Negative pulldown

Negative pulldown is the manner in which an image is exposed on a film stock, described by the number of film perforations spanned by an individual frame. It can also describe whether the image captured on the negative is oriented horizontally or vertically. Changing the number of exposed perforations allows a cinematographer to change both the aspect ratio of the image and the size of the area on the film stock that the image occupies (which affects image clarity). The most common negative pulldowns for 35 mm film are 4-perf and 3-perf, the latter of which is usually used in conjunction with Super 35. 2-perf, used in Techniscope in the 1960s, is enjoying a slight resurgence due to the birth of digital intermediate techniques eliminating the need for optical lab work. Vertical pulldown is overwhelmingly the dominant axis of motion in cinematography, although horizontal pulldown is used in IMAX, VistaVision, and in 35 mm consumer and professional still cameras.

Negative pulldown is the manner in which an image is exposed on a film stock, described by the number of film perforations spanned by an individual frame. It can also describe whether the image captured on the negative is oriented horizontally or vertically. Changing the number of exposed perforations allows a cinematographer to change both the aspect ratio of the image and the size of the area on the film stock that the image occupies (which affects image clarity). The most common negative pulldowns for 35 mm film are 4-perf and 3-perf, the latter of which is usually used in conjunction with Super 35. 2-perf, used in Techniscope in the 1960s, is enjoying a slight resurgence due to the birth of digital intermediate techniques eliminating the need for optical lab work. Vertical pulldown is overwhelmingly the dominant axis of motion in cinematography, although horizontal pulldown is used in IMAX, VistaVision, and in 35 mm consumer and professional still cameras. ==35 mm== ===2-perf=== 2-perf camera systems use 2 perforations per frame on 35 mm film with an aspect ratio close to 2.39:1; the aspect ratio used in anamorphic prints. It was first proposed conceptually around 1930, but was not put into practice until 1961, when Techniscope was developed at Technicolor's Italian branch. It has recently been brought up again with the advent of higher quality, lower grain film stocks as well as digital intermediate post-production methods which eliminate optical blowups and thus improve quality. While in the recent past, some companies have offered custom conversions of camera equipment to 2-perf, it appears that camera manufacturers are now poised to support the format. Arri made 2-perf movement blocks for their Arricam and Arriflex 235 cameras available for rental in March 2007. Aaton's Penelope camera, released in October 2008¹, was the first camera specifically designed for 2-perf usage (as well as 3-perf). ===3-perf=== In the early 1980s, Swedish cinematographer Rune Ericson collaborated with Panavision on the concept of creating a 3-perf mechanism for motion picture cameras. The 3-perf system, achieved by altering the camera gate and shutter mechanism, reduces film wastage by using frames that are 3 perforations high instead of the standard 4-perforations. This results in an aspect ratio of approximately 1.85:1, which closely aligns with the widescreen television aspect ratio of 1.78:1, thereby minimizing image loss outside this aspect ratio. Due to the smaller frame size, the camera operates about 25% slower, leading to a 25% reduction in film stock usage. Additionally, the camera operates more quietly because less film passes through the mechanism per frame. The Super 35 variant of 3-perf also provides a larger negative area, which can help offset the increase in grain when using higher-speed film stocks. In the late 1990s, cinematographer Vittorio Storaro proposed a film standard known as Univisium (also called Univision), which advocated for 3-perf Super 35 to create a 2.00:1 aspect ratio. ==70 mm== ===Standard 65 mm (5/70) (Todd-AO, Super Panavision)=== spherical lenses 5 perforations/frame 42 frames/meter (12.8 frame/ft) 34.29 meters/minute (112.5 ft/minute) vertical pulldown 24 frames/second camera aperture: 52.48 by 23.01 mm (2.066 by 0.906 in) projection aperture: 48.56 by 20.73 mm (1.912 by 0.816 in) 305 m (1000 feet), about 9 minutes at 24 frame/s = 4.5 kg (10 pounds) in can aspect ratio: 2.2:1 ===Ultra Panavision 70 (MGM Camera 65)=== Same as Standard 65 mm except Shot with special anamorphic adapter in front of lens 1.25× squeeze factor, projected aspect ratio 2.76:1 ===Showscan=== Same as Standard 65 mm except 60 frames per second ===IMAX (15/70)=== spherical lenses 15 perforations per frame horizontal movement, from right to left (viewed from base side) 24 frames per second camera aperture: 70.41 by 52.63 mm (2.772 by 2.072 in) projection aperture: at least 2 mm (0.080 in) less than camera aperture on the vertical axis and at least 0.4 mm (0.016 in) less on the horizontal axis aspect ratio: 1.35:1 (camera), 1.43:1 (projected) ===Dynavision (8/70) (Also known as Iwerks 8/70)=== fisheye or spherical lenses, depending on if projecting for a dome or not vertical pulldown 24 or 30 frames per second camera aperture: 52.83 by 37.59 mm (2.080 by 1.480 in) ==See also== List of film formats ==References== 3 PERFORATION - SAME IMAGE QUALITY AT LOWER COSTS The future of 35mm filmmaking: standard rawstock but 3perf/picture instead of 4perf. ==External links== Movie Making Manual wikibook article on Telecine including a list of facilities that can telecine 2-perf

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