anamorphic print造句

• When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one ."
• Mike Todd had limited 35 mm anamorphic prints made with a non-standard compression ratio to provide a 2.21 : 1 viewing experience.
• CinemaScope's association with anamorphic projection is still so embedded in mass consciousness that all anamorphic prints are now referred to generically as "'Scope " prints.
• 2-perf camera systems use only 2 perforations per frame on 35mm film, which gives an aspect ratio close to the 2.39 : 1 aspect ratio used in anamorphic prints.
• As a compromise to standard technology ( for the time being ), Storaro asserts that an anamorphic print can be made and presented in 24 frames per second with a digital and / or optical soundtrack.
• Another process called Techniscope was developed by Technicolor Inc . in the early 1960s, using normal 35 mm cameras modified for two perforations per ( half ) frame instead of the regular four and later converted into an anamorphic print.
• This mildly complicates certain visual effects efforts for productions using 3-perf and 2-perf, making anamorphic prints struck digitally from center cropped 4-perf Super 35 the popular choice in large budget visual effects driven productions.
• Due to these conflicts, and because other studios were starting to release anamorphic prints with standard optical soundtracks, Fox revoked their policy of stereo-only presentations in 1957, and added a half-width optical soundtrack, while keeping the magnetic tracks for those theaters that were able to present their films with stereophonic sound.
• The initial Four-perf anamorphic prints use more of the negative's available frame area than any other modern format which leaves little room for splices; as a consequence, a bright line would flash onscreen when a splice was projected and theater projectionists had been narrowing the vertical aperture to hide these flashes even before issuance of PH22.106-1971.
• Anamorphic prints are still often called'Scope'or 2.35 by projectionists, cinematographers, and others working in the field, if only by force of habit . 2.39 is in fact what they generally are referring to ( unless discussing films using the process between 1958 and 1970 ), which is itself usually rounded up to 2.40 ( with a false precision as compared to the mathematically correct 2.4 ).