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I am slightly obsessed with Vista Vision (above) and Techniscope. The former of course ran horizontally and took up 8 perforations. ILM revisited the format for Star Wars to enable a larger, non-animorphic negative to pull off their effects. But Techniscope goes the other way. Developed by the Technicolour Labs in Rome, Italy, it takes up 2 perforations. The effect of this 2-perf high frame but full width is a widescreen (scope-ish) image that doesnt require animorphic lenses, any normal spherical lens can now be used to shoot (effective) Cinemascope. This isn’t all though. It also doubles the stocks running time. A 10 minute reel becomes 20!<\/p>\n
Now 2 perf adapted 35mm cameras are rare. But, thinking this through I realised I can shoot Techniscope on my 4 perf Mitchell! First I make a 2-perf apeture plate that sits in the gate of the camera. This will crop the neg exposure area down to the techniscope AR. Then frame and shoot 2 perf FRAMES, but move the film 4 perf. This would leave a huge gap on the neg if we developed it. Next, I rewind the film (close the shutter and cap lens!) and via a registration notch in the film I then lace it 1 frame out of sync. This would expose now into the gap! Then in the printer a similar process is used to print alternate frames restoring the sequences. This WILL, work, its theoretical now, but there is every reason to believe it will work.<\/p>\n
Lastly, if we don’t observe leaving space for the soundtrack and expose using the full width of 35mm then the aspect ratio becomes a healthy 2.62:1!! I would consider this for the UFO\/psychic\/dream-horror film being planned about the Rendlesham incident as this is planned as a fully SILENT film. AR graphic below.<\/p>\n
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‘Super’–Techniscope with a 4 perf camera!!<\/p>\n