147:
155:
486:(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.
139:
771:
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.
902:
27:
824:
319:
1257:
131:
890:
397:. 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.
989:
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
546:
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,
1074:
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
770:
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
268:
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
349:
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
405:
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.
206:
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
400:
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
409:
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.
276:
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
179:, 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
1103:
63:. 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
362:
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.
297:
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.
207:
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
370:
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.
358:
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
802:
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
183:
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
1059:
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
1447:
810:
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.
1095:
342:
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).
925:, 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.
600:
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
251:
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.
225:. 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
539:, 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
1067:
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.
990:
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
701:
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.
171:
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
1399:
98:
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'.
71:
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).
240:
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.
1697:
1843:
1082:
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
1458:
543:. 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.
338:
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
1928:
1582:
926:
1722:
766:
flashback scenes on 16 mm film, which was part of the reason cinematographer Newton Thomas Sigel was considered for an Oscar nomination.
1482:
1748:
489:
As of 2016, the format was frequently used for student films, while its use in documentaries had almost disappeared. With the advent of
1767:
387:
is a variation of Super 16. Cinematographer Frank G. DeMarco is credited with inventing Ultra 16 in 1996 while shooting tests for
1819:
1962:
175:
tracks and, most notably, Kodachrome in 1935, gave an enormous boost to its popularity. The format was used extensively during
1565:
1533:
289:
The picture-taking area of standard 16 mm is 10.26 mm Ă— 7.49 mm (0.404 in Ă— 0.295 in), an
2314:
668:(bar the season 3 finale and the effects shots) were shot in 16 mm, before switching to 35 mm for later seasons.
626:
596:
1611:
1388:
555:
1371:
1346:
871:
1701:
1075:
being the longest-lasting, eventually resulting in a pale reddish image with little if any other color discernible.
853:
998:. 16 mm prints can be made from many combinations of size and format, each with a distinct, descriptive name:
549:
453:
127:
for the format, owing to the high flammability of the nitrate base. 35 mm nitrate was discontinued in 1952.
95:
1916:
1009:
A 16 mm negative struck from an original 16 mm print that was struck from a 35 mm original is a
849:
533:(DI)—the format has dramatically improved in picture quality since the 1970s, and is now a revitalized option.
232:
Beginning in the 1950s, news organizations and documentarians in the United States frequently shot on portable
1086:
scanned from the original negative (if it was processed and stored correctly) can often fully restore colors.
350:
takes up the space originally reserved for the 16mm soundtrack, films shot in this format must be enlarged by
680:
was shot on Super 16mm, so that more of its $ 3 million budget could be spent on its extensive gore effects.
465:
845:
573:
567:
438:
and ORWO/Filmotec, with ORWO/Filmotec having begun sales of a new color negative film in April of 2023 .
269:
pitch". These differences allow for the sharpest and smoothest possible image when making prints using a
221:
1590:
1955:
1906:
105:
Pathescope of
America company to create the new 16 mm 'Kodascope Library'. In addition to making
2276:
929:
have special extremely high speed cameras for 16 mm that film at up to 1,000 frames per second.
1114:
7.62 mm per frame (40 frames per foot) for print stock—7.605 mm per frame for camera stock
941:
For amateur, hobbyist, and student use, it is more economical to use older models from Arri, Aaton,
345:
Super 16 cameras are usually 16 mm cameras that have had the film gate and ground glass in the
1715:
1493:
834:
209:
1768:"Darren Aronofsky on His Private Writing Process, Fighting Financiers and His Mysterious New Film"
1629:
970:
838:
215:
2262:
2248:
20:
154:
146:
2241:
1948:
712:
522:
494:
448:
443:
434:
closed their film manufacturing facilities in the 2010s. B&W films are still produced by
203:
180:
1911:
1302:
922:
30:
16 mm sound movie showing a variable-width sound track on single-perforation film stock
2192:
2042:
1275:
1083:
974:
530:
510:
359:
290:
1917:"Sweet 16: A-list Cinematographers Say the Emulsion's Never Looked So Good, Here's Why..."
1820:"'Da 5 Bloods' Cinematographer Says Netflix Pushed Back Against Spike Lee Using 16mm Film"
497:. Some low-budget theatrical features are shot on 16 mm and super 16 mm such as
8:
2133:
2125:
1644:
1031:
Film traders often refer to 16 mm prints by the print's production method, i.e., an
604:
XTR Prod camera was not only sufficient to air in high definition, it "looked terrific".
1673:
1188:: sound in advance of picture by 26 frames for optical sound and 28 frames for magnetic.
401:
proper aperture field coverage on Super 16 camera conversions, and, the potential image
946:
706:
647:
587:
503:
184:
109:, people could buy or rent films from the library, a key selling aspect of the format.
1179:: 7.44 by 5.61 mm (0.293 by 0.221 in); corner radii: 1.47 mm (0.058 in)
1173:: 8.40 by 6.29 mm (0.331 by 0.248 in); corner radii: 1.67 mm (0.066 in)
2292:
2216:
2082:
1561:
1529:
1367:
1342:
1312:
807:
718:
652:
613:
561:
367:
306:. Single-perf is perforated at one side only, making room for an optical or magnetic
299:
265:
191:
production sets. The home movie market gradually switched to the even less expensive
188:
87:
Eastman Kodak introduced 16 mm film in 1923, as a less expensive alternative to
42:
1867:
639:
was shot on 16 mm. Later seasons were shot on 35 mm. All three seasons of
124:
2024:
1645:"Frank G. DeMarco On Capturing Punk Rock Grit in "How to Talk to Girls at Parties""
1553:
1521:
1429:
784:
747:
726:
676:
635:
388:
351:
1793:
1935:
978:
966:
950:
689:
355:
270:
196:
134:
16 mm black-and-white reversal silent home movie on double-perforation film stock
88:
60:
75:
introduced a 16 mm sound movie projector in 1932, and developed an optical
1134:
742:
470:
302:
16 mm film, the original format, has a perforation at both sides of every
226:
159:
1940:
112:
Intended for amateur use, 16 mm film was one of the first formats to use
2308:
2202:
1922:
1612:"The Early Years of Super 16 and How it All Started – Film and Digital Times"
1557:
1433:
1297:
803:
684:
671:
664:
641:
608:
540:
294:
248:
172:
76:
1550:
For Motion-Picture Film (16-mm) — Projectable Image Area and
Projector Usage
1525:
2269:
2168:
1844:"Film-maker Mark Jenkin: 'We're Cornish. We can just have our own culture'"
1317:
1071:
656:
618:
577:. More recently, the advent of widescreen television has led to the use of
435:
339:
244:
176:
91:
64:
630:
were shot on 16 mm and switched to 35 mm for its later seasons.
138:
2176:
2090:
2066:
2058:
2010:
1996:
1972:
1901:
1897:
Discussion and demonstration of 16mm film cameras by former BBC cameraman
1896:
1891:
1586:
1307:
1262:
1064:
775:
759:
498:
116:
106:
72:
1244:
1 perforation per frame (may also be double perf, i.e. one on each side)
1182:
1 perforation per frame (may also be double perf, i.e. one on each side)
994:. A new 16 mm print made from a print with no negative is called a
418:
The only supplier of 16 mm color reversal/negative film in 2022 is
2285:
2234:
2074:
2031:
2017:
1980:
1280:
1079:
1060:
958:
930:
535:
475:
402:
346:
307:
303:
102:
38:
1749:"Cinematographer Barry Ackroyd Discusses Oscar Winner The Hurt Locker"
2255:
1989:
1285:
754:
529:
Thanks to advances in film stock and digital technology—specifically
393:
192:
120:
56:
1002:
A 16 mm negative struck from an original 35 mm print is a
901:
823:
26:
2160:
2098:
1107:
1094:
790:
698:
459:
431:
318:
473:, the format is exceedingly popular for television series such as
2117:
1098:
A strip of single-perf 16 mm film with Super-16–sized frames
942:
735:
366:
In 2009, German lens manufacturer
Vantage introduced a series of
233:
113:
1023:
A 16 mm print struck directly from a 35 mm print is a
1016:
A 16 mm print struck directly from a 16 mm print is a
493:, Super 16 film is still used for some productions destined for
913:
The professional industry tends to use 16 mm cameras from
516:
1102:
1054:
130:
1489:
1454:
962:
954:
914:
894:
779:
778:
is notable for using 16 mm film and a hand-cranked 1978
694:
601:
419:
237:
68:
2209:
2141:
1919:, written February 1, 2005, and accessed December 29, 2005.
1117:
122 m (400 feet) = about 11 minutes at 24 frame/s
918:
906:
889:
490:
427:
423:
1364:
Home Movies: A History of the American Industry, 1897–1979
1339:
Home Movies: A History of the American Industry, 1897–1979
202:
16 mm, using light cameras, was extensively used for
1925:– guide for DIY processing of black/white 16 mm film
1698:"Mill TV Taps Baselight to Work Magic for BBC's 'Merlin'"
582:
483:
380:
1892:
Demonstration of a BBC 16mm film crew preparing to shoot
1912:
SUPER-16 modification of Bolex Reflex 16 mm camera
710:
was shot on Super 16 mm right through to the film
441:
16 mm film is used in television, such as for the
1210:(full 1.66): 11.76 by 7.08 mm (0.463 by 0.279 in)
142:
16 mm Eastman Kodak color movie from Warsaw dated 1939
1424:
Ellis, John; Hall, Nick (November 9, 2017). "ADAPT".
150:
16 mm Eastman Kodak color movie from Paris dated 1939
1252:
45:. 16 mm refers to the width of the film (about
1241:: 11.66 mm by 6.15 mm (0.459 by 0.242 in)
1235:: 11.66 mm by 7.49 mm (0.459 by 0.295 in)
933:has produced the Panaflex 16, nicknamed "Elaine".
277:(0.0098 in). Tolerances are ±0.001 mm (4
1216:(1.85): 11.76 by 6.37 mm (0.463 by 0.251 in)
2306:
1155:(1.85): 9.60 by 5.20 mm (0.378 by 0.205 in)
1970:
1907:History of sub-35 mm Film Formats & Cameras
1902:Demonstration of 'lacing up' a 16mm film camera
1518:Specifications for 16-mm Registration Test Film
921:, most notably the Aaton Xtera, Aaton XTRprod,
1766:Thorsteinsson, Ari Gunnar (October 11, 2016).
722:(2008), the producers switched to 35 mm.
447:anthology (it has since been produced in 16:9
1956:
1765:
1708:
984:
187:shot outside the confines of the more rigid
19:"16 mm" redirects here. For other uses, see
1219:1 perforation per frame, always single perf
1204:: 12.52 by 7.41 mm (0.493 by 0.292 in)
1143:: 10.26 by 7.49 mm (0.404 by 0.295 in)
1106:A 100-foot (30.5 m) tin of 16 mm
1089:
1055:Color fading of old film and color recovery
852:. Unsourced material may be challenged and
162:in Munich after American liberation in 1945
1963:
1949:
1868:"A History of Low Fade Color Print Stocks"
1642:
1386:
1167:: 9.34 by 7.01 mm (0.368 by 0.276 in)
1161:: 9.65 by 7.26 mm (0.380 by 0.286 in)
1149:: 9.65 by 7.21 mm (0.380 by 0.284 in)
1440:
1423:
1133:enlarging ratio of 1:4.58 for 35 mm
872:Learn how and when to remove this message
745:shot most of the 2018 biographical drama
716:(2006). For the last film in the series,
645:were shot on 16 mm and aired in HD.
37:is a historically popular and economical
1746:
1674:"How to Shoot Super 16mm Film Tutorials"
1475:
1101:
1093:
900:
888:
317:
153:
145:
137:
129:
101:Kodak hired Willard Beech Cook from his
55:inch); other common film gauges include
25:
1671:
884:
293:of 1.37:1, the standard pre-widescreen
166:
2307:
1791:
1366:. Transition Publishing. p. 231.
1341:. Transition Publishing. p. 334.
1291:
1944:
1817:
1747:Macaulay, Scott (November 14, 2011).
1667:
1665:
1580:
659:films, are shot in Super 16 mm.
158:16 mm Eastman Kodak color movie from
79:16 mm camera, released in 1935.
1483:"How to Read a Kodak Film Can Label"
850:adding citations to reliable sources
817:
1929:Early list of films shot in Super16
501:'s 16 mm 1994 independent hit
254:
13:
1662:
1063:amateur and documentary films and
936:
782:camera, most notably in his films
16:Historically popular gauge of film
14:
2326:
1885:
1643:Gullickson, Brad (May 29, 2018).
730:was shot using super 16 mm.
284:
1792:Kadner, Noah (January 7, 2019).
1255:
822:
797:
704:British Napoleonic-era TV drama
484:British Broadcasting Corporation
94:for amateurs. The same year the
1860:
1836:
1811:
1785:
1759:
1740:
1728:from the original on 2009-03-20
1690:
1636:
1622:
1604:
1405:from the original on 2016-06-30
413:
259:
96:Victor Animatograph Corporation
1716:"A new HD frontier for Scrubs"
1630:"Hawk Anamorphic 1.3x SQUEEZE"
1574:
1542:
1510:
1417:
1380:
1355:
1330:
374:
313:
1:
1361:
1336:
1323:
1269:
697:Super 16 mm cameras and
1672:Ferrari, Alex (2016-10-17).
1070:Dyes in the far more common
322:Super 16 and 16 mm film
7:
2315:Motion picture film formats
1248:
1223:
1192:
1186:Picture to sound separation
662:The first three seasons of
571:, and the early seasons of
10:
2331:
1818:Sharf, Zack (2020-06-18).
893:A 16 mm spring-wound
813:
621:) was shot on 16 mm.
581:16. For example, the 2008
479:, dramas and commercials.
82:
18:
2226:
2191:
2152:
2109:
2050:
2041:
1979:
1387:Eisloeffel, Paul (2013).
985:Film reproduction methods
687:winner for Best Picture,
624:The first two seasons of
1870:. In70mm.com. 1963-07-11
1558:10.5594/SMPTE.ST233.2003
1434:10.17637/rh.c.3925603.v1
1124:
1090:Technical specifications
627:Buffy the Vampire Slayer
1526:10.5594/SMPTE.RP20.2003
1362:Kattelle, Alan (2000).
1337:Kattelle, Alan (2000).
1794:"Moon Walk: First Man"
1616:Film and Digital Times
1492:. 2014. Archived from
1110:
1099:
910:
898:
757:shot the Netflix film
733:Darren Aronofsky shot
674:'s 1992 zombie comedy
591:was shot in Super 16.
556:The Jewel in the Crown
323:
310:along the other side.
185:television programming
163:
151:
143:
135:
31:
21:16 mm (disambiguation)
2242:Anamorphic widescreen
1448:"Film specifications"
1389:"16mm Format History"
1105:
1097:
904:
892:
594:As recently as 2010,
585:fantasy drama series
444:Hallmark Hall of Fame
321:
204:television production
181:television production
157:
149:
141:
133:
29:
1923:DIY processing 16 mm
1581:Jones, Andy (2014).
1276:List of film formats
1084:digital intermediate
905:A modern 16 mm
885:Professional cameras
846:improve this section
633:The first season of
550:Brideshead Revisited
531:digital intermediate
360:digital intermediate
167:Production evolution
2134:Super Panavision 70
2126:Ultra Panavision 70
1649:Film School Rejects
1292:Related film genres
1159:TV station aperture
454:Friday Night Lights
326:The variant called
123:. Kodak never used
1753:Filmmaker Magazine
1618:. August 20, 2009.
1396:Archives Filmworks
1239:projector aperture
1214:projector aperture
1208:projector aperture
1153:projector aperture
1147:projector aperture
1111:
1100:
1078:In the process of
911:
899:
774:Cornish filmmaker
713:Sharpe's Challenge
648:This Is Spinal Tap
469:in the US. In the
324:
229:of less than 5:1.
164:
152:
144:
136:
32:
2302:
2301:
2293:Shoot and protect
2217:Anamorphic format
2187:
2186:
2083:Modern anamorphic
1704:on July 18, 2011.
1678:Indie Film Hustle
1567:978-1-61482-382-7
1535:978-1-61482-073-4
1313:Ethnographic film
1229:1.85 aspect ratio
1198:1.66 aspect ratio
1130:1.37 aspect ratio
1120:vertical pulldown
882:
881:
874:
693:, was shot using
653:Christopher Guest
614:Leaving Las Vegas
562:The Ascent of Man
368:anamorphic lenses
336:16 mm Type W
189:television studio
2322:
2295:
2288:
2279:
2272:
2265:
2258:
2251:
2244:
2237:
2219:
2212:
2205:
2180:
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2164:
2145:
2137:
2129:
2121:
2102:
2094:
2086:
2078:
2070:
2062:
2048:
2047:
2034:
2027:
2020:
2013:
2006:
1999:
1992:
1965:
1958:
1951:
1942:
1941:
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1049:double dupe down
1025:double dupe down
877:
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857:
826:
818:
765:
727:Moonrise Kingdom
636:Sex and the City
466:The Walking Dead
389:Darren Aronofsky
352:optical printing
328:Super 16 mm
280:
255:Format standards
54:
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2016:
2009:
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1995:
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1975:
1971:Motion picture
1969:
1936:Wayback Machine
1888:
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1233:camera aperture
1226:
1202:camera aperture
1195:
1165:TV transmission
1141:camera aperture
1127:
1092:
1057:
987:
963:Cinema Products
951:Bell and Howell
939:
937:Amateur cameras
887:
878:
867:
861:
858:
843:
827:
816:
800:
763:
739:on 16 mm.
690:The Hurt Locker
449:high definition
416:
377:
316:
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278:
271:contact printer
262:
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169:
85:
51:
47:
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35:16 mm film
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1886:External links
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743:Linus Sandgren
719:Sharpe's Peril
655:'s subsequent
523:Closer to Home
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286:
285:Standard 16 mm
283:
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227:shooting ratio
199:film formats.
168:
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160:Feldherrnhalle
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1593:on 2014-12-19
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1499:on 2017-03-23
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1464:on 2017-03-26
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1303:Cinéma vérité
1301:
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831:This section
829:
825:
820:
819:
811:
809:
806:(2012). The
805:
804:Digital Bolex
798:Digital 16 mm
795:
793:
792:
787:
786:
781:
777:
772:
769:
762:
761:
756:
752:
751:on Super 16.
750:
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729:
728:
723:
721:
720:
715:
714:
709:
708:
702:
700:
696:
692:
691:
686:
685:Academy Award
681:
679:
678:
673:
672:Peter Jackson
669:
667:
666:
665:Stargate SG-1
660:
658:
654:
650:
649:
644:
643:
642:Veronica Mars
638:
637:
631:
629:
628:
622:
620:
616:
615:
610:
609:Academy Award
605:
603:
599:
598:
592:
590:
589:
584:
580:
576:
575:
570:
569:
568:Life on Earth
564:
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558:
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552:
551:
544:
542:
541:film recorder
538:
537:
532:
527:
525:
524:
519:
518:
513:
512:
511:Man Bites Dog
507:
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500:
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341:
337:
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329:
320:
311:
309:
305:
301:
296:
295:Academy ratio
292:
282:
281:10 in).
274:
272:
267:
252:
250:
249:digital video
246:
241:
239:
235:
230:
228:
224:
223:
218:
217:
212:
211:
205:
200:
198:
194:
190:
186:
182:
178:
174:
173:optical sound
161:
156:
148:
140:
132:
128:
126:
122:
118:
115:
110:
108:
104:
99:
97:
93:
90:
80:
78:
77:sound-on-film
74:
70:
69:Eastman Kodak
66:
62:
58:
44:
40:
36:
28:
22:
2270:Pan and scan
2193:Aspect ratio
2179: (1958)
2171: (1958)
2169:Kinopanorama
2163: (1952)
2144: (1970)
2120: (1955)
2101: (1982)
2093: (1960)
2085: (1957)
2069: (1954)
2061: (1953)
2043:Film formats
2011:17.5 mm
2003:
1973:film formats
1933:
1872:. Retrieved
1862:
1851:. Retrieved
1847:
1838:
1827:. Retrieved
1823:
1813:
1801:. Retrieved
1798:ASC Magazine
1797:
1787:
1775:. Retrieved
1771:
1761:
1752:
1742:
1730:. Retrieved
1710:
1702:the original
1692:
1681:. Retrieved
1677:
1652:. Retrieved
1648:
1638:
1624:
1615:
1606:
1595:. Retrieved
1591:the original
1576:
1549:
1544:
1517:
1512:
1501:. Retrieved
1494:the original
1477:
1466:. Retrieved
1459:the original
1442:
1425:
1419:
1409:November 10,
1407:. Retrieved
1395:
1382:
1363:
1357:
1338:
1332:
1318:Ethnofiction
1238:
1232:
1213:
1207:
1201:
1185:
1176:
1170:
1164:
1158:
1152:
1146:
1140:
1077:
1072:Eastmancolor
1069:
1058:
1048:
1044:
1040:
1036:
1032:
1030:
1024:
1017:
1010:
1003:
995:
991:
988:
940:
927:Photo Sonics
912:
868:
859:
844:Please help
832:
801:
789:
783:
773:
767:
758:
753:
746:
741:
734:
732:
725:
724:
717:
711:
705:
703:
688:
682:
675:
670:
663:
661:
657:mockumentary
646:
640:
634:
632:
625:
623:
612:
606:
595:
593:
586:
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572:
566:
560:
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534:
528:
521:
515:
509:
502:
488:
481:
474:
464:
458:
452:
442:
440:
417:
414:Modern usage
408:
399:
392:
384:
378:
365:
344:
340:Rune Ericson
335:
331:
327:
325:
291:aspect ratio
288:
275:
263:
260:Perforations
245:analog video
242:
236:and, later,
231:
220:
214:
208:
201:
177:World War II
170:
125:nitrate film
111:
100:
86:
65:Super 8 film
34:
33:
2177:Cinemiracle
2091:Techniscope
2067:VistaVision
2059:CinemaScope
1997:9.5 mm
1981:Film gauges
1777:December 2,
1732:November 1,
1587:BBC Academy
1583:"Beyond HD"
1308:Docufiction
1263:Film portal
1065:Technicolor
1045:double dupe
1018:double dupe
975:Krasnogorsk
862:August 2016
788:(2019) and
776:Mark Jenkin
768:The Insider
760:Da 5 Bloods
499:Kevin Smith
463:as well as
375:Ultra 16 mm
314:Super 16 mm
300:Double-perf
266:perforation
117:safety film
107:home movies
2286:Open matte
2277:Fullscreen
2235:Widescreen
2075:Technirama
2032:70 mm
2025:35 mm
2018:28 mm
2004:16 mm
1874:2014-05-20
1853:2024-07-19
1829:2020-06-19
1683:2019-07-19
1597:2019-04-20
1503:2019-04-20
1468:2019-04-20
1324:References
1281:Sync sound
1270:Techniques
1125:16 mm
1080:digitizing
1061:Kodachrome
1004:print down
931:Panavision
808:Blackmagic
536:Vera Drake
476:Doc Martin
403:vignetting
347:viewfinder
308:soundtrack
304:frame line
243:Replacing
197:Super 8 mm
89:35 mm
73:RCA-Victor
61:35 mm
2263:Windowbox
2256:Pillarbox
2249:Letterbox
2195:standards
2153:35 mm Ă— 3
1990:8 mm
1824:IndieWire
1803:April 14,
1286:Pilottone
1041:dupe down
1011:dupe down
833:does not
755:Spike Lee
748:First Man
683:The 2009
677:Braindead
383:-crafted
247:devices,
222:Chronicle
210:Man Alive
121:film base
2309:Category
2161:Cinerama
2099:Super 35
1723:Archived
1654:July 19,
1426:Figshare
1400:Archived
1249:See also
1224:Ultra 16
1193:Super 16
1108:Fujifilm
1037:reversal
1033:original
996:reversal
992:original
979:Mitchell
971:Keystone
947:Beaulieu
794:(2022).
791:Enys Men
699:Fujifilm
611:winning
547:notably
460:The O.C.
385:Ultra 16
332:Super 16
216:Panorama
2118:Todd-AO
943:Auricon
854:removed
839:sources
814:Cameras
736:mother!
234:Auricon
114:acetate
83:History
50:⁄
2136:(1959)
2128:(1957)
2077:(1956)
1938:copy)
1564:
1532:
1370:
1345:
1137:prints
967:Eclair
909:camera
897:camera
707:Sharpe
651:, and
597:Scrubs
588:Merlin
574:Poirot
517:Mid90s
504:Clerks
451:) and
2110:70 mm
2051:35 mm
1726:(PDF)
1719:(PDF)
1497:(PDF)
1490:Kodak
1486:(PDF)
1462:(PDF)
1455:Kodak
1451:(PDF)
1403:(PDF)
1392:(PDF)
1047:, or
959:Canon
955:Bolex
915:Aaton
895:Bolex
780:Bolex
764:'
695:Aaton
602:Aaton
579:Super
420:Kodak
356:35 mm
334:, or
238:CP-16
119:as a
103:28 mm
39:gauge
2210:14:9
2142:IMAX
1805:2019
1779:2021
1734:2009
1656:2018
1562:ISBN
1530:ISBN
1411:2016
1368:ISBN
1343:ISBN
919:Arri
917:and
907:Arri
837:any
835:cite
785:Bait
619:1995
607:The
520:and
491:HDTV
482:The
457:and
436:Foma
432:Fuji
430:and
428:Agfa
424:Orwo
422:and
379:The
264:Two
219:and
195:and
193:8 mm
92:film
59:and
57:8 mm
43:film
1554:doi
1522:doi
1430:doi
848:by
583:BBC
514:,
508:or
391:'s
381:DIY
354:to
41:of
2311::
1846:.
1822:.
1796:.
1770:.
1751:.
1721:.
1676:.
1664:^
1647:.
1614:.
1585:.
1560:.
1552:.
1528:.
1520:.
1488:.
1453:.
1428:.
1398:.
1394:.
1051:.
1043:,
1039:,
1035:,
977:,
973:,
969:,
965:,
961:,
957:,
953:,
949:,
945:,
565:,
559:,
553:,
526:.
495:HD
471:UK
426:.
394:Pi
330:,
273:.
213:,
67:.
1964:e
1957:t
1950:v
1934:(
1877:.
1856:.
1832:.
1807:.
1781:.
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