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Thought folks here might appreciate this. I just did a presentation at Museum of the Moving Image in NY where I presented (along with my invaluable collaborator Ann Zhang) on the Chinese film.format 8.75mm sound. I projected sections from 2 films on an original projector. The image is quite small in the 30 foot screen due to the 100w lamp
(I wonder why Fuji and Kodak didn’t have the same idea - they could have simply made the image wider or would have had more space for soundtracks.)
Kodak kept the 8mm width for super 8 to ba able to make double gauges more easily, to assure the transition between the old and the new gauge (8mm filmmakes who bought a super 8 camear wanted to be able to project their films without having to own two projectors). The 8mm width was chosen because it was half of 16 mm. And 16mm was choosen to prevent people to split to easily 35 mm stock as it was flammable at that time.
One of the main reasons for 8.75mm film stock is that it could be made by sliting 35mm into four equal sections. It seems to have been a professional format for producing films and compact equipment for use in rural areas. 8.75mm could have an optical or magnetic sound track.
In my pack of sample of formats from the Walton Films pack from LGP I have a short length of "Quad rank" print film for Super 8. It is 35mm wide and has 5 sets of Super 8 perforations which means it has perforatins on both edges to that it can be fed by a wide sproket, I assume for registration in contact printing. This would be another advantage ofhavine the extra 3mm by making the final prouct 8mm wide not 8.75mm.
Was the Chinese 8.75mm format basically identical to 8mm but with 0.75mm added on for the sound track, or was the picture size expanded?
Moore akin to Super 8. Picture size was slightly expanded by about 13% to ensure 1.33 aspect ratio Utilized an almost identical perforation to Super 8 but with a longer pitch in between them.
Was a completely government run entity, no cameras, no western films...
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