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See also: List of anamorphic format trade namesĬinemaScope itself was a response to early "realism" processes Cinerama and 3-D. CinemaScope as a trade name was reserved for "A" productions, while "B" productions in black and white commenced in 1956 at Fox under the trade name, "RegalScope." Despite early success with the process, Fox did not stick to their claim of shooting every production with the process. ĭue to initial uncertainty a number of films were shot simultaneously with anamorphic and regular lenses.
Cinescope lenses license#
The Walt Disney Company was one of the first companies to license the CinemaScope process from Fox, and among the features and shorts they filmed with it, created one of the best-regarded examples of early CinemaScope productions with the live-action epic 20,000 Leagues Under the Sea. With the center point of the imaged shifted due to the optical soundtrack, the aspect ratio of the image was now reduced to 2.35:1. In March of 1954, with the demand of drive-ins and hard-top theaters unable to play stereophonic sound, Fox re-designed the CinemaScope print to fit a standard optical track in. With the addition of the tracks, the ratio of the image was reduced to 2.55:1. In order to fit these tracks in otherwise unavailable areas of the film, the normal KS perforations were reduced to nearly a square, thus, the CinemaScope, or CS perf was born. Four tracks would replace the original three, with the extra enabling a surround channel. Reeves' sound company designed a method of coating 35mm stock with magnetic stripes. When it was considered too costly and beset with synchronization problems, Hazard E. The three-track stereophonic soundtrack, a major selling point of the system, would be interlocked on a 35mm strip of magnetic film, as was the case with a number of 3-D Films of the time.
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Cinescope lenses full#
The original aspect ratio of CinemaScope was to be 2.66:1, shooting the full aperture ratio of a 35mm film. Fox licensed the process to many of the major film studios including Columbia, Warner Bros., Universal, MGM and Walt Disney Productions.
Cinescope lenses how to#
With the success of The Robe and How to Marry a Millionaire, the process enjoyed success in Hollywood. Millionaire finished production first, before The Robe, but because of its importance, The Robe was released first.įox utilized its influential people to promote CinemaScope. During production, two other films, How to Marry a Millionaire and Beneath the 12-Mile Reef went into production. The Robe was the first film to start production in CinemaScope, a project that was selected by Fox because of its epic nature. With the introduction of CinemaScope, Fox and other companies would be able to re-assert its distinction from its new competitor - television. Twentieth Century Fox's pre-production of The Robe was halted so that the film could be changed to a CinemaScope production, what Fox president Spyros Skouras called the future of filmmaking. From this analysis the basis of CinemaScope was formed. The first of Chrétien's lenses were quickly transported to Hollywood where they were further analyzed. However, the format needed more development before it would be ready to use. Twentieth Century Fox bought the rights of the Anamorphoscope. Later, in New York, a premiere of Chrétien's new process impressed the major Hollywood film studios of the time, who were eager to win back lost audiences from television’s allure. Chrétien's process was based on lenses that employed an optical trick which produced an image twice as wide as that produced with conventional lenses. It was this process that would later form the basis for CinemaScope. A French professor named Henri Chrétien developed and patented a new film process that he called Anamorphoscope in the late 1920s.