photo film scanner 2.4 tft lcd free sample

Unlike other frustrating scanners that require you to remove the tray and reposition the slides every time, our easy-to-load insertion system allows continuous power which significantly speeds up the scanning process. In addition to the main 50mm slide holder, three adapters are also provided to ensure compatibility with 135, 110 and 126mm films. You can finally do without the stressful software and complicated buttons on board - and simply scan.

With the Digital Film Scanner & Converter from Digitnow, you can now fondly reminisce (and permanently save) those memories faster and easier than ever before! This versatile film-to-JPEG converter digitizes and optimizes a variety of antiquated films including 35mm and 135mm Negative/Slide and Scans Photo of Size 3 1/2x5 inches, 4x6 inches and 5x7 inche, enabling you to transfer images to any Mac or PC device for saving, sharing, printing and editing. Our all-in-one package comes ready with everything you need to start scanning: various film adapters and inserts, a built-in LCD color display and SD card slot, included cables and other accessories let you access your old adventures in various forms.

- Stand-Alone and no computer required, tranfers your old film/slides to Color or Black&White picture in SD card(up to 32GB, not included) and supports to adjust the brightness or color of image.

If you didn"t start taking photos after the triumph of digital cameras, you probably still have quite a few Slide or negative film strips in the archive. Or you may be faced with the task of sifting through family memories from the past and making them available to all. For these purposes, Rollei has the Slide film scanner DF-S 310 SE developed. "SE" stands for Special Edition, the scope of delivery includes additional inserts for the previously very popular Super 8 movies and the practical pocket film strips (110 movie) at.

You can scan up to 20 slides in a minute using the built-in preview function 2.4" color TFT LCD monitor enables an intuitive and quick procedure. The multi-part precision lens with a resolution of 14 MP gets even the smallest detail out of the slide or negative films, you can interpolate the resolution up to 24 MP if necessary. The Rollei slide film scanner DF-S 310 SE works with a Single pass image capture , so you only need to guide the carriage through the scanner once, locking points ensure precise positioning.

Internally, the DF-S 310 SE stores up to one image Total data volume of 128 MB , an SD card slot accepts SD/SDHC memory cards with capacities of up to 32 GB. You can scan slides, negative strips or Super 8 films completely independently of your desktop or laptop computer, for example in the basement or in the attic. The power supply runs through a 5V adapter or even completely over the USB port . Of course you can also use your computer, the Rollei slide film scanner is compatible with Windows from 2000 and Mac OS from 10.4. Use automatic color balance and exposure control, or control both values manually. The special highlight of the DF-S 310 SE: You can also connect it directly to your TV set via a 3.5 mm jack plug!

The aspect ratio of an image is the ratio of its width to its height, and is expressed with two numbers separated by a colon, such as 16:9, sixteen-to-nine. For the x:y aspect ratio, the image is x units wide and y units high. Common aspect ratios are 1.85:1 and 2.39:1 in cinematography, 4:3 and 16:9 in television photography, and 3:2 in still photography.

The common film aspect ratios used in cinemas are 1.85:1 and 2.39:1.videographic aspect ratios are 4:3 (1.3:1),16:9 (1.7:1), universal for high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently.

In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently found in consumer cameras, 16:9.medium format and large format.

In motion picture formats, the physical size of the film area between the sprocket perforations determines the image"s size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 4:3, or 1.3:1.

The motion picture industry convention assigns a value of 1.0 to the image"s height; an anamorphic frame (since 1970, 2.39:1) is often incorrectly described (rounded) as 2.40:1 or 2.40 ("two-four-oh"). After 1952, a number of aspect ratios were experimented with for anamorphic productions, including 2.66:1 and 2.55:1.SMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1.

In American cinemas, the common projection ratios are 1.85:1 and 2.39:1. Some European countries have 1.6:1 as the wide screen standard. The "Academy ratio" of 1.375:1 was used for all cinema films in the sound era until 1953 (with the release of George Stevens" 6:1). During that time, television, which had a similar aspect ratio of 1.3:1, became a perceived threat to movie studios. Hollywood responded by creating a large number of wide-screen formats: CinemaScope (up to 2.6:1), Todd-AO (2.20:1), and VistaVision (initially 1.50:1, now 1.6:1 to 2.00:1) to name just a few. The "flat" 1.85:1 aspect ratio was introduced in May 1953, and became one of the most common cinema projection standards in the U.S. and elsewhere.

The goal of these various lenses and aspect ratios was to capture as much of the frame as possible, onto as large an area of the film as possible, in order to fully utilize the film being used. Some of the aspect ratios were chosen to utilize smaller film sizes in order to save film costs while other aspect ratios were chosen to use larger film sizes in order to produce a wider higher resolution image. In either case the image was squeezed horizontally to fit the film"s frame size and avoid any unused film area.

Development of various film camera systems must ultimately cater to the placement of the frame in relation to the lateral constraints of the perforations and the optical soundtrack area. One clever wide screen alternative, VistaVision, used standard 35 mm film running sideways through the camera gate, so that the sprocket holes were above and below frame, allowing a larger horizontal negative size per frame as only the vertical size was now restricted by the perforations. There were even a limited number of projectors constructed to also run the print-film horizontally. Generally, however, the 1.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard four-perforation 35 mm film) to show with the standard projectors available at theaters, and was then masked in the projector to the US standard of 1.85:1. The format was briefly revived by Lucasfilm in the late 1970s for special effects work that required larger negative size (due to image degradation from the optical printing steps necessary to make multi-layer composites). It went into obsolescence largely due to better cameras, lenses, and film stocks available to standard four-perforation formats, in addition to increased lab costs of making prints in comparison to more standard vertical processes. (The horizontal process was also adapted to 70 mm film by IMAX, which was first shown at the Osaka "70 Worlds Fair.)

Super 16 mm film was frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself (as it is not projected but rather transferred to video), and aspect ratio similar to 16:9 (the native ratio of Super 16 mm is 15:9). It also can be blown up to 35 mm for theatrical release and therefore is sometimes used for feature films.

4:3 (1.33:1) (generally read as Four-Three, Four-by-Three, or Four-to-Three) for standard television for fullscreen aspect ratio 1.33:1 has been in use since the invention of moving picture cameras, and many computer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era. It is also very close to the 1.375:1 Academy ratio, defined by the Academy of Motion Picture Arts and Sciences as a standard after the advent of optical sound-on-film. By having TV match this aspect ratio, movies originally photographed on 35 mm film could be satisfactorily viewed on TV in the early days of the medium (i.e. the 1940s and the 1950s).

In 2005–2008, 16:10 overtook 4:3 as the most sold aspect ratio for LCD monitors. At the time, 16:10 also had 90% of the notebook market and was the most commonly used aspect ratio for laptops.Net Applications, by October 2012 the market share of 16:10 displays had dropped to less than 23 percent.

Equivalent to integer ratio of 37:20. When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.

Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. When projected, images have an approximate 2.00:1, 2.20:1, 2.35:1, 2.39:1, 2.40:1, 2.55.1 and 2.76.1 (often rounded to 21:9) aspect ratio. "21:9 aspect ratio" is actually 64:27 (= 43:33), or approximately 2.37:1, and is near both cinematic movie aspect ratios. Most Indian Bollywood films were shot in the 1.37:1 ratio until 1972, when 2.39:1 became standard for all Bollywood movies.

In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, and "aspect ratio" refers unambiguously to DAR. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions.

1.19:1 (19:16): Sometimes referred to as the Movietone ratio, this ratio was used briefly during the transitional period when the film industry was converting to sound, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate 1.3 aperture in printing, resulting in an almost square image. Films shot in this ratio are often projected or transferred to video incorrectly using a 1.375:1 mask or squashed to 1.375:1. Examples of films shot in the Movietone ratio include vertical video that is intended for viewing in portrait mode. The format was popularized in particular by apps such as Snapchat, Instagram, and YouTube—which all offer means for publishing vertical videos as content and advertising.

1.25:1 (5:4): The once-popular aspect for larger format computer monitors, especially in the guise of mass-produced 17" and 19" LCD panels or 19" and 21" CRTs, using 1280×1024 (SXGA) or similar resolutions. Notably one of the few popular display aspect ratios narrower than 4:3, and one popularised by business (CAD, DTP) rather than entertainment use, as it is well-suited to full-page layout editing. Historically, 5:4 was also the original aspect ratio of early 405-line television broadcasts, which progressed to a wider 4:3 as the idea of broadcasting cinema films gained traction.

1.3:1 (4:3): 35 mm original silent film ratio, today commonly known in TV and video as 4:3. Also standard ratio for MPEG-2 video compression. This format is still used in many personal video cameras today and has influenced the selection or design of other aspect ratios. It is the standard Super 35 mm ratio.

1.375:1 (11:8): 35 mm full-screen sound film image, nearly universal in films between 1932 and 1953. Officially adopted as the Academy ratio in 1932 by AMPAS. Rarely used in theatrical context nowadays, but occasionally used in other contexts.

1.43:1: IMAX format. IMAX productions use 70 mm wide film (the same as used for 70 mm feature films), but the film runs through the camera and projector horizontally. This allows for a physically larger area for each image.

1.5:1 (3:2): The aspect ratio of 35 mm film used for still photography when eight perforations are exposed. Also the native aspect ratio of VistaVision, for which the film runs horizontally. Used on the ChromeOS-based Chromebook Pixel notebook PC, the Game Boy Advance portable game console, the Surface Pro 3 laplet, and Surface Studio.

1.75:1 (7:4): Early 35 mm widescreen ratio, primarily used by MGM and Warner Bros. between 1953 and 1955 and since abandoned, though Disney has cropped some of its post-1950s full-screen films to this ratio for DVD, including

1.85:1 (~37:20): 35 mm US and UK widescreen standard for theatrical film. Introduced by Universal Pictures in May 1953. Projects approximately three perforations ("perfs") of image space per four-perf frame; films can be shot in 3-perf to save cost of film stock. Also the ratio of Ultra 16 mm. One of two common formats in digital cinema, where it is called "flat".

2.35:1 (~47:20): 35 mm anamorphic prior to 1970, used by CinemaScope (""Scope") and early Panavision. The anamorphic standard has subtly changed so that contemporary anamorphic productions are actually 2.39:1,(Note that anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard 4-perf Academy aperture, but presents the widest of aspect ratios.) All Indian Bollywood films released after 1972 are shot in this standard for theatrical exhibition.

2.4:1 (12:5): Rounded notation of 2.39:1, also as 2.40:1. Blu-ray Disc film releases may use only 800 instead of 803 or 804 lines of the 1920×1080 resolution, resulting in an even 2.4:1 aspect ratio.

2.55:1 (~51:20): Original aspect ratio of CinemaScope before optical sound was added to the film in 1954. This was also the aspect ratio of CinemaScope 55.

2.76:1 (69:25): Ultra Panavision 70/MGM Camera 65 (65 mm with 1.25× anamorphic squeeze). Used only on a handful of films between 1957 and 1966 and some in the 2010s, for some sequences of Cinerama, and films such as Quentin Tarantino used it for Gareth Edwards used the process for shooting

Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced, as envisioned by the people involved in the creation of the work. As an example, the film Super 35 and, in addition to being presented in cinemas and television in the Original Aspect Ratio of 2.39:1, it was also broadcast without the matte, altering the aspect ratio to the television standard of 1.3:1. Because of the varied ways in which films are shot, IAR (Intended Aspect Ratio) is a more appropriate term, but is rarely used.

Modified Aspect Ratio is a home cinema term for the aspect ratio or dimensions in which a film was modified to fit a specific type of screen, as opposed to original aspect ratio. Modified aspect ratios are usually either 1.3:1 (historically), or (with the advent of widescreen television sets) 1.7:1 aspect ratio. 1.3:1 was the modified aspect ratio used historically on 4:3 broadcast television and home videotape formats such as VHS and Beta. A modified aspect ratio transfer is achieved by means of pan and scan or EAR (Expanded Aspect Ratio)/open matte, the latter meaning removing the cinematic matte from a 1.85:1 film to open up the full 1.3:1 frame or from 2.39:1 to 1.9:1 in IMAX. Another name for it is rescaled aspect ratio.

Multiple aspect ratios create additional burdens on directors and the public, and confusion among TV broadcasters. It is common for a widescreen film to be presented in an altered format (cropped, letterboxed or expanded beyond the original aspect ratio). It is also not uncommon for windowboxing to occur (when letterbox and pillarbox happen simultaneously). For instance, a 16:9 broadcast could embed a 4:3 commercial within the 16:9 image area. A viewer watching on a standard 4:3 (non-widescreen) television would see a 4:3 image of the commercial with 2 sets of black stripes, vertical and horizontal (windowboxing or the postage stamp effect). A similar scenario may also occur for a widescreen set owner when viewing 16:9 material embedded in a 4:3 frame, and then watching that in 16:9. Active Format Description is a mechanism used in digital broadcasting to avoid this problem. It is also common that a 4:3 image is stretched horizontally to fit a 16:9 screen to avoid pillarboxing but distorts the image so subjects appear short and fat.

1:1 is the classic Kodak image, and is available as a choice in some digital still cameras, and hearkens back to the days of film cameras when the square image was popular with photographers using twin lens reflex cameras. These medium format cameras used 120 film rolled onto spools. The 6 × 6 cm image size was the classic 1:1 format in the recent past. 120 film can still be found and used today. Many Polaroid instant films were designed as square formats. Furthermore, up until August 2015, photo-sharing site Instagram only allowed users to upload images in 1:1 format. In 2017, Fujifilm added the 1:1 Instax Square format to their lineup of instant film cameras.

Common in large and medium format photography ("6x7" cameras, actual size 56mm x 70mm), which fits the common print paper size of 8"×10" without cropping and is still in common use for prints from digital cameras.

The next several formats have their roots in classic film photography image sizes, both the classic 35 mm film camera, and the multiple format Advanced Photo System (APS) film camera. The APS camera was capable of selecting any of three image formats, APS-H ("High Definition" mode), APS-C ("Classic" mode) and APS-P ("Panoramic" mode).

3:2 is used by classic 35 mm film cameras using a 36 mm × 24 mm image size, and their digital derivatives represented by DSLRs. Typical DSLRs come in two flavors, the so-called professional "full frame" (36 mm × 24 mm) sensors and variations of smaller, so called "APS-C" sensors. The term "APS" is derived from another film format known as

APS and the "-C" refers to "Classic" mode, which exposed images over a smaller area (25.1 mm × 16.7 mm) but retaining the same "classic" 3:2 proportions as full frame 35 mm film cameras.

When discussing DSLRs and their non-SLR derivatives, the term APS-C has become an almost generic term. The two major camera manufacturers Canon and Nikon each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Canon actually developed two standards, APS-C and a slightly larger area APS-H (not to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls DX. Regardless of the different flavors of sensors, and their varying sizes, they are close enough to the original APS-C image size, and maintain the classic 3:2 image proportions that these sensors are generally known as an "APS-C" sized sensor.

The reason for DSLR"s image sensors being the flatter 3:2 versus the taller point-and-shoot 4:3 is that DSLRs were designed to match the legacy 35 mm SLR film, whereas the majority of digital cameras were designed to match the predominant computer displays of the time, with VGA, SVGA, XGA and UXGA all being 4:3. Widescreen computer monitors did not become popular until the advent of HDTV, which uses a 16:9 image aspect ratio.

3:1 is yet another format that can find its roots in the APS film camera. Known as APS-P (30.2 × 9.5 mm), with the -P" denoting "Panorama", the 3:1 format was used for panorama photography. The APS-P panorama standard is the least adhered to any APS standard, and panoramic implementation varies with by manufacturer on different cameras, with the only commonality being that the image is much longer than it is tall, in the classic "panorama" style.

Common print sizes in the U.S. (in inches) include 4×6 (1.5), 5×7 (1.4), 4×5 and 8×10 (1.25), and 11×14 (1.27); large format cameras typically use one of these aspect ratios. Medium-format cameras typically have format designated by nominal sizes in centimeters (6×6, 6×7, 6×9, 6×4.5), but these numbers should not be interpreted as exact in computing aspect ratios. For example, the usable height of 120-format roll film is 56mm, so a width of 70mm (as in 6×7) yields an aspect ratio of 4:5 — ideal for enlarging to make an 8×10" portrait. Print sizes are usually defined by their portrait dimensions (tall) while equipment aspect ratios are defined by their landscape dimensions (wide, flipped sideways). A good example of this a 4×6 print (6 inch wide by 4 inch tall landscape) perfectly matches the 3:2 aspect ratio of a DSLR/35 mm, since 6/2=3 and 4/2=2.

For analog projection of photographic slides, projector and screen use a 1:1 aspect ratio, supporting horizontal and vertical orientation equally well. In contrast, digital projection technology typically supports vertically oriented images only at a fraction of the resolution of landscape-oriented images. For example, projecting a digital still image having a 3:2 aspect ratio on a 16:9 projector employs 84.3% of available resolution in horizontal orientation, but only 37.5% in vertical orientation.

The 2.39:1 ratio is commonly labeled 2.40:1, e.g., in the American Society of Cinematographers" American Cinematographer Manual (Many widescreen films before the 1970 SMPTE revision used 2.35:1).

Nowak, Arne (October 2010). "Digital Cinema Technologies from the Archive"s Perspective" (PDF). International Federation of Film Archives. p. 4. Retrieved May 16, 2016.

Kauffman, Jeffrey (September 19, 2020). "The Wild Goose Lake Blu-ray Review". Blu-ray.com. Retrieved 28 January 2022. The Wild Goose Lake is presented on Blu-ray courtesy of Film Movement with an AVC encoded 1080p transfer in 1.90:1.