The square lens in the foreground is mounted in front of a conventional 50mm camera lens to provide the squeeze. Pictured at left is an original set of lenses circa 1927. In addition to the anamorphic adapters being used on the motion picture camera, a similar lens on the projector is required to expand the squeezed image on the screen. In the case of Chrétien's lenses, a horizontal squeeze of 100% was imparted into the image on film resulting in a picture twice as wide as an image taken and projected through conventional lenses. Those lenses, which he named hypergonar (nothing to do with overactive reproductive organs), were the basis for the primary surge into true widescreen feature film making.Ĭhrétien's hypergonar lenses were based on an optical "trick" called anamorphosis, in which an image contains a distortion that is removed with a complementary viewer. So why were two major studios keenly interested in negotiating with Chrétien? The answer is simple, they needed the lenses that Chrétien had built. Efforts to interest not only his native French but foreign film makers in his wide screen process had been unfruitful for over 25 years. Chrétien had developed and patented his process in the late 1920's. Fox beat out Warners by just a few hours, so the story goes. Henri Chrétien, the inventor of a filming process that he called Anamorphoscope. literally raced to France to meet with Prof. Representatives of 20th Century Fox and Warner Bros. Studio executives ran for the doors after seeing Cinerama's premiere in New York. If Cinerama was the star that guided the film industry into wide screen presentations, CinemaScope was the rudder that steered the course. The rear element of the Hypergonar lens is visible, clearly showing why it was useable only with a very limited range of prime lenses. Henri Chrétien demonstrates his bent glass.Ģ0th Century-Fox president Spyros Skouras in Paris with Chrétien.
Is it any wonder that 3-D came to be associated with schlock?ĭespite Fox's participation, minor as it was, in the 3-D craze, something bigger was happening in Paris. One other 3-D film was released by Fox, Panoramic Pictures' Gorilla At Large. Inferno wasn't a bad picture, but it was no worse without the 3-D, and while Fox produced just one "deepie", they were simultaneously shooting three major features in CinemaScope. Zanuck had complete faith in the wide screen system his boss, Spyros Skouras, acquired in Paris, thus Fox produced but one film in 3-D. The independents and smaller studios, such as Paramount, Columbia and Universal-International, produced a good many more and they were the sort of films that would have been bombs without 3-D to draw in the crowds. The biggest studios had the least participation, with MGM, and Warner Bros producing only a few films each. The first departure that the Hollywood based film industry made from the conventional Academy format was 3-D. The CinemaScope Wing is dedicated to our good friend Rick Mitchell. A set of Master Anamorphics effectively becomes four different anamorphic lens sets, each suitable for different flaring requirements while maintaining the famously distortion-free optical performance.Widescreen Museum - The CinemaScope Wing 1 By using the ARRI Master Anamorphic Toolkit, the front and rear glass elements can be exchanged with the regular Master Anamorphic elements in a matter of minutes, since each flare element is pre-aligned in a metal frame. The flare elements can be used individually or in combination to provide the lens with three additional looks for enriched on-set creativity. Each of the nine Master Anamorphic focal lengths has its own specific flare set, comprising easily replaceable front and rear glass elements with a special lens coating that encourages flaring, ghosting and veiling glare.
The ARRI Master Anamorphic Flare Sets are highly versatile and economical accessories for the ARRI Master Anamorphic lens series.
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