158:
166:
497:(BBC) played a large part in the development of the format. It worked extensively with Kodak during the 1950s and 1960s to bring 16 mm to a professional level, since the BBC needed cheaper, more portable production solutions while maintaining a higher quality than was offered at the time, when the format was mostly for home display of theatrical shorts, newsreels, and cartoons, documentary capture and display for various purposes (including education), and limited "high end" amateur use.
150:
782:
expensive to shoot on 16mm film while on location in
Vietnam and then ship the film back to the United States to be processed at a film lab. Lee was "pretty adamant" about using 16mm for the flashbacks; Sigel said "I would never have been able to do it without such fervent support from him." Sigel had pitched to Lee the idea to shoot the Vietnam sequences using the kind of camera and film stock that would have been available during the Vietnam era.
913:
38:
835:
330:
1268:
142:
901:
408:. Ultra 16 is created by widening the left and right sides of the gate of a standard 16 mm camera by 0.7 mm to expose part of the horizontal area between the perforations. Perforation placement on standard 16 mm film at the divisions between frames accommodates use of these normally unexposed areas.
1000:
Most original movie production companies that use film shoot on 35 mm. The 35 mm size must be converted or reduced to 16 mm for 16 mm systems. There are multiple ways of obtaining a 16 mm print from 35 mm. The preferred method is to strike a 16 mm negative from the
557:
In
Britain, most exterior television footage was shot on 16 mm from the 1960s until the 1990s, when the development of more portable television cameras and videotape machines led to video replacing 16 mm in many instances. Many drama shows and documentaries were made entirely on 16 mm,
1085:
print film and similar products from other manufacturers are notoriously unstable. Prior to the introduction of a longer-lasting "low fade" type in 1979, Eastmancolor prints routinely suffered from easily seen color shift and fading within ten years. The dyes degrade at different rates, with magenta
781:
reports that
Netflix was "initially concerned about having the movie's flashback scenes shot on grainy 16 mm film ... There was pushback because it opened up a lot of challenges." According to Sigel, the film stock Lee wanted to use was expensive because it is rarely used. It would be even more
279:
pitches are available for 16 mm film. One specification, known as "long pitch", has a spacing of 7.62 mm (0.300 in) and is used primarily for print and reversal film stocks. Negative and intermediate film stocks have perforations spaced 7.605 mm (0.2994 in), known as "short
360:
modified for the wider frame, and, since this process widens the frame by affecting only one side of the film, the various cameras' front mounting plate or turret areas must also be re-machined to shift and re-center the mounts for any lenses used. Because the resulting, new, Super 16 aspect ratio
416:
caused by trying to use some "conventional" 16 mm lenses on those Super 16 converted cameras. Thus, almost all standard 16 mm optics can now achieve the wider image in Ultra 16, but without the above pitfalls and optical "shortcomings" encountered when attempting their use for Super 16.
217:
in many countries before portable video cameras appeared. In
Britain, the BBC's Ealing-based film department made significant use of 16mm film and, during its peak, employed over 50 film crews. Throughout much of the 1960s–1990s period, these crews made use of cameras such as the Arriflex ST and
411:
The Ultra 16 format, with frame dimensions of 11.66 mm × 6.15 mm (0.459 in × 0.242 in), provides a frame size between standard 16 mm and Super 16—while avoiding the expense of converting a 16 mm camera to Super 16, the larger lens-element requirements for
420:
The 1.89 ratio image readily converts to NTSC/PAL (1.33 ratio), HDTV (1.78 ratio) and to 35 mm film (1.66 and 1.85 wide screen ratios), using either the full vertical frame, or the full width (intersprocket) frame, and at times, portions of both, depending upon the required application.
287:
Film stocks are available in either 'single-perf' or 'double-perf', meaning the film is perforated on either one or both edges. A perforation for 16 mm film is 1.829 mm Ă— 1.27 mm (0.0720 in Ă— 0.0500 in) with a radius curve on all four corners of 0.25 mm
190:, and there was a huge expansion of 16 mm professional filmmaking in the post-war years. Films for government, business, medical and industrial clients created a large network of 16 mm professional filmmakers and related service industries in the 1950s and 1960s. The advent of
1114:
74:. It is generally used for non-theatrical (e.g., industrial, educational, television) film-making, or for low-budget motion pictures. It also existed as a popular amateur or home movie-making format for several decades, alongside 8 mm film and later
373:
workflows, it is now possible to digitally enlarge to a 35 mm sound print with virtually no quality loss (given a high quality digital scan), or alternatively to use high-quality video equipment for the original image capture.
308:
for 35 mm. The "nominal" picture projection area (per SMPTE RP 20-2003) is 0.380 in by 0.284 in, and the maximum picture projection area (per SMPTE ST 233-2003) is 0.384 in by 0.286 in, each implying an aspect ratio of 1.34:1.
218:
Eclair NPR in combination with quarter-inch sound recorders, such as the Nagra III. Using these professional tools, film department crews would work on some of the most significant programmes produced by the BBC, including
381:
under its HAWK brand. These provided a 1.30x squeeze factor (as opposed to the standard 2Ă—) specifically for the Super 16 format, allowing nearly all of the Super 16 frame to be used for 2.39:1 widescreen photography.
369:
for sound-projection, and, in order to preserve the proper 1.66:1, or (slightly cropped) 1.85:1 theatrical aspect ratios which this format was designed to provide. And, with the recent development of
813:
A number of digital cameras approximate the look of the 16 mm format by using 16 mm-sized sensors and taking 16 mm lenses. These cameras include the
Ikonoskop A-Cam DII (2008) and the
194:
also enhanced the use of 16 mm film, initially for its advantage of cost and portability over 35 mm. At first used as a news-gathering format, the 16 mm format was also used to create
1070:
Over time, the cyan, magenta and yellow dyes that form the image in color 16 mm film inevitably fade. The rate of deterioration depends on storage conditions and the film type. In the case of
1458:
821:
Pocket Cinema Camera (2013) and the
Blackmagic Micro Cinema Camera (2015) has a Super 16-sized sensor. The Z CAM E2G (2019) even offers Digital 16 mm in 4K and with a global shutter.
1106:
353:
in 1969, using single-sprocket film and taking advantage of the extra room for an expanded picture area of 12.52 mm Ă— 7.41 mm (0.493 in Ă— 0.292 in).
936:, and Arriflex 416. Aaton also released the A-Minima, which is about the size of a video camcorder and is used for specialized filming requiring smaller, more versatile cameras.
611:
was shot on Super16 and aired either as 4:3 SD (first 7 seasons) or as 16:9 HD (seasons 8 and 9). John Inwood, the cinematographer of the series, believed that footage from his
262:
has made significant inroads in television production use. Nevertheless, 16 mm is still in use in its Super 16 ratio (see below) for productions seeking its specific look.
236:. Usually made up of five people, these small crews were able to work incredibly efficiently and, even in hostile environments, were able to film an entire programme with a
550:, for example, was shot on Super 16 mm film, digitally scanned at a high resolution, edited and color graded, and then printed out onto 35 mm film via a laser
1078:
IB (imbibition process) color prints, the dyes are so stable and the deterioration so slow that even prints now over 70 years old typically show no obvious problems.
1001:
original 35 mm negative and then make a print from the new 16 mm negative. A 16 mm negative struck from the original 35 mm negative is called an
712:
16 mm film stocks. The cost savings over 35 mm allowed the production to utilize multiple cameras for many shots, exposing over one million feet of film.
182:
The silent 16 mm format was initially aimed at the home enthusiast, but by the 1930s it had begun to make inroads into the educational market. The addition of
1410:
109:
started producing their own 16 mm cameras and projectors. During the 1920s, the format was often referred to by the professional industry as 'sub-standard'.
82:
released the first 16 mm "outfit" in 1923, consisting of a camera, projector, tripod, screen and splicer, for US$ 335 (equivalent to US$ 5,991 in 2023).
251:
cameras that were self-blimped and had the ability to record sound directly on film. The introduction of magnetic striped film further improved sound fidelity.
1708:
1854:
1093:
old color films, even badly faded source material can sometimes be restored to full color through digital techniques that amplify the faded dye colors. A
1469:
554:. Because of the digital process, the final 35 mm print quality is good enough to fool some professionals into thinking it was shot on 35 mm.
349:
is an adaptation of the 1.66 (1.66:1 or 15:9) aspect ratio of the "Paramount format" to 16 mm film. It was developed by
Swedish cinematographer
1939:
1593:
937:
1733:
777:
flashback scenes on 16 mm film, which was part of the reason cinematographer Newton Thomas Sigel was considered for an Oscar nomination.
1493:
1759:
500:
As of 2016, the format was frequently used for student films, while its use in documentaries had almost disappeared. With the advent of
1778:
398:
is a variation of Super 16. Cinematographer Frank G. DeMarco is credited with inventing Ultra 16 in 1996 while shooting tests for
1830:
1973:
186:
tracks and, most notably, Kodachrome in 1935, gave an enormous boost to its popularity. The format was used extensively during
1576:
1544:
300:
The picture-taking area of standard 16 mm is 10.26 mm Ă— 7.49 mm (0.404 in Ă— 0.295 in), an
2325:
679:(bar the season 3 finale and the effects shots) were shot in 16 mm, before switching to 35 mm for later seasons.
637:
607:
1622:
1399:
566:
1382:
1357:
882:
1712:
1086:
being the longest-lasting, eventually resulting in a pale reddish image with little if any other color discernible.
864:
1009:. 16 mm prints can be made from many combinations of size and format, each with a distinct, descriptive name:
560:
464:
138:
for the format, owing to the high flammability of the nitrate base. 35 mm nitrate was discontinued in 1952.
106:
1927:
1020:
A 16 mm negative struck from an original 16 mm print that was struck from a 35 mm original is a
860:
544:(DI)—the format has dramatically improved in picture quality since the 1970s, and is now a revitalized option.
243:
Beginning in the 1950s, news organizations and documentarians in the United States frequently shot on portable
1097:
scanned from the original negative (if it was processed and stored correctly) can often fully restore colors.
361:
takes up the space originally reserved for the 16mm soundtrack, films shot in this format must be enlarged by
691:
was shot on Super 16mm, so that more of its $ 3 million budget could be spent on its extensive gore effects.
476:
856:
584:
578:
449:
and ORWO/Filmotec, with ORWO/Filmotec having begun sales of a new color negative film in April of 2023 .
280:
pitch". These differences allow for the sharpest and smoothest possible image when making prints using a
232:
1601:
1966:
1917:
116:
Pathescope of
America company to create the new 16 mm 'Kodascope Library'. In addition to making
2287:
940:
have special extremely high speed cameras for 16 mm that film at up to 1,000 frames per second.
1125:
7.62 mm per frame (40 frames per foot) for print stock—7.605 mm per frame for camera stock
952:
For amateur, hobbyist, and student use, it is more economical to use older models from Arri, Aaton,
356:
Super 16 cameras are usually 16 mm cameras that have had the film gate and ground glass in the
1726:
1504:
845:
220:
1779:"Darren Aronofsky on His Private Writing Process, Fighting Financiers and His Mysterious New Film"
1640:
981:
849:
226:
2273:
2259:
31:
165:
157:
2252:
1959:
723:
533:
505:
459:
454:
445:
closed their film manufacturing facilities in the 2010s. B&W films are still produced by
214:
191:
17:
1922:
1313:
933:
41:
16 mm sound movie showing a variable-width sound track on single-perforation film stock
2203:
2053:
1286:
1094:
985:
541:
521:
370:
301:
1928:"Sweet 16: A-list Cinematographers Say the Emulsion's Never Looked So Good, Here's Why..."
1831:"'Da 5 Bloods' Cinematographer Says Netflix Pushed Back Against Spike Lee Using 16mm Film"
508:. Some low-budget theatrical features are shot on 16 mm and super 16 mm such as
8:
2144:
2136:
1655:
1042:
Film traders often refer to 16 mm prints by the print's production method, i.e., an
615:
XTR Prod camera was not only sufficient to air in high definition, it "looked terrific".
1684:
1199:: sound in advance of picture by 26 frames for optical sound and 28 frames for magnetic.
412:
proper aperture field coverage on Super 16 camera conversions, and, the potential image
957:
717:
658:
598:
514:
195:
120:, people could buy or rent films from the library, a key selling aspect of the format.
1190:: 7.44 by 5.61 mm (0.293 by 0.221 in); corner radii: 1.47 mm (0.058 in)
1184:: 8.40 by 6.29 mm (0.331 by 0.248 in); corner radii: 1.67 mm (0.066 in)
2303:
2227:
2093:
1572:
1540:
1378:
1353:
1323:
818:
729:
663:
624:
572:
378:
317:. Single-perf is perforated at one side only, making room for an optical or magnetic
310:
276:
202:
production sets. The home movie market gradually switched to the even less expensive
199:
98:
Eastman Kodak introduced 16 mm film in 1923, as a less expensive alternative to
53:
1878:
650:
was shot on 16 mm. Later seasons were shot on 35 mm. All three seasons of
135:
2035:
1656:"Frank G. DeMarco On Capturing Punk Rock Grit in "How to Talk to Girls at Parties""
1564:
1532:
1440:
795:
758:
737:
687:
646:
399:
362:
1804:
1946:
989:
977:
961:
700:
366:
281:
207:
145:
16 mm black-and-white reversal silent home movie on double-perforation film stock
99:
71:
86:
introduced a 16 mm sound movie projector in 1932, and developed an optical
1145:
753:
481:
313:
16 mm film, the original format, has a perforation at both sides of every
237:
170:
1951:
123:
Intended for amateur use, 16 mm film was one of the first formats to use
2319:
2213:
1933:
1623:"The Early Years of Super 16 and How it All Started – Film and Digital Times"
1568:
1444:
1308:
814:
695:
682:
675:
652:
619:
551:
305:
259:
183:
87:
1561:
For Motion-Picture Film (16-mm) — Projectable Image Area and
Projector Usage
1536:
2280:
2179:
1855:"Film-maker Mark Jenkin: 'We're Cornish. We can just have our own culture'"
1328:
1082:
667:
629:
588:. More recently, the advent of widescreen television has led to the use of
446:
350:
255:
187:
102:
75:
641:
were shot on 16 mm and switched to 35 mm for its later seasons.
149:
2187:
2101:
2077:
2069:
2021:
2007:
1983:
1912:
1908:
Discussion and demonstration of 16mm film cameras by former BBC cameraman
1907:
1902:
1597:
1318:
1273:
1075:
786:
770:
509:
127:
117:
83:
1255:
1 perforation per frame (may also be double perf, i.e. one on each side)
1193:
1 perforation per frame (may also be double perf, i.e. one on each side)
1005:. A new 16 mm print made from a print with no negative is called a
429:
The only supplier of 16 mm color reversal/negative film in 2022 is
2296:
2245:
2085:
2042:
2028:
1991:
1291:
1090:
1071:
969:
941:
546:
486:
413:
357:
318:
314:
113:
49:
1760:"Cinematographer Barry Ackroyd Discusses Oscar Winner The Hurt Locker"
2266:
2000:
1296:
765:
540:
Thanks to advances in film stock and digital technology—specifically
404:
203:
131:
67:
1013:
A 16 mm negative struck from an original 35 mm print is a
912:
834:
37:
2171:
2109:
1118:
1105:
801:
709:
470:
442:
329:
484:, the format is exceedingly popular for television series such as
2128:
1109:
A strip of single-perf 16 mm film with Super-16–sized frames
953:
746:
377:
In 2009, German lens manufacturer
Vantage introduced a series of
244:
124:
1034:
A 16 mm print struck directly from a 35 mm print is a
1027:
A 16 mm print struck directly from a 16 mm print is a
504:, Super 16 film is still used for some productions destined for
924:
The professional industry tends to use 16 mm cameras from
527:
1113:
1065:
141:
1500:
1465:
973:
965:
925:
905:
790:
789:
is notable for using 16 mm film and a hand-cranked 1978
705:
612:
430:
248:
79:
2220:
2152:
1930:, written February 1, 2005, and accessed December 29, 2005.
1128:
122 m (400 feet) = about 11 minutes at 24 frame/s
929:
917:
900:
501:
438:
434:
1375:
Home Movies: A History of the American Industry, 1897–1979
1350:
Home Movies: A History of the American Industry, 1897–1979
213:
16 mm, using light cameras, was extensively used for
1936:– guide for DIY processing of black/white 16 mm film
1709:"Mill TV Taps Baselight to Work Magic for BBC's 'Merlin'"
593:
494:
391:
1903:
Demonstration of a BBC 16mm film crew preparing to shoot
1923:
SUPER-16 modification of Bolex Reflex 16 mm camera
721:
was shot on Super 16 mm right through to the film
452:
16 mm film is used in television, such as for the
1221:(full 1.66): 11.76 by 7.08 mm (0.463 by 0.279 in)
153:
16 mm Eastman Kodak color movie from Warsaw dated 1939
1435:
Ellis, John; Hall, Nick (November 9, 2017). "ADAPT".
161:
16 mm Eastman Kodak color movie from Paris dated 1939
1263:
56:. 16 mm refers to the width of the film (about
1252:: 11.66 mm by 6.15 mm (0.459 by 0.242 in)
1246:: 11.66 mm by 7.49 mm (0.459 by 0.295 in)
944:has produced the Panaflex 16, nicknamed "Elaine".
288:(0.0098 in). Tolerances are ±0.001 mm (4
1227:(1.85): 11.76 by 6.37 mm (0.463 by 0.251 in)
2317:
1166:(1.85): 9.60 by 5.20 mm (0.378 by 0.205 in)
1981:
1918:History of sub-35 mm Film Formats & Cameras
1913:Demonstration of 'lacing up' a 16mm film camera
1529:Specifications for 16-mm Registration Test Film
932:, most notably the Aaton Xtera, Aaton XTRprod,
1777:Thorsteinsson, Ari Gunnar (October 11, 2016).
733:(2008), the producers switched to 35 mm.
458:anthology (it has since been produced in 16:9
1967:
1776:
1719:
995:
198:shot outside the confines of the more rigid
30:"16 mm" redirects here. For other uses, see
1230:1 perforation per frame, always single perf
1215:: 12.52 by 7.41 mm (0.493 by 0.292 in)
1154:: 10.26 by 7.49 mm (0.404 by 0.295 in)
1117:A 100-foot (30.5 m) tin of 16 mm
1100:
1066:Color fading of old film and color recovery
863:. Unsourced material may be challenged and
173:in Munich after American liberation in 1945
1974:
1960:
1879:"A History of Low Fade Color Print Stocks"
1653:
1397:
1178:: 9.34 by 7.01 mm (0.368 by 0.276 in)
1172:: 9.65 by 7.26 mm (0.380 by 0.286 in)
1160:: 9.65 by 7.21 mm (0.380 by 0.284 in)
1451:
1434:
1144:enlarging ratio of 1:4.58 for 35 mm
883:Learn how and when to remove this message
756:shot most of the 2018 biographical drama
727:(2006). For the last film in the series,
656:were shot on 16 mm and aired in HD.
48:is a historically popular and economical
1757:
1685:"How to Shoot Super 16mm Film Tutorials"
1486:
1112:
1104:
911:
899:
328:
164:
156:
148:
140:
112:Kodak hired Willard Beech Cook from his
66:inch); other common film gauges include
36:
1682:
895:
304:of 1.37:1, the standard pre-widescreen
177:
14:
2318:
1802:
1377:. Transition Publishing. p. 231.
1352:. Transition Publishing. p. 334.
1302:
1955:
1828:
1758:Macaulay, Scott (November 14, 2011).
1678:
1676:
1591:
670:films, are shot in Super 16 mm.
169:16 mm Eastman Kodak color movie from
90:16 mm camera, released in 1935.
1494:"How to Read a Kodak Film Can Label"
861:adding citations to reliable sources
828:
1940:Early list of films shot in Super16
512:'s 16 mm 1994 independent hit
265:
24:
1673:
1074:amateur and documentary films and
947:
793:camera, most notably in his films
27:Historically popular gauge of film
25:
2337:
1896:
1654:Gullickson, Brad (May 29, 2018).
741:was shot using super 16 mm.
295:
1803:Kadner, Noah (January 7, 2019).
1266:
833:
808:
715:British Napoleonic-era TV drama
495:British Broadcasting Corporation
105:for amateurs. The same year the
1871:
1847:
1822:
1796:
1770:
1751:
1739:from the original on 2009-03-20
1701:
1647:
1633:
1615:
1416:from the original on 2016-06-30
424:
270:
107:Victor Animatograph Corporation
1727:"A new HD frontier for Scrubs"
1641:"Hawk Anamorphic 1.3x SQUEEZE"
1585:
1553:
1521:
1428:
1391:
1366:
1341:
385:
324:
13:
1:
1372:
1347:
1334:
1280:
708:Super 16 mm cameras and
1683:Ferrari, Alex (2016-10-17).
1081:Dyes in the far more common
333:Super 16 and 16 mm film
7:
2326:Motion picture film formats
1259:
1234:
1203:
1197:Picture to sound separation
673:The first three seasons of
582:, and the early seasons of
10:
2342:
1829:Sharf, Zack (2020-06-18).
904:A 16 mm spring-wound
824:
632:) was shot on 16 mm.
592:16. For example, the 2008
490:, dramas and commercials.
93:
29:
2237:
2202:
2163:
2120:
2061:
2052:
1990:
1398:Eisloeffel, Paul (2013).
996:Film reproduction methods
698:winner for Best Picture,
635:The first two seasons of
1881:. In70mm.com. 1963-07-11
1569:10.5594/SMPTE.ST233.2003
1445:10.17637/rh.c.3925603.v1
1135:
1101:Technical specifications
638:Buffy the Vampire Slayer
1537:10.5594/SMPTE.RP20.2003
1373:Kattelle, Alan (2000).
1348:Kattelle, Alan (2000).
1805:"Moon Walk: First Man"
1627:Film and Digital Times
1503:. 2014. Archived from
1121:
1110:
921:
909:
768:shot the Netflix film
744:Darren Aronofsky shot
685:'s 1992 zombie comedy
602:was shot in Super 16.
567:The Jewel in the Crown
334:
321:along the other side.
196:television programming
174:
162:
154:
146:
42:
32:16 mm (disambiguation)
2253:Anamorphic widescreen
1459:"Film specifications"
1400:"16mm Format History"
1116:
1108:
915:
903:
605:As recently as 2010,
596:fantasy drama series
455:Hallmark Hall of Fame
332:
215:television production
192:television production
168:
160:
152:
144:
40:
1934:DIY processing 16 mm
1592:Jones, Andy (2014).
1287:List of film formats
1095:digital intermediate
916:A modern 16 mm
896:Professional cameras
857:improve this section
644:The first season of
561:Brideshead Revisited
542:digital intermediate
371:digital intermediate
178:Production evolution
2145:Super Panavision 70
2137:Ultra Panavision 70
1660:Film School Rejects
1303:Related film genres
1170:TV station aperture
465:Friday Night Lights
337:The variant called
134:. Kodak never used
1764:Filmmaker Magazine
1629:. August 20, 2009.
1407:Archives Filmworks
1250:projector aperture
1225:projector aperture
1219:projector aperture
1164:projector aperture
1158:projector aperture
1122:
1111:
1089:In the process of
922:
910:
785:Cornish filmmaker
724:Sharpe's Challenge
659:This Is Spinal Tap
480:in the US. In the
335:
240:of less than 5:1.
175:
163:
155:
147:
43:
2313:
2312:
2304:Shoot and protect
2228:Anamorphic format
2198:
2197:
2094:Modern anamorphic
1715:on July 18, 2011.
1689:Indie Film Hustle
1578:978-1-61482-382-7
1546:978-1-61482-073-4
1324:Ethnographic film
1240:1.85 aspect ratio
1209:1.66 aspect ratio
1141:1.37 aspect ratio
1131:vertical pulldown
893:
892:
885:
704:, was shot using
664:Christopher Guest
625:Leaving Las Vegas
573:The Ascent of Man
379:anamorphic lenses
347:16 mm Type W
200:television studio
16:(Redirected from
2333:
2306:
2299:
2290:
2283:
2276:
2269:
2262:
2255:
2248:
2230:
2223:
2216:
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2148:
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2132:
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2089:
2081:
2073:
2059:
2058:
2045:
2038:
2031:
2024:
2017:
2010:
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1060:double dupe down
1036:double dupe down
888:
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776:
738:Moonrise Kingdom
647:Sex and the City
477:The Walking Dead
400:Darren Aronofsky
363:optical printing
339:Super 16 mm
291:
266:Format standards
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1244:camera aperture
1237:
1213:camera aperture
1206:
1176:TV transmission
1152:camera aperture
1138:
1103:
1068:
998:
974:Cinema Products
962:Bell and Howell
950:
948:Amateur cameras
898:
889:
878:
872:
869:
854:
838:
827:
811:
774:
750:on 16 mm.
701:The Hurt Locker
460:high definition
427:
388:
327:
298:
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282:contact printer
273:
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180:
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58:
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46:16 mm film
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730:Sharpe's Peril
666:'s subsequent
534:Closer to Home
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296:Standard 16 mm
294:
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238:shooting ratio
210:film formats.
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171:Feldherrnhalle
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1604:on 2014-12-19
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1314:Cinéma vérité
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842:This section
840:
836:
831:
830:
822:
820:
817:(2012). The
816:
815:Digital Bolex
809:Digital 16 mm
806:
804:
803:
798:
797:
792:
788:
783:
780:
773:
772:
767:
763:
762:on Super 16.
761:
760:
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749:
748:
742:
740:
739:
734:
732:
731:
726:
725:
720:
719:
713:
711:
707:
703:
702:
697:
696:Academy Award
692:
690:
689:
684:
683:Peter Jackson
680:
678:
677:
676:Stargate SG-1
671:
669:
665:
661:
660:
655:
654:
653:Veronica Mars
649:
648:
642:
640:
639:
633:
631:
627:
626:
621:
620:Academy Award
616:
614:
610:
609:
603:
601:
600:
595:
591:
587:
586:
581:
580:
579:Life on Earth
575:
574:
569:
568:
563:
562:
555:
553:
552:film recorder
549:
548:
543:
538:
536:
535:
530:
529:
524:
523:
522:Man Bites Dog
518:
516:
511:
507:
503:
498:
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479:
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473:
472:
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354:
352:
348:
344:
340:
331:
322:
320:
316:
312:
307:
306:Academy ratio
303:
293:
292:10 in).
285:
283:
278:
263:
261:
260:digital video
257:
252:
250:
246:
241:
239:
235:
234:
229:
228:
223:
222:
216:
211:
209:
205:
201:
197:
193:
189:
185:
184:optical sound
172:
167:
159:
151:
143:
139:
137:
133:
129:
126:
121:
119:
115:
110:
108:
104:
101:
91:
89:
88:sound-on-film
85:
81:
80:Eastman Kodak
77:
73:
69:
55:
51:
47:
39:
33:
19:
2281:Pan and scan
2204:Aspect ratio
2190: (1958)
2182: (1958)
2180:Kinopanorama
2174: (1952)
2155: (1970)
2131: (1955)
2112: (1982)
2104: (1960)
2096: (1957)
2080: (1954)
2072: (1953)
2054:Film formats
2022:17.5 mm
2014:
1984:film formats
1944:
1883:. Retrieved
1873:
1862:. Retrieved
1858:
1849:
1838:. Retrieved
1834:
1824:
1812:. Retrieved
1809:ASC Magazine
1808:
1798:
1786:. Retrieved
1782:
1772:
1763:
1753:
1741:. Retrieved
1721:
1713:the original
1703:
1692:. Retrieved
1688:
1663:. Retrieved
1659:
1649:
1635:
1626:
1617:
1606:. Retrieved
1602:the original
1587:
1560:
1555:
1528:
1523:
1512:. Retrieved
1505:the original
1488:
1477:. Retrieved
1470:the original
1453:
1436:
1430:
1420:November 10,
1418:. Retrieved
1406:
1393:
1374:
1368:
1349:
1343:
1329:Ethnofiction
1249:
1243:
1224:
1218:
1212:
1196:
1187:
1181:
1175:
1169:
1163:
1157:
1151:
1088:
1083:Eastmancolor
1080:
1069:
1059:
1055:
1051:
1047:
1043:
1041:
1035:
1028:
1021:
1014:
1006:
1002:
999:
951:
938:Photo Sonics
923:
879:
870:
855:Please help
843:
812:
800:
794:
784:
778:
769:
764:
757:
752:
745:
743:
736:
735:
728:
722:
716:
714:
699:
693:
686:
681:
674:
672:
668:mockumentary
657:
651:
645:
643:
636:
634:
623:
617:
606:
604:
597:
589:
583:
577:
571:
565:
559:
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545:
539:
532:
526:
520:
513:
499:
492:
485:
475:
469:
463:
453:
451:
428:
425:Modern usage
419:
410:
403:
395:
389:
376:
355:
351:Rune Ericson
346:
342:
338:
336:
302:aspect ratio
299:
286:
274:
271:Perforations
256:analog video
253:
247:and, later,
242:
231:
225:
219:
212:
188:World War II
181:
136:nitrate film
122:
111:
97:
76:Super 8 film
45:
44:
2188:Cinemiracle
2102:Techniscope
2078:VistaVision
2070:CinemaScope
2008:9.5 mm
1992:Film gauges
1788:December 2,
1743:November 1,
1598:BBC Academy
1594:"Beyond HD"
1319:Docufiction
1274:Film portal
1076:Technicolor
1056:double dupe
1029:double dupe
986:Krasnogorsk
873:August 2016
799:(2019) and
787:Mark Jenkin
779:The Insider
771:Da 5 Bloods
510:Kevin Smith
474:as well as
386:Ultra 16 mm
325:Super 16 mm
311:Double-perf
277:perforation
128:safety film
118:home movies
2297:Open matte
2288:Fullscreen
2246:Widescreen
2086:Technirama
2043:70 mm
2036:35 mm
2029:28 mm
2015:16 mm
1885:2014-05-20
1864:2024-07-19
1840:2020-06-19
1694:2019-07-19
1608:2019-04-20
1514:2019-04-20
1479:2019-04-20
1335:References
1292:Sync sound
1281:Techniques
1136:16 mm
1091:digitizing
1072:Kodachrome
1015:print down
942:Panavision
819:Blackmagic
547:Vera Drake
487:Doc Martin
414:vignetting
358:viewfinder
319:soundtrack
315:frame line
254:Replacing
208:Super 8 mm
100:35 mm
84:RCA-Victor
72:35 mm
2274:Windowbox
2267:Pillarbox
2260:Letterbox
2206:standards
2164:35 mm Ă— 3
2001:8 mm
1835:IndieWire
1814:April 14,
1297:Pilottone
1052:dupe down
1022:dupe down
844:does not
766:Spike Lee
759:First Man
694:The 2009
688:Braindead
394:-crafted
258:devices,
233:Chronicle
221:Man Alive
132:film base
2320:Category
2172:Cinerama
2110:Super 35
1734:Archived
1665:July 19,
1437:Figshare
1411:Archived
1260:See also
1235:Ultra 16
1204:Super 16
1119:Fujifilm
1048:reversal
1044:original
1007:reversal
1003:original
990:Mitchell
982:Keystone
958:Beaulieu
805:(2022).
802:Enys Men
710:Fujifilm
622:winning
558:notably
471:The O.C.
396:Ultra 16
343:Super 16
227:Panorama
2129:Todd-AO
954:Auricon
865:removed
850:sources
825:Cameras
747:mother!
245:Auricon
125:acetate
94:History
61:⁄
2147:(1959)
2139:(1957)
2088:(1956)
1949:copy)
1575:
1543:
1381:
1356:
1148:prints
978:Eclair
920:camera
908:camera
718:Sharpe
662:, and
608:Scrubs
599:Merlin
585:Poirot
528:Mid90s
515:Clerks
462:) and
2121:70 mm
2062:35 mm
1737:(PDF)
1730:(PDF)
1508:(PDF)
1501:Kodak
1497:(PDF)
1473:(PDF)
1466:Kodak
1462:(PDF)
1414:(PDF)
1403:(PDF)
1058:, or
970:Canon
966:Bolex
926:Aaton
906:Bolex
791:Bolex
775:'
706:Aaton
613:Aaton
590:Super
431:Kodak
367:35 mm
345:, or
249:CP-16
130:as a
114:28 mm
50:gauge
18:16 mm
2221:14:9
2153:IMAX
1816:2019
1790:2021
1745:2009
1667:2018
1573:ISBN
1541:ISBN
1422:2016
1379:ISBN
1354:ISBN
930:Arri
928:and
918:Arri
848:any
846:cite
796:Bait
630:1995
618:The
531:and
502:HDTV
493:The
468:and
447:Foma
443:Fuji
441:and
439:Agfa
435:Orwo
433:and
390:The
275:Two
230:and
206:and
204:8 mm
103:film
70:and
68:8 mm
54:film
1565:doi
1533:doi
1441:doi
859:by
594:BBC
525:,
519:or
402:'s
392:DIY
365:to
52:of
2322::
1857:.
1833:.
1807:.
1781:.
1762:.
1732:.
1687:.
1675:^
1658:.
1625:.
1596:.
1571:.
1563:.
1539:.
1531:.
1499:.
1464:.
1439:.
1409:.
1405:.
1062:.
1054:,
1050:,
1046:,
988:,
984:,
980:,
976:,
972:,
968:,
964:,
960:,
956:,
576:,
570:,
564:,
537:.
506:HD
482:UK
437:.
405:Pi
341:,
284:.
224:,
78:.
1975:e
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