. . . . . . . "CinemaScope ist eine gesch\u00FCtzte Marke der Filmgesellschaft Twentieth Century Fox f\u00FCr ihr anamorphotisches Verfahren der Breitbildaufzeichnung, die daf\u00FCr n\u00F6tigen Kamera- und Projektionsoptiken und auch f\u00FCr die damit hergestellten Kinofilme. Durch die gro\u00DFe Verbreitung der Marke ab den 1950er Jahren ist CinemaScope in der Kinowelt zum Synonym f\u00FCr die anamorphotischen Verfahren geworden \u2013 im Fachjargon auch kurz \u201ECS\u201C oder \u201EScope\u201C genannt. Mit CinemaScope war es erstmals in gro\u00DFem Stil m\u00F6glich, mit relativ geringem technischen Aufwand bei gleichzeitig guter Qualit\u00E4t auf Basis von \u00FCblichem 35-mm-Film Breitbild im Seitenverh\u00E4ltnis von zun\u00E4chst 2,55:1, sp\u00E4ter 2,35:1 und 2,40:1 zu projizieren (\u00E4hnlich dem modernen Videoformat 21:9). Zu Einzelheiten der Technik siehe:(Hauptartikel: Anamorphotisches Verfahren)\n"@de . . . . . . . . . . . . "Cinemascope"@nl . "CinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter. Its creation in 1953 by Spyros P. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to this day. In film-industry jargon, the shortened form, 'Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, 2.40:1, or 2.55:1 presentation or, sometimes, the use of anamorphic lensing or projection in general. Bausch & Lomb won a 1954 Oscar for its development of the CinemaScope lens."@en . . "El cinemascope,\u200B en espa\u00F1ol cinemascopio, es un sistema de grabaci\u00F3n caracterizado por el uso de im\u00E1genes amplias en las tomas de filmaci\u00F3n, logradas al comprimir una imagen normal dentro del cuadro est\u00E1ndar de 35 mm, para luego descomprimirlas durante la proyecci\u00F3n logrando una proporci\u00F3n que puede variar entre 2,66 y 2,39 veces m\u00E1s ancha que alta. Esto se lograba con el uso de lentes anam\u00F3rficos especiales (lentes Hypergonar) que eran instaladas en las c\u00E1maras y las m\u00E1quinas de proyecci\u00F3n. Las pantallas sobre las que inicialmente se proyectaban las pel\u00EDculas en este sistema eran m\u00E1s amplias que las usadas tradicionalmente hasta 1953. Pose\u00EDan una concavidad que permit\u00EDa adem\u00E1s eliminar ciertas distorsiones propias del sistema en sus comienzos. Con los a\u00F1os y los perfeccionamientos t\u00E9cnicos, dichas distorsiones fueron finalmente eliminadas y el uso de pantallas c\u00F3ncavas se hizo innecesario. El cinemascope fue inventado por Henri Chr\u00E9tien bajo el nombre Anamorphoscope. Fue rebautizado CinemaScope por la productora 20th Century Fox al comprar las lentes anam\u00F3rficas especiales con que rodar las primeras producciones."@es . . . . . "1118965819"^^ . "Le CinemaScope est un proc\u00E9d\u00E9 de prise de vues et de projection qui consiste \u00E0 anamorphoser (comprimer) l'image \u00E0 la prise de vue, pour la d\u00E9sanamorphoser \u00E0 la projection. Ce rapport de compression est de 2. Le CinemaScope ne d\u00E9signe pas directement le format d'image, mais un proc\u00E9d\u00E9 d'anamorphose de l'image, qui peut \u00EAtre utilis\u00E9 en 35 mm comme en 16 mm, avec des ratios d'image diff\u00E9rents. C'est une image qui est comprim\u00E9e lors du tournage puis \u00E9tir\u00E9e lors de la projection pour ne plus \u00EAtre d\u00E9form\u00E9e et retrouver son format panoramique."@fr . . . . . . "Cinemascope, irudi zabalen erabilera ezaugarri nagusi duen filmaketa sistema bat da. Bereziki paisaiak, natura eta handitasunaren sentipena irudikatu nahi denean erabiltzen den formatua da."@eu . . . . . . . . . . . "\u03A4\u03BF CinemaScope \u03AE\u03C4\u03B1\u03BD \u03AD\u03BD\u03B1 \u03C6\u03BF\u03C1\u03BC\u03AC \u03BA\u03B9\u03BD\u03B7\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03B1\u03C6\u03B9\u03BA\u03AE\u03C2 \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE\u03C2 \u03C0\u03BF\u03C5 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03AE\u03B8\u03B7\u03BA\u03B5 \u03B1\u03C0\u03CC \u03C4\u03BF 1953 \u03AD\u03C9\u03C2 \u03C4\u03BF 1967. \u03A7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03BF\u03CD\u03BD\u03C4\u03B1\u03BD \u03B1\u03BD\u03B1\u03BC\u03BF\u03C1\u03C6\u03B9\u03BA\u03BF\u03AF \u03C6\u03B1\u03BA\u03BF\u03AF \u03C0\u03BF\u03C5 \u03B5\u03C0\u03AD\u03C4\u03C1\u03B5\u03C0\u03B1\u03BD \u03C4\u03B7\u03BD \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE \u03C6\u03B9\u03BB\u03BC \u03BC\u03B5 \u03B1\u03BD\u03B1\u03BB\u03BF\u03B3\u03AF\u03B1 2.66:1, \u03B4\u03B9\u03C0\u03BB\u03AC\u03C3\u03B9\u03B1 \u03B1\u03C0\u03CC \u03C4\u03BF \u03C3\u03C5\u03BC\u03B2\u03B1\u03C4\u03B9\u03BA\u03CC \u03C6\u03BF\u03C1\u03BC\u03AC 1.33:1. \u039C\u03B5 \u03C4\u03B7\u03BD \u03C0\u03C1\u03BF\u03C3\u03B8\u03AE\u03BA\u03B7 \u03C3\u03C4\u03BF \u03C6\u03B9\u03BB\u03BC, \u03B7 \u03B1\u03BD\u03B1\u03BB\u03BF\u03B3\u03AF\u03B1 \u03C0\u03B5\u03C1\u03B9\u03BF\u03C1\u03AF\u03C3\u03C4\u03B7\u03BA\u03B5 \u03C3\u03C4\u03BF 2.55:1, \u03BA\u03B1\u03B9 \u03B1\u03C1\u03B3\u03CC\u03C4\u03B5\u03C1\u03B1 \u03B7 \u03C0\u03C1\u03BF\u03C3\u03B8\u03AE\u03BA\u03B7 \u03BA\u03B1\u03B9 \u03AE\u03C7\u03BF\u03C5 \u03C3\u03B5 \u03BF\u03C0\u03C4\u03B9\u03BA\u03AE \u03BC\u03C0\u03AC\u03BD\u03C4\u03B1 \u03C3\u03C4\u03BF 2.35:1. \u03A0\u03B1\u03C1\u03CC\u03C4\u03B9 \u03C4\u03BF CinemaScope \u03BE\u03B5\u03C0\u03B5\u03C1\u03AC\u03C3\u03C4\u03B7\u03BA\u03B5 \u03B1\u03C0\u03CC \u03C4\u03B9\u03C2 \u03BD\u03AD\u03B5\u03C2 \u03C4\u03B5\u03C7\u03BD\u03BF\u03BB\u03BF\u03B3\u03B9\u03BA\u03AD\u03C2 \u03B5\u03BE\u03B5\u03BB\u03AF\u03BE\u03B5\u03B9\u03C2, \u03B7 \u03B1\u03BD\u03B1\u03BC\u03BF\u03C1\u03C6\u03B9\u03BA\u03AE \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE \u03C4\u03C9\u03BD \u03C4\u03B1\u03B9\u03BD\u03B9\u03CE\u03BD \u03C0\u03BF\u03C5 \u03BE\u03B5\u03BA\u03AF\u03BD\u03B7\u03C3\u03B5 \u03BC\u03B5 \u03C4\u03BF CinemaScope \u03C4\u03B7\u03BD \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1 \u03C4\u03BF\u03C5 1950 \u03C3\u03C5\u03BD\u03B5\u03C7\u03AF\u03B6\u03B5\u03C4\u03B1\u03B9 \u03C9\u03C2 \u03C4\u03B9\u03C2 \u03BC\u03AD\u03C1\u03B5\u03C2 \u03BC\u03B1\u03C2."@el . . . . . "O CinemaScope foi uma tecnologia de filmagem e proje\u00E7\u00E3o que utilizava lentes anam\u00F3rficas criada pelo presidente da Twentieth Century Fox em 1953. Foi utilizada entre 1953 e 1967 para a grava\u00E7\u00E3o de filmes widescreen, marcando o in\u00EDcio do formato moderno tanto para a filmagem quanto para a exibi\u00E7\u00E3o de filmes. O surgimento dessa tecnologia de lentes anam\u00F3rficas, teoricamente, permitiu que o processo criasse uma imagem de at\u00E9 uma rela\u00E7\u00E3o de aspecto 2.66:1, quase duas vezes mais larga em rela\u00E7\u00E3o ao at\u00E9 ent\u00E3o onipresente formato 1.37:1."@pt . "C\u00F3ras leathansc\u00E1ile\u00E1in cineamatagrafa\u00EDochta, bunaithe ar cheapach\u00E1n Henri Chr\u00E9tien i 1927 ach curtha i bhfeidhm ag comhlacht 20th Century Fox i 1953. B\u00EDonn lionsa anamorfach ar an gceamara a chomhbhr\u00FAnn an \u00EDomh\u00E1 go cliath\u00E1nach faoi dh\u00F3 chun \u00ED a thaifeadadh ar scann\u00E1n 35 mm, ach leathna\u00EDtear amach ar\u00EDs \u00ED nuair a theilgtear \u00ED tr\u00ED lionsa anamorfach sa teilgeoir chun picti\u00FAr le c\u00F3imheas aghaidhe 2.35 a l\u00E9iri\u00FA."@ga . . . . . . . . . "CinemaScope"@fr . "\u30B7\u30CD\u30DE\u30B9\u30B3\u30FC\u30D7"@ja . . "El CinemaScope \u00E9s un sistema de filmaci\u00F3 que utilitza una s\u00E8rie de lents anam\u00F2rfiques per rodar pel\u00B7l\u00EDcules amb un format de pantalla ampli i projeccions a pantalla panor\u00E0mica. Va ser creat al 1953 pel president de la 20th Century Fox, Spyros P. Skouras, i va significar l'inici del format anam\u00F2rfic per la projecci\u00F3 de pel\u00B7l\u00EDcules. Aquesta t\u00E8cnica de la pantalla panor\u00E0mica va ser, per\u00F2, successora de l'Anamorphoscope, un proc\u00E9s creador d'una pantalla \u00E0mplia que utilitzava els sistema de lents Hypergonar inventat per Henri Chr\u00E9tien."@ca . "Cinemascope"@eu . "Cinemaskopo"@eo . . "CinemaScope"@in . "Cinemascope of CinemaScope is een in 1953 door de Amerikaanse filmmaatschappij 20th Century Fox ge\u00EFntroduceerd systeem voor opname en projectie van extra-brede beelden op bioscoopfilm (de zogenaamde muur-tot-muurprojectie). De eerste film met dit systeem was The Robe."@nl . . . . . "Cinemascope"@cs . . . "CinemaScope ist eine gesch\u00FCtzte Marke der Filmgesellschaft Twentieth Century Fox f\u00FCr ihr anamorphotisches Verfahren der Breitbildaufzeichnung, die daf\u00FCr n\u00F6tigen Kamera- und Projektionsoptiken und auch f\u00FCr die damit hergestellten Kinofilme. Durch die gro\u00DFe Verbreitung der Marke ab den 1950er Jahren ist CinemaScope in der Kinowelt zum Synonym f\u00FCr die anamorphotischen Verfahren geworden \u2013 im Fachjargon auch kurz \u201ECS\u201C oder \u201EScope\u201C genannt.(Hauptartikel: Anamorphotisches Verfahren)\n"@de . . . . . "CinemaScope adalah serangkaian yang digunakan, dari 1953 sampai 1967, untuk pengambilan gambar film-film layar lebar. Pembuatannya pada 1953 oleh Spyros P. Skouras, presiden 20th Century Fox, menandai permulaan format anamorfik modern dalam fotografi prinsipal maupun proyeksi film."@in . . . . . . . . . "C\u00F3ras leathansc\u00E1ile\u00E1in cineamatagrafa\u00EDochta, bunaithe ar cheapach\u00E1n Henri Chr\u00E9tien i 1927 ach curtha i bhfeidhm ag comhlacht 20th Century Fox i 1953. B\u00EDonn lionsa anamorfach ar an gceamara a chomhbhr\u00FAnn an \u00EDomh\u00E1 go cliath\u00E1nach faoi dh\u00F3 chun \u00ED a thaifeadadh ar scann\u00E1n 35 mm, ach leathna\u00EDtear amach ar\u00EDs \u00ED nuair a theilgtear \u00ED tr\u00ED lionsa anamorfach sa teilgeoir chun picti\u00FAr le c\u00F3imheas aghaidhe 2.35 a l\u00E9iri\u00FA."@ga . . . . . . . . "CinemaScope"@en . . . . . . . . . . . . "\uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504"@ko . . "Per CinemaScope si intende un sistema di ripresa cinematografica, basato su lenti anamorfiche, utilizzato dal 1953 al 1967. Sebbene tale sistema abbia dato inizio ai moderni formati cinematografici il CinemaScope \u00E8 stato rapidamente reso obsoleto dalle evoluzioni tecniche, in particolar modo da formati derivati da quelli della Panavision. Il CinemaScope consiste nel deformare, in ripresa, le immagini e poi disanamorfizzarle in proiezione al fine di ottenere fotogrammi a largo campo visivo (2,35:1), con un conseguente gradevole effetto. Tale sistema fu brevettato negli anni cinquanta dalla 20th Century Fox e utilizzato per la prima volta nel film La tunica (1953). Il motivo del successo di tale procedimento \u00E8 che non andava a intaccare in modo significativo n\u00E9 le macchine da presa n\u00E9 i proiettori esistenti nelle sale, se non per il cambio delle lenti e di qualche piccola modifica: in tal modo ci fu l'approvazione dei circuiti di distribuzione che non vedevano di buon occhio spese elevate per la modernizzazione delle sale. Alcuni film all'inizio furono girati in anamorfico 2.55:1 poi ridotto ad un pi\u00F9 gestibile 2.35:1. In seguito nacquero alcuni sistemi analoghi al CinemaScope, ma differenti per grado di anamorfizzazione, tra i quali vi erano il , il Techniscope, il , il , il , l', il , il conosciuto anche come RKO Pictures-Scope e molti altri, che ebbero tuttavia poca fortuna. I film girati con i vari sistemi anamorfici, erano tutti in 35 mm. Poi venne ideato il o , che utilizzava una pellicola cinematografica da , ma questo metodo non \u00E8 pi\u00F9 usato. Oggigiorno, il CinemaScope continua ad avere un rapporto di proiezione di 2.35:1 anamorfizzato."@it . . . "CinemaScope"@pt . . . . . . . . "Le CinemaScope est un proc\u00E9d\u00E9 de prise de vues et de projection qui consiste \u00E0 anamorphoser (comprimer) l'image \u00E0 la prise de vue, pour la d\u00E9sanamorphoser \u00E0 la projection. Ce rapport de compression est de 2. Le CinemaScope ne d\u00E9signe pas directement le format d'image, mais un proc\u00E9d\u00E9 d'anamorphose de l'image, qui peut \u00EAtre utilis\u00E9 en 35 mm comme en 16 mm, avec des ratios d'image diff\u00E9rents. C'est la Society of Motion Picture and Television Engineers (SMPTE) qui d\u00E9finit les normes de la fen\u00EAtre de projection de ce qu'on appelle le scope : CinemaScope 35 mm avec son optique. Le scope a aujourd'hui un ratio de 2,39:1. C'est une image qui est comprim\u00E9e lors du tournage puis \u00E9tir\u00E9e lors de la projection pour ne plus \u00EAtre d\u00E9form\u00E9e et retrouver son format panoramique."@fr . . "Cinemascope je firemn\u00ED ozna\u010Den\u00ED syst\u00E9mu umo\u017E\u0148uj\u00EDc\u00EDho nat\u00E1\u010Den\u00ED a projekci v extr\u00E9mn\u011B \u0161iroko\u00FAhl\u00E9m form\u00E1tu s pom\u011Brem stran cca 1:2,35, kter\u00FD zavedla v roce 1952 spole\u010Dnost 20th Century Fox. V sou\u010Dasnosti se toto ozna\u010Den\u00ED obecn\u011B u\u017E\u00EDv\u00E1 pro r\u016Fzn\u00E9 \u0161iroko\u00FAhl\u00E9 projek\u010Dn\u00ED syst\u00E9my zalo\u017Een\u00E9 na anamorfick\u00E9m principu - p\u0159i nat\u00E1\u010Den\u00ED je sn\u00EDman\u00FD obraz speci\u00E1ln\u00EDm objektivem deformov\u00E1n (stranov\u011B stla\u010Den) a p\u0159i projekci op\u011Bt rozta\u017Een projek\u010Dn\u00EDm objektivem s opa\u010Dnou charakteristikou."@cs . "\u5BEC\u87A2\u5E55\u96FB\u5F71\u93E1\u982D\uFF08\u82F1\u8A9E\uFF1ACinemaScope\uFF09\u662F\u4E00\u7A2E\u8B8A\u5F62\u93E1\u982D\u7CFB\u5217\uFF0C\u5F9E1953\u5E74\u52301967\u5E74\uFF08\u4EE5\u5F8C\u5F88\u5C11\uFF09\u7528\u65BC\u62CD\u651D\u5BEC\u5C4F\u96FB\u5F71\uFF0C\u81F3\u95DC\u91CD\u8981\u7684\u662F\uFF0C\u5373\u4F7F\u4F7F\u7528\u93E1\u982D\u9069\u914D\u5668\uFF0C\u4E5F\u53EF\u4EE5\u4F7F\u7528\u73FE\u6709\u8A2D\u5099\u5728\u5F71\u9662\u4E2D\u653E\u6620\u8A72\u96FB\u5F71\u3002 \u5728\u96FB\u5F71\u884C\u696D\u8853\u8A9E\u4E2D\uFF0C\u7E2E\u5BEB\u5F62\u5F0F\u201C Scope\u201D\u4ECD\u88AB\u88FD\u7247\u4EBA\u548C\u653E\u6620\u8005\u5EE3\u6CDB\u4F7F\u7528\uFF0C\u5118\u7BA1\u4ECA\u5929\u5B83\u901A\u5E38\u6307\u4EFB\u4F552.35\uFF1A1\u30012.39\uFF1A1\u30012.40\uFF1A1\u62162.55\uFF1A1\u7684\u6F14\u793A\u6587\u7A3F\uFF0C\u6216\u8005\u6709\u6642\uFF0C\u4E00\u822C\u4F7F\u7528\u8B8A\u5F62\u93E1\u982D\u6216\u6295\u5F71\u3002\u535A\u58EB\u502B\u516C\u53F8\uFF08Bausch\uFF06Lomb\uFF09\u56E0\u5176CinemaScope\u93E1\u982D\u7684\u958B\u767C\u800C\u7372\u5F971954\u5E74\u5967\u65AF\u5361\u734E\u3002"@zh . . . "CinemaScope (Cinemaskopo) estas serio de anamorfaj lensoj uzitaj de 1953 \u011Dis 1967, por projekcii lar\u011Dekranajn filmojn. Ties kreado en 1953 fare de Spyros P. Skouras, nome prezidanto de 20th Century-Fox, markis la komencon de la moderna anamorfa formato kaj porfilmado kaj por filmoprojekciado. Per tiu revolucia sistemo kino povis konkurenci kun la tiam plii\u011Danta televido."@eo . . . "CinemaScope"@pl . . . . . . "CinemaScope"@it . . "\u5BEC\u87A2\u5E55\u96FB\u5F71\u93E1\u982D\uFF08\u82F1\u8A9E\uFF1ACinemaScope\uFF09\u662F\u4E00\u7A2E\u8B8A\u5F62\u93E1\u982D\u7CFB\u5217\uFF0C\u5F9E1953\u5E74\u52301967\u5E74\uFF08\u4EE5\u5F8C\u5F88\u5C11\uFF09\u7528\u65BC\u62CD\u651D\u5BEC\u5C4F\u96FB\u5F71\uFF0C\u81F3\u95DC\u91CD\u8981\u7684\u662F\uFF0C\u5373\u4F7F\u4F7F\u7528\u93E1\u982D\u9069\u914D\u5668\uFF0C\u4E5F\u53EF\u4EE5\u4F7F\u7528\u73FE\u6709\u8A2D\u5099\u5728\u5F71\u9662\u4E2D\u653E\u6620\u8A72\u96FB\u5F71\u3002 \u5728\u96FB\u5F71\u884C\u696D\u8853\u8A9E\u4E2D\uFF0C\u7E2E\u5BEB\u5F62\u5F0F\u201C Scope\u201D\u4ECD\u88AB\u88FD\u7247\u4EBA\u548C\u653E\u6620\u8005\u5EE3\u6CDB\u4F7F\u7528\uFF0C\u5118\u7BA1\u4ECA\u5929\u5B83\u901A\u5E38\u6307\u4EFB\u4F552.35\uFF1A1\u30012.39\uFF1A1\u30012.40\uFF1A1\u62162.55\uFF1A1\u7684\u6F14\u793A\u6587\u7A3F\uFF0C\u6216\u8005\u6709\u6642\uFF0C\u4E00\u822C\u4F7F\u7528\u8B8A\u5F62\u93E1\u982D\u6216\u6295\u5F71\u3002\u535A\u58EB\u502B\u516C\u53F8\uFF08Bausch\uFF06Lomb\uFF09\u56E0\u5176CinemaScope\u93E1\u982D\u7684\u958B\u767C\u800C\u7372\u5F971954\u5E74\u5967\u65AF\u5361\u734E\u3002"@zh . "34323"^^ . "\uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504(CinemaScope)\uB294 1950\uB144\uB300 TV\uC758 \uBCF4\uAE09\uC73C\uB85C \uC704\uD611\uC744 \uB290\uB080 \uC601\uD654\uACC4\uC5D0\uC11C \uB0B4\uC5B4 \uB193\uC740 \uB300\uC548\uC758 \uD55C \uC885\uB958\uC774\uB2E4. \uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504\uB294 20\uC138\uAE30 \uD3ED\uC2A4\uC0AC\uAC00 1953\uB144 \uAC1C\uBC1C\uD55C \uC640\uC774\uB4DC\uC2A4\uD06C\uB9B0 \uC0C1\uC601 \uBC29\uC2DD\uC778\uB370 \uC560\uB108\uBAA8\uD53D \uB80C\uC988\uC640 \uD2B9\uC218 35mm \uD544\uB984\uC744 \uC774\uC6A9\uD558\uC5EC \uC0C1\uC758 \uC88C\uC6B0\uB97C 2\uBC30\uB85C \uC555\uCD95\uC2DC\uCF1C\uC11C \uCD2C\uC601\uD558\uACE0, \uC0C1\uC601\uD560 \uB54C \uADF8\uAC83\uC744 \uB2E4\uC2DC \uD3BC\uCCD0 2.39:1\uC758 \uD654\uBA74\uBE44\uC728\uB85C \uB9CC\uB4DC\uB294 \uD615\uC2DD\uC774\uB2E4. \uB354 \uB113\uACE0 \uB514\uD14C\uC77C\uD55C \uD654\uBA74\uC744 \uC5BB\uC744 \uC218 \uC788\uB2E4\uB294 \uC7A5\uC810\uC774 \uC788\uB2E4. \uCD5C\uCD08\uC758 \uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504 \uC601\uD654\uB294 1953\uB144 \uAC1C\uBD09\uD55C <\uC131\uC758(The Robe)>\uC774\uB2E4."@ko . . . . . . "\uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504(CinemaScope)\uB294 1950\uB144\uB300 TV\uC758 \uBCF4\uAE09\uC73C\uB85C \uC704\uD611\uC744 \uB290\uB080 \uC601\uD654\uACC4\uC5D0\uC11C \uB0B4\uC5B4 \uB193\uC740 \uB300\uC548\uC758 \uD55C \uC885\uB958\uC774\uB2E4. \uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504\uB294 20\uC138\uAE30 \uD3ED\uC2A4\uC0AC\uAC00 1953\uB144 \uAC1C\uBC1C\uD55C \uC640\uC774\uB4DC\uC2A4\uD06C\uB9B0 \uC0C1\uC601 \uBC29\uC2DD\uC778\uB370 \uC560\uB108\uBAA8\uD53D \uB80C\uC988\uC640 \uD2B9\uC218 35mm \uD544\uB984\uC744 \uC774\uC6A9\uD558\uC5EC \uC0C1\uC758 \uC88C\uC6B0\uB97C 2\uBC30\uB85C \uC555\uCD95\uC2DC\uCF1C\uC11C \uCD2C\uC601\uD558\uACE0, \uC0C1\uC601\uD560 \uB54C \uADF8\uAC83\uC744 \uB2E4\uC2DC \uD3BC\uCCD0 2.39:1\uC758 \uD654\uBA74\uBE44\uC728\uB85C \uB9CC\uB4DC\uB294 \uD615\uC2DD\uC774\uB2E4. \uB354 \uB113\uACE0 \uB514\uD14C\uC77C\uD55C \uD654\uBA74\uC744 \uC5BB\uC744 \uC218 \uC788\uB2E4\uB294 \uC7A5\uC810\uC774 \uC788\uB2E4. \uCD5C\uCD08\uC758 \uC2DC\uB124\uB9C8\uC2A4\uCF54\uD504 \uC601\uD654\uB294 1953\uB144 \uAC1C\uBD09\uD55C <\uC131\uC758(The Robe)>\uC774\uB2E4."@ko . . . . "\u0421\u0438\u043D\u0435\u043C\u0430\u0441\u043A\u043E\u0301\u043F, \u0421\u0438\u043D\u0435\u043C\u0430\u0441\u043A\u043E\u0301\u043F-35 (\u0430\u043D\u0433\u043B. CinemaScope) \u2014 \u0448\u0438\u0440\u043E\u043A\u043E\u044D\u043A\u0440\u0430\u043D\u043D\u0430\u044F \u0430\u043D\u0430\u043C\u043E\u0440\u0444\u0438\u0440\u043E\u0432\u0430\u043D\u043D\u0430\u044F \u043A\u0438\u043D\u0435\u043C\u0430\u0442\u043E\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043A\u0430\u044F \u0441\u0438\u0441\u0442\u0435\u043C\u0430, \u043E\u0441\u043D\u043E\u0432\u0430\u043D\u043D\u0430\u044F \u043D\u0430 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043D\u0438\u0438 \u0441\u0442\u0430\u043D\u0434\u0430\u0440\u0442\u043D\u043E\u0439 35-\u043C\u043C \u043A\u0438\u043D\u043E\u043F\u043B\u0451\u043D\u043A\u0438. \u0421\u0438\u0441\u0442\u0435\u043C\u0430 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043B\u0430 \u043E\u0434\u043D\u043E\u0438\u043C\u0451\u043D\u043D\u044B\u0435 \u0430\u043D\u0430\u043C\u043E\u0440\u0444\u043E\u0442\u043D\u044B\u0435 \u043E\u0431\u044A\u0435\u043A\u0442\u0438\u0432\u044B \u0434\u043B\u044F \u0441\u044A\u0451\u043C\u043A\u0438 \u0438 \u043F\u0440\u043E\u0435\u043A\u0446\u0438\u0438 \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u044F \u043D\u0430 \u044D\u043A\u0440\u0430\u043D \u0448\u0438\u0440\u0438\u043D\u043E\u0439 \u0434\u043E \u043F\u043E\u043B\u043E\u0432\u0438\u043D\u044B \u0434\u043B\u0438\u043D\u044B \u043A\u0438\u043D\u043E\u0437\u0430\u043B\u0430. \u0424\u043E\u0440\u043C\u0430\u0442 \u0440\u0430\u0437\u0440\u0430\u0431\u043E\u0442\u0430\u043D \u043F\u0440\u0435\u0437\u0438\u0434\u0435\u043D\u0442\u043E\u043C \u043A\u0438\u043D\u043E\u043A\u043E\u043C\u043F\u0430\u043D\u0438\u0438 \u00ABXX \u0432\u0435\u043A \u0424\u043E\u043A\u0441\u00BB \u0421\u043F\u0438\u0440\u043E\u0441\u043E\u043C \u0421\u043A\u0443\u0440\u0430\u0441\u043E\u043C \u0438 \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u043B\u0441\u044F \u0441 1953 \u0434\u043E 1967 \u0433\u043E\u0434\u0430. \u041E\u043D \u0441\u0442\u0430\u043B \u043E\u0441\u043D\u043E\u0432\u043E\u0439 \u0434\u043B\u044F \u0431\u043E\u043B\u044C\u0448\u0438\u043D\u0441\u0442\u0432\u0430 \u0434\u0440\u0443\u0433\u0438\u0445 \u0441\u0438\u0441\u0442\u0435\u043C \u0441 \u0430\u043D\u0430\u043C\u043E\u0440\u0444\u0438\u0440\u043E\u0432\u0430\u043D\u0438\u0435\u043C, \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u0443\u044E\u0449\u0438\u0445 \u0434\u043E \u0441\u0435\u0433\u043E\u0434\u043D\u044F\u0448\u043D\u0435\u0433\u043E \u0434\u043D\u044F."@ru . . . "CinemaScope \u00E4r ett bildformat f\u00F6r 35 mm filmvisning som introducerades 1953 av filmbolaget 20th Century Fox efter att de \u00E5teruppt\u00E4ckt anamorfiska objektiv Hypergonar fr\u00E5n 1927. Vid inspelningen pressade objektivet ihop bilden horisontellt med en faktor av 2 f\u00F6r att vid visningen genom ett motsvarande objektiv sprida ut den igen. I b\u00F6rjan var bildformatet 2,66:1 med fyra magnetiska sp\u00E5r f\u00F6r ljudet. F\u00F6r att biografer utan magnetljud skulle kunna visa filmerna introducerades snart kopior med b\u00E5de magnetiska och optiska ljudsp\u00E5r, mag-optical. Detta innebar att bilden m\u00E5ste minskas och 2,55:1 blev standard. 2,35:1 blev s\u00E5 sm\u00E5ningom standard oavsett ljudsystem. CinemaScope-objektiven var problematiska f\u00F6r djupverkan och bildens ytterkanter och ersattes p\u00E5 1960-talet av Panavision-objektiv, men maskinister refererar fortfarande till systemet som CS (CinemaScope). Fox tog inte patent p\u00E5 Chr\u00E9tiens objektiv, vilket gjorde det m\u00F6jligt f\u00F6r andra bolag att spela in filmer i formatet, men man kunde inte anv\u00E4nda namnet CinemaScope. D\u00E4rf\u00F6r s\u00E5dana varianter som: \n* Metroscope (MGM; n\u00E4stan alla MGM:s, Columbias and United Artists filmer spelades in med Panavision-objektiv men kallades \u00E4nd\u00E5 allm\u00E4nt f\u00F6r CinemaScope) \n* WarnerScope/WarnerSuperScope \n* Agascope (Sverige, Finland, Ungern - Gorilla, 1956 - En djungelsaga, 1958) \n* Alexscope (Argentina) \n* Toeiscope/Actionscope/Super Actionscope (Japan, Toei) \n* Centralscope (Hentai) \n* Cin\u00E9graphiscope (Frankrike) \n* Cin\u00E9panoramic/Parscope (Frankrike) \n* CameraScope (England Rank) \n* Cinemascope (V\u00E4sttyskland) \n* Franscope (Frankrike) \n* Totalvision/Prokimaskop (\u00D6sttyskland, Sovjet) \n* Naturama (USA Republic) \n* Cinephonic \n* Cinescope (Italien) \n* SuperCinescope (Italien) \n* Superfilmscope (Italien) \n* Totalscope (Italien) \n* Supertotalscope (Italien) \n* TotalScope (Italien) \n* Cinetotalscope (Italien) \n* Totalvision (Italien) \n* Cosmoscope (England Archway) \n* Daieiscope (Daiei Motion Picture Co, Japan) \n* Dyaliscope (Frankrike) \n* Euroscope (Europa) \n* Gamascope (Italien) \n* Hammerscope (England, Hammer Films) \n* Ifiscope (Spanien) Den f\u00F6rsta svenska biografen med utrustning f\u00F6r att f\u00F6revisa CinemaScope var Rigoletto i Stockholm. Den korrekta stavningen av varum\u00E4rket CinemaScope \u00E4r med ett stort S i mitten n\u00E4r man refererar till den process som Fox skapade och patenterade. Ordet har senare anv\u00E4nts generiskt om alla anamorfiska filmsystem, ofta f\u00F6rkortat till CS."@sv . . . . . "Cinemascope"@sv . . "O CinemaScope foi uma tecnologia de filmagem e proje\u00E7\u00E3o que utilizava lentes anam\u00F3rficas criada pelo presidente da Twentieth Century Fox em 1953. Foi utilizada entre 1953 e 1967 para a grava\u00E7\u00E3o de filmes widescreen, marcando o in\u00EDcio do formato moderno tanto para a filmagem quanto para a exibi\u00E7\u00E3o de filmes. O surgimento dessa tecnologia de lentes anam\u00F3rficas, teoricamente, permitiu que o processo criasse uma imagem de at\u00E9 uma rela\u00E7\u00E3o de aspecto 2.66:1, quase duas vezes mais larga em rela\u00E7\u00E3o ao at\u00E9 ent\u00E3o onipresente formato 1.37:1."@pt . "CinemaScope \u00E4r ett bildformat f\u00F6r 35 mm filmvisning som introducerades 1953 av filmbolaget 20th Century Fox efter att de \u00E5teruppt\u00E4ckt anamorfiska objektiv Hypergonar fr\u00E5n 1927. Vid inspelningen pressade objektivet ihop bilden horisontellt med en faktor av 2 f\u00F6r att vid visningen genom ett motsvarande objektiv sprida ut den igen. I b\u00F6rjan var bildformatet 2,66:1 med fyra magnetiska sp\u00E5r f\u00F6r ljudet. F\u00F6r att biografer utan magnetljud skulle kunna visa filmerna introducerades snart kopior med b\u00E5de magnetiska och optiska ljudsp\u00E5r, mag-optical. Detta innebar att bilden m\u00E5ste minskas och 2,55:1 blev standard. 2,35:1 blev s\u00E5 sm\u00E5ningom standard oavsett ljudsystem."@sv . . . . "El cinemascope,\u200B en espa\u00F1ol cinemascopio, es un sistema de grabaci\u00F3n caracterizado por el uso de im\u00E1genes amplias en las tomas de filmaci\u00F3n, logradas al comprimir una imagen normal dentro del cuadro est\u00E1ndar de 35 mm, para luego descomprimirlas durante la proyecci\u00F3n logrando una proporci\u00F3n que puede variar entre 2,66 y 2,39 veces m\u00E1s ancha que alta. Esto se lograba con el uso de lentes anam\u00F3rficos especiales (lentes Hypergonar) que eran instaladas en las c\u00E1maras y las m\u00E1quinas de proyecci\u00F3n."@es . . . . . . . . "CinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter. Its creation in 1953 by Spyros P. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to this day. In film-industry jargon, the shortened form, 'Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any"@en . . . . "206869"^^ . "CinemaScope \u2013 spos\u00F3b realizacji szerokoekranowej umo\u017Cliwiaj\u0105cy projekcj\u0119 film\u00F3w o proporcjach obrazu 2.66:1, dwukrotnie d\u0142u\u017Cszego od standardowego 1.33:1. Jego stworzenie w 1953 roku przez Spyrosa P. Skourasa, prezesa 20th Century Fox, oznacza\u0142o pocz\u0105tek nowoczesnego anamorficznego formatu zar\u00F3wno w fotografii, jak i projekcji filmowej."@pl . . . "Cinemascope"@es . . . . . . . "\u03A4\u03BF CinemaScope \u03AE\u03C4\u03B1\u03BD \u03AD\u03BD\u03B1 \u03C6\u03BF\u03C1\u03BC\u03AC \u03BA\u03B9\u03BD\u03B7\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03B1\u03C6\u03B9\u03BA\u03AE\u03C2 \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE\u03C2 \u03C0\u03BF\u03C5 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03AE\u03B8\u03B7\u03BA\u03B5 \u03B1\u03C0\u03CC \u03C4\u03BF 1953 \u03AD\u03C9\u03C2 \u03C4\u03BF 1967. \u03A7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03BF\u03CD\u03BD\u03C4\u03B1\u03BD \u03B1\u03BD\u03B1\u03BC\u03BF\u03C1\u03C6\u03B9\u03BA\u03BF\u03AF \u03C6\u03B1\u03BA\u03BF\u03AF \u03C0\u03BF\u03C5 \u03B5\u03C0\u03AD\u03C4\u03C1\u03B5\u03C0\u03B1\u03BD \u03C4\u03B7\u03BD \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE \u03C6\u03B9\u03BB\u03BC \u03BC\u03B5 \u03B1\u03BD\u03B1\u03BB\u03BF\u03B3\u03AF\u03B1 2.66:1, \u03B4\u03B9\u03C0\u03BB\u03AC\u03C3\u03B9\u03B1 \u03B1\u03C0\u03CC \u03C4\u03BF \u03C3\u03C5\u03BC\u03B2\u03B1\u03C4\u03B9\u03BA\u03CC \u03C6\u03BF\u03C1\u03BC\u03AC 1.33:1. \u039C\u03B5 \u03C4\u03B7\u03BD \u03C0\u03C1\u03BF\u03C3\u03B8\u03AE\u03BA\u03B7 \u03C3\u03C4\u03BF \u03C6\u03B9\u03BB\u03BC, \u03B7 \u03B1\u03BD\u03B1\u03BB\u03BF\u03B3\u03AF\u03B1 \u03C0\u03B5\u03C1\u03B9\u03BF\u03C1\u03AF\u03C3\u03C4\u03B7\u03BA\u03B5 \u03C3\u03C4\u03BF 2.55:1, \u03BA\u03B1\u03B9 \u03B1\u03C1\u03B3\u03CC\u03C4\u03B5\u03C1\u03B1 \u03B7 \u03C0\u03C1\u03BF\u03C3\u03B8\u03AE\u03BA\u03B7 \u03BA\u03B1\u03B9 \u03AE\u03C7\u03BF\u03C5 \u03C3\u03B5 \u03BF\u03C0\u03C4\u03B9\u03BA\u03AE \u03BC\u03C0\u03AC\u03BD\u03C4\u03B1 \u03C3\u03C4\u03BF 2.35:1. \u03A0\u03B1\u03C1\u03CC\u03C4\u03B9 \u03C4\u03BF CinemaScope \u03BE\u03B5\u03C0\u03B5\u03C1\u03AC\u03C3\u03C4\u03B7\u03BA\u03B5 \u03B1\u03C0\u03CC \u03C4\u03B9\u03C2 \u03BD\u03AD\u03B5\u03C2 \u03C4\u03B5\u03C7\u03BD\u03BF\u03BB\u03BF\u03B3\u03B9\u03BA\u03AD\u03C2 \u03B5\u03BE\u03B5\u03BB\u03AF\u03BE\u03B5\u03B9\u03C2, \u03B7 \u03B1\u03BD\u03B1\u03BC\u03BF\u03C1\u03C6\u03B9\u03BA\u03AE \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE \u03C4\u03C9\u03BD \u03C4\u03B1\u03B9\u03BD\u03B9\u03CE\u03BD \u03C0\u03BF\u03C5 \u03BE\u03B5\u03BA\u03AF\u03BD\u03B7\u03C3\u03B5 \u03BC\u03B5 \u03C4\u03BF CinemaScope \u03C4\u03B7\u03BD \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1 \u03C4\u03BF\u03C5 1950 \u03C3\u03C5\u03BD\u03B5\u03C7\u03AF\u03B6\u03B5\u03C4\u03B1\u03B9 \u03C9\u03C2 \u03C4\u03B9\u03C2 \u03BC\u03AD\u03C1\u03B5\u03C2 \u03BC\u03B1\u03C2."@el . . . . "El CinemaScope \u00E9s un sistema de filmaci\u00F3 que utilitza una s\u00E8rie de lents anam\u00F2rfiques per rodar pel\u00B7l\u00EDcules amb un format de pantalla ampli i projeccions a pantalla panor\u00E0mica. Va ser creat al 1953 pel president de la 20th Century Fox, Spyros P. Skouras, i va significar l'inici del format anam\u00F2rfic per la projecci\u00F3 de pel\u00B7l\u00EDcules. Aquesta t\u00E8cnica de la pantalla panor\u00E0mica va ser, per\u00F2, successora de l'Anamorphoscope, un proc\u00E9s creador d'una pantalla \u00E0mplia que utilitzava els sistema de lents Hypergonar inventat per Henri Chr\u00E9tien. La filmaci\u00F3 en aquest format consistia en comprimir una imatge normal dins del quadre est\u00E0ndard de 35 mm i despr\u00E9s descomprimir-les durant la projecci\u00F3 a trav\u00E9s d'unes lents anam\u00F2rfiques especials (lents Hypergonar) que s'instal\u00B7laven a les c\u00E0meres i m\u00E0quines de projecci\u00F3. Es tracta de, b\u00E0sicament, agafar una imatge en un format angular (amb una lent convergent) per comprimir-la en un format per emetre-la en un format panor\u00E0mic equivalent als 35mm reals en anal\u00F2gic. Aquestes lents anam\u00F2rfiques van permetre que el resultat final fos d'imatges on l'aspecte r\u00E0tio arribava al 2,66:1, \u00E9s a dir, quasi el doble d'ampli que la proporci\u00F3 de 1,37:1 (pr\u00F2pia del format de 35mm frame film). A m\u00E9s, aquestes lents tenien una concavitat que permetia eliminar certes distorsions pr\u00F2pies del sistema primitiu. Tot i que aquest sistema de lents va ser substitu\u00EFt pels nous desenvolupaments tecnol\u00F2gics, com ara el Panavision, el format de CinemaScope encara \u00E9s vigent avui en dia. Aquesta t\u00E8cnica s'utilitza per referir-se a qualsevol presentaci\u00F3 d'aspecte r\u00E0tio de 2.35:1, 2.39:1 o 2.40:1."@ca . "CinemaScope"@ga . . . . . "Cinemascope of CinemaScope is een in 1953 door de Amerikaanse filmmaatschappij 20th Century Fox ge\u00EFntroduceerd systeem voor opname en projectie van extra-brede beelden op bioscoopfilm (de zogenaamde muur-tot-muurprojectie). De eerste film met dit systeem was The Robe."@nl . . . . . . . "\u30B7\u30CD\u30DE\u30B9\u30B3\u30FC\u30D7 (CinemaScope) \u306F\u3001\u4E3B\u306B\u6620\u753B\u64AE\u5F71\u3067\u7528\u3044\u3089\u308C\u3066\u3044\u305F\u30EF\u30A4\u30C9\u30B9\u30AF\u30EA\u30FC\u30F3\u6280\u8853\u306E\u4E00\u3064\u3002\u30A2\u30CA\u30E2\u30EB\u30D5\u30A3\u30C3\u30AF\u30EC\u30F3\u30BA\u3092\u7528\u3044\u305F\u6A2A\u7E26\u6BD42.35:1\uFF0812:5\uFF09\u306E\u753B\u9762\u30A2\u30B9\u30DA\u30AF\u30C8\u6BD4\u3067\u3042\u308B\u3002\u30B7\u30CD\u30B9\u30B3\u3068\u7565\u3055\u308C\u308B\u3053\u3068\u3082\u3042\u308B\u3002"@ja . . . "CinemaScope adalah serangkaian yang digunakan, dari 1953 sampai 1967, untuk pengambilan gambar film-film layar lebar. Pembuatannya pada 1953 oleh Spyros P. Skouras, presiden 20th Century Fox, menandai permulaan format anamorfik modern dalam fotografi prinsipal maupun proyeksi film."@in . . . "CinemaScope (Cinemaskopo) estas serio de anamorfaj lensoj uzitaj de 1953 \u011Dis 1967, por projekcii lar\u011Dekranajn filmojn. Ties kreado en 1953 fare de Spyros P. Skouras, nome prezidanto de 20th Century-Fox, markis la komencon de la moderna anamorfa formato kaj porfilmado kaj por filmoprojekciado. Per tiu revolucia sistemo kino povis konkurenci kun la tiam plii\u011Danta televido."@eo . . . . . . . . . . . "Cinemascope je firemn\u00ED ozna\u010Den\u00ED syst\u00E9mu umo\u017E\u0148uj\u00EDc\u00EDho nat\u00E1\u010Den\u00ED a projekci v extr\u00E9mn\u011B \u0161iroko\u00FAhl\u00E9m form\u00E1tu s pom\u011Brem stran cca 1:2,35, kter\u00FD zavedla v roce 1952 spole\u010Dnost 20th Century Fox. V sou\u010Dasnosti se toto ozna\u010Den\u00ED obecn\u011B u\u017E\u00EDv\u00E1 pro r\u016Fzn\u00E9 \u0161iroko\u00FAhl\u00E9 projek\u010Dn\u00ED syst\u00E9my zalo\u017Een\u00E9 na anamorfick\u00E9m principu - p\u0159i nat\u00E1\u010Den\u00ED je sn\u00EDman\u00FD obraz speci\u00E1ln\u00EDm objektivem deformov\u00E1n (stranov\u011B stla\u010Den) a p\u0159i projekci op\u011Bt rozta\u017Een projek\u010Dn\u00EDm objektivem s opa\u010Dnou charakteristikou. Pom\u011Br stran form\u00E1tu se m\u011Bnil, p\u016Fvodn\u00ED byl a\u017E 1:2,66 se zvukem na samostatn\u00E9m m\u00E9diu, vlastn\u00EDm filmov\u00E9m p\u00E1su. Pro mo\u017Enost um\u00EDst\u011Bn\u00ED 4 magnetick\u00FDch stop, po 2 na ka\u017Ed\u00E9 stran\u011B byly v roce 1953 zmen\u0161eny otvory perforace a form\u00E1t upraven na 1:2,55. V roce 1955 pod tlakem kin, kter\u00E1 pot\u0159ebovala zachovat optick\u00FD monofonn\u00ED zvuk tradi\u010Dn\u011B um\u00EDst\u011Bn\u00FD na filmu ACADEMIC RATIO i magnetick\u00FD stereofonn\u00ED zvukov\u00FD \u010Dty\u0159stop\u00FD z\u00E1znam op\u011Bt standardizovan\u00E9ho um\u00EDst\u011Bn\u00ED na filmov\u00E9m p\u00E1su vedl k dal\u0161\u00ED redukci ok\u00E9nka filmu pro obraz form\u00E1tu 1:2,35 p\u0159i tom, \u017Ee se ok\u00E9nka sv\u00FDmi horn\u00EDmi a doln\u00EDmi okraji prakticky dot\u00FDkaj\u00ED. Tento form\u00E1t byl na del\u0161\u00ED dobu ust\u00E1len i u dal\u0161\u00EDch syst\u00E9m\u016F \u0161irok\u00E9ho obrazu. Dotyk obr\u00E1zk\u016F zvy\u0161oval n\u00E1roky na p\u0159esnost prom\u00EDta\u010Dek, kdy ji\u017E p\u0159i mal\u00E9 toleranci v dr\u00E1ze filmu doch\u00E1zelo k prosv\u011Bcov\u00E1n\u00ED zejm\u00E9na na spodn\u00EDm okraji obrazu. To vedlo v roce 1970 k posledn\u00ED \u00FAprav\u011B form\u00E1tu \u0161iroko\u00FAhl\u00E9ho obrazu Cinemascope sn\u00ED\u017Een\u00EDm v\u00FD\u0161ky ok\u00E9nka filmu, a t\u00EDm i prom\u00EDtan\u00E9ho obrazu, na pom\u011Br 1:2,39. Cinemascope zavedl novou specifikaci kinos\u00E1l\u016F s v\u011Bt\u0161\u00EDm odstupem \u0159ad sedadel a obd\u00E9ln\u00FDmi s\u00E1ly, u\u017E\u00EDvan\u00FDmi v sou\u010Dasnosti zejm\u00E9na u multikin. Form\u00E1t Cinemascope se v \u010Ceskoslovensku uplatnil p\u0159i v\u00FDrob\u011B filmov\u00FDch kopii, \u0161irokouhl\u00FD syst\u00E9m se adaptoval z francouzsk\u00E9ho Franscope a v tomto form\u00E1tu byl u n\u00E1s poprv\u00E9 nato\u010Den roku 1957 film \"V proudech\", v koprodukci s Franci\u00ED, kter\u00E1 poskytla speci\u00E1ln\u00ED kameru, objektivy a vyvol\u00E1n\u00ED negativu Kodak. Ve form\u00E1tu Cinemascope byl nato\u010Den v roce 1964 film Starci na chmelu s pom\u011Brem stran 2,55:1 (standardn\u00ED Panavision m\u00E1 2,35:1). Distribuov\u00E1n byl na 35mm kopi\u00EDch se \u010Dty\u0159mi zvukov\u00FDmi stopami."@cs . . . . . . . . . . . . . . . . . "\u5BBD\u94F6\u5E55\u7535\u5F71\u955C\u5934"@zh . . . . "\u0421\u0438\u043D\u0435\u043C\u0430\u0441\u043A\u043E\u0301\u043F, \u0421\u0438\u043D\u0435\u043C\u0430\u0441\u043A\u043E\u0301\u043F-35 (\u0430\u043D\u0433\u043B. CinemaScope) \u2014 \u0448\u0438\u0440\u043E\u043A\u043E\u044D\u043A\u0440\u0430\u043D\u043D\u0430\u044F \u0430\u043D\u0430\u043C\u043E\u0440\u0444\u0438\u0440\u043E\u0432\u0430\u043D\u043D\u0430\u044F \u043A\u0438\u043D\u0435\u043C\u0430\u0442\u043E\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043A\u0430\u044F \u0441\u0438\u0441\u0442\u0435\u043C\u0430, \u043E\u0441\u043D\u043E\u0432\u0430\u043D\u043D\u0430\u044F \u043D\u0430 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043D\u0438\u0438 \u0441\u0442\u0430\u043D\u0434\u0430\u0440\u0442\u043D\u043E\u0439 35-\u043C\u043C \u043A\u0438\u043D\u043E\u043F\u043B\u0451\u043D\u043A\u0438. \u0421\u0438\u0441\u0442\u0435\u043C\u0430 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043B\u0430 \u043E\u0434\u043D\u043E\u0438\u043C\u0451\u043D\u043D\u044B\u0435 \u0430\u043D\u0430\u043C\u043E\u0440\u0444\u043E\u0442\u043D\u044B\u0435 \u043E\u0431\u044A\u0435\u043A\u0442\u0438\u0432\u044B \u0434\u043B\u044F \u0441\u044A\u0451\u043C\u043A\u0438 \u0438 \u043F\u0440\u043E\u0435\u043A\u0446\u0438\u0438 \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u044F \u043D\u0430 \u044D\u043A\u0440\u0430\u043D \u0448\u0438\u0440\u0438\u043D\u043E\u0439 \u0434\u043E \u043F\u043E\u043B\u043E\u0432\u0438\u043D\u044B \u0434\u043B\u0438\u043D\u044B \u043A\u0438\u043D\u043E\u0437\u0430\u043B\u0430. \u0424\u043E\u0440\u043C\u0430\u0442 \u0440\u0430\u0437\u0440\u0430\u0431\u043E\u0442\u0430\u043D \u043F\u0440\u0435\u0437\u0438\u0434\u0435\u043D\u0442\u043E\u043C \u043A\u0438\u043D\u043E\u043A\u043E\u043C\u043F\u0430\u043D\u0438\u0438 \u00ABXX \u0432\u0435\u043A \u0424\u043E\u043A\u0441\u00BB \u0421\u043F\u0438\u0440\u043E\u0441\u043E\u043C \u0421\u043A\u0443\u0440\u0430\u0441\u043E\u043C \u0438 \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u043B\u0441\u044F \u0441 1953 \u0434\u043E 1967 \u0433\u043E\u0434\u0430. \u041E\u043D \u0441\u0442\u0430\u043B \u043E\u0441\u043D\u043E\u0432\u043E\u0439 \u0434\u043B\u044F \u0431\u043E\u043B\u044C\u0448\u0438\u043D\u0441\u0442\u0432\u0430 \u0434\u0440\u0443\u0433\u0438\u0445 \u0441\u0438\u0441\u0442\u0435\u043C \u0441 \u0430\u043D\u0430\u043C\u043E\u0440\u0444\u0438\u0440\u043E\u0432\u0430\u043D\u0438\u0435\u043C, \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u0443\u044E\u0449\u0438\u0445 \u0434\u043E \u0441\u0435\u0433\u043E\u0434\u043D\u044F\u0448\u043D\u0435\u0433\u043E \u0434\u043D\u044F. \u00AB\u0421\u0438\u043D\u0435\u043C\u0430\u0441\u043A\u043E\u043F\u00BB \u044F\u0432\u043B\u044F\u0435\u0442\u0441\u044F \u043E\u0434\u043D\u043E\u0432\u0440\u0435\u043C\u0435\u043D\u043D\u043E \u043F\u0440\u043E\u0438\u0437\u0432\u043E\u0434\u0441\u0442\u0432\u0435\u043D\u043D\u044B\u043C \u0438 \u043F\u0440\u043E\u043A\u0430\u0442\u043D\u044B\u043C \u0444\u043E\u0440\u043C\u0430\u0442\u043E\u043C, \u0442\u043E \u0435\u0441\u0442\u044C \u0441 \u043D\u0435\u0433\u0430\u0442\u0438\u0432\u0430 \u0432\u043E\u0437\u043C\u043E\u0436\u043D\u0430 \u043A\u043E\u043D\u0442\u0430\u043A\u0442\u043D\u0430\u044F \u043F\u0435\u0447\u0430\u0442\u044C \u0441\u043E\u0432\u043C\u0435\u0449\u0451\u043D\u043D\u044B\u0445 \u0444\u0438\u043B\u044C\u043C\u043E\u043A\u043E\u043F\u0438\u0439 \u0442\u0430\u043A\u043E\u0433\u043E \u0436\u0435 \u0444\u043E\u0440\u043C\u0430\u0442\u0430."@ru . . . "Cinemascope"@de . . "Cinemascope, irudi zabalen erabilera ezaugarri nagusi duen filmaketa sistema bat da. Bereziki paisaiak, natura eta handitasunaren sentipena irudikatu nahi denean erabiltzen den formatua da."@eu . . "Per CinemaScope si intende un sistema di ripresa cinematografica, basato su lenti anamorfiche, utilizzato dal 1953 al 1967. Sebbene tale sistema abbia dato inizio ai moderni formati cinematografici il CinemaScope \u00E8 stato rapidamente reso obsoleto dalle evoluzioni tecniche, in particolar modo da formati derivati da quelli della Panavision. Alcuni film all'inizio furono girati in anamorfico 2.55:1 poi ridotto ad un pi\u00F9 gestibile 2.35:1. Oggigiorno, il CinemaScope continua ad avere un rapporto di proiezione di 2.35:1 anamorfizzato."@it . . "\u03A3\u03B9\u03BD\u03B5\u03BC\u03B1\u03C3\u03BA\u03CC\u03C0"@el . "CinemaScope \u2013 spos\u00F3b realizacji szerokoekranowej umo\u017Cliwiaj\u0105cy projekcj\u0119 film\u00F3w o proporcjach obrazu 2.66:1, dwukrotnie d\u0142u\u017Cszego od standardowego 1.33:1. Jego stworzenie w 1953 roku przez Spyrosa P. Skourasa, prezesa 20th Century Fox, oznacza\u0142o pocz\u0105tek nowoczesnego anamorficznego formatu zar\u00F3wno w fotografii, jak i projekcji filmowej."@pl . "\u30B7\u30CD\u30DE\u30B9\u30B3\u30FC\u30D7 (CinemaScope) \u306F\u3001\u4E3B\u306B\u6620\u753B\u64AE\u5F71\u3067\u7528\u3044\u3089\u308C\u3066\u3044\u305F\u30EF\u30A4\u30C9\u30B9\u30AF\u30EA\u30FC\u30F3\u6280\u8853\u306E\u4E00\u3064\u3002\u30A2\u30CA\u30E2\u30EB\u30D5\u30A3\u30C3\u30AF\u30EC\u30F3\u30BA\u3092\u7528\u3044\u305F\u6A2A\u7E26\u6BD42.35:1\uFF0812:5\uFF09\u306E\u753B\u9762\u30A2\u30B9\u30DA\u30AF\u30C8\u6BD4\u3067\u3042\u308B\u3002\u30B7\u30CD\u30B9\u30B3\u3068\u7565\u3055\u308C\u308B\u3053\u3068\u3082\u3042\u308B\u3002"@ja . "Cinemascope"@ca . "CinemaScope"@ru .