Hrvatski filmski ljetopis, broj 15 (1998) - Hrvatski filmski savez

RESEARCH AND STUDIES: FILM AND VIDEO
TECHNOLOGY
UDC: 621.37
621.38
Branko Bubenik
Deterioration of Video Originals
in Use
A survey of the results in the research conducted
on the degree of degeneration of audiovisual documentation
registered on audiovisual analog technology
during reproduction and re-recording.
In the introduction, the author analyses the historical development
of the registration of image and sound (mechanical,
photochemical, electromagnetic, optical digital registration)
and establishes their contribution. In order to determine the
behavior of the content of video documents in migration,
from generation to generation, that is the transfer of information
akin to genetic copying, the degradation of two video
formats was researched — VHS (an amateur video format)
and Betacam SP (a componential analog format).
Through experimentation with video documents on the
VHS format, it was found that the image completely fell
apart on the ninth generation copy (static noise overwhelmed
the image’s signal). Nevertheless, the sound quality was
still satisfactory, which shows that the degradation of image
is not linear in every frequency range, but rather more pronounced
in high frequency ranges.
The result of experimentation on the degree of degradation
of signals recorded on Betacam SP tapes during content migration
shows an unexpected stability in the recorded image
and a small losses in the transfer phase from one tape to
the other in so-called generational copying. Even though
manufacturers of Betacam television equipment guarantee
the broadcast quality of images up to the third generation,
tests showed that the image quality was very good in the
fifth generation, good in the eighth generation and still usable
in the 15th generation.
Unlike the VHS amateur format where the image was already
completely degraded in the 10th generation, the signal
stability of Betacam equipment and tapes during content migration
was established (according to signal/noise ratios and
the frequency range). About 50% of the signal was lost in
the 15th generation, therefore it can be assumed that complete
degradation would happen somewhere between the 25th and 30th generation copy.
UDC: 791.44.071(091)
Kre{imir Miki}
A Short Outline of the History of
Cinematography
A concise survey of the range of cinematographic
ingenuity in relation to the development of film
technology from the beginning of film to the present
day.
In the introduction, the author stresses the role of Lumieres
who used every film type of shot in the film L’arrivée d’un
Hrvatski filmski ljetopis 15/1998.
train. Moreover, Méliès used double and triple exposures,
changes in shooting speed, stop motion and a combination
to models and characters. G. A. Smith discovered the detail
while E. S. Porter affirmed the close-up and showed the importance
of choosing shooting angles, camera positions and
shot compositions. The author cites D. W. Grifith’s cameraman
B. Bitzer as the first great cameraman in the history of
film. The golden age of Soviet film is marked by cameramen
like M. A. Kaufman, A. D. Golovnja, D. P. Demucki, as well
Eisenstein’s associate E. K. Tissé, and A. N. Moskvin in the
sound era. Their contribution are documentary photography
and the discovery of hidden camera techniques. In
the Scandinavian film, the author cites the contribution of J.
Jaenzona (The Phantom Coach Sjöström, 1921.) as a master
of the romantic-mystical atmosphere that shows the bond
between man, his emotions and the might of nature. A tie
with fine art can be found with German Expressionist cameramen
(W. Hameister, A. Wagner, K. Freund).
In the first years of sound film, it is impossible not to mention
Stroheim’s cameraman G. Rittau. Cinematographic
achievements can be found in the musical with the discovery
of ornamental, kaleidoscopic ballet scenes (B. Berkeley), as
well as in the new cinematographic prospects in color film
(R. Rennahan).
Among individual achievements in cinematographic craft he
mentions the films of L. Riefestahl, and especially G. Toland,
the cameraman on Welles’ Citizen Cane, who used
deep focus photography, unusual angles, and complex camera
moves exceptionally well.
While the films of the thirties and forties are known for their
effectively modeled lighting, well-lit close ups and use of
lenses of a medium focal length, neorealism brings with it a
maximally realistic image, and the style of film noir uses low
light tonality, unusual angles, emphasized compositions and
deep focus shots.
The modernism of the 60’s was based on new film materials
and the photography is well-known for it unusual angles
and shot compositions with accented camera movement and
the use of narrow lenses with long focal lengths...
In the beginning of the 70’s cinematographers use sensitive
film stock, small yet powerful lighting equipment and fast
lenses. It seems that during this period they were trying to
get away from realistic images by making them softer, by lowering
contrast and definition, by desaturating colors, etc.
Contemporary (especially American) film is more refined
and technically accomplished, and computer technology is
evermore present which puts cinematographers in a new position
by giving them a new role in and new possibilities in
the future development of cinema.
Kre{imir Miki}
Bibliography of Cinematography
Books
(A survey of the literature on cinematography from 1980 to
July 1998 which is still available for sale)
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