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EXPO '92 Seville forum Review EXPO '92 Seville "The Age of Discovery" opened in Seville in late April ized by Sega's "Hologram" arcade game), no interactive and ran through mid-October. Classed as a category "A" theaters (the Czechs made the first in Montréal '67 and Universal Exposition by the Bureau International des the best in Osaka '90), many holograms (all film-based), Expositions (B.I.E.) in Paris, it is only the fourth such and HDTV only as technical demos. Expo (after Brussels '58, Montréal '67, and Osaka '70) and the last one until the year 2000. World Fairs have been the to show I Giant traditionally place Rectangular Screens Downloaded from http://direct.mit.edu/pvar/article-pdf/1/3/364/1622402/pres.1992.1.3.364.pdf by guest on 26 September 2021 off culture and technology, particularly large-scale media technology. The Paris Exposition of 1900, just five years The leading producer of large-format flat screen after the birth of projected cinema, hosted not only a cinema is the Imax Corporation of Canada. Conceived giant rectangular screen film 53 by 70 feet produced by as a single-system alternative to the popular but un- the Lumière brothers, but also a ten-screen 330-foot wieldy multiple camera/projector installations at Mont- circumference cylindrical movie by Raoul Grimoin-San- réal '67, Imax made its debut at Osaka '70. The system son. The first large scale dome projection premiered at uses a horizontally formatted 70-mm film (10 times the the 1962 Seattle World Fair. At the 1964 New York spatial resolution of standard vertical 35-mm film) and World Fair, filmmaker Francis Thompson and Buckmin- an interlocked six channel sound system with subbass. ster Fuller produced a multiscreen short film entitled The projector is equipped with a patented vacuum-based "To Be Alive," which became the first specialized-format "rolling loop" film movement and a 7- to 15-kW light production to win an Academy Award. Consequently, source; the image is clear, steady, and relatively bright. the next World Fair, EXPO '67 in Montréal, was the The theaters, typically with 500 seats, feature screens up largest forum ever for large scale and specialized media to eight storeys high and horizontal view angles exceed- theaters. Since then, several enhanced-format systems ing 60 degrees, enough to make the frame disappear. have evolved into standards (such as Imax and Omni- Currently nearly 80 Imax theaters operate in 15 coun- max, CircleVision, and Showscan). tries worldwide, showing films ranging from "The EXPO '92 had its share of novel media theaters and Dream Is Alive," the penultimate landscape film (shot attractions with a wide range of technical and aesthetic from the Space Shuttle), to their first feature-length title quality (Table 1). This survey is the result of visiting 42 "The Rolling Stones at the Max," arguably the most pavilions in 3Í/2 days (as well as similar blitzes at the 3 spectacular and intense concert film ever made. previous EXPOs: Vancouver '86, Brisbane '88, and The Imax Corporation has experimented with various Osaka'90). related formats, including dome projections (Omnimax, So first, for those who keep track of such things: Expo see below), dual projection stereoscopic 3D (the wittiest '92 had no "talking heads" (projection on face-shape film at Vancouver '86, produced by the National Film screens, prominent in Brisbane '88), no "haunted Board of Canada), and several custom configurations ballrooms" to speak of (room-sized half-silvered mirrors (more below). But for EXPO '92, they ventured into a for superimposition, at least three in Osaka '90), one new realm: faster frame rate. "floating genie" (concave mirror for frontal reflection, popularized by the "floating nickel" illusion and bastard- Presence, Volume I. Number3, Summer 1992 Michael Naimark Reprinted from Movies of the Future and Television of Tomorrow. Interval Research Corporation Volume 7, number 4. June 18. 1992. 1801-C Page Mill Road © 1992 The Massachusetts Institute of Technolog/ Palo Alto, CA 94304 364 PRESENCE: VOLUME I, NUMBER 3 Naimark 365 Table I. Comparison of Large-Format Film Systems Bandwidth (35 mm No. of Name 24 fps) Film gauge fps projs Screen Imax 3D 20 x 70 mm 15 perf 24 2 3D rectangle Imax Solido 20 x 70 mm 15 perf 24 2 3D dome Imax HD 20 x 70 mm 15 perf 48 1 Rectangle Imax Magic Carpet 20 x 70 mm 15 perf 24 2 2 rectangles Showscan 3D 16.6x 70 mm 5 perf 60 2 3D rectangle Downloaded from http://direct.mit.edu/pvar/article-pdf/1/3/364/1622402/pres.1992.1.3.364.pdf by guest on 26 September 2021 Imax lOx 70 mm 15 perf 24 1 Rectangle Imax Omnimax lOx 70 mm 15 perf 24 1 Dome CircleVision 9x 35 mm 4 perf 24 9 Cylinder Showscan 8.3x 70 mm 5 perf 60 1 Rectangle Hexiplex 6x 35 mm 4 perf 24 6 Cylinder Iwerks 870 5x/6.25x" 70 mm 8 perf 24/30" 1 Rectangle or dome Omni Films 5x 70 mm 8 perf 24 1 Dome Iwerks Imagine 360 ~2.5x* 70 mm 8 perf 24 1 Cylinder "30 fps option. *Approx. half the film frame is used. The new system, "Imax HD," records and projects at audience, children dancing a Scottish jig, and a bear 48 frames per second (fps) rather than the standard 24 hunting fish in a river. fps. High fps film formats have been championed for A new contender to large-format films is the "870" over a decade by the Showscan Corporation, using system produced by Iwerks Entertainment. This system 70-mm film running at 60 fps. Standard American uses vertically formatted 70-mm film with a frame video, because it interlaces two half-frame fields every Váo height of 8 perforations (standard 70-mm film is 5 per- sec, is also a 60 fps medium in motion update. Ironi- forations high and Imax is 15 perforations wide), hence cally, Showscan looks like very high-resolution film and the name "870." Iwerks designed a theater for the Vene- like video at the same time. zuela Pavilion and produced an adequate short docu- Subjectively, the look of Imax HD is almost indistin- mentary film, progressing from helicopter shots over guishable from that of Showscan. The film, waterfalls and indigenous village life to time-lapse shots "Momentum," produced by the NFB for the Canada of Caracas and its culture and industry. The screen is Pavilion—a "picturesque journey through the multicul- about half the size (and the same shape) as an Imax the- tural fabric of Canada"—is well produced, diverse, and ater, consequently the spatial resolution looks the same upbeat. As its title implies, the film consists mostly of as Imax but the immersive effect is lacking. nonstop action shots, exploiting the doubled motion The Showscan Corporation had two films at EXPO resolution. But as is too often the case with Showscan '92. A film entitled "Nature Rediscovered," rambling films, the motion exceeds the limits of the medium, can- and uninteresting except for an unfaked alligator attack celling the effect: the low aerial shots over Niagara Falls, scene, showed at the Nature Pavilion. Its small 128-seat a wobbly dogsled ride, and the fast tracking shots of ice theater had a standard size screen, and most of any en- skaters pale compared to the static shots of a baseball hanced effect was lost. 366 PRESENCE: VOLUME I . NUMBER 3 Showscan's other film, "Concert for the Earth," ence was their Solido system, shown in the Fujitsu Pavil- shown in the Future Environment Pavilion, was their ion. Solido is a stereoscopic 3D twin projector Omni- first attempt at dual system stereoscopic 3D. The theater max-like system, using wireless liquid crystal shutter was large, with a large immersive screen and excellent glasses. With twin-bladed shutters in the projectors, the audio. The audience was instructed to put on polarized glasses opened and closed each lens 48 times per second, glasses when they saw the actors in the film put on their thereby eliminating flicker. The glasses had about a 60- glasses, so the first part of the film was 2D. The nonnar- degree horizontal viewing angle, and since the screen rative story revolved around a family out for a drive, lit- itself was 180 degrees, the viewers could not see every- tering the whole way, until they come to a dead end and thing at once, encouraging head movement. car on. Enormous get out of their to see why. Glasses The film, "Echoes of the Sun," which was produced Downloaded from http://direct.mit.edu/pvar/article-pdf/1/3/364/1622402/pres.1992.1.3.364.pdf by guest on 26 September 2021 piles of trash, green chemical goo, oily dead birds, hu- by Imax and Fujitsu for Osaka '90, consisted primarily mans and clear-cut forests all scavenging, polluted water, of very high-resolution computer graphics directed by This film have been the first in 70-mm, 60 fps 3D. may Nelson Max. It is the story of the conversion of sunlight of its kind to use enhanced-format to the imagery display into sugar and sugar into energy. This film is extremely dark side of and in its own was very' things, ugly way dense in content, teaching biochemistry through power- effective, and very popular. ful visualization and dashes of humor. "Echoes" was the biggest hit of Osaka '90 for both technology and content and is destined to be the same in Seville. Dome Screens 2 Another ambitious but less successful dome theater experience is the "Moviemax" theater produced by Dome-screen movies are shot and typically pro- Iwerks Entertainment for the host Spain Pavilion.
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