made of celluloid

1) Zelluloid, das

2) (cinema films) Kino, das

* * *

I. n no pl

1. (plastic) Zelluloid nt

2. ( liter: film, cinema) Zelluloid nt, Film m

on \celluloid auf Zelluloid

II. adj

1. (made of celluloid) Zelluloid-

2. ( liter: cinematic) kinematografisch geh

* * *

* * *

celluloid [-ljʊlɔıd; US auch -ləˌlɔıd] s TECH Zelluloid n:

on celluloid auf Zelluloid (auf Film)

* * *

1) Zelluloid, das

2) (cinema films) Kino, das

* * *

Zelluloid n.

cel·lu·loid [ʼseljəlɔɪd] n

1) ( plastic) Zelluloid nt

2) (liter: film, cinema) Zelluloid nt, Film m;

on \celluloid auf Zelluloid adj

1) ( made of celluloid) Zelluloid-

2) (liter: cinematic) kinematographisch ( geh)

SUBJECT AREA: Chemical technology, Synthetic materials

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Leaving school at the age of 16, Hyatt spent ten years in the printing trade, demonstrating meanwhile a talent for invention. The offer of a prize of $10,000 for finding a substitute for ivory billiard balls stimulated Hyatt to experiment with various materials. After many failures, he arrived at a composition of paper flock, shellac and collodion, which was widely adopted. Noting the "skin" left after evaporating collodion, he continued his experiments, using nitrocellulose as a base for plastic materials, yet he remained largely ignorant of both chemistry and the dangers of this explosive substance. Independently of Parkes in England, he found that a mixture of nitrocellulose, camphor and a little alcohol could, by heating, be made soft enough to mould but became hard at room temperature. Hyatt's first patent for the material, celluloid, was dated 12 July 1870 (US pat. 105338) and was followed by many others for making domestic and decorative articles of celluloid, replacing more expensive natural materials. Manufacture began at Albany in the winter of 1872–3. In 1881 Hyatt and his brother Isiah Smith floated the Hyatt Pure Water Company. By introducing purifying coagulants into flowing water, they avoided the expense and delay of allowing the water to settle in large tanks before filtration. Many towns and paper and woollen mills adopted the new process, and in 1891 it was introduced into Europe. During 1891–2, Hyatt devised a widely used type of roller bearing. Later inventions included a sugar-cane mill, a multistitch sewing machine and a mill for the cold rolling and straightening of steel shafts. It was characteristic of Hyatt's varied inventions that they achieved improved results at less expense.

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1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film; film-

3) (a thin skin or covering: a film of dust.) film; hinde; lag

1) (to make a motion picture (of): They are going to film the race.) optage; filme

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) dække med en hinde

•

- filmy

* * *

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film; film-

3) (a thin skin or covering: a film of dust.) film; hinde; lag

1) (to make a motion picture (of): They are going to film the race.) optage; filme

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) dække med en hinde

•

- filmy

SUBJECT AREA: Photography, film and optics

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The young Eastman was a clerk-bookkeeper in the Rochester Savings Bank when in 1877 he took up photography. Taking lessons in the wet-plate process, he became an enthusiastic amateur photographer. However, the cumbersome equipment and noxious chemicals used in the process proved an obstacle, as he said, "It seemed to be that one ought to be able to carry less than a pack-horse load." Then he came across an account of the new gelatine dry-plate process in the British Journal of Photography of March 1878. He experimented in coating glass plates with the new emulsions, and was soon so successful that he decided to go into commercial manufacture. He devised a machine to simplify the coating of the plates, and travelled to England in July 1879 to patent it. In April 1880 he prepared to begin manufacture in a rented building in Rochester, and contacted the leading American photographic supply house, E. \& H.T.Anthony, offering them an option as agents. A local whip manufacturer, Henry A.Strong, invested $1,000 in the enterprise and the Eastman Dry Plate Company was formed on 1 January 1881. Still working at the Savings Bank, he ran the business in his spare time, and demand grew for the quality product he was producing. The fledgling company survived a near disaster in 1882 when the quality of the emulsions dropped alarmingly. Eastman later discovered this was due to impurities in the gelatine used, and this led him to test all raw materials rigorously for quality. In 1884 the company became a corporation, the Eastman Dry Plate \& Film Company, and a new product was announced. Mindful of his desire to simplify photography, Eastman, with a camera maker, William H.Walker, designed a roll-holder in which the heavy glass plates were replaced by a roll of emulsion-coated paper. The holders were made in sizes suitable for most plate cameras. Eastman designed and patented a coating machine for the large-scale production of the paper film, bringing costs down dramatically, the roll-holders were acclaimed by photographers worldwide, and prizes and medals were awarded, but Eastman was still not satisfied. The next step was to incorporate the roll-holder in a smaller, hand-held camera. His first successful design was launched in June 1888: the Kodak camera. A small box camera, it held enough paper film for 100 circular exposures, and was bought ready-loaded. After the film had been exposed, the camera was returned to Eastman's factory, where the film was removed, processed and printed, and the camera reloaded. This developing and printing service was the most revolutionary part of his invention, since at that time photographers were expected to process their own photographs, which required access to a darkroom and appropriate chemicals. The Kodak camera put photography into the hands of the countless thousands who wanted photographs without complications. Eastman's marketing slogan neatly summed up the advantage: "You Press the Button, We Do the Rest." The Kodak camera was the last product in the design of which Eastman was personally involved. His company was growing rapidly, and he recruited the most talented scientists and technicians available. New products emerged regularly—notably the first commercially produced celluloid roll film for the Kodak cameras in July 1889; this material made possible the introduction of cinematography a few years later. Eastman's philosophy of simplifying photography and reducing its costs continued to influence products: for example, the introduction of the one dollar, or five shilling, Brownie camera in 1900, which put photography in the hands of almost everyone. Over the years the Eastman Kodak Company, as it now was, grew into a giant multinational corporation with manufacturing and marketing organizations throughout the world. Eastman continued to guide the company; he pursued an enlightened policy of employee welfare and profit sharing decades before this was common in industry. He made massive donations to many concerns, notably the Massachusetts Institute of Technology, and supported schemes for the education of black people, dental welfare, calendar reform, music and many other causes, he withdrew from the day-to-day control of the company in 1925, and at last had time for recreation. On 14 March 1932, suffering from a painful terminal cancer and after tidying up his affairs, he shot himself through the heart, leaving a note: "To my friends: My work is done. Why wait?" Although Eastman's technical innovations were made mostly at the beginning of his career, the organization which he founded and guided in its formative years was responsible for many of the major advances in photography over the years.

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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: 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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SUBJECT AREA: Chemical technology, Synthetic materials

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After serving apprentice to brassfounders in Birmingham, Parkes entered Elkington's, the celebrated metalworking firm, and took charge of their casting department. They were active in introducing electroplating and Parkes's first patent, of 1841, was for the electroplating of works of art. The electrodeposition of metals became a lifelong interest.

Notably, he achieved the electroplating of fragile objects, such as flowers, which he patented in 1843. When Prince Albert visited Elkington's, he was presented with a spider's web coated with silver. Altogether, Parkes was granted sixty-six patents over a period of forty-six years, mainly relating to metallurgy.

In 1841 he patented a process for waterproofing textiles by immersing them in a solution of indiarubber in carbon disulphide. Elkingtons manufactured such fabrics until they sold the process to Mackintosh Company, which continued making them for many years. While working for Elkingtons in south Wales, Parkes developed the use of zinc for desilvering lead. He obtained a patent in 1850 for this process, which was one of his most important inventions and became widely used.

The year 1856 saw Parkes's first patent on pyroxylin, later called Xylonite or celluloid, the first plastic material. Articles made of Parkesine, as it came to be called, were shown at the International Exhibition in London in 1862, and he was awarded a medal for his work. Five years later, Parkesine featured at the Paris Exhibition. Even so, Parkes's efforts to promote the material commercially, particularly as a substitute for ivory, remained stubbornly unsuccessful.

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1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) carrete

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; (also adjective) a film version of the novel.) película

3) (a thin skin or covering: a film of dust.) capa, película

1) (to make a motion picture (of): They are going to film the race.) filmar

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) cubrirse; nublarse

•

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film¹ n

1. película

En inglés americano se dice más movie que film

2. carrete

film² vb filmar / grabar / rodar

◊ films)

a) (Cin, TV) movie, film (BrE)

b) (Coc) tb

◊ film transparente Saran wrap® (AmE), clingfilm (BrE)

tr[fɪlm]

noun

1 SMALLCINEMA/SMALL película, filme nombre masculino, film nombre masculino

2 (coating of dust etc) capa, película

3 (of photos) carrete nombre masculino, rollo

transitive verb

1 (cinem) rodar, filmar; (tv program) grabar

2 (event) filmar

intransitive verb

1 SMALLCINEMA/SMALL rodar

\

film industry industria cinematográfica

film library cinemateca

film set plató nombre masculino

film star estrella de cine

film strip película

film studio estudio de cine

film test prueba (cinematográfica)

film unit equipo de rodaje

film ['fɪlm] vt

: filmar

film vi

: rodar

film n

1) coating: capa f, elícula f

2) : película f (fotográfica)

3) movie: película f, filme m

• capa de polvo s.f.

• cinta s.f.

• filme s.m.

• película (Cinema) s.f.

• cinematografiar v.

• filmar v.

• hacer una película de v.

• rodar v.

1)

a) c u ( Phot) película f (fotográfica)

b) c ( movie) película f, film(e) m (period); (before n)

c) u ( cinematic art) cine m

2)

a) c ( thin covering) película f

b) u ( wrap) film m or envoltura f transparente

transitive verb \<\<scene\>\> filmar; \<\<novel/play\>\> llevar al cine

vi rodar*, filmar

N (=thin skin) película f ; [of dust] capa f ; [of smoke etc] velo m ; (Cine, Phot) (=negatives) película f ; (=roll of film) carrete m, rollo m ; (at cinema) película f, film m, filme m ; (full-length) largometraje m ; (short) corto(metraje) m

VT [+ book] llevar al cine, hacer una película de; [+ event] filmar; [+ scene] rodar

VI rodar, filmar

CPD [camera, festival] cinematográfico, de cine

- film over

* * *

1)

a) c u ( Phot) película f (fotográfica)

b) c ( movie) película f, film(e) m (period); (before n)

c) u ( cinematic art) cine m

2)

a) c ( thin covering) película f

b) u ( wrap) film m or envoltura f transparente

transitive verb \<\<scene\>\> filmar; \<\<novel/play\>\> llevar al cine

vi rodar*, filmar

1) (thin layer) Schicht, die

2) (Photog.; Cinemat.): (story etc.) Film, der

3) in pl. (cinema industry) Kino, das; Film, der

4) no pl. (as art-form) der Film

* * *

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) der Film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) der Film, Film-...

3) (a thin skin or covering: a film of dust.) dünne Schicht

1) (to make a motion picture (of): They are going to film the race.) filmen

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) sich trüben

•

- academic.ru/27265/filmy">filmy

* * *

I. n

1. (motion picture) Film m

she's had a long career in \films sie hat eine lange Filmkarriere hinter sich

to get into the \films zum Film gehen

to make [or shoot] a \film einen Film drehen

to see [or watch] a \film sich dat einen Film ansehen

2. no pl (for cameras) Film m

a roll of \film eine Rolle Film

to develop a roll of \film einen Film entwickeln

to catch [or record] sth on \film etw auf Film festhalten

to run out of \film keinen Film mehr haben

3. (layer) Schicht f, Film m

\film of grease/oil Schmier-/Ölfilm m

4. (sheet) Folie f

plastic \film Kunststofffolie f, Plastikfolie f

II. n modifier (actor, career, industry, producer) Film-

Hollywood is the \film capital of the world Hollywood ist die Filmhauptstadt der Welt

\film buff Filmfan m

\film censorship Filmzensur f

\film scenario FILM Szenario nt fachspr

III. vt

1. (photograph)

▪ to \film sb/sth jdn/etw filmen; (shoot)

to \film a scene eine Szene drehen

2. (reproduce)

to \film a book ein Buch verfilmen

IV. vi

1. (make a movie) filmen, drehen

2. (transfer to film)

to \film well/badly book, story sich akk gut/schlecht verfilmen lassen; person fotogen/nicht fotogen sein

this story \films well diese Geschichte eignet sich gut zum Verfilmen

* * *

1. n

1) (= motion picture) Film m

2) (PHOT) Film m

3) (= layer) Film m; (of dust) Schicht f; (of ice on water) Schicht f; (of mist, on the eye) Schleier m; (= thin membrane) Häutchen nt; (on teeth) Belag m; (= fine web) feines Gewebe

2. vt

3. vi

* * *

film [fılm]

A s

1. Membran(e) f, dünnes Häutchen, Film m

2. FOTO Film m:

put on film etwas ablichten

3. a) Film m

b) meist pl Film m, Filmindustrie f:

be in films beim Film sein;

go into films zum Film gehen

4. (hauch)dünne Schicht, Überzug m, (Zellophan- etc) Haut f, (-)Film m, (Plastik) Folie f

5. a) (hauch)dünnes Gewebe

b) Faser f

6. MED Trübung f des Auges, Schleier m

B v/t

1. (mit einem Häutchen etc) überziehen

2. a) einen Roman etc verfilmen

b) eine Szene etc filmen

C v/i

1. auch film over sich mit einem Häutchen überziehen

2. a) sich verfilmen lassen, sich zum Verfilmen eignen:

b) einen Film drehen, filmen

* * *

1) (thin layer) Schicht, die

2) (Photog.; Cinemat.): (story etc.) Film, der

3) in pl. (cinema industry) Kino, das; Film, der

4) no pl. (as art-form) der Film

* * *

Belag -e m.

Film -e m.

Schicht -en f. v.

filmen v.

verfilmen v.

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) spillefilm

3) (a thin skin or covering: a film of dust.) hinne, tynt lag/belegg

1) (to make a motion picture (of): They are going to film the race.) filme, filmatisere

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) dekke med en hinne/et tynt lag

•

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film

filme

hinne

subst. \/fɪlm\/

1) hinne, tynt lag, slør, belegg

• a film of mist

• a film of oil

2) film (også fotografering), filmrull

3) tynn tråd, silketråd (hos edderkopper)

films ( også) filmforestilling, kinoforestilling

go to the films gå på kino

turn a film spille inn en film, filme

verb \/fɪlm\/

1) filme, spille inn, ta (opp)

• they are filming a play

• let's film the next scene now

2) filmatisere

• she wants to film a novel

3) dekke(s) med en hinne\/tynt slør

• his eyes were filmed with tears

4) gjøre seg på film, passe for filmatisering

• she films very well

• this story films easily

a filmed version en filmatisering

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) filma

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) kvikmynd

3) (a thin skin or covering: a film of dust.) (ryk)lag; þunn húð, himna

1) (to make a motion picture (of): They are going to film the race.) kvikmynda

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) hylja; þekjast

•

- filmy

* * *

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film

3) (a thin skin or covering: a film of dust.) hártya

1) (to make a motion picture (of): They are going to film the race.) filmez

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) hártyásodik; könnybe lábad (szem)

•

- filmy

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) filme

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) filme

3) (a thin skin or covering: a film of dust.) película

1) (to make a motion picture (of): They are going to film the race.) filmar

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) enevoar-se

•

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* * *

[film] n 1 filme, película, fita de cinema. 2 membrana, pele fina, filamento delicado. 3 véu, névoa, belida. 4 Phot filme. • vt+vi 1 filmar. 2 cobrir com véu, ou membrana fina. her eyes filmed over / seus olhos enevoaram-se (de lágrimas). on the films na tela, no cinema, numa empresa cinematográfica.

n. ince tabaka, zar, film, lif, ölünün gözündeki donukluk

v. filme çekmek, ince bir tabaka ile kaplamak, kaplamak (zar vb.), film çekmek

* * *

* * *

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film, sinema filmi

3) (a thin skin or covering: a film of dust.) ince tabaka, zar

1) (to make a motion picture (of): They are going to film the race.) film(e) çekmek/almak

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) kaplanmak, buğulanmak

•

- filmy

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film, filmski

3) (a thin skin or covering: a film of dust.) sloj, plast

1) (to make a motion picture (of): They are going to film the race.) snemati

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) prekriti (se)

•

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* * *

kožica, mrena; prevleka; meglenina; film; filmska predstava

full-length film — glavni film

silent film — nemi film

talking film — zvočni film

colour film — barvni film

s kožico prevleči; filmati, snemati;

s kožico, mreno se prevleči; zamegliti se (oko); biti primeren za filmanje

* * *

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) filmi

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) elokuva

3) (a thin skin or covering: a film of dust.) kalvo, kelmu

1) (to make a motion picture (of): They are going to film the race.) filmata

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) sumentaa, sumentua

•

- filmy

1) cinem. (movie) film m., pellicola f.

2) fot. (for snapshots, movies) pellicola f., film m.

3) (layer) pellicola f., strato m. sottile

4) gastr. cellofan m., pellicola f. (trasparente)

modificatore [archive, award, critic, industry, laboratory, producer, studio, version, rights] cinematografico

verbo transitivo [ person] filmare [ event]; adattare per il cinema [novel, play]; [ camera] filmare, registrare [ scene]

verbo intransitivo [ camera man] filmare, girare; [ crew] girare un film

- film over

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1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) pellicola

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film

3) (a thin skin or covering: a film of dust.) pellicola

1) (to make a motion picture (of): They are going to film the race.) filmare

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) coprirsi

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- filmy

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1) cinem. (movie) film m., pellicola f.

2) fot. (for snapshots, movies) pellicola f., film m.

3) (layer) pellicola f., strato m. sottile

4) gastr. cellofan m., pellicola f. (trasparente)

modificatore [archive, award, critic, industry, laboratory, producer, studio, version, rights] cinematografico

verbo transitivo [ person] filmare [ event]; adattare per il cinema [novel, play]; [ camera] filmare, registrare [ scene]

verbo intransitivo [ camera man] filmare, girare; [ crew] girare un film

- film over

* * *

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) film, błona

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) film

3) (a thin skin or covering: a film of dust.) warstwa, powłoka

1) (to make a motion picture (of): They are going to film the race.) filmować

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) pokrywać się

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- filmy

1) ((a thin strip of) celluloid made sensitive to light on which photographs are taken: photographic film.) fotofilma

2) (a story, play etc shown as a motion picture in a cinema, on television etc: to make a film; ( also adjective) a film version of the novel.) filma; filmas-

3) (a thin skin or covering: a film of dust.) plēve; plāna kārta

1) (to make a motion picture (of): They are going to film the race.) filmēt

2) ((usually with over) to cover with a film: Her eyes gradually filmed (over) with tears.) pārklāties (ar plēvīti u.tml.)

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- filmy

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plāna kārta, plēve; fotofilma; kinofilma; filma; smalks pavediens; pārklāties ar plēvi; filmēt, uzņemt filmā; filmēties