vistavision vs technicolorvistavision vs technicolor

Master the art of visual storytelling with our FREE video series on directing and filmmaking techniques. The VistaVision camera was meant to provide an easy widescreen process that emphasized quality above all else, while still making that quality accessible to as many movie goers as possible. (See Figure 2 for size of print image.) Filmmakers did, however, need a special VistaVision camera that could shoot the film horizontally. Contents 1 History 2 Special effects usage 3 Technical specifications 4 Films shot in VistaVision 5 Legacy 6 See also 7 References When the images are squeezed they are made to appear thin and tall. In the CinemaScope system the camera lens picks up a scene that is 2.66 times as wide as it is high. I can tell when a film is 3 strip cos the colors basically bleed off the screen and are super saturated, while Eastman color, while pretty colorful in its own right is more natural . By 1950, there were more than a few competitors carving out Technicolors market share. If the screen carries black masking, the projected picture image should overlap the masking far enough to give a well framed picture. Yes, and VistaVision cameras are sometimes still used even today for special effects. Paramount suggests PERSPECT-A STEREOPHONIC SOUND for the very large theaters and for use by exhibitors who feel that they should have a stereophonic or directional effect. As stated above, standard sound is available on all VistaVision release prints so that no change will be required in handling VistaVision sound for Drive-lns. VistaVision was created in 1954 by Paramount Pictures engineers, as a format to compete with CinemaScope and other studios. The position of Paramount has never changed, and with VistaVision, Paramount is making available release prints which have been compressed in the ratio of 1 1/2/1 for projection through a variable prismatic expander lens set at the expansion ratio of 1 1/2 to give a screen aspect ratio of 2/1. The Ultimate Guide to Call Sheets (with FREE Call Sheet Template), How to Break Down a Script (with FREE Script Breakdown Sheet), The Only Shot List Template You Need with Free Download, Managing Your Film Budget Cashflow & PO Log (Free Template), A Better Film Crew List Template Booking Sheet, Best Storyboard Softwares (with free Storyboard Templates), Best Spike Lee Movies and TV Shows Ranked for Filmmakers, What is Practical Lighting in Film? But many film-goers were still curious to see how three color Technicolor would look in live-action. VistaVision could be (and most often was) further printed down to standard vertical 35 mm reels keeping its 1.66:1 widescreen aspect ratio, which meant exhibitors did not need to purchase additional projection equipment, unlike CinemaScope. 4K UHD Blu-ray review of Cecil B. 25 Best Tracking Shot Examples. We make no specific recommendations in regard to projector type or projector lamp houses, except that in our experience with shorter focal length lenses, better screen illumination is obtained with lamp houses of the reflector type having mirrors 16 inches in diameter. However, the theaters should vary from these defined ratios as required to fill the screen. Hes written reviews, scripts, and analytical essays focusing on all aspects of cinema. We are, however, setting down some general principles and recommendations which can be used as a guide. VistaVision is the first process to make a noteworthy and immediately apparent improvement in picture quality. For more than two decades after this, VistaVision was often used as an originating and intermediate format for shooting special effects since a larger negative area compensates against the increased grain created when shots are optically composited. The stereophonic effect for the foreign Perspect-a-sound release will be effected at the time of foreign dubbing. Most of these changes simplify the procedures, and most of these changes are made during production and release printing, not at the theater. VistaVision is a high-resolution widescreen process that uses 35mm film. The printing in this case will be by-the so-called A and B method -similar to 16 mm color printing) onto the intermediate color negative which in turn will be used for release printing in the overseas laboratories. Paramount has no interest directly or indirectly in the collection of royalties or in the manufacturing profits that may come from any of the products that may be used by this system. Thus the variable prismatic expander lens provides complete flexibility in the projection booth for the exhibition of any print. These framing indices will be placed so as to give adequate head-room and the best composition for the aspect ratio selected. horizontal pulldown, from right to left (viewed from emulsion side). VistaVision cameras were sometimes adapted. All domestic and possibly the foreign release prints are to be made by a new imbibition dye transfer method which Technicolor has developed and which is being introduced along with the release of WHITE CHRISTMAS. If youre still wondering about how Technicolor used the dye-transfer process to color its films, check out this next video: Although the dye-transfer process was incredible for its time, it proved to be a logistical nightmare. When did movies get color? Further, these same prints can play with stereophonic sound in theaters having Perspect-a-sound control equipment. In theaters where the screen width is limited to under 30 feet, and where there is adequate height, we recommend a screen aspect ratio of 1 66/1, reducing the height only when necessary for good viewing. The light gain would be less for lower aspect ratios and although there may be some gain with an aspect ratio as low as 1.85/1, the use of expander lenses is not recommended by Paramount for lower aspect ratios. Founded on May 26, 2005, GESCO provides private and corporate security services in various regions of the country including Baku, in accordance with the requirements of ISO 9001, ISO 14001, ISO 45001. It was Paramount's answer to Todd-AO and CinemaScope. As a response, Paramount Pictures devised its own system the following month to augment its 3-D process known as Paravision. Yep! Loudspeaker D should be connected to the same electrical circuit as loudspeaker A but operated at a lower level, and loudspeaker E should be connected to the same electrical circuit as loudspeaker C, and also operated at a lower level. Its easy to forget just how different the filmmaking process was then compared to now. Paramount pictures are photographed with height which gives them stature and an artistic proportion that is lost by reducing screen height. Alfred Hitchcock used VistaVision for many of his films in the 1950s. When providing prints for theaters, nothing special was required, as the movies would be copied onto regular 35mm film that could be shown at any theater that had a widescreen (which, by 1954, was most of them). Cameras with the sensor are Red Ranger Monstro, DSMC2 Monstro, and Panavision DXL2. No more VistaVision in use today, at least not for film. In comparison to CinemaScopes anamorphic lenses, VistaVision was a flat widescreen process, which meant filmmakers and theaters did not need special VistaVision lenses to shoot or present Vista Vision movies. Using that larger-area negative really improves the final product. The fact is that the real loss is due to the restricted area of negative that is used to gain the cropped picture. For VistaVision directional sound it is only necessary to have three loudspeakers, as shown by A, B, and C, Figure 4. In CinemaScope projection, the image passes through an anamorphic expander lens which expands the image in the ratio of 2/1. When these thin and tall images are expanded in projection, they appear normal on the screen. The VistaVision system has a large gain in depth of field if the image height is maintained the same as on standard photography. The VistaVision process is available to all motion picture producers and exhibitors who wish to avail themselves of this system. In the end, Technicolor simply became a relic of another age. Three types of anamorphic expander lenses are now being manufactured. The oval will then be expanded to a circle in projection by the variable prismatic expander lens. The negative was "scribed" with a new form of cue mark, made at the start of each 2000-foot (610 m) reel. This exhibition process was impractical because for the footage to travel through a projector at the normal 24 frames per second, the film had to roll at three feet per second, double the speed of 35mm film and causing many technical and mechanical problems. All scoring will be single sound track magnetic with as much reverberant bigness as can be obtained. As finer-grained film stocks appeared on the market, VistaVision became obsolete. Since VistaVision was no longer a major format, Paramount sold off many of their cameras to international filmmakers, who used the process infrequently throughout the rest of the decade. As an example, with a screen 25 feet wide, this has been from 50 to 125 feet from the screen. The procedure is called "cropping". But the process used to colorize the picture, the Douglass natural color process, was incredibly hard to pull off. The light level used on interior sets is between 350 and 600 foot-candles, with most shots running between 400 and 500 foot-candles. Ke Huy Quan: From the Coolest Kid of the Mid-80s to the Jake Gyllenhaal & Conor McGregor in "ROAD HOUSE" Are Steven Seagal movies just money laundering vehicles? These markings are to be made less apparent than change-over markings and are to be used by the projectionist in gaining proper framing in the projection of VistaVision pictures. Less expensive anamorphic systems such as CinemaScope and the more expensive 70mm format became standard during the later 1950s and 1960s. Since the last American VistaVision picture, One-Eyed Jacks in 1961, the format has not been used as a primary imaging system for American feature films. The logistical advantage of using 35mm film, end-to-end, should not be underestimated. 2. The framing marks appear only at the head end of the 2,000-foot reels. -All of these changes are described herein. This will give a new depth perception in exhibition. This process utilized a screen size that yielded an aspect ratio of 5 units wide by 3 units high, or 1.66:1. Create an account to follow your favorite communities and start taking part in conversations. In addition to using much larger film stock than other 70mm productions, IMAX made a name for itself by producing high quality motion pictures that could only be shown in select cinemas (unlike VistaVision). The camera numbered VistaVision #1, used on Cecil B. DeMille's The Ten Commandments, films by Alfred Hitchcock, and others, was offered at auction on September 30, 2015, by Profiles in History with an estimated value of US$30,000 to $50,000, with a winning bid of US$65,000. Many VistaVision cameras were sold off internationally beginning in the early 1960s, which led to a significant number of VistaVision format productions (which did not use the trade name) in countries such as Italy and Japan from the 1960s to 1980s. At the present time Paramount is using cameras which were made by William P. Stein in 1926 for a two-frame color system. If Technicolor was going to survive, it needed to adapt. When these prints are projected, they must be projected through an expander lens working in the expansion ratio of 1 1/2/1 (not 2/1as in the case of CinemaScope) which gives a screen image in the aspect ratio of 2/1. Loren L. Ryder, chief engineer at Paramount, expressed four general reasons he thought Paramount's VistaVision would be the forerunner of widescreen projection in most theaters: After months of trade screenings, Paramount introduced VistaVision to the public at Radio City Music Hall on October 14, 1954, with its first film shot in the process, White Christmas. It was more popular and longer-lasting in Europe. vistavision vs technicolor. But then CinemaScope from 20th Century Fox changed the landscape with widescreen imagery to get people into theaters nationwide. VistaVision did not cut down the number of seats in any theater (as did. High quality Leica type lenses are used for all of the shorter focal lengths. It was Paramount's decision then, as it is today, that the 2.66/1 aspect ratio is too wide for its height. VistaVision is a flexible system and allows adequate latitude for filling the screen. If the picture is being projected in the old 1.33/1 aspect ratio, the projectionist will frame with the top frame line just above the top of the projected picture as in the past. It seems to the writer that Drive-lns can best be served by using a screen in the ratio of 2/1 and using the VistaVision squeezed prints along with variable prismatic expander lenses working at the expansion ratio of 1 1/2/1 as established for the VistaVision Prints. In addition to gaining flexibility in projection, the compressed VistaVision prints, working with expander lenses will give a light increase of approximately 40% which can be of real assistance on very large screens. Motion picture studios expend hundreds of thousands of dollars in a meticulous effort to deliver the best possible technical quality along with good entertainment. Screen height, the same as screen width, is usually limited by the proscenium. RED Monstro sensor is a revamp of the VistaVision sensor. There is one point on which Paramount is emphatic. The single-track magnetic composite film will then be made stereophonic in the re-recording channel, using three horn systems and the necessary panning pots to gain any desired balance. Were here to help. (Dashed lines, Figure 1.) Red Letter Media sells VHS copy of "Nukie" on eBay for Gerard Butler Has Finally Found His Niche Making Dad Harry Melling talks about leaving Dudley Dursley behind Press J to jump to the feed. What is CGI? It is contemplated that we shall derive the same benefit on black and white pictures that we are now gaining in color photography. Hollywood made so much use of Technicolor in 1929 and 1930 that many believed the feature film industry would soon be turning out color films exclusively. - VistaVision. When did color movies come out? The 2008 DVD and Blu-ray Disc release of Walt Disney's Sleeping Beauty was shown at an aspect-ratio of 2.55:1 for the first time. Wherever possible, they should avoid 1.85/1 and 2/1. However, the difficulty of producing them continued to annoy studios and filmmakers. A compressed print is shown in Figure 3. We are not prepared to make a definite recommendation at this time. Paramount earnestly urges that every exhibitor who has not already done so install the largest feasible seamless screen both as to height and width. . It took some time for the developers to iron out the kinks, but by the time they did, a new vision of motion pictures emerged. We have used carefully selected Xpansa lenses for this purpose. For a 1.85/1 picture, the top of the picture as seen on the screen should just cut the line. Paramount had actually released their first widescreen movie by cropping the Western film Shane (1953) from its 1.37:1 Academy Ratio to 1.66:1. Your email address will not be published. Although we have probably not tested all of the different types, most of these lenses give poor results. The film is standard 35 mm negative exposed horizontally. In introducing VistaVision, Paramount has introduced the technique of optical reduction from a large negative image to the standard release print image. A retooled VistaVision camera dubbed the Dykstraflex (named for special effects master John Dykstra) was used by the group (later called Industrial Light & Magic) in complex process shots. There were two movies that changed everything for color in film and the world of animation: these wereSnow White and the Seven Dwarfs and The Wizard of Oz. If the theater is to take full advantage of the improved quality of the VistaVision print, the theater must have good projection equipment and a LARGE SEAMLESS SCREEN. Although the clarity of these 8-perf prints was striking, they were used only for premiere or preview engagements between 1954 and 1956 and required special projection equipment. For a picture projected in the aspect ratio of 2/1, it should be just possible to see the bottom dot at the top of the screen. [4], Also offered at the same auction was VistaVision High Speed #1 (VVHS1), which was used to film the parting of the Red Sea in The Ten Commandments (1956) and special effects on Star Wars (winning bid US$60,000.)[5]. We also expect to make matte shots, and we see no reason why we should not gain the same improvement in all types of special effects photography. The quality would have been very good but perhaps a bit less than those processes, because the negative was not quite as large and needed to be printed optically. What color stock were films like The Searchers, The Ten Commandments, and To Catch a Thief shot on? As indicated before, All VistaVision release prints will have standard photographic sound tracks which will play on any existing standard optical sound heads.

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