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VistaVision is a higher resolution, widescreen variant of the 35mm motion picture film format which was created by engineers at Paramount Pictures in 1954.
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VistaVision and is
VistaVision, Cinerama, and Todd-AO boasted a " bigger is better " approach to marketing films to a dwindling US audience.
Funny Face is an American musical film released in 1957 in VistaVision Technicolor, with assorted songs by George and Ira Gershwin.
In IMAX the film is transported horizontally in the film gate, similar to VistaVision.
Vertical pulldown is overwhelmingly the dominant axis of motion, although horizontal pulldown is used in IMAX, VistaVision ( still in use for some visual effects work ), and in consumer and professional still cameras.
The Buccaneer is a 1958 War film, made by Paramount Pictures like the 1938 version and shot in Technicolor and VistaVision.
The film is a remake in widescreen VistaVision and Technicolor of Hitchcock's 1934 film of the same name.
VistaVision and higher
By the early 21st century computer-generated imagery, advanced film scanning, digital intermediate methods and film stocks with higher resolutions optimized for special effects work had together rendered VistaVision mostly obsolete even for special effects work.
VistaVision and resolution
Using old VistaVision cameras ( for their high image resolution ), created by engineers at Paramount Pictures in 1954, and hand wire wrapped TTL chips, the all-digitally controlled system allowed for 7 axes of motion: roll, pan, tilt, swing, boom, traverse, track, lens focus, motor drive, shutter control, and their duplication in multiple takes.
VistaVision and widescreen
It was later reworked in 1954 for Paramount films made in widescreen process VistaVision.
Hitchcock alternatively used VistaVision, a non-anamorphic widescreen process developed by Paramount Pictures and Technicolor which could be adjusted to present various flat aspect ratios .< ref >
While most competing widescreen film systems used magnetic audio and true stereophonic sound, early VistaVision carried only Perspecta Stereo, encoded in the optical track.
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:
* VistaVision could be shown at widescreen aspect ratios between 1. 66 to 2. 00: 1.
* VistaVision could be ( and most often was ) further printed down to standard vertical 35mm reels keeping its 1. 66: 1 widescreen aspect ratio, which meant exhibitors did not need to purchase additional projection equipment, unlike CinemaScope.
Degradation of film images during compositing was minimized by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process.
At Hitchcock's insistence, the film was made in Paramount's VistaVision widescreen process, making it one of the few VistaVision films made at MGM.
This was Hitchcock's first of five films in the widescreen process VistaVision.
The film was released by Paramount Pictures in Technicolor and in the VistaVision widescreen format.
The DVD retains the original VistaVision aspect ratio, capturing the full widescreen impact of the film, with digitally restored images.
When widescreen did eventually become a commercially successful technology in the mid-1950s, however, the three major systems which emerged ( CinemaScope, VistaVision, Todd-AO, and their derivatives ) all drew heavily on the results of this initial phase of research and development, of which Grandeur was arguably the most successful example.
VistaVision and 35mm
A VistaVision 35mm horizontal camera film frame.
* VistaVision, a 35mm motion picture film format
VistaVision and motion
* 1975: Resurrected the use of VistaVision ; first use of a motion control camera ( Star Wars Episode IV: A New Hope )
The most common film format, 35 mm, has a frame size of roughly 22 by 16 mm when used in a still 35 mm camera where the film moves horizontal but the frame size varies when used for motion picture where the film moves vertically ( with the exception of VistaVision where the film moves horizontally ).
VistaVision and picture
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.
VistaVision and film
As finer-grained film stocks appeared on the market, VistaVision became obsolete.
In shooting VistaVision, the film was run horizontally rather than vertically, and instead of exposing one 4-perf frame twice, the entire eight perforations were used for one image.
Because of its peculiar horizontal orientation on the negative, VistaVision was sometimes called Lazy 8 by film professionals.
After months of trade screenings, Paramount introduced VistaVision to the public at Radio City Music Hall on October 14, 1954, with their first film shot in the process, White Christmas.
More recently, certain key sequences of the film Inception were shot in VistaVision, and in the film Scott Pilgrim vs. the World, shots that needed to be optically enlarged were shot in VistaVision.
* Chasing Cotards Short film shot in VistaVision.
The film was the second film released in Paramount's new wide-screen system, VistaVision, in color by Technicolor and Perspecta directional sound.
In the 1950s CinemaScope ( 1953 ) and VistaVision ( 1954 ) widened the image from 35 mm film, following multi-projector systems such as Cinerama ( 1952 ).
The film was filmed using VistaVision, a wide screen orthographic process using a horizontal film feed.
The film was Paramount Pictures ' last feature released in VistaVision.
VistaVision and format
White Christmas, Strategic Air Command, To Catch a Thief and The Battle of the River Plate ( a. k. a. Pursuit of the Graf Spee ) had very limited ( two or three ) prints struck in the 8-perf VistaVision format in which they were shot.
Aside from these prints all other VistaVision films were shown in the conventional 4-perf format, as planned.
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.
Nevertheless, in 2008 ILM was still using the format in some production steps, such as for Indiana Jones and the Kingdom of the Crystal Skull and a VistaVision camera was used in the semi-trailer flip scene in The Dark Knight when there were not enough IMAX cameras to cover all the angles needed for the shot.
A diagram of the VistaVision format
VistaVision and which
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.
In the mid-1950s the VistaVision system presented wide screen movies in which the film moved horizontally, allowing much more film to be used for the image as this avoided the anamorphic reduction of the image to fit the frame width.
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