Pel·lícula de 35 mm: diferència entre les revisions

[[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. <ref 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.