Has anyone seen singin in the rain before ?

It was in 1952 but the story goes on in the late 20s where sound revolution came in and films were changed from the usual at that time which is silent films to talkies and all the difficulties that came with it 

From the problem of recoding the voice of the actors without the noises of the set disturbing to synchronizing the sound with picture and so on ,all that with a comedy and musical theme .

It emphasized the technological evolution that gave filmmakers new tools to make their films !

And this is what’re going to talk about ! so lets start .

This episode topic filmmaking.

I don’t think there’s someone out there who hasn’t seen at least one film in their life ,films are a work of visual arts and way to present ideas, stories, , feelings, or atmosphere through the use of moving images.

But lets back up a little bit before I lose track and believe me when it comes to this I’m ganna.

Lets come to this in kinda of a scientific way since that’s kinda our show .

Film is kind of illusion based on the optical phenomena know as persistence of vision and the phi phenomenon ,the persistence of vision is the retention or store of a visual image for a short period of time in the brain after the stimulus that produced the image is removed ,and the phi phenomenon an illusion of movement that happens when still objects are placed side by side and displayed to light rapidly one after another, Together these two phenomenas allow the sequence of still frames on a film strip to represent continuous movement when projected at the proper speed.

From the first motion picture in 1888 and to the first talking picture the Jazz singer in 1927 to the first film in color the wizard of OZ  in 1939 The technology of film emerged mostly from developments and achievements in the fields of projection, lenses, and photography 

Most early photographic sequences,were not initially intended to be viewed in motion and were typically presented as a serious, even scientific, method of studying movement

Lets talk about cameras for a little bit 

A motion-picture camera must be able to advance the medium rapidly enough to allow at least 16 frames per second as well as bring each frame to a full stop to record a sharp image.

The principles of modern professional motion-picture cameras are much the same as those of earlier times, although the mechanisms have been freed from impurities . A film is exposed behind a lens and is moved intermittently, with a shutter to stop the light while the film is moving. In the process, the film is unrolled from a supply reel, through the intermittent to the gate where the exposure takes place, and then on to the take-up reel.

Cameras became digital With the advancement in electronics which are unlike film cameras digital cameras do not have film and sometimes lack a viewfinder which is a component used to allow the photographer to see the area that will be included in the photograph, which is replaced by an LCD (liquid crystal display).

At the core of a digital camera is a semiconductor which measures light intensity and color transmitted through the camera’s lenses. When light strikes the individual light receptors, or pixels, on the semiconductor, an electric current is induced and is translated into binary digits for storage within a flash memory.

An important part in cameras either film or digital cameras are the lenses 

Lenses have gone through a continuous evolution in the last half century, for both still and motion-picture photography. The two major objectives have been to focus properly all the colors of the image at the film plane and to focus portions of a beam coming from different portions of the lens, the center or the edges, at the same point on the film.

Both objectives require solution for as large a lens opening as possible, in order to capture maximum light for the exposure, and for as wide a field of view as will be needed. In order to solve these problems, lenses have been made with more and more components. Also, more types of glass have been discovered and developed, to give better achromatic performance.

The popularity of the motion picture inspired many inventors to seek a method of reproducing accompanying sound. 

Inventors and entrepreneurs needed to overcome several problems before sound could be accepted. There was the technological difficulty of matching sound and visuals in such a way that everyone in the audience could hear. In other words, the problems were synchronization and amplification.

For the amplification problem lee de froestin1907 invented the audion which Is a amplifying vacuum tube, it provided the basis in the early 1920s for a feasible amplifier that produced an undistorted sound of sufficient loudness.

Next came the problem of synchronization of the sound with the picture. A major difficulty turned out to be the securing of constant speed in both the recorder and reproducer.

Even after invention, sound presented a host of problems. The early sound cameras and equipment were big and noisy, and had to be kept in their own soundproof room, called a "blimp." And it took a while for someone to figure out that you could move the microphone around by placing it at the end of a stick?calleda "boom"?just above the range of the camera. So very early sound films tended to be very static because actors had to speak to a static mike

The development of sound technology in the first years of talking pictures focused on two areas. One involved the development of equipments so that sound could be recorded more cleanly at the time of shooting, for example blimped cameras these are cameras with a sound blimp to reduse sounds such as shutter click, and motors on motion picture cameras , and directional microphones that can pick up sound from a specific area , and microphone booms, and quieter lights,. The other technologies involved the ability to add, edit, and mix sound separately from the time the picture was recorded.

Today we take colour photography for granted. Taking pictures in full, natural colour is so easy that we don’t pause to consider how it all came about. Yet the search for a cheap and simple process of colour photography followed a long and difficult quest with many a wrong turns and dead ends

Colour was first added to black-and-white movies through hand colouring, tinting,and toning 

By 1906, the principles of colour separation were used to produce so-called ‘natural colour’ moving images with the British Kinemacolorprocess which was photographing and projecting a black-and-white film behind alternating red and green filters,and it was wasprimarily used for documentary films .

The early Technicolor processes from 1915 onwards were cumbersome and expensive, and colour was not used more widely until the introduction of its three‑colour process in 1932which is a process that uses the fact that any colour can be reproduced solely combining the three primary colours. It was used for films such as Gone With the Wind and The Wizard of Oz (both 1939) in Hollywood and A Matter of Life and Death (1946) in the UK.

In the past 20 years, film production has been profoundly altered by the impact of rapidly improving digital technology. Most mainstream productions are now shot on digital formats with subsequent processes, such as editing and special effects, undertaken on computers

Cinemas have invested in digital projection facilities capable of producing screen images that rival the sharpness, detail and brightness of traditional film projection.

The development of motion picture complexity has been driven by a continuing technological evolution, which has afforded filmmakers the opportunity to practice a more complex craft to tell more complex stories, this evolution has driven the development of distinct styles, movements, and methods that would have been impossible without increasingly advanced tools .

Even though this evolution has empowered filmmakers by offering a more diverse catalogue of tools and techniques, it is the filmmaker’s ability to effectively use this technology within a temporal and societal context that truly drives cinematic quality.

this technology only serves as another option for filmmakers to choose and not a precondition of modern quality.