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The DCI 4K standard has twice the horizontal and vertical resolution of DCI 2K (2048 × 1080), with four times as many pixels overall. Digital movies made in 4K may be produced, scanned, or stored in a number of other resolutions depending on what storage aspect ratio is used.
The vertical resolution is usually a multiple of 8 or 16 pixels due to most video codecs processing pixels on such sized blocks. A widescreen FHD video can be 1920 × 800 for a 12∶5 ratio or 1920 × 1040 for roughly 1.85 × 1, for instance.
Comparing the film area of Super 35 (framed for 2.39) to CinemaScope, standard widescreen and Techniscope. Super 35 (originally known as Superscope 235) is a motion picture film format that uses exactly the same film stock as standard 35 mm film, but puts a larger image frame on that stock by using the space normally reserved for the optical analog sound track.
Widescreen images are displayed within a set of aspect ratios (relationship of image width to height) used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than 4:3 (1.33:1). For TV, the original screen ratio for broadcasts was in 4:3 (1.33:1).
Shot on digital video in interlaced 50 fps. Shown in cinemas in 24 fps. The original 50 fps presentation is not in any home video release. Love & Pop: Hideaki Anno: Japanese: 60 Shot on digital video in interlaced 60 fps, with some scenes shot on 35 mm movie film in 24 fps. Shown in cinemas in 24 fps and in interlaced 60 fps with 24 fps ...
The 64:27 aspect ratio is the logical extension of the existing video aspect ratios 4:3 and 16:9. It is the third power of 4:3, whereas 16:9 of widescreen HDTV is 4:3 squared. This allows electronic scalers and optical anamorphic lenses to use an easily implementable 4:3 (1.3 3) scaling factor.
This is the proper mode to display anamorphic video. If used for standard aspect ratio video, everything on the screen will appear wider than normal. Contrast this with anamorphic video displayed without processing on a 4:3 display, in which people on the screen will appear taller than normal. This is also known as the 16:9 mode.
Metro-Goldwyn-Mayer (MGM) approached Panavision founder Robert Gottschalk in the late 1950s to create a large-format widescreen system capable of filling the extremely wide screens of Cinerama theaters while using a single projector, and would also be capable of producing high-quality standard 70 mm and 35 mm CinemaScope prints, which Cinerama's three-strip process did not allow for.