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In normal practice the usual lenses used are the 40mm and 50mm, and other lenses are used for the same reasons that they are employed in regular photographic practice - the longer lenses being used for closeups, telephoto effects and the like. In addition, there recently became available a 152mm lens, which is particularly suitable for background projection plate photography. Figure 1 shows the various Bausch & Lomb CinemaScope lenses now available. Such a lens, mounted on a camera, is illustrated in Figure 3. These same proportions follow with any of the other photographic lenses.Īlthough the principle is the same, our newer lenses combine the functions of the conventional camera lens and the CinemaScope attachment in one housing and the complete arrangement has been designed as one optical system for optimum performance. The combination of the CinemaScope attachment on the camera, the camera aperture, the projector CinemaScope attachment and the projector CinemaScope aperture results in a picture on the screen which is approximately 2½ times as wide as it is high. When this attachment is used, for example, on a 50mm lens, the height of view remains the same but the width of view is similar to that obtained had a 25mm lens been used. The picture seen by the lens combination is photographed in the camera through an aperture 23.8mm by 18.67mm in size.
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What the CinemaScope attachment actually does is to take in an angle of vision, horizontally, two times that which the camera lens does without the attachment the vertical angle of view is not changed. ( See Figure 2) It follows that it can be used with any 35mm camera and with many of the lenses that are normally used with that camera. Placed in front of the regular camera lens.Īs most readers know, the Bausch & Lomb CinemaScope attachment lens itself is an optical unit that fits in front of any ordinary motion picture camera lens. “attachment” lens above was an anamorphic unit With CinemaScope, sets usually call for less construction, but to explain this I had better start at the beginning and first explain the CinemaScope optical system. This is a big economic saving because the additional angles required by the older technique were time-consuming, and as a result, costly to make.Īnother misconception is that the size of the sets for CinemaScope productions must be larger. More than one hundred films have now been made in this medium and it has been established that production costs are no greater, and in most cases less, than if the picture had been made in the older methods.ĬinemaScope provides a presentation which simulates the wide angle experience of human vision and because of this most scenes can be staged with fewer cuts and camera angles than were formerly necessary. In my talks with producers, I gather that many feel that the CinemaScope method is more expensive to use on production. Also, many inquiries resulted from the usual host of misconceptions, misunderstandings and false information which invariably surround new and challenging developments. I know this from experience, because in the course of filming CinemaScope during the past two years, here and in Europe, I have been asked many questions which indicate to me that the questioner is thinking in terms of applying the older technique to the newer medium. The CinemaScope technique of making motion pictures with stereophonic sound has met, to a limited degree, this reluctance to accept new ideas. Probably this is the result of our becoming so accustomed to the previous and older methods that we approach new concepts hesitatingly. Whenever any new technique is introduced, it is frequently human reaction to view it with a certain amount of reservation and doubt. This article originally appeared in AC, June 1955. Some images may be additional or alternate. The text with illustrations also is being published in booklet form by Twentieth Century-Fox Studios. His knowledge of and experiences with the popular widescreen medium is set down here for the benefit of other cinematographers. Clarke, ASC.Įditor's Note: Clarke, who is one of Twentieth Century-Fox’s top directors of photography, has perhaps photographed more film using the CinemaScope process than any other cinematographer in the industry. At top, Lee Marvin plays it tough in the crime drama Violent Saturday (1955), directed by Richard Fleischer and shot in CinemaScope by this article's author, Charles G. Clarke, ASC explains the advantages of CinemaScope to traditional filming methods.