Who invented film

Stanford was a racehorse breeder and hired Muybridge to prove that a galloping horse lifts all four hooves off the ground at once. So Muybridge was hired to help Stanford win this bet. Muybridge toiled and worked with multiple cameras to take successive photos of horses in motion. On a Sacramento racecourse, he set up a battery of twelve cameras with wires that stretched across the track, and each wire operated their shutters.

So as a horse rode down the track, its hooves would trip each shutter to expose a successive photo of the gallop. In October of , the Scientific American published these series of pictures, with instructions to view them through a zoetrope. Stanford supported Muybridge after this with the invention of the zoogyroscope in This device allowed Muybridge to project photos to an audience in San Francisco, the next year.

Around the same time, in , French physiologist, Etienne-Jules Marey, invented the chronophotographic gun, a camera shaped like a rifle that recorded 12 photos per second. He wanted to study birds in flight. These images were printed on a rotating glass plate, later paper roll film , he then attempted to project these images. But inventors around the world were always working on something. In in Newark, New Jersey, a minister named Hannibal Goodwin decided to use celluloid as a base for photographic emulsions.

But it was George Eastman who experimented with sensitized paper rolls for still photos, and started to manufacture this celluloid roll film in in New York. This type of film could now record thousands of images for longer Celluloid was a durable recording medium that could house the amount of images cinematography requires. Now the only thing left to do was to combine the apparatuses of Marey and Muybridge with this celluloid strip film to give us a workable motion picture camera.

French inventor, Louis Le Prince invented the first motion picture camera in the s. He shot several short films in Leeds, England in Show Search Search Query. Play Live Radio.

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However, Cinerama was technically complex and therefore expensive to produce and show. Both processes used single projectors in their presentation.

Todd-AO used film with a width of 70mm. By the end of the s, these innovations had effectively changed the shape of the cinema screen, with aspect ratios of either 2. Stereo sound, which had been experimented with in the s, also became part of the new widescreen experience.

Specialist large-screen systems using 70mm film were also developed. The most successful of these has been IMAX, which as of has over 1, screens around the world. For many years IMAX cinemas have shown films specially made in its unique 2D or 3D formats but more recently they have shown popular mainstream feature films which have been digitally re-mastered in the IMAX format, often with additional scenes or 3D effects.

While cinemas had some success in fighting the competition of television, they never regained the position and influence they held in the s and 40s, and over the next 30 years audiences dwindled. By cinema attendances in Britain had declined to one million a week.

By the late s, however, that number had trebled. The first British multiplex was built in Milton Keynes in , sparking a boom in out-of-town multiplex cinemas. Today, most people see films on television, whether terrestrial, satellite or subscription video on demand SVOD services. Streaming film content on computers, tablets and mobile phones is becoming more common as it proves to be more convenient for modern audiences and lifestyles.

Although America still appears to be the most influential film industry, the reality is more complex. Many films are produced internationally—either made in various countries or financed by multinational companies that have interests across a range of media. 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. Only a small number of more specialist cinemas have retained film projection equipment.