A non-Cinerama, three-projector process was famously pioneered for the final reel of Abel Gance's epic film Napoléon (1927) The process, called Polyvision by Gance, consisted of three 1.33 images side by side, so that the total aspect ratio of the image is 4:1. The technical difficulties in mounting a full screening of the film, however, make most theaters unwilling or unable to show it in this format.
Between 1956 and 1957 the Soviets developed Kinopanorama, which is identical in most respects to the original three-camera Cinerama.
Anamorphic 70 mm. 70 mm with anamorphic lenses, popularly known as "Ultra Panavision" or "MGM Camera 65", creates an even wider high-quality picture. This camera process was most famously used in the 1959 version of Ben-Hur, resulting in an aspect ratio of 2.76:1, one of the widest projected images ever used for a feature film. 70 mm anamorphic was not commonly used, due to the very high production costs, although it was favored for epic films such as Ben-Hur in order to capture wide panoramic landscapes and high-budget scenes with thousands of extras and enormous sets. This system is obsolete, despite its ease in setting up.
Television
The original screen ratio for television broadcasts was 4:3 (1.33:1). When preparing a film that was originally intended to be displayed in widescreen for television broadcast the material was often edited with the sides truncated, using a technique called pan and scan. Sometimes, in the case of Super35, the full film negative was shown unmasked on TV i.e. with the hard matte removed, however this causes the 4:3 image to not be what the Director intended people to see - and sometimes boom mikes can be visible. Modern widescreen televisions feature a 16:9 aspect ratio, allowing them to display both 16:9 and 4:3 formats.
In Europe the PAL TV format, with its higher resolution than NTSC format means the quality issues of letterboxed or matted movies on TV is not as severe. There is also an extension to PAL, called PALplus, which allows specially equipped receivers to receive a PAL picture as true 16:9 with a full 576 lines of vertical resolution, provided the station employs the same system. Standard PAL receivers will receive such a broadcast as a 16:9 image letterboxed to 4:3, with a small amount of color noise in the black bars; this "noise" is actually the additional lines which are hidden inside the color signal. This system has no equivalent in analog NTSC broadcasting.
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