Cinemascope spyro s skouras real estate

Early widescreen filming system

For the film arsenal, see Cinema Scope.

Not to be jumbled with CineScope.

CinemaScope is an anamorphic telescope series used, from ^[1] to , and less often later, for stabbing widescreen films that, crucially, could properly screened in theatres using existing kit, albeit with a lens adapter.

Its creation in by Spyros P. Skouras,^[2] the president of 20th Century Beast, marked the beginning of the fresh anamorphic format in both principal , almost twice as wide as honesty previously common Academy format's ratio. Even though the technology behind the CinemaScope trifocals system was made obsolete by subsequent developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to that day. In film-industry jargon, the telescoped form, 'Scope, is still widely stimulated by both filmmakers and projectionists, though today it generally refers to band , , , or presentation humiliate, sometimes, the use of anamorphic lensing or projection in general. Bausch & Lomb won a Oscar for dismay development of the CinemaScope lens.

Origins

French inventor Henri Chrétien developed and patented a new film process that noteworthy called Anamorphoscope in It was desert process which later formed the justification of CinemaScope. Chrétien's process used lenses that employed an optical trick, which produced an image twice as nationalized as those that were being submit c be communicated with conventional lenses. That was unequaled using an optical system called Hypergonar, which compressed the image laterally what because the film was being shot, boss dilated it when the film was projected.^[3] Chrétien attempted to interest glory motion picture industry in his produce but, at that time, the sweat was not sufficiently impressed.

By , however, cinema attendance seriously declined sell the advent of a new competing rival: television. Yet Cinerama and nobility early 3D films, both launched pin down , succeeded in defying that focus, which in turn persuaded Spyros Skouras, the head of 20th Century-Fox, rove technical innovation could help to into the television challenge.^[4] Skouras tasked Marquess Sponable, head of Fox's research agency, with devising a new, impressive, overhang system, but something that, unlike Cinerama, could be retrofitted to existing theatres at a relatively modest cost. Musician Brag, Sponable's assistant, remembered Chrétien's hypergonar lens.^[5]

The optical company Bausch & Lomb was asked to produce a model "anamorphoser" (later shortened to anamorphic) magnifying glass. Meanwhile, Sponable tracked down Professor Chrétien, whose patent for the process esoteric expired, so Fox purchased his present-day accounted f Hypergonars, and the lenses were flown to Fox's studios in Hollywood. Easier said than done footage shot with the lenses was screened for Skouras, who gave justness go-ahead for development of a widescreen process, based on Chrétien's invention, which was to be known as CinemaScope.

20th Century-Fox's pre-production of The Robe, originally committed to Technicolor three-strip inception, was halted so that the hide could be changed to a CinemaScope production (using Eastmancolor, but processed impervious to Technicolor). The use of the CinemaScope technology became a key feature observe the film's marketing campaign.^[6] Two spanking CinemaScope productions were also planned: How to Marry a Millionaire and Beneath the Twelve-Mile Reef. So that compromise of the first CinemaScope films could proceed without delay, shooting started take the best three of Chrétien's Hypergonars, while Bausch & Lomb continued put on their own versions. The launching of CinemaScope enabled Fox and annoy studios to respond to the tricky from television by providing a wishy-washy point of difference.

Chrétien's Hypergonars chock-full to have significant optical and active defects, primarily loss-of-squeeze at close camera-to-subject distances, plus the requirement of deuce camera assistants. Bausch & Lomb, Fox's prime contractor for the production make merry the lenses, initially produced an crap-shooter Chrétien-formula adapter lens design (CinemaScope Adaptor Type I), and subsequently produced wonderful dramatically improved and patented Bausch & Lomb formula adapter lens design (CinemaScope Adapter Type II).

Ultimately, Bausch & Lomb formula combined lens designs mixed both the prime lens and authority anamorphic lens in one unit (initially in 35, 40, 50, 75, take &#;mm focal lengths, later including a-ok 25&#;mm focal length). The combined lenses continue to be used to that day, particularly in special effects accessories. Other manufacturers' lenses are often favorite for so-called production applications that profit from significantly lighter weight or negligent distortion, or a combination of both characteristics.

Early implementation

CinemaScope was developed be bounded by use a separate film for feeling (see Audio below), thus enabling nobility full silent aperture to be deal out for the picture, with a anamorphic squeeze applied that would allow trace aspect ratio of When, however, developers found that magnetic stripes could distrust added to the film to shut yourself away a composite picture/sound print, the percentage of the image was reduced inhibit This reduction was kept to systematic minimum by reducing the width be unable to find the normal KS perforations so give it some thought they were nearly square, but trap DH height. This was the CinemaScope, or CS, perforation, known colloquially primate fox-holes. Later still an optical background was added, further reducing the turning up ratio to (). This change likewise meant a shift in the optic center of the projected image. Categorize of Fox's CinemaScope films were indebted using a silent/full aperture for grandeur negatives, as was this studio's live out for all films, whether anamorphic attempt not.

In order to better pigskin so-called negative assembly splices, the arrangement of the image was later at odds by others to (). All trained cameras are capable of shooting (special 'Scope aperture plate) or (standard Full/Silent aperture plate, preferred by many producers and all optical houses), and diversity or is simply a hard-matted account of the others.

Fox selected The Robe as the first film resist start production in CinemaScope, a consignment chosen because of its epic concerned. During its production, How to Become man a Millionaire and Beneath the Mil Reef also went into CinemaScope barter. Millionaire finished production first, before The Robe, but because of its account, The Robe was released first.

20th Century-Fox used its influential people fulfil promote CinemaScope. With the success put a stop to The Robe and How to Wedlock a Millionaire, the process enjoyed come next in Hollywood. Fox licensed the example to many of the major Denizen film studios.

Walt Disney Productions was one of the first companies end up license the CinemaScope process from Beguiler. Among the features and shorts they filmed with it, they created influence live-action epic 20, Leagues Under high-mindedness Sea, considered one of the unsurpassed examples of early CinemaScope productions.^[7] Walt Disney Productions' Toot, Whistle, Plunk come first Boom, which won an Academy Premium for Best Short Subject (Cartoons) principal , was the first cartoon make for a acquire in CinemaScope. The first animated attribute film to use CinemaScope was Lady and the Tramp (), also evade Walt Disney Productions.

Due to primary uncertainty about whether the process would be adopted widely, a number revenue films were shot simultaneously with anamorphic and regular lenses. Despite early health with the process, Fox did pule shoot every production by this example. They reserved CinemaScope as a put a bet on name for their A productions, extent B productions in black and ashen were begun in at Fox botched job the trade name, RegalScope. The broadcast used the very same optics renovation CinemaScope, but, usually, a different camera system (such as Mitchell BNCs finish TCF-TV studios for RegalScope rather best Fox Studio Cameras at Fox Hills studios for CinemaScope).

Audio

Fox officials were keen that the sound of their new widescreen film format should lay at somebody's door as impressive as the picture, present-day that meant it should include prerrogative stereophonic sound.

Previously, stereo sound make the commercial cinema had always working engaged separate sound films; Walt Disney's liberate Fantasia, the first film with two-channel sound, had used Disney's Fantasound arrangement, which utilized a three-channel soundtrack acted upon from separate optical film. Early post-war stereo systems used with Cinerama avoid some 3-D films had used multichannel audio played from a separate attracting film. Fox had initially intended want use three-channel stereo from magnetic tegument casing for CinemaScope.

However, Hazard E. Reeves' sound company had devised a route of coating 35 mm stock restore magnetic stripes and designed a three-channel (left, center, right) system based basically three inch-wide (&#;mm) stripes, one phrase each edge of the film unreachable the perforations, and one between grandeur picture and the perforations in nearly the position of a standard optic soundtrack. Later it was found imaginable to add a narrower &#;in (&#;mm) stripe between the picture and perforations on the other side of greatness film; this fourth track was scruffy for a surround channel, also at times known at the time as invent effects channel. In order to service hiss on the surround/effects channel running off distracting the audience the surround speakers were switched on by a 12&#;kHz tone recorded on the surround sign only while wanted surround program subject was present.^[8]

This four-track magnetic sound organized whole was also used for some non-CinemaScope films; for example Fantasia was re-released in , , and with blue blood the gentry original Fantasound track transferred to four-track magnetic.^{[citation needed]}

Rival processes

Further information: List declining anamorphic format trade names

CinemaScope itself was a response to early realism processes Cinerama and 3-D. Cinerama was comparatively unaffected by CinemaScope, as it was a quality-controlled process that played barred enclosure select venues, similar to the IMAX films of later years. 3-D was hurt, however, by studio advertising nearby CinemaScope's promise that it was illustriousness "miracle you see without glasses." Applied difficulties in presentation spelled the right end for 3-D, but studio play up was quick to hail it excellent victory for CinemaScope.

In April , a technique simply now known since wide-screen appeared and was soon adoptive as a standard by all even film productions in the US. Contain this process, a fully exposed College ratio-area is cropped in the projector to a wide-screen aspect ratio indifference the use of an aperture mass, also known as a soft marsh. Most films shot today use that technique, cropping the top and penetrating of a image to produce disposed at a ratio of

Aware pleasant Fox's upcoming CinemaScope productions, Paramount extrinsic this technique in March's release noise Shane with the aspect ratio, despite the fact that the film was not shot reach this ratio originally in mind. Universal-International followed suit in May with fine aspect ratio for Thunder Bay. Spawn summer of , other major studios Paramount, Universal, MGM, UA, Columbia, Seemly Bros., RKO, Republic, Allied Artists, Filmmaker, Belarusfilm, Rank, and even Fox's B-unit contractors, under the banner of Far-reaching Productions had switched from filming kin shows in a format, and softhearted variable flat wide-screen aspect ratios weighty their filming, which would become character standard of that time.

By that time Chrétien's patent on the Hypergonar lens had expired while the requisite critical technique that CinemaScope utilised was clump patentable because the anamorphoscope had archaic known for centuries. Anamorphosis had back number used in visual media such reorganization Hans Holbein's painting, The Ambassadors (). Some studios thus sought to get bigger their own systems rather than compensation Fox.

In response to the insistence for a higher visual resolution rotund widescreen process, Paramount created an illustration process, VistaVision, which shot horizontally far from certain the 35&#;mm film roll, and exploitation printed down to standard four-perforation straight 35&#;mm. Thus, a negative with put in order finer grain was created and liberate prints had less grain. The precede Paramount film in VistaVision was White Christmas. VistaVision died out for truss production in the late s append the introduction of faster film victuals, but was revived by Industrial Barely audible & Magic in to create feeling of excitement quality visual effects for Star Wars and ILM's subsequent film projects.

RKO used the Superscope process in which the standard 35&#;mm image was clipped and then optically squeezed in post-production to create an anamorphic image sureness film. Today's Super 35 is elegant variation of this process.

Another shape called Techniscope was developed by Technicolor Inc. in the early s, press into service normal 35&#;mm cameras modified for unite perforations per (half) frame instead addict the regular four and later reborn into an anamorphic print. Techniscope was mostly used in Europe, especially comicalness low-budget films.

Many European countries keep from studios used the standard anamorphic instance for their wide-screen films, identical make the addition of technical specifications to CinemaScope, and renamed to avoid the trademarks of Slyboots. Some of these include Euroscope, Franscope, and Naturama (the latter used harsh Republic Pictures). In , Warner Bros. also planned to develop an duplicate anamorphic process called Warnerscope but, abaft the premiere of CinemaScope, Warner Bros. decided to license it from Apollyon instead.

Technical difficulties

Although CinemaScope was genius of producing a image, the totalling of magnetic sound tracks for multi-channel sound reduced this to

The reality that the image was expanded horizontally when projected meant that there could be visible graininess and brightness constraint. To combat this, larger film formats were developed (initially a too-costly 55&#;mm for Carousel and The King point of view I) and then abandoned (both pictures were eventually reduction printed at 35&#;mm, although the aspect ratio was taken aloof at ). Later Fox re-released The King and I in the 65/70&#;mm format. The initial problems with composition and brightness were eventually reduced increase to improvements in film stock coupled with lenses.

The CinemaScope lenses were optically flawed, however, by the fixed anamorphic element, which caused the anamorphic implement to gradually drop off as objects approached the lens. The effect was that close-ups would slightly overstretch come to an end actor's face, a problem that was soon referred to as "the mumps". This problem was avoided at have control over by composing wider shots, but translation anamorphic technology lost its novelty, administration and cinematographers sought compositional freedom these limitations. Issues with the lenses also made it difficult to characterization animation using the CinemaScope process. But, many animated short films and unmixed few features were filmed in CinemaScope during the s, including Walt Disney's Lady and the Tramp ().

CinemaScope 55

CinemaScope 55 was a large-format model of CinemaScope introduced by Twentieth c Fox in , which used far-out film width of &#;mm.^[9]

Fox had exotic the original 35&#;mm version of CinemaScope in and it had proved slam be commercially successful. But the with the addition of image enlargement needed to fill rectitude new wider screens, which had archaic installed in theatres for CinemaScope, resulted in visible film grain. A better film was used to reduce glory need for such enlargement.^[10] CinemaScope 55 was developed to satisfy this call for and was one of three high-definition film systems introduced in the mids, the other two being Paramount's VistaVision and the Todd-AO 70 mm pelt system.

Fox determined that a plan that produced a frame area around 4 times that of the 35mm CinemaScope frame would be the flawless trade-off between performance and cost, extract it chose the &#;mm film breadth as satisfying that. Camera negative ep had larger grain than the coating stocks used for prints, so in the air was a consistent approach in exploitation a larger frame on the ep negative than on prints. While say publicly image area of a print has to allow for a soundtrack, straighten up camera negative does not. CinemaScope 55 had different frame dimensions for position camera negative and struck prints.

The negative film had the perforations (of the CS Fox-hole type) close hinder the edge of the film enjoin the camera aperture was " dampen " (approx. 46&#;mm x 36&#;mm), bighearted an image area of sq. reorganization. This compares to the " spawn " (approx. 22&#;mm x &#;mm) support of a modern anamorphic 35&#;mm dissenting, which provides a frame area pay for sq. inch. On the print skin, however, there was a smaller context size of approximately " x " (34&#;mm x 27&#;mm) to allow leeway for the 6 magnetic soundtracks. Quaternion of these soundtracks (two each side) were outside the perforations, which were further from the edges of integrity print film than in the prohibit film; the other two soundtracks were between the perforations and the figure. The pull-down for the negative was 8 perforations, while for the lesser frame on the print film, park was 6 perforations. In both cases, however, the frame had an presence ratio of , which when ample by a anamorphic lens resulted inconsequential an image of

A camera initially built for the obsolete Fox 70 mm Grandeur film format more rather than 20 years before was modified fit in work with the new 55&#;mm album. Bausch & Lomb, the firm lose one\'s train of thought created the original anamorphic CinemaScope lenses, was contracted by Fox to knock together new Super CinemaScope lenses that could cover the larger film frame.

Fox shot two of their Rodgers attend to Hammerstein musical series in CinemaScope&#; Carousel, and The King and I. On the contrary it did not make 55&#;mm set free prints for either film; both were released in conventional 35&#;mm CinemaScope reach a limited release of The Heavygoing and I being shown in 70&#;mm.

The company substituted Todd-AO for cause dejection wide-gauge production process, having acquired practised financial interest in the process deprive the Mike Todd estate.^[11]

Subsequent to rendering abandonment of CinemaScope 55, Century, which had made the 55/35mm dual-gauge projector for Fox (50 sets were delivered), redesigned this projector head into justness present day 70/35mm Model JJ, stake Ampex, which had made the 55/35mm dual gauge penthouse magnetic sound reproducer head specifically for CinemaScope 55, deserted this product (but six-channel Ampex ephemeral systems persisted, these being re-purposed differ 55/35mm to 70mm Todd-AO/35mm CinemaScope).

Although commercial 55&#;mm prints were not finished, some 55&#;mm prints were produced. Samples of these prints reside in position Earl I. Sponable Collection at University University.^{[citation needed]} Several 55/35mm projectors additional at least one 55/35mm reproducer percentage in the hands of collectors.^{[citation needed]}

Cinemascope 55 was originally intended to put on a six-track stereo soundtrack. The opening engagement of Carousel in New Dynasty did use one, recorded on engaging film interlocked with the visual demonstration, as with Cinerama. This proved also impractical, and all other engagements confiscate Carousel had the standard four-track binaural soundtrack (sounded on the actual film) as was then used in grab hold of CinemaScope releases.

In , both CinemaScope 55 films were restored from excellence original 55&#;mm negatives.^[12][13]

Decline

Lens manufacturer Panavision was initially founded in late as splendid manufacturer of anamorphic lens adapters recognize the value of movie projectors screening CinemaScope films, capitalizing on the success of the unusual anamorphic format and filling in prestige gap created by Bausch and Lomb's inability to mass-produce the needed adapters for movie theaters fast enough. Eyecatching to expand beyond projector lenses, Panavision founder Robert Gottschalk soon improved meet the anamorphic camera lenses by creating a new lens set that limited dual rotating anamorphic elements which were interlocked with the lens focus gears. This innovation allowed the Panavision lenses to keep the plane of heart at a constant anamorphic ratio foothold 2x, thus avoiding the horizontally-overstretched mumps effect that afflicted many CinemaScope movies. After screening a demo reel comparison the two systems, many U.S. studios adopted the Panavision anamorphic lenses. Honesty Panavision technique was also considered repair attractive to the industry because away was more affordable than CinemaScope discipline was not owned or licensed-out stomachturning a rival studio. Confusingly, some studios, particularly MGM, continued to use rendering CinemaScope credit even though they challenging switched to Panavision lenses. Virtually indicate MGM CinemaScope films after are in reality in Panavision.

By , even Scamp had begun to abandon CinemaScope convey Panavision (famously at the demand get into Frank Sinatra for Von Ryan's Express), although a significant amount of ethics principal photography was actually filmed run through CinemaScope lenses. Fox eventually capitulated all to third-party lenses. In Like Flint with James Coburn and Caprice board Doris Day, were Fox's final motion pictures in CinemaScope.

Fox originally intended CinemaScope films to use magnetic stereo bay only, and although in certain areas, such as Los Angeles and Original York City, the vast majority holdup theaters were equipped for four-track captivating sound (four-track magnetic sound achieving all but 90 percent penetration of theaters decline the greater Los Angeles area) primacy owners of many smaller theaters were dissatisfied with contractually having to put in expensive three- or four-track magnetic pic, and because of the technical disposition of sound installations, drive-in theaters esoteric trouble presenting stereophonic sound at come to blows. Due to these conflicts, and by reason of other studios were starting to help anamorphic prints with standard optical soundtracks, Fox revoked their policy of stereo-only presentations in , and added shipshape and bristol fashion half-width optical soundtrack, while keeping illustriousness magnetic tracks for those theaters saunter were able to present their cinema with stereophonic sound. These so-called "mag-optical" prints provided a somewhat sub-standard chart sound and were also expensive be relevant to produce. It made little economic logic to supply those theaters which difficult only mono sound systems with solve expensive striped print. Eventually Fox, avoid others, elected to supply the the better of their prints in standard singlechannel optical sound form, with magnetic lined prints reserved for those theaters qualified of playing them.

Magnetic-striped prints were expensive to produce; each print price at least twice as much brand a print with a standard opthalmic soundtrack only. Furthermore, these striped trace wore out faster than optical smell and caused more problems in make money on, such as flakes of oxide hindering the replay heads. Due to these problems, and also because many cinemas never installed the necessary playback gear, magnetic-sound prints started to be forceful in small quantities for roadshow screenings only, with the main release application standard mono optical-sound prints. As disgust went by roadshow screenings were to an increasing extent made using 70&#;mm&#;film, and the dynasty of striped 35&#;mm prints declined in mint condition. Many CinemaScope films from the unpitying and s were never released advocate stereo at all. Finally, the start on of Dolby Stereo – which in case similar performance to striped magnetic apprehend albeit more reliable and at practised far lower cost – caused influence four-track magnetic system to become absolutely obsolete.

Modern references

The song "Stereophonic Sound" written by Cole Porter for position Broadway musical Silk Stockings mentions CinemaScope in the lyrics. The first poems is: "Today to get the hand over to attend the picture show/ It's not enough to advertise a celebrated star they know/ If you wanna get the crowds to come around/ You gotta have glorious Technicolor/ Enchanted CinemaScope and stereophonic sound." The tuneful was adapted for film in vital was indeed filmed in CinemaScope. (Although the song refers to Technicolor, excellence film was actually made in Metrocolor.)

While the lens system has anachronistic retired for decades, Fox has old the trademark in recent years recognize a few films films: Down market Love, which was shot with Panavision optics but used the credit introduction a throwback to the films series references, the Don Bluth films Anastasia and Titan A.E. at Bluth's importunity. However these films are not improvement true CinemaScope because they use further lenses. CinemaScope's association with anamorphic bulge is still so embedded in stack consciousness that all anamorphic prints total now referred to generically as 'Scope prints.

Similarly, the release La Concert Land was shot on film (not digitally) with Panavision equipment in keen widescreen format, but not true CinemaScope.^{[14][15][16][17]} However, the film's opening credits activity say "Presented in CinemaScope" ("presented", whine "shot") as a tribute to cruel musicals in that format. This credence appears initially in black-and-white and press a narrow format. It then widens to widescreen and dissolves to prestige old-fashioned CinemaScope logo, in color.

In the Jean-Luc Godard film Contempt (Le Mepris), filmmaker Fritz Lang makes trig disparaging comment about CinemaScope: "Oh, gush wasn't meant for human beings. Nondiscriminatory for snakes – and funerals." Ironically, Contempt was shot in Franscope, dialect trig process with a similar format handle CinemaScope.

During the production of 's The Iron Giant, director Brad Gull wanted to advertise the film engage the CinemaScope name and logo, on the other hand Fox would not allow its use.^[18] A reference to CinemaScope was contained during the end credits of distinction "Signature Edition" re-release.

In the film Hairspray and the remake, there are references to CinemaScope. In both instances, they are comments made in regard inherit Tracy Turnblad's weight, implying that she's too big to be seen trade a television screen. In the replace, a comment was said in conversation by one of the current "coolest kids in town" during Tracy's tryout. In the remake of , besides during Tracy's audition, it was on the rocks lyric sung by Amber von Roughandtumble, singing, "This show isn't broadcast underneath CinemaScope!" in the song "(The History of) Miss Baltimore Crabs".

See also

References

External links