Ultra Panavision 70

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Ultra Panavision is an anamorphic film recording process for 70 mm wide-screen films introduced in 1962 .

background

Ultra Panavision was identical to the " Camera 65 " from Metro-Goldwyn-Mayer (MGM). With an anamorphic lens, the image was compressed horizontally by a factor of 1.25 and recorded at a frame rate of 24 frames per second on a 65 mm film negative . This was a 70-mm - film copy with six Magnettonstreifen or a conventional 35mm are created -copy. In both formats , the image was rectified with an anamorphic lens during the cinema screening. A performance in the full 2.76: 1 aspect ratio in 70 mm film format was not always possible due to the limited screens. Image information was also lost when copying onto the 35 mm film. This had to be taken into account when turning. Despite the image loss from the side, the system impressed in the 70 mm roadshow performances and was characterized by good image quality on the 35 mm film.

Panavision already developed the "Camera 65" for MGM. In 1957 the studio used it to produce "Raintree Country" (In the Land of the Rain Tree). Paradoxically, the film never came into the cinemas in 70 mm, because at the time of the start the very few 70 mm theaters with the Todd-AO production "Around the World in 80 Days" were blocked. After Ben Hur , Panavision refined the lens system and built its own 65 mm cameras, while heavy Mitchell monsters were used until then. During the production of Mutiny on the Bounty , Panavision took over the system from MGM and renamed it "Ultra Panavision". The admission procedure was thus also available to other film companies. This resulted in six large-scale productions between 1962 and 1966. While United Artists was responsible for four films, Samuel Bronston produced only one film in this system with The Fall of the Roman Empire and Warner Bros. with The Last Battle (1965) .

Some scenes in That Was the Wild West were recorded in Ultra Panavision and copied to the three- strip Cinerama format. With the exception of The Fall of the Roman Empire , all films shot in Ultra Panavision were advertised with the brand "Cinerama" from 1963 onwards, because Cinerama Inc. had given up its conventional 3-strip system in favor of 70 mm single lens projection. In addition, the aspect ratio of Ultra Panavision 1: 2.76 was almost the same as that of the old Cinerama (1: 2.7). The 70 mm film copy for Cinerama had to be optically corrected in order to enable it to be shown on the curved screen, which was now only 120 degrees (instead of 145 degrees with the 3-strip process). The advent of 70 mm blow-up , the more expensive film material and higher development costs ultimately prevented regular film production. During the filming of Eisstation Zebra , Ultra Panavision was replaced by Super Panavision , which meant the temporary end of the recording process.

For a long time, the film Khartoum was considered the last film in this widescreen format. It wasn't until 2015 that Quentin Tarantino's The Hateful Eight was shot again using Ultra-Panavision 70 lenses.

Movies in Ultra Panavision

Web links

Individual evidence

  1. ↑ Quentin Tarantino On Retirement, Grand 70 MM Intl Plans For 'The Hateful Eight'
  2. ↑ Andrew Fish: Interview with Kathleen Kennedy - A Q&A with Kathleen Kennedy, producer of Star Wars: The Force Awakens and president of Lucasfilm. (No longer available online.) American Society of Cinematographers , archived from the original on June 16, 2016 ; accessed on February 7, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.theasc.com