods of colour photography at a time when photographic materials were not adequate for the purpose of proving them correct. For his work on colour photography he was awarded the Progress Medal of the Royal Photographic Society in 1900, but despite his major contributions to colour photography he remained in poverty for much of his later life.

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