Originally 35mm.

The "Great Syntagmatics of Film" by Christian Metz interprets the feature film as reducible to autonomous segments, that are separated into autonomous shots and syntagmas, whereby the latter can be separated into non-chronological syntagmas (sequence of parallel montage) and chronological syntagmas. Within these is again differentiation between descriptive and
narrative syntagmas whereby the narrative syntagmas are divided into alternating syntagmas and linear narrative syntagmas (the linear narrative syntagmas are thereby divorced in scene and sequence). The shot-countershot-technique is a typical linear narrative syntagma.

"Not a stage direction, but rather something very concrete is hidden behind the technical term 'Shot-Countershot.' Something which calls for intelligent and playful dealings with the medium of short film."
- Marli Feldvoss

"SHOT-COUNTERSHOT the idea of the century."
- Hans Fraeulin