Archive-Name: movies/tech/part4
Posting-Frequency: monthly
Last-Modified: 6/96
Version: 0.02

          /-----------------------------------------------------------\
          |                   rec.arts.movies.tech                    |
          |             Frequently Asked Questions (FAQ)              |
          |                      (with answers)                       |
          |                                                           |
          |                       Part 4 of 4                         |
          |                                                           |
          |                       Version 0.02                        |
          |            (supersedes all previous versions)             |
          |                        June, 1996                         |
          |                                                           |
          |                                                           |
          |              Compiled, Edited, Maintained by              |
          |                     Scott E. Norwood                      |
          |                     snorwood@nyx.net                      |
          \-----------------------------------------------------------/
                      Copyright (C) 1996 by Scott E. Norwood

          This document may be freely distributed by electronic, paper,
          and  other  means, provided  that  it is  distributed in  its
          complete,   unmodified   form   for   non-commercial   and/or
          educational   purposes.    Commercial  use  of  the  material
          contained   herein  is  not  permitted, unless prior  written
          permission  is  obtained from the  copyright  holder.  Others
          who  have  contributed to this  document retain the rights to
          their own contributions (which are noted).

                                   DISCLAIMER:

          The  compiler  of  this  document has attempted to make every
          reasonable effort  to ensure that any  information  contained
          herein  is accurate  and complete.  However, the compiler  is
          unable to assume responsibility, legal or  otherwise, for any
          inaccuracies, errors,  or omissions  relating  to the inform-
          ation contained below.  All of  the information  contained in
          this document is believed by its compiler to  be held  in the
          public  domain.  The  compiler is  not affiliated with any of
          the  companies whose products are mentioned here, nor does he
          necessarily endorse these products. All statements about such
          products  are  for informational  use only.  U.S.  trademarks
          are indicated  by (tm)  where applicable,  and  are used here
          without the permission of their owners.

                    -----------------------------------------

TABLE OF CONTENTS:

7.0  Film for Videotape and Television (and vice-versa)

  7.1   How is the frame-rate difference worked out when film is displayed
        on television?

    7.1.1   European Television Standard
    7.1.2   U.S./Canada/Japan Television Standards

  7.2   What are the various methods used to display film on television
        or videotape?  Which are the most common?

    7.2.1   Film Chains
    7.2.2   Flying Spot Scanners

  7.3   How are film negatives cut to match an edit done on videotape?
  7.4   How is the sound re-synced to the film to match an edit and mix
        done on videotape?
  7.5   What formats of videotape are most commonly used for film post-
        production?

    7.5.1   Television Films
    7.5.2   Theatrical Films

  7.6   What formats of videotape are most commonly used for television
        broadcast of filmed material?
  7.7   How are 70mm films displayed on television or videotape?
  7.8   How is material originated on videotape transferred to film for
        theatrical projection?  How is the sound synced?

8.0  Opinions

  8.1   What is the most workable method of projecting super-16mm workprint
        with separate fullcoat magnetic soundtrack?

    8.1.1   Double-Band Interlock Projector
    8.1.2   Standard Projector Interlocked with Dubber

  8.2   What is the likely future for 2.5-perf 35mm release prints?
  8.3   Which films are good examples of wide screen composition?
  8.4   Which films are good examples of multi-channel sound mixes?

9.0  Obsolete Film Formats

  9.1   What was 'Cinerama'?  How did it work?  Why did it become
        obsolete?
  9.2   What was 'Techniscope'?  How did it work?  Why did it become
        obsolete?
  9.3   What was 'Ultra Panavision 70 (tm)' a.k.a. 'MGM Camera 65 (tm)'?
        How did it work?  Why did it become obsolete?
  9.4   What was 'CinemaScope (tm) 55'?  How did it work?  Why did it
        become obsolete?

10.0  Miscellaneous

  10.1  What is THX (tm) certification, and what standards are necessary for
        a theater which wishes to obtain it?
  10.2  What equipment is necessary for a 'home cinema' for 16mm and where
        can it be begged for/purchased?
  10.3  What equipment is necessary for a 'home cinema' for 35mm and where
        can it be begged for/purchased?
  10.4  Where can one purchase or rent release prints in 8/16/35/70mm?
  10.5  What are the various processes used for color in motion pictures?
  10.6  What are the various frame rates which have been used for
        motion pictures?
  10.7  What are the three different types of perforations used for
        35mm release prints?
  10.8  What is a 'reverse scanning solar cell' and how does it improve
        sound reproduction?
  10.9  Who is R. Michael Hayes, and why are they saying those things
        about him?
  10.10 Why are 'trailers' called 'trailers' when they are spliced after
        the 'leader' of a movie?
  10.11 What books are useful for one interested in film formats and
        presentation?
  10.12 What magazines and other publications are useful for one interested
        in film formats and presentation?
  10.13 What online resources exist for one interested in film formats
        and presentation?

11.0  Reference Information

  11.1  What are the footage/time conversions for the various film formats?
  11.2  What are the lens focal length/image size conversions for the
        various film formats?

    11.2.1   16mm Chart

  11.3  What are the standard locations for reel-change cue marks on
        U.S. release prints in the various film formats?

                    -----------------------------------------

7.0  Film for Videotape and Television (and vice-versa)
-------------------------------------------------------

  7.1   How is the frame-rate difference worked out when film is displayed
        on television?

    7.1.1   European Television Standard

     European television conforms to the PAL (Phase Alternation by Line)
standard, which runs at 25 frames (50 fields, or half-frames) per second.
This is close enough to the film standard of 24 fps, that 24 fps films are
often simply run at 25 fps, with possibly a bit of pitch-shifting on the
soundtrack to make it sound less 'screetchy.'  Films shot for television
broadcast are often shot at 25 fps, and many cameras have an option of a
25 fps crystal, and tape recorders are made with 50hz (rather than 60hz)
crystals for syncing to 25 fps film.

     Both PAL and SECAM (another television standard, used mostly in Eastern
Bloc nations) use 625 scan lines, running at 50 fields per second.  These
standards are able to provide higher-quality images than the U.S. standard
described below.

    7.1.2   U.S./Canada/Japan Television Standard

     In the United States, Canada, and Japan, modern color television
conforms to the NTSC (National Television Standards Committee) standards,
which were devised in an attempt to make color television signals compatible
with black-and-white receivers.  The standards provide for a frame rate of
29.97 frames (59.94 fields) per second (versus the film standard of 24 fps),
and 525 scan lines.  These scan lines are 'interlaced,' meaning that every
other line (one 'field') is scanned once, and then the alternate lines are
scanned in another 'field.'  Thus 262.5 lines are scanned once, then
another 262.5 line are scanned.  The two fields combine to form
one 'frame,' which is the full set of 525 lines, and is analogous to a
'frame' of film (although there are more of them per second in television).

     It should be noted that the original U.S. television standard for
black-and-white transmissions provided for 30 frames/60 fields per second,
but had to be revised to allow for color.  When black-and-white shows are
broadcast by a color station, the TV station can either broadcast at 30
fps, or broadcast a color burst signal at 29.97 fps.  In practice, though,
this standard is now ignored.

     Early broadcast setups were designed to simply repeat every fourth film
frame when a film was to be shown on television.  This method comes very
close to showing the film at the proper speed (it makes the film about 3%
shorter (with respect to running time) when it is shown on television,
because this method assumes that television runs at 30 fps, rather than
the actual 29.97).  This results in the following frame relationships:

     Television           Film
      Frames #           Frame #

         1                 1
         2                 2
         3                 3
         4                 4
         5                 4
         6                 5
         7                 6
        ...               ...

     Modern film-broadcast setups work by making each film frame reproduce
alternately on two or three consecutive fields.  This scheme provides more-  
accurate representation of motion, and leaves fewer motion 'artifacts' of the
film on the television display.  This results in the following frame
relationships (with fields designated by half-frames).

     Television           Film
      Frames #           Frame #

         1                 1
         1.5               1
         2                 1
         2.5               2
         3                 2
         3.5               3
         4                 3
         4.5               3
         5                 4
         5.5               4
         6                 5
         6.5               5
         7                 5
        ...               ...

  7.2   What are the various methods used to display film on television
        or videotape?  Which are the most common?

  [under construction]

    7.2.1   Film Chains

     The equipment used to display film on television is known as 'telecine'
equipment, and comes in two basic varieties.  The older and cheaper type
(called a 'film chain') involves a standard movie projector whose shutter
blades have been modified so as to sync with the television camera,
eliminating the 'flicker' which appears when an unmodified projector is
used.  This modified projector is set up to project into a 'multiplexer'
which directs the light from several projection sources (by means of several
high-quality mirrors) onto a special small screen, which is part of a
telecine camera (a high-quality three-tube or three-chip television camera,
whose lens is attached to the screen, so as to photograph the projected
images.  This setup can 'reverse' black-and-white negative film to produce
positive images, but cannot do so with color negative, due to the complex
color shifting which must be achieved due to the orange-y tint of color
negatives.  Also, this system is incapable of anything beyond very basic
color and exposure correction, making it unsuitable for production work, but
useful for low-end television stations, which need to broadcast from
release prints.

    7.2.2   Flying Spot Scanners

  [under construction]

     The more modern equipment, usually a Rank (tm) or Bosch (tm) telecine
machine, is large and expensive (making it impractical for television
station use, but appropriate for labs and post houses), and involves the
use of a 'flying spot scanner,' which does not depend upon the intermittent
movement of a projector, but rather is capable of scanning the film as it
moves past the scanner head.  It works by ?? [someone please fill me in].
Because of its high quality and sophisticated electronics, as well as its
ability to easily and gently shuttle film back and forth, it is suitable for
production work, and, when used with additional electronic equipment, allows
for a huge degree of latitude in color and exposure 'correction' (much
more so than is afforded a lab's color timer), and allows for much
additional creative use, as is often seen in television commercials and
music videos.  Further, it is capable of producing a transfer of camera
negative to which sound may later by synced (from an original sync 1/4"
or timecoded DAT tape).  Sound synching may also be done during the film
transfer.

  7.3   How are film negatives cut to match an edit done on videotape?

  [under construction]

  7.4   How is the sound re-synced to the film to match an edit and mix
        done on videotape?

  [under construction]

  7.5   What formats of videotape are most commonly used for film post-
        production?

    7.5.1   Television Films

     High-end productions often use the new digital videotape formats, which,
when used with digital switchers and edit controllers, are capable of
being dubbed many times, without sustaining any significant 'generation
loss' of picture or sound quality (what loss occurs is a result of the
compression and decompression of the image as it goes through the various
stages of production).  These formats include:  D1, D2, D3, and Digital Beta.
The use of these formats is mostly confined to productions which will end
up on television, and thus demand the high quality that they offer.

    7.5.2   Theatrical Films

     Films which are intended for distribution in theaters often are edited
on non-linear editing systems (such as the Lightworks (tm), or the AVID
(tm) for later negative matchback, and release prints to be made.  Because
they do not require the high quality and often cannot afford the high cost
of the digital formats (because the video transfer is just used as an
editing reference, and not for distribution), they often use the old,
relatively cheap 3/4" Umatic format for 'video dailies' and editing, with
'window burns' of Keycode numbers and video timecode for later negative
matchback.  During the transfer, the 'head' of the film is 'punched'
(one frame has a circular hole punched in it) to provide a reference
for the negative cutter to relate the timecode to the keycode.

     Of course, theatrical films which are edited in the conventional
manner (using a Steenbeck (tm) or Moviola (tm) or similar editing machine,
and manually cutting and splicing workprint and magnetic film) do not
even need to use videotape formats at all, unless the film will be
released to the television or home-video markets, in which case a low-
contrast print (or interpositive can be run through a flying-spot scanner
with minimal color/exposure correction (this will have been done in the
color timing stage of production).

  7.6   What formats of videotape are most commonly used for television
        broadcast of filmed material?

     Network broadcast is now using digital masters, often in D1 or, more
commonly and less expensively, D2.  Older productions and those with lower
budgets are sometimes broadcast off of analog 1" C-type tape, though.  Very
few local broadcast stations can afford digital, and use 1" almost
exclusively.  For news broadcasts (which almost never involve film), the
lightweight and portable Beta SP format is used.  A few low-end stations also
use 3/4", though its use for broadcast is fading now.

  7.7   How are 70mm films displayed on television or videotape?

  [under construction]

     There are two ways to do this.  The simpler method is to use a 35mm
(or, gasp!, 16mm) reduction print, which can be transferred to videotape
in a conventional fashion.  The more complicated method, though the one
which provides better quality, is to transfer a 70mm print at Crest National
Film Laboratory, which has modified a Rank (tm) machine to accept various
formats of 70mm material at various frame rates.

  7.8   How is material originated on videotape transferred to film for
        theatrical projection?  How is the sound synced?

     This has been done for several films and portions of films with varying
degrees of success.  The simplest method is known as 'kinescoping' and has
been used since the introduction of television to preserve important pro-
grams on film (prior to the introduction of videotape).  This method varies
widely in quality, from unwatchable, to almost-acceptable.  It works with
a movie camera which has been modified much like a telecine projector, using
a shutter with additional blades.  It is simply pointed at a television
screen, and started.  The resultant pictures are commonly of very low con-
trast, and sometimes have edges cropped.  Sound is recorded either in-camera
(with an old-fashioned optical-sound galvanometer) or on a magnetic tape
which is later transferred to magnetic film, and synced normally.

     The more complicated method (which is substantially more expensive),
is available from companies such as 4MC (tm) (formerly Image Transform (tm))
in the Los Angeles, California area.  They (and others) have developed
sophisticated equipment which increases the effective number of lines
of resolution in a particular television image, making the film version
look somewhat clearer than the TV original.  In this system, each of
the three primary colors of the image (red, green, and blue) are recorded
separately onto separate pieces of film, which are then printed successively
onto an interpositive in order to produce a full-color image.  The
soundtrack is usually recorded from the original videotape onto timecoded
DAT or 1/4" tape, which can then be used directly to cut an optical track
for the print.  This process has been used for several widely distributed
films, most notably _Hoop_Dreams_, and, considering the low quality of
television images, makes reasonably good-looking films.

                    -----------------------------------------

8.0  Opinions
-------------

  8.1   What is the most workable method of projecting super-16mm workprint
        with separate fullcoat magnetic soundtrack?

  [under construction]

    8.1.1   Double-Band Interlock Projector

     There are several possibilities, since it is not possible to make a
super-16mm print with a standard optical or magnetic track.  The most
common method is to file out the edge of the gate (opposite the claw) in
a Siemens or Palmer double-band projector (which were both made in the
early-to-mid-1970's, and are used to project 16mm workprints with an
interlocked magnetic soundtrack).  Unfortunately, parts are apparently not
available for these machines anymore, and the projectors themselves are
difficult to find, fairly expensive, and clunky to work with.

     This type of system can be improvised, using an ordinary projector,
by mounting a 'sync block' after the second projector sprocket, and by
mounting a magnetic head on the sync block.  The picture film is then
loaded into the projector, and passed through the sync block, and the
magnetic film is on reels, mounted on manual rewinds, and passed through
the sync block.  Since the film and magnetic film are both in the same
sync block, they are guaranteed to stay in sync throughout the reel.  Of
course, the projectionist must crank the takeup rewind throughout the
show, in order to take up the magnetic stock.

    8.1.2   Standard Projector Interlocked With Dubber

     The alternative method (which is used by many film laboratories for
their screening rooms) is to file out the gate of a standard 16mm projector
(or just buy and install a super-16mm gate for it), and interlock the
projector to a Magnasync-type magnetic sound dubber, which will follow the
speed of the projector and reproduce the soundtrack in perfect.  This method
is reliable and widely used, but almost requires a permanent setup (not
good for location work), and can be expensive.

  8.2   What is the likely future for 2.5-perf 35mm release prints?

  [under construction]

  8.3   Which films are good examples of wide screen composition?

  [under construction]

  8.4   Which films are good examples of multi-channel sound mixes?

  [under construction]

                    -----------------------------------------

9.0  Obsolete Film Formats

  9.1   What was 'Cinerama'?  How did it work?  Why did it become obsolete?

  [under construction]

  9.2   What was 'Techniscope'?  How did it work?  Why did it become obsolete?

  [under construction]

  9.3   What was 'Ultra Panavision 70 (tm)' a.k.a. 'MGM Camera 65 (tm)'?
        How did it work?  Why did it become obsolete?

  [under construction]

  9.4  What was 'CinemaScope (tm) 55'?  How did it work?  Why did it fail?

  [under construction]

                    -----------------------------------------

10.0  Miscellaneous

  10.1  What is THX (tm) certification, and what standards are necessary for
        a theater which wishes to obtain it?

  [under construction]

     THX (tm) is neither more nor less than a set of standards developed by
George Lucas and his cohorts, designed to ensure that the sound and
picture which were heard and seen in the mixing studio/screening room
are similarly reproduced in the theatrical setting.  The theory behind
this is that a movie will look and sound best when the audience hears
and sees exactly what the director and sound mixers saw.

     Most of the standards relate to the proper positioning of the loud-
speakers, screen brightness, presence or absence of sound-absorbing material
(e.g. seat coverings) in the auditorium, and such.  The standards are
different for auditoria of differing sizes.  A theater which wishes to
advertise its THX (tm) certification must not only meet these standards,
but also pay a yearly fee to Lucasfilm.  THX (tm) theaters receive promo-
tional materials and trailers to promote their establishment.

  10.2  What equipment is necessary for a 'home cinema' for 16mm and where
        can it be begged for/purchased?

  [under construction]

     The cheapest way to start is to pick up a portable, tungsten-bulb,
'classroom-style' projector.  These are very common surplus items right
now, and can often be acquired for well under $100.  When cleaned carefully
and completely, and properly loaded, a manual-loading machine in good
order is usually very gentle on the film and will give many years of service,
with minimal maintenance, other than bulb changes, occasional lubrication,
and regular cleaning).

     Plenty of these machines (most commonly, Bell & Howell, Graflex, or
RCA (tm)) can be found from schools and industrial users who have switched
over to videotape equipment for presenting instructional/promotional
materials.  They are also available, usually with warranties, from various
dealers in used motion picture equipment.  New machines are available from
the Japanese manufacturer Eiki, but they cost in excess of $1200, and are
sold by audiovisual dealers.

     For those who want screen images larger and brighter than a tungsten
bulb will allow, Bell & Howell and Graflex both made 300-watt portable
xenon projectors, which use an external power supply to drive a small
xenon bulb.  The power supplies are no longer made, and are difficult to
find; if broken, they may be difficult to repair.  These machines generally
go for $300-500.

     When buying a projector, make sure that it is capable of holding
at least 1600' reels (a two-hour feature usually comes on 3 1600' reels),
as some older models do not hold this size.  New projectors take reels
up to 2300'.  Be sure to get several take-up reels of the largest size
the projector will hold.  If a big images is desired from a short 'throw,'
then a shorter length lens is needed (most projectors come with a 2" lens;
5/8", 1", and 1.5" are also available and give bigger pictures).  If
possible, try to get an extra set of belts (motor drive, front feed arm,
rear take-up arm) for the projector to have on hand in case one breaks.
'Scope lenses are available for showing anamorphic prints.

     It's always good to have a splicer on hand, and there are several models
which are commonly used.  The Bolex cement splicer, guillotine-style tape
splicer, and Maier-Hancock hot splicers are all commonly available, and
usually go for $50-150.

  10.3  What equipment is necessary for a 'home cinema' for 35mm and where
        can it be begged for/purchased?

  [under construction]

     Gear for 35mm is harder to come by and more difficult to assemble for
a home cinema.  Nonetheless, surplus projectors are available (such as an old
Super Simplex, Brenkert, or RCA), and are still quite useful.  In addition
to the projector head, one needs a pedestal (which is usually quite heavy),
a lamphouse (a small 500w-750w xenon is appropriate), a soundhead and
preamp, and reel arms (usually 2000' size is good for a home).  Finally,
a 'flat' and (longer) ''scope' lens and aperture plates are needed.
This type of gear usually goes for $1000-2000, and can be accumulated from
movie theater basements, and equipment dealers.  Further, since 35mm
projectors don't rewind, one will need several 2000' house reels, and a
rewind bench, with a pair of 2000' rewinds.

     For 35mm, most people like the guillotine-style tape splicer (which is
what editors use), which usually goes for ~$150.  These can be acquired
from dealers or from editing supply houses.

  10.4  Where can one purchase or rent release prints in 8/16/35/70mm?

  [under construction]

  10.5  What are the various processes used for color in motion pictures?

  [under construction]

  10.6  What are the various frame rates which have been used for
        motion pictures?

  [under construction]

  10.7  What are the three different types of perforations used for
        35mm release prints?

  [under construction]

  10.8  What is a 'reverse scanning solar cell' and how does it improve
        sound reproduction?

  [under construction]

  10.9  Who is R. Michael Hayes, and why are they saying those things
        about him?

  [under construction]

  10.10 Why are 'trailers' called 'trailers' when they are spliced after
        the 'leader' of a movie?

  [under construction]

  10.11 What books are useful for one interested in film formats and
        presentation?

  [under construction]

  10.12 What magazines and other publications are useful for one interested
        in film formats and presentation?

  [under construction]

  10.13 What online resources exist for one interested in film formats
        and presentation?

  [under construction]

                    -----------------------------------------

11.0  Reference Information

  11.1  What are the footage/time conversions for the various film formats?

Frames per foot:

  16mm -- 40
  35mm -- 16
  70mm -- 12.8

/------------------------------------------------------------------\
|   Time   |  Reg. 8mm   |  Sup. 8mm   |    16mm     |    35mm     |
|----------|-------------|-------------|-------------|-------------|
|  1 sec.  |  24 frames  |  24 frames  |  24 frames  |  24 frames  |
|          |  3.6 inches |  4 inches   |  7.2 inches |  18 inches  |
|----------|-------------|-------------|-------------|-------------|
|  10 sec. |   3 feet    |  3 1/3 feet |  6 feet     |  15 feet    |
|----------|-------------|-------------|-------------|-------------|
|  30 sec. |   9 feet    |   10 feet   |  18 feet    |  45 feet    |
|----------|-------------|-------------|-------------|-------------|
|  1 min.  |   18 feet   |   20 feet   |  36 feet    |  90 feet    |
|----------|-------------|-------------|-------------|-------------|
|  3 min.  |   54 feet   |   60 feet   |  108 feet   |  270 feet   |
|----------|-------------|-------------|-------------|-------------|
|  5 min.  |   90 feet   |   100 feet  |  180 feet   |  450 feet   |
|----------|-------------|-------------|-------------|-------------|
|  10 min. |   180 feet  |   200 feet  |  360 feet   |  900 feet   |
|----------|-------------|-------------|-------------|-------------|
|  20 min. |   360 feet  |   400 feet  |  720 feet   |  1800 feet  |
|----------|-------------|-------------|-------------|-------------|
|  30 min. |   540 feet  |   600 feet  |  1080 feet  |  2700 feet  |
\------------------------------------------------------------------/

  11.2  What are the lens focal length/image size conversions for the
        various film formats?

  [under construction]

    11.2.1  16mm Chart

Lens    | <---------- Distance in Feet From Screen to Film -----------> |
Focal   |                                                               |
Length  |  8'   |  10'  |  12'  |  15'  |  20'  |  25'  |  30'  |  35'  |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 4'9"  | 5'11" | 7'2"  | 9'0"  | 12'0" |   Width of Picture    |
 .64"   | 3'6"  | 4'5"  | 5'4"  | 6'8"  | 8'11" |   Height of Picture   |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 3'11" | 4'11" | 5'11" | 7'6"  | 9'11" | 12'6" |   -   |   -   |
 .75"   | 2'11" | 3'8"  | 4'5"  | 5'7"  | 7'5"  | 9'3"  |   -   |   -   |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 2'11" | 3'8"  | 4'5"  | 5'7"  | 7'5"  | 9'4"  | 11'3" | 13'1" |
  1"    | 2'2"  | 2'9"  | 3'4"  | 4'2"  | 5'7"  | 6'11" | 8'4"  | 9'9"  |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 1'11" | 2'5"  | 2'11" | 3'8"  | 4'11" | 6'2"  | 7'6"  | 8'9"  |
 1.5"   | 1'5"  | 1'10" | 2'2"  | 2'9"  | 3'8"  | 4'7"  | 5'7"  | 6'6"  |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        |   -   | 1'10" | 2'2"  | 2'9"  | 3'8"  | 4'8"  | 5'7"  | 6'6"  |
  2"    |   -   | 1'4"  | 1'8"  | 2'1"  | 2'9"  | 3'5"  | 4'2"  | 4'10" |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        |   -   | 1'5"  | 1'9"  | 2'2"  | 2'11" | 3'8"  | 4'5"  | 5'3"  |
 2.5"   |   -   | 1'1"  | 1'3"  | 1'8"  | 2'2"  | 2'9"  | 3'4"  | 3'11" |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        |   -   |   -   |   -   |   -   |   -   | 3'1"  | 3'8"  | 4'4"  |
  3"    |   -   |   -   |   -   |   -   |   -   | 2'3"  | 2'9"  | 3'3"  |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        |   -   |   -   |   -   |   -   |   -   | 2'7"  | 3'2"  | 3'8"  |
 3.5"   |   -   |   -   |   -   |   -   |   -   | 1'11" | 2'4"  | 2'9"  |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        |   -   |   -   |   -   |   -   |   -   | 2'3"  | 2'9"  | 3'3"  |
  4"    |   -   |   -   |   -   |   -   |   -   | 1'8"  | 2'1"  | 2'5"  |
------------------------------------------------------------------------|

Lens    | <---------- Distance in Feet From Screen to Film -----------> |
Focal   |                                                               |
Length  |  40'  |  45'  |  50'  |  60'  |  75'  | 100'  | 125'  | 150'  |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 10'0" | 11'3" | 12'6" |   -   |   -   |   Width of Picture    |
 1.5"   | 7'5"  | 8'4"  |  9'4" |   -   |   -   |   Height of Picture   |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 7'5"  | 8'5"  | 9'4"  | 11'3" | 14'0" | 18'9" | 23'5" | 28'2" |
  2"    | 5'7"  | 6'3"  | 6'11" |  8'4" | 10'5" | 13'11"| 17'6" | 21'0" |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 5'11" | 6'8"  | 7'5"  | 9'0"  | 11'3" | 15'0" | 18'9" | 22'6" |
 2.5"   | 4'5"  | 5'0"  | 5'7"  | 6'8"  |  8'4" | 11'2" | 13'11"| 16'9" |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 4'11" | 5'7"  | 6'2"  | 7'5"  | 9'4"  | 12'6" | 15'7" | 18'9" |
  3"    | 3'8"  | 4'2"  | 4'7"  | 5'7"  | 6'11" |  9'3" | 11'7" | 14'0" |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 4'3"  | 4'9"  | 5'4"  | 6'5"  | 8'0"  | 10'8" | 13'4" | 16'1" |
 3.5"   | 3'2"  | 3'7"  | 3'11" | 4'9"  | 5'11" | 7'11" | 9'11" | 12'0" |
--------|-------|-------|-------|-------|-------|-------|-------|-------|
        | 3'8"  | 4'2"  | 4'8"  | 5'7"  | 7'0"  | 9'4"  | 11'8" | 14'0" |
  4"    | 2'9"  | 3'1"  | 3'5"  | 4'2"  | 5'2"  | 6'11" | 8'8"  | 10'5" |
------------------------------------------------------------------------|

  11.3  What are the standard locations for reel-change cue marks on
        U.S. release prints in the various film formats?

  [under construction]

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                                END OF FAQ PART 4
                    -----------------------------------------
