projection print

You can't make a really sharp projection print in a room full of smoke."

The projection print, however, was 70 mm film stock.

The extra 5 mm on the (positive projection print) was used to accommodate six-track stereo sound.

At the same time, the technology of the projection print was enhanced by means of anamorphic 3D to a larger image.

A Showprint is a very high quality projection print, made for screening at special events such as gala premieres.

Each roll was printed separately onto a single roll of raw stock to produce projection prints.

Movies using the process had an astounding potential aspect ratio of 2.76:1 when exhibited with 70 mm anamorphic projection prints.

The Technicolor projection print is created by dye transfer from three primary-color gelatin matrices.

The two strips, made of film stocks thinner than regular film, were then cemented together base to base to create a projection print.

Technicolor continued to offer its proprietary imbibition dye-transfer printing process for projection prints until 1975, and even briefly revived it in 1998.

But the usual squashing and stretching still applies to most projection prints, except for a few large cinemas in major cities which are able to afford the expensive 70mm projectors.

When preparing the film for release on VHS and DVD, an anamorphic projection print was used rather than the original Techniscope negatives.

Preservation elements, such as fine grain master positives and duplicate printing negatives, are generated from this restoration master element to make both duplication masters and access projection prints available to future generations.

The three negatives that resulted were used to produce three printing matrices, which in turn were used to print superimposed cyan, magenta and yellow dye images on a single strip of film, creating a full-color projection print.

Paramount did not use anamorphic processes such as CinemaScope but refined the quality of their flat widescreen system by orienting the 35mm negative horizontally in the camera gate and shooting onto a larger area, which yielded a finer-grained projection print.

Shearer asked Panavision to develop a system that would retain the widescreen format (either in a 65mm or 70mm negative), eliminate the distortion effects, allow for a high-quality transfer to 35 mm, and permit a non-anamorphic transfer to 16mm and 35mm projection prints.

Based on the same dye-transfer technique first applied to motion pictures in 1916 by Max Handschiegl, Technicolor Process 3 (1928) was developed to eliminate the projection print made of double-cemented prints in favor of a print created by dye imbibition.

Most cue marks appear as either a black circle (if the physical hole is punched out on the negative used to make the projection print of the film), or a white circle (if the mark is made by punching a hole or scraping the emulsion on the positive film print).

More accurately, it was the first color negative film intended for making paper prints: in 1939, Agfa had introduced a 35 mm Agfacolor negative film for use by the German motion picture industry, in which the negative was used only for making positive projection prints on 35 mm film.