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The Paramount VistaVision Process
A Detailed Study of the Theatrical and Studio Applications of this Wide
Screen Process with the Double-Frame Negative |
Read more at in70mm.com The 70mm Newsletter
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Prepared by: PARAMOUNT STUDIOS
RESEARCH STAFF.
Published in
THEATRE CATALOG 1954-55 |
Date:
20.05.2024 |
ONE OF the first cameras to be adapted to the VV process.
BRIEF
This article offers a thorough summary of the VistaVision
process. There is detailed information on the studio uses and
applications of this process dealing with such things as handling of the
double-frame negative, the lenses which may be used on the cameras,
lighting requirements, sound recording procedures etc. The second half
of this article deals with the theatrical uses of the wide screen system
and covers many subjects which should be of great interest and value to
exhibitors and other interested parties. Such topics as booth procedure,
stereophonic sound, aspect ratios, screen sizes, drive-in applications
and projector lenses are among the many subjects covered by the
Paramount Research staff headed by Loren L. Ryder who prepared the
material used in this article.
Although it is likely that not everyone will agree with all that is said
in this piece it is important that all views be given the spotlight so
that the facts and arguments for each of the various new techniques may
be heard and allow the individual to make up his own mind about the
merits of each.
Definition
Briefly, the VistaVision process includes new wider angle lenses to give
greater scope on the big screens; new cameras through which the 35mm
negative travels horizontally eight sprocket holes per frame, (instead
of four) giving a negative image with an area of nearly three times the
area of the standard negative image. The picture negative is Eastman
Mazda color taking stock. It is processed by Technicolor and optically
reduced directly from the negative to the Technicolor matrix, which in
turn is used to stamp out the release print by the imbibition process.
All release prints will have a single photographic sound track that
will play on every standard sound reproducer the world over. Paramount
does not contemplate the release of any pictures with either a separate
or, four-track magnetic film.
Production Technique
The technique of picture shooting with the VistaVision camera is the
same as with any standard camera.
The light level used on interior sets is between 350 and 600
foot-candles; with most shots running between 400 and 500 foot-candles.
This is the same light level that has been in use at Paramount studios
for over a year. The lenses are stopped to f:2.8 and f:3.2.
With respect to camera lenses, Paramount has found that standard motion
picture lenses of 74mm and up, have adequate field coverage for use on
the double-frame camera. High quality Leica type lenses are used for the
shorter focal lengths. This includes lenses down to 24mm, which will
give a photographic angle of coverage slightly above 75 degrees.
Improved lenses are being designed which will include lenses of still
shorter focal length. It is the writer's opinion, however, that we are
gaining an adequate angle of coverage.
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More in 70mm reading:
Perspecta Stereophonic
Sound
in70mm.com's page about VistaVision
in70mm.com's Library
Presented on the big screen in 7OMM
Peripheral Vision, Scopes,
Dimensions and Panoramas |
FIGURE 1 illustrates the size of the negative in the VistaVision
process. If a circle were photographed it would appear as illustrated.
The most important feature of Vista-Vision is the large negative, and
its optical reduction to the standard print. In VistaVision this can
either be accomplished by using a special wide film negative with the
subsequent photographic reduction, or the horizontal eight-sprocket
hole film movement as herein explained. Tests indicate that as we
increase the size of the negative, we improve picture resolution in the
plane of focus and grain size reduction, but beyond a certain point we
tend to lose depth of field. We believe that in our use of the
VistaVision process we have selected the best ratio of negative area to
positive area for motion picture making. We have established the
negative width for optimum results, taking into account the image
reduction factor and wide angle photography. At this width we have
gained slightly in depth of field. The VistaVision system has a large
gain in depth of field if the image height is maintained the same as on
standard photography.
The finders on the VistaVision cameras carry a hairline marking in the
aspect ratio of 1.66:1. There will also be a frame line marking for the
1.33:1 aspect ratio. The cameramen are instructed to compose for a
loose (meaning adequate head-room) 1.66:1 picture. A picture composed in
this way will play equally well at 1.85:1; it will play very
satisfactorily at 2:1, and it can be played at the old standard 1.33:1.
The VistaVision cameras will be used for all future Paramount black and
white pictures, as well as color pictures. It is contemplated that the
same benefit will be derived on black and white that is now being gained
in color photography.
The production picture dailies are optically printed directly from the
large color negative to the standard 35nun image size. The reduction
ratio is 1.63:1. Eastman color stock is now being used for all daily
prints. The editorial and studio handling of these prints is exactly the
same as the previous handling of daily, except that special negative
numbers are placed on both print and negative for future negative
cutting. The special numbering may be eliminated when there is enough
time to modify a printer so as to print-through the negative numbers.
Sound Recording
In our work with stereophonic sound we have found that it is overbearing
and gives too much effect of movement for front seat listening, and it
is of little value in the rear of theatre. Further, classical
stereophonic sound tends to punctuate cuts, and detracts from the smooth
flow of the pictured story.
Paramount suggests Perspecta Stereophonic Sound for the very large
theatres, and for use by exhibitors who feel that they should have a
stereophonic or directional effect.
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FIGURE 2 indicates standard release print and outlines the various
aspect ratios that can be used. Figure 3 is an anamorphic print.
As indicated before, all VistaVision release prints will have standard
photographic sound tracks, which will play on any existing standard
optical sound heads. These same sound tracks will also carry low
frequency modulation at three different frequencies which will control
the volume of the center and side loud-speakers, in those theatres that
are equipped with Perspecta stereophonic sound control units.
These sound control units will cost about $800 plus about $500 for
installation. In theatres that do not have auxiliary loudspeakers, it will,
of course, be necessary to purchase extra loudspeakers and amplifiers. All
houses that have been equipped for stereophonic reproduction can use directional sound by merely purchasing the
integrator sound control unit.
The production shooting for Vista Vision sound will be handled the same
as on any monaural sound picture. At Paramount all production recording
is done on 17½mm film, in the 65 pound suitcase recorders built by
Paramount. All scoring will be single soundtrack magnetic with as much
reverbeberant bigness as can be obtained. On future pictures, it is
contemplated that all sound editing will be with striped magnetic 35mm
film, and the magnetic cutting print will be used as the rerecording
print.
All re-recording will be to a single-sound track magnetic master which
will have to be re-recorded (dubbed) with monaural monitoring. The single-track
magnetic composite film will then be made stereophonic in the
rerecording channel, using three horn systems and the necessary panning
pots to gain any desired balance. A magnetic control track will be made
during each review, and when a satisfactory review is obtained the
control track will be combined with the rerecording master in the
preparation of a photographic negative for release printing.
With respect to the foreign handling of sound for dubbed versions, we
will keep the music, sound effects, and dialogue on multi-track magnetic
for shipment to the foreign studios for dubbing. The stereophonic effect
for the foreign Perspecta Sound release will be effected at the time of
foreign dubbing.
Release Printing and Distribution
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 with the release of "White Christmas." It
will also be used on all subsequent VistaVision pictures.
The negative will be handled in 2,000 foot rolls corresponding to the
1,000 foot rolls of normal film. Negative cutting of Paramount
VistaVision pictures will be the so-called A and B process, so that all
dissolves and fades will be made from the original negative without
duping.
If Eastman release prints are required by the foreign department, we
feel sure that the VistaVision double-frame negative will give a better
inter-negative for such release printing than could be obtained by any
other system. In this case fine grain double-frame master color
separation prints will be made from both the A and B negative for each
reel. The printing in this case will be by the so-called A and B method
(similar to 16mm color printing) onto the intermediate color negative
which in turn will be used for release printing in the overseas
laboratories.
The sound from all release prints will be made from the same type of
sound negative, and as indicated before, all release prints can play on
any standard optical sound head in any theatre in the world. Further,
these same prints can play with stereophonic sound in theatres having a
Perspecta Sound control unit.
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DIAGRAM demonstrates VistaVision principle of comfortable viewing. It
is claimed that this process covers all three viewing areas.
VistaVision Standard Release Prints
The VistaVision standard print is a standard release print in every
regard except that the quality has been improved. This will give a new
depth perception in exhibition.
These standard prints will carry a framing index (upper right-hand
corner of the frame, Figure 2) at the start of each 2,000 foot reel as a
guide to the projectionist. 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. If the
picture is to be played in an aspect ratio of 1.66:1, the projectionist
will frame at the little dot in the upper right-hand corner of the
picture (the dot below the top frame line and above the dashed line). If
the picture is being projected at 1.85:1, the projectionist will frame
on the dashed line, and if the picture is to be projected in the aspect
ratio of 2:1, framing should be on the little dot below the dashed line.
These framing indices will be placed so as to give adequate headroom and
the best composition for the aspect ratio selected.
Squeezed Release Prints
For the exhibitors who wish complete flexibility in picture projection,
Paramount suggests the purchase of variable prismatic expander lenses.
VistaVision squeezed prints will be made available for those exhibitors
desiring same. These squeezed prints will be made in the same manner and
from the same negative as the standard prints, except that in optical
reduction the picture area will be taken from the area of the negative
that supplies the portion of the picture normally used in 2:1 aspect
ratio projection from the standard print.
If a circle is photographed it will appear on the negative as shown in
Figure 1. In the standard release print the circle will still be round,
as in Figure 2. In the squeezed print it will be oval as shown in Figure
3. The oval will then be expanded to a circle in projection by the
variable prismatic expander lens.
In addition to gaining about 40 per cent in light on the 2:1 picture,
this squeezed print has the possibility of having slightly better color
saturation, and possibly (still to be proved) slightly better picture
definition for large screen projection.
The squeezed ratio of this picture is 1½:1 as compared to the squeezed
2:1 which is used by CinemaScope. In the opinion of the writer the
optics for a 1½:1 ratio will give better picture quality than a higher
ratio.
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Theatre Presentation
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PICTURE QUALITY EXPLAINED: No. 1 shows that VistaVision negative
covers two-and-a-half times the conventional size. Section under
magnifying glass shows grain. No. 2 shows the VV print reduced to 35mm.
size with grain reduction of 72 per cent. No. 3 shows the large grain
found in a conventional negative frame. As seen in No. 4 VistaVision
negatives are much sharper, thus giving a sharper picture.
VistaVision standard prints can be projected in any theatre in the world
with an improved picture quality. Further, viewing will be better than
hereto-fore from the front and side seats. If the theatre is to take
full advantage of the improved quality of the VistaVision print the
theatre must have good projection equipment, and a large seamless
screen. Motion picture studios expend hundreds of thousands of dollars
in a meticulous effort to deliver the best possible technical quality,
along with good entertainment. The theatres should accept their
responsibility and make an equal effort in their exhibition.
Screens
Every theatre should install the largest feasible screen, both as to
height and width. As a further recommendation in this regard, it is our
belief that in the very large theatres they should install screens
capable of accepting the aspect ratio of 1.85:1, unless the sight line
for seats at the back of the main floor is limited by a low hanging
balcony. In this case, the theatre may elect to install a screen in the
ratio of 2:1. This is the only limitation that should force the theatre
into an aspect ratio as high as 2:1. In theatres where the screen's
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.
Objective Is to Fill Screen
One of the objectives of VistaVision is to fill the screen. VistaVision
is a flexible system and allows adequate latitude for filling the
screen. In the pre-ceding paragraphs we have named specific aspect
ratios. However, the theatres should vary from these defined ratios as
required to fill the screen.
We realize that it is impossible to lay down fixed recommendations
applicable to all theatres. We are, however, setting down some general
principles and recommendations which can be used as a guide. With
respect to picture size, in the past the most acceptable picture quality
has been at a distance from the screen between two and five times screen
width, this has been from 50 to 125 feet from the screen. On the basis
of the same old picture quality, if the screen width were increased to
50 feet, the most acceptable picture quality would be between 100 and
250 feet from the screen. This reaches beyond the back wall in most
theatres. If people are seated closer, they see film grain and the
picture is fuzzy and tiring to the eyes. This applies to both straight
and anamorphic projection of all previous pictures. VistaVision
pictures, starting with White Christmas, can be viewed with ease and
comfort from one-half to eight times screen width. With Vista-Vision on
a screen 50 feet wide, the seating will be acceptable down to 25 feet
from the screen and will be very satisfactory at 38 feet from the
screen. This is the answer to front seating.
Side seating is also improved by the better definition and relative
freedom from film grain which is accomplished by the VistaVision
process.
There is also another "rule of thumb" method for determining best screen
width—namely, "the best screen width should not be more than one-third
the distance from the screen to the center of seating, and the screen
width should not be less than one-sixth the distance from the screen to
the back of the auditorium. The center of seating in most balcony
theatres is about three-fourths the distance from the screen to the back
row of seats." With the Paramount process this rule can be changed to
"the screen width can be increased to one-half the distance from the
screen to the center of seating." As an example, if a theatre is 100
feet deep, the best viewing will be on a screen 38 feet wide. The
previous width for the old pictures would be 25 feet. As another
example, if a screen 50 feet wide is installed in a theatre 100 feet
deep, the screen will be too wide and viewing will be uncomfortable
unless seats are moved back to at least 25 feet and preferably 38 feet
from the screen.
With respect to screen height, Paramount has made a series of tests
which indicate that the same scene always looks better and the actors
can always be brought closer to the audience, as the height of the
screen is increased with respect to width up to the ratio of 1.85:1 for
large screens and 1.66:1 for smaller screens. This is in keeping with
the recommendation made earlier in this writing.
Screen height, the same as screen width, is usually limited by the
proscenium. However, screen height may also be limited in balcony houses
by the maximum height that can be seen from the back row of the main
floor where the sight line is eclipsed by the over-hang of the balcony.
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DOTTED line shows comparison of VistaVision aspect ratio with old
standard. Broken line is a comparison with the CinemaScope 2.55:1 ratio.
We recommend curving metallic screens with a radius equal to the
projection throw or in long narrow houses this radius may be increased
to one and one-fourth or one and one-half times projection throw. We
also recommend tilting the screen back slightly at the top in theatres
that have very high projection angles. The angle of tilt should not be
over one-third the projection angle, and the writer is opposed to
tilting the screen over five degrees.
There is a tendency on the part of theatre men to select a metallized
screen that has a uniform distribution across the house. Such a screen
gives an inferior picture at the center of seating and seldom improves
the side seats. For large houses we recommend purchasing a metallized
seamless screen that has a light gain of two and one-half to one. A
screen of this type will give much better viewing to the important and
largest number of seats, and it will provide satisfactory light
distribution throughout the theatre. In smaller theatres, seamless white
screens can be used if adequate projection light is available.
All theatre screens should be seamless and if the screen now installed
has bad seams, the screen should be replaced. One look at a good
seamless screen, as compared to a screen with seams, is all that is
necessary to convince anyone that a screen with bad seams should never
be used.
In studies made by Paramount we find that seams become more apparent
with time. Part of the trouble is no doubt due to an accumulation of
dirt at the seams, and microscopic examinations also indicate that
stretching at the seams deforms the screen surface in the adjoining
area.
Projection Lenses and Aperture Plates
After the best screen size has been established, proper focal length
high quality standard lenses should be obtained so as to gain the
correct width of picture on the screen. Theatre supply companies have
tables and can recommend the proper focal length lens to give the
desired picture width.
After determining the proper focal length lens, the projector aperture
plates should be filed so as to project the proper shaped picture to
meet the size of the screen that has been selected. If the screen
carries black masking, the projected picture image should overlap the
masking far enough to give a well framed picture.
Much has been said both for and against the practice of gaining proper
picture shape by diminishing the opening in the projector aperture
plates. The procedure is called "cropping." Our desire is to gain the
best picture quality, and as long as cropping gives the best picture
quality, we recommend cropping.
In considering cropping, most people think of a possible quality loss
from the cropped print. The fact is that real loss is due to the
restricted area of negative that is used to gain the cropped picture.
The VistaVision negative is large, thus the loss does not occur with
Vista-Vision. A loss does occur on the 2.55:1 anamorphic pictures when
the aspect ratio is reduced by side cropping, and some loss does occur
when pictures made from standard negatives are cropped.
"Cropping" is accomplished in the projector by using special projection
aperture plates filed to the desired aspect ratio.
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.
In theatres using very large lamp-houses and high amperage, we recommend
the use of water and air cooling, also dichroic heat reflectors.
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EXAMPLES of the different aspect ratios are illustrated here. Compare
the old 1.33 to 1 ratio (top, left) with VistaVision aspect ratio. Then
compare the 2.55 to 1 ratio aspect ratio (top, right). It is up to the
individual to decide if the VistaVision ratio of 1.85 to 1 gives the
clearest picture.
Variable Prismatic Expander Lenses
There is a great deal of confusion between aspect ratios and squeezed
and/or expansion ratios. The aspect ratio is the ratio of width to
height of the picture image on the screen, and/or the width to height of
the picture image on the film. The squeezed and/or expansion ratio is
the result of an optical change in a lens system. When the images are
squeezed they are made to appear thin and tall. When these thin and tall
images are expanded in projection; they appear normal on the screen. In
the CinemaScope system the camera lens picks up a scene that is 2.66
times as wide as it is high. This scene is squeezed horizontally in the
squeeze ratio of 2:1, which gives a negative image in the aspect ratio
of 1,33:1. A print made from this negative is still squeezed.
In CinemaScope projection, the image passes through an anamorphic
expander lens which expands the image in the ratio of 2:1. This would
normally give a screen aspect of 2.66:1. In the Cinema-Scope process the
sides of the picture are cropped down to make room for the magnetic
stereophonic sound tracks, so that the final aspect ratio of the picture
when projected is in the ratio of 2.55:1.
In the VistaVision process, standard camera lenses are used in
photography and a standard large negative image is obtained. When
desired, squeezed prints are made during the process of optical
printing, but in the case of VistaVision the squeeze ratio is 1½:1. When
these prints are projected, they must be projected through an expander
lens working in the ratio of 1½:1, which gives a screen image in a 2:1
aspect ratio.
At the present time there are three types of anamorphic lenses being
manufactured. They are the cylindrical lens type, such as used by
CinemaScope; the reflector lens type; and the prismatic type. Of these
three types of lenses, the prismatic type is the only one that can be
made variable. The variable prismatic expander lens, has the capability
of projecting in any ratio of squeeze, from a ratio of 1:1 to 3:1. In
the 1:1 position these lenses will project standard prints either of the
old standard type or the VistaVision standard type. Thus, the variable
prismatic expander lens provides complete flexibility in the projection
booth for the exhibition of any print.
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The
Paramount recommended system for directional sound is at.
Theatre Sound
As stated before, all VistaVision release prints, both standard and
squeezed, will have a single photographic sound track located in the
standard position, so that they will reproduce on any standard optical
sound head in any projector throughout the world. The sound track will
also carry low frequency modulated control signals which will control
the direction of sound reproduction in theatres that are equipped for
directional or stereophonic sound.
Perspecta Sound will expand music to multiple loudspeakers and control
the direction of the sound source when, and as it is required for
dramatic effective-ness. Paramount suggests this type of sound for those
exhibitors who desire multi-horn reproduction, and who wish to fill the
theatre with sound. The decision as to its use rests with the exhibitor.
For VistaVision stereophonic sound it is only necessary to have three
loud-speakers, as shown by A, B and C, in Figure 4. In very wide
theatres and very large theatres, the addition of auditor um speakers at
D and E may improve the sound effectiveness. These auditorium
loudspeakers, if used, should be located well to the front of the
auditorium. 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.
The control units for Perspecta Sound will be available from Westrex,
Fairchild, Altec-Lansing, and other manufacturers. The theatre service
companies will have complete instructions, in regard to their
installation and operation.
Paramount will have no magnetic sound release. It is our opinion that
this move will give greater simplicity and flexibility at a lower cost:
The sound control units will have an automatic return to monaural sound
in case of trouble.
Booth Operation
Booth operation is simplified to the bare essentials in all theatres
that use the VistaVision standard prints and monaural sound. VistaVision
also offers the simplest and most flexible system for those theatres
that wish to play squeezed prints through variable prismatic expander
lenses. VistaVision, with its directional sound, simplifies operation in
theatres equipped with multi-speaker reproduction.
Drive-In Presentation
Drive-ins can use the VistaVision standard release prints and project
them in the same manner as any standard release print. The improved
quality of the VistaVision print should be very apparent in the outdoor
theatres.
It seems to the writer that drive-ins can best be served by using a
screen in the ratio of 2:1, and using the squeezed prints along with
variable prismatic ex-pander lenses, working at the expansion ratio of
1½:1, as established for the VistaVision prints.
As stated previously, standard sound is available on all VistaVision
release prints so that no change will be required in handling VistaVision sound for drive-ins.
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