vistavision 35mm

vistavision 35mm

VistaVision is a higher resolution, widescreen variant of the 35 mm motion picture film format which was created by engineers at Paramount Pictures in 1954.

I use vistavision. On Batman Begins a Christopher Nolan film back in. Xxx used vistavision so he could pan until the end product. Vistavision was used for the effects and the car Jumping Through the Bat-cave

Films shot entirely in VistaVision

White Christmas (1954)
3 Ring Circus (1954)
Artists and Models (1955)
The Desperate Hours (1955) (first b&w film shot in VistaVision)
The Far Horizons (1955)
The Girl Rush (1955)
Hell’s Island (1955)
Lucy Gallant (1955)
The Rose Tattoo (1955)
Run for Cover (1955)
The Seven Little Foys (1955)
Strategic Air Command (1955)
To Catch a Thief (1955)
The Trouble with Harry (1955)
We’re No Angels (1955)
You’re Never Too Young (1955)
Anything Goes (1956)
The Birds and the Bees (1956)
The Court Jester (1956)
Hollywood or Bust (1956)
The Leather Saint (1956)
The Man Who Knew Too Much (1956)
The Mountain (1956)
Pardners (1956)
The Proud and Profane (1956)
The Rainmaker (1956)
The Scarlet Hour (1956)
The Search for Bridey Murphy (1956)
The Ten Commandments (1956)
That Certain Feeling (1956)
Three Violent People (1956)
The Vagabond King (1956)
War and Peace (1956)
Beau James (1957)
The Buster Keaton Story (1957)
The Delicate Delinquent (1957)
The Devil’s Hairpin (1957)
Fear Strikes Out (1957)
Funny Face (1957)
Gunfight at the O.K. Corral (1957)
Hear Me Good (1957)
The Joker Is Wild (1957)
The Lonely Man (1957)
Loving You (1957)
Omar Khayyam (1957)
The Sad Sack (1957)
Short Cut to Hell (1957)
Spanish Affair (1957)
The Tin Star (1957)
Wild Is the Wind (1957)
Williamsburg: the Story of a Patriot (1957) (first documentary shot in VistaVision)
Another Time, Another Place (1958)
The Black Orchid (1958)
The Buccaneer (1958)
Desire Under the Elms (1958)
The Geisha Boy (1958)
Hot Spell (1958)
Houseboat (1958)
King Creole (1958)
Maracaibo (1958)
The Matchmaker (1958)
Rock-a-Bye Baby (1958)
St. Louis Blues (1958)
Teacher’s Pet (1958)
Vertigo (1958)
But Not for Me (1959)
The Five Pennies (1959)
The Jayhawkers! (1959)
Last Train from Gun Hill (1959)
Li’l Abner (1959)
That Kind of Woman (1959)
The Trap (1959)
Heller in Pink Tights (1960)
It Started in Naples (1960)
One-Eyed Jacks (1961)
Other studios
An Alligator Named Daisy (Rank Organisation, 1955)
Doctor at Sea (Rank Organisation, 1955)
Richard III (London Films, 1955)
Simon and Laura (Rank Organisation, 1955)
Away All Boats (Universal Pictures, 1956)
The Battle of the River Plate (Rank Organisation, 1956)
The Black Tent (Rank Organisation, 1956)
High Society (Metro-Goldwyn-Mayer, 1956)
House of Secrets (Rank Organisation, 1956)
The Searchers (Warner Bros., 1956)
The Spanish Gardener (Rank Organisation, 1956)
Doctor at Large (Rank Organisation, 1957)
Hell Drivers (Rank Organisation, 1957)
Ill Met by Moonlight (Rank Organisation, 1957)
The Pride and the Passion (United Artists, 1957)
The Big Money (Rank Organisation, 1958)
North by Northwest (Metro-Goldwyn-Mayer, 1959)
The Day the Earth Froze (American International Pictures, 1964)
A Tale of Two Sisters (Korea, 2003)
Death by Hanging (Japan, 1968)
In the Realm of the Senses (Japan, 1976)
In the Realm of Passion (Japan, 1978)
Lupin III: The Mystery of Mamo (Japan, 1978)[1]
Vengeance Is Mine (Japan, 1979)
Urusei Yatsura 2: Beautiful Dreamer (Japan, 1984)
Venus Wars (Japan, 1989)
Films using VistaVision for special effects process work only
Star Wars (1977)
Star Trek: The Motion Picture (1979)
The Empire Strikes Back (1980)
Caveman (1981)
The Fox and the Hound (1981, CG-like animation, uncredited)
Tron (1982)
Star Trek II: The Wrath of Khan (1982)
Return of the Jedi (1983)
Back to the Future (1985)
Aliens (1986)
RoboCop (1987)
Coming to America (1988)
Who Framed Roger Rabbit (1988)
Back to the Future Part II (1989)
The Abyss (1989)
Indiana Jones and the Last Crusade (1989)
Back to the Future Part III (1990)
Forrest Gump (1994)
True Lies (1994)
Apollo 13 (1995)
Jumanji (1995)
Twister (1996)
Contact (1997)
Men in Black (1997)

PERSPECTA SOUND 1954 MSIASON Paramount M.G.M. normal mono 3 superimposed subaudible control tracks used to shift the apparent source of the sound between 3 speakers IC PROCESSES CINERAMA CINEMIRACL KINOPANOR


41 VIETONE VITASOUND 1940 PERSPE Warner Brothers normal mono+sprocket hole control track used to switch on auditorium speakers and increase the volume during special sequences Paramou normal morm subaudible to shift thea the sound b HANNEL r use on mbined prints MULTIPLE FILM PANORAMIC PROCESS RAMA -1962 ple tives na ama amic era 5mm total horizontal angle of view 146 triple Cinerama prints may also be optically printed a single 65mm Ultra.Panavision squeezed negative (maximum angle of view reduced to 90°

In 194o, after over a decade of “pure” monophonic cinema, Warner Brothers Vitasound became the frst standardized multi-speaker system. Like the nisicldialogue switching system described above Vitasound was not a true multi-chanel system but rather a multi speaker one. it had, however two major differences from its foreru net. First, it emploved speaker surrounding the audience Sccond, instead of relying on a projectionist to switch the sound between the two tracks, Vitasound used a control Rack between the sprocket holes of the flmstrip to tum these suround speakers on and off, a simiar method would be used by mul-channel systems of the 1950s tasound refects Becks stereophonic model in that the surround speakers were uscd to heighten the spectacle of film-all dialogue was kept tied to the sereen, and the surround speakers were only engaged for loud portions of the film where the music and etfects could spread out into the theater. The irst true multi-channel sound ilm, with unique audio chat nels feeding different speakers, came not long after Vitasound’s debu with Walt Disney’s Fantasia (0949). Fantasid’s sound system, developed by RCA and Walt Disney Studios and dubbed “Fantasound,” involved Iwo technical advainces over Vitasound. ” For one, not only did it spread hree sneakers horizontallv hehind the screen to allow sound to come

Electric Palace Cinema Harwich

The Electric Palace cinema, Harwich, is one of the oldest purpose-built cinemas to survive complete with its silent screen, original projection room and ornamental frontage still intact. It was designed by the architect Harold Ridley Hooper of Ipswich. The Electric Palace opened on King’s Quay Street in 1911, closed in 1956 and the Grade II-listed building reopened in 1981.

ne of the oldest cinemas in the country is expected to reopen in 2020 after nearly £1m of restoration work – a year later than planned. Electric Palace in Harwich is having asbestos removed and its roof stabilised, with funding from Historic England and the Heritage. You’re the aspiring actor Clive Owen, it’s the mid-Eighties, and you are out to impress your girlfriend and fellow RADA graduate Sarah-Jane Fenton.

Work at the cinema was undertaken over fears for the stability of the roof, following incidents at a theatre in London in 2013, which saw 76 people injured, and at Ipswich’s Regent Theatre in 2011, when no-one was inside. While much of the funding has come in grants Mr Crawford said the trustees were appealing for donations and needed to raise about £70,000 for the work.

16 mm film projectors in World War

Since the First World War, those filming in warzones have risked their lives to get close enough to the combat to capture it. … This Moy & Bastie cine camera, made of wood and metal, is of the type used by British Official cinematographers working with the armed forces.

Army Signal Corps, Bell & Howell Eyemo motion picture camera used during World … Bell and Howell 16mm Filmo DL 70

Bell & Howell TQ III 1695 Specialist 16mm Cine Projector

A good example of the later charcoal-cased Bell & Howell TQIII 1695 Specialist 16mm optical sound projector with cover speaker

cinema sound history

The earliest feature-length movies with recorded sound included only music and effects. The first feature film originally presented as a talkie was The Jazz Singer, released in October 1927. A major hit, it was made with Vitaphone, which was at the time the leading brand of sound-on-disc technology.

Dolby cinema sound History

Dolby Stereo’s and the 1st sound system in cinema was the cp50 . The breakthrough came with the film release of “Star Wars” in 1977. Everyone sat up and took notice. Even though the 35mm optical sound quality was improved, the absolute creme-de-la-creme of movie sound was only obtainable from magnetic sound available only from 70mm prints. Therefore, the 70mm format was reintroduced to cinemagoers, still with 6-track stereo, but now Dolby encoded.

In 1965, American engineer and physicist Ray Dolby established Dolby Laboratories in London. His aim was to develop practical noise reduction systems for improving sound quality in a variety of professional and consumer environments. The resulting innovations have made Dolby a watchword for quality audio throughout the world

cinema in the 1950s

The first movie projector was the Zoopraxiscope, invented by British photographer Eadweard Muybridge in 1879. The zoopraxiscope projected images from rotating glass disks in rapid succession to give the impression of motion. The stop-motion images were initially painted onto the glass, as silhouettes.

A public showing of a four-minute film takes place in a storefront at 153 Broadway, New York on May 20 of this year. It was a boxing match which had been filmed by Woodville Latham and his sons Otway and Grey. The staged fight had been filmed on the roof of Madison Square Garden.

The boxers were known as ‘Young Griffo’ and ‘Battling Barnett’. When asked by son Otway Latham whether a scene could be projected on a screen like in the Kinetoscope parlours, father Woodville answered, “You can project anything on a screen that you can see with the naked eye and which can be photographed.”

 Movies of the 1950s

Cinderella (1950) In the late 1940s, Walt Disney was in desperate need of a hit film. …
Rashomon (1950) Daiei Motion Picture Company. …
Sunset Boulevard (1950) Paramount Pictures. …
All About Eve (1950) 20th Century Fox. …
A Streetcar Named Desire (1951) Warner Bros. …
Singin’ in the Rain (1952) MGM. …
High Noon (1952) …
The Robe (1953)

Hugh Grant complaints about cinema Sound

The reason Hugh Grant complains about cinema being too loud. As many of you will know cinema is automated nowadays and there is no projectionist. When I was a projectionist in the 90s, we would adjust the sound to the audience size. If we were showing a film to a couple of old ladies in the afternoon we would turn the volume right down. The current cinema does not have any projectionists and the sound is remotely set. The computers that run the projection equipment do not know how many people are in the auditorium. This means that the system will play at its normal setting and will not adjust to the audience size. Computers do not know how many people are in the cinema.

Deafening cinema sound is ruining films, claims Hugh Grant

A DCP cinema projector has no concept of audience size. As a projectionist in the 90s I was quite aware of the audience size. I would always look through the porthole to see what numbers of people were in the cinema and adjust the cinema sound levels accordingly. The problem with people that make sound for films is that they’re doing it day in day out and there is no impact because they are used to the sound levels. The average person is unable to cope with the amount of sound effects within cinema. This is why a good projectionist was able to judge the sound levels within the cinema.
One day in the 90s I was running a film in Ealing cinema. I had one of the people who makes sound for film come in to the projection room complaining that the cinema sound was not loud enough. He was on his own with two old age pensioners with in the auditorium. He told me that the level of sound should be seven on the fader settings. I replied to him yes it should be set to 7 but there is only two old ladies in the auditorium and yourself. So I agree to disagree and set the sound level to fader 7. Within 10 minutes one of the old age ladies came out and complained about the cinema being too loud. I encouraged the gentleman to come out and answer the question to the old age pensioner which at that point he agreed that this volume control should be turned down. Because at this point that is the problem with cinema we are doing it to comply with the system regulations rather than what people require. A projectionist will always set the sound levels to the appropriate number for the number of people in the auditorium. This may not comply with what the sound company mixing the film requires but makes it more tolerable for the number of cinema goers in the cinema auditorium.

How 35mm Cinema Film Projectors Works

A 35mm film projector is a device that continuously moves film along a path so that each frame of the film is stopped for a fraction of a second in front of a light source. The light source provides extremely bright illumination that casts the image on the film through a lens onto a screen.


Film vs. digital: the most contentious debate in the film world, explained
The transformation of the multiplex coincided with the transformation of the way films were shot. For years, cinematographers — the camera specialists who oversee a movie’s photography — had expressed skepticism about the ability of digital cameras to compete with film. Compared with 35mm, early digital cameras weren’t light- or color-sensitive enough, and didn’t provide the same level of resolution.

Daventry’s cinema

Daventry District Council (DDC) has appointed construction firm Willmott Dixon to carry out the £12.5m transformation of the former library site off North Street, Daventry, into a new four-screen cinema complex, with restaurants, public square and splash fountains.

Ian Vincent, Chief Executive at Daventry District Council, said: “We’re pleased to have appointed Willmott Dixon to build this flagship development in Daventry town centre.