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International 70Mm Publishers, the Netherlands CinemaScope Cinerama Cinemiracle Kinopanorama CinemaScope 55 VistaVision Super Technirama 70 Panavision Super 70mm Todd-AO MGM Camera 65 Dimension 150 Showscan Imax/Omnimax International 70mm Publishers, The Netherlands International 70mm Publishers present: WIDESCREEN HISTORY Editor and publisher: Johan C.M. Wolthuis, Arnhem, The Netherlands Co-editor: Jan-Hein Bal, Amsterdam, The Netherlands Guest writers: Jan-Hein Bal, Amsterdam; Michael Coate, Los Angeles; Alain Dorange, Malaysia; Thomas Hauerslev, Denmark; Bill Lawrence, Halifax; Tom March, Calgary Duncan McGregor, Bradford; Rick Mitchell †, Los Angeles; Paul Rayton, Los Angeles; Nigel Wolland, London. Proof reader: Terry Ladlow, United Kingdom Graphic design: Studio Bob Lindner, Arnhem, The Netherlands Printed by Advadi, Ede, The Netherlands ISBN/EAN: 978-90-803503-0-4 NUR code 674 Copyright © January 2014 by International 70mm Publishers, Arnhem, The Netherlands www.70mmpublishers.nl All rights reserved No part of this publication may be reproduced in any form or by electronic or mechanical means including information storage without the prior written permission from the publisher, except that brief passages may be quoted for reviews. The illustrations and pictures are from the 70mm Publishers Archive, in some cases images were provided by others, mentioned in the acknowledgements. Front cover picture: Pictureville Cinerama Theatre, National Media Museum, Bradford, UK A Summary of Wide Screen Processes Cinerama (1952) Todd-AO (1955) MGM Camera 65 (1957) + Ultra Panavision 70 (1959) Cinerama has changed the size of the cinema screen Todd-AO was the first of all ‘modern’ 70mm processes Before any screening of a Todd-AO 70mm film had tak- forever! Filmed with three interlocked 35mm cameras, (following on various developments of the late 20s) and en place, in April 1955, MGM decided to produce all side-by-side, using a special 6-perforations pulldown had it’s premiere in 1955. It uses a 65mm camera with their top productions with 65mm cameras. Lenses for film frame (normal 35mm frames have 4-perf pull- 65mm negative film stock and initially ran at 30 fps. MGM Camera 65 were designed by Panavision. They down). The film speed was changed from normally Newly developed spherical lenses for the Todd-AO cam- had developed a totally new optical system in which 24 into 26. Cinerama is projected by three interlocked era added a wide-angle view to the picture without the they had incorporated an anamorphic element and a 35mm projectors, with 6-perf frames pulldown, on an troublesome lateral distortion that had bothered some spherical lens with a slight horizontal squeeze with a extremely wide and deeply curved screen that captures CinemaScope productions. The original ‘bug-eye’ lens compression ratio variable from 1.25x1 to 1.33x1. Thus an angle of view of 146º ! The sound comes from a sep- developed by American Optical, however, had its own the system had the widest single-film aspect ratio ever arate 35mm film with 7 magnetic soundtracks. set of distortion problems and was therefore only used achieved for commercial films projected at 2.75:1. Pro- for segments of Oklahoma! and Around the World in jection needed the same anamorphic lenses to create CinemaScope (1953) Eighty Days. Prints were made onto 70mm film stock to this extra-wide screen image. Cameras were rebuilt old This process captures with an anamorphic (squeeze) have room for 6 magnetic soundtracks and projected Mitchell Realife cameras from the thirties (Billy the lens 2x a wider field of view than with conventional without the need of an anamorphic lens. The screen Kid,1930) which were heavy and difficult to handle. So (spherical) lenses on 35mm film. When projected was specified as having a moderate curve, not the deep Panavision decided to build their own new cameras and with the same readkind of anamorphic lens themore... nominal curve of Cinerama. Beginning within the third Todd-AOthe the process book was renamed Ultra Panavision 70. ‘Ultra’ screen ratio is usually specified at 2.35:1 though it has production, South Pacific, the frame rate was stand- stands for the anamorphic element in the system. The changed over the years in some versions to as much as ardised at 24 fps. In the nineties the use of magnetic process was introduced in 1962 with Mutiny on the 2.55:1. CinemaScope was the first widescreen process soundtracks on film was prohibited and DTS designed Bounty. Many of the action scenes in How The West to achieve world wide commercial success and there- a system with an optical time code on the film. A LED Was Won were photographed in Ultra Panavision 70 fore known as the “granddaddy” of all wide-screen sys- reader scans the timecode from the film and sends it and then optically converted into 3-strip Cinerama. tems. In the beginning CinemaScope prints had four to the DTS processor to synchronize the sound, which magnetic soundtracks on the 35mm film and no optical comes from a CD-ROM, with the images on the screen. Technirama (1957) + Super Technirama 70 (1959) sound. With the advent of optical stereo soundtracks, Faced with a growing demand for prints in various the magnetic sound tracks fell into disuse. CinemaScope 55 (1956) ‘squeezed’ and ‘ünsqueezed’ formats, in 1956 Techni- This process used a 55mm (8-perf) negative with an color developed a system of their own, called Technira- VistaVision (1954) anamorphic lens to record a ‘squeezed’ image. This ma. A standard 35mm film ran horizontally through the This is a 35mm double-frame 8-perf picture running was four times the size of a 35mm frame! The origi- camera with a double frame, the same as in the VistaVi- horizontally through the camera instead of vertically as nal idea was to make positive prints onto 55mm film sion process, but now with anamorphic compression is normal. Full-size projection in the 8-perf horizontal for projection worldwide, but this never happened and of the double frame. So they realised CinemaScope size mode was only rarely employed and required a special for general release the 55m negative was printed onto projected films with supreme VistaVison quality. Tech- projector to have the film run horizontally through the 35mm film and projected with a 2 x anamorphic lens nirama used Delrama optics developed by the Dutch machine. For general release the VistaVision negatives on a wide screen. Rumours said that only one or two Optical Company “Old Delft”. This unique Delrama were optically reduced to conventional 35mm prints, theatres gave a special road-show with 55m wide film, optical system employed prisms instead of lenses to which could be projected at an image between 1.66:1 on a special designed 55mm projector. After that the ‘squeeze’ the image. In 1959 an improved Technirama and 2.00:1, without the need of anamorphic lenses. 55mm projection was abandoned. The second film in process was developed, permitting ‘unsqueezed’ 70mm Paramount’s recommended ratio was 1.85:1. These this CinemaScope 55 process, The King and I, released prints from the double frame negative, under the name ‘normal’ reduced 35mm VistaVision prints reached the in 1956, was also printed onto 70mm film for a 1961 re- Super Technirama 70. screen with notably sharper than usual images because release and projected without anamorphic lens under of the reduction from the double frame negative. White the name Grandeur 70. Christmas was the first of many VistaVision films. 2 Around the end of the 19th century, soon after mo- tion pictures had been projected for the first time in nicolor’ film, as they called the process, superimposed front ofthe public, film makers were looking how to add the two coloured images at the same time onto the colour to their moving pictures. Soon, in 1896, hand- screen were they formed the completed colour picture. coloured films were presented to the public. This was Although the process consisted of only two colours – a very difficult task, as each frame in the film had to red and green – it required a special double projector be coloured by hand using two, three or four colours. and the adjusting of the two frames was often a prob- Despite the difficult task, for one minute of film nearly lem. read more... in the book Finally by 1921 the Technicolor process had been im- proved. The first movie made with the improved pro- 1000 frames had to be coloured, it remained in use for cess was Toll of the Sea released by Metro Goldwyn several years,until the demand for many copies made it Pictures in 1922. The film was a success but the small impossible to meet the needs of multiplecopies . Technicolor laboratories could not produce enough prints to meet the demand. As the Technicolor com- In the 1903 production of The Great Train Robbery, pany had closed a deal to receive half of the profits of the gunshot blast at the end of the film was coloure- the film, one year later already the expanded laborato- dred by hand tinting! In The Birth of a Nation, The ries were able to produce enough prints to make the White Rose, Intolerance and other productions direc- picture available to every cinema. In 1924 four Tech- tor D.W. Griffithalso used hand-tinted sequences. A being tinted in some way. In 1946 the Eastman Kodak nicolor cameras were used in Rome Italy, for parts of newspaper writer describes the tinted print of Intoler- Company announced they were going to produce a se- Ben Hur. And in 1926 another four of the then available ance as ‘blue for the Judean story, sepia for the French, ries of ready-tinted positive films in a variety of colours eleven Technicolor cameras were used for The Black green for the Babylonians and amber for the modern called Sonochrome Tinted Positive films.
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