35 mm movie film - Knowledge (XXG)

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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 10 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 2.40:1 aspect ratio with an overall negative area of 240 square millimetres (0.37 sq in), only 9 square millimetres (0.014 sq in) less than the 1.85:1 crop of the Academy frame (248.81 square millimetres or 0.38566 square inches). The cropped frame is then converted at the intermediate stage to a 4-perf anamorphically squeezed print compatible with the anamorphic projection standard. This allows an "anamorphic" frame to be captured with non-anamorphic lenses, which are much more common. Up to 2000, once 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 made Super 35 a controversial subject among cinematographers, many who preferred the higher image quality and frame negative area of anamorphic photography (especially with regard to

1173:(DI) at the beginning of the 21st century, however, Super 35 photography has become even more popular, since everything could be done digitally, scanning the original 4-perf 1.33:1 (or 3-perf 1.78:1) picture and cropping it to the 2.39:1 frame already in-computer, without anamorphosing stages, and also without creating an additional optical generation with increased grain. This process of creating the aspect ratio in the computer allows the studios to perform all post-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 still having the original when necessary (for Pan & Scan, HDTV transmission, etc.). 371:, to use a 68 mm film that used friction feed, not sprocket holes, to move the film through the camera. A court judgment in March 1902 invalidated Edison's claim, allowing any producer or distributor to use the Edison 35 mm film design without license. Filmmakers were already doing so in Britain and Europe, where Edison did not file patents. At the time, film stock was usually supplied unperforated and punched by the filmmaker to their standards with perforation equipment. A variation developed by the Lumière brothers used a single circular perforation on each side of the frame towards the middle of the horizontal axis. 235: 380: 473: 1188:

that a change to a 3-perf pulldown would allow for a 25% reduction in film consumption whilst still accommodating the full 1.85:1 frame. Ever since the introduction of these widescreen formats in the 1950s various film directors and cinematographers have argued in favour of the industry making such a change. The Canadian cinematographer Miklos Lente invented and patented a three-perforation pull down system which he called "Trilent 35" in 1975 though he was unable to persuade the industry to adopt it.

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spectral comb filter system, but their combination splitter-filter-lens is physically similar to the Technicolor assembly and can be used in the same way. No other modifications are required to the projector for either system, though for the Technicolor system a silver screen is necessary, as it would be with polarised-light digital 3D. Thus a programme can readily include both 2D and 3D segments with only the lens needing to be changed between them.

972: 841:. Cinecolor saw considerable use in animation and low-budget pictures, mainly because it cost much less than three-color Technicolor. If color design was carefully managed, the lack of colors such as true green could pass unnoticed. Although Cinecolor used the same duplitized stock as Prizma and Multicolor, it had the advantage that its printing and processing methods yielded larger quantities of finished film in less time. 1000:" ratio. Since the 1950s the aspect ratio of some theatrically released motion picture films has been 1.85:1 (1.66:1 in Europe) or 2.35:1 (2.40:1 after 1970). The image area for "TV transmission" is slightly smaller than the full "Academy" ratio at 21 by 16 mm (0.83 by 0.63 in), an aspect ratio of 1.33:1. Hence when the "Academy" ratio is referred to as having an aspect ratio of 1.33:1, it is done so mistakenly. 1309: 523: 652: 1422:

perforations (0.1866 in pitch); the raw stock has a long pitch (0.1870 in). While cellulose nitrate and cellulose diacetate stocks used to shrink during processing slightly enough to have this difference naturally occur, modern safety stocks do not shrink at the same rate, and therefore negative (and some intermediate) stocks are perforated at a pitch of 0.2% shorter than print stock.

1652: 356:, and "simply slit this film in half"; it was initially developed for the Kinetoscope, a one-person viewer, not to be projected. The image was still of high quality, even when magnified, and was more economical than 70 mm film (and more economical than any other gauge, as cutting the 70 mm to size would have created waste). 35 mm was immediately accepted as standard by the 1431: 1222:) without worrying about compatibility with existing equipment; the Super 35 image area includes what would be the soundtrack area in a standard print. All 3-perf negatives require optical or digital conversion to standard 4-perf if a film print is desired, though 3-perf can easily be transferred to video with little to no difficulty by modern 297:. Beginning in March 1892, Eastman and then, from April 1893 into 1896, New York's Blair Camera Co. supplied Edison with film stock. Dickson is credited as the inventor of 35 mm movie film in 1889, when the Edison company was using Eastman film. The company still received film from Blair after this; at first Blair would supply only 40 mm ( 1196:

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 made this an unattractive option at the time for most film makers.

488:(MPPC), pooling patents for collective use in the industry and positioning Edison's own technology as the standard to be licensed out. 35 mm became the "official" standard of the newly formed MPPC, which agreed in 1909 to what would become the standard: 35 mm gauge, with Edison perforations and a 1.3 1187:

The non-anamorphic widescreen ratios (most commonly 1.85:1) used in modern feature films makes inefficient use of the available image area on 35 mm film using the standard 4-perf pulldown; the height of a 1.85:1 frame occupying only 65% of the distance between the frames. It is clear, therefore,

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set a standard aperture ratio of 0.800 in by 0.600 in. Known as the "1930 standard", studios which followed the suggested practice of marking their camera viewfinders for this ratio were: Paramount-Famous-Lasky, Metro-Goldwyn Mayer, United Artists, Pathe, Universal, RKO, Tiffany-Stahl, Mack

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is still made on a triacetate base, and some intermediate films (certainly including internegatives or "dupe" negatives, but not necessarily including interpositives or "master" positives) are also made on a triacetate base as such films must be spliced during the "negative assembly" process, and the

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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 two matrix films bearing hardened gelatin relief images, thicker where the image was darker, aniline color dyes were

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2-perf camera format used in the 1960s and 1970s. However, 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 film through the projector

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The early acceptance of 35 mm as a standard had momentous impact on the development and spread of cinema. The standard gauge made it possible for films to be shown in every country of the world… It provided a uniform, reliable and predictable format for production, distribution and exhibition of

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Standardization in recording came from monopolization of the business by Eastman and Edison, and because of Edison's typical business model involving the patent system: Eastman and Edison managed their film patents well – Edison filed the 35 mm patent in 1896, the year after Dickson left his employ –

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is 1.377 ± 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 by Dickson in the December 1933 SMPTE journal. This size was also

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be run on sprockets with CS teeth. Shrunken film with KS prints that would normally be damaged in a projector with KS sprockets may sometimes be run far more gently through a projector with CS sprockets because of the smaller size of the teeth. Magnetic striped 35 mm film became obsolete in the

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in 1986 using two Panaflex cameras modified to 3-perf pulldown and suggested that the industry could change over completely over the course of ten-years. However, the movie industry did not make the change mainly because it would have required the modification of the thousands of existing 35 mm

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of 1.375:1, 22 by 16 mm (0.866 by 0.630 in). This is a derivation of the aspect ratio and frame size designated by Thomas Edison (24.89 by 18.67 millimetres or 0.980 by 0.735 inches) at the dawn of motion pictures, which was an aspect ratio of 1.33:1. The first sound features were released

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The Technicolor system uses the polarisation of light to separate the left and right eye images and for this they rent to exhibitors a combination splitter-polarizer-lens assembly which can be fitted to a lens turret in the same manner as an anamorphic lens. In contrast, the Panavision system uses a

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The success of digitally projected 3D movies in the first two decades of the 21st century led to a demand from some theater owners to be able to show these movies in 3D without incurring the high capital cost of installing digital projection equipment. To satisfy that demand, a number of systems had

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required the creation of a different shape of perforation which was nearly square and smaller to provide space for four magnetic sound stripes for stereophonic and surround sound. These perforations are commonly referred to as CinemaScope (CS) or "Fox hole" perfs. Their dimensions are 0.0780 inches

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work as these specific applications demand the more accurate registration which is only possible with BH or DH perforations. The increased height also means that the image registration was considerably less accurate than BH perfs, which remains the standard for negatives. The KS1870 perforation, or

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soon marketed it under the name "Super Techniscope" before the industry settled on the name Super 35. The central driving idea behind the process is to return to shooting in the original silent "Edison" 1.33:1 full 4-perf negative area (24.89 by 18.67 millimetres or 0.980 by 0.735 inches), and then

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film is that it is extremely strong, and, in case of a fault, will stretch and not break–potentially causing damage to the projector and ruining a fairly large stretch of film: 2–3 ft or approximately 2 seconds. Also, polyester film will melt if exposed to the projector lamp for too long.

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To facilitate this changeover, intermediate prints known as "high magenta" prints were distributed. These prints used a silver plus dye soundtrack that were printed into the magenta dye layer. The advantage gained was an optical soundtrack, with low levels of sibilant (cross-modulation) distortion,

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produced cameras, projectors, and perforators for the medium of an "exceptionally high quality", further cementing it as the standard. Edison and Eastman's form of business manipulation was ruled unlawful in 1914, but by this time the technology had become the established standard. In 1917, the new

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to create a finer-grained negative and print for flat widescreen films. Similar to still photography, the format uses a camera running 35 mm film 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

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Looking for a similar alternative, other major studios hit upon a simpler, less expensive solution by April 1953: the camera and projector used conventional spherical lenses (rather than much more expensive anamorphic lenses), but by using a removable aperture plate in the film projector gate, the

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In 1950, Kodak announced the first Eastman color 35 mm negative film (along with a complementary positive film) that could record all three primary colors on the same strip of film. An improved version in 1952 was quickly adopted by Hollywood, making the use of three-strip Technicolor cameras

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in 1924 to improve steadiness, registration, durability, and longevity. Known as "Kodak Standard" (KS), they are 0.0780 inches (1.98 mm) high by 0.1100 inches (2.79 mm) wide. Their durability makes KS perfs the ideal choice for some (but not all) intermediate and all release prints, and

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Because BH has sharp corners, the repeated use of the film 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

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that can be projected by a standard 35 mm cinema projector with minimal modification, and so they are based on the use of "over-under" film prints. In these prints a left-right pair of 2.39:1 non-anamorphic images are substituted for the one 2.39:1 anamorphic image of a 2D "scope" print. The

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By 1929, most movie studios had revamped this format using their own house aperture plate size to try to recreate the older screen ratio of 1.33:1. 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

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prism behind the camera lens. Two prints on half-thickness stock were made from the negative, one from only the red-filtered frames, the other from the green-filtered frames. After development, the silver images on the prints were chemically toned to convert them into images of the approximately

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and each resulting series of black-and-white images was chemically toned to transform the silver into a monochrome color, either orange-red or blue-green, resulting in a two-sided, two-colored print that could be shown with any ordinary projector. This system of two-color bipack photography and

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saw 35 mm film projectors removed from most of the projection rooms as they were replaced by digital projectors. By the mid-2010s, most of the theaters across the world had been converted to digital projection, while others continued running 35 mm projectors. In spite of the uptake in

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A variety of largely proprietary gauges were devised for the numerous camera and projection systems being developed independently in the late 19th century and early 20th century, as well as a variety of film feeding systems. This resulted in cameras, projectors, and other equipment having to be

1325:(BH) perforation, which has straight top and bottom edges and outward curving sides. The BH perforation's dimensions are 0.110 inches (2.8 mm) from the middle of the side curve to opposite top corner by 0.073 inches (1.9 mm) in height. The BH1866 perforation, or BH perforation with a 1026:

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 about 2.39:1 (more commonly referred to as 2.40:1). The ratio was formerly 2.35:1—and is still often mistakenly referred to as such—until an

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The Dubray–Howell (DH) perforation was first proposed in 1932 to replace the two perfs with a single hybrid. The proposed standard was, like KS, rectangular with rounded corners and a width of 0.1100 inches (2.79 mm), and, like BH, was 0.073 inches (1.9 mm) tall. This gave it longer

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When film editing was done by physically cutting the film, editing the picture could only have been done on the frame line. However, the sound was stored for the whole frame between each of the four sprocket holes, and so the sound editors could cut on any arbitrary set of holes, and thus get

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During continuous contact printing, the raw stock and the negative are placed next 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 between

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track on the film just to the right of the analog soundtrack and left of the frame. Because these soundtrack systems appear on different parts of the film, one movie can contain all of them, allowing broad distribution without regard for the sound system installed at individual theatres.

871:-based film, it was far too brittle and prone to shrinkage, so the dangerously flammable nitrate-based cellulose films were generally used for motion picture camera and print films. In 1949 Kodak began replacing all nitrocellulose (nitrate-based) films with the safer, more robust 1042:

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—color, stereophonic sound and panoramic vision. Before the end of the year,

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in the theater projector, not in the 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 US markets.

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expanded upon this 1930 standard. The camera aperture became 22 by 16 mm (0.87 by 0.63 in), and the projected image would use an aperture plate size of 0.825 by 0.600 in (21.0 by 15.2 mm), yielding an aspect ratio of 1.375:1. This became known as the

788:, whose main advantage was quality prints in less time than its competitors. In its earliest incarnations, Technicolor was another two-color system that could reproduce a range of reds, muted bluish greens, pinks, browns, tans and grays, but not real blues or yellows. 1392:'s dye imbibition printing (dye transfer). The DH perf never had broad uptake, and Kodak's introduction of monopack Eastmancolor film in the 1950s reduced the demand for dye transfer, although the DH perforation persists in special application intermediate films. 177:. Film 35 mm wide with four perforations per frame became accepted as the international standard gauge in 1909, and remained by far the dominant film gauge for image origination and projection until the advent of digital photography and cinematography. 464:

inches to allow for the perforations now punched on both edges, 4 holes to the phase or picture, which perforations were a shade smaller than those now in use. This standardized film size of 1889 has remained, with only minor variations, unaltered to

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In June 2012, Panavision 3D systems for both 35 mm film and digital projection were withdrawn from the market by DVPO theatrical (who marketed these system on behalf of Panavision) citing "challenging global economic and 3D market conditions".

830:, which allowed virtually the entire spectrum of colors to be reproduced. A printing matrix with a hardened gelatin relief image was made from each negative, and the three matrices transferred color dyes into a blank film to create the print. 343:

For a time, it had been generally assumed that Dickson was following cinematography formats established by Eastman in producing the film, but Eastman had produced film in sheets that were then cut to order. Dickson used the film supplied for

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Other studios followed suit with aspect ratios of 1.75:1 up to 2:1. For a time, these various ratios were used by different studios in different productions, but by 1956, the aspect ratio of 1.85:1 became the "standard" US format. These

1379:(positive). The Bell & Howell perf remains the standard for camera negative films because of its perforation dimensions in comparison to most printers, thus it can keep a steady image compared to other perforations. 1230:. With digital intermediate now a standard process for feature film post-production, 3-perf is becoming increasingly popular for feature film productions which would otherwise be averse to an optical conversion stage. 794:, released in 1922, was the first film printed in their subtractive color system. Technicolor's camera photographed each pair of color-filtered frames simultaneously on one strip of black-and-white film by means of a 1269:

greater detail, as more of the negative area is used per frame. This format is unprojectable in standard theaters and requires an optical step to reduce the image into the standard 4-perf vertical 35 mm frame.

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in 1887, the first transparent, flexible film. Eastman also produced these components, and his was the first major company to mass-produce such film when, in 1889, Eastman realized that the dry-gelatino-bromide

392:, the first projection device to use 35 mm, was technologically superior and compatible with the many motion pictures produced on 35 mm film. Edison bought the device in 1895–96; the Lumiere's 35 mm projection 968:) on a strip between the sprocket holes and the image frame. "Sound-on-film" was soon adopted by the other Hollywood studios, resulting in an almost square image ratio of 0.860 in by 0.820 in. 387:

When films began to be projected, several projection devices were unsuccessful and fell into obscurity because of technical failure, lack of business acumen on the part of their promoters, or both. The

3069: 2305: 1718:-inch wide (70 mm) "A-type" 120 and 620 rollfilm which was the standard Eastman size at the time. The standard size was increased at the May 1929 meeting of the SMPE and published in 1930. 1409:(1.98 mm) in width by 0.0730 inches (1.85 mm) in height. Due to the size difference, CS perfed film cannot be run through a projector with standard KS sprocket teeth, but KS prints 756:, the first commercially viable American color process using 35 mm film. Initially, like Kinemacolor, it photographed the color elements one after the other and projected the results by 3235: 1321:

Film perforations were originally round holes cut into the side of the film, but as these perforations were subject to wear and deformation, the shape was changed to what is now called the

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would eventually solve many of the CinemaScope lenses' technical limitations with their own lenses, and by 1967, CinemaScope was replaced by Panavision and other third-party manufacturers.

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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

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photography, with two strips of film, one treated to be sensitive to red and the other not, running through the camera face to face. Each negative was printed on one surface of the same

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and so controlled the use and development of film. Dickson left the Edison company in 1895, going on to help competitors produce cameras and other film gauges that would not infringe on

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and the projector lens. But any process that photographed and projected the colors sequentially was subject to color "fringing" around moving objects, and a general color flickering.

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that introduced the now standard 1.85:1 format to American audiences and brought attention to the industry the capability and low cost of equipping theaters for this transition.

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and reducing film usage by 25 percent. Because of 3-perf's incompatibility with standard 4-perf equipment, it can utilize the whole negative area between the perforations (

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dye optical soundtracks instead of applicated tracks, which use environmentally unfriendly chemicals to retain a silver (black-and-white) soundtrack. Because traditional

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to great success. CinemaScope became the first marketable usage of an anamorphic widescreen process and became the basis for a host of "formats", usually suffixed with

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area at the point of image origination. Its usage has again declined since the dominance of computer-based visual effects, although it still sees limited utilization.

538:, optically recorded as waveforms containing the audio signals for the left and right audio channels (the two white lines to the right of the sprocket holes); and the 849:) obsolete in color cinematography. This "monopack" structure is made up of three separate emulsion layers, one sensitive to red light, one to green and one to blue. 784:

Although it had been available previously, color in Hollywood feature films first became truly practical from the studios' commercial perspective with the advent of

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top and bottom of the frame could be cropped to create a wider aspect ratio. Paramount Pictures began this trend with their aspect ratio of 1.66:1, first used in

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cube and color filters behind the lens, the camera simultaneously exposed three individual strips of black-and-white film, each one recording one-third of the

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portions of their movies for dramatic impact, and by 1920, 80 to 90 percent of all films were tinted. The first successful natural color process was Britain's

3080: 184:, formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound data into nearly all of its non-frame areas. 325:-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. Edison's 625:, and cyan tracks do not absorb infrared light, this change has required theaters to replace the incandescent exciter lamp with a complementary colored red 992: 887:) for the safer triacetate stock. By 1952, all camera and projector films were triacetate-based. Most if not all film prints today are made from synthetic 876: 124:

that record on film, 35 mm is the most commonly used gauge. The name of the gauge is not a direct measurement, and refers to the nominal width of the

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rights to the design of 35 mm motion picture film, with four sprocket holes (perforations) per frame, forcing his only major filmmaking competitor,

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revision of projection standards in 1970. The image, as recorded on the negative and print, is horizontally compressed (squeezed) by a factor of 2.

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The idea was later taken up by the Swedish film-maker Rune Ericson who was a strong advocate for the 3-perf system. Ericson shot his 51st feature

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Until 1953, the 35 mm film was seen as "basic technology" in the film industry, rather than optional, despite other gauges being available.

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that were otherwise identical in specification, although sometimes inferior in optical quality. (Some developments, such as SuperScope and

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are some companies that offered 35 mm films. As of 2015, Kodak is the last remaining manufacturer of motion picture film.

913:, which when developed create a positive ("natural") image that is projectable. There are also films sensitive to non-visible 610:

The analogue optical track technology has also changed: in the early years of the 21st century, distributors changed to using

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movies, facilitating the rapid spread and acceptance of the movies as a world-wide device for entertainment and communication.

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extant negative assembly process is solvent-based. Polyester films are not compatible with solvent-based assembly processes.

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Three different digital soundtrack systems for 35 mm cinema release prints were introduced during the 1990s. They are:

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Two-color processes, however, were far from extinct. In 1934, William T. Crispinel and Alan M. Gundelfinger revived the

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24 frames per second (fps); 90 feet (27 m) per minute. 1,000 feet (300 m) is about 11 minutes at 24 fps.

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An "over-under" 3D frame. Both left and right eye images are contained within the normal height of a single 2D frame.

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on May 9, 1893. The Kinetoscope was a film loop system intended for one-person viewing. Edison, along with assistant

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Sennett, Darmour, and Educational. The Fox Studio markings were the same width but allowed .04 in more height.

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The gauge has been versatile in application. It has been modified to include sound, redesigned to create a safer

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The gauge and perforations are almost identical to modern film stock; the full silent ratio is also used as the

254:. Along with W. H. Walker, Eastman invented a holder for a roll of picture-carrying gelatin layer-coated paper. 131:, which consists of strips 1.377 ± 0.001 inches (34.976 ± 0.025 mm) wide. The standard 2612: 1670: 1344: 1291: 897: 745:(1909–1915), a two-color additive process that used a rotating disk with red and green filters in front of the 591: 472: 1322: 803:. The two strips were then cemented together back to back, forming a single strip similar to duplitized film. 701:

In the transition period centered around 2010–2015, the rapid conversion of the cinema exhibition industry to

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between theaters and studios owned by the same company, and therefore, uneven projection practices occurred.

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made 35 mm the only motion picture format that could be played in almost any cinema in the world, until

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and other studios for special effects work, while a SuperScope variant became the predecessor to the modern

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A photo of a 35 mm film print featuring all four audio formats (or "quad track") — from left to right:

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These two perforations have remained by far the most commonly used ones. BH perforations are also known as

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in movie cameras, although portions of the image are later cropped out in post-production and projection.

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Cowan, Lester (January 1930). "Camera and Projector Apertures in Relation to Sound on Film Pictures".

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While the format was dormant by the early 1960s, the camera system was revived for visual effects by

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safety base (which started replacing Triacetate film for prints in the early 1990s). The downside of

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sound (grey area between the sprocket holes labelled with the Dolby "Double-D" logo in the middle);

3758: 3750: 3560: 800: 790: 496:(also developed by Dickson). Scholar Paul C. Spehr describes the importance of these developments: 251: 563:-frame edit resolution. With this technique, an audio edit could be accurate to within 10.41 2404: 1360: 1265: 1075: 1866: 1244: 32:

This article is about the motion picture film gauge. For the still photographic film gauge, see

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4 perforations per frame (all projection and most origination except 3-perf). 1 perforation =

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of 0.1866 inches (4.74 mm), is the modern standard for negative and internegative films.

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projection life but also improved registration. One of its primary applications was usage in

3511: 3268: 2745: 2564: 2225: 2013: 1871: 1816: 1405: 1352: 1282: 1219: 1044: 914: 827: 568: 506: 255: 2867: 2797: 1894:"The Wizard of Photography: The Story of George Eastman and How He Transformed Photography" 2485: 1665: 1356: 1287: 1203: 1105: 971: 909:

Besides black & white and color negative films, there are black & white and color

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Rose, Jay (July 2003). "Reality (sound)bites: Audio tricks from the film and TV studio".

1573:: 0.630 by 0.475 in (16.0 by 12.1 mm); corner radii: 0.125 inches (3.2 mm) 1567:: 0.713 by 0.535 in (18.1 by 13.6 mm); corner radii: 0.143 inches (3.6 mm) 2510: 2251: 2205:

Lobban, Grant. "Film Gauges and Soundtracks", BKSTS wall chart (sample frame provided).

3138:

Blalack, Robert; Roth, Paul (July 1977). "Composite Optical and Photographic Effects".

2939: 2539:"Kinemacolor to Eastmancolor: Faithfully Capturing an Old Technology with a Modern One" 1935: 884: 774: 757: 734: 702: 622: 336:

Around 1896, a 35mm projector known as a "photo-rotoscope" was made by W. C. Hughes in

259: 243: 208: 174: 947:

In the conventional motion picture format, frames are four perforations tall, with an

522: 311: in) film stock that would be trimmed and perforated at the Edison lab to create 3933: 3827: 3414:"Committee Activities, Report of the Standards and Nomenclature Committee, Wide Film" 3099: 2909: 1096: 1088: 1070: 997: 965: 957: 942: 910: 880: 864: 823: 795: 635: 618: 583: 576: 531: 393: 345: 274: 204: 185: 166: 93: 2127: 3894: 3793: 3504:

ST 102:2002 - SMPTE Standard - For Motion-Picture Film (35-mm) — Perforated CS-1870

1415: 1308: 1273: 1065: 953: 738: 707: 651: 633:. These LED or laser exciters are backwards-compatible with older tracks. The film 599: 535: 396:

also premiered in 1895, and they established 35 mm as the standard for exhibition.

193: 125: 46: 3047: 579:

on one edge; recording audio on full 35 mm magnetic tape was more expensive.

2973: 2692: 2665: 2479: 2427: 2180: 2044: 1971: 1103:

In September 1953, 20th Century Fox debuted CinemaScope with their production of

571:

was the audio frequency would cut off, in a well-maintained theater, at around 12

3801: 3715: 3691: 3683: 3635: 3621: 3597: 2455:

Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897-1925

1657: 1401: 1389: 1261: 1249: 1239: 1161: 1156: 1125: 1117:, however, were truly entirely different formats.) By the early 1960s, however, 1114: 1056: 1039: 858: 819: 807: 785: 746: 742: 681: 661: 630: 564: 290: 278: 229: 2384: 2002:"A Brief History of the Kinetograph, the Kinetoscope and the Kineto-Phonograph" 1832: 3910: 3859: 3699: 3656: 3642: 3628: 3605: 3565: 3261:

ST 139:2003 - SMPTE Standard - For Motion-Picture Film (35-mm) — Perforated KS

1647: 1348: 1200: 1166: 1129: 1118: 1048: 1023: 1017: 1009: 834: 770: 729:

Originally, film was a strip of cellulose nitrate coated with black-and-white

665: 353: 349: 294: 225: 140: 117: 113: 57: 3515: 3272: 1828: 1728: 1124:

The 1950s and 1960s saw many other novel processes using 35 mm, such as

706:

digital projectors installed in global cinemas, 35 mm film remains in a

3880: 3614: 2429:

An Evening's Entertainment: The Age of the Silent Feature Picture, 1915–1928

1741: 1368:

of 0.1870 inches (4.75 mm), is the modern standard for release prints.

1133: 892: 888: 846: 838: 778: 575:. Studios would often record audio on the transparent film strips, but with 542: 389: 262: 181: 3429: 3399: 2070: 685:

and sound playback both remain exactly the same as in normal 2D operation.

2335: 2280: 2185:. Berkeley, California: University of California Press. pp. 303–313. 17: 3785: 3723: 3165: 1223: 1211: 1149: 1137: 1035: 815: 669: 603: 326: 267: 189: 170: 33: 2932:"The Widescreen Revolution: Expanding Horizons — The Spherical Campaign" 147:

calibrated to each gauge. The 35 mm width, originally specified as

3742: 3360: 1475:

16 frames per foot (0.748 inches (19.0 mm) per frame (long pitch))

868: 769:

two-sided prints was the basis for many later color processes, such as

676: 411:

At the end of the year 1889, I increased the width of the picture from

247: 238:

Eastman (L) giving Edison the first roll of movie film, which was 35 mm

2229: 1430: 811:

transferred into the gelatin coating on a third, blank strip of film.

1602:(35 mm anamorphic): 0.945 by 0.394 inches (24.0 by 10.0 mm) 1207: 761: 753: 364: 337: 1920:

From Dry Plates to Ektachrome Film: A Story of Photographic Research

1614:(35 mm flat 1.85): 0.945 by 0.511 inches (24.0 by 13.0 mm) 3541: 3357:"Perforations/Sprocket Holes: Peter Gray - Director of Photography" 2749: 2017: 1820: 1347:

which require special use, such as high-speed filming, but not for

3507: 3264: 3231: 3042: 1429: 1339: 1307: 1243: 1028: 970: 650: 572: 521: 471: 378: 233: 1809:

Journal of the Society of Motion Picture and Television Engineers

1608:(70 mm blowup): 0.945 by 0.430 inches (24.0 by 10.9 mm) 1467:

Technical specifications for 35 mm film are standardized by

964:

placed the soundtrack in an optical record directly on the film (

3834: 3766: 2096:"Enhancing the Illusion: The Process and Origins of Photography" 611: 3569: 1073:. It was Universal Studios, however, with their May release of 143:

along both edges, which results in 16 frames per foot of film.

3444:"Why Do Sound Negative Films Use Kodak Standard Perforations?" 3323:"Technical Glossary of Common Audiovisual Terms: Perforations" 3298:"Standards Adopted by the Society of Motion Picture Engineers" 2697:. Cambridge, Mass.: Harvard University Press. pp. 17–18. 1867:"May 2, 1887: Celluloid-Film Patent Ignites Long Legal Battle" 626: 594:

strips along the outside edges (beyond the perforations); and

586:, which is stored between the perforations on the sound side; 1627:: 2.39:1, in a 1.19:1 frame with a 2x horizontal anamorphosis 1533:(full 1.375:1): 0.825 by 0.602 in (21.0 by 15.3 mm) 480:

In 1908, Edison formed "a cartel of production companies", a

270:

could be coated onto this clear base, eliminating the paper.

1418:, as a result film with CS perfs is no longer manufactured. 1434:

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

1252:

format, affectionately dubbed "Lazy 8" because it is eight

639:(2003) was the first to be released with only cyan tracks. 3215: 3213: 3211: 3424:(3). New York, NY: The Society: 431–436. September 1931. 2043:

Fullerton, John; Söderbergh-Widding, Astrid (June 2000).

660:

been proposed for 3D systems based on 35 mm film by

135:

on 35 mm for movies ("single-frame" format) is four

293:, which combined the Kinetoscope with Edison's cylinder 3474:"Kodak Vision Color Intermediate Film - Technical Data" 1549:(1.85:1): 0.825 by 0.446 in (21.0 by 11.3 mm) 668:

and others. These systems are improved versions of the

3125:

The Camera Assistant: A Complete Professional Handbook

2892:

Samuelson, David W. (September 2003). "Golden Years".

2763:"Studios Seek to Aid Towards Better Projection Goal". 845:

and bipack cameras (used in two-color systems such as

675:

To be attractive to exhibitors, these schemes offered

352:

celluloid film, in his development of a more suitable

340:, which advanced the film by means of a "dog" motion. 2785:(8th ed.). Hollywood: ASC Press. pp. 18–22. 1848:"Kodak Inks Deals With Studios to Extend Film's Life" 3018:

Ericson, Rune (March 1987). "Three Perfs for Four".

2868:"Early Evolution from Academy to Wide Screen Ratios" 2718:

Dibbets, Karel (1996). "The Introduction of Sound".

2182:

The Emergence of Cinema: The American Screen to 1907

1937:

From peep show to palace: the birth of American film

814:

Technicolor re-emerged as a three-color process for

3851: 3816: 3777: 3734: 3675: 3666: 3604: 2667:

The American film industry: a historical dictionary

752:In 1916, William Van Doren Kelley began developing 99: 88: 73: 63: 53: 3418:Journal of the Society of Motion Picture Engineers 3388:Journal of the Society of Motion Picture Engineers 3302:Journal of the Society of Motion Picture Engineers 3098: 2908: 2738:Journal of the Society of Motion Picture Engineers 2126: 2038: 2036: 2034: 2006:Journal of the Society of Motion Picture Engineers 1934: 1543::1): 0.825 by 0.497 in (21.0 by 12.6 mm) 2605:"Chronology of Motion Picture Films 1940 to 1959" 3296:Society of Motion Picture Engineers (May 1930). 2825:Hora, John (2001). "Anamorphic Cinematography". 2511:"Kinemacolor: The First Successful Color System" 1995: 1993: 1666:History of the art and technique of making films 2432:. University of California Press. p. 127. 1699:The actual dimension of 35 mm specified by the 1596:: 0.980 by 0.735 in (24.9 by 18.7 mm) 1561:: 0.792 by 0.594 in (20.1 by 15.1 mm) 1555:: 0.816 by 0.612 in (20.7 by 15.5 mm) 1527:: 0.866 by 0.630 in (22.0 by 16.0 mm) 498: 409: 3317: 3315: 1639:: 0.825 by 0.690 inches (21.0 by 17.5 mm) 1633:: 0.866 by 0.732 inches (22.0 by 18.6 mm) 1210:format is sometimes used, giving—if used with 879:awarded Kodak with a Scientific and Technical 3581: 1264:motion picture format was created in 1954 by 1059:technology as early as the production phase. 27:Standard theatrical motion picture film gauge 8: 3105:. Oxford: Oxford University Press. pp. 2222:International Conference on Auditory Display 2155:"'Photo-rotoscope' 35mm projector mechanism" 1517:: 1.375:1 on camera aperture; 1.85:1 and 1.6 1038:widescreen process in 1952 led to a boom in 975:Comparison of common 35 mm film formats 822:in 1934. Using a different arrangement of a 598:, in which sound data is stored on separate 450:inch high. The actual width of the film was 383:Dickson's 35 mm movie film standard (center) 39: 2915:. Oxford: Oxford University Press. p. 2731: 2729: 993:Academy of Motion Picture Arts and Sciences 877:Academy of Motion Picture Arts and Sciences 680:frame dimensions are based on those of the 3672: 3588: 3574: 3566: 2400:"Digital Cinema Conversion Nears End Game" 1286:, as a way of reducing granularity in the 45: 38: 3118: 3116: 1973:Eastman Professional Motion Picture Films 1798: 1796: 1794: 1792: 1790: 1788: 1786: 1784: 1782: 1780: 956:was using synchronized phonograph discs ( 710:market of enthusiasts and format lovers. 672:3D prints first introduced in the 1960s. 2776: 2774: 2478:Robertson, Patrick (September 1, 2001). 2046:Moving images: from Edison to the Webcam 1922:. Ziff-Davis Publishing. pp. 15–16. 1805:"The Origins of 35mm Film as a Standard" 1778: 1776: 1774: 1772: 1770: 1768: 1766: 1764: 1762: 1760: 505:When the MPPC adopted the 35 mm format, 3350: 3348: 3185: 3183: 3038:"3 perf: The future of 35mm filmmaking" 2263: 2261: 2215: 2213: 2211: 2049:. John Libbey & Co Ltd. p. 3. 1898:Timeline PBS American Experience Online 1756: 1692: 1312:35 mm film perforation hole types. 1256:long and runs horizontally (lying down) 1047:had narrowly "won" a race to obtain an 329:defined a single frame of film at four 283:Brooklyn Institute of Arts and Sciences 2967: 2965: 2963: 2961: 2959: 2957: 2820: 2818: 1966: 1964: 1962: 1846:Giardina, Carolyn (February 4, 2015). 1494: in or 0.1875 in. 1 frame = 277:quickly set out on his invention, the 161:inches, was introduced around 1890 by 3384:"Change in 355 Mm. Film Perforations" 2829:(8th ed.). Hollywood: ASC Press. 1941:. Columbia University Press. p. 1521::1 are hard- or soft-matted over this 1087:films are photographed with the full 991:In 1932, in refining this ratio, the 7: 3241:from the original on January 7, 2011 3097:Nowell-Smith, Geoffrey, ed. (1996). 2936:Society of Camera Operators Magazine 2907:Nowell-Smith, Geoffrey, ed. (1996). 760:. Ultimately, Prizma was refined to 2635:"Broadening the Impact of Pictures" 2000:Dickson, W. K. L. (December 1933). 1676:List of motion picture film formats 985:Society of Motion Picture Engineers 929:For a more comprehensive list, see 875:-based "Safety" films. In 1950 the 545:(the dashed line to the far right). 512:Society of Motion Picture Engineers 3101:The Oxford History of World Cinema 2911:The Oxford History of World Cinema 2722:. Oxford: Oxford University Press. 2720:The Oxford History of World Cinema 2593:. New York: The Macmillan Company. 2426:Koszarski, Richard (May 4, 1994). 2398:Barraclough, Leo (June 23, 2013). 2306:"Cyan Dye Tracks Laboratory Guide" 1976:. Eastman Kodak Co. June 1, 1983. 1681:List of motion picture film stocks 273:With the advent of flexible film, 25: 3140:American Cinematographer Magazine 2894:American Cinematographer Magazine 369:American Mutoscope & Biograph 3557:List of venues and organizations 3234:. October 30, 2007. p. 95. 2798:"Of Apertures and Aspect Ratios" 1650: 1069:, which was originally shot for 3164:. July 18, 2005. Archived from 2975:American Cinematographer Manual 2827:American Cinematographer Manual 2783:American Cinematographer Manual 2159:Science Museum Group Collection 1055:, and soon began promoting the 837:process under the company name 348:cameras in 1889, a transparent 281:, which was first shown at the 3221:"Perforation Sizes and Shapes" 3192:Motion Picture Film Processing 2457:. University of Exeter Press. 1704:exactly half the width of the 1140:format that is popular today. 1034:The unexpected success of the 643:on both types of sound heads. 486:Motion Picture Patents Company 1: 3547:Fujifilm Motion Picture Films 3154:"Double Negative Breaks Down 2938:(Summer 1994). Archived from 2589:Sipley, Louis Walton (1951). 2537:Hart, Martin (May 20, 2004). 1865:Alfred, Randy (May 2, 2011). 1457:Television "action safe" area 1400:In 1953, the introduction of 2565:"The History of Technicolor" 1918:Mees, C. E. Kenneth (1961). 1803:Belton, John (August 1990). 1590::1 on 4-perf camera aperture 1460:Television "title safe" area 733:. Early film pioneers, like 289:, followed that up with the 120:, and the film standard. In 3950:Motion picture film formats 3382:Howell, A.S. (April 1932). 1051:optical system invented by 621:produce copious amounts of 250:dry photographic plates in 199:The ubiquity of 35 mm 3971: 3542:American Widescreen Museum 2972:Burum, Stephen H. (2004). 1414:1980s after the advent of 1301: 1278:Industrial Light and Magic 1237: 1180: 1147: 1007: 940: 928: 856: 722: 223: 31: 3940:Film and video technology 3123:Hart, Douglas C. (1996). 2781:Hummel, Rob, ed. (2001). 1504: in or 0.75 in. 1345:original camera negatives 725:Color motion picture film 437:inch, then, to 1 inch by 363:Edison claimed exclusive 44: 3516:10.5594/SMPTE.ST102.2002 3273:10.5594/SMPTE.ST139.2003 3070:"Film Types_and Formats" 2328:"Entertainment Services" 2179:Musser, Charles (1994). 1933:Robinson, David (1996). 1671:Original camera negative 1594:Camera aperture (4-perf) 1426:Technical specifications 1292:original camera negative 1214:—the 16:9 ratio used by 898:Original camera negative 569:analog optical recording 3450:. Kodak. Archived from 3194:. Boston: Focal Press. 2978:. A.S.C. Holding Corp. 2767:: 18. November 9, 1929. 2664:Slide, Anthony (1990). 2591:A Half Century of Color 2453:McKernan, Luke (2018). 2357:"Seeing is Believing". 1454:Television scanned area 476:35 mm film diagram 287:William Kennedy Dickson 215:History and development 211:largely superseded it. 163:William Kennedy Dickson 68:William Kennedy Dickson 3190:Case, Dominic (1985). 3127:. Boston: Focal Press. 2244:"Corporate Milestones" 2125:Katz, Ephraim (1994). 1852:The Hollywood Reporter 1464: 1441:Academy ratio, 1.375:1 1364:KS perforation with a 1313: 1257: 1169:). With the advent of 983:In November 1929, the 976: 952:in 1926–27, and while 766:duplitized print stock 656: 546: 503: 477: 467: 407:Dickson said in 1933: 384: 239: 3867:Anamorphic widescreen 3552:Kodak: Cinematography 3448:Technical Information 3327:ScreenSound Australia 3267:. November 12, 2003. 2999:"Trilent 35 System". 2866:Hart, Martin (2000). 2840:Hart, Martin (2000). 2796:Hart, Martin (2000). 2691:Belton, John (1992). 2563:Hart, Martin (2003). 2509:Hart, Martin (1998). 2316:on November 26, 2009. 2286:on September 21, 2006 2129:The Film Encyclopedia 1729:U.S. patent 0,589,168 1619:35 mm anamorphic 1578:Super 35 mm film 1433: 1375:(negative) and KS as 1311: 1247: 1220:Super 35 mm film 1171:digital intermediates 974: 867:had first introduced 731:photographic emulsion 654: 525: 475: 382: 375:Becoming the standard 246:began to manufacture 237: 133:image exposure length 3484:on September 5, 2006 3355:Gray, Peter (1997). 2842:"Cinemascope Wing 1" 2100:George Eastman House 2071:"Half Frame Cameras" 1509:35 mm spherical 1290:by having increased 1014:Aspect ratio (image) 931:List of film formats 915:wavelengths of light 873:cellulose triacetate 801:complementary colors 536:analog optical sound 518:Innovations in sound 3759:Super Panavision 70 3751:Ultra Panavision 70 3561:motion picture film 3333:on October 31, 2007 3168:on October 16, 2006 2896:. ASC Press: 70–77. 2645:on February 1, 2012 2338:on October 24, 2011 2270:"Committed to Cyan" 2106:on January 17, 2008 1553:TV station aperture 1193:Pirates of the Lake 1095:(most often with a 791:The Toll of the Sea 670:"over-under" stereo 567:." A limitation of 252:Rochester, New York 41: 3559:currently running 3228:Motion Newsletters 2942:on January 3, 2004 1637:Projector aperture 1547:Projector aperture 1537:Projector aperture 1531:Projector aperture 1465: 1314: 1266:Paramount Pictures 1258: 1128:, SuperScope, and 1022:The commonly used 977: 758:additive synthesis 703:digital projection 657: 602:synchronized by a 547: 478: 385: 240: 209:digital projection 173:stock supplied by 3927: 3926: 3918:Shoot and protect 3842:Anamorphic format 3812: 3811: 3708:Modern anamorphic 3525:978-1-61482-304-9 3510:. July 26, 2002. 3363:on April 12, 2008 3282:978-1-61482-313-1 2985:978-0-935578-24-9 2872:Widescreen Museum 2846:Widescreen Museum 2802:Widescreen Museum 2704:978-0-674-95261-4 2694:Widescreen Cinema 2677:978-0-87910-139-8 2670:. Amadeus Press. 2569:Widescreen Museum 2543:Widescreen Museum 2516:Widescreen Museum 2495:978-0-8230-7943-8 2439:978-0-520-08535-0 2387:on April 7, 2012. 2359:Cinema Technology 2192:978-0-520-08533-6 2140:978-0-06-273089-3 2133:. HarperCollins. 2056:978-1-86462-054-2 1983:978-0-87985-477-5 1952:978-0-231-10338-1 1481:vertical pulldown 1323:Bell & Howell 1304:Film perforations 1248:A diagram of the 1183:Negative pulldown 647:Modern 3D systems 507:Bell & Howell 129:photographic film 107: 106: 16:(Redirected from 3962: 3920: 3913: 3904: 3897: 3890: 3883: 3876: 3869: 3862: 3844: 3837: 3830: 3805: 3797: 3789: 3770: 3762: 3754: 3746: 3727: 3719: 3711: 3703: 3695: 3687: 3673: 3659: 3652: 3645: 3638: 3631: 3624: 3617: 3590: 3583: 3576: 3567: 3530: 3529: 3500: 3494: 3493: 3491: 3489: 3480:. Archived from 3470: 3464: 3463: 3461: 3459: 3454:on March 3, 2012 3440: 3434: 3433: 3410: 3404: 3403: 3379: 3373: 3372: 3370: 3368: 3359:. Archived from 3352: 3343: 3342: 3340: 3338: 3329:. Archived from 3319: 3310: 3309: 3293: 3287: 3286: 3257: 3251: 3250: 3248: 3246: 3240: 3225: 3217: 3206: 3205: 3187: 3178: 3177: 3175: 3173: 3150: 3144: 3143: 3135: 3129: 3128: 3120: 3111: 3110: 3104: 3094: 3088: 3087: 3086:on June 1, 2013. 3085: 3079:. Archived from 3074: 3066: 3060: 3059: 3057: 3055: 3050:on July 13, 2006 3046:. Archived from 3034: 3028: 3027: 3020:Image Technology 3015: 3009: 3008: 3001:Image Technology 2996: 2990: 2989: 2969: 2952: 2951: 2949: 2947: 2930:Mitchell, Rick. 2927: 2921: 2920: 2914: 2904: 2898: 2897: 2889: 2883: 2882: 2880: 2878: 2863: 2857: 2856: 2854: 2852: 2837: 2831: 2830: 2822: 2813: 2812: 2810: 2808: 2793: 2787: 2786: 2778: 2769: 2768: 2760: 2754: 2753: 2733: 2724: 2723: 2715: 2709: 2708: 2688: 2682: 2681: 2661: 2655: 2654: 2652: 2650: 2641:. Archived from 2631: 2625: 2624: 2622: 2620: 2615:on June 25, 2009 2611:. Archived from 2601: 2595: 2594: 2586: 2580: 2579: 2577: 2575: 2560: 2554: 2553: 2551: 2549: 2534: 2528: 2527: 2525: 2523: 2506: 2500: 2499: 2475: 2469: 2468: 2450: 2444: 2443: 2423: 2417: 2416: 2414: 2412: 2395: 2389: 2388: 2383:. Archived from 2373: 2367: 2366: 2365:(1). March 2011. 2354: 2348: 2347: 2345: 2343: 2334:. Archived from 2324: 2318: 2317: 2312:. Archived from 2302: 2296: 2295: 2293: 2291: 2285: 2279:. Archived from 2274: 2265: 2256: 2255: 2254:on June 9, 2010. 2250:. Archived from 2240: 2234: 2233: 2217: 2206: 2203: 2197: 2196: 2176: 2170: 2169: 2167: 2165: 2151: 2145: 2144: 2132: 2122: 2116: 2115: 2113: 2111: 2102:. Archived from 2092: 2086: 2085: 2083: 2081: 2067: 2061: 2060: 2040: 2029: 2028: 2026: 2024: 1997: 1988: 1987: 1968: 1957: 1956: 1940: 1930: 1924: 1923: 1915: 1909: 1908: 1906: 1904: 1890: 1884: 1883: 1881: 1879: 1862: 1856: 1855: 1843: 1837: 1836: 1835:on June 5, 2018. 1831:. Archived from 1800: 1745: 1738: 1732: 1731: 1725: 1719: 1717: 1716: 1712: 1709: 1697: 1660: 1655: 1654: 1653: 1589: 1542: 1520: 1503: 1502: 1498: 1493: 1492: 1488: 1450: 1353:front projection 1280:, starting with 1045:20th Century Fox 590:, stored in two 562: 561: 557: 554: 491: 463: 462: 458: 455: 449: 448: 444: 441: 436: 435: 431: 428: 423: 422: 418: 415: 402:Edison's patents 358:Lumière brothers 324: 323: 319: 316: 310: 309: 305: 302: 258:then invented a 256:Hannibal Goodwin 201:movie projectors 160: 159: 155: 152: 100:Current supplier 92:Edison company; 84: 82: 49: 42: 40:35 mm movie film 21: 3970: 3969: 3965: 3964: 3963: 3961: 3960: 3959: 3930: 3929: 3928: 3923: 3916: 3909: 3900: 3893: 3886: 3879: 3872: 3865: 3858: 3847: 3840: 3833: 3826: 3808: 3800: 3792: 3784: 3773: 3765: 3757: 3749: 3741: 3730: 3722: 3714: 3706: 3698: 3690: 3682: 3662: 3655: 3648: 3641: 3634: 3627: 3620: 3613: 3600: 3596:Motion picture 3594: 3538: 3533: 3526: 3502: 3501: 3497: 3487: 3485: 3472: 3471: 3467: 3457: 3455: 3442: 3441: 3437: 3412: 3411: 3407: 3381: 3380: 3376: 3366: 3364: 3354: 3353: 3346: 3336: 3334: 3321: 3320: 3313: 3295: 3294: 3290: 3283: 3259: 3258: 3254: 3244: 3242: 3238: 3223: 3219: 3218: 3209: 3202: 3189: 3188: 3181: 3171: 3169: 3152: 3151: 3147: 3137: 3136: 3132: 3122: 3121: 3114: 3096: 3095: 3091: 3083: 3072: 3068: 3067: 3063: 3053: 3051: 3036: 3035: 3031: 3017: 3016: 3012: 3007:(7). 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Griffith 723:Main article: 720: 717: 715: 712: 698: 695: 648: 645: 623:infrared light 519: 516: 376: 373: 260:nitrocellulose 244:George Eastman 221: 218: 216: 213: 205:movie theaters 203:in commercial 175:George Eastman 105: 104: 101: 97: 96: 90: 86: 85: 75: 71: 70: 65: 61: 60: 55: 51: 50: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3967: 3956: 3955:Thomas Edison 3953: 3951: 3948: 3946: 3943: 3941: 3938: 3937: 3935: 3919: 3915: 3912: 3908: 3903: 3899: 3898: 3896: 3892: 3889: 3885: 3882: 3878: 3875: 3871: 3868: 3864: 3861: 3857: 3856: 3854: 3852:Video framing 3850: 3843: 3839: 3836: 3832: 3829: 3828:Academy ratio 3825: 3824: 3822: 3819: 3815: 3803: 3799: 3795: 3791: 3787: 3783: 3782: 3780: 3776: 3768: 3764: 3760: 3756: 3752: 3748: 3744: 3740: 3739: 3737: 3733: 3725: 3721: 3717: 3713: 3709: 3705: 3701: 3697: 3693: 3689: 3685: 3681: 3680: 3678: 3674: 3671: 3669: 3665: 3658: 3654: 3651: 3647: 3644: 3640: 3637: 3633: 3630: 3626: 3623: 3619: 3616: 3612: 3611: 3609: 3607: 3603: 3599: 3591: 3586: 3584: 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3796: (1958) 3794:Kinopanorama 3788: (1952) 3769: (1970) 3745: (1955) 3726: (1982) 3718: (1960) 3710: (1957) 3694: (1954) 3686: (1953) 3668:Film formats 3649: 3636:17.5 mm 3598:film formats 3503: 3498: 3486:. 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3802:Cinemiracle 3716:Techniscope 3692:VistaVision 3684:CinemaScope 3622:9.5 mm 3606:Film gauges 2744:: 108–121. 2332:Technicolor 2268:Hull, Joe. 2075:subclub.org 1658:Film portal 1406:Fox Studios 1402:CinemaScope 1390:Technicolor 1262:VistaVision 1250:VistaVision 1240:VistaVision 1234:VistaVision 1167:granularity 1162:Technicolor 1157:Dance Craze 1126:VistaVision 1115:Techniscope 1076:Thunder Bay 1057:Cinemascope 1040:film format 905:Other types 859:Safety film 853:Safety film 820:live action 808:Technicolor 786:Technicolor 747:camera lens 743:Kinemacolor 682:Techniscope 662:Technicolor 484:called the 291:Kinetophone 279:Kinetoscope 230:Kinetoscope 3934:Categories 3911:Open matte 3902:Fullscreen 3860:Widescreen 3700:Technirama 3657:70 mm 3650:35 mm 3643:28 mm 3629:16 mm 3488:August 11, 3337:August 11, 3172:August 11, 3054:August 10, 2946:August 25, 2877:August 10, 2851:August 10, 2807:August 10, 2649:August 29, 2619:August 12, 2481:Film Facts 2411:August 29, 2342:August 29, 2290:August 11, 2230:1853/50482 2110:August 12, 2080:August 12, 1878:August 29, 1752:References 1349:bluescreen 1204:production 1201:television 1130:Technirama 1119:Panavision 1091:, but are 1049:anamorphic 1024:anamorphic 1018:Widescreen 1010:Anamorphic 1004:Widescreen 917:, such as 835:Multicolor 771:Multicolor 714:Attributes 666:Panavision 354:film stock 295:phonograph 226:Film stock 224:See also: 118:filmmaking 114:film gauge 110:35 mm film 58:Film stock 18:35 mm film 3888:Windowbox 3881:Pillarbox 3874:Letterbox 3820:standards 3778:35 mm × 3 3615:8 mm 3458:March 14, 3367:March 14, 3245:March 14, 3077:kodak.com 2765:Movie Age 2639:Kodak.com 2023:March 13, 1829:0036-1682 1742:film gate 1687:Footnotes 1283:Star Wars 1134:Lucasfilm 893:polyester 889:polyester 863:Although 847:Cinecolor 839:Cinecolor 806:In 1928, 779:Cinecolor 592:redundant 543:time code 492::1 (4:3) 390:Vitascope 263:film base 242:In 1880, 182:film base 74:Inception 3786:Cinerama 3724:Super 35 3236:Archived 1644:See also 1451::1 Ratio 1224:telecine 1212:Super 35 1150:Super 35 1144:Super 35 1138:Super 35 1106:The Robe 1036:Cinerama 919:infrared 828:spectrum 816:cartoons 737:, color 677:3D films 604:timecode 424:inch to 327:aperture 268:emulsion 190:Fujifilm 171:120 film 169:, using 116:used in 64:Inventor 34:135 film 3743:Todd-AO 3430:1951231 3400:1951231 3162:FXGuide 3107:446–449 2574:July 7, 2548:July 8, 2522:July 8, 2405:Variety 1903:July 5, 1713:⁄ 1499:⁄ 1489:⁄ 1111:-scope, 998:Academy 869:acetate 697:Decline 558:⁄ 459:⁄ 445:⁄ 432:⁄ 419:⁄ 320:⁄ 306:⁄ 248:gelatin 156:⁄ 79: ( 3761:(1959) 3753:(1957) 3702:(1956) 3522: 3428: 3398: 3279: 3198: 2982: 2701: 2674: 2492: 2461: 2436: 2377:"Home" 2189: 2137: 2053: 1980: 1949: 1827: 1208:3-perf 1177:3-perf 1160:, and 1093:matted 1016:, and 762:bipack 754:Prizma 465:date". 365:patent 338:London 333:high. 3735:70 mm 3676:35 mm 3508:SMPTE 3394:(4). 3392:XVIII 3265:SMPTE 3239:(PDF) 3232:Kodak 3224:(PDF) 3084:(PDF) 3073:(PDF) 3043:Aaton 2609:Kodak 2310:Kodak 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