One pixel height, therefore, would be 1/2160 screen height. (However, if one wants do do it the same way studios do it, then - that is the way. From the charts above, picture height of a 4K image is at most 2160 pixels. Our frames and Cinemascope frames are the ideal choice for fixed screen installations. Obviously any method involving cropping will result in reduced resolution, which is why anamorphic lenses exist.īut that's an approach that costs $$$$$$$$$$$$$$ The 2.35 THEATRE Frame is a self tensioned screen into a high quality elegant Velvet covered aluminium frame that can fit most medium to large projection setups. I think the cinema types refer to it as matte, rather than crop (I’m a stills shooter, so forgive my wrong terminology) Sometimes as just lines, sometimes with the unwanted parts blacked out. The Good Good selection of aspect ratios guides for most of the common aspect ratios are present and accounted for. Sony A7SII US model Like New FREE Battery Grip,Fotodiox Smart EOS adapter for canon lens, 64 SDXC card original box and documents still under warranty Lens Mount Sony E-Mount Camera Format Full-Frame Pixels Actual: 12.4 Megapixel Effective: 12.2 Megapixel Max Resolution 4240 x 2832 Aspect Ratio 3:2, 16:9 Sensor Type / Size CMOS, 35.8 x 23.9 mm File Formats Still Images: JPEG. This allows you to maintain proper framing when delivering to different formats such as 4:3 or 2.35:1. You can have guides showing you the desired finished size. The a7S II provides a variety of on-screen guides, including guides for different aspect ratios. you a frame that is perfect CinemaScope although shot with spherical lenses. Thank you, I'll try it that way, but wouldn't I be missing some parts if I crop? What if I was shooting a video of people, if I crop the image I would cut their heads off? Thanks, and please excuse my ignorance. The Sony a7S II does not have an anamorphic mode, yet, Ive been shooting. Films used to be shot in the "Academy" ratio of 1.37:1, then 1.66:1 (particularly in Europe, I believe). Shoot in 16:9 and crop.ġ.85 and 2.35 are not the only "cinematic" ratios. If you have Audyssey, it will totally compensate for that.I could be wrong, but I don't think it's possible to do that in-camera - it's something you do afterwards. The Seymour models have only about 2 dB loss at 15,000 Hz. I strongly recommend an acoustically transparent screen, with the center speaker behind the screen, at ear height. The most common CinemaScope and Panavision shapes completely fill our 2.35:1 screen. Most filmmakers are banking on a 2.35 image being larger in screen area than the usual 1.85:1 or 1.78:1 (16:9), which is what you get with a 2.35:1 screen. As Youthman said, grey bars at the sides look better than grey bars at the top and bottom. If you look at all screen shapes, by all professional cinema companies, there are at least 10 aspect ratios (shapes). There were other shapes in very the early history of CinemaScope. This is the page you need to read for those that have short attention spans. I assume what you have in mind is a 2.35:1 screen, which was one of the CinemaScope shapes. First, you need to head over to The Widescreen Museum and get some reading done. It was later all but replaced by Panavision. "CinemaScope" is a trade name for the anamorphic process introduced by 20th Century Fox in 1953. We got a 130" (wide, not diagonal) 2.35:1 acoustically transparent screen. They are very helpful we exchanged several emails with them before buying. Seymour screens are great! They will either sell you the fabric or a complete screen by direct mail.
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