After years of debate within the company, the board approved a name change to " Haloid Xerox " in 1958, reflecting the fact that xerography was now the company's main line of business.
42.
The software allowed for a wider range of colors, as well as soft shading and colored line effects for the characters, techniques lost when the Disney studio abandoned hand inking for xerography in the late 1950s.
43.
I want to know what technologies were used, prior to the invention and subsequent widespread use of xerography, to copy documents ( with graphic images " and " text ) from a paper original.
44.
At this time, Bluth and his crew discovered that using a rotoscoping technique ( called in fact xerography ) used since the earliest days of animation, in which sequences are shot in live action and traced onto animation cels.
45.
Haloid introduced the first commercial xerographic copier, the Xerox Model A, in 1949 . The company had, the previous year, announced the refined development of xerography in collaboration with Battelle Development Corporation, of Columbus, Ohio.
46.
Whereas xerography and inkjet printing employ a halftone process and ink to reproduce digital images on paper, digital-C is a photographic continuous tone process rather than halftone or error diffusion which are common on offset press or ink-jet.
47.
The entire film " budget " was four 100 foot rolls of 16mm film, which did not result in there being enough coverage, which explains the use of the xerography, and the insertion of the shots from the dance hall that do not match the video.
48.
In 1938, Power founded University Microfilms International, in Ann Arbor, Michigan, which is widely credited with having invented " micropublishing . " Later, the company would merge microfilm with xerography, helping to make out-of-print books available for circulation again.
49.
The " xerographies " assembled on large plates were photographed, projected and animated in " Multimage " shows on giant screens . " Megalopolis " was selected by the French Ministry of Culture for the re-opening of the Palais de Chaillot at the Trocadero.
50.
Fueling that upset is perhaps the broader exasperation we feel at the explosive growth of " celebrity " and the proportional shrinkage of old school " stardom " that accompanies it; at the casual and unapologetic devaluation of originality; and at the melancholy xerography of most current entertainment.
