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CinemaScope, which was to create a wider
more visually involving screen image.
Another system for projecting CinemaScope
film was the Dutch “Delrama” system. This
anamorphic attachment consisted of two
optical mirrors in a periscope arrangement
fixed to the projection room wall by a bracket
that allowed the unit to be moved to one side
when not in use.
Cinemorph Anamorphic Lens One of the mirrors was curved so as to un-
squeeze the vertically compressed image on
Another much improved lens was the the film and the other adjusted to align the
“Cinemorph”. A better focus could be image on the screen. The main advantage of
obtained with this lens, although distortion of this system was that it minimized the
vertical and parallel lines at the extremity of distortion of the vertical and horizontal lines
the image was often very apparent. inherent in the projection of the CinemaScope
image. However, the downside was a greater
Both “Paradise” and “Cinemorph” lenses level of light loss than that of conventional
were compression lenses. That is, instead of anamorphic lenses.
expanding the picture image width by a factor
of two so as to un-squeeze the image on the The British firm, Gaumont-Kalee developed attracting cinema audiences. As a result,
film thereby giving the correct visual the “Varamorph” anamorphic lens. This within five years of the introduction of
proportions of CinemaScope, the lens attachment consisted of two adjustable mirror television, at least a quarter of Australia’s
compressed the projected image height by backed prisms that could be manipulated by cinemas had closed or were on reduced
half, . This effectively halved the height of the an external control. The purpose of this was screenings. Had the introduction of the
picture on the screen so as to present the to vary the width of the projected image CinemaScope process been delayed so as to
un-squeezed CinemaScope image. The width within acceptable tolerances, making it compensate for television, it is possible that
of the image could be increased by changing possible to fit a CinemaScope image on a the early demise, particularly of the suburban
the focal length of the backing lens to one with screen less than the 2.35:1 (optical theatre, may have been forestalled for a
a short focal length of perhaps 75 mm. For soundtrack) screen ratio. In some theatres this time. ¬
the more expensive expansion CinemaScope adjustment eliminated the need to widen the Nomenclature:
lens, a long focal length
backing lens of 120-140 mm 35 mm aperture size for CinemaScope
was used. optical/optical magnetic soundtrack for a screen
ratio of 2.35:1 is .825 inch wide x .715 inch high.
Where costs were required to 35 mm aperture size for CinemaScope 4 track
be kept to a minimum, the magnetic soundtrack for screen ratio of 2.55:1 is
compression lens allowed a .912 inch wide x .715 inch high.
CinemaScope film to be 35 mm aperture size for Superscope for a screen
projected without having to ratio of 2:1 was .715 inch wide x .715 inch high.
alter the standard projection
screen. Although not the best 35 mm aperture for standard image is .825 inch
outcome, this contributed to a wide x .625 inch high for 4:3 screen ratio
reduction in installation Throw: The distance from the projection lens to the
costs. This system was screen.
adopted by a number of CinemaScope: The trade name by 20 Century Fox
th
theatres, although it reduced Gaumont-Kalee Varamorph Anamorphic Lens for their anamorphic widescreen process.
the overall purpose of
stage proscenium, thus helping to contain Backing Lens: The lens used to determine the
installation costs. picture size over a given throw.
Anamorphic Lens: A lens designed to provide an
The USA based Hilux Company also expansion of the projected image width by a factor
developed prismatic anamorphic lenses, of two.
including an adjustable model. Optical Sound: The system of sound recording on
film developed by Lee de Forest, Western Electric
To negate the Fox licence requirement, the and RCA and was the principal method used with
Howard Hughes-RKO film studio adopted the film up until the recent development of digital
Tuschinsky variable anamorphic lens for their sound.
Superscope process. Superscope was a similar Magnetic Sound: Usually multiple tracks recorded
anamorphic process to CinemaScope, except
on a magnetic stripe layered onto the film and
that the screen image was a little narrower, reproduced through multiple speakers as
having a 2:1 screen ratio when projected stereophonic sound.
through a standard anamorphic lens. The
picture width could be adjusted when used Mag/Op: The combination of both optical and
with the Tuschinsky lens. The first of the magnetic sound recording on a film print.
relatively few films produced in Superscope Reproduction was optional, depending on whether
the projection equipment was equipped for
were Underwater and Vera Cruz.
magnetic stereophonic reproduction or just optical
monaural reproduction.
By the end of 1956, when television
commenced transmission in Australia, the Images:
novelty of CinemaScope and widescreen Ross King
Dutch Delrama Anamorphic Lens films had largely been spent as a drawcard for Rod How

38 CINEMARECORD # 91