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185:, released 10 December 1960. Given its considerable savings in production cost but lower image quality, Techniscope was primarily an alternative format used for the production of lower-budgeted film, mainly those in the horror and western genres. It also is useful for films using many miniatures such as the Gerry Anderson puppet production
465:
Two-perf 35 mm is a production-only format, that must be converted to other formats for distribution. For distribution prints for theatrical venues, the frame is enlarged from a 2-perf flat ratio to a 4-perf anamorphic ratio. Enlarging the image to the 35 mm print subsequently enlarges the
508:
a
Techniscope film to a digital video format, the 2-perf negative or 2-perf interpositive A/B rolls can be used (the original film negative from the camera, or the first-generation film elements prepared for the making of the anamorphic 4-frame 35 mm release print negative), thus bypassing any
361:
released a movie camera, the
Lomokino, capable of making short movies on standard 35 mm still photography film which uses a frame format similar to Techniscope, with two perforations for each exposure, though with no space or capabilities for the sound track, taking 144 frames on a 36 exposure
466:
negative's film grain. (Although some cineastes sought this visual feel for the story; e.g. westerns photographed to appear unpolished, thereby enhancing the period settings' verisimilitude.) This step is also an additional production expense. If the enlargement process is done optically, the
353:
Factory-made kits for certain
Mitchell and Mitchell-derived cameras are occasionally available on auction sites. In the specific case of a Mitchell, the kit includes a replacement aperture plate and cam for the film movement, a replacement gear for the camera body, and, for a reflex camera, a
345:
Mr
Crumplin established MovieLab to provide telecine and film processing and printing services, and, with engineer Bruce McNaughton of The Aranda Group, Victoria, Australia, engineered and produced Arriflex BL1 and Arriflex IIC 35 mm cameras for the Techniscope 2-perf format.
366:", Super 35 having four perforations per frame. Movies made with the Lomokino may not show properly without modifications on Techniscope projectors, the Lomokino is hand cranked and the frame rate is controlled manually, usually being around 2-6 FPS.
354:
replacement focusing screen. As all
Mitchell cameras incorporate the provision for a "hard mask" within the movement itself, it is often possible to keep the 4-perf aperture plate, and insert a 2-perf mask in the mask slot, as an economy measure.
349:
Aaton, Panavision, and
Arriflex have modern 2-perf cameras. Aranda in Australia is also currently converting cameras like Arriflex 2A/B/C Arri 3, Arri BL, Mitchell, Eclair, Moviecam. The Russian cameras, Kinor and Konvas, are also converted.
493:
camera. Konvas cameras have been available in 2-perf for a while, and Arri is making 2-perf gates for their
Arricams soon, available only through the rental dealers though. And more and more telecine suites have 2-perf gates for their film
191:
as this format gives increased depth of focus without requiring huge amounts of light required when the aperture is made very small. Since the format originated in Italy, most
Techniscope format films were European productions.
342:
format. His proposition was that it yielded a 35 mm-quality image (from which could be derived natural 2.35:1 and 1.85:1 aspect ratio images) for the same cost as Super 16 mm cinematography.
331:), as all of those processes listed employ the same negative and intermediate films, and positive print films intended for direct projection (although 2-, 3- and 8-perfs are not distribution formats).
274:(1968): "The movie is shot in Techniscope, a process designed to give a wide-screen picture while saving film and avoiding payment of royalties to the patented processes like
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revised the 2.35:1 aspect ratio to 2.39:1 for projection, however, before standardization, most
Techniscope films were photographed and released in the 2.35:1 aspect ratio
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blown-up 4-perf element. Many DVD editions have been transferred this way and the results have frequently been stunning, e.g. Blue
Underground's
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More economical: half the film stock used in 4-perforation frame cinematography; half the stock, same running time, less negative to develop.
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Techniscope employs standard 35 mm camera films, which are suitable for 2-perf (Techniscope), 3-perf, conventional 4-perf (spherical or
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of Techniscope is circular (due to its spherical lenses), whereas that of CinemaScope is elliptical (due to its anamorphic lenses).
474:(DI) process. This involves digitally scanning the 2-perf film negative. Output to film is done with a film recorder, such as the
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Film stock loads last twice as long; 2-perf stock shoots at 45 feet per minute, while 4-perf stock shoots at 90 feet per minute.
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During its primary reign of 1960–1980, more than 350 films were photographed in Techniscope, the first of which was
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will add even more grain and reduce the image sharpness. Alternatively, the enlargement can be done as part of the
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In 1999, in Australia, MovieLab film laboratory owner Kelvin Crumplin revived the Techniscope format renamed as
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is easily enlarged to the 2.39:1 widescreen ratio, because it uses half the amount of 35 mm film stock
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35 mm film running vertically using two perforations per frame, running at 24 frames per second.
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The narrower frame line (between frames) emphasises imperfections (e.g. hairs in the gate, lens flares).
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284:, Techniscope causes washed-out color and a loss of detail. Universal shouldn't be so cheap."
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Holben, Jay & Bankston, Douglas (February 2000). "Inventive New Options for Film"
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655:"The American Widescreen Museum - TECHNISCOPE - American Cinematographer Article"
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is coming out with their newly designed 2-perf-native (3-perf user-switchable)
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per frame, instead of the standard four-perforation frame usually exposed in
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recalled that unlike Europe, the American film studios were charged by the
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453:(may be seen aesthetically as either an advantage or disadvantage:) The
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Cinematography uses simpler, but technically superior, spherical lenses.
261:, in Techniscope in order to give them a gritty, documentary-like feel.
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standard spherical lenses. Thus, Techniscope release prints are made by
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So You Want to Make Movies: My Life as an Independent Film Producer
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Films shot with 2-perf 35 mm "Techniscope" since 2010 include
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is a 35 mm motion picture camera film format introduced by
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2 PERFORATION CAMERA CONVERSIONS by the ARANDA GROUP Melbourne
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briefly used it extensively in the mid-to-late 1960's. The
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Techniscope's advantages over anamorphic CinemaScope are:
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Internet Movie Database (IMDb) list of Techniscope films
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Techniscope vs. anamorphic: advantages and disadvantages
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Regarding the diminished image quality, film reviewer
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company for using Techniscope in their film prints.
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In the U.S., Techniscope was used in the low-budget
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49:. Unsourced material may be challenged and removed.
362:roll. The camera is erroneously labeled as being "
461:Techniscope's disadvantages against CinemaScope:
485:installations are rare. (Note: As of early 2008
142:in 1960. The Techniscope format uses a two film-
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8:
553:2.39:1 (2.35:1 prior to 1970 SMPTE revision)
744:Aaton's announcement of a new 2-perf camera
408:. Unsourced material may be challenged and
215:“Dollars Trilogy” films used Techniscope, (
865:
781:
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541:.868" (22 mm) Ă— .373" (9.47 mm)
428:Learn how and when to remove this message
109:Learn how and when to remove this message
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7:
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406:adding citations to reliable sources
47:adding citations to reliable sources
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153:photography. Techniscope's 2.33:1
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1133:Audiovisual introductions in 1960
624:American Cinematographer Magazine
512:The Bird with the Crystal Plumage
16:Motion picture camera film format
378:
315:Techniscope's commercial revival
23:
230:The Good, the Bad, and the Ugly
127:A Techniscope camera film frame
34:needs additional citations for
515:and MGM's special editions of
169:Techniscope-photographed films
1:
249:shot his first two features,
590:Meridian / NAL Books p.372.
588:The Complete Film Dictionary
481:Two-perforation cameras and
233:) and were released through
1148:Motion picture film formats
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626:Vol. 81, No. 2, pp.96–107.
172:
1138:Film and video technology
725:Early proposal for 2-perf
175:List of Techniscope films
730:CML discussion of 2-perf
586:Konigsberg, Ira (1987).
749:(Wayback Machine copy)
296:Silver Linings Playbook
720:Techniscope Film Specs
278:. In this film, as in
224:For a Few Dollars More
203:, as well as in a few
128:
1060:Anamorphic widescreen
671:Pineapple Press, 1989
644:—retrieved 2007-03-19
340:Super 16 mm
268:wrote about the film
126:
682:George Lucas: A Life
564:List of film formats
472:Digital Intermediate
402:improve this section
323:), and even 6-perf (
43:improve this article
952:Super Panavision 70
944:Ultra Panavision 70
667:p.194 Pink, Sidney
637:The Pharaoh's Woman
606:NOTE: In 1970, the
455:circle of confusion
205:Metro-Goldwyn-Mayer
188:Thunderbirds Are Go
182:The Pharaoh's Woman
1143:Italian inventions
684:Little/Brown, 2016
551:Print aspect ratio
545:Film aspect ratio:
218:Fistful of Dollars
201:Paramount Pictures
140:Technicolor Italia
129:
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1035:Anamorphic format
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901:Modern anamorphic
696:Chicago Sun-Times
680:Jones, Brian Jay
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199:Westerns for
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163:anamorphosing
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58:"Techniscope"
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54:Find sources:
48:
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38:
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32:This article
30:
26:
21:
20:
1088:Pan and scan
1011:Aspect ratio
997: (1958)
989: (1958)
987:Kinopanorama
981: (1952)
962: (1970)
938: (1955)
919: (1982)
911: (1960)
908:
903: (1957)
887: (1954)
879: (1953)
861:Film formats
829:17.5 mm
791:film formats
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700:Counterpoint
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517:Sergio Leone
510:
506:transferring
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400:Please help
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305:(2012), and
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271:Counterpoint
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247:George Lucas
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213:Sergio Leone
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155:aspect ratio
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41:Please help
36:verification
33:
995:Cinemiracle
909:Techniscope
885:VistaVision
877:CinemaScope
815:9.5 mm
799:Film gauges
698:review for
418:August 2011
329:VistaVision
321:CinemaScope
281:Harry Frigg
266:Roger Ebert
243:Technicolor
237:. Producer
144:perforation
132:Techniscope
1127:Categories
1104:Open matte
1095:Fullscreen
1053:Widescreen
893:Technirama
850:70 mm
843:35 mm
836:28 mm
822:16 mm
575:References
539:Film area:
494:scanners.)
359:Lomography
276:Panavision
197:A.C. Lyles
69:newspapers
1081:Windowbox
1074:Pillarbox
1067:Letterbox
1013:standards
971:35 mm Ă— 3
808:8 mm
476:Arrilaser
389:does not
357:In 2011,
290:I'm Yours
979:Cinerama
917:Super 35
558:See also
521:Westerns
483:telecine
364:Super 35
325:Cinerama
311:(2015).
308:Too Late
299:(2012),
293:(2012),
252:THX 1138
239:Sid Pink
99:May 2023
936:Todd-AO
410:removed
395:sources
83:scholar
954:(1959)
946:(1957)
895:(1956)
739:copy)
594:
547:2.33:1
136:2-perf
85:
78:
71:
64:
56:
928:70 mm
869:35 mm
608:SMPTE
533:Film:
504:When
502:Note:
487:Aaton
90:JSTOR
76:books
1028:14:9
960:IMAX
642:IMDb
592:ISBN
393:any
391:cite
302:Argo
255:and
227:and
62:news
640:at
519:'s
404:by
159:and
134:or
45:by
1129::
615:^
523:.
221:,
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97:(
87:·
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39:.
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