American cinematographer (Jan-Dec 1959)

) I f i WHAT WIDE-SCREEN photography has done to give an excit¬ ing “new look” to theatrical motion pictures, it can do also for 16mm films — commercial, industrial, medical, travel, lecture and amateur. As yet, a paltry few 16mm filmers have explored the real possibilities inherent in the anamorphic lens. Even though ex. cellent lenses of this type long have been available both for photography and projection of 16mm motion pictures, the reluc¬ tance of 16mm film makers to go to CinemaScope-type photog¬ raphy appears based on a number of misconceptions. Loss of picture brightness and sharpness, difficulties in filming, and the possibility that a profitable market for such films might not de¬ velop are just a few. None of these are valid today, anymore than they are for 35mm CinemaScope. Overcoming such misconceptions was a primary considera¬ tion when Bolex anamorphic lenses were being designed for 16mm cameras and projectors. Long before the lenses were placed on the market, a demonstration film was made with the first of the new lenses that proved most convincingly that anamorphic wide-screen photography can add excitement and entertainment value to any 16mm motion picture subject. The favorable reaction of audiences to this film has demonstrated the same enthusiasm for wide-screen 16mm pictures that fol¬ lowed the introduction of wide-screen 35mm feature films. si:xTEiE]]sr In most systems of “squeezed-image” cinematography, the anamorphic lens is a separate or auxiliary lens that is mounted in front of the regular camera lens (or the projector lens). It consists of cylindrical elements which do not change the verti¬ cal aspect of the camera lens, but enlarge the horizontal angle of view. If we consider the regular camera lens and the ana¬ morphic lens working together, we have a composite lens unit with the basic focal length in the vertical axis and a shorter focal length in the horizontal plane, thereby increasing the ac¬ ceptance angle. The Bolex Anamorphic lenses are made by the optical works of Moeller in West Germany, a firm that for years has special¬ ized in cylindrical optics. It was the first European firm to build anamorphic lenses for CinemaScope projection. Today, almost every European motion picture theatre is equipped with Moel¬ ler anamorphots. The Bolex Anamorphic lenses for 16mm cameras are de¬ signed as taking lenses, a fact to be emphasized, because it is well known that there is a great difference design-wise between anamorphic camera and projection lenses. Anamorphic camera lenses must have much higher resolving power to provide best possible picture sharpness on the film. Projection anamorphots. on the other hand, can be of relatively simple design and they rarely provide satisfactory results when used for photography. Our anamorphic lens tests were made using Kern-Paillard Switar camera lenses, which today are considered among the UNIQUE swing-out bracket for the Bolex M-8 8mm projector mokes possible instant switching from regular to wide-screen projection. Arrows at "A" point to Anamorphic lens and bracket swung away for conventional projection. THE BOLEX 16mm Anamorphic lens mounted on the Bolex H-16 camera. Note corresponding mask mounted on front of finder. THERE’S A WIDE-SCREEN lens for the Bolex 8mm camera, too. The simple mounting bracket permits the Anamorphic to be moved forward for access to the focusing and diaphragm controls of the camera lens.