We do not know what will turn the transition to digital cameras and 3D-image. "Avatar" may become a new starting point or a curious oddity. In the end, over fifty years, James Cameron's three-dimensional filming was engaged Alfred Hitchcock. Who now remembers that his film "In the case of murder, dial M" (1954) filmed in 3D, and shown with Polaroid glasses? In the meantime, "Avatar" rolled into theaters, movies-we remember landmarks, which now mark technological progress. By 1944 the ninth year, when he left, "St. Louis", color films have long ceased to be news. The first colored band went back in 1903 (then a film painted by hand), became a familiar thing in the 1930s. But it was a movie Vincent Minnelli showed TECHNICOLOR technology in all its splendor: a rich, vibrant, deep colors.
Tehnikolorovskie movies cost a third more expensive than black and white. It's really rolling, they captured only in the 50s, when the main rival cinema has a soft chair in front of the TV home. Megalomania was overcome directors did not yesterday. Practically the next day after one person invented the movie camera, the other began to wrestle with on how to make a movie screen in two, five, ten times more. Fingers of two hands is not enough to count all the technology of shooting and showing a wider format: TohoScope (Japanese invention), CinemScope (short lived development studio 20th Century Fox), The Cinerama (the apotheosis of megalomania – the screen size of half a football field, three of the projector, set in a row). Finally, in the sixties, more or less accepted standard for the cameras was PANAVISION – with the help of his musicals, and filmed epics like "Lawrence of Arabia." The history of the "new wave" talk like this: in the 60 young talented kids picked up a camera and took to the streets, take the lives of their peers without embellishment, without makeup, without teatralschiny – and miss the important thing. Easy to say – "took the camera." The camera weighed fifty kilograms, it was impossible to pick up – just put on a stand or cart.
New Wave hardly could overwhelm the world with no new light camera. Jean-Luc Godard would hardly have made his amazing antiutopichesky noir "Alphaville" without the legendary camera eCLAIR CAMEFLEX. Any veteran director-time engineer. George Lucas is no exception. On the set of "Star Wars" he was the first industrial-scale use of technology MOTION CONTROL, where the computer controlled camera movement, enabling it to walk up to the apothecary several times on the same trajectory. If Lucas used the technology in the studio for the filming of his toy space fighter, the Steven Spielberg was the first to apply it to the full-scale surveys – see "Close Encounters of the Third Kind" (1977). Lucas is one of the first put in the movie computer graphics (slightly more than ten seconds). Steven Spielberg loves and knows how to be the first. His "Jurassic Park" – this is probably the first picture, where the fullest use of the achievements of robotics. If Ridley Scott on the set of "Alien," for example, had to shove a live person in a black latex tailed suit, Spielberg set in motion and hydraulic circuits. ANIMATRONICS – a word that came to be called products such as Tyrannosaurus, which is fed from the outlet and moved by remote control.