276:
rates and intensities, and the development of computer-controlled 'dissolve units' by multi image equipment developers was key to the unique 'live' aesthetic of multi image productions, progressively building images and text to form a completed statement, inserting images or graphics into frames or windows on screen, step by step movement of images across the screen area, and superimposing text or images into a background. The visual effects were electronically synchronized to precise recorded soundtracks of music, sound effects, and voice, based on the capabilities and limitations of the slide projectors and dissolve units and computer controller. Multi Image systems equipment were developed by Arion, Audio Visual
Laboratories, Clear Light, Dataton, Electronics, Multivision, and Spindler and Sauppé.
676:
would note on the storyboard where each slide(s) would appear on the screen(s) at each part of the track by noting the slide's tray and tray slot position. Imagine having hundreds (or more) of slides in three to thirty or more projectors and not having a programming script to know the tray and tray slot position of each slide. With these tools, the programmer would then place the trays on the corresponding projectors and listen to the sound track and program the designed action for each slide to create a final show. Depending on the number of projectors, slides and length of the show, the programming process could take from a few hours to days, weeks and sometimes months to complete. Often with changes and modifications to the script, design, new images, graphics and hence, revised programming.
688:(AVL), Electrosonic, Clearlight, Dataton, UAV, Spindler-Sauppe and Multivision. The programming itself was done on a system that allowed for input by the programmer and dissolve units which were attached to the projectors and controlled the functions of the projectors based on the programming instructions. Programming could also be used to control room lights, film projectors, rewind of the audio tape and resetting of the projectors, and to trigger other effects that might be used in the presentation, such as a
174:
513:
239:
668:
695:
There were two basic slide projector programming controls: a set of instructions to position the slide in the projector and a set of instructions for the slide projector lamp. These controls would be used to define the cues. The cues would often designate an action for more than one projector such as
771:
Cut – Lamp is turned on or off quickly. When two projectors are involved, the lamp in one projector is turned off while the lamp in a second is turned, made to appear that these two actions are made at the same time. A cue based on a cut will include a slide tray advance, unless designated an "alt"
675:
Slides were then placed into assigned trays and tray slots in a specific order, according to a programming script. The programming script was created by the programmer by listening to the sound track, narration script (if there was narrative) and according to the design storyboard. The programmer
659:
Completed slides were mounted into pin-registered slide mounts. Three or more pieces of film could be mounted into a slide mount which allowed slides to contain the image film chip and masks to allow for inserting and over-projecting. Slides were edited and arranged for programming on light tables.
165:
Creating and presenting multi-image productions involved a relatively large number of specialized skills, equipment, and facilities to produce. During the height of multi-image, a number of types of businesses were directly engaged in the industry which employed thousands of specialists that ranged
853:
Blink Alt/Blink Load/Blink Go/Blink Stop – Loads a sequence of blink commands to be repeated continuously until instructed to stop. A series of projectors can be included, with lamp fade up/down options available, with the ability to preprogram cycle-animation into a Blink sequence. During a Blink
805:
Freeze – During a fade process, the intensity or light output of the lamp in any projector can be stopped in time at a given light intensity for a given period of time. This capability can be used to produce complex multi-projector dissolves. Also, it allows for a projected background to be "faded
721:
Lifts the current slide from the projector gate into the slide tray, rotates the tray one position and drops the next slide into the gate. During this process a shutter at the slide gate in the projector is used prevent projecting while the lamp remains lit. The average time to cycle from slide to
523:
Fully functional optical slide cameras had compounds for positioning both artwork and the mattes relative to the lens and camera head. A compound could move left to right (horizontal) X-axis and top to bottom (vertical) Y-axis movement as well as rotate (theta-axis). Compounds were often motorized
504:
When needed, pin-registered positive mattes known as countermattes were made by contact printing from the mattes. When a set of mattes and countermates were completed, the optical slide camera was used to assemble the separate images onto a single frame of film by making multiple exposures through
663:
In order for all the slides to align properly on the screen, a set of alignment slides were also created for the show according to the show's screen configuration. These slides were most often placed in the 80 slot of all the trays. Before programming or staging can commence, all the projectors
212:
Companies who specialized in one or more of the general disciplines used in the production of multi-image and offered multi-image as a service; these ranged from companies or individuals such as photographers, slide services and photo labs to full production multi-image service companies, staging
370:
was used to align the artwork elements. The use of the grid for alignment could be used to accurately position images and art elements throughout the process from the creation of the artwork to the final projected images. This process also allowed layers of the artwork to be interchangeable from
275:
Through the use of multiple projectors set up to project onto a defined screen area, projected images could be designed as animations. Typical programmable multi-image animation effects included filmic effects; cuts, dissolves, fades; fading from one photograph or graphic to another at different
262:
Often individuals with the various production skills would fill these roles as well as performing their production roles. Multi-image productions in general were deadline driven and it was common that the production process would be non-linear, allowing for multiple activities to take place with
610:
requires specific facilities, equipment, and skill needed to maintain consistent results. Film processors for developing transparency film require maintaining processing control which was based on good practices in chemical mixing and storage, accurate time, temperature and agitation during the
189:
Corporations who manufactured and sold basic equipment and materials used in the production of multi-image, such as 35mm slide projectors, film, slide mounts, soft-edge masks and other items. The list of suppliers for the multi-image industry was extensive with a number of companies attaining
862:
Through synchronizing the audio and the visual effects and combining visual slide effects, the programming process could create a single continuous show that was saved to memory. Once the programming was completed, the most common way to preserve the programming information was to record the
271:
The visual quality of a presentation was based on using photographs and artwork created for use in the presentation as source material. 35mm slides could be used directly as they were originally taken, or re-photographed by design. Often the original photographs were masked or duplicated for
206:
color light sources, motorized multi-axis compounds for precise positioning of artwork, and long-roll film loads. Slide projector programming computers and dissolve equipment and software was developed to synchronize the slides with the audio by providing precise time control over slide tray
919:
pavilions and museum exhibitions. Large multi-projector multi-image presentations required adequate projection space which was often from behind the screen for rear-screen projection. Setting up large show required control over the room lighting and often involved drapes and scaffolds.
272:
positioning and sizing. In some instances, 35mm cameras modified for pin-registration were used to create animated sequences. The registered 35mm format was generally standard but square and masked images were developed and supported by slide mount manufacturers like Wess Mounts.
181:
A professional organization, the
Association for Multi-image International (AMI), was created and had numerous active chapters around the world. The AMI held an annual convention and multi-image competition. Local chapters of AMI in various cities also held regional competitions.
428:
The synchronization signals could be as simple as multiple pulse tones, each with a unique corresponding command, to digital telemetry, directly addressing a programming computer such as an AVL ShowPro V or a
Spindler & Sauppe Director 24Z. As time and technology progressed,
833:
Time X – Instructing a programmed event or sequence of events to begin at the time read from the timecode track of a prerecorded tape. The 'X' represents a time value, expressed in hours, minutes, seconds and hundredths of seconds, or hours, minutes, seconds and
289:- or image-separated and layered photomechanical art that would be copied to high-contrast masks which were then used to create slides. This second process was called optical slide printing and was based on many of the basic principles from photomechanical
157:
Multi-image as a business thrived during the 1970s and 1980s. Multi-image presentations ranged from single projector shows run by projector-viewer to large events for business meetings and conventions where multiple shows would be presented and often were
57:
829:
Wait X – Add timing to a sequence during programming either to add padding to a programmed effect or as a temporary timing pad that will be resolved as the programming is completed. The 'X' represents a time value, expressed in seconds and hundredths of
738:
Lifts the current slide from the projector gate into the slide tray, rotates the tray one position in reverse and drops the previous slide into the gate. During the cycle the shutter will close and open in the same manner as a forward movement.
119:. Throughout the years improvements in technology took place and applications for multi-image continued to expand. During the 1960s, automated synchronized audio and slides modules became more common and found use in instructional environments.
436:
The audio and synchronization tracks were normally separated by a blank track (or "guard track") to prevent any audible spill of the synchronization cues into audio playback. Sometimes the guard track would be a third audio channel, such as
775:
Hard Cut – By first using the slide projector shutter, the transition between two projectors can be made faster than by controlling the lamp on and off. A visible "shutter chop" can be seen, depending on the shutter speed of the projector
539:
colorhead modified for use with the camera. This form of controlled light provide colored light balanced for the color sensitivity of the film used and provided color light for the separate exposures that are made through the mattes.
138:
pattern, which when projected often is perceived as being more realistic, uniform, and detailed than digital images. Line density for 35mm film was up to 3850 lines per inch, which at the time no video projection technology could
213:
companies, and event production and communications companies. Additionally, there were individual contractors who served as producers, directors, and designers or provided other talents needed to create multi-image presentations.
747:
The slide projector shutter can be controlled to block light without controlling voltage to the lamp. The shutter cycle time varies from projector to projector, averaging at about 0.2 seconds to cycle from open to closed.
207:
positioning and lamp fade rates needed to create multi-image animation. Programmer and camera manufacturers included Audio Visual Labs, Electrosonic, Clearlight Inc. Spindler & Sauppe, Marron Carrel and Forox.
882:
and became more sophisticated in the late 1970s, more programming features were added. Complex looping effects, independent cycling allowing background animation over foreground effects, comprehensive control of
226:. Visual presentation and photo and graphics editing software programs have allowed a wider range of communicators quick, flexible, and easy access to the tools and technologies needed to create presentations.
863:
programming cues onto the audio track so that the show could be run synchronized with the audio playback. In some situations, data would be contained in the programming computer (stored either on an internal
485:, or created by musicians in a studio. With MIDI, the audio portion of the productions could be designed around the requirements of the project, made quickly, and allowed for more complex media integrations.
250:
The art and business of multi-image drew from many older existing technologies. When a multi-image project was initiated, various overall management roles were required to provide direction, planning, and
197:
Manufacturers of highly specialized multi-image equipment such as optical slide cameras and slide projector programming hardware. Precise camera systems were developed for the multi-image market featuring
797:
Fade – A timed, controlled operation where the projector lamp is either turned on or off over a set period of time, producing the effect of the slide image slowly appearing or disappearing on the screen.
217:
Driven by changes in technology and by economic considerations, multi-image has been replaced by video presentations and by readily available computer based technologies such as laptop computers running
850:
Loop Load/Loop Go/Loop Stop – Loads a sequence of commands to be repeated continuously until instructed to stop. During a Loop sequence, the programming computer is freed-up to control other projectors.
371:
slide to slide, images or graphic elements could be carefully placed on the screen relative to other images, and for combining parts of images or graphics by separate slides as in an animated sequence.
103:
Multi-image presentations were a unique form of communication to audiences of various sizes, to meet a variety of communication and entertainment needs. The use of projected photographic images such as
838:
video frames. During programming, the computer reads the incoming timecode. With the program list resting at a Time X cue, a snapshot of the incoming timecode is recorded when the Enter key is struck.
623:
The use of computer graphics replaced much of the manual activity in creating the artwork and converting the art into slides. Service bureaus offering production work from large workstations such as
520:
Copy cameras and optical slide cameras usually had motorized movement of the camera on the column toward and away from the table to allow for resizing the image on the camera on the Z-axis.
1039:
379:
The audio track of a multi-image show provided a framework for the timing of the presentation and for the sequencing and animations of the slides. These were produced generally on
599:
Slides created by these methods and combinations of these methods were made to align and animate when projected, creating what was considered the visual multi-image experience.
571:
Image effects: by either manipulating the mattes and countermattes of by positioning transparencies while duplicating them; posterizations, inserts, split frames, and panoramas
473:
Multi-Image audio tracks could be any combination of voice and music and were generally created in audio or recording studios or were created in-house. Before the advent of
704:
up on one lamp and fading down another lamp. Similar commands were used to control motion-picture projectors, as well as auxiliary controls for lighting and effects, etc.
497:
used in the optical slide printing process. Other than using camera original photos, slides used for presentation were made on a slide duplication, slide animation, or
230:
has reduced the need for laboratory services and complex equipment. The expansion and ease of use of desktop computing brought a close to the multi-image industry.
730:
The slide projector is instructed to make no tray move during a cue or series of cues. On AVL systems, this is termed an "alt", and embedded into a lamp command.
477:(Musical Instrument Digital Interface) devices and software, music was frequently sourced from popular music for which licensing rights would be obtained, from
255:. These roles generally involved the activities similar to those found in other media industries, such as creative, visual, and technical directors, producers,
336:
Art used in optical slide printing was based on the use of high-contrast photomechanical materials such as photomechanical transfers, black and white type,
56:
768:
The projector lamp can be instructed to turn on and off. When programmed one or more projectors, can be made to produce several basic effects including:
501:
designed for slide production. The most commonly used slide camera stands were Forox, Marron Carrel (later Maron), and
Sickles (later Mangum Sickles).
562:
Movements: long exposures made from a backlit matte, the shutter is open while the compound and the camera move the matte creating a streaking effect
927:, breakaway screens, live entertainment, even breakaway screens such as having a vehicle crash through the screen to introduce a new model truck.
802:
Dissolve – A timed crossfading of two or more projectors. Dissolves can be programmed to occur as quickly as one second, or as slow as 32 seconds.
170:, photographers, photo lab technicians, audio technicians, programmers, staging specialists as well as others associated with these disciplines.
565:
Glow effects: using a light diffusing material while exposing the backlight through a matte to create soft edges around the image on the matte
1002:
543:
The optical slide camera could be used to create a number of types of slides and special effects commonly used in multi-image presentations:
493:
Completed artwork was copied under top lights on a pin-registered camera on a high contrast film such as
Kodaline or Kodalith to create 35mm
460:, usually with a cutting block and tape. Once the audio edits were completed, the final version would be copied onto another tape; either to
528:
to allow for smooth programmable and repeatable positioning. Higher end optical slide cameras had the ability to create and save programs.
148:
Venue driven; multi-image presentations had specific requirements for the equipment and spaces they were intended for and presented in.
340:
and other materials. Phototypesetting was done by a variety of means including the Visual
Graphics Corporation PhotoTypositor and the
915:
Completed multi-image productions were presented in a variety of venues ranging from temporary one-on-one settings to semi-permanent
126:
Based largely on analog production tools and technologies including art and audio production and film-based photography. 35mm slide
109:
344:
EditWriter at companies that specialized in providing typography. When making artwork for multi-image presentations, photographs,
256:
785:
Fast
Alternate – As above, but allowing the programmer to create flickering effects while the lamp intensity fades up or down.
671:
Multi-image programming setup for the 1988 Ford
Division New Car Announcement Show. AVL Eagle Genesis computers in foreground.
1373:
203:
1120:
279:
Artwork produced for multi-image presentations in general was based on one of two forms of top-lit reflective copy artwork:
1254:
941:
442:
433:
was used, with the programming computer chasing the timecoded audio tape and firing commands from a managed list of cues.
355:
The color or image separated layers of artwork were pin-registered using a variety of standard copystand/animationstand
1346:
87:
is sometimes used to describe digital photo image computer programs that combine or change images on-screen, for photo
72:; when the resulting images were projected, the images would blend seamlessly on the screen to create the panorama. By
185:
An entire industry grew around supplying the tools and equipment needed to supply and support multi-image production.
1228:
1183:
1368:
896:
470: inch, cassette or other format so that there tape used to run the presentation would be a fresh uncut tape.
961:
559:
Step and repeat: Using a compound, making a series of exposures where the compound is moved between each exposure
1051:
1106:
684:
Programming of a multi-projector multi-image show was generally done on one of several systems such as Arion,
923:
The actual presentations often were considered to be business theater, incorporating special effects such as
607:
1378:
697:
556:
Color on color slides: Similar to burn slides but with a color background, often requiring countermattes
450:
326:
77:
283:
Materials that were produced and copied as flat art directly to slides to be used in the production, or
900:
648:
390:
219:
1019:
505:
the mattes. Accuracy in positioning the separate elements of the slide is made possible by the film
394:
227:
494:
418:
252:
142:
23:
1160:
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879:
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Title burns: made by making multiple exposures through a series of mattes, such as text slides
506:
159:
127:
456:
In early productions, audio editing of the music or voice-over was done manually to create a
366:
Often the art was created based on a grid system. A copy of the optical slide camera grid or
779:
Soft Cut – Usually a term applied to a fast dissolve that takes place in less than a second.
640:
636:
509:, which were also used to position the finished color slides and masks in the slide mounts.
478:
457:
414:
356:
286:
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73:
69:
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process and the use of control strips. Control strips were run with the film and read on a
305:
Flat art was created by using a variety of standard graphic illustration techniques, using
41:
or music track. Multi-image productions are also known as multi-image slide presentations,
1255:"CCG Digital Image Technology: Maker of DEFINITY and PCR Film Recorders - Company Profile"
884:
864:
643:
and PowerPoint allowed many slide producers to quickly create slides which were imaged on
349:
294:
223:
173:
92:
31:
916:
80:
between images in the projectors, animation effects were created in the panorama format.
1341:
987:
936:
904:
892:
888:
685:
574:
Camera effects: Some optical slide cameras have the capabilities for in-camera mattes,
568:
Filter effects: using color, star and other types of camera filters for special effects
498:
145:
in terms of the types of skills required to create and stage multi-image presentations.
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994:
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525:
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135:
112:
105:
238:
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689:
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532:
341:
88:
50:
115:
had a traveling show (1908) that included slides, film, and actors describing the
1124:
887:, control of (and by) video devices and other peripheral devices, and the use of
352:
film or airbrushed masks could also be used as part of the camera-ready artwork.
1336:
1258:
868:
422:
360:
359:
techniques. including 1/4-inch, Oxberry, and Acme. The artwork was created on a
27:
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to determine their variation from a standard so that corrections could be made
1325:
966:
956:
951:
453:
noise reduction to help prevent audible spill from the synchronization track.
322:
167:
131:
116:
46:
42:
38:
35:
667:
632:
579:
512:
482:
290:
854:
sequence, the programming computer is freed-up to control other projectors.
631:
dominated larger markets. Smaller producers using desktop software such as
425:
which was used to encode and playback the signals for the dissolve units.
68:. Precisely overlapping slides were placed in slide mounts with soft-edge
1232:
1205:
872:
713:
AVL "Procall": Multi-image programming timing based on slide positioning
550:
Copy slides: slides made by top-light copying of artwork or illustrations
536:
430:
337:
318:
310:
243:
65:
20:
760:
AVL "Procall": Multi-image programming effects based on lamp intensity
624:
575:
516:
Maron 1600 camera table, large format 12-field compound, and colorhead.
402:
367:
314:
194:, Wess Slide Mounts, Chief Manufacturing, Navitar and Schneider Optics.
989:
Images, Images, Images: The Book of
Programmed Multi-Image Production
410:
398:
1347:"Next slide, please: A brief history of the corporate presentation"
1280:
190:
international importance for the products they produced, including
64:
One of the hallmarks of multi-image was the use of the wide screen
1073:
899:
allowed the medium to emerge, briefly, as an art form. The use of
835:
722:
slide varies from 0.9 to 1.5 seconds, depending on the projector.
666:
535:
lights. Backlighting was generally provided by the use a darkroom
511:
446:
237:
172:
474:
406:
202:
film movements capable of making multiple exposures, controlled
445:
on-site. In such situations, the tape might be processed with
1229:"GENIGRAPHICS - the computer-generated slide service from GE"
782:
Alternate – Appears as a cut, but with no slide tray advance.
55:
19:
is the now largely obsolete practice and business of using
1294:
1185:
Animation Stuff for
Students: Purchasing an Animation Disk
1040:
Caramate Projectors Provide an Economical Educational Tool
891:
for synchronization became commonplace. Multiply-exposed
108:
for entertainment and instruction dates to the mid 1800s.
903:
audio playback enhanced the experience and provided for
1147:"1970 | the history of prepress & publishing"
700:
between two slides which would require simultaneously
417:, which allowed for having two tracks or channels for
60:
Soft-edge masking and overlap for projected panoramas.
130:
has high resolution and color range and are based on
1326:
An Incredible Epic - Memoir of A Multi-Image Maestro
34:
onto one or more screens in synchronization with an
986:
878:As multi-image programming devices progressed to
664:have to be aligned to this alignment slide grid.
531:Light sources for copying artwork generally were
441:or mix-minus narration, to permit flexibility of
122:In general, multi-image can be defined as being:
166:from producers and designers, writers, artists,
985:Kenny, Michael F.; Schmitt, Raymond F. (1983).
321:, and by copying from existing materials on a
1053:Trademark for The Association for Multi-Image
806:back" while a brighter image is superimposed.
8:
647:such as Management Graphics, Lasergraphics,
363:or animation disc to provide back lighting.
317:, colored paper, transfer lettering such as
871:), and the events would be triggered by a
45:and diaporamas and are a specific form of
1107:"Photomechanical Transfer Glossary Term"
937:Eagle Computer § Multi-image models
813:
753:
706:
977:
134:and dye clouds rather than on a fixed
7:
1337:AVL Multi-Image Slide Show Computers
547:Duplicates: copies of transparencies
1162:Peg bars, Animation Disk & Desk
1020:"Projecting Digital 'Slide' Images"
421:and one for the synchronization or
234:Multi-image production technologies
30:) projected by single or multiple
14:
1342:The Multi-Image History Project
819:AVL "Procall": Other Commands
1:
1182:Nethery, David (7 May 2009),
942:Multi-dynamic image technique
1091:Bullough, Robert V. (1981),
325:or on optical slide camera.
297:, silk-screen printing, and
1395:
897:computer-generated imagery
391:multi-track tape recorders
267:Art and multi-image design
246:for multi-image production
162:by 24 or more projectors.
962:Split screen (filmmaking)
885:motion picture projectors
875:track on the audio tape.
818:
759:
686:Audio-Visual Laboratories
1095:, Educational Technology
177:AMI Gold Tour promotion.
1210:, Integrated Publishing
222:and projecting through
672:
517:
247:
178:
61:
1374:Obsolete technologies
1312:AVL Genesis Procall-X
1281:"Clear Light History"
670:
537:photographic enlarger
526:micro-stepping motors
515:
348:, and film images or
241:
176:
59:
1121:"VGC PhotoTypositor"
757:Projector Lamp
389:-inch audio tape on
153:Multi-image business
1235:on 27 February 2011
1078:schneideroptics.com
1018:Vitale, Timothy J.
489:Printing with light
479:royalty-free music
329:, such as found in
263:overlapping roles.
257:production managers
228:Digital photography
1261:on 3 February 2010
1149:. 9 February 2024.
1127:on 7 February 2013
673:
651:, Celco, and CCG.
518:
393:such as models by
253:project management
248:
224:digital projectors
179:
143:Multi-disciplinary
62:
1369:Multi-screen film
1352:Technology Review
1207:Editing Audiotape
1093:Multi-image Media
1004:978-0-87985-327-3
880:digital computers
860:
859:
812:
811:
752:
751:
619:Computer graphics
597:
596:
333:, was also used.
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1314:
1309:
1303:
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1291:
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1277:
1271:
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1257:. Archived from
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1231:. Archived from
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1123:. Archived from
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1015:
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772:(see Alternate).
765:Lamp on and off
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710:Slide tray
707:
641:Harvard Graphics
585:
584:
469:
468:
464:
388:
387:
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375:Audio production
111:Others, such as
32:slide projectors
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1333:YouTube channel
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933:
913:
895:and the use of
893:optical effects
865:hard disk drive
744:Use of shutter
682:
657:
621:
608:Film processing
605:
603:Film processing
491:
466:
462:
461:
385:
381:
380:
377:
350:continuous tone
313:, paints, from
295:offset printing
269:
259:, and writers.
236:
155:
101:
93:image stitching
12:
11:
5:
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1331:AV Archaeology
1328:
1321:
1320:External links
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905:surround sound
889:SMPTE timecode
858:
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846:
845:Other effects
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645:film recorders
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995:Eastman Kodak
991:
990:
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948:
947:Multi-monitor
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459:
458:scratch track
454:
452:
448:
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439:sound effects
434:
432:
426:
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416:
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408:
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396:
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374:
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369:
364:
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358:
353:
351:
347:
343:
339:
334:
332:
331:cel animation
328:
324:
320:
316:
312:
308:
300:
299:cel animation
296:
292:
288:
285:
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205:
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196:
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192:Eastman Kodak
188:
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175:
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137:
133:
129:
125:
124:
123:
120:
118:
114:
113:L. Frank Baum
110:
107:
98:
96:
94:
90:
86:
81:
79:
75:
71:
70:density masks
67:
58:
54:
52:
48:
44:
40:
37:
33:
29:
25:
22:
18:
1379:Presentation
1350:
1307:
1298:
1289:
1275:
1263:. Retrieved
1259:the original
1249:
1237:. Retrieved
1233:the original
1223:
1212:, retrieved
1206:
1200:
1189:, retrieved
1184:
1177:
1166:, retrieved
1161:
1155:
1141:
1129:. Retrieved
1125:the original
1115:
1101:
1092:
1086:
1077:
1068:
1057:, retrieved
1052:
1046:
1035:
1023:. Retrieved
1013:
993:. New York:
988:
980:
925:pyrotechnics
922:
917:world's fair
914:
877:
861:
727:No movement
694:
690:strobe light
683:
674:
662:
658:
629:Genigraphics
622:
613:densitometer
606:
598:
542:
530:
522:
519:
503:
492:
472:
455:
435:
427:
419:stereo sound
378:
365:
354:
342:Compugraphic
335:
304:
293:art used in
278:
274:
270:
261:
249:
216:
184:
180:
164:
156:
121:
102:
84:
82:
63:
53:production.
51:audio-visual
28:diapositives
16:
15:
1299:dataton.com
1214:18 February
1191:18 February
1168:18 February
1025:18 February
911:On the road
869:floppy disk
680:Programming
580:rotoscoping
423:click track
361:light table
357:pin systems
168:typesetters
99:Description
85:multi-image
43:slide shows
17:Multi-image
1363:Categories
1265:9 February
1239:9 February
1131:9 February
1059:8 February
973:References
967:Video wall
957:Slide show
952:Multimedia
901:multitrack
792:Lamp Fade
637:Persuasion
576:bi-packing
483:LP records
323:copy stand
220:PowerPoint
117:Land of Oz
78:dissolving
47:multimedia
39:voice-over
776:involved.
633:Photoshop
507:sprockets
481:found on
309:and ink,
83:The term
1355:article)
931:See also
873:timecode
830:seconds.
735:Reverse
718:Forward
698:dissolve
655:Assembly
649:Polaroid
431:timecode
338:rubylith
319:Letraset
315:clip art
311:airbrush
291:prepress
244:workflow
242:Typical
89:montages
66:panorama
824:Timing
696:with a
625:Dicomed
465:⁄
384:⁄
368:reticle
327:Cel art
204:backlit
74:cutting
1295:"Home"
1074:"Home"
1001:
702:fading
578:, and
495:mattes
443:mixing
411:Tascam
399:Fostex
139:match.
136:raster
91:, and
24:slides
867:or a
836:SMPTE
524:with
447:Dolby
403:Otari
395:Crown
287:Color
132:grain
36:audio
1267:2012
1241:2012
1216:2012
1193:2012
1170:2012
1133:2012
1061:2012
1027:2012
999:ISBN
627:and
475:MIDI
415:TEAC
413:and
407:Sony
128:film
76:and
21:35mm
451:dBx
449:or
307:pen
49:or
1365::
1297:.
1076:.
997:.
907:.
692:.
639:,
635:,
409:,
405:,
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397:,
95:.
1349:(
1301:.
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1269:.
1243:.
1135:.
1109:.
1080:.
1029:.
1007:.
467:4
463:1
386:4
382:1
301:.
26:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
