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Horizontal pulldown from right to left (viewed from emulsion side). Slightly less depth of field than that of vertical pulldown 35 mm. Camera aperture of 1.485 inches (37.72 mm) by 0.981 inches (24.92 mm).
Super 35 mm film. Aspect ratio: 1.3 3:1 on 4-perf camera aperture; Camera aperture (4-perf): 0.980 by 0.735 in (24.9 by 18.7 mm) Picture used (35 mm anamorphic): 0.945 by 0.394 inches (24.0 by 10.0 mm) Picture used (70 mm blowup): 0.945 by 0.430 inches (24.0 by 10.9 mm) Picture used (35 mm flat 1.85): 0.945 by 0.511 inches (24.0 by 13.0 mm)
This compares to the 0.866" by 0.732" (approx. 22 mm x 18.6 mm) frame of a modern anamorphic 35 mm negative, which provides a frame area of 0.64 sq. inch. On the print film, however, there was a smaller frame size of approximately 1.34" x 1.06" (34 mm x 27 mm) to allow space for the 6 magnetic soundtracks.
Film: 35 mm running horizontally using eight perforations at 24 frames per second. Film area: 1.496" (38 mm) × 0.992" (25.2 mm). Anamorphic power: 1.5; Aspect ratio: 2.35:1 (Prints) 2.25:1 (Negative) Films
Some formats are referred to in terms of the ratio "perforations per frame/gauge size" to provide an easy way of denoting size. For instance, 35mm Academy is also known as 4 perf-35mm ; VistaVision is 8 perf-35mm ; the long-time standard Todd-AO 70 mm film is 5 perf-70mm ; and IMAX is 15 perf-70mm .
Paramount's VistaVision was a larger gauge precursor to 70 mm film. Introduced in 1954, it ran standard 35 mm film through the camera horizontally to achieve a widescreen effect using greater negative area, in order to create a finer-grained four-perforation 35 mm prints in an era where standard monopack stock could not produce finer results.
VistaVision is a higher resolution, widescreen variant of the 35 mm motion picture film format which was created by Paramount Pictures in 1954. It uses a horizontal, 8 perforation 35 mm image, similar to that used in 135 film for still photography.
35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 1.17 0.826" × 0.708" spherical Polyvision: Abel Gance: 1927 Napoléon: 35 mm × 3 cameras 1.33 × 3 negatives 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm × 3 projectors 4.00 0.931" × 0.698" spherical Hypergonar: Henri Chrétien: 1927 Pour construire un feu: 35 mm 2.66 0.980" × ...
The Desperate Hours (1955) (first b&w film shot in VistaVision) The Far Horizons (1955) The Girl Rush (1955) Hell's Island (1955) Lucy Gallant (1955) The Rose Tattoo (1955) Run for Cover (1955) The Seven Little Foys (1955) Strategic Air Command (1955) To Catch a Thief (1955) The Trouble with Harry (1955) We're No Angels (1955) You're Never Too ...
Super Panavision 70 is the marketing brand name used to identify movies photographed with Panavision 70 mm spherical optics between 1959 and 1983. It has since been replaced by Panavision System 65 . Ultra Panavision 70 was similar to Super Panavision 70, though Ultra Panavision lenses were anamorphic, which allowed for a significantly wider ...