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Cinemascope Commercialisé En 1953 Par Twentieth Century Fox

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Cinemascope Commercialisé En 1953 Par Twentieth Century Fox L’ARRIVEE DU CinemaScope Commercialisé en 1953 par Twentieth Century Fox Professeur Henri CHRETIEN 1926 – L’HYPERGONNAR 35 CinemaScope 35 CinemaScope 1 2 3 4 Piste 1 : HP gauche Piste 2 ; HP centre Piste 3 : HP ambiances Piste 4 : HP droite SON STEREO à 4 PISTES MAGNETIQUES 35 CinemaScope Document Jean-Pierre FROUARD Dimensions de la fenêtre de prise de vue de la caméra Dimensions de la fenêtre de projection Coefficient d’anamorphose : L’ objectif anamorphique utilisé lors de la prise de 35 CinemaScope vue comprime l'image dans sa largeur avec un rapport de 2. Lors de la projection du film en salle, un objectif anamorphique est utilisé sur le projecteur, avec le même coefficient d’anamorphose, rétablissant ainsi les justes proportions de l'image. La mouette dans le cadre derrière l'objectif primaire et l’anamorphoseur La mouette anamorphosée sur la pellicule 35 mm La mouette projetée après désanamorphose REPARTITION DES PISTES SONORES en 35 CinemaScope 35 CinemaScope SON STEREO à 4 PISTES MAGNETIQUES Schéma d’installation pour la reproduction sonore pour le CinemaScope à 4 pistes magnétiques de 1953 à 1977 35 CinemaScope SON STEREO à 4 PISTES MAGNETIQUES DIMENSIONS DU FILM 35 mm CINEMASCOPE à perforations dites « CS » de 1953 à 1977 35 CinemaScope SON STEREO à 4 PISTES MAGNETIQUES Premier film tourné en CinemaScope : THE ROBE (La Tunique – 1953) Réalisé par Henry Koster Péplum et historique de 2 h 15 min Sortie aux Etat-Unis le 16 septembre 1953 Avec Richard Burton, Jean Simmons, Victor Mature de 1955 à nos jours CINEMASCOPE SUR PELLICULE Document Jean-Pierre FROUARD Dimensions de la fenêtre de prise de vue de la caméra Dimensions de la fenêtre de projection SON OPTIQUE MONO SUR PELLICULE 35 mm de 1955 à nos jours CINEMASCOPE SON ANALOGIQUE DOLBY STEREO 4 voies SUR PELLICULE 35 mm (à partir de 1975) SON MONO à 1 PISTE OPTIQUE jusqu’en 1975 L’arrivée du son DOLBY STEREO en 1975 permettra d’obtenir un son stéréo à 4 voies sur une piste optique spéciale, d’apparence identique à la piste sonore mono traditionnelle. Cette innovation scellera définitivement l’abandon du 35 CinemaScope. DIMENSIONS DU FILM 35 mm à perforations dites « négatives » BH de 1955 à nos jours CINEMASCOPE SON MONO à 1 PISTE OPTIQUE jusqu’en 1975 L’arrivée du son DOLBY STEREO en 1975 permettra d’obtenir un son stéréo à 4 voies sur une piste optique spéciale, d’apparence identique à la piste sonore mono traditionnelle. Cette innovation scellera définitivement l’abandon du 35 CinemaScope. Comparaison du centrage de l’image sur la pellicule 35 mm pour De 1955 à 1977 il existe 2 formats scope les deux formats scope. 35 CinemaScope CINEMASCOPE STEREO (4 pistes magnétiques) MONO (1 piste optique) 2.35 2.55 Nécessité de déplacer le centre optique de l’objectif de la caméra COEFFICIENT D’ANAMORPHOSE 2 pour passer d’un format à l’autre. LE CINEMASCOPE SANS ANAMORPHOSE LE PROCEDE TECHNISCOPE (1960) Principe : On modifie au tournage la fenêtre d’exposition de la caméra ainsi que son mécanisme d’entraînement pour qu’elle entraîne le film sur 2 perforations par image LE PROCEDE TECHNISCOPE (1960) FORMAT ECONOMIQUE On consomme 2 fois moins de pellicule Principe : Image de qualité moindre On modifie au tournage la fenêtre d’exposition de la caméra Comparée au CINEMASCOPE. ainsi que son mécanisme d’entraînement pour qu’elle entraîne le film sur 2 perforations par image Copies d’exploitation Montage / Mixage Prise de vue en salles Pour le tirage des copies, chaque image est étirée (anamorphosée) dans le sens de la hauteur pour les ramener à un format scope sur 4 perforations. L’image est enregistrée Les rushes sont tirés en positif directement au format 2.35 sur Toutes les opérations de 2 perfos sans anamorphose. laboratoire (projection des rushes, montage, mixage) sont La bande sonore optique est ajoutée et le film peut effectuées en TECHNISCOPE. être projeté comme un film scope standard. LE PROCEDE TECHNISCOPE (1960) FORMAT ECONOMIQUE Premier film tourné en Techniscope (décembre 1960) : On consomme 2 fois moins de pellicule LA PRINCESSE DU NIL , de Victor TOURJANSKY avec Linda Cristal Image de qualité moindre Comparée au CINEMASCOPE. Sergio Leone l'utilise pour ses films : POUR UNE POIGNEE DE DOLLARS (1964) LE BON, LA BRUTE ET LE TRUAND (1966) IL ÉTAIT UNE FOIS DANS L’OUEST (1968) George Lucas l'utilisera pour des raisons économiques et de style pour AMERICAN GRAFFITI (1973) James Cameron utilise le procédé en 1997 pour réaliser les vues sous-marines du TITANIC, le Techniscope doublant la durée de tournage d’un magasin de caméra, il se révèle idéal pour des prises de vues aux conditions d’accès difficiles. LE PROCEDE TECHNISCOPE (1960) 9.47 mm Après étirement de l’image sur 4 perforations, Image projetée le film est exploit comme un film CINEMASCOPE standard. 22 mm 2.33 x 1 PAS D’ANAMORPHOSE LE PROCEDE TECHNISCOPE (1960) 9.47 mm A noter que le procédé TECHNISCOPE fut Image projetée exploité dans certains pays dans des salles équipées de projecteurs faisant avancer le film 22 mm 2.33 x 1 de 2 perforations par image, comme à la prise de vue. Les copies étaient tirées par contact du négatif original au laboratoire : - Procédé ULTRA-SEMISCOPE (Japon) PAS D’ANAMORPHOSE - Procédé ARABISCOPE (Egyptye) LES FORMATS PANORAMIQUES ORIGINE DES FORMATS PANORAMIQUES (vers 1955) Projection 1.65 sur écran scope* Entre 1955 et 1958, face à l’immense succès du 35 CinemaScope, bon nombre d’exploitants Fenêtre 1.65 « bricolèrent » de l’image large à partir des films sur le standard 1.37 dont ils disposaient.. Il suffisait de projecteur réduire la hauteur de la fenêtre de projection et d’agrandir un peu plus l’image en raccourcissant la focale de l’objectif du projecteur, pour lui redonner sur l’écran, sa hauteur habituelle. Devant une telle anarchie, les producteurs furent contraints de réagir Projection 1.75 vers la fin des années 50. sur écran scope* Fenêtre 1.75 sur le projecteur Projection 1.85 sur écran scope* Fenêtre 1.85 sur le Image d’origine en format 1.37 projecteur Projection 2.35 Fenêtre 2.35 sur écran scope* sur le projecteur * Le principe est de raccourcir la focale de l’objectif du projecteur pour que l’image projetée occupe toujours la totalité de la hauteur de l’écran ORIGINE DES FORMATS PANORAMIQUES Vers la fin des années 50, les producteurs imposent de nouveaux standards, dits « panoramiques ». En Europe, on opte pour le format 1.65 Les producteurs européens jouent la prudence, car le 1.65 est un format panoramique proche du format TV 4/3… Certains réalisateurs italiens préfèreront le format 1.75 Beaucoup de réalisateurs italiens misent sur le succès de leur film au cinéma et n’envisagent pas la vente de leur film à la télévision… Quant aux américains, ils optent pour le format 1.85 Les producteurs américains tournent désormais leurs films en format 1.37, en remplissant le haut et le bas de l’image avec du décor, du ciel, etc… de manière à faciliter la vente de leurs films à la télévision. LES FORMATS DE PRISE DE VUES ARGENTIQUES POUR LE CINEMA Format 1.37 (standard) Sur pellicule 35 mm Vitesse de défilement : 24 im/s Dimensions de la fenêtre 22 x 16 mm de prise de vues : Nombre de perforations 4 x 2 par image : Image projetée 1.37 x 1 Surface de l'image : 352 mm² Pas des images sur le film : 19 mm Coefficient d'utilisation : 52.90% Dimensions de la fenêtre 21.0 x 15.3 mm de projection : Format d'image : 1.37 Image centrée sur le film : NON Utilisation : Cinéma / Pub Anamorphose : NON Format Pdv & projection optique Piste sonore : ou numérique LES FORMATS DE PRISE DE VUES ARGENTIQUES POUR LE CINEMA Format 1.66 Sur pellicule 35 mm Vitesse de défilement : 24 im/s Dimensions de la fenêtre 22 x 13.25 mm de prise de vues : Nombre de perforations 4 x 2 par image : Image projetée Image1.66 projetée x 1 Surface de l'image : 291.5 mm² 1.37 x 1 Pas des images sur le film : 19 mm Coefficient d'utilisation : 43.83% Dimensions de la fenêtre 21.0 x 12.65 mm de projection : Format d'image : 1.66 Image centrée sur le film : NON Utilisation : Cinéma Anamorphose : NON Format Pdv & projection optique Piste sonore : ou numérique LES FORMATS DE PRISE DE VUES ARGENTIQUES POUR LE CINEMA Format 1.75 Sur pellicule 35 mm Vitesse de défilement : 24 im/s Dimensions de la fenêtre 22 x 12.57 mm 12.57 mm de prise de vues : Nombre de perforations 22 mm 4 x 2 par image : Image projetée 1.75 x 1 Surface de l'image : 276.57 mm² Pas des images sur le film : 19 mm Coefficient d'utilisation : 41.59% Dimensions de la fenêtre 21.0 x 12.65 mm de projection : Format d'image : 1.75 Image centrée sur le film : NON Utilisation : Cinéma Anamorphose : NON Format Pdv & projection optique Piste sonore : ou numérique LES FORMATS DE PRISE DE VUES ARGENTIQUES POUR LE CINEMA Format 1.85 Sur pellicule 35 mm Vitesse de défilement : 24 im/s Dimensions de la fenêtre 22 x 11.90 mm de prise de vues : Nombre de perforations 4 x 2 par image : Image projetée 1.85 x 1 Surface de l'image : 261.58 mm² Pas des images sur le film : 19 mm Coefficient d'utilisation : 39.34% Dimensions de la fenêtre 21.0 x 11.35 mm de projection : Format d'image : 1.85 Image centrée sur le film : NON Utilisation : Cinéma / Pub Anamorphose : NON Format Pdv & projection optique Piste sonore : ou numérique LES FORMATS DE PRISE DE VUES ARGENTIQUES POUR LE CINEMA Format Cinemascope (2.35) Sur pellicule 35 mm Vitesse de défilement : 24 im/s Dimensions de la fenêtre 22 x 18.80 mm de prise de vues : Nombre de perforations 4 x 2 par image : Surface de l'image : 413.60 mm² Image projetée 2.35 x 1 Pas des images sur le film : 19 mm Coefficient d'utilisation : 62.19%
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