BI-PACK FILM PRINTING [Film Technology]

BI-PACK FILM PRINTING 
[Film Technology]

A technique film printing in process photography to produce optical special effects. Two mattes (male matte & female matte) are using to print in a very accurate mode by using register pin printing machine.

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BEAT [Film Technology]

beat 
[Film Technology]

Variations in sound called beats, a consequence of the wave nature of sound, were discovered about 1740 by the Italian violinist Giuseppe Tartini and the German organist Georg Sorge. Most Western music is built on a structure of regularly recurring beats—that is, a metrical structure. This structure may be explicit (as in the beating of the bass drum in popular music and marching bands), or it may be implied (often in symphonic or instrumental music). Most Western music is built on a structure of regularly recurring beats—that is, a metrical structure. This structure may be explicit (as in the beating of the bass drum in popular music and marching bands), or it may be implied (often in symphonic or instrumental music). The three most common metres in Western music are units of four beats (with main stress on the first beat, secondary stress on the third beat); of three beats (stress on the first); and of six beats (primary stress on the first, secondary on the fourth). Conventionally, these metres are called , , and . Far greater complexity is found, however, in 20th-century Western art music, Indian classical music, and West African drum ensembles. Furthermore, much music is structured without regular metre, as in some genres in India and the Middle East, and in Christian, Jewish, Islamic, and Buddhist liturgical chant. Like the rhythms in nature, such as the motion of the planets, the succession of seasons, and the beating of the heart, musical rhythm is usually organized in regularly recurring patterns. Such patterns regulate the motion of the music and aid the human ear in grasping its structure. The most basic rhythmic unit is the beat or pulse—an evenly spaced pattern that resembles the ticking of a clock. In most dance and popular music, the pulse is explicitly stated, often by drumbeats or by a regular accompaniment pattern. In more complex music, the beat is often only implicit—a kind of common denominator for the actual lengths of the notes, which may be longer or shorter than the pulse itself. (When the listener taps a foot to such music, however, the pulse again becomes explicit.) For the pulse to be heard as a common denominator, the lengths of the individual notes must generally be its exact multiples or subdivisions (such as half the length of the pulse, or twice its length). The tempo of the music determines the speed of the beat. Just as the beats regulate the durations of such short musical events as a note or a pair of notes, the beats themselves are regulated by larger recurring units called bars. Bars are formed by stressing the first in a series of two or more beats, so that the beats group themselves into a pattern, for example; ONE two, ONE two, or ONE two three, ONE two three. (The first beat of the bar, which is the strongest, is called the downbeat; the last beat, the weakest, is called the upbeat.) The term metre can refer, first, to this general process of regular accentuation, and second, to the particular metrical grouping used in a given piece. In musical notation, metre is indicated by the time signature. When modern time signatures became established, the semibreve was regarded as the fundamental note value, and so they are expressed as the length of the bar in relation to the semibreve, which is given the value 1. The lower number in a time signature represents a note value expressed as a fraction of a semibreve; the upper number shows how many units of that note value there are in each bar. Thus, one of the most common time signatures, , effectively means “four quarters”: the unit of the bar is a quarter of a semibreve (i.e. a crotchet), and there are four such quarters in each bar. The time signatures , , and  all therefore represent the same rhythmic value per bar: the difference is in the number of beats and the pattern of stresses.  represents two beats per bar, with one stress (on the first beat), while  indicates four beats per bar with two stresses (strong on the first beat, weaker on the third). Metres such as  and  are called compound metres, because each rhythmic grouping in the bar is made of a sub-grouping of smaller rhythmic values.  represents two groups of three notes each,  three groups of three notes each etc. Metrically organized music is highly structured and tends to be regular. Once the metre is established, however, it need not be rigidly adhered to at all times; the listener's mind will retain the pattern even if the music temporarily contradicts it. Thus, a normally weak beat can be stressed, producing a syncopation (an accent that works against the prevailing metre). Conversely, a strong beat may occasionally be suppressed completely. Indeed, in complex metrical music a degree of tension always exists between, on the one hand, the metre as an abstract system of regulation and, on the other hand, the rhythmic flow of the actual note lengths—a flow that at times supports the metre and at other times does not. Furthermore, the pulse need not necessarily be maintained with absolute rigidity; it may be played rubato, that is, with variations so slight that they do not destroy the basic value.

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BATTEN [Film Technology]

BATTEN 
[Film Technology]

Ground rows are used regularly ( cyc lights, battens, strip lights, border lights, troughs) to illuminate the lower part of cyclorama or backdrops. A stage lighting trough (strip-light fitting) usually suspended over head. Term for a long lamp support bar as barrel. 

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BASIC PATCHING SYSTEM [Film Technology]

BASIC PATCHING SYSTEM 
[Film Technology]

Lamp on bar 22 (for example)has been plugged into nearby batten outlet, connecting it to the patch board. Then a similarly numbered patch cord can be plugged (patched) into any numbered power circuit outlet(channel) incorporating its own control dimmer/control switcher(circuit 6 in this case). Similarly bar 23 is fed from power channel 7. They can be dimmed/switched independently.(Avoid exceeding power loading limit. E.g. 2 kW. Switch off before patching). Some installations use patch cords, others have miniature peg-boards, automatically switched or permanent connections.

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BASIC BACKING [Film Technology]

BASIC BACKING
[Film Technology]

Simply denoting further scenic planes, but with little locational association- Flattage (plain flattage, papered flattage or surface contoured flattage) drapes, cyclorama.

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BASE LIGHT [Film Technology]

BASE LIGHT 
[Film Technology]

Diffuser light flooding the entire setting uniformly to prevent local under exposure. (foundation light). Diffuse overall illumination from an assembly of soft-light sources can provide a base light to reduce tonal contrast and ensure no under exposed areas.

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BARRACUDA [Film Technology]

BARRACUDA
[Film Technology]

A support pole for light fittings. A spring loaded telescopic tube system has proved extremely adaptable for location interior work. It can be wedged securely between floor and ceiling (vertical pole) or wall to wall (horizontal pole) within corridors, arches window opening etc.

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BARNEY [Film Technology]

BARNEY
[Film Technology]

It may be necessary to use a quieter camera while recording sound also with pictures, to cover a noisy camera with blankets or a barney (16 mm cameras especially, are notoriously noisy) use a lens which does not trumpet the camera noise if this is a problem, shoot through a glass fronted blimp. Another name is camera blanket.

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BARN DOOR [Film Technology]

BARN DOOR
[Film Technology]

Barn doors in front of the lights help further in narrowing the beam by masking of the light. Adjustable mask of barn door consisting of hinged flaps which can be opened on closed in front of studio lamps to restrict the edge of the beam and control spill light. This comprises from one to four hinged flaps, attached to frame the slips in front of the spotlight housing.

1)  To restrict light to specific lighting areas.

2)  To light specific positions (actors, furniture or scenery)

3)  To light people while leaving near by walls unlit or shaded.

4)  To light walls (scenery) while leaving nearby people unlit.

5)  To shade off light casting unwanted shadow or ugly shadows from scenery , people, sound booms, practicals etc..

6)  To provide isolated light patches (e.g. around practicals).

7)  To create atmospheric light streaks (e.g. sunlight shaft on walls).

8)  To create shading areas.

9)  To avoid duplication of light (overlapping of adjacent lamp beams).

10)      To resist illumination of light toned surfaces (preventing their being over lit).

11)      To prevent a light beam spuriously streaking along a parallel wall.

12)      To prevent back light from creating lens flares. 

The barn door comprises up to four independently hinged adjustable metal flaps on a rotatable frame [rotating barn door]. These allow selected beam cutoff.  Long barn doors, short barn doors used individually or in combination, various straight or rectangular restrictions can be formed. Progressively boxed in for much localized use and rotated for rectangular restrictions. Typical examples of barn door use are shown-

Horizontal shading-long doors only.

Subject isolation- tightly boxed-in.

Localized shading- boxed-in.

Lighting into an angle, beam shape becomes distorted. 

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BAR MAGNET [Film Technology]

BAR MAGNET 
[Film Technology]

The resultant recorded magnetic pattern or the tape is bar magnet. For a given speed the recorded bar magnets shorten as the frequency rises. When a pair of bar magnets are equal in length to the replay head gap the out-put falls to zero. There is minimum length of recorded bar magnet which is limited by the tape coating.

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BANDWIDTH [Film Technology]

BANDWIDTH
[Film Technology]

This might be quoted as ±3dB  50HZ to 12KHZ. 50HZ is the lowest frequency reproduced while 12KHZ is the highest. The ±3dB is simply a way of the limits over which the amplitude changes . ±dB or 6dB being a ratio of 2:1. The range of frequencies encompassed by an electronic system transmitting television pictures (video), or sound signals(audio signal). A video system must be capable of handling a wide frequency range [wide bandwidth] if it is to transmit pictures with fine detail. Loss of high frequencies gives a blurred picture while a full bandwidth gives sharp crisp outline. Video frequency extended to 5.5 MHz for broadcasting standard 625 line colour signals. The colour information or chrominance needs a bandwidth of only 1MHZ, because human perception of colour details is limited. For CCTV may extend only t0 2.5 MHz with the colour information reduced to 0.5MHZ. The effect of reducing bandwidth is to reduce detail in the picture.

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BALANCE OF LIGHTING [Film Technology]

BALANCE OF LIGHTING 
[Film Technology]

Balance is the adjustment of the relative brightness of lamps. It can have a very considerable influence on the attractive of the picture and on the prevailing mood. In a `coarse’ lighting balance, high tonal contrast dramatize the play of light and shade, while a fine balance provides subtle tonal variations with delicate modeling. Intensities are always relative, and as the viewpoint changes, the effective balance will change too. This is an artistic problem of continuity in multi camera productions. Adjustment of the relative intensities of lamps lighting a subject ( key light, fill light, back light, set lights, etc.) to achieve a particular artistic effect (atmosphere effect, temporal effect, impression, mood etc.).

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BADGER EFFECT [Film Technology]

BADGER EFFECT
[Film Technology]

Moving the key light further round the subject horizontally to a 3 H or 9 H position i.e. 90^o to the lens axis, we have side light. The edge lights the face, bisecting it. If this is done from both    3 H or  9 H  at the same time, we get a curious centrally shadowed badger effect with a darker band down the centre of the face.

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BACK PROJECTION [Film Technology]

BACK PROJECTION
[Film Technology]

A cheating method. When the action has to be seen against the same background, this can also be managed without visiting the actual location. One of the oldest method is known as BP. Still plates or motion pictures are back projected on to a translucent screen behind the performer. The actor come in this way be filmed apparently visiting New York, London and Rome alternatively falling in front of a train. A modern version of this employs a beaded screen behind the performer on to which the required background is projected, from the camera lens position. Shortly known as B P. Other name is rear projection. See cheating. In conditions where there is insufficient throw from the projector to the screen or in self contained desk-top-projector, the picture is projected from behind a translucent screen via  surface silvered mirrors. An adaptor of this system is used for TV where film is projected on a telecine machine, which converts the image to television signal. A still or motion picture image is projected. Simultaneously with the action so that foreground action and background scenes are combined photographically. As its name suggests back projection involves images from behind the subject on to a translucent screen placed between the foreground and the projection. As with front projection, when using film plates, a special process projector must be used for back projection which incorporates a register pin movement, as accurate as that of a camera, and which will run interlocked with the camera, ensuring not only that both run at an identical speed but also that the two films remain stationary  and are advanced simultaneously. To achieve the necessary accuracy of registration, print for process projection (front and back) are usually made on negative perforated film. An inherent problem with back projection is the effect of a central `hot-spot’ of light. This may be reduced by the use of a very long focus lenses. It is necessary therefore, to place colour correction filters in the path of the projector light to make the necessary correction. A special register pin projector must be used for front projection composite cinematography or back projection composite cinematography. Shortly known as BP.

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BACKLOT [Film Technology]

backlot 
[Film Technology]

Within a film company, the shooting areas under cover, and the buildings housing them, are also referred to as “stages”. The open areas within a film company's grounds that are used for film production are called the “backlot”. 

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BACK LIGHT [Film Technology]

BACK LIGHT 
[Film Technology]

To create an illusion of  depth and substance, a back light is directed towards the camera on to the subject. Back light on to subject to help create substance by making it stand out from background. Light directed towards the camera on to the subject, to give depth and substance. While using sunlight as back light separates artists and objects from the background and gives character to the background lighting. If the light is moved to a position at ⁰12H directly behind the subject, the lamp itself is hidden and mostly effectual, although any translucent, fury, feathery edgings catch the light and stands illuminated-as when sunlight shines towards us through leafy trees. Light that falls up on a subject from behind a light shining towards camera. Fundamental purposes :  

1) It outlines part or all of the subject, forming a rim that tonally separates it from its background where dark clothing, for example, would merge into similarly dark background tones, such back lighting is valuable. 

2) It models the periphery of subjects, revealing edge contours. Thus although there may be sufficient tonal isolation so that a dark suit stands out from a light background (as a silhouette) only when back light catches its folds and reveals its shape will the material appear to have solidity.

 3) It can illuminate areas that fall in the key light’s shadow, and would be insufficiently revealed by fill-light. 

4) Back light enables the detail of translucent objects and tracery to be revealed.

Light from behind the subject usually illuminating its edges :

1)   The effectiveness of back light changes with its vertical angle. 

2) 

a) Back light rims the subject’s sides, to an extend depending up on its horizontal angle. The width of the illuminated rim broadens as the light moves from behind the subject towards a side position. Any subject contouring or protuberances (e.g. ears, hair) will cast long shadows forward over the side of the face when slightly offset back light is used these shadows shortening as this back light moves towards 3/4 back position. 

b) Combined back light produce double rim lighting which exaggerated, becomes a `badger effect’. Slight double rim lighting at the subject’s edges can produce a glamorous, attractive visual effect. If inappropriately applied, however, it can over emphasis head out lines (i.e. ears , coiffure) and apparently exaggerate head-width, neck thickness. The shaded center stripe effect that results from broadly angled double-rim or from side lighting is seldom appealing. If often arises in horse shoe group shots where cross light for facing speakers bisects a centrally positioned person. 

3) The direction of backlight may modify the apparent balance and width of the face. a) When the key is directed on to the narrow side of the face, the wider side may be visually narrowed by shading. b)When the key lights the wider side of the face, a back light on the narrow side rims it, effectively widening it. c) A back light on the same sides as the key will tend to nullify the key’s modeling and over light one side of the face. Increased compensatory fill-light would encourage flat results. 

4) The amount of backlight required by one subject may be less than the key light intensity for another nearby subject. 

a) Use separate lamps where space permits. 

b) Use a localized diffuser. 

c) Arrange a single lamp so that the key is fully positioned on the subject, while its beam edge fall-off serves to back light the other subject. Light shining toward the camera back lights the subject with a surrounding rim, revealing any transparency and separating it from the background.

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BACKING REMOVAL [Film Technology]

BACKING REMOVAL 
[Film Technology]

Many colour stocks incorporate an antihalation layer of carbon coated on to the back of the film. After softening in a pre-bath of borax [raising the PH to about] and sulphate (to prevent premature removal of carbon) in soluble carbon is removed by water jets in the backing removal units.  Rotating brushes or rotating pads scrub any remaining carbon from the film.  Care must be taken that no carbon reaches the emulsion side of the film were it will be rapidly absorbed by the gelatin. Rolls of exposed film staples together and attached to the end of the film already on the processing machine. Film then travels over guide rollers through vertical tanks for the pre-bath, backing removal, developer, stop bath, bleach, fixing and stabilizer, interspersed with washes to avoid chemical transferring from one bath to the next. See processing and   processing machine. In the final stages the film may be chemically hardened, before passing through drying cabinets and spooled into each customer’s rolls.

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BACKING [Film Technology]

BACKING 
[Film Technology]

[SET] Any scenic surface beyond an opening in the setting is, strictly speaking, a backing- a scenic cloth, a wall-flat, a cyclorama.

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