{
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    "date": "2013-06-20T21:31:27",
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    "title": {
        "rendered": "CINEMASCOPE"
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        "rendered": "<p style=\"text-align: justify;\">BY: Andres Vallecilla Jaramillo<\/p>\n<p style=\"text-align: justify;\"><img fetchpriority=\"high\" decoding=\"async\" alt=\"\" src=\"http:\/\/meyproducciones.com\/wp-content\/uploads\/2013\/06\/Classic-cinemascope.jpg\" width=\"680\" height=\"270\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-family: verdana,sans-serif;\">In the 1950s, <\/span>Henry Chr\u00e9tien creates the Anamorphoscope, renamed by the 20th<sup>th<\/sup> Century Fox as <span style=\"font-family: verdana,sans-serif;\">Cinemascope. <\/span>One of its peculiarities was the use of anamorphic lenses that compressed the image vertically onto the negative. <\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #000000; font-size: small;\">\u00a0<span style=\"font-family: Verdana,sans-serif;\">At that time, films were shot in 1.33:1 format, or the famous 4:3. Then, with Cinemascope, the first cinemas with rectangular screens appeared, where many more details could be appreciated than on the 4:3 screen.<\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" style=\"vertical-align: baseline;\" alt=\"\" src=\"http:\/\/meyproducciones.com\/wp-content\/uploads\/2013\/06\/equasysAspectRatio.png\" width=\"680\" height=\"243\" \/><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\"><img decoding=\"async\" style=\"float: right;\" alt=\"\" src=\"http:\/\/meyproducciones.com\/wp-content\/uploads\/2013\/06\/S.T.O.P-Hypergonar-H.-Chretien-HI-FI-2.jpg\" width=\"282\" height=\"209\" \/><\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\"> For this they used anamorphic lenses or Hypergonar lenses that compress the image onto the negative, and then, when<\/span><\/span><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\"> By projecting it with a contrary lens onto a concave screen, the image was seen in its real proportions (2.66:1 format in Cinemascope, and currently more or less 2.35:1).<\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\">Over time it was no longer necessary to use the concave screen as this system was perfected so that it could be projected onto the flat screen that we enjoy now.<\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\">Thus, the image that was compressed onto the negative had higher resolution and was larger when decompressed.<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #000000; font-size: small;\"><span style=\"font-family: Verdana,sans-serif;\">On the other hand, in films without anamorphic format, sometimes the entire image of the negative (uncompressed) was taken and two black bars were implanted at the top and bottom, thus also obtaining a panoramic format but the aforementioned black bars made the film lose resolution.<\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/meyproducciones.com\/wp-content\/uploads\/2013\/06\/descarga.jpg\" width=\"225\" height=\"225\" \/><img loading=\"lazy\" decoding=\"async\" alt=\"\" src=\"http:\/\/meyproducciones.com\/wp-content\/uploads\/2013\/06\/ac3-r.jpg\" width=\"269\" height=\"225\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: small;\"><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">The first film released in CinemaScope was <\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">THE ROBE (THE SACRED ROBE, 1953), produced by the <\/span><\/span><a href=\"http:\/\/es.wikipedia.org\/wiki\/20th_Century_Fox\"><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">20th Century Fox<\/span><\/span><\/a><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">, directed by <\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">Henry Koster <\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">and performed by <\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">Richard Burton <\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">y <\/span><\/span><a href=\"http:\/\/es.wikipedia.org\/wiki\/Victor_Mature\"><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">Victor Mature<\/span><\/span><\/a><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\">.<\/span><\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" alt=\"\" src=\"http:\/\/meyproducciones.com\/wp-content\/uploads\/2013\/06\/191-tunica_sagrada_-_The_Robe_-_al.jpg\" width=\"680\" \/><\/p>",
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        "rendered": "<p>BY: Andres Vallecilla Jaramillo In the 1950s, Henry Chr\u00e9tien created the Anamorphoscope, renamed Cinemascope by 20th Century Fox. One of its peculiarities was the use of anamorphic lenses that compressed the image vertically on the negative. At that time, films were shot in 1.33:1 format, or the famous 4:3. So [\u2026]<\/p>",
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