Film format (cinematography)
Film format , in the narrower sense of film technology, describes the width of the raw film material, in technical terms cinema film . Together with the packaging, it determines the mechanical compatibility of the film with the camera or projector. As a rule, the standardized formats are named after their film width, for example 35 mm .
In a broader sense, this term is often understood to include the entirety with other parameters that are essential for the compatibility of a film with apparatus technology:
- Film direction in the camera or projector, vertical or horizontal
- Frame rate in frames per second
- Film pitch , length or number of perforation holes of the piece of film transported on with each frame change
- Type of optical image (undistorted or anamorphic )
- Position and size of the film image
- Location, size and type of sound track
Common film formats
The following table shows film formats for production ( camera negative ) with further essential parameters in the left part . The format for projection of the demonstration copy may differ from the one shown in the right part of the table. “Aspect ratio” always means that of the recorded section of nature or the projected image on the screen. When the anamorphic method is used, the aspect ratio of the film image deviates from it by the anamorphic factor.
| system | admission | Image frequency [fps] |
projection | introduction | Film sample | ||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| Film width | Perforation rations- steps |
Dimension single image [mm] |
Side comparable ratio |
ana- morph (factor) |
Film run | Film width | Perforation rations- steps |
||||
| Normal-8 | 8 mm | 1-perf | 4.9 x 3.6 | 1.33: 1 | - | vertical | 16, 18, 24, 25 (3¾ ips) | 8 mm | 1-perf | 1932 | |
| Super 8 , single 8 | 5.69 x 4.22 | 18, 24, 25 | 1965 | ||||||||
| 9.5 mm | 9.5 mm | 1-perf | 8.5 x 6.5 | 16, 18, 24 | 9.5 mm | 1-perf | 1922 | ||||
| 16 mm | 16 mm | 1-perf | 10.05 x 7.42 | 18, 24 | 16 mm | 1-perf | 1923 | Riddle of the jungle hell (1938) | |||
| Super 16 | 12.35 x 7.42 | 1.67: 1 | - | 24 |
Blow-up to 35 mm |
4-perf |
1970 | Following (1998) | |||
| 35 mm ( silent film ) | 35 mm | 4-perf | 24 × 18 | 1.33: 1 | - | variable | 35 mm | 4-perf | 1893 | Metropolis (1927) | |
| 35 mm | 22 × 18 | 1.22: 1 | - | 24 | early sound films | M (1930) | |||||
| 35 mm Academy | 22 × 16 | 1.37: 1 | - | 24 | 1932 | Casablanca (1942) | |||||
| 35 mm wide screen (1.67) |
21.95 x 13.17 | 1.67: 1 | - | 24 | 1952 | Shane (1956) | |||||
| 35 mm wide screen (1.85) |
1.85: 1 | - | 24, 25 | Psycho (1960) | |||||||
| 35 mm anamorphic |
2.35: 1 |
× 2.0 | 24 | 35 mm anamorphic |
4-perf |
1953 | The Robe (1953) | ||||
| Super 35 4 perf | 23.66 x 17.78 | 1.33: 1 | - | 24 | various | ||||||
| Super-35 3-perf | 3-perf | 1.67: 1 | - | 24 | Titanic (1997), Abyss (1989) | ||||||
| Maxivision | 22 × 14.2 | 1.55: 1 | - | 24, 48 | 35 mm | 3-perf | 1999 | ||||
| Techniscope | 2-perf | 22 x 9.47 | 2.35: 1 | - | 24 | 35 mm anamorphic |
4-perf |
1963 | Keoma (1976) | ||
| VistaVision | 8-perf | 37.72 x 25.17 | 2.00: 1 | - | hori- zontal |
24 | 35 mm + 70 mm | 1954 | Vertigo (1958) | ||
| Technirama | 38.0 x 25.2 | 2.25: 1 | × 1.5 | 24 | 35 mm + 70 mm ( Super Technirama 70 ) |
1956 | Spartacus (1960) | ||||
| Cinerama | 3 × 35 mm parallel |
6-perf | 2.75: 1 | - | vertical | first 26, later 24 |
Cinerama, 70 mm |
5-perf |
1952 | How the West Was Won (1962) | |
| Cinemiracle | 24 | Tall ship | |||||||||
| 55 mm | 24 | 1955 | The King and I (1956) | ||||||||
| Super Panavision 70 | 65 mm | 5-perf | 52.2 x 23.0 | 2.27: 1 | - | 24 | 35 mm + 70 mm | 2001: A Space Odyssey (1968) | |||
| Todd-AO | 24, 30 | 35 mm + 70 mm | 1955 | Oklahoma! (1955) | |||||||
| Showscan | 60 | 70 mm | 5-perf | various "ride" shows | |||||||
| Dimension 150 | 24 | 1966 | Patton - Rebel in Uniform (1970) | ||||||||
|
Ultra Panavision 70 ( MGM Camera 65 ) |
2.76: 1 | × 1.25 | 24 | 35 mm + 70 mm | 1957 |
Ben Hur (1959), The Hallelujah Trail (1965), The Hateful Eight (2015) |
|||||
| IMAX | 15-perf | 71.0 x 52.2 | 1.33: 1 | - | hori- zontal |
24 | 70 mm | 15-perf | 1967 | The Dark Knight (2008) | |
| IMAX HD | 48 | ||||||||||
| DEFA 70 | 70 mm | 5-perf | 52.2 x 23.0 | 2.27: 1 | - | vertical | 24 | 35 mm + 70 mm | 1968 | Signals - A Space Adventure (1970) | |
Supplementary components of film formats
The "handling" are not part of, but are linked to the film formats. This includes film cassettes and film loaders to hold the film. Cassettes are single-use items; loaders can be used over and over again. The Super-8 format is inextricably linked to a disposable cassette, as is Single-8. Typical film loaders are known for film format 9.5 mm and for 16 mm film (Bell & Howell-Eastman-Kodak-Autoload, 50 feet). There are also spools and film cores as winding units for every film format.
See also
- Recording formats of photography
Web links
- Overview of different film formats. Retrieved September 20, 2018 .
- Explanatory video for film formats
swell
- ISO 23: 1993 "Cinematography - Camera usage of 35 mm motion-picture film - Specifications".
- ISO 491: 2002 "Cinematography - Raw cinema film and 35 mm magnetic film - Cutting and perforation dimensions"
- ISO 4246: 1994-12 “Cinematography - Cinematographic terms”.
Remarks
- ↑ In the case of undistorted film images, insiders misleadingly refer to the shape of the objective lens as "spherical" recording.
- ↑ a b Anamorphic widescreen format marketed under more than 10 brand names (best known for CinemaScope and Ultrascope ).
- ↑ The aspect ratio was originally 2.55: 1, but was later changed several times (see anamorphic method ).
- ↑ Techniscope's presentation format was anamorphic 35 mm wide-screen film and had the same anamorphic factor 2 as the well-known anamorphic systems CinemaScope or Ultrascope and was compatible with these in projection.
- ↑ a b c d e f Both anamorphic 35 mm copies with 4 perforation steps per image and anamorphic projection (22 mm × 18 mm) and 70 mm wide-film copies (52.2 mm × 23.0 mm, not anamorphic) with 5 perforation steps per image.