Pel·lícula de 35 mm: diferència entre les revisions

La ''' pel·lícula de 35 [[mil·límetre|mm]] ''' és el format de [[negatiu]] o [[pel·lícula fotogràfica]] més utilitzat, tant en [[cinema]] com a [[fotografia]], que perviu pràcticament sense canvis des de la seva introducció en [[1892]] per [[William Dickson]] i [[Thomas Edison]], que van usar material fotogràfic proporcionat per [[George Eastman]]. El seu nom ve de que el [[negatiu]] és tallat en tires que mesuren 35 [[mil·límetre]] s d'ample <ref name="dicksonsmpte"> 1.377 polzades és dimensió especificada per la SMPTE, o 34.975 mm. La mida va ser creat per Dickson en col·laboració conEastm, i hauria estat estàndard, sense unitats mètriques. Un compte d'això és donat en un article de Dickson el 1993 a la revista del SMPTE [http://www.subclub.org/shop/halframe.htm '' Half Frame Cameras '']. Consultat el 12 d'agost de 2006. Aquesta mida és també exactament la meitat de rotllo de pel·lícula '' Tipus A '' de 2 3/4 polzades (68.85 mm), que va ser l'estàndard de Eastman en aquest temps [http://www.eastman.org/fm/mees/htmlsrc/mE12900002_ful.html 'Enhancing the Illusion: The Process and Origins of Photography ''], George Eastman House. Consultat el 12 agost 2006 </ref><ref name="smpte139"> ANSI/SMPTE 139-1996. '' SMPTE STANDARD for Motion Picture Film (35mm) - Perforated KS. '' Society of Motion Picture and Television Engineers. White Plains, NY. </ref> i, segons la norma, ha de portar quatre perforacions per quadre o [[fotograma]] en ambdós costats, perquè la pel·lícula es reprodueixi a 24 [[fotograma]] s per segon. <Refref name = "ACM"> Hummel, Rob (ed). '' American Cinematographer Manual '', 8th edition. ASC Press: Hollywood, 2001 </ref>

In the Conventional motion picture format, frames són four perforations tall, with an [[aspect ràtio]] of about 1.37:1, 22 mm by 16 mm (0.866 "x 0.630"). This is a derivation of the aspect ratio and frame size designated by Thomas Edison (24.89 mm by 18.67 mm or 980 "by 735") at the dawn of motion pictures, which was an aspect ràtio of 1.33:1 .<ref>{{citi book|first = John|last = Belton|title = Widescreen Cinema|location = Cambridge, Mass|publisher = Harvard University Press|year = 1992|pages = 17-18|id = ISBN 0 - 674-95261-8}}</ref> The first sound features were released in 1926-1927, and while [[Warner Bros]] was using synchronized Phonograph discs, [[Fox Film Corporation|Fox]] placed the soundtrack in an optical rècord directly on the film, on a strip between the sprocket holes and the image frame.<ref name="early sound"> Dibbets, Karel. "The Introduction of Sound". '' The Oxford History of World Cinema ''. Oxford University Press: Oxford, 1996. </ref> "Sound-on-film" was soon adopti per l'other Hollywood studios. This result in an almost square image ràtio. To restore a més rectangular image ràtio, in 1932 the picture was Shrunk slightly vertically (with the line between frames thickened). Hence the frame became 22 mm by 16 mm (866 "by 630") with an aspect ràtio of 1.37:1. This became known as the "[[Academy ràtio|Academy]]" ràtio, named so after the [[Academy of Motion Picture Arts and Sciences]].<ref name="1.37"> Hummel, Rob (ed.). '' American Cinematographer Manual '', 8th edition. pp. 18-22. ASC Press: Hollywood, 2001. </ref> although, since the 1950s the aspect ratio of theatrically released motion picture films has been 1.85:1 (1.66:1 in Europe) or 2.35:1 (2.40:1 after 1970), sota the "Academy" ràtio was relegated to ús primarily for televisió. The image area for "TV transmission" is slightly smaller than the full "Academy" ràtio at 21 mm by 16 mm (0.816 "by 0612"), which is an aspect ràtio of 1.33:1. Hence the "Academy" ràtio is often mistakenly referred to as having an aspect ràtio of 1.33:1, enviant to the TV Transmitted area, instead of the actual 1.37:1 ràtio of the full "Academy" area. <Refref name = "1.37 "/>

[[Fitxer: Film-frames-nba.jpg|thumb|A film which has been "hard matter" to 1.85:1 in-camera. La majoria non-anamorphic widescreen films, tanmateix, són "soft matter" by a mask in the [[movie projector]] gate.]] The unexpected success of the [[Cinerama]] widescreen process in 1952 led to a boom in [[film format]] Innovations from both studios and individuals looking to capitalitzar on audience demand for higher quality, lower cost widescreen images. Before the end of the year, [[20th Century Fox]] had narrowly "guanyat" a race to obtain [[anamorphic]] optics, and començava hyping the [[Cinemascope]] technology as early as the production phase. <Refref name = "scope"> Hart, Martin. American Widescreen Museum, [http://www.widescreenmuseum.com/widescreen/wingcs1.htm "Cinemascope Wing 1"]. Retrieved August 10, 2006. </ref> Feeling the han de competència but having little time for research and development, the major studios hit upon an easier solució by Mai 1953: matte the top and bottom of the frame to create a wider aspect ràtio . Paramount Studios començava this trend with their aspect ràtio of 1.66:1, first used in '' [[Shane (film)|Shane]] '', which was originally shot for [[Academy ràtio]].<ref name="crop"> Hart, Martin. American Widescreen Museum, [http://www.widescreenmuseum.com/Widescreen/evolution.htm "Early Evolution from Academy to Wide Screen Ratis"]. Retrieved August 10, 2006. </ref> Other studios followed suit with aspect ratios of 1.75:1, 1.85:1 and 2:1. For a time, these various ràtios competència, but by 1956, the aspect ràtio of 1.85:1 became the "standard" US format. These '' flat '' films són photographer with the full [[Academy ràtio|Academy frame]], but are matter (majoria often with a mask in the theater projector, not in the camera) to obtain the "wide" aspect ratio. This standard, in some European nations, became 1.66:1 instead of 1.85:1.

The concept behind Super 35 originat with the Tushinsky Brothers '[[SuperScope]] format, particularly the SuperScope 235 specification from 1956. In 1982, Joe Dunton Revived the format for '' [[Dance Craze]] '', and [[Technicolor]] soon market it under the name "Super Techniscope" before the industry Settle on the name Super 35. <Refref name = "Dunton "> Mitchell, Rick. Society of Camera Operators Magazine, [http://www.soc.org/opcam/04_s94/mg04_widescreen.html The Widescreen Revolution: Expanding Horizons - The Spherical Campaign "], Summer 1994. Retrieved August 12, 2006. </ref> the central driving idea behind the process is to return to shooting in the original silent "Edison" 1.33:1 full 4-perf negative àrea (24.89 mm by 18.67 mm or 980 "by 735"), and then crop the frame either from the bottom or the center (like 1.85:1) to create a 2.40:1 aspect ràtio (matching that of anamorphic Lenses) with an area of 24 mm by 10 mm (945 "by 394"). although this cropping maig seem extreme, by expanding the negative àrea out perf-to-perf, Super 35 create a 2.40:1 aspect ràtio with an overall negative area of 240 mm ² (9.45 in ²), only a mere 9 mm ² (35 in ²) less than the 1.85:1 crop of the Academy frame (248.81 mm ² or 9.80 in ²).<ref name="asc"> Buruma, Stephen H. (ed) (2004). '' American Cinematographer Manual '' (9 ed). ASC Press. ISBN 0-935578-24-2 </ref> The Cropper frame is then converted at the intermediate stage to a 4-perf anamorphically squeeze print compatible with the anamorphic projection estàndard. This allows an "anamorphic" frame de ser Captured with non-anamorphic lens, which són molt més common, less expensive, faster, smaller, and optically superior to equivalent anamorphic Lens.<ref name="asc"/> Up to 2000, onze the film was photographer 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, molts who preferred the higher image quality and frame negative area of anamorphic photography (especially with regard to [[Film grain|granularity]]).< ref name = "asc"/> With the Advent of [[Digital intermediate]] s (DI) at the beginning of the 21st century, tanmateix, Super 35 photography has become even more popular, since the cropping and anamorphosing stages can be done Digitalment in-computer without creating an additional optical generation with increased grain. As DI becomes less expensive and more popular, it is Likely to render Super 35 optical conversions completely obsolete in the near future.