(after last publication)
Film exhibition
Initially films were mostly shown as a novelty in special venues, but the main methods of exhibition quickly became either as an item on the programmes of variety theatres, or by travelling showman in tent theatres, which they took around the fairs in country towns. It became the practice for the producing companies to sell prints outright to the exhibitors, at so much per foot, regardless of the subject. Typical prices initially were 15 cents a foot in the United States, and one shilling a foot in Britain. Hand-coloured films, which were being produced of the most popular subjects before 1900, cost 2 to 3 times as much per foot. There were a few producers, such as the American Mutoscope and Biograph Company, which did not sell their films, but exploited them solely with their own exhibition units. The first successful permanent theatre showing nothing but films was “The Nickelodeon”, which was opened in Pittsburgh in 1905. By this date there were finally enough films several minutes long available to fill a programme running for at least half an hour, and which could be changed weekly when the local audience became bored with it. Other exhibitors in the United States quickly followed suit, and within a couple of years there were thousands of these nickelodeons in operation. The American situation led to a world-wide boom in the production and exhibition of films from 1906 onwards.
Film technique
Film exhibition
Initially films were mostly shown as a novelty in special venues, but the main methods of exhibition quickly became either as an item on the programmes of variety theatres, or by travelling showman in tent theatres, which they took around the fairs in country towns. It became the practice for the producing companies to sell prints outright to the exhibitors, at so much per foot, regardless of the subject. Typical prices initially were 15 cents a foot in the United States, and one shilling a foot in Britain. Hand-coloured films, which were being produced of the most popular subjects before 1900, cost 2 to 3 times as much per foot. There were a few producers, such as the American Mutoscope and Biograph Company, which did not sell their films, but exploited them solely with their own exhibition units. The first successful permanent theatre showing nothing but films was “The Nickelodeon”, which was opened in Pittsburgh in 1905. By this date there were finally enough films several minutes long available to fill a programme running for at least half an hour, and which could be changed weekly when the local audience became bored with it. Other exhibitors in the United States quickly followed suit, and within a couple of years there were thousands of these nickelodeons in operation. The American situation led to a world-wide boom in the production and exhibition of films from 1906 onwards.
Film technique
Georges Méliès (left) painting a backdrop in his studio
The first movie cameras were fastened directly to the head of their tripod or other support, with only the crudest kind of levelling devices provided, in the manner of the still-camera tripod heads of the period. The earliest movie cameras were thus effectively fixed during the course of the shot, and hence the first camera movements were the result of mounting a camera on a moving vehicle. The first known of these was a film shot by a Lumière cameraman from the back platform of a train leaving Jerusalem in 1896, and by 1898 there were a number of films shot from moving trains. Although listed under the general heading of “panoramas” in the sales catalogues of the time, those films shot straight forward from in front of a railway engine were usually specifically referred to as “phantom rides”.
In 1897, Robert W. Paul had the first real rotating camera head made to put on a tripod, so that he could follow the passing processions of Queen Victoria's Diamond Jubilee in one uninterrupted shot. This device had the camera mounted on a vertical axis that could be rotated by a worm gear driven by turning a crank handle, and Paul put it on general sale the next year. Shots taken using such a "panning" head were also referred to as ‘panoramas’ in the film catalogues of the first decade of the cinema.
The standard pattern for early film studios was provided by the studio which Georges Méliès had built in May 1897. This had a glass roof and three glass walls constructed after the model of large studios for still photography, and it was fitted with thin cotton cloths that could be stretched below the roof to diffuse the direct rays of the sun on sunny days. The soft overall light without real shadows that this arrangement produced, and which also exists naturally on lightly overcast days, was to become the basis for film lighting in film studios for the next decade.
to be continued………………
The first movie cameras were fastened directly to the head of their tripod or other support, with only the crudest kind of levelling devices provided, in the manner of the still-camera tripod heads of the period. The earliest movie cameras were thus effectively fixed during the course of the shot, and hence the first camera movements were the result of mounting a camera on a moving vehicle. The first known of these was a film shot by a Lumière cameraman from the back platform of a train leaving Jerusalem in 1896, and by 1898 there were a number of films shot from moving trains. Although listed under the general heading of “panoramas” in the sales catalogues of the time, those films shot straight forward from in front of a railway engine were usually specifically referred to as “phantom rides”.
In 1897, Robert W. Paul had the first real rotating camera head made to put on a tripod, so that he could follow the passing processions of Queen Victoria's Diamond Jubilee in one uninterrupted shot. This device had the camera mounted on a vertical axis that could be rotated by a worm gear driven by turning a crank handle, and Paul put it on general sale the next year. Shots taken using such a "panning" head were also referred to as ‘panoramas’ in the film catalogues of the first decade of the cinema.
The standard pattern for early film studios was provided by the studio which Georges Méliès had built in May 1897. This had a glass roof and three glass walls constructed after the model of large studios for still photography, and it was fitted with thin cotton cloths that could be stretched below the roof to diffuse the direct rays of the sun on sunny days. The soft overall light without real shadows that this arrangement produced, and which also exists naturally on lightly overcast days, was to become the basis for film lighting in film studios for the next decade.
to be continued………………
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