monochrome film

For these reasons, many programmes survive only as monochrome film recordings, if at all.

This enabled color pictures with the use of merely monochrome film stock.

Monochrome film is usually panchromatic; orthochromatic has fallen out of use.

There are colour and monochrome films, negative and positive.

Drawing heavily on their work with magic lantern cinema, the company began making monochrome films in 1898.

Some colour productions were telerecorded to monochrome film for export to countries which did not yet have colour television.

Monochrome film stock is rarely used at the time of shooting, even if the films are intended to be presented theatrically in black-and-white.

Mademoiselle was shot noir-style on location in rural France with a static camera, monochrome film stock and no music.

FX-55 is an 'eco-friendly' photographic developer for monochrome film devised by Geoffrey Crawley.

Until recently, digital sensors had a much narrower dynamic range than color film, which, in turn, has less range than monochrome film.

The term was first commonly used in early photography to distinguish light that would expose the monochrome films from light that would not.

Ltd' started making silent monochrome films with the Riley Brothers of Bradford, West Yorkshire, who had been making films since 1896.

Monochrome film recordings of colour television programs may exhibit dot crawl, and starting in 2008 it has been used to recover the original colour information in a process called colour recovery.

In late 2008 the BBC transmitted an episode of Dad's Army after the original color had been restored to the only surviving monochrome film recording of Room at the Bottom.

When the original videotapes were wiped, it was found that the only copies in existence were the monochrome film recordings, the hunt for which, in archives throughout the world, goes on to this day.

The Hunchback of Notre Dame is a 1939 American monochrome film starring Charles Laughton as Quasimodo and Maureen O'Hara as Esmeralda.

The pallophotophone was a sound-on-film system which could record and replay multiple audio tracks on unsprocketed 35mm Kodak monochrome film using a photoelectric process that captured audio wave forms generated by a vibrating mirror.

The only film Cage produced was one of the Number Pieces, One, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film.

APEX stands for Additive system of Photographic EXposure, which was proposed in the 1960 ASA standard for monochrome film speed, ASA PH2.5-1960, as a means of simplifying exposure computation.

However, since telerecordings were made from black & white TV screens and technicians at the time often decided not to apply a filter to remove this interference, these patterns are retained even in the existing monochrome film prints and theoretically contain the original colour information.

As well as this, some off-air colour videotape copies recorded by an American for a British fan in the late 1970s were recovered in the early 1990s, and their colour signals were used (along with colourisation techniques where necessary) to colourise the higher-quality 16 mm monochrome film copies.