Relevant bibliographies by topics / Film camera

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film camera'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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Journal articles on the topic "Film camera"

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Burnett, Bryan, and Steven Blaauw. "Macro Imaging with Digital Cameras." Microscopy Today 11, no. 4 (2003): 32–35. http://dx.doi.org/10.1017/s1551929500053050.

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Advances in charged couple device (CCD) design, low cast processor power, cheap memory and dropping prices of digital cameras over the last few years have made the CCD digital camera art attractive alternative to the film camera for many imaging applications. This is especially true in macro imaging where it appears likely that digital cameras will replace film cameras (curiously, Long (2001), says otherwise). As will be described here, a digital camera equipped with a quality macro-zoom lens, generates images with a depth of field (e.g., Fig. 1) that greatly surpass images produced by a film
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Westwood, Paul, and Michelle Novotny. "Examination of 35 mm Color Transparencies." Journal of the American Society of Questioned Document Examiners 8, no. 1 (2005): 29–36. https://doi.org/10.69525/jasqde.115.

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Forensic Document Services (FDS) was engaged by the New South Wales Police to examine 157 35 mm color transparencies (positives) and a 35 mm camera to assist in the investigation of the disappearance of a young girl. The purpose of the examinations was twofold: first, to determine whether 2 or more of the transparencies originally formed part of the same roll of 35 mm film and, second, whether any of these films had been exposed using the suspect camera. The combination of the findings revealed that the transparencies originated from 26 rolls of film and were exposed using at least 2 different
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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema." Film-Philosophy 21, no. 2 (2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.

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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational per
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Yeadon, Maurice R. "A Method for Obtaining Three-Dimensional Data on Ski Jumping Using Pan and Tilt Cameras." International Journal of Sport Biomechanics 5, no. 2 (1989): 238–47. http://dx.doi.org/10.1123/ijsb.5.2.238.

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A method is presented for the three-dimensional analysis of ski jumping using two pan and tilt cameras. In each film frame two reference markers are digitized and identified so that a pseudo focal length and three angles defining camera orientation can be calculated from a knowledge of the positions of camera and markers. In each film frame 12 body landmarks are digitized and the films taken by the two cameras are synchronized using the digitized displacement data. The time histories of the center of mass location and 15 angles describing the orientation and configuration of the jumper are cal
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Whitehouse, Richard, and Fenella Moulding. "Latitude and noise comparisons between digital cameras and a radiographic film scanner." Journal of Telemedicine and Telecare 6, no. 1_suppl (2000): 41–42. http://dx.doi.org/10.1258/1357633001934104.

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The test image generated by a radiographic laser printer was used as a test object to measure the latitude and image noise of two digital cameras and a dedicated radiographic film scanner. The film scanner had the widest latitude and least image noise. A Kodak digital camera had a wider latitude but more image noise than an Olympus camera. A blue filter on the Olympus camera increased the latitude without significant increase in image noise.
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Manzanilla, JPaul. "Camera EDSA Obscura." Plaridel 9, no. 1 (2012): 31–54. http://dx.doi.org/10.52518/2013.9.1-02mnznll.

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Twenty years after the EDSA uprising, 20 independent filmmakers created 20 films showing different images of the country. Ending the project with the film Mistulang Kamera Obskura, the omnibus film project self-crtically staged its representation of the social and the political. The camera obscura has a long and fraught history as a metaphor of ideology, most prominently broached by Marx in his discussion of being, consciousness, and ideology. This paper discusses the relation of the camera obscura to discourses of visuality, knowledge, and ideology. Reading the moving images as concretization
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Moran, Thomas Francis. "The Camera Devoured." Exchanges: The Interdisciplinary Research Journal 7, no. 2 (2020): 76–95. http://dx.doi.org/10.31273/eirj.v7i2.461.

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Pedro Costa’s Casa De Lava (1994) draws on the cannibalistic potential of cinema in order to excavate the history of colonialism in Cape Verde. Cannibalism operates in a two-fold manner in Casa. Firstly, it refers to Costa’s practice of employing cinematic references in order to draw out otherwise concealed elements of earlier films. Secondly, it denotes an aesthetic practice in which the film is cannibalised by the people and geography of Cape Verde. By operating in a zone between documentary and fiction, Casa undermines the commodifying and exoticising tendencies of cinema. Instead, by drawi
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Bédard, Philippe. "Virtual Production and the Transformation of Cameras Mechanical, Virtual, and Actual." Animation 17, no. 2 (2022): 226–43. http://dx.doi.org/10.1177/17468477221102498.

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This article examines the rising importance of ‘virtual production’ by focusing on one of its core components, the so-called ‘virtual camera’. Using the virtual camera as a focal point, the author highlights how a particular industrial model of film production has changed in response to the transformations brought about by digital technologies. More specifically, this article uses the notion of ‘virtualization’ introduced by Pierre Lévy in Becoming Virtual: Reality in the Digital Age (1998) to offer a unique point of view on films ‘shot’ with cameras that are ultimately all but virtual. Here,
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McClain, Adam. "Lights, Camera, Andragogy! Adult Learning and Development in Film." Adult Learning 30, no. 4 (2019): 150–59. http://dx.doi.org/10.1177/1045159519829039.

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This article will examine specific films that portray events or phenomena of adult learning and development, and how adult learning and development can be explored by studying the lives of the fictional characters in film. It will demonstrate how the use of contemporary film by adult educators and adult learners can enhance insights about people, about life’s dilemmas, and about the growth and development in adulthood. To teach adults successfully, methods and techniques must be adapted to their skills and environments. Despite genre or popularity, film has the opportunity to tell a story and/
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Williamson, S. "THE CUT FILM CAMERA." Photogrammetric Record 2, no. 11 (2006): 330–40. http://dx.doi.org/10.1111/j.1477-9730.1958.tb01084.x.

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Dissertations / Theses on the topic "Film camera"

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Molapo, Mpaki. "The cross-cultural camera of Akira Kurosawa." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/11010.

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Bibliography: leaves 110-120.<br>This minor dissertation is undertaken to examine the cross-cultural similarities that are revealed by motion pictures through analyzing the work of Akira Kurosawa and contrasting it with selective mainstream cinema texts. Kurosawa is a critical case in point due to his welding of Occidental and Japanese ideas into his films, and his origin from a hybridized Japan, a society which historically has freely absorbed and embellished itself from numerous cultures, including America, Korea, China and Europe.
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Soulodre, Gilbert A. "Adaptive methods for removing camera noise from film soundtracks." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0017/NQ55423.pdf.

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Pierce, Zechariah H. "The Actor Behind the Camera." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4113.

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Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the
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Pelling, Kate. "Select, reject, reconfigure : editing speech in artists' direct address to camera." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/10825/.

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This practice-based thesis offers a new approach to editing processes that take place during the recording and subsequent editing of an individual speaking directly to a camera. Rosalind Krauss identified all performance to camera as narcissistic (1976), which includes the subset of artists’ direct address to camera, and since then the area has been widely understood within a psychoanalytical framework. This new approach provides a non-psychoanalytical perspective on direct address to camera, taking into account linguistic self-editing during the generation of speech (Skinner, 1957, p. 370) an
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Poland, Jennifer Lee. "LIGHTS, CAMERA, EMOTION! AN EXAMINATION ON FILM LIGHTING AND ITS IMPACT ON AUDIENCES’ EMOTIONAL RESPONSE." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1437562969.

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Shresthova, Sangita. "Strictly Bollywood? : story, camera and movement in Hindi film dance." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/39161.

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Filmography: leaves 85-86.<br>Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2003.<br>Includes bibliographical references (leaves 86-95).<br>Film dances, or filmed dance sequences accompanying film songs, are an important part of popular Indian cinema. Over the years, Hindi film dance has evolved from a cinematically simplistic, filmed documentation of performance traditions, to a recognized and increasingly respected dance category emulated in staged performances in India and abroad. Despite their significance, dances in Indian popular films have not
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Rosenblatt, Jacob A. "Cinematic Style: The Effects of Technology." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1277815461.

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Pelster-Wiebe, Richard. "In the jaws of death: Leon Caverly’s camera-history of World War I." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6663.

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This dissertation argues that a critical anti-war cinema emerged with the birth of the so-called war documentary during World War I. Focusing on Leon Caverly, the first official war cinematographer of the United States military, I that argue America’s first war propaganda films gave birth to America’s first anti-war cinema. Military-produced images of World War I are available in various archives such as the Library of Congress, the National Archives, and the Marine Corps History Center. In addition to unedited reels of war related footage, the archives hold propaganda films such as Pershing’s
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Tran, Thu, and thutran55@yahoo com au. "New Radiochromic Film Densitometry System Using Commercially Available Digital Camera and LEDs." RMIT University. Applied Sciences, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080528.112722.

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This project involved designing and building a radiochromic film (RCF) densitometer using a still digital camera as the light detector and light emitting diode, LED, as the light source. The behaviour of the LED and charged coupled device (CCD) in the still digital camera, under different light exposure settings (by changing LED current and camera shutter speed) were measured and an optimal setting was determined. Additionally, methods were devised and tests were carried out in order to spread the illumination area of the single light source. Uniform spreading of the LED illumination area was
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Delaporte, Marie-Laure. "L’artiste à la caméra : hybridité et transversalité artistiques (1962-2015)." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100145.

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A partir des années 1960, le lien entre pratiques filmiques et artistiques s’accentue. Les artistes plasticiens et performeurs utilisent désormais la caméra non seulement pour enregistrer leur discipline mais pour la transformer et la révéler. Le film d’artiste devient un moyen de dialoguer avec les autres pratiques artistiques et de créer des formes d’hybridité et de transversalité au sein de la création. Cette thèse a pour but de démontrer que l’artiste à la caméra est une catégorie à part entière qui dépasse l’aspect documentaire de l’enregistrement filmique de l’oeuvre. Il renouvelle l’ima
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Books on the topic "Film camera"

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Brestoff, Richard. The camera smart actor. Smith and Kraus, 1994.

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Deaca, Mircea. Camera secundă: Articole şi studii de film. Brumar, 2011.

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Elkins, David E. The camera assistant's manual. 4th ed. Focal Press, 2005.

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F, Arnold Robert. The virtual Bolex: An interactive guide for beginning film students. 2nd ed. First Light Video Pub., 2002.

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Aichinger, Ilse. Film and fate: Camera flashes illuminating a life. Königshausen & Neumann, 2018.

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Harris, Watts, ed. On camera: How to produce film and video. BBC/Parkwest, 1991.

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Company, Eastman Kodak, ed. Cinematographer's field guild: Motion picture camera films. 5th ed. Eastman, 1992.

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Schroeppel, Tom. The bare bones camera course for film and video. 2nd ed. Schroeppel, 1991.

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Umbrella, Film and Video, ed. To camera: A Film and Video Umbrella touring programme. Film and Video Umbrella, 1992.

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Schroeppel, Tom. The bare bones camera course for film and video. 2nd ed. T. Schroeppel, 2003.

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Book chapters on the topic "Film camera"

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Kemp, Jonathan. "Camera tools." In Film on Video. Routledge, 2019. http://dx.doi.org/10.4324/9780429468872-8.

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Santiago, Tony, Tom Ciciura, and Christine Sciortino. "Camera." In Makeup Artistry for Film and Television. Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-9.

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Kemp, Jonathan. "Camera case studies." In Film on Video. Routledge, 2019. http://dx.doi.org/10.4324/9780429468872-16.

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Rea, Peter W., and David K. Irving. "Camera." In Producing and Directing the Short Film and Video, 5th ed. Routledge, 2015. http://dx.doi.org/10.4324/9781315849065-11.

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Rea, Peter W., and David K. Irving. "Camera." In Producing and Directing the Short Film and Video, 6th ed. Focal Press, 2025. https://doi.org/10.4324/9781003019985-13.

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Wright, Steve. "Camera Effects." In Digital Compositing for Film and Video, 5th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781032418070-13.

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Schlemowitz, Joel. "The camera-roll film." In Experimental Filmmaking and the Motion Picture Camera. Routledge, 2019. http://dx.doi.org/10.4324/9780429504488-7.

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Joyce, James B. "Cinematography Without a Camera." In Aesthetics of Film Production. Routledge, 2022. http://dx.doi.org/10.4324/9781003120896-12.

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Pinhay, Steve, and Alexandra Bentley. "Making TV – single camera." In Producing Film and Television. Routledge, 2025. https://doi.org/10.4324/9781032624761-13.

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Herbert, Stephen. "The Kinematograph Camera." In A History of Early Film V2. Routledge, 2023. http://dx.doi.org/10.4324/9781003401407-3.

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Conference papers on the topic "Film camera"

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RS, Vijeya Sarathi, Surya A.S, Tarun M, and Merlin Christo F. "Artificial Intelligence in the Future of Mocobot Camera in Film Making and Camera Control by Voice Command." In 2024 2nd International Conference on Computing and Data Analytics (ICCDA). IEEE, 2024. https://doi.org/10.1109/iccda64887.2024.10867329.

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Ganesdhi, Garry Aldrian, and Azalia Primadita Muchransyah. "Professional Camera VS. Smartphone Camera: A Comparison Of Image Quality In A Low-Budget Production Of The Short Film "Pale Moon"." In 2024 International Seminar on Application for Technology of Information and Communication (iSemantic). IEEE, 2024. https://doi.org/10.1109/isemantic63362.2024.10762265.

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Kerr, Will, Crescent Jicol, Tom S. F. Haines, and Wenbin Li. "Camera Chameleon — The Creative Impact of Tracked Tangible Interfaces for Virtual Film Pre-Production." In 2024 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2024. http://dx.doi.org/10.1109/icme57554.2024.10687756.

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El Anbri, Ghita, Laurence Cote, and Samira Keivanpour. "LIGHTS, CAMERA, ECO-ACTION! A PHASED, FILM-BASED PEDAGOGY FOR FOSTERING CREATIVE ECO-DESIGN SOLUTIONS." In 17th annual International Conference of Education, Research and Innovation. IATED, 2024. https://doi.org/10.21125/iceri.2024.0674.

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Puscul, Dzenana, Armin Schönlieb, Andreas Ramsauer, and Cornelia Lex. "On-Road Water Detection and Water Film Height Estimation using a Time-of-Flight Camera." In 2024 IEEE 27th International Conference on Intelligent Transportation Systems (ITSC). IEEE, 2024. https://doi.org/10.1109/itsc58415.2024.10920134.

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Yajko, Mike, Mark Schultz, Paul Slebodnick, and Bruce N. Nelson. "Visual Determination of Film Thickness via Real-Time Enhanced Digital Imaging." In SSPC 2018. SSPC, 2018. https://doi.org/10.5006/s2018-00062.

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abstract Maximizing coating system longevity reduces total ownership costs to the US Navy fleet. Coating performance is directly tied to achieving proper film thickness control across the entire project surface. A novel concept of using digital camera/filters in synergy with MIL-PRF-23236 coating technology with enhanced optical properties provides unique inspection capabilities. For example, 100% of a coated surface area can be inspected (versus current statistical approach taking intermittent readings). The feedback is visual and immediate. The work done at the Naval Research Lab (NRL) inclu
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Reuss, Edward, and Lars Borg. "Camera Raw Workflows — Like Film, but Digital." In SMPTE 2014 Annual Technical Conference & Exhibition. Society of Motion Picture and Television Engineers, 2014. http://dx.doi.org/10.5594/m001559.

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Nielsen, Allan. "Electronic camera-management system for 35-mm and 70-mm film cameras." In San Diego '92, edited by Donald R. Snyder. SPIE, 1993. http://dx.doi.org/10.1117/12.139129.

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Kannappan, Thilagan, and Mani Annamalai. "Falling Film Measurements Using High Speed Camera and High Speed Infra-Red Camera." In EuroSun 2022 - ISES and IEA SHC International Conference on Solar Energy for Buildings and Industry. International Solar Energy Society, 2022. http://dx.doi.org/10.18086/eurosun.2022.09.02.

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Himel, Marc D., J. Patrick Sisk, and Karl H. Guenther. "Measuring losses of thin film waveguides with a two-dimensional charge-coupled device camera." In OSA Annual Meeting. Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.tuy1.

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The improved resolution, sensitivity, and uniformity of CCD cameras, and their lower cost, make them more cost-effective than scanning detector systems when used in combination with frame grabbers for computer-based measurements of waveguide attenuation. We report on the use of a high-resolution (768 493 pixels) Hamamatsu C3077 CCD camera for measuring the mode propagation losses of high-index oxide waveguides on oxidized Si wafers. The waveguides were deposited by electron-beam evaporation, reactive low-voltage ion plating, or RF sputtering. To achieve high spatial resolution, we used a fixed
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Reports on the topic "Film camera"

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Paul, Sierrah. Ghosts of the Landscapes. Montana State University, 2025. https://doi.org/10.15788/1751923121.

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Having recently inherited a set of cameras and film from a great uncle, Ray Wilmot (1923–1993), this work, Ghosts of the Landscapes, works to explore more about the life of a family member that I was unable to meet, having been born 11 years after his death. Ray Wilmot was an avid photographer, who pursued photography throughout his adult life until he was diagnosed with Multiple sclerosis (MS) about 10 years before his death. This led him to leave his cameras and film sitting for the rest of his life, along with them sitting for 30 years beyond his death. I embarked on the journey of developi
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Dodson, Nathan, Michael Paquette, and Garry Glaspell. Leveraging MOVEit for object inspection in simulation. Engineer Research and Development Center (U.S.), 2023. http://dx.doi.org/10.21079/11681/47847.

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Herein we evaluate using a robotic arm with an attached camera to investigate objects of interest in simulation. Specifically, a Husky unmanned ground vehicle with a Panda Powertool was used in the simulation. The code enabled an operator to initiate a preconfigured set of motions when an object of interest was identified. The scan was stored in a database file that was used to generate a 3D mesh of the scanned object. The report describes both setting up the simulation and the code used to scan objects of interest.
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Biazus-Dalcin, Camila, Louise Marryat, Sarah Gray, et al. My data: an animated film, co-produced with people who use drugs. University of Dundee, 2023. http://dx.doi.org/10.20933/100001299.

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This video was co-produced with people on their drug use recovery journey to explore the perceptions of administrative data use for research and to share this information with the wider community. This work was led by members of the Substance Use Research Group (SURG), School of Health Sciences, University of Dundee. This project was funded by Research Data Scotland (RDS), https://www.researchdata.scot/ A film by: Craig Glencross, David Hood, Jade Renton, Maxine Thomson, Ryan Westwood, Stewart Bernard, Sarah Hulin, Robert Doig, Ashley McMaihin and everyone at Restoration Fife who shared their
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Robertson, Barbara. Open Source in Entertainment: How the Academy Software Foundation Creates Shared Value. The Linux Foundation, 2022. https://doi.org/10.70828/cysw3767.

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Open Source in Entertainment: How the Academy Software Foundation Creates Value tells the story of the ASWF; how it came to be, where it came from, what it has achieved so far, and where it aims to go next. It is a story about engineers and leaders who collectively generate value by developing critical open source software that powers much of the entertainment, gaming, and media industry productions, as well as the open standards needed for growth. Filled with imagery from iconic films, the report presents a compelling narrative about industry competitors, who, by working together, have shared
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Alwang, Jeffrey, Alexis Villacis, and Victor Barrera. Credence Attributes and Opportunities: Yerba Mate in Paraguay. Inter-American Development Bank, 2022. http://dx.doi.org/10.18235/0003962.

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The value of yerba mate (Ilex paraguariensis) exports from Paraguay has recently increased dramatically. Much of this growth is due to positioning of the good within the universe of products where consumption growth is driven by perceptions of sustainable production and health benefits to consumers--that is, credence attributes creating a new dimension of demand. Credence claims for yerba mate's benefits to indigenous producing communities, environmental sustainability under certain production processes, healthful alternatives to energy drinks, are now widely known, but the growth of this awar
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