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Wednesday, June 30, 2010
Who invented movies?
have called William Wadsworth Hodkinson, "the Man Who Invented Hollywood" knowing that a more correct title would be — the Man Who Invented the Business of Hollywood. Remembered today as the founder of Paramount Pictures, W. W. Hodkinson's accomplishments would place him among those individuals who have had the deepest influence on the development of the movie industry. Practically single-handedly, W. W. Hodkinson changed the way movies were produced, distributed, and exhibited. His reforms during the early days of the film industry provided the prototype for all major Hollywood studios.
The Hodkinson system of distribution brought about the shift in power from the Edison Patents Trust, and facilitated the transformation that would eventually make Hollywood the center of American film activity. During the pre-studio era (before the fall of the Edison Trust in 1915), movie releases were generally handled in one of two ways—either by states rights or by road show. But the methods proved ineffective for wide-scale feature distribution. Though not technically a producer himself, Hodkinson was nevertheless a film visionary who revolutionized the business with a distribution masterstroke that became standard practice.
William Wadsworth Hodkinson opened his first film exchange in Ogden, Utah in 1907, at the age of 26. Within a few years he became Special Representative to the General Film Company representing the Motion Picture Patents Company in Salt Lake City and Los Angeles. He envisioned a nationwide distribution structure that would make states rights obsolete, and provide profit-sharing with producers to encourage filmmakers to concentrate on higher quality films that would yield higher box office.
The Hodkinson system was essentially distributor-financed film production. Under Hodkinson, the distributor would provide a cash advance to an independent producer to cover the costs of producing each feature film. The distributor then received the exclusive rights to the finished movie, using a network of exchanges to control distribution and marketing, and even offering to pay for the producer's film prints and advertising. Hodkinson kept 35 percent of the box office as a distribution fee, and gave the rest of the profits back to the producer. Hodkinson discovered that by financing film producers, the distributor was guaranteed a steady stream of high-class pictures without ever having to operate a film camera, while the producers themselves realized far more profit than they would under the states rights system. The Hodkinson distribution system proved so advantageous for all involved that, with slight modification, it has remained in full practice in Hollywood to this day.
Hodkinson Opposes the Patents Trust
In April 1911, Hodkinson began to implement his system by reorganizing the San Francisco area for General Film. The test market generated fantastic results, but in 1912 W. W. Hodkinson encountered resistance from the Trust which refused to enact his new procedure in other regions.
In November 1912 he made two comparative charts "predicting, in one chart what the future of the picture industry would be, especially that of General Film, if my methods were adopted nationally; and what would happen if they were not." He traveled to New York, for a frustrating encounter that extended until February. San Francisco representatives sent telegrams in favor of Hodkinson's reforms. He persuaded two leaders of the General Film Company, but his policy was refused by the Patents Company members as a whole.
During this trip to New York in late 1912, Hodkinson established ties with some of the important independents including Adolph Zukor, who was then struggling under the states rights method, and was the kind of producer who would benefit greatly by this new distribution procedure. In May 1913 the president of General Film, under pressure from the Trust members, rejected Hodkinson's proposal, and even asked him to undo his successful San Francisco reforms. Hodkinson declined "knowing that it would mean my dismissal from my position—which it did."
Hodkinson formed the Progressive Company, a west coast-based operation that distributed films for a number of independent production companies like the Famous Players Film Company (formed by Adolph Zukor in 1912) and the Jesse L. Lasky Feature Play Company (founded in 1913 by Lasky, his brother-in-law Samuel Goldfish, and first-time director Cecil B. DeMille).
The Hodkinson system of distribution brought about the shift in power from the Edison Patents Trust, and facilitated the transformation that would eventually make Hollywood the center of American film activity. During the pre-studio era (before the fall of the Edison Trust in 1915), movie releases were generally handled in one of two ways—either by states rights or by road show. But the methods proved ineffective for wide-scale feature distribution. Though not technically a producer himself, Hodkinson was nevertheless a film visionary who revolutionized the business with a distribution masterstroke that became standard practice.
William Wadsworth Hodkinson opened his first film exchange in Ogden, Utah in 1907, at the age of 26. Within a few years he became Special Representative to the General Film Company representing the Motion Picture Patents Company in Salt Lake City and Los Angeles. He envisioned a nationwide distribution structure that would make states rights obsolete, and provide profit-sharing with producers to encourage filmmakers to concentrate on higher quality films that would yield higher box office.
The Hodkinson system was essentially distributor-financed film production. Under Hodkinson, the distributor would provide a cash advance to an independent producer to cover the costs of producing each feature film. The distributor then received the exclusive rights to the finished movie, using a network of exchanges to control distribution and marketing, and even offering to pay for the producer's film prints and advertising. Hodkinson kept 35 percent of the box office as a distribution fee, and gave the rest of the profits back to the producer. Hodkinson discovered that by financing film producers, the distributor was guaranteed a steady stream of high-class pictures without ever having to operate a film camera, while the producers themselves realized far more profit than they would under the states rights system. The Hodkinson distribution system proved so advantageous for all involved that, with slight modification, it has remained in full practice in Hollywood to this day.
Hodkinson Opposes the Patents Trust
In April 1911, Hodkinson began to implement his system by reorganizing the San Francisco area for General Film. The test market generated fantastic results, but in 1912 W. W. Hodkinson encountered resistance from the Trust which refused to enact his new procedure in other regions.
In November 1912 he made two comparative charts "predicting, in one chart what the future of the picture industry would be, especially that of General Film, if my methods were adopted nationally; and what would happen if they were not." He traveled to New York, for a frustrating encounter that extended until February. San Francisco representatives sent telegrams in favor of Hodkinson's reforms. He persuaded two leaders of the General Film Company, but his policy was refused by the Patents Company members as a whole.
During this trip to New York in late 1912, Hodkinson established ties with some of the important independents including Adolph Zukor, who was then struggling under the states rights method, and was the kind of producer who would benefit greatly by this new distribution procedure. In May 1913 the president of General Film, under pressure from the Trust members, rejected Hodkinson's proposal, and even asked him to undo his successful San Francisco reforms. Hodkinson declined "knowing that it would mean my dismissal from my position—which it did."
Hodkinson formed the Progressive Company, a west coast-based operation that distributed films for a number of independent production companies like the Famous Players Film Company (formed by Adolph Zukor in 1912) and the Jesse L. Lasky Feature Play Company (founded in 1913 by Lasky, his brother-in-law Samuel Goldfish, and first-time director Cecil B. DeMille).
how are movies made
Screenplay
Every movie begins with an idea that is translated into a screenplay. The screenplay may change over the course of the movie due to a number of factors ranging from the demands of a star to the death of a cast member to ideas that pop up as the story begins to evolve. Even movies that are said to be improvised like mockumentaries still have screenplays that work out specific scenes if not specific dialogue.
Principal Photography
The part of the movie-making process where everybody shows up on a set and the cameras roll is called principal photography. Today, principal photography is likely to be the shortest part of the process. It can last as little as 2 weeks for a low-budget movie to 1 year for an epic. In cases where a movie and its sequel are being shot back to back, like "Lord of the Rings" or the final two "Pirates of the Caribbean" movies, principal photography may last longer than a year.
Effects
The effects stage of making a movie includes spectacular special effects such as you'd find in a science fiction movie, but it also includes less obvious effects that most movie audiences aren't aware of. One of the most common of these post-production effects is something called looping. Looping is the process of having an actor re-record dialogue in a studio that didn't record correctly on the set or location for some reason.
Editing
Editing is a very important part of the film-making process. Editing involves taking all the footage that has been shot during principal photography, applying the effects to it, and then placing it into an order that corresponds with the director's vision, or at least the screenplay. Editing is all about choosing which shots work best, and creating a rhythm and pace that reflect the tone of the story.
Music
After the film has been edited, the composer creates the musical accompaniment to the scenes. Imagine how successful "Rocky" would have been without that rousing score. A great music soundtrack can mean the difference between a hit and a flop.
Read more: How Are Movies Made? | eHow.com http://www.ehow.com/how-does_4910856_how-movies-made.html#ixzz0sNYIFXdQ
Every movie begins with an idea that is translated into a screenplay. The screenplay may change over the course of the movie due to a number of factors ranging from the demands of a star to the death of a cast member to ideas that pop up as the story begins to evolve. Even movies that are said to be improvised like mockumentaries still have screenplays that work out specific scenes if not specific dialogue.
Principal Photography
The part of the movie-making process where everybody shows up on a set and the cameras roll is called principal photography. Today, principal photography is likely to be the shortest part of the process. It can last as little as 2 weeks for a low-budget movie to 1 year for an epic. In cases where a movie and its sequel are being shot back to back, like "Lord of the Rings" or the final two "Pirates of the Caribbean" movies, principal photography may last longer than a year.
Effects
The effects stage of making a movie includes spectacular special effects such as you'd find in a science fiction movie, but it also includes less obvious effects that most movie audiences aren't aware of. One of the most common of these post-production effects is something called looping. Looping is the process of having an actor re-record dialogue in a studio that didn't record correctly on the set or location for some reason.
Editing
Editing is a very important part of the film-making process. Editing involves taking all the footage that has been shot during principal photography, applying the effects to it, and then placing it into an order that corresponds with the director's vision, or at least the screenplay. Editing is all about choosing which shots work best, and creating a rhythm and pace that reflect the tone of the story.
Music
After the film has been edited, the composer creates the musical accompaniment to the scenes. Imagine how successful "Rocky" would have been without that rousing score. A great music soundtrack can mean the difference between a hit and a flop.
Read more: How Are Movies Made? | eHow.com http://www.ehow.com/how-does_4910856_how-movies-made.html#ixzz0sNYIFXdQ
how do htey make 3d movies
The basic idea is not using 2 but 3 cameras. The images are filmed from the 3 axis planes in the line of sight. The items "thrown" at the camera are actually setup so it stops shy of the cam and the image is filmed so it just appears to be going out of the cam toward you.
Camera one films in the RED spectrum, camera two films in the Blue spectrum and camera 3 films in the Green spectrum, so when the 3 images are added together from 3 different cams it seems like the entire view is one image stacked on top another and looks like it is 3 dimensional.
The cam is setup like a wide panorama box, cam one on the right, cam 2 in the middle and cam 3 on the left so whatever it sees it has the aspect as if it was viewed from a set of human eyes which sees everything from both left, right and on center axis, that explains the 3 axis field of view.
As for why the film in three levels of color, all images are basically comprised of the three base colors, red, blue and green in the spectrum they all make and can be made to blend into any of the 256 colors that is of the basic spectrum and also can be combined into the 4096 different colors in the known spectrum in the total field of viewable and non viewable color. So when you wear the blue and red glasses this tricks the mind into seeing 66% of the field of viewable colors and so you see it in a blurry 3D way. True 3D is so hard to film that the level of tech it would take to actually film it the way we see it is nearly impossible and so expensive it is staggering. Not to mention the tech is almost 120 years away by any standards.
So with this high def way of seeing it seems like you are there and Johnny Depp is ten feet away and about to launch a bayonet at you. So there you go that is as basic an explanation as I can give, the true details of the way it works would dumbfound you and the mouth drop syndrome would leave you dragging your jaw.
11 months ago
Camera one films in the RED spectrum, camera two films in the Blue spectrum and camera 3 films in the Green spectrum, so when the 3 images are added together from 3 different cams it seems like the entire view is one image stacked on top another and looks like it is 3 dimensional.
The cam is setup like a wide panorama box, cam one on the right, cam 2 in the middle and cam 3 on the left so whatever it sees it has the aspect as if it was viewed from a set of human eyes which sees everything from both left, right and on center axis, that explains the 3 axis field of view.
As for why the film in three levels of color, all images are basically comprised of the three base colors, red, blue and green in the spectrum they all make and can be made to blend into any of the 256 colors that is of the basic spectrum and also can be combined into the 4096 different colors in the known spectrum in the total field of viewable and non viewable color. So when you wear the blue and red glasses this tricks the mind into seeing 66% of the field of viewable colors and so you see it in a blurry 3D way. True 3D is so hard to film that the level of tech it would take to actually film it the way we see it is nearly impossible and so expensive it is staggering. Not to mention the tech is almost 120 years away by any standards.
So with this high def way of seeing it seems like you are there and Johnny Depp is ten feet away and about to launch a bayonet at you. So there you go that is as basic an explanation as I can give, the true details of the way it works would dumbfound you and the mouth drop syndrome would leave you dragging your jaw.
11 months ago
Monday, June 28, 2010
Tuesday, June 22, 2010
Monday, June 14, 2010
Sunday, June 13, 2010
class awards
i think the new award should be the pickled onion award you win this when are the naughtiest person in the class and if you win you have to eat a pickled onion.
Wednesday, June 9, 2010
cross country
Ferdie Ato Adoboe (GHA) 13.6 secs 25 July 1991 at Smith's College, Northampton, Mass., USA fastest 100m backwards run
Bud Badyna (USA) 32.78 sec 17 Jan 2001, Santa Clarita, USA fastest 200m backwards run
Thomas Dold (GER) 1:09.56 min
17 June 2005, Utrecht, Netherlands fastest 400m backwards run
Bud Badyna (USA) 32.78 sec 17 Jan 2001, Santa Clarita, USA fastest 200m backwards run
Thomas Dold (GER) 1:09.56 min
17 June 2005, Utrecht, Netherlands fastest 400m backwards run
music vid
i think this should be on the classes iPod because it is a good song and there is no bad lyrics and its a newzealand song.
3 little pigs
7/10
i like this because it is funny how the wolf gets blew through the chimney and how the third little pig proved his brothers wrong by making his house out of bricks and the other to made theres out of hay and twigs
i like this because it is funny how the wolf gets blew through the chimney and how the third little pig proved his brothers wrong by making his house out of bricks and the other to made theres out of hay and twigs
news
The All Whites have conceded two late goals to lose 2-0 to Chile in their final World Cup warm-up match in Nelspruit today.
New Zealand worked hard to contain the fast Chileans and did so for over an hour of the match.
But two goals came within three minutes of each other in the final half hour when James Bannatyne had a shot rifled past him in the 68th minute while a low right hand cross was tucked away in the 71st.
Ryan Nelsen's ear infection meant he did not travel to the game while Glen Moss, Cole Peverley and Aaron Clapham didn't see game time.
After midfielder Gonzalo Fierro had put Chile ahead on 68 minutes, striker Esteban Paredes finally got his name on the scoresheet in the 72nd minute to seal a comfortable victory.
With both side sides employing an army of substitutes and with the match split into three segments of 30 minutes rather than two halves, neither team found much in the way of momentum.
The Chileans had the better of it but despite the trickery of Alexis Sanchez and Fabian Orellana in their forward line, they constantly fell victim to New Zealand's disciplined offside trap.
this is good news because the fifa world cup has almost started and it gets people interested in soccer for fifa
3 way conferences
i think my strengths are in reading and maths i think a good goal would be to improve on my strategy's in maths and my spelling
Saturday, June 5, 2010
Thursday, June 3, 2010
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