animated screen

см. тж. animation, screensaver

см. тж. animated screen, CRT, screen, VDU

1) дисплей || дисплейный (напр. о пульте)

2) устройство индикации, устройство цифровой индикации; устройство отображения, устройство отображения информации; электронное табло

3) отображение, отображение информации; вывод ( данных на экран); индикация, индикация данных || отображать, отображать информацию; идентифицировать, идентифицировать данные

4) экранный (напр. о мониторе)

•

- absolute/incremental display

1) визуальное воспроизведение, визуальное представление; отображение ( информации); индикация || воспроизводить; отображать

2) изображение || изображать

3) воспроизводящее устройство; видеотерминал; устройство отображения ( информации), дисплей; индикатор, индикаторное устройство; транспарант; табло

4) показ, демонстрация || выставлять, показывать

5) витрина; рекламная стойка

6) выделение особым шрифтом || выделять особым шрифтом

7) полигр. акцидентная продукция

1) плёнка, тонкий слой || покрываться плёнкой

2) оболочка; покрытие

3) слабый туман; дымка

4) (фото)плёнка

5) киноплёнка; кинолента

6) (кино)фильм; фильмокопия || производить киносъёмку; снимать на киноплёнку

7) геофиз. диаграмма (сейсмограмма), записанная на фотоплёнке

8) полимерная плёнка

1) изображение; образ || формировать изображение; получать изображение

2) отображение || отображать

3) кадр

4) зеркальная боковая полоса частот

5) зеркальный заряд

6) образ задачи, загрузочный модуль ( прикладной программы)

7) отпечаток, оттиск

1) фотография ( область науки и техники)

2) фотосъёмка, фотографирование

<tech.gen> ■ Gerüst n

<tech.gen> (gen.; e.g. of assemblies, windows etc.) ■ Rahmen m

<av> (video signal, semi-picture) ■ Halbbild n

<av> (of loudspeaker) ■ Korb m ; Chassis n

<av> (magnet. tape) ■ Sprosse f

<av> (video signal, full picture) ■ Vollbild n

<av> (of a sequence; e.g. of a motion picture, animated cartoon) ■ Bild n ; Einzelbild n

<av> ■ Teilraster m

US, obs <av> ■ Vollbild n

< build> (window, door) ■ Rahmen m allg ; Blendrahmen m DIN ; Zarge f

< build> ■ Rahmenwerk n

<build.int> (of a drywall assembly) ■ Unterkonstruktion f

< comvhcl> (of a bus) ■ Gerippe n ; Rahmengerippe n

< edp> (single picture in an animation sequence) ■ Frame m ; Zwischenbild n ; Einzelbild n

< edp> ■ Rahmen m ; Frame m ; Rahmenstruktur f

ISO 3309 < edp> (block of transfer data) ■ Datenübertragungsblock m DIN ISO 3309 ; DÜ-Block m

< garm> (of an umbrella) ■ Gestell n

< logist> (S/R machine) ■ Fahrrahmen m ; Rahmen m

<mach.tools> ■ Bundgatter n

<mech.eng> (buck-type) ■ Bock m

<mech.eng> (support stand; e.g. of machine tool) ■ Gestell n

<mech.eng> ■ Ständer m

< mil> ■ Rahmen m ; Griffstück n ; Scheibenrahmen m

< min> ■ Ausbaugeviert n

< mvhcl> (of vehicle body) ■ Rahmen m

US < mvhcl> (stress on: frame structure; e.g. of cars) ■ Fahrgestell n ; Chassis n prakt ; Rahmen m ugs ; Chassisrahmen m rar

< nav> (ship hull framing member) ■ Spant n/m

< opt> ■ Fassung f

< phot> (cropped image) ■ Bildausschnitt m ; Ausschnitt m

< phot> ■ Bilderrahmen m ; Rahmen m

< proc> (plate heat exchanger) ■ Gestell n

<proc.hydr> (band screen) ■ Gestell n ; Rahmen m

pract < tele> (for data transmission; e.g. UMTS uses 15 timeslots \@ 10 ms) ■ Rahmen m ; Zeitrahmen m

< tools> (of saw) ■ Bügel m

< vhcl> ■ Rahmen m

vt <tech.gen> (e.g. photograph) ■ einfassen vt

vt <tech.gen> ■ rahmen vt

vt < min> ■ verzimmern vt

vt < phot> (photograph, picture) ■ rahmen vt

vt < prod> (e.g. picture) ■ einrahmen vt

<av> (on TV screen, monitor) ■ Bild n

GB, norm <av> ■ Vollbild n

<av> (of a sequence; e.g. of a motion picture, animated cartoon) ■ Bild n ; Einzelbild n

< docu> (any visible image) ■ Bild n

< phot> (photographic image) ■ Fotografie f ; Foto n ugs ; Bild n ugs ; Aufnahme f ; Lichtbild n form.obs

1) кнопка

см. тж. animated button, button bar, click, command button, dialog box, iconize button, maximize button, minimize button, navigation button, pushbutton, radio button, reset button, screen button, soft button, zoom button

2) клавиша, кнопка

SUBJECT AREA: Photography, film and optics

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As a young man Georges Demenÿ was a pioneer of physical education in France, and this led him to contact the physiologist Professor Marey in 1880. Marey had made a special study of animal movement, and Demenÿ hoped to work with him on research into physiological problems related to gymnastics. He joined Marey the following year, and when in 1882 the Physiological Station was set up near Paris to develop sequence photography for the study of movement. Demenÿ was made Head of the laboratory. He worked with the multiple-image fixed-plate cameras, and was chiefly responsible for the analysis of the records, having considerable mathematical and graphical ability. He also appeared as the subject in a number of the sequences. When in 1888 Marey began the development of a film camera, Demenÿ was involved in its design and operation. He became interested in the possibility of using animated sequence photographs as an aid to teaching of the deaf. He made close-up records of himself speaking short phrases, "Je vous aime" and "Vive la France" for example, which were published in such journals as Paris Photographe and La Nature in 1891 and 1892. To present these in motion, he devised the Phonoscope, which he patented on 3 March 1892. The series of photographs were mounted around the circumference of a disc and viewed through a counter-rotating slotted disc. The moving images could be viewed directly, or projected onto a screen. La Nature reported tests he had made in which deaf lip readers could interpret accurately what was being said. On 20 December 1892 Demenÿ formed a company, Société Générale du Phonoscope, to exploit his invention, hoping that "speaking portraits" might replace family-album pictures. This commercial activity led to a rift between Marey and Demenÿ in July 1893. Deprived of access to the film cameras, Demenÿ developed designs of his own, patenting new camera models in France on 10 October 1893 and 27 July 1894. The design covered by the latter had been included in English and German patents filed in December 1893, and was to be of some significance in the early development of cinematography. It was for an intermittent movement of the film, which used an eccentrically mounted blade or roller that, as it rotated, bore on the film, pulling down the length of one frame. As the blade moved away, the film loop so formed was taken up by the rotation of the take-up reel. This "beater" movement was employed extensively in the early years of cinematography, being effective yet inexpensive. It was first employed in the Chronophotographe apparatus marketed by Gaumont, to whom Demenÿ had licensed the patent rights, from the autumn of 1896. Demenÿ's work provided a link between the scientific purposes of sequence photography— chronophotography—and the introduction of commercial cinematography.

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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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