Lista de formatos de películas cinematográficas
Esta lista de formatos de películas cinematográficas cataloga los formatos desarrollados para filmar o ver películas cinematográficas, desde el formato Chronophotographe de 1888, pasando por formatos de mediados del siglo XX como el formato CinemaScope de 1953, hasta formatos más recientes como el formato IMAX HD de 1992.
Para ser incluidos en esta lista, todos los formatos deben haber sido utilizados en el campo o para pruebas de disparo, y todos deben utilizar imágenes fotoquímicas que se forman o proyectan sobre una base de película, un sustrato transparente que soporta la emulsión fotosensible. Además, los formatos deben haber sido utilizados para hacer más que unos pocos fotogramas de prueba. La cámara debe ser lo suficientemente rápida (en fotogramas por segundo) para crear una ilusión de movimiento consistente con la persistencia del fenómeno de la visión. El formato debe ser significativamente único de otros formatos enumerados en lo que respecta a su captura de imágenes o proyección de imágenes. Las características del formato deben ser claramente definibles en varios parámetros enumerados (por ejemplo, calibre de la película, relación de aspecto, etc.).
Leyenda
- Formato es el nombre del proceso; algunos formatos pueden tener varios nombres en uso común.
- Creador es la persona o empresa más directamente atribuible como el desarrollador del sistema.
- Año creado Generalmente se refiere a la fecha más temprana de que el sistema fue utilizado para la terminación (es decir, proyección), pero puede referirse a cuando fue desarrollado si no se hizo ninguna película conocida.
- Primera película conocida es la primera película (sin incluir pruebas) realizada con el formato y destinada a la liberación.
- Manómetro negativo es el medidor de película (mucho) utilizado para el negativo de la cámara original.
- Relación de aspecto negativo es la relación de imagen determinada por la relación de las dimensiones de la puerta multiplicada por la potencia anafórfica de las lentes de la cámara (1× en el caso de las lentes esféricas).
- Dimensiones de la puerta son la anchura y la altura de la abertura de la puerta de la cámara, y por extensión el marco negativo de la película.
- Desactivación negativa describe las perforaciones de película por marco, la dirección del transporte de películas y la velocidad estándar del marco. Se supone que el transporte de películas es vertical a menos que se indique lo contrario, y se supone que la velocidad estándar del marco es de 24 marcos por segundo a menos que la película sea notada o no tenga ningún estándar. La película silenciosa no tiene velocidad estándar; muchos formatos amateur tienen varias velocidades comunes, pero no estándar.
- Lentes negativos indica si las lentes esféricas (normales) o anmorfas se utilizan en la cámara original negativa, y si las lentes anafórficas, qué potencia anafórfica se utiliza.
- Manómetro de proyección es el medidor de película (mucho) utilizado para la impresión de liberación.
- Relación de aspecto de la proyección es la relación de imagen determinada por la relación de las dimensiones de proyección multiplicada por la potencia anafórfica de las lentes de proyección (1× en el caso de las lentes esféricas). Esto también se conoce como la relación de aspecto teatral prevista.
- Dimensiones de proyección son la anchura y la altura de la placa de abertura del proyector, y por extensión el área del marco de película que se proyecta. La placa de abertura siempre cosecha muy ligeramente el marco.
- Lentes de proyección indica si las lentes esféricas (normales) o anafórficas se utilizan en el proyector, y si las lentes anafórficas, qué potencia anafórfica se utiliza.
Los formatos se enumeran en orden cronológico y por fecha de publicación en el caso de que haya varios formatos en un año, si es posible determinarlo. Los formatos sin fecha se enumeran en la parte inferior en orden alfabético.
Formatos de película
- La tabla no cubre sistemas de cine 3-D o sistemas de película de color, ni es adecuado enfatizar las diferencias entre esos sistemas.
Format | Creator | Est. | First known work |
Negative gauge |
Negative A/R |
Gate dims |
Negative pulldown |
Negative lenses |
Projection gauge |
Projection A/R |
Projection dims |
Projection lenses |
---|---|---|---|---|---|---|---|---|---|---|---|---|
Chronophotographe | Étienne-Jules Marey | 1888 | motion analysis studies | 90 mm | 1.00 | 3.543" × 3.543" | unperforated | spherical | ||||
Paper film | Louis Le Prince | 1888 | Roundhay Garden Scene | 65 mm | 1.00 | unperforated | spherical | not known | 1.00 | spherical | ||
Machine Camera | Wm. Friese-Greene | 1889 | Hyde Park Corner & Marble Arch | 65 mm | 1.00 | pin wheel perforation | spherical | |||||
Kinetoscope cylinder | Wm. Dickson & T. Edison | 1889 or 1890 | Monkeyshines, No. 1 | strip rolled around a cylinder | unperforated | spherical | spherical | |||||
Kinesigraph | Wordsworth Donisthorpe | 1890 or 1891 | view of Trafalgar Square | 70 mm | 1.00 | unperforated | spherical | |||||
Friese-Greene | Wm. Friese-Greene | 1891 | King's Road, Chelsea, London | 60 mm | 1.325 | 8 round perfs, 2 sides | spherical | |||||
Kinetoscope horizontal | Wm. Dickson & William Heise | 1891 | Dickson Greeting | 19 mm | 6 perf, 1 side, horizontal | spherical | spherical | |||||
Silent film standard | Wm. Dickson & T. Edison | 1892 | Blacksmith Scene | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.33 | 0.931" × 0.698" | spherical |
Bioscop | Max Skladanowsky | 1892 | footage of Emil Skladanowsky | 54 mm | unperforated (camera); 4 perf, 2 sides (projection) | spherical | 54 mm (two strips interleaved) | spherical | ||||
Eidoloscope | Woodville Latham | 1895 | Griffo-Barnett Prize Fight | 51 mm | 1.85 | 1.457" × 0.787" | 4 perf, 2 sides | spherical | 51 mm | 1.85 | spherical | |
Cinematographe | Lumière Brothers | 1895 | La Sortie des Usines Lumiere | 35 mm | 1.33 | 0.980" × 0.735" | 1 perf, 2 sides (rounded) | spherical | 35 mm | 1.33 | spherical | |
Biograph | Wm. Dickson & Herman Casler | 1895 | Sparring Contest at Canastota | 68 mm | 1.35 | 2.625" × 1.938" | 1 perf, 2 sides (punched in-camera) | spherical | 68 mm | spherical | ||
Joly-Normandin | Henri Joly | 1895 | 60 mm | 5 perf, 2 sides | spherical | 60 mm | spherical | |||||
Biographe | Demeny-Gaumont | 1896 | 60 mm | 1.40 | 1.750" × 1.250" | unperforated | spherical | 60 mm | 1.40 | spherical | ||
Chronophotographe | Demeny-Gaumont | 1896 | 60 mm | 1.40 | 1.750" × 1.250" | 4 perf, 2 sides | spherical | 60 mm | 1.40 | spherical | ||
Sivan-Dalphin | Casimir Sivan and E. Dalphin | 1896 | 38 mm | 2 perf, 2 sides | spherical | 38 mm | spherical | |||||
Veriscope | Enoch Rector | 1897 | The Corbett-Fitzsimmons Fight | 63 mm | 1.66 | 1.875" × 1.125" | 5 perf, 2 sides | spherical | 63 mm | spherical | ||
Viventoscope | Thomas Henry Blair | 1897 | 48 mm | 1.50 | 1.500" × 1.000" | 1 perf? | spherical | 48 mm | spherical | |||
Birtac | Birt Acres | 1898 | unknown (amateur format) | 17.5 mm | 2 perf, 1 side | spherical | 17.5 mm | spherical | ||||
Biokam | T. C. Hepworth | 1899 | unknown (amateur format) | 17.5 mm | 1.60 | 0.630" × 0.394" | 1 perf, center | spherical | 17.5 mm | spherical | ||
Prestwich 13 mm | John Alfred Prestwich | 1899 | unknown (amateur format) | 13 mm | spherical | 13 mm | spherical | |||||
Mirograph | Reulos, Goudeau & Co | 1900 | unknown (amateur format) | 21 mm | 1 notch, 2 sides | spherical | 21 mm | spherical | ||||
Lumiere Wide | Lumière Brothers | 1900 | 75 mm | 1.33 | 2.362" × 1.772" | 8 perf, 2 sides | spherical | 75 mm | 1.33 | spherical | ||
Cinéorama | R. Grimoin-Sanson | 1900 | Cinéorama | 70 mm × 10 cameras (360°) | 4 perf? | spherical | 70 mm × 10 projectors (360°) | spherical | ||||
La Petite (Hughes) | W.C. Hughes | 1900 | unknown (amateur format) | 17.5 mm | 1.60 | 0.630" × 0.394" | 1 perf, center (smaller and less rectangular than Biokam) | spherical | 17.5 mm | spherical | ||
Pocket Chrono | Gaumont Demeny | 1900 | unknown (amateur format) | 15 mm | 1 perf, center | spherical | 15 mm | spherical | ||||
Vitak | William Wardell | 1902 | unknown (amateur format) | no standard | no standard | no standard | 1 perf, center | spherical | 11 mm | spherical | ||
Home Kinetoscope | Edison | 1912 | unknown (amateur format) | no standard | no standard | no standard | no standard | spherical | 22 mm, 2 perf (on frameline between frame rows) | 1.5 | 0.236" × 0.157" (three frames across width) | spherical |
Pathe Kok | Pathé | 1912 | unknown (amateur format) | 28 mm | 1.36 | 0.748" × 0.551" | 3 perf on one side, 1 perf on the other | spherical | 28 mm | spherical | ||
Duoscope | Alexander F. Victor | 1912 | unknown (amateur format) | 17.5 mm | 2 perfs, center | spherical | 17.5 mm | spherical | ||||
Panoramico | Filoteo Alberini | 1914 | Il sacco di Roma | 70 mm | 2.52 | 5 perf, 2 sides | spherical | 70 mm | spherical | |||
Split Duplex | Duplex Corporation | 1915 | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides (shooting) | spherical | 35 mm | 1.87 | 0.735" × 0.394" | spherical (split image 90° rotated) | |
11 mm | (American) | 1916 | unknown (amateur format) | 11 mm | 1 perf, center | spherical | 11 mm | spherical | ||||
Movette | Movette Camera Company | 1917 | unknown (amateur format) | 17.5 mm | 2 perfs, 2 sides (rounded) | spherical | 17.5 mm | spherical | ||||
28 mm safety standard | Alexander F. Victor | 1918 | unknown (amateur format) | 28 mm | 1.36 | 0.748" × 0.551" | 3 perf, 2 sides | spherical | 28 mm | spherical | ||
Clou | (Austrian) | 1920 | unknown (amateur format) | 17.5 mm | 2 perf, 2 sides | spherical | 17.5 mm | spherical | ||||
26 mm | (French) | 1920 | unknown (amateur format) | 26 mm | 1 perf, 1 side | spherical | 26 mm | spherical | ||||
9.5 mm | Pathé | 1922 | unknown (amateur format) | 9.5 mm | 1.31 | 0.335" × 0.256" | 1 perf, center | spherical | 9.5 mm | 1.31 | 0.315" × 0.242" | spherical |
Phonofilm | Lee De Forest | 1922 | Barking Dog and Flying Jenny Airplane | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.17 | 0.826" × 0.708" | spherical |
Widescope | John D. Elms & George W. Bingham | 1922 | 35 mm × 2 (both in same camera) | 1.33 × 2 negatives | 0.980" × 0.735" | 4 perf, 2 sides | spherical (one lens per strip) | 35 mm × 2 projectors | 2.66 | 0.931" × 0.698" | spherical | |
Cinebloc | Ozaphan | 1922 | unknown (amateur format) | 22 mm | 2 perf, 2 sides | spherical | 22 mm | spherical | ||||
Tri-Ergon soundfilm | Tri-Ergon | 1922 | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 42 mm | 1.33 | 0.931" × 0.698" | spherical | |
16 mm | Eastman Kodak | 1923 | unknown (amateur format) | 16 mm | 1.37 | 0.404" × 0.295" | 1 perf, 1 or 2 sides | spherical | 16 mm | 1.37 | 0.378" × 0.276" | spherical |
Duplex | G.J. Bradley | 1923 | unknown (amateur format) | 11 mm | 2 perf, 2 sides (rounded) | spherical | 11.5 mm | spherical | ||||
Alberini-Hill | Corrado Cerqua | 1924 | 35 mm | 1.66 | 1.575" × 0.945" (curved) | 10 perf, 2 sides, horizontal | spherical, on 65° revolving drum | 35 mm | spherical | |||
Cinelux | Ozaphan | 1924 | unknown (amateur format) | 24 mm | spherical | 24 mm | spherical | |||||
48 mm | J.H. Powrie | 1924 | 48 mm | 1.32 | 1.969" × 1.496" | horizontal | spherical | 35 mm | 1.33 | 0.931" × 0.698" | spherical | |
Natural Vision | George K. Spoor & P. John Berggren | 1925 | Niagara Falls and Rollercoaster Ride | 63.5 mm | 1.84 | 2.060" × 1.120" | 6 perf, 2 sides, 20 frame/s | spherical | 63.5 mm | 2.00 | spherical | |
13 mm | (French) | 1925 | unknown (amateur format) | 13 mm | 4 perf, center | spherical | 13 mm | spherical | ||||
18 mm | (Russian) | 1925 | unknown (amateur format) | 18 mm | 1 perf, 2 sides | spherical | 18 mm | spherical | ||||
Pathe Rural | Pathé | 1926 | unknown (amateur format) | 17.5 mm | 1.35 (silent); 1.30 (sound) | 0.516" × 0.382" (silent); 0.445" × 0.343" (sound) | 1 perf, 2 sides | spherical | 17.5 mm | 1.33 (silent); 1.26 (sound) | 0.472" × 0.354" (silent); 0.445" × 0.343" (sound) | spherical |
Widevision | John D. Elms & George W. Bingham | 1926 | Natural Vision Pictures | 57 mm | 5 perf, 2 sides | spherical | 57 mm | spherical | ||||
Magnascope | Lorenzo del Riccio | 1926 | Old Ironsides | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.33 | 0.931" × 0.698" | spherical (selected scenes projected using a wider lens for larger picture) |
Fox Movietone | F. H. Owens, T. Case, Tri-Ergon | 1927 | Sunrise: A Song of Two Humans | 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" × 0.735" | 4 perf, 2 sides | 2× anamorphic | 35 mm | 2.66 | 0.931" × 0.698" | 2× anamorphic |
Magnafilm | Lorenzo del Riccio | 1929 | You're in the Army Now | 56 mm | 2.19 | 1.620" × 0.740" | 4 perf, 2 sides | spherical | 56 mm | 2.00 | spherical | |
Fox Grandeur | Fox Film Corporation | 1929 | Fox Grandeur News and Fox Movietone Follies of 1929 | 70 mm | 2.07 | 1.890" × 0.913" | 4 perf, 2 sides, 20 frame/s (before 1930) | spherical | 70 mm | 2.00 | 1.768" × 0.885" | spherical |
Fearless Super Pictures | Ralph G. Fear | 1929 | 35 mm | 2.27 | 1.813" × 0.800" | 10 perfs, 2 sides, horizontal | spherical | 35 mm, horizontal | spherical | |||
Fearless Super-Film / Magnifilm / Fox Vitascope |
Ralph G. Fear | 1930 | Kismet | 65 mm | 2.00 | 1.811" × 0.906" | 5 perf, 2 sides | spherical | 65 mm | 2.05 | 1.772" × 0.866" | spherical |
Realife | MGM | 1930 | Billy the Kid | 70 mm | 2.07 | 1.890" × 0.913" | 4 perf, 2 sides | spherical | 35 mm | 1.75 | 0.904" × 0.517" | spherical |
50 mm | Fox Film Corporation & SMPE | 1930 | 50 mm | 1.80 | 1.325" × 0.735" | spherical | 50 mm | 1.80 | 1.305" × 0.725" | spherical | ||
17 mm sound | (French) | 1930 | unknown (amateur format) | 17 mm | 1 perf, 1 side | spherical | 17 mm | spherical | ||||
Giant Expanding Pictures | George Palmer | 1930 | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.17 | 0.826" × 0.708" | spherical (with a special projection zoom lens zooming wider and opening masking for key sequences) | |
Kodel Kemco Homovie | Clarence Ogden | 1931 | unknown (amateur format) | 16 mm | 4 sequential images per frame | 1 perf, 2 sides | spherical | 16 mm | spherical | |||
Academy format | AMPAS | 1932 | 35 mm | 1.375 (commonly abbreviated to 1.37) | 0.868″ × 0.631″ | 4 perf, 2 sides | spherical | 35 mm | 1.37 | 0.825″ × 0.600″ | spherical
| |
8 mm | Eastman Kodak | 1932 | unknown (amateur format) | 16 mm | 1.32 | 0.192" × 0.145" | 1 perf, 1 side (using 16 mm film with twice as many perfs) | spherical | 8 mm | 1.33 | 0.172" × 0.129" | spherical |
Straight 8 | Bell & Howell | 1935 | unknown (amateur format) | 8 mm | 1.32 | 0.192" × 0.145" | 1 perf, 1 side | spherical | 8 mm | 1.33 | 0.172" × 0.129" | spherical |
Vitarama | Fred Waller | 1939 | 16 mm × 11 cameras | 1.37 × 11 negatives | 0.404" × 0.295" | 1 perf, 2 sides | spherical | 16 mm × 11 projectors | hemispherical view | 0.378" × 0.276" | spherical | |
Waller FlexibleGunnery Trainer | Fred Waller | 1943 | US Air Force interactive training exercise | 35 mm × 5 cameras | 1.37 × 5 negatives | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm × 5 projectors | hemispherical view | 0.825" × 0.602" | spherical |
Cinerama | Fred Waller | 1952 | This is Cinerama | 35 mm × 3 cameras | 2.59 (3 × negatives) | 0.996" × 1.116" | 6 perf, 2 sides at 26 frame/s | spherical | 35 mm × 3 projectors, with 6 perf pulldown | 2.59, with 146° curved screen | 0.985" × 1.088" | spherical |
Matted 1.66 | Paramount | 1953 | Shane | 35 mm | 1.37 | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.66 | 0.825" × 0.497" | spherical |
Matted 1.85 | Universal | 1953 | Thunder Bay | 35 mm | 1.37 | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.85 | 0.825" × 0.446" | spherical |
Matted 1.75 | MGM | 1953 | Arena | 35 mm | 1.37 | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.75 | 0.825" × 0.471" | spherical |
Cinemascope | 20th Century Fox | 1953 | The Robe | 35 mm | 2.55 (1953–57); 2.35 (1957–67) | 0.937" × 0.735" (1953–57); 0.868" × 0.735" (1957–67) | 4 perf, 2 sides | 2× anamorphic | 35 mm | 2.55 (1953–57); 2.35 (1957–67) | 0.912" × 0.715" (1953–57); 0.839" × 0.715" (1957–67) | 2× anamorphic |
Arnoldscope | John Arnold | 1953 | 35 mm | 10 perf, 2 sides, horizontal | spherical | |||||||
VistaVision | Paramount | 1954 | White Christmas | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, 2 sides, horizontal | spherical | 35 mm, 4 perf, vertical | 1.85 | 0.825" × 0.446" | spherical |
VistaVision Large Area | Paramount | 1954 | White Christmas | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, 2 sides, horizontal | spherical | 35 mm, 8 perf, horizontal | 1.96 | 1.418" × 0.723" | spherical |
Superscope | Tushinsky Brothers | 1954 | Vera Cruz | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | 2.00 | 0.715" × 0.715" | 2× anamorphic |
Circarama | Disney | 1955 | A Tour of the West | 16 mm × 11 cameras | 1.37 × 11 negatives | 0.404" × 0.295" | 1 perf, 2 sides | spherical | 16 mm × 11 projectors | 360° | 0.378" × 0.276" | spherical |
Todd-AO | Michael Todd | 1955 | Oklahoma | 65 mm | 2.29 | 2.072" × 0.906" | 5 perfs, 2 sides, at 30 frame/s | spherical | 70 mm | 2.21, with 120° curved screen | 1.912" × 0.870" | spherical |
CinemaScope 55 | 20th Century Fox | 1955 | Carousel | 55 mm | 2.55 | 1.824" × 1.430" | 8 perfs, 2 sides | 2× anamorphic | 35 mm | 2.55 | 0.912" × 0.715" | 2× anamorphic |
9.5 Duplex | Pathé Fréres | 1955 | ? | 9.5 mm | 1.51 | 4.1 mm × 6.2 mm | 2 central perforations in a 9.5mm film | spherical | 4.75 mm | spherical, rotated 90° | ||
8 mm Panoramic | Dimaphot, Paris | 1955 | ? | 16 mm | 1.5 | 5 mm × 7.5 mm | 1 perf, 2 sides | spherical | 8 mm | spherical, rotated 90° | ||
Emel Panoscope | Emel, Paris | 1955 | ? | 16 mm | 2.7 | 3.5 mm × 9.6 mm | 2 perf, 2 sides | spherical | 16 mm | spherical | ||
Technirama | Technicolor | 1956 | The Monte Carlo Story | 35 mm | 2.26 | 1.496" × 0.992" | 8 perf, 2 sides, horizontally | 1.5× anamorphic | 35 mm, 4 perf vertical | 2.35 | 0.839" × 0.715" | 2× anamorphic |
Technirama Large Area | Technicolor | 1956 | The Monte Carlo Story | 35 mm | 2.26 | 1.496" × 0.992" | 8 perf, 2 sides, horizontally | 1.5× anamorphic | 35 mm, 8 perf horizontal | 2.42 | 1.421" × 0.881" | 1.5× anamorphic |
Dynamic Frame | Glenn Alvey | 1956 | The Door in the Wall | 35 mm | 1.3, 1.6, and 2.5 | variable aperture plates | 8 perf, 2 sides, horizontally | spherical | 35 mm, 4 perf, vertical | 1.3, 1.5, and 2.5 | spherical | |
Superscope 235 | Superscope Inc. | 1956 | Run for the Sun | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | 2.35 | 0.839" × 0.715" | 2× anamorphic |
Thrillarama | Albert H. Reynolds | 1956 | Thrillarama Adventure | 35 mm × 2 cameras | 1.78 × 2 negatives | 3 perf, 2 sides? | spherical | 35 mm × 2 projectors | 3.55, with a curved screen | spherical | ||
Magirama | Abel Gance | 1956 | Magirama | 35 mm × 3 cameras (sides bounced off mirrors) | 1.33 × 3 negatives | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm × 3 projectors (sides bounced off mirrors) | 4.00 | 0.931" × 0.698" | spherical |
MGM Camera 65 | Panavision | 1957 | Raintree County | 65 mm | 2.76 | 2.072" × 0.906" | 5 perf, 2 sides | 1.25× anamorphic | 70 mm | 2.76 | 1.912" × 0.870" | 1.25× anamorphic |
Ultra Panavision | Panavision | 1962 | Mutiny on the Bounty | 65 mm | 2.76 | 2.072" × 0.906" | 5 perf, 2 sides | 1.25× anamorphic | 70 mm | 2.76 | 1.912" × 0.870" | 1.25× anamorphic |
Cinestage | Mike Todd | 1957 | Around the World in 80 Days | 65 mm | 2.29 | 2.072" × 0.906" | 5 perfs, 2 sides | spherical | 35 mm (1 mm shaved off for UK prints) | 2.12 | 0.912" × 0.675" | 1.567× anamorphic |
Rank VistaVision | J. Arthur Rank Organization | 1957 | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, 2 sides, horizontally | spherical | 35 mm, 4 perf, vertical | 1.82 | 0.825" × 0.602" | 1.33× anamorphic | |
Modern anamorphic | Panavision | 1958 | The Female Animal | 35 mm | 2.37 | 0.866" × 0.732" | 4 perf, 2 sides | 2× anamorphic | 35 mm | 2.35 (1957–70); 2.39 (1970–present) | 0.839" × 0.715" (1957–70); 0.838" × 0.7" (1970–93); 0.825" × 0.690" (1993–present) | 2× anamorphic |
Kinopanorama | NIKFI | 1958 | Great Is My Country | 35 mm × 3 cameras | 0.91 × 3 negatives | 1.014" × 1.116" | 6 perf, 2 sides, at 25 frame/s | spherical | 35 mm × 3 projectors | 2.72 | 0.985" × 1.088" | spherical |
70 mm | American Optical Company | 1958 | South Pacific | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides | spherical | 70 mm | 2.21 | 1.912" × 0.87" | spherical |
Cinemiracle | National Theatres | 1958 | Windjammer | 35 mm × 3 cameras (sides bounced off mirrors) | 0.89 × 3 negatives | 0.996" × 1.116" | 6 perf, 2 sides at 26 frame/s | spherical | 35 mm × 3 projectors (sides bounced off mirrors), with 6 perf pulldown | 2.59, with 120° curved screen | 0.985" × 1.088" | spherical |
Super Technirama | Technicolor | 1959 | Sleeping Beauty | 35 mm | 2.26 | 1.496" × 0.992" | 8 perf, 2 sides, horizontally | 1.5× anamorphic | 70 mm | 2.21 | 1.912" × 0.816" | spherical |
Smith-Carney System | Rowe E. Carney Jr. and Tom F. Smith | 1959 | Missouri travelogue | 35 mm | 4.69 | 0.839" × 0.370" (bottom half) and 0.449" × 0.370" (top quarters) | 4 perf, 2 sides | spherical × 3 | 35 mm | 4.69 | three sub-frames projected to one 180° image | spherical × 3 |
Circular Kinopanorama / Circlorama | E. Goldovsky | 1959 | The Path of Spring | 35 mm × 11 cameras | 1.37 × 11 negatives | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm × 11 projectors | 360° | 0.825" × 0.602" | spherical |
Varioscope | Jan Jacobsen | 1959 | Flying Clipper | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides | spherical | 70 mm | variable framing run through control signal | 1.912" × 0.87" | spherical |
Quadravision | Ford Motor Company | 1959 | Design for Suburban Living showtent | ? mm × 4 cameras | ? × 4 negatives | spherical | ? mm × 4 projectors | ? (4 images in 2×2 configuration) | spherical | |||
Techniscope | Technicolor | 1960 | The Pharaoh's Woman | 35 mm | 2.33 | 0.868" × 0.373" | 2 perf, 2 sides | spherical | 35 mm | 2.39 | 0.838" × 0.7" | 2× anamorphic |
Wonderama (Arc 120) | Leon W. Wells | 1960 | Honeymoon | no standard | no standard | no standard | no standard | no standard | 35 mm | 2.50 with a 120° curved screen | 0.931" × 0.698", with two half-images turned 90° and placed side-by-side | spherical × 2 |
Cine System 3 | Eric Berndt | 1960 | USAF and NASA usage | 3 mm | 1 perf, centered | spherical | ||||||
Grandeur 70 | 20th Century Fox | 1961 | The King and I (re-release) | 55 mm | 2.55 | 1.824" × 1.430" | 8 perfs, 2 sides | 2× anamorphic | 70 mm | 2.21 | 1.912" × 0.87" | spherical |
Cinerama 360 | Cinerama Corporation | 1962 | Journey to the Stars | 65 mm | 1.00 (circle) | 2.25" diameter circular image | 10 perf, 2 sides | fisheye | 70 mm | 1.00 (circle) | 2.25" diameter circular image | spherical |
Super 8 | Eastman Kodak | 1965 | unknown (amateur format) | 8 mm | 1.48 | 0.245" × 0.166" | 1 perf, 1 side | spherical | 8 mm | 1.36 | 0.215" × 0.158" | spherical |
Real Sound | Kenner | 1965 | no standard | no standard | no standard | 1 perf, 1 side | spherical | 11.5 mm | 1.33 | 0.172" × 0.129" | spherical | |
Double Super 8 | Eastman Kodak | 1965 | unknown (amateur format) | 16 mm | 1.48 | 0.245" × 0.166" | 1 perf, 1 side (using 16 mm film with twice as many perfs) | spherical | 8 mm | 1.36 | 0.215" × 0.158" | spherical |
Single-8 | Fujifilm | 1966 | unknown (amateur format) | 8 mm | 1.36 | 0.224" × 0.164" | 1 perf, 1 side | spherical | 8 mm | 1.35 | 0.213" × 0.157" | spherical |
Dimension 150 | American Optical Company | 1966 | The Bible: In the Beginning | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides | spherical | 70 mm | 2.21, with 150° curved screen | 1.912" × 0.87", optically curved to compensate for the screen | spherical |
Circle Vision 360 | Disney | 1967 | America the Beautiful | 35 mm × 9 cameras | 1.37 × 9 negatives | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm × 9 projectors | 360° | 0.825" × 0.602" | spherical |
8.75 mm | Shanghai Film Projection Equipment Factory | 1968 | unknown (amateur format) | 1 perf | spherical | 8.75 mm | spherical | |||||
Astrovision | Goto Optical | 1969 | 65 mm | 10 perf, 2 sides | spherical or fish-eye | 70 mm | fish-eye (dome projection) | |||||
IMAX | IMAX Corporation | 1970 | Tiger Child | 65 mm | 1.34 | 2.772" × 2.072" | 15 perf, 2 sides, horizontally | spherical | 70 mm, horizontal | 1.31 | 2.692" × 2.056" | spherical |
Super 16 mm film | Rune Ericson | 1970 | Blushing Charlie | 16 mm | 1.66 | 0.493" × 0.292" | 1 perf, 1 side | spherical | no standard, but often blown up to 35 mm | no standard | 0.463" × 0.279" (full frame); 0.463" × 0.251" (framed for 1.85) | spherical |
Pik-a-Movie | Leon W. Wells | 1972 | no standard | no standard | no standard | no standard | no standard | 70 mm, horizontal, 1 perf, 2 sides | 1.48 | 0.245" × 0.166", 12 rows high, underneath 12 rows of optical sound | spherical | |
OMNIMAX | IMAX Corporation | 1973 | Garden Isle | 65 mm | 1.34 | 2.772" × 2.072" | 15 perf, 2 sides, horizontally | special fish-eye lenses optically centered 0.37" above film horizontal center line | 70 mm, horizontal | 1.31 | 2.692" × 2.056" | spherical, projected elliptically on a dome screen, 20 degrees below and 110 degrees above perfectly centered viewers |
8/70 (Dynavision, Iwerks 870) |
Dynavision | 1973? | 65 mm | 1.37 | 2.031" × 1.484" | 8 perf, 2 sides, 24 or 30 frame/s | spherical | 70 mm | 1.34 | 1.913" × 1.431" | spherical | |
Showscan | Douglas Trumbull | 1978 | Night of Dreams | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides, at 60 frame/s | spherical | 70 mm, at 60 frame/s | 2.21 | 1.912" × 0.87" | spherical |
Polavision | Polaroid Corporation | 1978 | unknown (amateur format) | 8 mm | 1.48 | 0.245" × 0.166" | 1 perf, 1 side | spherical | 8 mm | 1.36 | 0.215" × 0.158" | spherical |
Cinema 180 | Omni Films | 1979 | Crazy Wheels | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides, 30 frame/s | fisheye | 70 mm | 180°, on a dome | 1.912" × 0.87" | fisheye |
Super 35 | Joe Dunton | 1982 | Dance Craze | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 sides | spherical | 35 mm | no standard | no standard | no standard |
Circle Vision 200 | Disney | 1982 | Impressions de France | 35 mm × 5 cameras | 1.37 × 5 negatives | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm × 5 projectors | 6.85, on a 200° screen | 0.825" × 0.602" | spherical |
Swissorama 360 / Imagine 360 | Ernst A. Heiniger | 1984 | Impressions of Switzerland | 65 mm | 360° | 1.91" (outer edge), 1.20" (inner edge) | 10 perf, 2 sides | 360° × 35° extreme fisheye | 70 mm | 360° | 360° × 35° extreme fisheye | |
Super Duper 8 / Max 8 / Super 8B |
Mitch Perkins & Greg Miller | mid- 1980s | Sleep Always (2002) | 8 mm | 1.51 | 0.250" × 0.166" | 1 perf, 1 side | spherical | 8 mm | no standard | no standard | spherical |
3-perf | Rune Ericson | 1987 | Pirates of the Lake | 35 mm | 1.79 | 0.980" × 0.546" | 3 perf, 2 sides | spherical | 35 mm | no standard | no standard | no standard |
Super VistaVision | Paramount | 1989 | The Ten Commandments (re-release) | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, 2 sides, horizontal | spherical | 70 mm | 2.21 | 1.912" × 0.87" | spherical |
Kinoton HDFS | Kinoton | 1990 | no standard | no standard | no standard | no standard | no standard | 35 mm | 2.00 | 0.931" × 0.698" | 1.5× anamorphic | |
IMAX Magic Carpet | IMAX Corporation | 1990 | Flowers in the Sky | 65 mm × 2 cameras | 1.34 | 2.772" × 2.072" | 15 perf, 2 sides, horizontally | spherical | 70 mm, horizontal × 2 projectors | 1.31 × 2 screens (one in front, one below) | 2.692" × 2.056" | spherical |
Iwerksphere | Iwerks | 1991 | 65 mm | 1.37 | 2.031" × 1.484" | 8 perf, 2 sides, 24 or 30 frame/s | fisheye | 70 mm | 1.34 | 1.913" × 1.431" | fisheye | |
IMAX HD | IMAX Corporation | 1992 | Momentum | 65 mm | 1.34 | 2.772" × 2.072" | 15 perf, 2 sides, horizontally, 48 frame/s | spherical | 70 mm, horizontal | 1.31 | 2.692" × 2.056" | spherical |
Hexiplex | (Australian) | 1992 | Expo '92 demo | 35 mm × 6 cameras | 1.37 × 6 negatives | 0.866" × 0.630" | 4 perf, 2 sides | spherical | 35 mm × 6 projectors | 360°, with rotating screens and projectors | 0.825" × 0.602" | spherical |
Ultra Toruscope | Mac McCarney | 1992 | 35 mm × 3 cameras | 1.37 × 3 negatives | 0.866" × 0.630" | 4 perf, 2 sides, at 30 frame/s | spherical | 70 mm × 3 projectors, at 30 frame/s | 360° | 1.912" × 0.87" | spherical | |
Imagination FX 7012 | Geo-Odyssey | 1992? | 35 mm | 2.08 | 2.040" × 0.980" | 12 perf, 2 sides, horizontal | spherical | 70 mm | 2.21 | 1.912" × 0.87" | spherical | |
Univisium | Vittorio Storaro | 1998 | Tango | 35 mm | 2.00 | 0.945" × 0.472" | 3 perf, 2 sides at 25 frame/s | spherical | 35 mm | 2.00 | spherical | |
Maxivision | Dean Goodhill | 1999 | 35 mm | 1.79 | 0.980" × 0.546" | 3 perf, 2 sides | spherical | 35 mm, 3 perf | 1.85 | spherical | ||
Maxivision 48 | Dean Goodhill | 1999 | 35 mm | 1.79 | 0.980" × 0.546" | 3 perf, 2 sides, 48 frame/s | spherical | 35 mm, 3 perf, 48 frame/s | 1.85 | spherical | ||
Super Dimension 70 | Robert Weisgerber | 1999 | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides, at 48 frame/s | spherical | 70 mm, at 48 frame/s | 2.21 | 1.912" × 0.87" | spherical | |
FuturVision 360 | 65 mm | 1.52 | 2.066" × 0.906" | 5 perfs, 2 sides, 30 frame/s | 1.5× vertical anamorphic | 70 mm | 1.47 | 1.912" × 0.87" | 1.5× vertical anamorphic | |||
Mini-Max | Vistascope | 35 mm | 2.66 | 2 perf, 2 sides, 30 frame/s | spherical | 35 mm | 2.66 | spherical | ||||
MotionMaster | Omni Films | 65 mm | 2.28 | 2.066" × 0.906" | 5 perfs, 2 sides, 30 frame/s | spherical | 70 mm | 2.21, on a curved screen | 1.912" × 0.87" | spherical | ||
Row-film | R. Thun | 35 mm | 20 rows of images wide | spherical | spherical | |||||||
Septorama | ? mm × 7 cameras | 1.33 × 7 negatives | spherical | ? mm × 7 projectors | hemispherical view | spherical | ||||||
Single Cinerama | Fred Waller | 35 mm | curved gate | 16 perf, 2 sides, horizontal | spherical | 35 mm, horizontal | curved screen | spherical | ||||
Soviet 10 | 65 mm | 10 perf, 2 sides | 2× anamorphic | 70 mm | 2.09 | 1.890" × 1.811" | 2× anamorphic | |||||
Vario-35 | 35 mm | spherical | 35 mm | variable framing run through control signal | 0.835" × 0.713" (full); 0.835" × 0.453" (1.84); 0.709" × 0.524" (1.35); 0.614" × 0.614" (1.00); 0.535" × 0.713" (0.75) | spherical | ||||||
Vario-35A | 35 mm | 35 mm | variable framing run through control signal | 0.835" × 0.713" | variable anamorphic (2× for 2.35; 1.57× for 1.85; 1.17× for 1.37; 0.85× for 1.00; 0.64× for 0.75; 0.5× for 0.59) | |||||||
Vario-70 | 65 mm | 10 perfs, 2 sides | spherical | 70 mm | variable framing run through control signal | 1.890" × 1.811" (full); 1.890" × 0.803" (2.35); 1.673" × 0.906" (1.85); 1.441" × 1.051" (1.37); 1.232" × 1.232" (1.00); 1.063" × 1.429" (0.74); 0.945" × 1.604" (0.59); 0.839" × 1.811" (0.46) | spherical | |||||
Format | Creator | Est. | First known work |
Negative gauge |
Negative A/R |
Gate dims |
Negative pulldown |
Negative lenses |
Projection gauge |
Projection A/R |
Projection dims |
Projection lenses |
Véase también
- Lista de nombres comerciales de formato anmorfo
- Imagen de movimiento de color
- Lista de sistemas de sonido de película
- Resolución de pantalla
- Proporción de aspecto
- Lista de formatos fotográficos
Notas
- ^ a b c d e f Strictly speaking, aspect ratios for film are always expressed as the ratio of 1 and are formatted as x:y, e.g. 1.85:1. Sin embargo, en interés del formato, las proporciones de aspecto enumeradas asumirán la relación de 1 y omitirán el sufijo:1.
- ^ Burns, R.W., Televisión: Una historia internacional de los años formativos, pág. 71, Institución de Ingenieros Eléctricos, 1991.
- ^ Scott, E. Kilburn, "La carrera de L. A.A. Le Prince", Aventuras en Cibersonido. Consultado 2008-05-17.
- ^ Hiller, John. "Film History for the Public: The First National Movie Machine Collection", Historia del cine, v. 11, n. 3, p. 373. Indiana University Press, 1999.
- ^ a b Sherlock, p. 3.
- ^ a b c Sherlock, p. 40.
- ^ a b Hummel, p. 16.
- ^ Sherlock, p. 5-6.
- ^ a b Sherlock, p. 4.
- ^ a b Sherlock, p. 5.
- ^ a b Sherlock, p. 6.
- ^ Sherlock, p. 6-7.
- ^ a b Sherlock, p. 59.
- ^ a b c Hummel, p. 10.
- ^ Hart, Cinerama Specs.
- ^ Hart, CinemaScope Specs y De Apertures and Aspect Ratios.
- ^ Hart, Ultra Panavision, p. 1.
- ^ a b Hart, VistaVision Specs.
- ^ Sherlock, p. 27.
- ^ a b Hart, SuperScope Specs.
- ^ Sherlock, p. 19-20.
- ^ a b Incluso después de disminuir la velocidad de marco de 30 a 24 frame/s, las producciones de Todd AO retuvieron el uso del mismo nombre comercial en las películas de 24 frame/s. No hay diferencia entre 24 marcos/s Todd AO, Super Panavision, y lo que de otro modo se denomina estándar 65/70 mm.
- ^ Hart, Todd A.O. Specs.
- ^ Hart, CinemaScope Specs.
- ^ Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondreville-sur-Essonne, France, 2007, ISBN 2-9522521-3-0, pág. 107
- ^ Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondreville-sur-Essonne, France, 2007, ISBN 2-9522521-3-0, -- título num 51
- ^ Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondreville-sur-Essonne, France, 2007, ISBN 2-9522521-3-0, -- usuario page num 59
- ^ a b c Hart, Technirama Specs.
- ^ Sherlock, p. 58.
- ^ Hart, Thrillarama
- ^ Hart, Ultra Panavision Specs.
- ^ Sherlock, p. 31.
- ^ Hummel, p. 13.
- ^ Sherlock, p. 11-12.
- ^ Hummel, p. 17.
- ^ Hart, Cinemiracle Specs.
- ^ Hart, el sistema Smith-Carney.
- ^ a b Sherlock, p. 19.
- ^ Fromm, Gerhard. "La obra de Jan Jacobsen", ..en 70 mm: el boletín de 70 mm, Cuestión 57 (junio de 1999). Consultado 2008-12-01.
- ^ Nilsen, Sarah Dawn. Proyecto América: Cine en la Feria Mundial de Bruselas de 1958, pág. 96. University of Southern California Press, 2000.
- ^ Hart, Techniscope Specs.
- ^ a b Sherlock, p. 18.
- ^ Nystrom
- ^ "Film Gauges". Glosario de conservación. National Film and Sound Archive. Archivado desde el original el 21 de julio de 2009.
- ^ Hart, CinemaScope, p. 6.
- ^ "Punto de vista Japón", The British Journal of Photography3 de diciembre de 1965, pág. 1050.
- ^ Sherlock, p. 17-18.
- ^ Clark, Paul. La Revolución Cultural China: Una historia, pág. 146. Cambridge: Cambridge University Press, 2008.
- ^ a b c Sherlock, pág. 37.
- ^ Hummel, p. 18.
- ^ "Pik-A-Movie", British Kinematography Sound and Television, agosto de 1973. Consultado 2008-07-07.
- ^ Hummel, p. 18-19.
- ^ Hummel, p. 19.
- ^ Sherlock, pág. 39
- ^ Giambarba, Paul. La marca de Polaroid 1957-1977, Capítulo 18, 2004-09-01. Consultado 2008-07-07.
- ^ a b Aridi, Sal (Julio-diciembre 2000). "Large Format Cinematography". Operador de cámara. Archivado desde el original el 2008-06-29.
- ^ Hummel, p. 11.
- ^ Sherlock, pág. 20
- ^ Piccolin, Lukas. "All-Around Cinema", in70mm.com, 2004-10-01. Consultado 2008-07-07.
- ^ Vigeant, Phil. Dibujos esquemáticos técnicos de formato Max8, Pro8mm, 2005-11-09.
- ^ www.jelve.com. "Sleep Always lift article". www.friendlyfirefilms.com.
- ^ Hummel, p. 20.
- ^ "Avanzando la liberación de Vertigo", Los Angeles Times1996-06-16. Consultado 2008-07-07.
- ^ Lobban, Grant. "Widescreen and 3D Formats Wallchart", BKSTS. [año desconocido]
- ^ Schwartzberg, Schlomo. "IMAX: Oscar nominado compañía canadiense en el borde líder de la tecnología" Archivado 2009-02-15 en el Wayback Machine, Artes y entretenimiento en Canadá, Primavera 1993. Consultado 2008-07-07.
- ^ Katz, Stephen Douglas. Dirección de cine Shot by Shot: Visualización de Concepto a Pantalla, p. 330. Michael Wiese Productions, 1991.
- ^ Naimark, "Giant Rectangular Screens".
- ^ Naimark, "Cylindrical Screens".
- ^ Storaro, Vittorio. Las notas de Storaro sobre Univision, fecha desconocida. Consultado el 2006-12-01.
- ^ a b Hindes, Andrew. Pegando con 35mm, Variedad, 1999-04-19. Consultado 2008-05-16.
- ^ Weisgerber, Robert. Super Dimension 70: Nuevo proceso de 70 mm Demostrado, in70mm.com, Edición 63 (marzo 2001). Consultado 2008-05-17.
- ^ Lobban, Grant. "Film Gauges and Soundtracks Wallchart", BKSTS. [año desconocido]
- ^ Maestro de Moción, Pantalla Digest, 1o de octubre de 1995. Consultado 2008-05-17.
- ^ Nystrom, barra lateral.
- ^ Kimble, Greg. "¡Esto es Cinerama!": El 50 aniversario de Cinerama, parte 4 Archivado 2008-04-01 en la Máquina Wayback, in70mm.com, 2002-06-10. Consultado 2008-05-16.
- ^ a b c d Sherlock, pág. 58
Referencias
- Carr, Robert E. and Hayes, R. M., Wide Screen Movies. Historia y filmografía de la producción cinematográfica de gran calibre. Mc Farland & Company, 1988.
- Hart, Martin. American Widescreen Museum, 1996–2008. Consultado el 2008-05-16.
- Herbert, Stephen y Luke McKernan, Eds. Quien es Quien de Cine Victoriano, 1996–2006. Consultado el 2006-12-01.
- Hummel, Rob (editor). American Cinematographer Manual, 8a edición. Hollywood: ASC Press, 2001.
- Naimark, Michael. Expo '92 Sevilla, Presencia, Vol. 1, No. 3. MIT Press, Summer 1992. Consultado el 2006-12-01.
- Nystrom, J.E. Historia de Formatos y Cámaras de Sub-35mm, 1998–2001. Consultado el 2006-12-01.
- Sherlock, Daniel J. "Wide Screen Movies" Correcciones, 1994-2004. Consultado el 2006-12-01.
Más lectura
- Baumgarten, Martin W. 8 mm Film Gauges, 2006. Consultado el 2006-12-01.
- de Vries, Tjitte. ¿"Cinematographe Lumiere" un mito? ¿Quién inventó el cine?, 2006. Consultado el 2006-10-22.
- Eastman Kodak Corporation. 40 años de Super 8, 2005. Consultado el 2006-12-01.
- Eastman Kodak Corporation. Kodak Chronology of Motion Picture Films. 2003. Consultado el 2006-12-01.
- eFilmCenter. Ultimate Table of Formats and Aspect Ratios, date unknown. Consultado el 2006-12-01.
- Fisher, David. Chronomedia, 1970–2006. Consultado el 2006-10-22.
- Hart, Douglas C. The Camera Assistant: A Complete Professional Handbook. Newton, Massachusetts: Focal Press, 1996.
- Hauerslev, Thomas, ed. in70mm.com, 1985–2006. Consultado el 2006-12-01.
- Hayes, John. Pero primero, una breve historia de pantalla ancha... Wide Screen Movies Magazine, Vol. 1, 2002. Consultado el 2006-12-01.
- Herbert, Stephen. Museo de la imagen móvil, fecha desconocida. Consultado el 2006-12-01.
- Horak, Jan Christopher. Introducción a los Gauges. UCLA Film and Television Archive, 2000. Consultado el 2006-12-01.
- Internet Movie Database Incorporated. Internet Movie Database, 1990–2006. Consultado el 2006-12-01.
- Jennings, Tom (editor). ¿El proyecto Dead Media, 2001? Consultado el 2006-10-22.
- Kattelle, Alan. Breve historia de los Gauges de Amateur y equipo relacionado, 1899–2001, 2003. Consultado el 2006-10-22.
- Biblioteca del Congreso, Historia de Edison Motion Pictures, fecha desconocida. Consultado el 2006-12-01.
- MCC Logical Designs. Información Técnica. fecha desconocida. Consultado el 2006-12-01.
- Mendrala, Jim. Aspect Ratio and Image Cutoff, 1994. Consultado el 2006-10-22.
- Munafo, Robert P. Film Formats en MROB, 1996–2008. Consultado el 2006-12-01.
- Musser, Charles. Notas de cine Edison, 2005. Consultado el 2006-12-01.
- Naughton, Russell. Aventuras en Cybersound, 1998–2003. Consultado el 2006-10-22.
- Newnham, Grahame. Recopilación de pintura, 2000–2006. Consultado el 2006-12-01.
- Norwood, Scott E. Film Tech FAQ, 1998. Consultado el 2006-12-01.
- Panavision Incorporated. Panavision: Technical Information: Aspect Ratio Overview, 2004. Consultado el 2006-12-01.
- Roepke, Martina y Henk Verheul. Película de Ernemann, 2002-2006. Consultado el 2006-12-01.
- Science Museum Group. Colección cinematográfica. Consultado 2020-05-04.
- ScreenSound Australia. Formatos de película, fecha desconocida. Consultado el 2006-12-01.
- ScreenSound Australia. Film Gauges, fecha desconocida. Consultado el 2006-12-01.
- Sociedad de Operadores de Cámara. Operating Cameraman Magazine, 1991–2005. Consultado el 2006-12-01.
- UCLA Film and Television Archive. UCLA Film and Television Archive Terminology, Definitions, and Abbreviations List, 2004. Consultado el 2006-12-01.
- autor desconocido. Formatos 8 mm, 2004–2005. Consultado el 2008-06-23.
- Vigeant, Rhonda. Max 8 Press Release, 2005. Consultado el 2006-12-01.
- Westphal, Kyle. Una Historia Ampliada del Magnascopio, 2016. Consultado en 2018-01-18
- Wittmann, Armin Michael. Una imagen larga. Disertation for the Swiss Federal Institute of Technology, Zurich, 1999. Consultado el 2006-12-01.