109-612: Grote Street is a major street running east to west in the western half of Adelaide city centre , South Australia . It is on the northern border of Chinatown and the Adelaide Central Market , and is a lively centre for shopping and restaurants. The historic Her Majesty's Theatre is located here. The street, laid out as part of Colonel Light's city plan in 1837, was named after George Grote , an English classical historian and supporter of Robert Gouger . The original St Patrick's Church , Adelaide's first Catholic church,
218-405: A Trades Hall on the northern side of the street, near Victoria Square. Although not financially supported by the colonial government , it was funded by various private donations by parliamentarians, including Richard Chaffey Baker , George Charles Hawker , and John Howard Angas . The building was officially opened on 4 March 1896. In the early 1900s Robert Barr Smith donated £2,300 to pay off
327-403: A beam splitter prism behind the camera lens. Two prints on half-thickness stock were made from the negative, one from only the red-filtered frames, the other from the green-filtered frames. After development, the silver images on the prints were chemically toned to convert them into images of the approximately complementary colors . The two strips were then cemented together back to back, forming
436-414: A mask in the theater projector, not in the camera) to obtain the "wide" aspect ratio. The standard, in some European countries, became 1.66:1 instead of 1.85:1, although some productions with pre-determined American distributors composed for the latter to appeal to US markets. In September 1953, 20th Century Fox debuted CinemaScope with their production of The Robe to great success. CinemaScope became
545-411: A niche market of enthusiasts and format lovers. Originally, film was a strip of cellulose nitrate coated with black-and-white photographic emulsion . Early film pioneers, like D. W. Griffith , color tinted or toned portions of their movies for dramatic impact, and by 1920, 80 to 90 percent of all films were tinted. The first successful natural color process was Britain's Kinemacolor (1909–1915),
654-565: A 68 mm film that used friction feed, not sprocket holes, to move the film through the camera. A court judgment in March 1902 invalidated Edison's claim, allowing any producer or distributor to use the Edison 35 mm film design without license. Filmmakers were already doing so in Britain and Europe, where Edison did not file patents. At the time, film stock was usually supplied unperforated and punched by
763-519: A SuperScope variant became the predecessor to the modern Super 35 format that is popular today. The concept behind Super 35 originated with the Tushinsky Brothers' SuperScope format, particularly the SuperScope 235 specification from 1956. In 1982, Joe Dunton revived the format for Dance Craze , and Technicolor soon marketed it under the name "Super Techniscope" before the industry settled on
872-647: A capital value of £150,000, with £47,000 being in fully paid-up shares. Bruce allocated 5,000 shares to current employees of the business, and 1,000 to past employees. He was the governing director of the new company. At this time he had shops in Kadina and Port Pirie in South Australia, three locations in Victoria , and six in New South Wales. He had a 14,000-acre (5,700 ha) farm near Renmark, South Australia , and
981-442: A fairly large stretch of film: 2–3 ft or approximately 2 seconds. Also, polyester film will melt if exposed to the projector lamp for too long. Original camera negative is still made on a triacetate base, and some intermediate films (certainly including internegatives or "dupe" negatives, but not necessarily including interpositives or "master" positives) are also made on a triacetate base as such films must be spliced during
1090-525: A hardened gelatin relief image was made from each negative, and the three matrices transferred color dyes into a blank film to create the print. Two-color processes, however, were far from extinct. In 1934, William T. Crispinel and Alan M. Gundelfinger revived the Multicolor process under the company name Cinecolor . Cinecolor saw considerable use in animation and low-budget pictures, mainly because it cost much less than three-color Technicolor. If color design
1199-428: A large number of medium to low density apartments , townhouses and detached houses which make up the residential portion of the city centre. The layout of Adelaide, sometimes referred to as "Light's Vision", features a cardinal direction grid pattern of wide streets and terraces and five large public squares: Victoria Square in the centre of the city, and Hindmarsh , Light , Hurtle and Whitmore Squares in
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#17328514332661308-548: A lens turret in the same manner as an anamorphic lens. In contrast, the Panavision system uses a spectral comb filter system, but their combination splitter-filter-lens is physically similar to the Technicolor assembly and can be used in the same way. No other modifications are required to the projector for either system, though for the Technicolor system a silver screen is necessary, as it would be with polarised-light digital 3D. Thus
1417-562: A number of prominent settlers after themselves, after early directors of the South Australian Company , after Colonisation Commissioners of South Australia (appointed by the British government to oversee implementation of the acts that established the colony), and after various notables involved in the establishment of the colony. The Street Naming Committee comprised: All members of the committee (except Stephens) had one or more of
1526-411: A number of systems had been proposed for 3D systems based on 35 mm film by Technicolor , Panavision and others. These systems are improved versions of the "over-under" stereo 3D prints first introduced in the 1960s. To be attractive to exhibitors, these schemes offered 3D films that can be projected by a standard 35 mm cinema projector with minimal modification, and so they are based on
1635-416: A programme can readily include both 2D and 3D segments with only the lens needing to be changed between them. In June 2012, Panavision 3D systems for both 35 mm film and digital projection were withdrawn from the market by DVPO theatrical (who marketed these system on behalf of Panavision) citing "challenging global economic and 3D market conditions". In the transition period centered around 2010–2015,
1744-496: A removable aperture plate in the film projector gate, the top and bottom of the frame could be cropped to create a wider aspect ratio. Paramount Pictures began this trend with their aspect ratio of 1.66:1, first used in Shane , which was originally shot for Academy ratio . It was Universal Studios, however, with their May release of Thunder Bay that introduced the now standard 1.85:1 format to American audiences and brought attention to
1853-446: A safer film base , formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound data into nearly all of its non-frame areas. Eastman Kodak , Fujifilm and Agfa-Gevaert are some companies that offered 35 mm films. As of 2015, Kodak is the last remaining manufacturer of motion picture film. The ubiquity of 35 mm movie projectors in commercial movie theaters made 35 mm
1962-514: A shade smaller than those now in use. This standardized film size of 1889 has remained, with only minor variations, unaltered to date". Until 1953, the 35 mm film was seen as "basic technology" in the film industry, rather than optional, despite other gauges being available. In 1908, Edison formed "a cartel of production companies", a trust called the Motion Picture Patents Company (MPPC), pooling patents for collective use in
2071-409: A single strip similar to duplitized film. In 1928, Technicolor started making their prints by the imbibition process, which was mechanical rather than photographic and allowed the color components to be combined on the same side of the film. Using two matrix films bearing hardened gelatin relief images, thicker where the image was darker, aniline color dyes were transferred into the gelatin coating on
2180-461: A standard had momentous impact on the development and spread of cinema. The standard gauge made it possible for films to be shown in every country of the world… It provided a uniform, reliable and predictable format for production, distribution and exhibition of movies, facilitating the rapid spread and acceptance of the movies as a world-wide device for entertainment and communication. When the MPPC adopted
2289-447: A third, blank strip of film. Technicolor re-emerged as a three-color process for cartoons in 1932 and live action in 1934. Using a different arrangement of a beam-splitter cube and color filters behind the lens, the camera simultaneously exposed three individual strips of black-and-white film, each one recording one-third of the spectrum , which allowed virtually the entire spectrum of colors to be reproduced. A printing matrix with
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#17328514332662398-482: A two-color additive process that used a rotating disk with red and green filters in front of the camera lens and the projector lens. But any process that photographed and projected the colors sequentially was subject to color "fringing" around moving objects, and a general color flickering. In 1916, William Van Doren Kelley began developing Prizma , the first commercially viable American color process using 35 mm film. Initially, like Kinemacolor, it photographed
2507-458: Is a film gauge used in filmmaking , and the film standard. In motion pictures that record on film, 35 mm is the most commonly used gauge. The name of the gauge is not a direct measurement, and refers to the nominal width of the 35 mm format photographic film , which consists of strips 1.377 ± 0.001 inches (34.976 ± 0.025 mm) wide. The standard image exposure length on 35 mm for movies ("single-frame" format)
2616-453: Is credited as the inventor of 35 mm movie film in 1889, when the Edison company was using Eastman film. The company still received film from Blair after this; at first Blair would supply only 40 mm ( 1 + 9 ⁄ 16 in) film stock that would be trimmed and perforated at the Edison lab to create 1 + 3 ⁄ 8 -inch (35 mm) gauge filmstrips, then at some point in 1894 or 1895, Blair began sending stock to Edison that
2725-496: Is four perforations per frame along both edges, which results in 16 frames per foot of film. A variety of largely proprietary gauges were devised for the numerous camera and projection systems being developed independently in the late 19th century and early 20th century, as well as a variety of film feeding systems. This resulted in cameras, projectors, and other equipment having to be calibrated to each gauge. The 35 mm width, originally specified as 1 + 3 ⁄ 8 inches,
2834-882: Is known as "Mad March", due to the large number of other cultural festivities at the same time, including the Adelaide 500 and WOMADelaide . North Terrace is considered Adelaide's "cultural boulevard" because it is home to the State Library of South Australia , the South Australian Museum , the Migration Museum , the Art Gallery of South Australia , the University of Adelaide , the city campus of University of South Australia , and several smaller galleries. Lonely Planet labelled Adelaide "Australia's live music city", and
2943-419: Is retained, minimising the need for modifications to the projector or to long-play systems. The linear speed of film through the projector and sound playback both remain exactly the same as in normal 2D operation. The Technicolor system uses the polarisation of light to separate the left and right eye images and for this they rent to exhibitors a combination splitter-polarizer-lens assembly which can be fitted to
3052-482: Is stored between the perforations on the sound side; SDDS , stored in two redundant strips along the outside edges (beyond the perforations); and DTS , in which sound data is stored on separate compact discs synchronized by a timecode track on the film just to the right of the analog soundtrack and left of the frame. Because these soundtrack systems appear on different parts of the film, one movie can contain all of them, allowing broad distribution without regard for
3161-605: Is the inner city locality of Greater Adelaide , the capital city of South Australia . It is known by locals simply as "the City" or "Town" to distinguish it from Greater Adelaide and from the City of Adelaide local government area (which also includes North Adelaide and from the Park Lands around the whole city centre). The residential population was 18,202 in the 2021 census , with a local worker population of 130,404 . Adelaide city centre
3270-549: The Adelaide Airport . Today Grote Street is largely occupied by retail outlets, restaurants, and retail outlets. Moonta Street Chinatown is accessible via Grote Street, which is also home to some Chinese restaurants and other businesses owned by Chinese Australians and Korean Australians . The northern entrance of the Adelaide Central Markets is on Grote Street. A paifang , comprising an archway erected by
3379-873: The Art Gallery of South Australia , the State Library of South Australia , the South Australian Museum , the Migration Museum , the Adelaide Botanic Garden , the University of Adelaide and the "CityEast" campus of the UniSA The population was 18,202 in the 2021 census , 41 percent born in Australia. The next most common countries of birth were China 15.7%, India 3.7%, England 3.6%, Malaysia 3.6%, and Hong Kong 2.7%. 49.1% of people spoke only English at home. Other languages spoken at home included Mandarin 17.8%, Cantonese 4.2%, Vietnamese 2%, Hindi 1.5%, and Korean 1.5%. The most common response for religion in Adelaide
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3488-557: The British colonisation of South Australia , the Adelaide Plains , on which Adelaide was built, were home to the Kaurna group of Aboriginal Australians . The colony of South Australia was established in 1836 at Glenelg , and the city itself established in 1837. The location and characteristic grid layout of the city and North Adelaide, as well as the surrounding parklands, were the result of
3597-608: The Brooklyn Institute of Arts and Sciences on May 9, 1893. The Kinetoscope was a film loop system intended for one-person viewing. Edison, along with assistant William Kennedy Dickson , followed that up with the Kinetophone , which combined the Kinetoscope with Edison's cylinder phonograph . Beginning in March 1892, Eastman and then, from April 1893 into 1896, New York's Blair Camera Co. supplied Edison with film stock. Dickson
3706-445: The Kaurna language to each place, was mostly completed in 2003, and the renaming of 39 sites finalised and endorsed by the council in 2012. The City of Adelaide Council has defined a number of neighbourhood precincts in the city centre, each with a character of their own: In addition to these, the north-eastern side of North Terrace is often referred to as the "North Terrace cultural precinct" or "cultural boulevard", and includes
3815-673: The Theatre Royal in Hindley Street was closed in 1962, the Tivoli was extensively refurbished and reopened as Her Majesty's Theatre , which still stands today. The old Liquor Trades Union Hall at 116 Grote Street was converted into the Promethean Theatre in the early 1980s, which featured productions by small theatre companies and drama students, as well as Adelaide Festival and Fringe Festival events. The theatre closed in 2007, but
3924-949: The city council and two lions donated by the People's Republic of China , marks the northern entrance to the Chinatown. St Patrick's Church , Her Majesty's Theatre , and the rear entrance of the Adelaide Central bus station are located on this street. Since the 21st century, Grote Street has become the home of various businesses selling items relating to housing construction and renovation, such as tiles , built-in furniture , and bedding . There are also apartment blocks providing accommodation for university students. [REDACTED] Australian Roads portal 34°55′44″S 138°35′38″E / 34.92895°S 138.5939°E / -34.92895; 138.5939 Adelaide city centre Adelaide city centre ( Kaurna : Tarndanya )
4033-700: The colony of South Australia , as well as the first state school for girls above primary level. It was designed by Owen Smyth in 1890, and built by J. J. Leahy. In 1908 the Model School and the Training School were amalgamated, forming the Continuation School for Boys, which then amalgamated with the Advanced School for Girls, creating Adelaide High School in September 1908. The buildings were then used by
4142-584: The "1930 standard", studios which followed the suggested practice of marking their camera viewfinders for this ratio were: Paramount-Famous-Lasky, Metro-Goldwyn Mayer, United Artists, Pathe, Universal, RKO, Tiffany-Stahl, Mack Sennett, Darmour, and Educational. The Fox Studio markings were the same width but allowed .04 in more height. In 1932, in refining this ratio, the Academy of Motion Picture Arts and Sciences expanded upon this 1930 standard. The camera aperture became 22 by 16 mm (0.87 by 0.63 in), and
4251-503: The "Academy" ratio is referred to as having an aspect ratio of 1.33:1, it is done so mistakenly. The commonly used anamorphic format uses a similar four-perf frame, but an anamorphic lens is used on the camera and projector to produce a wider image, today with an aspect ratio of about 2.39:1 (more commonly referred to as 2.40:1). The ratio was formerly 2.35:1—and is still often mistakenly referred to as such—until an SMPTE revision of projection standards in 1970. The image, as recorded on
4360-449: The "negative assembly" process, and the extant negative assembly process is solvent-based. Polyester films are not compatible with solvent-based assembly processes. Besides black & white and color negative films, there are black & white and color reversal films , which when developed create a positive ("natural") image that is projectable. There are also films sensitive to non-visible wavelengths of light , such as infrared . In
4469-400: The 35 mm format, Bell & Howell produced cameras, projectors, and perforators for the medium of an "exceptionally high quality", further cementing it as the standard. Edison and Eastman's form of business manipulation was ruled unlawful in 1914, but by this time the technology had become the established standard. In 1917, the new Society of Motion Picture Engineers (SMPE) "acknowledged
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4578-606: The 70 mm to size would have created waste). 35 mm was immediately accepted as standard by the Lumière brothers , and became the main film used in the UK because it was the stock sold to these filmmakers by the Blair company. Edison claimed exclusive patent rights to the design of 35 mm motion picture film , with four sprocket holes (perforations) per frame, forcing his only major filmmaking competitor, American Mutoscope & Biograph , to use
4687-497: The CinemaScope lenses' technical limitations with their own lenses, and by 1967, CinemaScope was replaced by Panavision and other third-party manufacturers. The 1950s and 1960s saw many other novel processes using 35 mm, such as VistaVision , SuperScope, and Technirama , most of which ultimately became obsolete. VistaVision, however, would be revived decades later by Lucasfilm and other studios for special effects work, while
4796-650: The Department of Further Education and the Multicultural Education Centre, later being sold for various private uses. In 1978, the Centre for the Performing Arts was established on the site of the old Adelaide Girls High School. Nos. 109-119 Grote Street, the buildings comprising the schools, were state- heritage-listed in 1981. The United Trades and Labor Council (UTLC), established in 1884, constructed
4905-511: The Empire Theatre. In 1909, Bruce converted the upper storey of two of his shops into an amusement hall used for screening films by means of a photo-rotoscope , called Golden Gate Hall. Toys were sold in this hall, with films shown periodically, every afternoon and evening, for free. This lasted for a year before being converted back into a large storage room. Apart from his large retail stores, Bruce ran what were known as "cheapjack" stalls at
5014-505: The Promethean continued to operate as a music venue. Grote Street is in Adelaide city centre. It runs in an east–west direction, as a continuation of Wakefield Street where it crosses Victoria Square . It concludes at West Terrace . The road which continues is Sir Donald Bradman Drive . The Grote Street–Sir Donald Bradman Drive route is the most direct method of travelling from the CBD to
5123-465: The additional optical printing stage required made this an unattractive option at the time for most film makers. However, in television production , where compatibility with an installed base of 35 mm film projectors is unnecessary, the 3-perf format is sometimes used, giving—if used with Super 35 —the 16:9 ratio used by HDTV and reducing film usage by 25 percent. Because of 3-perf's incompatibility with standard 4-perf equipment, it can utilize
5232-453: The anamorphic projection standard. This allows an "anamorphic" frame to be captured with non-anamorphic lenses, which are much more common. Up to 2000, once the film was photographed in Super 35, an optical printer was used to anamorphose (squeeze) the image. This optical step reduced the overall quality of the image and made Super 35 a controversial subject among cinematographers, many who preferred
5341-400: The aspect ratio in the computer allows the studios to perform all post-production and editing of the movie in its original aspect (1.33:1 or 1.78:1) and to then release the cropped version, while still having the original when necessary (for Pan & Scan, HDTV transmission, etc.). The non-anamorphic widescreen ratios (most commonly 1.85:1) used in modern feature films makes inefficient use of
5450-462: The available image area on 35 mm film using the standard 4-perf pulldown; the height of a 1.85:1 frame occupying only 65% of the distance between the frames. It is clear, therefore, that a change to a 3-perf pulldown would allow for a 25% reduction in film consumption whilst still accommodating the full 1.85:1 frame. Ever since the introduction of these widescreen formats in the 1950s various film directors and cinematographers have argued in favour of
5559-459: The centres of each of the four quadrants of the Adelaide city centre. These squares occupy 32 of the 700 numbered town acre allotments on Light's plan. All east–west roads change their names as they cross King William Street, except for North and South terraces. They also alternate between being wide and narrow, 99 and 66 feet (30 and 20 m), except for the central Grote and Wakefield which are extra-wide, 132 feet (40 m), along with
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#17328514332665668-416: The cheap and widely-available 35 mm. Dickson said in 1933: At the end of the year 1889, I increased the width of the picture from + 1 ⁄ 2 inch to + 3 ⁄ 4 inch, then, to 1 inch by + 3 ⁄ 4 inch high. The actual width of the film was 1 + 3 ⁄ 8 inches to allow for the perforations now punched on both edges, 4 holes to the phase or picture, which perforations were
5777-432: The city retains a notable portion of Victorian architecture. Adelaide is separated from its greater metropolitan area by a ring of public parklands on all sides. The so-called "square mile" within the park lands is defined by a small area of high rise office and apartment buildings in the centre north, around King William Street , which runs north-to-south through the centre. Surrounding this central business district are
5886-674: The city was recognised as a " City of Music " by the UNESCO Creative Cities Network in 2015. Although there were many pubs hosting live music in the CBD in past, the number has slowly diminished. Two remain very popular with musicians and patrons alike: Sydney Melbourne Brisbane Adelaide Perth Hobart Darwin Canberra 34°55′43″S 138°36′00″E / 34.92861°S 138.60000°E / -34.92861; 138.60000 Photo-rotoscope 35 mm film
5995-429: The color elements one after the other and projected the results by additive synthesis . Ultimately, Prizma was refined to bipack photography, with two strips of film, one treated to be sensitive to red and the other not, running through the camera face to face. Each negative was printed on one surface of the same duplitized print stock and each resulting series of black-and-white images was chemically toned to transform
6104-435: The conventional motion picture format, frames are four perforations tall, with an aspect ratio of 1.375:1, 22 by 16 mm (0.866 by 0.630 in). This is a derivation of the aspect ratio and frame size designated by Thomas Edison (24.89 by 18.67 millimetres or 0.980 by 0.735 inches) at the dawn of motion pictures, which was an aspect ratio of 1.33:1. The first sound features were released in 1926–27, and while Warner Bros.
6213-573: The de facto status of 35mm as the industry's dominant film gauge, adopting it as an engineering standard". When film editing was done by physically cutting the film, editing the picture could only have been done on the frame line. However, the sound was stored for the whole frame between each of the four sprocket holes, and so the sound editors could cut on any arbitrary set of holes, and thus get + 1 ⁄ 4 -frame edit resolution. With this technique, an audio edit could be accurate to within 10.41 ms ." A limitation of analog optical recording
6322-570: The eastern end for the Church of Christ congregation in December 1856. This was replaced by a larger bluestone chapel in 1925. The old church was demolished in 1940 and the new one has been used for other than religious purposes for some time, including as a restaurant and entertainment venue. The Grote Street Model School, on the corner with Morphett Street, was designed by architect Edward John Woods in 1872, and built by T. Martin & Son in 1873–74. This
6431-520: The end of the year, 20th Century Fox had narrowly "won" a race to obtain an anamorphic optical system invented by Henri Chrétien , and soon began promoting the Cinemascope technology as early as the production phase. Looking for a similar alternative, other major studios hit upon a simpler, less expensive solution by April 1953: the camera and projector used conventional spherical lenses (rather than much more expensive anamorphic lenses), but by using
6540-427: The film supplied for Eastman Kodak cameras in 1889, a transparent 70 mm celluloid film, in his development of a more suitable film stock , and "simply slit this film in half"; it was initially developed for the Kinetoscope, a one-person viewer, not to be projected. The image was still of high quality, even when magnified, and was more economical than 70 mm film (and more economical than any other gauge, as cutting
6649-478: The filmmaker to their standards with perforation equipment. A variation developed by the Lumière brothers used a single circular perforation on each side of the frame towards the middle of the horizontal axis. When films began to be projected, several projection devices were unsuccessful and fell into obscurity because of technical failure, lack of business acumen on the part of their promoters, or both. The Vitascope ,
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#17328514332666758-416: The first marketable usage of an anamorphic widescreen process and became the basis for a host of "formats", usually suffixed with -scope, that were otherwise identical in specification, although sometimes inferior in optical quality. (Some developments, such as SuperScope and Techniscope , however, were truly entirely different formats.) By the early 1960s, however, Panavision would eventually solve many of
6867-510: The first projection device to use 35 mm, was technologically superior and compatible with the many motion pictures produced on 35 mm film. Edison bought the device in 1895–96; the Lumiere's 35 mm projection Cinematograph also premiered in 1895, and they established 35 mm as the standard for exhibition. Standardization in recording came from monopolization of the business by Eastman and Edison, and because of Edison's typical business model involving
6976-459: The first transparent, flexible film. Eastman also produced these components, and his was the first major company to mass-produce such film when, in 1889, Eastman realized that the dry-gelatino-bromide emulsion could be coated onto this clear base, eliminating the paper. With the advent of flexible film, Thomas Edison quickly set out on his invention, the Kinetoscope , which was first shown at
7085-562: The higher image quality and frame negative area of anamorphic photography (especially with regard to granularity ). With the advent of digital intermediates (DI) at the beginning of the 21st century, however, Super 35 photography has become even more popular, since everything could be done digitally, scanning the original 4-perf 1.33:1 (or 3-perf 1.78:1) picture and cropping it to the 2.39:1 frame already in-computer, without anamorphosing stages, and also without creating an additional optical generation with increased grain. This process of creating
7194-412: The incandescent exciter lamp with a complementary colored red LED or laser . These LED or laser exciters are backwards-compatible with older tracks. The film Anything Else (2003) was the first to be released with only cyan tracks. To facilitate this changeover, intermediate prints known as "high magenta" prints were distributed. These prints used a silver plus dye soundtrack that were printed into
7303-430: The industry and positioning Edison's own technology as the standard to be licensed out. 35 mm became the "official" standard of the newly formed MPPC, which agreed in 1909 to what would become the standard: 35 mm gauge, with Edison perforations and a 1.3 3 :1 (4:3) aspect ratio (also developed by Dickson). Scholar Paul C. Spehr describes the importance of these developments: The early acceptance of 35 mm as
7412-421: The industry could change over completely over the course of ten-years. However, the movie industry did not make the change mainly because it would have required the modification of the thousands of existing 35 mm projectors in movie theaters all over the world. Whilst it would have been possible to shoot in 3-perf and then convert to standard 4-perf for release prints the extra complications this would cause and
7521-582: The industry making such a change. The Canadian cinematographer Miklos Lente invented and patented a three-perforation pull down system which he called "Trilent 35" in 1975 though he was unable to persuade the industry to adopt it. The idea was later taken up by the Swedish film-maker Rune Ericson who was a strong advocate for the 3-perf system. Ericson shot his 51st feature Pirates of the Lake in 1986 using two Panaflex cameras modified to 3-perf pulldown and suggested that
7630-417: The industry the capability and low cost of equipping theaters for this transition. Other studios followed suit with aspect ratios of 1.75:1 up to 2:1. For a time, these various ratios were used by different studios in different productions, but by 1956, the aspect ratio of 1.85:1 became the "standard" US format. These flat films are photographed with the full Academy frame , but are matted (most often with
7739-439: The magenta dye layer. The advantage gained was an optical soundtrack, with low levels of sibilant (cross-modulation) distortion, on both types of sound heads. The success of digitally projected 3D movies in the first two decades of the 21st century led to a demand from some theater owners to be able to show these movies in 3D without incurring the high capital cost of installing digital projection equipment. To satisfy that demand,
7848-496: The market, basically a type of lottery or "sixpenny dip", where buyers would offer a coin for an unknown purchase. Bruce had a successful career as a businessman though the 1910s, establishing a number of stores in Adelaide and country towns, as well as breeding pigs. In 1918, Bruce amalgamated his considerable business interests in New South Wales with those in South Australia, forming the company W. H. Bruce Limited, which had
7957-427: The men the wages asked for by their union. It opened on 21 December with a programme including The Price of a Man and Kathleen Mavourneen . There was gallery seating at the back where seats could be reserved, gallery seating down the sides and stalls seating in the middle. The entrance was described as being "under Muirden College". The films were billed as being put on by W. H. Bruce's Pictures in 1912. The cinema
8066-463: The name Super 35. The central driving idea behind the process is to return to shooting in the original silent "Edison" 1.33:1 full 4-perf negative area (24.89 by 18.67 millimetres or 0.980 by 0.735 inches), and then crop the frame either from the bottom or the center (like 1.85:1) to create a 2.40:1 aspect ratio (matching that of anamorphic lenses) with an area of 24 by 10 mm (0.94 by 0.39 in). Although this cropping may seem extreme, by expanding
8175-490: The negative and print, is horizontally compressed (squeezed) by a factor of 2. The unexpected success of the Cinerama widescreen process in 1952 led to a boom in film format innovations to compete with the growing audiences of television and the dwindling audiences in movie theaters. These processes could give theatergoers an experience that television could not at that time—color, stereophonic sound and panoramic vision. Before
8284-476: The negative area out perf-to-perf, Super 35 creates a 2.40:1 aspect ratio with an overall negative area of 240 square millimetres (0.37 sq in), only 9 square millimetres (0.014 sq in) less than the 1.85:1 crop of the Academy frame (248.81 square millimetres or 0.38566 square inches). The cropped frame is then converted at the intermediate stage to a 4-perf anamorphically squeezed print compatible with
8393-477: The older screen ratio of 1.33:1. Furthermore, every theater chain had their own house aperture plate size in which the picture was projected. These sizes often did not match up even between theaters and studios owned by the same company, and therefore, uneven projection practices occurred. In November 1929, the Society of Motion Picture Engineers set a standard aperture ratio of 0.800 in by 0.600 in. Known as
8502-479: The only motion picture format that could be played in almost any cinema in the world, until digital projection largely superseded it. In 1880, George Eastman began to manufacture gelatin dry photographic plates in Rochester, New York . Along with W. H. Walker, Eastman invented a holder for a roll of picture-carrying gelatin layer-coated paper. Hannibal Goodwin then invented a nitrocellulose film base in 1887,
8611-544: The outstanding mortgage . Around 1903, W. H. Bruce started a business with £30 capital "in a little shop of 12 sq ft (1.1 m) in the Central Market ", trading in " fancy goods ", soon moving on to tailoring , which by 1918 was "the largest tailoring concern in Australasia". He leased a group of two-storey shops with a 220-foot (67 m) frontage, built in 1906, for about 20 years. Part of these later became
8720-471: The patent system: Eastman and Edison managed their film patents well – Edison filed the 35 mm patent in 1896, the year after Dickson left his employ – and so controlled the use and development of film. Dickson left the Edison company in 1895, going on to help competitors produce cameras and other film gauges that would not infringe on Edison's patents . However, by 1900, filmmakers found it too expensive to develop and use other gauges, and went back to using
8829-552: The projected image would use an aperture plate size of 0.825 by 0.600 in (21.0 by 15.2 mm), yielding an aspect ratio of 1.375:1. This became known as the " Academy " ratio. Since the 1950s the aspect ratio of some theatrically released motion picture films has been 1.85:1 (1.66:1 in Europe) or 2.35:1 (2.40:1 after 1970). The image area for "TV transmission" is slightly smaller than the full "Academy" ratio at 21 by 16 mm (0.83 by 0.63 in), an aspect ratio of 1.33:1. Hence when
8938-450: The rapid conversion of the cinema exhibition industry to digital projection saw 35 mm film projectors removed from most of the projection rooms as they were replaced by digital projectors. By the mid-2010s, most of the theaters across the world had been converted to digital projection, while others continued running 35 mm projectors. In spite of the uptake in digital projectors installed in global cinemas, 35 mm film remains in
9047-420: The safer triacetate stock. By 1952, all camera and projector films were triacetate-based. Most if not all film prints today are made from synthetic polyester safety base (which started replacing Triacetate film for prints in the early 1990s). The downside of polyester film is that it is extremely strong, and, in case of a fault, will stretch and not break–potentially causing damage to the projector and ruining
9156-440: The same strip of film. An improved version in 1952 was quickly adopted by Hollywood, making the use of three-strip Technicolor cameras and bipack cameras (used in two-color systems such as Cinecolor ) obsolete in color cinematography. This "monopack" structure is made up of three separate emulsion layers, one sensitive to red light, one to green and one to blue. Although Eastman Kodak had first introduced acetate -based film, it
9265-755: The seat has been held by Lucy Hood of the Labor party. Adelaide's cultural and entertainment precincts/venues are generally concentrated in the city centre, including the Convention Centre ; the Adelaide Oval is just north of the Torrens within the parklands and easily accessible from the city. Most of the events relating to the Adelaide Festival and Adelaide Fringe are held within Adelaide's city centre and surrounding parklands during February and March. This time
9374-492: The silver into a monochrome color, either orange-red or blue-green, resulting in a two-sided, two-colored print that could be shown with any ordinary projector. This system of two-color bipack photography and two-sided prints was the basis for many later color processes, such as Multicolor , Brewster Color and Cinecolor . Although it had been available previously, color in Hollywood feature films first became truly practical from
9483-522: The sound system installed at individual theatres. The analogue optical track technology has also changed: in the early years of the 21st century, distributors changed to using cyan dye optical soundtracks instead of applicated tracks, which use environmentally unfriendly chemicals to retain a silver (black-and-white) soundtrack. Because traditional incandescent exciter lamps produce copious amounts of infrared light , and cyan tracks do not absorb infrared light, this change has required theaters to replace
9592-490: The streets and squares in the Adelaide city centre and North Adelaide named after themselves. Brown Street, named for John Brown, was subsequently subsumed as a continuation of Morphett Street in 1967. In the same year, Hanson Street, named for Richard Hanson , was subsumed as a continuation of Pulteney Street . The squares were named after: The east–west streets named on 22 December 1836 were: Most of these people did not reside in or visit South Australia. The naming of
9701-415: The streets was completed on 23 May 1837 and gazetted on 3 June. East–west streets: North–south streets: The Adelaide City Council began the process of dual naming all of the city squares, each of the parks making up the parklands which surround the city centre and North Adelaide , and other sites of significance to the Kaurna people in 1997. The naming process, which assigned an extra name in
9810-620: The studios' commercial perspective with the advent of Technicolor , whose main advantage was quality prints in less time than its competitors. In its earliest incarnations, Technicolor was another two-color system that could reproduce a range of reds, muted bluish greens, pinks, browns, tans and grays, but not real blues or yellows. The Toll of the Sea , released in 1922, was the first film printed in their subtractive color system. Technicolor's camera photographed each pair of color-filtered frames simultaneously on one strip of black-and-white film by means of
9919-519: The surrounding four terraces. In the south half of the city, in several places the Adelaide City Council has constructed wide footpaths and road markings to restrict traffic to a lesser number of lanes than the full width of the road could support. The street pairs, design widths, and town acres in Light's Vision are illustrated in this diagram: The streets and squares were named by a committee of
10028-494: The theatre, in January 1910 run by Messrs Lennon, Hyman, and Lennon, initially featured vaudeville acts and movies , then silent films . It continued as a picture theatre until 1952. It was converted into a Peoplestores store in 1953–4. It still stands today (2022), numbered 61–68 and housing several stores. The Lyric Theatre was a cinema built by owner W. H. Bruce , completed during a builders' labourers' strike in 1912 by paying
10137-453: The use of "over-under" film prints. In these prints a left-right pair of 2.39:1 non-anamorphic images are substituted for the one 2.39:1 anamorphic image of a 2D "scope" print. The frame dimensions are based on those of the Techniscope 2-perf camera format used in the 1960s and 1970s. However, when used for 3D the left and right frames are pulled down together, thus the standard 4-perf pulldown
10246-480: The whole negative area between the perforations ( Super 35 mm film ) without worrying about compatibility with existing equipment; the Super 35 image area includes what would be the soundtrack area in a standard print. All 3-perf negatives require optical or digital conversion to standard 4-perf if a film print is desired, though 3-perf can easily be transferred to video with little to no difficulty by modern telecine or film scanners . With digital intermediate now
10355-456: The work of Colonel William Light (1786–1839), who was the first Surveyor General of South Australia . The area where the Adelaide city centre now exists was once known as "Tarndanya", the Kaurna word for as "male red kangaroo rock", which was the name used for an area along the south bank of what is now known as the River Torrens ( Karrawiri Pari ), which flows through Adelaide. Adelaide
10464-635: Was " No Religion " at 52.9% of the population. At federal level, Adelaide is within the Division of Adelaide , a marginal seat which historically has alternated between the Liberal and Labor parties. It has been held since 2019 by Steve Georganas of the Labor party. In the South Australian House of Assembly , Adelaide is within the Electoral district of Adelaide . Since the March 2022 state election,
10573-434: Was built from around 1845 on what is now Gray Street. It was the principal place of worship for Catholics until St Francis Xavier's Cathedral opened on Wakefield Street in 1858. A much larger building, designed by Woods Bagot , was built between 1912 and 1914, and still stands today, on the corner of Gary Street. The original church building was demolished in 1959. A chapel was built on the northern side of Grote Street at
10682-442: Was carefully managed, the lack of colors such as true green could pass unnoticed. Although Cinecolor used the same duplitized stock as Prizma and Multicolor, it had the advantage that its printing and processing methods yielded larger quantities of finished film in less time. In 1950, Kodak announced the first Eastman color 35 mm negative film (along with a complementary positive film) that could record all three primary colors on
10791-540: Was cut exactly to specification. Edison's aperture defined a single frame of film at four perforations high. Around 1896, a 35mm projector known as a "photo-rotoscope" was made by W. C. Hughes in London , which advanced the film by means of a "dog" motion. For a time, it had been generally assumed that Dickson was following cinematography formats established by Eastman in producing the film, but Eastman had produced film in sheets that were then cut to order. Dickson used
10900-533: Was described in The Advertiser as one "who has long been recognised as one of Adelaide's leading business magnates ". In October 1925 a fire broke out in his Grote Street store and damaged most of his stock of suits. In 1929, having taken over Conrad's butcher in Hindley Street (possibly upon Conrad's death in 1918), Bruce had butcher shops in Grote Street, Rundle Street , Port Adelaide , and Glenelg . He
11009-443: Was far too brittle and prone to shrinkage, so the dangerously flammable nitrate-based cellulose films were generally used for motion picture camera and print films. In 1949 Kodak began replacing all nitrocellulose (nitrate-based) films with the safer, more robust cellulose triacetate -based "Safety" films. In 1950 the Academy of Motion Picture Arts and Sciences awarded Kodak with a Scientific and Technical Academy Award ( Oscar ) for
11118-492: Was introduced around 1890 by William Kennedy Dickson and Thomas Edison , using 120 film stock supplied by George Eastman . Film 35 mm wide with four perforations per frame became accepted as the international standard gauge in 1909, and remained by far the dominant film gauge for image origination and projection until the advent of digital photography and cinematography. The gauge has been versatile in application. It has been modified to include sound, redesigned to create
11227-445: Was later described as a "great businessman". There was still a business concern named W. H. Bruce in 1954, which opened a new food store (of meats) at 13–15 Grote Street in December 1954. In 1931, an arcade was constructed through the shops formerly leased by Bruce, to create a northern entrance to the Adelaide Central Market . On 10 April 1909 the first theatre in Grote Street, the Empire Theatre, opened. Designed by A. Barnham Black,
11336-403: Was not as badly affected by the 1860s economic depression in Australia as other gold rush cities like Sydney and Melbourne , allowing it to prosper. Historian F.W. Crowley noted that the city was full of elite upper-class citizens which provided a stark contrast to the grinding poverty of the labour areas and slums outside the inner city ring. Due to its historic wealth during the 20th century,
11445-435: Was planned in 1837 on a greenfield site following a grid layout , with streets running at right angles to each other. It covers an area of 4.33 square kilometres (1.67 square miles) and is surrounded by 6.68 square kilometres (2.58 square miles) of park lands. Within the city are five parks: Victoria Square in the exact centre and four other, smaller parks. Names for elements of the city centre are as follows: Before
11554-573: Was still screening films on 17 January 2014, but soon thereafter advertisements appear for the auction of a variety of goods at the entrance to the Lyric Theatre, including jewellery, suit materials, and Japanese goods. The Princess Theatre, built in 1912–13 for Edwin Daw, was immediately leased and renamed as the New Tivoli Theatre, and staged vaudeville acts, stage plays, and other entertainment. After
11663-412: Was the audio frequency would cut off, in a well-maintained theater, at around 12 kHz . Studios would often record audio on the transparent film strips, but with magnetic tape on one edge; recording audio on full 35 mm magnetic tape was more expensive. Three different digital soundtrack systems for 35 mm cinema release prints were introduced during the 1990s. They are: Dolby Digital , which
11772-480: Was the first of four "model schools" in the city centre. These included Sturt Street Public School (1883), Flinders Street Model School (1878), and Currie Street Model School (1893). On the site, additional educational facilities were built. In June 1876, a teachers' training college opened, also designed by Woods. In 1891, the Advanced School for Girls opened, which was the first state secondary school in
11881-465: Was using synchronized phonograph discs ( sound-on-disc ), Fox placed the soundtrack in an optical record directly on the film ( sound-on-film ) on a strip between the sprocket holes and the image frame. "Sound-on-film" was soon adopted by the other Hollywood studios, resulting in an almost square image ratio of 0.860 in by 0.820 in. By 1929, most movie studios had revamped this format using their own house aperture plate size to try to recreate
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