An Instantaneous Electronic Color-Film Analyzer

1958 ◽  
Vol 67 (1) ◽  
pp. 17-26 ◽  
Author(s):  
Bernard D. Loughlin ◽  
Charles E. Page ◽  
William F. Bailey ◽  
Charles J. Hirsch ◽  
Arthur J. Miller ◽  
...  
Keyword(s):  
Color Film ◽  
Film Analyzer

Technical Note: The 300D Digital Video Color Film Analyzer: A Logical Use of the Best of Today's Technologies

SMPTE Journal ◽  
1990 ◽  
Vol 99 (12) ◽  
pp. 1008-1011
Author(s):  
Harry Teitelbaum ◽  
Al Arbeeny ◽  
Mark Levine
Keyword(s):  
Digital Video ◽  
Technical Note ◽  
Color Film ◽  
Film Analyzer

The Film Facit™ 3000H Color Film Analyzer

SMPTE Journal ◽  
1988 ◽  
Vol 97 (10) ◽  
pp. 830-832
Author(s):  
Howard W. Hoadley
Keyword(s):  
Color Film ◽  
Film Analyzer

KD-9 IMANA Film Analyzer And Its Applications

1989 ◽  
Author(s):  
Zhou Shaoxiang ◽  
Wang Wendon ◽  
Hu Yuxi
Keyword(s):  
Film Analyzer

A High Speed Color Film For Underwater Photography

1971 ◽  
Author(s):  
Ira B. Current
Keyword(s):  
High Speed ◽  
Color Film ◽  
Underwater Photography

Improvement of sublimation in color film pre-baking process by optimizing the photoresist composition

2021 ◽  
Vol 36 (9) ◽  
pp. 1273-1282
Author(s):  
Run CHEN ◽  
◽  
Qian JIANG ◽  
Peng ZHOU ◽  
Qin-rui QI ◽  
...  
Keyword(s):  
Color Film ◽  
Baking Process

scholarly journals Simple method for obtaining monochromatic slides of radiographs using color film

1982 ◽  
Vol 139 (4) ◽  
pp. 830-831 ◽  
Author(s):  
MG Dunne ◽  
DL Crandall
Keyword(s):  
Simple Method ◽  
Color Film

scholarly journals The Hybrid Color Film: Multiplicity of Space, Time, and Matter

2021 ◽  
Vol 9 (17) ◽  
pp. 100-122
Author(s):  
Olivia Kristina Stutz
Keyword(s):  
Space Time ◽  
Media Archaeology ◽  
Color Film

Hybrid color films of the 1920s such as The King of Kings (Cecil B. DeMille, 1927)—that is, films comprising a mix of different historical color processes—are a particularly fruitful resource for the comparison of the silent era’s various color technologies. This article analyzes these cinematic hybridizations and argues that this type of film is much more than the sum of its parts. In embodying a multiplicity of layers of space, time, and color on a literal and metaphorical level, hybrid color films are not only symptomatic of the transformation of the medium in the 1920s but also symbolic of current approaches to film historiography based on media archaeology.

scholarly journals The Deep Freeze Redux: Cold Storage Packaging of Ektachrome Color Film

2018 ◽  
Vol 2 ◽  
pp. e25640
Author(s):  
Lisa Palmer
Keyword(s):  
Cold Storage ◽  
National Park ◽  
First Generation ◽  
Marine Fishes ◽  
Color Film ◽  
Acclimation Period ◽  
The Us ◽  
Park Service ◽  
Materials Used ◽  
National Gallery Of Art

At the 2017 SPNHC meetings in Denver, a five-minute Storage Techniques for Art, Science and History (STASH) talk was presented on the cold storage of film-based media. Herein, a more in-depth presentation of the Smithsonian's archival project with a status update is provided. In February 2016 world-renowned ichthyologist John E. Randall (Jack) donated his 10,559 film-based slide collection of fishes to the Smithsonian Institution National Museum of Natural History (NMNH). Beginning in the 1970’s, Jack used predominately 120mm Ektachrome film to photograph marine fishes. The first-generation slides were stored in cool storage, approximately 40F/4.5C, for much of their lives, thus preserving film color quite well as well as extending the life expectancy of film. Although digital surrogates of the slides have been created, the Division of Fishes intends to ensure the stabilization of the original color film by placing the slides in cold (-4F/-20C) storage. Color dyes used in Ektachrome slide film are fairly fugitive, and a known strategy to slow the rate of fading is to store slides in the coldest storage possible. NMNH Division of Fishes rehoused slides based on methods developed by the US National Park Service and the US National Gallery of Art. Prior to placing into cold storage, the slides were rehoused using archival supplies. The packaging methods we used are to prevent or reduce inherent deterioration as well as to help prevent any condensation buildup during the acclimation period that can occur when moving between quite differing temperature environments. In this discussion, I will evaluate the processes and materials used as well as to reflect on post-mortem takeaways.

Measurement of Visual Speech Comprehension

1970 ◽  
Vol 13 (4) ◽  
pp. 856-860 ◽  
Author(s):  
Henning Birk Nielsen
Keyword(s):  
Clinical Evaluation ◽  
Item Analysis ◽  
Visual Speech ◽  
Speech Comprehension ◽  
Clinical Tool ◽  
Color Film ◽  
Good Consistency ◽  
Standardized Measurement ◽  
Everyday Situation ◽  
The Individual

This study was designed to standardize the measurement of visual speech comprehension in order to facilitate the evaluation of a patient’s communication handicap, his basic capacity for lipreading and the benefit received through lipreading training as a clinical tool. To this end, a silent color film of four minutes' duration was used to obtain a standardized measurement of the lipreading ability of 1108 hearing-impaired subjects. The film depicts an everyday situation in which two persons, while having coffee together, speak nine sentences of varying difficulty. Item analysis reveals good consistency, and the score obtained by the individual patient corresponds well with the clinical evaluation of his lipreading ability.

Photographing Fluorescent Minerals under Black Lights with Color Film

1965 ◽  
Vol 40 (4) ◽  
pp. 250-253 ◽  
Author(s):  
Gardiner E. Gregory
Keyword(s):  
Color Film
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