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CinemaScope is an anamorphic lens series used, from 1953 [1] to 1967, ... thus enabling the full silent 1.33:1 aperture to be available for the picture, with a 2:1 ...
The basic 35 mm anamorphic format originally popularized as CinemaScope has been known by a number of other monikers. In some cases, these names actually refer to different lens designs and technologies implemented; however, the great majority are simply re-branded lenses originally known by another name.
Projection dimensions are the width and height of the projector aperture plate, and by extension the film frame area which is projected. The aperture plate always very slightly crops the frame. Projection lenses indicates whether spherical (normal) or anamorphic lenses are used on the projector, and if anamorphic lenses, what anamorphic power ...
The aperture of the lens (the entrance pupil), as seen from the front, appears as an oval. With the rise of digital cinematography, anamorphic photography has experienced something of a renaissance, as the higher light sensitivity (ISO) of digital sensors has lowered the lighting requirements that anamorphic lenses once demanded.
2012-03-14T03:12:37Z Mwarren us 756x3352 (73172 Bytes) Fix CinemaScope ratio to modern value of 2.39:1. 2012-03-14T02:59:01Z Mwarren us 756x3352 (74266 Bytes) Correct dimensions for Academy Ratio to use film dimensions instead of projector aperture.
Films shot in CinemaScope or Panavision are usually projected at a 2.39:1 aspect ratio, though the historical aspect ratio can be 2.66:1 (original separate magnetic sound aspect ratio), 2.55:1 (original four-track magnetic sound aspect ratio) or 2.35:1 (original mono optical sound aspect ratio, and much later "stereo variable-area" aspect ratio ...
Hollywood responded by creating a large number of wide-screen formats: CinemaScope (up to 2. 6:1), Todd-AO (2.20:1), and VistaVision (up to 2.00:1) to name just a few. The flat 1.85:1 aspect ratio was introduced in May 1953, and became one of the most common cinema projection standards in the United States and elsewhere.
Because of the need for conventional versions at 24 frames per second, every scene of the former film was shot twice in succession: once in Todd-AO and once in 35 mm CinemaScope. The latter film was shot with two 65 mm Todd-AO cameras simultaneously, the speed of the second camera was 24 frames per second for wide release as optical reduction ...