Cinerama
The Cinérama is a cinematographic process of projection which was created in 1952 with the film This Is Cinerama . It is to some extent the ancestor of the Cinémascope. It is about a technique of catches of sights by three cameras synchronized (functioning with films 35 mm) and projected on a broad “extra” screen and curve of an opening of 146° improperly called “projection on three screens”. The word is a contraction of cinema and panorama.
History
The Cinerama is developed by Fred Waller and requires several years of development. Previously, Abel Gance had already tried out projection on three screens in 1927 within the framework of Napoleon . The film was regarded as lost in the years 1950 and Waller could only intend some to speak without being able to see it. Waller had developed a system with eleven projectors, named “Vitarama”, for the exposure of Petroleum Industry in 1939. A version with five projectors, the Waller Gunnery To trail , is used during the Second world war.
The Cinerama is presented in September 1952 to Broadway Theater in New York. For these spectacles with closed counter, the projectors thoroughly are adjusted and handled by expert hands. A vibratory system makes it possible to make the connection between the various images and makes it possible to mask the line of joint. An great attention is paid at the time of the pulling of the film to respect the harmony of Luminescence and Teinte. In spite of the efforts, the steppings between the three images remain visible. The optical limitations inherent in the projectors, made that distant scenes unite perfectly contrary to the objects in foreground. An object sufficiently close to the cameras can thus be duplicated when it passes from one edge to the other. To divert the attention of the joints, the plans are often composed of not very important objects (such of the trees) at the joints and the action is confined in the center of the panels. The composition then has a style similar to a Triptyque.
The system encounters various problems, in particular if one of films breaks or is damaged, the other films must also be truncated in order to preserve synchronization. The use of magnifying lens is impossible because the three images could not be coupled any more. The most important limitation east can be that the image seems natural only on a space given and limited, apart from this space, the image is distorted, also the vision of the bands of connections between three projections was unpleasant. But these difficulties did not empéché the spectators to appreciate the spectacle of this innovating technique.
The Cinerama imposed very important constraints of turning: taken sights with three cameras, three projectors synchronized in the room and three distinct projection booths, all that was very expensive.
Only eight films were made in Cinerama:
- This Is Cinerama (1952), documentary.
- Cinerama Holiday (1955), documentary.
- Seven Wonders off the World (1956), documentary.
- Search for Paradise (1957), documentary.
- South Seas Adventure (1958), documentary.
- Windjammer (Cinemiracle, 1958), documentary.
- Renault Dolphin (publicity, 1959), documentary.,
- How the West Was Won ( the Conquest of the West , 1962), film of feature-length film.
- The Wonderful World off the Brothers Grimm - Marvellous tales of Grimm , 1962), film of feature-length film.
The films, except for the Conquest of the West ) and of the Marvellous tales of Grimm were in fact of the productions intended to show the technical possibilities of the process.
Among the rooms which were equipped to project films in Cinerama, one can quote the Théâtre of the Empire and Kinopanorama, with Paris.
Thereafter, in the same room, one equipped the projection booth in 70 mm extra broad and one diffused films improperly projected under the initials “Cinerama”, those not coming from the same technique.
With this new process of broad screen, not as broad as the Cinerama, was projected:
- an insane insane insane world , of Stanley Kramer. The process Ultra Panavision 70, did not surprise as much the spectators and the room “Cinerama” went towards the decline. The Cinerama had lived, quality was reduced, the width of the fields of view and clearness were degraded and the process lost of this fact its attractivity. The room being fed out of spectacular films was not going to cease its activity enough vite.
Internal bonds
- Formats of projection
- IMAX
External bonds
- Cinerama on lumière.org
- Cinerama on the site The American Widescreen Museum
- Cinerama Adventure
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