![]() Skouras tasked Earl Sponable, head of Fox's research department, with devising a new, impressive, projection system, but something that, unlike Cinerama, could be retrofitted to existing theatres at a relatively modest cost. ![]() Yet Cinerama and the early 3D films, both launched in 1952, succeeded in defying that trend, which in turn persuaded Spyros Skouras, the head of 20th Century-Fox, that technical innovation could help to meet the television challenge. Chrétien attempted to interest the motion picture industry in his invention but, at that time, the industry was not sufficiently impressed.īy 1950, however, cinema attendance seriously declined with the advent of a new competitive rival: television. That was done using an optical system called Hypergonar, which compressed the image laterally when the film was being shot, and dilated it when the film was projected. Chrétien's process used lenses that employed an optical trick, which produced an image twice as wide as those that were being produced with conventional lenses. It was that process which later formed the basis of CinemaScope. Bausch & Lomb won a 1954 Oscar for its development of the CinemaScope lens.įrench inventor Henri Chrétien developed and patented a new film process that he called Anamorphoscope in 1926. In film-industry jargon, the shortened form, ' Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, 2.40:1, or 2.55:1 presentation or, sometimes, the use of anamorphic lensing or projection in general. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to this day. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. This will not crop your video on export, but will simply add the appropriate black bars at the top and bottom of the frame.CinemaScope logo from The High and the Mighty (1954).ĬinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter. NOTE: Your video will still export according to the aspect ratio of your sequence. png mask over the length of your video to add the appropriate sized black bars to crop your footage. This pack contains all of the aspect ratios and all of the video resolutions you could ever need. This pack of letterbox templates is one I found from have been using on all of my 2.35:1 videos. The most common of the ratios is 2.35:1, but there are many options, depending on the look you are hoping to achieve. To this day, we associate this shorter and wider aspect ratio with video and film that feels more cinematic.īecause the true anamorphic lenses that will give us this look are extremely expensive, filmmakers will often simply mask their footage in post to achieve this cinematic aspect ratio. This is because the cinema industry began shooting on anamorphic lenses that gave the footage a much shorter and wider look. However, traditional films shown in theaters have always had a slightly wider aspect ratio. Old SD footage was displayed in 4:3 format, and the commonly used “widescreen” format for videos and television is now 16:9. 16:9 refers to the aspect ratio of the frame. In a lot of my videos I like to apply a “letterbox template” to give my 16:9 footage that cinematic look.
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