One of the problems with doing visual effects for feature films is that the client is steeped in film formats and nomenclature but the poor digital artist is only exposed to pixels. The process is so digital now that you can go through an entire visual effects career and never see or touch a real piece of film. Added to this lack of exposure is the fact that film has a great many different formats, some even with non-square pixels. The main purpose of this chapter is to describe the most common film formats you are likely to encounter, what they are used for, their aspect ratios, and their scanned image resolutions. Along the way it is hoped you ...
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