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taken up by a wider public, partly because of the commercial power of its sponsors and the much lower cost of
Kodachrome processed in England. Pathéscope found itself struggling to hold its place in the market, and in 1959 there was a workers' buy-out and name change to Pathéscope (Great Britain) Ltd., with links to French Pathé being broken. The new company produced a well-made 9.5 mm Prince camera made in England by Smiths Industries and a low-powered Princess projector, but the gauge was already doomed as a popular format, and in 1960 the firm went into liquidation. Nevertheless, the gauge has been kept alive by a dedicated group of enthusiasts who have used methods such as re-perforating 16 mm film to provide continued supplies of material. The French Color City company provides modern 9.5 mm film stock. Several 9.5 clubs still exist in various countries and 9.5 festivals are held each year.
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per charger. After the war
Panchromatic film became more usual, and around 1953 even Kodachrome I became available, though it took weeks to get it processed in Paris. Pathéscope Colour Film (actually made by Ferrania) was introduced in the 1950s. A number of cameras and projectors were produced, the more successful including the Pathéscope H camera and Gem projector. Optical sound was introduced for 9.5 mm in 1938, but efforts to produce a library of sound films were interrupted by the War. The optical track resulted in a rather square frame format for the picture.
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124:, which has perforations along one edge, and most other film formats, which have perforations on each side of the image. The single hole allowed more of the film to be used for the actual image, and in fact the image area is almost the same size as 16 mm film. The perforation in the film is invisible to viewers, as the intermittent shutter blocks the light as the film is pulled through the gate to the next frame.
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155:, and for some years after the war, the gauge was used by enthusiasts who wanted to make home movies and to show commercially made films at home. Pathéscope produced a large number of home versions of significant films, including Mickey Mouse and Betty Boop cartoons, classic features such as Alfred Hitchcock's
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After the war, the 9.5 mm gauge suffered strong competition from Kodak's 8 mm film, which was introduced in 1932. Notwithstanding the far poorer resolution of the 8 mm frame, which could hold only about a quarter of the information of the 9.5 mm or 16 mm frame, 8 mm was
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Film for home cinematography was usually supplied in rolls approximately 30 feet (9 m) long and enclosed in a "charger" or magazine, but spool loading (50 ft/15 m or 100 ft/30 m) was also available. Pre-war the most popular film was Ortho reversal costing only about 4 shillings and 6 pence
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A further problem was that the film had to be passed through continuous processing machines slowly. The sprocket caused turbulence (the same effect as over agitation) to the developer immediately adjacent to the sprocket hole which resulted in that portion of the frame becoming overdeveloped (which
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The central perforation of 9.5 mm film cannot be supported in the gate of camera or projector in the same way that 8 or 16 mm perforations are. Much damage was caused to 9.5 mm prints by early cheap toy projectors which lacked the customary sprocket drive requiring the pull-down claw
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The projection system also incorporated a way to save film on non-moving titles. A notch in the film was recognised by the projector, which would then project the second frame after it for 3 seconds. By this method, 3 seconds of screen time was available for 1 frame of film, rather than the 42
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In 2022 and 2023, a range of activities took place to celebrate the centenary of the 9.5mm film format: conferences, blogs, film productions, collection showcases, publications etc. More information regarding these resources is available at:
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over the next few decades and is still used by a small number of enthusiasts today. Over 300,000 projectors were produced and sold mainly in France and
England, and many commercial features were available in the format.
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amateur film system. It was conceived initially as an inexpensive format to provide copies of commercially made films to home users, although a simple camera was released shortly afterwards.
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frames required if the film was projected at the normal rate (which was 14 fps at the very beginning, then it became 16 fps). The same principle was used by the 'Agfa Family' system of
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manifested itself on the projected frame as over exposure). The filmstock is still process today (in the UK) and the central perforation is no longer a problem (since decades).
159:, and comedies by such well-known stars as Laurel and Hardy and Chaplin. A notable element in the Pathéscope catalogue was pre-war German mountain films by such directors as
131:. This was useful when duplicating films, because only one strip of 28 mm had to be processed. When discontinued in 1927, 9.5 mm strips were cut from
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In
Britain, 9.5 mm film, projectors and cameras were distributed by Pathéscope Ltd. During the years leading up to the
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to do all the work of transporting the film. Many very old 9.5 mm films are however still in good condition.
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The format makes use of a single, central perforation (sprocket hole) between each pair of frames, as opposed to
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The width of 9.5 mm was chosen because three strips of film could be made from one strip of unperforated
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Douglas
Macintosh - "A Handbook of 9.5 mm Cinematography" (published by Photoworld, Llandudno, in 2000)
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camera and projector in 1981 though to provide still images rather than titles.
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9.5 mm in the USA History of 9.5 mm in the US at Pathex.com
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https://www.fondazionedivenezia.org/archivio-attivita/ininfiammabile
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Three frames of 9.5 mm film showing central sprocket holes
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https://www.archivioaperto.it/programmi/verso-il-centenario
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https://sites.google.com/view/100yearsof95mmconference/home
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1 central perforation per frame (2.4 mmW X 1 mmH)
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https://www.centroculturadigital.mx/actividad/centenario
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30 m (100 ft) = approx. 4 minutes at 16 f.p.s.
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https://www.fondation-jeromeseydoux-pathe.com/event/309
354:"Home Movie Transfers of 8mm, Super 8mm and 9.5 Film"
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Extensive 9.5 mm Films and
Equipment Catalogues
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458:Sub-35 mm movie film formats history webpage
436:(in German). Kamera und Fotomuseum Kurt Tauber.
307:https://nineandahalffilm.wordpress.com/about-2
287:https://toyfilm-museum.jp/blog/?s=9.5%E3%8E%9C
247:Magnetic Sound-Image frame interval: 28 frames
241:Soundtrack: magnetic or optical 1 mm wide
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452:Le format 9.5 mm - Film size 9.5 mm
244:Optical Sound-Image frame interval: 26 frames
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262:http://en.inedits-europe.org/9.5mm-Centenary
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69:Learn how and when to remove this message
272:https://lichtspiel.ch/en/symposium-2/9-5
32:This article includes a list of general
384:"9.5 MOVIE EQUIPMENT - GRAHAME NEWNHAM"
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7:
38:it lacks sufficient corresponding
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462:Grahame Newnham - Ninefive Pages
187:attracted many film collectors.
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220:Image size: 6.15 by 8.2 mm
232:7.54 mm perforation pitch
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267:https://lichtspiel.ch/en/9-5
846:Motion picture film formats
180:The Cabinet of Dr. Caligari
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409:"9.5mm film (1922 - 1960)"
223:Image area: 55.25 mm²
107:It became very popular in
454:. Retrieved Dec. 29, 2004
251:
450:Gauriat, Pierre (2001).
413:Museum of Obsolete Media
212:Technical specifications
217:Film width: 9.5 mm
100:in 1922 as part of the
53:more precise citations.
252:The format's centenary
235:135.1 frames per metre
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773:Anamorphic widescreen
167:. Classics such as
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329:List of film formats
665:Super Panavision 70
657:Ultra Panavision 70
16:Amateur film format
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833:
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824:Shoot and protect
748:Anamorphic format
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614:Modern anamorphic
226:vertical pulldown
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360:. Archived from
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165:Leni Riefenstahl
153:Second World War
90:9.5 mm film
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49:this article by
40:inline citations
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96:introduced by
92:is an amateur
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434:"Agfa Family"
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364:on 2014-07-15
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183:and Dupont's
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801:Pan and scan
724:Aspect ratio
710: (1958)
702: (1958)
700:Kinopanorama
694: (1952)
675: (1970)
651: (1955)
632: (1982)
624: (1960)
616: (1957)
600: (1954)
592: (1953)
574:Film formats
542:17.5 mm
527:
504:film formats
428:
417:. Retrieved
415:. 2018-01-21
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391:. Retrieved
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366:. Retrieved
362:the original
358:ColorLab.com
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708:Cinemiracle
622:Techniscope
598:VistaVision
590:CinemaScope
528:9.5 mm
512:Film gauges
161:G. W. Pabst
94:film format
51:introducing
817:Open matte
808:Fullscreen
766:Widescreen
606:Technirama
563:70 mm
556:35 mm
549:28 mm
535:16 mm
419:2023-02-19
340:References
185:Vaudeville
174:Metropolis
169:Fritz Lang
147:Pathéscope
133:35 mm film
129:28 mm film
102:Pathé Baby
59:March 2011
34:references
794:Windowbox
787:Pillarbox
780:Letterbox
726:standards
684:35 mm Ă— 3
521:8 mm
157:Blackmail
122:8 mm film
840:Category
692:Cinerama
630:Super 35
313:See also
199:Problems
649:Todd-AO
393:13 July
368:13 July
141:Super 8
47:improve
667:(1959)
659:(1957)
608:(1956)
116:Format
109:Europe
36:, but
641:70 mm
582:35 mm
98:Pathé
741:14:9
673:IMAX
395:2014
370:2014
324:Film
319:Cine
163:and
171:'s
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177:,
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495:e
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481:v
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66:(
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57:(
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