The Letter was long considered to be a lost film until an original 35mm nitrate print was found and restored.

A soundless 35mm nitrate print of the movie, described as precisely forty feet long, was acquired by the Museum of Modern Art from the Edison National Historic Site ( Edison NHS ) and transferred to safety film in 1942.

The safety precautions associated with nitrate required 35mm film prints to be shipped in reels no longer than 1, 000 feet ( approximately 15 minutes at 16fps ).

This film ( along with Selznick's " A Star Is Born "), despite being in the public domain, were released on DVD in 2011 by Kino Classics in transfers made from 35mm nitrate Technicolor prints preserved by the George Eastman House Motion Picture Department and authorized by the estate of David O. Selznick ; prior to this most home video releases of both films had rather poor quality color.

As often happens with film discoveries, a stunningly beautiful, but fragile 35mm nitrate print of the original 1930 version turned up, at The Library of Congress.

A 1970 check of Jack Warner's old personal vault on the Burbank lot uncovered a 35mm nitrate print of Mystery in very good condition.

The laserdisc release was carefully transferred from the 35mm nitrate Jack Warner print ( in the collection of the UCLA Film and Television Archives ) and retained the essence of its unusual color.

Circa 2007, film collector and King of the Sabu Cats, Jeff Joseph, located another, near-mint 35mm nitrate Technicolor print in Europe, with English soundtrack but etched French supertitles.

In 1985, the UCLA Film and Television Archive preserved the film from the original 35mm nitrate film negative.

received 35mm negatives of all films purchased from Warner Bros., some of which were on nitrate stock for the older films.

A 35mm Champion Matsuri copy was used for the majority of the film and the uncut 16mm internegative was spliced in for all the missing portions, on many occasions within the same shot as an incomplete Matsuri shot, resulting in missing frames and inconsistent quality.

For a period of time the only existing copy was a 35mm print owned by Capra, until he made a duplicate negative from it and donated a newly minted print to the Library of Congress.

This 35mm master was released for junking in 1968, and no copy of the play is known to exist.

* 3: 2 = 1. 5: 35mm still camera film, iPhone displays

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.

* VistaVision could be ( and most often was ) further printed down to standard vertical 35mm reels keeping its 1. 66: 1 widescreen aspect ratio, which meant exhibitors did not need to purchase additional projection equipment, unlike CinemaScope.

The vast majority of film theaters are unable to handle 70mm film, and so original 70mm films are shown with 35mm prints at these venues, in the regular CinemaScope / Panavision aspect ratio of 2. 35: 1.

Typically 35mm film SLRs could sync flash at only up to 1 / 60th second if the camera has horizontal run cloth curtains, and 1 / 125th if using a vertical run metal shutter.

For example, a camera with a 1 / 1. 8 " sensor has a 5. 0x field of view crop, and so a hypothetical 5-50mm zoom lens produces images that look similar ( again the differences mentioned above are important ) to those produced by a 35mm film camera with a 25 – 250mm lens, while being much more compact than such a lens for a 35mm camera since the imaging circle is much smaller.

* 1936 – Introduction by IHAGEE of the Ihagee Kine Exakta 1, the first 35mm.

A Vitaphone disc had a running time of about 11 minutes, enough to match that of a 1, 000-foot reel of 35mm film.

* November 1: The Big Trail featuring a young John Wayne in his first starring role is released in both 35mm, and a very early form of 70mm film and was the first large scale big-budget film of the sound era costing over $ 2 million.

Instead, the IMAX system specifies a separate six-channel 35mm ( 1. 377 inch ) magnetic film, recorded and played back on a film follower locked to picture, just as Vitaphone had been ( utilizing 16-inch 33 1 / 3 RPM electrical transcription discs ) in the early 20th century, and was the same technology used to provide the 7-channel soundtrack accompanying films photographed and exhibited in the Cinerama process in the mid-1950s.

* Summilux-M 35mm f / 1. 4 ASPH.

* Leica 35mm f / 1. 4 Summilux-R

* Leitz Focomat IIa – 35mm – 6 × 9 format, dual lens turret on later versions that fitted a 5 cm Elmar f1: 3. 5 or Focotar 1: 4. 5, and a 9. 5 cm f1: 4. 5 Focotar, autofocus.

* " Super telephoto " ( over 300mm in 35mm film format ) generally cover between 8 ° through less than 1 °

Telephoto lenses are sometimes broken into the further sub-types of medium telephoto: lenses covering between a 30 ° and 10 ° field of view ( 85mm to 135mm in 35mm film format ), and super telephoto: lenses covering between 8 ° through less than 1 ° field of view ( over 300mm in 35mm film format ).

A triomino is in the shape of an equilateral triangle approximately on each side and approximately 1 / 4 " ( 6. 35mm ) thick.

* Holga 135BC – A Holga already made for 35mm film, plastic lens and the same lens mount of the Holgas 120 but with 47mm lens, f1: 8 or 1: 11 and shutter speed 1 / 100.

This print contains a mixture of both original Lippert footage (" lab splices " made for movie theater 35mm reel change cues and V-2 stock footage can be seen ), as well as all six of Willliams ' new scenes.

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.

* If a 16 mm negative is struck from an original 16 mm print struck from a 35mm original print, it is called a " Dupe Down ".

The rights were purchased in 2007 at a cost of US $ 150 000 and the film was restored and transferred from a 16mm to a 35mm print.

Also premiered was a 35mm restored print of the Lou Costello-produced 1948 short film 10, 000 Kids and a Cop, which was shot at the Lou Costello Jr.

A typical value of the enlargement factor is around 5 × ( for the case of 35mm film and a 15x10 cm ( 6 × 4 inch ) print ).

Roadshow Film Distributors had a 115m 35mm print of THREE KINGS passed with an R18 + ( Medium level violence ) rating in December 1999.

In February 2000 a 115m 35mm print was awarded an MA15 + ( Adult themes, High level violence ) rating.

Scorsese himself first saw the film in 1970 through a friend who owned a 35mm colour, uncut print.

Up until 2009 the cinema and film distributors did not have faith in the reliability of digital presentations, so the cinema would run a 35mm print along side.

It was recently restored by the UCLA Film & Television archive in a new 35mm print of much higher quality.

Edge of a 35mm film print showing the soundtracks.

Earlier processes, used on 70mm film prints and special presentations of 35mm film prints, recorded sound magnetically on ferric oxide tracks bonded to the film print, outside the sprocket holes.

* 35mm 4-Track Magnetic with Optical Track ( magoptical ): This type of Sensurround print was < u > not </ u > usable as a mono optical print.

It has never been released on BluRay and there is only one publicly-rentable print of the original 35mm film available, as shown at the Prince Charles Cinema in London on 9th August 2012.

To make a 35mm print ( the type of film stock most smaller theaters could project ), a 35mm print with black borders along the top and bottom of each frame was used.