007 - Motion Picture (R)

One-character alphabetic code that indicates the category of material to which the item belongs is motion picture which is defined as a series of still pictures on film, with or without sound, designed to be projected in rapid succession to produce the optical effect of motion. A fill character (|) is not allowed in this position.

Encased in a cartridge that has the ends joined together to form a loop that provides playback without rewinding.

Encased in a cassette that winds and rewinds reel-to-reel.

A wound length of film not in a reel, cartridge, etc.

Open reel of motion picture film designed for use with a projector having its own take-up reel.

Special material designation for the motion picture is not specified.

None of the other codes is appropriate.

Printed or executed in black-and-white.

Printed or executed in more than one color. Used for color photographic processes.

Motion picture, produced by a printing or photographic process, is hand colored. Rarely used with commercial films since these are not typically issued with hand coloring.

Work or collection is a combination of black-and-white, multicolored, hand colored, and/or other images.

Color characteristics are not applicable because the item has no images.

Color characteristics of the motion picture are not known.

None of the other codes is appropriate (e.g., toned, stained, tinted, etc.)

Used for non-wide-screen formats.

Wide-screen effect without optically compressing the image or requiring the use of special projection techniques.

Films which achieve a three-dimensional effect originally through the use of two projectors which superimpose two images of the film on the screen (usually a wide screen). It is usually associated with 35 mm. film. Polarized lenses worn by viewers help to create the impression of depth and dimension.

Films which achieve the wide-screen effect through the use of an image which is optically compressed or squeezed horizontally. It is then expanded to the correct proportions by projection on a wide screen with the use of special lenses that give greater magnification laterally than vertically. Introduced and adopted for commercial use in 1953 under the name of Cinemascope, followed by Techniscope (1963), Naturama, Panavision, etc. Also used for 16 mm. film which employs this process.

Any other wide-screen process not covered by other codes. Includes Cinerama, Viterama, Cinemiracle, Circarama and other formats that achieve a wide-screen effect though the use of simultaneous projection of separate prints on very large, sometimes deeply curved screens through the use of multiprojectors that build up the projected picture by a series of images, generally side-by-side.

35 mm. film on which the exposed picture is approximately the width of the space between the perforation holes of the frame.

Presentation format of the motion picture is not known.

None of the other codes is appropriate. An example of this is the 70 mm. Imax format which is a non-rectangular, circular 180 degree limited use format that is not standardized. Imax may not technically be considered a wide-screen format because it does not have an aspect ratio, but it does achieve a wide-screen effect.

Always used when coding a separate sound track which is physically part of the film (e.g., magnetic strip on edge of film base).

Sound is on a separate medium, designed to accompany the images (e.g., a cassette).

Presence or absence of sound on the item is not known.

Sound is not present (i.e., the item is intended to be silent).

Sound to accompany a motion picture is carried on an optical track that is part of the film. Optical sound is the most commonly used process for 16 and 35 mm. film.

Sound to accompany a motion picture is carried on a separate magnetic track that is part of the film. 70 mm. motion picture films often include magnetic sound tracks.

Accompanying sound is carried on a magnetic audio tape cartridge.

Sound to accompany an item is carried on a sound disc. Sound discs include 7, 10, and 12 in. vinyl phonograph records and 4 3/4 in. compact discs.

Sound to accompany an item is carried on a reel of magnetic audio tape.

Sound to accompany an item is carried on a cassette of magnetic audio tape.

Sound to accompany a motion picture is carried on both an optical and magnetic track.

Sound to accompany an item is included as part of a videotape. Videotape is not ordinarily used to record only sound.

Sound to accompany an item is included as part of a videodisc. Videodiscs are not ordinarily used to record only sound. A distinction must be made between videodiscs (e.g., 12 in. laser-scan videodiscs that include video information) and compact discs that are used to record sound only (e.g., 4 3/4 in. audio compact discs). The technology to physically record video or audio information on digital disc systems is the same.

Medium for sound is not known.

None of the other codes is appropriate.

Width of the motion picture film is standard 8 mm. Motion pictures termed Mauer 8 mm. are recorded as code a.

Width of the motion picture film is super 8 mm. Single 8 mm. motion picture film is a Japanese equivalent of super 8 mm. motion picture film.

Width of the motion picture film is 9.5 mm.

Width of the motion picture film is 16 mm.

Width of the motion picture film is 28 mm.

Width of the motion picture film is 35 mm.

Width of the motion picture film is 70 mm.

Dimensions are not known.

None of the other codes is appropriate.

More than one configuration of playback channels is available on a single motion picture.

Configured to be played back on one channel.

Film is silent, has no sound or sound is on separate medium (007/05 contains b).

Configured to be played back or more than two channels. Used for Dolby surround sound tracks and other multichannel techniques.

Configured to be played back on two separate channels. Use when the medium is not monaural and when it is not possible to ascertain that multiple playback sources are available or intended.

Configuration of sound playback channels is not known.

None of the other codes is appropriate.

Print from the original camera footage which is edited to a fine degree to achieve the final version.

Sections of shots remaining after the desired portions have been incorporated into the workprint.

Shots discarded in the editing of a film.

First positive prints from the laboratory of the previous day's shooting.

Separate sound tracks that are combined for the final film sound track.

Printed captions or titles separated from their corresponding picture.

Various types of production elements (film usually wound on cores) before they are cut and assembled into reels.

Item is not a production element.

None of the other codes is appropriate.

Colors and/or tonal values are the same as the original subject matter.

For a black-and-white film, tonal values are the opposite of those in the original subject matter. For a color film, tonal values are the complements of the original subject matter (e.g., red appears as green in a color negative).

Film does not have a positive/negative aspect.

Positive/negative aspect of the film is not known.

None of the other codes is appropriate.

Duplicate that is usually negative, referred to as a dupe neg, and is a reproduction of the original picture or sound track. A duplicate negative is made from a master positive, which in turn was made from an earlier negative. A duplicate is at least three generations from the original. Duplicate negatives may be prepared either to obtain characteristics not present in the original image, as in special effects work, or to protect and extend the production availability of the assembled original negative as when duplicate negatives are prepared for release printing simultaneously at different labs.

Master that is usually positive and referred to as a master positive. It is a specially prepared positive print made from an earlier generation negative film and used for the preparation of duplicate negatives rather than for projection. The master is normally considered second generation material.

Original that is usually negative. It is film exposed in a camera and thus of better quality than any subsequent generation or derivative. When referring to older film, an original is almost always a negative. However, the original film may also be a reversal positive.

Reference print (ref print) that is defined technically as a release print which has been approved by the producer and director of a film. A reference print may also mean a print kept as a reference print to evaluate the quality of subsequent prints. In film archives, the term is used to indicate that a film may be viewed by researchers. It is not original, master, or duplicate material.

Generation stage of the film is not known.

None of the other codes is appropriate.

Safety base film whose type has not been identified.

Acetate safety base film whose exact type cannot be determined, i.e., where it is unknown if the type is diacetate or triacetate.

Cellulose diacetate film base. Introduced before World War I for home movies, diacetate base was more expensive and unpredictable than nitrate base and so failed to gain acceptance in professional 35 mm. film production.

Cellulose nitrate film base. Cellulose nitrate support or base was used in the manufacture of 35 mm. film (and some 17.5 mm. film) until 1951. Nitrate base film is no longer manufactured.

Combination of nitrate base and safety base film. The use of a mixed base was common in the early 1950s when nitrate base stock shots were spliced with safety base film for low-budget motion pictures. In such releases, up to 50% of the film consisted of stock shots on nitrate base film.

Item does not have a film base, e.g., paper film.

Film base made of a synthetic resin (e.g., estar).

Mixed safety base films spliced together, but no nitrate film.

Cellulose triacetate film base. Cellulose triacetate is a high acetal compound with very low flammability and slow burning characteristics. From 1951, triacetate has been used for professional as well as for amateur produced moving image film.

Base of the film is not known.

None of the other codes is appropriate.

Three layers of emulsion: cyan, magenta, and yellow. Each layer is sensitive to its own primary color. Beginning in the early 1950's, color film work has been done primarily on 3 layer, also called multilayer, film. This process is also known as integral tri-pack.

Single strip of film was exposed with pairs of images by means of a beam-splitter prism. One of the pairs of images was exposed through a red filter and one through a green filter. The resulting negative was used to produce both prints consisting of two strips cemented together, and, later in the history of the process, two color dye transfer prints. Also known as red and green Technicolor, the process was used exclusively by Technicolor and had its heyday between 1922 and 1933, although it was used until 1936 for animated cartoons.

System of color reproduction, which cannot be specifically identified, in which the visible spectrum is divided either into blue and red regions or into green and red regions for recording and presentation. Although extensively used in early color film processes, the inherent inability of two components to reproduce a satisfactory range of hues rendered all such systems obsolete when three-color processes became readily available and relatively inexpensive.

System of color reproduction, which cannot be specifically identified, in which the visible spectrum is divided into three sections, normally red, green, and blue, for the purposes of recording and presentation.

Color system in which three color-separation negatives were produced on black-and-white film. 3 strip color is often used synonymously with the trademark Technicolor. In the Technicolor three-component system, light reflected from the subject matter is transmitted through the single lens of a special camera where it strikes a prism. One part of the light is passed through the prism and a green filter to produce a green record. The remainder of the light is reflected from the prism and absorbed by negatives to produce red and blue records. Each of the negatives is developed to produce new negatives which resemble black-and-white negatives.

Color system in which two strips of film, one to record red light and one to record blue, were run through the camera simultaneously and exposed through the base of the front piece of film. These two strips of negatives were then used to produce prints of duplitized film stock (film stock with emulsion on both sides of the base), with a red-dyed image on one side, and a blue-dyed or -toned image on the other. Although extensively used in early color film processes, the inherent inability of two components to reproduce the visible color spectrum rendered all such systems obsolete when three-color processes became readily available. The process used from about 1929 to about 1950 by, among others, the following companies: Cinecolor, Magnacolor, and Multicolor.

Cinecolor process, in which the color separation record of blue-green light prints as red. In the Super Cinecolor process, the color separation record of green light which prints as magenta (called "red" by Cinecolor). In the two-color Technicolor process, the color separation record of green light which prints as red.

Cinecolor process and the Super Cinecolor process, in which the blue strip is the color separation record of red light which prints as blue-green (called "blue" by Cinecolor). In the two-color Technicolor process, the green strip is the color separation record of magenta-red light which prints as green.

Color separation record of red light which prints as cyan.

Color separation record of green light which prints as magenta.

Color separation record of blue light which prints as yellow.

Successive exposure negative 2. S E N 2 is a method of motion picture color photography in which two color separation negative images were recorded on one strip of film by photographing each frame two times successively through red and blue filters. The resultant negative was subsequently optically printed by the use of a skip-frame mechanism. The process was restricted to the photography of animated cartoon and puppet subjects in which the movement from frame to frame could be controlled. The successive exposure process was rendered obsolete by the introduction of 3 layer (multilayer) color negative film.

Successive exposure negative 3. S E N 3 is a method of motion picture color photography in which three color separation negative images were recorded on one strip of film by photographing each frame three times successively through red, blue, and green filters. The resultant negative was subsequently optically printed by the use of a skip-frame mechanism. The process was usually restricted to the photography of animated cartoon and puppet subjects in which the movement from frame to frame could be controlled. The successive exposure process was rarely used after the introduction of 3 layer (multilayer) color negative film.

Item is not a color film.

Sepia tone which is a conversion of a black-and-white image in silver to sepia (a brownish grey to dark olive brown) by metallic compounds. Sepia was the most common tone used, and was used in black-and-white prints of films for special sequences to enhance the dramatic or pictorial effect.

Color created by chemically altering the color, for example, uranium produces red, or increasing the brilliance of a print. Toning differs from tinting in that the clear portions of the film remain unaffected. Only the silver image of the positive film becomes colored.

Early in the history of tinting, a tint was created by dipping film in a bath of chemical dyes to get a dominant hue. Later raw stock became available already tinted in eleven stock shades: peach blow, blue for moonlight, amber for firelight, etc. The tinting of a film may be in whole or in part. Tinting was common until the advent of sound.

Color has been added to a film by using a tinted base and a toned emulsion.

Color is added using stencils, one cut for each color. Stencil color replaced the hand-coloring used in earlier years.

Refined category of color is not known.

Image, produced by a photographic process, is hand colored. Used whenever code h (hand-colored) is present in 007/03 (Color).

None of the other codes is appropriate, such as when no single color process is predominant.

Film color prints created by the transfer of two or more differently colored dye images to a single strip of blank film. The dye transfer process was used only to produce prints. Imbibition dye transfer prints can be produced from film originally shot on either multi-strip or multi-layer film. The process was used only by the Technicolor Company from ca. 1928 to ca. 1975. The patents were sold to the People's Republic of China, and since ca. 1980, the process has been available only in China.

Color film stock with three layers of emulsion: cyan, magenta and yellow. Each layer is sensitive to its own primary color. Since the early 1950's, most color films have been both shot and printed on this stock. It is also called multilayer film stock.

Color film stock with three layers of emulsion: cyan, magenta and yellow. Each layer is sensitive to its own primary color and stabilized to reduce color fading as much as possible. It has been available since ca. 1983.

Color print stock with emulsion on both sides. Usually one side is dyed red, and the other side is dyed or toned blue.

Item is not a color film.

Type of color film stock is not known.

None of the other codes is appropriate.

No deterioration is apparent on either nitrate or non-nitrate motion picture film.

Codes b-h are used for recording nitrate deterioration. The codes are listed according to the seriousness of the condition of deterioration. If more than one condition is applicable to the film in hand, the code for the most serious condition is recorded.

Codes k-m are used to record deterioration of non-nitrate materials (safety film, etc.). The codes are listed according to the seriousness of the deterioration. If more than one condition is applicable to the film in hand, the code for the most serious condition is recorded.

Judged to be complete.

Judged to be incomplete.

Completeness is not applicable to the type of motion picture, e.g., home movies, unedited footage, outtakes, and in some cases, unidentified material, etc.

Completeness of the item is not known.