Monday 18 June 2012

Widescreen Background Wallpaper

Widescreen Background Wallpaper Biography
Widescreen images are a variety of aspect ratios used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than the standard 1.37:1 Academy aspect ratio provided by 35mm film.
For television, the original screen ratio for broadcasts was 4:3 (1.33:1). In the 2000s, 16:9 (1.78:1) TV displays came into wide use. They are typically used in conjunction with high-definition television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources.
With computer displays, aspect ratios wider than 4:3 are also called widescreen. Widescreen computer displays were previously typically of 16:10 aspect ratio, now they are shifting to 16:9.Widescreen was first used in the film of The Corbett-Fitzsimmons Fight in 1897. This was not only the longest film that had been released to date at 100 minutes, it was also the first widescreen film being shot on 63 mm Eastman stock with 5 perforations per frame.
Widescreen was first widely used in the late 1920s in some short films and newsreels, including Abel Gance's film Napoleon (1927) with a final widescreen sequence in what Gance called Polyvision. Claude Autant-Lara released a film Pour construire un feu (To Build a Fire, 1928) in the early Henri Chretien widescreen process, later adapted by Twentieth Century-Fox for CinemaScope in 1952.
Paramount Pictures released Old Ironsides (1927) in a widescreen process called Magnascope, and MGM released The Trail of '98 (1928) in a widescreen process called Fanthom Screen.On May 26, 1929, Fox Film Corporation released Fox Grandeur News and Fox Movietone Follies of 1929 in New York City in the Fox Grandeur process. Other films shot in widescreen were the musical Happy Days (1929) which premiered at the Roxy Theater, New York City, on February 13, 1930, starring Janet Gaynor and Charles Farrell and a 12 year old Betty Grable as a chorus girl; Song o’ My Heart, a musical feature starring Irish tenor John McCormack and directed by Frank Borzage (Seventh Heaven, A Farewell to Arms), which was shipped from the labs on March 17, 1930, but never released and may no longer survive, according to film historian Miles Kreuger (the 35mm version, however, debuted in New York on March 11, 1930); and the western The Big Trail (1930) starring John Wayne and Tyrone Power, Sr. which premiered at Grauman's Chinese Theatre in Hollywood on October 2, 1930,[1] all of which were also made in the 70mm Fox Grandeur process.RKO Radio Pictures released Danger Lights with Jean Arthur, Louis Wolheim, and Robert Armstrong on August 21, 1930 in a 65mm widescreen process known as NaturalVision, invented by film pioneer George K. Spoor. On November 13, 1930, United Artists released The Bat Whispers directed by Roland West in a 70mm widescreen process known as Magnafilm. Warner Brothers released Song of the Flame and Kismet (both 1930) in a widescreen process they called Vitascope.
In 1930, after experimenting with the system called Fanthom Screen for The Trail of '98 (1928), MGM came out with a system called Realife. MGM filmed The Great Meadow (1930) in Realife—however, it's unclear if it was ever released in that widescreen process due to declining interest of the movie-going public.
By 1932, the Great Depression had forced studios to cut back on needless expense and it was not until 1953 that wider aspect ratios were again used in an attempt to stop the fall in attendance due, partially, to the emergence of television in the U.S. However, a few producers and directors, among them Alfred Hitchcock, have been reluctant to use the anamorphic widescreen size featured in such formats as Cinemascope. Hitchcock alternatively used VistaVision, a non-anamorphic widescreen process developed by Paramount Pictures and Technicolor which could be adjusted to present various flat aspect ratios.
Masked (or flat) Introduced in April 1953. The negative is shot exposing the Academy Ratio using spherical lenses, but the top and bottom of the picture are hidden or masked off by a metal aperture plate, cut to specifications of the theater's screen, in the projector. Alternatively, a hard matte in the printing or shooting stages may be used to mask off those areas while filming for composition purposes, but an aperture plate is still used to block off the appropriate areas in the theater. A detriment is that the film grain size is thus increased because only part of the image is being expanded to full height. Films are designed to be shown in cinemas in masked widescreen format but the full unmasked frame is sometimes used for television. In such an instance, a photographer will compose for widescreen, but "protect" the full image from things such as microphones and other filming equipment.
35 mm Anamorphic This type of widescreen is used for Cinemascope and Panavision. The film is essentially shot "squeezed", so that the actors appear vertically elongated on the actual film. A special lens inside the projector unsqueezes the image so that it will appear normal. Films shot in Cinemascope or Panavision are usually projected at a 2.39:1 aspect ratio, though sometimes the ratio can be as high as 2.55:1.
Super gauges The full negative frame, including the area traditionally reserved for the sound track, is filmed using a wider gate. The print is then shrunk and/or cropped in order to fit it back onto release prints. The aspect ratio for Super 35, for example, can be set to virtually any projection standard.
Large gauge A 70 mm film frame is not only twice as wide as a standard frame but also has greater height. Shooting and projecting a film in 70 mm therefore gives more than twice the image area of non-anamorphic 35 mm film with no loss of quality. Few major dramatic narrative films have been filmed entirely on this format since the 1970s; the two most recent are Ron Howard's Far and Away and Kenneth Branagh's Hamlet. For many years, large budget pictures shot anamorphically used reserve stocks of 70mm film for SFX shots involving CGI or blue-screen compositing as the anamorphic format creates problems with said effects. It has also been used to sometimes strike 70 mm blow-up prints for "roadshow" tours in select cities from the 35 mm camera negative in order to capitalize on the extra sound channels provided. The introduction of digital sound systems and diminishing number of installed 70 mm projectors has made a 70 mm release largely obsolete. However, blowups from 35 mm formats to IMAX has recently become popular for a limited number of blockbuster films.
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Widescreen Background Wallpaper
Jim's Widescreen Wallpapers - Space
Free Widescreen Wallpaper Background

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