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Línia 75:
The commonly used [[anamorphic widescreen]] format utilitzis a similar four-perf frame, but an anamorphic lens is used on both the camera and projector to produeix a wider image, today with an aspect ràtio of about 2.39 (més commonly referred to as 2.40:1. The ràtio was 2.35:1 - and is still quite often mistakenly referred to as such - until a [[SMPTE]] revision of projection estàndards in 1970).<ref name="2.39"> Hart, Martin. ( 2000). Widescreen museum [http://www.widescreenmuseum.com/widescreen/apertures.htm "Of Aperture and Aspect Ratis"] Retrieved August 10, 2006. </ref> The image, es recorded on the negative and print, is horizontally compressed (squeeze) by a factor of 2.<ref name="ana"> Hora, John. "Anamorphic Cinematography". '' American Cinematographer Manual '', 8th edition. ASC Press: Hollywood, 2001. </ref>
 
[[Fitxer: Film-frames-nba.jpg|thumbminiatura|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.
 
By September 1953, [[20th Century Fox]] debuti [[Cinemascope|Cinemascope]], the earliest mainstream anamorphic film process, to great success.<ref> Samuelson, David W. (September 2003). "Golden Years". '' American Cinematographer Magazine '' ASC Press pp. 70-77. </ref> It became the Basis for a host of "formats", usually suffixes with ''-scope '', which were otherwise identical in specification, although often inferior in optical quality. (Some Developments, such as [[Superscope|SuperScope]] and [[Techniscope]], tanmateix, were truly entirely different formats.) [[Panavision]] seria eventually solve molts of the Cinemascope Lenses 'technical·limitations with their own lens,<ref name="ana"/> and Cinemascope became obsolete in 1967 in favor of Panavision and other third-party manufacturers.<ref name="obsolete"> Nowell-Smith, Geoffrey (ed.) '' The Oxford History of World Cinema '', pg. 266. Oxford University Press: Oxford, 1996. </ref>
Línia 91:
==== VistaVision ====
{{Main|VistaVision}}
[[Fitxer: VistaVision 8 perf 35 mm film.png|thumbminiatura|A diagram of the [[VistaVision]] format, affectionately Dubbo "Lazy 8" because it is eight [[film perforations|perforations]] long and corre horizontally (laying down).]] The [[VistaVision]] motion picture format was created in 1954 by [[Paramount Pictures]] in order to create a finer-grain negative and print for flat widescreen films.<ref name="vista"> Nowell -Smith, Geoffrey (ed.) '' The Oxford History of World Cinema '', pp. 446-449. Oxford University Press: Oxford, 1996. </ref> Similar to [[still photography]], the format utilitzis 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 ràtio of 1.5:1 and greater detail, es més of the negative àrea is used per frame.<ref name="asc"/> This format is unprojectable in standard theaters and requires an optical step to squeeze the image into the standard 4-perf vertical 35 mm frame.<ref name="achart"> Hart, Douglas C. '' The Camera Assistant: A Complete Professional Handbook ''. Focal Press: Boston, 1996. </ref>
 
While the format was dormant per l'early 1960s, the camera system was Somewhat Revived for visual effects by [[John Dykstra]] at [[Industrial Light and Magic]], starting with '' [[Star Wars]] '', es a significa of Reducing granularity in the [[optical printer]] by having increased [[original camera negative]] area at the point of image origination.<ref name="starwars"> Blalack, Robert and Paul Roth. "Composite Optical and Photographic Effects". '' American Cinematographer Magazine '', July 1977. </ref> Its ús has again declinen since the dominance of computer-based visual effects, although it still sees very limited Utilization.<ref name="batman"> [http://www .fxguide.com/article262.html "Double Negative Breaks Down '' Batman Begins ''"]. FXGuide, 2005.07.18. Retrieved August 11, 2006. </ref>
Línia 110:
 
=== New Innovations in sound ===
[[Fitxer: 35 mm film àudio macro.jpg|200px|miniatura|esquerra|35 mm film àudio track, from left to right: [[SDDS]], [[Dolby Digital]], analog optical, and [[Digital Theater System|DTS]] time code.]]
New digital bandes sonores introduïa since the [[1990]] include [[Dolby Digital]], which is stored in between the perforations on the sound side; [[SDDS]], stored in two [[redundancy (engineering)|redundant]] strips along the outside Edges (Beyond the perforations); and [[Digital Theatre System|DTS]], where sound data is stored on separate [[compact disc]] s synchronized by a [[timecode]] track stored on the film just to the right of the analog soundtrack and left of the frame.<ref name="filmtech"> Norwood, Scott E. [http://www.film-tech.com/warehouse/tips/faq2/faq2.html Film-Tech FAQ]. Retrieved August 11, 2006. </ref> Because all these soundtrack systems appear on different parts of the film, one movie can contain all of them and be played in the widest possible number of [[theater]] s regardless of which sound systems són or are not installed. The optical track technology has changed too; currently all Distributors and theaters are in the process of phasing over to cian die optical bandes sonores instead of black and white (silver) track (which are less environmentally friendly). This requires replacing the incandescent Exciter lamp with a xarxa LED or laser, which is backwards-compatible with older tracks.<ref name="cyan"> Hull, Joe. [http://www.dyetracks.org/FJI_Sept04.pdf "Committed to Cyan"]. Retrieved August 11, 2006. </ref> (The cian track pot no be read with older photo-sensors.) '' [[Anything Else]] '' (2003) was the first film only to be released with cian tracks. < ref name = "cian"/> The transition is expected to be completed Sometime around 2007 and has already happened in most multiplex.
 
== Technical Specifications ==
[[Fitxer: 35mmareas2.gif|thumbminiatura|450px|Àrees on 35 mm film]]
Technical Specifications for 35 mm film són standardized by [[Society of Motion Picture and Television Engineers|SMPTE]].
 
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