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Optical format is a hypothetical measurement approximately 50% larger than the true diagonal size of a solid-state photo sensor.The use of the optical format means that a lens used with a particular size sensor will have approximately the same angle of view as if it were to be used with an equivalent-sized video camera tube (an "old-fashioned" TV camera).
Some video decoders do not interpret the aspect ratio information in the media file header correctly, so 16:9 video may appear squeezed horizontally when viewed. [5] Software that is shipped with camcorders is capable of processing the aspect ratio information correctly, aided perhaps by the metadata stored in MOI files .
The common 1" outside diameter circular video camera tubes have a rectangular photo sensitive area about 16 mm on the diagonal, so a digital sensor with a 16 mm diagonal size is a 1" video tube equivalent. The name of a 1" digital sensor should more accurately be read as "one inch video camera tube equivalent" sensor.
16,646,400 16.6 Hasselblad 503CWD 5,184 3,456 17,915,904 17.9 Canon EOS 1D X, Canon EOS 7D, Canon EOS 60D, Canon EOS 100D, Canon EOS 550D, Canon EOS 600D, Canon EOS 650D, Canon EOS 700D
The variant called Super 16 mm, Super 16, or 16 mm Type W is an adaptation of the 1.66 (1.66:1 or 15:9) aspect ratio of the "Paramount format" [8] to 16 mm film. It was developed by Swedish cinematographer Rune Ericson in 1969, [ 9 ] using single-sprocket film and taking advantage of the extra room for an expanded picture area of 12.52 mm × 7. ...
Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film ...
35 mm film is scanned for release on DVD at 1080 or 2000 lines as of 2005. The actual resolution of 35 mm original camera negatives is the subject of much debate. Measured resolutions of negative film have ranged from 25–200 LP/mm, which equates to a range of 325 lines for 2-perf, to (theoretically) over 2300 lines for 4-perf shot on T-Max 100.
So a standard 50 mm lens for 35 mm photography acts like a 50 mm standard "film" lens even on a professional digital SLR, but would act closer to a 75 mm (1.5×50 mm Nikon) or 80 mm lens (1.6×50mm Canon) on many mid-market DSLRs, and the 40-degree angle of view of a standard 50 mm lens on a film camera is equivalent to a 28–35 mm lens on ...