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Barcelona Cathedral
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Not to be confused with Sagrada Família, which is a large church by Antoni Gaudí, also in Barcelona
Cathedral of the Holy Cross and Saint Eulalia
Catedral de la Santa Creu i Santa Eulàlia
Catedral de la Santa Cruz y Santa Eulalia
Basic information
Location
Barcelona, Catalonia, Spain
Geographic coordinates
41°23′02″N 2°10′35″E / 41.38389°N 2.17639°E / 41.38389; 2.17639Coordinates: 41°23′02″N 2°10′35″E / 41.38389°N 2.17639°E / 41.38389; 2.17639
Affiliation
Roman Catholic
Province
Archdiocese of Barcelona
Country
Spain
Year consecrated
1339
Ecclesiastical or organizational status
Cathedral
Status
Active
Leadership
Lluís Martínez Sistach
Website
www.catedralbcn.org
Architectural description
Architectural type
Church
Architectural style
Gothic, Gothic Revival
Groundbreaking
1298
Completed
1420 ; façade and central tower, 1913
Specifications
Length
90 metres (300 ft)
Width
40 metres (130 ft)
Height (max)
53 metres (174 ft) (2 towers)
The Cathedral of the Holy Cross and Saint Eulalia (Catalan: Catedral de la Santa Creu i Santa Eulàlia, Spanish: Catedral de la Santa Cruz y Santa Eulalia), also known as Barcelona Cathedral, is the Gothic cathedral and seat of the Archbishop of Barcelona, Spain.[1] The cathedral was constructed from the 13th to 15th centuries, with the principal work done in the 14th century. The cloister, which encloses the Well of the Geese (Font de les Oques) was completed in 1448.[2] In the late 19th century, the neo-Gothic façade was constructed over the nondescript exterior that was common to Catalan churches.[3] The roof is notable for its gargoyles, featuring a wide range of animals, both domestic and mythical.
It is a pseudobasilica, vaulted over five aisles, the outer two divided into chapels. The transept is truncated. The east end is a chevet of nine radiating chapels connected by an ambulatory. The high altar is raised, allowing a clear view into the crypt.
View of the cathedral interior
The cathedral is dedicated to Eulalia of Barcelona, co-patron saint of Barcelona, a young virgin who, according to Catholic tradition, suffered martyrdom during Roman times in the city. One story says that she was exposed naked in the public square and a miraculous snowfall in mid-spring covered her nudity. The enraged Romans put her into a barrel with knives stuck into it and rolled it down a street (according to tradition, the one now called Baixada de Santa Eulàlia). The body of Saint Eulalia is entombed in the cathedral's crypt.
The choir stalls retain the coats-of-arms of the knights of the Order of the Golden Fleece. In his first trip into Spain, Charles, the future Holy Roman Emperor, selected Barcelona as the site of a chapter of his Order. The king had arrived for his investiture as Count of Barcelona, and the city, as a Mediterranean port, offered the closest communication with other far-flung Habsburg dominions, while the large proportions of the cathedral would accommodate required grand ceremonies. In 1518 the Order's herald, Thomas Isaac, and its treasurer, Jean Micault, were commissioned to prepare the sanctuary for the first sitting of the chapter in 1519. Juan de Borgonya executed the painted decoration of the sanctuary.
"The church was named after Barcelona's patron saint Eulalia; its official name - Catedral de la Santa Creu i Santa Eulalia - is Catalan for "Cathedral of the Holy Cross and Saint Eulalia". The commonly used name La Seu refers to the status of the church as the seat of the diocese."
The side Chapel of the Holy Sacrament and of the Holy Christ of Lepanto contains a cross said to date from the time of the Battle of Lepanto (1571).[4]
In addition to Saints Eulàlia and Olegarius, the cathedral contains the tombs of Saint Raymond of Penyafort, Count Ramon Berenguer I and his third wife Almodis de la Marche, and bishops Berenguer de Palou II, Salvador Casañas y Pagés, and Arnau de Gurb, who is buried in the Chapel of Santa Llúcia, which he had constructed.
The cathedral has a secluded Gothic cloister where 13 white geese are kept, the number explained by the assertion that Eulalia was 13 when she was martyred.[4]
A program of cleaning and restoration of the cathedral was carried out from 1968-72.[5]
Contents
[hide]
1 History
2 Chapel of Lepanto
3 Traditions
4 Present day
5 Images
6 References
7 External links
History[edit]
Parts of an early Christian and visigothic episcopal complex including the baptistery (4th century), a basilical hall (5th century), a cross shaped church (6th-7th century) and bishop's palace (6th-7th century) are displayed in the Barcelona City History Museum archaeological underground. Reportedly, this Visigothic chapel was dedicated to Saint James, and was the proprietary church of the Viscounts of Barcelona.[6] However, in a document from the Second Council of Barcelona in 599, it states that the cathedral was dedicated to the Holy Cross.[2] This church was severely damaged by al-Mansur (Almanzor) during his attack on Barcelona in 985.
In 1046, Count Ramon Berenguer I and his wife Almodis, together with Bishop Guislabert, began construction of a Romanesque cathedral at the site; it was consecrated in November 1058.[2] The cathedral was constructed over the crypt of the former church. It has been reported that a Viscount of Barcelona, Mir Geribert, sold the site to Bishop Guislebert in 1058,[6] however this date does not coincide with the reported start of construction.
The present Gothic cathedral was begun on the foundations of the previous churches on 1 May 1298; James II the Just was King of Aragon at the time, and Bernat Pelegri was Bishop of Barcelona. The church was built from the east end towards the west end, with a simple west facade completed in 1417. The cloister was completed in 1448, making the total duration of construction 150 years. In the late 19th century, Miguel Girona i Agrafel offered to complete the neo-Gothic facade and central tower as inspired by the original 15th-century design prepared by master Carlí and rearranged and drawn by the architect Josep O. Mestres. This work was completed in 1913 by Girona's children.[2]
Christ of Lepanto over the tomb of St. Olegarius
The facade in year 1850 by Jenaro Pérez Villaamil, published in the work España artística y monumental.
The reform of the facade starting to built in 1890.
The facade with the lateral towers, around 1900.
Reform of the facade completed in 1913.[7]
Chapel of Lepanto[edit]
The Chapel of the Holy Sacrament and of the Holy Christ of Lepanto is a small side chapel constructed by Arnau Bargués in 1407, as the chapterhouse. It was rebuilt in the seventeenth century to house the tomb of San Olegarius, Bishop of Barcelona and Archbishop of Tarragona.
The "Holy Christ of Lepanto" crucifix, is located on the upper part of the chapel entrance's front façade. The curved shape of the body is explained by a Catalan legend which holds that the cross was carried on the prow of the galley captained by Juan of Austria, step-brother of Spanish Philip II of Spain during the Battle of Lepanto in 1571. When a cannonball flew toward the cross, it leaned out of the way in order to avoid being hit, and has been inclined ever since.[8] The Habsburgs were said to have regarded this as an encouraging omen.
A separate story says that the cross was in the ship's hold and that the figure moved to cover a large hole that would have sunk the ship.[9]
Traditions[edit]
The tradition of the 'Dancing egg' is maintained on the day of Corpus Christi at the cathedral.
Present day[edit]
The cathedral has been updated in response to an increasing number of tourists. The cloister now contains a gift shop, the traditional candles normally lit at the shrines of saints have been replaced with electronic candles, and cellular phones have been banned from the Chapel of Lepanto.[10]
Images[edit]
Cathedral plan
Illustration of the main altar (1839)
Main portal
Door in the cloister
Chapels
Santa Eulàlia's Crypt
Cloister
Geese in the cloister
Choir seats at the Cathedral
The Fountain in the Atrium of the Santa Eulalia
The Cathedral garden
Gargoyle
Tomb of Saint Raymond of Penyafort
Scale model of the cathedral, at the Catalunya en Miniatura park
Bell Tower with stair turret above the door of Saint Ivo.
References[edit]
Jump up ^ Though sometimes inaccurately so called, the famous Sagrada Família is not a cathedral
^ Jump up to: a b c d http://www.catedralbcn.org/
Jump up ^ Edward Steese, "The Great Churches of Catalonia" Parnassus 7.3 (March, 1935:9-12) p. 9.
^ Jump up to: a b Patterson, Margot (2004-04-01). "To build a cathedral is immense, crazy work". National Catholic Register. Retrieved 2007-01-12.
Jump up ^ Detailed in Juan Bassegoda Nonell, La catedral de Barcelona: su restoración 1968-1972 (Barcelona).
^ Jump up to: a b F. Carreras Candi La Ciutat de Barcelona
Jump up ^ "History", catedralbcn.org
Jump up ^ This is said to have inspired the Habsburg forces to victory.O'Shea, Henry. A Guide to Spain, London, Spottiswoode and Co., 1865
Jump up ^ "Holy Christ of Lepanto", Catedral de Barcelona
Jump up ^ Administrator. "Catedral de Barcelona". www.catedralbcn.org. Retrieved 2016-07-22.
External links[edit]
Wikimedia Commons has media related to Catedral de Barcelona.
Official site
Legends of Saint Eulalia. Martyrdom, Burial in Cathedral Crypt, Why it always rains during Barcelona Festival
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WorldCat Identities
VIAF: 154762878
LCCN: n80004064
ISNI: 0000 0001 2160 0206
GND: 4391466-4
BNF: cb12007886w (data)
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Film stock
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A film strip
Film stock is an analog medium that is used for recording motion pictures or animation. It is a strip or sheet of transparent plastic film base coated on one side with a gelatin emulsion containing microscopically small light-sensitive silver halide crystals. The sizes and other characteristics of the crystals determine the sensitivity, contrast and resolution of the film.[1] The emulsion will gradually darken if left exposed to light, but the process is too slow and incomplete to be of any practical use. Instead, a very short exposure to the image formed by a camera lens is used to produce only a very slight chemical change, proportional to the amount of light absorbed by each crystal. This creates an invisible latent image in the emulsion, which can be chemically developed into a visible photograph. In addition to visible light, all films are sensitive to X-rays and high-energy particles. Most are at least slightly sensitive to invisible ultraviolet (UV) light. Some special-purpose films are sensitive into the infrared (IR) region of the spectrum.
In black-and-white photographic film there is usually one layer of silver salts. When the exposed grains are developed, the silver salts are converted to metallic silver, which blocks light and appears as the black part of the film negative. Color film has at least three sensitive layers. Dyes, which adsorb to the surface of the silver salts, make the crystals sensitive to different colors. Typically the blue-sensitive layer is on top, followed by the green and red layers. During development, the exposed silver salts are converted to metallic silver, just as with black-and-white film. But in a color film, the by-products of the development reaction simultaneously combine with chemicals known as color couplers that are included either in the film itself or in the developer solution to form colored dyes. Because the by-products are created in direct proportion to the amount of exposure and development, the dye clouds formed are also in proportion to the exposure and development. Following development, the silver is converted back to silver salts in the bleach step. It is removed from the film in the fix step. Fixing leaves behind only the formed color dyes, which combine to make up the colored visible image. Later color films, like Kodacolor II, have as many as 12 emulsion layers,[citation needed] with upwards of 20 different chemicals in each layer.
Contents
[hide]
1 History
1.1 1888–1899: Before standardization
1.2 1900–1919: Towards the standard picture film
1.3 1920s: Diversification of film sensitivity
1.4 Color films
2 Classification and properties
2.1 Base
2.2 Emulsion
2.3 Chemistry
2.4 Image record
2.5 Physical characteristics
2.6 Responsivity
2.7 Color temperature
3 Deterioration
4 Intermediate and print stocks
5 Decline
6 See also
7 References
7.1 Notes
7.2 Bibliography
7.3 Further reading
History[edit]
1888–1899: Before standardization[edit]
Early motion picture experiments in the 1880s were performed using a fragile paper roll film, with which it was difficult to view a single, continuously moving image without a complex apparatus. The first transparent and flexible film base material was celluloid, which was discovered and refined for photographic use by John Carbutt, Hannibal Goodwin, and George Eastman.[2] Eastman Kodak made celluloid film commercially available in 1889; Thomas Henry Blair, in 1891, was its first competitor. The stock had a frosted base to facilitate easier viewing by transmitted light. Emulsions were orthochromatic. By November 1891 William Dickson, at Edison's laboratory, was using Blair's stock for Kinetoscope experiments.[2] Blair's company supplied film to Edison for five years. Between 1892 and 1893, Eastman experienced problems with production. Because of patent lawsuits in 1893, Blair left his American company and established another in Britain. Eastman supplied Edison with film.
Blair's new company supplied European filmmaking pioneers, including Birt Acres, Robert Paul, George Albert Smith, Charles Urban, and the Lumiere Brothers. By 1896 the new movie projector required a fully transparent film base that Blair's American operation could not supply. Eastman shortly thereafter bought the company out and became the leading supplier of film stock. Louis Lumiere worked with Victor Planchon to adapt the Lumiere "Blue Label" (Etiquette Bleue) photographic plate emulsion for use on celluloid roll film, which began in early 1896. Eastman's first motion picture film stock was offered in 1889.[3] At first the film was the same as photographic film. By 1916, separate "Cine Type" films were offered.[3] From 1895, Eastman supplied their motion picture roll film in rolls of 65 feet, while Blair's rolls were 75 feet. If longer lengths were needed, the unexposed negative rolls could be cemented in a darkroom, but this was largely undesirable by most narrative filmmakers. The makers of Actuality films were much more eager to undertake this method, however, in order to depict longer actions, and created cemented rolls as long as 1000 feet. American Mutoscope and Biograph was the first known company to use this for the Jeffries-Sharkey fight on November 3, 1899.
1900–1919: Towards the standard picture film[edit]
As the quantity of film and filmmakers grew, the demand for standardization increased. Between 1900 and 1910, film formats gradually became standardized and film stocks improved. A number of film gauges were made. Eastman increased the length of rolls to 200 feet without major adjustments to the emulsion, retaining a large market share. Lumiere reformulated its stock to match the speed of Eastman film, naming it 'Etiquette Violette' (Violet Label). Blair sold his English company to Pathé in 1907 and retired to the US. Pathe began to supplement its operation in 1910 by purchasing film prints, stripping the emulsion from the film base and re-coating it. 35mm film began to become the dominant gauge because of the popularity of Edison's and Lumière's cameras. Consumers usually purchased unperforated film and had to punch it by perforators that were often imprecise, causing difficulty in making prints for the opposite perforation format. In 1908, the perforators began to be made by Bell and Howell. Eastman Kodak used the Bell and Howell's machine to perforate its films. In 1909, Edison's organization of the Motion Picture Patents Trust agreed to what would become the standard: 35 mm gauge, with Edison perforations and a 1.33 aspect ratio.[4]
A silent home movie on 16mm black-and-white reversal double perforation film stock
Agfa began to produce motion picture film in 1913, but remained a largely local supplier until World War I boycotts of popular French, American and Italian film stocks allowed the UFA film studio to flourish, boosting Agfa's orders. All film stocks were manufactured on a nitrate film base, which is highly flammable. Nitrate film fires were difficult to extinguish. A significant number of fatal accidents occurred in theatrical projection booths, where the heat of the projector lamp made ignition most likely. Amateur filmmaking (home movies) slowly developed during this period. Kodak developed a heat-resistant 'safety base' for home projection. In 1909, tests showed cellulose diacetate to be a viable replacement base, and Kodak began selling acetate-base films the following year in 22 mm widths for Edison's work on the Home Kinetoscope, which was commercially released in 1912. Eastman Kodak introduced a non-inflammable 35 mm film stock in 1909. The plasticizers used to make the film flexible evaporated quickly, making the film dry and brittle, causing splices to part and perforations to tear. In 1911 the major American film studios returned to using nitrate stock.[5] More amateur formats began to use acetate based film, and several, including Kodak's own 16 mm format, were designed specifically to be manufactured with safety base. Kodak released Cine Negative Film Type E in 1916 and Type F (later known as Negative Film Par Speed Type 1201) in 1917. As both of these orthochromatic films were no faster than previous offerings; the improvements were in granularity and sharpness.
1920s: Diversification of film sensitivity[edit]
Film stock manufacturers began to diversify their products. Each manufacturer had previously offered one negative stock (usually orthochromatic) and one print stock. In 1920, a variant of Type F film known as X-back was introduced to counteract the effects of static electricity on the film, which can cause sparking and create odd exposure patterns on the film. A resin backing was used on the film, which rendered the film too opaque to allow focusing through the back of the film, a common technique for many cameras of that era. The X-back stock was popular on the east coast of the US. Other manufacturers were established in the 1920s, including American E.I. Dupont de Nemours in 1926 and Belgian Gevaert in 1925. Panchromatic film stock became more common. Created in 1913 for use in color film processes such as Kinemacolor, panchromatic was first used in a black-and-white film for exterior sequences in Queen of the Sea (1918) and originally available as a special order product.[6] The stock's increased sensitivity to red light made it an attractive option for day for night shooting. Kodak financed a feature in 1922, shot entirely with panchromatic stock, The Headless Horseman, to promote the film when Kodak introduced it as a standard option. Panchromatic film stock was expensive and no motion pictures were produced in entirety on it for several years. The cross-cutting between panchromatic and orthochromatic stocks caused continuity problems with costume tones and panchromatic film was often avoided.
Orthochromatic film remained dominant until the mid-1920s due to Kodak's lack of competition in the panchromatic market. In 1925, Gevaert introduced an orthochromatic stock with limited color sensitivity and a fully panchromatic stock, Pan-23. In 1926, Kodak lowered the price of panchromatic stock to parity with its orthochromatic offering and the panchromatic stock began to overtake the orthochromatic stock's market share within a few years.[7] Similar panchromatic film stocks were manufactured by Agfa and Pathé, the shift to panchromatic stocks had largely been completed by 1928, and Kodak discontinued orthochromatic stock in 1930.[8]
Color films[edit]
Further information: Color motion picture film
Experiments with color films were made as early as the late 19th century, but practical color film was not commercially viable until 1908, and for amateur use when Kodak introduced Kodachrome for 16 mm in 1935 and 8 mm in 1936. Before 1941, commercially successful color processes used special cameras loaded with black-and-white separation stocks rather than color negative. Kinemacolor (1908–1914), Technicolor processes 1 through 4 (1917–1954), and Cinecolor used one, two or three strips of monochrome film stock sensitized to certain primary colors or exposed behind color filters in special cameras. Technicolor introduced a color reversal stock, called Monopack, for location shooting in 1941; it was ultimately a 35 mm version of Kodachrome that could be used in standard motion picture cameras. Eastman Kodak introduced their first 35mm color negative stock, Eastman Color Negative film 5247, in 1950. A higher quality version in 1952, Eastman Color Negative film 5248, was quickly adopted by Hollywood for color motion picture production, replacing both the expensive three-strip Technicolor process and Monopack.
Classification and properties[edit]
A short strip of undeveloped 35 mm color negative film.
There are several variables in classifying stocks; in practice, one orders raw stock by a code number, based on desired sensitivity to light.
Base[edit]
Further information: Film base
A piece of film consists of a light-sensitive emulsion applied to a tough, transparent base, sometimes attached to anti-halation backing or "rem-jet" layer (now only on camera films). Originally the highly flammable cellulose nitrate was used. In the 1930s, film manufacturers introduced "safety film" with a cellulose triacetate plastic base. All amateur film stocks were safety film, but the use of nitrate persisted for professional releases. Kodak discontinued the manufacture of nitrate base in 1951, and the industry transitioned entirely to safety film in 1951 in the United States and by 1955 internationally. Since the late 1990s, almost all release prints have used polyester film stock.
Emulsion[edit]
The emulsion consists of silver halide grains suspended in a gelatin colloid; in the case of color film, there are three layers of silver halide, which are mixed with color couplers and interlayers that filter specific light spectra. These end up creating yellow, cyan, and magenta layers in the negative after development.
Chemistry[edit]
Development chemicals applied to an appropriate film can produce either a positive (showing the same densities and colors as the subject) or negative image (with dark highlights, light shadows, and, in principle, complementary colors). The first films were darkened by light: negative films. Later films that produce a positive image became known as reversal films; processed transparent film of this type can be projected onto a screen. Negative images need to be transferred onto photographic paper or other substrate which reverses the image again, producing a final positive image. Creating a positive image from a negative film can also be done by scanning the negative to create a computer file which can then be reversed by software.
Image record[edit]
Different emulsions and development processes exist for a variety of image recording possibilities: the two most common of which are black and white, and color. However, there are also variant types, such as infrared film (in black and white or false color); specialist technical films, such as those used for X-rays; and obsolete processes, such as orthochromatic film. Generally, however, the vast majority of stock used today is "normal" (visible spectrum) color, although "normal" black and white also commands a significant minority percentage.
Physical characteristics[edit]
Film is also classified according to its gauge and the arrangement of its perforations— gauges range from 8 mm to 70 mm or more, while perforations may vary in shape, pitch, and positioning. The film is also distinguished by how it is wound with regard to perforations and base or emulsion side, as well as whether it is packaged around a core, a daylight spool, or within a cartridge. Depending on the manufacturing processes and camera equipment, lengths can vary anywhere from 25 to 2000 feet. Common lengths include 25 feet for 8 mm, 50 feet for Super 8, 100 and 400 feet for 16 mm, 400 and 1000 feet for 35 mm, and 1000 for 65/70 mm.
Responsivity[edit]
A critical property of a stock is its film speed, determined by ASA or its sensitivity to light listed by a measurement on the raw stock which must be chosen with care. Speed determines the range of lighting conditions under which the film can be shot, and is related to granularity and contrast, which influence the look of the image. The stock manufacturer will usually give an exposure index (EI) number equal to the ASA which they recommend exposing for. However, factors such as forced or non-standard development (such as bleach bypass or cross processing), compensation for filters or shutter angle, as well as intended under- and over-exposure may cause the cinematographer to actually "rate" the stock differently from the EI. This new rating is not a change to the stock itself — it is merely a way of calculating exposure without figuring out the compensation after each light reading.
Color temperature[edit]
Another important quality of color film stock in particular is its color balance, which is defined by the color temperature at which it accurately records white. Tungsten lighting is defined at 3200 K, which is considered "warmer" in tone and shifted towards orange; daylight is defined at 5600 K, which is considered "colder" and shifted towards blue. This means that unfiltered tungsten stock will look normal shot under tungsten lights, but blue if shot during daylight. Conversely, daylight stock shot in daylight will look normal, but orange if shot under tungsten lights. Color temperature issues such as these can be compensated for by other factors such as lens filters and color gels placed in front of the lights. The color temperature of a film stock is generally indicated next to the film speed number — e.g. 500T stock is color film stock with an ASA of 500 and balanced for tungsten light; 250D would have an ASA of 250 and be balanced for daylight. While black-and-white film has no color temperature itself, the silver halide grains themselves tend to be slightly more responsive to blue light, and therefore will have daylight and tungsten speeds — e.g. Kodak's Double-X stock is rated 250D/200T, since the tungsten light will give slightly less exposure than an equivalent amount of daylight.
Deterioration[edit]
All plastic is subject to deterioration through physical or chemical means, and thus, motion picture film is subject to the same deterioration. Films deteriorate over time, which can damage individual frames or even lead to the entire film being destroyed. Cellulose nitrate, cellulose diacetate and triacetate are known to be unstable mediums: improperly preserved film can deteriorate in a period of time much faster than many photographs or other visual presentations. Cellulose nitrate, because of its unstable chemistry, eventually breaks down, releasing nitric acid, further catalyzing the decomposition. In the final stages of celluloid decomposition, the film turns into a rust-like powder. Likewise, tri-acetate stock is also vulnerable to deterioration. Because of the small gauge of the film, owners of home-made films often find that their film can become shrunken and brittle to the point where the film is unwatchable in the space of a few years. In general, decaying acetate film breaks down into acetic acid, and similar to celluloid decomposition, leads to an auto-catylictic breakdown of the base that cannot be reversed. The result of the acetic acid released is a strong odor of vinegar, which is why the decay process in the archival community is known as "vinegar syndrome". Modern polyester-based stocks are far more stable by comparison and are rated to last hundreds of years if stored properly.
Intermediate and print stocks[edit]
35 mm film print frames. At far left and far right, outside the perforations, is the SDDS soundtrack as an image of a digital signal. Between the perforations is the Dolby Digital soundtrack (note the tiny Dolby "Double D" logo in the center of each area between the perforations). Just inside the perforations, on the left side of the image, is the analog optical soundtrack, with two channels encoded using Dolby SR noise reduction that can be dematrixed into four channels using Dolby Pro Logic. The optical timecode used to synchronize a DTS soundtrack, which sits between the optical soundtrack and the image, is not pictured. Finally, the image here is an anamorphic image used to create a 2.39:1 aspect ratio when projected through an anamorphic lens. Note the thin frame lines of anamorphic prints.
The distinction between camera stocks and print stocks involves a difference in the recording process. When the work print or edit master has been approved, the Original Camera Negative (OCN) is assembled by a negative cutter using the edited work print or EDL (edit decision list) as a guide. A series of Answer Prints are then made from the OCN. During the Answer Print stage, corrections in the film's density and color are corrected (timed) to the filmmakers' tastes. Interpositive (IP) prints are struck from the OCN, checked to make sure they look the same as the custom timed Answer Print, and then each IP is used to make one or more Dupe Negative (DN) copies. The release prints are then generated from the DN(s). Recently, with the development of digital intermediate (DI), it has become possible to completely edit, composite visual effects, and color grade the image digitally at full resolution and bit-depth. In this workflow, the answer print is generated digitally and then written out to the IP stage using a laser film printer.
Due to the specialized nature of the exposure and the higher degree of control afforded by the film lab equipment, these intermediate and release stocks are specially designed solely for these applications and are generally not feasible for camera shooting. Because intermediates only function to maintain the image information accurately across duplication, each manufacturer tends to only produce one or two different intermediate stocks. Similarly, release print stocks usually are available only in two varieties: a "normal" print or a deluxe print (on more-costly print film like Kodak Vision Premiere) with slightly greater saturation and contrast.
Decline[edit]
Use of film remained the dominant form of cinematography until the early 21st century when digital formats, such as the RED Camera series, supplanted the use of film in many applications. Paramount Pictures became the first studio to distribute films exclusively digitally, and other studios have chosen to follow suit. This has also led to the replacement of film projectors with digital projection.[9]
See also[edit]
Wikimedia Commons has media related to Film stocks.
Direct film
Film format
Film preservation
Fujifilm
List of film formats
List of motion picture film stocks
Color motion picture film
Photographic film with emphasis on film for still photography.
ORWO
Tasma
Video
References[edit]
Notes[edit]
Jump up ^ Karlheinz Keller et al. "Photography" in Ullmann's Encyclopedia of Industrial Chemistry, 2005, Wiley-VCH, Weinheim. doi: 10.1002/14356007.a20_001
^ Jump up to: a b http://www.kodak.com/ek/US/en/Our_Company/History_of_Kodak/Milestones_-_chronology/1878-1929.htm
^ Jump up to: a b http://www.aipcinema.com/ficheiros/Conteudos/KODAK_FILM_HISTORY.pdf
Jump up ^ The gauge and perforations are almost identical to modern film stock; the full silent ratio is also used as the film gate in movie cameras, although portions of the image are later cropped out in post-production and projection.
Jump up ^ Eileen Bowser, The Transformation of Cinema 1907–1915, Charles Scribner's Sons 1990, p. 74–75. ISBN 0-684-18414-1.
Jump up ^ Koszarski (1994). p. 140.
Jump up ^ Salt (1992). p. 179. "There was apparently some question as to differences in relative contrast between the two stocks. As Barry Salt notes, "this claim is almost impossible to substantiate now, given the extreme difficulty there is in seeing a reasonable number of original prints of films shot on both stocks."
Jump up ^ Kodak: Chronology of Motion Picture Films, 1889 to 1939.
Jump up ^ Digital Cinema Conversion Nears End Game
Bibliography[edit]
Koszarski, Richard (1994). An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928, University of California Press. ISBN 978-0-520-08535-0.
Salt, Barry (1992). Film Style and Technology: History and Analysis. London: Starword.
Further reading[edit]
Ascher, Steve and Edward Pincus. The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age. New York: Penguin Group, 1999.
Fujifilm UK. A Brief History of Fujifilm, 2001. Retrieved 2007-07-09.
Fujifilm USA. Motion Picture Chronology, 2001. Retrieved 2007-07-09.
Kodak. Chronology of Motion Picture Films, 2005. Retrieved 2009-06-29.
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values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values:
uls-settings-trigger
Language settings
0
button
true

values: فيلم عادي – Arabic

values: Կինոժապավեն – Armenian

values:
https://lv.wikipedia.org/wiki/Kinolente
Kinolente – Latvian
lv
lv
interlanguage-link-target

values:
https://mwl.wikipedia.org/wiki/Filme
Filme – Mirandese
mwl
mwl
interlanguage-link-target

values: Киноплёнка – Russian

values: interlanguage-link interwiki-ru badge-Q17437798 badge-goodarticle

values: Кіноплівка – Ukrainian

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Film_stock rootpage-Film_stock skin-vector action-view