Pel·lícula de 35 mm: diferència entre les revisions

Amb l'aparició de la pelicuula flexible, [[Thomas Alva Edison]] ràpidament va començar a treballar en la seva invenció, el [[Kinetoscopi]], el qual va ser exhibit per primera vegada a l'Institut d'Art i Ciència de Brooklyn a [[Mai 9]], [[1893]].<ref> Robinson, David (1997). '' Des peepshow fins al palau: El naixement del cinema americà ''. New York and Chichester, West Sussex: Columbia University Press; pp. 39-40. ISBN 0-231-10338-7 </ref> El kinetoscopi era un sistema de projecció secuencual planejat per a ser vist per una persona a la vegada.<ref name="hone"> '' Kodak Motion Picture Film (H1) '' (4th ed). Eastman Kodak Company. ISBN 0-87985-477-4 </ref> Edison, juntament amb el seu assistent WKL Dickson, va continuar amb el seu treball i va inventar el [[Kinetoscopi # Kinetofono|Kinetófono]], el qual combinava el Kinetoscopi amb el cilindre d'Edison, el [[fonògraf]] <!--. Beginning in March 1892, Eastman and then, from April 1893 into 1896, New York's Blair Camera Co supplied Edison with 1 9/16-inch filmstock that would be Trimmer and perforated at the Edison lab to create 35 mm gauge filmstrips (at some point in 1894 or 1895, Blair començava sending estoc to Edison that was cut exactly to specification).<ref> Spehr, Paul C. (2000). '' Unaltered to Date: Developing 35mm Film '', in '' Moving Images: From Edison to the Webcam '', ed. John Fullerton and Astrid Soderbergh Widding. Sydney: John Libbey & Co; pp. 3-28 (pp. 11-14). ISBN 1-86462-054-4 </ref> Edison's aperture defined a single frame of film at 4 perforations high.<ref name="katz"> Katz, Ephraim. (1994). '' The Film Encyclopedia '' (2nd ed.). HarperCollins Publishers. ISBN 0-06-273089-4. </ref> Edison claim exclusive patent rights to his design of 35 mm motion picture film, with four sprocket holes per frame, forcing his only major filmmaking Competitor, [[American Mutoscope and Biograph Company|American Mutoscope & Biograph]], 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 had failed to file patents.<ref>{{Citi book|first = Charles|last = Musser|title = The Emergence of Cinema: The American Screen to 1907|location = Berkeley , calç|publisher = University of California Press|year = 1994|pages = 303-313|id = ISBN 0-520-08533-7}}</ref> A Variation developed per l'[[Auguste and Louis Lumière|Lumière brothers]] used a single circular perforation on each side of the frame towards the middle of the horitzontal axis.<ref name="lumiere"> Lobb, Grant. "Film gauge and Soundtracks", BKSTS wall chart (sample frame provided). [Year unknown] </ref> It was Edison's format, tanmateix, that became first the de facto standard and then, in 1909, the "official" standard of the newly formed [[Motion Picture Patents Company]], a [[trust (19th century)|trust]] established by Edison. Scholar Paul C. Spehr descrius the importance of these Developments:

Most motion pictures today are shot and projectes using the [[4-perf]] oratione format, but cropping the top and bottom of the frames for an aspect ràtio of 1.85 or 1.66. In [[televisió production]], where compatibility with an installed base of 35 mm film Projectors is innecessari, a [[3-perf]] format is sometimes used, giving - if used with [[Super 35]] - the 16: 9 ràtio used by [[High-definition television|HDTV]] and Reducing film ús by 25 percent. Because of 3-perf's incompatibility with standard 4-perf equipment, it can utilitzi the whole negative area between the perforations ([[Super 35 mm film]]) without Worrying about compatibility with existing equipment; the Super 35 image àrea includes what would be the soundtrack area in a standard print.<ref name="aaton"> [[Aaton]], [http://www.aaton.com/products/film/35/3perf.php "3 perf: The future of 35mm filmmaking "]. Retrieved August 10, 2006 </ref> All 3-perf negative requereix optical or digital conversion to standard 4-perf if a film print is desired, though 3-perf can easily be transferred to vídeo with little to no difficulty by modern [[telecine]] or film scanners. With [[digital intermediate]] increasingly Becoming a standard process for post-production, 3-perf has become more popular with productions which would otherwise be aversió to an optical conversió estada.<ref name="arri"> [[Arri]] , [http://www.arri.com/news/newsletter/articles/0357824976/3-perf.htm "3 Perf Conversion Kit for the Arricam System"], Arri Newsletter, March 2002. Retrieved August 10, 2006. </ref>

''' KS perfs: ''' Because BH perfs have sharp corners, the repeated use of the film through Intermittent movement Projectors creates Strain that can easily plantejar the perforations. Furthermore, they tendir to shrink as the print slowly va decaure. Therefore, larger perforations with a rectangular base and rounded corners were introduïa by [[Kodak]] in 1924 to improve steadiness, registration, durability, and longevity. Known as "Kodak Standard" (KS), they are 0,0780 "(1981 mm) high by 0,1100" (2794 mm) wide.<ref name="smpte139"/> Their durability makes KS perfs the ideal choice for intermediate and release prints , as well as [[original camera negative]] s which require special use, such as [[high-speed filming]], [[bluescreen]], [[front projection]], [[rear projection]], and matte work. The increased height also significa that the image registration was considerably less ACCURATE than BH perfs, which remains the standard for negative.<ref name="screensound"> ScreenSound Austràlia, [http://www.screensound.gov.au/glossary. NSF/Pages/Perforations? OpenDocument "Technical Glossary of Common Audiovisual Terms: Perforations"]. Retrieved August 11, 2006. </ref> The KS1870 perforation, or KS perforation with a [[Film perforations # pitch|pitch]] of 0,1870 ", is the modern standard for release prints.

''' CS perfs: ''' In 1953, the introduction of Cinemascope 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.<ref name="hone"/> These perfs are commonly referred to as Cinemascope (CS) or "fox hole" perfs. Their dimensions són 0.073 "(1.85 mm) in width by 0078" (1.98 mm) in height.<ref name="case"/> Due to the size difference, CS perf film cannot be run through a projector with standard KS sprocket teeth , but KS prints '' can '' be run on sprockets with CS teeth. Shrunk film with KS prints that would normally be damaged in a projector with KS sprockets maig sometimes be run far més gently through a projector with CS sprockets because of the smaller size of the teeth. Though CS perfs have not been widely used since the late 1950s, Kodak still retains CS perfs es a special-order option on at least one type of print estoc.<ref name="cs"> Eastman Kodak. [http://www.kodak.com/US/en/motion/students/handbook/perforations1.jhtml?id=0.1.4.9.6&lc=en "Sizes and Shapes"]. Retrieved August 11, 2006. </ref>