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. <Ref name = "ACM"> Hummel, Rob (ed). '' American Cinematographer Manual '', 8th edition. ASC Press: Hollywood, 2001 </ref>

Una gran varietat de calibres (pas de pel·licula), majoritàriament patentats, van ser usats en nombroses càmeres i sistemes de projecció desenvolupats independentment a finals del [[segle XIX]] i principis del [[segle XX]], des dels 13 mm als 75 mm. <ref name="gauges"> Horak, Jan-Christopher. [[UCLA]] Film and Television Archive, [http://www.cinema.ucla.edu/tank/GaugesHorak.htm '' Introduction to Film gauge '']. Retrieved August 11, 2006 </ref> La pel·lícula de 35 mm va ser finalment reconeguda com la mesura estàndard internacional el 1909 <ref name="alsobrook"> Alsobrook, Russ T. International Cinematographers Guild, [http://www.cameraguild.com/interviews/chat_alsobrook/alsobrook_machines1.htm '' Machines That Made the Movies, part 1 '']. Retrieved August 11, 2006. </Ref> i s'ha mantingut llargament com el format de pel·lícula dominant per a la creació i projecció d'imatges, tot i les amenaces de passos més petits i més grans, i de formats nous, perquè la seva mida permet una relativament bona relació entre el cost del material fotogràfic i la qualitat de la imatge capturada. Addicionalment, l'àmplia disponibilitat dels projectors de 35 mm a les sales comercials fa que sigui l'únic format de pel·lícula que pot ser reproduït en gairebé qualsevol cinema en el món.

No obstant això, Eastman va ser la primera gran empresa que va llançar la producció en massa d'aquests components, quan el 1889 va notar que l'emulsió de solució gelatinosa de bromur podia ser aplicada a aquesta base clara eliminat així el paper. <ref> Mees, C. E. Kenneth (1961). '' From Dry Plates to Ektachrome Film: A Story of Photographic Research ''. Ziff-Davis Publishing. pp. 15-16. </Ref>

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:

[T] he early Acceptance of 35mm es a estàndard had momentous impact on the development and spread of cinema. The standard gauge made it possible for films to be shown in every country of the world .... It provided a uniforme, reliable and predictible format for production, distribution and exhibition of movies, facilitating the rapid spread and Acceptance of the movies as a world-wide device for entertainment and communication. <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; pp. 3-28 (p. 4). Sydney: John Libbey & Co ISBN 1-86462-054-4 </ref>

The film format was introduïa into still photography es early as 1913 (the Tourist Multiple) but first became popular with the launch of the [[Leica]] camera, created by [[Oskar Barnack]] in 1925. <ref> Scheerer, Theo M. (1960). '' The Leica and the Leica System '' (3rd ed). Umschau Verlag Frankfurt Am Main. pp. 7-8. </Ref>

The [[Petrochemical]] and [[silver]] compounds necessary for the creation of film estoc significava from the start that 35 mm filmmaking was de ser an expensive hobby with a high [[barrier to entry]] for the public at large . Furthermore, the [[nitrocellulose]] [[film base]] of all early film estoc was dangerous and highly flammable, creating considerable risk for those not accustomed to the precautions necessary in its handling. [[Birte Acres]] was the first to attempt an amateur format, creating [[Birtac]] in 1898 by slitting the film into 17/5 mm widths. By the early 1920s, several formats had successfully split the amateur market away from 35 mm - namely [[28 mm film|28 mm]] (1912), [[9/5 mm film|9/5 mm]] (1922), [[16 mm]] (1923), and Path Rural, a safety 17/5 mm format (1926). Eastman Kodak's 16 mm format guanyat the amateur market and is still widely in use today, mainly in the Super 16 Variation which remains very popular with professional filmmakers. The 16 mm size was specifically chosen to prevent third-party slitting, as it was very easy to create 17/5 mm estoc from slitting 35 mm estoc in two. It also was the first major format only be released with the non-flammable [[cellulose diacetat]] (and later [[cellulose triacetat]]) "safety film" base. This amateur market would be further diversified per l'introduction of [[8 mm film]] in 1932, intended for amateur filmmaking and "home movies". <ref name="tafi"> Slide, Anthony (1990). '' The American Film Industry: A Historical Dictionary ''. Limelight (1st ed). ISBN 0-87910-139-3 </ref> By law, both 16 mm and 8 mm gauge estoc (es well as 35 mm films intended for non-Theatrical use) had de ser manufacturer on safety estoc. The effect of these gauge was to essentially make the 35 mm gauge almost the exclusive province of professional filmmakers, a divideix which principalment remains to this day.

Inside the Photographic Emulsion són millions of light-sensitive [[silver Halide]] Crystals. Each crystal is a compound of [[silver]] plus a [[halogen]] (such as [[bromine]], [[iodine]] or [[Chlorine]]) held together in a cubical arrangement by electrical Attraction. When the crystal is Struck with light, free-moving silver ions build up a small collection of uncharged atoms. These small bits of silver, too small to even be visible under a microscope, are the beginning of a [[latent image]]. [[Photographic processing|Developing]] chemicals use the latent image specs to build up density, an accumulation of enough Metallic silver to create a visible image. <ref> Upton, Barbara London with Upton, John (1989). '' Photography '' (4th ed). BL Books, Inc/Scott, Foresman and Company. ISBN 0-673-39842-0. </Ref>

Just as in black-and-white, the first step in color development converts exposed silver Halide grains into Metallic silver - except that an equal amount of color die will be form es well. The color couplers in the blue-senstitive layer will form yellow die during processing the green layer will form magenta die and the xarxa layer will form cian die. A bleach step will convert the Metallic silver back into silver Halide, which is then removed along with the unexposed silver Halide in the fixer and wash steps, leaving only color Dyeser. <ref> Malkiewicz, Kris and Mullen, M. David ASC (2005) '' Cinematography '' (3rd ed). Simon Schuester. pp. 49-50. ISBN 0-7432-6438-X </ref>

In the 1980s Eastman Kodak s'inventi the [[Tabular-grain film|T-Grain]], a synthetically manufacturer silver Halide grain that had a larger, flat surface area and allowed for greater light Sensitivity in a smaller, thinner grain. Thus Kodak was able to break the [[Catch-22 (logic)|Catch-22]] of higher speed (greater light Sensitivity - see [[film speed]]) significa larger grain and more "[[Film grain|grainy]] "images. With T-Grain technology, Kodak refined the grain structure of all their "EXR" line of motion picture film estocs <ref> Probst, Christopher (May 2000). "Taking Stock" Part 2 of 2 '' American Cinematographer Magazine '' ASC Press. pp. 110-120 </ref> (which was eventually Incorporated into their "MAX" still estocs). Fuji films followed suit with their own grain innovation, the tabular grain in their SUFG (Super Unified Fine Grain) Superf negative estocs, which are made up of thin hexagonal tabular grains. <ref> Holben, Jay (April 2000). "Taking Stock" Part 1 of 2 '' American Cinematographer Magazine '' ASC Press. pp. 118-130 </ref>

Originally, film was a strip of cellulose nitrat coated with black-and-white Photographic [[Emulsion]]. <ref name="hone"/> Early film Pioneers, like [[D. W. Griffith]], color [[film tinting|tints or toned]] portions of their movies for dramatic impact, and by 1920, 80 to 90 percent of all films were tints. <ref>{{Citi book|first = Richard|last = Koszarski|title = An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928|location =|publisher = University of California Press|year = 1994|pages = 127|id = ISBN 0-520-08535-3}}</ref> The first successful natural color process was Britain's [[Kinemacolor]] (1908-1914), a two-color Additives process that used a Rotating disk with xarxa and green filters in front of the camera lens and the projector lens . <ref>{{citi book|first = Patrick|last = Robertson|title = Film Facts|location = New York|publisher = Billboard Books|year = 2001|pages = 166|id = ISBN 0-8230-7943-0}}</ref> <ref> Hart, Martin. (1998) [http://www.widescreenmuseum.com/oldcolor/kinemaco.htm "Kinemacolor: The First Successful Color System"] Widescreen Museum. Retrieved July 8, 2006 </ref> But any process that photographer and projectes the colors sequentially was subject to color "fringing" around moving objects, and a general color Flickering. <ref> Hart, Martin (May 20, 2004). [http://www.widescreenmuseum.com/oldcolor/kinemacolortoeastmancolor.htm "Kinemacolor to Eastmancolor: Faithfully Capturing an Old Technology with a Modern one] Widescreen Museum. Retrieved July 8, 2006 </ref>

Technicolor re-Emerged with a three-color process for cartoons in 1932, and live action in 1934. Using a beam-splitter prism behind the lens, this camera Incorporated three individual strips of black and white film, each one behind a filter of one of the [[primary colors]] (xarxa, green and blue), Allowing the full color spectrum de ser recordar. <ref name="widetech"> Hart, Martin (2003). [http://www.widescreenmuseum.com/oldcolor/technicolor1.htm "The History of Technicolor"] Retrieved July 7, 2006 </ref> A printing matrix with a hardened gelatina relief image was made from each negative, and the three matrius transferred color die onto a blank film to create the print. <ref> Sipley, Louis Walton. (1951). '' A Half Century of Color '' The Macmillan Company, New York. </Ref>

In 1950 Kodak announce the first Eastman color 35 mm negative film (along with a Complementary positive film) that could rècord all three primary colors on the same strip of film. <ref> Kodak|Motion Picture Imaging [http://www. kodak.com/US/en/motion/about/chrono1.shtml Chronology of Motion Picture Films] Retrieved July 10, 2006. </ref> An improved version in 1952 was quickly adopti by Hollywood, making the use of tri-strip Technicolor càmeres and bi-pack càmeres (utilitzeu in two-color systems such as [[Cinecolor]]) obsolete in color Cinematography. This "monopack" structure is made up of three separate Emulsion layers, one sensitive to xarxa light, one to green and one to blue.

Although [[Eastman Kodak]] had first introduir [[acetate]]-based film, it was far too Brittles and prone to shrinkage, sota the very dangerous nitrat-based celluose films, which had to be handle with extreme care or else they were prone to catching fire and Exploding, were generally used for motion picture camera and print films. In 1949 Kodak començava replacing all of the [[Nitrocellulose|nitrat-based]] films with the safer, more robusto [[cellulose triacetat]]-based "Safety" films. In 1950 the [[Academy of Motion Picture Arts and Sciences]] awarded Kodak with a Scientific and Technical [[Academy Award]] ([[Academy Awards|Oscar]]) for the safer triacetat estoc. <ref> Internet Movie Database, [http://us.imdb.com/Sections/Awards/Academy_Awards_USA/1950 # Academy_Award_of_Merit Academy Awards, USA: 1950]. </ref> By 1952, all camera and projector films were triacetat-based. <ref name = " TAFI "/> Most if not all film prints today are made from Synthetic [[polièster]] safety base (which started replacing triacetat film for prints starting in the early 1990s). Tanmateix, the Downside of [[polièster]] film is that it is extremely strong, and in case of a fault, will stretch and not break (potentially causing damage to the projector and ruining a fairly large stretch of film - 2-3ft or # 2 sec.), and will melt the frames if exposed to the projector bulb for too long. [[Original camera negative]] is still generally made on a triacetat base.

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. <Ref name = "1.37 "/>

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>

[[Imatge: 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.

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>

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. <Ref 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.

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>

[[Imatge: VistaVision 8 perf 35 mm film.png|thumb|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>

''' BH perfs: ''' Film perforations were originally round holes cut into the side of the film, but as these perforations were més subject to wear and deformation, the shape was changed to that now called the [[Bowe Bell & Howell|Bell & Howell]] (BH) perforation, which has a straight top and bottom edge and Outward curving sides. The BH perforation's dimensions són 0.110 "(2.79 mm) from the middle of the side corbi to opposite top corner by 0073" (1.85 mm) in height. <ref name="case"> Case, Dominic. '' Motion Picture Film Processing ''. Boston: Focal Press, 1985. </Ref> The BH1866 perforation, or BH perforation with a [[Film perforations # pitch|pitch]] of 0,1866 ", is the modern standard for negative and internegative films.

''' 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.

These two perforations have Remain by far the most commonly-used ons. BH and KS are also are known as '' N '' (negative) and '' P '' (positive) perforations, respectively. The Bell & Howell perf remains the standard for camera negative films because of its perforation dimensions in comparison to most printers, thus having the ability to keep a steady image compared to other perforations. <ref name="gray"> Gray, Peter. [http://www.jkor.com/peter/perfs.html "Sprocket Holes"]. Retrieved August 11, 2006. </Ref>

''' DH perfs: ''' The Dubray Howell (DH) perforation was first suggested in 1931 to replace both the BH and KS perfs with a single standard perforation which was a hybrid of the two in shape and size, being like KS a rectangle with rounded corners and a width of 0,1100 "(2.79 mm), but with BH's height of 0073" (1.85 mm). <ref name="achart"/> This gave it longer projection life but also improved registration. One of its primary applications was ús in [[Technicolor]]'s die imbibition printing (die transfer). <ref name="gray"/> The DH perf never caught on, and Kodak's introduction of monopack Eastmancolor film in the 1950 reduced the demand for die transfer, <ref name="screensound"/> although the DH perf persists in certain special application intermediate films to this day. <ref name="dh"> Eastman Kodak. [http://www.kodak.com/US/en/motion/products/intermediate/tech5242.jhtml?id=0.1.4.6.4.4.4&lc=en "Kodak Vision Color Intermediate Film - Technical Data"]. Retrieved August 11, 2006. </Ref>

''' 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>

Durant continuous contact printing, the raw estoc and the negative are placed next to one another around the sprocket wheel of the printer. The negative, which is the closer of the two to the sprocket wheel (thus creating a slightly shorter path), ha de have a marginally shorter pitch between perforations (0,1866 "pitch); the raw estoc has a long pitch (0,1870"). While cellulose nitrat and cellulose diacetat estocs used to shrink during processing slightly enough to have this difference naturally occured, modern safety estocs do not shrink at the same rate, and therefore negative (and some intermediate) estocs són perforated at a pitch of 0,2% shorter than print estoc. <ref name="case"/>

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.