The concept of a camera, or recording moving images can be traced back as far as Aristotle, and has since evolved over centuries to produce High Definition & 3D cameras. In the mid 1500's a camera obscura was invented, which was a dark box or a dark room with a small hole that allowed light to project an inverted image on the opposite wall. Then, in the early 1800's various inventors found ways to etch images into metal, pewter & copper plates. In the mid 1800's it was discovered how to create a positive prints from a negative images.
One of the first known attempts to document motion picture photography was in the 1870's all due to a friendly bet whether a horses hooves really leave the ground. The most sophisicated method to produce moving photography was to take multiple pictures using multiple cameras and pieicing the images together. In the 1880's Etienne-Jules Marey had invented a method to record 12 different images onto a glass plate, this method is called chronophotography.
History or Movie Film
Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to an absence of technology for doing so, moving visual and aural images were not recorded for replaying as in film.
In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation.
With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first "motion picture", though it was not called by this name.[1] This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.
y the 1880s the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques. The first public exhibition of projected motion pictures in America was shown at Koster and Bial's Music Hall in New York City on the 23rd of April 1896.
Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th century, films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience with noise of early cinema projectors, theater owners would hire a pianist or organist or a full orchestra to play music that would cover noises of projector. Eventually, musicians would start to fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.
The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D. W. Griffith in The Birth of a Nation (1914) and Intolerance (1916). However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.
The next major step in the development of cinema was the introduction of so-called "natural color", which meant color that was photographically recorded from nature rather than being added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance. While the addition of sound quickly eclipsed silent film and theater musicians, color replaced black-and-white much more gradually. The pivotal innovation was the introduction of the three-strip version of the Technicolor process, which was first used for short subjects and for isolated sequences in a few feature films released in 1934, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but continued favorable public response and enhanced box-office receipts increasingly justified the added cost. The number of films made in color slowly increased year after year.
In the early 1950s, as the proliferation of black-and-white television started seriously depressing theater attendance in the US, the use of color was seen as one way of winning back audiences. It soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and the sale of color television sets boomed. The strong preference of the general public for color was obvious. After the final flurry of black-and-white film releases in mid-decade, all major Hollywood studio film production was exclusively in color, with rare exceptions reluctantly made only at the insistence of "star" directors such as Peter Bogdanovich and Martin Scorsese.
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 2000s.
History of Super 8 Film
Source: Kodak
The story of practical "home movies" began in 1923. Although 35mm film had been the standard for theatrical releases for decades, the large film was cumbersome, expensive, and dangerous due to its flammable nature.
For years, the Eastman Kodak Company had worked to develop a system of movie equipment and film that would be easy enough for the advanced amateur photographer to use, yet reasonably affordable. The result was the Sixteen Millimeter "Cine Kodak" Camera and the Kodascope Projector". The camera itself weighed about seven pounds, and had to be handcranked at two turns per second during filming. A tripod was included in the package, all of which cost a whopping $335.00! And this in a time when a new Ford automobile could be purchased for $550.00.
Thus, Home Movie Making was not an inexpensive hobby, but one that was capable of exciting, high-quality results. By 1932, with America in the throes of the Great Depression, a new format, the "Cine Kodak Eight", was introduced. Utilizing a special 16mm film which had double the number of perforations on both sides, the film maker would run the film through the camera in one direction, then reload and expose the other side of the film, the way an audio cassette is used today.
Since the 8 mm frame was one-quarter the size of "sixteen", this method reduced by a factor of four the amount of film necessary to give the same running time - four minutes - as a standard one-hundred-foot length of 16 mm stock. After development, the laboratory would slit the film lengthwise down the center, and splice one end to the other, yielding fifty feet of finished 8 mm movies. The success of 8mm film was almost immediate, and within about fifteen years, 16 mm film became almost exclusively a format of the professional filmmaker. By the 1950's, 8 mm home movie cameras were a common sight at family parties, special events and on vacations.
In the 1960's, research began on an improved system of home movie products that would also have potential use in Audio-Visual Applications. Eastman scientists sought to further simplify the movie-making process while improving the quality of the pictures. Scientists were asked to create this new product unencumbered by existing technology. Rather, some of the best features from previous formats would be considered.
The concept of a cartridge-loading movie camera had been around since 1936, when it was introduced with the Cine-Kodak Magazine 16mm Camera. This time, however, the film cartridges would be made of injection-molded plastic, rather than metal, which required hand-manufacture and were subject to jamming. The 8mm size was retained for reasons of economy, but with several significant improvements:
Cartridge loading eliminated the threading of the film.No flipping of the film load was required; the entire 50-foot cartridge could be shot without interruption. Rather than manufacture both a "Daylight" and a "Type-A" (Tungsten) form of the new film, each Super 8 Camera would have a built-in filter, making it possible to make only the "Type A"" product, which could be used in either kind of light. The perforations (sprocket holes) were reduced in size, allowing for a wider image area that was about 50% larger than standard 8mm film. Maximizing the film width was a concept that originated in France by Pathe, with their 9.5mm camera system. The perforations were also moved to a point adjacent to the center of the film frame, making steady registration simpler. 16mm and standard 8mm formats had placed the perforation at the corners of the frame to reduce fogging of the image at the head and tail of the roll caused during loading of the film. Since Super 8 was a cartridge-loaded product, this was no longer an issue. Virtually all Super 8 Cameras would have built-in light meters, a feature dating back to the early 1950's in 16mm and 1960 in 8mm cameras.
The cartridge itself provided information to the camera about the speed (ASA) of the film inside and filter information in the case of black-and-white products. Precision notches were set at specific points on the edge of the cartridge, activating mechanical or electronic switches in most Super 8 Cameras. Most Super 8 Cameras were built with battery-powered motors, eliminating the need to wind a spring-driven transport.
In April of 1965, this revolutionary new format was introduced, and while the marketplace has changed in the past thirty years, new generations of filmmakers with film projects and applications which were non-existent in the 1960's have come to embrace the small film. Many of today's great cinematographers and directors began their careers decades ago, at the counter of their local photo shop, buying a cartridge of Super 8 film.
