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Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue

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Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur partage de connaissance dans le cadre de la PPM Giusy PISANO Pour ses conseils méthodologiques et son soutien Marc PRADELLE Pour son accompagnement et sa patience lors du tournage en extérieur de la PPM L’ensemble de la promotion Cinéma 2014-2017 et en particulier : Simon FERAY Co-réalisateur de la PPM, pour son investissement continu, son aide précieuse et son amitié Romain RAMPILLON, Lucas PLANÇON, Florent MÉDINA, Ariane LUÇON, Carl DEMAILLE et Baptiste LEFEBVRE Pour toute leur aide, leur gentillesse et leur soutien quasi-quotidien durant le tournage de la PPM ARRI Rental Luxembourg, Cologne et Munich ainsi que Next Shot pour avoir permis l’accès à tout le matériel nécessaire à l’élaboration de la PPM, pour avoir été à notre écoute et nous avoir tant soutenu dans nos projets de recherches respectifs : Natasza CHROSCICKI, Natacha VLATKOVIC Pour toute l’aide et le soutien qui nous a été fourni Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !3/!166 Steffen DITTER Pour son investissement, pour avoir rendu possible la fabrication de la PPM et pour avoir été à l’écoute de nos demandes et nos besoins Johannes LENNARTZ Pour nous avoir accompagné et conseillé lors de la préparation du matériel et des essais caméras Hagen SCHÖNHERR Pour son partage de connaissance et son aide précieuse Didier GRÈZES, Olivier QUENNESSON Pour nous avoir gracieusement fourni du matériel supplémentaire nécessaire à la PPM Jean-Yves LE POULAIN Pour son soutien, ses conseils et son partage de connaissances Ainsi que : Aurore SERRA, Clara MARCHINA, Benoît FACERIAS, Margaux LE DORZE, Rebecca MIGNOT, Elisabeth PILARSKI et Shirley CHOLLON Pour leur aide, leur patience et leur professionnalisme lors du tournage de la PPM Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !4/!166 RÉSUMÉ : Ce mémoire relate des inventions optiques et les solutions techniques adoptées par le format large de prise de vue et plus précisément le format 65mm depuis ses débuts jusqu’à aujourd’hui. Les caractéristiques optiques d’un objectif sont impactées par le choix d’un tel format, l’étude est alors consacrée aux différentes solutions et différences techniques qui subsistent entre le 65mm et le 35mm. A l’heure actuelle, et depuis l’annonce de l’ARRI Alexa 65 en 2015, le format 65mm revient au coeur des questionnements en pleine ère de la prise de vue numérique. L’objectif de ce mémoire de fin d’étude est de lever le voile sur la plupart des interrogations liées à ce format de prise de vue, en effectuant un comparatif avec le format standard plus conventionnel du 35mm. L’actualité florissante entourant la renaissance de ce format permet à l’heure actuelle de présenter et décrire les solutions et propositions techniques des fabricants afin de subvenir aux besoins des opérateurs et des cinéastes pour permettre le recours au format 65mm en numérique. Ainsi, c’est par le biais du domaine de l’optique que ce format sera traité, revenant sur les singularités qui caractérisent ce format et les nouvelles possibilités que celui- ci propose à l’heure d’aujourd’hui, accompagné d’un panel de séries d’objectifs ayant chacune leurs spécificités. LISTE DES MOTS CLÉS (français) format 70mm, 65mm, optique, format large, ARRI Alexa 65, TODD-AO, objectif Bug-eye, objectif Curvulon, Dimension 150, Ultra Panavision 70, Scope, monture XPL, monture PV 65, monture SP 70, monture Maxi PL, monture C-XPL, objectifs 65mm, profondeur de champ Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !5/!166 ABSTRACT : This master thesis exposes the optical inventions and technical solutions brought by large format cinematography and more precisely the 65mm film format, since its beginning until today. The optical characteristics of a lens are affected by the choice of such a large format. This study aims to explain the different solutions and technical differencies that remain between 65mm and 35mm. To this day, and since the announcement of the ARRI Alexa 65 in 2015, 65mm film format is brought back to the center of interrogations. In the midst of the digital area, the purpose of this master thesis is to lift the veil on most interrogations and speculations surrounding this format, by comparing it with a more conventional film format that is the 35mm. The booming topicality that surrounds the rebirth of this large format allows to present and describe the technical and practical solutions manufacturers offer to cinematographers and filmmakers in order to enable the digital use of 65mm film format. This format will be therefore covered with an optical point of view, going back on the singularities that characterize this format and the new possibilities offered to this day, as well as exposing a panel of series of lenses having each their specificities. KEYWORDS (anglais) 70mm format, 65mm, optic, large format, ARRI Alexa 65, TODD-AO, Bug-eye lens, Curvulon lens, Dimension 150, Ultra Panavision 70, Scope, XPL mount, PV 65 mount, SP 70 mount, Maxi PL mount, C-XPL mount, 65mm lenses, depth of field Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !6/!166 TABLE DES MATIERES : REMERCIEMENTS……………………………………………………………………………….p. 3 RÉSUMÉ………………………………………………………………………………………….p. 5 ABSTRACT……………………………………………………………………………………… p. 6 INTRODUCTION……………………………………………………………………..…p. 9 PARTIE I / Historique du format 65mm et inventions optiques adaptées…………p. 11 1) A l’aube de la préhistoire du cinéma…………………………………………………..…p. 11 2) Les premiers procédés Magnifilm, Fox Grandeur et Realife…………………………….p. 14 3) Développement du procédé Todd-AO et American Optical……………………………p. 20 4) Les procédés Technirama et Super Technirama…………………………………………..p. 31 5) Super Panavision 70 et MGM Camera 65/Ultra Panavision 70…………………………p. 33 6) Le Dimension 150 et ses objectifs « Curvulon »…………………………………………p. 39 7) Les procédés européens……………………………………………………………………p. 43 8) Le grand retour au format 70mm à l’ère numérique…………………………………….p. 44 PARTIE II / Particularités optiques et comparaison au format 35mm…………..…p. 46 1) Notion de résolution et de définition de la surface photosensible…………………..…p. 46 2) FTM des objectifs ……………………………………………………………..………..….p. 54 3) Les montures d’objectifs………………………..………………………………………….p. 57 4) Cercle de couverture et étude des champs……………………………………………….p. 63 5) Angles de champ et équivalences, le choix d’une focale……………………………….p. 68 6) Profondeur de champ en 70mm…………………………………………..………………p. 75 7) 65mm et anamorphose…………………………………………………………………….p. 79 8) Les objectifs « esthétisants »……………………………………………………………….p. 84 PARTIE III / Etude technique et pratique de la PPM…..………………………….…p. 87 1) Etude des objectifs Prime 65 et Vintage 765……………..………………………………p. 87 2) Essais et comparatifs à cadre égal 65mm/35mm….……………………………………..p. 92 3) Comparaison de la profondeur de champ et des flous hors profondeur …………..…p. 100 4) Tournage à deux caméras, mélanger 65mm et 35mm…………………………..……..p. 104 5) L’essai monture C-XPL ……………………………………………………………………p. 106 6) Tournage en extérieur …………………..………………………………………………..p. 110 CONCLUSION………………………………………………………………………..p. 112 BIBLIOGRAPHIE………………………………………………………………………………p. 115 FILMOGRAPHIE………………………………………………………………………………p. 117 TABLE DES ILLUSTRATIONS…………………………………………………………………p. 118 ANNEXES………………………………………………………………………………p. 123 DOSSIER P.P.M ……………………………………………………………………..…p. 147 Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !7/!166 Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !8/!166 INTRODUCTION : Je me souviens de la première séance de cinéma en 70mm à laquelle j’ai eu la chance d’assister. C’était à la Cinémathèque Française, peu de temps avant que j’intègre l’ENS Louis Lumière. Il s’agissait de Playtime réalisé par Jacques Tati, tourné en 65mm à l’époque, une volonté esthétique forte, l’usage d’une technique de prise de vue véritablement dévouée à la mise en scène du cinéaste, ainsi qu’aux décors, prenant une ampleur particulière, un Monsieur Hulot déambulant dans des espaces modernes labyrinthiques magnifiés par l’emploi d’un format
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