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1 superimposed images
The English-Russian dictionary general scientific > superimposed images
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2 superimposed images
Бытовая техника: наложенные изображения -
3 superimposed images
gesuperponeerde beelden -
4 superimposed images
Англо-русский словарь по ядерным испытаниям и горному делу > superimposed images
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5 superimposed images
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6 superimposed images
English-Russian dictionary on household appliances > superimposed images
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7 images
отображает; изображения -
8 acquiring images
получающий изображения; получение изображений -
9 analyzing snr images
English-Russian big medical dictionary > analyzing snr images
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10 cross-sectional x-ray images
English-Russian big medical dictionary > cross-sectional x-ray images
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11 making vascular images
English-Russian big medical dictionary > making vascular images
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12 no images
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13 reconstructed images
English-Russian big medical dictionary > reconstructed images
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14 superimpose
[ˌsuːpərɪm'pəʊz, ˌsjuː-]verbo transitivo sovrapporre [picture, soundtrack] (on a)* * *[ˌsuːpərɪm'pəʊz, ˌsjuː-]verbo transitivo sovrapporre [picture, soundtrack] (on a) -
15 superimpose
superimpose [‚su:pərɪmˈpəʊz]superposer (on à)• superimposed [image] en surimpression* * *[ˌsuːpərɪm'pəʊz, ˌsjuː-]transitive verb superposer [picture, soundtrack] (on à) -
16 superimpose
superimpose, [transcription][%sju;-] vtr superposer [picture, soundtrack] (on à) ; superimposed images images en surimpression. -
17 superimpose
transitive verbaufbringen [Schicht usw.]; aufkopieren [Bild]* * *super·im·pose[ˌsu:pərɪmˈpəʊz, AM -ɚɪmˈpoʊz]vtto \superimpose images Bilder überlagernnational boundaries are \superimposed over the map of Europe die Grenzen der einzelnen Staaten wurden auf die Europakarte kopiert* * *["suːpərIm'pəUz]vtto superimpose sth on sth — etw auf etw (acc) legen; (Phot) etw über etw (acc) fotografieren; (Film) etw über etw (acc) filmen; (Geol) etw über etw (acc) lagern; (fig) etw mit etw überlagern
by superimposing one image on another — indem man zwei Bilder aufeinanderlegt
* * *superimpose v/tone superimposed on the other übereinandergelagert3. hinzufügen (on zu), folgen lassen (on dat), aneinanderreihen4. ELEK, PHYS überlagern5. FILM etc durch-, einblenden, einkopieren* * *transitive verbaufbringen [Schicht usw.]; aufkopieren [Bild]* * *v.daraufsetzen v.darüberlegen v.darübersetzen v.einblenden v.einkopieren v.lagern (auf, über) v.legen v.setzen v.überlagern v. -
18 Marey, Etienne-Jules
[br]b. 5 March 1830 Beaune, Franced. 15 May 1904 Paris, France[br]French physiologist and pioneer of chronophotography.[br]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.[br]Principal Honours and DistinctionsForeign member of the Royal Society 1898. President, Académie des Sciences 1895.Bibliography1860–1904, Comptes rendus de l'Académie des Sciences de Paris.1873, La Machine animale, Paris 1874, Animal Mechanism, London.1893, Die Chronophotographie, Berlin. 1894, Le Mouvement, Paris.1895, Movement, London.1899, La Chronophotographie, Paris.Further Reading1905, Travaux de l'Association de l'Institut Marey, Paris. Brian Coe, 1981, History of Movie Photography, London.——1992, Muybridge and the Chronophotographers, London. Jacques Deslandes, 1966, Histoire comparée du cinéma, Vol. I, Paris.See also: Demenÿ, GeorgesBC / MG -
19 Ducos du Hauron, Arthur-Louis
SUBJECT AREA: Photography, film and optics[br]b. 1837 Langon, Bordeaux, Franced. 19 August 1920 Agen, France[br]French scientist and pioneer of colour photography.[br]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.[br]Further ReadingB.Coe, 1978, Colour Photography: The First Hundred Years, London. J.S.Friedman, 1944, History of Colour Photography, Boston. E.J.Wall, 1925, The History of Three-Colour Photography, Boston. See also Cros, Charles.BCBiographical history of technology > Ducos du Hauron, Arthur-Louis
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20 superimpose
super·im·pose [ˌsu:pərɪmʼpəʊz, Am -ɚɪmʼpoʊz] vtto \superimpose images Bilder überlagern;national boundaries are \superimposed over the map of Europe die Grenzen der einzelnen Staaten wurden auf die Europakarte kopiert
См. также в других словарях:
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