This article is about the motion picture film gauge. For the still photographic film gauge, see. For the film format, see. 35 mm movie filmTypeInventorInception1889 ( 1889)ManufacturerEdison company;Current supplierKodak35 mm film is a used in, and the film standard.
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In that record on film, 35 mm is the most commonly used gauge. The name of the gauge is not a direct measurement, and refers to the nominal width of the, which consists of strips 1.377 ± 0.001 inches (34.976 ± 0.025 mm) wide.
The standard on 35 mm for movies ('single-frame' format) is four per along both edges, which results in 16 frames per foot of film.A variety of largely proprietary gauges were devised for the numerous camera and projection systems being developed independently in the late 19th century and early 20th century, as well as a variety of film feeding systems. This resulted in cameras, projectors, and other equipment having to be calibrated to each gauge. The 35 mm width, originally specified as 1 3⁄ 8 inches, was introduced around 1890 by and, using stock supplied. Film 35 mm wide with four perforations per frame became accepted as the international standard gauge in 1909, and remained by far the dominant film gauge for image origination and projection until the advent of digital photography and cinematography.The gauge has been versatile in application. It has been modified to include sound, redesigned to create a safer, formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound data into nearly all of its non-frame areas., and are some companies that offered 35 mm films.
Today, Kodak is the last remaining manufacturer of motion picture film.The ubiquity of 35 mm in commercial made 35 mm the only motion picture format that could be played in almost any cinema in the world, until digital projection largely superseded it in the 21st century. Dickson's 35 mm movie film standard (center)When films began to be projected, several projection devices were unsuccessful and fell into obscurity because of technical failure, lack of business acumen, or both. The, the first projection device to use 35 mm, was technologically superior and compatible with the many motion pictures produced on 35 mm film. Edison bought the device in 1895–96; the Lumiere's 35 mm projection also premiered in 1895, and they established 35 mm as the standard for exhibition.
658Standardization in recording came from monopolization of the business by Eastman and Edison, and because of Edison's typical business model involving the patent system: Eastman and Edison managed their film patents well 656 – Edison filed the 35 mm patent in 1896, the year after Dickson left his employ 657 – and so controlled the use and development of film. 656 Dickson left the Edison company in 1895, going on to help competitors produce cameras and other film gauges that would not infringe on. However, by 1900, filmmakers found it to expensive to develop and use other gauges, and went back to using the cheap and widely-available 35 mm. 657Dickson said in 1933:At the end of the year 1889, I increased the width of the picture from 1⁄ 2 inch to 3⁄ 4 inch, then, to 1 inch by 3⁄ 4 inch high. The actual width of the film was 1 3⁄ 8 inches to allow for the perforations now punched on both edges, 4 holes to the phase or picture, which perforations were a shade smaller than those now in use. This standardized film size of 1889 has remained, with only minor variations, unaltered to date'.
652Until 1953, the 35 mm film was seen as 'basic technology' in the film industry, rather than optional, despite other gauges being available. 35 mm film diagramIn 1908, Edison formed 'a cartel of production companies', a called the (MPCC), pooling patents for collective use in the industry and positioning Edison's own technology as the standard to be licensed out. 656 35 mm became the 'official' standard of the newly formed MPCC, which agreed in 1909 to what would become the standard: 35 mm gauge, with Edison perforations and a 1.3 3:1 (4:3) (also developed by Dickson). 652 Scholar Paul C. Spehr describes the importance of these developments:The early acceptance of 35 mm as a standard 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 uniform, reliable and predictable 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.When the MPCC adopted the 35 mm format, produced cameras, projectors, and perforators for the medium of an 'exceptionally high quality', further cementing it as the standard.
(659) Edison and Eastman's form of business manipulation was ruled unlawful in 1914, but by this time the technology had become the established standard. 657 In 1917, the new (SMPTE) 'acknowledged the de facto status of 35mm as the industry’s dominant film gauge, adopting it as an engineering standard'. 659 Innovations in sound. An 'over-under' 3D frame. Both left and right eye images are contained within the normal height of a single 2D frame.The success of digitally projected 3D movies in the first two decades of the 21st century led to a demand from some theater owners to be able to show these movies in 3D without incurring the high capital cost of installing digital projection equipment. To satisfy that demand, a number of systems had been proposed for 3D systems based on 35 mm film by, and others. These systems are improved versions of the 3D prints first introduced in the 1960s.To be attractive to exhibitors, these schemes offered that can be projected by a standard 35 mm cinema projector with minimal modification, and so they are based on the use of 'over-under' film prints.
In these prints a left-right pair of 2.39:1 non-anamorphic images are substituted for the one 2.39:1 anamorphic image of a 2D 'scope' print. The frame dimensions are based on those of the 2-perf camera format used in the 1960s and '70s. However, when used for 3D the left and right frames are pulled down together, thus the standard 4-perf pulldown is retained, minimising the need for modifications to the projector or to long-play systems. The linear speed of film through the projector and sound playback both remain exactly the same as in normal 2D operation.The Technicolor system uses the polarisation of light to separate the left and right eye images and for this they rent to exhibitors a combination splitter-polarizer-lens assembly which can be fitted to a lens turret in the same manner as an anamorphic lens. In contrast, the Panavision system uses a spectral comb filter system, but their combination splitter-filter-lens is physically similar to the Technicolor assembly and can be used in the same way. No other modifications are required to the projector for either system, though for the Technicolor system a silver screen is necessary, as it would be with polarised-light digital 3D.
Thus a programme can readily include both 2D and 3D segments with only the lens needing to be changed between them.In June 2012, Panavision 3D systems for both 35 mm film and digital projection were withdrawn from the market by DVPO theatrical (who marketed these system on behalf of Panavision) citing 'challenging global economic and 3D market conditions'. Decline In the transition period centered around 2005–2015, the rapid conversion of the cinema exhibition industry to has seen 35 mm film projectors removed from most of the projection rooms as they are replaced by digital projectors. By the mid-2010s, most of the theaters across the world have been converted to digital projection, while others are still running 35 mm projectors.
In spite of the uptake in digital projectors installed in global cinemas, 35 mm film remains in a market of enthusiasts and format lovers.Attributes Color. Main article:Originally, film was a strip of cellulose nitrate coated with black-and-white. Early film pioneers, like, color portions of their movies for dramatic impact, and by 1920, 80 to 90 percent of all films were tinted. The first successful natural color process was Britain's (1908–1914), a two-color additive process that used a rotating disk with red and green filters in front of the and the projector lens. But any process that photographed and projected the colors sequentially was subject to color 'fringing' around moving objects, and a general color flickering.In 1916, William Van Doren Kelley began developing, the first commercially viable American color process using 35 mm film. Initially, like Kinemacolor, it photographed the color elements one after the other and projected the results.
Ultimately, Prizma was refined to photography, with two strips of film, one treated to be sensitive to red and the other not, running through the camera face to face. Each negative was printed on one surface of the same and each resulting series of black-and-white images was chemically toned to transform the silver into a monochrome color, either orange-red or blue-green, resulting in a two-sided, two-colored print that could be shown with any ordinary projector. This system of two-color bipack photography and two-sided prints was the basis for many later color processes, such as, and.Although it had been available previously, color in Hollywood feature films first became truly practical from the studios' commercial perspective with the advent of, whose main advantage was quality prints in less time than its competitors.
In its earliest incarnations, Technicolor was another two-color system that could reproduce a range of reds, muted bluish greens, pinks, browns, tans and grays, but not real blues or yellows., released in 1922, was the first film printed in their subtractive color system. Technicolor's camera photographed each pair of color-filtered frames simultaneously on one strip of black-and-white film by means of a prism behind the camera lens. Two prints on half-thickness stock were made from the negative, one from only the red-filtered frames, the other from the green-filtered frames.
After development, the silver images on the prints were chemically toned to convert them into images of the approximately. The two strips were then cemented together back to back, forming a single strip similar to duplitized film.In 1928, started making their prints by the imbibition process, which was mechanical rather than photographic and allowed the color components to be combined on the same side of the film. Using two matrix films bearing hardened gelatin relief images, thicker where the image was darker, aniline color dyes were transferred into the gelatin coating on a third, blank strip of film.Technicolor re-emerged as a three-color process for cartoons in 1932 and live action in 1934. Using a different arrangement of a cube and color filters behind the lens, the camera simultaneously exposed three individual strips of black-and-white film, each one recording one-third of the, which allowed virtually the entire spectrum of colors to be reproduced. A printing matrix with a hardened gelatin relief image was made from each negative, and the three matrices transferred color dyes into a blank film to create the print.Two-color processes, however, were far from extinct.
In 1934, William T. Crispinel and Alan M. Gundelfinger revived the process under the company name.
Cinecolor saw considerable use in animation and low-budget pictures, mainly because it cost much less than three-color Technicolor. If color design was carefully managed, the lack of colors such as true green could pass unnoticed. Although Cinecolor used the same duplitized stock as Prizma and Multicolor, it had the advantage that its printing and processing methods yielded larger quantities of finished film in less time.In 1950, Kodak announced the first Eastman color 35 mm negative film (along with a complementary positive film) that could record all three primary colors on the same strip of film.
An improved version in 1952 was quickly adopted by Hollywood, making the use of three-strip Technicolor cameras and bipack cameras (used in two-color systems such as ) obsolete in color cinematography. This 'monopack' structure is made up of three separate emulsion layers, one sensitive to red light, one to green and one to blue.Safety film. Main article:Although had first introduced -based film, it was far too brittle and prone to shrinkage, so the dangerously flammable nitrate-based cellulose films were generally used for motion picture camera and print films. In 1949 Kodak began replacing all nitrocellulose (nitrate-based) films with the safer, more robust -based 'Safety' films. In 1950 the awarded Kodak with a Scientific and Technical for the safer triacetate stock. By 1952, all camera and projector films were triacetate-based. Most if not all film prints today are made from synthetic safety base (which started replacing Triacetate film for prints in the early 1990s).
The downside of 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: 2–3 ft or approximately 2 seconds. Also, polyester film will melt if exposed to the projector lamp for too long. Is still made on a triacetate base, and some intermediate films (certainly including internegatives or 'dupe' negatives, but not necessarily including interpositives or 'master' positives) are also made on a triacetate base as such films must be spliced during the 'negative assembly' process, and the extant negative assembly process is solvent-based.
Polyester films are not compatible with solvent-based assembly processes.Other types Besides black & white and color negative films, there are black & white and color, which when developed create a positive ('natural') image that is projectable. There are also films sensitive to non-visible wavelengths of light, such as.Common formats See for a comprehensive table of known formats Academy format.
Main article:In the conventional motion picture format, frames are four perforations tall, with an of 1.375:1, 22 by 16 mm (0.866 by 0.630 in). This is a derivation of the aspect ratio and frame size designated by Thomas Edison (24.89 by 18.67 millimetres or 0.980 by 0.735 inches) at the dawn of motion pictures, which was an aspect ratio of 1.33:1. The first sound features were released in 1926–27, and while was using synchronized phonograph discs , placed the soundtrack in an optical record directly on the film on a strip between the sprocket holes and the image frame. 'Sound-on-film' was soon adopted by the other Hollywood studios, resulting in an almost square image ratio of 0.860 in by 0.820 in. Comparison of common 35 mm film formatsBy 1929, most movie studios had revamped this format using their own house aperture plate size to try to recreate the older screen ratio of 1.33:1. Furthermore, every theater chain had their own house aperture plate size in which the picture was projected.
These sizes often did not match up even between theaters and studios owned by the same company, and therefore, uneven projection practices occurred.In November 1929, the Society of Motion Pictures Engineers set a standard aperture ratio of 0.800 in by 0.600 in. Known as the '1930 standard', studios which followed the suggested practice of marking their camera viewfinders for this ratio were: Paramount-Famous-Lasky, Metro-Goldwyn Mayer, United Artists, Pathe, Universal, RKO, Tiffany-Stahl, Mack Sennett, Darmour, and Educational. The Fox Studio markings were the same width but allowed.04 in more height.In 1932, in refining this ratio, the expanded upon this 1930 standard. The camera aperture became 22 by 16 mm (0.87 by 0.63 in), and the projected image would use an aperture plate size of 0.825 by 0.600 in (21.0 by 15.2 mm), yielding an aspect ratio of 1.375:1. This became known as the ' ratio, named so after them.
Since the 1950s the aspect ratio of some theatrically released motion picture films has been 1.85:1 (1.66:1 in Europe) or 2.35:1 (2.40:1 after 1970). The image area for 'TV transmission' is slightly smaller than the full 'Academy' ratio at 21 by 16 mm (0.83 by 0.63 in), an aspect ratio of 1.33:1.
Hence when the 'Academy' ratio is referred to as having an aspect ratio of 1.33:1, it is done so mistakenly. Widescreen. Main articles:, andThe commonly used format uses a similar four-perf frame, but an anamorphic lens is used on the camera and projector to produce a wider image, today with an aspect ratio of about 2.39:1 (more commonly referred to as 2.40:1). The ratio was formerly 2.35:1—and is still often mistakenly referred to as such—until an revision of projection standards in 1970. The image, as recorded on the negative and print, is horizontally compressed (squeezed) by a factor of 2.The unexpected success of the widescreen process in 1952 led to a boom in innovations to compete with the growing audiences of television and the dwindling audiences in movie theaters. These processes could give theatergoers an experience that television could not at that time—color, stereophonic sound and panoramic vision.
Before the end of the year, had narrowly 'won' a race to obtain an optical system invented by, and soon began promoting the technology as early as the production phase.Looking for a similar alternative, other major studios hit upon a simpler, less expensive solution by April 1953: the camera and projector used conventional spherical lenses (rather than much more expensive anamorphic lenses), but by using a removable aperture plate in the film projector gate, the top and bottom of the frame could be cropped to create a wider aspect ratio. Paramount Studios began this trend with their aspect ratio of 1.66:1, first used in, which was originally shot for. It was Universal Studios, however, with their May release of that introduced the now standard 1.85:1 format to American audiences and brought attention to the industry the capability and low cost of equipping theaters for this transition.Other studios followed suit with aspect ratios of 1.75:1 up to 2:1. For a time, these various ratios were used by different studios in different productions, but by 1956, the aspect ratio of 1.85:1 became the 'standard' US format. These flat films are photographed with the full, but are (most often with a in the theater projector, not in the camera) to obtain the 'wide' aspect ratio.
The standard, in some European countries, became 1.66:1 instead of 1.85:1, although some productions with pre-determined American distributors composed for the latter to appeal to US markets.In September 1953, 20th Century Fox debuted CinemaScope with their production of to great success. CinemaScope became the first marketable usage of an anamorphic widescreen process and became the basis for a host of 'formats', usually suffixed with -scope, that were otherwise identical in specification, although sometimes inferior in optical quality. (Some developments, such as SuperScope and, however, were truly entirely different formats.) By the early 1960s, however, would eventually solve many of the CinemaScope lenses' technical limitations with their own lenses, and by 1967, CinemaScope was replaced by Panavision and other third-party manufacturers.The 1950s and 1960s saw many other novel processes using 35 mm, such as, SuperScope, and, most of which ultimately became obsolete. VistaVision, however, would be revived decades later by and other studios for special effects work, while a SuperScope variant became the predecessor to the modern format that is popular today.Super 35. Main article:The concept behind Super 35 originated with the Tushinsky Brothers' format, particularly the SuperScope 235 specification from 1956. In 1982, Joe Dunton revived the format for, and soon marketed it under the name 'Super Techniscope' before the industry settled on the name Super 35. The central driving idea behind the process is to return to shooting in the original silent 'Edison' 1.33:1 full 4-perf negative area (24.89 by 18.67 millimetres or 0.980 by 0.735 inches), and then crop the frame either from the bottom or the center (like 1.85:1) to create a 2.40:1 aspect ratio (matching that of anamorphic lenses) with an area of 24 by 10 mm (0.94 by 0.39 in).
Although this cropping may seem extreme, by expanding the negative area out perf-to-perf, Super 35 creates a 2.40:1 aspect ratio with an overall negative area of 240 square millimetres (0.37 sq in), only 9 square millimetres (0.014 sq in) less than the 1.85:1 crop of the Academy frame (248.81 square millimetres or 0.38566 square inches). The cropped frame is then converted at the intermediate stage to a 4-perf anamorphically squeezed print compatible with the anamorphic projection standard. This allows an 'anamorphic' frame to be captured with non-anamorphic lenses, which are much more common. Up to 2000, once the film was photographed 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, many who preferred the higher image quality and frame negative area of anamorphic photography (especially with regard to ).
With the advent of (DI) at the beginning of the 21st century, however, Super 35 photography has become even more popular, since everything could be done digitally, scanning the original 4-perf 1.33:1 (or 3-perf 1.78:1) picture and cropping it to the 2.39:1 frame already in-computer, without anamorphosing stages, and also without creating an additional optical generation with increased grain. This process of creating the aspect ratio in the computer allows the studios to perform all post-production and editing of the movie in its original aspect (1.33:1 or 1.78:1) and to then release the cropped version, while still having the original when necessary (for Pan & Scan, HDTV transmission, etc.).3-Perf. Main article:The non-anamorphic widescreen ratios (most commonly 1.85:1) used in modern feature films makes inefficient use of the available image area on 35 mm film using the standard 4-perf pulldown; the height of a 1.85:1 frame occupying only 65% of the distance between the frames. It is clear, therefore, that a change to a 3-perf pulldown would allow for a 25% reduction in film consumption whilst still accommodating the full 1.85:1 frame. Ever since the introduction of these widescreen formats in the 1950s various film directors and cinematographers have argued in favour of the industry making such a change. The Canadian cinematographer Miklos Lente invented and patented a three-perforation pull down system which he called 'Trilent 35' in 1975 though he was unable to persuade the industry to adopt it.The idea was later taken up by the Swedish film-maker Rune Ericson who was a strong advocate for the 3-perf system. Ericson shot his 51st feature Pirates of the Lake in 1986 using two Panaflex cameras modified to 3-perf pulldown and suggested that the industry could change over completely over the course of ten-years.
However, the movie industry did not make the change mainly because it would have required the modification of the thousands of existing 35 mm projectors in movie theaters all over the world. Whilst it would have been possible to shoot in 3-perf and then convert to standard 4-perf for release prints the extra complications this would cause and the additional optical printing stage required made this an unattractive option at the time for most film makers.However, in, where compatibility with an installed base of 35 mm film projectors is unnecessary, the format is sometimes used, giving—if used with —the 16:9 ratio used by and reducing film usage by 25 percent. Because of 3-perf's incompatibility with standard 4-perf equipment, it can utilize the whole negative area between the perforations without worrying about compatibility with existing equipment; the Super 35 image area includes what would be the soundtrack area in a standard print. All 3-perf negatives require optical or digital conversion to standard 4-perf if a film print is desired, though 3-perf can easily be transferred to video with little to no difficulty by modern.
With now a standard process for feature film post-production, 3-perf is becoming increasingly popular for feature film productions which would otherwise be averse to an optical conversion stage. VistaVision. A diagram of the format, affectionately dubbed 'Lazy 8' because it is eight long and runs horizontally (lying down)The motion picture format was created in 1954 by to create a finer-grained negative and print for flat widescreen films.
Similar to still photography, the format uses 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 ratio of 1.5:1 and greater detail, as more of the negative area is used per frame. This format is unprojectable in standard theaters and requires an optical step to reduce the image into the standard 4-perf vertical 35 mm frame.While the format was dormant by the early 1960s, the camera system was revived for visual effects by at, starting with, as a way of reducing granularity in the by having increased area at the point of image origination. Its usage has again declined since the dominance of computer-based visual effects, although it still sees limited utilization. Perforations. 35 mm film perforation hole types. BH perfs Film perforations were originally round holes cut into the side of the film, but as these perforations were subject to wear and deformation, the shape was changed to what is now called the (BH) perforation, which has straight top and bottom edges and outward curving sides. The BH perforation's dimensions are 0.110 inches (2.8 mm) from the middle of the side curve to opposite top corner by 0.073 inches (1.9 mm) in height.
The BH1866 perforation, or BH perforation with a of 0.1866 inches (4.74 mm), 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 tear the perforations. Furthermore, they tended to shrink as the print slowly decayed. Therefore, larger perforations with a rectangular base and rounded corners were introduced by in 1924 to improve steadiness, registration, durability, and longevity. Known as 'Kodak Standard' (KS), they are 0.0780 inches (1.98 mm) high by 0.1100 inches (2.79 mm) wide. Their durability makes KS perfs the ideal choice for some (but not all) intermediate and all release prints, and which require special use, such as high-speed filming, but not for, or work as these specific applications demand the more accurate registration which is only possible with BH or DH perforations. The increased height also means that the image registration was considerably less accurate than BH perfs, which remains the standard for negatives.
The KS1870 perforation, or KS perforation with a of 0.1870 inches (4.75 mm), is the modern standard for release prints.These two perforations have remained by far the most commonly used ones. BH perforations are also known as N (negative) and KS as P (positive). The Bell & Howell perf remains the standard for camera negative films because of its perforation dimensions in comparison to most printers, thus it can keep a steady image compared to other perforations. DH perfs The Dubray–Howell (DH) perforation was first proposed in 1932 to replace the two perfs with a single hybrid. The proposed standard was, like KS, rectangular with rounded corners and a width of 0.1100 inches (2.79 mm), and, like BH, was 0.073 inches (1.9 mm) tall. This gave it longer projection life but also improved registration.
One of its primary applications was usage in 's dye imbibition printing (dye transfer). The DH perf never had broad uptake, and Kodak's introduction of monopack Eastmancolor film in the 1950s reduced the demand for dye transfer, although the DH perf persists in special application intermediate films to this day. CS perfs In 1953, the introduction of by 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. These perfs are commonly referred to as CinemaScope (CS) or 'Fox hole' perfs. Their dimensions are 0.0780 inches (1.98 mm) in width by 0.0730 inches (1.85 mm) in height.
Due to the size difference, CS perfed film cannot be run through a projector with standard KS sprocket teeth, but KS prints can be run on sprockets with CS teeth. Shrunken film with KS prints that would normally be damaged in a projector with KS sprockets may sometimes be run far more gently through a projector with CS sprockets because of the smaller size of the teeth. Magnetic striped 35 mm film became obsolete in the 1980s after the advent of, as a result film with CS perfs is no longer manufactured.During continuous contact printing, the raw stock 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), must have a marginally shorter pitch between perforations (0.1866 in pitch); the raw stock has a long pitch (0.1870 in). While cellulose nitrate and cellulose diacetate stocks used to shrink during processing slightly enough to have this difference naturally occur, modern safety stocks do not shrink at the same rate, and therefore negative (and some intermediate) stocks are perforated at a pitch of 0.2% shorter than print stock. Technical specifications.
Camera aperture. Academy ratio, 1.375:1. 1.85:1 Ratio. 1.6 6:1 Ratio. Television scanned area. Television 'action safe' area. Television 'title safe' areaTechnical specifications for 35 mm film are standardized by.
16 frames per foot (0.748 inches (19.0 mm) per frame (long pitch)). 24 frames per second (fps); 90 feet (27 m) per minute. 1,000 feet (300 m) is about 11 minutes at 24 fps.
vertical pulldown. 4 perforations per frame (all projection and most origination except 3-perf). 1 perforation = 3⁄ 16 in or 0.1875 in. The actual dimension of 35 mm specified by the is 1.377 ± 0.001 inches (34.976 ± 0.025 mm). The size initially created by Dickson was only 0.075 mm narrower than the 35 mm standard that has existed since 1930. An account of this is given in an article by Dickson in the December 1933 SMPTE journal.
This size was also exactly half the width of the 2 3⁄ 4-inch wide (70 mm) 'A-type' 120 and 620 rollfilm which was the standard Eastman size at the time. The standard size was increased at the May 1929 meeting of the SMPE and published in 1930.
The gauge and perforations are almost identical to modern film stock; the full silent ratio is also used as the in movie cameras, although portions of the image are later cropped out in post-production and projection.References.
The so-called 35 mm photographic format measures 24×36 mm. It is named for the 35 mm width of.The 35 mm format, or simply 35 mm, is the common name for the 36×24 mm or used in. It has an of 3:2, and a diagonal measurement of approximately 43 mm. It has been employed in countless photographic applications including (SLR) cameras, (film and digital), and.The format originated with and his introduction of the in the 1920s. Thus it is sometimes called the Leica format or Barnack format. The name 35 mm originates with the total width of the, the cartridge film which was the primary medium of the format prior to the invention of the. The term remains in use.
In, the format has come to be known as full frame, FF or FX, the latter invented as a trade mark of. Historically, the 35 mm format was sometimes called miniature format or small format, terms meant to distinguish it from.
Contents.Invention The 35 mm format was conceived by by doubling the size of the 24×18 mm format used in cinema. Cameras have come a long way, from photographers carrying around heavy plate cameras to a more compact 35 mm camera that could be used professionally or recreationally.
Before, taking photographs was not as readily available for everyone as it is now. Now, photographers can easily take photos anywhere around the world. Being able to have a compact camera opens a whole new door for photography. 33 mm film was created when sliced in half 70 mm film then spliced the ends together.
It became most popular between the years of 1905-1913 and was starting to be used for still photography. In 1913, 35 mm film became more readily available to the public and increased the sales of cameras like the Tourist Multiple and Simplex.Use in still photographic film cameras The term 35 mm camera usually refers to a still camera which uses the 35 mm format on. Such cameras have been produced by, and numerous other companies. Some notable 35 mm camera systems are the original Leica, Leica M, Leica R, Nikon F, Argus C3, Canon FD, Canon EOS, Minolta OM, system, Minolta Maxxum/Dynax 'A' mount system, and the inter-compatible Contax and (C/Y) systems. Use in digital cameras. Further information: andDigital sensors are available in various sizes.
Professional DSLR cameras usually use approximate the dimensions of the 35 mm format, sometimes differing by fractions of a millimeter on one or both dimensions. Since 2007, Nikon has referred to their 35 mm format by the FX. Other makers of 35 mm format digital cameras, including Leica, and Canon, refer to their 35 mm sensors simply as full frame.Most consumer DSLR cameras use smaller sensors, with the most popular size being which measures around 23mm x 15mm (giving it a of 1.6). Compact cameras have smaller sensors with a crop factor of around 3 to 6.Lenses A true for 35 mm format would have a of 43 mm, the diagonal measurement of the format. However, lenses of 43 mm to 60 mm are commonly considered normal lenses for the format, in mass production and popular use. Common focal lengths of lenses made for the format include 24, 28, 35, 50, 85, 105, and 135 mm. Most commonly, a 50 mm lens is the one considered normal; any lens shorter than this is considered a wide angle lens and anything above is considered a telephoto lens.
Even then, wide angles shorter than 24 mm is called an extreme wide angle. Lenses above 50 mm but up to about 100 mm are called short telephoto or sometimes, as portrait telephotos, from 100 mm to about 200 mm are called medium telephotos, and above 300 mm are called long telephotos.35 mm Today In the 21st century, with such a strong influence from social media, it is easy to notice social media’s role in the resurgence of 35 mm film. With the use of hashtags on, and other social media sites, these photographs are being spread quicker than ever before.
30% of Instagram users are between the ages of 18 and 24, which also plays a factor in the film’s rising popularity. It attracts its audience by standing out to the younger generation and has all the fuel it needs to continue growing.It’s safe to say that social media is the main catalyst for the popularity of 35 mm. Instagram, in particular, is known for its documentative presence online and has turned into a hub for photography, not only 35 mm. Below are a number of 35 mm photographs that have been published on Instagram. From big influencers to small personal accounts, 35 mm is making its comeback.Film processing Some of the most popular aspects about 35mm film and why new hobbyist and long time professional photographers alike love the film process is due to the combination of science and mystery involved.
Unlike digital photography, you are unable to instantaneously view the image you have taken like you can with digital photography, leaving you in suspense as you wait for your film to be developed. The development process is another key factor separating analogue from digital.
Only through this process are you able to view the image that was taken, leaving room for even more creative abilities depending how you develop your film. Typically you would have to send in your film into a professional development lab. But now due to the resurgence of film, personal household development kits are available. They are so convenient that large dark rooms are no longer required.Leica 1(A) This was the first commercially available leica 35mm camera designed by Oscar Barnack. It was popularized and further developed the advancement of film photography. The first of these was lacking something you would call a rangefinder. The lens did have a fault, they were irreplaceable.
However, the camera is now fitted with a focal-plane shutter with speeds from 1/20 to 1/500th of a second.This eventually became the basis for all subsequent film cameras for the next 30 years. From this, the camera has evolved to fit many needs that include but are not limited to: aerial photography, underwater photography, etc.Focal length equivalent Many photographers think about in terms of 35 mm format lenses, due to the historic prevalence of the 35 mm format. For example, a photographer might associate a 50 mm focal length with a perspective, because a 50 mm lens produces that perspective on this format.
With many smaller formats now common (such as ), lenses may be advertised or marked with their '35 mm equivalent' or 'full-frame equivalent' focal length as a mnemonic. This 'equivalent' is computed by multiplying (a) the true focal length of the lens by (b) the ratio of the diagonal measurement of the native format to that of the 35 mm format.For example, a lens for APS-C format (18×24 mm) with a focal length of 40 mm, might be described as '60 mm (35 mm equivalent).' Although its true focal length remains 40 mm, its angle of view is equivalent to that of a 60 mm lens on a 35 mm format (24×36 mm) camera. Another example is the lens of the 2/3 inch format Fujifilm X10, which is marked with its true zoom range '7.1–28.4 mm' but has a 35 mm-equivalent zoom range of '28-112 mm'.References.