U.S. patent application number 10/278200 was filed with the patent office on 2003-03-06 for method of making motion picture release-print film.
Invention is credited to Behrns, Don P., Goodhill, Dean K..
Application Number | 20030043344 10/278200 |
Document ID | / |
Family ID | 24594417 |
Filed Date | 2003-03-06 |
United States Patent
Application |
20030043344 |
Kind Code |
A1 |
Goodhill, Dean K. ; et
al. |
March 6, 2003 |
Method of making motion picture release-print film
Abstract
A method of making motion picture release-print film, such as 35
mm film. The film has an enlarged frame that occupies substantially
the entire width of the film that is available for the exposure of
images, and the spacing between frames is minimized. Film having
these enlarged frames provides an enhanced image with a minimum of
film waste. Aspect ratios of 1.85:1 and 2.01:1 in the enlarged
frame size are contemplated in three and four perforation formats.
A digital soundtrack or other appropriate soundtrack replaces the
analog soundtrack that occupies a portion of the available width.
The soundtrack may provide for redundancy.
Inventors: |
Goodhill, Dean K.; (Los
Angeles, CA) ; Behrns, Don P.; (Los Angeles,
CA) |
Correspondence
Address: |
KNOBBE MARTENS OLSON & BEAR LLP
2040 MAIN STREET
FOURTEENTH FLOOR
IRVINE
CA
92614
US
|
Family ID: |
24594417 |
Appl. No.: |
10/278200 |
Filed: |
October 22, 2002 |
Related U.S. Patent Documents
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Application
Number |
Filing Date |
Patent Number |
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10278200 |
Oct 22, 2002 |
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09886704 |
Jun 20, 2001 |
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09886704 |
Jun 20, 2001 |
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09407358 |
Sep 29, 1999 |
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09407358 |
Sep 29, 1999 |
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09067231 |
Apr 27, 1998 |
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09067231 |
Apr 27, 1998 |
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08646777 |
May 8, 1996 |
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5745213 |
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Current U.S.
Class: |
352/27 |
Current CPC
Class: |
G03B 19/18 20130101;
G03B 2217/243 20130101; G03B 31/02 20130101; G03B 1/42
20130101 |
Class at
Publication: |
352/27 |
International
Class: |
G03B 031/02 |
Claims
We claim:
1. A method of making motion picture film, comprising: coating a
strip of motion picture film with a light-sensitive emulsion,
wherein the film has two rows of perforations extending along
opposite edges of the film for engagement with sprockets of a
motion picture film projector; exposing images onto the film,
wherein an area available for the exposure of each image is defined
by a frame having a width that occupies substantially the entire
available space between the rows of perforations and having a
height that spans approximately three perforations, providing a
printed aspect ratio of substantially 1.85:1; and placing audio
information on the film that coordinates sound with the images when
projected by the motion picture film projector, wherein the audio
information substantially does not occupy any of said area
available for the exposure of each image.
2. Motion picture film, comprising: a strip of motion picture film
having two rows of perforations extending along opposite edges of
the film for engagement with sprockets of a motion picture film
projector; a plurality of projectable images on the film, wherein
an area available for the projection of each image is defined by a
frame having a width that occupies substantially the entire
available space between the rows of perforations and having a
height that spans approximately three perforations, providing an
aspect ratio of substantially 1.85:1; and audio information on the
strip that coordinates sound with the images when projected by the
motion picture film projector, wherein the audio information
substantially does not occupy any of said area available for the
projection of each image.
3. The motion picture film of claim 2, wherein the audio
information comprises a digital soundtrack, including a control
track placed on the film outside the frames that controls operation
of a CD ROM player to produce audio in synchronization with the
images on the film.
4. The motion picture of claim 3, wherein the digital soundtrack is
redundant to provide redundant digital audio.
5. The motion picture film of claim 4, wherein one control track is
placed on the film between the perforations along one edge of the
film, and another redundant control track is placed on the film
between the perforations along the opposite edge of the film.
6. A method of making motion picture film, comprising: coating a
strip of motion picture film with a light-sensitive emulsion,
wherein the film has two rows of perforations extending along
opposite edges of the film for engagement with sprockets of a
motion picture film projector; exposing images onto the film,
wherein an area available for the exposure of each image is defined
by a frame having a width that occupies substantially the entire
available space between the rows of perforations and having a
height that spans approximately four perforations, providing a
printed aspect ratio of substantially 1.33:1 which is
anamorphically projected in a 2.0:1 aspect ratio; and placing audio
information on the film that coordinates sound with the images when
projected by the motion picture film projector, wherein the audio
information substantially does not occupy any of said area
available for the exposure of each image.
7. Motion picture film, comprising: a strip of motion picture film
having two rows of perforations extending along opposite edges of
the film for engagement with sprockets of a motion picture film
projector; a plurality of projectable images on the film, wherein
an area available for the projection of each image is defined by a
frame having a width that occupies substantially the entire
available space between the rows of perforations and having a
height that spans approximately four perforations, providing a
printed aspect ratio of substantially 1.33:1 which is
anamorphically projected in a 2.0:1 aspect ratio; and audio
information on the strip that coordinates sound with the images
when projected by the motion picture film projector, wherein the
audio information substantially does not occupy any of said area
available for the projection of each image.
8. The motion picture film of claim 7, wherein the audio
information comprises a digital soundtrack, including a control
track placed on the film outside the frames that controls operation
of a CD ROM player to produce audio in synchronization with the
images on the film.
9. The motion picture film of claim 8, wherein the digital
soundtrack is redundant to provide redundant digital audio.
10. The motion picture film of claim 9, wherein one control track
is placed on the film between the perforations along one edge of
the film, and another redundant control track is placed on the film
between the perforations along the opposite edge of the film.
Description
BACKGROUND OF THE INVENTION
[0001] The present invention relates to motion picture film and,
more particularly, a method of making motion picture release-print
film that provides an enhanced projected image and lower film
consumption.
[0002] With reference to FIG. 1, a conventional motion picture
projector 10 uses reels 12 that supply the film 14 that goes into
the projection system, and reels 16 that take up the film which has
already been projected. A more recent design uses "platters" (large
horizontal reels) that, on alternate ends, serve to both supply and
take-up the film. Between the supply reel 12 and the take-up reel
16 lies an optical/mechanical device that actually projects the
images that comprise what we call "motion pictures." This device is
referred to as the projector head 18. Behind the head 18 is a lamp
house 20 and a light-condenser 22, and in front of the head are
lenses 24 that focus the "moving" image onto a projection screen.
Below the head 18 are sound readers 26 that decode synchronized
audio information which is then amplified and fed to speakers.
[0003] The term "motion pictures" is a description of an
illusion--for the pictures do not actually move at all. To the
contrary, the pictures (embodied in frames on the film projected at
a rate of twenty-four times per-second) must be seen in as static a
manner as possible in order to create the illusion of movement. The
illusion is created by the gradual position differences from one
film frame to the next. Between the exhibition of each of these
static frames, all projected light is blocked by a rotating shutter
28 while succeeding frames are being "pulled down" into position.
The viewing audience is unaware of these moments of darkness
because of a perceptual phenomenon called "persistence of
vision."
[0004] FIG. 1, as noted above, presents an illustration of a basic
film projection system 10. In systems of this type, film is pulled
off the supply reel 12, or off the supply rollers of a platter
system, by a constant-speed sprocket 30. Then, a loop 32 is formed
above a long metal frame called a gate 34, which exerts pressure on
the edges of the film 14. This gate 34 grips the edges of the film
14 that surround the photographic image (embodied in each frame on
the film) and holds them flat and straight. Through an intermittent
movement mechanism, an intermittent sprocket 36 pulls the film 14
into the gate 34 and then stops it in precise registration. In this
manner, the photographic image (frame) is positioned within a
rectangular opening in the gate called an "aperture" placed in the
optical axis between the lamp house/light-condenser 20 and 22 and
the projection lens 24.
[0005] Below the gate 34, after the intermittent sprocket 36, there
is another film loop 38 and a constant-speed sprocket 40. Then, on
either side of the analog sound-reader 26, there are additional
constant speed sprockets 42 and rollers 44 to ensure smooth audio.
Theatrical projectors also require sound readers. Typically, the
soundtrack on a film print containing both picture and sound (a
"composite" print) is placed in a continuous, linear strip on the
left side of the film image.
[0006] There are no frames whatsoever on new, unexposed motion
picture print film. It's entire surface is evenly coated with
light-sensitive emulsion. During the process of manufacturing the
projection prints, the printing stock is placed in direct contact
with a film negative, and then light is shown through the two
contacting strips of film. This is called a "contact print." This
exposes a latent image that appears when the film is developed, and
thereby creates a "frame" on the print stock.
[0007] The use of the available film surface between the rows of
perforations along the edges of the film has evolved through the
years--first to allow space for sound, and later to accommodate the
shift to "wide-screen" presentations. However, the size and use of
the film itself has been standardized since 1889 when George
Eastman is reported to have accepted an order for the first strip
of celluloid film which was to be a 13/8" wide (35 mm) with 64
perforations per foot. This remains the standard film size to this
day. The length of the film pulled down into the aperture of the
gate for each frame has also remained absolutely constant--four
perforations, twenty four times per second. This translates into
exactly 90 feet per minute of film moved through the projector.
Consequently, standard, theatrical 35 mm film projectors are
designed for so-called "four-perf pull down."
[0008] The term "aspect ratio" is used to define the ratio of the
width to the height of each frame on the film. In the days of
silent movies, the original full-aperture frame was used, and it
had an aspect ratio of 1.33:1. When the sound era began, the layout
of available projection print "real estate" was modified in order
to physically make room for the soundtrack. The soundtrack is not
laid down in a frame-by-frame basis since sound must be recorded
and reproduced continuously, in contrast to the intermittent
display used for the projection of photographic images. Thus, it
was decided that the sound would be placed in a continuous strip to
the left of the photographic images, which meant that these images
(frames) had to be reduced in width to provide the necessary room.
As a result, in order to maintain the 1.33 aspect ratio, the height
of the frame also had to be reduced. This height reduction was
accomplished by masking, which created a space between frames. This
smaller space allotted to the projected image was called the
"Academy" aspect ratio.
[0009] In the mid to late 1950s, various new theatrical projection
formats (aspect ratios) appeared as a marketing response to
television, which had adopted the 1.33:1 aspect ration long used in
the movies. These new projection formats started with 3-D and
included the Cinerama three-panel process, which used three cameras
and three projectors locked together. Cinerama produced a very
wide, clear image on the screen--three times wider and three times
clearer--and it was quite popular. But some audiences disliked the
seams where the three images joined together on the screen. Also,
it was a relatively expensive process, both in terms of production
and distribution. So the hunt was on to produce a wide screen image
on a single projectable print.
[0010] One solution was found with cylindrical lenses, used in
conjunction with standard spherical optics, to squeeze a wide image
onto a single piece of 35 mm film. These lenses precisely compress
the photographic image laterally during photography and then
precisely reverse that compression during projection. These
so-called "anamorphic" lenses could optically squeeze a 2.35:1
aspect ratio into a 1.33:1, four-perforation frame, thus
approximating the Cinerama aspect ratio. As this technology
developed, these lenses were highly refined, reaching their zenith
with the lenses manufactured by the Panavision Company.
[0011] These anamorphic systems are still in use to this day.
However, there are still many inherent drawbacks to the anamorphic
process, including limited photographic depth-of-field and large,
heavy camera lenses. Further, some film makers feel that the 2.35:1
aspect ratio is simply too wide. Moreover, the anamorphic process
results in an image that is so wide that much of it cannot be shown
on television absent significant cropping of the image or
presentation of the image in what has come to be known as a
"letterbox."
[0012] Soon another method was found to project a wide screen
image--one that was wider than the Academy frame that has been so
identified with television, but not as wide as the ones produced by
the anamorphic processes. In the late 1950's, the 1.85:1 aspect
ratio was developed in order to provide the audience with a
"semi-wide screen look" without having to resort to anamorphic
camera and projection lenses, used for true wide screen
presentation. Approximately 85% of the films currently in release
use the non-anamorphic 1.85:1 format. To achieve the 1.85:1 aspect
ratio, a mask is simply inserted into the aperture of the
projection gate. This mask covers the top and bottom areas of the
projection frame, thereby increasing the width to height ratio of
the picture. Consequently, the exposed images in these masked areas
are never seen.
[0013] Unfortunately, the economic consequences associated with
1.85 format are considerable. The waste produced by this format
accounts for 37.5% of all the space available on release prints and
trailers. FIG. 2a shows film 14 having frames 46 in the 1.85:1
projection format. The cross-hatched area 48 represents the
otherwise usable film area that is wasted in the 1.85:1 projection
format with a frame height spanning four perforations 50 on the
film 14. This format also employs an optical soundtrack on the left
side of the film 14. The area represented by the reference numeral
52 corresponds to the area reserved for the optical soundtrack.
[0014] Some of the waste produced by the 1.85:1 projection format
could be eliminated by changing to an alternate frame height
standard that provides the same projectable area as shown in FIG.
2a, but without as much wasted picture area above and below the
frame. One such alternate frame standard is the three-perforation
frame shown in FIG. 2b. By eliminating some of the area previously
wasted by masking, the same projectable area of the film 14 can be
fitted into a space with a frame 54 that spans three perforations
56 instead of four. Consequently, elimination of this wasted area
58 results in a reduction in release print footage, and therefore
cost, by 25%, even with an optical soundtrack 60. Considering the
enormous quantity of release print footage that is generated
annually, it is clear that very substantial savings could be
achieved by switching over to three-perforation printing. A
projector showing such three-perforation prints would use film at
the rate of 67.5 feet-per-minute instead of the standard 90
feet-per-minute, but it could still show exactly the same size
1.85:1 frames at exactly the same 24 frames-per-second. Hence,
there would be no reduction in quality whatsoever.
[0015] While the three-perforation format is a step in the right
direction, it is not the ultimate in film conservation, since there
is still some wasted area at the top and bottom that must be masked
during projection. FIG. 2c illustrates another alternate frame
height for the 1.85:1 format in which there is even less wasted
film area 62 on the film 14. The standard 1.85:1 format has an
established picture width that is limited by the space reserved on
the left side of the film for the optical soundtrack 64. This
limiting width for the frame 66, together with the 1.85:1 aspect
ratio, establishes the minimum frame height of 0.446 inches. When a
few thousandths of an inch are added for space between frames 66,
this height corresponds to precisely 2.5 perforations 68 of film
length. The 2.5-perforation pull down format represents a saving of
about 37.5% when compared to the standard four-perforation format
and is currently being proposed as an alternate industry
release-print standard.
[0016] Although both the three-perforation format and the
2.5-perforation format help reduce film waste, neither one provides
any enhancement in the quality or resolution of the projected
image. This is because both formats simply rely on placing the
standard 1.85:1 format frame into three or 2.5 perforations instead
of the usual four perforations. In addition, both formats utilize
optical soundtracks that occupy space on the left side of the
film.
[0017] The nature of the images exhibited in theatrical motion
picture theaters has changed a great deal since the
four-perforation projection pull down was standardized in 1889.
However, the basic specification of the projection pull-down has
failed to evolve in response to these changes. The amount of film
pulled into the projector's intermittent movement has remained
constant: four perforations per frame. In order to understand the
significance of the innovation disclosed herein, it must be
understood that retaining the four-perforation projection movement,
when used with the popular 1.85:1 format, wastes significant
amounts of film (25% to 37.5%), without any enhancement in the
quality of the projected image. The three-perforation format has
never been widely accepted, and the 2.5-perforation format has only
recently been suggested.
[0018] Accordingly, there has existed a definite need for a new
method of exhibiting motion picture film that avoids film waste and
that provides a projected image having enhanced quality and
resolution as compared to the prior film formats. The present
invention satisfies these needs and provides further related
advantages.
SUMMARY OF THE INVENTION
[0019] The present invention provides a method of making motion
picture release-print film that has an enhanced projected image
with a minimum of film waste. The film has an enhanced projected
image due to an increased frame size relative to prior film
formats, while, at the same time, in one embodiment, significantly
reducing the cost of production and distribution by reducing the
quantity of film required for each print. Thus, at least one
embodiment of the invention reconciles two conflicting parameters
in film making--enhancing the projected film image and minimizing
film waste. Both embodiments significantly increase the clarity and
resolution of the projected image.
[0020] In accordance with the invention, the width of each film
frame is expanded to fill the space defined by the distance between
the perforations along the edges of the film, within specified
limits. The soundtrack normally occupying a portion of this space
is eliminated and replaced with other soundtrack means that do not
occupy the space between the perforations available for the
projected image. At the same time, the height of the film frame is
expanded as much as possible to minimize the spacing between the
frames.
[0021] In one embodiment, the 1.85:1 aspect ratio is maintained in
a three perforation format, but with a significantly enlarged frame
size. The width of each frame is expanded such that it occupies
substantially all of the space between the perforations that is
available for the projected image. The height of the frame is then
increased until the width-to-height (aspect) ratio of the frame
equals 1.85:1. The result is a significantly enlarged frame that
provides an enhanced projected image, due to the enlarged size of
the frame, as compared to the prior art 1.85:1 projection formats
having a smaller frame size. Yet, the frame only occupies slightly
less than three perforations of film height. Consequently, the film
can be exhibited at a rate of 67.5 feet-per-minute, at 24
frames-per-second. Importantly, film waste is minimized, while the
enhancement of the projected image is maximized. Moreover, since
the 1.85:1 aspect ratio is maintained, all of the advantages
attendant to that aspect ratio, which is the predominant projection
format in the United States and Canada, are maintained.
[0022] In another embodiment, an aspect ratio of 2.0:1 has been
established in a four perforation format. As in the first
embodiment, a significantly enlarged frame size is provided to
yield an enhanced projected image. In this second embodiment, the
height of the frame is expanded until the frame-to-frame spacing is
reduced to substantially zero, with each frame spanning exactly
four perforations. The width of the frame is then increased as much
as possible until it substantially occupies all of the space
between the perforations that is available for the projected image.
An anamorphic process can be used to laterally "squeeze" the
projected image to fit the available space between the
perforations, to yield a width-to-height (aspect) ratio of 2.0:1.
Again, the result is a frame with an enhanced projected image due
to the increase in the size of the frame. Although the frame
occupies four perforations, the enhancement in the projected image
is substantial and significant. Moreover, there is virtually no
wasted space between frames and, thus, substantially all of the
film emulsion area available for a photographic image is used. Once
again, film waste is minimized, while the enhancement of the
projected image is maximized. Furthermore, since the majority of
film projection systems for theatrical film exhibition operate at
90 feet-per-minute, 24 frames per second, the new 2.0:1 projection
format provided by the present invention is adapted for use with
these projection systems, with some slight modifications, as will
be described in more detail below.
[0023] Hence, in both of the formats disclosed herein, the end
result of the increase in image area is an improvement in the
clarity of the image projected on the large screen, with minimum
film waste. In addition, in the second embodiment, an aspect ratio
of 2.0:1 has been established to be proposed as an alternate
release print format which conveniently corresponds to the proposed
broadcast format for the future High Definition TV.
[0024] Further features and advantages of the present invention
will become apparent from the following detailed description, taken
in conjunction with the accompanying drawings, which illustrate, by
way of example, the principles of the invention.
BRIEF DESCRIPTION OF THE DRAWINGS
[0025] FIG. 1 is an illustration of a basic film projection system
of the prior art;
[0026] FIG. 2a is a section of film in a conventional layout of the
prior art, having an aspect ratio of 1.85:1 in a four perforation
format;
[0027] FIG. 2b is a section of film in another conventional layout
of the prior art, having an aspect ratio of 1.85:1 in a three
perforation format;
[0028] FIG. 2c is a section of film in yet another conventional
layout of the prior art, having an aspect ratio of 1.85:1 in a 2.5
perforation format;
[0029] FIG. 3 is a section of film in a novel layout, embodying the
features of the present invention, having an enlarged frame for an
enhanced projected image, with an aspect ratio of 1.85:1 in a
three-perforation format; and
[0030] FIG. 4 is a section of film in another novel layout, also
having an enlarged frame for an enhanced projected image, with an
aspect ratio of 2.0:1 in a four perforation format.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT
[0031] The first embodiment of the present invention, which is
referred to as "MaxiVision," is shown in FIG. 3. It comprises a
strip of 35 mm motion picture film 70 having its entire surface
coated with a light sensitive emulsion. Two rows of perforations 72
extend along opposite edges of the film for engagement with the
sprockets of a film projection system. Images are exposed onto the
film, with the images being defined by a series of frames 74 having
a significantly enlarged size.
[0032] In accordance with the invention, the height 76 of each
frame 74 spans three perforations 72. This eliminates the wasted
area between frames that currently exists in the
1.85:1/four-perforation projection format, as previously described
in conjunction with FIG. 2a. As a result, the print film
consumption and processing costs for MaxiVision are reduced by 25%,
without sacrificing image size in any way. Furthermore, an increase
in projectable image size is achieved by allowing the permissible
image exposure area to extend, in frame width 76, to the full
distance between the rows of perforations 72 (within specified
limits) and, in height 76, from frame-line to frame-line, while
maintaining a 1.85:1 aspect ratio.
[0033] A practical limit on the width of a frame has been
essentially established by camera manufacturers, such as Panavision
and Arriflex. The limit is 0.945 inches, and this establishes the
controlling width dimension 78 for the enlarged image of the
present invention. By using the established aspect ratio of 1.85:1
and a frame width 78 of 0.945 inches, the corresponding image
height 78 of the frame 74 is 0.51 inches. This allocation of space
for each frame 74 is illustrated in FIG. 3. Since the longitudinal
spacing between each perforation 72 is 0.187 inches, there is a
spacing between frames of only about 0.05 inches in this
embodiment. The reference numeral 80 corresponds to the optical
axis of the MaxiVision frame 74. For purposes of reference, the
prior art frame 82 and its optical axis 84, in the 1.85:1 aspect
ratio, are shown in dashed lines.
[0034] The MaxiVision format eliminates the analog optical
soundtrack printed on the prior art release prints. In its place,
the frame is expanded to the full 0.945 inches width. The end
result of this reallocation of the available film exposure area is
a 31.2% increase in projectable image area. This directly relates
to an enhanced picture resolution by 31.2%, and a reduction in film
consumption and processing costs by 25%.
[0035] Since the space on the film formerly set aside for the
analog soundtrack is now being occupied by the enlarged frame 74, a
different soundtrack is provided for the MaxiVision film. As
explained below, the MaxiVision film 70 will eliminate the analog
soundtrack entirely and replace it with redundant digital tracks or
other appropriate soundtrack means.
[0036] In one form of the invention, the primary soundtrack will
comprise a control track 86 located between the perforations 72 on
either or both edges of the film 70. This control track 86 contains
no audio information but, rather, generates a signal to be
delivered, for example, to a CD ROM player. This signal enables the
audio track to be played back in synchronization with the picture
from a CD ROM recording. Such a system already exists (DTS), but it
is not necessarily the system that will be employed in the
MaxiVision film. One major advantage of using a control track-based
system is the universality of the prints. For example, one standard
print can be circulated worldwide by merely changing the
accompanying CD ROM to the appropriate language version.
[0037] As a backup, the MaxiVision film may contain a redundant
digital control track 88 which could control a separate by
identical CD ROM system, with the redundant control track 88
located between the perforations 72 on the opposite side of the
film 70. Alternately, the backup system could be a continuous
digital track 90 running along the shoulder of the film 70 (which
also may be redundant). One disadvantage of the latter approach,
however, is that the backup dialogue is an integral part of the
print and, therefore, the universality is somewhat diminished.
[0038] The MaxiVision film prints 70 can be manufactured using
conventional contact printing processes, in which the picture is
exposed on the print stock in a continuous contact film printing
process. Both control track and digital audio are exposed in a
separate operation. The film is subsequently developed to yield a
composite (picture and sound) release print. In one embodiment, the
printing negative that is used to expose the MaxiVision prints 70
can be derived directly from an interpositive print, which in turn
is made by contact printing from the camera negative. This
embodiment requires the use of a special camera that has been
modified for three-perforation pull down and full aperture
exposure. A special view finder ground glass is provided to enable
the exposure of the additional negative area, and the lens mount
must be shifted slightly to match the optical axis of the enlarged
aperture. Cameras of this type area available from both Panavision
and Arriflex, and it will be apparent to those skilled in the art
hove to modify the camera in a manner described above.
[0039] Alternatively, the printing negative may be derived by
contact printing from a three-perforation interpositive that is a
conversion print from a conventional four-perforation camera
negative. In this case, the camera that is employed is a
conventional movement, such as from a four-perforation camera
negative to three-perforation interpositive which can be
accomplished through the use of the Asynchronous Contact Printer
for Motion Picture Film disclosed in application Ser. No.
08/624,702 filed on Mar. 26, 1996, which is incorporated herein by
reference. This asynchronous contact printer has been designed
specifically for this type of application. The printer is capable
of making contact quality prints by converting four-perforation
format film to three-perforation format film, or vice versa.
[0040] Theatrical projection of the MaxiVision release prints 70
will require a special projection system capable of
three-perforation pull down. Such a system is provided by the
Switchable Pulldown Film Projection System disclosed in application
Ser. No. 08/598,033 filed on Feb. 7, 1996, which is incorporated
herein by reference. In addition, these projection systems must be
capable of moving the projected image slightly to the right to
compensate for the slight shift in the optical axis of the enlarged
aperture, as previously described.
[0041] Another embodiment of the present invention, referred to as
"Super MaxiVision," is shown in FIG. 4. The Super MaxiVision film
92 described below creates a presentation format which could
establish a new theatrical projection format, while at the same
time conform to the highly favored aspect ratio for High Definition
TV as recommended by the American Society of Cinematographers and
numerous other organizations.
[0042] The aspect ratio of the Super MaxiVision format film 92
would be 2.01:1 and would be achieved through the use of lateral
anamorphic compression and expansion techniques. The height 94 of
each frame 96 is expanded such that it spans exactly four
perforations 98, with virtually no spacing between the frames. This
is a distance of 0.748 inches (because the distance between each
perforation 98 is 0.187 inches). Next, applying the desired aspect
ratio of 2.0:1 an uncompressed frame width 100 of 1.496 inches is
achieved. Since the maximum allowable "full aperture" frame width
100 on the film is 0.945 inches, the compression ratio of the
anamorphic camera lens must be 0.945/1.496, or 0.632. Conversely,
the expansion ratio of the anamorphic projection lens would be the
inverse of this, or 1.582. The reference numeral 102 corresponds to
the optical axis of the Super MaxiVision frame 96. For purposes of
reference, the prior art frame 104 and its optical axis 106, in a
1.85:1 aspect ratio, are shown in dashed lines.
[0043] In order to make use of the "full aperture" film width 100
described above, it is necessary to eliminate the conventional
analog soundtrack and replace it with a redundant digital control
tracks 108, redundant continuous digital tracks 110, or other
appropriate soundtrack control means. The options available in this
respect are the same as those presented above for the MaxiVision
embodiment of this invention. Printing of release prints would be
achieved through the conventional contact printing process, also
previously discussed. The projection of Super MaxiVision prints 92
would require a projector equipped with the proper anamorphic lens,
and with the capability of shifting the screen image and the
optical axis of the lens. However, as discussed for the MaxiVision
embodiment, this projection technology is readily available.
[0044] From the foregoing, it will be apparent that the present
invention provides a method of making motion picture release-print
film having an enhanced projected image with a minimum of film
waste. Not only is the quality of the projected image and its
resolution significantly improved over the prior art film formats,
and in the case of MaxiVision, the cost of producing and
distributing the release prints is substantially reduced. Thus, the
present invention reconciles two conflicting parameters in film
making--providing an enhanced projected image and minimizing film
waste--in a manner that has never before been achieved.
[0045] While a particular form of the invention has been
illustrated and described, it will be appreciated that various
modifications can be made without departing from the spirit and
scope of the invention. Accordingly, it is not intended that the
invention be limited, except as by the appended claims.
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