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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.
The Minolta MAXXUM 7000 (7000 AF in Europe and α-7000 in Japan) 35 mm SLR camera was introduced in February 1985. It was the first camera to feature both integrated autofocus (AF) and motorised film advance, the standard configuration for later amateur and professional single lens reflex cameras.
16 mm × 11 cameras 1.37 × 11 negatives 0.404" × 0.295" 1 perf, 2 sides spherical 16 mm × 11 projectors hemispherical view 0.378" × 0.276" spherical Waller Flexible Gunnery Trainer: Fred Waller: 1943 US Air Force interactive training exercise 35 mm × 5 cameras 1.37 × 5 negatives 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm × 5 projectors
A Stereo Realist camera. The Stereo Realist is a stereo camera that was manufactured by the David White Company from 1947 to 1971. It was the most popular 35 mm stereo camera ever manufactured [1] and started the era of popular stereo photography of the mid 20th century.
Camera negative film had larger grain than the film stocks used for prints, so there was a consistent approach in using a larger frame on the film negative than on prints. While the image area of a print has to allow for a soundtrack, a camera negative does not. CinemaScope 55 had different frame dimensions for the camera negative and struck ...
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 ...
In 1956, Canon departed from the Leica II Style and developed a more contemporary look, along with a Contax style self-timer level to the left of the lens mount. This was the first Canon camera with a swing-open camera back for film loading. Upper end models had a new three-mode viewfinders and winding triggers. Canon VT (1956) Canon L2 (1957)
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.