VistaVision
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. Paramount did not use anamorphic processes such as CinemaScope but refined the quality of its flat widescreen system by orienting the 35 mm negative horizontally in the camera gate and shooting onto a larger area, which yielded a finer-grained projection print. As finer-grained film stocks appeared on the market, VistaVision became obsolete. Paramount dropped the format after only seven years, although for another 40 years the format was used by some European and Japanese producers for feature films, and by American films such as the first three Star Wars films for high-resolution special effects sequences. In many ways, VistaVision was a testing ground for cinematography ideas that evolved into 70 mm IMAX and OMNIMAX film formats in the 1970s. Both IMAX and OMNIMAX are oriented sideways, like VistaVision. History As a response to an industry recession brought about by the popularity of television, the Hollywood studios turned to large format movies in order to regain audience attendance. The first of these, Cinerama, debuted in September 1952, and consisted of three strips of 35 mm film projected side-by-side onto a giant, curved screen, augmented by seven channels of stereophonic sound. Five months later, in February 1953, Twentieth Century Fox announced that they would soon be introducing a simpler version of Cinerama using anamorphic lenses instead of multiple film strips; a widescreen process that soon became known to the public as CinemaScope. As a response, Paramount Pictures devised its own system the following month to augment its 3-D process known as Paravision. This process utilized a screen size that yielded an aspect ratio of 5 units wide by 3 units high, or 1.66:1. By using a different sized aperture plate and wider lens, a normal Academy ratio film could be soft matted to this or any other aspect ratio. Shortly thereafter, it was announced that all of the studio's productions would be shot in this ratio. The VistaVision fanfare, used on most of the films produced in this ratio, was written by film, television, and radio composer and orchestrator Nathan Van Cleave. This "flat" widescreen process was adopted by other studios and by the end of 1953, more than half of the theaters in America had installed wide screens. However, there were drawbacks: because a smaller portion of the image was being used and magnification was increased, excessive grain and soft images plagued early widescreen presentations. Some studios sought to compensate for this by shooting its color pictures with a full aperture gate (rather than the academy aperture), and then reducing the image in Technicolor's optical printer. This process is a predecessor of today's Super 35 format which also uses a 1.85:1 ratio, but uses one-third more frame area than a standard 1.85:1 matted into a 4:3. Paramount took this concept a step further, using old Stein cameras from the 1930s which used a two-frame color format