ITALIANA - AIC Associazione Italiana Autori della Fotografia ...

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