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Topic: VistaVision

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In the News (Thu 22 Mar 18)

  VistaVision - Wikipedia, the free encyclopedia
VistaVision is a variant of the 35 mm motion picture film format created by Paramount Studios in the 1950s.
The process was intended to create finer-grained negatives through using larger surface area on film, which when printed and projected on the screen in the new widescreen formats, would register as clear as those which were not magnified for variable ratios.
VistaVision films were shown in a number of aspect ratios, the most popular being 1.85:1.
en.wikipedia.org /wiki/Vistavision   (628 words)

 This is the story of VistaVision, an explanation of the process and its many advantages   (Site not responding. Last check: 2007-10-07)
Briefly, the VistaVision process includes new wider angle lenses to give greater scope on the big screens; new cameras through which the 35 mm negative travels horizontally eight sprocket holes per frame (instead of 4) giving a negative image with an area of nearly three times the area of the standard negative image.
Another innovation with VistaVision is the framing marks shown in the upper right hand corner of the picture frame in Figure 2.
It is contemplated that the VistaVision trade-mark will be available for use by all producers who use VistaVision cameras on all photography and who abide by all of the VistaVision procedures to the end that the technical quality of their product is comparable to the quality of the Paramount product.
www.widescreenmuseum.com /widescreen/vistavision.htm   (6555 words)

 VistaVision: Facts and details from Encyclopedia Topic   (Site not responding. Last check: 2007-10-07)
VistaVision is a variant of the 35mm motion picture film 35 mm film quick summary:
Alfred Hitchcock[Click link for more facts about this topic] took to the format and used it for many of his films in the 1950s[For more, click on this link].
Anamorphic widescreen is a cinematography and photography technique for capturing a widescreen picture on standard 35mm film....
www.absoluteastronomy.com /encyclopedia/v/vi/vistavision1.htm   (924 words)

 reality : vistavision
VistaVision is a variant of the 35mm motion picture film format created by Paramount Studios in the 1950s.
But when VistaVision came into being they quickly changed their tune and strongly supported a ratio of 1.85:1.
It was good old 1.85:1, the same shape that the other studios were quickly adopting for their cropped wide screen films that Paramount recommended for VistaVision.
koti.mbnet.fi /cgurney/reality/vistavision.html   (354 words)

 Vistavision - TheBestLinks.com - 1977, Paramount Studios, Special effect, Aspect ratio (image), ...
eo:Vistavision VistaVision is a variant of the 35mm motion picture film format created by Paramount Studios in the 1950s.
In the end, Vistavision lost out in the general market to the less expensive anamorphic systems and the more capable 70mm format.
Since 1977 the format has enjoyed a renaissance as an intermediate format used for shooting special effects, thanks to the reduced grain and easy adaptability of compact still cameras.
www.thebestlinks.com /Vistavision.html   (225 words)

The general practice was to reduce and print the images on normal 35mm film [in 1.66, 1.75 or 1.85:1], a practice that still resulted in a much sharper picture because of the size of the frame on the original negative.
While the first conception of VistaVision called for standard 35mm prints, Paramount felt that the negative quality allowed for a variety of prints to be made.
VistaVision was no longer used for feature production after 1962 ['My Six Loves' dir by Gower Champion and ph by Arthur Arling].
www.cinematographers.nl /FORMATS3.htm   (1240 words)

 Widescreen Museum - The VistaVision Wing   (Site not responding. Last check: 2007-10-07)
With regard to the shape of pictures on the screen, we are convinced that the most artistic shape is in a ratio of approximately 1.85:1, and we also find that this shape best fits the great majority of theatres.
In the future we are confident that the best in the presentation of motion pictures will be obtained with VistaVision prints shown on a high, wide, seamless screen of this shape, and using excellent projection equipment.
While a few VistaVision films were done in fl & white, the process specifications virtually demanded processing and printing by Technicolor.
www.widescreenmuseum.com /widescreen/wingvv1.htm   (1139 words)

 Yellow Layer Failure, Vinegar Syndrome and Miscellaneous Musings by Robert A. Harris
The initial concept was to release films in one of three formats: 8 perforation horizontal 35mm VistaVision, a 4 perforation version derived from the large negative which could be projected by normal means and lastly, the ability to create anamorphic prints, which could be cropped as needed and with varying compressions.
VistaVision productions making their way to DVD have been few and far between, but when these productions are properly handled, the difference between them and their 4 perf brethren can be both unmistakable and visually breathtaking on a high end home video system.
One look at the Paramount and VistaVision logos at the beginning of the film, in their full crystal clarity and knife-edged sharpness give us a precise idea of what is to follow.
www.thedigitalbits.com /articles/robertharris/harris041403.html   (3860 words)

 Space Chase - page 2
This meant that the VistaVision camera had to run between 100 and 200 frames per second, or four times faster than normal speed a pace dangerously close not only to the limits of the motion-control head, but to that of the VistaVision equipment as well.
VistaVision was just one of the countless formats McClung and Timme had to deal with.
For motion control, we used the Paramount-Fries VistaVision camera; for high-speed VistaVision, we used the Wilcams; for anamorphic shots, we employed the Fries Mitchells; and spherical work was done with an Arriflex 435.
www.theasc.com /protect/jul98/space/pg2.htm   (938 words)

 35 mm film - Wikipedia, the free encyclopedia
In the conventional motion picture format, frames are four perforations tall, with an aspect ratio of about 1.37.
Still cameras in 35 mm and the VistaVision motion picture format use a horizontal frame with is eight perforations wide, resulting in a wider aspect ratio of 3:2 and greater detail, as more of the negative area is used per frame.
The commonly used anamorphic widescreen format uses a similar four-perf frame, but an anamorphic lens is used on both the camera and projector to produce a wider image, today with an aspect ratio of about 2.39 (but formerly 2.35 until 1970).
en.wikipedia.org /wiki/35mm_film   (1064 words)

 Yes, "TRON" was filmed in 65mm   (Site not responding. Last check: 2007-10-07)
All of the material was composited into VistaVision before being blown up to a 65mm IP which was intercut with the IP struck from the cut 65mm EK negative.
While there were a couple of anamorphic shots, and a couple of full aperture ("Super 35" before it was called that) cuts, the entire film, for all intents and purposes, was originated on 65mm film.
VistaVision CGI and all electronic world composites shot on VistaVision animation stands were blown up spherically into a 65mm IP.
www.in70mm.com /newsletter/2000/60/tron/tron_70mm.htm   (486 words)

 DVD Review - The Man Who Knew Too Much   (Site not responding. Last check: 2007-10-07)
The perpetrator of cathartic thrills was now exploring the added dimensions that only color and big screen grandeur could deliver to a public not exactly clamoring for an excuse to take time out from the Tube to spend a night out at the movies.
The breadth of VistaVision as last seen in the film’s 1980s theatrical re-release is welcomed for the first time on video in this 2001 DVD release.
The technique was an acceptable convention for audiences, but ‘process shots’ in so high-definition a medium as VistaVision gave away their artifice even if the viewer couldn’t quite put his finger on it.
www.dvdreview.com /fullreviews/the_man_who_knew_too_much.shtml   (1664 words)

 Making movies
This they did, using VistaVision, since they had no 65mm equipment available, but by using fine grain film stock and careful optical printing, they managed to closely replicate the resolution of 65mm.
Disney had a VistaVision production camera that they had bought from Paramount; the big ones with the 2,000-foot magazines that Mitchell had built in the early '50s.
Though the purchase and idea of using VistaVision and rear projection of separation masters was probably Eustace Lycett's.
www.fromscripttodvd.com /harrison_ellenshaw.htm   (2932 words)

 The Letterbox and Widescreen Advocacy Page
VistaVision movies were filmed with a specially designed camera which was mounted on its side.
Movies that are shot in VistaVision were photographed on a double width frame of 35mm running right to left horizontally.
The films were generally "reduction printed" to 35mm 4-perforated (four sprocket holes per frame) in dye-transfer Techniclor and projected with a 1.85:1 ratio.
www.widescreen.org /aspect_ratios.shtml   (1444 words)

 Making movies
During the heyday of photochemical visual effects, most work was performed in the VistaVision or 65mm formats.
The larger negative area of VistaVision (8-perf 35mm) and 65mm allowed for clearer duplication through the act of compositing.
VistaVision was a really good format for that movie.
www.fromscripttodvd.com /richard_edlund.htm   (2082 words)

 Aspect Ratio
VistaVision was filmed with a specially designed camera which was mounted on its side and it required a special projector, but its image quality was better than standard 35mm.
This process was developed by the Technicolor Corporation, as a way to continue using its three-color process in the wake of competing Eastman Color.
It required both a specially developed sideways camera (like VistaVision) and a widescreen lens (like CinemaScope).
www.geocities.com /SiliconValley/Bay/2933/movieaspectratio.html   (1014 words)

 jaced.com: Jace D’s Worldwide Web Site » Blog Archive » VistaVision
Most films were ultimately framed at 1.85, although there was for a time a VistaVision ratio of 1.96.
In the end, VistaVision lost out in the general market to the less expensive, anamorphic systems such as Panavision and the more capable 70mm format.
There were exceptions, (E.T. was a four-perf show), but most ILM films were VistaVision, for a long time.
jaced.com /blog/2005/12/18/vistavision   (426 words)

 Nick's Auditorium : the Magnetic Age
They all had their own (magnetic) sound system, except for VistaVision that used the Perspecta Stereo system.
The studio that promoted the VistaVision, Paramount, wanted stereophonic sound but exhibitors were very reluctant to install new equipment.
VistaVision was ressurrected in 1975 when Industrial Light + Magic used it for visual effects work on
users.telenet.be /nicks_auditorium/en/magnetic.html   (1912 words)

 To Catch A Thief - JeffreyKern.com - DVD Reviewer   (Site not responding. Last check: 2007-10-07)
Paramount’s wish was that VistaVision was not only supposed to compete with Panavision, but eventually replace it.
In the end, VistaVision was an experiment that just didn’t catch on.
To launch VistaVision, the studio wanted a marquee draw that would get people to flock to the theaters.
www.jeffreykern.com /AVF/to_catch_a_thief.htm   (1239 words)

Known during its development work as the 'Technicolor Universal Frame Process', the negative was to be the same as VistaVision's 8-perf [double-frame] horizontal 35mm film format, but with the aspect ratio of the image increased to that of CinemaScope's 2.35:1, by using an anamorphic lens on the camera.
VistaVision offered impressively high-resolution images, but its 1.96:1 aspect ratio was hardly 'wide' - and only possible when footage was properly screened with a VistaVision projector.
The first major problem was to obtain a high quality anamorphic camera lens to match the overall quality of the system.
www.cinematographers.nl /FORMATS2.htm   (2876 words)

 Remastering a Masterwork: Restoration of 'The Patriot'
He told his son that the color and clarity of the VistaVision movie would open a window on the past.
Remember The Patriot was made in VistaVision, a format in which there is about three times the data per frame as on a standard motion picture frame.
Number two, it's the only film that was ever shot in VistaVision eight perforation, horizontal, real VistaVision to be run large format, with six tracks of stereo sound.
www.history.org /Foundation/journal/Summer04/patriot.cfm   (2476 words)

 Leica Photography Forum: Leica Goes to Hollywood: 1954
These early Vistavision cameras were equiped with Leitz lenses and nearly all VV movies were filmed with these optics.
Vistavision simply used a much larger image frame which was played back on special VV projectors.
The VistaVision camera is still used for filming special effects.
www.photo.net /bboard/q-and-a-fetch-msg?msg_id=004v16   (1251 words)

 Bradford Film Festival 2004   (Site not responding. Last check: 2007-10-07)
At this year’s Widescreen Weekend, we celebrate 50 years of VistaVision with some key films made during its heyday and note that VistaVision is still used today in creating the special effects seen it movies such as Apollo 13.
On display during the festival will be a Mitchell VistaVision camera from NMPFT’s collection used on Marlon Brando’s One Eyed Jacks.
Bradford Film Festival is an event organised by the National Museum of Photography, Film and Television.
www.nmsi.ac.uk /nmpft/bff/2004/eventdetail.asp?ida=4461   (230 words)

 Movie Poop Shoot: Hollywood Elsewhere - October 30, 2002
It was shot in VistaVision, a process developed in the early '50s that sends 35mm film through a motion picture camera sideways, and therefore uses a larger film-stock area.
VistaVision was prized in its heyday for capturing images with greater density and sharpness than what regular 35mm film delivered.
Paramount Home Video spokesperson Martin Blythe says the THIEF DVD is from VistaVision elements, but what this really means is that it was taken from YCM separations to a reduced-size dupe negative of a 35mm version of the film, which was derived from original VistaVision elements.
www.moviepoopshoot.com /elsewhere/20.html   (4344 words)

 DVD REVIEW Hitchcock: The Man Who Knew Too Much (1956)
The elements used for the previous Laserdisc transfer were, just as the ones for REAR WINDOW way too bright and had more noise in them than anything else, it seemed.
TMWKTM (what would we be without abreviations) was shot originally in VistaVision, a high resolution process, which gives the picture enormous depth - Hitchcock would work four more times with this process: on THE TROUBLE WITH HARRY (the first time he worked with it), TO CATCH A THIEF, NORTH BY NORTHWEST and on VERTIGO.
The high resolution that VistaVision allows is presented here only in part.
www.dvdscan.com /manwhoknew.htm   (522 words)

 Paramount Film Preservation
The YCM records were re-regestered to correct for shrinkage and optically down-converted to make a standard four-perforation 35mm internegative that could be used to make either a print or a film to tape transfer.
However it is now possible to transfer into High Definition directly from a VistaVision 35mm film element.
GUNFIGHT AT OK CORRAL is the first VistaVision color production from which Paramount was able to create a new eight-perforation picture source for High Definition transfer.
www.paramount.com /filmpreservation/projectsdvd.html   (351 words)

 The Criterion Collection: Richard III
Filmed in VistaVision and Technicolor, The Criterion Collection is proud to present the restored full-length version for which Olivier received the 1956 British Academy Film Awards for Best Actor and Best Film.
For this special edition DVD, the digital restoration is drawn from multiple film elements, and while some scenes show noticeable variation in image quality, this version of Richard III finally matches the official release script page for page.
Originally shot in VistaVision, the film is presented here in the European theatrical aspect ratio of 1.66:1.
www.criterionco.com /asp/release.asp?id=213   (386 words)

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