As film goes byte: The change from analog to digital film perception.

In From Grain to Pixel, Giovanna Fossati analyzes the transition from analog to digital film and its profound effects on filmmaking and film archiving. Reflecting on the theoretical conceptualization of the medium itself, Fossati poses significant questions about the status of physical film and the practice of its archival preservation, restoration, and presentation. From Grain to Pixel attempts to bridge the fields of film archiving and academic research by addressing the discourse on film's ontology and analyzing how different interpretations of what film is affect the role and practices of film archives. By proposing a novel theorization of film archival practice, Fossati aims to stimulate a renewed dialogue between film scholars and film archivists. Almost a decade after its first publication, this revised edition covers the latest developments in the field. Besides a new general introduction, a new conclusion, and extensive updates to each chapter, a novel theoretical framework and an additional case study have been included.

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Analysis of electron-diffraction intensity profiles using a photodiode-array detection system

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100075403 ◽

1983 ◽

Vol 41 ◽

pp. 322-323

Author(s):

J. B. Warren

Keyword(s):

Electron Diffraction ◽

Diffraction Pattern ◽

Detection System ◽

High Energy ◽

Photographic Emulsion ◽

Diffraction Intensity ◽

Silicon Photodiode ◽

Photodiode Array Detection ◽

Analog To Digital ◽

Photodiode Array

Electron diffraction intensity profiles have been used extensively in studies of polycrystalline and amorphous thin films. In previous work, diffraction intensity profiles were quantitized either by mechanically scanning the photographic emulsion with a densitometer or by using deflection coils to scan the diffraction pattern over a stationary detector. Such methods tend to be slow, and the intensities must still be converted from analog to digital form for quantitative analysis. The Instrumentation Division at Brookhaven has designed and constructed a electron diffractometer, based on a silicon photodiode array, that overcomes these disadvantages. The instrument is compact (Fig. 1), can be used with any unmodified electron microscope, and acquires the data in a form immediately accessible by microcomputer.Major components include a RETICON 1024 element photodiode array for the de tector, an Analog Devices MAS-1202 analog digital converter and a Digital Equipment LSI 11/2 microcomputer. The photodiode array cannot detect high energy electrons without damage so an f/1.4 lens is used to focus the phosphor screen image of the diffraction pattern on to the photodiode array.

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Creating a standard method of controlling digital microscopes: the microscope access protocol (map)

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100136453 ◽

1995 ◽

Vol 53 ◽

pp. 16-17

Author(s):

T. A. Dodson ◽

E. Völkl ◽

L. F. Allard ◽

T. A. Nolan

Keyword(s):

Data Storage ◽

Storage Systems ◽

Digital Systems ◽

Data Networks ◽

Digital Microscopy ◽

Command Language ◽

Access Protocol ◽

Analog To Digital ◽

Basic Physics ◽

Scanning Electron

The process of moving to a fully digital microscopy laboratory requires changes in instrumentation, computing hardware, computing software, data storage systems, and data networks, as well as in the operating procedures of each facility. Moving from analog to digital systems in the microscopy laboratory is similar to the instrumentation projects being undertaken in many scientific labs. A central problem of any of these projects is to create the best combination of hardware and software to effectively control the parameters of data collection and then to actually acquire data from the instrument. This problem is particularly acute for the microscopist who wishes to "digitize" the operation of a transmission or scanning electron microscope. Although the basic physics of each type of instrument and the type of data (images & spectra) generated by each are very similar, each manufacturer approaches automation differently. The communications interfaces vary as well as the command language used to control the instrument.

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The bright future of digital imaging in scanning electron microscopy

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100149672 ◽

1993 ◽

Vol 51 ◽

pp. 768-769

Author(s):

M. T. Postek ◽

A. E. Vladar

Keyword(s):

Electron Microscopy ◽

Scanning Electron Microscopy ◽

Digital Imaging ◽

High Speed ◽

High Performance ◽

Mass Storage ◽

Analog To Digital ◽

Central Processing ◽

Digital Imaging Technology ◽

Scanning Electron

One of the major advancements applied to scanning electron microscopy (SEM) during the past 10 years has been the development and application of digital imaging technology. Advancements in technology, notably the availability of less expensive, high-density memory chips and the development of high speed analog-to-digital converters, mass storage and high performance central processing units have fostered this revolution. Today, most modern SEM instruments have digital electronics as a standard feature. These instruments, generally have 8 bit or 256 gray levels with, at least, 512 × 512 pixel density operating at TV rate. In addition, current slow-scan commercial frame-grabber cards, directly applicable to the SEM, can have upwards of 12-14 bit lateral resolution permitting image acquisition at 4096 × 4096 resolution or greater. The two major categories of SEM systems to which digital technology have been applied are:In the analog SEM system the scan generator is normally operated in an analog manner and the image is displayed in an analog or "slow scan" mode.

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From Film Practice to Data Process

10.3366/edinburgh/9780748693580.001.0001 ◽

2018 ◽

Author(s):

Sarah Atkinson

Keyword(s):

Film Industry ◽

Film Production ◽

Profound Change ◽

Data Process ◽

Production Practices ◽

Digital Film ◽

Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

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