cinematographic work

1) General subject: camera recording, camerawork, cinematographic recording, filming, shooting, shoot

2) Engineering: cine exposure, cine filming, cine photography, cinematographic work, cinematography, film shot, filming process, motion picture photography, motion-picture recording, motion-picture shooting, motion-picture shot, shooting on film

3) Telecommunications: film scanning

4) Fishery: motion picture filming

5) Advertising: motion-picture photography

6) Makarov: shot

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производи́ть киносъё́мку — film, take motion pictures

возду́шная киносъё́мка — aerial [air] shooting

заме́дленная киносъё́мка — time-lapse filming

комбини́рованная киносъё́мка — special effects shots

мультипликацио́нная киносъё́мка — animation

нату́рная киносъё́мка — location shooting

обра́тная киносъё́мка — backward take, reverse action

павильо́нная киносъё́мка — stage shooting

подво́дная киносъё́мка — underwater shooting

регистрацио́нная киносъё́мка — instrumentation filming

киносъё́мка с рирпрое́кцией — process [background projection] photography, process shots

киносъё́мка с рук — hand-held filming

киносъё́мка с экра́на кинеско́па — kinescope recording

уско́ренная киносъё́мка — rapid filming

цейтра́ферная киносъё́мка — time-lapse filming

f

1. eines Themas etc.: treatment; von Akten etc.: processing; die Bearbeitung dieses Falls übernimmt Kollege Meier the ( oder this) case has been assigned to Mr. Meier, Mr. Meier will be dealing with the ( oder this) case

2. von Werkstoffen: working; machining; (Behandlung) treatment

3. des Bodens etc.: working, cultivation

4. eines Buchs: (Überarbeitung) revision; (neu bearbeitete Ausgabe) revised edition; THEAT. adaptation; bes. MUS. arrangement

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(Musikstück) arrangement;

(Theaterstück) adaptation;

(Thema) treatment;

(Weiterverarbeitung) processing;

(Werkstück) working;

(Überarbeitung) revision

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f -, -en

1) (= Behandlung) working (on); (von Stein, Holz) dressing; (mit Chemikalien) treating

2) (von Angelegenheit, Antrag etc) dealing with; (von Fall) handling; (von Bestellung) processing

3) (= Redigieren) editing; (= Neubearbeitung) revising; (= Umänderung) adapting; (von Musik) arrangement; (= bearbeitete Ausgabe etc) edition; revision; revised edition; adaptation; arrangement

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1. (das Behandeln) working [on]

2. (das Bearbeiten) dealing with, handling

die \Bearbeitung eines Falles to handle a case

die \Bearbeitung eines Antrags to deal with an application

3. (das Redigieren) editing, revising, revision

das ist eine neue \Bearbeitung des Buchs that's a new [or revised] edition of the book

4. (adaptierte Fassung) adaptation

filmische \Bearbeitung film [or cinematographic] adaptation

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1)

2) (bearbeitete Fassung) adaptation; (eines Musikstücks) arrangement

3) (Behandlung) treatment; (von Holz, Metall, Leder usw.) working

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Bearbeitung f

1. eines Themas etc: treatment; von Akten etc: processing;

die Bearbeitung dieses Falls übernimmt Kollege Meier the ( oder this) case has been assigned to Mr. Meier, Mr. Meier will be dealing with the ( oder this) case

2. von Werkstoffen: working; machining; (Behandlung) treatment

3. des Bodens etc: working, cultivation

4. eines Buchs: (Überarbeitung) revision; (neu bearbeitete Ausgabe) revised edition; THEAT adaptation; besonders MUS arrangement

* * *

1)

2) (bearbeitete Fassung) adaptation; (eines Musikstücks) arrangement

3) (Behandlung) treatment; (von Holz, Metall, Leder usw.) working

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editing n.

processing n.

treatment n.

SUBJECT AREA: Medical technology, Photography, film and optics

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At the age of 19 Marey went to Paris to study medicine, becoming particularly interested in the problems of the circulation of the blood. In an early communication to the Académie des Sciences he described a much improved device for recording the pulse, the sphygmograph, in which the beats were recorded on a smoked plate. Most of his subsequent work was concerned with methods of recording movement: to study the movement of the horse, he used pneumatic sensors on each hoof to record traces on a smoked drum; this device became known as the Marey recording tambour. His attempts to study the wing movements of a bird in flight in the same way met with limited success since the recording system interfered with free movement. Reading in 1878 of Muybridge's work in America using sequence photography to study animal movement, Marey considered the use of photography himself. In 1882 he developed an idea first used by the astronomer Janssen: a camera in which a series of exposures could be made on a circular photographic plate. Marey's "photographic gun" was rifle shaped and could expose twelve pictures in approximately one second on a circular plate. With this device he was able to study wing movements of birds in free flight. The camera was limited in that it could record only a small number of images, and in the summer of 1882 he developed a new camera, when the French government gave him a grant to set up a physiological research station on land provided by the Parisian authorities near the Porte d'Auteuil. The new design used a fixed plate, on which a series of images were recorded through a rotating shutter. Looking rather like the results provided by a modern stroboscope flash device, the images were partially superimposed if the subject was slow moving, or separated if it was fast. His human subjects were dressed all in white and moved against a black background. An alternative was to dress the subject in black, with highly reflective strips and points along limbs and at joints, to produce a graphic record of the relationships of the parts of the body during action. A one-second-sweep timing clock was included in the scene to enable the precise interval between exposures to be assessed. The fixed-plate cameras were used with considerable success, but the number of individual records on each plate was still limited. With the appearance of Eastman's Kodak roll-film camera in France in September 1888, Marey designed a new camera to use the long rolls of paper film. He described the new apparatus to the Académie des Sciences on 8 October 1888, and three weeks later showed a band of images taken with it at the rate of 20 per second. This camera and its subsequent improvements were the first true cinematographic cameras. The arrival of Eastman's celluloid film late in 1889 made Marey's camera even more practical, and for over a decade the Physiological Research Station made hundreds of sequence studies of animals and humans in motion, at rates of up to 100 pictures per second. Marey pioneered the scientific study of movement using film cameras, introducing techniques of time-lapse, frame-by-frame and slow-motion analysis, macro-and micro-cinematography, superimposed timing clocks, studies of airflow using smoke streams, and other methods still in use in the 1990s. Appointed Professor of Natural History at the Collège de France in 1870, he headed the Institut Marey founded in 1898 to continue these studies. After Marey's death in 1904, the research continued under the direction of his associate Lucien Bull, who developed many new techniques, notably ultra-high-speed cinematography.

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See also: Demenÿ, Georges

BC / MG

SUBJECT AREA: Electricity, Electronics and information technology, Photography, film and optics

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Paul was educated at the City of London School and Finsbury Technical College. He worked first for a short time in the Bell Telephone Works in Antwerp, Belgium, and then in the electrical instrument shop of Elliott Brothers in the Strand until 1891, when he opened an instrument-making business at 44 Hatton Garden, London. He specialized in the design and manufacture of electrical instruments, including the Ayrton Mather galvanometer. In 1902, with a purpose-built factory, he began large batch production of his instruments. He also opened a factory in New York, where uncalibrated instruments from England were calibrated for American customers. In 1903 Paul introduced the Unipivot galvanometer, in which the coil was supported at the centre of gravity of the moving system on a single pivot. The pivotal friction was less than in a conventional instrument and could be used without accurate levelling, the sensitivity being far beyond that of any pivoted galvanometer then in existence.

In 1894 Paul was asked by two entrepreneurs to make copies of Edison's kinetoscope, the pioneering peep-show moving-picture viewer, which had just arrived in London. Discovering that Edison had omitted to patent the machine in England, and observing that there was considerable demand for the machine from show-people, he began production, making six before the end of the year. Altogether, he made about sixty-six units, some of which were exported. Although Edison's machine was not patented, his films were certainly copyrighted, so Paul now needed a cinematographic camera to make new subjects for his customers. Early in 1895 he came into contact with Birt Acres, who was also working on the design of a movie camera. Acres's design was somewhat impractical, but Paul constructed a working model with which Acres filmed the Oxford and Cambridge Boat Race on 30 March, and the Derby at Epsom on 29 May. Paul was unhappy with the inefficient design, and developed a new intermittent mechanism based on the principle of the Maltese cross. Despite having signed a ten-year agreement with Paul, Acres split with him on 12 July 1895, after having unilaterally patented their original camera design on 27 May. By the early weeks of 1896, Paul had developed a projector mechanism that also used the Maltese cross and which he demonstrated at the Finsbury Technical College on 20 February 1896. His Theatrograph was intended for sale, and was shown in a number of venues in London during March, notably at the Alhambra Theatre in Leicester Square. There the renamed Animatographe was used to show, among other subjects, the Derby of 1896, which was won by the Prince of Wales's horse "Persimmon" and the film of which was shown the next day to enthusiastic crowds. The production of films turned out to be quite profitable: in the first year of the business, from March 1896, Paul made a net profit of £12,838 on a capital outlay of about £1,000. By the end of the year there were at least five shows running in London that were using Paul's projectors and screening films made by him or his staff.

Paul played a major part in establishing the film business in England through his readiness to sell apparatus at a time when most of his rivals reserved their equipment for sole exploitation. He went on to become a leading producer of films, specializing in trick effects, many of which he pioneered. He was affectionately known in the trade as "Daddy Paul", truly considered to be the "father" of the British film industry. He continued to appreciate fully the possibilities of cinematography for scientific work, and in collaboration with Professor Silvanus P.Thompson films were made to illustrate various phenomena to students.

Paul ended his involvement with film making in 1910 to concentrate on his instrument business; on his retirement in 1920, this was amalgamated with the Cambridge Instrument Company. In his will he left shares valued at over £100,000 to form the R.W.Paul Instrument Fund, to be administered by the Institution of Electrical Engineers, of which he had been a member since 1887. The fund was to provide instruments of an unusual nature to assist physical research.

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