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ShowsOn
Posted: Thu Apr 24, 2008 3:04 am
Guest
Can anyone explain how Anthony Mann managed to get this deep focus shot
in Ultra Panavision?

http://img177.imageshack.us/img177/3902/vlcsnap273591zi8.jpg

My guess is it was a split diopter shot, because the front of the door
looks out of focus, even though the distant background isn't. Were there
special diopters available for use with Ultra Panavision?

Mann used deep focus a lot even - even in mid 1950s CinemaScope films
like Man from Laramie and Man of the West - but he never did something
this exaggerated!

Nicholas Ray does similar things in King of Kings.

Simon Howson
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Martin Hart
Posted: Thu Apr 24, 2008 11:19 am
Guest
In article <S9XPj.4508$ko5.2462@news-server.bigpond.net.au>,
simonhowson@NOSPAMyahoo.com.au says...
Quote:
Can anyone explain how Anthony Mann managed to get this deep focus shot
in Ultra Panavision?

http://img177.imageshack.us/img177/3902/vlcsnap273591zi8.jpg

My guess is it was a split diopter shot, because the front of the door
looks out of focus, even though the distant background isn't. Were there
special diopters available for use with Ultra Panavision?

Mann used deep focus a lot even - even in mid 1950s CinemaScope films
like Man from Laramie and Man of the West - but he never did something
this exaggerated!

Nicholas Ray does similar things in King of Kings.

Simon Howson


It's a standard split diopter shot. Ultra Panavision required nothing
special in order to achieve this effect. The split diopter attachment
just had to be large enough for the film format.

Marty

--
The American WideScreen Museum
http://www.widescreenmuseum.com/
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Ultrascope
Posted: Thu Apr 24, 2008 12:01 pm
Guest
I agree with Marty. This is a split diopter (for anamorphic scope
lenses):

http://img2.freeimagehosting.net/uploads/f12d65bc2c.jpg

Two pictures I took to demonstrate the effect. First, a shot out of
the window, notice the dark blurred shadow on the left, it's the
curtain, totally out of focus because the lens is set to Infinity.

http://img2.freeimagehosting.net/uploads/th.82919f88c4.jpg

Now the shot taken with a split diopter:

http://img2.freeimagehosting.net/image.php?a8976aa42c.jpg][img]http://img2.freeimagehosting.net/uploads/th.a8976aa42c.jpg

The fabric of the curtain is in focus now, while the right side
remains set on Infinity. There is a blurred zone between the two
sections, how wide or narrow this zone gets depends on how far the
lens is stopped down. At f16 it will be narrow, wide open at f2 or 2.8
it gets quite wide, up to 1/4 of the screen width.
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Cinerama
Posted: Thu Apr 24, 2008 1:56 pm
Guest
On Apr 24, 5:44 pm, in Technicolor® <ciner...@verizon.net> wrote:
Quote:
"Martin Hart" <thanksfor...@spam.org> wrote in message

news:MPG.227a6ef28d2346249896a1@news.giganews.com...



In article <S9XPj.4508$ko5.2...@news-server.bigpond.net.au>,
simonhow...@NOSPAMyahoo.com.au says...
Can anyone explain how Anthony Mann managed to get this deep focus shot
in Ultra Panavision?

http://img177.imageshack.us/img177/3902/vlcsnap273591zi8.jpg

My guess is it was a split diopter shot, because the front of the door
looks out of focus, even though the distant background isn't. Were there
special diopters available for use with Ultra Panavision?

Mann used deep focus a lot even - even in mid 1950s CinemaScope films
like Man from Laramie and Man of the West - but he never did something
this exaggerated!

Nicholas Ray does similar things in King of Kings.

Simon Howson

It's a standard split diopter shot. Ultra Panavision required nothing
special in order to achieve this effect. The split diopter attachment
just had to be large enough for the film format.

Marty

--
The American WideScreen Museum
http://www.widescreenmuseum.com/

My spousal-unit and I were at the movies a few weeks ago when a diopter shot
popped up in the middle of the film. I'm not sure of the title it was, but
I believe we were watching THE SPIDERWICK CHRONICLES. I remembered the
immortal words of Joe DiMaggio: "Déjà vu, all over again". (Did he really
say that?)

I think there is a great article about using diopters in AC for the making
of I WALK THE LINE (Frankenheimer, 1970), IIRC.

Morgan

Joe DiMaggio? No, Yogi Berra!
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in Technicolor®
Posted: Thu Apr 24, 2008 4:44 pm
Guest
"Martin Hart" <thanksforthe@spam.org> wrote in message
news:MPG.227a6ef28d2346249896a1@news.giganews.com...
Quote:
In article <S9XPj.4508$ko5.2462@news-server.bigpond.net.au>,
simonhowson@NOSPAMyahoo.com.au says...
Can anyone explain how Anthony Mann managed to get this deep focus shot
in Ultra Panavision?

http://img177.imageshack.us/img177/3902/vlcsnap273591zi8.jpg

My guess is it was a split diopter shot, because the front of the door
looks out of focus, even though the distant background isn't. Were there
special diopters available for use with Ultra Panavision?

Mann used deep focus a lot even - even in mid 1950s CinemaScope films
like Man from Laramie and Man of the West - but he never did something
this exaggerated!

Nicholas Ray does similar things in King of Kings.

Simon Howson


It's a standard split diopter shot. Ultra Panavision required nothing
special in order to achieve this effect. The split diopter attachment
just had to be large enough for the film format.

Marty

--
The American WideScreen Museum
http://www.widescreenmuseum.com/

My spousal-unit and I were at the movies a few weeks ago when a diopter shot
popped up in the middle of the film. I'm not sure of the title it was, but
I believe we were watching THE SPIDERWICK CHRONICLES. I remembered the
immortal words of Joe DiMaggio: "Déjà vu, all over again". (Did he really
say that?)

I think there is a great article about using diopters in AC for the making
of I WALK THE LINE (Frankenheimer, 1970), IIRC.

Morgan
Back to top
in Technicolor®
Posted: Thu Apr 24, 2008 8:15 pm
Guest
"Cinerama" <roland.lataille@po.state.ct.us> wrote in message
news:3cde3bf3-063f-4353-aca8-93b87a624b23@2g2000hsn.googlegroups.com...
On Apr 24, 5:44 pm, in Technicolor® <ciner...@verizon.net> wrote:
Quote:
"Martin Hart" <thanksfor...@spam.org> wrote in message

news:MPG.227a6ef28d2346249896a1@news.giganews.com...



In article <S9XPj.4508$ko5.2...@news-server.bigpond.net.au>,
simonhow...@NOSPAMyahoo.com.au says...
Can anyone explain how Anthony Mann managed to get this deep focus shot
in Ultra Panavision?

http://img177.imageshack.us/img177/3902/vlcsnap273591zi8.jpg

My guess is it was a split diopter shot, because the front of the door
looks out of focus, even though the distant background isn't. Were
there
special diopters available for use with Ultra Panavision?

Mann used deep focus a lot even - even in mid 1950s CinemaScope films
like Man from Laramie and Man of the West - but he never did something
this exaggerated!

Nicholas Ray does similar things in King of Kings.

Simon Howson

It's a standard split diopter shot. Ultra Panavision required nothing
special in order to achieve this effect. The split diopter attachment
just had to be large enough for the film format.

Marty

--
The American WideScreen Museum
http://www.widescreenmuseum.com/

My spousal-unit and I were at the movies a few weeks ago when a diopter
shot
popped up in the middle of the film. I'm not sure of the title it was,
but
I believe we were watching THE SPIDERWICK CHRONICLES. I remembered the
immortal words of Joe DiMaggio: "Déjà vu, all over again". (Did he really
say that?)

I think there is a great article about using diopters in AC for the making
of I WALK THE LINE (Frankenheimer, 1970), IIRC.

Morgan

Joe DiMaggio? No, Yogi Berra!

Thanks! I must have had Simon and Garfunkle on the mind or something!

Where have you gone Yogi Berra?
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