Subjective
Camera
A way of filming where the camera lens replicates the
character's point of view.Synthesizers:
"Truqueur universel" (Universal Special
Effects), RE (Rutt-Etra), Abe-Paik synthesizer, PCS
(Processing Chrominance Synthesizer), EVS (Electronic
Video Synthesizer), Direct Video Synthesizer, Scan
processor, IVS (Intelligent Video System), Spectron,
Movicolor.
Video synthesizers are characterized by the ability
to generate forms from electronic elements without
recourse to the external information ordinarily provided
by a camera. In the 1970s, synthesizers were integrated
into studios equipped with cameras for reworking the
image, a control panel, and a tape deck. An early version
that has remained famous to this day is Eric Siegel's PCS
(Processing Chrominance Synthesizer), designed in 1968;
it is a "colorer" that operates with a
black-and-white signal, creating colors in function of
different densities of gray. In 1970 Siegel invented the
EVS (Electronic Video Synthesizer), which, in addition to
color, generated abstract forms. Steina and Woody Vasulka
were among the users of Siegel's synthesizers. Also in
1970, Stephen Beck perfected his Direct Video
Synthesizer, a tool for composing images. Around the same
time (1969-1970), Nam June Paik, who was
artist-in-residence at WGBH-TV in Boston, collaborated
with engineer Shuya Aba to develop a synthesizer that
created its own images. Two of the most well-known
synthesizers of the early 1970s were Bill Etra's scan
processor, a device that operated directly on the
screen's scan lines, and the IVS (Intelligent Video
System). Etra and Steve Rutt designed the RE (Rutt-Etra)
synthesizer that operated on manipulations of the
received image and allowed two images to be reworked
simultaneously, with results that were close to computer
animation. In Europe at this time, R. Monkhouse in
England created the Spectron and Marcel Dupouy in France,
the Movicolor (1972-1974). These two synthesizers not
only serve to color existing images but can generate
images themselves. Unlike their counterparts in the
United States, European builders were not artist
technicians but electronical engineers. France also had
Coupigny's "truqueur universel" (universal
special effects), which allowed images to be manipulated
and colored.
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