Editing Negative pulldown (section)

==35 mm==
===2-perf===
{{main|Techniscope}}

2-perf camera systems use 2 perforations per frame on 35&nbsp;mm film with an aspect ratio close to 2.39:1; the aspect ratio used in [[anamorphic]] prints. It was first proposed conceptually around 1930, but was not put into practice until 1961, when [[Techniscope]] was developed at [[Technicolor]]'s Italian branch. It has recently been brought up again with the advent of higher quality, lower grain [[film stock]]s as well as [[digital intermediate]] post-production methods which eliminate optical blowups and thus improve quality. While in the recent past, some companies have offered custom conversions of camera equipment to 2-perf, it appears that camera manufacturers are now poised to support the format. [[Arri]] made 2-perf movement blocks for their [[Arricam]] and [[Arriflex 235]] cameras available for rental in March 2007.<ref>Arri advertisement, ''British Cinematographer'', March 2007, p. 2.</ref> [[Aaton]]'s [[Aaton Penelope|Penelope]] camera, released in October 2008, was the first camera specifically designed for 2-perf usage (as well as 3-perf).

===3-perf===
{{main|Super 35}}
In the early 1980s, Swedish cinematographer [[Rune Ericson]] collaborated with [[Panavision]] on the concept of creating a 3-perf mechanism for motion picture cameras.<ref>{{Cite web |url=http://www.svenskfilmdatabas.se/en/item/?type=person&itemid=61955 |title=Rune Ericson biography |website=The Swedish Film Database |access-date=2016-09-20}}</ref> The 3-perf system, achieved by altering the camera gate and shutter mechanism, reduces film wastage by using frames that are 3 perforations high instead of the standard 4-perforations. <ref>This sentence has been corrected from its original version 'This results in an aspect ratio of approximately 1.78:1, which closely aligns with the widescreen television aspect ratio of 1.85:1' If correction shouldn't have happened, please re-edit and remove this, if it is correct and rightly happened, please remove this</ref> This results in an aspect ratio of approximately 1.85:1, which closely aligns with the widescreen television aspect ratio of 1.78:1, thereby minimizing image loss outside this aspect ratio. Due to the smaller frame size, the camera operates about 25% slower, leading to a 25% reduction in film stock usage. Additionally, the camera operates more quietly because less film passes through the mechanism per frame. The [[Super 35]] variant of 3-perf also provides a larger negative area, which can help offset the increase in grain when using higher-speed film stocks.

In the late 1990s, cinematographer [[Vittorio Storaro]] proposed a film standard known as [[Univisium]] (also called Univision), which advocated for 3-perf Super 35 to create a 2.00:1 aspect ratio.

=== Disadvantages of 3-perf and 2-perf ===
One disadvantage of 3-perf and 2-perf is found when projected theatrically, as it needs to be transferred back to a 4-perf system. This typically involves a [[film print]] with black cropping on the print itself in order to fit the image onto a 4-perf frame – encountering the same wastage problem as before.  Even so, the amount of film shot on a production is much greater than the length of the final film, so 3-perf or 2-perf are still viable cost-saving options for production.  Generally, 3-perf is most frequently used for [[widescreen]] television productions shot on film, as film is developed and then transferred to [[Videotape|video]], rendering projection incompatibilities irrelevant. Recently, this process has become popular with big-budget motion picture production, due to the advent of the [[digital intermediate]] process. The negative is scanned to high resolution (usually HD, 2K or 4K ([[digital cinema]])) digital files, colour graded, and ultimately printed back to standard 4-perf for projection. At some point in the future, the final 4-perf print will become unnecessary assuming the cinema distribution and projection chain become fully digital.

3-perf and 2-perf pose minor problems for visual effects work. The area of the film in 4-perf work that is not projected nonetheless contains picture information which is useful for such visual effects tasks as 2D and 3D tracking.{{Citation needed|date=October 2015}} This mildly complicates certain visual effects efforts for productions using 3-perf and 2-perf.

[[File:VistaVision_8_perf_35_mm_film.png|right|thumb|300px|A VistaVision 35&nbsp;mm frame, marked for a 1.85:1 crop]]

=== VistaVision ===
{{main|VistaVision}}
'''VistaVision''' is a higher resolution, [[widescreen]] variant of the [[35 mm movie film|35&nbsp;mm motion picture film]] format which was created by [[Paramount Pictures]] in 1954. It uses a horizontal, 8 perforation 35&nbsp;mm image, similar to that used in [[135 film]] for [[photography|still photography]]. Paramount did not use [[anamorphic]] processes such as [[CinemaScope]] but refined the quality of their flat widescreen system by orienting the 35&nbsp;mm negative horizontally in the camera gate and shooting onto a larger area, which yielded a finer-grained projection print.