text:
|Publication number
|Publication type
|Application number
|Publication date
|Jul 9, 1996
|Filing date
|Mar 31, 1994
|Priority date
|Dec 12, 1991
|Fee status
|Also published as
|Publication number
|Richard Vetter
|Original Assignee
|United Artists Theatre Circuit, Inc.
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (20), Non-Patent Citations (2), Referenced by (26), Classifications (21), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
This is a continuation-in-part of U.S. patent application Ser. No. 07/807,056 filed Dec. 12, 1991, now abandoned.
In the 1880's, an Academy Standard film format was created, wherein the film stock had two rows of sprocket holes, or film perforations, each film frame had an aspect ratio (width divided by height) of 1.37:1, and the film frames were spaced apart by four perforations (0.748 inch). This format was widely adopted in the 1920's. In the 1950's, a new projection aspect ratio called Wide Screen Academy Format was adopted, wherein the same film was used, but the aperture of the projector film gate was changed so the projected image had a smaller length, or height, than previously, for an aspect ratio of 1.85:1. It was thought that the wider format would differentiate the motion picture images from television images. However, the film frames were still of the same size and still spaced apart by four perforations, with the top and bottom of each frame cropped to produce an aspect ratio of 1.85. As a result, the gap or space between the projected areas of adjacent film frame occupied about 40% of the length of the film stock. The film titles were centered on the film frames, to aid the projectionist to adjust the framing knob so the center of the film frames lay at the center of the projection aperture of the film gate mask.
It would appear that the reason why the Wide Screen Academy Format was readily accepted by theater owners was that about the only change to the projector was to install a new film gate mask and to replace the lens. This current format has been in use up to the present, for more than 90% of all release prints. A small number of release prints are in the Cinemascope format, wherein the same film stock is used, but the film frames have a greater width.
There have been suggestions for minimizing the amount of film used. For example, U.S. Pat. Nos. Butler 3,565,521 and Cole 3,583,803 suggest the use of projection apertures (of the film gate mask) of smaller heights and different aspect ratios to save the amount of film used when standard 35 mm film stock is used. However, because of competition from television and aversion to any change that would degrade the motion picture image, there is reluctance to accept a smaller projection aperture size.
Lente U.S. Pat. No. 3,865,738 suggests the use of the current projection aperture, with film frames of smaller height and spaced apart by only three sprocket holes to minimize wastage. Although this would result in reducing film "wastage" from about 40% to 20%, this format has not been adopted. A new film format that used current 35 mm film stock and the current projection aperture size, and which virtually eliminated film "wastage", while facilitating conversion of projectors to the new format, would be more readily accepted by the motion picture film industry.
In accordance with one embodiment of the present invention, a method and apparatus provide a motion picture film format that greatly reduces the amount of required film stock, while encouraging theater owners to accept the new format. The new film format uses standard 35 millimeter film stock with the standard rows of sprocket holes, or perforations, and uses film frames that are substantially as wide as those of the current Academy Format. However, the spacing between frames is a noninteger number of sprocket holes, such as 2.5 sprocket holes. In addition, a relatively low cost modification of common theater motion picture projectors is made, by substituting replacement sprocket wheels for the current sprocket wheels. While most current sprocket wheels have sixteen sprocket teeth per 360� (i.e. per revolution), the replacement sprocket wheels have fewer (but a whole number) sprocket teeth per 360� . The sprocket wheels are preferably readily interchangeable with sixteen tooth sprocket wheels, so the theater owner can readily switch between the current Wide Screen Academy Format and the new format of the present invention.
In a preferred embodiment of the invention, the film frames are spaced apart by two and one-half perforations. This results in virtually all of the film stock length being occupied by film frames of substantially the present projection aperture size. In addition, projector conversion is simplified because the current sixteen tooth sprocket wheels can be replaced by ten tooth sprocket wheels.
The novel features of the invention are set forth with particularity in the appended claims. The invention will be best understood from the following description when read in conjunction with the accompanying drawings.
FIG. 1 is a front elevation view of the prior art, but currently used, Academy Format.
FIG. 2 is a simplified partial isometric view of a commercial motion picture theater projector of the prior art.
FIG. 3 is a side elevation view of a current sprocket wheel of the projector of FIG. 2.
FIG. 4 is a front elevation view of a new motion picture film of a preferred embodiment of the present invention, with film frames spaced apart by 2.5 perforations.
FIG. 5 is a side elevation view of a new sprocket wheel of the present invention which is used with the film format of FIG. 4.
FIG. 6 is a partial side elevation view of the projector of FIG. 2, showing some modifications near the film gate.
FIG. 7 is a front elevation view of a new motion picture film format of another embodiment of the invention, with film frames spaced apart by 2.75 perforations.
FIG. 8 is a side elevation view of a new sprocket wheel of the present invention which is used with the film format of FIG. 6.
FIG. 9 is a front elevation view of a new motion picture film format of another embodiment of the invention, with film frames spaced apart by 2.25 perforations.
FIG. 10 is a side elevation view of a new sprocket wheel of the present invention which is used with the film format of FIG. 9.
FIG. 3A is a side elevation and schematic view of a film printing mechanism for use in the present invention.
FIG. 10A is a plan view of a segment of a current film, similar to that of FIG. 1.
FIG. 11 is a plan view of a segment of a film of the present invention, similar to that of FIG. 4.
FIG. 12 is a schematic representation of a film transport for an optical printer camera head, according to one aspect of the present invention.
FIG. 13 is a schematic representation of a film transport for an optical printer camera head depicting film pull-down.
FIG. 14 is a schematic representation of a film transport for use in an optical printer camera head showing insertion of registration pins prior to exposure of the film.
FIG. 15 is a schematic representation of the orientation of the film images and the optics used in the film printer according to one aspect of the present invention.
FIG. 16 is a schematic representation of the image orientation and optical film printer according to one aspect of the present invention for use in a second pass of the film.
FIG. 17 is a schematic representation of the printer camera head aperture relative to the printer centerline for first and second film passes.
FIG. 18 is a schematic representation of the image orientation and optics for an optical printer according to a further aspect of the present invention.
FIG. 19 is a schematic representation of a film transport for an optical printer camera head according to a further aspect of the present invention.
FIG. 20 is a schematic representation of a film transport for an optical printer camera head showing pull-down for film transport.
FIG. 21 is a schematic representation of a film transport mechanism for an optical printer camera head showing the use of registration pins.
FIG. 22 is a schematic representation of a film transport for an optical printer camera head showing a further step of film pull-down.
FIG. 23 is a plan view of a segment of motion picture film showing a relationship between an exposed image area and registration pin placement using a dual pin registration system for an optical printer camera head according to one aspect of the present invention.
FIG. 24 is a schematic and plan view of a film gate for an optical printer camera head using dual pin registration.
FIG. 25 is a plan view of a segment of 35 mm motion picture film according to conventional Wide Screen standards to be used in a consolidation process according to the present invention.
FIG. 26 is a plan view of a segment of 65 mm film with the usable images from the film of FIG. 25 enlarged two times.
FIG. 27 is a plan view of a segment of motion picture film containing the consolidated images taken from the film of FIG. 26 reduced by a factor of two.
FIG. 28 is a plan view of a segment of conventional Scope formatted film to be used in the consolidation process according to a further aspect of the present invention.
FIG. 29 is a plan view of a segment of 65 mm film with the usable images taken from the film of FIG. 28 enlarged by 2.141.
FIG. 30 is a plan view of a segment of motion picture film according to the present invention showing the images consolidated from the 65 mm film of FIG. 29 reduced by a factor of two.
FIG. 31 is a schematic of a conventional platter projection system in common use.
FIG. 32 is a perspective view of a projection system according to a further aspect of the present invention.
FIG. 33 is a side elevation view of a film transport sprocket for use with conventional film transport systems.
FIG. 34 is a side elevation view of a film transport sprocket for use with the projector of FIG. 32.
FIG. 35 is a plan view of a segment of motion picture release print film in the Wide Screen format according to the present invention.
FIG. 36 is a plan view of a segment of motion picture release print film in the Scope format according to the present invention.
FIG. 37 is an elevation view of a projector aperture for use with the film according to the present invention for Wide Screen format.
FIG. 38 is an elevation view of a projector aperture for use with the present invention for Scope format film.
FIG. 39 is a front elevation view of a typical projection screen showing the Wide Screen and Scope dimensions.
FIG. 40 is a schematic representation of the orientation of film images and the optics used in a film printer according to a further aspect of the present invention.
1. Film Formats and Projector Conversion
FIG. 1 illustrates the film format A called Academy Standard, which has been generally used for commercial theater release prints between the 1920's and the present, and which is currently in use for over 90% of theater release prints. Each film frame B has a width C of 0.868 inch and a length or height D of 0.715 inch. The film stock has two rows of sprocket holes or perforations M, with a center-to-center perforation distance E of substantially 0.187 inch (shrinking or expansion can change this slightly, usually by less than 1%). The film frames B are spaced apart by a distance F of four perforations, or 0.748 inch. Each film frame B has an aspect ratio (width C to height D) of 1.37:1. Until the 1950's, almost the entire height D and width C were projected on the screen, by the use of a projection aperture of slightly smaller height and width than the film frames.
In the 1950's, competition from television resulted in the motion picture industry adopting a new aspect ratio which is called the Wide Screen Academy Format. This was accomplished by using a new film gate mask G with a projection aperture H of the same width J of 0.825 inch as previously, but which had a smaller height K of 0.446 inch. The top and bottom of each film frame is cropped (not projected). The projection aperture and projected image each has an aspect ratio of 1.85:1. It was thought that this aspect ratio would further distinguish motion picture films from television (video). It is noted that motion picture cameras continue to use the format A of FIG. 1, which is the current television format.
In the current Academy Format of FIG. 1, the frames are spaced apart by the distance F of four perforations. It is believed that the format A with a different mask projection aperture H was readily accepted by theater owners because it required minimal change to the then-current film projectors. That is, about the only change was to replace the film gate mask, and to replace the lens with one of shorter focal length (to account for the wider screen).
The current format A obviously wastes a lot of film, because the projection aperture (of 0.446 inch height) occupies only 60% of the pull down distance (0.748 inch), so about 40% is "wasted". This waste has been long recognized and there have been many suggestions for avoiding such wastage. However, no format or system has been acceptable. Most suggestions are to use different film stock in different film frame sizes, to take advantage of increases in resolution obtainable with the most modern film stock. However, there is fear in the industry that any reduction in frame size would decrease resolution and screen brightness, and hurt the competitive lead over television. One suggestion (in U.S. Pat. No. 3,865,738 by Lente issued Feb. 11, 1975) is to space the frames by three sprocket holes, or perforations, instead of four, which would mean that only about 20% of the film would be wasted and 80% would be used. This suggestion has not been accepted by the motion picture film industry. A format that used an even greater percentage of the film stock while facilitating conversion of current projectors to the new format, would have an increased chance of acceptance.
In Order for a new format to be acceptable, it should permit low cost conversion of present projectors between the current and new format, and back again, to project both formats. FIG. 2 is a simplified illustration of a commercial motion picture film projector L of a type that is currently in use. The projector passes film A from a supply reel P to a takeup reel Q (the two reels are commonly stacked on one another as platters of a platter system). The film moves through a film gate R (of which the part G is shown in FIG. 1) and past a sound head S, A constant speed motor T is connected through shafts U to several sprocket wheels V, W, X that move the film at a constant speed of ninety feet per minute from the supply reel to the takeup reel. The sprocket wheels turn at a speed of 6 rps. A 4-star Geneva movement Y drives an additional sprocket wheel Z that moves the film intermittently by a distance of 0.748 inch every twenty-fourth of a second, to pull it intermittently through the film gate R.
Applicant has noticed that there is a common sprocket wheel size that is used for almost all sprockets wheels including those V, W, X that turn at a constant speed, and including the pull-down sprocket wheel Z that is turned intermittently. Each of these sprocket wheels has sixteen teeth for each 360� (i.e. it has two sets of sixteen teeth each), and each sprocket wheel is turned by 90� every one twenty-fourth of a second. Applicant modifies the film format to place the film frames closer together but without changing the film stock. Also, applicant replaces the sprocket wheels V, W, X and Z with a new type of sprocket wheel having fewer sprocket teeth.
FIGS. 4 and 5 respectively show a new film format 12 that replaces the current format A, and a new sprocket wheel 14 that replaces the current sprocket wheel Z shown in FIG. 3 (which is identical to the other sprocket wheels V, W, and X). In the new format of FIG. 4, the film stock is identical to that of the current format A shown in FIG. 1. The perforations 18 are spaced apart by 0.187 inch. Each film frame 20 has about the same width 22 (0.868 inch) as the current format A. However, each film frame has a much shorter height 24 of about 0.46 inch (usually between 0.446 and 0.4675 inch). The film is designed for use with a film gate projection aperture H of the same width J and height K as is currently used.
For the new format of FIG. 4, the leading edges 16 of the frames 20 are spaced apart by a distance 26 equal to the spacing of two and one-half or 2.5 perforations of the current film stock, or 0.4675 inch. The spacing apart of a pair of film frames is the distance or spacing of their leading edges (or of their centers, or of their trailing edges). The present spacing 26 of the film frames by 2.5 perforations, which is a noninteger number of perforations, results in substantially all of the film being used and substantially none being wasted.
In order to use a current projector with 16 tooth sprocket wheels Z to project applicant's new format 12, the current sprocket wheels are replaced with 10 tooth sprocket wheels to advance the film by 2.5 perforations instead of 4 perforations, every twenty-fourth of a second. Sprocket wheels are not expensive to replace, so that there is only a modest cost in providing the new sprocket wheels 14 (FIG. 5) that each have ten teeth 28 per 360�, and in using them to replace the current sprocket wheels such as Z of FIG. 3, that have sixteen teeth per 360�. The relatively modest cost to the theater owner makes the new format more acceptable to him. Such acceptance is aided by the fact that each film frame 20 has a projection area at H, of the same width and length as is used for the current format A, so the motion picture theater industry need not be concerned with a possible degradation of quality.
In the format 12 of FIG. 4, the distance N between the projected portions at H of adjacent frames is a distance N of 0.0215 inch, i.e. 0.0107 inch at the top and 0.0107 inch at the bottom of each frame. This distance N is 4.6% of the 2.5 perforation pull down distance 26 of 0.4675 inch, or 2.3% at the top and 2.3% at the bottom. About half of this distance N is required to account for the fact that the height K of film mask projection apertures vary slightly, and that a slight margin around the projection aperture is required to assure that portions of adjacent frames will not be projected. Accordingly, it may be said that the present format provides the required margin and that substantially none of the film length is "wasted." It should be realized that each film frame can be made to occupy the entire 0.4675 inch pull-down distance, so there is no line between adjacent frames, and applicant prefers this.
Although applicant changes the format of the release print such as shown at 12 in applicant's FIG. 4, the film format used by the cameraman is likely to be the same as shown at A in FIG. 1, so that frames B of an aspect ratio of 1.37:1 are available for showing on television in the present television format. In both the current format A and the new format 12, the frames of the release print used in the theater projector are of unity magnification of the original frames exposed by the camera; that is, all objects in each frame are of the same size in the release print as on the camera negative. Although the middle portions of the camera negative frames are substantially identical to those of the new release print (except one is a negative and one is a positive), the camera frames are spaced by the traditional integer number (4) times the sprocket hole spacing, rather than by a new noninteger number (2.5).
If applicant's new format and replacement sprocket wheels are accepted, there will be a transition period during which films of the new format shown at 12 in FIG. 4, are available to theater owners at the same time as films of the current format shown at A in FIG. 1. A projectionist can convert a projector between the current format A of FIG. 1 and the new format 12 of FIG. 4, by replacing one set of current sprocket wheels of FIG. 3, with a set of new sprocket wheels 14 of FIG. 5. The projectionist can convert back by replacing the new sprocket wheels with the current ones. Thus, applicant's new film format and new sprocket wheels, not only increase acceptance because of the relatively low cost for switching and because of assurance of film projection areas as large as current ones, but also assures the theater owner that he will be readily able to project both the current and new formats. The motion picture images can be initially "taken" or exposed with a camera that produces the present camera format A, wherein the film frames are spaced by four perforations. These images then can be transferred to release prints using the new format of 2.5 perforation spacing.
Although most current projectors use sprocket wheels with 16 teeth per revolution, there is one brand of projector that uses 24 teeth per revolution along with a 6-star Geneva movement that turns in 60� increments. That projector turns its shafts at a speed of 4 rps. For that projector, applicant supplies sprocket wheels having 15 teeth per revolution, in order to project film of the format 12 of FIG. 4.
FIG. 6 shows a new film gate 40 which is designed to be used with the new sprocket wheel 14. The new film gate includes a current rear plate 42, and a rearwardly-biased replacement front plate 44 that replaces a current front plate that was of the same shape as plate 42. Because of the fact that the new sprocket wheel 14 is of smaller diameter than the current one Z, the new film 12 will bend at the bottom of the film gate. The new front plate 44 has a lower end 46 that is curved at a greater radius of curvature 50 than that 52 of the current plate, to avoid damage to the tensioned film. It is noted that current projectors use a spring-biased keeper (not shown) at each sprocket wheel to keep film against the sprocket wheel. Applicant prefers to replace the keeper devices to account for decreased sprocket wheel diameter.
FIG. 7 illustrates another new format 60 that uses current film stock, on which the film frames 62 are spaced apart by a distance 64 of two and three-fourths perforations, or 2.75 sprocket holes, or 0.51425 inch. If substantially the entire 0.51425 inch distance of each 2.75 perforation distance is occupied by the projection aperture, then applicant produces an aspect ratio of about 1.6:1. FIG. 8 shows a sprocket wheel 68 which has 11 teeth and which would replace the 16 tooth wheel Z of FIG. 3 if the film format 60 of FIG. 7 were projected.
FIG. 9 illustrates another new film format 70 that uses the same current film stock, but wherein the film frames 72 are spaced apart by a distance 74 of two and one-quarter perforations (2.25), or 0.41625 inch. The film frames each have a length 76 of 0.416 inch. This film can be used to produce an aspect ratio of 2:1. FIG. 10 shows a sprocket wheel 78 which has nine teeth and which would replace the 16 tooth wheel Z of FIG. 2 if the film format 70 of FIG. 9 were projected. Because the format 70 results in a smaller projection aperture, it can require considerable "selling" of this format to convince distributors and theater owners that, with the use of high resolution film and bright projection lamps, the image will be as good as that currently obtained.
The above describes formats where the film is advanced in noninteger steps of 2.5, 2.75 and 2.25 perforations. In a projector that currently has a 4-star Geneva movement and 16 tooth sprocket wheels, the conversion is made by substituting 10 tooth, 11 tooth, and 9 tooth sprocket wheels. As mentioned above, if a projector has a 6-star Geneva movement, 15 tooth sprocket wheels are used to advance by 2.5 perforations. For such Geneva movement, steps of 2.33 and 2.66 perforations can be obtained using 14 or 16 tooth wheels, respectively. Such steps can be useful to minimize waste where aspect ratios of 1.9 or 1.65 are desired.
A major advantage of applicant's new formats is that in saving film stock, they allow the use of film reels of smaller diameter. Currently, a motion picture film may be transported in four to eight reels of 2,000 feet capacity each to the theater owner, who splices them and places them on a single reel or platter for projection. With sufficient film stock saved, it is possible to transport an entire motion picture film as a single reel, which does not require splicing, to provide an additional advantage.
Although many film formats have been suggested, applicant is not aware of any suggestion that the distance between adjacent film frames equal a noninteger number of sprocket holes. Regardless of the particular frame height chosen (e.g. 2.5 perforations for the current projection aperture, a larger height for Cinemascope, less than 2.5 perforations for a new projection aperture, etc.), the possibility of using a noninteger frame spacing allows for maximizing usage of film stock.
Thus, the invention provides a readily acceptable motion picture system using current film stock, by providing a new film format which virtually eliminates "wasted" film, to meet the long recognized need to do so. The new film format can use film frames of substantially current usable height (0.467 inch) or projection aperture height (0.446 inch), but which are closely spaced or preferably contiguous, by spacing them by a noninteger number of perforations, or sprocket holes. A preferred format spaces the frames by 2.5 perforations. Conversion of most current projectors involves primarily the replacement of 16 tooth sprocket wheels with ten tooth sprocket wheels (or replacing 24 tooth wheels with a 15 tooth wheels). The preferred format, with film frames spaced by 2.5 perforations, results in virtually no "wastage" of film, which makes conversion to the preferred format more attractive than previous suggestions.
2. High Resolution Duplication
In the conventional motion picture post-production process, the original camera negative is transferred to an interpositive film through contact printing without any significant change in dimensions. The images then are transferred by a contact printing process from the interpositive to an internegative, with the internegative having the same dimensions as the original camera negative. The internegative is then used to produce multiple release prints. No significant change is made in the dimensions of the film frame or the positioning of the film frame relative to the perforations. However, because of the multiple transfers, there is generally some degradation of image resolution in each transfer. For example, the original camera negative typically has a resolution of sixty-eight line pairs per millimeter, the interpositive has fifty-two line pairs per millimeter, the internegative has forty line pairs per millimeter and the release print has thirty-six line pairs per millimeter.
In accordance with a further aspect of the present invention, a high resolution internegative film is produced for production of multiple high quality release prints of the new format. In one form of the invention, an interpositive is produced from the original camera negative by a contact printing process. The interpositive 102 (FIG. 10A) has essentially the same format as the original camera negative (FIG. 10A showing the current Wide Screen Academy film format). The interpositive 102 includes first and second film frames 104, 106 with a substantial interframe space 108 between them. Each frame corresponds to four perforations 110 on each side in the Kodak configuration. A space 112 is provided for a soundtrack to be incorporated on the final release print. The frame pitch and, therefore, the pull-down distance is 0.748 inch. The actual usable image height I' in the theatrical composition area of the interpositive is 0.446 inch which lies within the intended replication image height such as 0.46. In the following discussion, a replication height of 0.4665 will be assumed. Each frame has the same characteristics, and each succeeding frame represents the next image in time as recorded in the camera.
An improved internegative 114 (FIG. 11 A) is formed according to the present invention using an optical printer 66' such as that shown in FIG. 3A with the projector 68' having a standard projector head and the camera 76' having a modified printer lens 78'. The motion picture images are recorded on the internegative film in a consolidated format whereby the usable image area from the first image 104 is transferred to the internegative to form a first image 104A having an image height of 0.46 or 0.4665 inch and a width such as 0.868 inch (for Cinemascope, or "Scope", the current height is 0.735 inch and the width is 0.735 inch, while applicant's preferred frame has a height of 0.453 inch and width of 1.049 inch). The usable image information from the first film frame 104 is consolidated onto the internegative as a consolidated image without substantial reduction and without enlargement. The same replication occurs for the second image 106 and for each subsequent image thereafter. Therefore, each image has an image height I' such as 0.4665 inch. Magnification in the optical printer is preferably 1:1. The projector movement has a pull-down of 0.748 inch per standard frame of the interpositive and the projector head has an aperture size of 0.868 inch by 0.4665 inch.
In one preferred embodiment of the invention, described in more detail below, the actual optical printing transfer process occurs in two passes. During the first pass, the odd film frames (such as the first image 104 of FIG. 10A) on the interpositive are transferred. The first frame 104 and every other frame thereafter is transferred as the film is twice pulled down a distance P' of 0.7464 inch. In the second pass, the second film frame 106 on the interpositive and every other film frame thereafter is exposed in the same manner, with two pull-down strokes between each exposure. The camera head is modified to have a pull-down of 0.933 inch, corresponding to the height of two combined images 104A and 106A. Two apertures are used in the printer camera to achieve the consolidation according to this format, each aperture being 0.868 inch by 0.4665 inch. The bottom half aperture is used in the first pass to illuminate the internegative to record odd frames starting with the first usable image 104A. At the same time, the film area corresponding to the second image 106A is masked. After two pull-down strokes of the projector movement and one pull-down stroke of 0.933 inch of the camera movement, the next odd image is recorded. In the second or reverse pass, the top half aperture is used to record the even images including the second usable image 106A while at the same time masking the lower half previously recorded in the first pass. As with the first pass, the second film frame and every other film frame is exposed after two pull-down strokes in the projector head and recorded on the internegative after one pull-down stroke by the camera head.
In this first embodiment of the optical printer, the printer camera includes a film transport mechanism 116 (FIG. 12), a supply reel 118 and a take-up reel 120. A film guide 122 holds the film 124 stationary in conjunction with a pair of register pins 126, each register pin corresponding to one side of the motion picture film. A pull-down claw 128 advances the film after the film is disengaged from the register pins. In the present embodiment, the pull-down claw 128 has a stroke length or pitch P" of 0.933 inch (FIG. 11A).
In operation, the film guide 122 disengages the internegative film from the register pins 126 and the pull-down claw engages the film 124 (FIG. 13). The pull-down claw 128 then advances the film 0.933 inch, at which time the film guide 122 disengages the film from the pull-down claw and engages the film with the register pins 126 (FIG. 14). In the preferred embodiment, the film transport mechanism pulls the internegative film in the direction shown in FIG. 13 during the first pass, and then pulls the film in the reverse direction, a pitch of 0.933 inch in the opposite direction, during the second pass. Alternatively, the interpositive and the internegative film can be rewound to a second starting point corresponding to the second frame and the process begun again.
As referenced above with respect to FIG. 3A, the optical printer includes a vertical adjustment mechanism 84 to position or offset the projector 0.0467 inch above the printer centerline (FIG. 15) during the first pass for printing odd frames. The offset is indicated at 130 (FIG. 15). The offset line corresponds to the center of the standard 35 mm film frame. The 0.4665 inch usable image area is depicted by the left triangle 132 which is focused through a 1:1 stationary printer lens 134 through a 0.868 inch wide by 0.4665 inch high camera aperture for Wide Screen (1.049 inches wide by 0.4665 inch high for Scope) for exposing the corresponding image area on the internegative film. The aperture 136 (FIG. 17) is positioned so that the centerline is offset 0.0467 inch below the printer centerline. The image is recorded on the internegative offset from the printer centerline by the offset distance of 0.0467 inch. The interpositive is twice advanced 0.7464 inch while the internegative is advanced 0.933 inch.
On the second pass, even frames from the interpositive are recorded on the remaining frames of the internegative through the lens 134. For the second pass, the projector is moved downward so that the offset 130 is now 0.0467 inch below the printer centerline. The camera position 140 is maintained between the first pass and the second pass, but the internegative 35 mm film stock is shifted or advanced two perforations prior to the second pass. The net effect of lowering of the projector by a total of one-half perforation and the shifting of the internegative stock by two perforations is a 0.4665 inch shift which allows each of the second useable image frames from the interpositive to be recorded on the remaining film area corresponding to the 0.933 inch space to be occupied by two adjacent image frames. Prior to the second pass, the aperture 136 is reversed on the aperture centerline to the position corresponding to 136A shown in FIG. 17.
This embodiment for consolidating usable image information onto an internegative through a double-pass process whereby the projector is shifted between passes provides a convenient mechanism and procedure for precision transfer and consolidation of motion pictures from the conventional 35 mm current Wide Screen format to the new consolidated format on 35 mm film stock. Image resolution is enhanced with the present process over conventional transfers, and currently available precision equipment can be used to achieve accurate shifting of the projector between passes. Precision 0.933 inch pull-down for the printer camera can be accomplished by appropriate re-design of the camera movement, as would be apparent to one skilled in the art.
In an alternative embodiment of the optical printer (FIG. 18), the projector may be positioned 0.23325 inch above the printer centerline so that the usable image from the interpositive is recorded onto the lower half of the internegative film space. The raised position of the projector puts the centerline 142 of the interpositive film frame approximately 0.23325 inch above the printer centerline. The interpositive is then transported on a first pass in the same manner as described above, with odd film frames being recorded on the internegative on the lower portion of every increment of film space corresponding to five perforations the camera being centered on the printer centerline. Before the second pass, the camera aperture is reversed so that the aperture of 0.868 wide by 0.4665 inch high for Wide Screen (1.049 inches wide by 0.4665 inch high for Scope) extends above the printer line and the projector is lowered 0.4665 inch, corresponding to one full usable image frame, so that the even frames may be recorded on the internegative film.
In a further alternative embodiment of the optical printer (not shown), the projector remains stationary so that the vertical center of each interpositive film frame is centered on the printer centerline. The camera is vertically adjustable so that it can be offset for one or both of the first and second passes. In the preferred embodiment, the camera is offset 0.04665 inch above the printer centerline to expose the odd numbered images from the interpositive during the first pass. Prior to the second pass, the camera is moved downward to be offset 0.04665 inch below the printer centerline, and the internegative film is advanced 0.3732 inch (two perforations) so that the even frames of the internegative are exposed during the second pass. The camera aperture is also turned over in a north/south direction to expose the upper film area in the camera as discussed above. For the second pass, the internegative is advanced 0.3732 inch and exposed while running in the reverse direction, or rewound and advanced 0.3732 inch to frame 106A, as discussed above.
While the printing means and process described herein reference dimensions corresponding to consolidation of Wide Screen images, similar apparatus and methods are also used to consolidate Scope images.
Other mechanical arrangements can be made for consolidating the usable images from the 35 mm interpositive onto the 35 mm internegative wherein the frame pitch is the preferred 0.4665 inch and the preferred effective pull-down is 0.4665 inch. Therefore, in a further embodiment of the printer camera film transport, the camera head includes a supply reel 144 and a take-up reel 146 for transporting the internegative film stock 148 through a film gate 150 (FIG. 19) for properly recording the usable image area according to the preferred consolidated format. The internegative film is registered in the film gate for proper recording by first and second pairs of registration pins 152 and 154, respectively. The second pair 154 of registration pins is positioned one and one-half perforations below the first pair of registration pins 152. These dual registration pins are spaced one and one-half perforation pitch or distance apart to properly register alternately a first film frame on which is recorded the first image and thereafter properly register the second film frame on which is recorded the next succeeding usable image. The mechanism of FIG. 19 is used to properly register the internegative film as sequential images from the interpositive are recorded thereon in a single pass. The dual registration pin arrangement accounts for the effective 0.4665 inch pitch or film pull-down, resulting from the consolidation according to the present invention.
A pull-down claw 156 (a sprocket wheel can be used instead) advances the film 148 0.4665 inch with each stroke. However, because this pull-down stroke of 0.4665 inch corresponds in 35 mm film stock to two and one-half perforations, the start and end points of the pull-down claw 156 alternate, and the pull-down claw shuttles back and forth between the two start positions with each stroke. For example, in a first stroke to advance the film a distance of 0.4665 inch, the film gate 150 engages the film with the pull-down claw 156 at position A1 and disengages the film from the first pair of registration pins 152. The pull-down claw 156 advances the film through the film gate the 0.4665 inch distance to position A2. Therefore, the next succeeding film frame is positioned before the aperture 158 (FIG. 24) in the film gate. Because the film is advanced a fractional number of perforations for 35 mm film stock, no pair of sprocket holes will be positioned then in front of the first pair of registration pins 152 but there will be a pair of perforations then positioned in front of the second pair of registration pins 154 which are positioned one and one-half perforations below the first pair of registrations pins. As a result, the film gate engages the film with the second pair of perforation pins 154 while the first pair of registration pins remain disengaged (FIG. 21). At the same time, the film gate disengages the film from the pull-down claw 156. The pull-down claw 156 returns upward to a position B1 one-half perforation above its original starting position to engage the next pair of perforations. There are no pairs of perforations located at the position A1 from which the pull-down claw started since the film was advanced only two and a half perforations. The film gate then engages the film with the pull-down claw 156 while the first and second pairs of registration pins are disengaged. The pull-down claw then advances the film to position B2 another 0.4665 inch increment to once again position a pair of sprocket holes in front of the first pair of registration pins (FIG. 22). The pull-down claw then shuttles between positions A1-A2 and B1-B2.
The advancement and sequential registration of pins with corresponding sets of sprocket holes in the internegative film can be seen in FIGS. 23 and 24. In considering the internegative film of FIG. 23, it should be noted also that in the preferred embodiment using 35 mm film stock, the bottom of each consolidated film frame falls either precisely on a perforation, such as Frames A', C', E', and so on, or precisely on a line extending half way between perforations, namely Frames B', D', F' and so on. It should be noted also that the frame lines 160 are shown in an exaggerated form for clarity. However, it should be understood that the space constituting the frame lines 160 is minimal. In order to register each frame as the frame is presented in the film gate, the registration pins preferably engage sprocket holes above or below the film frame so that engagement of the film with the registration pins do not distort the film frame being exposed. Moreover, it is desirable to have the registration pins as close as possible to the film frame to be exposed. Therefore, to register the Frames B', D', F' and so on, the first pair of oppositely disposed sprocket holes below the frame line between Frames A' and B' are used. For Frame B', the first registration pin pair 152 (FIG. 24) registers film Frame B'. The first registration pin pair 152 is positioned a distance below the bottom edge of the aperture 158 equal to one half of the perforation pitch (the distance between adjacent perforations) and a half frame line. Therefore, the pull-down claw 156 (FIGS. 19-22) advances the internegative film 148 a distance of 0.4665 inch. When the film reaches its new position, sprocket holes will not be aligned with the first registration pin pair 152 but only with the second registration pin pair 154. The second registration pin pair is positioned in the film gate below the aperture 158 a distance approximately equal to 0.4665 inch plus the increment of one-half frame line so that the second pair of registration pins engage the sprocket holes designated by the letter C" (FIG. 23). The first pair of registration pins 152, therefore, engage the first sprocket holes below each film frame whose lower frame line falls between adjacent sprocket holes (Frames B', D', F'), while the second registration pin pair 154 engage the second full sprocket holes below the lower frame lines of those frame whose frame lines fall on a sprocket hole (Frames A', C', E').
It should be noted that the frame lines may fall elsewhere between perforations, but the alternating "at" and "between" arrangement is preferred because splices can be more easily made with the frame lines positioned as disclosed. Additionally, replication and consolidation can be more precise where frame lines are positioned precisely "at" and "between" perforations.
Using the dual pin registration arrangement, consolidation of usable film images on an internegative film strip using an optical printer avoids the multiple pass consolidation process. The dual pin registration system also avoids adjustment of the printer projector or camera in order to properly position the usable images on the internegative film stock in the optical printer camera. However, as with the double pass consolidation process, the dual pin registration arrangement allows accurate printing of the consolidated images on the internegative film stock to reduce film waste, and to reduce the total film length required for a feature length motion picture. Other arrangements may also be used.
The process described above for creating a 35 mm release print produces images having a resolution of approximately 42 line pairs per millimeter. This resolution is improved relative to the resolution of conventional prints, at approximately 36 line pairs per millimeter. However, in a further embodiment of the present invention, image resolution for release prints can be increased to approximately 50 line pairs per millimeter through a dual optical printer process whereby an interpositive is produced from the original camera negative in an optical printer enlarging the images substantially two times onto 65 mm film in an optical printer, after which an interpositive is produced onto 35 mm film through a substantially 2:1 reduction in an optical printer. The final release print is then produced in a contact printer resulting in a resolution of approximately 50 line pairs per millimeter.
In accordance with a further aspect of the present invention (FIGS. 25-27), 35 mm original camera negative film 162 in the conventional Wide Screen format includes a plurality of frames such as first frame 164 and second frame 166 having the conventional dimensions. The usable image area corresponding to the dimensions 0.868 inch by 0.4665 inch is transferred in an optical printer such as that described above but wherein the usable image is enlarged two times onto 65 mm film 168 in an area 1.736 inches by 0.0933 inch (FIG. 26). The usable images are preferably placed on the 65 mm film without any substantial interframe space so that each subsequent frame is closely adjacent to the preceding frame. The usable images on the interpositive are then reduced in an optical printer at a ration of 2:1 onto 35 mm internegative film 170 wherein each frame occupies an area of 0.868 inch by 0.4665 inch. The internegative film has the same format and frame configuration as the internegative 114 previously described (FIG. 11A). Specifically, the frame pitch is 0.4665 inch. There is very little, if any, interframe space and each frame is closely adjacent to the immediately preceding frame to minimize film waste. The internegative can then be used to produce, through a contact printer, release prints in the consolidated format which would allow for theater projection automation and which has better image resolution and greater screen definition. Significantly, the image resolution is greater in the prints developed by the process described with respect to FIGS. 25-27 because there is negligible loss of image resolution in the enlargement process going to the 65 mm film from original camera negative to interpositive.
Similar increased image resolution can be achieved with motion pictures filmed in the Scope format by enlargement from the original camera negative to the interpositive and subsequent reduction from the interpositive to the internegative (FIGS. 28-30). Specifically, original camera negative Scope film 172 (FIG. 28) in the conventional format includes usable image information in the area defined by the 0.980 inch by 0.423 inch area on each frame 174. Each usable Scope image from the original camera negative 172 is enlarged 1:2.141 in an optical printer having a printer lens onto 65 mm film 176 whereon the enlarged images 178 are 2.098 inch by 0.906 inch. As with the current Wide Screen format, each image is recorded closely adjacent to the immediately preceding image and there is negligible change in image resolution with the enlargement. The interpositive is then reduced 2:1 in an optical printer having a printer lens onto a 35 mm internegative film 180 (FIG. 30) within an image boundary or frame 182 1.049 inches by 0.453 inch with negligible interframe space. The internegative 180 includes Fox perforations 184 to accommodate the 1.049 inches width of the frame. The frame pitch is 0.453 inch while the pull-down pitch is preferably still 0.4665 inch. As with the similar Wide Screen process, the Scope enlargement and reduction process produces motion picture film having higher image resolution and screen definition. The process also reduces film waste and provides a film release print which allows full theater automation.
Significant benefits to the projection and exhibition of motion picture films flow from the film format of the present invention. Significant savings in film stock consumption result when multiple release prints are produced from the internegative of the present invention. The shorter release prints allow a feature length motion picture to be placed on a single reel, and also allow full automation in exhibition of feature length motion picture films. In prior projection systems such as the platter system (FIG. 31), a projector 186 has a film 188 threaded through it. An upper platter 190 is mounted on a feeder stand 192 to supply film to the projector. After the film passes through the projector, it is fed to a lower platter 194 similarly supported by the feeder stand 192. After each showing of the film 188, the film must be rethreaded through the projector. A trained projection attendant must typically re-thread the film after each showing and start the projector. Additionally, feature length motion picture films typically come in four or more reels each containing approximately 2,000 ft. lengths of film. These segments must be spliced together in proper order onto the platters or, in the case of reel projectors, threaded onto one of several large reels. These projection systems require significant attention by projection personnel. When all of the screenings of the film have been completed, the film is then wound back onto the original reels after the splices are removed. The content of the film often requires repeated adjustments during a single play, for example, where previews are shown with the masking on the projector partially opened, after which full opening of the masking occurs at the beginning of the feature film.
In accordance with a further aspect of the present invention, a projection assembly 196 (FIG. 32) includes a standard 26 inch supply reel 198 of film 200 which is then fed onto a take up reel 202. The images are projected onto a standard screen 204, described more fully below. In the preferred embodiment, the consolidated motion picture film of the present invention can be provided on a single reel and would include a suitable reverse code at the end of the film to stop the projector and rewind the film at a linear speed of 600 to 800 feet per minute.
The projector is modified according to the present invention by removing the standard drive sprocket 206 (FIG. 33) having a circumferential arc length AA between teeth of 0.187 inch, corresponding to an arc BB of 22.5�, having a tooth base height CC of 0.078 inch and a radius DD of 0.4762 inch. This prior art sprocket was used to drive the conventional 35 mm film having four perforations per frame. This drive sprocket is substituted with a smaller drive sprocket 208 (FIG. 34) having a circumferential arc length AA between adjacent teeth of 0.187 inch and arc BB of 36�. The base height CC of the teeth is 0.078 inch while the radius EE is 0.2976 inch. The sprocket is driven so as to present a new film image to the film gate aperture at the standard film frame rate, namely 24 frames per second. However, with the consolidated print, the film speed or projection speed is 56.25 feet per minute, compared to the conventional 90 feet per minute with present film prints.
The projector is further simplified by eliminating the cylindrical lenses required for Scope projection, thereby increasing the light output from the projector for Scope projections. The enlargement of 1:2.141 and reduction of 1:2 used in creating and going from the 65 mm Scope interpositive to the internegative allow the use of spherical lenses to show a Scope film.
Sound reproduction is dramatically enhanced when digital recording and playback are used with the film formats of the present invention and the film is run at 56.25 feet per minute. In the preferred embodiment of the final release prints for Wide Screen format (FIG. 35), the release print 211 preferably includes an analog stereo sound track 210 and a SMPTE time code track 212 common in the industry. The perforations 214 are the conventional Kodak 35 mm film perforations spaced and oriented in the same configuration. However, the consolidated frames 216 are arranged so as to have the 0.4675 inch pitch. Every other inter-frame line falls "at" a perforation while the remaining interframe lines coincide with the space "between" adjacent perforations. The release print may also include a bar code 218 common in the art containing information regarding film type, film rate, end of film, and the like. The 35 mm consolidated release print 220 (FIG. 36) includes the SMPTE time code 222 and Fox perforations 224 and the bar code 226. The Scope size of frames 228 also have an effective 0.4675 inch pitch. The Scope release print omits the analog sound track but may include a digital inter-perforation sound track 230. Alternatively, a separate digital sound track can be recorded on another medium which can then be synchronized using the SMPTE time code.
The projector includes a wide screen aperture 232 (FIG. 37) having Wide Screen opening dimensions 0.829 inch by 0.446 inch. The projector also includes the aperture 234 (FIG. 38) having Scope opening dimensions of 1.049 inches by 0.446 inch. The aspect ratio of the wide screen aperture is 1.85:1 and the aspect ratio of the Scope aperture is 2.35:1. The wide screen projected image illuminates a typical 27.75 foot by 15 foot high screen 236 (FIG. 39) while the Scope aperture illuminates a typical 35.25 foot by 15 foot high screen 238. As discussed above, the higher resolution images from the consolidated prints produce a higher screen definition. A Wide Screen spherical lens and a typical 75 foot throw produces a 2.23 inch E.F. (E.F. equals the throw divided by the screen height multiplied by the film image height). The Scope spherical lens produces 2.23 inch E.F. with a typical 75 foot throw.
In a further form of the optical printer (FIG. 40), a stationary printer projector represented schematically at 240 passes an interpositive film at a 0.7464 inch pull-down pitch so that the usable image area of 0.4665 inch can be projected through a movable lens 242 and onto a substantially 0.4665 inch film frame on an internegative advanced through a stationary printer camera represented schematically at 244. The printer camera advances the internegative film at a pull-down pitch of 0.933 inch. The movable lens 240 is adjustable to a first off-set position preferably 0.0233 inch south of the printer centerline during a first pass of the interpositive and internegative film strips, to expose "odd" film frames onto the internegative. After the first pass is completed, the lens is off-set above the printer centerline, preferably 0.0233 inch north, while the internegative is advanced 0.3732 inch (e.g., two perforations on 35 mm film) before beginning the second pass so the "even" film frames can be projected onto the remaining portions of the internegative film stock. The camera aperture configurations are preferably the same as those shown in FIG. 17 for the corresponding first and second film passes.
In an alternative embodiment of the optical printer of FIG. 40, the printer projector 240, the printer lens 242 and the printer camera 244 are maintained stationary on the printer centerline and the usable images from the interpositive film are projected onto the 0.4665 inch frame on the internegative film stock with the "odd" frames being transferred in a first pass. At the end of the first pass, the positive and negative film rolls are turned over and rethreaded with the "even" frames of the interpositive film on the optical center of the printer, and with the internegative stock rethreaded so that the frames fall on the same center as previously configured. The interpositive and internegative film rolls are rotated in an "east/west" direction so that the film emulsions are still face-to-face. The unexposed portions of the internegative are centered on a 0.980 inch wide by 0.4665 inch high aperture vertically centered on the printer centerline. "Even" frames are then printed onto the internegative film stock.
Table I shows a comparison of film formats, projection characteristics and exhibition characteristics for prior film formats and for the present invention. Table II shows various advantages of the present invention over the prior film formats.
Although particular embodiments of the invention have been described and illustrated herein, it is recognized that modifications and variations may readily occur to those skilled in the art, and consequently, it is intended that the claims be interpreted to cover such modifications and equivalents.
TABLE I__________________________________________________________________________ PRIOR FORMATS PRESENT INVENTION__________________________________________________________________________1.85:1 Wide Screen FilmCamera (35mm) .868" � .631" SameAcademy) .825" � .446" Same CompositionInterpositive (35 mm) .868" � .631" Contact SameInterpositive (65 mm) N/A 1.736" � .933", 1:2 35 mm to 65 mm opt. ReplicationInternegative (35 mm) .868" � .631" Contact .868" � .4665", 1:1 35 mm to 35 mm opt. ReplicationInternegative (35 mm) N/A .868" � .4665", 2:1 65 mm to 35 mm opt ReplicationRelease Print (35 mm) .868" � .631" Contact .868" � .4675" Contact, Kodak Pf.2.35:1 Scope FilmCamera (35 mm Full .980" � .735" SameAcademy) .980" � .423" Same CompositionInterpositive (35 mm) N/A .980" � .735", ContactInterpositive (65 mm) N/A 2.098" � .906", 1:2.14 35 mm to 65 mm opt. ReplicationInternegative (35 mm) N/A 1.049" � .453", 1:1.07 35 mm to 35 mm opt. Replication Fox Pf.Internegative (35 mm) N/A 1.049" � .453", 2:1 65 mm to 35 mm opt. Replication Fox Pf.Release Print (35 mm) .868" � .735" Contact 1.049" � .453", Contact, Fox Perf.ProjectionPulldown .748" Per Frame .4675" Per FrameSpeed 90 Ft. Per Minute 56 1/4 Ft. Per MinutePrint Length 9000 Feet (Multiple 5625 Feet (Single Reel)(100 Minutes) Reel)Aperture Size .825" � .446" .825" � .446"(Wide Screen)Aperture Size (Scope) .838" � .735" 1.049" � .446" (Flat) (Anamorphic)Lens (Wide Screen) Spherical SphericalLens (Scope) Anamorphic SphericalAspect Ratio 1.85:1 1:85:1(Wide Screen)Aspect Ratio (Scope) 2:35:1 2:35:1Automation Partial FullScreen (Typical)Wide Screen 27.75 Ft. � 15 Ft. 27.75 Ft. � 15 Ft.Scope 35.25 Ft. � 15 Ft. 35.25 Ft. � 15 Ft.SoundWide Screen Analog on Film Analog on Film Digital on Film Digital on Film N/A Digital (Separate)Scope Analog on Film Digital (Separate) Digital on Film Digital on Film__________________________________________________________________________
TABLE II__________________________________________________________________________35 MM FILM, PRINT AND PROJECTION SPECIFICATIONSOF CONVENTIONAL PRACTICE AND OF THE INVENTIONImage, Film, Ratio Academy: InventionPrint, Projection Standard Invention Invention Advantage__________________________________________________________________________Image Size of Orig. Neg. 0.631" � 0.868" -- -- --Image Area of Orig. Neg. 0.548 sq. in. -- -- --Useful Wide Screen Image 0.446" � 0.825" 0.446" � 0.825" 1:1 Same SizeSize of Orig. Neg.Useful Wide Screen Image 0.368 sq. in. 0.368 sq. in. 1:1 Same SizeArea of Orig. Neg.Frame Pitch 0.748" 0.4675" 1:0.625 Less Film (37.5%)Frames Per Foot 16 25.60 1:1.60 More Frames/Ft (60%)Non-Useful Image 0.302" 0.0215" 1:0.071 Less WasteSpace Between (93%)Useful FramesPrint Length 9000' 5625' 1:0.625 Less Film(100 min.) (37.5%)Projector Pull 0.747" 0.4675 10.625 Less VelocityDown Pitch (37.5%)Frame Transport 24 24 1:1 SameRate (frames/sec.) PresentationFilm Transport 90' 56.25' 1:0.625 Less FilmRate (ft./min.) (37.5%)Typ. Screen Size 15' � 27.75' 15' � 27.75' 1:1 Same Screen(1.85:1)Projection Lens E.F. = 2.23" E.F. = 2.23" 1:1 Same Lens(spherical)(75' proj. throw)Print Yield, 111 prints 178 prints 1:1.60 More PrintsDistribution (per (60%)1 million print feet)Economy $1200 $750 1:0.625 Less Expense(cost per print) (37.5%)__________________________________________________________________________
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|Metro Goldwyn Mayer Inc
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|The Todd-Ao Corporation
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|United Artists Theatre Circuit, Inc.
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|Goodhill; Dean K.
|Method of making enhanced resolution motion picture release-print film
|Mar 26, 1996
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|Goodhill; Dean K.
|Asynchronous contact printer for motion picture film
|Feb 27, 1996
|Nov 24, 1998
|Goodhill; Dean Kenneth
|Methods of previewing and editing motion pictures
|Feb 7, 1996
|Aug 31, 1999
|Maxivision Cinema Technology
|Switchable pulldown film projection system
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|Maxivision Cinema Technology
|Switchable format film projection system
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|Jun 5, 2001
|Clearvision 2000, Inc.
|Panoramic 70mm film system
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|Jul 22, 2008
|Eastman Kodak Company
|Tracking an image-recording medium using an identifying mark and film encodement
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|Roger Constantine Field
|Film transport
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|Jan 6, 2009
|Brunkhardt Benjamin P
|Method for recomposing large format media
|Apr 28, 2007
|Jun 10, 2014
|Robert C. Weisgerber
|Compact acquisition format for dimensionalized digital cinema projection at forty-eight images per second
|Oct 22, 2002
|Mar 13, 2003
|Goodhill Dean K.
|Switchable format film projection system
|Oct 3, 2003
|Apr 8, 2004
|Goodhill Dean K.
|Method of making motion picture release-print film
|Nov 4, 2003
|May 19, 2005
|Eastman Kodak Company
|Tracking an image-recording medium using an identifying mark and film encodement
|Apr 7, 2005
|Dec 29, 2005
|Brunkhardt Benjamin P
|Method for recomposing large format media
|Oct 19, 2001
|Jun 29, 2006
|Field Roger C
|Film transport
|Jun 7, 2005
|Aug 21, 2008
|Youngshik Yoon
|Film Printing Head Having Hybrid Lenses
|Apr 28, 2007
|Oct 30, 2008
|Weisgerber Robert C
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|Jul 30, 1998
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|Sound system for compact distribution print
|Oct 2, 1996
|May 29, 1997
|Todd Ao Corp
|Sound system for compact distribution print
|Feb 3, 1997
|Aug 14, 1997
|Goodhill Dean K
|Switchable pulldown film projection system
|Jul 30, 1998
|Feb 18, 1999
|Maxivision Cinema Technology
|Switchable format film projection system
|Oct 22, 2004
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|Carroll-Yacoby Diane Marie
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|U.S. Classification
|352/79, 352/241, 352/168
|International Classification
|Cooperative Classification
|European Classification
|Mar 31, 1994
Owner name: UNITED ARTISTS THEATER CIRCUIT, INC., CALIFORNIA
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:VETTER, RICHARD;REEL/FRAME:006940/0529
Effective date: 19940321
|Jan 7, 2000
|Fee payment
Year of fee payment: 4
|Jan 28, 2004
|Maintenance fee reminder mailed
|Jul 9, 2004
|Lapse for failure to pay maintenance fees
|Sep 7, 2004
|Expired due to failure to pay maintenance fee
Effective date: 20040709


text:
NYE in... Chumphon? My great stuff-up
NYE in... Chumphon? My great stuff-up
When you fail to plan, you plan to fail - so they say. I've just been picking up and moving when and where I feel like for the past few months, usually spurred on by visa obligations. Recently I've been headed North though, starting at Had Yai right at the bottom of Thailand.
I want to see Bangkok and Chiang Mai, and am en route at the moment.
I was enjoying a cosy bungalow in Ko Phangan, but they could only accommodate me up to the 30th, and it seemed pretty much the entire island (and surrounding islands) were going to be booked out over New Years.
So I made a dash for the last boat of the day, at 12.30pm, and went to Chumphon via Ko Tao . The Ko Tao leg of the journey was like being people smuggled - packed with unwashed, guitar-wielding hippies. It was a pretty interesting cultural mesh though. I was sat next to an Iranian and an Iraqi at one point. Surprisingly they seemed like the best of pals, sharing a rollie. Then a drunk fell from the roof and landed on my foot. "Thanks for dropping by," I chirped as he clambered off. You have to roll with the punches sometimes.
The trip from Koh Tao to Chumphon was a long and sickening trip across choppy waves. And then, halfway through the Gulf of Thailand, the engines cut out unexpectedly. No announcement on the PA to tell us everything was going to be ok though. Just a boat with a few farang sharing confused and worried looks. About 40 minutes later the engines fired up again though, and we eventually made it back to land on the outskirts of Chumphon.
There was no way I was in the mood for a 8-9 hour bus ride to BKK, so I set off on foot in search of guesthouses. Clearly I've been spoiled in tourist heavy areas like Phuket and Koh Samui where you can stumble across a guest house within 2 mins walk of pretty much anywhere. This is not the case near the ferry wharf in Chumphon. Most people just hangout in the cafeteria and wait for the connecting bus, but not me.
The first thing I noticed about Chumphon is that most of the business shuts down after dark. Desperate to charge my iPhone, I stopped off for a quick Leo in what I think was an amateur attempt at a girlie bar.
"Just beer and power for me, kapunkap" I said to the burmese girl making eyes at me while I brushed a cockroach off the power outlet to plug in my laptop.
The iphone may be a fragile and overpriced little thing, but damn is it useful. It's like the Swiss army knife of electronic devices. I needed to bump the power back up to at least 30% so I'd have enough time to find my way to the pier by GPS and see if they could help me.
When I did make it back to the pier, at 10pm, I found my fellow seasick travelers were still waiting for the bus to BKK. I thought about just getting a ticket and getting out of Chumphon since the guesthouses must be closer to the train station (a half hour drive or 3 hour walk away) but a helpful Thai guy selling drinks said he could call a guesthouse about 5km away to come pick me up, for free, and give me a room for 600baht. "Does it have hot water?" I asked. "Yes, have." "Then we have a deal."
Anyway, I've had my 8 hours sleep, a hot shower and a shave and am feeling better, if not a little bit lost. Ah, the fun of Thai travel.
#1 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
Oh dear, not quite the NYE you were hoping for, I guess! WHat a bugger you had to move on from KPN. I thought you might have hung out there for awhile. Haven't been to Champuan but I'm surprised you found it so hard to find somewhere to stay. I imagined it to be a bit like Surat Thani, Trat or Trang - much quieter, but quaint towns.
Oh well, a good night's sleep will hopefully give you a better perspective in the morning. It's all part of the adventure! I just got home from a NYE party here in NZ. I could think of other places that I would rather be!
Happy New Year to you, Cranky. I await the next instalment of Cranky's Adventures!
#2 busylizzy has been a member since 31/12/2007. Location: New Zealand. Posts: 2,155
Where has busylizzy been?
Hey quick question about your iPhone. I'm thinking of getting one next year... oops, this year. The GPS stuff that you use - is that standard with the phone, or have you loaded additional apps onto the phone?
#3 busylizzy has been a member since 31/12/2007. Location: New Zealand. Posts: 2,155
Where has busylizzy been?
Happy New Year Cranky,
Most of the guesthouses in Chumphon are near the very well-located train station. Drop into the "Farang Bar" http://wikitravel.org/en/Chumphon which also does cheap rooms, and get a day train north. Since you're doing it slow, drop off at places like Ban Krut (miles of empty lovely beach) and Phrachuap Khiri Khan (visit the monkey hill temple!) and maybe Petchaburi (big caves full of Bhuddas). Side-trip to Kaeng Krachan NP if you're a nature lover (many Thai tourists though) and skip up to Samut Songkhram where you can catch the Mae Khlong Mahachai Railway into Bangkok - a totally cool way to enter the capitol.
The countdown starts in just over 4 hours. Happy 2011
#4 Captain_Bob has been a member since 27/5/2006. Location: Thailand. Posts: 1,903
@Lizzy - I have an iPhone 3gs (recently superseded by the i4) It's funny. You'd think the simple country Thai would be impressed with my high tech gear, but then they find out it's not the iPhone 4 and look slightly disappointed.
Nevertheless, the ageing 3gs comes with a map app as standard, which feeds info from Google Maps. It's not without its flaws and I'm still looking for a replacement app, but it is dead simple to use and will save you a lot of aimless walking around. Throw away those giant fold up map wastes of space now and keep it all in your pocket, along with movies to watch on the minivan rides, games and email updates. Oh yeah, and I heard a rumour you can receive and make phone calls on it. How good's that? Now, where's my endorsement cheque, Apple?
@C-Bob - thanks for the suggestions. Stopping off in places like that is exactly how I want to make my way to BKK.
PS Moments after I posted all this in desperation, I accosted the Guest house operator, who confirmed I could get a local bus to the Train station/many other G houses. I Google image searched the local bus so I'd know what to look for (since they look dif in dif places and can be indistinguishable from private tours) and had one flagged down within 5 mins.
Unlike the local bus drivers in Krabi and Phuket, this guy didn't mess around. He floored the old rust bucket all the way to town. A motorbike driver tipped me off to a cheap place with wifi and hot showers (joy!) for just 150thb (place called Fame near the station) Now it's just a matter of whooping it up with the locals and catching the train outta here tomorrow... or maybe the next day if I need a sleep in
#5 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
Hi Cranky definitely agree with Captain Bob about stopping at Prachuap Kiri Khan on the way up to BKK. stayed there about 2 years ago after getting off the train from Hat Yai. From memory it stopped at PKK about 4 in the morning. There was a tuk- tuk guy waiting so he dropped us at a great new hotel that the travel people on Koh Lipe put me onto. Was only THB 300 a night for all the trimmings. Hotel called Ountawan ph 0-38604-931-8. Unfortunately card I have is in Thai so don't have address. Great town this with really good food at night market very few falangs and a sense of being well away from the tourist route.
#6 swag has been a member since 28/3/2007. Location: Australia. Posts: 331
I heard a nasty rumour the Northern line might be booked out for the next couple of days, but we'll see.
I personally hate to be stuck inside a boat/minivan/bus/train for more than 3-4 hours in one go. That's just my comfort threshold, so I try to stop off about every 200km or so, stretch my legs and get some laundry done.
I've got about 5 and a half weeks left on my visa now, and am very keen to settle down and rent an apartment for a month somewhere, since it's you get all the comforts of a 3-4 star place, for a 1-2 star price.
I really want to hit Bangkok and Chiang Mai, since I've never been and have heard both are amazing places. So with that in mind, I really only have about a week to get to the top of the country and settle down.
So I'll pick one of those places C Bob mentioned, maybe Prachuap Kiri Khan since he and Swag think its the shiznit. As long as it's on the train line to BKK and it's got monkeys, there's a tick in every box.
#7 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
"...sharing a rollie."
OK, I give up. WTF is a rollie?
#8 MADMAC has been a member since 6/6/2009. Posts: 6,957
That's Aussie-speak for 'roll-your-own' cigarettes. (Unless he's referring to something a bit stronger....)
#9 busylizzy has been a member since 31/12/2007. Location: New Zealand. Posts: 2,155
Where has busylizzy been?
"they're probably sharing a certain style of " rollie ""
Now that you mention it, it did kinda smell like there was a 'special' rollie in our midst. Highly unusual for the dread-locked crowd.
There's only one train out of here headed North in the daytime, at 12.46pm, which is perfect for checking out of hotel and strolling to the station. Problem is, apparently a lot of Thai travel home to BKK on the second last of the four national holidays (which I just found out about). That means the train will be choccas* tomorrow. I'm just outside the Chumphon station deciding which place to stop off at on the way to BKK and Prichi kitchie (you know what I mean) sounds like the best option. It's about 3 hours away, which is the perfect travel time for me, it's got nice surrounds, monkeys, and apparently it's one of those last tourist-free gems.
Hope there'll be a nice tuk mak mak guesthouse near the stn and a place to get machine coffee. I'll be checking the 'Ountawan' swag mentioned. It sounds like it might be a peng taxi ride from the stn though...
I am the king of kinyao after all. Wow, my vocabs coming along. I must know all of about 40 words now. ci-sip
*Madmac, 'choccas' means 'choc-a-block' or 'very full' if you will. Your list of 'strine** words is growing like my pigeon Thai, eh?
**'strine is short for 'Australian slang' - there's one more
#11 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
Well, after seeing this pic of Ao Manao beach in Prachaup:
I'm ready to buy my train ticket out of Chumporn. Too bad it's all booked out except for a couple of 3rd class tickets at 2.30am
#12 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
Here's a local monkey reacting to news of Cranky's impending arrival:
#13 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
Excellent! Thanks for posting my monkey pic.
See more of this coast on http://www.iantaylor.org/thaitrip_0308_5.html
#14 Captain_Bob has been a member since 27/5/2006. Location: Thailand. Posts: 1,903
Hey, cool electrified rodent pic. I wish I had me a leopard skin seated scooter to get around on. Then I wouldn't be sitting around in Chumphon for 5 days waiting for a train seat!
#15 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
@ Swag and Captain Bob - Hey fellas, I decided to take your advice and stop off at PKK.
Fortunately there was a train running here from Chumphon at 6.42am, so I arrived at the respectable hour of 11am.
I've had a nap, a couple of "fresh" coffees and a look around on foot and I've gotta say this place is pretty sweet.
Just wanted to shout out a thanks for the tip off ;0
I have a few Q's about the area, but I'll post a new PKK thread. Cheers.
#16 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
@Swag - I stepped out of 7/11 this afternoon, and randomly spotted that Outanawan hotel.
Room looked pretty sweet, but they've jacked the price up to 380 now. I've booked it for tom night. I could use a good night's sleep on a comfy mattress, as opposed to the lumps of concrete with sheets on them that pass for beds in many other guest houses.
#17 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
@LeChron - I've never been called a 'Don' before, but I think I like it.
More misadventure here:
#21 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
That's cool. Now I feel obligated to share more of the madness I'm enduring/enjoying. You should see the stuff I'm not writing about, lol.
#23 CrankyCarrot has been a member since 24/3/2010. Location: Thailand. Posts: 662
"Side-trip to Kaeng Krachan NP if you're a nature lover (many Thai tourists though)"
Aren't Thais allowed to see their own country?
#24 Krabiman has been a member since 2/1/2011. Posts: 223
My point being during that time until schools go back in session (Jan 4 this year) is hyper-peak season for Thai tourists so many of the national parks are jam-packed. Gets more accessable afterwards.
#25 Captain_Bob has been a member since 27/5/2006. Location: Thailand. Posts: 1,903
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subset: commoncrawl


text:
Bernardo Ruiz appears in the following:
Three Voices From the U.S.-Mexico Drug War
Tuesday, November 17, 2015
'Reportero' Tells the Story of Journalists Who Risk Their Lives in Mexico
Monday, January 07, 2013
Thursday, June 21, 2012
Director Bernardo Ruiz talks about his documentary "Reportero," which follows veteran reporter Sergio Haro and his colleagues at Zeta, a newspaper based in Tijuana, one of the most deadly places in the world to be a journalist. Since the paper's founding in 1980, two of the paper's editors have been murdered and the founder viciously attacked. Despite the attacks, the paper has continued its aggressive investigative reporting. "Reportero" will be shown as part of the Human Rights Watch Film Festival at the Film Society of Lincoln Center June 21-23.


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- Report: #58457
Report - Rebuttal - Arbitrate
Complaint Review: Wilhelmina And Ford Scouting Network
Wilhelmina And Ford Scouting Network508 Park Ave New York, New York U.S.A.
Wilhelmina And Ford Scouting Network ripoff fraud business New York New York
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Done deal. Trans Continental Entertainment Group Inc. inked a deal with Wilhelmina Scouting LLC.
Financial terms were not disclosed.
Under the deal, the Orlando-based company's talent scout subsidiary, Trans Continental Talent, will do business as Wilhelmina Scouting Network.
Lou Pearlman, chairman of Trans Continental, said his company chose Wilhelmina because of its reputation and 36 years in business, which will benefit Trans Continental Talent's models and actors.
While Wilhelmina will assist Trans Continental with staff training, Trans Continental Talent Chief Executive Officer emphasized that his company will continue operating its current talent scouting business.
Kicking off the affiliation, he announced a national talent search by the network in 40 cities over 15 months.
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General Billing Information
Hospital charges are summarized into categories of charges on your bill, such as laboratory, radiology, or supplies.
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Physicians and other professional providers bill their fees separately from the hospital. You may receive more than one bill from other professionals who assisted with your treatment (i.e. radiologists, anesthesiologists, ER physicians, pathologists).
For billing inquires please contact our Customer Service department at 734-712-3700 or 800-676-0437 TTD 734-827-9336
Understanding your insurance policy is very important when making the right choice in choosing your healthcare provider. For maximum benefit coverage you will need to confirm what providers are considered In-Network/Participating with your health plan.
St. Joseph Mercy will bill all insurances however; you are ultimately responsible for all charges.
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Associate Professor of Molecular Physiology and Biophysics
Primary Office: 5-512 BSBIowa City, IA 52242
Phone: 319-335-7820
Email: firstname.lastname@example.com: Publications via PubMed
MD, Tohoku University School of MedicinePhD, Neuropathology, Tohoku University School of Medicine
Post Doctorate, Japan Society for the Promotion of Science, Department of Neurophysiology, Tohoku University School of MedicinePost Doctorate, Department of Molecular & Cellular Physiology, Stanford University School of Medicine
National board of physicians, JapanEnglish Commission for Foreign Medical Graduates (ECFMG), National board of physicians, USA
Department of Molecular Physiology and Biophysics PhDInterdisciplinary Graduate Program in NeuroscienceMedical Scientist Training Program
My laboratory focuses on the study of synaptic transmission in the mammalian central nervous system. Synapses are the sites at which electrical signals that have been transmitted through presynaptic neurons are converted to chemical signals (neurotransmitter release). The neurotransmitter released at these sites induces responses in the postsynaptic neuron – in the form of both electrical and chemical signals (such as an increase in the intracellular calcium concentration). The efficiency of this two-step information flow during synaptic transmission is vital to the control of neural network activity, and we are currently focusing on two projects related to this control of synaptic transmission.
In one project, we are evaluating the fundamental parameters of neurotransmitter release from the presynaptic site, including: the amount of neurotransmitter loaded into synaptic vesicles, and the variability in the rate of neurotransmitter release. We study them by applying the electrophysiological technology, live-cell wide-field fluorescence imaging, super-resolution fluorescence imaging and electron microscopy to the cultured brain neurons of wild-type rodents.
In another project, we are elucidating the cellular pathophysiology of a movement disorder dystonia. Dystonia is characterized by involuntary skeletal muscle contractions and abnormal postures. It causes extensive deterioration of the patient's quality of life. In some patients, this condition becomes life threatening (dystonic storm), with excessive muscle contractions leading to an inability to swallow or breathe, and to skeletal muscle breakdown and multi-organ failure. Unfortunately, there is no effective cure, and treatment options are limited. Our study addresses the synaptic abnormalities in the brain, especially in the rates of synaptic vesicle recycling and neurotransmitter release, the regulation of intracellular calcium signals, and the structures of synapses and intracellular organelles.
Nanoscience and Nanotechnology Institute
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Koh J,
Iwabuchi S,
Huang Z,
Harata C.
Rapid genotyping of animals followed by establishing primary cultures of brain neurons.
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Ravens S Ed Reed 'focused on season,' still looking for new deal
|Reed is scheduled to make $7.2 million in base salary this season. (Getty Images)
As far as Ed Reed is concerned, what's in the past is … well, in the past. The Ravens safety and future Hall of Famer made it clear earlier this year that he was unhappy with his current contract, contemplated retirement and then missed mandatory minicamp.
Now in training camp with the rest of his teammates, Reed looking forward to the 2012 season.
|Latest Ravens News, Notes
"I'm here, man," Reed said according to the Carroll County Times' Aaron Wilson. "What transpired months back transpired. What happened because of what I had to deal with family wise and what I've been going through for the last 11 years now in the league you know it's always a time when you have to assess yourself. Once you get to a certain part and you've been doing it maybe not being as vocal guys don't be as vocal with it, but when you're dealing with the business side of it, too, that's something you have to deal with.
"I choose to deal with it the way I deal with it. That way, young guys know it. Kids will know it as they come up. Their parents will know it. I'm not a guy who holds things back. That's why you get what you get. And if I didn't do it that way, you wouldn't have the information to write about."
We've never had an issue with guys looking for more money since salaries aren't guaranteed. The problem is that, given the current setup, players -- even the great ones -- have little leverage (glaring exception: Drew Brees). It explains why Reed is currently in camp (and why the Steelers' Mike Wallace will be doing the same soon, too). Still, the Ravens safety hasn't changed his mind about a new deal.
"Talks have already been there," said Reed, who currently is without an agent and is set to make $7.2 million in base salary in 2012. "I know (general manager) Ozzie (Newsome) and them know I want to be here. We will get that done when it's time to cross that bridge. I'm good with football right now. I'm focused on the season. That's all I'm worried about right now is getting my teammates better and get myself better and get ready to go forward this season."
For more NFL news, rumors and analysis, follow @EyeOnNFL on Twitter, like us on Facebook, and subscribe to our Pick-6 Podcast and NFL newsletter. You can follow Ryan Wilson on Twitter here: @ryanwilson_07.


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I work with individuals, teams and across organisations or communities to help you deliver impossible results. Over the last 25 years this has included working with large corporations, entrepreneurs, sports professionals and charities, as well as large-scale projects such as the 2012 Olympics. I am a Non-Executive Director of EMMY and BAFTA-winning visual effects company Jellyfish Pictures, and a writer and speaker on issues ranging from leadership, to flexible thinking and the dynamics of conversation. My first book was 'Blamestorming: Why Conversations Go Wrong and How to Fix Them', and 'Workstorming' will be published this year. Do also visit www.conversationexpert.com
Work has included the following:
"I cannot praise Rob's style, commitment and methods highly enough."
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October 2014
October 17, 2014
Blamestorming reached No 1 in the Top 100 'Movers & Shakers' list on Amazon in the UK on 17 September 2014. On the bestsellers list,... Read More »
For further information on Blamestorming, click here


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The Library Advisory Board (LAB) acts in an advisory capacity to the Library Director and the City. Board members serve three-year terms and are appointed by the Mayor. Of the seven-member board at least five members are required to reside within the city limits.
The LAB members work with the Library Director to:
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LAB members work closely with the Friends of the Homer Library Board and volunteers, as well as the library staff and City of Homer, to ensure that the library gives the best service possible to the community of Homer.