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Widescreen
Widescreen images are displayed within a set of aspect ratios (relationship of image width to height) used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than the standard 1.37:1 Academy aspect ratio provided by 35 mm film. For television, the original screen ratio for broadcasts was in fullscreen 4:3 (1.33:1). Largely between the 1990s and early 2000s, at varying paces in different nations, 16:9 (1.78:1) widescreen TV displays came into increasingly common use. They are typically used in conjunction with high-definition television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources. With computer displays, aspect ratios wider than 4:3 are also referred to as widescreen. Widescreen computer displays were previously made in a 16:10 aspect ratio (e.g. 1680 × 1050), but now are usually 16:9 (e.g. 1920 × 1080). Film History Widescreen was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Widescreen Wikipedia
Widescreen images are displayed within a set of aspect ratio (image), aspect ratios (relationship of image width to height) used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than the standard 1.37:1 Academy ratio, Academy aspect ratio provided by 35 mm movie film, 35 mm film. For television, the original screen ratio for broadcasts was in Fullscreen (filmmaking), fullscreen 4:3 (1.33:1). Largely between the 1990s and early 2000s, at varying paces in different nations, 16:9 (1.78:1) widescreen TV displays came into increasingly common use. They are typically used in conjunction with high-definition television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources. With computer displays, aspect ratios wider than 4:3 are also referred to as widescreen. Widescreen computer displays were previously made in a 16:10 aspect ratio (e.g. 1680 × 1050), b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aspect Ratio (image)
The aspect ratio of an image is the ratio of its width to its height, and is expressed with two numbers separated by a colon, such as ''16:9'', sixteen-to-nine. For the ''x'':''y'' aspect ratio, the image is ''x'' units wide and ''y'' units high. Common aspect ratios are 1.85:1 and 2.39:1 in cinematography, 4:3 and 16:9 in television photography, and 3:2 in still photography. Some common examples The common film aspect ratios used in cinemas are 1.85:1 and 2.39:1.The 2.39:1 ratio is commonly labeled 2.40:1, e.g., in the American Society of Cinematographers' ''American Cinematographer Manual'' (Many widescreen films before the 1970 SMPTE revision used 2.35:1). Two common videographic aspect ratios are 4:3 (1.:1), the universal video format of the 20th century, and 16:9 (1.:1), universal for high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently. In still camera photography, the most common aspect ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
35 mm Movie Film
35 mm film is a film gauge used in filmmaking, and the film standard. In motion pictures 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 35 mm format photographic film, which consists of strips wide. The standard image exposure length on 35 mm for movies ("single-frame" format) is four perforations per frame 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 inches, was introduced around 1890 by William Kennedy Dickson and Thomas Edison, using 120 film stock supplied by George Eastman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
CinemaScope
CinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter. Its creation in 1953 by Spyros P. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to this day. In film-industry jargon, the shortened form, 'Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, 2.40:1, or 2.55:1 presentation or, sometimes, the use of anamorphic lensing or projection in general. Bausch & Lomb won a 1954 Oscar for its development of the CinemaScope ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
70 Mm Grandeur Film
70mm Grandeur film, also called Fox Grandeur or Grandeur 70, is a 70mm widescreen film format developed by William Fox through his Fox Film and Fox-Case corporations and used commercially on a small but successful scale in 1929–30. Filmography In 1925, with the advent of television on the horizon, William Fox of the Fox Film Studio empire envisioned a "grand" cinema experience to keep the public coming to the movie theaters. As such, he soon put full efforts behind enhancing the silent 35mm film showings by the addition of sound to be coupled to a wider than 35mm end product, with the hoped for result being a grand and lifelike experience for the viewers. This wide screen vision of William Fox soon resulted in his creating a partnership with Theodore Case and his assistant, Earl Sponable, pioneers of Sound on Film, with the partnership to be named the Fox-Case Corporation. The result was, first, the advent of Movietone Sound, then soon combined with the 70mm "Grandeur" wide scre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Happy Days (1929 Film)
''Happy Days'' is a 1929 American pre-Code musical film directed by Benjamin Stoloff, which was the first feature film shown entirely in widescreen anywhere in the world, filmed using the Fox Grandeur 70 mm process. French director Abel Gance's '' Napoléon'' (1927) had a final widescreen segment in what Gance called Polyvision. Paramount released '' Old Ironsides'' (1927), with two sequences in a widescreen process called "Magnascope", while MGM released '' Trail of '98'' (1928) in a widescreen process called "Fanthom Screen". The film features an array of stars who were contracted to William Fox's Fox Film Corporation at that time, including Marjorie White, Will Rogers, Charles Farrell, Janet Gaynor, George Jessel, El Brendel, Ann Pennington, Victor McLaglen, Dixie Lee, Edmund Lowe, and Frank Richardson. It also featured the first appearance of Betty Grable on film, aged 12, as a chorus girl, and Sir Harry Lauder's nephew, Harry Lauder II, a conductor for Fox, who ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Napoléon (1927 Film)
''Napoléon'' is a 1927 French silent epic historical film, produced, and directed by Abel Gance that tells the story of Napoleon's early years. On screen, the title is ''Napoléon vu par Abel Gance'', meaning "Napoleon as seen by Abel Gance". The film is recognised as a masterwork of fluid camera motion, produced in a time when most camera shots were static. Many innovative techniques were used to make the film, including fast cutting, extensive close-ups, a wide variety of hand-held camera shots, location shooting, point of view shots, multiple-camera setups, multiple exposure, superimposition, underwater camera, kaleidoscopic images, film tinting, split screen and mosaic shots, multi-screen projection, and other visual effects. A revival of ''Napoléon'' in the mid-1950s influenced the filmmakers of the French New Wave. The film used the Keller-Dorian cinematography for its color sequences. The film begins in Brienne-le-Château with youthful Napoleon attending mi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyvision
Polyvision was the name given by the French film critic Émile Vuillermoz to a specialized widescreen film format devised exclusively for the filming and projection of Abel Gance's 1927 film '' Napoleon''. Polyvision involved the simultaneous projection of three reels of silent film arrayed in a horizontal row, making for a total aspect ratio of 4:1 (1.33×3:1). Polyvision's extremely wide aspect ratio was the widest aspect ratio yet seen, even though it is technically just three images side by side. In 1955, the Walt Disney Company developed Circle-Vision 360° for use in Disneyland theme parks which used nine 4:3 35 mm projectors to show an image that completely surrounds the viewer. This configuration is considered to be a similar precursor to Cinerama, which would debut a quarter of a century later; however, it is unlikely that Polyvision was a direct inspiration for later widescreen techniques, as the triptych sequence of ''Napoleon'' was cut from the film by its di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
High-definition Television
High-definition television (HD or HDTV) describes a television system which provides a substantially higher image resolution than the previous generation of technologies. The term has been used since 1936; in more recent times, it refers to the generation following standard-definition television (SDTV), often abbreviated to HDTV or HD-TV. It is the current de facto standard video format used in most broadcasts: terrestrial broadcast television, cable television, satellite television and Blu-ray Discs. Formats HDTV may be transmitted in various formats: * 720p (1280 horizontal pixels × 720 lines): 921,600 pixels * 1080i (1920×1080) interlaced scan: 1,036,800 pixels (~1.04 MP). * 1080p (1920×1080) progressive scan: 2,073,600 pixels (~2.07 MP). ** Some countries also use a non-standard CEA resolution, such as 1440×1080i: 777,600 pixels (~0.78 MP) per field or 1,555,200 pixels (~1.56 MP) per frame When transmitted at two megapixels per frame, HDTV provides about five times ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Academy Ratio
The Academy ratio of 1.375:1 (abbreviated as 1.37:1) is an aspect ratio of a frame of 35 mm film when used with 4-perf pulldown.Monaco, James. ''How to Read a Film: The Art, Technology, Language, History and Theory of Film and Media''. Rev. ed. New York: Oxford University Press, 1981. .Bordwell, David and Thompson, Kristin. ''Film Art: An Introduction''. Rev. ed. New York: McGraw-Hill, 1993. . It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928. History Silent films were shot at a 1. aspect ratio (also known as a 4:3 aspect ratio), with each frame using all of the negative space between the two rows of film perforations for a length of 4 perforations. The frame line between the silent film frames was very thin. When sound-on-film was introduced in the late 1920s, the soundtrack was recorded in a stripe running just inside one set of the perforations a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henri Chrétien
Henri Jacques Chrétien (1 February 1879, Paris – 6 February 1956, Washington, D.C.) was a French astronomer and an inventor. Born in Paris, France, his most famous inventions are: - the anamorphic widescreen process, using an anamorphic lens system called Hypergonar, that resulted in the CinemaScope widescreen technique, and - the co-invention, with George Willis Ritchey, of the Ritchey–Chrétien telescope, an improved type of astronomical telescope, employing a system now used in virtually all large research telescopes. He spent part of his early astronomical career at the Nice Observatory, which was close to his house, the Villa Paradou. The Villa was built by famous French architect Charles Garnier who also built the Opera of Paris. In 1995, the abandoned villa was acquired by the artist Rainer Maria Latzke, who restored it and added new murals to the existing frescoes. Chrétien was one of the founders of the ''Institut d'optique théorique et appliquée'' a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Corbett-Fitzsimmons Fight
''The Corbett-Fitzsimmons Fight'' is an 1897 documentary film directed by Enoch J. Rector depicting the 1897 boxing match between James J. Corbett and Bob Fitzsimmons in Carson City, Nevada on St. Patrick's Day. Originally running for more than 100 minutes, it was the longest film released to date; as such, it was the world's first feature film. The technology that allowed this is known as the Latham loop. Rector claimed to have invented the device, but its invention is disputed. He used three such equipped cameras placed adjacently and filming on 63mm nitrate film. Only fragments of the film survive. The known fragments were transferred in the 1980s from a print owned by Jean A. LeRoy of New York City, the transfer done on a specially built optical printer to convert the film to 35mm film. The film was also the first to be shot in widescreen, with an aspect ratio of about 1.65:1. According to Dan Streible, ''The Corbett-Fitzsimmons Fight'' is "one of the earliest indi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
