Techniscope: Difference between revisions
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[[File:TechniscopeComparison.png|thumb|[[Bernard Cribbins]] in Techniscope (aspect ratio of 2.33, stretched to 2.35 for distribution) and in television widescreen (1.7'). Both images are the '''entire''' frame rendered at the same height — the natural height of Techniscope.]] | [[File:TechniscopeComparison.png|thumb|[[Bernard Cribbins]] in Techniscope (aspect ratio of 2.33:1, stretched to 2.35:1 for distribution) and in television widescreen (1.7':1). Both images are the '''entire''' frame rendered at the same height — the natural height of Techniscope.]] | ||
'''Techniscope''' was the [[Technicolor]] [[35mm]], non-{{w|anamorphic}} | '''Techniscope''' was the [[Technicolor]] [[35mm]] [[film]] format used to record, non-{{w|anamorphic}}ally, and distribute, ''[[Dr. Who and the Daleks (theatrical film)|Dr. Who and the Daleks]]'' and ''[[Daleks' Invasion Earth 2150 A.D. (theatrical film)|Daleks' Invasion Earth 2150 A.D.]]'' These were the only two ''[[Doctor Who]]'' stories recorded in the format, which was somewhat popular in [[Europe]] in the 1960s. | ||
The technique was used to capture an [[aspect ratio]] of 2.33:1 to negatives, which could easily be anamorphically stretched to cinema "standard widescreen" dimensions on a more standard [[film stock]], in turn offering 2.35:1 for projection. By contrast, [[BBC Wales]] ''Doctor Who'' was produced at a 1.7':1 aspect ratio, with the show later shifting to [[Univisium|2:1]] from [[Series 11 (Doctor Who)|series 11]] forward — meaning that the two [[Dalek]] movies are noticeably ''wider'' widescreen than the modern, high-definition television series. | |||
Nevertheless, the cost savings were considerable enough to have made many European filmmakers take notice of Techniscope. Certainly, the lower quality image would not have seemed retrograde to contemporary [[British]] ''Doctor Who'' fans, who were used to seeing [[William Hartnell]] in variable, terrestrially-broadcast black-and-white. The choice might have been more noticeable to the American audience, who had by 1965 become accustomed to {{w|Panavision}}'s more impressive {{w|Ultra Panavision}} and | Within the film industry, Techniscope was developed as an economising measure, and particularly associated with low-budget Italian films of the 1960s. It achieved twice as many frames in the same length of film as, for instance, the more standard {{w|CinemaScope}} stock, by halving the size of each image to an interval of two perforations. This in turn meant that the positive print was blown up by a factor of two. Natural image degradation therefore occurs, which, paired with the generational loss of quality prior to distribution, is usually noticeable to even untrained eyes if they are given the opportunity to compare images in quick succession. | ||
Nevertheless, the cost savings were considerable enough to have made many European filmmakers take notice of Techniscope. Certainly, the lower quality image would not have seemed retrograde to contemporary [[British]] ''Doctor Who'' fans, who were used to seeing [[William Hartnell]] in variable, terrestrially-broadcast black-and-white. The choice might have been more noticeable to the American audience, who had by 1965 become accustomed to {{w|Panavision}}'s more impressive {{w|Ultra Panavision}} and other anamorphic formats. | |||
[[Category:Aspect ratios]] | [[Category:Aspect ratios]] | ||
Revision as of 05:35, 21 August 2021
Techniscope was the Technicolor 35mm film format used to record, non-anamorphically, and distribute, Dr. Who and the Daleks and Daleks' Invasion Earth 2150 A.D. These were the only two Doctor Who stories recorded in the format, which was somewhat popular in Europe in the 1960s.
The technique was used to capture an aspect ratio of 2.33:1 to negatives, which could easily be anamorphically stretched to cinema "standard widescreen" dimensions on a more standard film stock, in turn offering 2.35:1 for projection. By contrast, BBC Wales Doctor Who was produced at a 1.7':1 aspect ratio, with the show later shifting to 2:1 from series 11 forward — meaning that the two Dalek movies are noticeably wider widescreen than the modern, high-definition television series.
Within the film industry, Techniscope was developed as an economising measure, and particularly associated with low-budget Italian films of the 1960s. It achieved twice as many frames in the same length of film as, for instance, the more standard CinemaScope stock, by halving the size of each image to an interval of two perforations. This in turn meant that the positive print was blown up by a factor of two. Natural image degradation therefore occurs, which, paired with the generational loss of quality prior to distribution, is usually noticeable to even untrained eyes if they are given the opportunity to compare images in quick succession.
Nevertheless, the cost savings were considerable enough to have made many European filmmakers take notice of Techniscope. Certainly, the lower quality image would not have seemed retrograde to contemporary British Doctor Who fans, who were used to seeing William Hartnell in variable, terrestrially-broadcast black-and-white. The choice might have been more noticeable to the American audience, who had by 1965 become accustomed to Panavision's more impressive Ultra Panavision and other anamorphic formats.
