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In August 1908, a white mob attacked Springfield, Illinois’s Black community, destroying homes and businesses and lynching two Black men. National outrage over the violence helped spur the movement that created the NAACP the following year.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
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An animation camera, a type of rostrum camera, is a movie camera specially adapted for frame-by-frame shooting of animation. It consists of a camera body with lens and film magazines, and is most often placed on a stand that allows the camera to be raised and lowered above a table often having both top and underneath lighting. The artwork to be photographed is placed on this table.
For stop motion photography, the camera can also be mounted on a tripod or other support, pointing in any desired direction.
Since most animation is now produced digitally, new animation cameras are not widely manufactured. Image scanners, video cameras and digital SLRs have taken their place.
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A partial list of manufacturers of animation cameras includes:
The Bell & Howell 2709 (design 27, first made in 1909) is the prototype of the Acme, and the Acme is the prototype of the Oxberry. Each employs a fixed pin and shuttle movement mechanism for film registration and film advancement, respectively. Other names associated with Acme were Producer's Service Corporation and Photo-Sonics, both of which firms manufactured Acme products at various times.
The 16 mm Bolex camera is often used for amateur and semi-professional single frame filming, either using its built-in spring drive, or an attached electric single-frame motor.[1]
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An animation camera, a type of rostrum camera, is a movie camera specially adapted for frame-by-frame shooting of animation. It consists of a camera body with lens and film magazines, and is most often placed on a stand that allows the camera to be raised and lowered above a table often having both top and underneath lighting. The artwork to be photographed is placed on this table. For stop motion photography, the camera can also be mounted on a tripod or other support, pointing in any desired direction. Since most animation is now produced digitally, new animation cameras are not widely manufactured. Image scanners, video cameras and digital SLRs have taken their place.
Drawn-on-film animation, also known as direct animation or animation without camera, is an animation technique where footage is produced by creating the images directly on film stock, as opposed to any other form of animation where the images or objects are photographed frame by frame with an animation camera.
A rostrum camera is a specially designed camera used in television production and filmmaking to animate a still picture or object. It consists of a moving lower platform on which the article to be filmed is placed, while the camera is placed above on a column. Many visual effects can be created from this simple setup, although it is most often used to add interest to static objects. The camera can, for example, traverse across a painting, and using wipes and zooms, change a still picture into a sequence suitable for television or movie productions. The controls of the camera differ considerably from those of a regular motion picture camera. The key to its operation is one or more frame counters. These enable the camera operator to roll the film backwards and forwards through the film gate, and to know exactly which frame is being exposed at a given time. Also key is the way the operation of the shutter is completely independent from the film transport, so a given frame may be exposed a number of different times, or not at all. Very long exposures are also possible, so that title streaks, zooms and other special effects can be created by keeping the shutter open while moving the camera head up and down the column; rotating or moving the lower platform from side to side; or doing both at the same time. For some of these types of effects, the artwork may be a transparency, which is back-lit by a light source below the table surface. The camera's film gate is also different from that of a regular motion picture camera, in that fixed pins hold each film frame in place while it is being exposed. This "pin-registered" gate means that the film can be wound backwards and forwards through the camera head many times, but will always return to exactly the same place without any shifts of the film frame. Such precise repeatability is required for multiple exposures, traveling mattes, title superimposition, and a range of other techniques. The camera is connected to a mechanism that allows an operator to precisely control the movement of the lower platform, as well as of the camera head. The lower platform is often called an animation compound table. In a modern setup, a computer controls the horizontal, vertical and rotational movements of the compound table, the "zooming" (lowering and rising) of the camera head on the column, and the lens bellows. Early rostrum cameras were largely adapted from existing equipment, but after World War II industry pioneer John Oxberry made some key refinements to the design. His company, Oxberry Products, then went on to produce some of the best-known models, which were used by leading film and animation studios around the world. Other manufacturers included Acme, Forox, Marron Carrel, Mangum Sickles, the German company Crass, and Neilson-Hordell in the UK. Some of these machines were somewhat smaller and more cheaply built than the Oxberry models, but were ideal for general purpose work, such as producing titles and copying artwork to film. In the UK, Ken Morse is well known for his rostrum camera work in television and film, and his name is often seen in the closing credits of UK productions. In United States–based documentary film making, the use of a rostrum camera for a particular type of panning and zooming effect is sometimes called the Ken Burns effect. An animation camera or animation stand, used for single frame shooting on film is similar. With a multiplane camera, a 3-dimensional effect can be obtained.
An animation stand is a device assembled for the filming of any kind of animation that is placed on a flat surface, including cel animation, graphic animation, clay animation, and silhouette animation. Traditionally, the flat surface that the animation rests on is some kind of table that the animator sits at. Pegs made specifically for animation are embedded into the table, in at least two slots allowing the pegs to slide from side to side, permitting horizontal movement of images, but can also be easily fixed into position for the accurate positioning ("registration") of the artwork. Opposite the animator is a series of supporting arms and supports, on top of which is mounted a film or video camera, pointing down toward the artwork, which films the artwork, frame-by-frame, as it is slowly moved and changed by the operator. The vertical positioning of the animation camera, always shooting down, is the main component that defines an animation stand, as opposed to a stop motion set-up, or other equipment arrangements for animation production. Animation stands can be homemade, from metal or wood, such as that owned by Los Angeles animator Mike Jittlov, and still accomplish impressive animation production; or they can be elaborate (and expensive) professionally made precision systems that allow for the computerised movements of both the art and the camera, as has been traditionally used by professional animation studios and special effects facilities such as the Walt Disney studio (famous for their Multiplane camera) and George Lucas's Industrial Light & Magic (ILM) facilities.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →The Greenwood District.
