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Fecflllirafila Spectati Ii TECHNIRAMA SPECIAL Supplemenl Ro KINE,Iiatograph WEEKLY fECflllIRAfilA sPEctAtI ii TECHNIRAMA SPECIAL Supplemenl ro KINE,IiATOGRApH WEEKLY EIEE 4L ciz-rA, - L i..- I aY 30.1957 tv TECHNIRAMA SPECIAL Supplement to KTNETAATOGRAPH WEEKLY t ,MOST IMPORTA]YT FORM OF POPT]LAR E]YTERTAIIYI,TETYT' f2.0 and these rnav be used wide open i-t necessary really big money will be taken in cinemas specially to photograph ai very low lighting levels.- designed or refitted to show fi1ms with the very optimum quality of picture and sound, coupled, I-n the-studio it is quite-f2.8 convenient and I economical to work at for med,ium and long of course, with personal comfort for the audience. ihots and to stop down to about f4;0 for crlose- Such shows (inappropriately at present called uos if it is desired to hold the backciround reason- road shows) would piovide for extended runs of a6lv sharo. A noteworthv point is the extraordin- good films in large centres o,f population before ariiv fine' definition, greai depth and freedom -general release. froin distortion right out to the very edges ot Technirama has been designed with this in Yiew the frarne. and double-frame positive prints, made directly This enables the director to take full advantage from doublerframe negative, such as was used for of the verv wide field of view for developing the the Dremiere of " The Monte Carlo Story " in action ana t"tting the story, at the same time being Turii in December, 1956, give a pictorial quality close enoush to ihe artists to see clearly the eyes, on the screen which has not yet been faciaI expiession and imporlant details. The aonroached'ihis bv anv other means. director ivorking with Technirama for the-fl-rst kind of qdatity, plus high fidelity multi- t-ime- ioon realisEs that this obviates the need for channel sound, intelligently used, will re-estab- covering lish the colour film in its rightfu[ place as the most manr individual close-ups and other focus result that he achieves more screen important form of entertainment fo'r the general Technicolor Technirama camera wilh coupleil shoti. with the 2,000 ft. magazines ii-J'oei Aav and finds that inst€ad o,f using twice public. anamorphic lens and as mirch negative rawstock, as one would expect, he is only using 50 to 60 per cert' more than normal photographv. There is room for study of this special adv-an- taee bv directors and it is expected that, when thls if fullv understood and exploited, it will actuallv be iess expensive to shoot in Technira-ma GREATEST ADVAI\CE SINCE ihan iri ordinaiv, standard photography. In other words.'set-ups the savine in shooting time because ot fewer could more tlan offset the.Hlodest inJreate ln'cost of negative rawstock and develop- THE COMING OF SOI.]I{D "t"orr,nn orocedure for a Technirama film is simie a"nd very economical. CinemaScopetype says IACK CARDIFF iusties ire maie in either black and white or colour. If black and white is chosen for reasons TN this crazv rnixed-up world of muddled Here is an all-round development to satisfy -economv. be- And that means oi then colour " autopilots " can I ratio,s and confused presentation tech- all three sections of the industry. made bv oiihtins a short section of the action od r positive progress. preceded slate for that niques, to use the idiom of our American ' ',thJ ca-erannan's point of view it is aiiieqiriiea ta[e, bv the ,the greatest with From narticular scene. cousins, Technirama is truly esoeciallv welcome because it is a development '-ttris. uuio-pilots are admirable for- checking the mostest on the ball. wiLh oldntv of suts. We gave Technirama a fact, all-the cololrr values in a scene and, if they are ['ve seen a hundred " developments " come stiff t'est 5n " Geend of the Lost." In iubsequentlv joined up, more or less in the correct go. seen " progressive had we',planned it-l don't think it could have guide and. mostlv, I've filrmed in the Sahara deser't' i""iir'ritv, ihey prouide an excellent to.the outlooks." I've- seen the " ultimate tech- been toughet. We Laheraman and Technicolor. when 500 m,iles from civilisation. grading film for mood nioue." the ultimate death. I've seen a dozen The elements fought us with the ferocitv- of a ileciding"i.arErl-the on the of the glow of before answer Drintlng. " inventions " bloom in the hot mad doe- On one oicasion \ile were trapped in a --Another is the separa- advanced publicity and wilt in the heat of fierce sa-iidstorm which forced grit, dirt and sand ooiirt worih noting that primitive tion masters required for making. dissolves, since studio practice. behind rhe ,prism. Although we had only thev are made bn an optical printer, need only t've ieen enoush to rob me of my enthusiasm facilir.ies wre stripped and cleaned the came-ra in- traa in rrorkine order in titne for the te ltightty longer than the net Length. of the cut-rn and turn me inio a hard, embittered cynic inA it lilm believing in anvthing which is l.abelled neit day's shooting. Since we saw no rushes optical dupe; on an average -thls. .results.ln capablei'orosress of a-savinq of about f1,000 compared wlln ma-xrn-g " or " ihe ultimate technique." we livedon faith from tha,t daY on' length of the scenes invotved, 'Anf, now Technirama. Since it was a Techni- Now I have slarted work on " The Viking " masters- the full Technirama, course. To do this I which is the usual Practice' color development I must conf,ess I had more of !qv-e -; i"itt in its iromised abilitv than most. Having asain-in Dostponed'my directorial chances. J think So much for the financial and teqhnical aspects sdine be woith waiting for because rnean' film as compared wltr now corno'leted one film in the system, " I-egend ifis io of making a Technirama the L6st." can rtruthf'ully say I regard this while- we are experiencing the greatest photG' i"t"ni photographv; the more these of I And I want to com- as the greatest technical and artistic development sraohic revolution of all time. iactors-are"iaiiirii' examined in detail the more 6e i part of tha,t revolution' ^oii"u"dt. tti"v appeii to be. But when we con-sider since ithe coming of sound. iriij-iit--i-pir*ifii question of the qualitv .of the release prints that are shown to the ultlmate ;1;6;"ft-i; thi-world's cinemas, then Techni- iami stands in a class bf itself. Technirama release prints are usually ot tne unirn-irtl" iype,'theaties comdatible wi[h CinemaScope' tiil'i"i- itto".6 that have- not been A;ipi;d wiih anamorphic- projector lenses' nort- ariarirbrphic or unsqueezed prints can be made.' print made (via matrlces, These tivo types o'f are Jack Cardifr (teft) fiom the oridnal negative onlY' ''ttr".'-*i-Tvoid degradation of who will introduce . tEe shocking the presentation of colour. definition, gTadation, grain'-etc', seer.all prints are made trom ln-ter- " The Curtain Rises too o,fien when bad on ;;ii".;: Ttrli oeiirioration of colour film values on Technirama " opinion' a maio'r. factor June l, discusses i;";i;;;; piiittlt, in mv points new black-and-white- films durlng.tn€ on the in the retdrn to prlnl process with Hans Dast vear or two. A degraded co'lour -IS pdnt view. of the Nieter, director of fi'.i,in'Jit ., irom tne of the demonstration fiIm ii,?i?i"ii,inZn even a pobr black-and'white print' '"ii;;;-td film exeiutives would take. the.time iffiuri"i"'iii the films on which thev ]uvq fir'itii"a-roritii-il care and unlimited expense at loc-al ;;:;;;; n; io iei sn co unt rles then so mtthi n g -wgu$ il"ii;;1";b;;i"itre oeptoratte-to travesties o'f their Hirni-;i,;i;* ohered the ultimate customers in their names ! '"#ir; ii'tti'tutu"r I firmlv believe that the -.5 t AY 30, t957 TECHNIRAMA SPECIAL supplement to KINEI{AToGRAPH WEEKLY v Gaumont-I(aiee Horizontal Double Frame projection cquipment fbr the presentation of 'TmcuNtnAMA ' at the Odeon, LeicesterSquare... with the special vertical compression anamorphs, 'Vistatal' projection lenses, and Mole Richardson, Gaumont-Kalee high power Arc Larnps : B.KALEE LTD DON W'. 1 Telephone MUSeum 5432 ision, I nd,ustri,es GrouTt t- vi TECHNIRAMA SPECIAL Supptement to K|NE{AAToGRAPH wEEKLY ilAY 30, t9s7 NO TTETHING TROUBLES i i by Maximum definition without tears in 'Davy' BAYNHAM British Technirama HOhtRt -the first film I technical HEN it was announced that Ealing footage that would have been used if it had been i -t proposed to use Technirama, Techni- shot in normal black and white, it was estimated supervisor of i v Y color's new anamorphic system for for budgeting purposes that the increase would " Davy," nobody was more surprised than the be about 65 per cent. This estimate proved to be i generous, because fio,otage actually Ealing Fihns rank and file of the Ealing production staff. the shot- i policy, including " shorr ends "-reached onty 46 per Ealing policy, from the technical point of cent. above normal black and white. The bogy view, has always been somewhat conservative, of double footage had been laid. inasmuch as technical treatment has followed Eal,ing Films wras tJre fust Bri,tish co,mpany to the creative requirements of the script, not use .[he Tecrhnirama pnocess and, wi,Lh t,he grea,tes,t led it.
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