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what does 35mm slide proportions to in inches?

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Picture film estimate, the standard

This article is nearly the movement motion picture motion picture guess. For the still photographic moving-picture show gauge, see 135 film.

35 mm movie moving picture
Blazon Moving-picture show stock
Inventor William Kennedy Dickson
Inception 1889 (1889)
Manufacturer Edison visitor; Eastman Kodak
Current supplier Kodak

35 mm film is a film gauge used in filmmaking, and the film standard.[1] In motility pictures that record on film, 35 mm is the well-nigh commonly used gauge. The name of the judge is not a directly measurement, and refers to the nominal width of the 35 mm format photographic film, which consists of strips 1.377 ± 0.001 inches (34.976 ± 0.025 mm) wide. The standard paradigm exposure length on 35 mm for movies ("single-frame" format) is four perforations per frame along both edges, which results in sixteen frames per foot of film.

A multifariousness of largely proprietary gauges were devised for the numerous camera and projection systems beingness developed independently in the late 19th century and early 20th century, as well equally a variety of film feeding systems. This resulted in cameras, projectors, and other equipment having to be calibrated to each gauge. The 35 mm width, originally specified every bit 1+ 3⁄8 inches, was introduced around 1890 by William Kennedy Dickson and Thomas Edison, using 120 film stock supplied by George Eastman. Pic 35 mm wide with four perforations per frame became accustomed equally the international standard gauge in 1909, and remained past far the dominant moving picture gauge for image origination and project until the advent of digital photography and cinematography.

The gauge has been versatile in application. It has been modified to include sound, redesigned to create a safer motion picture base, formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound information into virtually all of its non-frame areas. Eastman Kodak, Fujifilm and Agfa-Gevaert are some companies that offered 35 mm films. Every bit of 2015, Kodak is the concluding remaining manufacturer of motion picture show film.[two]

The ubiquity of 35 mm pic projectors in commercial motion-picture show theaters made 35 mm the merely motion picture format that could be played in nearly any movie theater in the world, until digital projection largely superseded information technology in the 21st century.

History and evolution [edit]

Early on history [edit]

Eastman (L) giving Edison the first curl of motion picture film, which was 35 mm

In 1880, George Eastman began to manufacture gelatin dry out photographic plates in Rochester, New York. Along with West. H. Walker, Eastman invented a holder for a curlicue of picture-carrying gelatin layer-coated paper. Hannibal Goodwin and then invented a nitrocellulose film base of operations in 1887, the first transparent, flexible film.[3] [4] Eastman also produced these components, and his was the beginning major company to mass-produce such film when, in 1889, Eastman realized that the dry-gelatino-bromide emulsion could be coated onto this clear base, eliminating the paper.[5]

With the advent of flexible film, Thomas Edison rapidly fix out on his invention, the Kinetoscope, which was start shown at the Brooklyn Institute of Arts and Sciences on May 9, 1893.[six] The Kinetoscope was a film loop system intended for one-person viewing.[vii] Edison, along with assistant William Kennedy Dickson, followed that upwardly with the Kinetophone, which combined the Kinetoscope with Edison's cylinder phonograph. Showtime in March 1892, Eastman and so, from Apr 1893 into 1896, New York's Blair Camera Co. supplied Edison with flick stock.[8] [9] Dickson is credited as the inventor of 35 mm movie film in 1889,[ane] 652 when the Edison company was using Eastman moving picture.[1] 653–654 [fn 1] The company nevertheless received film from Blair subsequently this; at outset Blair would supply merely forty mm (ane+ nine⁄16  in) film stock that would exist trimmed and perforated at the Edison lab to create 1+ 3⁄eight -inch (35 mm) gauge filmstrips, then at some point in 1894 or 1895, Blair began sending stock to Edison that was cut exactly to specification.[viii] [ix] Edison'south aperture defined a single frame of motion-picture show at 4 perforations loftier.[12]

For a fourth dimension, it had been generally assumed that Dickson was post-obit cinematography formats established by Eastman in producing the movie, simply Eastman had produced film in sheets that were then cut to social club.[ane] 652–653 Dickson used the film supplied for Eastman Kodak cameras in 1889, a transparent 70 mm celluloid moving picture, in his development of a more suitable motion-picture show stock, and "simply slit this film in one-half";[1] 653–654 information technology was initially developed for the Kinetoscope, a ane-person viewer, not to be projected.[1] 658 The image was notwithstanding of high quality, even when magnified, and was more economical than 70 mm moving-picture show (and more than economic than any other gauge, every bit cutting the 70 mm to size would have created waste material).[1] 654 35 mm was immediately accepted as standard past the Lumière brothers, and became the principal film used in the UK because information technology was the stock sold to these filmmakers by the Blair company.[1] 653

Edison claimed exclusive patent rights to the design of 35 mm flick flick[fn 2], with iv sprocket holes (perforations) per frame, forcing his only major filmmaking competitor, American Mutoscope & Biograph, to use a 68 mm picture that used friction feed, not sprocket holes, to move the movie through the camera. A court judgment in March 1902 invalidated Edison's claim, assuasive any producer or distributor to use the Edison 35 mm film design without license. Filmmakers were already doing and then in Britain and Europe, where Edison did not file patents.[13] At the time, flick stock was normally supplied unperforated and punched by the filmmaker to their standards with perforation equipment. A variation developed by the Lumière brothers used a single round perforation on each side of the frame towards the middle of the horizontal axis.[14]

Becoming the standard [edit]

Dickson's 35 mm moving picture moving-picture show standard (center)

When films began to be projected, several projection devices were unsuccessful and savage into obscurity because of technical failure, lack of business organisation acumen, or both. The Vitascope, the beginning projection device to use 35 mm, was technologically superior and compatible with the many movement pictures produced on 35 mm motion-picture show. Edison bought the device in 1895–96; the Lumiere'due south 35 mm projection Cinematograph as well premiered in 1895, and they established 35 mm as the standard for exhibition.[1] 658

Standardization in recording came from monopolization of the business by Eastman and Edison, and because of Edison's typical business concern model involving the patent organisation: Eastman and Edison managed their film patents well[1] 656 – Edison filed the 35 mm patent in 1896, the year later Dickson left his employ[1] 657 – so controlled the apply and development of film.[1] 656 Dickson left the Edison company in 1895, going on to help competitors produce cameras and other film gauges that would not infringe on Edison's patents. All the same, by 1900, filmmakers found it besides expensive to develop and use other gauges, and went back to using the cheap and widely-available 35 mm.[ane] 657

Dickson said in 1933:

At the stop of the twelvemonth 1889, I increased the width of the pic from + 1⁄two inch to + 3⁄4 inch, and then, to 1 inch past + 3⁄iv inch high. The actual width of the film was ane+ iii⁄eight inches to allow for the perforations now punched on both edges, 4 holes to the phase or picture show, which perforations were a shade smaller than those now in apply. This standardized motion-picture show size of 1889 has remained, with only minor variations, unaltered to date".[1] 652

Until 1953, the 35 mm film was seen as "bones engineering" in the picture industry, rather than optional, despite other gauges existence available.[1] 652

In 1908, Edison formed "a cartel of production companies", a trust called the Motion Moving-picture show Patents Visitor (MPPC), pooling patents for commonage use in the industry and positioning Edison'due south own engineering science equally the standard to be licensed out.[one] 656 35 mm became the "official" standard of the newly formed MPPC, which agreed in 1909 to what would get the standard: 35 mm gauge, with Edison perforations and a one.33:1 (4:3) aspect ratio (also developed past Dickson).[1] 652 [fn 3] Scholar Paul C. Spehr describes the importance of these developments:

The early on credence of 35 mm as a standard had momentous affect on the development and spread of cinema. The standard estimate made information technology possible for films to be shown in every land of the globe… Information technology provided a uniform, reliable and predictable format for production, distribution and exhibition of movies, facilitating the rapid spread and acceptance of the movies as a globe-wide device for entertainment and communication.[9]

When the MPPC adopted the 35 mm format, Bell & Howell produced cameras, projectors, and perforators for the medium of an "exceptionally high quality", further cementing it equally the standard.[ane] 659 Edison and Eastman's course of business manipulation was ruled unlawful in 1914, but by this time the engineering had become the established standard.[1] 657 In 1917, the new Society of Motion Motion picture and Goggle box Engineers (SMPTE) "best-selling the de facto status of 35mm equally the industry'southward dominant film approximate, adopting information technology every bit an engineering standard".[ane] 659

Innovations in sound [edit]

A photo of a 35 mm pic print featuring all four audio formats (or "quad runway") — from left to right: SDDS, a soundtrack equally an image of a digital betoken (blue area to the left of the sprocket holes); Dolby Digital sound (greyness area between the sprocket holes labelled with the Dolby "Double-D" logo in the middle); analog optical sound, optically recorded as waveforms containing the audio signals for the left and right audio channels (the 2 white lines to the correct of the sprocket holes); and the DTS time code (the dashed line to the far right).

When motion picture editing was done by physically cut the moving picture, editing the flick could only been washed on the frame line. However, the sound was stored for the whole frame between each of the four sprocket holes, and then the audio editors could "cutting on whatsoever capricious set up of holes, and thus get + 1⁄four -frame edit resolution. With this technique, an audio edit could be accurate to within 10.41 ms."[fifteen] 1–2 A limitation of analog optical recording was the audio frequency would cut off, in a well-maintained theater, at around 12kHz.[fifteen] four Studios would often record audio on the transparent pic strips, but with magnetic tape on 1 edge; recording audio on full 35 mm magnetic tape was more expensive.[15] 5

Three different digital soundtrack systems for 35 mm picture palace release prints were introduced during the 1990s. They are: Dolby Digital, which is stored between the perforations on the sound side; SDDS, stored in two redundant strips forth the outside edges (beyond the perforations); and DTS, in which sound data is stored on separate meaty discs synchronized by a timecode track on the flick merely to the correct of the analog soundtrack and left of the frame.[16] Because these soundtrack systems appear on different parts of the film, ane moving picture can comprise all of them, allowing broad distribution without regard for the audio organisation installed at private theatres.

The analogue optical rails technology has also changed: in the early years of the 21st century, distributors changed to using cyan dye optical soundtracks instead of applicated tracks, which use environmentally unfriendly chemicals to retain a argent (black-and-white) soundtrack. Considering traditional incandescent exciter lamps produce copious amounts of infrared low-cal, and cyan tracks practice not absorb infrared light, this change has required theaters to replace the incandescent exciter lamp with a complementary colored blood-red LED or laser. These LED or laser exciters are backwards-compatible with older tracks.[17] The moving picture Anything Else (2003) was the start to exist released with only cyan tracks.[17]

To facilitate this changeover, intermediate prints known every bit "high magenta" prints were distributed. These prints used a silver plus dye soundtrack that were printed into the magenta dye layer. The reward gained was an optical soundtrack, with low levels of sibilant (cross-modulation) baloney, on both types of sound heads.[18]

Mod 3D systems [edit]

An "over-under" 3D frame. Both left and right eye images are contained inside the normal height of a unmarried second frame.

The success of digitally projected 3D movies in the outset two decades of the 21st century led to a demand from some theater owners to be able to prove these movies in 3D without incurring the high majuscule cost of installing digital projection equipment. To satisfy that demand, a number of systems had been proposed for 3D systems based on 35 mm motion-picture show by Technicolor,[19] Panavision[twenty] and others. These systems are improved versions of the "over-under" stereo 3D prints beginning introduced in the 1960s.

To be attractive to exhibitors, these schemes offered 3D films that can exist projected by a standard 35 mm movie theatre projector with minimal modification, and so they are based on the apply of "over-under" moving picture prints. In these prints a left-right pair of ii.39:1 non-anamorphic images are substituted for the i two.39:1 anamorphic paradigm of a 2D "scope" print. The frame dimensions are based on those of the Techniscope ii-perf camera format used in the 1960s and 1970s. Still, when used for 3D the left and right frames are pulled down together, thus the standard 4-perf pulldown is retained, minimising the need for modifications to the projector or to long-play systems. The linear speed of moving-picture show through the projector and sound playback both remain exactly the same as in normal 2D operation.

The Technicolor organization uses the polarisation of light to separate the left and right center images and for this they rent to exhibitors a combination splitter-polarizer-lens assembly which can exist fitted to a lens turret in the aforementioned manner as an anamorphic lens. In contrast, the Panavision system uses a spectral comb filter organization, but their combination splitter-filter-lens is physically similar to the Technicolor assembly and tin be used in the aforementioned way. No other modifications are required to the projector for either system, though for the Technicolor arrangement a silver screen is necessary, as it would be with polarised-light digital 3D. Thus a plan can readily include both 2d and 3D segments with but the lens needing to be changed betwixt them.

In June 2012, Panavision 3D systems for both 35 mm moving picture and digital projection were withdrawn from the marketplace by DVPO theatrical (who marketed these arrangement on behalf of Panavision) citing "challenging global economical and 3D market conditions".[21]

Decline [edit]

In the transition period centered effectually 2010–2015, the rapid conversion of the cinema exhibition industry to digital projection has seen 35 mm pic projectors removed from most of the projection rooms as they were replaced by digital projectors. By the mid-2010s, well-nigh of the theaters across the world have been converted to digital projection, while others are still running 35 mm projectors.[22] In spite of the uptake in digital projectors installed in global cinemas, 35 mm film remains in a niche market of enthusiasts and format lovers.

Attributes [edit]

Color [edit]

Originally, moving-picture show was a strip of cellulose nitrate coated with blackness-and-white photographic emulsion.[vii] Early on film pioneers, similar D. W. Griffith, colour tinted or toned portions of their movies for dramatic impact, and past 1920, fourscore to ninety percent of all films were tinted.[23] The first successful natural color process was Britain's Kinemacolor (1908–1914), a two-color additive procedure that used a rotating disk with blood-red and green filters in front of the camera lens and the projector lens.[24] [25] Simply any process that photographed and projected the colors sequentially was subject to color "fringing" effectually moving objects, and a general color flickering.[26]

In 1916, William Van Doren Kelley began developing Prizma, the beginning commercially viable American color procedure using 35 mm film. Initially, similar Kinemacolor, it photographed the color elements one after the other and projected the results by additive synthesis. Ultimately, Prizma was refined to bipack photography, with ii strips of moving picture, one treated to be sensitive to cherry-red and the other not, running through the camera face to face up. Each negative was printed on one surface of the same duplitized print stock and each resulting series of blackness-and-white images was chemically toned to transform the silvery into a monochrome color, either orange-red or blue-light-green, resulting in a two-sided, two-colored impress that could be shown with any ordinary projector. This system of two-color bipack photography and two-sided prints was the ground for many later color processes, such as Multicolor, Brewster Colour and Cinecolor.

Although it had been available previously, color in Hollywood feature films commencement became truly practical from the studios' commercial perspective with the appearance of Technicolor, whose main advantage was quality prints in less time than its competitors. In its earliest incarnations, Technicolor was another two-color arrangement that could reproduce a range of reds, muted bluish greens, pinks, browns, tans and grays, but not existent blues or yellows. The Toll of the Sea, released in 1922, was the first moving picture printed in their subtractive color organisation. Technicolor's photographic camera photographed each pair of color-filtered frames simultaneously on one strip of black-and-white moving picture by ways of a axle splitter prism backside the camera lens. Two prints on half-thickness stock were fabricated from the negative, one from only the red-filtered frames, the other from the green-filtered frames. Subsequently development, the silver images on the prints were chemically toned to catechumen them into images of the approximately complementary colors. The two strips were then cemented together back to back, forming a single strip like to duplitized film.

In 1928, Technicolor started making their prints by the imbibition process, which was mechanical rather than photographic and allowed the color components to be combined on the same side of the film. Using ii matrix films bearing hardened gelatin relief images, thicker where the image was darker, aniline color dyes were transferred into the gelatin blanket on a third, blank strip of film.

Technicolor re-emerged as a three-colour process for cartoons in 1932 and live activity in 1934. Using a different system of a beam-splitter cube and colour filters behind the lens, the photographic camera simultaneously exposed iii individual strips of black-and-white film, each one recording one-third of the spectrum, which immune virtually the entire spectrum of colors to be reproduced.[27] A printing matrix with a hardened gelatin relief image was fabricated from each negative, and the 3 matrices transferred color dyes into a bare film to create the print.[28]

Two-color processes, however, were far from extinct. In 1934, William T. Crispinel and Alan M. Gundelfinger revived the Multicolor process under the company name Cinecolor. Cinecolor saw considerable use in animation and low-budget pictures, mainly because it cost much less than three-colour Technicolor. If color design was carefully managed, the lack of colors such every bit true green could pass unnoticed. Although Cinecolor used the aforementioned duplitized stock as Prizma and Multicolor, it had the advantage that its press and processing methods yielded larger quantities of finished flick in less time.

In 1950, Kodak announced the first Eastman color 35 mm negative film (along with a complementary positive picture) that could record all three principal colors on the aforementioned strip of film.[29] An improved version in 1952 was rapidly adopted by Hollywood, making the use of three-strip Technicolor cameras and bipack cameras (used in two-color systems such as Cinecolor) obsolete in color cinematography. This "monopack" structure is made up of iii separate emulsion layers, one sensitive to red calorie-free, one to green and i to blueish.

Safety picture show [edit]

Although Eastman Kodak had first introduced acetate-based film, it was far too brittle and prone to shrinkage, so the dangerously flammable nitrate-based cellulose films were generally used for motion motion-picture show camera and print films. In 1949 Kodak began replacing all nitrocellulose (nitrate-based) films with the safer, more than robust cellulose triacetate-based "Safety" films. In 1950 the Academy of Motion Picture Arts and Sciences awarded Kodak with a Scientific and Technical Academy Award (Oscar) for the safer triacetate stock.[30] By 1952, all camera and projector films were triacetate-based.[31] Most if non all film prints today are made from synthetic polyester safety base (which started replacing Triacetate film for prints in the early 1990s). The downside of polyester film is that it is extremely strong, and, in example of a fault, volition stretch and non break–potentially causing damage to the projector and ruining a fairly large stretch of picture: 2–3 ft or approximately 2 seconds. Also, polyester film will melt if exposed to the projector lamp for too long. Original photographic camera negative is still fabricated on a triacetate base, and some intermediate films (certainly including internegatives or "gull" negatives, but not necessarily including interpositives or "master" positives) are also made on a triacetate base equally such films must exist spliced during the "negative assembly" process, and the extant negative assembly process is solvent-based. Polyester films are not compatible with solvent-based assembly processes.

Other types [edit]

Besides blackness & white and color negative films, there are black & white and colour reversal films, which when developed create a positive ("natural") paradigm that is projectable. At that place are also films sensitive to not-visible wavelengths of light, such every bit infrared.

Common formats [edit]

Meet list of picture formats for a comprehensive tabular array of known formats

University format [edit]

In the conventional motion picture show format, frames are 4 perforations alpine, with an attribute ratio of i.375:1, 22 by 16 mm (0.866 by 0.630 in). This is a derivation of the attribute ratio and frame size designated by Thomas Edison (24.89 by xviii.67 millimetres or 0.980 by 0.735 inches) at the dawn of motion pictures, which was an attribute ratio of 1.33:one.[32] The first audio features were released in 1926–27, and while Warner Bros. was using synchronized phonograph discs (sound-on-disc), Fox placed the soundtrack in an optical record directly on the flick (sound-on-film) on a strip between the sprocket holes and the epitome frame.[33] "Audio-on-film" was soon adopted by the other Hollywood studios, resulting in an almost square prototype ratio of 0.860 in by 0.820 in.[34]

Comparing of common 35 mm film formats

By 1929, most movie studios had revamped this format using their own house discontinuity plate size to try to recreate the older screen ratio of ane.33:ane. Furthermore, every theater chain had their own house aperture plate size in which the picture was projected. These sizes often did not match up even between theaters and studios owned past the same company, and therefore, uneven project practices occurred.[34]

In November 1929, the Society of Picture show Engineers set a standard aperture ratio of 0.800 in by 0.600 in. Known equally the "1930 standard", studios which followed the suggested do of marking their camera viewfinders for this ratio were: Paramount-Famous-Lasky, Metro-Goldwyn Mayer, United Artists, Pathe, Universal, RKO, Tiffany-Stahl, Mack Sennett, Darmour, and Educational. The Fox Studio markings were the same width simply allowed .04 in more than height.[35]

In 1932, in refining this ratio, the Academy of Motility Picture Arts and Sciences expanded upon this 1930 standard. The camera aperture became 22 by 16 mm (0.87 past 0.63 in), and the projected image would utilize an aperture plate size of 0.825 past 0.600 in (21.0 by 15.two mm), yielding an attribute ratio of 1.375:i. This became known as the "Academy" ratio, named so later on them.[36] Since the 1950s the aspect ratio of some theatrically released motility picture films has been 1.85:i (1.66:1 in Europe) or ii.35:1 (two.40:1 after 1970). The image area for "TV manual" is slightly smaller than the full "University" ratio at 21 by xvi mm (0.83 by 0.63 in), an aspect ratio of i.33:1. Hence when the "Academy" ratio is referred to every bit having an aspect ratio of one.33:one, information technology is done so mistakenly.[36]

Widescreen [edit]

The commonly used anamorphic format uses a similar four-perf frame, but an anamorphic lens is used on the camera and projector to produce a wider image, today with an aspect ratio of well-nigh 2.39:1 (more commonly referred to as 2.40:1). The ratio was formerly two.35:1—and is yet oft mistakenly referred to every bit such—until an SMPTE revision of projection standards in 1970.[37] The paradigm, as recorded on the negative and impress, is horizontally compressed (squeezed) by a factor of 2.[38]

The unexpected success of the Cinerama widescreen procedure in 1952 led to a boom in film format innovations to compete with the growing audiences of television and the dwindling audiences in movie theaters. These processes could give theatergoers an experience that television could not at that time—colour, stereophonic sound and panoramic vision. Earlier the stop of the year, 20th Century Fox had narrowly "won" a race to obtain an anamorphic optical system invented by Henri Chrétien, and presently began promoting the Cinemascope engineering science as early as the product phase.[39]

Looking for a similar culling, other major studios striking upon a simpler, less expensive solution by Apr 1953: the camera and projector used conventional spherical lenses (rather than much more expensive anamorphic lenses), only by using a removable aperture plate in the moving-picture show projector gate, the top and bottom of the frame could be cropped to create a wider attribute ratio. Paramount Pictures began this trend with their aspect ratio of 1.66:1, get-go used in Shane, which was originally shot for Academy ratio.[40] It was Universal Studios, yet, with their May release of Thunder Bay that introduced the now standard 1.85:one format to American audiences and brought attention to the industry the capability and low toll of equipping theaters for this transition.

Other studios followed suit with aspect ratios of 1.75:one upwardly to 2:i. For a fourth dimension, these diverse ratios were used past different studios in different productions, but by 1956, the attribute ratio of 1.85:1 became the "standard" US format. These flat films are photographed with the total Academy frame, just are matted (most often with a mask in the theater projector, non in the photographic camera) to obtain the "wide" aspect ratio. The standard, in some European countries, became 1.66:1 instead of 1.85:1, although some productions with pre-determined American distributors composed for the latter to appeal to Usa markets.

In September 1953, 20th Century Fox debuted CinemaScope with their production of The Robe to neat success.[41] CinemaScope became the first marketable usage of an anamorphic widescreen process and became the basis for a host of "formats", normally suffixed with -scope, that were otherwise identical in specification, although sometimes inferior in optical quality. (Some developments, such equally SuperScope and Techniscope, even so, were truly entirely different formats.) Past the early 1960s, still, Panavision would eventually solve many of the CinemaScope lenses' technical limitations with their own lenses,[38] and by 1967, CinemaScope was replaced by Panavision and other tertiary-political party manufacturers.[42]

The 1950s and 1960s saw many other novel processes using 35 mm, such as VistaVision, SuperScope, and Technirama, most of which ultimately became obsolete. VistaVision, still, would be revived decades later past Lucasfilm and other studios for special effects work, while a SuperScope variant became the predecessor to the modern Super 35 format that is popular today.

Super 35 [edit]

The concept behind Super 35 originated with the Tushinsky Brothers' SuperScope format, particularly the SuperScope 235 specification from 1956. In 1982, Joe Dunton revived the format for Trip the light fantastic toe Craze, and Technicolor before long marketed it under the name "Super Techniscope" before the industry settled on the name Super 35.[43] The primal driving idea backside the process is to return to shooting in the original silent "Edison" 1.33:1 full iv-perf negative surface area (24.89 past eighteen.67 millimetres or 0.980 past 0.735 inches), and then crop the frame either from the bottom or the center (like 1.85:1) to create a 2.40:1 aspect ratio (matching that of anamorphic lenses) with an area of 24 by ten mm (0.94 by 0.39 in). Although this cropping may seem extreme, by expanding the negative area out perf-to-perf, Super 35 creates a 2.40:ane aspect ratio with an overall negative area of 240 square millimetres (0.37 sq in), merely ix square millimetres (0.014 sq in) less than the i.85:1 crop of the University frame (248.81 foursquare millimetres or 0.38566 square inches).[44] The cropped frame is and then converted at the intermediate stage to a 4-perf anamorphically squeezed print compatible with the anamorphic project standard. This allows an "anamorphic" frame to be captured with non-anamorphic lenses, which are much more mutual.[ citation needed ] Up to 2000, in one case the film was photographed in Super 35, an optical printer was used to anamorphose (squeeze) the image. This optical step reduced the overall quality of the image and fabricated Super 35 a controversial subject amid cinematographers, many who preferred the college epitome quality and frame negative area of anamorphic photography (particularly with regard to granularity).[44] With the appearance of digital intermediates (DI) at the beginning of the 21st century, however, Super 35 photography has go fifty-fifty more than pop, since everything could be done digitally, scanning the original 4-perf i.33:1 (or three-perf 1.78:ane) picture and cropping it to the two.39:1 frame already in-reckoner, without anamorphosing stages, and likewise without creating an boosted optical generation with increased grain. This procedure of creating the aspect ratio in the figurer allows the studios to perform all mail service-production and editing of the movie in its original aspect (1.33:1 or 1.78:1) and to then release the cropped version, while yet having the original when necessary (for Pan & Scan, HDTV transmission, etc.).

3-Perf [edit]

The non-anamorphic widescreen ratios (most usually one.85:1) used in modern feature films makes inefficient utilize of the available paradigm area on 35 mm film using the standard 4-perf pulldown; the height of a one.85:1 frame occupying only 65% of the distance between the frames. It is clear, therefore, that a change to a 3-perf pulldown would allow for a 25% reduction in picture consumption whilst still all-around the full 1.85:i frame. Ever since the introduction of these widescreen formats in the 1950s diverse film directors and cinematographers have argued in favour of the industry making such a change. The Canadian cinematographer Miklos Lente invented and patented a 3-perforation pull down system which he called "Trilent 35" in 1975 though he was unable to persuade the manufacture to adopt it.[45]

The idea was later taken up past the Swedish film-maker Rune Ericson who was a strong advocate for the iii-perf system.[46] Ericson shot his 51st feature Pirates of the Lake in 1986 using two Panaflex cameras modified to 3-perf pulldown and suggested that the industry could alter over completely over the form of ten-years. However, the moving picture manufacture did not make the change mainly because it would have required the modification of the thousands of existing 35 mm projectors in movie theaters all over the world. Whilst it would have been possible to shoot in 3-perf and then convert to standard 4-perf for release prints the extra complications this would cause and the additional optical printing stage required fabricated this an unattractive selection at the time for most film makers.

However, in goggle box production, where compatibility with an installed base of 35 mm film projectors is unnecessary, the 3-perf format is sometimes used, giving—if used with Super 35—the 16:9 ratio used by HDTV and reducing flick usage past 25 percent. Because of 3-perf's incompatibility with standard iv-perf equipment, information technology can utilize the whole negative area between the perforations (Super 35 mm film) without worrying near compatibility with existing equipment; the Super 35 image area includes what would be the soundtrack area in a standard print.[47] All 3-perf negatives crave optical or digital conversion to standard 4-perf if a film impress is desired, though three-perf can easily be transferred to video with trivial to no difficulty by modern telecine or film scanners. With digital intermediate now a standard process for characteristic motion picture post-production, 3-perf is becoming increasingly popular for characteristic film productions which would otherwise be balky to an optical conversion stage.[ commendation needed ] [48]

VistaVision [edit]

A diagram of the VistaVision format, affectionately dubbed "Lazy 8" because it is viii perforations long and runs horizontally (lying downward)

The VistaVision motion picture format was created in 1954 by Paramount Pictures to create a finer-grained negative and impress for flat widescreen films.[49] Similar to still photography, the format uses a camera running 35 mm moving picture horizontally instead of vertically through the camera, with frames that are eight perforations long, resulting in a wider aspect ratio of 1.5:1 and greater detail, as more of the negative surface area is used per frame.[44] This format is unprojectable in standard theaters and requires an optical footstep to reduce the image into the standard 4-perf vertical 35 mm frame.[fifty]

While the format was dormant by the early on 1960s, the camera system was revived for visual furnishings past John Dykstra at Industrial Light and Magic, starting with Star Wars, as a way of reducing granularity in the optical printer by having increased original camera negative expanse at the betoken of image origination.[51] Its usage has again declined since the dominance of reckoner-based visual effects, although it still sees limited utilization.[52]

Perforations [edit]

35 mm moving-picture show perforation hole types.

BH perforations [edit]

Film perforations were originally round holes cut into the side of the picture show, only as these perforations were subject to wear and deformation, the shape was changed to what is now called the Bong & Howell (BH) perforation, which has directly top and bottom edges and outward curving sides. The BH perforation'south dimensions are 0.110 inches (2.viii mm) from the centre of the side curve to opposite top corner by 0.073 inches (1.9 mm) in meridian.[53] The BH1866 perforation, or BH perforation with a pitch of 0.1866 inches (4.74 mm), is the modern standard for negative and internegative films.[54]

KS perforations [edit]

Because BH has precipitous corners, the repeated use of the picture through intermittent movement projectors creates strain that can easily tear the perforations. Furthermore, they tended to shrink as the print slowly decayed. Therefore, larger perforations with a rectangular base and rounded corners were introduced by Kodak in 1924 to ameliorate steadiness, registration, durability, and longevity. Known equally "Kodak Standard" (KS), they are 0.0780 inches (1.98 mm) high by 0.1100 inches (2.79 mm) wide.[55] Their durability makes KS perfs the platonic pick for some (but non all) intermediate and all release prints, and original camera negatives which require special use, such as high-speed filming, but not for bluescreen, front projection, rear project, or matte work every bit these specific applications demand the more authentic registration which is only possible with BH or DH perforations. The increased summit besides ways that the image registration was considerably less accurate than BH perfs, which remains the standard for negatives.[56] [57] The KS1870 perforation, or KS perforation with a pitch of 0.1870 inches (4.75 mm), is the mod standard for release prints.[54]

These ii perforations have remained by far the well-nigh normally used ones. BH perforations are also known as N (negative) and KS every bit P (positive). The Bong & Howell perf remains the standard for camera negative films because of its perforation dimensions in comparison to almost printers, thus information technology can go along a steady image compared to other perforations.[54] [58]

DH perforations [edit]

The Dubray–Howell (DH) perforation was first proposed in 1932[59] [sixty] to supervene upon the two perfs with a unmarried hybrid. The proposed standard was, like KS, rectangular with rounded corners and a width of 0.1100 inches (two.79 mm), and, similar BH, was 0.073 inches (ane.9 mm) alpine.[l] [61] This gave it longer projection life but likewise improved registration. I of its primary applications was usage in Technicolor's dye imbibition press (dye transfer).[58] The DH perf never had wide uptake, and Kodak's introduction of monopack Eastmancolor film in the 1950s reduced the demand for dye transfer,[57] although the DH perforation persists in special awarding intermediate films.[62]

CS perforations [edit]

In 1953, the introduction of CinemaScope by Play a trick on Studios required the cosmos of a different shape of perforation which was nearly foursquare and smaller to provide space for iv magnetic sound stripes for stereophonic and surround sound.[7] These perforations are commonly referred to equally CinemaScope (CS) or "Fox pigsty" perfs. Their dimensions are 0.0780 inches (1.98 mm) in width by 0.0730 inches (ane.85 mm) in top.[63] Due to the size divergence, CS perfed film cannot be run through a projector with standard KS sprocket teeth, merely KS prints can be run on sprockets with CS teeth. Shrunken pic with KS prints that would commonly exist damaged in a projector with KS sprockets may sometimes be run far more gently through a projector with CS sprockets considering of the smaller size of the teeth. Magnetic striped 35 mm movie became obsolete in the 1980s subsequently the advent of Dolby Stereo, equally a consequence film with CS perfs is no longer manufactured.

During continuous contact press, the raw stock and the negative are placed side by side to one another around the sprocket wheel of the printer. The negative, which is the closer of the two to the sprocket wheel (thus creating a slightly shorter path), must have a marginally shorter pitch betwixt perforations (0.1866 in pitch); the raw stock has a long pitch (0.1870 in). While cellulose nitrate and cellulose diacetate stocks used to compress during processing slightly enough to have this difference naturally occur, modernistic safety stocks practice non shrink at the same rate, and therefore negative (and some intermediate) stocks are perforated at a pitch of 0.2% shorter than print stock.[53]

Technical specifications [edit]

Areas on an Academy-width 35 mm spherical film print:

  1. Camera aperture
  2. University ratio, one.375:1
  3. 1.85:1 Ratio
  4. 1.66:1 Ratio
  5. Idiot box scanned expanse
  6. Tv "action safe" expanse
  7. Television "championship safe" surface area

Technical specifications for 35 mm film are standardized by SMPTE.

  • sixteen frames per pes (0.748 inches (xix.0 mm) per frame (long pitch))
  • 24 frames per 2d (fps); xc feet (27 m) per infinitesimal. 1,000 feet (300 m) is virtually 11 minutes at 24 fps.
  • vertical pulldown
  • iv perforations per frame (all projection and most origination except three-perf). 1 perforation = 3⁄16  in or 0.1875 in. 1 frame = 3⁄4  in or 0.75 in.

35 mm spherical [44]

  • Attribute ratio: 1.375:1 on photographic camera aperture; i.85:1 and one.66:1 are difficult- or soft-matted over this
  • Camera aperture: 0.866 past 0.630 in (22.0 by 16.0 mm)
  • Projector aperture (total one.375:one): 0.825 by 0.602 in (21.0 past 15.3 mm)
  • Projector aperture (i.66:1): 0.825 by 0.497 in (21.0 by 12.6 mm)
  • Projector aperture (1.85:1): 0.825 by 0.446 in (21.0 by eleven.3 mm)
  • Boob tube station aperture: 0.816 by 0.612 in (xx.7 by fifteen.v mm)
  • TV transmission: 0.792 past 0.594 in (20.i by 15.1 mm)
  • TV safe action: 0.713 by 0.535 in (xviii.1 by 13.6 mm); corner radii: 0.143 inches (three.half dozen mm)
  • Tv set prophylactic titles: 0.630 past 0.475 in (16.0 past 12.ane mm); corner radii: 0.125 inches (iii.2 mm)

Super 35 mm flick [44]

  • Aspect ratio: ane.33:one on iv-perf camera aperture
  • Photographic camera aperture (four-perf): 0.980 by 0.735 in (24.ix by 18.vii mm)
  • Flick used (35 mm anamorphic): 0.945 by 0.394 inches (24.0 by ten.0 mm)
  • Picture show used (lxx mm blowup): 0.945 by 0.430 inches (24.0 by 10.9 mm)
  • Flick used (35 mm apartment 1.85): 0.945 by 0.511 inches (24.0 by 13.0 mm)

35 mm anamorphic [44]

  • Aspect ratio: 2.39:1, in a 1.19:i frame with a 2x horizontal anamorphosis
  • Camera aperture: 0.866 past 0.732 inches (22.0 by xviii.6 mm)
  • Projector aperture: 0.825 by 0.690 inches (21.0 by 17.v mm)

See too [edit]

  • History of the art and technique of making films
  • Original camera negative
  • List of motion pic pic formats
  • List of movement picture pic stocks

Footnotes [edit]

  1. ^ The actual dimension of 35 mm specified by the SMPTE is one.377 ± 0.001 inches (34.976 ± 0.025 mm). The size initially created by Dickson was only 0.075 mm narrower than the 35 mm standard that has existed since 1930. An account of this is given in an article past Dickson in the December 1933 SMPTE journal. This size was also exactly half the width of the 2+ three⁄4 -inch wide (70 mm) "A-type" 120 and 620 rollfilm which was the standard Eastman size at the fourth dimension. The standard size was increased at the May 1929 meeting of the SMPE and published in 1930.[10] [11]
  2. ^ U.Southward. Patent 0,589,168
  3. ^ The gauge and perforations are well-nigh identical to modern moving-picture show stock; the total silent ratio is as well used as the motion picture gate in movie cameras, although portions of the image are later cropped out in post-production and project.

References [edit]

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External links [edit]

  • American Widescreen Museum
  • Fujifilm Motion Picture Films
  • Kodak: Cinematography
  • List of venues and organizations currently running motion moving picture motion-picture show

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Source: https://en.wikipedia.org/wiki/35_mm_movie_film

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