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  2. VistaVision - Wikipedia

    en.wikipedia.org/wiki/VistaVision

    VistaVision could be shown at widescreen aspect ratios between 1.66 and 2.00:1. VistaVision could be (and most often was) further printed down to standard vertical 35 mm reels, keeping its 1.66:1 widescreen aspect ratio, which meant that exhibitors did not need to purchase additional projection equipment, as was often required for CinemaScope.

  3. 35 mm equivalent focal length - Wikipedia

    en.wikipedia.org/wiki/35_mm_equivalent_focal_length

    35 mm equivalent focal lengths are calculated by multiplying the actual focal length of the lens by the crop factor of the sensor. Typical crop factors are 1.26× – 1.29× for Canon (1.35× for Sigma "H") APS-H format, 1.5× for Nikon APS-C ("DX") format (also used by Sony, Pentax, Fuji, Samsung and others), 1.6× for Canon APS-C format, 2× for Micro Four Thirds format, 2.7× for 1-inch ...

  4. Motor drive (photography) - Wikipedia

    en.wikipedia.org/wiki/Motor_drive_(photography)

    By the 1990s, the vast majority of 35mm cameras had integral motor drive, and the feature found its way into some medium format cameras as well. [ 2 ] Motor drives for compact and amateur cameras wind slowly—shot-to-shot intervals of approximately a second are commonplace.

  5. Technirama - Wikipedia

    en.wikipedia.org/wiki/Technirama

    Cameras used 35mm film running horizontally with an 8-perforation frame, double the normal size, exactly the same as VistaVision. VistaVision cameras were sometimes adapted for Technirama. Technirama used 1.5:1 anamorphic curved mirror optics in front of the camera lens (unlike CinemaScope's cylindrical lenses which squeezed the image in a 2:1 ...

  6. Full-frame DSLR - Wikipedia

    en.wikipedia.org/wiki/Full-frame_DSLR

    On smaller-sensor DSLRs, wide-angle lenses have smaller angles of view equivalent to those of longer-focal-length lenses on 35 mm film cameras. For example, a 24 mm lens on a camera with a crop factor of 1.5 has a 62° diagonal angle of view, the same as that of a 36 mm lens on a 35 mm film camera. On a full-frame digital camera, the 24 mm lens ...

  7. Super 35 - Wikipedia

    en.wikipedia.org/wiki/Super_35

    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.

  8. Topcon RE Super - Wikipedia

    en.wikipedia.org/wiki/Topcon_RE_Super

    A special accessory shoe is situated at the base of the rewind knob with a standard PC sync. contact next to it. The release button is placed at the right-hand camera front, but there is no mirror-up facility; this was included on the upgraded versions. The standard lens is the RE. Auto-Topcor 1:1.4 f=5.8cm or the slightly slower 1:1.8 version ...

  9. Aaton Penelope - Wikipedia

    en.wikipedia.org/wiki/Aaton_Penelope

    Aaton Penelope is a 35mm motion picture camera introduced by Aaton in October 2008. It is the first camera in the world designed as a switchable Techniscope or 3-perf shooting solution (2 perf-native and 3 perf user-switchable), and it is also the first 35mm camera to offer a progressive scan video-tap. [1]