Sentences with phrase «japanese anamorphic lenses»

John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based on Japanese anamorphic lenses).

In order to quickly transition to widescreen production, the studio hired Japanese directors and cinematographers, and used Japanese anamorphic lenses to enhance production values by embracing colour and widescreen.

Not exact matches

Bordwell points out that the Japanese influence is only one factor in the style of the films, so although they were often shot with the same Tohoscope anamorphic lenses that Akira Kurosawa was using in Japan, Shawscope films don't look exactly the same as their Japanese counterparts.