HOW CINEMASCOPE WORKS - Panoramic scene of marching Indians
at left is photographed with an anamorphoscope wide-view lens in front
of camera lens. This compresses image within the full aperture of 35 film.
In projection, another anamorphoscope placed before projector lens expands
compressed image to full scale so it appears on screen as shown above,
lower right. Three microphones (X) placed strategically to cover the full
range of the set or scene record three separate tracks to provide stereophonic
sound, an important factor in CinemaScope system.
A UNIQUE LENS which restores to its proper proportions an image previously
distorted, makes possible the compression onto 35mm film of wide-angle
panoramic scenes, and is the basis of the new CinemaScope system of widescreen
motion pictures developed in Hollywood by 20th Century-Fox studios.
When the film is projected through a companion lens the distorted
image assumes its former normal dimension, just as a trick mirror in a
carnival fun house would straighten out its distorted reflections if placed
before a mirror having compensating distortions.
CinemaScope is not stereoscopic movies-not the same as the 3-D films
also causing a flurry in Hollywood. CinemaScope films do not require the
use of viewing spectacles, do not require special dual motion picture cameras
and dual projectors. But the result on the screen, which does present an
illusion of three-dimension pictures, is said by many to be superior to
3-D films.
Like the Cinerama process CinemaScope pictures are panoramic and
have stereophonic sound. The wide screen used for CinemaScope is a solid
screen having great reflectance, and is curved slightly but not to the
extent of the Cinerama screen.
HOW CLOSEUPS WILL BE COMPOSED in CinemaScope wide-screen
photography. Tight closeups will probably be avoided in favor of head-and-shoulders
composition with the figure or figures placed a little to the left or right
of center of the frame, as in this sketch of a scene for "The Robe,"
20th-Century-Fox's first CinemaScope production.
CinemaScope is a simple, inexpensive process applicable to either
color or black-and-white films, which simulates three-dimension to the
extent that objects and actors seem to be part of the audience, while its
stereophonic sound imparts additional life-like quality as it moves with
the actors across the screen.
From its panoramic screen, two and a half times as large as ordinary
screens, actors seem to walk into the audience, ships appear to sail into
the first rows, off-screen actors sound as though they are speaking from
the wings.
CinemaScope is a simplified improvement of an anamorphoscope lens
(which he called a Hypergonar) developed by Frenchman Henri Chretien with
whom 20th Century-Fox recently closed arrangements for its use and other
patented improvements.
(Ed. Note: Webster's dictionary defines anamorphoscope as: "A
cylindrical mirror or lens which restores to its normal proportions an
image distorted by anamorphosis.")
The anamorphoscope is fitted before the regular camera lens and functions
to gather up a wide field of view and funnel it, compressed, through the
camera lens, leaving a distorted image of the scene on the film. In projection,
a similar anamorphoscope placed before the projector lens unscrambles the
image so that it reaches the screen exactly as filmed and completely without
distortion.
In describing the Hypergonar anamorphoscope lens. Chretien said:
"The Hypergonars which we have built are of two types: for photography,
and for projection They differ only in their dimensions and their mountings."
From the optical point of view, they consist of two separately achromatized
systems: a converging system consisting of two lenses, cemented together,
and a diverging system consisting of three lenses, cemented together.
In photography, focusing of the anamorphoscope is accomplished in
accordance with the distance of the subject, by means of a spiral-shaped
shaft and the help of a distance calibration. This does not alter in the
least bit focusing of the camera lens.
PROJECTION OF CINEMASCOPE movies requires but one projector.
Screen is curved slightly and fills entire stage proscenium, Three speakers-one
in center and one at either side of screen (i.e., behind it) reproduce
the stereophonic sound track, lending added naturalness and dimension to
CinemaScope movies.
In projection, Chretien explains, the Hypergonar is adjusted once
and for all in accordance with the distance of the screen, by means of
a helical rack and pinion. The interposition of the Hypergonar does not
modify the definition on the screen.
The loss of light occasioned by the introduction of the anamorphic
attachments is insignificant, the inventor points out, because the consecutive
interposition of only- two supplementary lenses, i.e.. the two Hypergonar
units, consists of cemented lenses. In addition, the exterior surfaces
of the elements in each system are treated with anti reflection coating.
In projection, the screen brightness is reduced proportionately - to the
enlargement of the anamorphic attachment, since there is a larger screen
area to light, and not in proportion to its square (as would be the case
where the image were enlarged in all directions).
CinemaScope requires only one camera for filming and one machine
for projection on the screen. It utilizes the same cameras and projectors
now standard in all studios. And because the anamorphoscope lenses can
be adapted to all makes of 35mm cameras, 20th Century-Fox expects to make
the CinemaScope system available to all motion picture studios.
CinemaScope poses few problems for the director of photography. Use
of the CinemaScope attachment on the camera, it is reported, does not alter
the exposure time. One minor change, in addition to the auxiliary lens,
will be that of enlarging the horizontal scope of the camera viewfinder
so that it will be possible for the cameraman to see the actual area taken
in by the anamorphoscope auxiliary in front of the camera lens. The wide-range
viewfinder viewing glass will have two vertical cross hairs which delimit
for him the field of the ordinary screen (or standard aperture) inside
of which he may assemble the elements of action when it is desired to present
the action in the ordinary manner.
Checking the scene directly through the lens will present something
of a problem because what the cameraman sees through the lens will be an
optically compressed scene, the same as will be registered on the film.
Because the stereophonic sound tracks of CinemaScope films will be separated
from the picture film, the picture will occupy the full width of the 35mm
aperture. In most cases, the 3-dimension sound will be recorded on magnetic
film, in three separate tracks, as picked up by three microphones placed
strategically in or above the set.
Although closeups are reproduced dramatically in CinemaScope films,
fewer may be needed because medium shots of actors in groups of three and
four show faces so clearly that the most minute emotions and gestures are
obvious.
In the beginning, it is likely that most CinemaScope productions
will be basically outdoor spectacle dramas. This will go a long way toward
solving the lighting problem-which undeniably will be great when it comes
to shooting the large wide-angle sets indoors on the sound stage. Also,
it is likely there will be less emphasis on effect lighting, admittedly
not so important where films are shot in color.
CinemaScope poses a number of problems, too, for the film editor.
One studio cutter said CinemaScope will make necessary a special horizontal
enlarging lens for Moviolas, which will enable cutters to view CinemaScope
film with the image fully unscrambled or rectified. Film cutting problems
in the new medium, he said, will not be as great as was at first expected
because there won't be as many cuts in CinemaScope films as with standard
productions. C-pix will be like stage plays where the spectator visualizes
closeups and medium shots when he focuses his individual attention on the
principal player or some specific bit of action.
Where closeups are necessary, he went on to say, it is likely that
these will be photographed with the player just a little to the right or
to the left of the frame center-not too far to one side nor with part of
the frame blacked out, as has been practiced in some other wide-frame systems.
The cutting of the stereophonic sound tracks, perhaps, will pose
one of the greatest problems for cutters, for unless the scene is properly
composed both for sound and picture, cuts may occur at the very highpoint
of, say, dialogue coming from the extreme right of the screen, with sound
for the succeeding cut jumping back to the extreme left of the screen.
In the beginning, film editors will have to feel their way cautiously,
as indeed will all other technicians. There will be a greater need for
unstinted cooperation between the production planners, the director, cameraman
and cutter, in order to effect the smoothest possible result on the screen.
Of great importance to the viewer, there is no distortion of images
in CinemaScope pictures from any seat in the theatre. Screens, specially
developed for the new system for extra brilliance, may be any length desired
to fit any theatre. The screen used for projecting tests at 20th Century-Fox
studios is 61 feet wide and 25 feet high. A theatre like New York's Roxy
would probably use one 80 feet long with proportionate ratio of height
to width. The screen curves to a depth of five feet-enough to afford a
feeling of engulfment without reflecting annoying highlight from one curved
end of the screen to the other, as deeper curving screens are said to do.
Due to the immensity of the screen, few entire scenes can be taken
in at a glance enabling the spectator to view them as in life or as one
would watch a play when actors are working from opposite ends of the stage.
Commenting on CinemaScope, following a series of test screenings
at the studio, director of photograph Joe MacDonald, ASC, said: "People
will see things they've never seen before. When you look at CinemaScope
it's like taking off blinders. It gives all the three-dimensional feeling
that people want. Every cameraman that I've talked to is enthused about
CinemaScope because it will enable him to make a more substantial contribution
to story telling. Scenes will be longer and more intricate."
Supervising Art Director Lyle Wheeler had this to say: "Thanks
to CinemaScope, sets will play a more integrated part in the picture than
ever before. Just as on the stage, width, not depth, will represent the
typical setup."
The sound implications of CinemaScope are as important as the visual
ones, believes Lorin Grignon, 20th's sound engineer, who worked closely
with Sol Halprin, ASC, and other studio engineers in perfecting the system.
"In bringing stereophonic sound to the screen," said Grignon,
"the illusion of reality will be conveyed to a degree never before
realized."
Editors will be able to deliver smoother pictures with CinemaScope
because scenes will be longer and there will be fewer cuts and closeups,
according to 20th's film editor William Murphy.
It appears that CinemaScope will make special effects photography
more important to film production than ever before. Matte shots will be
widely used and there is the possibility that such shots will be the answer
to the building of vast panoramic sets where the action must be staged
indoors on the sound stage.
Ray Kellogg, who heads the special photographic effects department
at 20th Century-Fox said, "With CinemaScope, special effects will
bring greater realism than ever before. To me, CinemaScope is more important
to the industry today than was the advent of sound in its day."
ONE OF THOSE most instrumental in the perfection of Twentieth
Century-Fox's CinemaScope process is Sol Halprin, ASC (center) studio's
executive director of photography. Assisting him were (I to r) Lorin Grignon,
sound engineer; Wm. Weisheit, chief projectionist; Grover Laube, camera
engineer; and Carl Faulkner, sound department.
CinemaScope is ideally suited to spectacle films in which most of
the action can be played against huge outdoor panoramic vistas. Twentieth
Century-Fox has chosen "The Robe" as its initial production to
be made in CinemaScope, which will be photographed under the direction
of Leon Shamroy, ASC. As soon as the key sets are constructed, shooting
will get under way, which will be about March 4. Shamroy has worked closely
the past month with Sol Halprin, head of Fox's camera and laboratory departments,
and the man most instrumental in the development of CinemaScope for the
studio. Exhaustive tests have proven the system perfect in every way, and
according to a studio executive, all that remains to make CinemaScope an
established big-time thing in industry is volume production of CinemaScope
lenses. Twentieth Century-Fox, which holds world rights to the system,
except for France and its colonies, expects to have between 3,000 and 5,000
sets of CinemaScope lenses available before the end of 1953.
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