Blow-ups from 35mm Academy
Full Aperture to 70mm
The substantial improvement in grain and definition
of color negative films permit wide screen standard
five perforation 70mm prints to be made from 35mm
flat and anamorphic negatives. Figure 5 illustrates
three wide screen 70mm extractions from three different
types of 35mm originals. As in blow-ups from 16mm
or Super 16mm to 35mm, flashing or forced processing
should be avoided, as both techniques tend to increase
grain. Image
Areas for Camera, Projector, and Printer
IMAGE AREA -- CAMERA
16mm SMPTE 7-1988
Super 16mm SMPTE 201M-1988
35mm SMPTE 59-1989
65mm PH 22.215-1984
IMAGE AREA -- PROJECTOR
16mm SMPTE 233-1987
35mm PH 22.195-1984
70mm SMPTE-152-1989
IMAGE AREA -- PRINTER
16mm to 35mm RP 66-1987
Super 16mm to 35mm SMPTE 201M-1988
35mm to 16mm RP 65-1987 topˆ
(Figure
5 - 35mm to 70mm Wide Screen)
70mm
Wide Screen
MGM Camera 65, Super Panavision, Ultra Panavision,
Todd-AO, Dimension 150. Each of these systems
use 65mm negative film for original photography.
See Figure 6.
Camera aperture – 2.072
in. (52.63mm)x 0.0906 in. (23.05mm)
Film size – 65mm, 5 perforations
per frame KS .1866 pitch
Rate of film travel –
24 frames per sec. Or 112.5 ft. per min. also
30* frames per sec. or 140.6 ft. per min.
Projector aperture –
1.71 in. (43.43mm) x 0.886 in.
(22.50mm)
1.913 in. (48.6mm) x 0.868 in.
(22mm)
Rate of film travel –
24 frames per sec. or 112.5 ft. per min. also
30* frames per sec. or 140.6 ft. per min. (Figure
6 - 65mm to 70mm Wide Screen)
*Todd-AO topˆ
Imax
and Omnimax
These systems developed by Multiscreen Corp. Ltd.
Are the largest of the wide screen formats used
for motion picture productions and presentations.
They employ a new 56mm camera in which the film
travels horizontally and a new 70mm projector
that makes use of pin registration and a unique
rolling loop film advance mechanism.
The Imax system presents motion
pictures on a screen that is flat or slightly
curved and rectangular in shape. The image occupies
a 60° to 120° lateral field of view and
a 40° to 80° vertical field of view.
The Omnimax system presents
pictures on a tilted (25° to 30° ) dome
screen typically using 80% of a hemisphere. In
this type of theater, the image occupies a lateral
field of view averaging 180° and a vertical
field of view averaging 125° .
IMAX SPECIFICATIONS:
Camera aperture – 2.772
in. (70.41mm) x 2.072 in. (52.63mm)
Triple frame size – 15
perforations per frame KS .1866 pitch
Rate of film travel (triple
frame) – 24 frames per sec. or 337.5 ft.
per min.
Speed range – 8 frames
to 24 frames per sec.
Projector aperture – 2.74
in. (69.60mm) x 1.91 in. (48.5)
Direction of travel –
horizontal right to left
Triple frame size – 15
perforations per frame KS .1870 pitch
Rate of film travel (triple
frame) – 24 frames per sec. or 337.5 ft.
per min.
Projection platter capacity
– 20,000 ft. 70mm approximately one hour
screen
time.
OMNIMAX SPECIFICTIONS:
Projector aperture – 2.74
in. (69.60mm) x 1.91 in (48.5)
Direction of travel –
horizontal right to left
Triple frame size – 15
perforations per frame KS .1870 pitch
Rate of film travel (triple
frame) – 24 frames per sec. or 337.5 ft.
per min.
Fish eye lens – picture
approximately elliptical 2.74 (69.60mm) x 2.0
in. (50.8mm) topˆ
Showscan
Showscan is a wide screen process developed by
Douglas Trumbull in 1976 for the Future General
Corporation, a subsidiary of Paramount Pictures
Corporation. The process uses 65mm film in the
camera and 70mm film in the projector, with a
high frame rate (60 frames per sec.) for both
cinematography and projection. The wide screen
is curved and the screen brightness is approximately
4 times normal (30 to 40 ft. lamberts).
SHOWSCAN SPECIFICATIONS:
Camera aperture – 2.072
in. (52.6mm) x 0.906 in. (23.01mm)
Rate of film travel –
60 frames per sec. or 281.25 ft. per min.
Film size – 65mm, 5 perforations
per frame KS .1866 pitch
Projector aperture – 2.052
in. (52.12mm) x 0.886 in. (22.50mm)
Film size – 70mm, 5 perforations
per frame KS .1870 topˆ
VistaVision
VistaVision is a wide screen process developed
by Paramount Pictures Corporation for production
and exhibition. Introduced in 1954, the process
used a new type of camera and projector that moved
a double frame image horizontally from right to
left. The first picture in the process was White
Christmas, which opened at the Radio City Music
Hall in New York, October 14, 1954. Although this
process is no longer used for the principal photography
in feature production or exhibition, it is extensively
used for process and optical effects photography
where its larger image area produces less grain
and higher resolution in the completed effects
screens.
VISTAVISION SPECIFICATIONS:
Camera aperture – 1.485
in (37.72mm) x 0.991 in. (25.17mm)
Double-frame size – 8
perforations per frame BH .1866 pitch
Rate of film travel (double-frame)
– 24 frames per sec. or 180 ft. per min.
topˆ
Wet
Printing
The technique of wet printing coats the surface
of the film being printed with a liquid having
the same index of refraction as the film. As a
result, light passing through the film is not
refracted or bent at the scratches and digs in
the film, and the effect is as if the defects
were not there.
Wet printing is done in several
different ways; with "wet gates" on
optical printers, with "wet application"
on optical or contact printers and with "total
immersion" on contact printers.
In all cases, wet printing can
only affect surface damage on the film. If a film
is scratched on the base surface, or if it is
lightly scratched on the emulsion surface, wet
printing will do a good job of hiding the damage,
depending on its severity.
Wet printing cannot, however,
replace missing information. If a scratch on the
emulsion surface has removed some of the picture,
wet printing obviously cannot put the information
back. Wet printing cannot conceal the effect of
foreign matter imbedded in the original, which
cannot be removed.
Several rules must be followed
on the materials intended for wet printing. There
must never be tape splices in wet printing materials.
The wet printing liquid, which is a solvent, can
dissolve the adhesive on the tape and smear it
across adjacent frames, or, at worst, loosen the
tape sufficiently to allow the splice to come
apart. The same things can happen to tape repairs
used on damaged perforations or other tape repairs
to the film.
If the film has been treated
or coated, there could be a problem in wet printing.
There must not be markings or coating on the film
to be wet printed. Magnetic striping may be susceptible
to the liquid. Check with your ACVL lab if there
is anything on the film, and they will let you
know if it is safe for wet printing. topˆ |
