Three microphones (X) placed strategically to cover In projection, another anamorphoscope placed before projector lens expands compressed image to full scale so it appears on screen as shown above, lower right. This compresses image within the full aperture of 35mm film. How CinemaScope works: Panoramic scene of marching Indians at left is photographed with an anamorphoscope wide-view lens in front of camera lens. The wide screen used for CinemaScope is a solid screen having great reflectance, and is curved slightly but not to the extent of the Cinerama screen. Like the Cinerama process, CinemaScope pictures are panoramic and have stereophonic sound. But the result on the screen, which does present an illusion of three-dimension pictures, is said by many to be superior to 3-D films. CinemaScope films do not require the use of viewing spectacles, do not require special dual motion-picture cameras and dual projectors. When the film is projected through a companion lens the distorted image assumes its former normal dimension, just as a trick mirror in a carnival fun house would straighten out its distorted reflections if placed before a mirror having compensating distortions.ĬinemaScope is not stereoscopic movies - not the same as the 3-D films also causing a flurry in Hollywood. I am looking forward to developing further on this experience by opening myself up to new and enriching opportunities in the film and television industry an industry that continues to captivate and inspire me on a daily basis.The only added equipment needed for filming is the special lens attached to a regulation camera plus two extra microphones, which pick up sound for the stereophonic sound system.Ī unique lens which restores to its proper proportions an image previously distorted, makes possible the compression onto 35mm film of wide-angle panoramic scenes, and is the basis of the new CinemaScope system of widescreen motion pictures developed in Hollywood by 20th Century-Fox studios. This project set a precedent for myself to develop further on the skills I had acquired from working as a production runner and camera assistant for the BBC ('Blue Peter', 'BBC News') and MARV Bespoke Productions ('Kingsman: The Golden Circle').įinally, after two years of on-and-off production, I completed my first feature-length project as the director and DOP of 'Article 50': a dystopian Brexit drama that would eventually shortlist the BFI London film selection for its collaborative use of ideas, styles, cultures and imagery. In working as a DOP on the award-winning 'Outsider' (Intu Film of the Month, 2018), I was able to offer something dramatic, visceral and ultimately unique to the filmmaking style that elevated its social narrative to new heights. I have received credits in television, short and feature film, with the umbrella of my filmmaking experience being a monologue of freelance cinematography mainly based in Manchester. It only seemed logical that, in devising the outline of my future filmmaking career, I would seek positions in direction and cinematography to enrich these interests further pushing myself to rethink and shape the conventions of montage and mise en scene in my own favor. I am a visual thinker with profound interests in painting and photography. This is why, after receiving critical interest in my filmmaking from Aardman and the BBC at a young age, I have since taken it upon myself to seek opportunities within the British film industry that further build on this philosophy. I believe that film, while offering countless possibilities, unbounded by the mind and imagination, can also offer compelling vignettes and allegories for the lives in which we live today. Cinema, for me, is not only the medium in which I choose to express myself, but it envelops the fundamental way in which I perceive the world through the expedients of story, character and imagery.
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