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May-June, 1953
THE CINE-TECHNICIAN
59
Although the close-ups are reproduced dramatically in CinemaScope films, fewer may be needed because medium shots of actors in groups of three and four show faces so clearly that the most minute emotions and gestures are obvious.
In the beginning, it is likely that most CinemaScope productions will be basically outdoor spectacle dramas. This will go a long way towards solving the lighting problem — which undeniably will be great when it comes to shooting the large wideangle sets indoors on the sound stage. Also, it is likely there will be less emphasis on effect lighting, admittedly not so important where films are shot in colour.
CinemaScope poses a number of problems, too, for the film editor. One studio cutter said CinemaScope will make necessary a special horizontal enlarging lens for Moviolas, which will enable cutters to view CinemaScope film with the image fully unscrambled or rectified. Film cutting problems in the new medium, he said, will not be as
great as was at first expected because there won't be as many cuts in CinemaScope films as with standard productions. C-pix will be like stage plays where the spectator visualises close-ups and medium shots when he focuses his individual attention on the principal player or some specific bit of action.
Where close-ups are necessary, he went to to say, it is likely that these will be photographed with the player just a little to the right or to the left of the frame centre — not too far to one side nor with part of the frame blacked out, as has been practised in some other wide-frame systems.
The cutting of the stereophonic sound tracks, perhaps, will pose one of the greatest problems for cutters, for unless the scene is properly composed both for sound and picture, cuts may occur at the very highpoint of, say, dialogue coming from the extreme right of the screen, with sound for the succeeding cut jumping back to the extreme left of the screen.
Q:o::;i
The same image projected looks like this . . .
Image looks something like this, compressed within tull aperture ot 35mm tilm . . .
How Cinemascope Works— Panoramic scene of marching Indians at left is photographed with an anamorphoscope wide-view lens in front of camera lens. This compresses image within the full aperture of 35mm. film. In projection, another anamorphoscope placed before projector lens expands compressed image to full scale so it appears on screen as shown above, lower right. Three microphones (X) placed strategically to cover the full range of the set or scene record three separate tracks to provide stereophonic sound, an important factor in CinemaScope system.