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These are not true Rolleiflex cameras but are miniature reproductions of the Rolleiflex TLR design produced under licence by the German camera manufacturer Minox. The cameras are manufactured by the Japanese company Sharan Megahouse. One model is a miniature digital camera, the other is a miniature Rolleiflex TLR film camera.
The unchained camera technique (entfesselte Kamera in German) was an innovation by cinematographer Karl Freund that allowed for filmmakers to get shots from cameras in motion enabling them to use pan shots, tracking shots, tilts, crane shots, etc. [1]
The use of movie cameras had an upsurge in popularity in the immediate post-war period giving rise to the creation of home movies. Compared to the pre-war models, these cameras were small, light, fairly sophisticated and affordable. An extremely compact 35 mm movie camera Kinamo was designed by Emanuel Goldberg for amateur and semi-professional ...
The camera is capable of recording 12K at 60 fps in 17:9, 4K, 6K and 8K at 120 fps, and at 4K at 240 fps, though high frame rate 4K and 6K are recorded in cropped Super 16. [21] [22] The camera ships with a PL mount, though others are available for purchase. The camera also has an inbuilt ND filters, and has a claimed dynamic range of 14 stops ...
First film shot with the Red One Camera: Che (2008) [4] First film shot with the Red One MX, and first film projected in 4K theatrical distribution: The Social Network (2010) [5] First film to be shot mainly with the Arri Alexa: Anonymous (2011) [6] First film to be shot mainly with the Red Epic Dragon and in 6K resolution: Gone Girl (2014) [7]
IMAX cameras and film stock are rarely used for mainstream films; the cameras are heavy and the film stock is expensive. However, since 2002, some feature films shot with IMAX digital cameras or on original 35mm film stock have undergone IMAX Digital Media Remastering (DMR) processing for showing both in 70mm IMAX theaters and in IMAX Digital ...
Karl Freund was a pioneer of the unchained camera. In films such as Der letzte Mann, the unchained camera was a revolution in early film. For the first time, the camera was free of the tripod and could move around the set. Because it was no longer confined to one position, thousands of new shots were possible.
As in its last additive system, the camera had only one lens but used a beam splitter that allowed red and green-filtered images to be photographed simultaneously on adjacent frames of a single strip of black-and-white 35 mm film, which ran through the camera at twice the normal rate. By skip-frame printing from the negative, two prints were ...
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