ITALIANA - AIC Associazione Italiana Autori della Fotografia ...
ITALIANA - AIC Associazione Italiana Autori della Fotografia ...
ITALIANA - AIC Associazione Italiana Autori della Fotografia ...
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<strong>AIC</strong><br />
HDVS 1<br />
conflitto riguardo il concetto di<br />
composizione.<br />
Film di varie proporzioni sono<br />
stati sempre realizzati e<br />
proiettati, pur se con diversi<br />
aspetti compositivi, a riempire<br />
schermi di varie dimensioni,<br />
rispettando quella proporzione<br />
originale in cui si era realizzata<br />
ogni specifica opera. Su questa<br />
base, il semplice cambio di un<br />
mascherino, la semplice<br />
sostituzione di una lente di<br />
proiezione, hanno permesso a<br />
tutti gli autori cinematografici di<br />
esprimersi, componendo le<br />
needs of the different types of distribution, all using formats which are<br />
incompatible with one another.<br />
The International cinema market has established a height/width ratio of<br />
1:1.85, in which all its films are now projected, whereas the French<br />
market has determined its ratio as 1:1.66. An epic spectacular,<br />
distributed on the wide anamorphic screen, uses a ratio of 1:2.35, while a<br />
film distributed with 70 m/m prints has a ratio of 1:2.21.<br />
After the Cinema distribution, each project is transcribed onto tape or<br />
disc for the television distribution, and onto video cassettes for direct sale<br />
(or rent) to the public and, it is at this point, that the width of the image<br />
has to be drastically reduced, in order for it to be converted to the<br />
television screen ratio of 1:1.33. And as if this weren't enough, when the<br />
High Definition Video System enters the market in the very near future, it<br />
will bring with it a new height/width ratio of 1:1.79.<br />
Nowadays, every Director, every Photographic Author, every Cameraman,<br />
is obliged to go through a terrible drama when, take after take, they look<br />
through the eye piece of a movie camera and see those different marks<br />
superimposed on the image, reminding them, all too vividly, just which<br />
portion of that magical space will be utilized by the different media.<br />
It is now almost impossible to establish the original composition of a<br />
Film, as everything, in this period of transition, has become more and<br />
more approximate, and far less precise than it once was.<br />
Some production houses and companies which hire out technical<br />
equipment, have actually been insensitive enough to present us with<br />
filming methods which make composing an image virtually impossible, by<br />
offering us mattes that are completely open, so that a portion of the image<br />
contained therein might be selected to suit the needs of the particular<br />
distribution when the film is projected or transcribed onto tape, and<br />
"L'ultimo Imperatore" di Bernardo Bertolucci ripreso con un rapporto 2,35:1<br />
proprie immagini a seconda<br />
<strong>della</strong> natura di ogni singola<br />
opera, passando dal più intimo<br />
quadro con il rapporto di 1:1,66 -<br />
1:1,75 - 1:1,85 - 1:2,21 - sino al<br />
lungo schermo anamorfico<br />
1:2,35, ma sempre rispettando in<br />
tutto il mondo, quella originale<br />
visione in cui gli <strong>Autori</strong> avevano<br />
concepito ogni loro specifico<br />
progetto.<br />
Se è vero, come credo, che ogni<br />
epoca ha più o meno sempre<br />
avuto, tra le sue forme<br />
espressive, una tra esse che in<br />
uno specifico tempo storico ha<br />
fatto un po' da guida a tutte le<br />
altre, sembra indubbio che il<br />
nostro presente veda l'immagine<br />
elettronica influenzare tutte le<br />
altre arti figurative.<br />
E ciò, penso lo sarà ancor più a<br />
breve scadenza, con<br />
l'affermazione del nuovo<br />
processo televisivo: Video ad alta<br />
definizione, di prossima<br />
divulgazione.<br />
Come già accade da alcuni anni,<br />
la storia industriale di ogni Film,<br />
non ha importanza quanto<br />
grande o piccolo, quanto di<br />
successo o insuccesso, quanto<br />
leaving only a few reference lines on the ground glass for the more<br />
exigent amongst us. Thus, the image is left to wander in an undefined<br />
space, which various, more or less qualified, technicians will subsequently<br />
set about delineating, according to their own particular tastes.<br />
Unfortunately, the Composition of a frame, so important in<br />
Cinematographic expression, so fundamental in determining a Film's<br />
specific Style and Language, varies according to the medium in which<br />
the film is distributed.<br />
What is so absurd is that, while everyone complains when they are<br />
making the all-important decision of how to compose a take, they then<br />
resign themselves to the current state of affairs and accept the situation,<br />
without anyone making the necessary effort to organize a meeting<br />
between the various interested parties, so that they might define together,<br />
internationally, a possible new Format, a new Standard Space, which<br />
would combine the optical and electronic systems, and become the<br />
Cinema and Television of the future; a single space, in which one might<br />
express oneself, compose one's images, without their being altered or<br />
reduced in width, according to how or where they are to be shown.<br />
The new Audiovisual technologies that will come into use in the<br />
immediate future, now seem to be easily identifiable as:<br />
a) A High Definition Electronic Image which, as well as for Television<br />
Broadcasting, will probably also be used in the realization of films of an<br />
intimate and psychological nature, and which require great creative<br />
freedom on a limited budget.<br />
b) An Optical Image on the big 70 m/m Film, particularly suited to<br />
spectacular and epic Films, destined for distribution in those enormous<br />
amniotic sacs, in which a vast audience feels most at ease, immersed in<br />
the great "collective unconscious" of great Cinema