Assume that our windows are made by two objects: one is the glass, the other is the frame. We'll take care of the glass, now. Select your glass object, switch to the Texture room and apply the texture map you've created for the window. I will not discuss in which channels and how to apply this map. Experiment until you get the result you'looking for. Anyhow this is not going to tamper with cloured light beams. Once you're done with shading, switch back to the assemble room and UNCHECK the "Casts Shadows" box in the properties tab. Now, place a spot light on the back of the window, aim it properly and apply as a "Gel" the same texture you applied to the glass object. Still in the assemble room with your spotlight selected, go into "Effects" tab, check "Enable" for "Light Cone" effect and click the "Edit" button. Make sure you check "Use Gel" and "Enable 3D Shadows" boxes. That should be enough. Of course, you'll need to repeat the above steps for all the windows in the cathedral paying attention to the aiming of the spots (I guess keeping them parallel should work fine). Have fun.

Size of movie screens, as well as aspect ratio, may vary. While standard TV ratio (4/3) is 1,33:1 (1,78:1 for 16/9), Cinemascope has an aspect ratio of 2,35:1 and Panavision rises to 2,40:1, known also as Super 35 or Anamorphic. Most used formats today are European Standard Flat (1,66:1 or 5/3) and Academy Standard Flat (1,85:1 or 5,55/3) They both rely on 35mm films and play back at a frame rate of 24fps. Different rules for Imax format, based on a 70mm film and playing back (with Imax Hd) up to 48fps. For what concern to resolution, consider that a standard 35mm frame can detail up to 18.000.000 pixels. If you plan to output to video, PAL ha 625 lines of resolution and 50 fields per second (25 fps). NTSC support 525 lines of resolution and 60 fields per second (29,97 fps). This apply to video composite signals only. Hope this can be helpful.