DE1950966A1 - Process for obtaining a new cinematographic means of expression - Google Patents

Description

Description of the patent application

of Mr. Francisco Maoian Blasco, Avenida Hospital Military

Barcelona / Spain

la et reff end:

"Procedure for Achieving a New Cinematographic

Expressive means ¹ '

It is well known that, if one disregards the early days, the cinematographic expression is precisely not characterized by the fact that it leaves ample room for the development of the imagination; rather, film is a means of expression that inadequately communicates the results of the director's real creative imagination to the audience. Indeed, in the early years of cinematic expression, the director was able to give free rein to his creative imagination up to a certain point and effectively communicate the results of that imagination to the audience, relying on the one hand on the audience's complete ignorance of cinematographic techniques and on the other on the incompleteness of the means used, whereby the most harmless tricks went unnoticed. After these early days had passed, have the visual and technical perfection of the film and especially the education of ERAL nen audience about the cinematic tricks and tech

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niken led to the fact that the cinematographic expression became an antithesis of the imagination. The audience has learned that the film is something artificial, and the lazy moviegoer is aware that buildings are used instead of a natural scenery, that the characters are represented by actors, that is, by people of flesh and blood; he does not accept it or it is difficult to accept that such «. People of flesh and blood are presented to him in the film as people who belong to the unreal multiplicity of pure fantasy (monsters, supermen, beings from other planets, etc.), whatever efforts one may make with regard to clothing and make-up. Now it is not as if the audience does not want to be led down the path of the imagination, on the contrary, in the Enlightenment age in which we live, everyone feels a real need to escape reality, which is only due to the aforementioned What can happen, however, is that the cinematographic expression in its current form is not a suitable means of communicating the creative imagination. Think, for example, of the great and growing success of fantastic literature (science fiction homahe, drawn stories, creations based on monsters and other unreal beings, etc.), and also think of the poor or even ridiculous results that you get despite the use of great resources in the attempt to bring such products of the imagination onto the canvas. - -

Only in the cartoons has it been possible to preserve the dream of the imagination and to communicate it effectively. Such films are very expensive to produce and require the use of a very well paid team from Spezial · »·

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"Drawing (remember that each picture corresponds to a single drawing); except for" the backgrounds that remain the same for a large number of pictures ", this technique requires an absolute schematization of lines, which means that the application can be used are limited to the development of stories in which strange people appear, but it is clear that the imagination must penetrate into the age of the cinematograph, into the world of dynamic art, shaped by the hands of the corpses and especially by the hand of the storytellers and illustrators, who are so close to the kinenat ogr aphis chezi technique in the exercise and planning of their technique. It is also clear that up to now the use of the piIm has only served the aesthetic purpose to depict a piln, to sketch the tame of history which is in the process of being or to allow the dramatic content of the 'i'heuas to be revealed; Inwardly, however, the draftsman's art has remained on paper, he has almost never been able to share the strength of his skill. I ¹ For demanding pilne sketches have been made which are a 'real a miracle of creative imagination; on the other hand · the film adaptation has little or nothing to do with the strength and originality of the first line drawings. The realization of the phantasy loses all the power of the phantasy the moment the form takes shape in the age of the three juries; what is left is the unconcrete and the unlimited ¹ jeIt, the fantastic, the unreal.

The present invention therefore includes a method for achieving the goal, a ntiueri! Cinematograph! Already Auadruck ^ rd ttel:;, dar; on allows a synthesis between the

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unlimited possibilities of fantastic creation in their graphic form of expression - an exclusive one Product of the art of the draftsman - and the possibilities to 'create that current cinematographic technology possesses to its full extent the ability to capture impressions that arise from the movement and to convey them to the viewer convey. That. recommended, procedure allows- all audiovisual Communication opportunities that modern technology has created - television, remote photography, remote printing i Computers, electronic brains, etc., etc. - to use and at the service of the draftsman's creative imagination au pose to the results of the expressed creative imagination faithful to the viewing audience and to communicate effectively. In other words; the new ver ** Driving allows it to be economical and to a large extent automated way of producing films that are accessible to the audience Communicate the results of a creative imagination without the essential limitations of the three-dimensional world. ■

The new process is based on the metamorphosis of the real south previously photographed or filmed in the. Much of the creative imagination, on the 'transformation and implementation of the image of any person or anybody Object in the cinematographic film, image around Picture to discolor it and bring it to the world of the imagination. fit, be it drawn, painted or photographed ..

The photos of people and objects are visible through the light and its contrasts. To just the two

To name extremes of the light spectrum: the impression of reality is created by the contrast between black and white. The photographic and the film are based on one Positive and one negative, which order in the cinematographic

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-Talking technical terms, combined into a mask and G-egen mask can be.

The negative and the positive of one and the same picture complement each other, so that their overlay is a complete one creates a black image or a completely black area. If so - and this is an essential feature of the Inventive idea for whose protection is sought - the positive or the negative reduced to a small extent or is enlarged, then the superimposition of the two results in a white line, which is generated by the mismatch of the two images. This theory is illustrated graphically in Figures 1 through 6 of the accompanying drawings. Figs. 1 and 2 correspond to the positive or negative of an initial image, in this lall a circle. If you put the two on top of each other, then obviously falls the white circle in Fig. 2 exactly with the black circle Fig. 1 together, while the white background of one figure and the black background of the other figure coincides, resulting in a completely black area, as shown in Fig. 3. If now the positive of Fig. 1 is reduced by a few millimeters, as can be seen in Fig. 4, then the superimposition of the clichés creates these Figure with the cliché of Fig. 2 a line, more precisely a white circumferential line through the different G-size is generated, as can be seen in Fig. 5. The positive this cliché becomes a black line on a white background as shown in Fig. 6. Obviously depends the strength of this line depends on the reduction made in the positive cliché, i.e. one can do this Regulate strength within wide limits. It is also clear that one would have always achieved the same result if one had the negative

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Cliché enlarged and it to a normal cliché had laid.

Through the specified sequence of processes, which, we would like to emphasize again, is an essential feature of the recommended method, a line has thus been formed which delimits the parts and the scope of a figure or an object. In this way, with only a few technical processes which can be automated relatively easily, the drawn silhouette or the drawn outline of any photographed image can be obtained, starting from a normal negative and a slightly reduced positive. In Fig. 7 the line is shown which draws the silhouette of a photographed image and was produced by the mentioned sequence ^/ processes.

If you achieved that in the manner shown Result in the form of silhouette and line adding the black tones created by the white light, d * h » the projected shadows, then you get a flawless image, which is more correctly called a drawn image and not a photographed image, since the gradations are practically there are missing 'and it has the silhouettes that the through the uniformity of the white light compensates for losses at shape boundaries.

The addition shown gives a graphic image of pure light spots and without penumbra tones, i.e. - and it is specifically referred to by purely technical means one transforms any photographic into a clean black-and-white drawing (if black not replaced by any other color).

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In Fig. 8 is. das.bild shown that one in this phase the process application has established.

It is understood that by extending the invention however, using the same principle, for example a template from a photograph or another Illustration containing ilal tones can be produced. Man proceeds in such a way that according to the principle of the invention of the negative a positive is slightly reduced or enlarged it is manufactured that the negative and the positive are superimposed and in the photographic transmitted light process a line positive is produced on a photo material of extremely hard quality, and that the line positive the negative alone is exposed in such a way that only the position of high brightness of the negative - accordingly the full shadow of the positive - appear as evenly blackened areas on the line positive.

Finally, as one will understand, the picture can colored from an artistic point of view (with manual or printing means), it can be colored by optical techniques are being redesigned, their various forms Components can be torn apart to create animated pictures, backgrounds, decorations and settings as desired incorporate, but always the real cinematography Content of the film created by successive images is preserved and there is the possibility of using this content and applying it to the animation technique, if one wishes it. In the case specifically explained, there is a schematic background in Figure 9 of the accompanying drawings while Fig. 10 shows the result that mn 'achieves when the image is added to this background, das'man made in the manner discussed here.

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In particular, the method is suitable for people or bodies in motion with a real cinematographic movement are equipped to be arranged on drawn or painted backgrounds, i.e. on unreal, purely two-dimensional ' sional decorations that are the direct testimony of the director's imagination.

To summarize, it can be said that the present Procedure includes the following key points j

1. One assumes a cinematographic PiIm, which is specially made or already exists and in which people, figures or real objects have been filmed in motion. '

2. Han makes everyone's positive and negative Image of the film mentioned.

3. The positives of the successive ones are reduced Pictures.

4 · The positives, reduced in size as shown, are placed on top of the ones remaining in their original size Negative, in order to obtain white lines on a black background through different dimensions of the two clichés, whereby the shapes and the Outlines of the elements shown in the original are expressed in a silhouette-like manner.

5. The negative produced in the manner shown is transformed into a positive, making black lines on a white background.

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6. By overlaying one adds the according to the previous one The black tones, i.e. the projected shadows of a positive, are added to the silhouette produced in the first paragraph the same image from which the gray tones have been removed, i.e. the half shades; that way gets you get a picture that looks like a drawn one.

7. The images obtained are colored, reshaped by optical techniques, torn apart and into different ones Backgrounds, decorations and milieus according to the will of the director and using per se known techniques, so that you get a cinematographic film that is ready to demonstrated or to be broadcast by television or other means of communication.

It remains to be stated quite generally and explicitly, that one understandably and logically in the practical execution of the presented method all those Can make additions and individual changes that do not affect the essence of the invention. In particular it should be noted that a good part of the The processes represented can be automated by machines or technical means that are specially designed for this purpose or are partially already known,

(Patent claims)

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Claims (2)

- ίο - Patent claims: Method of achieving a new cinematographic Means of expression, being seen from a! Cinematograph! Film starts by taking in people or real objects in ■ motion; you make the positive and negative of the successive frames forming the film; man shrinks the positives; each reduced positive is placed on the corresponding negative, which has its original dimensions "retains; the different dimensions of the two clichés result in white lines on a black background, which the elements shown on the original are silhouetted be expressed in their shapes and outlines; the negative produced in this way is transformed into a positive; by overlay one adds the black spots to this cliché, i.e. the projected shadows of a positive of the same Image from which the penumbra has been removed; finally the pictures are colored, by optical means Techniques reshaped and / or torn apart and into different backgrounds, decorations or milieus incorporated, whereby one can see the cinematography ready for demonstration Film receives. · 2) · Method of making a line drawing, in particular a cliché template from a transparent photographic negative with halftones, characterized in that of the Negative a positive is made slightly reduced or enlarged, that the negative and the positive are placed one on top of the other and produced a line positive on a photographic material of extremely hard quality using the photographic transparency process and that the positive line is alone with the negative " ■ / '■ ·' ■ - ■ BAD ORIGINAL 009816/1331 -11- - ii - is exposed in such a way that only the .., division is greater Brightness of the negative - corresponding to the full shadow of the positive - on the line positive as uniform blackened areas appear, SA OfUGlNAl. 009816/1331 ι Λ /, Empty line