Technology has changed the way films look,sound and feel. And many of Hollywood and bollywood blockbusters are utilizing Indian talent to create their magic ! 1 Email: [email protected]
Visit: www.geocities.com/chinna_chetan05/forfriends.html Sure enough, today’s movies epitomize this adage more than anything else. The aura and grandeur of movies facilitated by stunning and advanced state-of- the art special effects technology have rendered this impossible possible. Most discussions of cinema in the digital age have focused on the possibilities of interactive narrative. It is not hard to understand why??..since the majority of viewers and critics equate cinema with story telling.Digital media is understood as something which will let cinema tell its stories in a new way. Digital movies is the process of capturing motion pictures on digital video in place of (or as a substitute for) traditional film.Today, in the age of computer simulation and digital compositing, invoking this characteristic becomes crucial in defining the specificity of twentieth century cinema. Digital cinema encompasses every aspect of the movie making process, from production and post-production to distribution and projection. A digitally produced or digitally converted movie can be distributed to theaters via satellite, physical media, or fiber optic networks
What exactly is digital cinema? Principles and benefits Is digital movie really better than film? How does DLP cinema® technology work? Where can I see a movie digitally? Technical challenges .. Conclusion..
Technology has seamlessly and subtly permeated into movie making and story telling. India, with a film industry known for being 2 Email: [email protected]
Visit: www.geocities.com/chinna_chetan05/forfriends.html the largest in the world with highest no of film releases every year, has demonstrated its taste for visual effects in several of its recent commercial releases. The idea behind this is not just to meet pratical needs of cost cutting vis-à-vis saving time, but a desire to paint the film with a creative brush and realize the visions of grand storytelling. In past 10 years, the capability of the tools both hardware and software has expanded manifold. So much had developed so that today it is possible to create award winning animations and visual effects on systems that are no longer the mainstay of high end production houses.. Today, virtually every film produced uses some form of special effects or touching up, all of which translates into true magic when in hands of a skilled visualizer.
Digital movies is the process of capturing motion pictures on digital video in place of (or as a substitute for) traditional film. Although this subject has received a good deal of publicity in recent years, it is hardly a new concept: before it was reintroduced as "Digital cinematography" in the late 1990s it was known for many years as "Electronic cinematography". There are frequent disputes regarding what actually constitutes "cinematography", since in its normal sense the word implies something that exhibitors think worth displaying on a giant screen in a cinema, usually with the goal of attracting paying customers. (Although originally the term was simply a means of distinguishing motion picture photographers from still photographers.) At the moment, most of the "film" projects shot using electronic cameras do not face commercial markets. Public airings (if any) are generally at non-profit film festivals, and are frequently projected as video rather than film. If such projects are ever released for sale, it is nearly always on DVD or videotape, so they might be more accurately called "non-broadcast television productions".
The basic concept of digital filmmaking is relatively simple: to use digital video cameras to capture and store motion images and synchronized digital audio as Digital data in i.e a process analogous to digital photography.
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Visit: www.geocities.com/chinna_chetan05/forfriends.html Thereafter, the images and sound are edited via a computer-based non-linear editing system and finally released for projection in either a theater with digital projectors, (Digital Cinema) or released direct to video on DVD or VHS. Many think digital filmmaking will democratize the world of
film and point out how inexpensive shooting digitally can be considering the cost of film, especially if the output is on video as a movie can be edited on a home computer and burned to DVD. Others characterize this as wishful idealism, as film and laboratory work are only about 1% of the cost of a Hollywood or even "Bollywood" style production, but it is part of the "cultural" background of the issue. Given the constant year to year improvements in digital cinema technology, it appears that the future of cinema is likely to be digital within the next 10 to 20 years. However, digital cinema still has some way to go before it can completely replace film.Some purists would argue that digital does not have the same "feel" as a movie shot on film. While this may be a matter of personal preference more than anything, digital cameras have been evolving quickly and quality is improving dramatically from each generation of hardware to the next. Also many counter-argue that because most films are developed back to film when distributed to theatres the film's 'feel' returns to the audience. This traditional method of distribution requires huge amounts of money for a finished film to reach the thousands of theatres across the country, therefore becoming one of the final steps for a film to be able to make money.
Digital cinema encompasses every aspect of the movie making process, from production and post-production to distribution and projection. While digital cameras are nothing new, and post-production houses have been using digital equipment to edit and master movies and animation for some time, the all-digital distribution and projection of movies has only recently arrived to complete the chain. A digitally produced or digitally converted movie can be distributed to theaters via satellite, physical media, or fiber optic networks. The digitized movie is stored by a computer/server which "serves" it to a digital projector for each screening of the movie. Projectors based on DLP Cinema® technology are currently installed in over 1,195 theaters in 30 countries worldwide - and remain the first and only commercially available digital cinema projectors.
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Visit: www.geocities.com/chinna_chetan05/forfriends.html Digital movie files on the internet enable you to hear sounds, music, voice and view computer graphics and animation just like watching a movie on TV. Digital movie files can sometimes be quite large files and take a while to download but with some of the latest streaming technology you can watch movies as they are downloading. Movie files are distinguished from each other and from earlier and later versions by their file extension. A file extension is the last part of the name of the file - for example kong.mpg is telling you that the type of movie is it- an mpg or mpeg movie and we will need to have a mpeg player/viewer to watch that movie. Two technologies have come to the fore for digital cinema: Digital Light Processing (DLP) developed by Texas Instruments and Direct Image Light Amplifier (D-ILA) by JVC. (Currently two versions of DLP technology exist: DCinema and its scaled down version of e-Cinema)
1. Rather than filming physical reality it is now possible to generate film-like scenes directly in a computer with the help of 3-D computer animation. Therefore, live action footage is displaced from its role as the only possible material from which the finished film is constructed. 2. Once live action footage is digitized (or directly recorded in a digital format), it loses its privileged indexical relationship to pro-filmic reality. The computer does not distinguish between an image obtained through the photographic lens, an image created in a paint program or an image synthesized in a 3-D graphics package, since they are made from the same material -- pixels. And pixels, regardless of their origin, can be
Digital movie creator
easily altered, substituted one for another, and so on. Live action footage is reduced to be just another graphic, no different than images which were created manually. 3. If live action footage was left intact in traditional filmmaking, now it functions as raw material for further compositing, animating and morphing. As a result, while retaining visual realism unique to the photographic process, film obtains the plasticity which was previously only possible in painting or animation. To use the suggestive title of a popular 5 Email: [email protected]
Visit: www.geocities.com/chinna_chetan05/forfriends.html morphing software, digital filmmakers work with elastic reality. The result: a new kind of realism, which can be described as "something which looks is intended to look exactly as if it could have happened, although it really could not." 4. Previously, editing and special effects were strictly separate activities. An editor worked on ordering sequences of images together; any intervention within an image was handled by special effects specialists. The computer collapses this distinction. The manipulation of individual images via a paint program or algorithmic image processing becomes as easy as arranging sequences of images in time. Both simply involve "cut and paste." As this basic computer command exemplifies, modification of digital images (or other digitized data) is not sensitive to distinctions of time and space or of differences of scale. So, re-ordering sequences of images in time, compositing them together in space, modifying parts of an individual image, and changing individual pixels become the same operation, conceptually and practically. 5. Given the preceding principles, we can define digital film in this way: ] Digital Movie = Live action material + Painting +Image processing + compositing + 2-D computer animation + 3-D computer animation
For millions of movie goes worldwide and leading directors including George Lucas and Steven Soderbergh, the answer is an unqualified "yes." 6 Email: [email protected]
Visit: www.geocities.com/chinna_chetan05/forfriends.html When you see a movie digitally, you see that movie the way its creators intended you to see it: with incredible clarity and detail. In a range of up to 35 trillion colors. And whether you're catching that movie on opening night or months after, it will always look its best, because digital movies are immune to the scratches, fading, pops and jitter that film is prone to with repeated screenings. That's why directors love digital cinema: it ensures that their creation will be reproduced with total fidelity at every screening. Since 1999, DLP Cinema® has projected over 200,000 shows to more than 25 million people worldwide. The results have been overwhelmingly positive: 85 percent of viewers described the image quality they experienced as "excellent," and no fewer than 80 percent of audiences decided that, given the choice, they would prefer to see a movie digitally rather than on film.
Digital cinema allows for films to be shot
faster, and for less money than film. •
Digital cinema, unlike film, does not need to
be developed and can be played back and edited immediately after shooting. This can help in avoiding continuity errors. •
Digital video can record image and audio on
the same media. •
Digital video cameras are smaller and lighter
than film cameras. •
Digital cinema is recorded on cassettes or hard
disk drives, which can hold considerably more footage and are cheaper than a ten or twenty minute film stock. •
Digital video is more sensitive than film, and
usually requires less supplemental lighting.
1. A digital projector based on DLP Cinema® technology transfers the digitized image file onto three optical semiconductors known as 7 Email: [email protected]
DLP cinema technology
Visit: www.geocities.com/chinna_chetan05/forfriends.html Digital Micromirror Devices, or DMDs. Each of these chips is dedicated to one primary color-red, green, or blue. A DMD chip contains a rectangular array of over one million microscopic mirrors. 2. Light from the projector's lamp is reflected off the mirrors and is combined in different proportions of red, green and blue, as controlled by the image file, to create an array of different colored pixels that make up the projected image. Think of the DMD mirrors as the colored cards held up by an audience in a sports arena to create a giant image. Each person holds up a single colored card, yet when combined, these thousands of cards create a picture. If the card colors are changed, the picture changes too.
3. The DMD mirrors tilt either toward or away from the light source thousands of times per second to reflect the movie onto the screen. These images are sequentially projected onto the screen, recreating the movie in front of you with perfect clarity and a range of more than 35 trillion colors.
The Software used to play movie files are normally called movie players or movie viewers, some movie players will run several of these different movie formats but as yet not one will run all of them. Movie files usually come in one of the following formats::Quicktime, Mpeg, Avi, Shockwave, Animated Gif Images, Flic movies, and a new devleopment Real Video.
Quicktime movies were originally made for Macintosh computers but Apple Computers have enabled the movie file format to be used on IBM compatible computers as well. In some Quicktime movies you are able to navigate around objects or even in a Virtual world. The Quicktime movie player also allows the creation and viewing of panoramic scences. Quicktime Virtual Reality (QTVR) tracks can also have objects embedded in them which perform certain actions when the user selects them.
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Avi/Video is the "standard" in video format for Microsoft Windows. Avi's contain video and sound which can be viewed from your computer. Normally you can use your Media Player that comes with Windows 95/98/2000 to play these files. Avi files can be played within your browser window or from a specialist package like Nettoob.
MPEG (Motion Picture Experts Group) movies are very popular on the web because the actual movie files can be compressed much smaller than Quicktime and AVI formats making them much quicker to download.
Shockwave is a technology developed by Macromedia for delivering full multimedia capabilities inside Netscape Navigator 2.0 or higher, Internet Explorer and other popular browsers with reductions in file size and transmission time. Shockwave lets you take advantage of Macromedia's powerful authoring tools to create multimedia, graphics and CD-quality audio that are faster to download, interactive, dynamic, quickly and easily updated and responsive to changing events.
Real Video/Audio is a technology that enables you to watch movies or listen to sounds in real time. That is you can watch or listen as the file is downloading as opposed to waiting for the file to download to your own computer and then playing it like Avi files or the old Quicktime movie files.. This technology is called streaming audio or streaming video. However, accurate calibration techniques are
being developed which eliminate this as a practical problem, and the possibility of inexpensive post-production color grading can make digital cinematography more flexible than film in achieving artistic color effects.
More seriously, most digital cameras have an insufficient exposure latitude when compared to film, increasing the difficulties of filming in a high contrast situation, such as direct sunlight. Exposure latitude is also known as dynamic range and the problems of the insufficient dynamic range are addressed by the high dynamic range imaging. This is a 9 Email: [email protected]
Visit: www.geocities.com/chinna_chetan05/forfriends.html much greater problem, because if highlight or shadow information is not present in the recorded image, it is lost forever, and cannot be re-created by any form of exposure curve compensation. Cinematographers can learn how to adjust for this type of response using techniques garnered from shooting on Reversal film that has a similar lack of latitude in the highlights. Digital video is also more sensitive than film stocks in low light conditions, allowing smaller, more efficient and natural lighting to be used for shooting. Some directors have tried the "best for the job" route, using digital video for indoor or night shoots, but traditional film for daylight work outdoors.
This paper addresses the meaning of the changes in the filmmaking process from the point of view of the larger cultural history of the moving image. Seen in this paper, the manual construction of images in digital cinema represents a return to nineteenth century pre-cinematic practices, when images were hand-painted and hand-animated. At the turn of the twentieth century, cinema was to delegate these manual techniques to animation and define itself as a recording medium. As cinema enters the digital age, these techniques are again becoming the common place in the filmmaking process. Consequently, cinema can no longer be clearly distinguished from animation. It is now possible to generate photorealistic scenes entirely in a computer using 3-D computer animation; to modify individual frames or whole scenes with the help a digital paint program; to cut, bend, stretch and stitch digitized film images into something which has perfect photographic credibility, although it was never actually filmed. The essential characteristic of digital information is that it can be manipulated easily and very rapidly by computer. It is simply a matter of substituting new digits for old... Computational tools for transforming, combining, altering, and analyzing images are as essential to the digital artist as brushes and pigments to a painter.The manipulation of images through handpainting and image processing, hidden in Hollywood cinema, is brought into the open on a television screen. Thus,. digital cinema has the better image quality. In spite of the number of screenings, the quality remains the same. In the beginning, there was scepticism that digital files would never be able to match the depth and quality of resolution that celluloid offers. However, proponents of digital cinema claim that today technology makes it possible to calibrate colours to the choice of the moviemaker. 10 Email: [email protected]
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