Kinofilm formatlari ro'yxati - List of motion picture film formats
Bu film formatlari ro'yxati tortishish yoki ko'rish uchun ishlab chiqilgan kataloglar formatlari Harakatli Rasmlar, 1888 yildan 20-asr o'rtalariga qadar xronofotograf formatidan tortib formatlari kabi 1953 yil CinemaScope format, 1992 yildagi kabi so'nggi formatlarga IMAX HD format. Ushbu ro'yxatga kiritish uchun formatlarning barchasi maydonda yoki sinovdan otish uchun ishlatilgan bo'lishi kerak va ularning hammasi ishlatilishi kerak fotokimyoviy hosil bo'lgan yoki proektsiyalangan tasvirlar kino bazasi, fotosensitiv emulsiyani qo'llab-quvvatlovchi shaffof substrat.
Formatlar bir nechta sinov ramkalaridan ko'proq narsani yaratish uchun ishlatilgan bo'lishi kerak. Kamera etarlicha tezkor bo'lishi kerak (sekundiga kadrlarda) ko'rishning qat'iyligi hodisa. Rasmga tushirish yoki formatlash bo'yicha format boshqa ro'yxatlangan formatlardan sezilarli darajada noyob bo'lishi kerak tasvir proektsiyasi. Format xarakteristikalari bir nechta sanab o'tilgan parametrlarda aniq belgilanishi kerak (masalan, film o'lchagichi, tomonlarning nisbati va boshqalar).
Afsona
- Formatlash jarayonning nomi; ba'zi formatlar umumiy foydalanishda bir nechta nomlarga ega bo'lishi mumkin.
- Ijodkor tizimni ishlab chiquvchi sifatida to'g'ridan-to'g'ri bog'liq bo'lgan shaxs yoki kompaniya.
- Yaratilgan yil odatda tizim tugatilishida ishlatilgan eng erta sanani (ya'ni proektsiyani) nazarda tutadi, ammo ma'lum bir film suratga olinmasa, u qachon ishlab chiqilganligini anglatishi mumkin.
- Birinchi taniqli film formati bilan olingan va chiqarishga mo'ljallangan birinchi film (testlarni hisobga olmaganda).
- Salbiy o'lchov bo'ladi kino o'lchagich (kenglik) asl kamera uchun ishlatilgan salbiy.
- Salbiy tomonlarning nisbati bo'ladi tasvir nisbati ga ko'paytiriladigan eshik o'lchamlari nisbati bilan belgilanadi anamorfik kamera linzalarining kuchi (sharsimon linzalarda 1 ×).[1]
- Darvozaning o'lchamlari kameraning kengligi va balandligi eshik diafragmasi va kengaytma orqali filmning salbiy ramkasi.
- Salbiy o'chirish tasvirlaydi kino teshiklari kvadrat uchun, plyonka tashish yo'nalishi va kvadrat tezligi. Agar boshqacha ko'rsatilmagan bo'lsa, filmni tashish vertikal deb qabul qilinadi va standart kadr tezligi sekundiga 24 kadr deb qabul qilinadi, agar plyonkada boshqacha ko'rsatilmasa yoki standart bo'lmasa. Jim filmning standart tezligi yo'q; ko'plab havaskor formatlari bir nechta umumiy tezlikka ega, ammo standart yo'q.
- Salbiy linzalar sharsimon (normal) yoki ekanligini bildiradi anamorfik original kamerada linzalardan foydalaniladi, agar anamorfik linzalar bo'lsa, qanday anamorfik quvvat ishlatiladi.
- Proyeksiya ko'rsatkichi bo'ladi kino o'lchagich (kenglik) chop etish uchun ishlatiladigan.
- Proyeksiya tomonlarining nisbati bo'ladi tasvir nisbati ga ko'paytirilgan proektsiya o'lchamlari nisbati bilan aniqlanadi anamorfik proektsion linzalarning kuchi (sharsimon linzalarda 1 ×). Bu shuningdek, mo'ljallangan teatr tomonlari nisbati sifatida ham tanilgan.[1]
- Proektsiyaning o'lchamlari ning kengligi va balandligi projektor diafragmasi plitasi va kengaytirilishi bilan proektsiyalangan plyonka doirasi. Diafragma plitasi har doim ramkani juda ozgina qisqartiradi.
- Proektsion linzalar sharsimon (normal) yoki ekanligini bildiradi anamorfik projektorda linzalardan foydalaniladi, agar anamorfik linzalar bo'lsa, qanday anamorfik quvvat ishlatiladi.
Formatlar xronologik tartibda va agar ularni aniqlash mumkin bo'lsa, bir yil ichida bir nechta formatlangan bo'lsa, chiqish sanasi bo'yicha sanab o'tiladi. Belgilanmagan formatlar alifbo tartibida pastki qismida keltirilgan.
Film formatlari
- Jadval yopilmaydi 3 o'lchovli kino tizimlari yoki rangli kino tizimlari, shuningdek, ushbu tizimlar o'rtasidagi farqlarni ta'kidlash juda mos emas.
| Formatlash | Ijodkor | Est. | Birinchidan ma'lum ish | Salbiy o'lchov | Salbiy A / R[1] | Darvoza xira | Salbiy pastga tortmoq | Salbiy linzalar | Loyihalash o'lchov | Loyihalash A / R[1] | Loyihalash xira | Loyihalash linzalar |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Xronofotograf[2] | Etien-Jyul Marey | 1888 | harakatni tahlil qilish bo'yicha tadqiqotlar | 90 mm | 1.00 | 3.543" × 3.543" | teshiksiz | sferik | ||||
| Qog'oz plyonka[3] | Louis Le Prince | 1888 | Dumaloq bog'ning manzarasi | 65 mm | 1.00 | teshiksiz | sferik | noma'lum | 1.00 | sferik | ||
| Mashina kamerasi | Wm. Friz-Grin | 1889 | Hyde Park Corner & Marmar Arch | 65 mm | 1.00 | pin g'ildiragi teshilishi | sferik | |||||
| Kinetoskop tsilindri | Wm. Dikson & T. Edison | 1889 yoki 1890 yillar | Monkeyshines, № 1 | silindr atrofida o'ralgan lenta | teshiksiz | sferik | sferik | |||||
| Kinesigraf | Wordsworth Donisthorpe | 1890 yoki 1891 | ko'rinishi Trafalgar maydoni | 70 mm | 1.00 | teshiksiz | sferik | |||||
| Friz-Grin | Wm. Friz-Grin | 1891 | King's Road, Chelsi, London | 60 mm | 1.325 | 8 dumaloq perf, 2 tomoni | sferik | |||||
| Kinetoskop gorizontal | Wm. Dikson & Uilyam Xeyz | 1891 | Dikson bilan tabriklash | 19 mm | 6 perf, 1 tomon, gorizontal | sferik | sferik | |||||
| Tovushsiz kino standarti | Wm. Dikson & T. Edison | 1892 | Temirchi sahnasi | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 1.33 | 0.931" × 0.698" | sferik |
| Bioskop | Maks Skladanovskiy | 1892 | Emil Skladanovskiyning kadrlari | 54 mm | teshiksiz (kamera); 4 perf, 2 tomon (proyeksiya) | sferik | 54 mm (ikkita chiziq bir-biriga bog'langan) | sferik | ||||
| Eidoloskop[4] | Woodville Latham | 1895 | Griffo-Barnett mukofoti uchun kurash | 51 mm | 1.85 | 1.457" × 0.787" | 4 perf, 2 tomon | sferik | 51 mm | 1.85 | sferik | |
| Kinematografiya | Birodarlar Lumyerlar | 1895 | La Sortie des Usines Lumiere | 35 mm | 1.33 | 0.980" × 0.735" | 1 perf, 2 tomon (yumaloq) | sferik | 35 mm | 1.33 | sferik | |
| Biografiya | Xerman Kasler | 1895 | Kanastotadagi sparring musobaqasi | 68 mm | 1.35 | 2.625" × 1.938" | 1 perf, 2 tomon (kamerada teshilgan) | sferik | 68 mm | sferik | ||
| Joly-Normandin | Anri Joli | 1895 | 60 mm | 5 perf, 2 tomon | sferik | 60 mm | sferik | |||||
| Biografiya | Demeni-Gaumont | 1896 | 60 mm | 1.40 | 1.750" × 1.250" | teshiksiz | sferik | 60 mm | 1.40 | sferik | ||
| Xronofotograf | Demeni-Gaumont | 1896 | 60 mm | 1.40 | 1.750" × 1.250" | 4 perf, 2 tomon | sferik | 60 mm | 1.40 | sferik | ||
| Sivan-Delfin | Casimir Sivan va E. Delfin | 1896 | 38 mm | 2 perf, 2 tomon | sferik | 38 mm | sferik | |||||
| Veriskop | Xanok rektori | 1897 | Korbett-Fitssimmonlar jangi | 63 mm | 1.66 | 1.875" × 1.125" | 5 perf, 2 tomon | sferik | 63 mm | sferik | ||
| Viventoskop | Tomas Genri Bler | 1897 | 48 mm | 1.50 | 1.500" × 1.000" | 1 perf? | sferik | 48 mm | sferik | |||
| Birtak | Birt gektar | 1898 | noma'lum (havaskor formati) | 17,5 mm | 2 perf, 1 tomon | sferik | 17,5 mm | sferik | ||||
| Biokam | T. Xepvort | 1899 | noma'lum (havaskor formati) | 17,5 mm | 1.60 | 0.630" × 0.394" | 1 perf, markaz | sferik | 17,5 mm | sferik | ||
| Prestvich 13 mm | Jon Alfred Prestvich | 1899 | noma'lum (havaskor formati) | 13 mm | sferik | 13 mm | sferik | |||||
| Mirograf | Reulos, Goudeau & Co. | 1900 | noma'lum (havaskor formati) | 21 mm | 1 chiziq, 2 tomon | sferik | 21 mm | sferik | ||||
| Lumyer keng | Birodarlar Lumyerlar | 1900 | 75 mm | 1.33 | 2.362" × 1.772" | 8 perf, 2 tomon | sferik | 75 mm | 1.33 | sferik | ||
| Cinéorama | R. Grimoin-Sanson | 1900 | Cinéorama | 70 mm × 10 kameralar (360 °) | 4 perf? | sferik | 70 mm × 10 proektor (360 °) | sferik | ||||
| La Petite (Xyuz) | HOJATXONA. Xyuz | 1900 | noma'lum (havaskor formati) | 17,5 mm | 1.60 | 0.630" × 0.394" | 1 per, markaz (Biokamdan kichikroq va to'rtburchaklar kamroq) | sferik | 17,5 mm | sferik | ||
| Pocket Chrono | Gaumont Demeni | 1900 | noma'lum (havaskor formati) | 15 mm | 1 perf, markaz | sferik | 15 mm | sferik | ||||
| Vitak | Uilyam Vardell | 1902 | noma'lum (havaskor formati) | standart yo'q | standart yo'q | standart yo'q | 1 perf, markaz | sferik | 11 mm | sferik | ||
| Uy kinetoskopi | Edison | 1912 | noma'lum (havaskor formati) | standart yo'q | standart yo'q | standart yo'q | standart yo'q | sferik | 22 mm, 2 perf (ramka qatorlari orasidagi ramkada) | 1.5 | 0.236 "× 0.157" (kengligi bo'yicha uchta ramka) | sferik |
| Pathe Kok | Pathe | 1912 | noma'lum (havaskor formati) | 28 mm | 1.36 | 0.748" × 0.551" | Bir tomonda 3 perf, boshqa tomonda 1 perf | sferik | 28 mm | sferik | ||
| Duoskop | Aleksandr F. Viktor | 1912 | noma'lum (havaskor formati) | 17,5 mm | 2 ta perf, markaz | sferik | 17,5 mm | sferik | ||||
| Panoramiko[5] | Filoteo Alberini | 1914 | Il sacco di Roma | 70 mm | 2.52 | 5 perf, 2 tomon | sferik | 70 mm | sferik | |||
| Split dupleks | Dupleks korporatsiyasi | 1915 | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon (tortishish) | sferik | 35 mm | 1.87 | 0.735" × 0.394" | sferik (ajratilgan rasm 90 ° burilgan) | |
| 11 mm | (Amerika) | 1916 | noma'lum (havaskor formati) | 11 mm | 1 perf, markaz | sferik | 11 mm | sferik | ||||
| Movette | Movette kameralar kompaniyasi | 1917 | noma'lum (havaskor formati) | 17,5 mm | 2 perf, 2 tomon (yaxlitlangan) | sferik | 17,5 mm | sferik | ||||
| 28 mm xavfsizlik standarti | Aleksandr F. Viktor | 1918 | noma'lum (havaskor formati) | 28 mm | 1.36 | 0.748" × 0.551" | 3 perf, 2 tomon | sferik | 28 mm | sferik | ||
| Klou | (Avstriyalik) | 1920 | noma'lum (havaskor formati) | 17,5 mm | 2 perf, 2 tomon | sferik | 17,5 mm | sferik | ||||
| 26 mm | (Frantsuzcha) | 1920 | noma'lum (havaskor formati) | 26 mm | 1 perf, 1 tomon | sferik | 26 mm | sferik | ||||
| 9,5 mm | Pathe | 1922 | noma'lum (havaskor formati) | 9,5 mm | 1.31 | 0.335" × 0.256" | 1 perf, markaz | sferik | 9,5 mm | 1.31 | 0.315" × 0.242" | sferik |
| Fonofilm | Li De Forest | 1922 | Barking it va Jenni samolyoti | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 1.17 | 0.826" × 0.708" | sferik |
| Widescope[6] | Jon D. Elms & Jorj V. Bingem | 1922 | 35 mm × 2 (ikkalasi ham bitta kamerada) | 0.980" × 0.735" | 1.33 × 2 salbiy | 4 perf, 2 tomon | sferik (har bir chiziq uchun bitta ob'ektiv) | 35 mm × 2 proektorlar | 2.66 | 0.931" × 0.698" | sferik | |
| Cinebloc | Ozafan | 1922 | noma'lum (havaskor formati) | 22 mm | 2 perf, 2 tomon | sferik | 22 mm | sferik | ||||
| Tri-Ergon ovozli filmi[6] | Uch-Ergon | 1922 | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 42 mm | 1.33 | 0.931" × 0.698" | sferik | |
| 16 mm[7] | Eastman Kodak | 1923 | noma'lum (havaskor formati) | 16 mm | 1.37 | 0.404" × 0.295" | 1 perf, 1 yoki 2 tomon | sferik | 16 mm | 1.37 | 0.378" × 0.276" | sferik |
| Ikki tomonlama | G.J. Bredli | 1923 | noma'lum (havaskor formati) | 11 mm | 2 perf, 2 tomon (yumaloq) | sferik | 11,5 mm | sferik | ||||
| Alberini-Xill | Corrado Cerqua | 1924 | 35 mm | 1.66 | 1,575 "× 0,945" (egri) | 10 perf, 2 tomon, gorizontal | sferik, 65 ° aylanuvchi tamburda | 35 mm | sferik | |||
| Cinelux | Ozafan | 1924 | noma'lum (havaskor formati) | 24 mm | sferik | 24 mm | sferik | |||||
| 48 mm | J.H. Pauri | 1924 | 48 mm | 1.32 | 1.969" × 1.496" | gorizontal | sferik | 35 mm | 1.33 | 0.931" × 0.698" | sferik | |
| Tabiiy ko'rish[8] | Jorj K. Spor & P. Jon Berggren | 1925 | Niagara sharsharasi va Rollercoaster Ride | 63,5 mm | 1.84 | 2.060" × 1.120" | 6 perf, 2 tomon, 20 ramka / s | sferik | 63,5 mm | 2.00 | sferik | |
| 13 mm | (Frantsuzcha) | 1925 | noma'lum (havaskor formati) | 13 mm | 4 perf, markaz | sferik | 13 mm | sferik | ||||
| 18 mm | (Ruscha) | 1925 | noma'lum (havaskor formati) | 18 mm | 1 perf, 2 tomon | sferik | 18 mm | sferik | ||||
| Pathe Qishloq | Pathe | 1926 | noma'lum (havaskor formati) | 17,5 mm | 1.35 (jim); 1.30 (ovoz) | 0,516 "× 0,382" (jim); 0.445 "× 0.343" (ovoz) | 1 perf, 2 tomon | sferik | 17,5 mm | 1.33 (jim); 1.26 (ovoz) | 0,472 "× 0,354" (jim); 0.445 "× 0.343" (ovoz) | sferik |
| Widevision[6] | Jon D. Elms & Jorj V. Bingem | 1926 | Natural Vision Pictures | 57 mm | 5 perf, 2 tomon | sferik | 57 mm | sferik | ||||
| Magnascope[5] | Lorenso del Riccio | 1926 | Old Ironsides | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 1.33 | 0.931" × 0.698" | sferik (kattaroq rasm uchun kengroq linzalardan foydalangan holda tanlangan sahnalar) |
| Tulki Movietone | F. H. Ouens, T. ishi, Uch-Ergon | 1927 | Quyosh chiqishi | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 1.17 | 0.826" × 0.708" | sferik |
| Polyvision[9] | Abel Gance | 1927 | Napoleon | 35 mm × 3 kameralar | 1.33 × 3 salbiy | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm × 3 proektorlar | 4.00 | 0.931" × 0.698" | sferik |
| Gipergonar | Anri Kretien | 1927 | Pour construire un feu | 35 mm | 2.66 | 0.980" × 0.735" | 4 perf, 2 tomon | 2 × anamorfik | 35 mm | 2.66 | 0.931" × 0.698" | 2 × anamorfik |
| Magnafilm[10] | Lorenso del Riccio | 1929 | Siz hozir armiyadasiz | 56 mm | 2.19 | 1.620" × 0.740" | 4 perf, 2 tomon | sferik | 56 mm | 2.00 | sferik | |
| Fox Grandeur[10] | Fox Film korporatsiyasi | 1929 | Fox Grandeur yangiliklari va 1929 yilgi Fox Movietone follies | 70 mm | 2.07 | 1.890" × 0.913" | 4 perf, 2 tomon, 20 kvadrat / s (1930 yilgacha) | sferik | 70 mm | 2.00 | 1.768" × 0.885" | sferik |
| Qo'rqmas super rasmlar[11] | Ralf G. Qo'rquv | 1929 | 35 mm | 2.27 | 1.813" × 0.800" | 10 ta perf, 2 tomoni gorizontal | sferik | Gorizontal ravishda 35 mm | sferik | |||
| Qo'rqmas super film / Magnifilm / Fox Vitascope[12] | Ralf G. Qo'rquv | 1930 | Kismet | 65 mm | 2.00 | 1.811" × 0.906" | 5 perf, 2 tomon | sferik | 65 mm | 2.05 | 1.772" × 0.866" | sferik |
| Realife[11] | MGM | 1930 | Billi Kid | 70 mm | 2.07 | 1.890" × 0.913" | 4 perf, 2 tomon | sferik | 35 mm | 1.75 | 0.904" × 0.517" | sferik |
| 50 mm[13] | Fox Film korporatsiyasi & SMPE | 1930 | 50 mm | 1.80 | 1.325" × 0.735" | sferik | 50 mm | 1.80 | 1.305" × 0.725" | sferik | ||
| 17 mm ovoz | (Frantsuzcha) | 1930 | noma'lum (havaskor formati) | 17 mm | 1 perf, 1 tomon | sferik | 17 mm | sferik | ||||
| Gigant kengaytiruvchi rasmlar | Jorj Palmer | 1930 | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 1.17 | 0.826" × 0.708" | sharsimon (maxsus proektsion zoom linzalari kengroq kattalashtirilib, asosiy ketma-ketliklar uchun ochiladigan niqob bilan) | |
| Kodel Kemco Homovie | Klarens Ogden | 1931 | noma'lum (havaskor formati) | 16 mm | Har bir kvadrat uchun 4 ta ketma-ket rasm | 1 perf, 2 tomon | sferik | 16 mm | sferik | |||
| Akademiya formati[14] | AMPAS | 1932 | 35 mm | 1.375 (odatda qisqartirilgan 1.37) | 0.868″ × 0.631″ | 4 perf, 2 tomon | sferik | 35 mm | 1.37 | 0.825″ × 0.600″ | sferik | |
| 8 mm | Eastman Kodak | 1932 | noma'lum (havaskor formati) | 16 mm | 1.32 | 0.192" × 0.145" | 1 perf, 1 tomon (16 mm lik plyonkadan ikki baravar ko'p perf yordamida) | sferik | 8 mm | 1.33 | 0.172" × 0.129" | sferik |
| To'g'ri 8 | Bell va Xauell | 1935 | noma'lum (havaskor formati) | 8 mm | 1.32 | 0.192" × 0.145" | 1 perf, 1 tomon | sferik | 8 mm | 1.33 | 0.172" × 0.129" | sferik |
| Vitarama | Fred Uoller | 1939 | 16 mm × 11 kameralar | 1.37 × 11 salbiy | 0.404" × 0.295" | 1 perf, 2 tomon | sferik | 16 mm × 11 projektorlar | yarim sharning ko'rinishi | 0.378" × 0.276" | sferik | |
| Waller moslashuvchan Qurol-yarog 'o'qituvchisi | Fred Uoller | 1943 | AQSh havo kuchlari interaktiv o'quv mashqlari | 35 mm × 5 kameralar | 1.37 × 5 salbiy | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm × 5 projektorlar | yarim sharning ko'rinishi | 0.825" × 0.602" | sferik |
| Cinerama[15] | Fred Uoller | 1952 | Bu Cinerama | 35 mm × 3 kameralar | 2.59 (3 × salbiy) | 0.996" × 1.116" | 6 perf, 2 tomoni 26 kadr / s | sferik | 35 mm × 3 ta proektor, 6 ta parchalanishga ega | 2.59, 146 ° egri ekranli | 0.985" × 1.088" | sferik |
| 1.66 matematikasi[14] | Birlamchi | 1953 | Sheyn | 35 mm | 1.37 | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm | 1.66 | 0.825" × 0.497" | sferik |
| 1.85 mat[14] | Umumjahon | 1953 | Thunder Bay | 35 mm | 1.37 | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm | 1.85 | 0.825" × 0.446" | sferik |
| 1.75 mat | MGM | 1953 | Arena | 35 mm | 1.37 | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm | 1.75 | 0.825" × 0.471" | sferik |
| Sinemaskop[16] | 20th Century Fox | 1953 | Xalat | 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 tomon | 2 × anamorfik | 35 mm | 2.55 (1953–57); 2.35 (1957–67) | 0.912" × 0.715" (1953–57); 0.839" × 0.715" (1957–67) | 2 × anamorfik |
| Arnoldskop[17] | Jon Arnold | 1953 | 35 mm | 10 perf, 2 tomon, gorizontal | sferik | |||||||
| VistaVision[18] | Birlamchi | 1954 | Oq Rojdestvo | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, ikki tomoni, gorizontal | sferik | 35 mm, vertikal 4 ta | 1.85 | 0.825" × 0.446" | sferik |
| VistaVision katta maydoni[18][19] | Birlamchi | 1954 | Oq Rojdestvo | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, ikki tomoni, gorizontal | sferik | 35 mm, 8 gorizontal, gorizontal | 1.96 | 1.418" × 0.723" | sferik |
| Superskop[20] | Birodarlar Tushinskiy | 1954 | Vera Kruz | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 2.00 | 0.715" × 0.715" | 2 × anamorfik |
| Circarama[21] | Disney | 1955 | G'arbga sayohat | 16 mm × 11 kameralar | 1.37 × 11 salbiy | 0.404" × 0.295" | 1 perf, 2 tomon | sferik | 16 mm × 11 projektorlar | 360° | 0.378" × 0.276" | sferik |
| Todd-AO[22][23] | Maykl Todd | 1955 | Oklaxoma | 65 mm | 2.29 | 2.072" × 0.906" | 5 ta perf, 2 tomoni, 30 kvadrat / s | sferik | 70 mm | 2.21, 120 ° egri ekranli | 1.912" × 0.870" | sferik |
| CinemaScope 55[24] | 20th Century Fox | 1955 | Karusel | 55 mm | 2.55 | 1.824" × 1.430" | 8 ta perf, 2 tomon | 2 × anamorfik | 35 mm | 2.55 | 0.912" × 0.715" | 2 × anamorfik |
| 9.5 dupleks[25] | Pathé Féres | 1955 | ? | 9,5 mm | 1.51 | 4,1 mm × 6,2 mm | 9,5 mm plyonkada 2 ta markaziy teshik | sferik | 4,75 mm | sferik, 90 ° burilgan | ||
| 8 mm panoramali[26] | Dimafot, Parij | 1955 | ? | 16 mm | 1.5 | 5 mm × 7,5 mm | 1 perf, 2 tomon | sferik | 8 mm | sferik, 90 ° burilgan | ||
| Emel panoskopi[27] | Emel, Parij | 1955 | ? | 16 mm | 2.7 | 3,5 mm × 9,6 mm | 2 perf, 2 tomon | sferik | 16 mm | sferik | ||
| Technirama[28] | Texnik rang | 1956 | Monte-Karlo voqeasi | 35 mm | 2.26 | 1.496" × 0.992" | 8 perf, gorizontal ravishda 2 tomon | 1,5 × anamorfik | 35 mm, to'rtta vertikal | 2.35 | 0.839" × 0.715" | 2 × anamorfik |
| Technirama katta maydoni[28] | Texnik rang | 1956 | Monte-Karlo voqeasi | 35 mm | 2.26 | 1.496" × 0.992" | 8 perf, gorizontal ravishda 2 tomon | 1,5 × anamorfik | 35 mm, 8 mukammal gorizontal | 2.42 | 1.421" × 0.881" | 1,5 × anamorfik |
| Dinamik ramka[29] | Glenn Alvey | 1956 | Devordagi eshik | 35 mm | 1.3, 1.6 va 2.5 | o'zgaruvchan diafragma plitalari | 8 perf, gorizontal ravishda 2 tomon | sferik | 35 mm, vertikal 4 ta | 1.3, 1.5 va 2.5 | sferik | |
| Superskop 235[20] | Superscope Inc. | 1956 | Quyoshga yugur | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | 2.35 | 0.839" × 0.715" | 2 × anamorfik |
| Trillarama[30] | Albert H. Reynolds | 1956 | Trillarama sarguzashtlari | 35 mm × 2 kameralar | 1.78 × 2 salbiy | 3 perf, 2 tomon? | sferik | 35 mm × 2 proektorlar | 3.55, egri ekranli | sferik | ||
| Magirama[9] | Abel Gance | 1956 | Magirama | 35 mm × 3 kameralar (yon tomonlari nometalldan chiqib ketgan) | 1.33 × 3 salbiy | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm × 3 proektor (yon tomonlari nometalldan chiqib ketgan) | 4.00 | 0.931" × 0.698" | sferik |
| MGM kamerasi 65 | Panavision | 1957 | Reyntri okrugi | 65 mm | 2.76 | 2.072" × 0.906" | 5 perf, 2 tomon | 1,25 × anamorfik | 70 mm | 2.76 | 1.912" × 0.870" | 1,25 × anamorfik |
| Ultra Panavision[31] | Panavision | 1962 | Bounty-ga qarshi qo'zg'olon | 65 mm | 2.76 | 2.072" × 0.906" | 5 perf, 2 tomon | 1,25 × anamorfik | 70 mm | 2.76 | 1.912" × 0.870" | 1,25 × anamorfik |
| Sinestage[32] | Mayk Todd | 1957 | 80 kun ichida dunyo bo'ylab | 65 mm | 2.29 | 2.072" × 0.906" | 5 ta perf, 2 tomon | sferik | 35 mm (Buyuk Britaniyada chop etish uchun 1 mm qirqilgan) | 2.12 | 0.912" × 0.675" | 1,567 × anamorfik |
| VistaVision darajasi | J. Artur Rank tashkiloti | 1957 | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, gorizontal ravishda 2 tomon | sferik | 35 mm, vertikal 4 ta | 1.82 | 0.825" × 0.602" | 1.33 × anamorfik | |
| Zamonaviy anamorfik[33] | Panavision | 1958 | Ayol hayvon | 35 mm | 2.37 | 0.866" × 0.732" | 4 perf, 2 tomon | 2 × anamorfik | 35 mm | 2.35 (1957-70); 2.39 (1970 yildan hozirgacha) | 0,839 "× 0,715" (1957–70); 0,838 "× 0,7" (1970-93); 0,825 "× 0,690" (1993 - hozirgacha) | 2 × anamorfik |
| Kinopanorama[34] | NIKFI | 1958 | Mening yurtim buyukdir | 35 mm × 3 kameralar | 0,91 × 3 salbiy | 1.014" × 1.116" | 6 perf, 2 tomon, 25 kvadrat / sekundda | sferik | 35 mm × 3 proektorlar | 2.72 | 0.985" × 1.088" | sferik |
| 70 mm[22][35] | Amerika optik kompaniyasi | 1958 | Tinch okeanining janubiy qismi | 65 mm | 2.28 | 2.066" × 0.906" | 5 ta perf, 2 tomon | sferik | 70 mm | 2.21 | 1.912" × 0.87" | sferik |
| Sinemiracle[36] | Milliy teatrlar | 1958 | Windjammer | 35 mm × 3 kameralar (yon tomonlari nometalldan chiqib ketgan) | 0,89 × 3 salbiy | 0.996" × 1.116" | 6 perf, 2 tomoni 26 kadr / s | sferik | 35 mm × 3 ta proektor (yon tomonlari nometalldan chiqib ketgan), 6 dona parchalanib ketgan | 2.59, 120 ° egri ekranli | 0.985" × 1.088" | sferik |
| Super Technirama[28] | Texnik rang | 1959 | Uyqudagi malika | 35 mm | 2.26 | 1.496" × 0.992" | 8 perf, gorizontal ravishda 2 tomon | 1,5 × anamorfik | 70 mm | 2.21 | 1.912" × 0.816" | sferik |
| Smit-Karni tizimi[37] | Roue E. Karni kichik va Tom F. Smit | 1959 | Missuri sayohatnomasi | 35 mm | 4.69 | 0.839 "× 0.370" (pastki yarim) va 0.449 "× 0.370" (yuqori choraklar) | 4 perf, 2 tomon | sferik × 3 | 35 mm | 4.69 | bitta 180 ° tasvirga prognoz qilingan uchta pastki ramka | sferik × 3 |
| Dumaloq Kinopanorama / Circlorama[38] | E. Goldovskiy | 1959 | Bahor yo'li | 35 mm × 11 kameralar | 1.37 × 11 salbiy | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm × 11 ta proektor | 360° | 0.825" × 0.602" | sferik |
| Varioskop[39] | Jan Jacobsen | 1959 | Uchish klipper | 65 mm | 2.28 | 2.066" × 0.906" | 5 ta perf, 2 tomon | sferik | 70 mm | o'zgaruvchan ramka boshqarish signali orqali ishlaydi | 1.912" × 0.87" | sferik |
| Quadravision[40] | Ford Motor Company | 1959 | Shahar atrofida yashash uchun mo'ljallangan dizayn ko'rgazmali | ? mm × 4 kameralar | ? × 4 salbiy | sferik | ? mm × 4 proektorlar | ? (2 × 2 konfiguratsiyadagi 4 ta rasm) | sferik | |||
| Texniskop[41] | Texnik rang | 1960 | Fir'avnning ayoli | 35 mm | 2.33 | 0.868" × 0.373" | 2 perf, 2 tomon | sferik | 35 mm | 2.39 | 0.838" × 0.7" | 2 × anamorfik |
| Wonderama (Arc 120)[42] | Leon V. Uels | 1960 | Asal oyi | standart yo'q | standart yo'q | standart yo'q | standart yo'q | standart yo'q | 35 mm | 120 ° egri ekranli 2.50 | 0.931 "× 0.698", ikkita yarim rasm 90 ° ga burilib, yonma-yon joylashtirilgan | sferik × 2 |
| Sinema tizimi 3[43][44] | Erik Berndt | 1960 | USAF va NASAdan foydalanish | 3 mm | 1 perf, markazlashtirilgan | sferik | ||||||
| Buyuklik 70[45] | 20th Century Fox | 1961 | Podshoh va men (qayta chiqarish) | 55 mm | 2.55 | 1.824" × 1.430" | 8 ta perf, 2 tomon | 2 × anamorfik | 70 mm | 2.21 | 1.912" × 0.87" | sferik |
| Cinerama 360[42] | Cinerama korporatsiyasi | 1962 | Yulduzlarga sayohat | 65 mm | 1.00 (doira) | 2,25 "diametrli dumaloq tasvir | 10 perf, 2 tomon | baliq ko'zi | 70 mm | 1.00 (doira) | 2,25 "diametrli dumaloq tasvir | sferik |
| Super 8 | Eastman Kodak | 1965 | noma'lum (havaskor formati) | 8 mm | 1.48 | 0.245" × 0.166" | 1 perf, 1 tomon | sferik | 8 mm | 1.36 | 0.215" × 0.158" | sferik |
| Haqiqiy ovoz[iqtibos kerak ] | Kenner | 1965 | standart yo'q | standart yo'q | standart yo'q | 1 perf, 1 tomon | sferik | 11,5 mm | 1.33 | 0.172" × 0.129" | sferik | |
| Ikki karra Super 8[iqtibos kerak ] | Eastman Kodak | 1965 | noma'lum (havaskor formati) | 16 mm | 1.48 | 0.245" × 0.166" | 1 perf, 1 tomon (16 mm lik plyonkadan ikki baravar ko'p perf yordamida) | sferik | 8 mm | 1.36 | 0.215" × 0.158" | sferik |
| Yagona-8[46] | Fujifilm | 1966 | noma'lum (havaskor formati) | 8 mm | 1.36 | 0.224" × 0.164" | 1 perf, 1 tomon | sferik | 8 mm | 1.35 | 0.213" × 0.157" | sferik |
| Hajmi 150[47] | Amerika optik kompaniyasi | 1966 | Injil: boshida | 65 mm | 2.28 | 2.066" × 0.906" | 5 ta perf, 2 tomon | sferik | 70 mm | 2.21, 150 ° egri ekranli | 1.912 "× 0.87", ekranning o'rnini qoplash uchun optik jihatdan egri | sferik |
| Circle Vision 360[38] | Disney | 1967 | Amerika go'zal | 35 mm × 9 kameralar | 1.37 × 9 salbiy | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm × 9 proektorlar | 360° | 0.825" × 0.602" | sferik |
| 8,75 mm[48] | Shanxay filmlarini proektsiyalash uskunalari fabrikasi | 1968 | noma'lum (havaskor formati) | 1 perf | sferik | 8,75 mm | sferik | |||||
| Astrovision[49] | Optikka o'ting | 1969 | 65 mm | 10 perf, 2 tomon | sharsimon yoki baliq ko'zi | 70 mm | baliq ko'zi (gumbaz proektsiyasi) | |||||
| IMAX[50] | IMAX korporatsiyasi | 1970 | Yo'lbars bolasi | 65 mm | 1.34 | 2.772" × 2.072" | 15 perf, gorizontal ravishda 2 tomon | sferik | Gorizontal ravishda 70 mm | 1.31 | 2.692" × 2.056" | sferik |
| Super 16 mm plyonka[7] | Rune Erikson | 1970 | Charli qizarib ketmoqda | 16 mm | 1.66 | 0.493" × 0.292" | 1 perf, 1 tomon | sferik | standart yo'q, lekin ko'pincha 35 mm gacha puflanadi | standart yo'q | 0,463 "× 0,279" (to'liq kadr); 0,463 "× 0,251" (1,85 ga belgilangan) | sferik |
| Pik-a-film[51] | Leon V. Uels | 1972 | standart yo'q | standart yo'q | standart yo'q | standart yo'q | standart yo'q | 70 mm, gorizontal, 1 perf, 2 yon | 1.48 | 1245 satr balandligi, 12 qator optik tovush ostida 0,245 "× 0,166" | sferik | |
| OMNIMAX[52] | IMAX korporatsiyasi | 1973 | Bog 'oroli | 65 mm | 1.34 | 2.772" × 2.072" | 15 perf, gorizontal ravishda 2 tomon | baliq-ko'z linzalari optik ravishda plyonka gorizontal markaz chizig'idan 0,37 dyuym yuqorida joylashgan | Gorizontal ravishda 70 mm | 1.31 | 2.692" × 2.056" | sharsimon, gumbaz ekranida elliptik tarzda prognoz qilingan, 20 daraja pastda va 110 daraja mukammal markazlashtirilgan tomoshabinlar |
| 8/70 (Dynavision, Iwerks 870 )[53] | Dynavision | 1973? | 65 mm | 1.37 | 2.031" × 1.484" | 8 perf, 2 tomon, 24 yoki 30 ramka / s | sferik | 70 mm | 1.34 | 1.913" × 1.431" | sferik | |
| Showscan[54] | Duglas Trumbull | 1978 | Orzular kechasi | 65 mm | 2.28 | 2.066" × 0.906" | 5 ta perf, ikki tomoni, 60 kvadrat / s | sferik | 70 mm, 60 kvadrat / s tezlikda | 2.21 | 1.912" × 0.87" | sferik |
| Polavision[55] | Polaroid korporatsiyasi | 1978 | noma'lum (havaskor formati) | 8 mm | 1.48 | 0.245" × 0.166" | 1 perf, 1 tomon | sferik | 8 mm | 1.36 | 0.215" × 0.158" | sferik |
| Kino 180[56] | Omni filmlari | 1979 | Aqlsiz g'ildiraklar | 65 mm | 2.28 | 2.066" × 0.906" | 5 ta perf, 2 tomon, 30 ta kvadrat / s | baliq ko'zi | 70 mm | 180 °, gumbaz ustida | 1.912" × 0.87" | baliq ko'zi |
| Super 35[57] | Djo Dunton | 1982 | Dance Craze | 35 mm | 1.33 | 0.980" × 0.735" | 4 perf, 2 tomon | sferik | 35 mm | standart yo'q | standart yo'q | standart yo'q |
| Circle Vision 200[58] | Disney | 1982 | Frantsiyadagi taassurotlar | 35 mm × 5 kameralar | 1.37 × 5 salbiy | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm × 5 projektorlar | 6.85, 200 ° ekranda | 0.825" × 0.602" | sferik |
| Swissorama 360 / 360 tasavvur qiling[59] | Ernst A. Xayniger | 1984 | Shveytsariya haqida taassurotlar | 65 mm | 360° | 1,91 "(tashqi chekka), 1,20" (ichki chekka) | 10 perf, 2 tomon | 360 ° × 35 ° haddan tashqari baliq ko'zlari | 70 mm | 360° | 360 ° × 35 ° haddan tashqari baliq ko'zlari | |
| Super Duper 8 / Maksimal 8 / Super 8B[60][61] | Mitch Perkins & Greg Miller | 1980-yillarning o'rtalarida | Doim uyqu (2002) | 8 mm | 1.51 | 0.250" × 0.166" | 1 perf, 1 tomon | sferik | 8 mm | standart yo'q | standart yo'q | sferik |
| 3-mukammal[62] | Rune Erikson | 1987 | Ko'l qaroqchilari | 35 mm | 1.79 | 0.980" × 0.546" | 3 perf, 2 tomon | sferik | 35 mm | standart yo'q | standart yo'q | standart yo'q |
| Super VistaVision[63] | Birlamchi | 1989 | O'n amr (qayta chiqarish) | 35 mm | 1.51 | 1.495" × 0.991" | 8 perf, ikki tomoni, gorizontal | sferik | 70 mm | 2.21 | 1.912" × 0.87" | sferik |
| Kinoton HDFS[64] | Kinoton | 1990 | standart yo'q | standart yo'q | standart yo'q | standart yo'q | standart yo'q | 35 mm | 2.00 | 0.931" × 0.698" | 1,5 × anamorfik | |
| IMAX sehrli gilamchasi[65] | IMAX korporatsiyasi | 1990 | Osmondagi gullar | 65 mm × 2 kameralar | 1.34 | 2.772" × 2.072" | 15 perf, gorizontal ravishda 2 tomon | sferik | 70 mm, gorizontal × 2 proektorlar | 1.31 × 2 ekran (biri oldida, biri pastda) | 2.692" × 2.056" | sferik |
| Iwerksphere[66] | Iwerks | 1991 | 65 mm | 1.37 | 2.031" × 1.484" | 8 perf, 2 tomon, 24 yoki 30 ramka / s | baliq ko'zi | 70 mm | 1.34 | 1.913" × 1.431" | baliq ko'zi | |
| IMAX HD[67] | IMAX korporatsiyasi | 1992 | Asteroid Adventure | 65 mm | 1.34 | 2.772" × 2.072" | 15 perf, gorizontal ravishda ikki tomon, 48 kvadrat / s | sferik | Gorizontal ravishda 70 mm | 1.31 | 2.692" × 2.056" | sferik |
| Hexiplex[68] | (Avstraliyalik) | 1992 | Expo '92 demo | 35 mm × 6 kameralar | 1.37 × 6 salbiy | 0.866" × 0.630" | 4 perf, 2 tomon | sferik | 35 mm × 6 proektorlar | 360 °, aylanadigan ekranlar va projektorlar bilan | 0.825" × 0.602" | sferik |
| Ultra toruskop[56] | Mak Makkarni | 1992 | 35 mm × 3 kameralar | 1.37 × 3 salbiy | 0.866" × 0.630" | 4 perf, 2 tomon, 30 kvadrat / s | sferik | 70 mm × 3 proektor, 30 kvadrat / sekundda | 360° | 1.912" × 0.87" | sferik | |
| Xayol FX 7012[13] | Geo-Odisseya | 1992? | 35 mm | 2.08 | 2.040" × 0.980" | 12 perf, 2 tomon, gorizontal | sferik | 70 mm | 2.21 | 1.912" × 0.87" | sferik | |
| Univisium[69] | Vittorio Storaro | 1998 | Tango | 35 mm | 2.00 | 0.945" × 0.472" | 3 ta perf, 25 ta / soniyada 2 tomon | sferik | 35 mm | 2.00 | sferik | |
| Maxivision[70] | Din Gudxill | 1999 | 35 mm | 1.79 | 0.980" × 0.546" | 3 perf, 2 tomon | sferik | 35 mm, 3 perf | 1.85 | sferik | ||
| Maxivision 48[70] | Din Gudxill | 1999 | 35 mm | 1.79 | 0.980" × 0.546" | 3 perf, 2 tomon, 48 kvadrat / s | sferik | 35 mm, 3 dona, 48 kvadrat / s | 1.85 | sferik | ||
| Super o'lchov 70[71] | Robert Vaysgerber | 1999 | 65 mm | 2.28 | 2.066" × 0.906" | 48 kvadrat / sekundda 5 ta perf, 2 tomoni | sferik | 48 mm / s tezlikda 70 mm | 2.21 | 1.912" × 0.87" | sferik | |
| FuturVision 360[49] | 65 mm | 1.52 | 2.066" × 0.906" | 5 ta perf, 2 tomon, 30 ta kvadrat / s | 1,5 × vertikal anamorfik | 70 mm | 1.47 | 1.912" × 0.87" | 1,5 × vertikal anamorfik | |||
| Mini-Maks[72] | Vistaskop | 35 mm | 2.66 | 2 perf, 2 tomon, 30 kvadrat / s | sferik | 35 mm | 2.66 | sferik | ||||
| MotionMaster[73] | Omni filmlari | 65 mm | 2.28 | 2.066" × 0.906" | 5 ta perf, 2 tomon, 30 ta kvadrat / s | sferik | 70 mm | 2.21, egri ekranda | 1.912" × 0.87" | sferik | ||
| Qator-film[74] | R. Thun | 35 mm | 20 ta rasm kengligi | sferik | sferik | |||||||
| Septorama[49] | ? mm × 7 kameralar | 1.33 × 7 salbiy | sferik | ? mm × 7 proektorlar | yarim sharning ko'rinishi | sferik | ||||||
| Yagona kinerama[75] | Fred Uoller | 35 mm | kavisli darvoza | 16 perf, ikki tomoni, gorizontal | sferik | Gorizontal ravishda 35 mm | egri ekran | sferik | ||||
| Sovet 10[76] | 65 mm | 10 perf, 2 tomon | 2 × anamorfik | 70 mm | 2.09 | 1.890" × 1.811" | 2 × anamorfik | |||||
| Vario-35[76] | 35 mm | sferik | 35 mm | o'zgaruvchan ramka boshqarish signali orqali ishlaydi | 0,835 "× 0,713" (to'liq); 0,835 "× 0,453" (1,84); 0,709 "× 0,524" (1,35); 0,614 "× 0,614" (1,00); 0,535 "× 0,713" (0,75) | sferik | ||||||
| Vario-35A[76] | 35 mm | 35 mm | o'zgaruvchan ramka boshqarish signali orqali ishlaydi | 0.835" × 0.713" | o'zgaruvchan anamorfik (2.35 uchun 2 ×; 1.85 uchun 1.57 ×; 1.37 uchun 1.17 ×; 1.00 uchun 1.85 ×; 1.00 uchun 0.85 ×; 0.75 uchun 0.64 ×; 0.59 uchun 0.59) | |||||||
| Vario-70[76] | 65 mm | 10 ta perf, 2 tomon | sferik | 70 mm | o'zgaruvchan ramka boshqarish signali orqali ishlaydi | 1.890 "× 1.811" (to'liq); 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) | sferik | |||||
| Formatlash | Ijodkor | Est. | Birinchidan ma'lum ish | Salbiy o'lchov | Salbiy A / R[1] | Darvoza xira | Salbiy pastga tortmoq | Salbiy linzalar | Loyihalash o'lchov | Loyihalash A / R[1] | Loyihalash xira | Loyihalash linzalar |
Shuningdek qarang
Izohlar
- ^ a b v d e f Qat'iy aytganda, filmning nisbati har doim 1 nisbati bilan ifodalanadi va x: y, masalan, formatlangan. 1.85: 1. Biroq, formatlash manfaati uchun ro'yxatdagi tomonlar nisbati 1 nisbatini qabul qiladi va: 1 qo'shimchasini qoldiradi.
- ^ Berns, RW, Televizion: shakllanayotgan yillarning xalqaro tarixi, p. 71, Elektr muhandislari instituti, 1991 yil.
- ^ Skott, E. Kilburn, "L. A .A. Le Princening karyerasi", Kiber-tovushdagi sarguzashtlar. Qabul qilingan 2008-05-17.
- ^ Hiller, Jon. "Kino tarixi ommaga: Birinchi milliy kino mashinalari to'plami", Film tarixi, 11-son, n. 3, p. 373. Indiana University Press, 1999 yil.
- ^ a b Sherlok, p. 3.
- ^ a b v Sherlok, p. 40.
- ^ a b Xummel, p. 16.
- ^ Sherlok, p. 5-6.
- ^ a b Sherlok, p. 4.
- ^ a b Sherlok, p. 5.
- ^ a b Sherlok, p. 6.
- ^ Sherlok, p. 6-7.
- ^ a b Sherlok, p. 59.
- ^ a b v Xummel, p. 10.
- ^ Xart, Cinerama xususiyatlari.
- ^ Xart, CinemaScope xususiyatlari va Diafragma va nisbatlar nisbati.
- ^ Xart, Ultra Panavision, p. 1.
- ^ a b Xart, VistaVision xususiyatlari.
- ^ Sherlok, p. 27.
- ^ a b Xart, SuperScope xususiyatlari.
- ^ Sherlok, p. 19-20.
- ^ a b Kadrlar tezligini 30 dan 24 kadr / s gacha pasaytirgandan keyin ham Todd AO prodyuserlari 24 kadr / s filmlarda bir xil savdo nomidan foydalanishni saqlab qolishdi. 24 kvadrat / s Todd AO, Super Panavision va boshqa standart 65/70 mm deb nomlanadigan narsalar o'rtasida farq yo'q.
- ^ Xart, Todd A.O. Xususiyatlar.
- ^ Xart, CinemaScope xususiyatlari.
- ^ Patris-Herve Pont, Jan Lup Prinsel: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, Frantsiya, 2007 yil, ISBN 2-9522521-3-0, -> 107-sonli sahifa
- ^ Patris-Herve Pont, Jan Lup Prinsel: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, Frantsiya, 2007 yil, ISBN 2-9522521-3-0, -> 51-sonli sahifa
- ^ Patris-Herve Pont, Jan Lup Prinsel: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, Frantsiya, 2007 yil, ISBN 2-9522521-3-0, -> 59-sonli sahifa
- ^ a b v Xart, Technirama xususiyatlari.
- ^ Sherlok, p. 58.
- ^ Xart, Trillarama
- ^ Xart, Ultra Panavision xususiyatlari.
- ^ Sherlok, p. 31.
- ^ Xummel, p. 13.
- ^ Sherlok, p. 11-12.
- ^ Xummel, p. 17.
- ^ Xart, Cinemiracle xususiyatlari.
- ^ Xart, Smit-Karni tizimi.
- ^ a b Sherlok, p. 19.
- ^ Fromm, Gerxard. "Yan Jacobsenning ishi", .. 70 mm ichida: 70 mm axborot byulleteni, 57-son (1999 yil iyun). Qabul qilingan 2008-12-01.
- ^ Nilsen, Sara Dawn. Amerikani loyihalash: 1958 yilgi Bryussel Jahon ko'rgazmasidagi filmlar, p. 96. Janubiy Kaliforniya universiteti matbuoti, 2000 yil.
- ^ Xart, Techniscope xususiyatlari.
- ^ a b Sherlok, p. 18.
- ^ Nystrom
- ^ "Film o'lchov asboblari". Saqlash lug'ati. Milliy kino va ovozli arxiv. Arxivlandi asl nusxasidan 2009-02-21.
- ^ Xart, CinemaScope, p. 6.
- ^ "Viewpoint Japan", Britaniya fotosuratlar jurnali, 1965 yil 3-dekabr, p. 1050.
- ^ Sherlok, p. 17-18.
- ^ Klark, Pol. Xitoy madaniy inqilobi: tarix, p. 146. Kembrij: Kembrij universiteti matbuoti, 2008 yil.
- ^ a b v Sherlok, p. 37.
- ^ Xummel, p. 18.
- ^ "Pik-A-film", Britaniya kinematografiyasi Ovoz va televidenie, Avgust 1973. Qabul qilingan 2008-07-07.
- ^ Xummel, p. 18-19.
- ^ Xummel, p. 19.
- ^ Sherlok, p. 39
- ^ Giambarba, Pol. Polaroidning markasi 1957–1977 yy, 18-bob, 2004-09-01. Qabul qilingan 2008-07-07.
- ^ a b Aridi, Sal (2000 yil iyul - dekabr). "Katta formatli kinematografiya". Operator operatori. Arxivlandi asl nusxasi 2008-06-29 kunlari.CS1 maint: sana formati (havola)
- ^ Xummel, p. 11.
- ^ Sherlok, p. 20
- ^ Pikolin, Lukas. "Har tomonlama kino", in70mm.com, 2004-10-01. Qabul qilingan 2008-07-07.
- ^ Vigant, Fil. Max8 formatidagi texnik sxematik chizmalar, Pro8mm, 2005-11-09.
- ^ www.jelve.com. "Uyquni doimo ko'taring". www.friendlyfirefilms.com.
- ^ Xummel, p. 20.
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Adabiyotlar
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