2. Page 1 of 38
Contents
Synopsis........................................................................................................................page2
Intention note................................................................................................................page3
Crew list........................................................................................................................page4
Workflow......................................................................................................................page5
List of artist...................................................................................................................page 6
Plan of camera and lighting...........................................................................................page7
Storyboard.....................................................................................................................page13
Plan de travail................................................................................................................page19
Découpage technique………………………………………………………………….page20
List of camera material………………………………………………………………...page22
List of material lighting……………………………………………………………… page24
List of machineries……………………………………………………………………page25
Shooting analysis……………………………………………………………………...page26
Technic cinemascope.....................................................................................................page30
3. Page 2 of 38
Synopsis
A man, 25 years old, fall in love with his friend, a woman 25 years old. They study the same skill.
He wants to give her a Valentine’s Day card to show his love to her, but he put it on the book where
is the place that the woman will replace the book back to it place. When she sees the card which
stick on cover of the book that the man opens it to blog his face in front of her she takes the card
and reads. She is very happy, and then the man puts down the book and shows his face in front of
her. She knows him and she loves him too and they kiss.
4. Page 3 of 38
Intention note
For the format of aspect ratio, it has developed from 1.33 to 2.35 which is now called 2.35
aspect ratio of Cinemascope. Cinemascope is attracted by the field of cinemas due to its frame
whose length and height are lower than other aspect ratio. Because of this factor, viewers are eager
to be more interested in subjects than other things which are not so useful. For instance, if we use
the other format of aspect ratio in the films then most of the wide shots will include some parts of
the sky or land which generally are less attractive than the intended subjects we want to show. As
we see in this case (1/6), both actors stand in the opposite edge of the bookcase that in this shot we
can see the shyness of the actor admitting loving an actress by using the book to cover her face
which can be shown through cinemascope with focal 50mm. we can see both the actor and the
actress stand at each edge of the bookcase in our shot whose format of aspect ratio cannot obtain the
pictures we want. About 1/3 shot, we want to show the word “Je t’aime” written on Valentine’s
Day Card in the cover of the book whose title is “In the mood for love” because of cinemascope. If
it isn’t cinemascope, we definitely don’t get the whole picture we want to display. Similar to 1/3
shot, 1/2 is used to show the feelings of both the actor and the actress who, in fact, are interested in
each other but they do not know each other. We use 1/3 of frame to stick the poster of the movie
“Je t’aime Je t’aime” on the bookcase in order to show the meeting between the two actors in that
shot. The vital point of this format (1/5) shows the actress describing love through attractive eyes
and smiling by using Focal 100 mm. For 1/7 shot at the end of the movie, when the actor and the
actress come to meet each other with camera movement travelling close to both them, we need a
shot in which both of them come close to kiss each other and the camera move close to both of
them. This is one of the most special points because our shot is very close but we still can see them
in the frame. Furthermore, this is the only shot which has three key characteristics of cinemascope
showing both of the actors appear from the edge of the bookcase although the camera movement
does not disappear from the frame. With this movement, we attempt to attract viewers pay more
attentions until the end of the story.
The light and the location of the movies contribute to the shots too. This movie requires the
crew members to shoot in the third-floor library of a school with the condition of not moving the
bookcase and projectors are not allowed on the ceiling; however, it is not such a bad thing that we
shoot as a cinemascope there. This shows the benefits of cinemascope which helps solve all these
issues. As we see, this location is 4 meters width and if we shoot wide shot with the format of other
aspect ratio and then the projector will be in frame, which is not acceptable or we will see the
ceiling that is not interesting in the frame, but using cinemascope is the solution of all these issues.
5. Page 4 of 38
Crew list
Position Name Telephone Mail
Director Neang Lita 07 68 67 83 27 neaglita7@gmail.com
Assistant director Rampillon Romain 06 88 95 45 94 romain.rampillon@gmail.com
Director of
photography
Bourdin Quentin 06 59 60 49 72 qbourdin@gmail.com
Frame operator Pov Piseth 07 68 80 10 57 pisethhappy19@gmail.com
1st
assistant camera Dalodier Charles 06 64 43 68 70 charles_d@live.fr
2nd
assistant camera
Key gaffer Fretay Emilie 06 07 10 71 99 emilie.fretay@hotmail.fr
Key grip Depreux Antion 06 95 96 28 18 perso@muletlachenal.com
Gaffer Plancon Lucas 06 48 75 51 oo luluplan@gmail.com
Gaffer Feray Simon 06 13 18 33 55 feray.simon@gmail.com
Grip Battarel Cyril 06 78 60 49 72 cyrilbattarel@yahoo.fr
Maquillage Faure Anaïs 06 78 23 95 89 af.anais@hotmail.fr
Coordinator teacher Arthur Cloquet arthurcloquet@noos.fr
6. Page 5 of 38
Workflow
Tournage en Arri Alexa pour diffusion cinema
Finalité
Base de temps 25i/s
Cadence 25p
Tournage Réglages de la
cinema
Espace couleur entrée REC 709
Gradation REC 709
Echantimmonnage 4.2.2
Codec PRORES 4.2.2 HQ
Debit 330 Mb
Ratio pixel 1:1 carée
Definition 2048x1152
Conformation cadre 2048x870
Ratio cadre 2.35
Timecode FREE RUN
LUT REC 709
LOOK Non
Avid
Montage DNx 36
Conformation Natif ProRes 4.2.2 HQ
Export AAF+EDL
Titre Identif tournée
Etalonnage Rain Tirage droit (cache 2.35)
Sorties
DCI 2K DCP
HD-REC 709 DNx 185 + H.264
SD-REC 601 DVD-V
7. Page 6 of 38
Liste artistique
Rȏle Nom Téléphone Mail
The man (Ms) SERRA Aurrors 06 72 43 01 55
The woman (Mr) BUSSON Romain 06 50 75 70 19
20. Page 19 of 38
Plan de travail
Time Scene/shot Int/Ext Effect Decoration Role Action
8:00-8:30 Preparing decoration on set
8:30-9:30 checking lighting, camera and rehearsal
9:30
10:00
1/2 Int Day N,O,P/DCI Mr,Ms
Ms takes the book and Mr
enters the frame. They
slime and go out the frame
by opposite direction.
10:00-10:30 Lighting preparing
10:30
11:00
1/3A,B Int Day N,O/DCI Mr,Ms
Mr uses the book which
stick the card to blog his
face. Ms enter the frame to
replace the book which she
read and she sees the card,
she takes it to read.
11:00
11:30
1/4 Int Day N,O/DCI Mr,Ms
Mr put down the book
slowly and look to Ms.
11:30-12:00 Lighting preparing
12:00
12:30 1/5 Int Day N,O/DCI Ms
Ms read the card with
smiley, put it down and
look to Mr.
12:30-13:00 Lighting preparing
13:00-14:00 Lunch and break
14:00
14:30
1/6A,B Int Day N,O/DCI Mr,Ms
Mr uses the book which
stick the card to blog his
face. Ms enter the frame to
replece the book which she
read and she sees the card,
she takes it to read.
14:30-15:15 Lighting and camera preparing
15:15
16:00
1/7A,B,C Int Day M,N,O/DCI Mr,Ms
Mr and Ms walk to meet.
They hold hand together
and kiss.
16:00-17:00 Lighting and camera preparing
17:00
18:00
1/1A,B,C,D,E,F Int Day C,D,E,F/DCI Mr,Ms
Ms trys to find the book
which she wants and she
doesn’t know Mr look at
her.
21. Page 20 of 38
Découpage techniqueScene/shot
Int/Ext
Effect
Decoration
Focal
Height
shot
movement
Action
Duration
1/2 Int
Da
y
N,O,P/DC
I
50mm
75mm
Taille/
poitrine
Fix
Ms takes the
book and Mr
enters the frame.
They slime and
go out the frame
by opposite
direction.
20
’’
1/3A,B Int
Da
y
N,O/DCI
100m
m
Gros plan/
Poitrine
Fix
Mr uses the book
which stick the
card to blog his
face. Ms enter
the frame to
replace the book
which she read
and she sees the
card, she takes it
to read.
15
’’
1/4 Int
Da
y
N,O/DCI
100m
m
Gros plan/
poitrine
Fix
Mr put down the
book slowly and
look to Ms.
20
’’3
0
1/5 Int
Da
y
N,O/DCI
100m
m
Gros plan/
poitrine
Fix
Ms read the card
with smiley, put
it down and look
to Mr.
20
’’.
30
1/6A,B Int
Da
y
N,O/DCI 50mm
Poitrine/
taille
Fix then
travelling
(Camera on with
crane on dolly)
Mr uses the book
which stick the
card to blog his
face. Ms enter
the frame to
replece the book
which she read
and she sees the
card, she takes it
to read.
40
’’
1/7A,B,
C
Int
Da
y
M,N,O/D
CI
50mm
Poitrine/
Gros plan
Tilt up
(Camera on with
crane on dolly)
Mr and Ms walk
to meet. They
hold hand
together and
kiss.
30
’’
1/1A,B,
C,D,E,F
Int
Da
y
C,D,E,F/D
CI
50mm
Poitrine/
Taille/
Gros plan
Pan (A-B)
Travelling back
(B-C)
Ms trys to find
the book which
she wants and
she doesn’t
40
’’
22. Page 21 of 38
Tilt up (C-D)
Fix (D)
Travelling back
(D-E)
Fix (E)
Change focus
from (E-F)
know Mr look at
her.
23. Page 22 of 38
List of camera material
QUANTITÉ MATÉRIEL RÉFÉRENCE INFO
CAMÉRA
1 Caméra Arri Alexa Studio PL SNo
K1.71200.0-6201
Viseur électronique SNo
K2.72008-0-5275 EVF
Support loupe longue SNo
K2.72000-0VEB-1
Semelle de décentrement SNo
K2.72004-0BP12
Camera
adapter
Réhausse arrière SNo
K2.72017-0LB-1
Tiges 19 mm (L.240 mm)
ROD
Diameter
19 mm
Plaque fixation batterie V-Lock
Battery
Mount
Câbles alimentation XLR 3 SNo
KC295P-S
Câble alimentation visée court SNo
KC150
Câble alimentation visée moyen SNo
KC151
Câble accessoire 12V Anton Bauer
1 Tournevis 6 pans SNo
353/SW 3.0x75
Clé 6 pans SNo
PB207L/5x15
OPTIQUE
Optique Cooke mini S4 (T-2.8,PL)
18mm SNo
8018-0543
25mm SNo
8025-0543
32mm SNo
8032-0543
50mm SNo
8050-0543
75mm SNo
8075-0543
100mm SNo
8100-0543
ACCESSOIRES
Follow Focus Chrosziel No
2 SNo
20123
Pont Adaptateur pour tiges 19mm SNo
40110Q
Poignées follow focus (1x court/1x longue SNo
20103/ SNo
20102
Bagues de point
Manivelle
Pare-soleil Chrosziel 2 tiroirs 5x5/4x5.6 SNo
416-03
Pont adaptateur pour tiges 15mm/19mm
Dos 110mm-80mm/ Dos 110mm- 87mm
Volet latéraux
Volet frontal
ALIMENTATION
Bloc alimentation 24V
Câble alimentation XLR-3-Fischer 2P
1
Chargeurs de batteries Bebop V-
lock+Câble alimentation
6 Batteries 12V
24. Page 23 of 38
RETOUR VIDEO
Roulante Vidéo
1 Transvidéo cinémonitor HD 6”+Câble alimantation
1 Moniteur combo Sony 25”+Câble alimentaion
Connectiques BNC 76 Ω HD-SDI
Déport spigot Diam. 16
1 Tranvidéo Starlite HD 5”
Bras Magique transvidéo
Câble alimentation DC 12V lemo 2
BACK-UP
Macbook pro+alimentation secteur+Logiciel shot put Pro
5
Lecteur de carte SxS SONY USB 3.0
Carte SXS 32 G
Disque dur navette 1Terabyte
Tour RAID 5 4T
VALISE OPÉRATEUR
Cellule de mesure incidente Spectra (Light Meter)
Spotmètre Pentax (Spot meter)
Verre de contraste
Viseur de champ (Director View Finder)
Thermocolorimètre Minolta
MATÉRIEL ASSISTANT OPÉRATEUR
Mire de sharpness
Flèches aimantées de conformité de cadre+aimant
Décamètre
Table de profondeur de champ
Dust-off
Clap
Paquet de chiffons bleus
Liquide Optique ROSCO
Solution alcoolisée de nettoyage
Mire raquette Siemens
Voile Caméra
Rouleau de gaffer 25mm
25. Page 24 of 38
LISTE DE MATÉRIEL LUMIÈRE
Pieds
10 Pieds 1000
5 Pieds baby 1000
1 Pied Wind up
1 Matte boom
GRIP
10 Rotules
3 Bras Magique
10 Clamps
10 Presses cyclone (Petites et Grandes)
10 Pinces Stanley
Elingues
10 Gueuze
AUTRES
3 Cadres 120x120 Diff 216,250,251
3 Cadres 60x60 Diff 216,250,251
5 Drapeaux petite Taille
5 Drapeaux Moyenne Taille
Kit Mamas
Borniol
4 Polystyrène
2 Porte Polystyrène
Feuilles de Dépron
Gélatines Densités Neutres (ND3,ND6,ND9)
Pince à Linge
Ciné foil
Rouleau de gaffer 50mm
Rouleau de Permacel Noir 50mm
26. Page 25 of 38
List of machineries material
MACHINERIE
Argus
Volant
Volant déporté
Siège
Bazooka
Colonnettes
Coupole déportée 150
European coupling
Tête fluide Sachtler Studio 80 bol 150
Grandes branches bol 150
Petites branches bol 150
Rails de travelling
1 2m
1 1m
1 50 cm
Plaques de roulement
Accessoires
8 Jeu de cubes 5,10,20,40 cm
5 Cubes 15x20x30 cm
Caisse de cales (Sifflet,Bastaing,Cales plates 5mm…)
Sangle à cliquet
Caisse machinerie
Bombe à mater
Bouteille à Talc
Niveau à bulle
Rouleaux de gaffer 50mm
27. Page 26 of 38
Shooting analysis
Cinemascope is something new for me, but I want to learn more due to the fact that my topic
for TPI is cinemascope. It is not something that we prepare in advance because the students doing
TPI for this topic are on duty, which makes them not complete toward this TPI. This has provided
me a golden opportunity to do this around one month before shooting the movie and practice the
topic cinemascope.
Preparation Day:
Generally all TPI have two days to shoot, one day for preparation and another day for
shooting. Preparation day is the most important day on which we have to prepare the location where
we shoot and test the material that we will use in the real shooting day. During the testing, light is
the main point so as for everything to prepared and make sure that we will not waste our time
during the real day of shooting. For my TPI, there were some changes during the testing day. Some
shots set in camera location and lens in decoupage technique have been changed because they will
get the intended result of the shooting. For the difficult shots, we had to test them the same way as I
did with my TPI. We have tested 1/1 shot which is a time-consuming shot with camera movement;
however, due to a lack of crane, we used Matte Bom and other material to make a crane. Still it was
not as good as a crane is and it was difficult to make more sustainable and more difficult to pan. For
this shot, I also made some changes after receiving some advice from my teacher. Before we
wanted to use this fake crane on Dolly with railway, yet the space was not possible for us to install
the crane due to its heaviness. As we could see a place (the third-floor library of the school) we
were required to shoot. Despite this, we did not abandon our plan to utilize this fake crane with the
purpose of getting the camera movement that we wanted because this 1/1 was the first shot of my
shooting that I used camera movement in order to attract the first impression from the audience to
keep passionately watching the movie. For the testing of 1/7 shot, we decided to change Focal
because Focal which we set in decoupage technique does not provide what we definitely wanted in
the storyboard and also some explanation from my teacher.
For the library, the location of this TPI caused us some difficulties because we couldn’t
change the location of the bookcase except a bookcase. Thus, what we wanted to achieve in our
planned shots couldn’t be obtained. However, we kept trying to find other solutions without giving
up our plan.
For the light, we have tested through the shots we planned and there were no problems
because the location was really beneficial in terms of light because the building is equipped with
glass walls. It is also a concern that the weather might change irregularly during our real shooting.
Our DOP, however, had prepared everything for those incoming issues during the real shooting.
For other issues such as communication language, I found it a bit difficult because I am not
able to speech French accurately and fluently. Most of the time, I use Khmer during the shooting in
Cambodia, but I used English with the crew members here. About our crew members here in Paris,
it was also a bit hard for me in communicating in English because our English proficiency is
limited. Sometimes I found it hard to explain what I wanted to show. For technical words, it did not
have a number of problems and we can understand much better.
28. Page 27 of 38
Shooting Day:
The shooting day must not be wasted. We have tested technical stuff and other material in
order to avoid any error during this real shooting day. In spite of all of the preparation, it does not
mean we did not have any problems because some changes were still to be made, although not a lot,
which is why we still had some obstacles and tried to address all of them so as to continue the
shooting. Despite all the testing, we did not test every single shot. Precisely, some shots that we
thought are not difficult could cause us some problem during the shooting such as 1/3 shot which
used travelling from the beginning and end with both actors in the frame. Using the travelling, the
teacher told us that travelling can be used by dolly AGUST directly on the rug without railway. For
Focal, first we used Focal 75mm and I think that the pictures I wanted were a bit close, so I took the
dolly a bit far. Due to a narrow space, and an unmovable bookcase, I found it difficult to roll the
dolly. Then the teacher advised that this shot was a bit too close and then he advised me to change
Focal from 75mm to 50mm. However, Focal 50mm made less attractive in the movie because using
travelling with both Focals are not the same. We discussed this shot with the team, but it was
difficult for me to decide to choose one of them. The teacher warned that I had to make a decision
and not to waste a great amount of time in choosing things during the shooting. This problem could
lead us to waste a great deal of time and we might not finish our shooting. Eventually, I decided to
use Focal 50mm.
1/3
For 1/1, the first shot in the movie and the most difficult shot with fake crane made from
light’s stand with Matte Bom, we still had problems with pan and camera’s level because when we
panned, we were trying to spin the screw open from the camera with Matte Bom. We needed to be
extremely cautious about our cameras. Besides, to make camera movement using this fake crane,
we needed at least three people, one seeing frames at the edge of Matte Bom with camera, the other
two standing behind Matte Bom and assisting the first person seeing frames in lifting cameras to fit
the height we wanted because framers could not do this alone. This is one of the most difficult
points due to the fact that three people did have the same strength, hearts ...etc. this is one of the
most difficult shots that took us a great amount of time with our crew members and other actors
with this fake crane.
29. Page 28 of 38
However, we have gained a great amount of experience and learned much knowledge from
this. Though the quality is not as good as using the real crane is, we finally achieved that shot using
our fake crane. For other shots such as 1/7 shot, it was very close to the mouths of both actors and
1/5B shot was an unplanned shot in decoupage technique. We wanted to have close up shot on the
eyes of the actress, yet I did not achieve what we wanted though we tried to stay close to the actress
and using Focal 100mm. That was our big disappointment, but our results we accomplished are
fairly good. Our first concern was that we might not finish the shooting because generally the
shooting ends at 6:00pm, but we completed each of the shots as what we planned in decoupage
technique and we finished it early so that we had some time shooting extra close shots added to our
planned shots. It is a kind of gain for editing the videos. It is an amazing result that we did not plan
to shot.
1/5B
For the light, there was a problem due to the irregular weather because sometimes it was
either cloudy or shinny and sometimes it was not shinny; however, our DOP and light crew
members prepared a black piece of cloth and light technic in order to pursuit our shooting with
constantly advice from our teachers. Sometimes as a director, I couldn’t monitor every single part
of the shooting towards light because I focused most of the time on actors and actresses. Despite
these, we still had our teacher coordinator to control and figure out our mistakes and assist us
enthusiastically during the shooting.
For the performance of the casts, sometimes they lacked a bit what we achieved but the
point is that our two casts could use their English with us fluently, which made our communication
go smoothly and I could explain to them what they were supposed to do. Another experience is that
30. Page 29 of 38
the height of the casts, the actor and the actress are 1.80 meters 1.60 meters respectively. Their
heights were not easy to shot in some frames with cinemascope, which is why we needed to use
Apple Box for the actress to stand with 1/3 shot with the actor taking a book to cover the actress’s
face. For the actress needing to take Valentine’s Day card on the cover of the book, we used Apple
Box instead because the bookcase’s height made her difficult to take Valentine’s Day card by
crossing two close bookcases. For 1/1 shot, we also used Apple Box so that we could see the
actress’s face between the books. Last but not least, I have been absolutely thrilled with their
friendliness, characteristics, and their great communication with me and my team.
1/3 1/1
I did appreciate each one of my crew members in terms of cooperation and assistance. I
definitely love all of them. Every one of them tried to help me in order to complete this project. The
respect of each member, punctuality and characters are the most astonishing things that I acquired, a
great deal of knowledge from all of them. Even though we have never worked and known each
other before, we could understand and learn a lot. Regarding communication between us, though we
had some difficulties, we still could make it through the whole project and be full of friendliness.
Sometimes I found it a bit difficult to make everyone laugh since I do not have a lot of sense of
humor. Despite all of these, we enthusiastically worked and cooperated with each other and I felt
extremely delighted no matter who we are, what we speak and we still found ways to make a long-
lasting friendship with each other. I feel definitely proud of them.
All of these great things are the precious experience which I gained in my entire life and will
remember forever for our friendship established during this project and take it back to my
homeland. Moreover, we will continue doing what we have acquired from every one of you here in
Paris.
31. Page 30 of 38
Cinema-Scope
1- Why Cinema Scope
During 1950 all film industries faced up to a risk, because the television network was taking a lot of
audiences all over the world to give up theatrical film. Due to this problem the head of film
industries had to find new strategy to make the audiences interested on theatrical film by trying to
make a wide screen film and special color which television cannot make.
2- From Cinarama to Cinema Scope
September 13, 1952 the Broadway Theater was the world premiere, which screened a wide screen
film called “ This is Cinerama”. This technique used three cameras at the same time to capture an
image side by side. During the projection they had to project on three different projectors at the
same time.
Cinerama and the early 3D films, both launched in 1952, succeeded at the box-office in defying this
trend, which in turn persuaded Spyros Skouras, the head of Twentieth Century-Fox, that technical
innovation could help to meet the challenge. Skouras tasked Earl Sponable, head of Fox's research
Clap for Cinerama
Cinerama Projection process
32. Page 31 of 38
department, with devising a new, impressive, projection system, but something that, unlike
Cinerama, could be retrofitted to existing theatres at a relatively modest cost – and then Herbert
Brag, Sponable's assistant, remembered Chrétien's "Hypergonar" lens.
The optical company Bausch & Lomb was asked to produce a prototype "anamorphoser" (later
shortened to "anamorphic") lens. Meanwhile, Sponable tracked down Professor Chrétien, whose
patent for the process had expired, so Fox purchased his existing Hypergonars from him and these
lenses were flown back to Fox's studios in Hollywood. Test footage shot with these lenses was
screened for Skouras, who gave the go-ahead for development of a widescreen process based on
Chrétien's invention, which was to be known as "Cinemascope".
3- What is Cinema Scope
CINEMASCOPE is a technique using anamorphic lens in front of camera and projector to provide
a panoramic wide-view of images for cinema.
Anamorphoscope Lens (Hypergonar lenses) was invented by Professor Henri Chrétien during
1920. It was this process that would later form the basis for Cinemascope. Chrétien's process was
based on lenses that employed an optical trick which produced an image twice as wide as those that
were being produced with conventional lenses; this was done using an optical system
20th Century-Fox President Spyros Skouras with Chrétien.
33. Page 32 of 38
called Hypergonar, which was the process of compressing (at shoot time) and dilating (at projection
time) the image laterally. He attempted to interest the motion picture industry in his invention, but
at that time the industry was not sufficiently impressed.
4- HOW CINEMASCOPE WORKS
Anamorphoscope wide-view lens is put in front of camera lens. This lens can compresses image
within the full aperture of 35mm films. In projection, another anamorphoscope placed before the
projector lens expands compressed image to full scale. At the first time with Chrétien’s system he
did not add the sound so the ratio of image was expanded two times with academy aspect ratio
1.33:1 to 2:66:1. The main problem was to sync sound and image. To add sound magnetic track on
film, they reduced to 2.55:1. But magnetic track was too fragile and they replaced it by optical
sound track and needed to reduce the ratio to 2.39:1.
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 Cinema Scope 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.
Henri Chrétien’s original
Hypergonar lens
34. Page 33 of 38
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.
5- The First screening of Cinema Scope
Cinemascope is commonly used for cinema with aspect ratio 2.39:1 much more easier than
Cinerama which used three cameras and three projectors at the same time to showing panoramic
scene onto the cinema screen side by side.
On February 23, 1952 20th
Century FOX started screening the first motion picture in cinemascope
call “The Robe” and planned to make two other films, “ How to marry the Millionaire” and “
Beneath the 12-Mile Reef”. Each film was shot with an anamorphic angle.
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FOX president announced with much fanfare that they would be abandoning the old aspect ratio the organ
square-shaped movies were made in and they would produce all their films in cinemascope.
In January 18, 1953 20th
century FOX screened the second film in cinemascope “ How to Marry the
Millionaire” with incredible sound with only left and right channels but also included behind sound that
made audiences feel that they were in the middle of action.
20th
Century Fox advertised his own film in cinemascope by comparing to the old standard aspect
ratio. It became very popular with the first wide screen, which used only one camera and one
projector, much more easily than Cinerama which audiences had seen before, but they had to adapt
the curve of the screen to the focus curve.
FOX sound composing
20th Century Fox's advertising of the widescreen potential of their
Cinemascope process.
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6- Cinema Scope Competitor
During the progress of cinemascope there were many competitors from many companies who tried
to make their own system to compete with 20th
century Fox such as Aga Scope, Arriscope, etc.
In 1954, Panavision founder Robert Gottschalk owned a camera store in Westwood Village, where
his customers included many professional photographers and cinematographer. Among his
acquaintances there was an optical engineer, cinemascope cylindrical-type projection lenses.
Ironically, Gottschalk and wallin’s lens was base on an even earlier Chrétien’s development.
The advantages of the Prismatic system of anamorphic attachment lenses were that they were far
similar and less expensive to manufacture, and if the prisms were mounted so that they could be
swiveled together, the anamorphic squeeze ratio could be modified. It could easily be set to be 2:1,
1.50:1 and even 1:1 and would remain even and optically true all across the screen. Another
advantage was that theaters could build a large reel containing shorts, newsreels and other non-
anamorphic films, and an anamorphic film all on the same reel, and could project correct imagery
for one or the other at the turn of a small knob - all without stopping the projector. Furthermore,
Gottschalk didn't care whether the theater installed four-track stereo sound or not.
Within a short time, Gottschalk and a small staff that included Frank Vogelsang, Tak Miyagishima,
George Kraemer and Jack Barber produced and delivered some 35,000 prism-type projection lens
attachments, until the market became saturated.
Cylindrical Anamorphic
In 1959 the first film with Panavision lenses “ BEN HUR” won the Academy Award for
cinematography. According to this success, Panavision developed a system of non-anamorphic
lenses for 65mm camera. They were used in such picture as “Exodus”, “West Side Story”, “
Lawrence of Arabi” and “ My fair Lady”
7-Techniscope
Concerning to the history of cinemascope, which had many competitors who tried to make different
wide screen motion pictures in differences techniques such as Vistavision which uses the technic of
Cylindrical Anamorphic
System (Schneider Type)
System (Schneider Type)
Prism Anamorphic System
(Panamorph Type)
System (Schneider Type)
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camera to shot film in horizontal way and Techniscope which uses 2 perforations on 35mm film
stock, but these systems need to have projector and camera modified. Also we have to notice that
the surface of negative emulsion is devided by two. It means it is very good for producers because
they can save a lot of money, but not very well for directors of photography.
8- Compare Film stock Ratio and Digital Sensor Ratio
Nowadays almost all filmmakers and film manufactures have changed their mind to the new
technology to produce their film by using digital camera. In digital Camera we can make
cinemascope format aspect ratio by using only a part of the sensor or using anamorphic lenses on
digital camera.
For example we can see on the Arriflex webside the difference of sensor mode and target of aspect
ratio:
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Concerning the picture above, if we use target aspect ratio 2.39 Scope 2x we need to use anamorphic lenses
and images will be compressed onto 4:3 sensor mode and expanded to the real scope ratio during screening.
If we use 2.39 flat it means that we use normal lenses and the picture will be capture on in the cyan lines.
Conclusion: I was very happy with this discovery because it was the first time for me to use cinemascope
format and I understand how cinemascope works and all the history of cinemascope.
All the links used to find all information
The CinemaScope Story : https://youtu.be/Bve8wGAPhIg
Universalis : Cinemascope
Guide de survie Cinéma 091129 2.pdf
2014_ALEXA_Sample_Footage_Technical_Information.pdf
https://www.arri.com/DE/camera/alexa/tools/arri_lens_illumination_guide/
